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

1-1-1941 Volume 59, Number 01 (January 1941) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 59, Number 01 (January 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/254

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ItUTII SLENCZYNSKI (slen-chen'ske) now a JAMES HOTCHKISS , HERE, THERE AND EVERYWHERE IN full-fledged young artist ROGERS, world famous of sixteen, returned to THE MUSICAL WORLD organist, composer and the New York concert music critic, passed away TIIE LEAGUE OF COMPOSERS gave its GUY AND LOIS MAIER, duo-pianists, stage December 7th, at November 28th, 1940, at opening concert and reception in honor featured Lee Pattison’s fantasy, Heroical Town Hall, after five his home in Pasadena, of Darius Milhaud, December 27th, at Fountains at their Town Hall concert year’s retirement. Music California, at the age of the Museum of Modern Art, New York in New York City, December 14th. Among lovers will long remem- eighty-three. For fifty City. Mr. Milhaud appeared as conduc- other truly musical interpretations were ber Ruth’s sensational years, Mr. Rogers served James tor and pianist and was assisted by his two Bach arrangements by Mr. Maier. Slhnc/.ynski New York debut in the as organist and director Hotchkiss wife, Madeleine Milhaud, diseuse, and The recital was a brilliant success. Rogers Hall at the age of nine, when at The Euclid Avenue same Town other artists. On January 12th, the her as a pianistic genius. Temple in Cleveland, Ohio, where, at a critics hailed league presents an interesting program THOMAS WILFRED gave a series of testimonial dinner given at his retire- of "music-with-films.” clavilux (.color organ) recitals at the Art BACH FESTIVAL OF WINTER ment, Rabbi Barnett R. Brickner re- THE Institute of Light in Grand Central Florida, under the direction of ferred to him as a “truly spiritual lead- PARK, RENE POLLAIN, former conductor of Palace, New York City, during Novem- Christopher O. Honaas, will be given in er in the life of the city.” Mr. Rogers the New Jersey Symphony Orchestra ber and December. New "stops”, added Knowles Memorial Chapel of Rollins also served as organist at the Second the and former first viola player of the through Mr. Wilfred’s tireless experi- on February 27th and 28th. The Baptist Church and the First Unitarian College New York Philharmonic-Symphony Or- mentation, enable him to achieve a great- Chapel Choir, supplemented by Church, both of Cleveland; and for many Rollins chestra, died in France, early in Novem- er variety of color blendings and rhythms. from neighboring cities, as- years was music critic for The Cleveland Choristers ber, at the age of fifty-eight. Mr. Pollain Plain Dealer. Among his many composi- sisted by faculty members of the Rollins first came to the United States in 1918 ROBERT CASADESUS (cas-a-des-iis') Conservatory and instrumentalists from tions are cantatas, sacred and secular and became assistant conductor for Wal- presented for the first time his “Five Curtis Institute of Music will take songs, and many works for the piano and the ter Damrosch, then conductor of the Etudes for Piano” at his New York re- soloists engaged are: Rose organ. Mr. Rogers came from fine old part. The on December 10th. New York Symphony Orchestra. cital in Carnegie Hall American stock and his lofty Dirman, soprano; Lydia Summers, con- Puritan achievements have made him one of the tralto; Harold Haugh, tenor; David Blair distinguished of our native com- McClosky, baritone; Herman F. Siewert, most posers. His lovable character endeared organist. C^ompetitiond him to many of the world’s foremost GEORGES ENESCO, Rumanian conduc- musicians. composer, is unable to fulfill con- A PRIZE OF ONE THOUSAND A PRIZE OF ONE HUNDRED tor and IRVING BERLIN, returned recently this country, having is offered in the LaForge- cert engagements in DOLLARS AND APPEARANCES DOLLARS WITH Bcrumcn Piano Solo Competition Con- from a West Indies cruise, told New been detained abroad because of Euro- THE Philadelphia Orchestra and the New York Philharmonic-Symphony test announced by the Composers and York reporters that Iris song God Bless pean conditions. Orchestra are offered finalists in the Authors Association of America. The America had earned more than seventy Young Artist Contest sponsored the competition is open to all native and thousand dollars. The entire proceeds LEON BARZIN, direc- by National Federation of Music Clubs. The naturalized citizens of the United States go to the Boy Scouts and Girl Scouts the National Or- tor' of closing date is February 20th, 1941. For who have never had a manuscript ac- Association in of America. chestral information, write: Phyllis Lations Han- cepted by a recognized publishing house. an- New York City, son, National Competitive Festival The contest closes March 1st, 1941. Details THE MUSIC TEACHERS’ NATIONAL AS- nounces the formation of Chairman, Studio 337, Day Building, from Myrtle Artman Montrief, Contest SOCIATION held its sixty-fourth annual school 215 Ellison Building, Fort an experimental Worcester, Massachusetts. Chairman, meeting in Cleveland, Ohio, December with a perma- Worth, Texas. of opera, '^7 28th to 31st. Carleton Sprague Smith, $250 $150 are of- group to ''feed” PRIZES OF AND President of the American Musicological nent fered by the Sigma Alpha Iota sorority SEVENTY-FIVE DOLLARS and an companies of Society and Warren D. Allen, President ,ne opera for a work for string orchestra and one appearance with the Illinois Symphony just as the Na- of the speakers America, for violin, viola or violoncello solo with Orchestra will be given the winning vio- MTNA were among at Asso- Lb™ tional Orchestral piano accompaniment by American-born linist in a contest sponsored by the Rho the opening session; and such prominent young oi- ciation trains women composers. Entrances close Febru- Chapter of Phi Mu Alpha. March 1st educators and musicians as David Mat- to take their is the closing date. For details, write: hestral players places ary 1, 1941, and further information tern, Rudolph Ganz, Randall Thompson, Leo Heim, 500 Kimball Building, Chi- ° the large symphonic organizations from Mrs. Merle E. Finch, 3806 North Johann Grolle and Elizabeth Ayers Kidd Kostner Avenue, Illinois. cago, Illinois. throughout the country. Eighty-five Chicago, conducted forums covering all aspects been assem- oung singers have already of musical activity. Edwin Hughes led one-act productions to be forum, with Jan Chiapusso bled for four the piano and in Carnegie Hall after the inter- Emile Baiune as principal speakers. civen PADEREWSKI’S eightieth birthday in PAUL ROBESON is said of four of the organization’s Harold Gleason and Raymond Kendall mission November was commemorated in Jordan to have discovered the heduled concerts. Members of the staff took part in the program featuring Hall, Boston, performances of the new “acoustic envel- Josef Turnau from Vienna, stage with Visual Aids; and other highlights were delude:*1 I rr i first “Symphony in ope” which, through Karl Kritz ofAf thefho r’inbinnatiCincinnati movement of his discussions by Sir Ernest MacMillan, Paul director; B-minor” Concerto in sound control, permits a ensemble coach; Howard Bay, and his “Piano Hindemith and Ernst Krenek, and a two- nnera A-minor” by the orchestra of the New singer or instrumentalist designer; Clark Hobinson, light- piano program by Arthur Loesser and scenic’ under to hear himself on the England Conservatory of Music Beryl Rubinstein. ing- Wallace Goodrich’s direction. Jesus concert stage as he would in a small, highly THE AMERICAN SOCIETY OF THE FREDERICK DELIUS’ (da’-le-oos) mem- Maria Sanroma was the assisting artist. tPaul reverberant room. De- ANCIENT INSTRUMENTS, under the di- be honored by music lovers in ' to Robeson 0, is” velopment of the device rection of Ben Stad, held its thirteenth y are now restoring the small GEORGE KLEINSINGER’S new one-act , da who pl°” John’s opera, “Victory Against Heaven”, will came about through experiments by Dr. annual festival, December 4th and 5th, at Solano Grove on St. Burris-Meyer, Mr. Robeson and the at the Ritz-Carlton in Philadelphia. Delius spent his formative have its premiere at the Avery Memorial - r where research project, to the corn- Museum in Hartford, Connecticut, Janu- Stevens Institute sound Three programs featured music of the ’ data pertaining aU Jersey, the- 6 col- ary 17th. Mr. Kleinsinger is the com- first in a Maplewood, New sixteenth, seventeenth and eighteenth s' years in America is being in the Florida poser of the cantata, “I Hear America ater and later in the Metropolitan Opera centuries. P and will be placed °Kd Singing.” House. i Continued on Page 64) State Library. 1 JANUARY, 1941 . i :

iriSE g ETT0P 31 ||

Published Monthly By Theodore Presser Co., Philadelphia, pa. EDITORIAL AND ADVISORY STAFF DR. JAMES FRANCIS COOKE, Editor

Guy McCoy and Helen MacVicbie, Assistant Editors William M. Felton, Music Editor Robert Braine Dr. Henry S. Fry Blanche Lemmon Peter Hueh Reed I Gehrkens nr'rsi-^r n Dr. Guy Maier William D. Rcvelli y Dr. Nicholas Douty HiabMhGo; N. Clifford Page He^lwer1 Georfic C. Krick Dr. Rcib Roy Perry C Founded issi by Theodorei presser WW.

(Contents j'oe ^anuaru., 1941

' OLUME No - UX ’ 1 ® PRICE 25 CENTS WORLD OF MUSIC... EDITORIAL “Blessings in Their Train" YOUTH AND MUSIC What Is the Musical Need of Youth To-day’ ... . MUSIC AND CULTURE Blanche Lemmon The Art of Piano Ensemble.. Get ting a Song c L,f>ovhut2, , and Ucnia Published. . . Sanction lbaer S1Cal beginnings in the * ,lr Robert Bruce S,™" r . Southwest’. 1Z Success J Cun Be oil Without Mimin' / ." u Rachel Koehler How I Prepare a Radio Program 1 John Charles Thomas MUSIC IN THE HOME Andre Koutelunetz Charm and Inspiration in it, n , V d d MU8 C il, “ S " it ll ISotul,le Peter S«»if . Hugh Reed Air WavesW, andi MusicM Donald Ihe Etude Martin Music Lover’s Bookshelf Vfnd Lindsay Morgan MUSIC AND STUDY Mv, ' cdith Vatlmun

A UI tLB ’ '-” ASJ h ' ln r'«V'ml William Irma s R ? Ui ‘» :::::: Srn ,r S^ ,

: : : ; ; •. £*&?.•." • : : %%

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part your left hand in its usual position . . right , ofyour piano— . your Mandotialst and -••-./ ie/ro Metro Composer. . MUSIC . George hand on the compact Solovox keyboard. V. Krick

The Solovox produces sustained, singing tones in delightful contrast Sfir *™“ ”*s , ""i> jSrliiS ... to the percussion tones of your piano accompaniment. Just the touch of Singing Wimdots '.'.Brail Ad 'lcSZ your fingertip on the “tone controls” places at your command any one

of a thrilling array of enchanting musical effects like flute, trumpet, — Etmk., op. 335 , t& so cello, oboe, saxophone, and many others. Vocal and Instrumental Compositions Czerny Snow Song (Vocal) The Solovox can be attached to your piano easily . . . does not affect ’ ‘ han l '' l h i Uod ! (Vocal)".*.*.’.". -Roy Xetcinttn n„®/£ , V w I ostlude the piano’s normal use or tone. Pomposo (Organ) • Drmg /). Hartley Ana. • from Suite in 15 Minor" '• l^uin scarmolin ( Violin’ 1 P1 Here is the perfect “companion piece” for your piano . . . easy to play Airs from Scotland (Piano! FourHnn*?! 1 XUnll-Chmi Delightful Pieces for Young a?r - Hudson 1II1III* . . . lovely to hear . . . amazing in its Plovers Swallows in Flight... In musical resources. Ask your piano Write for interesting, a Jinricksha Louise F stairs Scarecrow's Frolic... i. . for demonstration . .today! ' dealer a informative, FREE literature f ‘ Der th Ki lu n • niece Rosr • • Co/ieiand Heliosis T lii th {v • Hammond Instrument Co., 2929 N. on the Solovox. Western Avenue, Chicago. THE JUNIOR ETUDE Mildred Adair MISCELLANEOUS Elisabeth A. (lest Voice Questions Answered hoip /,r - Douty Violin !S2 S Questions' Answeredered jY{^«o/«s AmXPHVT A»swfred.. Dr. Henry 8. FW ?!£, JffSS funn eL™!™,' Si«!jpp«w*„Urt;v. ::::::: -taSZ-M

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HE ENSEMBLE ART of two-piano Music and Culture playing offers distinct and specific ad- T vantages. Audience members often tell us of the enjoyment they find in watch- form of ensemble work really to master. ing two performers adjust themselves to The Art of When two violins are played together, the each other! We can assure you that the very mechanics of the attack serve as an performers themselves find even greater en- aid to precision. The technical formation joyment in the process. From the purely of a down-bow and an up-bow can be foi musical standpoint, two-piano work ap- lowed, and thus the players are subtly as- proaches most closely to orchestral values Piano Ensemble sisted in keeping together. There is no such color. Its tonal possibilities of sonority and mechanical attack on the piano; there is are infinite. In schools, or communities, that nothing to be heard in pressing down a key adequate orchestra, it is quite pos- lack an except the resulting sound—and then it is orchestral sible to duplicate richness by too late for the other partner to come in, means of two pianos. Indeed, two virtuosi even though he be but a millimeter of a who perform a truly polished arrangement second behind! Again, there must be noth- of a Mozart operatic overture, let us say, or ing. mechanical in adjusting the inter- a symphonic excerpt, can achieve a more pretive variations of tempo. As soon as a correct and more satisfying effect than an rubato or a ritardando sounds mechanically orchestra. unpolished calculated, the art of the performance is pianistic standpoint, From the two-piano gone. The situation, then, is this: there are splendid opportunities work offers for the no mechanical aids to precision; no signs; ensemble playing discipline of —opportu- the two partners sit far apart from each the nities rarely found by solo pianist. In- other, and yet they must perform in perfect strumental accompanying does not provide unison. How to do it? the same advantages. In such work, the piano is usually a secondary instrument, Duo-piano Adjustments limited scope for feeling with but out the First of all, pianists who intend to play balance of alternating thematic voices together over any length of time must make (melody and obbligato). Two-piano work, certain they possess those spiritual sym- then, offers a maximum of musical and pathies that enable them to think and even pianistic advantage, and it is advisable for to breathe together. They must know each students to investigate all piano its pos- other well—each other’s thoughts, tastes, development sibilities. The of two-piano habits. And this knowledge must lead to an another matter, depending teams is upon ever increasing personal congeniality. If personal sympathy qualities of and likeness you quarrel with a person, if your every approach that are of mental not easily thought pulls in opposition to his, the the found. But for purpose of acquiring chances are that you will never agree with training in balance, rhythm, reading, and him at the keyboards, either! accuracy, any two pianists can profit from In second place, it is important to decide joining their forces at two keyboards. when two-piano work should be begun. Lit- playing is as different Two-piano from tle beginners can be trained in it if, from ordinary duet playing (four hands at one the very start of their studies, they are en- piano) as it is from solo work. Its ultimate couraged to play short exercises and simple beauty lies in the richness of sonority and tunes together. At such a pliable age, any- volume released by the two instruments, thing can be learned, depending upon the never be duplicated and this can on one wisdom of the teaching methods. But if the working alone. Also, when at one piano, the student has not been accustomed to duo- too close for two players sit complete free- piano work at the very start, he should stay one plays the Primo (or dom. Again, im- away from it until he has mastered enough while the portant) part other takes the fluency of technic and enough accuracy of gecondo (or obbligato) throughout the en- rhythm to allow him to adjust both to his circumstance which nullifies tire duet, a notes and to his partner without too much of balance between the the possibility difficulty. Once the pupil is past the plastic lastly, the technical resources voices. And, age of early childhood, it is wiser to wait players at one piano are de- of the two until he is no longer disturbed by technical very cidedly limited. Four-hand duets are matters (like fingering scales, passing under pleasing to hear, and they provide a meas- the thumb, counting rhythms, and so on) training which is decidedly ure of ensemble Basically, two-piano technic is quite the none at all; still, in order to . etter than same as that of the solo pianist. However, the fullest possibilities of piano en- C lore certain important problems become em- pianos are just twice as emble work, two phasized, because of the cooperative char- valuable as one. acter of the work itself. The first of these 3n tern a tionci ddij sting u id lied is rhythm. Two-piano work requires the ut- Absolute Coordination most precision of rhythm. The two partners good duo-piano playing is The secret of uo-l~^iciniitA must begin absolutely simultaneously, they like the performance of it must sound note for exactly the 1that must hold each same artist. A listener with his eyes a single duration of time. Hence, all tempi must be not be able to distinguish the , ed should discussed in advance. It is well, also, for performances. oundaries of two separate Secured Expressly for 1 each player to count to himself while he be no breaks, no unevenness, There must plays. There is no need for counting aloud; separate attacks. On the other hand, The Etude Music Magazine indeed, this is often disturbing; but each be nothing mechanical or mo- fhere must must bear the responsibility for perfect in the adjustment of the two tonous rhythmic unison. Awareness and other. To combine com- practice vtners to each by unison with equally complete are the best “helps.” Pf . hnical tec Two-piano work also requires special ad- p is no easy task! Yet that, ,.„tic freedom al of duo-piano playing. justments of tone. We ourselves have ex- licPlv is the soul STEPHEN WEST pie perimented much ( Continued on Page 58) it remains the most difficult t is why 5 JANUARY, 1941 Music and Culture

EDITOR’S NOTE For many years The Etude has received waves Getting a Song Published of letters from would-be song writers, asking for advice in getting a song published. Most of these songs in project are of the popular song class. We have always been very careful in replying to these letters to advise our readers to avoid, as they would poison, the so called “song-sharks”, R, Jll,net Silver individuals or firms which endeavor to induce half-baked amateurs to pay for having their illit- erate doggerel published. This is a racket, the proceeds of which run into millions of dollars. If anJ Koierl race a legitimate publisher does not agree to publish 8, your song without one cent of outlay upon your Sell rnce . song Hit", copy- part, better save the manuscript and use it as - tW0 dollars and fifty cents. wall paper on the walls of your room of aban- doned memories. If it is any good whatsoever the legitimate publisher is not likely to let it get out of his hands. Meanwhile, we may safely suggest that you purchase a copy of “How to Write and Sell a Song Hit”, which is easily the best book upon this subject we have yet seen, written by two highly successful men with, wide experience in this field. It does not guarantee to make you the author and composer of a hit, but you will certainly know more about the “game” after you have read it. If those who have an ambition to write a song hit would read this book before they attempt to market their compositions, much waste time and effort and heartbreak might be spared. The success of a popular song seems to be dra- matically wrapped up with destiny. Sung by just the right singer at the right time a song may “catch on” over night and bring a small fortune to its composer. A similar accident of fate, how- RICHARD RODGERS Melody writer of the Rodgers and Song writer and ever, picks up one song and lays down another President of the Hart team and composer of many American in this game of musical roulette. Note in the fol- Society of Composers Broadway hit shows. Authors and lowing Vallee’s Stein Song and Walter Publishers. how Rudy many years. Donaldson’s My Blue Heaven became unexpect- edly popular. Still, there are people who contend me i rials oi a iNewcomer that there is no such thing as luck. The publisher is particularly wary about songs J its one hundred forty-four 61' 0nCe “Variety”, in famous ' written by newcomers. A professional like Hoagy croo, h glr^onG ™en Rudy start“ed page ASCAP edition of Wednesday, July 31, 1940 Carmichael or Irving Berlin may Wanted c ies not °P ' b one always (includL i ? „ «t no prints a list of the names of composers and pub- write a hit song, but at least there is a good publisher was knew Who the lishers of some two hundred “songs” which have chance that his material will lUMonh’h™’ more than pay for real publisher aCCid6nt ‘ hat *e sold over a million copies. This list is compre- was the cost involved. However, with a new writer Covered* hensive but not complete. However, it is sufficient the publisher cannot quote past lm performance as Tommie Lynmn ilar sacl history, to indicate what fortunes have been made from a precedent but must ^one of Gur fl f depend entirely upon his a flrSt crooners found popular stray lead sheet of tinG' . music. own reaction to the song. The experienced pub- sionally at lisher is not very willing to Lf^matTNeTlork do this, as he has nS ? ?? learned by bitter experience not to depend too much on his own reaction. Therefore, unless the C °rporatio"- Yorke song is so unusual wanted the song hut and interesting that the dld pub Publisher not know the NE OF JIMMY DURANTE’S favorite gag lisher can view it with both and suggested . eyes open and sav 6 thatthathhe get with against mil- “it’s a natural,” Walter non nine#? m touch lines is, “What’s my opinion the number is usually " 01' Geor handed Written Se Whiting, who had O lions of others?” and this could easily be back to the songwriter without it n n aldSOn further formal!' remembered writing the nailed up over any music publisher’s door. It is ties. Under the circumstances Tong but hacibed° r it is easv iP forgotten the publisher. Whiting almost impossible to determine how a song is that a publisher might ee was enutii reject a sons- Zw V uncertain properly lf but suggested that Yorke going to be received by the public until it has exploited, would have go to i on y hadd good eLSti Tbis flrrn not re- possibilities. sales , likewise, did been exploited for a while. The average pub- memher ti K' lisher not, and Music number, but after a thorough search guesses wrong more often than publishing is a business of it y m a„ the son out new the fact hit song today publisher is successful £ was found. Feist got that Joe Doakes writes a a good . enni 0 „ * t businessman jf e time it is writes convinced number and a short no indication at all that the number he that orchestra can be had , within leaders ™ . d moot* a certain 4 ,° ° Ver two phonograph tomorrow isn’t going to be a flop. unpublished song ° play and million or that tv, nd close music copies. three or four asking for to that sheet A publisher will usually take sheet music 6 PUblic is number of copies of it v, ' willing P I tUnatel5 wWS songs and test them with a few “name” bands to get out his 6 is a!wa ' ™tue d°es not »> contract hiblanksa ^ to beK hadh® to Swait them. If up songwriter before he starts printing and exploiting the songwriter. and hunt rewarded. If every years to be lealized, any of these songs seem to “click” better than 0 for the merit of his song will naturally spend there songs written. However, the others, the publisher lealSstaws with orchestra would be no more more time and money promoting these. Often, fhe above examples indicate that patience is a though, he may be guessing wrong, for the pub- hecessary quality of any aspiring songwriter. potential hit may die lic taste is fickle, and a Many songs are accepted by publishers and “corny,” sentimental bal- on its feet, while a gather dust on the shelves merely because the lad may build up into the biggest seller of the Publisher hasn’t enough faith in them or their year. composers to risk exploiting expenses. This holds a nat true particularly with the new 6 song had writer. Yet out °f the dust heap have ( Continued on Page 56) Music end Culture Our Musical Beginnings

in the Southwest ut" bm ->

AMERICAN MU- accepting the Christian faith. SAN JOSE MISSION SICAL HIS- Cortez in 1519 captured what Outstanding among the old buildings which link the modern city of San An- TORIES stress is now City, Mexico Monte- tonio with its glamorous past is Mission San Jose de Aguayo. This mission the beginnings of zuma’s five-hundred-year-old called "Queen of the Missions" is particularly noted for its "Rose Window" music in New Eng- capital. He sent at once to Spain considered a masterpiece of sculpture. Of the three paintings within the church, probably gifts from the King of Spain, one is believed to be a Cor- land, the Carolinas for missionaries to take up the reggio. Mission San Jose is one of four such missions in the vicinity of San and New Orleans, task he himself had already Antonio in addition to the famous Alamo. but little is said of begun. Three came in 1523, the the very first music first of a stream of friars and pioneers and teach- priests that for three centuries poured into the to play upon the instruments they themselves ers in the South- vast new empire. had brought into the wilderness; taught them west. This territory Soon monasteries dotted the rich, tropical to fashion primitive instruments and to play was first Spanish, Valley of Mexico. Lured by fabulous tales of the upon them. They trained young men and boys to then Mexican, later Seven Cities of Cibola, of silver, jewels and gold, sing, and in time they built pipe organs to Texan and finally a the Spaniards, in “a perfect madness of wonder accompany the voices. David Guion, noted com- part of the poser of the Southwest. United and curiosity” pressed on into “the great un- The Spaniards were the pioneers of music in States. It was six known North.” By 1600 the Spanish frontier line America. All culture did not come westward. The years before the birth of Palestrina, when had reached the Rio Grande and extended Southwest may rightly lay claim to the first Cortez, in 1519, entered Mexico. During the first westward to the Pacific. Always beside the con- music teachers, the first music schools and the century of Spanish possession the great art of quistadores marched the valiant friars and first boy choirs in what is now the United States Palestrina was in its ascendency. It was over priests, establishing monasteries in the regions of America. one hundred and sixty-five years before Bach brought under Spanish rule. During the sixteenth century, much of the and Handel were born. Therefore, the musical best of European music came into this great The Real Music Pioneers in development in the Southwest, in these first America new Spanish border region through Mexico City, eventful years, was very different from that Though intent upon Christianizing the Indians where Fray Pedro de Gante, ten years prior to which came after the later development with of Spain’s New World empire, the Spanish the Reformation, and before the childish Pales- the two masters who turned trina so much as dreamed of their attention to keyboard in- his immortal masses, had es- struments. tablished a school of music. A bare score of years after Already in 1605, two years Columbus bequeathed to Europe before the redoubtable Captain Spanish a New World, ex- John Smith settled his colony fixed plorers, with eyes on a at Jamestown, Virginia, there golden goal, began voyaging were music teachers in Spain’s sunset, eager to into the new wilderness empire; in hasten the dawn in Spain’s 1630, the year Boston was new uncharted empire. A founded by English Puritans, con- dazzling company these music schools were established quistadores were—Ponce de in what is now New Mexico; Leon, Balboa, Pineda, Pizarro, and as early as 1659, five years Cortez, Coronado— before England expelled the De Soto, NEW MUSIC BUILDING AT THE UNIVERSITY OF TEXAS breath taking their ad- Dutch from New Netherlands and This architect's sketch, by the distinguished Paul Cret, is that of the S380.000 new Music and changed its name to ventures. Building at Austin, Texas which will be one of the finest in the United States. The building New there is York, a mission school In all of history, is now in course of erection. flour- story so ro- ished in El Paso, Texas. scarcely another and desperate conquest of Fathers was music in Spain’s nantic as the daring brought not only religion into this vast Thus, there New World Cortez, a brilliant man filled with borderland—to-day known as Louisiana, Texas, empire for many years before Johann Sebastian MJSpxico by religious zeal. With an army of five hun- New Mexico, Arizona and California—but also Bach was born. Spanish songs were being sung r t fifty-three “pale-faces”, guns that education and the arts. They built noble temples during the lifetime of Handel, Haydn and | . d and lightning and sixteen “four-footed to God, the Missions, ornamented them with Mozart. In 1791, when Beethoven was a youth •‘flashed that traveled like the wind”, none of sculpture and grills of marvelously wrought iron, of twenty-one, French opera was established in Crcreatures ^Tthe natives had seen before, this “Fair and with painted frescoes on the walls. They New Orleans, the first endeavor of its kind in idols founded United conquered an empire, destroyed the schools and, along with reading and the States. (The “Beggar’s Opera” had writing, and terrified the inhabitants into taught the natives music; taught them been given in New ( Continued on Page 64) fnthe temples 1941 7 WARY , Frequently parents Music and Culture bring their children in One of the most sensitive parts of the piano is after banking hours to practice on this organ, the sounding board. It is directly under the wires often Miss and Mary Cassell, the bank’s official in a grand, and immediately back of the front organist, is pressed into service as America’s Musical Bank teacher. part of the case of an upright piano. This is not “Since these meetings were begun,” said Mr. veneered, as some believe, but it is a thin piece of Yost, “there has been a friendlier Warie Zbiclori feeling, more selected wood very easily cracked. Its thinness, so cooperation, and a happier personnel. We think necessary for resonance, makes it vulnerable to in the mountains of we have a most unusual bank. It is based BULLET-PROOF BANK on the drafts, and, if the wood is not well seasoned, to Kentucky’s Eastern Empire holds the theory that to do good banking, every one must dryness. A' unique distinction of being America’s most be happy and contented. Wa smile, we sing to- The piano wires are very delicately strung and musical bank. on a modern concert grand, the tension is ter- Its executive vice-president, rific, being about forty-four thousand pounds, or John M. Yost, believes that twenty-two tons. Until the last few years the his staff every member of wires were attached to pins which were cylindri- must be happy in order to cal in shape and driven in the pin block, and if do good work; therefore, the the wood were not of the proper kind or grain or First National Bank of Pike- seasoning, these pins would slip. There are many ville, Kentucky, opens each of these old pianos still in use, and it is almost day’s work with an inspira- impossible to keep them in tune as there is noth- tional music service at which ing to stop the tuning pin from turning. In our a beautiful new electric or- more modern pianos, however, the tuning pins gan, the only organ in a e a eiec ^- ^’ ^us en abling the one who takes care bank, is played. o +ule instrument to drive them further into the Perhaps nowhere else does wood and in this way to hold the wires up to the cold matter of fact busi- pitch. ^ ness of banking get so excep- A piano should be tuned twice a year, if pos- tional a start for the day as sible m the spring and fall and usually at the here in this busy financial same temperature as when the building is heated center in the picturesque lit- generally about seventy-two degrees. 6ne who is tle city of Pikeville, nestled particular about his instrument will insisftha? among the tree clad moun- it is always tuned to A-440 or C-523 23 During tains, with a busy river sing- the day with a song by members ol the staff of the First the course of the year, Starling due to the terrific srtahi ing its way down the valley. National Bank of Pikeville, Kentucky. an° Wil " > dr°p °ne or At these daily meetings, “onsAfT-s' two rtbra- fPdUed up to pit officers, em- gether, we sing or hum as the day’s work goes ch at least once that begin at 8 : 25 in the morning, the everv twelve n hS look ’ “ is on‘y a frequently visitors and customers, on, and at night we forward to our rest and short time ?,° . matter of a ployees and ““ lk our pleasant associations be s ° low that it will be gather to sing hymns and old familiar songs return to of the next to chosen for the day by one of the staff, to hear an day’s duties with joy in our hearts.” inspirational message in prose or poetry, a brief talk, and to go to their day’s routine with a deep hCered tUninB that certainly lightens PinS abd PoSbVa feeling of joy and happiness Proper Care uf the Piano spSfpin Sk burden of work and makes it a pleasure. the n e th ““ hamme A typical morning’s program is this: froTtVe° rs "™me hard By Brant W. jLper nerI t f until they ^ against the wires. Song: Help Somebody To-day Cu 6 16 P ‘ an gi Tabernacle at Salt ° a hard ' Reading: Psalm 24 Organist of the Lake City strtden? toiifnave^he ™ Scripture 6 ^! unero' ri (it P ck the hammers Song: Work, for the Night is Coming must bp rinn p k N ORDER to make something of our music, a ^ expert) anci the Van Dyke ness will return. mellow- Poem: Work, by Henry necessary requirement is that the instrument Disconsolate Song: Come, Ye I have the best of care and be kept in good Festivals Cleanliness Fact of the Day: Mountain condition. For instance, the delicately constructed Always care as will Mr. Yost, these group meetings piano should have be outlined. 6 ' According to affefswelty “ P aying “ a pian° hours with a It should be kept covered as much as oT sohedtflp launch the duties of the banking possible, gers lave been over the keys The kevs st, / spirit of good will and cheerfulness which then so that dust will not get inside the case. Moths d ^ Wlped alcohol but 0ff with wood who congregate where there is dust, afJv prevails throughout the day. Every one always and it is utmost care not allow any of 'J" to into the bank feels this and responds to it. possible for the moth to destroy completely the TtZget °n the flnish comes it - or « will turn white 1T? th Flowers, too, carry the message of good will to felt in a piano. The instrument should be made PIano 1S kept °°nstantly especiallyspecially in/ a J closed First National Bank of inaccessible also to mice. damp climate the kpvc win u* all who come into the yellow. shows piano should never be placed against It is therefore advisable to Pikeville, and several times a year flower A an out- open leavl the piano part of the time so that the are featured by the bank. side wall but should be always along an inner light will St to It. In polishing the case, the best Besides the organ there are three canaries wall of the room, in order to guard against ex- method is to usea Castile or ivory soap in warm water. which join the music of the services and con- treme changes in temperature—the ideal way of Dip a piec of soft cheesecloth in the is keep the room at even suds and ring tinue to sing all day. A fine big radio brings the course to an tempera- then wipe lt out with the moistened cloth best music on the air, which is sent to each room ture. It will be found that the piano will not be After this wipe with a dry piece of The subject to much variation of heat and cold cheese cloth by means of a loud-speaker arrangement. when kinds of The wax polish are also V victrola, the it is placed against the inside wall as against quite radio cabinet contains also a and the well as the “aUsfa t better brands 7 ' “ library of records includes many favorite selec- outside. Our houses and auditoriums are usually of furniture tions which are played when there is no program too dry, and this is especially true during the on the air that interests the group. winter when most ordinary heating systems take In order that visitors and customers may enjoy much of the moisture from the air, and this Bu( [fig Singer the privilege of hearing the organ, programs are causes a great likelihood of the wood cracking. Went () J played after banking hours; but if some one can Where the air is dry it is often advisable to keep Etude, 11, '°ng was 3 friend of The not attend, the organ is played on request at any one or two plants very close to the piano. givu^ap^Us' The Valley ltal staff. On special evaporation from the leaves in California. ™ the Imperial other time by a member of the of the plants will Just*! lb the I’36 ° f the occasions a guest artist is brought to Pikeville keep the air sufficiently moist to avoid middle of sin Sei's was anv Mendels/ ’ those giving this trouble in this Mindful ohn s B “t for an organ recital; among way. To keep pianos in of His the Lord Is a danm Own / e pleasure are Dr. Carl Huge Grimm, of the Cin- basement is also bad for them. house and the arth(luake shook the Avoid drafts piano’™? . cinnati Conservatory ol Music faculty, and Colo- this will tend to check the accompanist ' 30 ba the wood and will causa lost a m. W dly that Assistant National undue expansion rum UrS nel Cecil Edward John Way, and ’ contraction in the the song. but not enough to wires. pianonhT™ The cool Bank Examiner. Who finished ess of the corn, ,°^ the performers, applause and br°ught them great 8 at the he time prevented- a panic- —

Music and Culture Success Can Be Won Without Money

In Meyersdale, Pennsylvania, where John An Interview with Charles Thomas was horn, his father was a preacher, his mother a singer. The three of them formed a vocal trio to sing in camp meetings in the various towns where his father oL DLoin ciS these towns that he re- CLrL preached. It was in J, ceived his preparatory schooling. At eleven he Distinguished American Baritone studied piano in Maryland, hut not until he was nineteen did he begin to train his voice Secured ddijjcciathj for ^Jhc Clutlc hj 'l/crn Baltimore, servatory he was a pupil of Adelin Fermin. He that I never had much money, nor have I now, marked a hopeful composer. Mr. Thomas has went from vaudeville to stardom in light opera but that has not spoiled any of my plans. I have often said that his experience in church singing lot in doing so invaluable; there he learned the art of legato and then to the Theatre Royal de la Monnaie gone right ahead, have learned a was myself meanwhile. Youngsters singing. in Brussels. Invitations to sing at Covent Gar- and have enjoyed can not be successful be- At the height of his career as a vaudeville and den in London and at the opera houses in Ber- to-day say that they the ‘breaks’ have failed to come their way, musical comedy star, when he was earning large lin and Vienna followed. In the United States cause because there are no opportunities. No oppor- sums and had his name in lights on Broadway, lie sang with the Philadelphia Grand Opera Company, the Chicago Civic Opera, the San tunities? Why, there are a multitude of oppor- he voluntarily renounced this work and went to Francisco Opera and for the past six years tunities. The trouble is that so few people are the concert stage where he earned much less. exist; few with the Metropolitan Opera Company in New able to discern those which already so This career he built up to the point of great opportunity popularity it York. Every season he is booked for long con- are able to recognize a new when and income, whence he dropped real cert tours, for radio programs and appear- it appears; so few are ready when the and went to Belgium for five years, to study and prepare ances as soloist with leading orchestras. He is ‘breaks’ come. They must study, them- to sing in opera. In short, he did not hoard what to-day acknowledged as one of the greatest selves, be on the alert to discover new openings he earned, but used it to develop himself as an aggressive enough living vocal artists.—Editorial Note. and, in addition, they must be artist. to create their own opportu- Now, due to this foresight, to this desire to nities when necessary. improve his work—at financial loss if need be “Young singers are often in he can go easily from the concert stage to radio, too much of a hurry. It takes to grand opera or to light opera (which he does not scorn to do) and his has been a steady a long time to acquire a technic ; in- so secure that one may forget crease in popularity, artistic growth, mental it in order to concern himself breadth and power. So, when the newspapers re- wholly with interpretation. One port that Mr. Thomas has not succumbed to the must travel slowly on the long lure of Hollywood because he was not offered the road to artistic success; one most satisfactory vehicle from an artistic stand- must allow no short cuts and point, the reader may know that this is no pub- no detours.” licity dispatch containing one percent of truth That Mr. Thomas has adapt- and ninety-nine percent journalistic embroidery. ed those beliefs to his own life John Charles Thomas has received and does re- is evidenced in the growth of ceive many film offers, but he has not been so his own career. In the begin- fascinated by the money offered as to disregard ning, he could not sing higher artistic advantages and disadvantages. than an E or lower than a C. Perfection Never Attained Patiently, with the aid of a wise first teacher, he set out to “I hope,” this artist declared, “that the high- remedy this shortcoming. They light of my career and of my life has not come found the level in his voice yet. Since the very beginning of my work there which produced the best tone has been no change in my aims or ideals. My and then, over a period of ultimate ambition is the same as it has always years, made every other tone been: to do something really well and to advance match it in quality. Further- my art. I am still trying to reach the goal of more, most ambitious artists perfection, for no matter how successful an artist would have scorned the church is, perfection always eludes him. He is never work in which this career be- satisfied. If he were to stand still for a moment, gan or the vaudeville to which he would be lost. not be so engrossed in it later progressed. On the con- “The singer should of nothing trary, John Charles Thomas music that he can think else, for proceeded to make the most of other things beside the work at hand contribute these experiences. And to-day to a successful career. Everyone should read in the fact that he can do so much order to keep abreast of the times. This gives a with the simplest songs, can background for work without which no artist can make them so completely his be complete. An artist, even though popular, own that other artists fail must continually grow within himself. when they try to sing them, “It is important, too, for an artist to do some- may be due to that early vaude- thing outside of music, to occupy his time and ville training, to the pressing his mind. One must work so hard on music that score at the piano. John Charles Thomas studying a new 9 JANUARY, 1941 Music and Culture Golden Wedding Anniversary at The Presser Home a sensible distraction is not only attractive, but necessary. No violent exercise like tennis, of On October sixteenth, 1940, the guests at The course, but golfing, fishing, boating. Although I Presser Home for Retired Music Teachers in Ger- accept no social invitations (such as dinner- mantown, Pennsylvania, which operates under parties or teas) on the day of a concert, because the Presser Foundation, had a rare celebration. it is wiser to be alone in order to concentrate on Mr. and Mrs. Charles W. Starr, who have been the work to be done, it sometimes helps me to guests of the home since 1932, celebrated their play golf at this time as a relaxation for tense Golden Wedding Anniversary at the home. Mr. nerves and as an aid to concentration. Some- Starr, prior to his retirement, was a vocal teacher times, when I am learning new songs, I take in Nashville, Tennessee. His training was re- my coach and my accompanist on board my ceived in Paris, London and New York City. yacht, ‘The Masquerader.’ There, away from tele- The Golden Wedding was a real delight to the phones and other distractions, we can work sixty-three residents of the home. Mr. E. B. Gar- well and get a better perspective on the music. rigues, President of the home, and Dr. Frances E. ‘Masquerader’ is my real home. Clarke, Mrs. Clara Barnes Abbott and Mrs. Per- “In all, my repertoire includes more than five cival Tattersfield, all members of the Board of hundred songs. Last year, over one hundred new Managers, were among the guests. Mr. Clarence songs (French, Italian, German, English and Foy, Superintendent of the home, was best American) were added to this repertoire. Nat- man; and Mrs. Mary Worth Jones and Miss Mary A. urally, this entailed a huge amount of work. The T. Hood, guests of the home, acted as method of work was simple, but comprehensive. flower girls. The bride was a lovely picture -First, in order to get a general picture of the in her original wedding dress. form, character and emotional content of each The dining-room was gay song, my accompanist and I went over them to- with festoons of golden paper, yellow gether. We worked hard every morning. Since pom-pom chrysanthemums from the five-acre gardens of the home, every song starts with the text (that is, since a golden wedding bell and wedding cake it is the text that gives inspiration to the com- with fifty lighted candles. After dinner, many of poser himself) I work first on that. Then comes the guests joined in the dancing. detailed study. After every period of intense con- centration, I spend time away from the piano to let the song sink in and to allow it to grow and Mr and Mrs. Charles W. Starr pictured at the Pres- to develop within. All the songs are memorized, °me Music ^achers. where they re- rL, C elel, u for a singer’s be trained just as care- ra,ed flf, ear * of mind must , ? y Y happy married life. TheTh J lbride. is wearing her fully as that of a business executive. original wedding dress. “To be good, a song does not need to have a famous ‘name’ attached to it. It must, however, be singable, vocally effective. It must have a The Only Ladies’ definite emotional message. Modernism is all Bagpipe Band in America right when it fills a purpose; modernism for its own sake can not improve any song. A first hear- By Bdancle (Bidder ing will usually tell whether a song has in it the Angeles, California, qualities that make for success. The city of Los is the only the land to have a bagpipe “Not all the good music comes from Europe. place in band; and it of places Last year I gave an American program and there is also one the few where instruction on this be obtained. are enough good songs left over for two or three instrument can The reason for more programs, both printed and in manuscript. this is that there are more than thirty thousand Scots in this city; more Scots can be Since I am an American, I believe that in music found in California than in as in everything else, we must always give Ameri- Southern any other part of America. cans the first chance. This will be difficult to re- member now, when Europe’s musicians are flock- Mrs. Vina McAdam is leader and instructress ing to our shores. We must see that they merely of the band, which meets each week at a high for practice on beloved enrich our lives and do not entirely supplant school instruments. None our own. of the band is Scottish born, all of them being either Americans or Canadians. “Because I am a native son, I can speak freely. The bagpipe is probably one of the first There is a danger in being overly patriotic, for musical trade on being Ameri- pipes ever fashioned by man, and in the Old of the charlatans will tiy to the Scottish Clans last year in New York must Testament a form of it is mentioned as being can in order to get ahead. All Americans The Ladies’ Bagpipe Band of Los played by the shepherds as they tended Angeles is know that they will have to back up their claims their much in demand, and often appears in other thing must sheep. Traces of a bagpipe have also been found cities, with solid ability. To be acceptable, a where large crowds always gather, to in ancient Persia, and it is known to have eniov not be American alone, it must be good. Nor must existed its stirring music. Egypt and ancient Greece we insist on Americanism to the exclusion of in as well. The pipes adopted by the Romans, perhaps all else. In all we do, logic and justice should gov- from Greece, ern our thoughts. were taken to Britain with Caesar’s legions, and a bronze statue of a Roman soldier playing the * * ructice American Music bagpipes, has been found in England. After the Do you know, ana when t wae „ , “We will have great American music as the decline ambition had to become a '^-1 country continues to grow and to progress and larity of the bagpipe declined. It later became musicL Rockefeller to Edwin J°hn from mechanical things. Artistic favorite in Scotland, and from there Franko as we turn away crossed th magnate’s dman at Pocantico > greatness does not come of youth. Despite sev- water to America. Hills Estate, New York, - Tarryto American, The girls of the where the rvia eral compositions that are said to be band wear the Royal Stuai forming 1 native musical idiom. uniform, and are exceedingly for the was i we do not have yet a really smart in appear celebra^n^^AT^T beautiful language, however. ance. The popularity eightieth birthday. ^ RockeIe11 “We do have a of bagpipes is H plaved ranidl Six hours ^ the lan English is singable, beyond a doubt. For singers spreading throughout the a day P °. practi country, and y ’ atldanrTu the Re frantic.” drOTe my in America it is the most practical of all lan- serve Officers- Training Corps mother aln at the Iowa sta guages, because it is always well to sing in a Co'iege now has The a forty-piece bagpipe parents of understand. This band Vom» d , language the audience can which it is very proud, as plans tor Rockefeller had ot it is the only mffiH him hnJl,, statement must be ( Continued on Page 52) organization a aM in this country musician ,’ he dici not bee. that can b”a SkthH as great >ose a musk 10 as the finm^lancier ft gamed? Who can t z ;

Music and Culture

deavor is to bring out the full possibilities both of music and the orchestra. "It might be well here to speak of the radio How I Prepare a Radio Program orchestra and its capacity for tone color. I use an orchestra of forty-five pieces with the fol- lowing instrumentation: two pianos; one harp; An Interview with the Celebrated Conductor sixteen violins; three violas; three violoncellos; two double basses (one bass doubling on tuba) one guitar; three flutes (two flutes doubling on

saxophone) ; three oboes (all doubling English

Horn) ; three trumpets; three trombones; drums, .^yiiulre ^ J\oslelduel xylophone, celeste, and so forth. “In the above instrumentation I have found unusual opportunities for color effects. The six- teen violins and other strings offer full string Secured Expressly for The Etude by DDRQN K. ANTRIM tone, flexibility and smoothness and are the main feature of the orchestra. A number of wood-wind combinations are possible, such as five HAT ARE THE FACTORS that go into must be kept in mind constantly. Each number flutes, five piccolos, six saxophones and others. the making of a successful musical pres- is timed almost to a split second. Pieces ordi- Such unusual instruments as the ocarina, alto W entation over the air? To this question narily run about three and one half minutes; flute and bass saxophone are used occasionally. I have given considerable time and attention rarely do they cover ten or twelve minutes. Some of the players are from symphony orches- during the past ten years. Radio is a severe and “After selecting the program material, the tras, others from popular orchestras, but all are exacting task master. Insatiable in its demands, pieces are arranged according to interest and skilled men, and many play more than one in- new ideas of presentation are constantly re- contrast. No two numbers should follow each strument. Chester Hazlett, for instance, plays quired. You must make your program distinctive other in the same tempo or even the same key. alto saxophone, clarinet, bass clarinet and E-flat selection should differ in one or more par- clarinet. and different so it can be identified without Every benefit of announcement. You must appeal to ticulars from its predecessor. Obvious keys, such “An orchestra of these proportions combines sparingly. The the best features of people of all tastes. You must build your pro- as E-flat major, are used ma- the symphony orchestra published in that and the popular is gram on the plan of a novel so that listeners jority of popular pieces are band and capable of playing for the saxophones. any type of music. It is adapted who tune-in at any point will want to stay to key, which is an easy one for maximum E-flats, I do not hesitate to effectiveness and tone color. Tone color in the end. It is a big order and it takes plenty of To avoid too many music of sharps or flats, frequently is similar to color in painting. A pianist, for in- hustling to fill. go into a number stance, may be likened to an artist works "Few realize how much preparation is required six in the violins. who next step in black and white. An orchestra has for a half hour of radio entertainment. Each “After the program is made up, the a full selection for your or- palette of colors to express the same idea, just as time one of my shows goes on the air, it enlists is to have each arranged has a painter who in the services of nearly sixty people who put in chestra. The arrangers are called in, we compare works oils. approximately one thousand hours of work. But notes on how the numbers should be treated, “And now, perhaps, you would suppose we begin at the beginning and go and then they are assigned such pieces as they like to step into the studio for through the necessary steps in preparing a pro- are particularly qualified to do. Arrangers are a rehearsal. It is the most im- those specialize portant part of a radio presen- gram for broadcast. who in scoring for orchestra and n actual voice. Their chief concern is to work out new tation. Since one rehearsal must “Three or four weeks before the broad- jj cast, you begin making up the program, choosing effects, new ideas in tone color. Their services // suffice, ( Continued on Page 64) numbers from popular music, old favorites and are especially needed on popular pieces, since the classics. Remember that you are not as- conductors want this music to sound distinctive. sembling a program for concert-goers primarily, The arrangers submit sketches of their treatment but for a cross section of humanity. The aim of a number and, when approved, these are given must be to have something for everybody. Some- to copyists who make manuscript parts for each times a new popular song is presented for the instrument of the orches- first time on the air. But usually I wait until tra. It can be readily seen the song has become a hit before using it. By how much time is required ANDRE that time it is familiar to all. Old favorites, such on arrangements alone, KOSTELANETZ as the Foster melodies are always good if pre- and money, too. An ar- An orchestral sented differently. ranging bill for one pro- virtuoso in a new style "Then there are the classics. Every year the gram can easily run to general public becomes more appreciative of the one thousand dollars. music masterpieces, and accordingly an increas- “In arranging popular ing number of them have been used on my pro- and standard numbers, grams. Some years ago, I began condensing some we follow some general of the longer, less familiar works, using a similar rules. Although our or- technique to that of the digest magazines. I be- chestra is large, we do not lieved the public would enjoy the more melodi- smother a simple piece, ous parts of these works, although radio time for instance, in symphonic schedules did not admit giving them in their opulence. The melody is entirety. Repetitious and developmental sec- never lost sight of; and tions were cut and, although the cutting of the orchestration is made operas and symphonies has been going on for with simple effectiveness years in concert circles, I was severely criticized to bring out all color and asking a concert artist after the richness of the music. at first. I recall We he liked it. airing of Claire de Lune how ‘Gut, avoid the too elaborate ‘but why did you cut it?’ This introduction, the ‘Burn- gut,’ he exclaimed, happened to be one piece that had not been ing of Rome’ as we call it, if it obscure condensed at all. I am convinced, however, that tends to the increase appreciation main theme. Otherwise, one of the best ways to to make good music available to the public will have diffi- for music is form. culty in recognizing the oeople, even in capsule radio, the time element piece. Our constant en- “In choosing music for JANUARY, 1941 . , ' '

HE HEIFETZ-TOSCANINI recording of Beethoven’s “Concerto in D major, Op. 61”, Charm and Inspiration T for violin and orchestra (Victor set M-705) in may well prove a phonograph classic, for it is one of the finest performances of its kind ever issued. The sponsors of this set may later regret that this extraordinary performance was record- ed in the studio from which the NBC-Symphony Orchestra broadcasts, for the only blemish on an otherwise perfect set is an unfortunate tonal rigidity in the forte passages occasioned by the poor acoustics of the hall. There have been at least two other fine per- Bu Peter Muak Peel formances of this famous concerto, the early Kreisler and the Szigeti versions, but neither of these contained the coordination of the solo and Rachmaninoff’s orchestral parts that this new set possesses. their best. As a conductor, per- Theme”; and 5. "Ricercare in Six-Parts.” and tonal Heifetz’s luscious tonal quality and prodigious formance is marked by momentum The work in the Victor recording is played in for phrasing technic have never been heard to greater advan- nuance, and the same fine feeling an arrangement by Dr. Hans T. David. Following brings to his piano play- tage on records. But this is not Heifetz’s per- and dynamics that he the custom of the time, the composer left vir- strikingly realistic. formance alone, for Toscanini’s contribution is ing. The recording is tually no information concerning instrumenta- equally impressive. Most conduc- tion; Dr. David has utilized in- tors treat the orchestral part too struments employed in Bach’s much as a background, unmind- time. Since the harpsichord was ful of the thematic material the backbone of the eighteenth which emerges from the other century orchestra, and generally instruments while the soloist is used by Bach, David has made it engaged mainly with figuration. the basic instrument in his ar- Not so Toscanini; he brings out rangement. The performance of the inner voices with rare dis- this work is somewhat unevenly cernment. This does much to- realized; perhaps the ease and ward making the overlong first freedom necessary to make it movement more vital, and it adds wholly spontaneous could not be immeasurably to the ethereal achieved in the short time in beauty of the slow movement. which the players were as- All in all, this is one of the most sembled. That it could have been unified and artistic projections bettered does not mean, however, of this score ever heard. that the listener will not derive The fact that Rachmaninoff is satisfaction from the recording. a celebrated pianistic virtuoso has To understand fully our point, we overshadowed in part his gifts as recommend that the listener a composer. True, certain of his compare the less advantageously works have been widely endorsed, arranged version of the “Ricer- but the greater bulk of his music care in Six-Parts”, as played by is by no means as well known as Edwin Fischer and his Chamber it deserves to be. Last year the Orchestra (Victor disc 8660) with Philadelphia Orchestra gave a the version in the set; Fischer Rachmaninoff Festival, thus gives the more inspired reading. placing this famous Russian- The Bachian will do well to ac- adopted born composer, who had quire the “Trio Sonata”, if no this country as his own, in a other section of Rachmaninoff in his study the work. triple capacity: as composer, Moussorgsky’s “Pictures at an pianist, and conductor. One of Exhibition” has inspired Offering”, which Victor a num- Festival the com- Bach’s “Musical re- ber of composers to orchestrate the works presented in this was it. The latest to 44.” cently released in the performance originally fall under poser’s “Symphony No. 3 in A minor, Op. the spell of these effective tone pictures sponsored by the Bach Circle of New York (set is Leopold Honoring both Rachmaninoff and the Philadel- Stokowski (Victor set M-706 Phila- provides music lovers with a most intel- delphia M-709) Orchestra) . phia Orchestra, Victor wisely recorded this work , Less than a year ago we had experience. This is not to say the music a version with the composer at the helm of the Philadel- lectual of this work in an elaborate version by lacks emotional appeal; such sections as the Lucien Cailliet. Despite phia Orchestra (Victor set M-712) the effective qualities of Rach- lovely Trio Sonata and the “Ricercare in Six both of these arrangements, Thirty years separate the composition of neither of them sur- Parts” are most expressive. Together with “The aS S “ maninoff’s second and third symphonies, yet there am° US angemen t ? , ?^ that Ravel made, Art of the Fugue”, “The Musical Offering” might in 1922,‘ at Ir is little difference in their musical thought and Koussevitzky’s behest. summation of the contrapuntal art, Stokowski's ver speech. Traditionally, the composer belongs to be called a Sion is glitteringly conceived, with I of the greatest technical feats accomplished not later romanticists. In his third symphony one one suggestion of the tinsel and gold of ti n ! wrote the work late in life. Hol (lt notices, however, a more sophisticated orchestral in music. Bach It is is said that Walt yw° od Disney is usfnsr thf ! dedicated to Frederick the Great, who provided in orchestration treatment and a greater conciseness of thought. a picture he intends the theme to lelease•?, Despite few austere moments, the work—like the composer with upon which the future). in the near a The music is I composition is based. Five sections make up 5 tlally most of the composer’s earlier ones—is surging, the its spirit, in Slavic tliat our way of !] melodic work: 1. “Ricercare in Three Parts”; 2. tlv impassioned, and harmonically rich. The “Various be materially T’ C °Uld the altered by the symphony, are long, fre- Canons upon King’s Theme”; 3. “Trio an"any a lines, as in second recording this transcriber. As 4. “Canonic new set i, quently wandering, and often chromatic. For the Sonata”; Elaborations on the King’s 18 a notable achievement. Although some writ-* most part, the dramatic organization and deep tei “Concerto in d that Mozart help to make it A maj^r for101 ” emotionalism of this symphony ClarineCla" lt (K. 622) is an and Orchestra understood in a single hearing. The symphony WOrk wholly ’ We find ourselves the first and third of captivatpd is in three movements, RECORDS lts poetic Written °nly a short * content. which represent the composer’s creative gifts at tim* i efore death the composer’s untimely there16 18is morem < Continued on Page 54) Music in the Home

New Films with Notable Music

Ip, K ifilp f/

arranger in a publishing house, and manufac- tured melodies on the side. After two years of unglamorous routine work, he re-discovered his offered it for publication, and Adolphe Menjou, Charles Butter-worth, forgotten Stardust, and Carole Landis in Hoagy Carmi- found himself with a smash hit to his credit al- "Roadshow. chael's New Musical Film most overnight. Since then, Carmichael has achieved a longer list of successes than almost any contemporary composer. His best known composer of very different background is A songs include Lazybones, Small Fry, Thanks for Hoagy Carmichael, credited with possessing one the Memory, Two Sleepy People, Blue Orchids, Christian names on record, and of the oddest Mind. In his writers in and I Can’t Get Indiana Off My new as one of the few song who, ranking score for “Road Show”, watch out for Yum! OLLYWOOD’S GREETING to the New Year with the late George Gershwin and company Yum!, I Should Have Known You Years Ago, (and may it be a happy one for all of you) not only mention but also Irving Berlin, receive Jane. Since fortune film-score current mo- Slav-Annie, and Calliope H takes the form of two interesting in the “screen credits” of emphasis smiled upon him, Carmichael has realized his assignments to two interesting composers of Carmichael achieves such admit- tion pictures. long standing ambition of having “real piano widely divergent abilities and backgrounds. First, star billing in Hal Roach’s new United tedly rare lessons,” but he still does most of his playing by David L. Loew and Albert Lewin have invited “Road Show.” When a Tin Pan Artists release, ear. musical score for point where his Louis Gruenberg to furnish the Alley artist asserts himself to the production, “So Ends Our a theater mar- their forthcoming name is considered an asset on The Benny-Allen Feud in Films Frederic Night” (United Artists release), starring Hollywood parlance, it means something. quee, in These outstanding assignments to Gruenberg March, Margaret Sullavan, and Frances Dee, and at Indiana University, young While a student and Carmichael should prove that, regardless of directed by John Cromwell. Although Gruenberg had no thought of becoming a Carmichael background, studies, and specialties, there is still some forty major works to his credit (includ- in law, with has “words-and-music man.” He worked ability to assert per- chance aplenty for outstanding ing the opera, “Emperor Jones”, which was banking and architecture as elective subjects, and House, itself. formed at the Metropolitan Opera some spent his spare time in tinkering with music. He Another interesting film scheduled for an early years back, with Lawrence Tibbett in the title inherited from his had tune ideas of his own, “Love Thy Neighbor” (Para- this score will mark his entrance into 1941 release is role) , new mother, to whose influence he attributes his pres- mount) with a musical score by Johnny Burke Hollywood feature film music. ent success. Mrs. Carmichael, wife of an electri- , Jimmy Van Heusen, whose song, Imagina- The composer’s only other piece of film work cian, high-spirited who enlivened and was a person during the autumn widely acclaimed score for the govern- tion, captured public taste was his her surroundings in Bloomington by playing her been hearing months. This is the picture you have ment made picture, “The Fight for Life.” Gruen- own arrangements of songs on the piano. Her about on the Fred Allen radio program. It co- berg accepted the new assignment after having son learned what he knows of the piano from stars Allen and Jack Benny, and carries on with seen a rough cut of the nearly completed picture, her; and the inner urge that impelled her to the humorous feud between the two comedians which offers a poignantly moving record of the arrange the melodies she heard, fired him with that has kept America amused for the past three struggles of refugees. the desire to turn out new tunes of his own. Car- years. Gruenberg began his career as pianist; he stud- michael received his LL.B. degree before an acci- The current trend toward featuring radio per- in New York and Vienna, and made his debut dent altered the course of his career. The acci- ied it unneces- Orchestra, sonalities in films will doubtless make in 1913 with the Berlin Philharmonic dent was the arrival in the college town of The sary to wait for television to show what our favor- directed by Ferruccio Busoni. In 1919, he won the Wolverines, a popular recording group of the day. ite ear and air stars look like. A survey of current New York Symphony Orchestra’s prize competi- The Wolverines chanced to hear Riverboat studio schedules indicates that almost every ma- tion with a symphonic poem entitled “Hill of Shuffle, one of Carmichael’s early compositions, jor studio is recruiting radio headliners to its list Dreams.” Best known for his opera, “Emperor approved of it, and made a record of the song, of screen players. Paramount began this trend Jones”, based on the Eugene O’Neill play, Gruen- which proved so popular that the publishers in 1932, with the first of its “The Big Broadcast” berg estimates that he has composed five operas, asked for more. pictures. In the cast were Bing Crosby, George symphonic poems, three sonatas, three string Legal Aspirations five Farewell Burns and Grade Allen, Kate Smith, Arthur quartets, fifty songs, and one hundred piano com- In between jotting down new tune ideas, the Tracy, the Mills brothers, and the Boswell sisters. positions. He was commissioned by the Juilliard budding composer had by this time tried his hand Some of these proved to be distinct screen finds. Foundation to write the opera, “Jack and the successively but without success at banking, law, The “Big Broadcast” series continued, and other Beanstalk”, with the book by John Erskine, and and leading his own band. Hopefully, he now studios recognized the wisdom of bringing estab- received a similar commission from the Columbia offered himself, together with a new song, Star- lished players, with ready-made audiences, to the Broadcasting Company for “Green Mansions”, in dust, to Hollywood, where both were promptly screen. Among these are Bob Hope, Don Wilson, network’s recent effort to encourage native that rejected. He next went to New York, became an Kay Kyser, Rudy Vallee, Jerry Colonna, Phil for the medium of radio. Gruenberg composition Baker. Fibber McGee and Molly, and Amos ’n’ guest conductor with several lead- has acted as Andy. Paramount’s new release blazes another symphonic organizations. His new opera, ing trail in capitalizing visually on one of radio’s of Troy”, with libretto by Phillip Moeller, MUSICAL FILMS “Helen most fruitful laugh ( Continued on Page 66) considered by the Metropolitan. is being 13 JANUARY, 1941 f

Music in the Home

NHATe OUR COUNTRY is to-day the center of art and culture few will deny. In a world T of upheaval and terror, we are not only Air Waves and Music building our defenses but also making every effort to keep our art and culture alive. At present there By are striking evidences, on the air, of a wider range of cultural programs than ever before in the history of radio in this country. The Sherwin- Williams Company, which sponsors the “Metro- politan Auditions of the Air”, is quite right in -Alfred AALay c^cux saying that “America is now shouldering the War, complete responsibility of keeping musical art alive and progressive.” The Auditions program, which started out to be purely an artistic gesture of this concern, has now turned into an absolute confined to music; there are other worthy pro- instrumental and vocal ensembles, necessity. For operatic talent can no longer be grams which it behooves us to recommend. Take the Madrigal and Institute Choruses, the obtained in Europe. To-day America must dis- Ted Malone’s “American Pilgrimage” (heard and Ph0ny °rchestra. The scheduled con- cover, train and present her own singers. In view Sundays 2 to 2:30 P.M., EST—NBC-Blue net- ductoisri,wnW*T this year include Fritz Reiner, this, spon- work) here is an interesting program in Alexander of it is no advertising blurb when the ; which ailsberg, Marcel Tabuteau, Louis Bailly, Samuel sors o’f the “Auditions of the Air” say that “Amer- the listener is taken to the homes of the coun- RandaI1 Thompson, the director of ica looks to these programs for the great voices try’s most famous authors. A novel idea, and the schoof of tomorrow.” that’s not meant for a pun! Ted is a talented orizons ” One can readily believe that the radio audience writer himself, a critic and a contributor to many nr'oS'AAW ? is the name of a unique 1Ch als wlth that tunes in on the Sunday. a sth?WA Physical science. It is P.M., EST, Signed for ‘he layman (NBC- Auditions (5 to 5:30 Red e k- 1:3 ° to 12:00 NBC-Red network) increases, h PM-. EST, Fridays). ?hW : esents week by week. People are grow- legerdemairWv, A stories of laboratory ’ Pk^-S1CS ’ paleontology, biol- ing more and more interested oev nnri ti geology, 1 Ued flelds °‘ in the promising young singers, bled through n science. It is assem- eS°Urces of and in conjecturing on their sitv / Stanford Univer- lty of California, future possibilities. And young Institute the California nf t ^dhn l0gy and singers listening in are inspired treated th„? ,° "BC. For those br- broadcasts to work for the day when they ing Januarv- “rf ViV scheduled dur- may be heard on the Metropoli- dmg by breaking” (January 3rl) "oosmi c R , tan Auditions program; for NeXt? ” (January 10th); “Millions hr^Burn'Wj this all (January 17th); and is one step toward “The Cvclnfrni . Z f; At° '' singers’ coveted goal — the m (Januar 2«h >- Two great W y eaniza ‘i° ns the Metropolitan Opera. If there is of Science and tA °! ’ Museum com- Museum ° f a young singer in your Natural ffistory a^slon^ ^ the r ram munity, who you think has known as “Man’ and th? P °S ’ K World"m AA® (heard genuine vocal talent, suggest days 8-15 to fi-qn x, ,, Satur- EST-NBC-Blue that he or she write to the On alternate A" network), Useum ofIers a committee for a preliminary dramatic, distilled “ ' of V P S n audition. Letters should be ad- eS a P «e„rp\onee?s Ub e°r dressed to the Metropolitan Ught^Tn f atorS of ° f the modem ma- Opera Auditions of the Air, 230 chhreAge aA the “’’A drama of nature, Park Avenue, New York, N. Y. From the resource* and ^ museums in Chicago It may be possible that you New York has been who enjoy these programs The Metropolitan Opera Auditions of the Air at Radio City, New York week by week will, by suggest- enjoys a large and loyal ing this to some ambitious young singer, start the national magazines, who broadcasts “Be- career of a future star of opera—an all-Amer- audience for his week-day NBC the Bookends” (Blue network, 1:15 P.M., ican star. tween EST). In his Sunday broadcast, “American Pil- casting System Edward Johnson, General Manager of the Sundays 7 to 7:30 P.M settings in an in- ECT° h that for too many grimage”, Ted paints in the deals with Americana and Metropolitan Opera, states is a free expression of complex formal chat, and gives us a clearer insight into the composer s ideas years America has had an inferiority and feelings on the subject the works of the author; he also tells us how of American music. about its operatic talent; that the country has Between the orchestral num- he and why their literature was produced. During beis, which he conducts, imported too many foreign artists. But now the composer often acts January he will talk about Horatio Alger of New as his believes we are becoming conscious of the capa- own commentator. The series 5th) Richard is not ar York City (January ; Henry Dana, ranged bilities of our own young artists. In ten years the chronologically, but deals Massachusetts (January 12th) instead with Jr. of Cambridge, ; phases percentage of American singers at the Metropoli- of our country's music. For Edgar Allan Poe of Richmond, Virginia (January program examnle .A tan, he tells us, has increased from three to over included a three hundred-yea? 19th) and Thomas Wolfe of Asheville, North °oltldi 1tA sixty. Through the Auditions of the Air, the ; dian piece, which Bennett 26th). especial^ „ A Metropolitan has been able to acquire eighteen Carolina (January with an eye to y ailanSed retaining its stark nrii The programs of the Curtis Institute of Music, - singers to date. “But youngsters,” says Mr. John- ties; and another program 6 quali Philadelphia (heard Saturdays 5:30 to 6:00 inMAAA son, “should not have to make their first appear- P.M., Negro hymns, °ld also arranged by in the world’s greatest opera house. You, EST—NBC-Red network), of which we spoke Such theth? composer. ance works as Bennett’s “Ah,. month, are a striking example of the A the people of America, can help this situation. last cultural Phony", CHarlestZ Sym ~ done by the music there is a small opera company in your com- work being schools of our If Sounds, are scheduled organise country. They are of unusual interest this for munity, encourage it. If there isn’t one, year many C6 as works written ' with their varied fare. These concerts by “pe i r it. The future of Art in this country depends on are given 0D P A T are not belleve 111 ° well known ” wh the youth of to-day. That is why we of the asAf?* A Bennett is Bennett states it. famous for , Metropolitan are so happy that through the Audi- 1Chestrations scores and musicial !*° of movie the Air we can offer encouragement to cam tions of has 168 ' Duri he been a”?? ini ^‘he years' the young singers and future artists of America.” A”?? as has also an orchestrator he The cultural progress of the airways is not been com music. and arran6mg serious His radioadl° senesserio A* has (Continued 52) 14 o?i Page THE ETUDE .

Music in the Home

The Etude Music Lover’s Bookshelf

Music’s Part in History By For many years we have awaited a comprehen- sive book integrating music with the dominating lCin trends in history. A new work, “Music in His- Cad>' tory”, by Howard D. McKinney and W. R. Ander- 1 son, goes a long way toward attaining this high ffjerJ ideal. However, although the book is one ap- words, the subject is so big g proaching 350,000 that it was obviously necessary for the authors to leave out much material which many might Robert M. Rayner may be proud of his achieve- think vital and necessary. ment. No German pedant could have done a Nevertheless, we feel that this is a very valu- finer piece of research, and for years to come this Any book listed in this department Music able and significant volume. If music is to mean book must be sought as an authoritative work of may be secured from The Etude Magazine at the price given plus the anything, it must come out of the life of the reference. The book is remarkable because it mail delivery. people. How the great music of the past is related combines an excellent and interesting biography slight charge for to predominating political, religious, artistic, in- with the constructive forces which Wagner em- dustrial and sociological trends makes very sig- ployed in building his astounding music dramas. nificant reference material. The more one delves into this material the more sofa, while he paced up and down in nervous The book is lavishly illustrated with appropri- he realizes that Wagner’s works become more haste. Suddenly he stopped and exclaimed, ‘Here, ate pictures, many of them being half-tone re- and more amazing as one learns more about I know what I need,’ ran to the bell and rang it productions of works of art. them, while his life as a man commands less vigorously. Tausig whispered to me, ‘What’s he “Music in History” and less respect. up to? He looks just like Wotan when he has Authors: Howard D. McKinney and W. R. The psychological reactions of the man seem to come to some great resolution!’ The waiter came Anderson indicate that the genius of a god rested in the in slowly and hesitatingly—these people soon see Pages: 904 (6&" x 9^") how the wind is blowing—and was no less aston- Price $4.50 ished than we when Wagner said, ‘Bring me at : Publishers: American Book Company once two bottles of champagne on ice!’ ‘Heavens above! In this state of things?’ we said when the A New Folk Song Field waiter had gone out. But Wagner gave us a fervid dissertation on the indispensability of the most picturesque sections Certainly one of champagne precisely when a situation was des- country is that section which, once be- of our perate; only this could help us over the painful- longing to France, still retains the rich, romantic ness of it.” background of its mother country. It is a fine Chapter V, an appreciation, is a masterly dis- piece of academic enterprise that the Louisiana cussion of “Die Meistersinger,” and a real addi- State University has done, in publishing the tion to British musical scholarship. (We assume “Louisiana French Folk Songs”, by Irene Therese that the author is English) Whitfield. The work is very meticulously pre- “Wagner and ‘Die Meistersinger-’” pared and finely documented. In order to make By Robert M. Rayner reproductions of the dialect more secure, the Pages: 259 (6" x 9") author has resorted to phonetic devices and spe- Price: $4.35 cial symbols. Collectors of folk lore in music will Publisher: Oxford University Press rejoice in this new work. “Louisiana French Folk Songs” Author: Irene Therese Whitfield A Musical Chesterfield Pages: 159 Lord Chesterfield’s letters to his none too ap- Price: $3.00 preciative son, Philip Stanhope, which came out Publishers: Louisiana State University Press two years before the American Revolution, stood as the best known epistolary mentors in litera- ' ture. Now we have a series of “Letters to a Wagner s “Mastersingers Musical Boy.” They are very interesting and England there ap- During the Blitzkrieg over stimulating, covering as they should in strictly typical British pears from the Oxford Press, with informal fashion a great number of subjects. analyses of tolerance, one of the finest of all HANS SACHS IN "DIE MEISTERSINGER" They are for students in the upper or the post Richard Meistersinger von Niirn- Wagner’s “Die As played by the famous Austrian baritone. Jaro Prohaska. high school grades. berg.” there is in Meanwhile, we are told that “Letters to a Musical Boy” Germany a Shakespeare such as has never fad mind of an ingrate, sensualist, and spendthrift. Author: Mervyn Bruxner hitherto been known. He had not the slightest idea of business in- Pages: 175 (5x7 inches) A queer world, this, in which enemies may de- tegrity. Note the following passage related by his Price: $2.00 light in each other’s art creations while they are friend, Weissheimer: Publisher: Oxford University Press eagerly striving in every kill conceivable way to “He had given splendid dinners after each of each other. Somehow, it does not seem to make the concerts, and his hotel-keeper had a two Musical Tale for Children good sense. Perhaps some day we will all dis- A months’ bill against him for food and lodging. cover as did former Governor Hoch of Kansas that Many are the roads that have been laid down One evening when Tausig and I were with him, “There is so much good in the worst of us to lead children storywise to the beauties of he bemoaned his wretched position. We listened And so much bad in the best of us Music Land. We have enjoyed reading many of to him sympathetically, sitting miserably on the That it hardly becomes any of us them, one of the best being “Keyboard Road in To talk about the rest of us.” Music Land.” It is the story of four children, Certainly, music and art and literature and right Betty and Clara and their brothers, Edward and thinking will some day turn our minds away from BOOKS Frank, and another little girl, Dorothy: who with war and to the more constructive paths of peace. their colored cook and old Dan, the black cat,

JANUARY, 1941 15 — ,

Music in the Home The difficulty with all biographical encyclopedic compilations, catalogs and collections is that the Piano Ensembles material represents largely the opinion of one Gretchen, and the two doggies, Fido and Ajax, man, however competent or incompetent, of set out to find Music Land. And a great adven- what is desirable or not desirable. Attract Fine Attention ture it is. The tale is ingenious and refreshing. Precisely as neither of the very able Lockwood It makes a fine book for reading at music classes, brothers is included in certain competent lexi- At, Sural X 3r,j or as a gift book for little folks. cons, many will feel that the excellent book, Children love to take part in piano ensembles “Keyboard Road in Music Land and Other “Notes on the Literature of the Piano”, re-edited and grown-ups do too. If you don’t believe it, Stories” by his brother, Samuel P. Lockwood, from copi- look at this picture (below) of a group of inter- ous notes left by the author, cannot Author: Mary G. Reed and does mediate students pretend who played Marche Militaire, Pages: 64 not to be all comprehensive. Most of At the Ball, and Rondo a Capriccio in the sec- Price: $1.00 the composers, whose works are included, are ond annual piano ensemble program presented Publishers: Bruce Humphries, Inc. accompanied by finely balanced and helpful at the Memorial Auditorium comments. For instance, in commenting upon at Riverside, Cali- fornia. There were forty-two How to Build a Music-Teaching the work of Jan Ladislaw Dussek (1761-1812) pianos on the stage, and nine different groups whose “Sonatas reflect quite charmingly the of pianists took part. Connexion Compositions played somewhat faded style of his day,” Mr. ranged from elementary The title of this book reveals its field. It is as Lockwood grades to concert pianist material. Even the lit- definitely English the spelling of the word suggests that “by connoisseurs of the next cen- as tle tots had a chance tury, Dussek may possibly be revived and again to play. Their group was “connexion”, and as a book for over-seas condi- nrst and they got a real thrill out of appearing tions, with which we have had little experience, become fashionable.” His works to-day are prac- 6 same recital with the professionals who we assume that it is admirable. Much of its text tically obsolete. °f piayed Liszt’s “Second Hungarian is so familiar in the United States that we do not Chopin works he describes as “the third great Rhapsody.” e Pro ^lain was sponsored - - Riverside bother to put it in print, it is naturally taken for massif in the mountain range of piano literature by the S1 anS sociati°n, the granted. The book, however, does contain at the —the first being Bach’s and the second Bee- Lho ™ ^ Riverside Branch of Teachers ’ end some very worded and very well “laid thoven’s compositions.” Yet, to the works of Association of California. well nnrt G S n Franz Liszt, whom he describes as “like Dr. Bernardino Branch of the Music out” texts for musical advertisements, similar in John- , f S ASS his works, Mr. °Clatl0n of California. purpose to those that have been repeatedly pre- son” greater than Lockwood de- o The W. W. Ki^ Company of Chicago sented in The Etude. votes thirteen times as much text as to the furnished beauti- Polish master. Seats in the were “How to Build a Music-Teaching Connexion” Sl'rt = auditorium bef°r the Author: L. D. Gibbin Of Paderewski’s piano compositions he salvages Performance took place, One n/tkth® f works, while of the works of most beneficial Pages: 78 only six Christian semhlp L results of this en- numbers are Price: $1.25 Sinding thirty-two opus given. The deXn^wUh^few ™^* Publishers: Oxford University Press book is thoroughly up to the minute and in- 2 “S “i cludes many of the most recently acknowledged for the instrument, although the writer a dozen or Piano Literature writers 1 more teachers played together in on ° Here and there, in all countries, the writer feels that many worthy composers have unfor- group and became fast friends, The same t iv Was has encountered a very definite type of music tunately been ignored. However, the work in- g true olt ‘be teachers, for all four of Th e an a splendid cludes mention of such writers as William Baines, nCe iSi S worker which has been of great and S,X\u°res\ ™ made “ , p;0 f e s s 0 value to art. type includes men and Arthur Bliss, Kaikhosru Sorabji, William Walton, ? ^ Payers, the This senior T teachers and women of means, who are not satisfied to rank Ernest Krenek, Georges Auric, Darius Milhaud, lvlduals were not with each other iJ? competing . They with the fine connoisseurs, but who advance Francis Poulenc, Paul Hindemith, Erich Korn- were all working together themselves to high professional standards and gold, and otjier modern writers who have come occupy positions where they may work with dis- upon the scene since the nineties. Mr. Lockwood’s book without The tinction, modesty and sincerity for the advan- No one can read “Soft Pedal" Problem more intimate and lucid tage of music. Such a man was Sanford, of acquiring a much SOH Vedal 1 also use a ^eat deal. Yale, who Paderewski once said was one of the knowledge of the literature. The work is pub- I know thato'hn5° P1 and others have said the finest pianists in the New World, and such were lished in the characteristically fine manner in Player should u, that the Lockwood brothers, long associated with the which the University of Michigan brings out its Music School of the University of Michigan. notable volumes. So retiring and so unassuming have been both “Notes on the Literature of the Piano” “ of them Pages: 235 r - of these fine musicians that neither “5r — “ seems to be represented in the latest and most Price: $2.50 comprehensive musical biographical dictionaries. Publishers: University of Michigan Press.

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'*«.> intermediate students who played in the second annual . . A group o! piano ensemble wonmm lfTll 5 at Memonal Audio,™,. Biverside. Cain*!! THE ETUDE — —

OR SEVERAL YEARS, I was tortured by Music and Study fears of every description. Day and night, Fthese obsessions persecuted me until my di- gestion became so impaired that even the sim- plest foods were upsetting. Tortured thoughts seemed to be running at top speed in the wrong How Music Helped Me direction, and I began to despair of my reason. A protracted period of nervous strains brought this about. Other than this, my physicians, who were experts, could find nothing wrong with me. Yet they cruelly assured me that unless my con- dition improved, I would have to be sent to a to Avoid the Asylum sanitarium for nervous disorders. This had only one meaning for me—I was facing an asylum. From that time on, I shunned doctors, and my life became one of indescribable misery. I have since learned that my case was but one of thou- sands—all unfortunate victims of phobias, which, William Jt^us however absurd they may seem to others, are Bf DraffoJ dramatically real to the sufferer, who may wake up in the night paralyzed with fright of some imagined ogre which may bring disaster with the This article icas written by an experienced European writer and dawn. educator loho has given serious attention to the cure of phobias. He Meanwhile, work seemed impossible. Although writes under a nom de plume . Editor’s Note. thoroughly trained in my field, I had lost all con- fidence in my ability. When asked to play, I found that my fingers fumbled over the keys in semi- paralyzed condition—paralyzed with fear. Ex- bravely re- sion that my only escape was through “right dodge them, but to meet them and Not at all. Many have traordinary? Unusual? guid- move them in the proper way. The thinking.” I thought that I needed medical gone through this excruciating experience. facing real ance and I went back to a trusted physician. He This does not mean that when fears were likely to pop up at any time and in asked me, “What instrument do you play?” Then trouble you should rush to the piano and play a any place. Finally I could not seem to accomplish course excite you explained, "There is nothing like playing an jig. In fact, such a may men- the smallest task without fear. Only sufferers instrument enthusiastically to maintain steady tally and aggravate your condition. What one circuit” are from the same type of mental “short is quieting to wholesome interest, so that you may think con- needs in such a state something able to understand such a condition. Those who to a disturbed mental condition structively instead of destructively.” I therefore bring calm are happy, healthy and free from fears have no resumed my musical practice, which I had aban- Handel’s Largo, for instance. As you play, relax conception of how victims of phobias suffer. The the melody. will find that your doned, and was amazed. and enjoy You maladies is negligi- pain that comes from many en- nervous tension is thereby relieved, as it could My first experience was that while I was ble in comparison. not be if you were not thus engaged. When the gaged in playing, I had no fear of failure or the strain is gone, you may be in a position to meet Insidious Conditions results of failure. I persisted, and gradually a your problem in calm, clear-eyed fashion. mysterious change occurred. I found that I was Of course, some phobias are due to pathological while, failure, which had After you have played a quiet piece for a conditions (diseases of the mind and the nervous at last losing the sense of life failure your fingers may want to run into a brilliant skilled psychiatrist almost driven me to suicide. I was not a system) which even the most melodies stimulate inspire could produce beautiful waltz. The joyful and finds it difficult to remedy. However, the writer after all; my hands you. Any suggestion of melancholy vanishes and begs the reader to avoid the physical and mental music which others delighted in hearing. you are again ready to step out into the busy conditions which bring such a thing about. Ne- Again the Dawn world, and take your place bravely and cheerfully. glected infections, overwork, over worry, over ex- Many attempts have been made to plan specific ercise or excitement, over drinking, overeating, I began to regain my reasoning powers, step musical programs of what some call “musical over smoking, produce conditions that are as by step, as a child begins to walk. My mind was therapeutics.” It seems to me important first to insidious as a thief in the night. Before one is occupied in healthy, normal fashion. The more I the thing and then to let practiced the more I improved clarify the principle of aware of it, the mind and the body give out and and the more lasting the the individual select his own medicine from the this state leads to the portals of the asylum. were results. I had no time to brood of the art, also to determine his Therefore, watch carefully for any symptoms of over my choice collection of phobias which had great literature slowly bringing own dosage. In any event, I am sure that the letting down, physically or mentally. Someday been me to mental disaster. After an instrument (particularly the piano) you may find yourself afraid to walk down the having played for two or three hours, my well study of being prevailed for some time. This period of is of genuine significance in the life of any child, stairs of a large theater. There is a reason. if the fact that it provides him with an Someday you may find yourself afraid in a great balanced mental condition gradually lengthened only for on. absurd obsessions grad- invaluable escape from phobias which in this day crowd of people. There is a reason. Someday you as the days went My sun are the ominous symptoms of many distressing may feel that others are looking at you with ually disappeared, and the of a happy, busy and often dangerous mental disorders. derision. There is a reason; and it behooves you existence again began to rise in my days. abnormal experience, I can well find out what you are doing to bring about Well, you say, that was all simply another From my own to many business men with such a condition. form of occupational therapy. True, but I have understand why so different but under great mental strain find When you are afraid of falling, you seem un- the conviction that music is from the sound minds play an instrument one of their able to assure yourself that you have gone down other media used in occupational therapy. It the ability to assets. When parents invest in music steep steps before without a tumble. Yet your makes such a deep demand upon the emotions great life for their children, they should bear this mind keeps repeating, “Watch out! You are go- and upon the attention that while one is engaged lessons very well think of other important point in mind. ing to slip—hold on, or you will break your neck.” in playing, one cannot forty-one years old. It is two and one Sometime you may be afraid even to cross a things. In my mind, playing an instrument is one I am now can take for a fear half years since I began to work at the piano. I great open space. You stab your nails into your of the finest tonics that one was utterly miserable at the time. As I advanced. palms, as though fearing some bogey might seize ridden, nerve wracked system. relapse from time to time, I worked out my own musical problems and you. You may wake up with tears in your eyes, Of course I had a ran immediately to the taught myself, proceeding very slowly and not praying to die so that you will never see another but when one occurred, I Gradually these setbacks avoiding difficulties. Now I am able to laugh at dreaded thing. keyboard as to a refuge. fear came to be further and the phobias which used to paralyze me whenever Of course this is a most unnatural and un- into that Hades of healthy peo- I encountered them. Music, and by that I mean wholesome state of mind. Fortunately I had further apart. I saw things as other I was not the particular victim the ability to play, to my mind, is the finest anti- enough wit to try to cure my own phobias. After ple saw them; singled out to be tortured by Fate; other people dote for depression, worry and fear. Lucky is the reading everything I could find on the subject in launched upon a musical life. library, I came to the conclu- had their troubles, and my job in life was not to child a great continental 17 JANUARY, 1941 Music and Study The following conditions are necessary in it before the student bade him observe it and sight reading: report what he had noticed. When the young (1) Mental Concentration man was left alone with the fish, it was much Better Sight Reading (2) Accurate Knowledge like other fishes, he noticed it had scales and (3) Quick Perception fins, a mouth, eyes, and a tail. In half an hour yStipL; Wuhan (4) Ready Technic he felt certain he had observed all there was to Bf First, Mental Concentration: Any one can fix be perceived in that particular fish. But the attention upon a pleasing or a passing thing. naturalist remained away and time rolled VERY TEACHER KNOWS the stumbler. He his on. It takes a well trained will to fasten the mind The youth became restless, and, having nothing may be your pupil or he may be another’s. upon an unattractive subject and to hold it there. to do, he started out to hunt the professor. In E No matter where he belongs we all dread Even the routine of note spelling may become vain. He had to return to the fish. Several hours him. And where is the remedy? vitalized if we focus our minds upon it with passed, and he knew no more about the fish than First: We teachers are one-sided, narrowed enough force. The overworked teacher will say, he did at first. He went out to lunch. When he down by methods and theories, which may be all “Oh I have no time for that sort of thing; I’d returned he felt disgusted and discouraged and very well, if taken moderately and applied all never get through.” Charles Dickens said that wished he had never come to Agassiz, who was over; but so many of us swallow methods whole the secret of his success consisted in his develop- a stupid old man, away behind the times. To kill and then apply them in spots. ing the faculty of giving his entire attention to time he began counting the scales, this done he Second: In our rush for technic, style, and whatever he happened to be doing at the counted the spines and the fins. Then he began finish, we overlook the most essential thing in moment, and then being able to turn that same to draw a picture of the fish. He then noticed it music. degree of attention to the next thing coming up had no eyelids, and he made the discovery that Almost any pupil can be coached up on a few for consideration. “a pencil is the best of eyes.” The teacher re- brilliant and showy pieces. He can have a certain turned and after seeing what the pupil had done, amount of technic, style, and finish pumped into felt disappointed and told him to keep right on him, for which he receives applause and perhaps and maybe he would see something. This put the a diploma; but put him before an unknown com- *11 youth on his mettle, so he began noting down position of even moderate difficulty and hear him T^pccia ( o lice little details that had escaped him before, and stutter and stammer over the notes. We read the he began to catch the secret of our children read lit- observation. papers every morning, Fourth, Travelogues of Ready Technic: It is not necessary to tle stories and poems; and they do not have to Musical have a transcendent technic in order to read read them over twenty-five times to grasp their music at sight. Technic has received the meaning. We use reading constantly, while elocu- Latin-America lion’s share of attention, and it always will so long as tion, another branch, is seldom used after school honorto announce that critics and amateurs disagree in regard when the children ask for a THE ETUDE has the to its days. In the evening, proper place. In every series of musical travelogues studio we find pupils and story the mother does not put a record of Steven- it has secured a teachers bending to the shrine of in a box and set especially prepared for technic. son’s “Child’s Garden of Verse” of Latin-America, Teachers place a false value upon technic. It it going; she takes up the book with some degree this magazine is not fast playing, as nearly every pupil thinks; feeling, and from the printed symbol Steven- of it is mental grasp, sureness, and be- control, elasticity, son’s thoughts are conveyed to her mind Waurice 2)umeinii relaxation, Bf M and a good seat at the piano. There read, she is able to trans- cause she knows how to is only Eminent French Pianist, Conductor-Teacher one method of acquiring technic, and thoughts to the minds of her children. fer his that is by thoroughness; and years The Etude the great advantage When it comes to the most uplifting of all the For about this process is that has has been seeking au- we do not have to make arts, that mother whose musical education a pilgrimage thoritative material to some famous professor to many hours of toil, acquire cost thousands of dollars and it. The in this field. We have great piano players have worked out will make a rubber disk take the place of her their always had a brother- own technical problems; and we may do brain and the music, she “just loves” but cannot ly interest in the fine the same in the quietness of children out of our own home, if we read, falls upon the ears of her musical achievements will. One teacher advances one set of studies, a dead and lifeless wooden box. of our South Ameri- and another sets forth another. can confreres. Now They are all good, if we do them tnorougmy. "Man, the Goal is Yours" our readers will have Emil Sauer recommended Pischna; Sight reading is not altogether a gift, as many the brilliant and pic- Lescnetis- zky reared his results upon Czerny; suppose. Like memory it can be cultivated. Some turesque opinions of Frederick writer-musician, every page of Weick designed a set of studies for Clara people are quicker, that is all. As it requires more this gifted Schu- which makes fascinating reading. M. Du- mann that any third grade pupil can play brains to earn money than to inherit it, so it is at mesnil has toured South America repeatedly sight. It is not the particular study you practice; the mind trained to read. It is a much with eight months it is and has just returned from an the particular way in which you study it. call it a gift in higher aim to work, than to received with trip, during which he was Mechanical technic resolves itself into five others and so shirk the responsibility of learning conductor and great acclaim as a pianist, a points; trills, scales, chords, arpeggios, and it ourselves. a Spanish-speaking lecturer. Don’t miss as octaves. The one who can play these in the Sight reading goes through two stages: the this exceptional series. twenty-four keys has no need to labor or spelling stage, and the reading or through mechanical the tomes of studies that are piled before us intelligent stage. every season Save the energy that is A printed note has no meaning except as it is upon expended Second, Accurate Knowledge: Many pupils are long laborious studies, and put connected with notes preceding and following it. it into these sinned against than sinning when it comes five points. Sight reading does letter letter is to spell, and more not mean the To pick out notes by Playing of Notes to inaccuracies in fundamentals of music. How Liszt transcriptions by so doing the sense of the whole is lost. and Strauss ac- many times have you heard something like this, companiments; it means the must be read in groups, as words are read. In a ability to ffiay the never can read added lines,” or, “I never can simplest thmg, intelligently composition the eyes of a good reader “I and in literary slur anyone of all even whole tell when a curved line is a or a tie.” Too run ahead. Words, phrases, clauses, often the teacher, in his mad haste for quick e e sentences are taken in at a glance. t n d essentials of note values, StateS W°Uld correspond to literary sen- results, leaves the of wo\VjncLlngly wmakeof' Musical phrases eve a m°" certain forms, as time, of notation, and of musical marks and intelligent sight readei tences The phrase falls into he would“ d be more line signs of expression to care for themselves; but in one year for WdomS melody the fall into paragraphs. A sentences ent ° f muslcal con ' trills, scales, these are the things that can not be skimmed mtionsln here, a drone-bass there, accents, Africa than always over. Sureness can never be possible until ported .aggregation of im- figure may appear; but, by the opera stars any musical couldW ddo 111 are thoroughly ten ' Music would mind is prepared and the fundamentals ingrained in the then begin to srow looking ahead, the 11 0m Wlthln stammer. Whenever eyes mind of the student. to mean - would begin fingers are less apt to someth, PerSOna1 to see note groups Third, Quick Perception: The following reaSng ' 80 of bette sigM and mind attain skill enough story ng let“eret every n measures of one of Agassiz’s pupils conscientious teacher and phrases coming two or three will serve to show how sav, reader step perception may be gained. A young mngs 1 d ahead, then at that moment does the man one day ° intelligent read- presented himself before /ur from the spelling class into the the great naturalist for work. Agassiz took a fish from ing class. a jar and laying

18 THE ETUDE —

USIC AND THE DANCE have been man- Music and Study kind’s delight almost since time began. M As far back as history is recorded, we dis- cover that men and women, boys and girls have sung together, danced together. Long, long cen- turies before men could read and write even A Cradle of Composers their own names, far less music, they made music, and made much of it. And now, today, we are traveling the earth in search of it, to collect in book form. What the Choir Loft Has Done for the Art In those dim, far-off yesteryears, groups gath- ered together to dance and sing in celebration of By the Well Known Composer and Lecturer almost every occasion, and as an outlet for al- most every emotion. War songs they sang, and songs of thanksgiving, of religion, the clan, the race, the tribe, and of the family; in such gather- ings as we now term the choir, set, fraternity Qeoffrey O’JJ,ci ret and club. These synonyms are used to describe the natural tendency of human beings to gather together in groups. Composer of Lectle Batecse Give a And so, long years ago, the church choir came Man a Horse He Can Bide, There into being; and from the sweet serenity of the Is No Death, and K-K-K Katy choir loft many of our master singers lifted young voices in sacred songs that were to outlive the singers. volume of work! And each work a masterpiece! we are told that he “sang, composed, played on Let consider the greatest us choir master of all Ludwig van Beethoven was likewise a choir the harpsichord, the organ and the violin.” Even time, as we know him—Johann Sebastian Bach. singer, a boy soprano. His father was a famous then, as a very little boy, he was constantly trav- In early youth he was a chorister at St. Michael’s singer. Among young Ludwig’s important teach- eling, giving concerts of an extraordinary nature. Church, Luneburg. His brother Johann Christoph, ers vere Van den Eeden, the court organist, and In Paris, and at Versailles, “Mozart’s organ play- organist at Ohrdruf, supervised his music study. his successor, Neefe (na-fe) . During Neefe’s ing was even more admired than his perform- the Then, too, young Johann Sebastian frequently absence, in 1782, when Beethoven was but twelve ances on the harpsichord.” In 1764, the family walked all of the years old, the boy took him with them to England, where he com- miles thirty to Ham- was appointed posed an anthem for four voices entitled, God Is burg to hear the great Neefe’s deputy. Two Our Refuge, for presentation to the British Mu- organist, Reinken, years later, in 1784, seum. Even today, unless such treasures have (rin'-ken) and to the new elector, Max been hidden away, you may see in London the Celle, where he lis- Franz, appointed original manuscript, numbered “Select Case C, d.” tened, enchanted, to Beethoven assistant 21, At the age of ten, Mozart wrote his first the French music in organist. Remark- oratorio, and in that year, at Haarlem, he as- the Royal Chapel. able, is it not, for a tonished his hearers by performing on what was Familiar as he was fourteen - year - old then the largest organ in the world. with organ and choir boy? When only four years old, Mozart began his music, it is small won- The old saying, musical education with his father, who had stud- der that in 1703 he “As the twig is bent, ied music as a choir boy in Augsburg. Mozart, deserted his post as so groweth the tree,” the father, had studied law, but had abandoned violinist with the is singularly appli- it to teach music and to compose. He, too, must Court Weimer OrchesT cable to Beethoven, surely have been choir minded, because the first tra, which he had an organist in his items listed among his works are twelve ora- held for one year, to youth, always choir torios. In such an atmosphere then did young take the more con- conscious, and at Wolfgang Amadeus grow up. genial position of or- heart a singer. Little ganist at Arnstadt. do we wonder then Handel's Lifetime Intimacy with the Choir In 1705, he obtained that Arturo Tosca- As a child, George Frederic Handel was, like leave of absence and nini, when conduct- Bach, an organist. When only seven, his father walked to Liibeck to ing such masters as took him to visit an elder stepbrother who was hear the famous or- Beethoven, calls out connected with the court of Saxe-Weissenfels. ganist Dietrich Bux- repeatedly to his or- Here the boy gained access to the chapel organ tehude (boox'-te-hoo- chestra, “Cantare, and was heard by the Duke, who insisted upon de) and there cantare,” , he the Italian his receiving a good musical education. He was remained until his equivalent of, “Sing, placed under Zachau (tsakh'-ow) organist , of church committee at make it sing!” Again Halle Cathedral, and made such rapid progress home wrote that un- we realize how many that he soon became assistant to his teacher. less he returned soon of the really great For three consecutive years he wrote a motet for he would be dismissed. composers were every Sunday. At nine years of age, he went to choir minded, all Berlin, where his improvisation on the organ Bach's Choirs GEOFFREY O'HARA as- singers at heart. tounded the greatest critics. The list of his com- Great organists, in Johannes Brahms positions for choir is impressive indeed. days, accompanied those great choirs; hence it was, in a way, choir bred, as well, for he studied And once again we find the musical father surprising that is not since Bach was so saturated chiefly with Eduard Marxsen, who was a pupil teaching his wonder son, in the family of Haydn. choir music, he composed with such an incredible of his father, an organist. Marxsen also studied For the father of little Franz Josef was organist of works for voice. His number accomplishment with Johann Heinrich Clasing who left two great of the village church and a fine tenor singer; Think, for instance, was stupendous. of the five oratorios as his contribution to musical literature. the mother, too, sang in the choir. On Sundays, sacred cantatas for every sets of Sunday and And so we find that under the benevolent influ- we are told, the family gathered always to singi in the year, to say Feast Day nothing of sev- ence of the choir loft, Brahms was inspired to the father acompanying them on the harp. There eral special ones. Add to this tremendous task compose the great “Requiem”, as well as some of were twelve children in the family, and the boy the Five Passions, including the great “St. Mat- the finest songs ever written. Franz Josef, at eight, was engaged as chorister thew”, and “Christmas Oratorio”, masses, motets, On through the years to another lyric voice for St. Stephen’s Choir. Aside from the daily magnificats, preludes, fugues by the dozen, con- the wonder child, Wolfgang Amadeus Mozart. In service and two hours choir practice, he studied suites. truly certos, overtures and A amazing 1763, when Mozart could have been but seven. religion, Latin, writing, ( Continued on Page 52)

JANUARY, 1941 19 Music and Study

The Teacher’s Hound Table

dishes of reading, listening, tone produc- For Pleasure Conducted Monthly Playing tion, technical control, rhythmic vitality, young I am twenty-three years old and a musical and dramatic projection. Into piano work in army officer. I commenced every lesson and assignment must go a last year at West Point, just three my good “pinch” of each of these, carefully years ago. I had never had any musical instruction or interest of any kind before. distributed. If you have been doing this Starting with a correspondence course. I conscientiously, your present trouble is practiced every spare minute, and aver- flUaie- not musical dyspepsia. In fact, I pre- aged about two hours a day for the first scribe just such a combination to cure two years. I have had about a dozen half- hour lessons in all, and am now about in Noted Pianist many pianistic ills. You have probably the fourth grade. I play, but not per- run out of ideas, your teaching approach Chopin’s Waltz in G-sliarp and Music Educator fectly at all, has staled, you need the freshened per- Minor Polonaise in A major, and Noc- , spective which study with a turne in- E-flat, and Liszt's “Liebes- good teacher Correspondents with this Depart- traume”, last part of the 6th Hungarian will bring you. Why not plan for it this ment are reguested to limit Letters Rhapsody, No. 6 and the concert arrange- , to 0?ic Hundred and Fifty Words. summer or next winter? ment of Brahms’ Waltz, No. 6 (from The Granted even an intelligent Etude). approach, it is difficult I am now taking the Army Engineering to find the right propor- of course at Massachusetts Institute however casual, with such masterpieces tion of ingredients for each student, but Technology, and consequently have my already a habit with her. whenever you do hit upon the proper piano practice time practically eliminated. is Don’t be too balance the results are gratifying. This situation will last a year. I am pas- exacting. Consider her age, with all the That sionately fond of the piano and of my growing pains, conflicts, uncertainties, is one of the joys—and hazards—of hundreds of fine phonograph records, teaching. changes, instability—and don’t worry if and would hate to slip back in what I 7”; others have done pieces But beware nade No. she is inclined to skim surfaces. It will the unbalanced mixture have done so far, but if I spend what from “Eine Kleine Nacht Musick”, the which omits sufficient quantities little time I have at technic, I have no not hurt her permanently. On the con- of tech- symphonies, and other nic. That time left to play for pleasure. string quartettes, trary, a good diet of Mozart (as you always results in poor, lumpy, when I can, store or the publish- Will I do best just to play works. Your music suggest) will soon show her the neces- tasteless hash, and I know nothing less read as much as possible, and occasion- secure these for nutritious. ers of The Etude can sity for utmost thoroughness ally play over the above pieces that I in work- you. have memorized? I find that a lot of sight ing over details. With Mozart, she will some of the works reading at which I am fair helps me in Why not examine find out that even a telescopic appx-oach An Office Worker the long run, but of course it will never written by Mozart for one piano, four to perfection is difficult to achieve! 1. At present I improve my ability to do such things as distributed am doing office work in hands? These can easily be give the morning and the cadenzas in “Liebestraume.” So I say, her plenty of rope, and have the afternoon free over two pianos, and make delightful to practice. I follow On the other hand, I could, I suppose, more Mozart. your two week prac- the tice plan, do not do nothing but my accustomed Hanon novelties. Among the loveliest are start my practice period with technic, rest Czerny scales, and keep up the in Major”; the Fan- frequently and take and and little “Variations G care not be play- How Shall We Count? to play too long at a time, so as technic; but then I would never tasia in Minor, No. 2; and the beau- not F to tire the finger tips. Thanks to your ing for pleasure, and, after all, that is have trio tiful “Sonatas in F and C major.” Mo- I a composed of violin, vio- suggestions, I have been the main idea. I can’t average over half able to memorize piano, four loncello and piano. Whenever we have a a little. I have decided B. P., Massachusetts. zart’s compositions for one also to keep in an hour a day.—D. composition written in nine-eight mind the in a single volume. number of the count, not just hands, are procurable rhythm, the violinist and violoncellist the time sense! movement. I am taking more Congratulations on your good Note that I purposely do not mention insist upon counting it as three-four. notice I of form in music, although of this Your letter is such fine “case history” to Mozart’s have tried to tell them that they are I a the Grieg second piano parts know but little. Besides reviewing or wrong, but to no avail. They are older that I am using it here in full. It will, sonatas. I scorn them as glaring re-studying Etudes and pieces, have solo than I and do not want to be told I in what is bought the “Czerny-Liebling I am sure, inspire many others who, examples of bad taste; under no circum- what by a younger person. Perhaps Studies”, you some Heller and a few spite of limited time, insist on “keeping teach or play them. can tell me of some way to explain music albums for stances would I it to new music. I use Hanon Half hour them so that they will understand. for practicing then- fingers on the keyboard.” evenness occasionally, and Also would you please tell me what try to study daily average is pretty slim, but you one thing at a time, study book should be used after the com- following a difficult advan- Preferred work with one from the are utilizing it to the very best Mozart pletion of dementi’s "Gradus ad Par- fourth grade down, taking turns with tage. fourteen, study- nassum?" I am nearing the completion classic and ro- One of my pupils, age of mantic compositions. of for her weekly this group of works and do not I am attempting What on earth would be the use ing five years, brings in know several of the I should study works of Bach. Beethoven, lesson work on this list: 1. First move- what next. filling up those precious seconds with Chopin and others. For easy pieces I am minor ; F. K. ment of Mozart’s “Sonata in C — W., New York. Just spend about five trying some Mozart, Schumann and pieces Czerny or Hanon? in A-flat. Op. UO, by Schu- 2. Impromptu from The Etude. I find the contrasted, C-sharp minor by In the first stages Presser Edi- minutes doing one or two bert; 3. Impromptu in of studying a tions most “French helpful. I ordered recently instance, a 4. movements from advisable concentrated exercises; for Chopin; Two piece it is to count nine or your own translation of the Bach-Bu- major" by Bach, and 5. a re- brilliant chord progression and a scale Suite in G three times “one, two, three,” for every soni “Inventions” and have been de- the “Concerto in D major” by lighted view of Later, for with the notes and presentation. or two; or one for finger independence, always been fairly atten- measure. rhythmical swing Mozart. She has 2. I have sent Volumes I and II of all the the it is th-> and an arpeggio exercise. Read tive. However since she was started on and convenience better to count “Czerny-Liebling Studies”, that Volume I cf music you can lay your hands on; Mozart “Sonata”, she has shown in three to a measure. “Heller-Phllipp Studies in Musicianship” good she piece a new approach: one in which and The Etude, to a young man, and don’t try too difficult material. equipment Choose studies from “Czerny-Liebling in the is constantly ready to use her early grades, studying without a teacher. fatigue appears, stop her Vol. Ill” or “Czerny-Hutcheson Vol. III.” When the slightest as each moment demands during Should I encourage him to practice only and play a part of one of your old pieces playing. But alas! she drops down to (“Studies for the Development of Variety Hanon-like exercises? I plan to send him the keyboard. medium attentiveness from this better in- of Touch.”) Cooke’s "Mastering the Scales and Ar- slowly, without looking at work give tensity upon my stopping her to peggios,” if possible. Even such “skeleton” practice will her out some weak passage. I have let —G. W. R„ Havana, musical vitamins. still Cuba you many necessary play the movement through, but Hash 1. Your Good luck to you, and to the Round sense the need for a more efficient way to “testimonial” turns my usu- state. How. also, Would you list briefly the subjects that ally confident Tablers who use their time so sensibly! bring out this “ready” words to embarrassed than occasional (as a piano teacher should cover in a well stut- can I make this more S my sunk the whole list, in each rounded course? I have been teaching for 'ssed California it merely is) in “m!’ „ T way? a number of years, and with some suc- red Mozart For Two Pianos piece? Is more Mozart one ' and mak“ me very —J. J., New York. cess, but I sometimes feel that my plan happy.Cov ‘af’"When next numbers I play x I am on the hunt for Mozart of study is more like "hash" than ta Havana a shali want to for two pianos, four hands. I have the well -planned meal. Will hear you play, cannot expect from a fourteen- you rescue me if possible. following: “Sonata in D major”; “Fugue You from incipient dyspepsia? art 'time Overture to however gifted, the Pianists will follow in C minor”; Mozart-Busoni. year-old adolescent, D. R. A., New vo.noT? £ Duct- — Jersey. d ey WlU be SUI the -Manic Flute”; Mozart-Busoni, intense concentration of an adult. You Lnrm ’ 'P«sed at their “Concerto in E-flat ma- mipiovementT tino Conoertunte; “Sonata in With the proper You can’t do better than your own easy say she loves the Mozart C ingredients, nothing to jor”. arranged by Saar; and cau y on along the arrangements. Are there any minor,” one of the masterpieces of piano in the world tastes better than hash! same lines. Mozart e nd have? the other pieces Good old hash! thls time ever- others I ought to literature, and most of How the housewife relies nhi»T^ '.^ 1 won't —S. A. T., Michigan. obiect to the you mention come up to or near this on it—and don’t let her hear you Hanon. When no inteffl belittle eaCher it enough to know, as she it! lS at han

7. all of which becomes a complete example of the messa di voce of the classic bel canto vocal method. Strains That Injure the Voice Subjecting the voice apparatus to adverse or unnatural mechanical conditiojis, such as at- tempting to keep the voice up or front is another cause of strain. Here it is necessary to know the behavior and pattern in the natural functioning ) i ci n ci ruine of the vocal apparatus and to follow the design 2 1 of this process during training; for the manner of ?/ producing voice determines its sound and if the

FTEN DESPITE CAUTION on the part of tone and its partials or overtones. The vibrato is voice is produced naturally it will sound nat- the teacher, a student’s voice becomes present in all good quality voices and is indicative ural. Thus the mechanical process involved must O shrill or husky, deviates in pitch or loses of health and vitality. It exists naturally and de- not change when the voice is cultivated but its flexibility. The agreeable sounds marking its velops with systematic exercise as the voice should remain the same, strengthened, inten- 1. de- warm naturalness gradually give way to metallic velops. But it is the result and not the cause of sified, increased in efficiency by exercise. The harshness, and when this occurs trouble is likely voice growth. Though it is the throb of vitality in practice of low tones sung singly, energetically, to ensue. a healthy voice, its deliberate injection is wear- marcato, and repeated several times, copies the There are certain methods of procedure in the ing on the voice and destructive of its natural pattern of nature and will be found very bene- cultivation2. of a voice any of which are likely to sound. Its exaggerated importance in cultivated ficial. result in impairment from often undetected and voices brings on the inevitable artificiality and Finally, voice exercise should be done in the undetectable strain. Let us look at some of these distortion with sacrifice of purity and fidelity to same wholehearted manner that one uses in exer- faults which are responsible for so much mediocre pitch which gives agreeable, harmonious quality. cising any other function of the body. This will vocal3. work. To guard against sacrifice of pitch and against develop the voice and develop the muscles em- Continuous soft singing: This enfeebles the disproportionate “ring”, or vibrato, practice cre- ployed in its production. It will increase the voice, reducing its range and making serious in- scendo and diminuendo. Sing a tone in the low psychic energy of the breath which gives power roads on the health of the vocal organ. While it range, then sing one an octave higher, this one to the voice; strengthen the vocal cords and appears4. to give sweetness to the sound it lacks to be swelled and diminished without change of their action, thereby intensifying the sound and substance. It is the mechanism employed in tone quality, after which the voice will drop back giving it more substance; and augment amplifi- crooning. Training begun entirely on soft sing- to the original low tone, cation which gives richness and quality, with the ing has been found incorrect. vibrato also becoming augmented in proper pro- Continuous loud singing: This obviously portion. (Consonants should not be used before strains and becomes shouting. As no healthy vowels in these exercises, the preferred vowel being Ah.) voice can produce sounds beyond its own ca- In this way the voice may be culti- Ah safety pacity of breath power, too loud singing is evi- vated with and with no risk of strain. It Ee is most important for the singer, in his quest for dence of an abused, worn-out vocal organism Ah ee ah which5. sounds only when banged upon. Ee ah ee vocal mastery, to know what not to do. Strain from too much singing is the after- math of accumulated fatigue. The voice stands a great deal of this sort of abuse without giving notice of it until too late. Singing being physio- logical, prolonged periods of indulging in it wear out the muscles, marring the quality. Matching tones: Making G sound like E be- Singers Must Learn to Recite low it, for example, is another cause of strain. 6. There are acoustical reasons why one tone can- made to sound like another. Each particu- not be ()3 ^oiep h ci n e lar tone is characterized by a different number y j of vibrations. Matching tones is a mistaken no- tion which destroys spontaneous emission making HE YOUNG SINGER looked professional recitation in an appropriate musical setting. the tones stilted and distorted. To achieve even- and assured. His accompanist started the How can this knowledge be put to practical ness of the scale the practice of rapid passages Tintroduction, and I settled back with pleas- use? Let us assume that you have a reasonably will be found more efficacious. Sing a rapid, dia- ant anticipation for I recognized the song. It was good vocal technic and that the song was written tonic, descending run on five tones, repeated five the tenor aria, Ah, Moon of My Delight, based by a competent composer. Take the song to a times, inhaling instead of exhaling at the be- upon “The Rubaiyat”, by Omar Khayyam. quiet spot. Forget the music for the time. Read ginning of each descent. The singer’s voice was good; it was well con- the text carefully to yourself. Does it produce any Disregard of the natural -phenomenon of trolled, true in pitch and pleasant in quality. definite mood or impression upon you? If, after registration: Rarely does the untrained singer His diction left little to be desired. Yet at the careful perusal, it does not, then lay aside the ignore the fundamental fact of its presence but conclusion I was disappointed. His rendition song. Why try to make an audience feel what will consciously seek to bridge the difference in lacked the necessary quality to move his audience. you do not feel yourself? tone quality in some graceful and instinctive way. Later, after congratulating the singer upon his But you like the poem? It definitely moves you? The teacher, on the other hand, often refuses to voice, we mentioned “The Rubaiyat.” His expres- Then read it aloud, trying to express all the existence. concede its Mixed registration likely to sion confirmed our suspicions; he had never read meaning and mood contained in the words. Is follow this misconception seriously strains the the poem! the thought a happy one? Then your voice should musculature. Only purity of registration, which There is a difference between a vocalist’s dis- be bright and gay. Is it sad? Then listen to the distinctive quality for each, means enables the play and a singer’s art. The tenor was projecting different timbre your voice assumes. Whatever natural functioning of the proper vocal cord a voice, with the text of the song only incidental, the mood, the voice can express it, as it automat- muscles. The reverse, however, and the brings instead of interpreting a poem, with the melody ically expresses your real thoughts and emotions. on destructive strain. and accompaniment mere factors contributing When the poem has been made your own, resonance: Undue striving for In trying to to a total impression. study the melody. See how craftily the composer greater resonance make the voice bigger, becomes Singers should learn to appreciate poetry and has used variations of pitch and rhythm to em- aim, with purity of intonation the principal to recite it. For true singing is simply sustained phasize the text. Notice his use of expression relegated to secondary place. As resonance or marks to clarify his idea. amplified tone (the pitch and overtones) is er- Now is the time to seek the accompanist. Listen roneously believed to be audible by a pulsation in to the accompaniment once or twice, and give actually heard, is the pulse or the sound, what is VOICE especial attention to the introductory passage. distinguish beat of the vibrato. The ear cannot a Notice how it establishes (Continued on Page 52)

JANUARY, 1941 21 f .

Music and Study be aware of what the orchestra is doing. All this takes many hours of study, much of it away from the piano; but the time thus spent is well worth while Selecting an Instrument Questions and because in this way you will achieve such Q. As a regular subscriber to The mastery of your music that you will for- Etude, I would very much appreciate your get to be frightened at least will answering the following two questions: — you not be so frightened 1. What musical Instrument In each of that you cannot the following classifications is generally perform adequately. considered to pay the greatest dividends in pleasure with a minimum Investment Answers in practice time: Percussion, String, Business ISlan a Choral Director Wind? 2. Which of these three Instruments Q. For a number of years now I have would you consider most easily mastered? A Music Information Service received considerable comment and en- —T. W. C. couragement as a result of my efforts in choral work. Heretofore I have not felt A. 1. The answer to your question is quite sure enough of myself in spite of Conducted By my varied experience. very merely one person’s opinion, so my reply Your valuable replies given In The Etude magazine must not be taken too seriously. You do prompt me to inquire with reference to not2. state whether the “pleasure” is to en& some of my problems. come from playing the instrument by I am thirty-eight years of age, married, and have one daughter. I am a bank itself or in an ensemble and this com- cashier by trade and have a very good problem. However, I will plicates my banking business. I have never studied risk a guess, as follows. For a percussion music except in my own library, but have, instrument I will choose the snare drum, in this way, acquired a fair knowledge of music notations, terms, and harmony. but I suggest also that you consider the I claim a certain amount of composing xylophone or possibly the glockenspiel. ability and now have four compositions For a string instrument I will choose the partially complete of as many types of viola; and for a wind instrument the Professor of School Music, music.* These I should like to submit for candid analysis and advice cornet. as to whether Oberlin College they are worth the effort. As “mastery”, that is a term with to But getting back to my “first love", so flexible a meaning that I am afraid the mixed choir, I have been fortunate Musical Editor, Webster’s New in being to hazard a guess. However, I am will- able to obtain considerable knowledge concerning technic, on, ing to tell you that the string instru- International Dictionary and so In the capacity of assistant director un- ments are all harder than the winds or der very prominent choir directors. The percussion—assuming that you mean a point is, the work is now much heavier and it becomes serious instrument. If, however, you are question will be answered in THE LI UDE increasingly more appar- No name ent unless accompanied by the lull that I must continue my studies in thinking of playing the instrument so- dials, and address of the inquirer. Only in order to satisfy the published. requirements of such cially rather than musically then why or pseudonym given, will be extensive choral work. not take up the mandolin or the guitar? May I prevail upon you, therefore, to take Your question involves so many different sufficient time to analyze my case and advise me what possibilities that it needs a conference knowledge I should ®®arcb a ter flrst and in what manner it instead of a mere reply. feel that you have to play should be£ note. Never obtained. Points with refer- because “° such a run with one hand just correct breathing and correct enunciation the composer has so marked it; in fact, are, of course, pertinent and J. shall appreciate good thing for you to try your recommendation it is a very 1 pr do you Pronounce T* ?® °P e books or literature from How ways of playing a passage. You 5h s ^ various "ch knowledge can be gained. at hitting Yioi r ave Pathelique? will be surprised sometimes a falr bass voice of fair that second, rolling this chord before the rlr?™S wOUld, , upon a much easier way than y*°u conslcier training of gives thisthu vnt^voice Q. 1. How do you pronounce “Pathfi- beat the player more time to roll essential?— marked by the composer. Since this pas- H. E. G. tique”? the next chord. lento, it does not matter 2. How do you play measures 170 and sage is marked A. In the first 2. I have a friend, Mr. David Moyer, place let me say that 179 of Chopin’s Ballade in G minor This greatly which way you play it. e ldea who plays this composition, of a Professional cannot seem ever to chords, and who . man dabbling measure 179 I just (c) If you cannot reach these in studied with Mr. Busoni. music appeals to make smooth, but I think I play 170-171- to roll He prefers the me very much, so I roll them. If it seems awkward have 172 fairly well. I am not sure If I am doing original to the ossia. nothing but quick tempo you might commendation for it the right way. them at such a your efforts to taking 3. You are right. Such chords are in- train yourself in music. 3. What Is the general tempo of this play them in octaves. This is not variably played in this i must tell you frankly, piece? I have no metronome, so tell me as might be thought, manner. however, that such a great liberty music is whether, in the Modrrato movement, it 4. My friend Mr. Moyer has a stern mistress and demands since the first E-sharp and F-sharp, always does not speed up quite a bit in measures used the minor ending. large quantities sound through the I think I also of time. However, if 36-53; then run quite a bit slower in having no dampers, your hours prefer that; however, if you like the as a banker are not too Measure 68, and so on, measure anyway. major ending I certainly strenuous, you 4. (a) In Measure 26, and similar meas- would use it may be able to carry on seldom ended the rather ures of Malagucna by Lecuona (original Bach a minor piece in ambitious musical life that va apply also to the you would edition) does the 8 sign The Bach-Busoni Chaconne minor. evidently like to undertake. left hand? (b) Are measures like 61 played y U VlH Will you kindly answer these ques- have thne for little else, with one hand or are they divided? (c) I Q 1 + i? ^ Chaconne , page PGr cannot stretches in measures tions: In the Bach-Busonl y°U gefc int0 the reach those measure, when mi m«sic, 90-103. Mrs. M. J. W. three, first line, fourth How to Overcome Stage S WiU What should I do?— hand, Fright ^ find ifc necessary rolling the last chord of the left to learn simul- Q. Although I am an which of these notes Is struck experienced pian- A. 1. Pa-ta-teek'. ist I find myself I advise you to taneously with the D in the right hand? afflicted with stage study singing under as 2. Everything is so clear about the impressive, the fright. Can you help me?—Miss E. S. fine a teacher 2. Which Is the more as you can toa not see on page 17? part to voS measures you mention that I do ossia or the original as given of the country. This rolling the A. Most artists are troubled by study Jm what is bothering you, except that, of 3. On page 19 I have been stage slowly and very firmly, strik- fright of one kind or another. course, they are rather difficult. I could left hand This is about breathing, ing the right hand with the top note of probably due to the fact ^enunciation^ an'd be a little that in order %% help you more if you would the bass chord. Is this correct? composition to be an artist one must have a sensi- more definite. If Measure 179 is not as 4. The last chord of the parenthesis before the F. tive, highly emotional temperament, smooth as the others it may be that you has a sharp in and To end in major seems to me more satis- the possession of such a ' are not using enough pedal. Try pedaling temperament sical 3 0i “'U fying than leaving it minor. What Is your means a nervous background \° system that is easily h*’ throughout this measure. opinion?—I. W. M. upset. Sometimes the person 3. This composition varies so much simply will always be a difference needs to control definite A. 1. There himself better, to Say thafc wouW that it is difficult to state a scold be terrMv J™> of opinion as to whether or not left hand himself if he fails, to resolve hl'T tempo. However, when it gets under way to hold on b 88) rolling chords should be started before, the next time. But often the C0 the speed should be about (M.M. J. = fear is due “SA' unLs ym P» beat. Some chords sound bet- to the fact that themnolt The tempo from presto con fuoco on is or on, the the artist does not know rolled before the beat, while his are right ter when music well enough. It is about (M.M. J = 120) . You not sufficient 68. others seem more pleasing starting on it. to know how it sounds. about the changes at Measures 36 and You must i,,, ““Positions, them musical feeling as finish to the right I would let my own be its form, its structure, well IT“ 4. (a) It applies only its “xtui^Tt y°U c ™' ^t advice and my guide in this matter. I think, in this every pomt. You 4 ciittaT f hand. must be aware so knows left hand B-flat sounds better “oone who edition of this piece, the case, the modulation, of each harmn® T (b) In my development and then submit to some with played with the right hand D. There are of the fine T'- them last four eighth notes are played f0r this: B-flat a anal^s. you the left hand passes two reasons for first, and D sr0rrst“a wfte me H the right hand, while ~ T composition® ™ when the are more harmonious than A and D; chestral over the right to play the final quarter score i « a 1 able thTy^V^ P eted> 1 sha11 Probably be to mu you in touch someone. 22 with .

HE AMERICAN MUSICAL PUBLIC is finally Music and Study awaking to the peculiar charm of the organ T as an instrument of entertainment. Man- agers there are who actually have dared to fea- ture artist organists; and, with the projection of these organ virtuosi into the concert arena, the magnificent works of Bach, Handel, Franck, and Lending a Lure to a host of modern master composers have become a living factor in the daily lives of those who add to the petition—“Give us this day our daily bread,” a further request for all forms of musical fare. Organ Concerts The way of these managers and the artists they handle is not, however, an easy road. People have accustomed themselves to hearing a reason- ably good organist at church, and the thought of paying from two to five dollars to hear a concert organist simply has not crossed the average r£eRoy V. Eranl: man’s mind. Yet it takes the same intensive training, the same expensive study, to master the A.A.G.O., A.T.C.L. organ that is required to become a great singer, violinist, or pianist. It is with the thought of helping those who desire a series of organ concerts that this article ways and herein felt is written. The means set forth plained that he that interest in concert or- the members felt that they had no individual theoretical, they have been actually ganists could be developed are not in his city, and boldly responsibility for the enterprise, financial or the San Jose Chapter, American if there were worked out by asked any of his organists who otherwise, they were perfectly willing to vote Guild of Organists, of which the writer is a mem- would be willing to play in San Jose for the col- “aye” at the indicated point in the proceedings ber. Each suggestion has been put through the lection, less five dollars. The manager was assured (not seeing, of course, that at a subsequent date test of experience and has been proved prac- that the San Jose Chapter would do everything in they would be called upon for more work and ticable. If it worked in one instance it can be its power to get out a large audience for each responsibility) made to work in others, with adaptations to guest artist, with accordingly large collections. To be sure that nothing untoward should hap- conditions. Apparently tenor of the letter appealed to pen, local the Mr. X had entire charge of all affairs ex- the manager for he wrote that he would co- cept ushering. Publicity, advertising, One Man With Vision printing, all operate, but that he would send only his very these he cared for, and the concerts were suc- The first requisite to institute and continue a best artists, not any second rate ones, and that cessful. Power Biggs, Winslow Cheney, Renee series organ concerts is artists. Nizan, of just one man or anyway he had no second rate A point Virgil Fox, Claire Coci, and others of like vision to believe of X’s plans, woman who has the that such a geography aided Mr. which is that magnificent caliber were heard. Mr. X tells that frankly series is possible. Let us acknowledge San Jose lies directly between the Pacific Coast’s the collections were disappointingly small at like other Francisco that the average organist, any average two largest cities, San and Los Angeles. times, and at others encouraging; because of professional person, has not too much vision and It is but an hour’s run, by machine, from San which he persisted in his labors to realize the is greatly absorbed in the task of ideal of hearing really great organ earning his own daily bread, but- music in his beloved home city. ter, and taxes. Unless he is prod- ded into an attitude of interest, The "Pay-Off" will not become concerned in he Such an arrangement could not, immediate cir- matters outside his of course, last for long. When Hence the necessity for the cle. Nizan—as great an artist in her person with vision and a driving field as Heifetz is in his—received initiative. a fee of less than fifty dollars, something had to be done. Meet Mr. X Hence, after some five years of strug- In our chapter of the guild is gling along with small collections, a member who, for the purposes Mr. X went to his guild chapter of this article, shall be Mr. X. with a proposition something like About eight years ago Mr. X con- this: ceived the idea that our city “If we are to continue our organ should hear great organ artists concerts we must do something- from time to time, and he set different. I have blushed for my- about bringing his belief into fact. self, for San Jose, and for our First he canvassed the situation chapter, when I have had to hand as to good organs, and discovered small collections to our artists; that the city boasts four instru- and I have blushed for the last ments on which all the standard time. There is no reason in the repertoire of organ compositions could be played. Francisco; and hence an organist with a free day world why we should not form some kind of an Three of these are in churches, one in the Scot- or two could easily stop between the two cities organ club and then have patrons and patron- tish Rite Temple, all fairly large three manual for a recital. esses for our events just like any other concert organs. Admission could not be charged in a The result of these negotiations being satis- series. We could build a small list from the peo- church; on the other hand the fee for the use factory, Mr. X. at last took his proposition to ple we know ourselves (our chapter numbers of the Scottish Rite Auditorium was too high for the Guild chapter. He had not consulted with fourteen members) and have enough money on immediate present; the so interest in organ re- the chapter before negotiation, feeling that if hand when the concert season opens to engage would have citals to grow before that added he had a workable and finished plan to lay be- two artists at least; we could be prepared to pay financial responsibility could be undertaken. fore the members he would have much greater them some kind of a reasonable fee.” And much accordingly arranged Mr. X with the vestry of chance of their interest. So it developed. When more to the same effect. leading churches that the one of the Guild might Naturally there were some skeptics among the there, paying five present artists dollars for light, fourteen members of the San Jose Chapter. There sexton service, with the privilege heat, and of are some in every group. But, as was said in the an offering to go to the Guild. He next receiving ORGAN opening paragraphs of this article, all that is *'*- our greatest manager of organists, ex- L- - •' necessary to put project contacted 1 a of this nature over jANUARY, 1941 23 Music and Study possible the church might be liable for taxes. Special Praise Services 8. Be Sure adequate reviews of the organ appear in the daily papers. is one man of vision, and X seemed to have that concerts B, Wl/HLn Keed vision. In any event, he met every argument 10.9. Be Sure you do not present some unknown against the proposition, and eventually there was artist just because his fee is low. One such HE DESIGN of holding a special service of born the “Friends of Organ Music”; for that venture almost ruined our project. praise periodically is commendable from Be Sure above all, that you do not give the title chosen for the list of patrons. All , T different points of view. Not only does it was up just because the going is tough! this, after many meetings of the Guild, and ***** vary the routine of the ordinary church service, enough discussion to fund the national debt. (As but it also affords the congregation an interest- an interested member of the Guild, this scribe With this alluring recital of grit and enterprise, ing and instructive experience whilst stimulating it would that there is almost no city too would say to any who contemplate the formation seem the enthusiasm of the choir, who find in it an small to have the inspiration that comes with of such an organization, “Do not let argument added source of attraction through the prepara- the visit of one of our highly endowed artists. sway you; only let it correct any mistake you tion of new music. may have made in thinking. Do not let apathy These services should not be held frequently. stop you, for those who are indifferent will of About four or five during the winter season, with possibly one during the summer, are usually course want to ride on the wagon after it is A New Hammond Creation set in motion. Is not that life”?) found sufficient; and they should not last longer THE SOLOVOX than an hour and twenty minutes, in summer The Fruits of Success even for a shorter time. The Solovox is a new instrument invented by Of course Mr. X realized that on his shoulders In arranging a special service the organist will the brilliant Laurens Hammond, creator of the would fall a large portion of the work of the do well to cooperate with his pastor, who will be Hammond Organ and the Novachord, and ex- first year of “Friends of Organ Music.” It will interested and willing to adapt his part of the pressly designed as a musical supplement to the be so in any similar organization. The originator service so as to be in conformity with the scheme piano. Operated entirely by electricity, the Solo- of the movement will be forced to do a large proposed. If a particular subject is chosen, every- vox is a three octave keyboard which is attached maintaining the desired thing should be in harmony with this idea. Only share of the work of fingers of one to the piano so that the hand can familiar impetus. But gradually, it has been observed, the hymns should be chosen, the congrega- easily span the two keyboards. Twelve control the club grew; and thus, with grati- tion being given a chance to share equally with interest in Solovox a six octave range as tablets give the the choir, and, fication, Mr. X saw that in the five or so years on occasion, singing the inter- well as an indefinite variety of tone colors, and had come to desire mediate stanzas of a hymn alternately with the of this venture, San Jose sustained capable of “swell”, being smooth, and choir. music; that, when it came to the The anthems should be of moderate length great organ so an effective contrast to the its tone colors make and difficulty. point of selling the patronages, lo! people were If a cantata or psalm setting "is percussive brilliance of the piano. A knee lever Mr. sold selected, it is advisable that it be divided so as ready and some even anxious to buy. X slim controls the volume, and a tone cabinet to form two anthems. one-third of the list, himself; as he reluctantly The organ accompaniment containing the electrical equipment is set along- should be hearty and admitted. “And I had only one turndown,” he inspiring, especially in the hymns. boasted. The needed guarantee was on hand The following within a short time; and another brief season of schemes will convey some idea of the organ music was assured. system on which such a special service is generally based. The “Friends of Organ Music” must still grow; They will be found to con- every stitute interesting and instructive it has not reached full development, for services that will draw attentive such movement there are loftier heights beyond. audiences. While not arbi- trary, they will be found But the technic of this assault, as worked out helpful. its re- ( 1 ) by Mr. X is so definitely correct that Opening Sentence by choir hearsal surely will help many who also desire communities. Hymn great organ music in their Anthem In closing, just a few “be sures”: influential Prayer, concluding with the 1. Be Sure to talk to the most Lord’s Prayer, either generally recited, people in the community, especially to or chanted by the choir those who care for music of any kind. in a church which Hymn 2. Be Sure to hold recitals Anthem is viewed as a community church. of that Vocal solo 3. Be Sure to “tie in” the minister do much to Anthem church. His sympathy will Hymn make a success of the venture. minister on Psalm chanted by choir 4. Be Sure to send cards to every Pastor’s Protestant Hymn the list of the local Anthem heads of Roman HAMMOND SOLOVOX Union, and also to the THE NEW Hymn Note the smaller second keyboard which is Churches. Vocal an ade- played with the right hand, and the ampliiier on Solo or concerted number 5. Be Sure the recitals are held on churches with the right end of the piano. Anthem quate organ. Ministers of Hymn small or freakish organs are frequently instru- side a vertical piano or underneath a grand piano. Closing Sentence by choir. unaware of the limitations of their The instrument is designed as a supplement to The scripture, prayer, and address (emphasiz- ments. The ultimate success of a concert the piano. The piano can be played exactly as ing at some point the history or value of venture depends on the artistic results, not music or his formerly as an individual instrument. When the in the church service) need to be comparatively on the feelings of any one minister, Solovox is used it is possible to simulate the short and distributed appropriately between mu- wishes as to when the concerts are held. in very sical of the string, woodwind and brass instruments a numbers. The text of all the music sung 6. Be Sure that at one of the concerts unusual and fascinating manner with the right should be printed on leaflets, for the use series the combined choirs of all churches of the hand, while the left hand supplies a piano ac- congregation, making the use of with a desire to aid, join in a group of hymn books companiment. For instance, an amazing imita- unnecessary. three or four anthems as a feature of the the tion of a saxophone solo can be effected on the program. It is a good plan to have Solovox, while the left hand accompaniment guest organist conduct, if possible, with a the impression of two distinct instruments local organist at the console. By this means gives being played. a great deal of interest can be aroused Do You Know? be the among the participating churches. Chords cannot played on Solovox, only That Michael Kelly, an Irish singer, one the single melodic line. The was 7. Be Sure that nothing on the Patron’s card instrument is put mtlmate fiends of upon the market at $190.00. Fritz Mozart? can be legally construed as an admission Reiner, Ferde That a barrel organ Grofe is still used for all services to the if it is to be held in a and many other musicians have praised concert, 5 BanSh church the instrument of Shelland of Suffolk, Eng- church; because if such construction be new highly. land?

24 THE ETUDE Music and Study

Bowing: Its Importance to the String Player

are in direct proportion to the amount of control exercised by the mind. To some extent this is true in every art and handicraft, for the aggregate WifticiM Ab. Revetfi muscular effort of the hand is employed to ma- JA, terialize the conceptions of the mind. Yet the problem of muscular training is greater in the playing of a stringed instrument than it is in real- VERY INSTRUMENTAL PERFORMER the average handicraft, simply because a sort that the evolution of izes, without doubt, of individualization of muscles becomes necessary. instrument, has depended E his particular In string playing this is a constant problem; upon a series of refinements—refinements not there are perpetual adjustments to be made with- only in the construction of the instrument itself, in the hand and arm, adaptations to changes but in the manner of playing it. Structural im- which are most important to the efficiency and instru- provements are present in each modern artistry of the whole. taught ment; playing refinements must be and Let us take for example the simple matter of passed on. In the string instruments one of the greatest refinements of their long history was the incep- tion and development of the science of bowing. Efficient, accurate and inspired handling of the bow is both the finest asset and most important part of the technical equipment of the string player. Yet the mastery of the bow is the most difficult problem in the routine of study for the string player. Even the novice has a vague idea that the correct method of holding and drawing the bow has direct bearing on the tonal effect obtained. No longer do we teach the beginner to “Take the bow in the right hand and draw it across the strings.” Beginning string classes are being taught very thoroughly the secrets of cor- rect bowing, and made to realize that bowing properly lies at the root of the artistic perform- ance achieved by our symphonic orchestras. Illustration above shows hand and arm position when The science of bowing may be approached from the bow is at tip. two angles. The term “bowing” may be used in two primary senses, best expressed by the two training of the player, his psychological tenden- Strichart. German words Bogenfuhrung and In cies, the physical peculiarities or attributes of his a general way, Bogenfuhrung deals with the ac- fingers, hand, and arm. tion of the bow on the strings, of the bowing The great masters of the 18th Century, Corelli actions of the player, of the complete mechanics and Vivaldi, were the first to recognize the pos- of bowing. Strichart refers to the particular man- sibilities of the art of bowing, and their successor, in which a phrase or passage of music is to the makers of his time ner Tartini, persuaded bow Note relaxed position of fingers on stick as well as the be executed, and the signs by which such a man- to improve the shape and elasticity of the bow forearm and the wrist. ner is usually indicated. In this discussion we itself. From the time of Tartini onward, a gradual shall consider primarily the first term; the second but continual improvement in bow design and across strings. To will be treated in a later article in this depart- construction took place. Finally the modern bow drawing the bow the produce tone, free from impurities, it is ment. was produced by the greatest of all bow makers, a singing not to follow the familiar rule of bowing The famous Belgian violin master, Hubert Tourte. The modern bow enabled the immortal enough in holding up his bow in his a direction parallel with the bridge. The produc- Leonard (la-oh-nahr) , Paganini to open a new era in the art and science tion of tone is upon an individ- right hand, often said: “Voila le maitre; les of bowing; he developed a new method of hold- a pure dependent ualized muscular activity so complex as to astound doigts de la main gauche ne sont gue ses servi- ing and moving the bow—so full of possibilities the uninitiate. Every finger joint of the right teurs!” (There is your master; the fingers of the that, by using unheard-of movements of his arm, hand is individually distinctly active through the left hand are but his servants.) No matter how he was able to produce all of the different shades and muscles that control it. wrist, forearm, well trained, how dexterous, how unfailingly of tone and expression which made him the great The upper and shoulder, through the sets of muscles obedient to the will these "servants” may be, or artist he was. arm how bewildering to the ear and fascinating to the controlling each, must contribute to the work eye, the technic of the fingers is lost without the An Elusive Formula of the hand at the right time and in the correct manner else the result is failure to obtain the finesse of bowing. What, then, makes bowing so difficult? What — desired perfect tone. One can judge that even More than any of the devices in performance is the formula for mastery of bowing technic? in the most simple musical composition for violin, technic—above fingering or phrasing—bowing af- One cannot give the inviolable formula, for it is there lies a need for complex and exacting muscu- fords the performer a real opportunity for self- tinged with the mysteries of genius, with psy- lar control, and the acquisition of this control expression. That is why no two string players bow chological attributes, with natural physical en- is no small achievement. precisely alike, and that accounts for the differ- dowments. The first necessity is the subduing of The problem of bowing becomes still more ences in the tone, feeling, and general musical the muscle by the mind; the results to be obtained in- volved when we consider the fact that the activi- effect noticeable among string players. Bowing ties of the arm must be synchronized becomes their distinguishing mark; it separates bow and coordinated with the movements of the left the master violinist or violoncellist from the mere hand. BAND and ORCHESTRA It requires no stretch of the imagination to technician. String tone has an individuality de- Edited by William D. Revelli know pendent upon a variety of factors, involving that, in turn, the activities of the left hand, the

JANUARY, 1941 2 *> —

Music and Study upon Illustration muscular movements which, under other and Suggestion than fingers, and the wrist, and the left arm must be keyboard conditions, we do unconsciously. I therefore subject to the complete control of the mind. When suggested that she here needed to use d^u ^Jdenrii (d. ^Jltami Lion her hand we add to this the fact that the conscious mind as if knocking on -a door, using the form of a double is taken up with the difficulties involved in the N THE ART of teaching, the power of illustra- knock or “rat-tat”—which is really nothing reading of the music, and attention to all of its tion ranks among things of first importance. but a form of the vibrato touch. I rapped on the side symbols, it becomes evident that the muscular I We who have spent many years with our of the piano—the double knock then used the adjustments of bow control must result from chosen subject; who, as it were, live, move and vibrato on the octave, ex- plaining, while I did automatic action. The complete adequacy of auto- have our being in music, are very apt to- forget so, the similarity of action. She made a fresh matic action can be established only through the viewpoint of others who do not have this attempt, and this time her hand made a clear cut carefully acquired habits, habits formed through background. To them, the tonal art is regarded rebound on the octave, with no tendency constant and unswerving application of the pow- from many different angles; some attitudes per- whatever to stall on the six- teenth note. ers of the individual player. haps crude, humorous or fanciful, yet often con- Another case, The physical adjustments which must be made taining the germ of an idea worth following up. very different, was that of an elderly lady, who, in her are difficult in that the player is faced with de- In other words, a pupil frequently fails to grasp sixties, had a desire to learn something about playing veloping the left hand at the same time as the the teacher’s viewpoint—at first—but the wise the piano. Her trouble, as may be expected, bow arm. The division of attention may place instructor will be on the lookout for anything lay in the coordina- tion of brain and fingers. habits at cross purposes with each other, and too which appeals to the uninitiated, and from that In even the most ele- mentary things, often wrong actions are developed in the in- draw his lesson. she would stop here and there, generally between dividual muscles involved. The correction of in- Sometimes, indeed, the pupil supplies the illus- measures, with a particularly long wait before correct tendencies must be accomplished inde- tration. A small boy had been playing in the five embarking on the next line. She was bright pendent of the other problems of string playing. finger position. The first deviation occurred in a enough, generally speaking, well in- formed on Muscular coordination and control must become descending passage, where, in going from F to D, current topics, and quick witted as the average person. second nature, automatically accurate. It is due the third finger was followed by the second. This But every little change in the music—be it to this confusion of requirements that the stu- being a departure from all previous experience, fingering, value of notes, black or white keys-spelled dent must give an important place to bowing in he had difficulty, partly in executing, but chiefly disaster every time she at- tempted to play. his program of study. It is desirable, in fact, that in remembering. Then an idea seemed to strike She would sit there, helpless, trying painfully the student acquire a certain amount of bow con- his childish brain; he recalled happy days be- to collect the scattered rem- nants of her trol even before the left hand is brought into striding a hobby horse, and in those two pudgy thoughts. play at all. fingers, one on each side of the undepressed E, he Many of the string players in our school orches- wooden charger. me a rofi saw himself bestriding his A TT u P cient pianist; the tras han s unfortunately show a sad lack of bow control, reminiscence overspread his face, ’ and her look of happy ? previous unfamiliar- and this is due to a failure to stress the solution mUS rred and he looked up with a cherubic smile. “Sure,” this ’ But 1 s™ ht>Ped she wn, w fl !f i of problems incident to correct bowing before straddle it!” And “straddle” “ P°SSibIe t0 he said, “I got to it a"? ^rasp enough of the having begun of left technics. subject to find some the study hand he did, without fail, every time. Later, he would pleasure from her efforts. find many instances where “straddling” would Several Principles of Bowing solve his problems. I have since used the illustra- Tone on the bowed instruments is produced by tion with other boys, who would seize upon the —"'-“wuu lu evei mnm o ,, , wna& a drawing movement of the bow across the idea with avidity. 65 £amiliar with fancy wor strings. Its perfection the in I dwelt ““I” ! — depends on manner Another instance was trying to explain the fa ’ t that f01 m and eat • ? fancy which a string is thereby made to vibrate. In of left hand measures to a girl of four- contributes ww , . time two ' ndisper>sable turn, finished in producing the perfect vibration is dependent upon the teen. The passage, nroduet* beauty, I tried to clei control, regularity, and freedom of the drawing that as snm make ' movement. This is true of every bowing style, not evidence^°where ^ 'visibleS1 e ^ beauC'T™ty is so alone of the sustained or cantabile strokes. Even is in miisio ;; concerned, We hear the patteI in the rebounding bowings, or resilient strokes rather than see it tTpointed“f* out anythir wherein the bow momentarily leaves the string played or

Music and Study

gian school of violinistic art, hav» little knowl- edge of the real traditional style of Vieuxtemps Back to Vieuxtemps —for his was an art, a style and a tradition quite by itself. Quite naturally, every great musician has his own individual and sometimes peculiar interpre- tations of those simple yet seemingly involved and elastic terms such as Moderato, Adagio, JSy. -1t'lLur ^JJcirtimaim Andante and so on. Brahms, for instance, had very definite ideas in regard to tempo indica- tions. Those heading the Third Movement of his “Third Sonata for Violin nous tous!” Likewise, Fritz Kreisler used the iden- and Piano” read: Un poco presto, e con sentimento, tical words, but in English: “Vieuxtemps was the yet the tempo is quite leisurely. This gorgeous work has Master of us all!” The writer, too, speaking pure- become so well known in the Brahmsian ly as violinist, has often exclaimed, with impa- understanding of un poco presto tience and vehemence, "Bend the knee when that, in large communities, if soloists play the you speak of Vieuxtemps!” last movement even a trifle too swiftly, they are quite likely to bring Some musicians have marked his music as protest from the critics. “dated”, and yet many compositions by such old To return to interpreters of Vieuxtemps, masters as Nardini, Corelli, Somis, Locatelli and two of our greatest violinists, of world even the various Bachs, appear on concert pro- renown, have aroused much discussion by their completely grams, although they contain much less of real dif- ferent expositions of the Scherzo musical and violinistic value than the concerti Movement of the “Fourth Concerto” by Vieuxtemps. One vir- and other works by Vieuxtemps. It is well to re- tuoso plays this scherzo at an extremely member that music of a certain type and epoch slow tempo, while the other takes it quite rapidly, often seems lifeless because of the poor inter- an interpretation which seems the more popular pretation it is given by performers either indif- of the two. Therefore, lest this rapid pace ferent to its dramatic meaning or ignorant of become the vogue among conscientious students of the composer’s style. In this matter, it seems that the violin, the writer, as a studious adorer Paganini and Vieuxtemps are the two most of Vieux- temps and his style, suggests sinned against. that the slower tempo be followed, since this was the composer’s And it is precisely this disregard of style which intention. the writer so earnestly deplores. Many of the In the final analysis, this is a younger generation are inclined to play every- humble and earnest plea for greater veneration of those thing at top speed, be it a minuet by Mozart, great masters who gave us our violinistic art and litera- Haydn or Beethoven, or the Scherzo movement in ture, and for more sincere and profound search Vieuxtemps’ “Concerto No. 4, in D minor, Op. 31.” for their revelations; for with thorough Moreover, they frequently change bows on a note and concentrated study, the depth of their meaning meant to be held almost indefinitely, and alter to will be revealed in full beauty to those worthy contemporary fingerings such places as Vieux- of sounding the mysteries of Art. temps intended to be played only by one finger HENRI VIEUXTEMPS the fourth, as it happens to be. There are many From a painting by A. Einsle such instances, both ascending and descending, in the Fourth and Fifth Concerti. Artists, who <4 T"}ACK TO BACH!’' was the modern com- uphold the fine traditions and dignity of playing Painless Violin rK poser’s cry, not long ago, a cry which now as perfected by the Franco-Belgian Method, must seems to have vanished into echoless constantly look with deepest regret upon the memory. To-day, the writer would like to make superficial “editing” of masterworks by many Playing a different appeal, a heartfelt and earnest plea moderns. for a “Back to Vieuxtemps (vyuh-tahn) Move- It was the credo of the older masters that the ment for Violinists.” left hand is the artisan and the right arm and for Beginners Much too long has Youth looked almost with wrist the art of violin mastery. And there is disdain upon the music of this great master. scarcely any problem in the art and highest Moreover, many teachers have failed to insist technic of bowing which cannot be found in upon each pupil’s becoming familiar with at least Vieuxtemps’ “Concerto No. 5, in A minor, Op. 37.” a few of this composer’s great concerti, seeming Moreover, as a composition, it could well be used to overlook what this knowledge would mean to as a model for the concerto form in one move- ijjmcin the student as player and interpreter. ment, from its masterly development of the motif Jk That Vieuxtemps is absolutely indispensable to to music of noble content, rich in fantasy and the violinist’s art and equipment, our great vir- of meaningful import. It may not be a concerto HERE IS NO REASON why a beginner on tuosos of to-day agree. It is as inconceivable to for popular taste, but it will richly repay pro- the violin should torture parents, teachers omit Vieuxtemps and Wieniawski (vyen-off'- found musical study over the many years re- Tand other fellow citizens. About thirty min- repertoire skee) from the violinist’s work and as quired to master the difficulties its interpretation utes of instruction in the fundamentals of posi- play it is to imagine a pianist unable to at least demands. tion and tone production are enough to start the some numbers by Chopin and Liszt. The ideal interpreter of Vieuxtemps was his beginner on the road to painless violin playing. Vieuxtemps was born at Verviers, Belgium, on most famous pupil, Ysaye (e-sah'-ee), whose My first pupil, a beginner at thirty-five, came Mustapha-lez- February 20th, 1820, and died in interpretations, incidentally, remain ineffaceable to me in 1924. He wanted to play violin for fun. 6th, 1881. In anticipation Alger, Algiers, on June in the memory of all who have heard them. It is His wife and three children did not object until of the centennial of his birth in 1920, I attempted perhaps quite understandable that the present he began to play. It was my job—in my second to start a movement to erect a monument to him generation, never having heard Ysaye and never term at high school—to make his fiddling painless in this country; others, of course, had been having studied the precepts of the Franco-Bel- to himself and his family. Many years of work erected long since in his native land. In answer with beginners of all ages, some of them school to a circular letter sent to prominent violinists of music supervisors, have formulated these proced- our time, it is interesting to recall that the ven- VIOLIN ures for rendering beginning fiddlers innocuous. wrote me a letter in French, in A sustained singing tone is erable Auer Edited by Robert Braine the first essential. which he said: “Vieuxtemps—c’etait le Maitre de No lectures on acoustics, physics of sound, or

JANUARY, 1941 27 T ™

Music and Study It is better to play a few things well than to ber of the family. When he begins practice, he plow through pages of music. The first lesson on must be in a mental state which will permit him theory have any effect on tone production. A good tone production need cover no more than the to think things out clearly. Practice should be tone depends directly on a good playing position. open A string. But it should include the funda- done early in the day, before the mind is clut- The violin and bow must be in fair shape; chin mental signs: up and down bow, loud and soft. tered up with all the pleasant or annoying events rest, bridge, finger board and bow hair must pass Smooth tone production, based upon good of the day. Morning practice is the best. Follow- inspection. In private teaching it is always pos- playing position, is the first requirement for pain- ing afternoon nap is also good. sible to have a repair to inspect, repair, and less violin playing. violin never man The has been an When a child begins practice, he must realize to replace any parts out of order. In school music easy instrument to play. It is made much more that he has undertaken a business obligation, teaching, inspection and improvement may be pleasant by intelligent instruction in the funda- and only the most urgent matter can take him more difficult. mentals of tone production. from his work. Tact must be used in sendhr; away his friends. To dismiss them gruffly Correct Accessories will only hurt his and their feelings. Try by con- Chin high. Nature rests should be an inch did The Problems of Practicing siderate gestures to impress his friends with the not build our necks for holding violins. The chin importance attached to his work. rest must come to the rescue—without a shoulder Parents often neglect their children after they Boole,. 3. Wash, qton pad. Strings should be in good condition; the have led them to practice. A little interest shown silver G, aluminum D and steel E are now gen- will go a long way in creating a better atmos- stablishing good habits of practice erally accepted. E string tuners, of course, must phere in the home. Lead the child to feel that be used. is one of the most intricate problems fac- the music lesson is his biggest job in life. Radio The position is important. The violin is held E ing parents, as regards their children’s must not interfere. A little cooperation by all between the chin collar bone, slightly above music work. Parents too often apply the force members and of the family will eliminate this the horizontal. The shoulder should not be system, and to no avail. The old adage, “You problem. hunched up; it does not hold the instrument. may lead a horse to the well, but you can’t make > me uiiuu The neck of the violin rests between the first him drink”, holds just as good in the problem students road is not easy. Self denial, tedious joint of practice. A child may be compelled to sit at work of the thumb and the forefinger-hand junc- at times, and many other problems tend tion. Fingers are rounded and relaxed in their the piano for forty-five minutes each day; but, to discourage him. Tide him over this period, position over the strings. if the seeking attitude is not developed in Johnny and when he is able to see results from his work is most excellently wasted. The bow is held between the fingers of the or Susie, the time he will thank you. Without systematic practice, right hand and the thumb, with the second or They may be made to go through the motions no one can make progress. Cooperation of the practicing, but they cannot be made to retain third joint of the forefinger pressing down. The of teacher, the parents, and the members knowledge or the motions. of the thumb should not be wedged into the frog. the ^ W1 ®’Ve ^le the added incentive to After five minutes of demonstration and talk, Children, as a whole, cannot see need for excel working how for a deferred advantage. Only the the beginner is ready to play. Let him play on the entS an Interestei talented can work hard without an i and a Helpful open A, two slow beats on each down and up bow. child that is Spirit,w» and7f,?rWatch Results. All the things that can The importance of a singing tone is explained. urge from the parents. working hard Play; and things will begin to happen. be said as to the value of his now These faults occur most frequently: The tone are too remote from his active mind. He must immediate result from his efforts. Rubinsteins squeaks because the bow is over the finger board. see an [Ipera Ruth” never needs to be The tone rasps because the bow is too close to the The would-be “Babe 1 tells a st01'y playing ball. He will earnestly about his master, bridge. To overcome and to prevent these faults, urged to practice uS®' m ' accIaimed to send the ball across the by the world demonstrate how tone can be produced in full swing a bat hoping as one nJ ih . ^ St P ‘anlsts of aU hits the ball, his efforts time, purity midway between field. If he successfully ferred1 erred to h t P«- only if the bow is kept to be known as a composer the be at will bring an immediate result. He will work bridge and finger board. The bow must e W producin harder to send the ball a little farther next time. S a new opera, he a proper tension and well rosined. promised ?he °rCheStral cannot be compared to the prac- P^'tormers a wonderful Show the pupil that one of the first requisites This, however, dtaner K the for a bow must tice of music, where the progress is not easily Pert0™- smooth, rich tone is that the anc^was ‘a failure, Tiowever^and travel straight role of felt by the child. up and down. Explain the he 461 practice without parent’s " h°me a',k Wmt to the bow and right forefinger in volume control. The child who can a tee Ton? he"" objective Practice should be entirely legato until a fine insisting is indeed fortunate. Our main children the seeking attitude. The tone is habitual. Bow changes at the tip are is to instill in attitude is easily felt by the child. Par- usually not difficult to make smoothly; changes parents’ •tsss:- cause a rebellious feel- at the frog often cause an abrupt break. Do not ents who often dominate attempt to show beginners the intricate finger, ing in the child. wrist and arm action which makes for smooth There are several ways to get better results of the best of these bow It is well, however, to from a child’s practice. One Of changes at the frog. Rubinsteins ‘test work out a schedule pointing out te' such wm'S^bu? treat the bow change as an interruption, if it is methods is to not say whether it dT the players got their obvious. Explain that singers do not take a the things that are expected from him each day. «nner things breath with every note. Try to develop, at the His various duties may include such as phrase and nuance. raising vegetables he likes, running errands, re- very beginning, a feeling for Illustration pairing a gate, and his practice. It is helpful to and Suggestion General Hints allow the child to place the periods where he ( Continued from the best results. Freedom Page 26 ) Motion pictures of violinists are invaluable. The thinks they will get il- of choice is something we all cherish; and, if pull out; how it Heifetz picture, “They Shall Have Music”, gathered speed by at once resent the degrees so lustrates bowing, position, and violin playing at deprived of this, we inter- Children, too, love their freedom; its best. It would be well to have this as a re- ference. and if the parent tends to act as a dictator and e quired movie for every would be fiddler. S gg Ve of them that they do their work, they 1UuStratl°n ten minute units, demands opeVa fl *ere Practice should be in five and Xr em thant c at once register resistance. Begin early to im- with rest periods alternating. No beginner can From material suggestions, their minds that the matter one marts' maintain good position for any length of time. press upon of prac- more of the thlnSs mind and spirit Ih into close ticing is a part of the day’s duties, just as the dwells And when a pianist Beginners often get the left palm on the heiehfs 4.\, and hands are washed and meals grips with the violin neck. This deadens the face eaten. If to be just 6 ^ 06350 they will start falling note^Ttomlt^Vmorfr0 difficult. Some players this is done, into regularity rectness. e than mere cor " sound and makes fingering In the nlavino- ^ practice periods. ’ have thumbitis, with thumbs sticking up from about the made gleat ai tiSts we are conscious 'that here like hitch hiker’s guild sign. Others The child’s practicing is made much more muslcians the violin a have, for the time ^ who difficult by the fear of annoying at feast have long, ugly, black nails which make rounded someone. Every material 3 the Tale ° f should have a time things; that* in the h° fingering impossible. Study of position and oft- child to practice even a are 6St Sense transmuting ' they essential. The blasting trombone—and this with absolutely suggestingtl0n l?® times a quick manicure may be no tion into ’ fancy and inspira- interference or caustic remarks from intprnrpf-oK1 nail file is useful in violin teaching. any mem- borderland T. 28 THE ETUDE Youth and Music

ning his future he was able to enter his chosen Musical Need field well prepared and with that most satis- What Is the factory feeling that he had been “on his own” rather than a subject of charity. Bill faced life’s conflict with assurance of his ability to meet any eventuality and without any expectation of someone’s coming forth to help of Youth To-day? him whenever he might falter. How many schol- arship students have the fortitude to face life’s battles after the weakening “baby food” nursing A VITAL SYMPOSIUM dispensed by the scholarship system? We all ad- mit that self-help is the surest and the most stimulating of roads to success. Why not strengthen our musical youth by providing op- hj cjCemmon portunities for them to “pull themselves up by Conducted Blanche their own bootstraps” as most great Americans have done? Let us face this problem with foresight, and Nationally known music educators, who have had experience ivith thou- make our Musical Youth self-reliant. sands of young people, give their candid opinions.—Editor’s Note MRS. VINCENT them and JOSEPH E. MADDY scholarship plan weakens HILLES OBER leads to believe the world will al- Professor of Music Education. University of Michigan, them President of the National Ann Arbor, Michigan ways look after them because of their Federation of Music Clubs For a happier world we need more and better ability to play musical notes. outstanding horn player music. This calls for better performers and com- John was an Modern Youth’s school, winning highest honors needs posers and better musical understanding on the in high musical are so school competitions. Upon part of the public. The musical Youth of to-day at music bound up with the offered a partial must receive better training in order to meet the graduation he was entire life needs of a university for playing people demand for better performances in the future. scholarship by young that Another college offered How are they to get this training? Scholarships in the band. one can hardly sep- greater inducements, so John arate them. Perhaps for those who need help, you say? But are schol- somewhat He found a arships really helpful, and do they always go to decided to shop around. youth’s first need is that offered him a full for valuation those who need help? Those who have had the music school a of which was too his widest experience in administering scholarship tuition scholarship, spiritual life as turn down, even though he affected by music in funds are becoming increasingly pessimistic over much to really wanted to study law and could the home, the the value of scholarships. In my opinion a free have managed either church and the scholarship becomes a greater the university or the school. The last in- handicap than a help to the college propositions, stitution is now sur- recipient, for it robs him of by which he could passing the other one of the most essential at- MRS. VINCENT HILLES OBER have earned his way two, musically. tributes of success, self-re- part by making Millions of dollars liance. in use of his musical ability. go into the formal education of our young people Scholarships Often John’s parents boasted in schools and colleges. How much attention are Unappreciated about town that John had we giving to these young people in their so- full and called leisure hours? What about the library This “something for noth- won a scholarship, shelves at home and in public institutions? There ing” game has never worked John entered the music school, has been for several years a plea for the return successfully anywhere. In this changing his life plans be- cause of the free scholarship of music to the home, which should have been world we get out of life just offer. After two years in music heeded in a whole-hearted American way. Home what we put into it, and we mistake, libraries and publicly supported institutions value our acquisitions at just school he realized his dropped his course should contain records of great symphonies and what they cost us. Of nearly music and entered the having operas, as well as books, so that music always two hundred students who university, — a necessary and vital tonic—might influence have attended the National wasted two of the most valu- every young person’s life in leisure hours. Music Camp on scholarships, able years of his life. Instead Let of being grateful for the music him listen to the world’s best and then emulate only one has repaid the donor it in performance. scholarships while one school scholarship, John his own of the JOSEPH E. MADDY DR. blamed the school for divert- We rightly boast of our symphony orchestras other has passed on the op- in ing life’s ambitions. the United States, whose quality and portunity by himself provid- his No one budgets Students gained by the transaction in any way at all. surpass those of other nations. Our schools ing a scholarship to a needy student. have accepted their responsibility in this who benefit most from an education are those field, until The Student Loan Fund have school orchestras who work their way, either during their course now we competing in high caliber with professionals. But how about or before and after. Bill was a very good violinist in school the in- Practically every scholarship student would but, not being of value to a college band, he re- between time when young people are not mem- bers either of school or professional resent being called a “charity student” but every ceived no scholarship offers. He learned that adult could bor- orchestras? Every city and town of the scholarship student is exactly that, for someone through a scholarship loan fund he United row to acquire music education which States should have a young people’s orchestra. has to pay for what he gets for nothing. enough a prevailing might equip him for teaching as well as for pro- We are adequately caring for our young I should like to see an end to the peo- ple’s musical life in the cities’ public schools, practice of giving scholarships outright and in fessional work. He would pay no interest on this but scholarship loan loan for four years, then interest at a low rate what of that great group in the rural areas to its place a carefully thought-out whom we must look for the assumption system whereby talented and ambitious young which would increase from year to year. He of a great part of the responsibility in our musicians might, by mortgaging a portion of could repay the loan in small payments begin- national their ning one year after graduation. life? No state should boast which does not super- their future income, attend the school of Bill studied catalogs, then selected the school vise the musical education of its rural as well choice in a spirit of independence and self- as stu- that offered the type of instruction he believed its urban children. respect. Such a plan would straighten the wanted. By choosing his own school and plan- Youth’s musical needs (Continued on Page 60) dents morally, while the “something for nothing” he VARY. 1941 29 f AN Music and Study 7, culminating on G, the fifth eighth-note in the measure, before declining. These crescendos are necessary to give grace to the phras- ing.

On the third beat of Measure 8, in the treble, 'i 1 /ltt . ter cjHeiion the group of seven thirty-second notes must be played in somewhat slower tempo than what has ’ gone before and continue thus until the chord on on the second beat of Measure 11 is reached. Here the original tempo should be resumed. After re- peating the first part of the Minuet, we arrive at Measure 13, where a complementary theme, in running Minuet m D Major of Mozart eighth-note figures, starts in the right hand. This must be performed very legato with singing tone, remembering to support the melody by the accompanying quarter notes in the left hand in a well sustained manner. In Measure 13, there should be a crescendo up to the third beat, and then rn a sudden piano on the first beat of il'/ Wad Mea bo Measure 14. A similar crescendo occurs in Measure 15, with sudden piano on the first beat of Measure l 6 ; the same procedure is adopted in Measures 17 hat gracious dance, Our version is for the and 18. At Measure 19, the tempo should be re- the stately minuet, comes pianoforte and opens with a tarded slightly, with little accents on the A eighth Tfrom olden France, and charming eighth-note fig- no es on each beat in the right hand, as also on is supposed to have been per- ure in the right hand, which the quarter notes in the bass, thus imparting a formed first in the town of should be played rather ly ee1 ®„® £ to this close of phrase which ends Poitou. Some, however, believe slowly, but not slowly n the first^beat of Measure 28. This, too, should that the early French com- enough to lose the lilt of be accented. poser, Lully, created this dig- the rhythm. The groups of episodes in Measures 21, 22, nified and graceful measure. eighth notes must be di- must have ... tone crescendos as marked, vided very distinctly into Be this as it may, the name 16 fln al one in pairs and the whole Measure 23 should be “minuet” actually is derived ; theme, Si?h6aVlly Wlth a sl ight ritardando. To facili- from the French up to the beginning of Meas- tate n f word “menu”, performance, 1 take the ure 8 must be performed al- C-natural-written signifying small, and refers to m the eft hand elegance, P al't, "" the first beat the little short steps which most with the tone ol Mea\nl 21v, i mth the ri ght hand, in octave characterize the dance. nuances being suavely and with the n ' Written delicately indicated. wfth in treble. 1 d° the The minuet consisted origi- Tame d6 flat ?~ written tor the left hand. nally of two phrases of eight As a matter of conven- on the fir t H ‘ ° f Measure 22 ience, I have ’ a« d with the A measures, in three-four time, marked the in the ar posltIon in Measure 23 each of repeated. partial measure at the be- nn ,1 , which was beat °f ginning of the piece Measure 24, the original The movement sometimes be- as theme^„™‘ enCes with the same broadening of gan the Measure 0. The first pair of the eighth T on the third beat of “ °n tWs beat - as eighth notes on the last of the n at beginning measure, but more often on We “ a t0 beat of this Measure give more emphasis to the the first, and the tempo was 0 oncomintr fh » WOLFGANG AMADEUS MOZART should start with the Pairs of eighth notes always moderate. a little must” e weil' Zoe neti ln rhythm, hesitation, before proceed- be fi and a crescendo Soon we find a further de- made im t le acce pair of eighth notes on the «ted A, on the first beat velopment of the minuet, wherein a second move- ing to the next first Ofof Measure *i 28. On the iConttnud on ment was added, which was usually written in beat of Measure 1. Page 63) to three-part harmony from whence it derived the From Measure 1 name of Trio. This name has continued even up Measure 4, the eighth in to the present time, although the rule that the notes must be played music should be in three-part harmony has long strict tempo; but the since been abandoned. last three eighths in During the eighteenth century, and especially Measure 4, in the treble, in the works of Bach and Handel, the minuet namely A-sharp, B, and be became a movement of a suite. Haydn, although A-natural, should he retained the old form of minuet, made great held back a little with to the changes in its character; quickening the tempo a crescendo up diminu- and giving it a new gaiety and humor, instead of B, and then again, before re- its former stateliness. endo Mozart likewise preserved the minuet form but turning to tempo in the beginning of Measure 5. again he changed its spirit. A kind of tender should elegance characterizes his minuets, and the gaiety This minuet begin piano crescendo and joyfulness which were typical of Haydn are , and arrive at absent from Mozart’s music in this genre. It gradually, mezzoforte at the com- may be interesting to note here that minuets mencement of Measure are to be found in the early works of Beet- after which the tonal hoven, although he later transformed the 3, volume should dimin- minuet form into that of scherzo, which has to reach piano since practically replaced the older style of ish, beginning movement. again at the Measure 7. But in ad- The Minuet in D major of Mozart, to be studied of world, dition to the little rise now in detail, is a favorite with the musical already and has been adapted for almost every form of in tone men- tioned, on the last three solo instrument. It has the extreme merit of being In the last year THE HANI> graceful, melodious, precise, and not very difficult, eighth notes of Measure of his^hor? Ufe’of'thS OEGJW JkZ 8 S a ol° ' all music there should be a ,‘ «*» Dances. which fully accounts for its success with 4, , l tad organ This a set of Four d < y”Ph°” C1" J!" Shows Edwin rise r b of 1)0 R - Fleisher's famous similar in Measure work.wort Wo?' ‘.lf players lovers. Nolo the organ grinder 2 0 d the and the monkey. “ indents, broadcasting iTIf"The conductor is William F. Happich. THE ETUDE CLASSIC AND CONTEMPORARY SELECTIONS MINUET from DIVERTIMENTO IN D Mozartb incomparable little masterpiece, as presented by Mark Hambourg, was written in war-time England under great difficulties. Still, the peace of this delightful composition is a harbinger of the future. .Grade 3-4 The whole piece must be played elegantly, and rather slowly without losing the feeling of the rhythm.

JANUARY 1941 31 r r

Si THU BTVPfi SINGING WAVELETS excellent for the development of flowing legato between the hands. Grade 3 Thiq id a t hnvouffh Jv practical teaching piece, ECHOES OF VIENNA Nostalgic as are any reminders of the gay and aJJuring waJtz rhythms of the city of Strauss, Lanner, and MiJJocker, waltzes of this kind, are precious in preserving memories of the Vienna that was. AJ though written by an American composer, this waJtz is characteristic of the' bright Jy Jighted Prater, the busy Graben, and the stateJy Sclioenbrunn. Grade 3±.

Copyright 1940 by Theodore Presser Co. 36 British Copyright secured THE ETUJ)S WALTZ IN A FLAT FOR LEFT HAND ALONE One -would hardly realize that Brahms’ ever popular waltz could be ingeniously turned into a piece for the left hand alone. Of course, as in all such com- adroit use of pedal. Grade positions, the trick in performance.is in the the 4. JOHANNES BRAHMS, Op. 39, No. 15 Arr.by Sara. Scott Woods Teneramente e grazioso m.m.J=H6

: J5 i j it 1 e; m p dolce m5 (poco slent.)

5 4 5 4

te i B 1 2 4 4 m iliifi iUfl ^ LQ a (H 5 4 5 4 r

ETUDE Mr. Guy Maier’s reference in another part of this issue to the“Technic of the Month”explains the introduction here of a new monthly feature. The lit-

TS.B STOPS VOCAL AND INSTRUMENTAL COMPOSITIONS Robin A.Walker WE THANK THEE, GOD! IRVING D. BARTLEY Andante

tree .and flowr; Thanks for the joy fer - tile fields, for hill and which we may glean fro

7 yr P TptAsr ’ G ’'rT =r=~~ "H l 1 y v -i J j) \ J — '-7 J- i 7 Jt- 1 J } A— - y \>o g J i=F==^====d

for the tumn leaves ’ry pass-ing hour, And that blow That spread, with gold, AT

^ ? ’tEf n? ’H r p cresc.

, _fi V jv 1TTA 7 J J ,,

yon - del- hill, For these vis - tas gay from we thank And Th ee, God!

Copyright 1940 by Theodore Presser Co. British Copyright secure3 40 THE ETUDE hope is burn-ing high, And for the peace which dwells thro’-out The sea, the earth and sky.

Thanks for the host of friends who smile And greet with friend- nod. There Jy are so man - y, man - y_ things_For

ten.

all we thank Thee, God! There are so man - y, man - y things_For all we thank Thee God!

(Sw. Full to Reeds Prepare

MANUALS'

Copyright 1940 by Theodore Presser Co. British Copyright secured JANUARY 1941 41

ARIA DOMENICO ZIPOLI AIRS FROM SCOTLAND SECONDO

Copyright by Theodore Presser Co. 1940 British Copyright secured THE ETUDE AIRS FROM SCOTLAND

JANUARY 1941 45 SECONDO

Con spirito

46 THE STEPS PRIMO

JANUARY 1941 47 DELIGHTFUL PIECES FOR YOUNG PLAYERS

Grade 1^ SWALLOWS*IN FLIGHT

Moderato m. m. J =96 LOUISE E. STAIRS SCARECROWS’ FROLIC BERNIECE ROSE COPELAND

THE SONG OF THE KITCHEN CLOCK Alice C. D. Riley JESSIE L. GAYNOR

Copyright MCMXXIII by The John Church Company International Copyright JANUARY 1941 49 HELLO! Olive Hall IS THIS THE WEATHER MAN? Grade H VOCAL OR INSTRUMENTAL

the etuhS The Technic of the Month

Conducted by

,„•» ftad ° Mode! 590 'h °' of '0"» unobsff° cf et^ , «>• rifle of of Czerny— The Pianist’s Did Testament ochieveoreot

Carl Czerny (Char'-ne) is one hun- or to that extraordinary volume, the dred and fifty years young next month “School for Legato and Staccato, Op. (bom February 1791). Quite a husky 335”—so little known to students to- young chap, isn’t he? His celebrated day? And what good music most of it is! etudes have passed the century mark, Yes, so long as the piano survives, yet they are still with us, more fresh, these volumes, with the “Forty Daily 849” vital and useful than the day they were Studies, Op. 337”, the “Op. (used born. to introduce the "Velocity Studies, Op. 299") “Op. 718" (for moderately diffi- Formerly the bete noir of piano stu- , cult left work) "Op. 636” (as prep- dents, Czemy is now universally re- hand , for 740”) the Toccata, Op. spected and admired. Every year brings aration “Op. , more converts to his “Schools” of Vir- 92, will comprise the pianist’s Old Testa- tuosity, Velocity and Finger Dexterity. If ment. They are the true books of Key- both his music and his technical tenets board Law, the major and minor were not so sound he would long since prophets of technic. No other “pure” have gone the way of all pedagogs. etudes are necessary; for if you are can- and choose carefully you will find in Today he is younger, stronger than ny streamlined course of every- ever. Blessed be the name of Czerny. Czerny a In the preface to his “School of the thing necessary to master pianistic dif- Virtuoso, Op. 365", Carl Czerny says: ficulties. prefer their Czerny “In every art, perfect control is the first For those who I requisite. Only through the most com- etudes selected for them, recommend vol- plete mastery of his technical medium of course the three popular, graded “Czerny- can the performer apply the beauties of umes by Liebling known as Hutcheson’s style and expression to simple, singable Liebling”; or Ernest ad- “Studies for music as well as more intricate compo- mirably chosen and edited sitions.” Then he adds, surprisingly the Development of Velocity” (Book I) of enough, “This control is neither hard or his “Studies for the Development Liebling nor irksome to acquire, but actually Dexterity” (Book II). Both and THE RUDOLPH WURLITZER COMPANY, DE KALB, ILL. pains in selecting easy!” He even guarantees results if an Hutcheson have taken equalize the development of hour a day is spent on the exercises. etudes to These must be repeated many times, the hands—a matter of serious consid- the amount of repetitions left to the eration in Czerny, whose one fault is an discretion of each student. Upon which, overbalance of right hand studies. Beginning this month, The Etude of- he blithely assigns the exact number of A RE you, like millions fers a series of “Technic of the Month” repeats for each of the formidable ex- ** of others, tired of lis- in music section ercises—anywhere from six to thirty studies printed the tening to the theories of on page 38. These will be kept in the times, enough to exhaust a professional better living? . . . Do you strong man! A touch of unconscious “moderately difficult” category, and for demand KNOWLEDGE humor—doubtless the typesetter’s error the present will often be taken from of the actual methods by —is added in one of the exercises where Czerny’s “School of Legato and Stac- which you can rise, master, things in the long-suffering student is exhorted cato”, astonishing for its variety and and create the life you wish? to “play each repeat 300 times,”—which usefulness. Why choose “Op. 335?” The Sealed Book would make 3,600 repeats for the two studies are short, concentrated, little Write (or the free tells how you may receive known, that pages. Figure that one out for yourself! not hard, interesting to practice a sensible Secret Method of (You’re right; it would take fifteen and to play. mind influence for study . . . used by thousands. Address: hours.) To launch the series, we are present- Scribe L. C. S. Right here you have the fallacy of ing the lovely Etude in A-flat, which you The ROSICRUCIANS that old-fashioned technical drill. Re- will note, does not bristle with the usual San Jose (AMORC) Californio peat until your mind is a blank, repeat prickly Czerny problems. Instead, it until you are knocked musically uncon- moves blandly on its way with loosely scious, repeat yourself into a state of intertwining thumbs, like friends arm in physical exhaustion. And then repeat arm out for a saunter. Free, relaxed riAnu ml it some more! Only the strongest and most thumbs, are not hard to acquire, if you insensitive ever survive such treatment. will remember that the origin of the only SI. OO Your thumb’s control is in the elbow; if you tmnsnortlmr chart. Now satlsfaciliin You start out at the delicate age of five, assured or MONEY BACK. Mall S 1 .110 bill TODAY feel your elbow-tip floating lightly, sus- practice hours a day for years and years, HOLLYWOOD SCHOOL OF POPULAR pending your arms like paint brushes MUSIC then if your brain and muscles and “School of the Film Stars" (23rd Successful Yr.) over the keyboard, you will enjoy the 6342 Sunset Blvd. Hollywood, money hold out, you become a tolerably Calif. thumb freedom which this study aims good pianist. the great to give. But, even if we clash with PIANO playing Each turn or embellislunent is to be 4# Yf pedagog’s practice methods, preferring SWING New instruction hook, with Homo Study directions. It teaches you quickly, cheaiily, intelligent, played as written—lightly and swiftly easily fewer repetitions and a more to harmonize tunos with professional bass and breaks must admit before the principal note. Send in,slot for Ira Iolder . Special offer to t.aehers thoughtful approach, we AXEL CHRISTENSEN, 782 KIMBALL HALL, CH ICAG expres- 0. that the material he offers is superb. In order to play the etudes as Who else could have encompassed such sively as possible, use damper and soft a tremendous task with the mastery pedals freely. PIANO TUNING »tuh> TAUGHT of The second study presented in this new which Czerny shows in this “School to pianists and other musicians is the in major. No. the Virtuoso”—a volume recommended department Etude G School officially approved by Slcinwny & Sons, W. W. Kimball Co., Baldwin Co., etc. without reserve to all serious piano 16. This is a good exercise in various Write for information students? Whose contribution to technic chord clusters. Memorize it at once, Dr. William Braid White, Principal can hold a candle to Op. 740. the in- measure by measure, and play it slowly School of Pianoforte Technology comparable “Art of Finger Dexterity”, ( Continued on Page 72) 5149 AGATITE AVE., CHICAGO

JANUARY, 1941 51 ^

all. is like He not others who, as soon master singer who first found song For Music is an art we feel and Success Can Be Won as acclaim reaches them, refuse con- in the choir loft! hear, rather than see. And who shall sideration to those who ask for audi- Without Money Puccini’s poot-che'-ne) interest in deny that in lifting vibrant voices ences. Although he is constantly be- music was not awakened in early in praise and gratitude to their Cre- ( Continued from Page 10) sieged, even after tiring rehearsals or years but later he became equally ator, young master singers through- qualified, for I do not believe that recording sessions, Mr. Thomas is proficient on the piano and organ, out the ages have tapped the real the majority of translations from thoughtful and courteous to every- his teachers and likewise were organ- source of all that is true true other languages into English are suc- beauty, one. He examines the manuscripts ists. He himself became organist of harmony, true song? cessful. They lack the flowing rhyth- sent to him, often spends long after- a church in Muligliano and later was mic cadence of the original. Next to noons hearing composers play their appointed organist at San Pietro in English, my personal preference is new songs and listening to young Somaldi. Singers Must Learn to French, of which the Theatre Royal singers. He tries never to curry favor A too unfamiliar composer to most de la Monnaie and two elderly sisters by flattery, but always gives honest of us is Henry Purcell, who is actu- Recite who had a system of teaching advice and good suggestions. If it is ally among the really great com- ( Continued from Page 21) French phonetically gave me a his feeling that the newcomer is posers, and who invented many of both the tonality of the music and thorough understanding and affec- wasting time hoping for an artistic the things for which Handel and the mood of the words to come. With- tion. career, he frankly says so. When a Bach are given credit. Purcell was out singing, recite the poem several “Incidentally, audiences are not so artist real talent, loses the of P. young has he son Henry Purcell, Gentle- times as the accompanist plays. temperamental as many people sup- no time in offering encouragement. man of the Chapel Royal, and Master Now you are ready to sing. Forget pose. They react in the same way He meets sincerity with sincerity.* of the Choristers at the Westminster voice, as voice. This is not vocal- all over the world. Their apprecia- It is this sincere, generous spirit Abbey. He studied under Cooke and izing now. You are interpreting a tion or lack of appreciation depends personal Humfrey, and Dr. which, along with his fine Blow, and became poem. Words, melody and accom- entirely upon the artist. If they are achievement in art, has done much organist of Westminster Abbey in paniment, all blend and support one cold at the beginning of a recital, to convince observers that he is in- 1680, when he was twenty-two years another to create one harmonious it means they are eager to be shown deed a great person as well as a old. And so, England’s greatest mu- impression. Stage manner and facial what the artist can do. It is then up sician was cradled great artist. in the choir loft expression contribute toward it. to the performer to show them and, Franz Schubert’s first teacher was Try this method on your next song. by the very force of his artistry the choirmaster, Holzer, who See taught how much more effective your make them want to applaud. The him singing, piano, organ and work becomes. than artist superior attitude You can be more who takes a A Cradle of Composers thorough bass. At ten years of a age vocalist. You can artist. toward his audience is foolish. It is little Franz became be an first soprano in ( Continued from Page 19) best to be a musician of and for the the church choir. arithmetic. Furthermore, from people to whom one sings and to and Air build programs which appeal to Finsterbusch and Gegenbauer he re- ^umposers Waves and Music everyone, not to musicians' alone. Al- ceived instruction in singing, violin, The great Russian ( Continued 14) composers „ e from Page harpsichord. Harmony and coun- may be sure, were been though some artists appear on the and one and all mem- in the back of his mind for a concert stage only to instruct the terpoint he was supposed to study bers of the traditional number choirs of their of years, but it was not until public, feeling is education Reutter (roi'-ter), who, how- country. Singing has recently my that with been their real that he decided to quit trouble himself very joy and indoor for education’s sake is unwise. There ever, did not recreation for cen Hollywood and do what he alwavs the boy. In spite of this, turies. Peter Ilyitch should always be a certain amount much about Tschaikowskv wanted to do. of entertainment value in every pub- at the age of thirteen, Haydn was during the tender formative The years New Friends of Music con- lic the artist write his first mass. In 1748 between the ages of appearance. It enables able to fifteen and cert series (heard Sunday afternoons to reach a larger public. (he was sixteen at this time) his twenty, sang in the chorus trom of the 6:05 to 7 P.M., EST—NBC-Blue “The a voice changed, and he gave up the School for Jurisprudence most important part of in Petrn network) will present programs Ital- four singer’s career is his accompanist. choir for further study—opera, grad, under “the renowned uring Loma- January. From Carnegie Hall He must be a fine musician; an ex- ian, and other subjects. Thus were “ New York City on January 5th. cellent pianist able to read and to spent the first years of the man who The immeasurable value the „ of choir New Friends Orchestra, directed transpose at sight; a clever, percep- was to write “The Creation” and singing to the music student was tz stiedr will play Ravel's compositions in all forms. brought home to "if* fR y. tive person who is capable of select- countless me during mv Mother Goose Christoph lesson in Suite”; Hindemith’s ing good songs, who is flexible in his Another boy chorister, composition with the i t Chamber Music Or- was sent Homer Norris, for Piano and playing and manner, who is amiable Willibald Ritter von Gluck, organist of cnestra", St. Georee with Egon Petri as soloist; and six years to the Jesuit College at Church in New York City. who does not throw tempera- for After look una Brahms’ major. Bohemia, where he mg over several Serenade in A mental fits before each concert, Komotau in of mv e ’ e naxt 1 three programs, broadcast the violin, harpsi- songs and small r although he, as is the artist he ac- learned to play orchestral scoref m Town Gordon was also a ha ^ Hall, feature the what chord and organ. He d learned ’ companies, must necessarily be this w nng Quartet, Schna- St. Ignaz, I told him that Karl Ulrich is termed excited, nervous or ‘keyed chorister in the Church of I had not and further his with anyone, ^^d Helen Fogel (on January up’ at such a time in order to give and in later years, to but had asked ; the ~“Y New World Trio and Paul a Carroll Hol- studies, he sang and played in vari- questions from time to good performance. time mi l'l and^Hhad 1 f on and sung all my life U, f; January 19th) ; lister, my present accompanist, who ous churches of Prague. i n an the Episcopal Ch Quartet Mack Har- was brought up choir. l-eii K and came to me from artists like Elena Felix Mendelssohn oaritone was the “That's all I ( a Metropolitan Audi- Gerhardt, Anna Case, Mischa Elman in a family to whom music want to tirm know n Wlnner) 26th). the arts; hence the boy exclaimed. “You have he (on January and others, has a lot to live up to, greatest of had the The ° Bram breathed music from est possible teacher, J? °f the 12th will present but he does it very well. fairly lived and the the XifT'° t perfor Ses- day of his birth. It is interesting you have heard harmony r sim,.. mance of Roger “Nowadays advertisements advise the all new “ the change of his you, melody, ™°"nd strinS Quartet”; as well the young singer to go to one teach- to note that, after counterpoint as Deh in ther y s two for voice to tenor in his sixteenth year, words, the 'grammar Blanc et Noir (for er for voice production, another of mus?,,. Plane., favorite member it would be and ° and Schubert’s Forel- technic, and so he still remained a as impossible ’ fen V “Die microphone or radio for UIntet 19th Singakademie which he had make a mistake in ’ °p - U4.” On the difference of the wm he , on. Actually there is no harmony 1 as an alto. Proving, grammar of Vthe rd Ravel's “Trio"; Hinde- matter entered, in 1819, music, it- , )n?. in technic for the singer, no as W° mith’s to uW ba Vl0la and If he too, that he was a singer, and a say, 'I ain't done » Sonata— 1939”; what he employs. if Sch U bpvt. ‘' medium Tri0 auto- favorite of the local men’s chorus. Norris was quite in B-flat, Op. 99. knows how to sing, he should right a t i„ . And on ‘A gift of part writing was principle. For W 26 the wlU sing well in His great in the ’ pr°Sram matically be able to chiir loft l compose FfT? to its height in “The Elijah.” many voices, g lk Brl d£e's “Quartet m concert, radio, opera, films. The basic brought and the singer G minm-f hoeC ‘ ° ’ Robert Schumann took his first accustomed to mes a Broup of Schubert thing is the most important.” counterpoint t songs- vigorous music lessons from the organist of the less modulation. end' C Ubert “Quintet B» Typically American in his Immersed as h major On raf,f ex- Marienkirche, Kuntzsch. He began to music, harmony to ls in ^ i-Oo. speech, with contemporary slang him is o f Alfrprt compose as a boy of seven, and in his language, easily, Wallenstein’s “Symphonic pressions utilized to enrich and give clearly underT*" Strings” eleventh year he was writing choral instead of an eCei ly switched from color idea he expresses, alien T * over to whatever tongue t0 uesdavs ^ and orchestral works. Yet another studied in later be -8 to John Charles Thomas is generous to years. 8:30 P B E^aye (Mutual Thls remains one tew-'ntl 52 nued on Page- 66) THE ETUDE , 5 ?

Vdice Ouestidns The ICQMIAIL Iniiuered Lit Has Met Every DR. NICHOLAS DOUTY Requirement Of

The Nation s No question will be answered in THE ETUDE unless accompanied by the full name ana address of the inquirer. Only initials, or pseudonym given, will be published. Leading Schools

Range of Various Voices it is a noble voice, extremely masculine and Of Music For Q. Will you please HU vie what in the expressive. The late Pol Plancon was one of The range includes range for soprano, mezzosoprano, contralto the greatest of this type. Several Generations alto, baritone and bass?—A. Is'. Ex.

A. It is quite impossible to indicate accu- to rately the range of each type of voice. Indi- vidual differences occur and must be taken into consideration. Please remember this fact In reading my answers to your questions. with a note or two added in exceptional 1. There are at least three types of so- voices. American Conservatory of Music University of Michigan prano voice, coloratura, lyric and dramatic. Chicago, III. Ann Arbor, Mich. Perhaps Lily Pons may be taken as an out- The Great Baritone Battlstini coloratura type, standing example of the Q. 1. Was the baritone of a few years Detroit Conservatory of Music Stephens College although there are many others. The prac- ago, Battlstini, considered a great .singer? Detroit, Mich. Columbia, Mo. tical range of this type of voice is between Did hr hare a good range Middle C and F above the so-called High C. 3. Is A natural an unusual note for a Birmingham Conservatory of Music Ward-Belmont College Grace 2. The lyric soprano voice, of which baritone?— II. M. B. Birmingham, Ala. Nashville, Tenn. Moore may be taken as a type, is less de- pendent upon the runs, trills and fiorituri A. By those who knew and had heard Academy of the Holy Cross Duke University so dear to the coloratura. Her singing must him, Battlstini was thought to be about the Washington, D. C. Durham, N. C. be more legato, more expressive. The range finest living example of the old Italian style to is about from of singing, called Bel Canto. We have heard and hundreds of others from coast coast most of the great baritones of the present Kimball dealers throughout the country cordially invite the music teacher Ex. 1 era, but it was not our good fortune to hear Battistini We have talked with several and professional musician to see and play the new 1941 line of Kimball singers and musicians, who were familiar Grand, Upright, Vertical and Console Pianos. In tone, scale, action and with his work, and they all agreed that his design they represent the last word in modern piano building. voice was of beautiful quality, his breath although she seldom needs to sing above the control amazing, and the ease of his pro- remarkable. He had the great good high C. duction W. IC0MBALL CO. undertake roles unfitted to his W. 3. The very rare voice called dramatic so- sense never to therefore he never over prano. of which typo Madame Flagstad may individual style, and Kimball Hall Established 1857 Chicago remained beautiful be noted, is more powerful, rounder, fuller tired his voice, which over his and more noble in sound. Its range is quite and well controlled until well s'.milar to that of the lyric soprano with a seventieth year. The range of his voice was few notes added to the bottom of the voice long, and he phrased in fine musiclanly and perhaps one taken away from the top. fashion. 4. The mezzosoprano’s range may usually 2. The high A is quite unusual for a be found by taking a note or two from the baritone, although some of the first rank top range of the dramatic soprano and add- baritones possess it. If it is strong, vibrant ing a note or two at the bottom. It is a full, and unstrained, it is a wonderful asset. round voice of lovely quality. THE NEW-YORK HISTORICAL SOCIETY 5. In modern times the words alto and Is It Possible to Overcome Tenseness? contralto are often used interchangeably. Q. I am a dramatic soprano of thirty two The range varies a great deal, some con- years and I took no lessons until nine months Announces Publication of traltos, like Bruna Castagna, being able to ago. My teacher encourages me to concentrate sing very high tones even up to the high C. upon my voice and feels that I couUl do In fact, is full time to it. I am un- the operatic contralto forced to things it I devote LIFE OF EMMA THURSBY” sing ui to B-flat, the second space above usually tense, emotional and sensitive. I am “THE the staff in such operas as “Samson and presenting my ease to you because I thought Dalila", “Lohengrin” and “II Trovatore." She you might advise me as to what other singers 1845—1931 must also be able to produce the G or the F who had the “tense” problem to face, have below Middle C. Both the oratorio (church) done. Then, too, perhaps it is more worth alto and the concert contralto need not sing while to keep on, even though there is this By RICHARD McCANDLESS GIPSON quite so high, her range being contained adverse condition, beiause of the fact that between dramatic sopranos arc rave.—Mrs. E. T. I’. A. The most important thing of all for Ex. 2 is cultivation of control. To the singer the “I have read ‘The Life of Emma Thuvsby,’ by Richard McCand- our mind, this means the establishment of is a remark- a balance between his psychic and his phys- less Gipson, with keenest interest, not only because it body, ical natures. Man is a trinity of in- ably complete and faithful account of the life—the struggles and telligence and spirit, and without a proper three at- singer but because it is also a balance and control among these triumphs of a great American — , 6. The baritone is the normal masculine tributes of his being, he will amount to voice. Some are almost as deep as the bass, remarkably clear picture of the musical life of our nation during little in the world of art. Cultivate assidu- while others are almost as high as the tenor. ously this sense of balance and control. Ban- a very important period. If Lawrence Tibbett is taken as the type ish all unnecessary worry and fear, and keep operatic baritone, the high tones must of your body in the best possible condition by rousing G-flat on the third line truly the include a exercise, good food and plenty of sleep. Of “My memory of Emma Thursby, who became Jenny above the staff bass clef with the low tone course, all good singers are sensitive. They if she were living today the first line. Other baritones Lind of America, is as clear as —her about G on could not capture all the changes of mood, are not so richly endowed. They must con- pure voice, and all the delicate nuances of tempo and style lovely face and petite figure, her crystalline, her range approximately tent themselves with a rendition of the necessary to the proper perfect coloratura, which made her the great concert singer of great music and poetry that they depict, without this very sensitiveness. But they Europe as well as America. A wonderful career and beautifully have all learned through bitter experience portrayed by the author in this distinguished book.”—WALTER that they must be first of all healthy, nor- mal human beings, strong both physically DAMROSCH. intellectually. They must avoid excesses There are two types of bass, the singing and all kinds, too eating, drinking and bass and the deep bass or basso profundo. of much smoking, and especially too much indulgence Ezio Pinza may bs considered a type of the Deluxe Edition 2,000 copies printed on all- in over-exciting amusements, or they will — first, with a range from burn themselves out quickly. And then then- rag, handmade paper. Octavo; 470 pages; 74 voices will deteriorate. illustrations. Price $7.50. For sale at book- A highly strung person is apt to exaggerate everything, to become too emotional during stores and The New-York Historical Society. singing. Then he will push out too much 170 Central Park West, New York City. breath, squeeze the throat and use too much all excellent tones. effort of tongue and lips, when forming The deep bass seems to have lost its popu- words. Avoid all of these things and you larity at the moment. It is a great pity, for may improve.

JANUARY, 1941 53 °

an octave lower than written. This the organs of two hundred years ago. Countless Combinations would point out the difference on a be- Furthermore, a modern electric two- tween stopped flute and open flute manual organ is more flexible and tone. capable of far greater variety than Have you ever tried the Gt. Two-Manual Organ Octave many four-manual organs of the coupled to the Sw. Flute 4' and pre-electric played era. an octave below the notes? It Conscious to some extent of the is just another of the >Ef CarLton 3. Petit endless num- rich variety ber of possible in our new or- possible combinations. gan Using installed about a year ago, the different tone colors in each writer resolved its of three octaves not to display all is a regular feature (Note: This article is based on re- tween manuals, the combinations beauties at once but to reserve cer- of symphonic orchestration cent experience with a two-manual, soar like the national debt. where a tain interesting combinations and violin melody may be doubled 15-stop organ. Experiment with less On two-manual by the bring them long my organ having flutes an octave above out for the first time and the vio- after familiar combinations of stops and fifteen stops, I figured up to one loncellos or installation. With experimen- clarinets an octave be- octave couplers between manuals thousand seven hundred and forty low, tation, the possibilities expanded so do not let your formal proved it likely combinations using all organ rapidly so fruitful seemed to various coup- training limit your so that even now it is possi- imagination ble be helpful to many other organists lings and no more than two speaking A few hours to bring out new registrations taken to exploit small churches wish to avoid stops at a time. the your not of who By time esti- instrument will previously used during the whole bring rich r getting in a rut in regard to registra- mates were made of the probabilities as you Past year. begin to use a constantly^ tion.) of combinations of three, four and creasing variety One unexpected reaction to this of registrations You more stops, it was clearly seen how may still ‘ program from the congregation was prefer to play th i™ O YOU EVER FIND YOURSELF the figures could approach million. “ 8 the a masters, Bach and HandeUn f comment from one member, that getting tired of your little two- The next step is to take a familiar style but I was, all there is no reason “Learning to play better D manual organ and bored with piece and see what combinations can registration why™ e the time.’’ of modern orean «, One may wonder whether the same stop combinations, week be devised for it, avoiding practically should or be based on the not that was a left-handed com- after week? Perhaps you long for a all of the habitual effects. For in- liSionso? pliment. four-manual organ with from sev- stance, a section which calls for enty to one hundred stops with which strings may be played with the fol- Charm and Inspiration to work out beautiful registrations. lowing set-up: Great: Dulciana, Gt. in Recorded Music Then it is time for you to start a to Gt. 4 and 16; or Swell: Salicional, Continued from page i 2l little research work, to experiment Sw. to Sw. 4 and 16. than an intimation of a troi hi with new and unorthodox combina- Then a shift may be made to spirit in its sombre he Am Trau- and wistful mnnh. c T e«can soprano, Helen 4' The work e tions with Stopped Diapason with is ’ is which to refresh yourself Gedeckt or simply scored ' 5 beard to advantage in Bichard gestive often „“ and your patient congregation. Here and 16' stops as above. of chamber g " trauss ’ and music in it, ? song, Ruhe, meine Seele, is ’ the way to begin: A combination, in the writer’s ex- 8® wlth bert s No. I men! fj? ‘he solo instaf ?,‘f“ Wiegenlied, Op. 105, Count the number of speaking perience, which never fails to elicit ment, yet the score (Victor disc fanul- is 17480) . In the less trasted. richly con" stops on your organ, and then figure favorable comment is to play a few There can be Cradle Song the one no doubt that If of Schubert, the number of ways those stops may phrases on the Swell Gemshorn with Mozart was t at completely captured ? begins “Wie sich der Auglein, 4' 16' U h hi be combined, theoretically. Perhaps and couplers and tremolo. It y «f the clarine Smgs with restraint - ,° t flne* artistic » itshi te h and1U Kknewnew you have interesting variation from techmcaitechnical as won , ^and in cu.... . only seven stops, but it is makes an M*y as well in the realiz as tonal noil Strauss’ song she very interesting to figure the theo- the straight Celeste. B fUUy hOUBhthesIo ”«ov its dramatic contrasts. T retical combinations possible with Also different stops on one key- wifhS*r em“; beautyist Pran ° is adm irably assisted thl heCrt ' even this limited number of stops. board may be tried with each stop of S woS rW Mozartea, Coamr aad ns will V. Bos at the piano, Taking the seven stops alone and the other keyboard at an octave fute the ItM, re Cariou g qualities of the sly, Traubel’s disc contain! then in combinations of two, three, above or below, thus: Great: Clara- first movpmp t long- the flnal 1“ S Traum from '’Lohengrin" a 8' 16') EeginTld four, five and six, it is possible to bella, Sw. to Gt. (or with Si, f f , Lont5on (Victo. 4'. Sill secure around one hundred and six- Swell Flute harmonfc^rchestrafr1 ’ dlrected shows the singer at a dis£ teen various combinations. Another commendable one is: Gt. Malcolm Sarp-Pr,f by Dr VGS ' a finel There is more than a sUgg Naturally, not all of these are Dulciana, Gt. to Gt. 4' and 16', Sw. to and expressive infp y Poised tinr. work etation Of °“ she was not in as fine vo practicable. Adding the Aeoline to Gt. 8', Sw. Gedeckt. This works out Victor V £T thta a 8) ^ furtl ’ prevlous record, and the Diapason will not be perceptible, well, too, as a solo on the Great with There Is a J° th f dances French handicaPPed by s 0: and some combinations are too freak- accompaniment on the Swell. which is der If decided! , freshing g tfUlIy orchestral rec ish for most uses; but if you couple Coupling Sw. to Gt. 16', and then that we wish re- One f ai‘i1 °“ gate shT f 1 higher on the Gt. to know r readers the lmP l'ession from the Swell to Great, then try each playing an octave and own it Elsa’s n 1S Vlctor Dream that her natura Swell stop in turn with each Great Dulciana or Clarabella with Sw. 13497, containing nR disc he,-,,* 6 b6< stop, find Gedeckt, Salicional or Celeste, brings “Capriol Suite”, Warl°ck’s nd Style are leSS you will doubtless a group arranged , ting ‘to rT .t than Briinnhilde. of combinations quite usable that out another new tone color. The taken from a treatise^ ?°m tunes Ahv° to dancing ° U h smootl you have not thought of before. Or Clarabella and Gt. to Gt. 4', coupled Arbeau (1588) by some of the played a com,-, 6dJ 16', stant the Smging Lawrence if you couple the Swell to Great at to the Sw. Salicional at will give Lambert String °on- bett that P°rcbe “ bahl gly pleasant surprise, and there London. rtra ® us on records is 1 octaves you will discover another in- you a WarlockT® 0 f a ? tVnoco — ... orchp<5f».o4._ , - m his111CS teresting group. are others still in store for you. The with “‘r^^ated ^cordingrecording ofor Hantin S Wh of contrasting blocks of color IVity You Walk from "se Other less familiar uses of ordinary use and Lamh ‘I and and nf/ passages played on the Gt. full justice bas ^ 8J!tf Herl Hea stops include playing an octave lower such as to the cormi* d°iie dora” ven from S r ' on either 4' Great Oc- Diapason alone uncoupled, followed exposition of in his feels that both al ias 1 Swell Flute or them. Th“If ,! have n™«. ** P 0fited° fi ed tave, or coupled. The Great by passages on the Swell Violin free grace and a Care“ by less restraintrestraint. C both charm ^ twn^Jtwntwo c. i ^ ° these selecting ’ Octave passages makes a Diapason or Oboe, produce excellent world tunes old 0118 the baritone s - for some that make th of the^Tv!* T eoclora ’' suitable solo stop, played an octave effects. welcome in this toost alr is f ar more troubled iff, vincin„ t I device is to contrast Robert " *ld thann lower and ac- Another such - thetha other, than the written note Braine’s JW Kef!-Keffi- f other, e’ El1 Swell com- a passage on the Great Diapason andnd Habanera.Habanera, °Orereco ^ Thorb °rgorg bee:beei companied by a suitable LazyLn «, w,...Cigafet? co mirldmired has long 4' against successive re 8, « ne bination. This is especially so in with Gt. to Gt. a Eastman-Rochester which .° of the greatest I* nerian ' Gt. ai tists organs where the Great is under ex- passage on the Octave with Gt. orchestra, directed ymph°ny in our midst; s bv Hrm now a 1 16'. The more similar two son, *' pression—a somewhat rare yet prac- to Gt. Plays on Victor Haa - “ntralto with the better it di^^ small organs. combinations are, the is to the influence ’ pera tical arrangement for of modern Show foasoif Company. For emphasize their slight differences by pieces fa v- tW “ The foregoing suggestions can be are impressionistic The album M-707, in h “HanCh the smallest using them alternately or in close tei, with harac lactei' followed on most of Latin rhythmic ' Srda’s izations”, conta For instance, a dew f tracker organs; but on an electric succession. theme Primarily mnsic ' ^’«ions. from tor e t gold”' “Das R organ with super and sub-octave may be played on the Gedeckt alone, they should ment 0 Parts ' appeal ’ i’ to listened betwe’ei f om the manual and be- then repeated on the Flute 4' played enjoy this "pPl couplers on each type of Who WalklS aPd Wotan tmm comp^S*0n JXnWdltr - ,„’ outesErzahlung 54 Continued on Page 67) - — — ?

A Fine 5 MALL

_Antndwerectcl byh\

HENRY S. FRY, Mus. Doc. Ex-Dean of the Pennsylvania Chapter of the A. G. O.

No questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be pub- lished. Naturally, in fairness to all friends and adverSisers, we can express no opinions as to the relative qualities of various instruments.

Q. Kindly advise me the names of electric is as illustrated in your diagram: sopranos and pipe organ manufacturers in the states and tenors to left, altos and basses to right . of Oregon , California and Washington —facing the conductor. While this Is the E. L. C. conventional seating, we do not know of any rule governing the seating A. We know of only one organ builder In of either LAMINATED HARD COVERS choir or quartet. the states you mention, whose name and Sometimes the compara- Book Favorite Children tive No. 20S — Album oi address we are sending you by mail. We strength of the parts of the choir might Piano Solos. Contains 139 of the finest and most presume the leading builders have repre- influence the placing of the singers, but we popular piano solos. A wonderful collection of think sentatives In these states, with whom you the directors should try to agree on ..with this exquisite console! piano solos arranged for children. They are might communicate. We think the firm the adoption of a permanent seating ar- nicely graded and a wonderful assortment from rangement. whose name we are sending you may not be If you are considering buying a musical instrument, nursery rhymes to classical. Includes such num- of actual builders, but represent one the why nol let us arrange a demonstration bers as "Ah. So Pure," "Cradle Song," G Major Q. About fire years ago I organized of this now builders. a Minuet 1," "Jack Jill," several leading No. and and orig- junior choir in the Episcopal Church where I Wicks pipe organ. The price is no more than you inal numbers and 135 others. All numbers have Q. I am told that much can he done with am organist. I taught the youngsters to chant would for been pay a good piano nicely arranged, edited and fingered. organs (two manuals with a according to the instructions in the new hym- the smaller ) and has the added advantage Book No. 200—Album of Favorite Songs (Con- knowledge of connecting the different pipes. nal. A year ago the senior choir was turned of being compact and attrac- tains 127 complete songs and words. Arranged I am enclosing list of stops included on the over to me, and I had my troubles. There has for all instruments.) been objection lightly organ on which I play. Will you explain them to sounding the “ed” tive in appearance. The action is rather an in the chants. There is nothing in the instruc- Book No. 201 —Album of Favorite Piano Solos quite clearly, please, as I am ama- entirely electric and the volume tions to help except in (Contains 62 most popular piano solos.) teur t—K. S. me the Gregorian Chants. I shall be very grateful for informa- and tonal range will amaze you. A. will endeavor to give you some in- We tion you can give the or me on "ed”, any- F r formation that may be a help to you. First, sJ ° further information, thing that will help me. N. P. D. ^ 8' stops produce normal pitch (same as — o please write the company, p Book No. 203—Album of Famous Waltzes (Con- Department while 4' stops produce a tone an oc- A. We thoroughly agree with you on soft- 10. tains 63 most popular waltzes.) piano) tave higher and 16' stops produce a tone one ening the “ed" at the ending of words In- Book No. 204 Album of Favorite — Piano Accor- octave lower. Open Diapason is loud or strong cluding that sound. Ordinary accents would dion Solos (Contains 70 complete piano accor- organ tone, while Dulciana Is soft organ tone. Indicate treatment of that kind, but If you dion solos.) Gamba belongs to the string family and wish authority for your claim, you might Melodia to the Flute family. Doppel Flute, refer the members of your choir to page 724 s 00 of the New Hymnal, where, as the name Indicates, belongs to the Flute near the bottom WICKS Retail Price l of the page, you will find diminuendos family. The Harp Is a percussion stop, and on “founded” and “maiden” which are con- is more or less imitative of the instrument firmatory of your Ideas. M. M. COLE which gives it its name. Tremulant is an un- dulating stop affecting what other stops may church is interested ORGANS Our in buying a PUBLISHING CO. be drawn in the department in which it is Q. pipe organ. The church has a seating capacity 261 1 Indiana Ave. CHICAGO. ILL. effective. Great to Great 4' and so forth are • three hundred. Can you suggest specifica- HIGHLAND ILLINOIS couplers acting as indicated by their names. of tions which toill adequately meet our needs Bourdon 16' and Stopped Diapason 8' are of —A. C. I?. the unimitative flute family. Flute 4' as in- IMPORTS dicated by the name belongs to the flute A. Since your auditorium is not a large

our , Salicional belongs to the string sec- one. and you probably will not wish to pur- wa ,° f ln )‘ aml fortune. section. AIIIA I £ ?-, ? Let RECORD Norman Ivlins a fatuous liome usually reed stop and Vox chase a large organ, we will include some IF stuily records—never before sold at these low prices. Sur- tion. Oboe is a eourso show you how. Write Bin) ft 11 vJ tul _ today faces superior to domestic records. Finest artists and Humana a reed stop, more or less imitative duplexing and unification in the specifica- w ^ for full particulars. For Personal orchestras in outstanding classics. 10" records only voice. Bourdon 16' on the ped- tion we suggest as follows: Lessons Phone WKKster 7188’ of the human 910 Kimball 75(‘. Send today for new, FREE catalogue containing NORMAN KLING. Hall. Chicago. Ill als is probably your strongest pedal stop, hundreds of selections. Exclusive with with the Flute 8' as an extension. We do not GREAT ORGAN The GRAMOPHONE SHOP, Dept.E 16' know whether your Pedal Dolce Is a Dul- Open Diapason 8' 73 Pipes 18 East 48th Street, New York soft Bourdon though it Is prob- ciana or a — Dulciana 8' 85 Pipes ably latter. any event, it is undoubt- the In Melodia 8' 73 Pipes edly your soft 16' pedal stop. solo effects Some Dulciana 4' Notes you might try are: Swell Oboe, with accom- New- PIPE ORGANS— Used Flute 4' Notes (from Stopped great Dulciana, or if suitable, Builders of pipe organs for church and studio. Ef- paniment on Flute) ficient, up-to-date used instruments on hand at all Harp. Swell Vox Humana with similar accom- Octave 4' Notes (from Geigen times, priced very reasonably. We also Tebuild and paniment. Great Doppel Flute or Melodia modernize tracker and tubular organa, additions of Diapason) installed. with accompaniment on Swell Salicional. stops, couplers and chimes Yearly care Cornopean 8' Notes (from Swell) of organs. We solicit inquiries. Great with accompaniment on Swell Gamba Clarion 4' Notes (from Swell) Delosh Brothers — Organ Experts Stopped Diapason. The combinations may Street City augmented by the addition of other stops. 3508-1 05th Corona, L. I., N. Y. be SWELL ORGAN We suggest your experimenting with different combinations, using pedal stops and couplers Geigen Diapason 8 85 Pipes to balance. Salicional 73 Pipes Vox Celeste 61 Pipes ElECTBIC <• is per diagram VKII.I RECORDS 8* Q. Oar choir loft arranged as Stopped Flute 97 Pipes n\ enclosed. We have co-choir directors. One likes Dulciana Notes For Your Musical Tower illustrated, declaring that LATEST PHONOGRAPH RECORDS tlic choir seated as Salicional Notes 1941 should bo a year of progress Slightly used. and growth for Victor, Columbia, Decca, etc. all good directors place them accordingly. The Flute Notes your church. The installation of refunded. a Sun™ r>J Guaranteed to play like new, or money other would place basses left, tenors right, Nazard Flute Notes will be a forward step for the Benny Goodman, whole" 00 Such artists as Bing Crosby, with ns well as a spiritual impetus ^^y ' altos left and sopranos right to balance Flageolet Notes for your L"„ Wayne King and hundreds of others. 10 differ- tion. Ask us for facts 1“’ the high and low tones of the organ and of Cornopean 73 Pipes (Bright and booklet on thf. ent records $1.00, in large quantities 8c each. new modest cost carillon. ™ e instruments. The same argument small scale) Write today Write for free particulars. C. HOODWIN CO., all such Dept. 4419 Broadway, Chicago, III. continues about quartets. Please advise us us Clarion Notes A-9, ggH i M BBfrl ddlZEg to the proper arrangement for both choir and T’lo Sunco Carillon can bo there rule about the preference . ^ — played manually nr quartet. Is a PEDAL ORGAN electrically with records. Our complete list nr SCHOOL tones being toward the right side of roportoire GU61MANT ORGAN of high Bourdon 16' 44 Pipes records, a wide of world favorites will he sent free on request. It the audience?—M. F. F. 16' lncludes t e^ 41st YEAR OCTOBER 1 Lieblich Gedeckt Notes ( extension — listed hclow as well as many other sacred, seinl-sacred Write 12 WEST 12th STREET, NEW YORK A. The conventional seating of the chorus Swell Stopped ami secular numbers. Flute) CH 7284 Evening Star (Tnnnhnuser) — - Coin Home ( Dvorak's World Flute Notes New Symphony) $3 00 Stopped Flute Notes (from Swell) CH 7294 Love Ye Tile Lord (Handel's Largo) — — Wiegenliod (Brahms' Lullaby) MUSIC ENGRAVING Dulciana Notes S3. 00 Cornopean Notes All records 12”. two sides, low noise acetate. Special group Piano, Band, Orchestra and Octavo work. We prices. Recorded especially for Musical Towers. Clarion Notes specialize in book titles. work; also engraved Commercially Rated Agents: .1 /etc protected sales terri- Send tories are available. Write lor complete information your mss. for estimate. Full number of couplers usually included OTTO A. C. NULSEN In two manual organ. SUNDT ENGINEERING CO. P. O. Box 774 The Vox Celeste suggested may be omitted, 124 Government Place Cincinnati, Ohio 4783 Ravenswood Ave. Chicago, III. but we suggest including it, if possible.

JANUARY, 1941 55 ' ' 0

Makes which > had been popular a few or after rehearsal, or just after UCLLUiynpttinn da JUiiyRnnrr lPllhlieliPrlLiilllallcll he really no reason why such an offer years before. However, none of the has finished a performance. Do not should be ( Continued refused, but in any event from Page 6) publishers cared for Ti Pi Tin. They try to contact him at his home, or it come many song hits, of which is extremely unwise for the ama- an thought the melody was rather ordi- while he is busy. teur to approach any outstanding example is The Last nary and the lyric silly. Not one of leader and Once you have secured an appoint- offer Roundup. them touch a “cut-in” as a form of bribe. would the song, and in ment, the only thing to do is to grit If you can’t This song had been on the shelf desperation the writer finally per- get anywhere with your teeth, assume a smile that at for four years and was brought to publishers, radio singers, or band suaded Horace Heidt, who had suffi- least appears to be friendly —rather leaders, light only because a publisher’s con- cient confidence in the tune, a recording company is the to in- than determined—and hope for the tact man, next best bet. Since, the late Addy Brett, had troduce it at the hotel where Heidt best. Don’t adopt in the cheaper the Fuller Brush record a hunch that the song would “go was playing in New York. class you will usually find a To the Salesman technique. Never try places.” to hit number It did, and Billy Hill, the surprise of everyone except Madam give anyone on one side of the disk, a sales talk regarding and composer, promptly opened his trunk Grever and Heidt, the public liked the either a lesser-known song on the the song or your own abilities. and pulled out The Old Spinning song tremendously. There other side, here is an opportunity was no Let the publisher or orchestra leader Wheel and other numbers for the amateur that had difficulty in securing its publication, judge these for himself. to have a worthy been All that you number rejected time and again in the and the writer has been able to sell really accepted. The recording want is an audition. If you old days. the several company proceeds on the assumption publishers more songs can obtain this, and if your song is hat the Probably the best and easiest way which would never seen the good, hit song will sell the record, have you should have no further to and that secure an audition is to prevail light of day if Mr. Heidt hadn’t difficulty. it can take a chance in upon some local bands to perform using an unexploited started the ball rolling. There is one more important song on the re- the song. rule veise of the Many songs, both by ama- There is one song which is prob- to remember, and disk. Moreover the roy- that is to do all teurs and professionals, have been alty charges will ably worthy of special mention. That your contacting directly. Sending un naturally be much started in this way. If the song less for a number is the number Stardust. This is a solicited songs by mail is of this sort than merely" for catches on locally, TT7 Opfft rtf f.’vrtrt 1 . a hit song. it is good for sev- song which is regarded by the public waste of time and postage. eral Band more performances, and there is and musicians as being of the leaders can’t Everyone is familiar one be bothered with corre with the Pris- always a chance that some publisher oners Song. This finest songs ever published. Never- spondence of this sort, and do number had a will take this as not unique history an indication that theless, the song had a difficult time welcome it. which it is our privi- lege the number has audience appeal, to re^^ f and getting started. It was written by Of course there is another or the first time, for will diffi- a decide to risk his money pub- Hoagy Carmichael while the latter culty connected with stice Nathaniel Shilkret, approaching , {V lishing the truth it. still band should was a student at New York Uni- leaders. The more important be brought to light. versity. It was his first published ones are usually hesitant Modest Beginnings about play Story of the number and was written and in- ing unpublished Prisoner’s Song songs. The pub- A song that had its start in this tended merely to be an instrumental lisher, the was other hand, usually nampd by a man way is Oh How I Miss You Tonight. piece. It rested on publishers’ shelves feels that ^Massey> unless a and purchased n important from iv was The publishers felt that this was a for seven years, selling next to no name” band performs lni by Vernon the number known Dalhart, a well- weak song until the songwriters copies. Eventually a few orchestra any action on his singer, who part will be use paid a small sum Benny Davis and leaders less. nU Joe Burke had the found that it usable as There - was a are several ways of er Dalhart brought the song com" numhl t introduced by some small bands theme song. Today it is one of the batting this resistance, ^ but the best ViCt°r Company in Philadelphia. is and suggested A representative of biggest standard sellers in sheet method to approach a band sted that a recording be leader Tr . . ^ marip. the Philadelphia with a C branch office of music and records. number that bked the idea and the Irving lyric bnt f°n Berlin, Inc., heard the number The song Deep Purple was also suited to his style of that performancJ the tune was or ' and At’ tv, f P° liked it. Berlin published it, and played as an instrumental number Approaching Cab tlm Calloway with a Shilkret was record- it broke slow mg I’ / the one million mark in for a long time. This song was used dreamy ballad would be for Vlct as ab tract or, under a con- sheet music sales and sold over two as a musical theme for a commercial surd as going to Ch Wayne King with stated that anything he million records. radio program and had been played a “hot” rhythm number. might r The sam Se durin term of The principle & Se contrf £ Music Goes *Round and ’Round as such for a number of years. Fi- applies to ?l radio singe * belonged to hisnis employ- was ers Tn if? „ „ started by its writer in a Fifty- nally Peter de Rose rearranged it A number suited to Eddie Cantn^1 1” tact help out ’ and t0 second Street night club. Lester slightly, and Mitchell Parrish set particular style of Dalhart performance ^ ®Shuthllkre t Santly, to Kate ’ 01 a new offered to write the publisher, who was mak- words to the music. It then emerged Smith’s style of mol ing Song £ ° r ttle PrisoneT S the rounds one night, heard the as a brand new popular song. This is but a k^J ‘™‘' S°ng appeaf number and decided to take a chance one of the few instances in which viduals, but to few otheTs™"" without hisVame^ ^ on it. It was a good chance, for the a theme song eventually turned into Sometimes you will The s°ng find that n was V „„ , . ° "‘ SlICCeSS ’ number sold over three a popular number. band leader is and e EM hundred interested in , ®mou rl l 311 Sales piled UP thousand copies and almost as many song, but he does not feel over the that 14 “comUntry records. Value of Local Contacts in with his nts had - Dalhart then program.program, Inin L?this ! his case h e °f Polishers and Of course even the publishers will All these examples help to prove leader may be willing to Placed the ,„!? give vo„ ' admit letter of introduction stein. ?‘ th ShaPiro Bern that this was a freak song. that publishers themselves are often- and comm Copies of dation men- ‘‘were printed im- There is no accounting for the pub- times unable to gauge the public’s to some publisher. mediately lie Some collected eventually taste as far as songs are con- reaction to a song. They likewise in- mention should be over $80,000 in music cerned, but among the that a little exploitation may here of the forbidden “ oyaities. sheet possible rea- dicate subject of uf sons for the success of this number sometimes sell the publishers and ms. Many songwriters But have the f what about was its catchy little melody its the public a song which under other lacious theory that thatnat was Shilkret?nuKret? WelJWell, and they need n J just ton V gay and aside. offer an orchestra y hart a 1. Alth ough Dal amusing lyric. Then, too, the circumstances might be cast leader a =h„° and the °f..’? ?’. song came out assumptions, the royalties in a song of °nly publisherspublishers were the just before New Year’s Granting these to be WP i ones wh

Eve in 1935. all is with open arms. by ng ’ most important problem of This is not th?™* at least^h^ the S° I’m Sorry raised. are you to go about sell- The royalties derived knowing ^ad ^he Pleasure of / Made You Cry was first How froCth^avw' tho* t, tune. had started by local in New Or- ing your song? age song do not offer written a hit bands „much of gans. Well, there are no set rules to the bribe, and both the Even the wartime hit Smiles. orchestra There is n 1 t^" lntel got its game. If you know a local band leader ers and the publishers to ’estmg sidelight impetus through a four-piece know tha ‘his storv tv song must record ' orchestra at a New York hotel, —preferably one who makes record- stand on its oner’s oI the Pris small own two° f t Sona'h f Neither of these numbers would have ings—there is no difficulty involved. No amount of bribery a hilibin 011 its reverse side is Koi v , reached one, the best plan make a poor to favor with the publishers if If you don’t know song sell. Wreck Of entitled The the °ld they hadn’t plugged by is to seek one whose style and choice Of course a few * act 97 As of , a first been band leaders h the pri matter their indicates that like tried their nave 6 ’05 writers. of music he might hand at compositi Was Son originally a considered” Horace leader, your number. Then find out the most have been successful. ”d the merely Heidt, the orchestra Sometime other n,m,h a fill-in for convenient time to approach him. of these °n ' 01 was the fairy godmother for the song may be Dalhart’s ’ which of sufficiently t v .. was one nter avm ( hit Ti Grever, who The radio station will help you here, ““ested in1,1 an amateur Wrec Pi Tin. Maria Grever, songsons tot„ offVr_i, h of The music to The will generally find that the it wrote this tune, had also written an- but you change somewhat and Henr 97 was written by bring it y C. Wor? u other song, What a Difference a Day psychological moment is just before to professional standards. Consl but the were There? dered t id- words ioila f Confi7 i’ and no one 56 muea? 7, 0^ on Page 60 ) .

Violin Questions TELEPHONE your ©©mart manager, or your

©iwie or Community Concert Committee NOW ^djnswered bij t® engage Ik ^4(d'-American ^Jeam . . ROBERT BRAINE MI and LOIS MAIER name questions will be answered in THE ETUDE unless accompanied by the full No published. Only initials, or pseudonym given , will be and address of the inquirer. ... in one of their

fascinating . . .

A Violinist Studies Viola Numbness in the Hands viola better see a good physician M. 1. The viola d’amore, and the de T. C.—You had W— the sensation of IWO-PIANO RECITALS gamba were formerly In quite general use, but about the numbness, and needles” in your arms and hands. are practically obsolete at the present time, “pins and for your next remedy for ... although they are occasionally heard in con- He can no doubt suggest some causes you consider- certs by ancient instrument societies. I note this, which as you say. season’s concert course. violin playing. in your letter that you say, "As early as 1922 able trouble in your Paul Shirley was still playing his viola d’amore in concert.” Another type of viola that has be- Important Violin Concertos “They did themselves and the music proud. come almost an instrument by itself Is the H. K.—Ten of the most important and Watch for the next Maier and Maier violin con- Ritter is said that the latter combines popular romantic and modern recital!” viola. It — World Telegram the deep tones of the viola, together with the certos are these: Brahms “Concerto in D — N. Y. violin. I have failed to find major. Op. 77" and “Concerto for violin and brilliance of the "They play into each other's hands ideally leading New 102”; Bruch—“Concerto in G the Ritter viola in any of the violoncello. Op. and delightfully." to — in A York music stores. These instruments seem minor, Op. 26”; Dvor&k —"Concerto —Chicago Evening News have gone out of use. minor. Op. 53”; Glazounoff “Concerto in A the — musical compatibility is a sign of 2. A violinist who wishes to take up minor. Op. 82”; Lalo “Symphonie—Espa- “If should — wedded bliss, Guy Maier and his wife, Lois, study of the viola as a "side line", gnole”; Saint-Safins “Concerto in B minor, playing prove that they must lead a happy exist- first have a good foundation in violin Op. 61”; Tschaikowsky—“Concerto in D ma- long ence." —three years—at least. He should have jor, Op. 35”; Vieuxtemps—"Concerto in D the —N. Y. Post arms and fingers, because the “reach” on minor. Op. 31”; Wieniawski—“Concerto in D the violin, viola is considerably longer than on minor, Op. 22.” "Wit, finesse and delicious lilt." and and a violin player with short fingers These concertos are very difficult, and —Chicago Tribune necessary arms cannot manage the stretches should be studied under first class teachers. this instrument program, distinguished for the viola. Solos on They are all played at the present time by the “Smartly arranged viola ensemble, high good humor.” are rarely heard in concert, but good leading concert artists, and are great favor- symphony orches- Indianapolis players are in demand for ites with the public. Of the ten, probably — Star string tras. The viola is also in demand for those by Bruch. Lalo, Tschaikowsky, and 9 other small quartets, quintets, sextets, and Wieniawski are the most favored. learn groups. I would advise every violinist to MANAGEMENT NBC ARTISTS SERVICE the viola as well. Keep on Studying RCA Building, New York, N. Y. J. C.—It is quite impossible for me to judge Steinway Pianos Magazines for Violinists your future in violin playing without hearing G. H. K.—Among the best known magazines you play and examining you as to your talent. devoted exclusively to the violin, violoncello, Some of the compositions you say you have and similar string instruments studied are rather difficult, but it is not what double bass, ELLSWORTH HIPSHER, are: “The Strad”, published in London, Eng- you have studied, but how well you play EDWARD MUS. DOC., A.R.A.M. land; "The Violinist”, published in Chicago, them, that counts. If you play them well, you Twenty Years Associate Editor The Violinists”, published by future before you. If you play Elude and “Violins and have a good I Faithful copies of “The Messiah,” Instruction by Correspondence Avenue, is not so violin. Ernest N. Doring, at 1322 Hinman them in an indifferent manner, it 1 Stradivari’s most famous Sub- Harmony, Counterpoint, Musical Form, Evanston, HI. Every violinist should take a good. Violin playing is a very difficult art, lime tonal quality and great carrying Composition J _ magazine devoted solely to his instrument and few indeed reach the top rungs of the I power. Free historical booklet. Musical and Literary Manuscripts Criticised and Prepared and its problems. ladder of virtuosity. What I would advise you Expert repairing and revoicing. for Publication opinion some really Club Papers Written to do is to get the of CHELSEA FRASER, M.V.M. 249 Madison Ave., Marion, excellent violinist, as to your ability, and Ohio To Give An Opinion 2025 Stark Street Saginaw, Michigan the future. Play j J. H. C.—1. No one can judge your violins what you can achieve in without seeing them, so your best course what you consider your best pieces for him, would be to take them to San Francisco (the and have him examine your musical capabil- largest city near your home) and show them ities and talent. Ask him to state what, in his TEACHERS DO YOU WANT n S C ,r S HWENK V?oi ins Viola's a nd CcUos*' '!l5o"buUy>s the * 0 ° m ‘ to several experts in violin making, of which opinion, your chances are of reaching MORE PUPILS? Vroo Trial his V. L. SCHWENK there. They might charge you virtuoso stage. Pay him a good fee for CHICAGO, I there are many If so write for our plan. LL a fee for this work, but it would be well worth time, and ask him to go into the matter 113th .Street. istructor George C. Webb. 326 West ”1 and it, as they would point out your mistakes, thoroughly. York t'itv. writes; heartily endorse touchers. FINE VIOLINS OLD and and suggest works on violin making which You can easily see that I cannot give you commend your plan to all progressive — NEW for study. Better still, you off-hand opinion regarding future, 1322 Hinman Ave., you could purchase an your National Music Studio . DORING, Evanston, III. might be able to associate yourself with one as I have no means of judging your musical Send 25e for copy of Unique Publication of these makers as his assistant, even though talent. "VIOLINS and VIOLINISTS” you were paid only a nominal sum. If you will read the lives of the great violin makers, Meditation from “Thais” that almost invariably they were you will see T. C.—I have referred to the editor your OLD VIOLIN MARKET SURVEY—1941 LEARN "SWING" MUSIC in their youth with established players of all Instruments— associated request to have the Meditation from Thais". ,0 ^ Quick course to make your own si to's' 1 OOO they learned the sale"!? various' v* s!" A. miirkcts™ rom ' 00 violin makers, from whom by Massenet, for violin and piano, published figurations, blue notes, whole up. Valuable^ reference ^for col lectors ! 1 er , benishments. tones!' etc' note that the violins, * p/i jp .j glad to | trade. I am in some future issue of The Etude. The piece j J^ £ u ELMER B. FUCHS made, have won 370 Lewis flv. Brooklyn. which you have already is copyrighted in France and whether per- N. V. violin in your vicinity. praise from the makers mission could be obtained to publish it in a would help you 2. Two little books which magazine in this country, I do not know. Make It, by a are. “The Violin and How to Probably it could. Master of the Instrument”, and “The Violin Twenty-One Master It, by a Professional and How to Books on Violin Playing Player.” Both of these books can be pur- IN MELODY LAND MELODIOUS J. M. 1. can gain information SOLOS The Etude. — You much chased through the publishers of about the violin and violin playing from the Not an instruction book, but supplementary D f following books: "The Violin and How to Positive Worth by a Professional Player; "Violin Paganini Not a Maker Master it” to the method in use. Teaching, and Violin Study” by Eugene By ROBERT W. GIBB C. W. G.—1. The great violinist, Paganini, con- Gruenberg; “Easiest Elementary Method for violin maker, neither was he Little Indian ; was not a CONTENTS: Playing on the Open Strings: 1—A Wee Bit ; 2— 3—On the Lake; Violin” by Wohlfahrt. These books are not 6—-Raindrops 7 nected with a firm who made violins. Your the 4—Drummer Girl; 5 —Soldier Boy. Introducing the First Finger: ; —The Swing; purchased through 10—Merry-Go-Round can be 8 9 Finger: ; violin, labeled “Paganini”, was evidently expensive, and —Lullaby; —Roaring Lion. Introducing the Second n -The Etude. 2 A few lessons Cloister; 12 Fireflies. Introducing the Third Finger: 13 —Chatterbox; 14— I he Scooter; 15 made by some obscure violin maker and the publishers of The — — —Music Scale of D Major) ; 18 Arrival of the or- Box ; 16— Folk Dance ; 17 Princess (Founded on Prince The numbers from a good violin teacher, and from an —The ; given the name “Paganini.” 19 The Peacock (Founded of Major); 20—Gavotte (Founded on Scale of A Major) very much in on Scale G ; label, evidently stand chestra leader, would help you the subject at hand, "1742”, printed on the 21 —March, “Our Class.” Each piece, if judiciously selected is a drill on although your students' orchestra and your for the number of violins the maker had starting to the pupil it is a “ really truly” violin solo. lion, class in violin playing. If you cannot find completed. 2—The carved head of the Practical application to any system of teaching—class or private—is facilitated by grouping of titles instruction in the town instead of a scroll, means nothing. Many of anyone to give you under headings in the table of contents. For example: Where the lesson introduces the second finger, teach, you no doubt can if the study is in the key of the old makers used this method of ornamen- where you are to the selection should he made from numbers 10, 11, and 12 ; D major, assign average tation. 3—I cannot suggest any way to tell find someone in a neighboring town. Instruc- number 17. The piano parts have been kept well within the scope of the pianist to encourage who made your violin. 4—The following works tion at this stage would be very valuable to performance in the home. your in- give much information about the violin: H. you, as you could ask questions of PRICES: Violin & Piano (bound separately), $1; Violin Book alone (without cover), 30c; ' Abele, “The Violin and its Story" (Strad Li- structor about matters which puzzle you. I Piano Book alone (with c brary. No. 15); also F. Nlederheltmann, “Cre- could answer your letter more helpfully if I mona”, an account of the Itallun violin knew what grades of work you are expected WALTER JACOBS, INC. 120 Boylston St., Boston, Mass. makers, and their instruments. to teach in your new position.

JANUARY, 1941 57 Z f

-JUILLIARD SCHOOL OF MUSIC-

ERNEST HUTCHESON, President - voice rj -p , , during a given number of bars, and INSTITUTE OF MUSICAL -UTallO iLnSGIIlDlG ^ ben hands it on to the other; ART 101 thiS handin of ( Continued from Page ft S back and forth GEORGE A. WEDGE, Dean 5) Upper to determine what our and lower voices requires own tonal leal touldould 6al the greatest be Individual vocal and instrumental instruction. Classes in Theory, be. When we awareness. It may Com- first ^ bpppnnibe^nn P ay~ comC01 position, and all branches ingg together, lparedPared to the give and take—the of music education. at the timet.imo of our ? riage some nine w ng and balance—of a game of Courses leading to diploma and B. S. and M. S. degrees in instru- years ago WP f J bal1 ’ mental, singing, believed that, to There must be no over-playing, and public school music departments. facilitate the PfFp * of a d no complete unison, our under-playing—no dropping Catalog on request. our ? tones 1G °f the ball. -miict. should ^ a11 ' TheTVlP listenerliQfpnor must watch approximate each ntv, Room 122, 120 Claremont Avenue, New York as closely as er t0 See where balance possible. But aftpv the change of year of 1 a 0ccurs study ; never Musical along these linpc must he hear it. arrived accurac at a different conclude-. y and awareness decide where value of be duo-piano *! balance between voices must work aftpr if the lies in its lie orchestral ’ and sympathetic team-work in richne^ ^ i’ orchestral richness, ld Practicing movement, in its i assures smooth pends turn upon the In difdcu lt must be varietv of inoi passages that ments which U~ played of forms it. simultaneously (a series What i an orchestra m GS so superlatively ords or ru ns for both instruments), satitf ~ ?? Jast the fact y the students unison that therp f should work for “s ° f sonori of - /"“f oboes, not soul?! ty a»d volume, as well as 011 °ther S Peed enough ’ but blending and rhythm. It is not inrlivw , th? f al erences ° Play the come out ’ and same notes and to ri t !! adjust! the I lb Utl0n 0f the tlme! Volume must be identically voices Thn f i thematic °JJ. a‘ Ibdled adjusted "voices us ""to":to . and thematic reTers'aiversa! a cott?mpl the t"of our earlier _° ete must proper alwavs I'Pmain ^ rtS* 3ST2%d USt °® Ur Suppleness eve “dividual ! and flexibility—and tones not f n’i an ^ Careful practlce! orchestral baling but to the U SiC ' ^ 8 in Somet ™os in Pedaling Problems a thZ asvmnh 0 0 and ar10 edaUn is also som< peated then ??’ T?^ P B SUCh W rf?2 ’ try to make cases from aol° PedalinS our ton?P68 . we ; souhd the greater of the t» like each other as much ft? sonority 1 IAxo jazz like dance and Posslble * dments danger t other - augments the radio players. Quick mail course. Informa- Make THE ETUDE Your Marketing Place times a th! But at w tion ” free. Erskine Studio, Dept. B, 2228 Etude Advertisers Open the Doors to Real by a ay beba g’ TbThus dud iaP0 pedaU Kosedale flute and stated ™ “.’ ™-P-°-P Ave„ Oakland, Calif. reSrep^L^TePeated? must Opportunities Inin suchcnob bvy an be &a trifletrlfle llghter and 3a grc^ cases, we trv ob°e; *t AdupIi Sdeal more^ tonal <= careful. The mark variations tw ate the d , color. 4 make for atlons should - Since the added ! be watched A Book That difference Planos St care f> All in have - and variations timtee , no }hf° distinct Cdntrar m sh °uld discus: American difference y to the nil be carefully Lovers of Music i various bre“ of 110 maiviauiu orchestraUn‘^•‘eaLraiirwtv, tbtnee , r W ill Enjoy a str,,^r man variationss f nts)‘ s >, * that de s upon two °of ’ end “ tunetone must K thesethes e solo P entirelyL by rbe ac PIanist certain the velum? Meved v??, may draw a the and tage fr ! pianists’ touch c°lor of °ni heavy pedaling ! MUSEC IN piano nr Partners 06, the he knows is doin shmim du o- bif??, what he knowledge d a of instrn?? P°asess a ?? uo-pianists must exert PHILADELPHIA orchestral atlon htulness effects tllat an intended as ??i and f P?.?, By ROBERT A. CERSON, Ph.D. coloring ° does on the keyboa?? £ to nal X not result in catastroi As to further lnter-dependence of the EFORE 1700, there were in Philadelphia techni , cart? An Interesting Narrative •t is “akes Iayin 1 prob organs, in the early 700’s there were always advisa? lems d >'°-Pian° P 1 01 e rather B . pianists for are 'll Unl<3ue , to art - and also before the Colonies made their practke duo- There A Dispenser of Many Unusual merely ?to en™, v, Declaration of Independence there were to reftear,?? Kether,_ performers (as in an ore! Facts That the Music resident artist performers and music teachers, not is in readiness, 61 to mass tone Franklin’s invention of the Armonica, credi- but tr??? when all rn„ up sufficient Lover Is Delighted to Learn table efforts by Hopkinson in- ddt composition vmotiomg heira P °SSlble slips there cluding his song Afy Days Hare Been So together ctuai ^ and sixths, , too I Wondrous Free, and virginals, harpsichords, octaves, 6S ’ ny to A trills thirds Permit of the comp- Work of Permanent Reference organs. Forte pianos, and other musical in- ar? inri ,f?J meal exercises, eggIOS d aUsm perf°rn Value for All Interested In struments being made. All these things are an 'tL^ ' tech- He? f of the s0,° told in interesting detail and one can well practiced by shou 6 4116 tea be of Musical Americana imagine what the narrative has to impart as the two *d be '. m-work must oarf ' hie-? eon. - 1 g est it progresses when it is realized that out of And n-av-xi 8- ^ V' A — each j, -“i °‘der,> requiring thatrniib do came famous one shorn??s uni!uni- IPOW.K-! Philadelphia many musical fully to ?Inatlon Mocking Bird, Whispering Hope, Coal Black his 1Sten of sym selections such as Hail, Columbia, Listen To the own Performa' care - personal sym etc., etc., and that in Philadelphia as and , Rose, l Love To Tell the Story. Whiter Than Snow, many to his bcee aaas eChnlcalnlcal pe here notable musical organizations and partner's!partner’s! WellweU equality that P' noted composers have been active and that many merely Th!!TT?? th?? ?. musical undertakings have played a great part in the musical advancement of this country. technic llds tners to work out and to "’ ** ' J 1 ‘u “ 'u alone not • — — individualsviduafs f-and incidents in the various e s the chapter hu t ?? out ?? First the author deals witl: h the of cooperative he lntel ’’Colonial Music In Philadelphia,” "The Revolution and After,” SUrety ’Pretations with titles of Part 1 indicate— technic rr tic of I.ate Nineteenth Century, then lie dissertates he as "Music From 1800 to 1860,” and "Music the a reserve hlCh 0 Orchestra. Other Instrumental Groups, fund ”. Such a combi. engaginclv and factually“ on "The Philadelphia / Piece, bl i ? "Singing Societies,” ’Public School Music,” In hmd S^1 6aSy "Chamber Music,” oJera In Philadelphia,” learning every to flnd but wh the exi!t > Schools and Colleges, "Conservatories and Music Studios,” "Church elves, n? "Music In Private _ the 11 "Philadelphia Music Publishers," "Additional Partners 8 th °pens th to t Music,” "Noted Organs In Philadelphia, sho ,!? ^- e door their ' PPast?d Musical Organizations and Activities. individual pi ePare mueieal riches. And in The "Index-Dictionary” of Music part? ? u?® lng at tec auous i", is included in hnic arateI eombination possib Philadelphia that Published by h?it and rh ?£ y, the !, this book runs nearly 50 pages and in both are clean, hm 10 there and un Student "1U And an ‘he 1428 listings in this Index avoid Ze ® lent?? are named. trouble ^n° tlmulus personages over 750 . when ugh to to precision, coc this Pressir com? tit Yes, Philadelphians will enjoy Thi©b©ri Co. VeIy ed and ’ - musi in book on their city, but the import or the But eal awareness nrt? ? Part? B tn, , a contents moves be- 1712 CHESTNUT STREET practiced shou? P 0 great part of its together ld be Paving. yond the environs of one city and The national. PHILADELPHIA, PENNA. first step takes a place that is in ~~~ »s the distribution to8et Price, $3.50 0f her 0S hTlance Part - als° ’ there ^or l m favor of class K Diar„? ? is ° “ in and no fl ld of “second" pi- rst" get corn-position. The Plan°- be Each tter Perspective of hU Zrk r Leopold Godowsky. — — B

or beginner should consciously avoid Bowing: Its Importance putting too much pressure on the will tend to result Player forefinger, as this Tops All MAMMOTH Books/ to ttm String in an awkward wrist, or a stiff arm or hand; and it will stiffen the mus- ( Continued frovi Page 26) cles of the shoulder. The thumb, likewise, should not after each stroke, during which time be neglected. It serves all of the fin- the bow remains on the string. The gers of the hand, and, if permitted pause acts as a type of “safety valve”, to become stiff, it becomes a serious OF preventing any excess of effort. Usu- COLLECTION problem to master. ally the beginner goes to excess in Since the weight of the bow is less pressure on the bow, and it is this AMERICAN SONGS at the tip and increases as the play- over exertion which is responsible for er’s hand nears the frog, the matter his lack of bow control. It is a safe of pressure requires minute and con- rule for the novice to attempt to do stant attention throughout the 1&U_. everything with as little conscious stroke. Frequently students are puz- MAMMOTH muscular effort as possible. Relaxa- For thirty-eight years Century music has enjoyed zled as to the reason for their small AMERICAN SONGS ono of the finest editions earliest stages the distinction of being tion is necessary at the published, yet its price is but 15o a copy. tone when they are applying such In the following list are featured somo of our very stringed instruments, today s of learning the latest Issues, including tlio works of four of great bow pressure. The answer is most popular composers. if the student is to . , ,, and especially Teachers, pupils and players will find them all or really quite simple: the pressure has exceptional value, especially Kay Armour's "Modern achieve a mastery of his bow arm. Plano Method" and Walter Itolfe's "Kook on Har- not been applied at the proper places, mony." You can buy them at your dealer or direct By asking for the relaxation neces- and as a result such pressure is en- Teachers who use and recommend Century music sary in these early stages of bowing, win the everlasting gratitude of parents who can t tirely lost or is misplaced. for leaching at no atforcl the high prices generally asked it must not be assumed that music. music helps you hold your old pupils Century bit We must remember that the pres- and also aids in enrolling new ones. time is it necessary to apply a of Your money refunded without question, if r sure of the fingers on the strings ex- fully satisfied with your purchase. strength. It is necessary at times, and ceeds that of the pressure on the on those occasions the strength nec- 'bow. Strong, firm finger pressure of essary may appear considerable to Edited by Hugo Frey the left hand enhances the beauty one whose bow arm has not -yet been and carrying quality of the tone. This Over 150 Titles • 256 Pages developed. Neither does the foregoing Ijs especially true when the instru- advice mean that the student is to HETHDS ment is being played in the higher MODEM MM the use of his bow, for he Contains the finest anthology restrict bow positions, where the greater deflec- FDR BEOTER5 should at all times use as much of American songs ever com- 3196— tempo and tion of the string to reach the finger 3197— as is compatible with the Suitable for homes, 3198— increase of tension, piled. 3199— BRIHOUR of the music board causes an KOTHLEEfi dynamic indications schools, libraries, singing 15c EACH PART and therefore requires a correspond- PRICE which he is practicing. He must strive something decidedly new and original. It etc. classified Here is each ingly stronger pressure of the fingers. groups, Songs as is issued five parts in sheet music form and for perfect in which for a freedom of the arm, part sells at the regular price at 15c per copy, with 'The amount of pressure, however, patriotic, folk, traditional,West- enables the pupil to start the study of the p ano breadth of style. Perhaps modern work is based tone, for very little financial outlay. This lmust be applied reasonably and with ern, etc. Plus many popular on the middle C approach and is so clear and step- to the beginner, at these are mere words wise that the pupil is playing little tunes almost light playing will nec- sure foresight. Fast, copyrights from Robbins, Feist the outset. Profusely illustrated. Teachers, bo but if they form a mental concept to see this outstanding work. action , light, deft Keyboard„ essarily require a Miller music catalogs. Part I—Learning Letters on the for him, a lot has been accomplished. and Part II—Notes, Bars, Time Signatures fingers, vice versa in the di- of the and Part III—Five Finger Exercises It is the mind, ultimately, that Price $1.00 Part IV—Tlio 2/4. Time Signature case of slow, broad movements. 3200 Part V—Introducing the 8th Note rects, consciously or unconsciously, mental The little finger of the right hand CENTURY PIANO SOLOS, 15c ea. the muscles; and very often ORDER TODAY also comes in for its share of atten- (Capital letter indicates key-number the grade) translated to muscular 3178 A Wish 3). a.Beethoven-Itolfe concepts are from your dealer dr direct (Syiup. No. F— tion. Too frequently we will find on 3180 A Prayer (Symp. 2). G—2, Beollioven-ltolfe 3171 action. A Little Ballad, G—2 Chopin-ltolfe observation that the little finger is 3143 A May Day Dance, C—F—2 Crosby 3165 An Airplane Ride (Arpeggio), 2—1). Bidder straight, and imposing con- 3187 Andante Cantabilo, Em—5 Tschaikowsky The Right Hand stiff and 3185 A ROBBINS MUSIC CORPORATION vo Maria. F —4 Schubert siderable pressure on the stick. The 3189 Barberini's Minuet, C—2 llasse is to the 799 Seventh Avenue • New York 3166 Bounce the Ball, Itichter What the embouchure C—2 pressure of this finger tends to in- 3168 Busy Little Bee (Valse Capr), Am—2. Bidder the bow is 3179 Chicades (Symp. 8), F Beethoven-Bolfe wind player, the hand on —2, crease on the up-stroke, and more 3155 Dartinn In and Out. C—1 Armour player. The 3175 Dark Eyes (Easy), D 3 Armour to the violinist, or string —Mi— the bow nears the frog. Under 3170 Dancing the Minuet. G—2 Chopin-ltolfe in the so as 3190 First Waltz, C'—2 Uurand-Bolfe hand receives brain messages Bumble situation, the result is very 3184 Flight of Beo. C—5, Bimslty-KorsakoiT turn such a Garland of Roses (Wallis), of impulses, and in 3188 C—2 Stroabbog form nerve for the tone loses vol- 3154 In Rose Time (Waltz), F— b—1 Armour to unsatisfactory, 3134 In Gay Costume (Minuetto), G C—2. Crosby the hand and fingers give life — left arm and fingers 3162 Jumping Rope (March Tempo), C—2. .Bidder muscular ume, and the 3137 Jolly Little Sambo, F B/r—2 Crosby the inanimate stick. Yet tight 3173 Laces and Frills, Am—2 Cliopin-llolfe automatically become stiff and Militaire, with the 3176 March C—3 Schubert-Bolfo strength must be combined condi- 3182 March of the Sardar, E—5—0—m, Iwanow muscled. The remedy for this Waltz, While 3156 Moonlight G—1 Armour utmost sensitiveness of touch. practic- —HARMONY BY MAIL= 3164 Mr. Third Takes a Walk, C—2 .Bidder tion lies to a great extent in 3051 My Little Pot (Vnlse). C—2 Hopkins the fingers of the bow hand are all course part of A practical and thorough of 40 lessons, at 3150 Nannotto Poco Animnto), F—1 Armour ing bowing with the lower 3117 Out on tho Ocean (Waltz). C—2 Hopkins indispensable, the forefinger is the a small fraction of the cost of personal instruction. 3169 Pussy Willow (Valse), C— allowing 2 Bidder the bow, at the same time Small monthly payments. Send for particulars. 3151 Roaming Up and Down(Mnr.), C—l, Armour one which is the master in the ma- Breast (Waltz), rest on 3054 Robin Red F—2 Hopkins the little finger merely to Music composed to your words. 3161 Sail on Little Boat (Bare.), F—2, . Bidder nipulation of the It virtually C bow. 3139 Scouts on Parado (March), G— —2..Croshv the stick, and not press it. The real 3135 Shadow Waltz (Valse), G—C—2 Crosby controls all tone production and all HARRY WOOLER, B.Mus. 3131 Skaters Waltz, C—2. Waldeufel-Bolfe little finger is to assist Drive degrees of dynamic shading; also in function of the 11206 Harborview Cleveland, Ohio bow and to help the complicated and technical bow- in the balance of the uniformity of stroke, and ing passages it is more responsible preserve in securing more than any of the other fingers. In the not as an assistant tone. As a matter of fact, early stages of training, however, its volume of of the little fin- WHITER ROLFE use should not be over emphasized. uncalled-for pressure ger will tend to reduce the volume A pocket sized simplified method of the elements Since it is by nature the strongest of harmony, embracing tho scales and their con- control rather than to increase it. in both major and of the fingers, and by habit and the struction. the intervals, the triads To Master, this New minor keys up to and Including tho dominant 7th, general rule, in the study of 1941 P-A it takes it As a and Its Inversions. position on the bow, will 21 Major Improvements difficulties of • touch a key and Everything Is quoted in tho simplest terms pos- “dictator” unless restrained, stringed instruments, Just blow normally; sible so that oven a child with a year or so of piano act the .. So easy. c. thing to to study can easily “follow thru" with it. Bo sure to bowing should be the first ... Nothing compare with until its power is balanced by Saxes, see it. PRICE, 25c. and iV P-A Clarinets, Trum- approach to over- pets. and other compo- master, and a good P-A instru- Tho Century Catalogue contains over 3,000 the control developed in the other ments. Fully guaranteed; sitions consisting DUOS and of PIANO SOLOS— coming bowing difficulties is to have your success assured. See TRIOS — VIOLIN and PIANO — DUOS — TRIOS fingers. Its function, and that of the your music and — dealer or write QUARTETS — SAXAPHONE and PIANO the student practice on the open direct for beautiful MANDOLIN and GUITAR and VOCAL. thumb, which plays opposite and as- FREE Ask your BOOK dealer for Century music, and if ho can't strings at first. It will be found most ;No obligation. Easy terms. supply you. send is directly : your order direct to us. Our com- sists it in tone production, -t with plete catalogue will lio mailed you FREE on request. sluggish technic with the work of the wrist usually that is not CENTURY MUSIC PUBLISHING CO. bound up ( Continued on Page 65) 254 West 40 St.. Now York. N. Y. and the forearm. The young student

59 JANUARY, 1941 —

wood for “personality”) would JOHN W. BEATTIE What Is The Musical Need ment musically as the Sine qua non achieve some distinct success and Dean, School of Music, Northwestern of advanced music degrees. This, too, develop that success if they mixed University, Evanston. Illinois of some institutions are doing. We have, Youth To-day? their music with brains (to alter Youth’s greatest musical however, Whistler), need to- too many Bachelors, Mas- ( Continued from Page 29) which is another way of day is two fold. ters and self discipline. Doctors, ostensibly prepared defining Being merely First, he requires musical discipline for musical leadership, them- are as yet unfulfilled in the home, very musical is no guarantee who of ad- of a thorough-going in the leisure and possibly selves are mediocre musicians, some, time program, and in vancement or success, nor is musi- old-fashioned type. There indeed, in many churches. Blessed are the cianship (head knowledge) alone is too who are woefully deficient much slip-shod performance of fundamental young people who enjoy the church enough. Winning runners use their mu- musical equipment. sic and too little genuine life which gives them opportunity to heads musical The leader in service must grow in more than their legs, although integrity. sing in choirs from the primary to both are necessary musicianship. Too often he uses his and must be co- Second, having the adult groups; where they rever- acquired a sound energies to build machine ordinated. musical an efficient ently technic and thorough-going which enjoy singing excellent music A second need, and a real is runs smoothly but fails to keep one, disciphne, the young and texts worthy of their subjects. that opportunity be given the con- musician it running toward musicianly goals, whether he be performer or stantly increasing numbers of young creator’ largely because he himself is not mu- needs more widespread outlet for sicianly grow in creative musicians to interpret or performance. or has ceased to HENRY PURMORT EAMES have interpreted, and to direct their musicianship. The leader must know w Professor of Musical Art and Aesthetics, own compositions and orchestrations. * * * and be in sympathy with youth, but Scripps College and Claremont Graduate he A start has been made in many RUSSELL* V.V. must know music and be musical Colleges, Claremont, California MORGAN schools in giving this living type of Directing Supervisor to lead youth musically. He must o 1 Music Cleveland. Here are six of the chief assets of laboratory experience, but the prac- Ohio. Public Schools seek out a school for graduate study the American musical youth: tice must be extended over the en- One which will help grow musically of the greatest musical him 1. tire before needs as well must Opportunities, almost omnipres- nation the many now un- of Youth is the as methodologically. He development of ent, for hearing and making music, known talents around us can be ex- power of the seize the opportunities for growth discrimination, judgment by far the greatest and most demo- posed and developed. To achieve the and choice in now so generally available to those the matter of cratic in application highest musical results in this day musical’ who will intellects scope and of enCeS ’ use their senses, TWS inV°lTCS any such of mass education the star and ^eral and be- opportunities opened to the Xes : emotions. Leaders are great must not dominate to youth of any nation. genius system K p “ cause they have never ceased 2. The widest public institu- school concerts, curriculum and o f grow. need and rit ctr s e There is an ever constant tional recognition and application teaching methods. Actual musical “r^ tor leaders in a11 at and dgood,andother all levels of music to cultural, social, participation in school by every — the educa- ^! functional musician- fields of tional and commercial life given in music student, and by every adult Second, a ship: listening, compos- realization that our performing, world history. outside of the school, is the musical tude toward atti ing. Only can we music should be with great leaders 3. The need of every city and community. one T highest standards and naturalness and honesty have great accomplishment. methods of general music teaching The stars and the geniuses, as well knowledge frith ththl that we need ,. and leadership America has ever as the poor, are always with us and and heavy music 1Bht to meet our preached or practiced in public will be taken care of by a public varying moods °Wn and desires Getting a Published schools, private studios, and special that rightly and generously gives Perhaps the Song third phase i. h training institutions. homage to super-excellence wherever met much " 8 ( Continued from Page 56) better to-day th® 4. A new freedom from hardening found. before, and that is the necessity^! bothered trying to find the author. of the musical arteries; a freedom A third need of our musical Youth having good music adequately When the record made such an as- like it or not which must precede —and of most of its teachers and formed as V Per ~ — they hear it ! tounding Vic- au sale lo and behold— the golden harvest of every cultural leaders as well—is to know, and to quently young — people “y ™ tor was sued by a man who claimed cycle of musical development. act upon the knowing, that music in turned against re- music of I to have written The court 5. facets constitutes betterhell the words. The widespread opportunities to any of its various grade because the perfm-™ upheld was humanities; that the claim, and Victor profit, commercially and culturally, one of the major music place technical lat skiuSbov* ? compelled to pay out an enormous through applied and creative musical just as no liberal arts education is musical interpretation lle Youne sum of money lyric skill and standards. balanced and rounded without music like fine music B PeopIe to the forgotten when “h lsi. *be writer. 6. The availability for use or own- studied historically, socially, and performed autifuliy In reference a go-;ood ership of musical instruments of a aesthetically—taught and studied on to records, angle to tran- high order an equal plane with history, litera- bear in mind is the mechanically and tonally. scription arts—so music business. are several And now to answer the question ture, and the spatial AN FI There L companies I° r interpreted) alone and Head enhe AY which records given me: what briefly are Youth’s created (or D?vil„ 0 make New Eng, ^ h commercial 5 - its comrade humani- and broadcasting purpose major musical needs and liabilities? isolated from Co»se,va,otJ°aiOI . MUSIC whole man or T„ ecords may minute to First of all, a greater self-disci- ties never reflects the In two words, run from one Musioiawi T ntteen 5 of the music. minutes Music play pline musically and mentally. Music, the whole meaning ship. This is not deader- or more. to^sav^y important musician must cultivate that , . role transcriP as an expression of the whole per- Every young should not be grateful we in these i and portion so-called academic > sonality, is dualistic in its human a background of been and is being has n, although a good relationships which s ls mate- source, is knowledge. The youth. The mUSical ... professional popular manifestation and goal. It accomplishment , art of music will great, s as most of coin- the most scientific of the arts as the science and gratifyingiy been \ the transcription so. The r„? n P es well progressively assume with the liberal accomplishment te of welcome a amateur song- as the most emotional and spir- can be .... this E h good studies will be cumulative and only by Bpped V will buy transcription itual. On its scientific (intellectual) arts leade'A of great,,?' up” only the all side, inspiring. The writer can testify to ship. Youth rnusic>an- leavin S the publishing and practical, accurate head knowl- can rise to b other the exact truth of this statement guessed by hts ri ghts with One edge must more nearly balance heart those who h»,, un- tr , the songwriter. since his work and observation cov- direct < ription used knowledge (intuition, taste, style) contact with made L record may be the possi„ over indi- ering many years have given him Musical bllities. 1Undleds of and the than it does to-day if Youth, leaders for amitg stations, opportunity to check its accu- more U1' eX- vidually or collectively, is to continue every musicianly need immediately receives an training “Si pl 0itnt ' this 1 s its Mount Parnas- racy. need institutions meet Which *t would be imP“ upward climb of offer, sible f T And, finally, one of the greatest ing must B train- 01 hlm t0 sus. increase their ~ The obtain otherwise. musical needs of Youth is mental, quirements, S Cal - Important ® Young America needs but dislikes both entranc?n b re mind" point to bear moral, and spiritual poise. Musical and 3 at aI1 song there is no escape vitalize the flna times is that, if a discipline, but teach?* h has m . is education, musical participation or branches of 01 14, and suffl- from self discipline if progress music I? all if its creator has inc^ cienf ' creation which does not in some theoretical ng " T Ul th e Obedience to the text studies -> the age and to be made. This , numbei.° Persistence. elements ' lead- measure merge these vital stitutions ' and to the authority of musical have already 6 in' eventuallye entuall reacheacb Pput ben" cationcation. w V “I but alwaj-s and build character through music They should offer 6 “ to ZL0 WeverI 5 that, f do - ership never diminishes , the fact gradual-. songwri , pei- is in the end unworthy of the art eulated to Work tbr aIand powers and the build cal- *bkelkess hisbis increases the musWn tha?^that an u- own song student. More of Apollo, and he was the symbol should insist that 1 ® 115 friends no spective of a sincere graduate^ and «ke it. does embodiment of all the arts. necessary “oomph” (Holly- and demonstrate Stude 1 y ttlean e youths possessing higher levels* , «ts will that the numh of attain- bp a commercial success. continued on Page 66) rrre VTTlOl — 3

for active For tiny lot piano students PIANO TIACHIiS The Piano Accordion 5h “SPEED DRILLS” S“ d s only By Wallace and Winning. A new approach for teaching little FREE: “The Student Pianist”, a tots the piano keyboard through their 36-page booklet containing the 11 Introduction to Accordion Harmony eyes, easily and quickly. CONTAINS EASY TRANSCRIPTIONS FOR MATERIAL FOR SINGLE NOTE DRILL. With “SPEED DRILLS” chil- PLANO listed below, every num- dren learn to play before they learn ber absolutely complete but re- The first chord to consider is the the music alphabet. duced in size. By Tonic. Every degree of the scale has “SPEED DRILLS” consists of ro its individual name, and the first THIRTY-TWO CARDS 3 by 5 To RECEIVE THIS 36-PAGE BOOKLET, you must inches 2v or keynote—is called the Tonic. A to be placed hack of piano keys as establish with us your professional status, tl’O shown below; KEY FINDER, and therefore enclose your professional card, tc three-tone chord is called a Triad; a book of instructions for their use. letterhead, or other means of identifica- P and when built upon the Tonic it is tion, or refer to one or two prominent As Told to ElVera Collins called a Tonic Triad. It is built up music publishers by whom you are recog- in thirds and consists of the root, nized as a teacher. a CCORDIONISTS OFTEN ASK US third and fifth degrees. Ex. 1 shows Tuneful, rhythmic music by well-known American com- Z\ how they can learn to arrange posers. including world-famous marches. Our Director, the first five notes of the the -L -k C Major Notional Emblem, NO-i, and Down Main Street, carefully their own chord accompani- transcribed, edited, and Angered. As an attractive title- scale. page does much in arousing the pupil’s interest, this ments for any given melody. We nat- feature has been given careful attention, the editions carrying smart, modem designs in attractive colors. urally advise them to study harmony; OUR but we must admit our disappoint- Ex. 1 DIRECTOR, March . .Bigelow

NATIONAL EMBLEM, March...... Baglay of accord- NC-4. ment in the small number March . .Bigelow DOWN MAIN STREET, March.. Weidt ionists who have taken our advice. i 1 i WU HU Rolfe j—^i AUTUMN TINTS. Waltz .... Rolfe We wish that we could make them MOONLIT RIPPLES, Barcarolle. ... .Rolfe understand that the nature of the RURAL PICNIC, Rustic Dance... Rolfe CANZONETTA ....Rolfe accordion is such that harmony is a By forming a triad on the Tonic C PICKANINNIE’S PICNIC , O’Connor WHIP very necessary study. It is not enough AND SPUR, Galop Allen we have the combination of C, E, G, that we merely push a button to pro- The regular sheet music editions are 35 cents for forming the C-major chord which is each number, less the usual discount to Teachers. duce a chord according to the sym- the Tonic chord of the key of C. bol given us. We must know what Enclose this ad or refer to The Elude Tonic chords are always indicated tones are being combined to produce by the Roman numeral I. WALTER JACOBS, Inc. that chord. These are the tones which are 120 who neglect the study of Boylston Si. BOSTON. MASS. Those combined when the C Major chord harmony will eventually find them- button is played on the bass section selves up against the proverbial "JENKINS' ADJUSTABLE of the accordion. There are, however, wall and will then realize that PIANO MUSIC RACK". stone more than three reeds playing, since they have handicapped their own A little child can read his the standard 120 bass accordion is music Furthermore, an early in- without straining his eyes, and at the progress. so combined that nine reeds come same time, troduction to harmony enables the be comfortable at the into action when a chord button is piano with the use of this device. accordionist to simplify his task of pushed and the register switch is ap- It brings music forward and down memorizing and sight reading. As- to the proper distance plied. The three tones of the C- for the child’s pirants for accompanying or orches- eyes. Adjustable in a jiffy to any angle ALONE IN TONE major chord would therefore sound certainly heed our and position on any Grand or Upright tral work should in more than one acme: octave in order to piano. A comfortable child at the piano advice. produce volume. When the register practices longer and progresses more The idea occurred to us that more rapidly. Price $2.50. switch is removed, only six reeds re- interest in the subject might be Send descriptive spond for the chord buttons. for circular. aroused if we had a brief discussion Our next principal chord is JENKINS MUSIC CO., Kansas City, flime Accordion Co., Inc. called Mo. 43 the formation of a few of the W. 16th ST., N. V. C. on the Sub-dominant. It (Bet. Sth & is so called be- 6th Avcs.1 principal chords. These explanations cause it is built on the fourth degree have purposely been made in the ^ The Famous Franz A of the scale and that degree is called most elementary form, because they !„MPMVE YOUR PLAYING the Sub-dominant. Ex. 2 shows a are intended for those who have not ELECTRONOME major triad built upon F, which is harmony. Our aim is to prove Ing how you may greatly improve your studied the fourth sight- degree of the scale of C. technic, accuracy, memorizing, is very interesting thru mental- that this subject , reading and playing muscular co-ordination. Quick results. Practice effort not difficult. It is our minimized. Used by famous pianists, teachers and and certainly si udents. Ex. 2 No obligation. hope that this little sampler of a .Jn^illLildLStndios. Depl. 51-M- Covina, California^ harmony lesson, based upon chords, will lead some of our readers to seri- Learn Piano Tuning At Home ous study. Sub-Dominant The makes it easy. The Tcmperamctcr The first requisite when studying piano business is destined to be better -i than ever with the advent of the small harmony is a thorough knowledge It follows the 1-3-5 pattern. The upright. Secure yourself now by learn- minor scales. The notes F, ing this paying profession. This—our of all major and show A, C, forming the F- dOth mail. Write year teaching by next study is that of intervals. Brief- major chord, Sub-dominant chord today for Free Booklet. differ- Jryant ly explained, an interval is the of the key of C. When written, it is School, 54 B. B. Augusta, Michigan ence in pitch between two notes, indicated by the Roman numeral IV. "ABSOLUTELY ACCURATE" figured from the lowest to the high- These are the tones which are com- Play piano same stylo "GREAT CONVENIENCE" as dance and radio play- est and including both. Its name is bined when the F-major chord but- ers. Put in snappy "EXACT TEMPO" runs, breaks and fills. determined from the number of lines ton is played on the accordion. Play all the late song "INVALUABLE AID" bits at sight. It is easy and spaces it includes. The fifth degree of the scale is JAZZ with our new, guaran- "ACCURATE TIME KEEPING" Mail ttio coupon or post card today A chord is defined as being the called the Dominant, and a triad combination, according to rules of built upon it is called a Dominant "STIMULATES INTEREST" 8 D,llL E - 2m ““w* o3SLn"d. oiii°: harmony, of three, four, or five tones, triad or Dominant chord. If built on Sqo your dealer for full information and SS&ifiX w™“U£" “>»“ your sounded simultaneously. There are the fifth degree of the scale of C, the 6 day trial oflar, or writo direct to three principal chords in each key notes would be G, B, D, forming a G Tonic, Sub-dominant chord, Address and they are: Dominant chord of the key of FRED. GRETSCH MFG. CO. Dominant. Let us study their C. When written, it is indicated by Musical Instrument Makers Since 188 City.. and State. BROOKLYN, Y. construction. ( Continued on Page 66) f 60 BROADWAY, N. 1 JANUARY, 1941 61 -,

WHERE SHALL 1 GO TO STUDY? Fretted Instruments

RUSSELL A. Carla i Private Teachers (Western) WOOD Munier, Mandalinist and Composer Teacher of Voice School of Music 3 ROSE OUGH x By where he lived the greater part of voice Central Y.M.C.A. College « i his life, being actively engaged in 1 Former Assistant to Lazar S. Samoiloff 1234 Kimball Hall Chicago, III. M id- 3 in Hollywood concert work and in composing for Studios at 3 Reopened Her Voice “ y* mandolin and other instruments. J 1931 —8TH AVENUE OAKLAND, CALIFORNIA DR. FRANCIS L. YORK e c. 3 Telephone Glencourt 6115 Advance Piano Interpretation and the Theory work m Here also his genius was soon recog- required for the degrees of Mus. Bach., Mus. Mas., (jcO>’f EDNA GUNNAR PETERSON x nized, and he guest ; and Ph. D. in music. m was a welcome DETROIT INSTITUTE OF MUSICAL ART x in " Concert Pianist—Artist Teacher the most select musical circles of Detroit, Mich. x Florence. « 229 So. Harvard Blvd. Los Angeles, Calif. In 1890 Munier organized h aples, that beautiful FE. 2597 the first Private Teachers (Eastern) I plectrum quartet, with CITY in southern Italy : S. has LAZAR SAMOILOFF Luigi Bianchi first N often been called and Guido Bizzari, “The Voice teacher of famous singers Home h BARBARA BLATHERWICK ! and second mandolin; Riccardo Ma- of the Mandolin"; and it was here From rudiments to professional engagements Recital - Coloratura Soprano - Opera tini, „ mandola himself, modern " Beginners accepted. Special teachers' courses that her illustrious son, and Teacher of Voice m Carlo Munier lute and of Canto, founded on the « director. This quartet, " 6IC So. Van Ness Ave., Los Angeles, Cal. The Italian Bel was born on July 15, 1859. While Italy principles of Manuel Garcia « which each thorough " can boast member was a 121 Madison Ave. New York Murray Hill 6-6963 of a great number of out- : ELIZABETH SIMPSON musician and respec- standing artists of the mandolin, we artist on his " Author of "Basic Pianoforte Technique" S. CHITTENDEN E tive instrument, success- KATE feel that, without fear of contradic- gave many * * ful Teacher of Teachers. Coach of Young Artists. Pianoforte — Repertory — Appreciation tion, the concerts throughout Italy. In * Pupils Prepared for Concert Work. Class Courses name of Carlo 853 7th AVE., Munier M THE WYOMING. H 1892 they the in Technique, Pianistic Interpretation, Normal should top the list obtained first prize in NEW YORK x of all these dis- " Methods for Piano Teachers. international Gen- tinguished virtuosos and composers music contests in n 609 Suffer St., San Francisco; ALBERTO JONAS He oa, when Munier the m 2833 Webster St., Berkeley, Cal. ; was an inspired artist was awarded in every gold Celebrated Spanish Piano Virtuoso n department of music, towering medal as mandolin virtuoso Teacher of many famous pianists M above und Endicott 2-2084 n the greatest, composer. 19 WEST 85TH ST., N. Y. C. Tel. and his genius is Private Teachers (Mid-West) n justly ! On Tuesdays ond Wednesdays in Philadelphia, as On " recognized wherever June 30, concert Director of Piano Department in the Combs College the instrument 1902, at a * given of Music, 1925 Chestnut St. is known. by the “Royal Circolo Man- CECILE DE HORVATH \ If heredity dolinista” of also (Ernesto) is to be which Munier was (Frank) M considered it Concert Pianiste and Teacher is no surprise a member, his sev- LaFORGE-BERUMEN STUDIOS . that Munier devoted quartet rendered < Pupil of the noted virtuoso and conductor, his whole life to eral of his which Voice—Piano h the uplifting own compositions Ossip Gabrilowitsch and were J Frank LaForge teacher of Lawrence Tibbett since 1922 x advancement of accorded Octo- 418 Fine the mandolin an ovation. On a Arts Bldg. Chicago, III. 1100 Park Ave., Corner 89th St., New York “ and “ its music. His 6’ 1909, appeared Tel. Atwater 9-7470 ancestors and relatives the quartet • were oy royal MAE ELEANOR KIMBERLY performers, teachers and command” in the historic EDITH SYRENE LISTER man castle * Coach Accompanist Pianist 2 dolin makers. of — — Munier's great Sommariva, Perno. Munier’s H AUTHENTIC VOICE PRODUCTION . uncle Studio—Room 422, Fine Arts Bldg. Pasquale Vinaccia solos were his major " 405 Carnegie Hall, New York City (1806-1882) Prelude in D 410 S. Michigan Chicago, III. was Ave. famous and his Tel.—Wab. Tel.—Gra. 1547 S. Muckey throughout first Concerto. 7579 Home Endorsed by Dr. Ployd > Europe as ner Mazurka di Lecturer Voice Production, Post-Graduate " fecter of the Neapolitan Pon the conclusion perform- New York City mandolin of the EVANGELINE LEHMAN, Mus. Doc. Medical School, we know to-day, and ance, His ; Music Studio, Lancaster, Pa. Pasquale’s Majesty, Victor Emmanuel Wednesday: Troup ^ two * II COMPOSER and VOCAL COACH 309 Presser Bldg., Philadelphia, Pa. sons, Gennaro and rose to Thursday: N Achille Vinaccia greet him and warmly Dr. Lehman has coached of the most famous some continued his work after ngiatulated singers of the Paris Grand Opera. Terms on his death him upon his marvel- „ ' application. RICHARD McCLANAHAN ; Born in this a environment, Peif0lmance sur- MATTHAY . expressing his 167 Representative TOBIAS pos nrfo n Elmhurst Ave., (Highland Park), Detroit, Mich. Fundamentals sessed of rare Private lessons, class lessons in M musical ability the of teachers with fLf® beautiful effects Lecture-demonstrations for x an inborn City and all 806 Steinway Bldg., New York „ consuming , 6 mandolin capable, ; ARNOLD SCHULTZ love A was for the mandolin, we can ni r did " Teacher of Piano readily ’ as man dolin virtuoso, PROSCHOWSKI derstand nnt r, ^ Author of the revolutionary treatise on FRANTZ ; how Carlo perform Munier became to any extent outside of piano technique Vocal Teacher » m tame universally * "The Riddle of the Pianists' Fingers" New York. recognized countr contributed 200 W. S7th St., as the y- He " published by the University of Chicago Press » greatest musical manviH Tel: COLumbus 5-2136 authority 0n tu ll terary musical 622 FINE BLDG. CHICAGO, ILL. 1 the ‘J articles to the 2 ARTS instrument. j S and frequently as ad- TREUMANN Young Munier iudient acted * E. RAYMOND ALLYN SMITH, Ph.B., A.A.G.O., EDWARD began serinno o* 111 1 musica l contests boUl Artist-Teacher of . Dean Concert Pianist— , the mandolin under Italv , nd MantJ Moszkowski , Carmine °ther countries- Central Y.M.C.A. College Recommended by Emil Van Sauer, * de European 2 Lauren tils, celebrated In th» School of Music early , teacher ^ days Munier Coeduca- Hall. Suite 837, S7th St. at 7th Ave. . mandolin 1911 a Complete courses leading to degrees. Studio^'carnegi. and guitar in visited 4 tuition. Naples AntWerp return x tional. Fully accredited. Day or Evening. Low and and his - 011 his "Master ""class—June to SepK-^App°» Si . progress was journev * Cromer phenomenal Kimball Hall, 306 S. Wabash Ave., Chicago, Illinois 1 wn y P nt a 411 fifteen years of age friend few days t” h? beLn e? ’pafntauzzi,! mandolinist. study of piano under th residin the Galtero „ 5 ,n en- Cosi and harmony and d thusi "?, Marseilles. He was counter-,«unterp 1C s ' with omt a^ou ^ Plans for an imp° d’Arienzn. ing on,“ Ce in Florence, which were M.'cH'mRjSggSl- never 64^ A Genius 12® 11 in WS Recognized adopted ' for he died ty, 011 He was aftel" a short ill ness nineteen vearc Februflr , he left the 11 1911 at the age 0f flfW conservatoire of two S'pff ' off *- d’Maiella, dmlrei s from parts having won ! ™ the all #"'/ both thf wor,d e Engravers prize for fl st subscrlbed through th composition and thl hiedium , ~ nf a „ ond prize for harmony. Sec t° Milanese music journa At ,- a brnn this Ze sbie Lithographers he appeared in many me which l d suitably inscribed IV'* ura concerf“ S about anything in this line Naples n 61 6Cted O Write to us and Published ‘ to his memory- his rst Munier once FOR ITEMIZED PRICE LIST positions, arrangements W1'0te concerning h SEND of “i ?‘ early stiid° viata” and “I 68 °n the mandolin. Puritan!" for ‘he beam 0 ,, o mg no of two mandolins, maudo^ et think I" 1 confess I did piano, the second d man dolin capable of soc think that a tune should be 'dished-up’ of these advancesd i to h , e net seem* lng “ent fro»; The public son dedicated to Her ' and I excluded Elgar’s ‘Pomp and. Circumstance’ Majestyy> the o my r jmo as tne Queen P rt0ire eceS either m a subdued accompaniment, as in the of Italy. that a number of pi I ho , elle execu- Symphony."-Mr. Eugene Goossens. In 1881 Munier moved tion- ed impossible of Tchaikovsky's Tiff. to h, 7coni movement of Florence Ut 17 and Worked n thought, studiedaw* • then wl-o te my -Method TinE °

‘Studies’, solos, and other works, sic pieces scored for the so-called it is then repeated from the double sixteenth-note figure in the right and I so proficient became that i “Romantic Quartet”, two mandolins, bar in Measure 12. hand is again taken up in tempo in could then execute with ease what mandola and guitar. We now arrive at the delightful Measure 53. I had previously thought His mandolin impossible.” solos with piano ac- and characteristically Mozartian Trio. In Measure 57, the tempo must During his lifetime Carlo Munier companiment are veritable gems and This movement should be per- again be retarded to bring the Trio published more than three hundred show the mandolin at its best. Here formed slightly faster than the Min- to an end, although the second part and fifty works, and others remained we find the “First Concerto in G uet, and the notes which are marked of it is of course repeated, before in manuscript. For the benefit of major”, Capriccio Spagnolo, the staccato in the text should really be returning to the Minuet. “First and Second modern mandolin students, we bring Mazurka Concer- played with a half staccato touch, Each section of the Minuet is next to attention his most important com- tos”, Valzer Concerto, Aria Variata, all very lightly. At Measure 42, the repeated, where the interpretation positions. First, there is his “Mando- Rossiniana Fantasia, “Bizzaria-Ca- group of sixteenth and thirty-second runs as before; but when Measure 82 lin Method” in two volumes, contain- priccio Concerto”, Scene de Ballet de notes on the third beat in the right is reached I make a definite pause ing over two hundred pages of study Beriot and the mandolin duo, Canto hand, together with the eighth-note on the octave A quarter note, on the material with Italian, French and d’Amore, for unaccompanied man- thirds in the left hand, must be second beat of this measure, and wait English text. This method is supple- dolins. The performance of any of slightly held back, and some stress before resuming the pair of eighth mented by “La Scioglidita”, four these numbers by an artist cannot be given to the bass thirds, as also notes on the third beat in the treble books of progressive exercises cover- fail to open the eyes of the unini- to the bass third on the first beat of which again ushers in the theme. ing all phases of mandolin technic; tiated to the true worth and beauty Measure 43. This is done in order to This pair of eighth notes must be and “Opus 216”, twenty studies for of this much abused and misunder- herald the return of the running retarded even more than previously, advanced students. stood instrument, the mandolin. staccato theme of the Trio, in Mea- in order to indicate the opening of Next we find “Op. 115”, lessons in sure 43. This theme should be re- the final repeat, while the measures the form of duets; “Op. 226”, duets sumed in strict tempo. that follow should be played in an for two mandolins in first position; After repeating the first section of intimate, and at the same time al- Minuet in of “Op. 220”, duets in first to third posi- D Major the Trio, we reaGh the last quarter most confidential manner. tion and “Op. 228”, duets in all posi- Mozart—Master Lesson note in the treble on D, beyond the In Measure 86, a little accent should tions; also “Opus 230”, a book of ten double bar. I take this D with the left be given on the A-sharp eighth note, classic arrangements for three man- (Continued from Page 30) hand, to simplify the right hand’s on the second half of the second beat dolins. For the serious mandolin attack of the sixteenth-note figure in in the treble, while the last two student these works are indispensa- A-sharp, on the second half of the the treble, which starts in Measure Measures, 93 and 94, the first time ble. second beat in this Measure 28, I 49. they are played, should be broadened Among his finest creations are the make a sudden piano, instead of the The three eighth-note thirds in the in tempo and held back, to suggest three string quartets: “Opus 76, in little crescendo which I indicated on bass and the sixteenth-note figure in the end of the piece. When this final of treble, G-major”; “Op. 128, in D-major” the similar group eighth notes in the on the third beat of Mea- section is repeated, however, Mea- of and “Op. 203, in C-major”, scored for Measure 4. This is to give variety sure 52 (as in the similar music of sures 93 and 94 should finish in strict phrasing. Measure 42) must be stressed, time, two mandolins, mandola and lute or , and even somewhat abruptly. mandocello, with optional parts for A crescendo followed by decrescendo played somewhat more slowly. This Elegance, delicacy, and graceful 31. is guitar or piano. There is also quite a again occurs in Measure The rest true also of the first bass third in rhythm, combined with a certain number of beautiful arrangements of the music, to Measure 36, runs the Measure 53, the bass thirds being almost tender humor, must pervade of operatic fantasies and other clas- same as that in Measures 8 to 12; and brought out with singing tone. The this charming Minuet and Trio.

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offer them without obligation to you. This great musical organization now in its suc- N EVERY COMMUNITY there are ambitious We 37th Y the only school giving instruction in m men and women who know the advantages or We are music by cessful year—has developed and trained many musicians the Home Study Method which includes in its teaching and many successful teachers. To you we offer the A, new inspiration and ideas for their musical ad- same Courses are all the courses necessary to obtain the Degree of Bachelor advantages which have been given to them. Don’t wait vancement. It is to those our Extension of Music. This is an age of specialization and the specialist any longer! The coupon will bring you our catalog, illus- of the greatest benefit. is earning fully double or more the salary of a musician trated lessons and information about the lessons which The the very most successful musician, of course, is /ith only a general knowledge. Openings in the music will be of untold value. busy for one. Yet he is the one who finds extra time are growing very rapidly. something field This Is YOUR Opportunity—Mail the Coupon TODAY! worth while. And to such a one Extension There are big paying positions courses are the isn’t always possi- for them. greatest boon. It for those who are ready UNIVERSITY EXTENSION CONSERVATORY, Dept. A-227 e to give and up an interesting class or position 1525 E. 53rd Street, Chicago, lliino.s. go away f or instruction. hold the Key Please send me catalog, ample lessons full information regarding Do you and course I have T e home to marked with an X below. . h study method is equally advantageous 6 e to the best teaching Piano, Normal Course Trumpet Cuitar Smner or the amateur. Because the work can be d 31 for teachers Cornet Ear Training and ' me interference * n s are time, with no a Diploma? Si s in witl^n ’ P position— Piano, Course for Voice ShV i"S g s regular each day may Students J MandolinM _ work, many minutes beho used.. History of Music Saxophone which ordinarily to waste. Public School Music Choral Conducting J go It is up to YOU. On your Piano Accordion Harmony Clarinet your ~\ Banjo Look Back Over the Last Year own decision will rest Adv. Composition Violin Reed Organ future success. Fit yourself for pr° ftr ss have you made? Ferhaps you have ~r,0 send? , a bigger position — demand for our catalog sample lessons be- Street ore and No. just to look larger fees. You can do it! into them." That is your privilege. The City State Increased Requirement for DEGREES has Resulted in Larger by Are you teaching now? If so, how many pupils have Demands for the ADVANCED COURSES offered you? Do you hold a Teacher’s Certificate? Have you Ole UNIVERSITY EXTENSION CONSERVATORY studied Harmony? Would you like to earn the Degree of Bachelor

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JANUARY, 1941 63 -

The World of Music Carroll Huxley. I wanted to begin this with a sub-tone clarinet taking ( Continued from Page 1) the melody for sixteen bars against ERICA MORINI started her eleventh MYRA HESS, accord- Radio Program a the American concert tour in Montreal in ing to London reports, background of muted strings, (Continued strings shim- November and will be heard in leading has “covered herself from Page 11 ) tremolo and giving a we usually cities throughout Canada and the United with glory by the suc- devote the greater part mering effect. To get such results on cess, artistic ot the day, a States this season. and finan- up to the time ot the stage is one thing, to make them cial, of her National broadcast, to intensive come quite work. This is out of the loud speaker is TRENTON, NEW JERSEY'S first opera Gallery concerts” for a much better plan than holding another. It was a matter of try and season opened on December 17th when which one hundred and short rehearsals on days prior to try again. After Huxley had made the newly organized opera company gave fifty thousand persons the broadcast, which method the clarinet a performance of “Cavalleria Rusticana” have paid admission Myra offers too arrangement, I gave the Hess great a chance of plays together with scenes from “I Pagliacci”, during this wartime forgetting what part to Chester Hazlett who was done. Instead, “The Magic Flute”, “Faust”, and “Porgy year, thereby contributing almost six we continue re- a sub-tone clarinet. Incidentally, this hearsal up to the and Bess.” The founding of the opera thousand pounds to the Musicians’ time we go on the effect was invented by Hazlett. It is Benevolent Fund. company was inspired by the success of One of the most suc- achieved by getting as close to the the Trenton cessful concerts was a lieder . "We usually Symphony Orchestra and recital in rehearse and microphone as possible with the cast broad- is under the musical direction of German by Mme. Elena Gerhardt, who from the stage of a then let- t clarinet and blowing low tone was welcomed, which a soft, Michael Kuttner, concert master of the according to Miss Hess, the public is “ admitted In ar which is almost inaudible to the orchestra. It is to be hoped that this —as a great artist, irrespective of her ranging the orchestra, the violins are ears. The microphone, however, picks opera venture in Trenton will inspire nationality.” placed up front at ifc up, it other communities throughout the coun- my left The gives it body and makes of try to form similar companies for the THE TRAPP FAMILY SINGERS gave a truly beautiful tone. Needless to sa further enrichment of American mu- three delightful programs of Christmas y, it is difficult to produce. Mr- carols for three consecutive sical life. Sundays in Hazlett worked an entire day °n Town Hall, New York City, December these a. sixteen measures, first with FREDERICK CONVERSE, shortly before eighth, fifteenth and twenty-second. -flat clarinet, then with an A and his death, accorded Sevitzky xylophone. ^ to Fabien ^Fluteff and finally are sax°Ph°nes with a bass. In rehearsal, we the right to perform for the first time THE NEW YORK STATE MUSIC TEACH- centered tnimnptc. U et5 ^ 1 nd - must have hour— his “Sixth Symphony”, which premiere ERS ASSOCIATION held its eighth an- bones bi.inSgu b ° m spent close to an p X i eai lp the the control took place with its performance by the nual clinic for music teachers and music This arrangement room—getting is in , fight The Indianapolis Symphony under Mr. Se- students from the high schools of the accord balance for this effect. with the radio vitzky, November 29th, in Indianapolis. State, at the Eastman School of Music set-uu fhuted strings were too symphony orchestra, a and flutes in Rochester, the last week in November. the foud, and number sounding instruments " we tried them in a JAN KUBELIK, violinist of world fame, The official program was in charge of being °f positions one nearer the central Placed before the correct died in Prague, December 5th, at the Arthur R. Goranson of Jamestown, New miernnh®°Phone was found. must louder ' the Most numbers further back . of the age of sixty. He was bom in Michle, York, president of the association. Dr. n with set-up, this worked out in this manner. Czecho-Slovakia, July 5th, 1880. His mu- William Larson, director of the Music members of the ,, just >1CheStra As I hard sical talent was discovered by his father, Education Department of the Eastman constantly moving are said before, radio is a about . task an amateur musician and gardener, who School, cooperated with the clinic in- When we want master. It picks up the slightest a meiodt t became structors in discussions during the three- against eard imperfections magnify his first teacher. Later he studied a subdued backgm ® ? and seems to under Ottokar Sevcik at the Prague Con- day sessions. bring We iem. it atten- the soloist or requires the closest servatory, and made his professional p“y®Tun'\ ion to Every special floor microphone a the smallest detail. debut in Vienna in 1898. His first Amer- ELDON GORDON JOUBERT, for thirty centing Or i ac ~ minute in pub- a phrase in rehearsal counts. The ican appearance Hall in years a piano tuner for Paderewski and one of ,7 was at Carnegie the he choirs ic is becoming dis- men stand to . more more 1901, where he was assisted by Emil Rachmaninoff, and technical adviser for pi ay if and “Rehearsal criminating. who can Paur and his orchestra and Jessie Shay, Steinway and Sons, died in Fairview is a busv But to those number me tor ueet the it * s pianist. He married the Countess Mari- Hospital, Great Barrington, Massachu- of people and a requirements of radio, scene a m® S t0 the anne Czaky-Szell and was the father of setts, November 18th, at the age of sixty- technical staff of S°“ d seven children, all of whom were mu- three. electricians, »en, produefof“ and sical. His son Rafael is well known in workers, arrangers script Europe as a conductor and composer. THE NEW JERSEY MUSIC GUILD, INC. sicians mu ~ and others.The arra^’ presented Humperdinck’s “Hansel and course, 6’8 Our are ’ of present to Musical Beginnings DR. GUSTAVE L. former under the direction of Ralph Er- hear ho® BECKER, Gretel scores aetualiy heir president of the New York State Music rolle, December 21st, at the Mosque The- sound and to changes if necessary. 1 make in Teacher's Association, who has been ater, Newark, New Jersey. the Southwest “I usually teaching spend 1 in the United States for over the fn-si „ c°ntinued 7) the ‘ Part y.,, from Page fifty years, testimonial re- THE MUSIC DIVISION of the Library of rehearsal on °f as was given a the cn° eai’ly as Old Sa> stand, the nduc tor's An , 1750.) The cital in Carnegie Hall in November. Felix Congress has appointed Gilbert Chase last half , Antomo Road, Real Robert assistant in the field of Latin room. The 6 control called Camlno Mendelssohn and Henry Holden as special latter is a »i le Spaniards, extending eas Huss were among the assisting artists. American music. booth with control nClosed Wa rt board* at! °m the Rio Grande across technicians sit. which thl They m ix . VaSt ex Texa the volume r ulata Panse of South of sound anr) ° n ya a ‘fndlca? became, indeed, a R° by a fluctuating ted Rtno 1 Masterpieces of Piano Music needle £ If a culture between Mexico there is too dlal- ancip, f° has been termed the library of Piano mu^ Orleans- a crescendo, °Iume S capital and New Music in one volume. The more than so that it on the p Pans 01 th 200 selections by great composers con- microphone, the S the e New World. control ® p ln tained in its 536 pages, comprise 53 m CUts 4he nineteenth century. down. He is able also 14 Penni,/ „ Classic, 75 Modern, 38 Light, 25 Sacred to^ S £rom well a weaker section Up a many lands, as and 29 Operatic Compositions. This vol- and thus n Amei-i older source of constant enjoy- tributes much 6 con' Pi0neers from the ume is truly a to the effect! stated „ ’ came fe rtl1 ment and entertainment to the pianist the broadcast. Then, ePess of reein to settle in the too „ Ps °f who delights in good music. trol room the con- the great Southwest--' conductor Qer anS ’aS,g ' Scan- For sale at your favorite music counter or sent of how the music J® an ldaa dhnv Bohemians, Italians, POSTPAID upon receipt of price. Money re- wU1 S Pole5 - d ' EnShsh, funded if volume does not meet with your ap- the loud speakers 0Ver Each Russians, proval (NOT SOLD IN CANADA). Illustrated This ‘ glou lisl ’ necessary. S Vltall P brought its own m folder with contents cheerfully sent upon Otherwise . y its he oWn t 1 request. know how the WlU not culture. The plains and music ’is „„ n, WORMS LARGEST COIIFCTION try TIC MUMIL PUBLISHING CO.. INC. and some of his °Ver ™ resounded with PIANO MUSIC CONTAINING best musio OF STANDARD 1140 Broadway. New York. N. Y. effe^ff® > lost may ’ smad orchestic MORE THAN TUOIIUNDKfi) CLASSIC, in transmission. be German Enclosed find $ for which send post- and Z 1 SACRED COWUSmONS Qennan Scandinavia MODERN.OPfRAJIC AND paid Masterpieces of Piano Music. To give a more sinoi, and Paper Cloth explicit ( ) ( ) how a societies, with creole W rehearsal is carried ° £ sonnR® on , . 8 Wlth o Name select one Us Plaintive folk songs particular the p i numbefV ° lemia ole ’ Street of my programs one ns, Russians, and P I Ppresented with ay Mexican th® ° ftalian airs and Mexico Citv & State folk tune EstZeUtn ld fand„® Cloth Edition- E 1-41 nBOS had ’ and croon®* previously been of n,„ with the " arrange^*? r slaves Chan4 °, in the fields. ines n® cowboys rode fl fty 64 many times ! -

to one hundred miles, to dance all tleties of workmanship.” Charles J. night to the scraping of old fiddler’s Finger, the well known critic, avows: tunes called “breakdowns.” “That he has done more to preserve American and Southwestern folk music than any other American Famous Composers from the Music ©arms Begin at Sherwoodiod N / Southwest composer is not questioned.” Lota M. Spell, eminent authority on Young people come to Sherwood Music Accredited instruction. United tificates, Distinct types of folk music were music of the Southwest, looks hope- School from all parts of the Courses lead to certificates, States to prepare for careers in all diplomas, and degrees in piano, violin, in Southwest at the fully to the future. She believes that evolving the branches of music. They choose this cello, voice, organ, wind instruments, had one sought, a century earlier, in same time that, in Russia and in famous conservatory because it is noted theory, composition, public school well Spain, composers were turning their any of the foreign lands having for the successful musicians it pro- music, conducting, microphone tech- schools of music duces. Equipment, environment and nique, dramatic art. attention to native themes. While developed national curriculum encourage enthusiastic Dormitory accommodations at mod- making for recorded music of the people, one Liszt and Brahms were study. Choose Sherwood for your erate cost. Write for catalog. 412 S. have found far less than the known to the world the rich, wild would career-preparation Michigan Ave., Chicago, 111. offers to composers to- beauty of Hungarian music, and Southwest Institutional Member of the National Association of Schools of Music Dvorak was awakening his Bohemia day. of the same to the loveliness of its folk melodies, David Guion is much Louis Moreau Gottschalk—the opinion. He writes: “The significant Southwest is Southwest’s greatest individual con- fact for us is that the of American native tribution to music during the nine- the very center the cowboy, the teenth century—was recording the music. The negro, pioneer are sources of fascinating but baffling rhythms of Indian, the music, and we have them the songs of the creoles and negroes our folk section has certain- of Louisiana as well as dazzling all as no other — wealthy North and East. three continents with his piano ly not the these humble elements of our virtuosity. From basic UNIVERSITY in the life our music is deriving its A Professional The next apostle of music JL— . CHICAGO was vitality and individuality. The op- Southwest, after Gottschalk, School of Music portunity is preeminently ours to THE SCHOOL OF Frank Valentin Van Der Stucken, give appreciation and assistance to in a University Environment Texas’ first native composer to at- what is and will come to be recog- For Free Bulletins Write Northwestern University tain international fame. He was edu- nized as the music of America.” School of Music, EVANSTON, ILLINOIS cated in Europe and lived for the offers accredited courses in Piano, Voice, most part in foreign lands, and, al- Violin, Organ. Public School Music, Harmony, and Orchestral Instruments. though drew no inspiration for nORTH PARK COLLEGE he Its Importance Confers Degrees of B. M., Ph. B„ and native Bowing: his compositions from his M. M. E. Clifford pio- Toren, state, this son of the Southwest String Player Distinguished faculty including 50th to the Director presenting American music Year neered in ( Continued from Page 59) ARTHUR C. BECKER in York and in Europe. result of the inadequacies New so much a SERGEI TARNOWSKY Trains students for active musical careers the twentieth in The Southwest of of the left hand as it is a lack of MME. MARIA KURENKO their chosen field. Progressive faculty. Conserv- paradoxical musical atory occupies own building. Piano, voice, century offers control and coordination between the RICHARD CZERWONKY violin, cello, reed and brass instruments, church music of the and choral music, theory, music education and gifts. Here the primitive activities of the left and right hands WALTER KNUPFER only expression. Fall semester begins September 16. still heard, and the Indian is and fingers. SAMUEL A. LIEBERSON Write E. CLIFFORD TOREN, Dir. the traditional folk music extant in would not want every 3201 Foster Avenue, Chicago, Illinois. Perhaps we Dept, of Drama offers a 3-year Course “Los The United States is that sung at violinist to have the same tone, how- Christ- Address Registrar for Bulletin Pastores”, performed each ever fine. We can realize that because Answering Etude Adver- Texas, since DePAUL UNIVERSITY mastide in San Antonio, of human differences, physically and tisements always pays earliest days. “Los Pastores” (“Shep- no two of the many string Room 401, 64 E. Lake Street, Chicago, 111. mentally, and delights the reader. herd’s original miracle exactly alike in their I 1 Play”) , an players could be play, wholly unlike any Spanish or performance. But there are certain Mexican drama in plot, was first basic rules by which every string given in the Missions. This survival player can make the most of his bow- AMERICAN CONSERVATORY of blending of who overlooks medieval drama, a ing. Any string player MUSIC — CHICAGO Mexican musical OF Spanish, Indian, Aztec and the possibilities for improved Offers courses in all branches of music and dramatic art elements, has been deemed wholly performance through bowing has Faculty of 136 artist teachers Member of National Association of Schools of Music in extent worthy of preservation and has placed confining limits to the Send for a free catalog—Address: John R. Hattstaedt, President, 576 Kimball Building, Chicago the recent years been recorded for of his artistry. archives of the Library of Congress. MILLIKIN CONSERVATORY OF Here, a MUSIC also, is seen the rise of Royal Restraint f&SMOPOLITAN DECATUR, ILLINOIS new school of composers whose music SCHOOL that Nero 1L OF MUSIC Offers thoro training in music. Courses leadino is definitely must be remembered Bachelor of Music Degree. flavored as is no other It SHIRLEY GANDELL, M.A., Oxi0.d Diploma and Certifi- Enoland, President. cate in Piano. Voice. Violin. Organ. music, while Rome was burn- IttV Univorsity, Public School it is said authority inly fiddled 1 on good Music Methods and Music Kindergarten Methods played the /t-WC nil branches of Music. Certificates. that: he might have | in “A folk’s inheritance ng, when dogrees. Desirable board Bulletin sent free upon request musical \ An 1 diplomas and joke! In fact, \ Wur ing accommodations. Located in down- W. ST. CLARE MINTURN. must be fully absorbed before a crea- axophone. (Good j Director tive perpetrator respon- spirit can manifest itself.” It wins, with the would seem lustier of the pair; since that this is being rapid- ible for the ly was known to accomplished. leither instrument 00 LIEGE DETROIT ESESRSf of the LAWRENCE Foremost among old world at the time DR. FRANCIS L. YORK, chairman this group of ex- his MUSIC cellent Ed.) CONSERVATORY OF DR. EDWARD B. MANVILLE, composers ;reat Roman holocaust.— President who speak in the National APPLETON, WISCONSIN Mcmbor of the Association of Music ed Texas. He is cred- Courses in Teachers' and Degrees. Pun public school music and choir directing leading to ited with having Double-Barreled H. B. MANVILLE. Business Manager immortalized Amer- Bachelor and Master degrees. 52 Putnam. orchestra, sir?” Detroit, Mich. ican folk music as Percy Grainger “You lead the has the business man in a English folk music. He uses .sked the tired as thematic material abaret. Tell your Music Loving Friends about THE ETUDE and ask them to give negro and cow- , „ , boy melodies; replied Professor sending in their subscriptions. it is from the illiterate “I do,” proudly you the privilege of or working classes that original music azzolo. Ask for Catalog of Rewards for subscriptions you send business often comes. His work “combines “Then,” continued the stiong leading them 1712 Chestnut Street Philadelphia, Pa. lacial and local characteris- nan, “would you mind THE ETUDE tics with formal and polyphonic sub- iut for a bit of air?”

JANUARY, 1941 —

Trumpets” in the first part, and “Joy low-up for “The Road to Singapore”, enth chords will always be found in Air Waves and Music and Sorrow in Music” for the latter which again will co-star Bing Crosby, the row of buttons to the right of it half. ( Continued from Page 52) Bob Hope, and Dorothy Lamour. The ( above is it) , when the accordion Dimitri Mitropoulos, conductor of play takes place in of the best and most interesting pro- Africa and, in in a playing position. the Minneapolis Symphony Orches- order to get the proper grams of its kind on the airways. atmospheric When harmonizing simple melo- tra, will be heard on the Sunday- inspiration, the song writers Speaking of Alfred Wallenstein, we received dies, we find the most common pro- afternoon broadcasts of January 5th instructions to sit in a note that this enterprising conductor projection gression for principal 12th, directing the Philhar- our three and room and look at fifty thousand feet assumes control of the NBC-Sym- chords is: Tonic, Sub-dominant, monic-Symphony Orchestra of New of assembled jungle phony Orchestra broadcasts for the pictures. It is es- broadcast, Dalies Dominant and returning to the Tonic. York. On the first timated that the task will require four Saturday nights this month a Other variations might be: Tonic, Franz, the pianist, will be heard as week of straight looking. while Maestro Toscanini enjoys a Sub-dominant, soloist. On that of the 19th and 26th, Inasmuch Tonic, Dominant, as the release date for mid-season vacation. Remembering Tonic. Or we might find the arrange- Bruno Walter will be the conductor, “Ziegfeld Girl” (Metro Goldwyn the many unusual programs that ment of Tonic, in the first two of his series of guest Mayer) is at this Tonic, Dominant, Mr. Wallenstein has presented in the writing still hover- appearances with the orchestra. ing between Sub-dominant, Tonic. The Seventh Mutual late January and earlv last several years over the chord is a never John Barbirolli, regular conductor February, details about restless chord and Broadcasting System, such as the the picture at of the Philharmonic-Symphony Or- may safely be repose. It naturally gravitates or series, reserved for a later Mozart Opera and Concerto conduc- resolves into progres- chestra, is scheduled as the issue. As the title indicates, the Tonic. The the Bach Cantatas and programs of the film sion from tor of the Ford Sunday Evening Hour story deals with the Dominant to Sub-Domi- seventeenth- and eighteenth-century Cinderella rise nant on January 12th, when Lily Pons will ° f a r I C0Vered should always be avoided. music, we look forward to his pro- and subsequently , t be the soloist. Jose Iturbi, pianist glorified”S M by the These explanations will no doubt grams with the NBC-Symphony Or- late Florenz Zieg- and conductor, is scheduled to be feld. Starring in arouse many questions in the minds chestra. the cast are Lana heard in piano solos and possibly as Turner, James of those who study them, as we Other recent shifts of programs Stewart, and Tony conductor on January 26th. Martin. The musical have merely touched upon the high- include the jiving “Sheep and Goats score is being The American baritone, William prepared by Gus lights of the subject. In a future ar- Club”, a swing versus spiritual show, Kahn (who wrme Gephart, presents a series of pre- the tunes for “The ticle we shall continue with the from Wednesdays to Tuesdays (Mu- Great Ziegfeld” Gay Nineties ballads on Tuesdays or which the study of accordion and ana- tual—11:15 11:45 P.M., current film serves chords to EST) ; and as (8:15 to 8:30 P.M., EST—Mutual). follow-up) and lyze the minor, di- “The , Nacio Herb augmented and Morton Gould Program” from station Brown With perfect frankness the Pr UCer ' direCt0r minished chords. shall also ex- Thursdays to Tuesdays (Mutual * Pandro We has labeled the series “Sentimental Be™an £ plain how other chords may 9:30 to 10:00 P.M., EST). unusual Concert” since it fills countless loud- oe produced al- The American School of the Air in upon the accordion speakers each time with unashamed though no buttons its broadcasts, known as “Well- regular chord sentimentality. Gephart is supported have been springs of Music” (Tuesdays—9:15 to Introduction to provided for them. by a string orchestra under the di- Accordion ietro Deiro 9:30 A.M., EST), will present on will answer questions rection of Bob Stanley. about January 7th a program entitled Harmony accordion playing. Letters should “British be addressed to him in care Ballads in America.” On the ( Continued from Page 61 ) he Efcude Street, 14th a program entitled “The Com- Notable ? > 1712 Chestnut New Films With the Roman numeral V Philadelphia, poser Looks Abroad” will be broad- if " Pennsylvania. third were added to cast; on the 21 called this st a program Music would become S “Voyageur a Dominant Songs”; and on the 28th Page 13) Seventh ( Continued from chord so called because one called “French Canadian Music.” the interval Benny-Alien feud. In from the lowest note to The broadcast of the 7th features provokers, the the hlgW producer-direc- is a seventh. We find folk songs, that of the 14th orches- honor of this enmity, then that undertaken a Dominant Seventh ^viLLuiuea from Page 6U) tral music by Moskowski, Tschaikow- tor Mark Sandrich has chord of the L exact amount of C contains the notes Unfortunately, sky, Glinka and Beethoven. The last strict check-up of the G b n l many publishers the ‘ S Ca“ ed a and two of film footage devoted to each of G Seventh. band leaders hesitate to injure broadcasts will feature Canadian illustratest V 3 results show both the a songwriter’s and French-Canadian works. warring comedians. The Dominant dt feelings, or may sim- twenty-nine Dominant Seventh chords P y not In his Music Appreciation pro- that Benny appears in Inin *2the want to waste time with him twenty-eight; but key of C. ey will grams for January, Dr. Walter Dam- scenes and Allen in turn him away by saying extra scene, have rosch will present varied fare on the to compensate for that a good song there, but we thousand, nine hun- u first four Fridays. No program is Allen has two « iust at this time.” The words to speak, " wrderf scheduled for 31st. dred and thirty-eight does Pot realize that he January The is h " has but two thousand dam broadcast of the 3rd, divided between while Benny ana «e

' previous set, one finds the fortissimo • =JUILLIARD SCHOOL OF MUSIC= = Charm and Inspiration in passages lacking in essential clarity. Biggs gives straightforward perform- Ernest Hutcheson, President Recorded Music ances here, letting the beauty and Bach’s music speak ( Continued from Page 54) dignity of JUILLIARD SUMMER SCHOOL largely for itself. For those unfamil- George A. Wedge, Director “Die Gotterdammerung”, Ich sali’das iar with the Baroque organ, it might Kind from “Parsifal”, and Branganes be well to point out that it bears July 7 to August 15, 1941 Warming from “Tristan und Isolde”, the same relation to the modern or- Accredited music courses leading to diplomas, teacher’s will be welcomed as an important ad- gan that the harpsichord does to certificate, and Bachelor of Science and Master of Science dition to the recorded Wagnerian the piano. It is generally believed degrees. Instrumental and vocal instruction for beginning literature. Never before on records that the Baroque organ, in use in and advanced students, repertoire classes, methods and have her vocal gifts been more splen- Bach’s day, allows for greater lu- materials, public school music, theory, composition, and didly set forth. Her remarkable in- cidity in the playing of difficult con- musicology. Department for high school students. sight into the various Wagnerian trapuntal passages. containing four roles is strikingly evidenced here. Not Victor set M-689, played by the Pro Catalog on request the least of these recordings is the quartets of Haydn Dr. Arte Quartet, is the seventh volume excellent orchestral direction of 120 Claremont Avenue Room 122 Quartet New York, N. Y. Riedel, conducting the Victor Sym- in the series of the Haydn bought out phony Orchestra. Society. Last year Victor this one, Musicraft has issued Bach’s Con- the eighth volume, omitting owing to unforeseen difficulties with BALDWIN-WALLACE certo’s Nos. 1 and 2, both in C minor, England. The for two claviers and strings, in per- masters derived from CONSERVATORY OF MUSIC “Quartet in BEREA. OHIO (suburb of Cleveland) formances by the Manuel and Wil- present set contains: D Affiliated with class Liberal 50, No. 6”; “Quartet in a first Arts College. liamson Harpischord Ensemble (set major, Op. Four and five year courses leading to degrees. Faculty of Teachers. Send for catalogue or informa- fa- B-flat major, Op. 64, No. 3”; “Quar- Artist 46) . The second of these is more § in major, Op. 74, No. 1” and \ ALBERT RIEMENSCHNEIDER, Dean. Berea. Ohio mous than the first, being widely tet C B-flat major, Op. 3, No. known and played in the version for “Quartet in 4.” works have their inter- OBERLIN Conservatory two violins in D minor.” All four 74th YEAR as “Concerto / \ 1 Division of Oberlin College. Thorough Instruction in all characteristics, especially the t A complete school of music, dramatic \ ranches of music. 46 specialist teachers, excellent equipment Although less appealing in the two- esting / art and dancing. Courses lead to degrees. \ 200 practice rooms. 23 modern organs, etc.) Degrees: Mus. B., with their highly School clavier particularly in Op. 64 and Op. 74, t Special students may enter at any time. \ Mils B.. A.B. with music mnior. Delightful college arrangement, own. Catalog. Frank H. Shaw. Dir., Box 511. Oberlin, linear construction. The f \ Ohio. the lovely largo where the abrupt expressive SECOND SEMESTER Quartet plays here with its character of the harpsichords fails to Pro Arte / Opens January 27 \ WANTED: A REPRESENTATIVE 7 and finely schooled If rite ]or catalog V attain the cantabile quality of the customary polish J TRAIN CHILDREN’S VOICES ' 2650 Highland Ave. Cincinnati. Ohio. * High Grade Work—Excellent Remuneration technic, although with a far nar- LOUISE El 160 73rd violins, there is nevertheless much to W GESTER, W. St., New York dynamic range than the mu- say in defense of the work’s perform- rower ance on keyboard instruments. The sic merits. Kilenyi, turning his atten- first concerto is far too erudite in our Edward Hungarians Dohnanyi QMirfatiiJtiBtifirtT of (|)ugir estimation, and certainly the overly tions to the gives fluent perform- meticulous performance of the pres- and Bartok, Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma Nos. 5 and 7 of the for- ent players does not relieve this im- ances of Faculty of Nationally Known Musicians “Ruralia Hungarica” and of pression. The playing in the second mer’s BERYL RUBINSTEIN, Director, 3411 Euclid Avenue, Cleveland, Ohio latter’s A Bit Drunk and Quarrel concerto is smoother and more elas- the “Three Burlesques” (Columbia tic, which is due as much to Bach as from for Philadelphia Conservatory 70348-D) . Students looking to the performers. disc College of Fine Arts and amusing modern works »' Music Very likely most pianists will re- unusual FOUNDEDjoU Chartered by tho Syracuse University for the piano will find this record gard Cortot’s recording of Weber’s 5|q! 17/5 Commonwealth of Pennsylvania |077 Bachelor Op. worth investigating. M. Ezerman Drake rjpn-rppc • of Music “Sonata No. 2 A-flat major, * in Managing Director Master of Music 39” his- (Victor set M-703) of more Petri Interprets Cesar Franck announces Piano, Piano Teacher Training, Voice, torical than value; for that Violin, Organ, Cello, Harp, Composition, musical left us no music that a Post-Graduate Teachers’ Course Cesar Franck Public School Music has been the mistaken viewpoint for on Tuesday mo.rnings, beginning rewarding, we believe, All the advantages of a large University. is more richly January 7, 1941 at 10.30 o’clock. Special years. has dis- dormitory, with practice Yet Weber’s sonata “Prelude, Chorale and 35 pianos for women than his conducted by music students, 5 pipe organs tinctive values of its own, not the Fugue” for piano. It dates from the WINIFRED ATKINSON least antici- SUMMER SESSION-j„ly7to AuE.u of which is an exciting course of 20 weeks in period of his famous symphony and, A short intensive For bulletin address pation of the of the piano technics and the study of piano methods and material. Dean H. L. BUTLER like that work, is rich in texture later romanticists. The work deserves Information may be obtained at Room 3 5, College of Fine Arts also is poetically mystical. Egon Pe- to played, 216 S. 20th Street Locust 1877 Syracuse, N. Y. be more widely known and a splen- tri, the Dutch pianist, gives and it that we is to be hoped, now account of this score have and did technical an excellently performed a perform- THREE FREE COURSES (Columbia set X-176) , recorded version of it, that students Trinity Principle Pedagogy (Perfect) ance that takes into account its Musicianship (Elementary and Advanced) and others will be tempted to look Piano Playing (New and Different) expressive characteristics but not its more . not re mi" closely at the almost forgot- T ( “do import. Perhaps the ardent •< not numbers ten, mystical i . ip but not deservedly so, piano ING not intervals is given to overempha- / music of Weber. Franckian EFFA ELLIS PERFIELD the mysticism of the composer, SAcramcnto 2-4859 E. Power Biggs, playing on the size 1 UNIVERSITY truly St. (Park Ave)., New York City Baroque but we believe that those who 103 E. 86th organ of the Germanic Mu- r instruction in oil bronchus Thorough so for that quality. Pr.vate lessons in ... seum at like his music do nluskot education. Harvard, continues his re- courses in Theory and Wood’s d instruments, cording Recommended: Sir Henry and graduation cer- of Bach’s “Little Organ Soosition. Teachers Songs (a flli'ieive X TKextre Courses tor the degrees of Sacho. Book British Sea SS, (Victor set “Fantasia on Music, Moderate tuition M-697) . Beginning of of lor and’ Master with realistic lecording tor Catolog- Whitsunday, stirring and tees. Write the present set unureue Tayior, i-eggy Patria) (Columbia set 85th St.. (Vol 2) continues through Trinity English Pro :liubcrt, G6 West Sunday, The Kreisler’s recording of Mo- Christian Life, and X-175) ; concludes the “Haffner Ser- Established 1857 with the Advent. Also in- zart’s Rondo from cluded are verses D major” (Victor disc two and three of enade in CONSERVATORY Christ ist erstanden and George Copeland’s deft (No. 29, Easter 17220) ; ) Villa-Lobos charm- BALTIMORE, MD. the first verse of which was played performances of PEABODY Brasileiras, OTTO ORTMANN, Director in Vol. 1. The existent reverberation ing Saudades das Selvas atmospheric Fan- in the Museum still presents a prob- No. 2 and Turina’s One of the Oldest and Most Noted Music Schools in America. lem to the recorders, and, as in the dango (Victor disc 2111). JANUARY 67 ; 1941 )

A Marvelous Fit P P (Lrna JUte

Miss Day’s Music Club was having they made inventions for steamboats its first meeting after the holiday and trains and automobiles. Those vacation. The members were spend- things all ing lots of time grow by being improved, —entirely too much and Miss Day thought— so did the keyboard,” explained telling each other Miss about their Day. vacations and their Christmas “Who invented the first piano?” and New Year’s celebra- tions. asked Edgar. Now, “The first piano, that was really a let’s get back to business ” sajd Miss Day, piano, was the invention of an Ital- “and continue our meeting. ian named Christofori, you must Who can tell me but something remember he interesting about the keyboard?” had other early instru- Up went ments on which to make his im- Dick's hand. “The white provements, in keys are made of ivory, too. He made his and the Florence black keys of ebony.” in seventeen hundred and nine. And “Correct,” said Miss Dav "Ann throughout the centuries ws where we the keyboard, being very important, «'° get ivory »nS was made to fit the hand, so it could be “I do ” said easily played. Put your hands Geraldine. “Ivory comes out from elephant and look at tusks and ebony-let them. You see, those me see, I three long I was practicing on piano one play games just as any real boy, and think it is wood.” fingers, two, three and my lour, shared with his friends all the ‘Tt comes from are meant to the three day, and rebelling because I was not he ebony trees,” con go on felt; turned Tom, black keys out at play; thinking, I will gladness and joy of the music he “that grow and the thumb and fifth “Now in Ind a are all the beautiful meant for That play just as loud as I please,” with my he delighted to play ^ and <* the white keys. day. And Indies!” makes the eyes on the clock’s face, and not on pieces he practiced each most perfect fit. Every- 0 y go to the keys. But glanced at the picture looking right into his delicate face, the piano and try it. See I now awkward or Frederic Chopin, who had fingers I was very ashamed, and I felt my it is to put the thumb hard, or little finger like velvet, and every note sang that disgrace; I resolved to work on black keys.” There was a a mu- 1 grand he played, child (for my just as hard as I can, to become — 1 \ scramble toward the when a , — " piano. teacher said could make sician when I am a man. so) , and he 72 this resolution?) “No, they music poetic and loro. But he liked to (Will you make really don't fit,” said Q dlne ’ the arst one to try. ?™Ihey d0 in octaves and chords, Clavichord, though ” made in 1533 Dick commented. ert ainly ” said Miss Day. ‘‘We Tiptoe Rhythm “I’ve been to the M ^ West Indies” always keep the thumb and said Helen. fi “Maybe I saw some nger ebon’vy for the white keys, but trees without knowing them ” w „ n (Bif QPaclifi W. Stein 0St of the time. And who "Who knows something knnu?ws ? else inter which fingers the the esting about fit best for after he and Grace had gone through the keyboard?” The members of the B Natural Music ' askenKed let's divide the Miss Day. Club had just finished their business and piece on their toes. “Now, two groups, and then “It is very study program for the day when Sue Jane boys and girls into much older than go through the piece the arose and announced that she had a new see which group can piano itself, isn't it?” ’ inquired Helen making a single mistake. music game for them to try. without “Yes, very much older-a replied Sue Jane. I thou- “Let’s begin with only two players; and “All right, Fred,’’ sand years older. like You see, the so sure the club members would then after the rest of you have learned how was is only about three several copies hundred game that I borrowed wears to do it, by watching them, we will try it this old, but the keyboard and if two players will read came into all together. Here, Fred,” she continued, of the piece, use have more than thirteen from each copy I believe we will hundred years Grace’s part: R L R L they L enough for everybody to look at while Ned raised his hand. are tiptoeing.” “What use harder than the players was a keyboard The game proved if they didn't have anticipated, and they had to try it many pianos?” m the managed to complete times before they a ls an excellent 7*y ‘„ question without a misstep ; but whole composition „Ned. Who can answer they thoroughly en- that one?” it was good fun, and No hands were raised. “Well, ” it. you see joyed continued Miss Day, “one of the old instruments est that needed a and Grace kev tow take a copy of this waltz, board was the organ; but on watch the Yes, Indeed those »u take one, too. Fred is to ancient organs the keys You were several iss notes, and you the treble notes. Katherine Lightner Rogers By inches wide, more like levers, e aloud in unison, and in facT both to count and were pressed your PLAYS THE BEST WHO COUNTS down with ’’ henever a note should be played in HE the fist on BEST, “How funny," said Doris. irts you are to take one step forward THE “That ex Painted^ Clavichord be careful, BOTH GREAT AND plains the queer looking d by >ur tiptoes for that note. But ALL NOTES, picture in van Hemessen, 1500-1566 inch that e warned, “that you don’t move an SMALL; book at school. I never could gr f should not be played. make it out.” tW° black i the beats which FOR NOTES TO MAKE FINE MELO- keys?” above, die Afte,° eV In the three measures given DIES “Of course that would Edgar R look queer remarked experlments otwork directions are abbreviated to to us, to-day. ‘”Tv! IN MEASURED TREAD MUST But other old things 1 SeCOnd and thl ’ “L” (left foot). would s’ayT ight foot), and FALL. seem odd, too. Think of the Fred declared first time “Say, that’s lots of fun!” ( Continued on Next Page

THE ETUDE : : ;

The Junior Etude will Class fourteen to A, Playing for Others award three worth while sixteen years of age Playing for Others Junior Etude (Prise Winner in Class B) prizes each month for the Class B, eleven to- (Prize Winner in Class C) To Is nothing more soothing than most interesting and fourteen; Class C, me there “Marylin, would you play for us?” asked my the lilting melodies of a violin, played by one original stories or essays under eleven years. mother. who has his whole heart and soul In his music. Eniites! of “Do I have to?” I answered. on a given subject, and Names prize win- I play the violin in my own small way. of That Is just how I felt one year ago. But for correct answers to ners, and their con- course, but who knows! Someday, my name people, because may be added to those of Heifetz and Kreisler. now I like to play for other puzzles. Contest is open to all boys and tributions, will appear on this page in a I want to make them feel as happy as I feel When I have mastered the art of playing girls under sixteen years of age, whether future issue of The Etude. The thirty when I play for them. I also want them to the violin, I want to have my music enter Contestants next best enjoy and realize how beautiful music Is. a Junior Club member or not. contributors will be given hon- into the heart of everyone who hears it. I believe I’m sure people all over the world enjoy or are grouped according to age as follows orable mention. would it a dream come true, if, instead considering would enjoy music more if they knew more of the violin as a fiddle box, they would listen to orchestra learn to about it. So that is why I like to play for SUBJECT FOR THIS MONTH an and others, to help them to know how wonderful appreciate good violin music. Maybe some- day. when the world is at peace, people will music is. understand the wonderful magic music Marylin Timmer (Age 10). Class C. lDoij-3 in the J Wu violin. T of the Iowa Helen McGuire (Age 13) Class B, All entries be received at the Junior Etude Office, 1712 Chestnut Sti Philadelphia, Pa., not New York 15tli. Winners will appear in the Mo Musical Fan Puzzle later than January By Stella M. Hadden Around the World in Folk Songs The spokes of the fan are made of Game By Mrs. Paul Rhodes letters. Replace each words of six Couple each folk song with its on dot with a letter and add a letter own nationality. around each single dot. The initials Folk songs: the the circle spell the outside of 1. Loch Lomond; 2. The Lorelei; of operettas. name of a composer 3. All through the Night; 4. Turkey all words, as Answers must give in the Straw; 5. La Cucaracha; 6. well as composer’s name. A Marvelous Fit John Peel; 7. Santa Lucia; 8. Lon- donderry Air; 9. Dark Eyes; 10. 1 to 8, the city where the first opera (Continued) On the Bridge of Avigon. house was established. “Certainly. Try to remember to “Sure. It’s in G-minor.” name. Nationalities: 2 to 8, Chaminade’s first keep those fingers for the two black “Oh, silly!” said Lillian. “You know the first Italian; English; Mexican; Ger- 3 to 8, the interval between keys, and to keep the second, third G-minor doesn’t have A-flat and G- degree of the man; French; Welsh; Scotch; Rus- and eighth and fourth fingers for the three flat in it, so it couldn’t have the sian; Irish; American. scale. blacks; then most of your fingering- regular rule—could it, Miss Day?” (Answers on this page) troubles will disappear.” “No, of course not; it is just for “But you can’t always do that, be- cases where the three black keys are cause the new piece you gave me used and where other things do not last week has third finger on B-flat. interfere. But remember that the Remember?” This was from Edgar. rule does influence the fingering “Certainly, Edgar,” Miss Day when changes aren’t necessary.” agreed, “and you are quick to re- “I bet I have perfect fingering at member such things. But these rules my next lesson,” said Helen, “because it all seems so clear, now.” for fingering are for the cases when other things do not interfere. And “Bet I do, too,” said Tom. And all key is your new the others joined In the chorus: “So besides, in what St. Cecilia Junior Club piece? Do you remember that?” con- will I.” Bay St. Louts, Mississippi And sure enough they did. tinued Miss Day. ® to 8, the low roll of a drum. Answers to Around the W^orld 3 Loch Lomond, Scotch; The Lorelei, to 6, to call for a repetition or an All through extra number on a program. German; the Night, Vox ilf, Maters With Their Ciyar Box Violins ° to Group of Welsh; Turkey in the Straw, Amer- 7, the composer of Dixie Laud. A Priscilla M. Pennell t ican; La Cucaracha, Mexican; John around to 7, a composer of Amer- age. The. music store sold Peel, English; Santa Lucia, Italian; fun of it, this group the young ican operettas. t for the their music makers some slightly imperfect bows Londonderry Air, Irish; Dark Eyes, every day with spring vacation, at a nominal sum. When strung with Russian; On the Bridge of Avignon, »r during one Letter Box bodies real violin strings the home-made French. cigar boxes for thei used violins gave out surprisingly good I)EA " out the TlN I OR and cut Etude: . instruments i n,' , , n "'‘ playing *! - tones. firit »Uo u u,1 y.vuii about saws. The necks . there, with jig M ’ There were lot of people 'holes ant] a Playing lor Others e ‘'' and bodies r, itaI 1 had a reception through the uutocrnnh V* some was onlj h passed (Prize Winner in Class fivi. programs, but I mate them A) 0 d th, ’ came fivf to ,', u - My grandmother instruments Everyone >'un.Ir,!,i . who plays should thoroughly 11 es 1,1 pretty new and en suit hear it. I had a handles playing for others. on -A , broom Joy I know of no on was blue. There were lots of flowers er) were greater the even tailpiece* weie satisfaction than playing for someone tired After it was over I was not 'LL and who I • oinee boards know appreciates music. To see then I have had two more recitals, bought them enjovine- wood. They it is worth much more to Erom your friend. i n eces of me than all the Hilly (Age 6), girls alsoi bough hours of practice I put into the Stbck and the piece they* Wisconsin idges. his listen to. n,.* whittled the boy It is also a wonderful cure forf e , we call aell-consclousnesa, °; honorable e, a‘S f October because the more we play for ^ Mention for others the moie we enjoy doing it. Essays Why do we let people have to beg us to Elt nn Tyrell; play for them? I am sure that they would *l«e Copiit Mauney; Stanley pre 11 fer to have us play when they first ?' Elsle °dete Roderigues; Lor- ask a Andoit few years ago our teacher would Wan- nski; Catherine Coakley: Doris give us Eli gold star each time we played ha 0r Vock Gross: for some one «ott : Harriet Ruby R e iSr I imagine we surprised some people very fWUoefer- Maurlne Treadwell: Therese much when we would rush to the piano D erlne Lancas- at the first °n Hahn : Mardan Ron. play as if suggestion of theirs about playing. Anyway, n Jeraldone Hooton; Jeanne SCHUMANN said : “Always Joan it was a nice habit and I hope will am troczek *" we keep *!? ; Erna Eckelkamp: heard you.” Y(» Brav- a master it up. 8ma Nailcy Johanna \CH said: power of re- Ben n- Brewster: ‘^'finger^of said: “Genius is the Louise Dobbs (Age May as the S is LisZT 15), WlAA B°Weii Merrill; Fred Sterk; a? good whosoever soul.” r-o vealing God to the human South Carolina Helen Finley: as weli. at 11 succeed ackp i Marian Peterson; Jane w’ 0 “ equally industriou^ L°l“se Richter. M

Stairs, There are a number of short exercises Song (Cantata for mixed voices) , contained in the back of the book with are only a few of the noteworthy more instructions for their use with the vari- recent issues that may be had. ous lessons. Also in the back is a dic- Why not plan for Easter now? Our tionary of musical terms and symbols “On Approval” system is just the thing and through the use of this will come to assist you in choosing most appropri- the child’s theoretical foundation. ately. Simply let us know your needs Every young pianist has a desire to and request that we send a selection of participate in holiday activities, and Easter music to you for examination "On My Piano Book provides special numbers Approval”. There is no obligation to for all important holidays. All the com- buy, but we feel confident that we can positions contained in this book are please you. Perhaps you would like to rhythmic and tuneful, all will delight make up a selection yourself. If that is the young pianist. the case, our special Easter and Lenten Single copies of this book may be catalogs will be helpful. They may be ordered in advance of publication at had for the asking. the special cash price of 25 cents, post- paid. THE CONQUERING CHRIST, An Easter Cantata for the Volunteer Choir, Words EASTER IN JANUARY— Choirmasters and Written and Selected by Elsie Duncan school children have much in common Yale, Music by Laicrence Keating—W6 take when it comes to festival seasons. Both great pleasure in announcing the pub- complete the activities of one and im- lication of this new Easter cantata. It mediately begin to is always a satisfaction when we ac- look forward to the quire the rights to a work by a com- next. The young- poser whose previous publications have THE COVER FOR THIS MONTH—We are sters Advance ofPublication Offers > however, usu- met with indebted to the photograph library of ^ \ instant and enduring popu- ally anticipate the larity. Underwood & Underwood for the cun- i % The large sales of While Shep- next round of holi- herds ning infant that appears on the front January 1941 — Watched, The Monarch Divine, — day pleasures, whereas the choirmasters, and Hail! King of Glory prove that cover of this issue of The Etude. The without disregard for the enjoyment also Lawrence the general art work to make the composite the books in this list are in Keating fully understands All of in store for them, must plan for publication. The low the kind and grade of music best suited to of a new year rising over the many preparation for next group of special musical Prices apply programs volunteer phases of musical activity was executed Advance Offer Cash choirs. His music is always Delivery in their churches. by only to orders placed Now. melodious and of with in- the Philadelphia artist, Miss Verna Experience is easy range, be made when the a splendid teacher, (postpaid) will and teresting individual for the differ- Shaffer. de- most church choral work books are published. Paragraphs directors have come ent 1941 does give promise of new and on singers. scribing each publication follow to appreciate the value of planning for The Conquering solos greater strides in music in these United these pages. seasonal music far in Christ contains advance. Even for States perhaps this soprano and alto, for tenor of America, and now, with Christmassy strains a duet © still in and baritone, cover besides serving as a timely decora- their ears, and the a trio for soprano, mezzo- thoughts of well soprano tion for the first issue of The Etude in and alto, a number for women’s Book—Foster—Tapper 10 prepared, well performed, and well the Child's Own re- voices, several and year 1941 will serve to remind the Book—Nevin—TAPPER....J...... m ceived works still short recitatives, Child's Own in their minds the seven general public of the great service that choruses. This gives a pleasing wise leaders are thtaktae . “ about the variety, music that there _ the such plays in their lives and Cantata- series of offerings for which numbers following in Conqob«“o CHRIST, The-Easte, they will be an order are real benefits in seeing that children ,;>u that there is no monotony. Keating ;r" responsible during the Easter and Lenten have music study opportunities. Miniature Sketches Pia Major and minor effects are skillfully Eighteen 2Q seasons . other individuals, in charge of blended, adding rich har- SiechW .«= LOO arranging similar sacred music color to the AMERICAN FOR cXS' AS= Damu- pr0 - monies without COMPOSERS’ CALENDAR WellI-Children’s Songs-Borie grams, ma not have increasing the difficulty. Let's Stay ^ y been quite so well 1941 There is ahead dur- Besides all these main — a whole year ' prepared and, consequently, advantages, the or" other" Goose, t«- are not quite ing which music-minded folk will wel- f“th“ point of excellence fit- Operetta—Austin and Sawyer 30 as satisfied with the manner is the complete come 'jl/v'enile in which ness of words a suitable wall decoration for their MY Piano Book—Richter their recent endeavors were and music, both tech- "great received hv nically and . music room or music spiritually. “S^MaJtS^B^VKn^U^ec™;- their respective congregations. Those besides 4o who A few titles I studio, which experienced such difficulties of the different numbers Robinson with their are being in keeping with Christmas renditions here given: Garden Sorrow; A — ought to avoid of their musical interest iiuord Has Pierced Angels . Easter Heart; such an experience by now, think- My AU. Unseen; Tis will supply conveniently panel. ing seriously about Easter Fling Wide the Gates!; ’ the calendar music ’ in this the 12 given above Morn!; O’er a calendar for calendars in first month of the new year. the Hills; There’s Glory these 0 er the months of the year. The catalogs of the Garden Ways; Forgiveness; the year as New Year’s Theodore Presser This American Com- thfbegiling Of Sunrise on the Syrian Con- pupils, or as advertis- Co., Oliver Ditson Co., and the Sea; and O greetings to their John quering Christ! posers' Calendar fills of Church Co. always have be sent to the homes been noted for purposes. Kf nVeces to b°0k wiU ample these two , They are priced rea- the excellence and variety of .3^ be Published in m-osnective pupils. their f° r There is an attractive sacred selections. early rebearsals. wish- cents each or $1.00 a dozen, Churches small J™. Those so?onablviy at 10 and mg to secure "'frontispiece giving por- large alike, throughout the single copies at our special country, have V nCe traits, in the sequence of their birth of drawn from them, with Publication cash price of 30 by Ada Richter—One confidence, the Pc. f com- mv PIANO BOOK, n s, postpaid, dates, of the famous American problems confronting selections which they had needed may remit now and re- John ... m„st difficult for e copies posers—Stephen Collins Poster, is to find every occasion. All possible as soon as printed. the teacher of young pianists classifica- Philip Sousa, George Whitefield Chad- fol- tions and types of numbers, smtable and adequate material to in all de- wick, Edward Mac- “ £*»*« FOIt Reginald DeKoven, ' often is grees of difficulty, are included. THE church pianist, the kindergarten book. It Not only Dowell, Ethelbert Nevin, Horatio Park- the best standard W* by Lucilc Eurhuri musical acceptable to go from the kinder- literature but also —Tire Charles not 1 Uy of the er, Henry Kimball Hadley, the usual first oratorios, cantatas, anthems, programs offered at church varten type material into vocal solos ervices Wakefield Cadman, Ferde Grof<§, Deems and instrumental is constantly due, and it is at this stage that we works by the improving, birth- year book out- Taylor, and Howard Hanson. The of usable and instruc- standing contemporary composers no doubt, to the fine mu- composer find the scarcity are places and birthdates of each Richter, with her available. J. Christopher Marks, sical instruction given in tive material. Mrs. Mrs also are given. teacher of H. H. A. Beach, Charles our public schools and wealth of experience as a Gilbert Spross The may be the composers’ frontispiece beginners, was one of the first to Van Denman Thompson, William Baines’ opportunities afford- float- voung described as having the portraits situation. Prances McCollin, Charles ed the general public for recognize and cope with this Wakefield ing design which over a background of her Kindergarten Cadman, Nicholas Douty and H. hearing good music via the Upon completion Alex- ribbon-like weaves upward behind for a ander Matthews are only the radio phono- Class Book she began her search a few of the and the lower left hand are portraits, and in the this long-felt need. In My important “names” that are represented graph. No longer gives a solution to corner graceful treble clef I Know That My church-going satis- a Piano Book we find the gratifying re- Redeemer Liveth, folk handled mu- play - dominating yet artistically her efforts. The material con- from “The Messiah,” Handel (Arr. bed to listen to the Tins suits of for mg or singing sical insignia to the frontispiece. gradually and S.S.A. by J. C. Warhurst) of a few hymn-tunes. Oi- in this volume , (TP 26365) to view tained eanists, and frontispiece when lifted brings leads the child from post- Let the Merry Bells Ring Out, Cloughl those who supply the mu- year in a interestingly a piogram the full 12 months of the Leighter I Arr. for for church with kindergarten into first year work, and S.A.T.B. by Noble ano services calendar panel each month {" music> as well which shows teaches the pupil many of the basic Cain), (OD 15014); Cross and Crown . as choirmasters. for each SmCe in legible size (calendar block of piano playing. It pro- (Pageant for mixed voices), have realized that congrega- fundamentals Maynard;’ 10ns expect month is approximately 1% x J % m having Easter Dawn (Organ with something better of them- , ceeds with caution, each lesson chimes), Hod- element is inere are albums piano size) . Here again the music new principle or objective, son (TP 26804), and The of excellent musical but one Resurrection c ava present in design and in a Advertisement hable for playing in church

70 THE ETUDE “ a , ;

or Sunday school; books like Piano LET’S STAY WELL!—Songs of Good Health 40 master compositions made easy for of material, always ready at hand in Voluntaries ($1.00), Reverie Album for School and Home by Lysbeth Boyd Boric first and second “graders” at a special convenient arrangement, material which ($1.00), Tranquil Hours ($1.25), Sunday and Ada Richter—The distinguished advance of publication cash price, 40 provides a complete program of educa- Piano ($1.00) Sabbath Day Music talents of Lysbeth Boyd Borie as a writ- cents, postpaid. The copies will Music , be de- tional and recreational activities. It is ($1.00), Evening Moods (75c), etc. But in er of whimsical poems livered when the book is published. arranged to facilitate its use on the basis this new collection the author, herself for children have never of suitability for each age group from a church pianist, presents material that been put to more effective CHILD’S OWN BOOK OF GREAT MU- early childhood up to and including she has found appropriate, and always use than in these irre- SICIANS—FOSTER-NEVIN, by Thomas Tap- adulthood. Descriptions are simple, and per well-received, from the compositions of sistible lyrics on the —Every wide-awake teacher is aware diagrams are provided generously. In all the great master composers—Bach, Han- health habits of the child. of the ever-increasing importance of in- cases where a musical accompaniment tegration del, Brahms, Mozart. These may be Those who know her in education. is required, the music is provided or played as preludes, interludes, offertories, Poems for Peter will be This is especially true the record number of an available and postludes. Of course, material of this familiar with the sim- in music education. In- recording is given. The contents include strumental teachers kind always is welcome in the home plicity and quaint im- and games of all kinds, contests, dances, and and many a pianist has, no doubt, or- aginative twist of her public school teachers other rhythmic activities, mimetic dered a copy at this special advance of verses which enjoy so widespread a have long since learned games, stunts, and various demonstra- the of associating publication price with the intention of vogue. The composer of the music, Ada value tion activities. music with other having always at hand a book to which Richter, needs no introduction to read- pleas- Orders may be placed now for a single other books urable activities and reference copy of one .can turn for an hour of restful, ers of these columns. Her this book at the spe- Child’s therefore they are look- cial peaceful music. of children’s songs, such as A advance of publication price, $2.00, Peter, and her ing constantly for new ideas that might postpaid. The work of preparing this volume for Journey and Poems for compositions and books for prove to be useful in this regard. publication is progressing satisfactorily, many piano have established her as Thomas Tapper’s Child’s Own Book EIGHTEEN MINIATURE SKETCHES, and orders at the special pre-publica- young students, For present day writer. of Great Musicians offers splendid in- the Piano, by N. Louise Wright Few piano tion price, 50 cents, postpaid, will be en- an outstanding — educators in the tegrating possibilities. Music, stories, or teachers need an tered during the current month, copies Teachei's and music introduction to the welcome, these songs pictures never fail to captivate little stu- works of this accomplished to be delivered upon publication. lower grades will American dents, and which deal with health habits in so in- the educational worth of this composer. Especially of the type of publication, which relates all noteworthy the magic feather of mother gratiating a manner. A glimpse are her clue to the different phases three, is undeniable. This series, em- books of teaching ma- GOOSE, An operetta for Children, Book titles gives a activities presented, such as bodying seventeen parts to date, is made terial for younger be- and Lyrics by Juanita Austin, Music by of health Mrs. Cow; Just Soaposing; up of the illustrated ginners. The Very First Henry s. Sawyer Some months ago we Thank You, — Mouse; Sun- biographies of great mu- Pieces Played on the that Xtrasize • Nibble Nibble announced sicians their works. Keyboard Air in Your Tires; and (50c) ; Twen- Mother Goose was shine Line; Fresh Chew Tram; Each composer is pre- ty-five Primary Pieces from the Sleep-a-lot Land; Chew on her way sented in an individual (75c) The Child’s First Sneezy Wheezes Again; ; us““ “a Hey!ney, Back Up!; moon to pay booklet with loose Visit to Brush Drill. There ale tornfour leaves, Noteland (50c) visit. We now have and Tooth the general run being a set of cut-out pictures, and The Music Scrap the good news that teen songs in all, verses given under the a heavy paper cover and Book, a kindergarten method (60c), are nearing her short, with extra she is The vocal range is a silk cord to be used for used by teachers, everywhere. and will same melody line. destination the piano accom- binding. Space is pro- One of the composer’s primary prin- per- properly limited and soon be making simple. The vided in the back for a re- ciples of piano teaching is well exempli- at paniments are extremely sonal appearances with clever telling of the composer’s life in the fied in this work—never tire the pupil, beoej^iuyrichly illustrated entertainmentsrtammtixxLo bookhnnk winwill - All or court a, many have an espe child’s own words. of these features the danger of flagging interest, drawings 'yhich throughout the country. She is making line assure a maximum of “fun” right from with unnecessarily lengthy pieces or the appeal to the - long trip on her wonderful magic cial the start because each associated ac- studies. These sketches are short, tune- leather novel work wm thready and is eager to meet thousands This tivity serves to “garnish” the others. ful, and attractively titled, but each con- children lease^at an^ea ^ tains to composers valuable who have long desired copies, place American are the theme practice material for vari- *h^_nress ®ake her words, of tos*'fr0“ P (after an original group of sixteen ous technical problems acquaintance. In other „ advancece ofoi now encountered in the att the low jolly Magic your order now _ classic masters which are still available) first and second grade study, little operetta, The 50^ cents, post-nnst such as Feather cash p of Mother Goose, will soon be publication and MacDowell’s Child’s Own Book is rhythmic figures, fingering, phrasing, affable for juvenile production. paid. published already. Ethelbert Nevin’s and and staccato and legato playing. Natu- 11 rally, operetta “little Tots” Stephen Poster’s are being readied for the work supplies ideal supple- j.. many STORIES OF THE be ONCE-UPOIV-A-TIME in the near future. These mentary material to the first given an opportunity to take part u Pianists, Oy publication and second ‘ ,'ns For Young m a , ll£TI interesting and inspir- grade study book, but the Way that will give the satis- experienced will contain the pieces also them Robinson—The taction~ °f r EltabelEhzabclb n ing high-lights in the lives of the two may be used as first recital numbers. . knowing they are not on the Grace a while g knows that omy composed so many favorite In advance of publication « ^together for mere ornament and teacher a men who teachers ° have an r ’ comes gems. The Rosary, Mighty Lak’ opportunity to order copies They actually have lines, recita- a pupil music of melodic at tj 0 s apple™ and Narcissus by Nevin, and the special cash price, 20 cents, ’ a Rose, post- - anc* songs that are an essential developed usually is due Part ' e Dreamer, Jeanie with the paid. Copies will be delivered when of classic mas . Beautiful the _an interesting dialog and the tiuies called story— book is ready. S Light Brown Hair, and My Old Kentucky lat are easily within their youth- to home en;"\oo"o is al- tul* ah-v wheie^ Home by Foster are loved by everyone. ity a d need a minimum of re “ “background 6 ma;iorlty of bears ? 1 author that these CLASSIC MASTERS DUET BOOK, 1 heaid. By ? It is the hope Of the For the M° Sfc youn act natu- ways their music S children J w th Book Piano, by Leopold J. Beer rally’and begin, study^ two new issues in the Child's Own —Hidden among that iS jusfc their paftS pupils output o{ re what _ ^ ^ even closer to the the manuscripts and first quire “appreciation un series will bring them published comes oyer the works of the great V band of young musicians. composers of the n °lder the swing hearts ing ft people will enjoy witness' those booklets that early days in music’s radio. The list price of his- n pleasuree that will dominate home class must be tory are the hf • been published is 20 cents each. many gems that V6 ' in have lle pei ., _n, re--o. pupils with c formance and will , along_ /'**’ are ractica lly aff > -^appreciation or both of these two forthcoming L P unknown th daySH taught music well if Either 1 re when they, also, loved to just a s in advance of to the present generation cite Ti playing, booklets may be ordered familiar the piano . very first of music lovers. k'aditinr^i jingles and sing p the The advance offer cash price Leopold a new publication. Songs this ‘ ' Hence there is.o an good such of in- J Beer ’ eminent time.une _ purpose cents each. This special price mu- i„m S ^“SaryThe_P piano is 10 wlt re Ior a11 wh0 take part in or grade. . classics” to sician, teacher and com- HeS I° _ ^ cludes postage. is to manner. Feather perf°rmance of The Magic book p attractive poser, long prominent in in a m Mother beginners gement there is and the music life of Vienna, Goose. each^ GAMES AND DANCES, For Exercise ‘ e Hence, with the com- has been notably successful in unearth- Parlor play * easily staged. A ufe of by William A. Stcchcr and s ^ Recreation, ne a Y origin “forgotten” melodies by those a ’ or For given the in field ing pioneer srrin a garden, will do. on Mueller—Few books the 1! f data Grover W. S and so hit composers of the 17th and b agt; two chairs or garden poser sition. A have been so long master 18th 'nches a u coropo of physical education be centuries. *ayy '’mncient;sufficient; larger stages ®eameaning demand as Games and a beb e f the in popular of his Urn understanding . ice. And, The results latest findings are Mother ished more elaborately, act originally published some years a much to s and Dances, here offered in arrangements for one filing is the only character re- will do *“”'r are learned, now being reprinted in a new a °°^f the P the ago and four-hands. Included will " when , at piano, be lat a special costume; the other later, them edition. The authors are well- n! cteixers Pi revised Kuhnau, elo simply - ‘ young stu^nt be roade with Gavotte by German Dance by the wear their “best the pros ^ ^ authorities in their field, e recital, the of par- known Mozart, March by Handel, Menuett by Cas t Mother pupils’ dience as supervisors, con- , consists of experience ei~lghtK interesting t 1 brief wide Rameau and other gems of the old-time childre more i( some administrative directors. li'en or ' able to sing sultants, and written in the ancient 1 1 educa- masters dance Se 16 Tots” teachers of physical - in Proportion. Classroom Special care on5° whn ! coun- forms. has been taken in S to secure singIe copie club, and playground °Perett'‘ tion camp, the arranging so as to maintain interest apc C !? ? book invaluable. Be- O e y means of our special wffl find this , elm-s parts. 3o of n . Single wealth in both (Continued on Page 72) bl for a is contained a th ication plan may send STS."-a?SSS5 tween its covers e , r ’ ^ as ** be post- collection of soon forwarded, «ns me 71 as Published. Oo“o°f

^ > 94 , — 3

Classic Masters Duet Book Con’t HIM) TOUR 1940 ETUDES—If you wish fine, useful rewards at no personal ex- Here is a collection of little known to keep your Exudes in sequence, neat pense to yourself. classics for duet playing that may be and clean, and easy of access, you should presented to third and fourth grade have an Etude binder holding 12 num- pupils as a genuine novelty that will bers. The binder opens flat and will Czerny, The Pianist’s Old at the same time aid in the develop- prove so handy that you will wonder ment of sight reading, rhythm, coordi- how you managed to get along without Testament nation, and other features that make one. The regular price is $2.25. When ( Continued from Page 51) the use of duets so valuable in the train- sending your renewal to The Etude for 1941, just add $1.25 (the cost ing of a pianist. to us) and and softly without looking at the key- the binder will be sent. The total amount A single copy of this book may be board. After it is thoroughly learned, of to be mailed for binder and a year’s re- ordered now at the special advance use the first half of it as an exercise for newal to The Etude is $3.75. publication cash price, 35 cents postpaid. Canadian swift placement preparation. Play each subscribers add 25 cents additional to chord lightly staccato, at the same time ADVANCE OF PUBLICATION OFFERS cover Canadian postage; foreign $1.00. sliding WITHDRAWN—Two of the works in © laterally to “cover” the next greatest demand among those offered in chord. (You may now look!) Then, after LOOKOUT FOR FRAUD AGENTS—We are a recent months at special advance of moment’s relaxed pause, play the new constantly in receipt of complaints from chord publication prices will be ready for de- WATCH FOR THE FEBRUARY —but slide instantly to the next music lovers who have paid good money livery around ETUDE one; then continue the process. Remem- to advance subscribers the to strangers without investigating their ber, first of 1941. Copies ordered The February Efude will be. an issue of please, that although the tempo is January, responsibility. Beware of the surprises. We wish that you might see how agent of- still will be forwarded as soon as the books very slow, the leaps or slides must THE ETUDE ransacks the entire musical fering you a cut rate on The Etude. be swift are “off press” and this notice will serve world for its features so that every issue as lightning. Read any contract or receipt offered you to announce that the special prices are may bring a message of delight to our Now begin to work for speed. Play readers. Here are some of the features: very carefully before paying any cash. withdrawn and that copies may be ob- chord shapes or progressions rapidly Permit no changes to be made in the tained from music dealers, or from the with a long silence afterward during contract. Assure yourself of the — relia- which you leap Publishers. Those wishing to look over bility of the instantly to the next convasser first, as we cannot chord the books may obtain copies for exam- and rest in its keytops. This be responsible for the work of swindlers. ination on our usual liberal terms. (measures one to four) Help us to protect yoti. is done so:

My Own Hymn Book. Favorite Hymns Ex. 1 in Easy Arrangements for the Piano, by DELAYED ETUDES—The holiday rush, Ada Richter surely is an eagerly await- bringing thousands of subscriptions dur- ed volume, judging by the number of ing December and the early part of orders that were received for it in ad- January, frequently causes delay in de- vance of publication. A book of hymns livery of the initial number. If a copy that pupils of first and second grade of The Etude does not arrive within three ability can play and sing is greatly to weeks after placing your order, drop us be desired, as many teachers know, be- a card. We enter new subscriptions as cause books of this kind go into many rapidly as is humanly possible and make (The notation homes where they are appreciated. And is abbreviated to save every effort to give you good service, but space.) we’re always inclined to think that the post office congestion during the holi- Measures 5-8 playing of these easy arrangements will and 9-12 are done sim- day season is very often responsible for ilarly. not be confined to the children, that delay. Use no pedal; many a Dad and Mother will play lightly and staccato. linger at hen the combine the measures, pausing piano, fingering out melodies that PREMIUM WORKERS—Thousands of mu- only after the second, bring back pleasant memories. This at- lovers fourth, sixth, and sic and teachers throughout the so on. tractive book will be priced at only 75 PERCY GRAINGER country secure many fine articles of Measures 13-16 cents. merchandise absolutely are practiced thus: free by sending Ex.2 First Solo Album. For a Wood-Wind to us subscriptions for The Etude Fast! HOW TO IMPROVE YOUR PIANO Music Wait! Fast! or Brass Instrument, arranged by Carl Magazine obtained Wait! WORK from musical friends Webber is really a series of four Solo pupils and acquaintances. All you do is one of I he most original Books (identical in contents) and a Percy Grainger. collect $2.50 for a and individual of all p'anists and teachers, year’s subscription Piano Accompaniment Book that may gives readers of THE ETUDE many prac- send the full amount to out at us and select be used with any of them. It contains tical ideas they will want to try the little boulevard of ivory and your choice of a gift from snarp contrasts once on our catalog of / and p; pause for easy arrangements of favorite melodies ebony. following lest at The is a list of some wanted the end of the phrase. Use pedal and folk songs such as Skater’s Waltz, lor WHAT REALLY COUNTS IN merchandise offered this year: the legato leaps. Blue Danube, Valse Triste, Finlandia, Bread Tray: This Bread Tray hiding the TRAINING THE VOICE Will . chords of second Love Dream, Home on the Range, Dark be nan the favored by many because of its with changing it is said Caruso attractive fingers (as in organ Eyes, Arkansas Traveler and Country Paul Althouse. of whom remarked "his voice is nearer to mine shape. It is 10V,” long y x 5V>» wide Fi , be careful to squeezing books available, and the than any American voice," now devotes n KS ??i i avoid Gardens. The ished in chromium, it is d much of his time to teaching. Singing easily kept tones. If such persists, instruments they cover are as follows: clean pressure teachers and pupils will have much to and bright—will not deteriorate practice releasing (Suitable for learn from his article. under each chord the instant Solo Book for C Instrument daily use. Your reward for played securing two but keep the fingertips in Flute, Oboe and C Melody Saxophone.) AT THE SIGN OF THE RED subscriptions. th thG key top afterward. Solo Book for B-flat Instrument (Suit- WoriTat tT HEDGEHOG part in groups, in meas- Trumpet; Soprano „ •> as able for Cornet; Dish for sweets, salted 1]rp i 16 Dr. Karl Geiringer tells of the famous nuts and ‘ A11 Tenor Saxophone; Clari- othe chords must be played Saxophone; Viennese inn. "The Red Hedgehog." where tasty tid-bits. It is 7” long, witH“ finfi rs 6 'i " touching up Baritone, Treble Clef; or Trom- Brahms did much of the dreaming that Wid ! keys and with net; led to the production of his famous works. and 4" high, has a ribbed touch f crystal gla < wherever possible. bone, Treble Clef.) container and ribbed chromium advi ®e (Suit- LEARNING HOW TO CONDUCT handli Paying measures 1-16 as a Solo Book for E-flat Instrument A fine gift or prize. Awarded for secur af^er the middle section, able for E-flat Clarinet; Alto Saxo- AN ORCHESTRA ing one subscription. ntS with smn11 avoid phone; Baritone Saxophone; or Alto Nicholai Malko. noted Russian conduc- nlovi hands may Cookie or Mini Server: The g ny tor. tells very sensible and understand- Center han or a11 °c‘aves bv omitting fho , , Horn.) able points upon how to get the technic of die design of this server is very htf hand directing orchestra or a band. You differen lower note and tile left Solo Book for Bass Clef Instrument an and to some may be hand f it useful information though you more attractive upper will find I note of each chord, thus: (Suitable for Baritone; Euphonium; may never wave a baton. has a bright chromium finish is 711 Ex. Bassoon; and Bass.) in diameter Trombone; and the 3" high center Book (Suitable LORD BYRON IN ROMANTIC han Piano Accompaniment die has a colorful catalin trim. the books MUSIC Awavde for use with any or all of for securing one subscription. have powerful influences mentioned.) Certain poets had Deik Clock: This above over composers. Lord Byron, whose very inclined plane Nei Book is 50 his- The price of each Solo life was one of the great romances of Haven clock has a solid mahogany 75 tory. naturally leads the list, and Ruth bas of the Piano Accompaniment, article, gives with a cream-color stripe, cents; French, in a very alluring polished bras information that is both entertaining and hands, etched gold-color cents. valuable. numerals out lined in black and CHANGES OF ADDRESS—We should be an accurate movemen advance FEBRUARY MUSIC compensated for temperature uu» advised at least four weeks in change' spirmc last cnora changed to In addition to the educational features, Size 4" high, 3 Vi" wide. nd are ^signing exercises an address is to be Awarded fo anri T, . chord where the Music Section for February will have securing four 6S aS succeeding numbers at some extremely interesting patriotic music. subscriptions. Part of the student’s regu- insure delivery of lar t-pri-i One piece will be a great surprise to our Send a post UC ‘ And both old card for ’ judging reports, address. Always give complete list q,. from the new readers. o thev 0 ' premiums offered. S 1 pnsed addresses when advising of You will not regre at the resulting se- and new curftv * 1 i the little effort it takes to secure Y and brilliance which the changes. thes studpntf,ents have gained. All power to them! 72