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

10-1-1936 Volume 54, Number 10 (October 1936) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 54, Number 10 (October 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/849

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE zJxtusic ^Magazine ©ctefoer 1936 Price 25 Cents ENSEMBLES MAKE INTERESTING RECITAL NUVELTIES as are Available The Players May Double-Up on These Numbers Employing as Many

By Geo. L. Spaulding Curtis Institute of Music Price. 40 cents DR. JOSEF HOFMANN, Director

Faculty for the School Year 1936-1937

Piano Voice JOSEF HOFMANN, Mus. D. EMILIO de GOGORZA DAVID SAPERTON HARRIET van EMDEN ISABELLE VENGEROVA Violin Viola EFREM ZIMBALIST LEA LUBOSHUTZ Dr. LOUIS BAILLY ALEXANDER HILSBERG MAX ARONOFF RUVIN HEIFETZ Harp Other Numbers for Four Performers at One Piamo Violincello CARLOS SALZEDO Price Cat. No. Title and Composer Cat. No. Title and Composer 26485 Song of the Pinas—Mildred Adair FELIX SALMOND Accompanying and $0.50 26497 Airy Fairies—Geo. L. Spaulding. 17064 Taps. Military March—H. Engelman Organ Two-Piano Literature 1.00 .40 11552 Galop-Mare he—A. Lavignac. 26484 Toy-town Soldiers—Ada Richter. ALEXANDER McCURDY, Jr. HARRY KAUFMAN .80 8321 Valse Lorraine—Ed. Missa 11271 In the —H. D. Hewitt. Chamber Music Woodwind Ensemble DR. LOUIS BAILLY MARCEL TABUTEAU

Orchestra FRITZ REINER, Conductor BORIS GOLDOVSKY, Assistant ALEXANDER HILSBERG. Strings MARCEL TABUTEAU, Winds ANTON TORELLO, Double Bass ANTON HORNER, Horn WILLIAM KINCAID, Flute SAUL CASTON, Trumpet ROBERT McGINNIS, Clarinet CHARLES GERHARD, Trombone MARCEL TABUTEAU, Oboe PHILIP DONATELLI, Tuba FERDINAND del NEGRO, Bassoon OSCAR SCHWAR, Percussion

Conducting FRITZ REINER BOROS GOLDOVSKY, Assistant Operatic Acting and Stage Deportment Composition ERNST JOSEPH MARIA LERT, Ph.D. ROSARIO SCALERO

Harmony and Counterpoint ( elementary) Solfege ANNE-MARIE SOFFRAY RENEE LONGY MIQUELLE

NADIA REISENBERG , MARTHA HALBWACHS MASSENA WILLIAM HARMS Other Numbers for Three Performers at One Piano Pieces for Four Performers at Two Pianos Cat. No. Title and Composer Price Cat. No. Title and Composer Gr. Price Vocal Repertoire 19620 We're Playing Together—Geo. L. Spaulding. $0.40 26331 Dolly's Birthday—Walter Rolfs. I $0.50 MAX PONS 19680 The Brooklet—P. Zilcher. 26330 Tommy's New Drum—M. L. Preston.. I'/j -50 SYLVAN LEVIN 24920 The Camel Train—W. Baines. BORIS GOLDOVSKY 18245 Salute to the Colors—Bert R. Anthony... 2 25317 Commencement Day—C. C. Crammond. ALBERTO BIMBONI ELIZABETH WESTMORELAND 25094 Heather Blossom—G. W. Ashley. 9150 On to Prosperity—Rich. Ferber 3 •*> 25495 Left! Right! March—P. Zilcher. .50 13563 Le Carillon. Polka Brillante—L. Ringuet 3 »° 4773 A May Day—F. G. Rathbun. .70 14817 Camp of Glory March—Ed. Holst.. 3'/j 1.25 Languages and Diction 25331 Play and Pleasure—F. J. Liftl. .50 13060 Concert Polka—A. W. Lansing 4 .85 History of Music JEAN B. BECK, Ph.D. MARY WESNER, A.B., English and Latin 11005 Twilight Song—F. N. Shackley. .60 30572 Country Dance—A. MacFadyen 4 130 RENE DAUDON French 30485 Valse Enfantine—E. A. Mueller MARY SHUMWAY, Ph.D., German 19275 Hungarian Concert Polka—Imre Alfoldy. 5 Academic Tutors 24261 Dance of the Rosebuds—F. Keats. MARY SHUMWAY, Ph.D. MARTHA TURK, German 30159 The Fortune Teller—M. Arnold. 7296 Concert Polonaise—H. Engelmann. 5 1.00 MARY WESNER, A.B. PLACIDO de MONTOLIU, Italian and Spanish 11023 Iris. Intermezzo—P. Renard. 25198 The King's Review—W. Baines. .60 13562 Le Carillon. Polka Brillante—L. Ringuet. .75 24624 Sevilla—P. Zilcher. .50 THEODORE PRESSER CO. RITTENHOUSE SQUARE 9983 Twilight Idyl—P. A. Schnecker. .70 Evrythlna In Munlc Publication* 11008 Two Flowers—C. Koelling. .60 1712 CHESTNUT STREET, PHILADELPHIA, PA. PHILADELPHIA PENNSYLVANIA 24302 —C. Koelling. .90 With This Remarkable Play-time Beginners’ Book ' The Etude Music Magazine Published monthly by 1 THE ETUDE MUSIC MACAZINE DON'T MISS THESE THEODORE PRESSER CO., Piano Teachers Can Give to the Young Child Founded by Theodore Presser, 1883 Present Enjoyment and Life-Long Benefits 'Music for Everybody'' 1884, at the P. O. at Phila., Pa., un¬ der the Act of March 3, 1879. Copy¬ right, 1935, by Theodore Presser CLUB OFFERS ERE IS a beginners’ instruction book for , No. 10 OCTOBER, 1936 $2.00 a year in U. S. A. and Possessions H Editorial a Argentine, Bolivia, Brazil, Colombia, Costa piano that capitalizes the sound pedagogic ON LEADING MAGAZINES Sica, Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Mexico, Nicaragua principle: “The pupil’s progress is in proportion 3r. Edward EUswo Paraguay, Republic of Honduras, Spain, Peru ★ The year’s biggest savings on rnd Uruguay. Canada, $2.25 per year. All jther countries, $3.00 per year. to his interest.” your favorite publications. Single copy, Price 25 cents. isr Subscriptions may be new or renewal. Remittances Music Play for Every Day made by money PRICES ADVANCE NOVEMBER 10TH! ORDER NOW! :d letter, or United ... is distinctively original in its entire make-up “’Tgf and presentation. It has an irresistible appeal to young folks 5 to 8 years of age. WUlUm M. IXCEALEf'U8°E.. No i-,____ mailing wrapper shows the date to which III? paid. CONTENTS Manuscripts -NOTE THESE POINTS- * Manuscripts should be addres " ie. Write on or " e of the sheet A Musical Educational Renaissance.,/. Hofmann 6 €^35 only. ContiContributions s d- Everv nns. Hallowe'en Spirits Go Musical.E. Stinehart 6 sible care is publish 1. Direct appeal to pupil. The child, not the teacher, Early Romance of Ilaydn.S. West 6 .«? WOMAN'8DWORLb !! li::“S| $245 Fifty Years Ago This Mouth.W. 8. B. Mathews 6 graphs either while in their possession or is addressed in all of the text. Lesson Check lips.L. 8. Norton 6 Harps and Harpists of 1936.C. Salirdo 6 Advertisements 2. The text is in the simplest, shortest words, ap¬ The Problem of the Adolescent Stude'nt.C. Roe 6 namcr. proved by experts for the child’s vocabulary (not A Daily Dozen from the Diatonic Scales.II. G. Dacidson 6 *ifo Meistersingers of Nuremberg and Their Wooden Tablet. baby talk). _ M. M. Pleasants 6 Subdividing the Beat.a. Hutchinson 6 3. The step-wise grading insures complete under¬ Selecting the New Piece./) Ficus 6 Records and Radio. p // Reed 6 Advertising Representatives standing and regular progress. The Midnight King.A. ron Schoenfeld 6 NBC Music Appreciation Hour. 6' 4. The book is a book of fresh ideas, new and im¬ Making a Start with Bach.n. Q. Kinsceila 6: Roger Fison L. McClure pressive ways of awakening the child’s interest. An Interesting Bit of American Musical liistorv. 6: Bands and Orchestras.F. J. Grabel 6: 5. There are nearly one hundred Richard Wagners "Mbelungen Ring,” Part II.V.J. Grabel 6: Music Extension Study Course. .] Thompson 6' charming pictorial illustrations. Teachers' Round Table .0. Mater 0: A Great Poet os Music Critic.T. B. Goltoway 6: 6. There are twelve “cut-out” portraits of great Singer s Etude. g iKT 3 masters. “Straightening Up” the High Tones.!!'.Wagner, The Prelude Recital. E G Mead «! ThW4° S?rMf°£ Clll',ir((h Music.J E. Brainerd 61 Mendelssohn, Schubert, Brahms, Beethoven, Chopin. 1 he Available Small Organ. hr Pro 6- Organ and Choir Questions. // ft' Em «' 8. There are twelve biographies of great masters. Violinist's Etude. ".'it' Brnine 6' Orchestra Routine in Violin Bowing. . . . E if Pierce 6' NATUnY MAGAZINE ' 9. There is an excellent 36 note piano keyboard chart, “TLS. Regarding the Violoncellist’s Bowing. ! ! .UHWalmth 61 SPECIAL NOTICES The Young Violin Student and the Vibrato./. w. Hulff 61 10. There is an altogether ingenious method of__ . Violin Questions and Answers../?, Braine 6l AND Hints from Cliopiu.. . up \fnvpu ai counters” for teaching the notes. Th^Stritm Quartet.. . ' .W b! ThI OOTRUCfOB .1 ANNOUNCEMENTS 11. There is a guide to teachers in the back of each Mark Twain's Favorite Music...... G Chew 61 volume. The Pre-School Music Class. )' c g'jjJSJSS Ibr/lw. B P CoZell el ^'Ss^ntXTercd::::: :::::::;;::;:K:Fww0e^ £ I SPECIAL NOTICES | Mastering Skips in the Waltz Pass. /{ fh/nes 6( mmz- 1®= “ rswafcr—. -UTol Sav'e’^r . ••••'' •' Junior Etude!!!!! !; .C' «;< *?:88 a., Letters from Etude Friends. .b. Gear 6j F0R E1,I BY Pay” and ‘,(5 sequel “Happy Days in Getting the Family to Work. . rJ Music Pla\ are self explanatory. They require no expensive Musical Books Reviewed...... g- teacher s course in order to understand them. The\P make Music s$3j00 every lesson a joy for the teacher and the pupil. Fascinating Pieces for the Musical Home F?naPM ovemen ts.. W' Lemont 64 s$3A.75 ANNOUNCEMENTS | From “American Indian Rhapsody”.p w Orem 65 Stfu*r Sa'pph.res *.!!!! ! !!!: :...\ iZtZ 6*' $5.35 These Remarkable Books Are Published Pelicans’ Promenade.....'.'.'.'.V.'.'.W'.'.'.'.w: Baines 6? ValseCoquetie. .'.'.'.'.'. ..!...... ;K; m Two Ways Master Works ::*i:§8j ah ,m $4.40 Adagio,Cfrom “SonaTain E-flat '.'^dZuoldn 63 $3*75 Outstanding Vocal and Instrumental Novelties Each Volume Complete at $1.25 each The Cool White Stars (Vocal) . . u O'Erllm -Add to Any Combination— Each Volume in Four Parts at 40c4 each DuMnushVainiDinusnka ll(\/vfnl' lolm(> & Piano). "V.! ' ■''' •' k RisulnnH“ asl\ 2 Yrs.; $2 for 3 Yrs. PICTORIAL REVIEW. (The editions in parts are ideal for class use) Frolics (Four Hands)...W.E. Haesche 64 2 Yrs.*; $2 for 3 Yrs.*; $3 for 5 Yrs.* LADIES’ HOME JOURNAL. Progressive Music for Orchestra 2 Yrs.*; $4 for 3 Yrs.; $5 for 4 Yrs.* SATURDAY EVENING POST. n ,.M‘T,t^.E-flat.L. Boccherini 64 DO COUNTRY GENTLEMAN. Heltghtful Pieces for Junior Etude Readers ::::;: :...: ThoUMnds^jf^Teacher^and p’uZL. It*lllt'ZrtHome 4 Hammock So... Ko'fr Hills and ValieysV...... C. I. ffiS 65 • Send Orders Directly to: m,,„rubli3hei TThly iy THEODORE PRESSER CO.. Philadelphia. Pa. Entered as second-class matter January 16, 1884, at the P. O. at Phila Pa under the Act of March 3. 1879. Copyright, 1936, by Theodore Presser Co The Etude Music Magazine — Theodore Presser Co., Publishers — Theodore Presser Co., 1712 chestnut st. phila. pa. 1712 Chestnut Street, Philadelphia, Pa.

WORLrrLAI!GUEsy4HTEOCrK OF MUSICMUsiC NOFOF IMALL,,0 'PUBLISHERSTE'S 604 OCTOBER, 1936 605 THE ETUDE THE ETUDE HISTORICAL NEW DITSON PUBLICATIONS MUSICAL PORTRAIT SERIES An Alphabetical Serial Collection of DITSON CHRISTMAS CAROL BOOK The World's Best Known Musicians FOURTEEN FAMILIAR iS|series ^ij^yg^afphabet^ca'ny'untH^the^ entire'Uhistor^0^^u^ls^ade^uafef^cov' WITH STORIES OF THE CAROLS CHRISTMAS CAROLS Edited by NORWOOD HINKLE

Arranged for String Ensemble Price, 50 cents and Piano Sixty-two pages of traditional carols chosen for their beauty and singableness, presented with legend¬ by ELIZABETH FYFFE ary stories of their origin, making the collection doubly attractive and useful.

For performance by varied groups of young players in public or private schools, Sunday schools, churches; with or without unison FORTY CHRISTMAS CAROLS singing. The text for the carols EASY TO PLAY AND SING appears over the music in each Arranged by NORWOOD HINKLE part as a guide for interpretation. for Adults and Children Parts Published: Violin I, Violin Price, 50 cents II, Violin III (Viola substitute) Forty truly beautiful traditional carols and hymns arranged simply yet with all their warmth and cheer. Viola, ’Cello and Piano (with mel¬ The carols are carefully fingered for the players. Especially suitable for a "sing” at your Christmas ody cue staff). String parts except piano recital, each pupil accompanying one or two carols. Violin Obbligato (1st Position). Special Obbligato Violin (3rd Position). CLASSIC ITALIAN SONGS for SCHOOL and STUDIO

Edited by MABELLE GLENN and BERNARD U. TAYLOR CARNIVAL OVERTURE Issued for Medium High - Medium Low

by ROBERT W. GIBB Price, One Dollar Each Concert Edition for BAND No. 309 CONTENTS

Melodious and brilliant—vigorous BENCINI—Tan to Sospirero MONTEVERDE—Ahi, Troppe E Duro climax—easy to play. Four staff CACCINI—Amarilli MONTEVERDE—Lasciatemi Morire conductor’s part in each set. Grade 2-B. (Also published for OR¬ CARISSIMI—No, No, Non Si Speri! ! PERGOLESI—Nina CHESTRA—see below). CARISSIMI—Vittoria, Mio Core! PERI—Invocazione De Orfeo

Prices: Full Band $2.00; Extra parts, each CAVALLI—Donzelle Fuggite ROSA—Selve, Voi Che Le Speranze 15 cents; Extra Score 50 cents. DURANTE—Vergin, Tutta Amor SCARLATTI—O Cessate Di Piagarmi

FRESCOBALDI—Se L’aura Spira SCARLATTI—Rugiadose, Odorose

CARNIVAL OVERTURE GIORDANI—Caro Mio Ben SECCHI—Lungi Dal Caro Bene

by ROBERT W. GIBB LOTTI—Pur Dicesti, O Bocca Bella TORELLI—Tu Lo Sai Concert Edition for The volume contains eighteen of the most valuable songs of the early Italian era and provides suit- ORCHESTRA \mu\ »„. X No. 582 able material for the ever increasing number of voice-classes.

'rices: Small Orchestra $1.50; Full Orches- The editors, who are eminent authorities on group-singing, have added helpful suggestions on pro¬ ra $2.25; Extra String Parts 25 cents each. cedure in learning the songs and the Italian pronunciation.

ANY OF THE ABOVE LISTED WORKS MAY BE HAD ON APPROVAL FOR EXAMINATION FROM YOUR DEALER OR PUBLISHER

OLIVER DITSON COMPANY, Inc., 359 Boylston Street, Boston, Mass.

OCTOBER, 1936 607 the etude JAMES FRANCIS COOKE

THE ETUDE Associate Editor Te m p u s Fugit EDWARD ELLSWORTH Published Monthly HIPSHER By Music Magazine THEODORE PRESSER CO. T NIGHT we heard a new orchestral work. We false principles, to foist the productions of this young 1712 Chestnut Street A MONTHLY JOURNAL FOR TEACHERS, STUDENTS AND ALL LOVERS OF MUSIC E listened respectfully and patiently to what still musician upon the world as masterpieces.” PHILADELPHIA, seems to us a perfectly useless and inconsequential Gounod is dismissed with eight lines and the laconic PENNA. comment, Vol. LIV. No. 10 • OCTOBER, 1936 riot of bombast and discord. Could this at any time in the future possibly come under “He has composed some Roman music what a metamorphized public might regard as interesting which is well written for the voices, but his music is de¬ and beautiful—this horrible disjointed shambles of noises^ ficient in melody and decided character.” The World of Music Here were all the old bones of harmonic, contrapuntal and Five years later Gounod produced his “Faust” and orchestral tricks apparently thrown together in one ugly showed that he was easily one of the greatest of French heap. It reminded us of nothing else we had ever known melodists. Interesting and Important Items Gleaned in a Constant IT atch on save a charnal house in a tropical city, where they had To show how greatly the prognostications of critics may Happenings and Activities Pertaining to Things Musical Everywhere piled up the skeletons dug from the graves of those fam¬ err, one has only to look at the biography in this hook devoted to Henry Hugh Pierson. ilies who were too poor to con¬ THE GLYNDEBOURNE MOZART FES¬ CAPTAIN HARRY A. He is given well on to two pages, WALTER- DAMROSCH is reported to tinue to pay the rentals of burial SIR JOHN B. Mc- TIVAL (Suburban London) offered this year STARES has celebrated or four times as much space as EWEN, after twelve years have a new nearing completion, of plots. Yet we are not so cock¬ a series of performances of “Die Zauberflotc, his thirty-eighth anniver¬ , who was born four of service, is retiring as which he has said, “The theme I am using is sary as bandmaster of the sure of our own vision. We may one that I have long had in mind, but I do “Le Nozze di Figaro,” “Cosi fan tutte,” and years earlier than Pierson. Pier- Principal of the Royal “Die Entfurung aus dem Serail,” with casts famous Argyll and Suther- H*ur A. be so conditioned by our past ex¬ Sir John B. Academy of Music, of not want to share it (the opera) until it is in land Highlanders of Cana- Sm!s is described as “one of the McEwen London, because of im¬ finished form.” of capable artists, and with Fritz Busch as periences and past thrills in musical director. The musical world owes a da (Princess Louise's regiment), at Hamilton, most eminent composers of the paired health. Through one of the most try¬ Ontario. The organization has played officially music that we are incapable of ing periods in all musical history, Sir John real debt to such a man as Mr. John Christie age.” His works are mentioned A SIBELIUS PROGRAM, in the form of who, out of his enthusiasm for the superlative at so many national and extra-territorial judging. We do not think that we has displayed his fine talent by maintaining a gala concert conducted by Georg Schnee- as “simpler and clearer than art of the Salzburg master, creates and events that, unofficially it has become a “Na¬ are that bad, because when we every activity and expanding many in the fa¬ voigt, was the opening event of a “Finnish tional Band of Canada." It served in the Beethoven’s ‘Mass in D’ or the mous old institution. He is to be succeeded Week” lately celebrated in Stockholm, Sweden. sponsors this shrine. first heard Debussy and Stravin¬ World War; played for the memorial service ‘Ninth Symphony.’ ” by Dr. Stanley Marchant, long Professor and ■a-»• sky we reveled in new tonal of late Warden of the Royal Academy, A TSCHAIKOWSKY CANTATA, "Ode to Lord Kitchener, in London; was tendered Schuberth goes on to say: THE D’OYLY CARTE OPERA COM¬ a luncheon at the final review of the Fourth delights that they brought to organist of St. Paul’s Cathedral, and Presi¬ PANY, from London, opened on August 20th to Joy,” founded on the Schiller poem im¬ “Pierson’s music is remarkable dent of the Incorporated Society of Musicians. mortalized by Beethoven in his “Ninth Sym¬ Division of Canadians, as the first official act us. a season of eight weeks of the Gilbert and of Lloyd George as Minister of War; and for its intensity, poetic fervor, Sullivan operetta repertoire, at the Martin phony,” is reported to have been discovered When, however, we read the in the archives of the Leningrad Conserva¬ played before King George and Queen Mary, grandeur and pathos; his melo¬ THE “HERCULES” of Handel, in spec¬ Beck Theater of New York. This excellent at a grand military fete at Aldershot. It has criticisms of the contemporaries tacular out-of-doors dramatic productions in tory. It is a product of his early years. dies are spontaneous and abun¬ organization, which clings always so closely appeared in almost all large cities and at of Wagner and Brahms we are the massive Olympic Theater of Berlin, on to the true Savoy spirit, is welcome to Amer¬ dant, but not always such as August 14th and 16th, was an artistic feature many expositions in the United States. fearful that our own opinions ica at any time and as long as it may choose MR. CHARLES E. WELLS, of Denver, 4-f. catch the ear at once. He is a of the Olympic Games festivities. Colorado, was elected president of the Na¬ may be obfuscated by paleonto¬ tional Association of Music Merchants, at its PIANO PRODUCTION in the United logical prepossessions (if you great master of instrumentation.” “THE CRICKET ON THE HEARTH,” HARPISTS of the Metropolitan Opera recent convention in Chicago. S. Ernest Phil- States during the first six months of 1936 was know what that means!). In 1844 Pierson became Pro¬ pitt, Miami, Florida, is secretary; and Carl three hundred percent over that of the same in a copy inscribed by Charles Dickens to Company were the first women to be admit¬ The worst about some of this fessor of Music in the University Hans Christian Andersen, brought the peak ted to the union of musicians. Until June of A. Droop, Washington, D. C., the treasurer. period of 1933 and forty-five percent beyond of Edinburgh. price of $1450, at the sale of the collection of • this period of last year, according to reports modern music is that we are ex¬ 1903 only men might be members. “Boy, page Henry Hugh Pier¬ rare books of the late Harry B. Smith, libret¬ THE EMIL HERTZKA PRIZE (Vienna), of the National Piano Manufacturers Asso¬ pected to swallow it as we do a tist of so many of the DeKoven and Victor THE FRANZ LISZT PRIZE, of the recent this year for a work for the stage, has been ciation at its meeting of July 28, in Chicago. doctor’s prescription, whether we son.” Herbert . international competition at Vienna, was awarded with the three thousand schillings like it or not. No matter how “Yes, sir. We find two inches divided among Gabriele Bianchi of Venice, awarded to Lance Dossor, a young English ARTHUR WHITING, composer and toxic the effect may be upon our about him in Baker’s Dictionary THE CINCINNATI CONSERVATORY and student of the Royal College of Max Ettinger of Ascona, Hans Meyerowitz OF MUSIC is celebrating its seventieth anni¬ organist, died J uly 20th, at Beverly, Massa¬ musical senses, the “Modernists” and nothing in the Encyclopedia of Rome, and Viktor Ullmann of Prague. chusetts. Born at Cambridge, June 20, 1861, versary. Founded in 1867, by Clara and stand by in holy horror if we do Britannica.” Bertha Baur, this institution has rendered a he studied the piano under William H. Sher¬ THE THREE THOUSANDTH RECITAL KERSTIN THORBORG, contralto, an¬ wood, and composition with George W. not gulp down cacophony after Sic transit gloria mundi. significant service to American music, espe¬ other of those amazing singers from the Scam But the funniest of all are the cially in the Middle and Southern States. of the free organ concerts provided for mu¬ Chadwick and J. C. D. Parker and later with cacophony and pretend that sic lovers of Pittsburgh by Andrew Carnegie, dinavias, set London by the ears and spurred Rheinbcrgcr at . His compositions comments of Schuberth upon was played on May 24th, by Dr. Marshall the astute and conservative like it. We hold that every THE JUILLIARD MUSIC AWARD goes were on programs of the Boston. Pittsburgh . Think of this; Bidwell, the present incumbent at the mag¬ to superlatives, by her thrilling vocal and his¬ and Cincinnati Symphony Orchetras; and has a right to say whether he this year to Bernard Rogers, for his orchestral nificent instrument at Carnegie Hall. trionic interpretation of Fricka in “Die Wal- likes music that he is asked to “Richard Wagner, horn 1813, work, “Once Upon a Time,” a suite of five he was founder and manager of the University kiire” during the summer season at Covent Concerts of Harvard, Princeton and Yale. at Leipsic, received his musical education in Germany, but pieces—The Tinder-Box Soldier; The Song Garden. hear. Perhaps posterity will disagree with him as to of Rapumel; The Story of a Darning Needle; THOMAS D. WILLIAMS, versatile mu¬ 4-lr whether it is good music or had music; but that is not his failed to acquire the solid principles of art, and did not Dance of the Twelve Princesses; and The sician of Juniata, Pennsylvania, died there on June 3rd. Born June 5, 1865, at Wysox, THE CHICAGO CITY OPERA COM¬ THE MONTGOMERY COUNTY SING¬ business. even succeed in learning to play any instrument respect¬ Ride of Koschei the Deathless. Pennsylvania, of musical parents, music was PANY, through its manager, Paul Longonc. ING UNION of Alabama drew an attendance In 1854 Julius Schuberth published a “Musical Hand- ably. The fact is, however, that Wagner has given nothing 4—-*• of more than three thousand, from all sections throughout his life a beloved avocation, while announces that during its coming winter sea¬ Book,” a kind of musical lexicon with definitions and bi¬ new to the world except a portentous amount of bombast CURTIS W. KIMBALL, president of the his chief role was that of a stellar machinist son it will give five Sunday evening operatic of the state and from neighboring ones, for ographies (which we have recently had the pleasure of and chaotic ideas. His ‘’ is a musical monstrosity, W. W. Kimball Company of Chicago, passed of the Pennsylvania Railroad. More than two concerts with costumes and scenerv, on No¬ its convention on June 14th. away on July 30th, at the age of seventy- hundred of his compositions have been pub¬ vember 8th, 15th, 22nd, 29th and December reading, through the kindness of Miss Susanna Dercum of full of sound and fury, signifying nothing. Wagner has, four. Born in Mitchell County, Iowa, when lished; and in 1905 he won first prize in the 6th, with the best seats at one dollar THE MANNHEIM OPERA HOUSE Philadelphia). The biographies were critical, in that the indeed, no style at all, unless confusion and an absence of seventeen he in 1879 entered the employ of „ -»• international Anthem Contest of the Lorenz (Germany) is experimenting with music for author, who reflected much of the musical opinion of the any distinct form can be termed a style. He is not without the W. W. Kimball Company; in 1893 be¬ Music Company. He was long an esteemed BIDU SAYAO, Brazilian coloratura so¬ came its treasurer; in 1898, its vice-president; its orchestra, of which the notes appear in time, attempted to appraise the music of the iconoclasts dramatic conceptions, and would fain achieve something contributor to The Etude. prano ; Vina Bovy, French lyric soprano, and white on black paper, thus successfully as¬ and on the death of its founder in 1905, its great; but he resembles Icarus, who assayed to fly with Anna Kaskas, American contralto, are an¬ sisting in the lighting problems of the thea- of the “Fifties.” We are not surprised to find a whole page president. nounced as additions to the roster of the of the book given to Cherubini, who was perfectly safe waxen wings and fell into the sea. Some consideration is THE CANADIAN FEDERATION of Metropolitan Opera Company. JEANNE BEHREND Music Teachers’ Associations met from July and orthodox, according to the times, while on the next due to a praiseworthy ambition, and it is perhaps better has been awarded the 15th to 18th, at Vancouver, British Columbia. THE CITY COLORED age are nine lines dealing with Chopin, who at that time to strive after something unattainable than to be content The days and evenings were devoted to lec¬ DR ORLANDO A. MANSFIELD, emi¬ Beams Prize for 1936, for ORCHESTRA of Balti¬ ad lived and worked and died and had been peacefully with what may appear imperfect; but desire and fruition her “Four Songs” with tures and discussions of topics of interest to nent English composer, author, editor and more, with VV. Llewellyn are very different things. texts by Sara Teasdale, and the music teachers of the Dominion, and to lecturer, passed away on July 7th, at Chel- Wilson as conductor, is resting in Pere La Chaise for five years. Yet in comment¬ a suite of seven “Children’s artist concerts, with social events interspersed. tenham, Mar London. Born November 28th, winning well deserved rec¬ ing upon Chopin he remarks, “Wagner has proved himself to be little else than a 1863, at Hornmgsham, he won manv honors, Pieces” for piano; and this •4---p ognition. For its spring “His compositions are very elaborate and not remark¬ vain and arrogant pretender, and as such is not entitled though the competition A BRASS VIOLIN, believed to be the havmg become a Fellow of the Rov.il College concert on June 25th. at able for perspicuity, but contain many beautiful ideas.” to respect. Wagner writes the libretti of his operas himself, was announced in favor of only one in existence, is used by a player in a ,Llcentiate of Trinity College the Douglass High School, and is a far better poet than musician or composer. In larger forms. Miss Behrend a West End restaurant of London. It was Fellow feiK°n?0n ColleKe of Music; and a it gave a program includ¬ As for , his name is not found in the was at the first piano, with made from empty shell cases of the famous From 1912 toei9^TCa" GuiH of Organists, ing works by Bach, Brahms, hook; but the author makes amends for this with the his ‘Tannhauser’ he has borrowed rather freely from the Behrend Alexander Kelberine at the French ‘ 75’s” used during the World War at Wilson rol. 7 h5.,was Professor of music Hadley, Gliere and a first following criticism in the Appendix: peculiar and meretricious instrumentation of Berlioz, and second, for the world premiere of the “Con¬ and the tone is said to be soft and sweet vaniiChambersburg. Pennsvl- performance of a “Freed- “An attempt has lately been made by a musical clique, is by no means an original composer, though he has some certo in D minor for Two Pianos and Or¬ vama, and besides a “Student's Harmonv” man’s Song” for chorus and orchestra, tne chestra” by Francis Poulenc, on the programs THE PHILHARMONIC ORCHESTRA m four volumes, he is said to have prize winning verses by Gough D. McDaniels, which is laboring to establish a new School based upon enlarged dramatic intentions, which, however, appertain of the Philadelphia Orchestra for December of Madrid, with Mendoza Lasalle as conduc- and arranged about one thousand musical colored Baltimorean poet and historian, ana 27th and 28th, 1935, with Leopold Stokowski t°L has made a tour which included Val¬ compositions, and about nine hundred articles for musical magazines He . L. 5 the musical setting by Franz C. Bomschem, conducting. ladolid, Pau, and Bordeaux (France) commission from the Municipal Depart- of Music. Frederick R. Huber. Director.

OCTOBER, 1936 609 phonograph companies here and abroad Only a comparatively few years ago thev harder to execute. Much of this is due to drill. He should not be pampered and perhaps just a simple cottage seemed to be ceaselessly persistent in trying the extreme difficulty in playing a melody. petted into believing that, by some magic to induce the concert pianist to record the To play a melody well is about the hardest The Army of Amateurs which dodges real work, he can make a lightest numbers in his repertory. Now they thing an artist has to do. Modern music is short cut. It seems surprising to me that demand the serious numbers. They want built upon the lines of a more intimate but in a country where the average business whole sonatas, and, not only these, but they man is proud of his hard and humble be¬ often more vague appeal to the tonal sense of the human ear. Its architecture is often want also the greatest works. The reason ginnings, and points with a kind of rever¬ for this is purely a commercial one, from so nebulous that it may be said not to “VeSorwS"S to y. "Tt.-- ence to the day when he first went on the the standpoint of the phonograph companv. The Early Romance of Haydn exist at all. It is merely a succession ot no oood teachers—only good pupils. Alim job and swept out the store, we should It is their business to give the public what find musical methods which strive to leap noises and tones that are interesting or un¬ Huck went a step farther and remarked. it will buy and the public buys these se¬ over the early difficulties like a kangaroo. interesting, depending upon which you want ^There are two kinds of students, pup. s Sixth in a Series of Romances of Great Composers rious records. Perhaps many people are I remember that the late Edward Bok used to hear or what you have been educated and stupils.” The meaning is obvious. Ye playing, for their own amusement, the to refer with pride to the fact that as a to like. It is of course very much like some the teacher’s work, particularly of the boy he sold ice water and newspapers. modern painting, in which we are told that teacher who educates those who do not lighter pieces that the used to By Stephen West Thousands of American leaders have had a we are not to look for design, but must be expect to become professionals is largely record. The change, however, is very sig¬ nificant—significant of one of the greatest similar beginning and tell the story with a satisfied with color contrasts often applied with students who are often lacking. . . sense of pride. Why treat our beginnings to the canvas with no rhyme or reason. liance, but who, as amateurs, would be rebirths ever known in public appreciation in music as though we had to apologize to Much modern music, notably that of benefited by a knowledge of music Such of an art. the child for asking him to do a little real Debussy, Ravel and others of their school, teachers deserve great credit. They tear Rubinstein came to America in 1872. is, of course, very exquisite and makes an Owing to the rigors of the journey and the work? the greatest burden in music, and many was going to be. Someday he would be rich unquestioned appeal to the moods. Yet this very primitive artistic conditions of the ifficulties again beset Sepperi “Never,” he cried. “I’ll leave the Cathe¬ Some of the so-called methods I have bear it very bravely. While the profes¬ D and famous, with a comfortable home and FRANZ JOSEF HAYDN music is not as difficult to play as some country at tliat time, he refused an offer Haydn. Herr Reutter shook his dral service first.” seen seem preposterous to me. They seem sional ranks should be limited to those plenty to eat. Then he would go back to like a rigid means of producing results and of the classics. Take the Poissons d’Or of of $125,000 for forty concerts, to repeat head. It often palled upon Herr “Indeed, and that does not depend on with unmistakable talent, there must be in¬ the younger Keller girl, and not in the summer place at Mannersdorf, where he have all the flexibility of the straight] acket. Debussy, for instance. With fine finger the tour. That was over a half century ago. Reutter that so impressive a personage as you, Sir. Leave here you shall—but first telligent amateurs; and the task of training capacity of one to whom her father offered had had a charming outing marred only by I understand that in Washington the work and fine pedaling, the tonal effects If he were to come to America to-day, he Vienna’s Court Musical Director should you shall have a thorough hiding.” them is one of great and serious responsi- charity. the fact that he was made to eat at the Government has over one and a half million may be brought out delightfully. It is a would undoubtedly be amazed by our pres¬ have to bemean himself to the point of met¬ In later years, Haydn took pleasure in bility and calls for able and experienced Ten years later, Haydn’s dream seemed servants’ table. But even that had not been finger prints on record, and that in this very different matter, however, to interpret ent advance and what certainly seems a ing out punishment for the deviltries of St. telling of this precipitous entrance upon his about to come true. At twenty-seven, he so very dreadful. He was young and poor vast collection there never have been found the apparently simple melodies of Mozart s teachers. Stephen’s choir boys. If young Sepperi had manhood. It was hard, of course, but hard¬ It seems reasonable to suppose that, in great renaissance of the tonal art. was appointed Musical Director to Count and took good fortune as it came. At Man¬ two alike. Now imagine the human brain, Rondo in A minor. not been so clever, Reutter would have ships were what young men had to expect. To my mind it is a great mistake for this rich musical renaissance, there will be SELF-TEST QUESTIONS ON He could not go back to the home he had Franz von Morzin, a wealthy Bohemian nersdorf Haydn had met all kinds of inter¬ with its twelve billion cells. Think how in¬ more and more people hearing good, music turned him out of the choir school long finitely greater is the difference in the the student to enter this modern field be¬ DR. HOFMANNS ARTICLE left at the age of six, where there were with estates near Pilsen. He had grown esting people (Gluck, and endless members every night, who will not be content with ago. But, beyond question, the lad knew mentality of the individual and how utterly fore having a very thorough disciplinary what he was about. So they dealt leniently enough hungry mouths to feed without his; accustomed to the world and he had also of the nobility), and through these connec¬ merely learning it. They will want to know 1. Give a "thumb-nail sketch’’ of Dr. Hof¬ impossible it is to make a method that training in the classics, from Bach up. The and he would not go back to his kinfolks seen something of the elegancies of life. tions he had teen presented to Count more about it and the only way to do that mann’s lift. with him, and so he grew bolder. would fit any two people equally well. process cannot be reversed. That is, he Sepperi liked to think he could compose, at Hamburg, who had brought him from The hard, bewildering years were now past, Morzin. is to play it. This being the case, there 2. I That usually precedes a large ouvkeii ■ cannot go from the modern, back to the and he cluttered up endless sheets of music home to make something of his precocious and in retrospect they seemed to have Morzin was pleased with Haydn and undoubtedly will be a call for more teach¬ ing of learning and culturef The Classics First classics. In the older art of Bach, Haydn, paper, when he should have been helping gift for music. The idea of creeping back traced a clear pattern after all. wanted him as Musical Director of his ers in years to come. These teachers should AM OFTEN ASKED whether mod¬ Mozart, Schumann and Weber, there was 3. What comparatively recent invention has the younger boys with their Latin. And he in disgrace did not suit him; and neither He had attracted attention by his playing household. Then he asked whether he was I be well paid as, in this day of greatly ern compositions are more difficult to not only color, but also many definite types been a major foe tor in spreading a laslt was always complaining of being hungry. did the living conditions at Hamburg, as well as his compositions (those compo¬ married. Somewhat confused as to the pos¬ expanded leisure time, music is one of the .play than those that preceded them. While or architecture; and architecture is just as and desire for the best music! One actually got the impression that the where whippings were more plentiful than sitions that Reutter had laughed at) : he sible connection between musical ability and things which has become a valuable asset the modern works seem to offer great com¬ vital as color. We cannot forever live in 4. How is musical taste usually developed! Cathedral boys were not given enough to food and one was expected to wear a wig had had an opera produced by Felix Kurz; marital status, Haydn replied that he was “ in Spain,” floating on clouds in an to the State. and a chance acquaintance with a fellow plications in rhythm, nuance, tone and ped¬ 5. In what order should the various “schools" eat—which might have been true enough, “for the sake of cleanliness.” No, he would aling, I have a very strong conviction that interminable universe. We need the Pan¬ One of the best evidences of improved fight it out alone. He was now a man. lodger had brought him an excellent situa¬ “Ah, good,” said the Count. “Then we of music be studiedt but unpleasant to have teen known. After the works of the older school are often far theon, the Acropolis, the Taj Mahal, the his church solos, Sepperi accepted a re¬ tion. The fellow lodger was an Italian can talk terms. I never engage a married ward of cakes from an ordinary bourgeois A Rough Apprenticeship writer of verses who lived comfortably in baker. That did not show the proper spirit. HAT FIRST NIGHT after leaving a good room on one of the lower floors. Domestic Tangles Hallowe'en Spirits Co Musical Was it not enough to be singing solos at St. St. Stephen’s, he slept on a bench in Haydn liked him at once. Then he found Stephen’s? More, he had worked his way the open, shivering in his threadbare coat that his new friend was the librettist, Me- YES, HE HAD GROWN a good dis¬ tastasio. He was also tutor to the daughter (A Playlet) into some of the “Singacademies,” where and without a copper in his pockets. But tance away from the boy of St. Ste¬ trained vocalists got refreshments as pay; he got along. He hired himself out to sing, of one Martinez, who served as master of phen's. But the old dreams persisted, and By Esther Stinehart and since then there was no holding him. to play, to teach, to make copies and ar¬ ceremonies to the Apostolic Nuncio at he went back regularly to the house of the He practiced harder than ever, just in rangements, to take part in Vienna’s popu¬ Vienna. When Seiiorita Martinez needed a barber Keller. Morzin had placed no re¬ lar street serenades, to turn his abilities to competent instructor in harpsichord play¬ strictions upon paying calls and the subse¬ Jack-o-Lantern. “Heaps of them, and when order to be invited to those “Academies,” SCENE: An improvised stage of any am getting tired of the same old games.” that on all the other three hundred and anything at all that had to do with music ing, Metastasio secured the post for Haydn. quent pleasures of the imagination. The kind—with a dark, gloomy appear¬ Jack-o-Lantern (entering tippy toe). “A sixty-four days of the year they do not 1 call their names they will appear, jua and then came back in a blissful state with his pockets filled. and brought him in the price of a supper. He had lived comfortably in the Martinez younger Keller girl was beautiful, charm¬ ance. A few illuminated pumpkin- merry evening to you, folks!” even believe we exist.” like that.” Spangler, the choir singer, allowed him to household for three years. Through Meta¬ ing, agreeable—everything Haydn wanted. (While one plays a march, Jatk-o-Un- Reutter thought back, too, to that terrible faces, black cats and witches’ heads may Ghost. “Merry, indeed 1 And who are you, Jack-o-Lantern. “I have an idea! Let’s re¬ share his own poor attic for a whole win¬ stasio, too, he had made the acquaintance Between visits, he kept turning over in his peer from out-of-the-way nooks, if an ex¬ anyway? You don’t belong in our crowd.” tern calls their names and the children moment at Schoenbrunn. The summer pal¬ verse the custom and ask the children to ter through, and the barter Keller often of Niccolo Porpora, who in 1729 had teen mind whether he should risk his situation tra atmospheric touch is desired. Jack-o-Lantern. “I certainly do! What parade around the stage and return to their ace was still under construction when the entertain us this time.” took him home for a meal. There it was the rival of Handel as an operatic im¬ by proposing to her. Finally, he got to the Characters—The Ghost would Hallowe’en be without me? The boys were brought there to sing at the Ghost. “Are you crazy? What could they places.) jolly! Keller had two daughters, and the presario in London. Porpora was in Vienna point where he could no longer do without A Witch children like me best of all. I am Jack-o- Whitsun services. The lads immediately set do?” Jack-o-Lantem. “Now some of the children younger one was a person to dream about. now, giving singing lessons to a protegee A Goblin Lantern.” to climbing the scaffoldings, with consid¬ her. Jack-o-Lantern. “They can make music, will play pieces to please yon, Mn. Young Haydn did just that. Sitting at of the Venetian Ambassador, Correr, and But he had to do without her after all. Jack-o-Lantern Goblin. “You may spend the evening amus¬ erable clatter, and Maria Theresa herself and jolly good music, too.” Witch. Silas Doyle, will jfou l>te his spinet in his cold, damp attic on the he engaged Haydn as accompanist during Fraulein Keller had other plans. The fam¬ Children ing the children, if you wish; but we are had ordered them driven away. As if that Witch. “I used to like music. Do you know latches’ Pranks, by Walters?” Kohlmarkt, ‘he derived his chief warmth the lessons. Over one summer, too, Haydn ily was extremely devout and the comely Costumes: Costumes for these characters not going to join you. Why, I have heard any children?” were not enough, what must Sepperi Haydn (Silas plays) do but mount that very same scaffolding from dwelling on the prospect of all that had been taken along to the Ambassador’s young lady preferred the veil of the convent are not difficult of preparation. They may Jack-o-Lantern. “Jessica Pepper, jvill 5™ the very next day, again in full view of to the veil of a bride. Just when the world be as elaborate as opportunities will allow, now play Witches by Kctterer?” or merely suggestive of the individuals. Maria Theresa? The boy was thrashed, of seemed brightest, Haydn had to see the (Jessica plays) course, at the express command of the girl of his choice turn her back upon it. (The children are seated on the stage as lack-o-Lantem. “Susie Hoogasian. all «* an audience, with those on the program Empress, but the disgrace to Reutter was He was utterly disconsolate. But the good way from Saskatoon. Canada, is ™j*ing among them. Before the curtain rises—or, much worse. barber bade him cheer up. here; and she will play for us The Wile* better still, if it can be done with all lights “The younger one is now gone. But the out except the illuminated property figures Goes Riding, by Rebe.” Pigtails and Punishment elder one is left. Take her instead!” on the stage open the curtain while some¬ (Susie plays) THIS NEWEST business -was serious. Whether he was impelled by shock, in¬ one sings:) Jaek-o-Lantern. “Harry Mason has a Sepperi had gotten hold of a pair of difference, or sheer complaisance, Haydn The Spooky Night .Rohrer favorite, the Witches’ Dance by Lemora: scissors, and the next thing anyone knew actually followed the enterprising Keller’s (Curtain rises. Enter Ghost) and he will play that for us." there was a scream and the boy in the row advice. The elder girl, Anna, was three Ghost. “Well, here it is Hallowe’en again, (Harry plays: after which the IVdfh ahead was without his pigtail. Reutter years Haydn’s senior, and not in the least and all the spirits are set free to wander leaves the stage.) could not have goings-on like that. Had like her sister. Still, the wedding took place on the earth. Things look quite natural Goblin. “Are there any Goblin Pieces. this happened a few years earlier, he might at St. Stephen’s, on November 26, 1760. around here.” Jack-o-Lantem. “Surely, we will tave son* have devised some new penalty and passed Then Haydn was unexpectedly relieved of Witch (Enters, peering about the stage). right away." it over. But Sepperi was seventeen now, breaking the news to Count Morzin. That “A gloomy evening to you, sir. I see you (From here on Jack-o-Lantem will « and his voice was breaking. Had not the gentleman’s finances took a sudden tumble have taken advantage of your opportunity non nee the players, and their pitets. as t Empress herself remarked that he cackled and he was forced to disband his musical to revisit the old haunts.” time for each group comes, with any I*j like a crow? The boy’s usefulness to St. household. So Haydn began his married life Ghost. “Yes, I believe we met here a year appropriate words which may be ”,,r" Stephen’s was done. So Reutter determined with a serious disappointment in his busi¬ ago tonight. But where is our old friend, to suit the occasion.) to get rid of him. ness affairs and an inescapable sense of the Goblin?” JUM 1JSDIA Dance of the Goblins.Anthony He went straight down among the boys “might have teen” in his heart. Goblin (enters with grotesque steps). this picture, secured through the courtesy of Steinumv and The Goblin.Louise Rd* and sought out Sepperi Haydn. The mis¬ II. “Curses and ill tidings attend you, my the concert artist, Helena Morsztyn, while she - -i “,"s ,aken h' Gobi in Procession... Dinglcy-M^^ erable pigtail still lay there on the floor. cronies! All ready for our little annual umy to the concert hall;’ she writes, “to my surprise / "* ,,ul,a- “°"

620 OCTOBER, 1936 THE ETUDE 621 very fresh and unusual to players of Bach’s always built largely upon a simple motif Prelude IV employs canonic imitations be¬ Ex.,9 time It was not customary, for instance, An illustration of Bach’s development of tween two of its voices, the main figure for composers of that day to make great complexity in the construction of the prel consisting of a scalewise group followed use of chromatic melody. However, in ude is shown by study of the Prelude XVi BAND AND ORCHESTRA DEPARTMENT by a skip of an octave and a dotted rhythm. Fugue XII, the theme is based entirely in which he uses four highly contrasting Prelude XIV, which is really a two-part In development it follows the fugal idea. upon a chromatic melody of almost modern figures: (1) a sustained trill; (2) a s(,oi: fugue, in manner of writing; Fugue XV, The weighty mood of Fugue IV is in vio¬ character. The two middle notes of meas¬ arpeggio figure, as in the tenor voice in Conducted Monthly by in which the theme, plus small groups of lent contrast to the rather spiritual atmos¬ ure two may be thought of as being sung measure one; (3) an ornamental figure as embellishing notes, moves upward scale- phere of its Prelude. Here there is used a by another and interpolated voice. in measure two; and (4) a rhythmic figire VICTOR J. GRABEL simple, brief theme of four notes, wise from the keynote, G; Prelude XXP, such as that used sequentially in measures with its successions of sequential repetitions Ex.ll jj. nine and ten. FAMOUS BAND TRAINER AND CONDUCTOR of a four-note motif; Prelude XXII, and Ex.8 Of the twenty-four preludes and fugues many others, illustrate Bach’s remarkable which make up Book I, twelve of each are gift of constructing magnificent works al¬ The answer is tonal. The countersubject in the minor; and of these, all of the prel- i most wholly from very simple motifs. is characterized by an expressive sixteenth- udes, and all but one of the fugues (No. tk. This last mentioned, Prelude XXII, is which has been made more familiar through note figure, which appears after each alter¬ 18) close in the major, even though it its later use, with occasional slight modifi¬ built almost entirely upon this small motif nate note of the theme. may be that the resolution to major is Richard Wagner s Nibelungen Ring cation, by Cesar Franck in his “Symphony (frequently used in contrary motion and in inversion), with its oft-repeated upper This use of a polyphonic subject, as affected only in the final chord, it being in D minor”; by Franz Liszt, in his sym¬ suggested by the theme just mentioned, is the feeling of the early masters that only PART II phonic poem “Les Preludes”; by Beethoven seen again in Fugue XXIV. Here the a major chord provided a permanent and in several compositions, including a quartet; Ex. 10 theme may be thought of as the utterance conclusive ending to a composition. Such Brunnhilde is greatly saddened when told and by Wagner, in “The Ring.” Fugue IV fall under a spell. He warns her that he often beset by foes. Finally he was sepa¬ of two people, as suggested by the upward use of a major ending is known as Tierce WOTAN’S ENJOYMENT of Wal- rated from his father whom he had seen of his promise to Fricka, for she knows employs three countersubjects. brings misfortune wherever he goes and and downward pointing stems: de Picardie. halla, gained at such great cost, how much Wotan loves Siegmund. He Prelude VIII follows the order of fugue prepares to depart, so that he may bring no more. (At this point the composer in¬ The most detailed study should be given was destined to be rudely inter¬ proceeds to relate to her the story of the tonalities, and displays a continually de¬ Reimann, in his Handbuch, says of this no ill to her. She implores him to remain. troduces the Walhalla theme to indicate to any Bach music which is to be played; rupted and finally terminated through the Rhincgold and his plan for assuring the veloping melody of rhapsodic character. prelude that “the rising thirds of the prin¬ Then bide thee here! the divinity of the father.) no slightest item as to thematic material curse which Alberich had placed upon the On the preceding day Siegmund had restoration to the Rhinedaughters—that if Attention may be called to the elements of cipal motif, with the following tone-repe¬ ring. The gods were dismayed by the bru¬ Ill-fate thou const not bring, suspense and to the recitative style of or the contrapuntal devices used to exploit given heed to the plea of a maid who was Siegmund be slain all hope is lost. In tition and expressive and tender ending, tal death of the giant Fasolt, just after he Where ill-fate has made its home! cadence extension created by Bach from it should be overlooked. Such patient care to be forced to wed one whom she hated. despair he bids farewell to the glory of the appear like an inward prayer, indeed, like had possessed himself of the ring. In conse¬ During this intercourse the composer has measure twenty-eight through to the be¬ Although the prelude in its earlier form will be rewarded in the pupil’s added In deadly battle with her ruthless kinsmen, gods. As he rushes away in rage and lifted hands.” This expressive mood is quence, Wotan descends first to earth to aptly developed the action musically by first ginning of thirty-six. and in an earlier time—when it was often clarity, accuracy and finesse of perform¬ his shield and spear were broken and, despair, the two Wiilsungs enter into flight. heightened by a constant use of pedal point consult with Erda, all-wise woman. He is joining the motive of Compassion to that Fugue IX, with a theme so clearly sug¬ called fantasia, or toccata—usually required ance, and in his increased perception and wounded and weaponless, he was forced to In the distance is heard Hunding’s horn in other voices. informed that only by securing the ring of Siegmund. gestive of a Gregorian Chorale; Prelude a brilliant performance, and displayed the appreciation of the wealth o( expressive flee. As he concludes his narrative the or¬ summoning his kinsmen to do battle with Certain of the “Preludes and Fugues” and returning it to the Rhinedaughters can XII, with its five-note melody; feature materials which must have appeared technical skill of the player, it was almost beauty contained within the music. chestra intones the motive of the Heroism him. the curse be removed. of the Walsungs. Briinnhilde, leading her horse, Granc, He learns that the giant Fafner has as¬ now appears. She announces to Siegmund sumed the shape of a huge serpentine that he must prepare for death. She tells of dragon and now zealously guards the Ni- the alluring pleasures of Walhalla, where belung treasure in a cave hidden in a dense he will be taken, and how welcome he will An Interesting Bit of American Musical History forest. Wotan conceives a plan whereby a be there. Since Sieglinde may not accom¬ human hero, entirely free from a lust for pany him, he declares he will stand and power, may, with a sword which he will meet Hunding. He is told that his sword forge for him, slay the dragon, secure pos¬ will be shivered by command of Wotan. O DR. CHARLES N. BOYD of cal performance. They are not going to sufficient to meet every year and listen to session of the treasure, and restore it to T Hereupon, Hunding violently declares When he draws his sword to pierce the Pittsburgh, former President of the travel a thousand miles or more to hear a ing are still prominent in the Association essays and music. We would like to see the rightful guardians. Wotan assumes hu¬ Siegmund to be an enemy—that he may heart of Sieglinde so that she may not fall Music Teachers’ National Associa¬ concert company performance. The meet¬ Among them I recall W. H. Dana, N. Coi more positive movements undertaken. We man guise, weds a woman to whom is born remain through the night but on the mor¬ prey to the implacable Hunding, Briinn¬ tion, has been assigned the task of making ings of late years have been given over too Stewart, H. S. Perkins, Dr. George F have, for the past year, thought over a plan the twin W'dlsungs, Siegmund and Sieg- row he must engage with himself in deadly hilde cries out that she will give him the a history of this sixty year old organiza¬ much to elaborate musical performances, Root, George W. Chadwick, Luther Whit for the care of aged members of the pro¬ linde. The mother and twins are not aware The motive of Compassion si battle. As Sieglinde prepares Hunding’s victory. tion; and he has been soliciting information which were often designed for mere local ing Mason, F. B. Rice, C. B. Cady, am of the divinity of the father—he is known fession. There arc many worthy and re¬ itself into the motive of Love. night-draught she puts in it a sleeping po¬ Siegmund rushes to meet his enemy. from all available sources. A former mem¬ notoriety. The performance of works by others. The whole affair was pronounced ; to them merely as Wdlse (The Wolf). spectable musicians who are left destitute in tion ; then, as she leaves the hall she glances Briinnhilde protectively hovers over him; ber of the Association, Mr. John Prichard, native composers was a laudable effort at success. A permanent organization wai That the Walsungs may develop the neces¬ Ex. 3 old age. Many such cases come under my first at Siegmund and then significantly at but, as he aims a deadly at Hunding. now much over eighty, sent Dr. Boyd the our meetings, but now we have manuscript effected, and a pamphlet containing thi sary qualities of courage and heroism , he observation, where teachers have spent from the weapon imbedded in the great tree. At Wotan suddenly appears and interposes his following extract from a report made by societies flourishing in many large cities, essays and proceedings of the meeting wa: has subjected them to all manner of hard¬ fifteen to twenty-five years in colleges, until her glance the brasses of the orchestra spear. Siegmund’s sword is shattered and the late Theodore Presser (who was the which give every chance to native talent be¬ published. ships and misfortunes. the teaching faculties have begun to wane, As the enchantment grows we hear for sound the Sword motive. Hunding retires Hunding pierces his heart. With a glance first Secretary of the Association, in 1876) ing heard. We most emphatically declare “It proved a success because it wa: Wotan, as a further precaution to assure and then they have been sent adrift in the the first time the noble motive of the heroic to his chamber and bolts the door. of angry contempt, Wotan strikes Hunding at an annual meeting held in Chicago, July musical performances at our annual meet¬ founded on unselfish principles, for th< that Walhalla may withstand any attack world with no hope of ever establishing Walsungs, sung by the violoncellos and The fire on the hearth gradually dies dead. Briinnhilde hastens to Sieglinde, who 4, 1893. ings are entirely foreign to the design of musical profession, by the musical profes¬ from Alberich and his host of N'.belungs, themselves, with poverty staring them in basses. down. Soon Sieglinde reenters, and tells has fallen, lifts her upon her steed and Mr. Presser wrote: such an organization. When the ministers sion, and of the musical profession its airr has delegated to the Valkyries (who course the face. If there were a home for super¬ Siegmund how, on the day when she was hastens from the scene. “The pleasant duty has been assigned to meet annually they are not treated to ser¬ and motto being the broadening of musical through the air on superb chargers) the annuated musicians, many would, when compelled to wed the repellent Hunding, a The third act opens with the famous me of giving an account of the first meeting mons. They have enough of that all the culture and the cultivation of fraternal feel¬ duty of bearing to Walhalla the bodies of they are still in their prime, see that they stranger entered the hut and, by a mighty . First is heard the of the Music Teachers’ National Associa¬ year round. The surgeons do not dissect ing. The very first essay in the printed re¬ all heroes slain in battle. There they are to are provided for in old age. and perhaps blow, imbedded his sword in the tree trunk noisy neighing of the horses. tion, which was held at Delaware, Ohio, bodies. Trade unions do not display their port of 1876 is on ‘Intellectuality among be revived and in readiness to defend the give some other one the benefit in the and proclaimed that only he who could in 1876. The Association is a product of the skill at their meetings. Why should the Musicians,’ by Fred. W. Root. castle against its enemies. The nine Val¬ times; the time had come in the growth meantime. draw it forth might win the weapon. As musicians? On this rock the predecessor of “There are good and important reasons kyries are daughters of Wotan and Erda. of music in America that made organization “The idea is not a new one. Almost every they declare their love, the outer door the present national body was wrecked. It for the existence of the Music Teachers' Briinnhilde is the favorite of Wotan. She is an urgent necessity. Prior to 1876 there profession and calling has one, that is, a swings open. The winter storm has passed;' should be a warning to us in conducting National Association. This is clearly shown the noblest of Wagner’s creations, for she At this point Handing, master of the was an organization formed in Boston, home. This' would be a noble work for our spring has come and soft moonlight per¬ affairs of our present organization. by the numerous State organizations that it is who takes upon herself the sins of dwelling, returns from the chase and enters, which was the outcome of the ‘Peace Association to undertake I have an idea vades the scene. In ecstasy Siegmund sings “The special history of the first meeting enjoy a flourishing existence, and lately both the gods and the Nibejmgs and, by her fully armed with shield and spear. We then Jubilees’ of ’69 and ’72. It ceased to exist that if the movement is rightly managed his Love Song. of the M. T. N. A., in 1876, is of impor¬ city teachers’ organizations have sprung up, final expiation, frees the world from the hear the Handing motive, filled with fore¬ about the time the present organization was there would be liberal responses from ah tance, as on it depended the existence of the all carrying out the work for which the curse of lust for power and wealth. formed. The following quotation from a sources. Many in the music trade might be boding, given out by the lower brasses. future organization. The idea of an asso¬ M. T. N. A. was founded. The music The opening scene, of “Die Walkure” letter of the President, Dr. Tourjee, shows induced to give annual support. The state ciation was entertained by the writer over teacher, above any other class, needs the shows the interior of a large hut built Soon there follows the figure represent¬ that attempts to continue have failed. He associations would all assist, and the orches¬ a year before the movement was made stimulating influence which comes from around a great ash tree, whose branches ing the galloping of the horses. says: ‘I might add that all the conventions public. A great many letters were written tral musicians, we know, would join the Winter storms have loaned in the moon mmd in contact with mind. His vocation pierce the roof. There is visible the hilt of Ex.9 we have attempted here have been failures, to feel the pulse of the profession. It re¬ movement.” of May, is isolated and does not bring him in con¬ a sword extending from the tree trunk. A and upon my return to the city in the fall, quired six months of constant work to This was Mr. Presser’s official presen¬ With tender radiance sparkles the tact with his colleagues. His life is spent furious gale is howling outside—the cabin the matter of another during the holidays create any sort of interest The committee tation of the idea of a Home for Retired spring. m giving out knowledge to those who often seems deserted. As the storm gradually was discussed, but all of our teachers felt on arrangements was composed of C. C. Music Teachers. He was greatly disap¬ Sieglinde declares that she now knows give little or no inspiration to him. His subsides the outer door is opened and an it would be too risky. The executive com¬ Case, G. M. Cole, J. J. Jackson, James pointed that the teachers of that day did who it was who left the sword, that it was This gains in momentum until the Val¬ resources are constantly being drained in unarmed warrior, exhausted and in dis¬ mittee of the Musical Congress has also McGranahan, and the writer, as secretary. not organize to provide a home for them¬ intended for Siegmund to enable him to kyrie motive is introduced. the discharge of his daily duties. How many array, enters. He sinks upon a pile of furs discussed from time to time the propriety We received the cordial support of the en¬ selves. and later (1907) he opened such a overcome Hunding. As the orchestra loudly have been able to rise superior to their dull in front of the hearth and falls asleep. The of resuming the meeting, but felt that the tire musical press which, at that time, was home in Philadelphia, which resulted Jn proclaims the Sword motive, Siegmund surroundings and not become humdrum, mistress of the dwelling, Sieglinde, enters times would hardly warrant it. I mention not very powerful, but was of great assist¬ the present Presser Home for Retired leaps upon a table, grasps the hilt and tri¬ everyday plodders. Every teacher has felt from another room. She is surprised to see this simply that you may not run too much ance, particularly the ‘Musical World’ Music Teachers, in Germantown. Penn¬ umphantly draws forth the weapon. He now i .yiiHJiiTPr ri|gg| the occasional depressing influence that a stranger there; but, recognizing his con¬ risk yourself and incur heavy expense.’ which was then edited by the lamented sylvania, which is a corporation supported claims Sieglinde as his bride and they rush attends his profession and has longed to dition, her sympathies are immediately These contrasting themes immediately “This is the last we have heard of the Karl Merz. He took a deep interest in through the Presser Foundation. forth into the forest. meet his fellow teachers, where common aroused. Here is heard the Motif of Com¬ express the difference between the two men National Musical Congress. It was organ¬ everything relating to the meeting. We de¬ In 1879 the President of the Association The next scene shows a wild rocky trials could be talked over, which would passion. —Siegmund, resigned but dignified and ized not alone for the benefit of the pro¬ pended greatly on private effort. Letters was Mr. Rudolf de Roode, who in his re¬ mountain. Wotan commands Briinnhilde to awaken mutual sympathy; where questions Ex.l heroic; Handing, brutal and domineering. fession of music, but also for festival were written to every prominent teacher port of the meeting for that year said: “In Hunding questions Siegmund as to his shield Walsung in the battle with Hunding. purposes. The two have little relation to throughout the land. While we received Wher"!to. Nation could be discussed: conclusion, I hope it will never be for¬ name. In response Siegmund tells how he Fricka here enters and chides Wotan for The Valkyries ride through storm clouds, one another. If there is one thing more where the dangers that threaten the profes¬ many rebuffs and were ridiculed time and gotten that the man who originated the and his father, a mighty warrior and hunter, his faithlessness and insists that, since their wild laughter mingles with the crash than another that has been an element of sion would be exposed. The M T N A again, the profession in general seemed to idea of a National Association, and through often roamed and hunted together, and that, Siegmund has violated the marriage vow, of thunder, as they bear slain heroes to weakness in our Association, it is the festi¬ welcome the movement. We succeeded in was founded for just this purpose and'has whose influence, indirectly, every State Her nearness, as she bends above him, when returning one day from the chase, Hunding must be given the victory. Wotan Walhalla on the mountain height. Their val feature. It seems reasonable that you bringing together sixty-two members and k “WW Cl°Se y thlS line until this day organization owes its existence, is Theodore arouses him and he cries out for water. they found their home burned, his mother protests but finally is compelled to promise barbaric cry of joy sounds above the tu¬ cannot bring together the teachers from the thirteen honorary members, representing ,, at nefd at present to maintain Presser, of Philadelphia. All music teachers withdrawal of protection from the Wdl- mult. the sympathy and support of the great body Sieglinde ministers to him. They are imme¬ slain, and his twin sister missing- There¬ different States by treating them to a musi¬ seven different states. owe him a lasting debt of gratitude for (Continued on Page 657) of music teachers is more work It is not diately attracted to each other and seem to after, they lived in the wild woodlands, what he has accomplished.” 622 OCTOBER, 1936 623 THE ETUDE COURSE MUSIC EXTENSION STUDY Analysis of Piano Musk A Monthly Etude Feature The Teachers’ Round Table appearing in of practical value, For Piano Teachers and Students the Music Section Conducted Monthly by by an eminent of this Issue GUY MAIER Specialist By Dr. John Thompson NOTED PIANIST AND MUSIC EDUCATOR

sedate. Phrase as marked, being careful to THE ORIOLE’S LULLABY THE BUGLERS Pedal this music strictly as marked, so preserve a good legato. Pay special atten¬ By Edward Ellsworth Hipsher By Cedric Lemont that the melody tones persist and sing finger control, is often met with in lads of a sound sleep, in the middle of the night, in detail to show that it is possible for parent-teachers to give instrumental les¬ through the broken chords. A point to tion to the moving voices of the inner parts, Here is a simple and interesting little Helping “Little Sister” of his age. The delicate, highly sensitized and play any of them perfectly at the first It is a fact not always recognized at a counterpoint to the composition from the pen of a man who has sons to their children, and at the same remember is that there should be real con¬ when they appear * * muscular coordinations suffer, frequently “try”! glance that all bugle calls are built on the time to open out a wide musical vista be¬ trast in tonal quality between the theme theme. spent a lifetime of energy to further the even going “hay wire” for several years, Such short, independence exercises not broken triad and Mr. Lemont makes very „„„„ a year and a half. Her fore them. You are not confining your girls and accompaniment. cause of music in America. Were it not for first teacher started her with Wil¬ at this time. It is only one of the mani¬ only will interest your boy (and the rest free use of this figure throughout the first liams’ “Very First Grade Piano narrowly to one instrument. They are The second section presents passages in ENTRANCE TO THE FOREST the watch of sentinels like Mr. Hipsher, festations of the awkward age. of your students, too) but also will, I am composition to be offered by The Etude Book,” followed by the "First Grade studying piano, violin, and singing too; and in this October number. sixths for the right hand. The tempo here By Robert Schumann music would not enjoy the progress it is Book” ; along with this she had the I certainly would not call this lack of sure, greatly improve his technic. is somewhat faster, and the two-note slurs In this composition, as in all Schumann making in this country. He is one of ,he “Sight Beading Book” and a number strength, but just the opposite! I am sure besides, by sharing these talents at home, The bugle calls, in triplets, should be of selections from Tub Etude. She at the churches, schools, dubs and con¬ rolled rather than fingered and tossed off must be observed strictly. music, phrasing and voicing are of utmost "ch >*«!* company of men whose thor- got along fine, showed unusual inter¬ that you have been very careful in training Rewards After the pause in the second ending, the importance. In the two-measure Introduc- ough understanding of music and musical est and always had her assignment the boy; and I am glad to know that you ventions, they are living a full, happy life. sharply at the end of the slur sign. The memorized before the next lesson. May I take a few minutes of your You are giving them ample chance to ex¬ first theme reappears—D.C.—and the piece tion, for example, phrase the right hand conditions has been of inestimable value to Her teacher moved last fail: anti in¬ have used the books by Scionti, whose piece should be adequately accented through¬ time to tell you how much I enjoy press themselves; and, as a result, they ends at Fine. precisely as indicated, that is, first a de- the music teacher and student, stead of starting the child technic I admire very much. But from what and appreciate your pages in Tiib out and played with military precision. will mature into exceptionally fine, well- tached chord (played on an up-arm stroke) After a short Introduction the Lullaby you say I feel that you have probably over ETunE, especially one article in the In the second section—beginning with March number? I rejoice to see you adjusted women, artistic leaders in their PELICANS’ PROMENADE followed by a two-note slur. All this takes Proper begins in the left liand-a very sus. could play the first emphasized pianistic facility, and have not uphold prizes—bribes—or "what measure 12—the pedal may be used, only Etude). I started h communities. All honor to you and other By William Baines place within the compass of the left hand tamed melody against accompanying chords devoted enough attention to helping the have you." I have always heard this however where indicated, as otherwise the rather denounced; but, regardless, intelligent parent-teachers like you! effect of staccato is lost. Children of the twentieth century have slur between a dotted quarter note followed which achieve a rocking swing by falling as boy control his fingers. There is a great I started it about a year ago when teaching my two daughters (now The third section is in the subdominant adopted the Pelican as a sort of official by an eighth. thcy do on the 3rd alld 6,h counts of the difference as you know, between facility- eleven and thirteen) in both violin key, B-fiat major, and somewhat more quiet clown, and little likenesses of the pompous The melody begins with measure three measure. Play these chords with an up-arm playing rapidly and glibly—and technic, and piano. I gave them a small sum at the end of the month for seventy- Silent Musical Enjoyment in mood. Make the most of dynamic aquatic creature in his ludicrous formal and lies in the soprano voice. Beginning motion, in order to preserve the rhythmical which implies producing the required effect K the Pool c five percent of marks gained during I hnve been rending about train- changes throughout, as indicated; preserve dress of black and white are to be found with measure nine, there is an interesting effect which is the composers intent. Play whenever you want it. The former consists their lessons, which I give them self to enjoy a printed^ page do not plav myself, but can re s much away from good March rhythm; and let the distinc¬ on every toy counter and in many pic¬ rhythmical figure, a broken chord passage l'u' hand With the best singing tone at music and with a little work wm in “getting over the notes,” while the latter once a week ; that is, a piano and be able to piny. What I wondered violin lesson each, per week. This one would if it tion between staccato and legato be at all ture books. Therefore Mr. Pelican needs divided between the hands, which must be command. . . this: would she get as much (a is synonymous with instantaneous control. made them practice rather more played. In fac_ _ — times sharp and clear. no introduction to the present day young¬ played with absolute clarity, giving proper be second section, in G major, employs perhaps more) by our working t The best way to go about securing this carefully. Three years ago, when in¬ should study a piece in ■ music out together, witli the oo terest flagged. 1 asked permission piano first and afterwar ster. Mr. Baines has managed to suggest value to the thematic material as shown legato thirds in the right hand and is taken sional help of a musical friend? control is by practicing short, simple finger for them to play the violin at a club the clumsy motion or walk of the Pelican, in the upper voices of each hand. at slightly faster tempo. Establish and least she would feel she is helping 1 or scale groups alternately, very slowly and meeting; and^since then it is not I Mr. Iturbi's article on “Honesty in AMERICAN INDIAN RHAPSODY sister to play as well as she ca Piano Study” so stressed the study By Preston Ware Orem in the rhythm of his Introduction to Peli¬ It has been often said that bar lines are preserve throughout the drowsy atmosphere and then. too. there would he t very fast, with a few seconds of pause be¬ but° others who have request?/their of solfege that I thought that cans’ Promenade. The best effect will be feeling of doing things toeoth tween each to give time to think through might be what I have been looking This composition has rather an interest¬ the most misleading characters in music, a lullaby, .. affairs. The fact of for. I, therefore, purchased a copy obtained if the piece is played strictly as Perhaps yon can suggest a the exercise. If such mind control exercises ing history. The Indian themes upon since they cause a break to occur to the study for us to use.—E. A. H„ Ohio. getting out of school about half an of solf&ge (the only one the store written, that is, with sustained left hand are worked out properly, there should be hour early, going to clubs for grown¬ seemed to have). This hook, however, which it is built were collected first hand eye when none is intended for the ear. Cer¬ ups. arriving mostly after the dull is useless for me as it contains no against the detached chords in the right. SOARING much more silence than sound to one’s by that authority upon Indian lore and tainly Schumann must have felt this way If only there were more big sisters like business part Is over and always instructions or directions for its Use the pedal in the first section exactly By Walter Rolfe practice, and consequently no senseless "getting in on the eats,” as they so study. I shall appreciate any guid¬ music, Thurlow Lieurance, who is at about it, as he shows in this, as in many you in the world! That is a capital plan as indicated. Establish a pompous air with Rhythmical swing appears to be the domi¬ repetition. graphically describe it, seems to give ance you can give me in the way to present dean of Music .at the University of of his works, an utter disregard for the you have—to study along with your them quite a stimulus to practice. approach this subject.—W. H., New a touch of the ludicrous. nant note in the offerings of The Etude When I say very slow and very fast. I (I also have some of my outside Wichita, Kansas. The collection of authen¬ bar line, and lets his phrases flow along younger sister. Not only will you enjoy The second section is more resolute in this month. Nearly every title suggests mean just that! No halfway tempi should pupils play, which helps their prog- tic Indian themes has been for many years rhythmically as though the bar line did the lessons and learn so much yourself, character, the accents more pronounced and something definite and characteristic in the be tolerated. The slow practice is for im¬ If we in America attach too little im¬ an engrossing pursuit of this musician. Mr. not exist. but the spark of your own enthusiasm will, the general volume of tone shows a de¬ matter of rhythm and, since rhythm is un¬ pressing on mind and muscles the correct portance to the study of solfege (sight Orem has collated these themes and clev¬ Do not fail to add this lovely bit of . l. ,, .. ■ , I am sure, relight the fire of your sister’s cided increase. inspiration, keeping it brightly burning for movements (timing, aiming, and so on), play out) and the daily grind be¬ singing), the Europeans, especially those erly woven them together to form a Schumann to the list for piano repertoire, t ^ . iTV • , Here, perhaps, is the very novelty for and the fast is to coordinate all these into came rather dull, I promised them trained in the French tradition, make too Rhapsody which has been long a favorite * be more than content with the editor s selec¬ a long time to come. (You see, your idea tills year one cent for each of the which you have been looking for a recital one single, swift impulse. No one has ever much of a fetish of it. Nothing in music piece with bands and orchestras. The pres¬ tion of material for our fall issue. has set even me off on flowery flights of following they could play : note—fin¬ program. learned speed or control by beginning an ger—expression—and bowing—per¬ is so important that it can be said to out¬ ent version, for piano, lies comfortably Soaring, from the facile and familiar pen fancy 1) fect ; scale, arpeggio: finger exercise, exercise or scale slowly, gradually going a weigh all the other branches; so, for me at under the hands, and the work offers a of Walter Rolfe, is another example of Be sure that you get the best possible bowing exercise (Sevcik on violin MANUELA little faster with each repetition until the and Rischer for fingers on the pi¬ least, counterpoint, ear training, keyboard distinct novelty in the repertoire of this To a pianist playing the music of Haydn rhythmical treatment and in performance teacher you can find, for you cannot tackle ano) ; old piece (by heart) and By Emil Liebling there is an exhiliration in gliding up and desired tempo is reached. That is a stupid harmony, and so on, are no more indis¬ instrument. The composition is very well should suggest a flight through the ai this job alone. Make a proposition that he Bach. I was certainly surprised at down the keyboard, aside from the beauty procedure, deadening mind, muscles and the first lesson: minor scales in pensable than solfege. And unless this is edited and offers no difficulty in the matter Nuance, delicacy of touch and a crack¬ In playing the passages in 16ths, use teach you both for a single fee, just to help thirds, sixths and tenths, similar ling staccato are requisites for this little of the music which results. One receives enough rolling motion to attain a “swing¬ in the working out of such an interesting and contrary, all well done. I felt al¬ begun very early in life, at five or six, and of interpretation. Technically, of course, it most ashamed to give a penny for studied constantly for a period of many will require practice commensurate with Air de Ballet. There must be attained a the same sort of physical thrill as results ing” effect and just enough finger action experiment. If you make him realize that Try this exercise: so much work on one scale, but the years, I doubt very much if it will help the degree of ability possessed by the indi¬ feeling of great elasticity against a back¬ from skating or dancing. Haydn’s passages to insure clarity. Add color by following your supervision of your sister’s work will girls seemed to think that as that anyone to “hear” the printed page; vidual performer. Syncopation is in effect ground of sharply defined and well pre¬ are always entirely pianistic; and after a the marks of dynamics closely, thus avoid¬ make his job easier, you will probably get fair and square. The younger brought I feel, too, that those music schools and throughout, and, in this connection, it is served rhythm. The opening figure in the practice period devoted to this master's ing a possible “exercise" effect in passage a substantial reduction in the lesson fees. a Bach piece well done, by heart (“First Study of Each” by M. conservatories which make solfege com¬ well to remember that the note of syncopa¬ right hand suggests dancing feet. Make music one emerges with the sensation of playing. Better leave the choice of materials to (PP)T Leefson). She has been learning the pulsory for their serious adult students are tion is always accented, whether or not it the most of the occasional sostenuto notes having taken a bath, as it were, in pianism. the teacher, for he knows best. Off-hand I piano for thirteen months: violin, unwise, unless the students have already is so marked. which occur in the first section. In this Adagio from the “Sonata in E- would suggest: John Thompson’s “First If you can play this lightly and easily, though, for nearly four years. This A HAMMOCK SONG penny bait seemed to do wonders The second section, in B-flat major, con¬ flat major” for piano, digital skill is re¬ Studies in Style,” or John Williams’ very fast and very clearly the first time you and though I am quite strict and had a good foundation in it during child- tinues in happy carefree mood and, here quired to perform the many ornamental By Ella Kettf.rer “Second Year at the Piano,” or, if you try it, then you have already made a good allow for no slips, they earn quite IMPROMPTU a sum and it seems to have accom¬ By Howard Hanson again staccato and legato notes alternate in passages in a manner which will not de¬ This little tune for First Graders, want something more difficult, John beginning in finger technic. In testing your¬ plished at least one important thing You would, of course, benefit by some playful manner. Later, ornaments, in broken tract from the dignity and solemnity of the w'tb nothing faster than a quarter Thompson’s “Keyboard Attacks.” self you must not start slowly or only —they at last practice in the way work in solfege; but I am sure that you Impromptu is an unusual and interest¬ chord form, make their appearance (the slow, stately movement. It covers a wide p*ay- The piece remains in the five-finger I call brain practice and not just a cannot study it properly without the help ing composition by Dr. Howard Hanson, moderately fast, but from the first note to mechanical rushing through of work. groups in 32nd notes). Play these very They have raised ^their monthly aver- of an experienced teacher. who directs the Eastman School of Music, range of dynamics and assumes a degree of Position throughout. The right hand plays Lack of Finger Strength the last it must be played presto; no jerks, lightly with shallow touch and in a manner no unevenness, no irregularity or stumbling. As to learning a piece away from the and who has achieved an enviable repu¬ musicianship on the part of the performer. tbe melody—which should be as sustained jokingly threatened to raise the re¬ that will not detract from the importance of I have a talented pupil thirteen quirement to eighty-five percent. piano first, that is a foolish waste of time tation in the field of composition. Dr. The edition presented has been most pains- as Possible—and the left hand has a simple years of age, a boy who is now be¬ Can you do it? If not, do not repeat it, but the melody line. ginning his sixth year of piano after resting a few seconds try it again. They enjoy music. The elder has and effort. A pianists’ memory is a com¬ Hanson has contributed to the musical takingly edited and foot-notes are appended broken chord accompaniment, study, no is very intelligent, has a snng a few solos in church, and the Mr. Liebling’s entire composition lies to clarify doubtful points. Therefore follow splendid ear for music, reads remark¬ This time play it very slowly with loose, younger is only five chairs behind bination of related and coordinated mental literature a number of fine works in the comfortably under the hands and is most ably well and lias a good sense of her sister in Violin A of the ad¬ and physical impressions, which are more the score faithfully and confidently, and flipping fingers and relaxed arm; then after vanced orchestra ; playing mostly larger forms for Orchestra, his grand pianistic in every respect. HILLS AND VALLEYS rhythm, but is quite lacking in tech¬ surely learned at the instrument than away opera, “Merry Mount,” was produced by authentic interpretation will follow. nic, and inclined to rush his play- another pause, play it once again very fast. with children of thirteen and four¬ By Clara Ellfeldt Kantzler teen years of age. She is eleven. from it. The time to study a piece away the Metropolitan Opera Company, and he Do not dare to repeat it fast, if you cannot Remembering how I hated to prac¬ VALSE COQUETTE The composer of this little number pre¬ He can play all the major and from the piano is after it has been thor¬ has developed an individual style of writing MARCH OF THE FAIRY minor scales, chords and arpeggios. play it perfectly the first time 1 Instead, tice either piano or violin as a child. I By Stanford King sents an interesting play of triplet figures, He has done all the exercises of the felt they needed some kind of a stim¬ oughly memorized. Then you must go over which is decidedly characteristic. GUARDSMEN you must break it up into still smaller note ulant just for the practice, nnd I , This waltz, in coquettish mood, is a in which the hands divide, cross and inter¬ "icionti Technic,” which gives it mentally, time and again, hearing the Impromptu offers an interesting study in By Ada May Piaget ills in fi groups like these am glad to know of someone of note composition in which style in performance w. u , . „ lockl0CK at times. Of course it must be played who believes in monetary praise. pitch and length of every note in your meter, wandering as it does among five- Ex.2 (Mrs.) L. R. C., Michigan. plays a leading part. One’s first thought mind’s ear, and feeling every note played four, four-four, six-four and three-four Hoy, l.,m »m,t0iny,rS "hilh..,c,n: aiu* evenly, .nd «ith negleceglect_ technic practic_ Left hand should be to preserve the melody line- I have studied this situation from slowlyl very fast with the proper finger on an imaginary key¬ rhythms. The factor of time, however, will There was not nearly so much sad shak¬ in the soprano voice—by giving to the •>" «■« broken chord,, every angle and have concluded tl board. So far as I know, this is the best not be unduly complicated, if the performer his deficiency must be due to a la ing of heads over that money reward an¬ melody tones enough resonance so that which, by the bye, depict fairy trumpets way to memorize piano music. makes a point of giving the same value to sounding the alarm. umpeis swer as I expected. As a result, I am all the time they sing through the inter¬ the quarter note, in each measure. ind well built. He has a good hand hoping that, with better times at hand, vening accompaniment chords. The little five-finger groups in 16th in parents will give their offspring more and The opening section is in the key of measures 8, 16, 20, and 24, should be rolled STAR SAPPHIRES more such financial benefits. "Thirty-five years ago one had to apolo¬ B-flat major, the second is in D minor, the By Victor Renton and note that^M^accent ^art^ aCCen‘s’ "Education that envisages merely Mr For you, that well-worn old adage will gise for being a musician, and ivas regarded relative minor of the principal key. The trio have to be slightly changed to “penny wise, as not quite right in the head, but now, in Victor Renton’s composition, Star Sap¬ section, in E-flat major—subdominant to wedge-shaped variety which indieaf .*** hra"' “ 17 toftiMl thing. To be complete. phires, presents a study in melody playing emphasis. ^ * ind,Cate SPecial *» fulfill its true purpose, it must equally but pound wise, too!" You not only are the Common Rooms of Oxford and Cam¬ ?eu,PrjnuCipal ke>_—°Pe,ls with a melody until you can control each figure by itself, stimulating your daughters’ interest to-day, bridge, I do not have to make the slightest intertwined with broken chord accompani- doubled between the soprano and tenor. The Play the lost four measures verv **'- envisage ,he character. It must foster taste 5 very softly, and seek tn minister to that subtle, unde- The problem of the boy with large and in combination with the others, at any but you also are planning an active, vital, apology for being what I am." mood of the trio section is somewhat more to suggest an echo effect. Preserve six-eight swing” throughout. 1 finable and comprehensive thing which tee hand span and good octaves, but with little time. You ought to be able to get up out musical future for them. I quote your letter —Professor Percy Buck. 624 call the soul.”—Otto Kahn. OCTOBER, 1936 625 THE ETUDE FASCINATING PIECES FOR THE MUSICAL HOME A Great Poet as a Music Critic Grade 3. THE BUGLERS Tempo di marcia M.M.J=138 CEDRIC W. LEMONT, Op.65

Heinrich Heines Relation to the Great Masters of Music

By Tod Buchanan Galloway

until I twist myself like a worm with N THAT MOST INTERESTING poetry; so he became the founder of a new Rossini, Berloiz, Liszt and Chopin. I He had made an arrangement with hts unspeakable pangs, and cry out in school of poetry, not only for Germany but book, “That Man Heine” by Rabbi anguish of soul, ‘Help, help!' After Browne, there is nothings finer or more also for the whole world. He was not only friend, Baron Colta, to furnish the Allge- zvhich the accursed song never quits me dramatic than his closing words in which a lyrical uuetpoet butuul disualso a poetjjuct ofui themv sea, meine —Zeitung -.c/ with regular— letters ,from n all day. My most pleasant moments are he graphically depicts the agonizing death writer of ballads and romance and the Paris. These at first were almost wholly embittered—even as / sit at midday at scene of the unfortunate writer. He says; poet of liberty. Had he not been preeminent articles. Heine had no real knowledge dinner, the singer Hcinsius trolls it out “Frightful convulsions set in', and his thin as a lyric poet, his ballads and romances of art, but such was his versatility—he was white face was distorted with the agony alone, like Die beiden Grenadicre and Die a born journalist—that he could make any at dessert. The zvhole afternoon I am of the last moment. Then the rigidity passed WallfaKrt nach Kevlaar, would have made subject entertaining and amusing. These strangled zvith Veilchen blauer Seide. and his face became calm once more. his name famous. No other German poet, articles were afterwards gathered and pub- There the Jungfrau Kranz is played off The fires died down in his eyes; the blood¬ with the exception of Goethe, ever made lished s “The Salon,” and it is in them on the organ by a cripple. Here it is less lips no longer curled. The smile of his verse so completely the verbal embodi- that- find most of his criticisms on music fiddled off by a blind man. In the Mephisto was gone and only the sweet ment of music. and musicians. Stephen Heller, the com¬ evening the whole horror is let loose. benignity of the Nazarene suffused the face George Brandes characterized him as poser, wrote, “Heine understood nothing Then is there a piping, a howling, a of the poet. For at last Heinrich Heine was “the thistle in the garden of literature.” about music, theoretically or practically: falsetloing, a gurgling, and always the at rest. ‘Olav La-Shalon,’ his brethren in Not only because he pricked most people and yet, because of his imaginative and same tune. The song of Kaspar or the Israel could now say of him; ‘Peace is who came near him but _ penetrating mind, Huntsman’s Chorus may be howled in upon him!’ For his exile was ended, he also because he too was he divined more in from time to time, by an illuminated was at home at last—he belonged.” the product of neglect. music than many student or ensign, for a change; but It is not generally known that the name This was the man whom so-called musical the Jungfrau Kranz is permanent: of this widely gifted, most unhappy man Brandes said was “the people. ... I do not when one has ended it, another begins was not Heinrich but Harry, as he was greatest lyric poet who believe that it ever it. Out of every house it springs upon named for an English merchant, a Mr. ever had lived in Ger¬ occurred to ask me me; ez'erybody sings it zvith his own Harry with whom his parents did business. many—the greatest who to play for him. It variation; yea, I almost fancy the dogs It was not until he apostatized from Juda¬ had ever lived.” did not interest him in the street hozvl it. . . . However, do ism and accepted the Christian religion that George Eliot said of greatly, although not imagine that the melody is really he emerged as Heinrich Heine, by which him, “His greatest pow¬ he wrote some bad; on the contrary, it has reached its name he became known, and by which er as a poet lies in clever and cultured popularity through excellence. Mais name he will be famous through the ages. his simple pathos, in as well as very toujours perdrix! You understand me: A poor, miserable, unhappy genius, who ever varied but natural humorous things the zvhole of ‘Der Freiscliuts’ is excel¬ “completed the circle of faith through expression he has given about it.” lent and surely deserves the considera¬ Judaism, Catholicism, Paganism, Protes¬ to the tender emotions.” Among the first tion given to it by all Germany." tantism, Atheism and Saint Simonism, he Die Lotus- It was when painting and sculpturing returned at last to his starting point, that blume, Ich for a time declined, in 1841, that Heine battered, despised but (for the Jew) ap¬ Grolle Nicht, wrote, “Only the younger sister, Music, parently inevitable religion called Judaism.” Ein Fichten- lifts herself up with original individual Heine once wrote to his brother Max, baum Steht power. Will she keep her place or will she Einsam, Ver- “All the troubles of my life have not come again fall down ? These are questions which through any fault of mine but as a necessity giftels ind only a later generation can answer.” of my social position and my mental gifts.” He goes on to explain that the music Abuse and neglect from which he suffered season terrifies more than it delights him: all his life, poisoned him spiritually and that people are simply being drowned in broke him physically. At times his nerves 1 i ‘t'-T'-v l were so raw from incessant vexation and music, and that in Paris there is not a sin¬ i^Tr^i r~i 1 his body so poisoned with disease that he gle house wherein one can take refuge as in an ark against the deluge of sound. “The really did not know what he was doing. - -i- noble tone-science,” he says, “is overflowing • r—— • hj‘ • ♦ i ♦ our whole existence. This is for me a very 3 25 =— Fine 1 rp * Aft • The Jew Despised bert, Mendelssohn and Wagner; and the suffered from hearing from morning to night T IS ALMOST IMPOSSIBLE for whole world has sung them. critical sign and brings upon me sometimes I "rhnU W c,"1 % > =§= % % "i > ll;l, s-s-0- m—>-\—-m # those of us who live in the present age He writes; ^—H— to appreciate the unhappy—almost barbaric The Poet Musical the most morose injustice against our great “In however good a temper I get up maestri and dilettanti." That he was at least 11 r r -1 IFF —indignities under which the Jew lived in HE INTERESTING STORY of (ph * r * r= T in the morning, the cheerfulness is im¬ r m i an honest critic and not above self-criticism Germany during the lifetime of Heine, no Heine’s life—sad as it is—is not, how¬ mediately driven out of me, for even at seems apparent from this; and undoubtedly matter what may have been his genius and ever, the purpose of this article for The this hour the schoolboys pass my zvin- abilities. To appreciate the conditions some allowance should be made for the Etude but rather as to how he came in dow whistling the Jungfrau Kranz. An against which such a man labored and con¬ delicacy of the nerves of a man who. when touch with music and his abilities as a hour does not pass before I hear that tended makes it more possible to know and musical critic. he was staying with a friend, was obliged the daughter of my hostess is up zvith understand the bitterness and rancor which to ask to have the clock stopped in the When finally, in 1831, Heine had been her Jungfrau Kranz. I hear my barber affected his whole life. next room to the one in which he passed hounded out of Germany for his political then singing to himself upstairs to the As one has said, he was one of those and literary efforts, he took refuge in Paris the night, in order that he might get to tune of the Jungfrau Kranz. The hapless creatures to be fated—inexorably where he was much happier than in his sleep. washerwoman’s little girl then comes fated.—never to enjoy rest and quiet; one native land. Here he found the French Of the pianoforte, of which he speaks humming Lavendel, Myrt, and Thv- for whom no place had been reserved at much more liberal in their treatment of the as “the instrument of martyrdom, whereby mian. So it goes on. My head szoims “the festal board of life.” Partially the fault Jewish people; and his position, socially the present elegant world is racked and I cannot endure it. I rush out of the of his own temperament, but largely the and artistically, was much happier. As he tortured for all its affectations.” he seems house and throw myself with disgust fault Of the world. As an example of the wrote, “Ah! the sweet scent of Parisian sometimes to have had a special horror. into a hackney coach, happy that I can intolerance and blindness of the German politeness. How it refreshes my soul, after However, that Heine was able to do honor Confederacy at this time, in 1835 it passed hear no singing while the wheels are all the tobacco smoke, sauerkraut smell and rattling. 1 get out at Miss __-s to really great artists on the piano is seen what Browne characterizes as one of the rudeness it swallowed in Germany.” by his critiques of Liszt, Thalberg, and and ask if she is at home. The servant most preposterous legislative enactments in All the pangs of leave taking from the Chopin, with each of whom he was inti¬ runs to see. Yes. The door opens; the all modern history. It was a blanket pro¬ Fatherland—and they had not been slight sweet creature sits at a pianoforte, and mately acquainted. scription of all books which ever had been —were forgotten in the ecstasy of his first receives me with the words— Of Liszt he writes: written by any member of what was known sight of the holy soil of the boulevards. “He is indisputably the artist in ‘Wo bleibt der schmucke Freirsmann as the young Germany group, and also of Here his parched soul found a freedom, a Paris who awakes the most unlimited all books any member might write in the gayety and a politeness such as he had lch kann ihn kaum erwarten.’ You smg like an angel!’ I cry in enthusiasm, as zvcll as the most zealous future. Of this group the most brilliant never known before. Here he became ac¬ opponents. It is a characteristic sign member by far was Heine. quainted with such literary lights as l,TTi°diC, Way- 'I,wiU •**” aOoin that no one speaks of him zvith indiffer¬ Heine was essentially a modern poet. He Gautier, Dumas, George Sand, de Musset from the beginning,’ lisps the good creature; mid she twists me again her ence. Without power no one can excite revolted against all imitations of classical and Beranger. He also came to know in this zvorld either favorable or hostile Jungfrau Kranz, and twists, and twists Copyright 1936 by Theodore Presser Co. British Copyright secured 626 (.Continued on Page 651) OCTOBER 19X6 627 THE ETVDE FINAL MOVEMENTS FROM AMERICAN INDIAN RHAPSODY Dr.Orem,distinguished American editor and theorist,secured from Thurlow^Lieurance a seasons mous Indian Rhapsody from which this selection is taken. It has been played wid y y while on tour with his famous band. PRESTON WARE OREM

Grade 5. FerOCe M. M. J = 120

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Copyright 1918 by Theo.Presser Co. 628 British Copyright secured OCTOBER 1936 THE ETUDE 629 IMPROMPTUdirector of the Eastman School of Music, is regarded as one of This work by the noted American composer, Howard Hanson, for many .years his most forceful works for piano. Grade 5. Allegro con spirito M. M. J = 132 HOWARD HANSON, Op. 19, No.l ' 51 5 4 4 3 5 4 a 5 2. i 3 2 3 *■*- mf 5 —== < jfil ritmo mol to ma cato r *

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delicato British Copyright secured 3'— t—rrr'fi Grade3. , PELICANS’ PROMENADE WILLIAM BAINES Moderato M.M. J-- 76 j> 5 sempre staccato 5 0 3 ' •*> J- W- ^ ^ jj Nj K 1, 1 — 3 2 4 A" & .. 0 0 !• fi3 0? «A. rrjvrl bn d r~ Ij-j nfa p if i *

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^ 2 1 a | Copyright 1936 by Theodore Presser Co. Copyright 1896 by The John Church Company International Copyright OCTOBER 1.930 633

MASTER WORKS ADAGIO FROM SONATA IN E FLAT FRANZ JOSEF HAYDN

ENTRANCE TO THE FOREST The sonatas of Haydn are among the most<‘playable”of all piano music.Once get the fingers set in the patterns designated by the rhythm and melody EINTRITT ROBERT SCHUMANN, Op.82, No. and the composition becomes a delightful digital experience as well as an aesthetic joy. The sonata in E flat with this Adagio m E Major is one finest expressions of Haydn’s reflection of the courtly music of his day. Allegro ma non troppo = m 4 5 W 5 3^ mf 4! -r^-^ ---. .

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A) In all arpeggios in which the wavy line ^continues ibroken through both staves,the tones are to be struck in succession from the lowest to thehigh- est,particular stress being given to the highest tone. D) Here the hands commence together. C) Like b).

OCTOBER 1936 637 OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES

THE COOL WHITE STARS Words and Music by MARY O’KELLEY

a) The grace-note g must be struck together with a#, f# entering immediately afterward b) The first of the grace-notes must be struck simultaneously with the accompaniment-note Copyright 1936 by Theodore Presser Co. British Copyright secured OCTOBER 1936 THE ETUDE L LET GrOD ARISE

Moderato m.m.J=108

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Copyright MCMXXVI by Oliver Ditson Company to OCTOBER 1936 FROLICS FROLICS

PRIMO WILLIAM E. HAESCHE

645 OCTOBER 1936 PROGRESSIVE MUSIC FOR ORCHESTRA

b!> tenor saxophone MINUET IN E FLAT L. BOCCHERINI Moderato assai

CELLO or TROMBONE MINUET IN E FLAT Moderato assai

OCTOBER 1936 647 DELIGHTFUL PIECES FOR JUNIOR ETUDE READERS

Copyright MCMXXVIII by Oliver Ditson Company International Copyright secured OCTOBER 1936 649 A Great Poet as Music Critic

(Continued from Page. 626)

passions. One must possess fire, to ex¬ of races of beasts which have become cite men to hatred as well as to love. extinct; of fabulous kingdoms and their That which testifies especially for Liszt impieties; of impossibilities towered up is the complete esteem with which even heaven-high; of Babylon; of the hang¬ his enemies speak of his personal ing gardens of Semiramis; of Nineveh; worth. He is a man of whimsical but of the miraculous works of Mizraim, noble character, unselfish, and without as zve see them in the pictures of Mar¬ deceit. Especially remarkable are his tin the Englishman. Indeed, if we look spiritual proclivities; he has great taste around for an analogy in the art of for specidative ideas; and he takes even painting, we hnd the most sympathetic more interest in the essays of the va¬ similarity between Berlioz and the zsnld rious schools which occupy themselves Briton—the same excuse for the mon¬ with the solution of the great problems strous, the gigantic—for material im¬ of heaven and earth than in his art it¬ mensity. With the one the sharpest sum - mer sun. 15 self. It is, however, praiseworthy, this effects of light and shade, with the 10 In the — indefatigable yearning after light and other the most crushing instrumenta¬ Swing - mg, swing - ing, J I* | * divinity; it is a proof of his taste for tion; with the one little melody, with the holy, for the religious." the other little sense of color; with both little beauty, and no gentleness Notwithstanding his liking for Liszt, per¬ of humor. Their works are neither sonally, Heme confesses that his music, classic nor romantic; they remind us which on one occasion he likens to a scene neither of Greece nor of the Catholic from the Apocalypse, did not impress him Middle Ages; but they transplant ns agreeably. On the occasion of a subsequent far deeper back—to the Assyrian, Bab¬ visit of Liszt to Paris, he seems to have ylonian and Egyptian period of archi¬ become more reconciled to his playing. tecture, to the passion for massiveness, He then writes: of which it was the expression.” “Yes, Franz Liszt, the pianist of He gives us an amusing story of the genius, whose playing often appears to vanity of Spontini and his j ealousy of Mey¬ me as the melodious agony of a spec¬ erbeer in Spontini’s declining days. Heine tral world, is again here, and giving says that Spontini was one day at the concerts which exercise a charm which Louvre before an Egyptian mummy whom NEW PAGANI ACCORDION PUBLICATIONS borders on the fabulous. By his side all he thus apostrophised: piano players, with the exception of • Chopin, the Raphael of the pianoforte, "Unhappy Pharaoh! thou art the • Irish Jigs and Reels $1.00 are as nothing. In fact, with the excep¬ author of my misfortune. Hadst thou tion of this last named artist alone, all refused to permit the children of Israel • Irish Songs for the Accordion 1.00 the other piano players, whom we hear to go forth from the land of Egypt, or • Modern Rhythms for the Accordion 1.00 this year in countless concerts, are only hadst thou had them all drowned in the Send for Descriptive Circular 2337 E piano players—their only merit is the Nile, then had I not been driven out of dexterity with which they handle the Berlin by Meyerbeer and Mendelssohn, O. PAGANI & BRO.. 289 Bleecker St., New York, N. Y. machine of wood and wire. With Liszt, and I had even remained director of the on the contrary, people think no more great opera and of the court concert. about the ‘difficulty overcome'; the Unhappy Pharaoh! weak king of the piano disappears, and music is revealed. crocodiles! through thy half-measures SEND FOR YOUR COPY OF THE In this respect has Liszt, since we last has it happened that I now am in the heard him, made the most astonishing main a ruined man, and that Moses, progress. With this advantage he com¬ and Halevy, and Mendelssohn, and ‘‘WHOLE WORLD” CATALOG TODAY! bines now a repose of manner which we Meyerbeer have been znctorious!” failed to perceive in him formerly. If, Heine’s essay on the comparative merits This booklet will be of infinite service to you for example, he played a storm on the of Rossini and Meyerbeer goes too far into in the selection of music collections. One of pianoforte, we saw the lightning flicker the matter to allow of the reproduction of about his features, his limbs fluttered its substance here. It must suffice to state the most attractive catalogs ever issued of as with the blast of a storm, and his that he gave the preference to Rossini. standard music for piano, voice, violin, organ long locks of hair dripped as with real He had the power of painting a picture showers of rain. Now, when he plays in a few words: and we quote some of the and other instruments. Every book illus¬ the most violent storm, he still seems thumb-nail sketches scattered through his trated, and described, together with its com¬ exalted above it, like the traveler who works referring to musicians. stands on the summit of an Alp while He praises Donizetti’s genius but de¬ plete contents. If you are a teacher, student the tempest rages in the valley. The clares that its most astonishing quality is or lover of music, be sure to write us to-day clouds lie deep below him, the lightning its fecundity, in which it yields precedence curls like snakes at his feet, but his in the scheme of nature only to rabbits. —a postcard brings it. (Not sent to Canada Speaking of Rossini sulking in his tent head is uplifted smilingly into the pure or European countries.) ether.” like Achilles, he says that he had heard of Heine furnishes us with sketches of the a similar attitude on Donizetti’s part. This, THIS FREE CATALOG CONTAINS famous composers of his time like Spon- he is sure, is nonsense, which even on the DESCRIPTIONS AND CONTENTS OF OUR BOOKS part of a windmill would not be more tini, Rossini, Meyerbeer and Berlioz. The FOR THE PIANIST following description of the rugged, Ger¬ laughable. “Either there is wind and the man Berlioz gives us a good example of sails go round, or else there is no wind Piano Pieces Whole World Plays. and the sails stand still.” Rossini he likens Modern Piano Pieces. the poet’s idea in the interpretations of his Light Piano Pieces . genius. to Vesuvius pouring forth beautiful flowers. Recital Piano Piec Meyerbeer, whose contract in Berlin had "To each man all honor. We begin been modified to allow him to spend six to-day with Berlioz, whose first concert months in Paris and six months in Berlin, commenced the musical season, and was is the Modern Proserpina who, however, regarded, in fact, as its overture. Those must expect Hades and its troubles in both pieces—more or less new—which were places. Chopin is the one musician about set before the public found due ap¬ whom he wrote no unkind word. plause; and even the most sluggish spirits were borne along by the might "That is, indeed, a man of the great¬ of his genius, which reveals itself in all est distinction. Born in Poland of French parents, a considerable part of Standard Organ Pieces (Paper). the creations of the great master. Here Standard Organ Pieces (Cloth). was a sweep of aerie which betrayed no his education ivas gained in Germany. Saxophone^JPieces,^Eb—Bb—Cm. each.. And the influence of the three races —-lerican Home-- ordinary singing-bird. There was a co¬ What Do You Know About Musi lossal nightingale, a philomel of the shozvs itself in his remarkable person¬ (Cloth, $3.00); Boards. size of an eagle, such as there may ality. He has indeed assimilated the have been in the primeval world. Yes. best which these nationalities had to Ihe music of Berlioz has, in my opin¬ offer. Poland gave him his chivalrous ion, a siiiack of the primeval, if not feeling and the sense of pain which her D. APPLETON-CENTURY CO. 35 W. 32d St., New York antediluvian world; and it reminds me (Continued on Page 664)

OCTOBER, 1936 651 order, a pure limpid legato can be more gently take hold of the very tip of the readily cultivated; and there will be less tongue, while the mouth is allowed to danger of allowing anything like stridence remain freely open. As breath is gradually darkness or hardness to enter into the tone. inhaled, gently pull or stretch the tongue THE SINGER’S ETUDE outward, as the throat opens with the in¬ Training the Unruly Tongue creasing inflation of the lungs. Next, ex¬ 0 DEVELOP a necessary strength hale slowly, while the tongue is allowed Edited for October by Eminent Specialists and elasticity in those muscles which to return gradually to its natural position WITH HIS WURUTZER function with the larynx, tongue, palate and within the mouth, the handkerchief-hold pharynx, the following silent exercises may being kept on the tip until the tongue is ACCORDION, ACHIEVES' Z, u „/ The E™. „ — be used with good results. again entirely at repose from any outside GREAT SUCCESS AT THE 1. Stand before a mirror, looking into of the mouth influences. NATIONAL MUSIC CAMP vour loosely opened mouth. Observe the This exercise is invaluable in creating tongue closely. Imagine you are about to mental control over the tongue; and, after (INTERLOCHEN, MICHIGAN) yawn. Strive for the sensations of the doing it for some time with the handker¬ • This past summer, the accordion throat that accompany a comfortable yawn. chief-hold method, try .inhaling with a received high recognition when the 'Straightening Up" the High Tones Now, with the mouth still loosely opened, freely opened mouth and the tongue stead¬ National Music Camp, Interlochen, use the index finger or some sterilized in¬ ily coming out therefrom until it reaches Michigan, invited Galla-Rini, world strument with which to tickle or gently a limit, as the inhalation also reaches its famous accordionist, to conduct a By Curdon A. Fory stroke the center of the tongue (from rear climax. By practicing this exercise in equal large class of eager students. to front). Do this gently, over and over amounts with the groove exercise, fine Have it feel like “uh” but-round like “ah” values in direct proportion d their height again. In a few moments you will probably results can be attained. Begin by practic¬ from the many hard-voiced sopranos, nasal —perhaps a strange idea, but it works. To THE GREATEST cause of thin, un¬ and loveliness. notice a decided tendency to yawn. This is ing daily about twenty of these tongue whining tenors, whoopy contraltos and YOU SHOULD pleasant high notes is that they are From an experience of over thirty years sound like "uh” will throw the tone too good. The muscles of the throat are re¬ stretching exercises, in conjunction with shouting baritones, it is one that is suc¬ not “straightened up” enough. So these tried and tested ideas are presented far back. Experiment by whispering “ah” sponding and becoming free from that the primary twenty grooves, in four respec¬ BUY A/WURLITZER cessfully met by few teachers. Or perhaps much is said about “singing front” that the as leading to the “straightening up of the then “uh" and note the tongue positions interfering constriction that causes the tive periods of five applications each. After 1. Because Wurlitzer Accordions are top notes are prevented from straightening these faults are acquired by pupils who induced. This will take care of the “cover¬ downfall of so many voices. The next in¬ a few days, increase each exercise pro¬ leave their teachers prematurely and go into higher tones. world-renowned for superior quality up as they should do, and as they would do Use a vowel drill with this arrangement ing” idea, if you arc addicted to it. dication of success with this exercise is portionately to thirty or forty repetitions work for which they have not been ade¬ and backed by a name famous in if given proper freedom and relieved of the of the sounds, except in a few instances: Think vowel mixture, and do not let your given in the form of a groove which will and then continue until two hundred and Music for over 200 years. singing front complex or obsession—call it quately schooled. mind go to tongue position. Do not spread begin to appear, usually within the center fifty to five hundred of each of these ex¬ The writer never has been able to under¬ “oo-oh-ah-ay-ee.” Sing “oo” as in “you 2. Because they are made of Ameri¬ what you will. the mouth. Open it well in a horizontal portion of the tongue. This groove may be ercises are being done daily. Soon the voice stand why teachers and singers, especially and not as in “who” so that it comes round- can materials in America’s larg¬ Voices are drained of color by this over¬ oval. Do not bare the teeth in any forced barely noticeable at first. As every tongue will have shown the practical usefulness sopranos, are so possessed with the idea of pointedly forward and is not smothered at est accordion factory, equipped to stressing of forward placement; and we will or unnatural way. Think of each tone, as is under different muscular influences, no of this process. “singing front” There is, to be sure, a the lips. Shape the vowel inside much more produce the newest developments now consider its deleterious effect on the you ascend, as “straightening up” more definite beginning point for this groove’s By these silent exercises, every muscle great deal of truth in the idea that the tone than at the lips. Sing “oh” as nearly like in accordion manufacture. high tones especially. it as you can allowing the lips to shape it and more, and do not try to prevent this appearance can be positively given. It is of the vocal organs within the throat, Whenever two different tones in the voice should come forward; but this has been so 3. Because a complete line of Wur¬ very loosely. Keep “ah” well broadened, but tendency. In other words, do not try to not so much where it begins as where mouth and chest can be strengthened to are given identical placement, one of them stressed and carried to extremes that it has litzer accordions, attractively priced, avoid “aw” which will cramp the tongue force it to the front. it ends. Of course there is a limit to its an appreciable extent; and, since voice is is forced, and the farther apart they are become a menace—the great American is available at Wurlitzer stores and and distort the tone. Sing “ay” (may) like Extremely high tones, from the High C extension, but we have years in which to really a revelation of strength and energy in pitch the more forcing there will be. menace it might well be called; for no other leading dealers everywhere. the Italian “e,” which lies close to “e” as in up, seem to go slightly back of straight up. think about that. The practice of this ex¬ within the body, marvelous increases in This results more disastrously in the ex¬ other people sing so “white” as do we. Sold on convenient terms. “met.” It will not spread. Sing “ee” always Usually among my soprano pupils are two ercise should be continued day after day, volume and quality of tone will be de¬ treme high range than elsewhere, or at least or three who sing the F or G above High beginning with about twenty groove for¬ veloped. a bad high tone is harder to listen to than as if you had prepared for “oo.” It will not Tones to the Front pinch nor come to a sharp point. "Oo" is a C. There is no need to drive tones, with mations daily. It is best at first to practice one equally bad in a lower range. To be its only about five minutes at each period, The Enunciatory Organs Teachers of piano can quickly learn to play ONE MAY BE PLACED “forward” good friend. Mix it carefully with all the this placement. Round them with a mixture best, each tone must be allowed its own T making about five good grooves in each HE ENUNCIATORY organs are the the accordion and many are adding substan¬ by various means. The two which fol¬ other vowels. Its rounding effect is magical. of “oo.” Lilli Lehmann and others mention T adjustment of the thousand and one little period, and dividing the day’s practice lips, the teeth, and the tongue. With tially to their income by teaching accordion WuRLjIZER low are the most common. First, make it But it is not a good vowel for scale work this, but do not stress it strongly enough. muscles that control it; and this adjustment into four periods. The number may be these, the words should be molded from as well as piano. Let us tell you how you can thin with “ee” or “mee-mee-mee” or other in general. It is like one of the “old Italian secrets’’— ACCORDION DIVISION varies infinitely in ways that cannot be gradually increased to thirty, forty, sixty, the tone. The lips, the tongue and the lower increase your earnings. A postcard will bring thin vowel sounds which close up the Now as you come into the higher ranges. so simple that very few give it a thought. DE KALB, ILLINOIS definitely known, accurately observed, or jaw must, of course, be free from any in¬ full information. pharynx and back part of the mouth, thus At first these tones may seem “squeaky," and so on, until about five hundred grooves described in any but the most general terms. Ex.l terfering stiffness if they are to respond forcing the tone front for lack of other and many pupils will wish to avoid them. are well made each day. By this time, a properly to the impulses of the singer’s space. Second, smile with extreme mouth But keep on letting the tones straighten up, decided improvement will be noticed in An Oracle Speaks mind for the making of a pure, free, position. In any part of the voice this and trying to open the way to them, and they the voice and the tone and diction will be rapidly purifying. resonant and beautiful tone and a pure Wilbur Alonza Skiles adame lilli lehmann, au¬ whitens the tone. Try it. You cannot sing rapidly take on roundness. Think of them Voice Specialist—Author—Teacher M for baritone and bass, and 2. After having succeeded in leading the word. With such freedom and naturalness thor of “How To Sing,” in an a properly rounded “ah” in any part of the as being just as round as the middle tones tongue to fall into the groove position by in evidence, the tones and the words will attempt to indicate the placement of various voice with the mouth spread as in smiling. Ex. a but not so big around—a good wav to much more freely focus themselves in the tones throughout the vocal range, presents Yet the smile is used as a means of bring¬ using only mental impulse as a control, say it. front of the mouth where the organs of 3. REFERENCES. a chart that is very illuminating. And, ing the tone to the front. Let the face beam, instead of any local pressure or force, one This method of tone production gives to enunciation can most easily mold them into WrHe”Boxl94,S' instead of indicating that the head tones, but beware of a smile that spreads the tone may take the following exercise very effec¬ sopranos the lovely and rare flute quality a stream of beautiful song. from high G up, are forward, her red lines and robs it of color and roundness. Bad tively. With a clean white handkerchief, OPERETTAS, JUVENILE SONGS, MUSICAL for soprano, tenor and contralto, do not so desirable. It gives to the contralto added READINGS, MUSICAL COMEDIES, PLAYS of direction point more and more nearly as it is in the middle range, it is absolutely try to keep the tone at the front. When you range and a facility too many lack in the for all occasions straight up. Madame Lehmann was of the fatal in the higher. have ceased trying to do this you will find upper tones. To the tenor it gives the glo¬ HARMONY BY MAIL same school which gave the world Melba, Mention must be made also of “singing the tone has a natural tendency to rious golden quality that too many try to Is the Singer a Musician? I practical and thorough course of 40 lessons toward the nose” as a means to placing the mall monthly payments. Send for particulars Nordica and Sembrich, and many other “straighten up.” Do not try to prevent this. get by keeping the tone at the "bridge of Music composed to your words. great artists. Her suggestions are golden. tone forward, especially for tenors and In basses and baritones this is often spoken the nose" or "in the mask of the face." All No sooner said than done. Mamma sang it theatrical motel'll6 “r^chools! FREE If you try to keep these tones more forward baritones. This is rarely managed with SOME ARE, and some are not. Their dramatic clubs, lodges. of as “singing covered,” an expression that these points of resonance may be good in for me, I repeated it after her, and at five CATALOG than up, you take some lovely natural qual¬ discretion and too often results in a nasal permanent success will depend largely is apt but which is better avoided. It is their places, but the high ranges of which o’clock, I was able to do the second aria. T. S. DENISON & COMPANY WRITE ity from them and give them, instead, a whine and in preventing the voice from upon how nearly they approximate the TODAY better to speak of it as a quality in the tone I am speaking are not their places. “The conductor, with whom I ran over metallic and forced quality. This hardness finding that golden ringing quality which first happy state. Read, reread, and then than to think of it as some muscular manip¬ The frantic and frenzied expedients, to the role to give him my tempi, was await¬ is mistaken by too many for brilliance; the the great ones have and which many more digest these words from Lilli Lehmann, ulation. The sensation is as if the tone gets which so many teachers and singers are ing me at the opera house, and then I went piercing quality, for carrying power; and might possess than whom the world has not produced a “INSTANT A B Cs FOR SUCCESS” further back in the roof of the mouth, as driven in trying to “place” these tones, greater or nobler singing artist. The quo¬ forth to battle. The excitement that had the loudness, for fullness. Only rarely do These misconceptions, as to what “for¬ of course it would need to do in order to by KENNETH ROSS would not be forced upon them if they tation is from her autobiographical “My possession of me was fearful; I staggered Price $1 postpaid we hear really lovely high tones, whereas ward singing” should mean, not only rob straighten up. Above the notes indicated. in every normal voice they could be beau¬ many, many voices of color but also prevent could only be rid of the “singing front Pathway through Life.” into the wings almost fainting after the 676 practical Inspirations for successful oo is not so good but is helpful, very fever and could allow them to straighten “The management sent to me, one day first scene. I now see clearly for the first achievement—applicable all problems. Am¬ tiful. the reaching of top notes which belong in helpful if mixed with “ah” or “oh” thus bitions realized, confidence restored and This is a real problem; and, judging • the voice and give enhanced commercial up. And this is so simple that it is almost at noon in the year 1875, a request that time what a crime it is to expect such a opportune ideas. Be Successful! giving one the feeling of “uh" in the’mouth. a secret. I sing Irma that night in “Maurer und thing of anyone. A nervous breakdown K. R., 646 Seymour St., Vancouver, B. C. Schlosser,” and save the performance. I might have been my reward for being knew the opera well; I had sung the part obliging, and who would have compensated Purifying Tone and Diction of Henrietta in Dantzig, but I had never me for my health and a ruined life? I felt glanced at that of Irma. I consented, on the strain in my limbs for many days and Jacobs* Piano Folios nights and could scarcely recuperate from By Wilbur Alonza Skiles condition that I should learn for the eve¬ 50 CEJVTS ^ it. I shall be told that I was a free agent C ning only what was absolutely necessary. the volume 1 and no compulsion was put upon me. That O SING WELL, one must under¬ fering influences, such as muscular con¬ “At four o’clock I had got to the end POSTPAID J T of the duet and finale, both of them almost is true; but the temptation to save the per¬ stand how to use the vocal organs striction, it does prove that the most open IT \L°CalJcontro1 ^ the tongue, lips practice, for the most part, silent «er- Over 100 volumes, each containing 6 delightful lyric pieces and mouth and will be, of course de true! formance is so inborn in an artist, I may both artistically and naturally. The sound should be and is the safest on which ciscs for the development of strength s> unknown to me, and which are very dif¬ —tuneful, interesting, and colorful—exclusively by American tlv« of spontaneity of diction. ficult, and through the first aria and dia¬ say, that she succumbs as soon as the oc¬ adjustments of the larynx must be made to begin vocal practices. This most open those muscles which cooperatively fond** composers well known in the field of light music, classified as Many young students have a tendenev logue; I wanted to omit the second aria. casion presents itself.” by natural, involuntary impulse. Any local sound, which is Ah (Italian), must be with the larynx, tongue, palate to neglect the vowel sounds, in tu™ As I prepared myself to start to the opera, Lilli Lehmann was not only a superb TONE-POEMS — REVERIES — BALLETS — NOVEL¬ effort, by the lips, tongue or mouth, to entirely free, if it is to encourage proper which pharynx. After some development means that the words of ’ 1 1 wy dear mother said to me: ‘Lilli, it is a artist of song; she was also a broadly ETTES — ORIENTAL — INDIAN — SPANISH — form or modulate tone or words, is dan¬ relaxation of the tongue and throat. And, taken place, one may safely sing hP** pity that you should leave out the second schooled musician. How many young sing¬ gerous and will only rob the voice of its just as surely, these conditions work in sustaining the tone evenly, with "° MARCHES — GALOPS — WALTZES — ETC. “cia: it is much more effective than the ers of to-day, who covet the glamour of flexibility and better qualities. reversed order; so that it is for these aggeration of breath pressure. The vow« first; I always preferred to sing it. If you the operatic stage, could learn an impor¬ Every Number An Original Copyright Found In No Other Collection There is no such thing as standardizing reasons that this vowel is so useful in ah (Italian) should be the fit** to early study. strong tones can be safelv inrf.,J£i , are willing, I will sing it over and over tant role«n a heavy German opera, in four Send for classified booklet of Contents and Thematics a process that will uniformly assist every¬ studied. When this has been well pro¬ again for you, and you can learn it quickly.’ hours? IF YOU ARE A PIANO TEACHER send your professional 1 body who studies singing. However, since The singer must learn to build his words duced, then one may pass on gradoaW t all teachers of voice do agree that the from his tones. He never should try to card for a GIFT of great practical value. Refer to this ad. J to o, as in “go," oo. as in “too," j• ** throat should be open and free from inter- make the tone from the word, because this will reasonably insure ^tK , ^ 'hat “sight," a, as in “lay.” and. last but Walter Jarftkc |n- 120 BOYLSTO* ST. “Music washes from the soul the dust of everyday life."—Auerbach. boston, mass. «c,e»rdi„LTr,H,,r,ehnd:^,s5 least, e, as in “me" By following H”5 Yraiter Jacobs, Inc. 652 OCTOBER, WE Era** 1936 The Prelude Recital MUSIC COMPOSERS By Edward G. Mead We offer the following prizes: THE ORGAN PRELUDE recital is preludes by J. S. Bach (to be had in ONE FIRST PRIZE OF $2509°—For the most attrac¬ THE ORGANIST S ETUDE an established institution in many volumes at reasonable cost), might also tive unpublished anthem submitted. churches. Instead of the usual single be suitable. In addition there are the prelude or voluntary, the organist may chorale preludes of Brahms and Max ONE SECOND PRIZE OF $150°°—For the next most “Organist’s Etude” complete in itself. It is the ambition of The Etude to make this department c play two or more numbers in the first Reger and the chorale improvisations of attractive unpublished anthem submitted. fifteen minutes or so of the church service. Karg-Elert. Notice that we say “of” and not “before” Chorale preludes on well known English FOUR THIRD PRIZES OF ?75°£ EACH—For the next the service, because we believe that the hymn tunes have been written by Harold four most attractive unpublished anthems submitted. service of worship begins when the organ¬ E. Darke and T. Tertius Noble. These ist starts to play and not after he has fin¬ compositions, and others of similar type, SIX FOURTH PRIZES OF $50°° EACH—For the next A ished. tend to make a direct appeal to the aver¬ six most attractive unpublished anthems submitted. Superseding Substitution The numbers chosen for the prelude re¬ age church congregation, because of cital should be of deep religious sentiment familiarity with the tunes themselves. as well as of fine musical quality; for it is Closely related to the chorale prelude is *1,000 IN 12 CASH PRIZES By Orlando A. Mansfield, Mus. Doc. the true function of a prelude recital to the fantasia or variation. Excellent ex¬ All anthems submitted must be in our hands not later than February 1, amples of the former are the “Ten Hymn- establish at the beginning of the service a 1937. Send for our special announcement folder outlining all conditions i thirds and sixths, would be either proper devotional atmosphere. When this Tune Fantasias” on English and American PROBABLY every organist, inexpe- -e told t finger,„ . especially. in passages of under h foUowing^asige dfficult or intolerably staccato. Lastly we purpose is achieved, as it is in many hymn tunes by Carl McKinley. In addition and rules of the competition. rienced or otherwise, is familiar with single notes, pretty much the from the Danish composer, Otto Valdemar give instance of the fifth finger passed churches, both the minister and the con¬ to their beauty they are fairly short and the expression “fingering by substitu- the pianoforte; but little advice is given Mailing (1848-1915), in No. 5 of his under (and afterwards over) the fourth, gregation will realize the importance of the not too difficult for the average player. A LORENZ’S 8ill ANTHEM COMPETITION tion.” Indeed, many players—like the oft- as to the fingering of chordal progressions, Paulus, Op. 78, in which he (Mailing) at- at (a) and (b) respectively, taken from prelude recital to the service as a.whole. fine example of the variation type is the We publish about two hundred anthems a year. By our method of distribution, these quoted old lady with “that blessed word particularly when the latter : required to the writer's edition of an Alla Marcia by first movement of the “Sixth Sonata” of anthems are sung by not less than 15,000, and in some cases by as many as 30,000, singers te“ed%atr Herr where fingering fects to portray St. Paul’s reception at No type of music is more suitable for the Mesopotamia,” even if “ignorant of u~',n v,prp ' Henry Smart. prelude recital than the chorale prelude, or Mendelssohn, which is a series of varia¬ within about two months after publication. The demand for so many new anthems every meaning” appear to “derive much comfort by substitution is most likely ^ ^ —• a fantasia or variations based on a chorale tions on the German Chorale Voter Unser year constitutes a large opportunity for anthem writers and this anthem contest is our from its use.” Perhaps the best definition ployed, and is often legitimate because un- or hymn tune. Excellent indeed is the im Himmelreich (Our Father in Heaven). earnest invitation to them to embrace it. of this apparently popular method of finger- avoidable, mention is seldom made of the “Little Organ Book” of J. S. Bach, con¬ Finally, as a last group of suitable num¬ ing is “changing fingers upon a note (key principle embodied in the actual fingering sisting of forty-six short chorale preludes bers for the prelude recital, may be men¬ LORENZ PUBLISHING CO. or digital) without repeating it”; or, as of scales in thirds and sixths. This prin- arranged according to the liturgical year tioned meditations, adagios, andantes and 501 E. Third St. 91 Seventh Ave. 218 S. Wabash Ave. the late Dr. Eaglefield Hull (1876-1928), in ciple—the only one incorporated into mod- of the Christian church. For inherent the like—pieces which, well written in Dayton, Ohio New York Chicago Here the fingering is that given by the Of course it should be understood that his work on “Organ Playing,” describes it, pianoforte technic, from the early beauty and profound spirituality there is themselves, embody a truly religious spirit. composer himself.* The .movement being the lower part shown in Ex. 6 is a middle “a sliding change of finger clavichord and harpsichord fingering- nothing finer in sacred organ literature. But whatever his choice of numbers, the e that sub- partt having ; the turning of the longer fingers over the marked Allegretto, • (taken by the left One or more of these chorale preludes organist must remember that it is his re¬ Among the organists and teachers of half shorter, as exemplified in the orthodox fin- stitutionary fingering would be impossible hand) and a bass (taken by the pedalsi might easily be selected, the choice de¬ sponsibility and privilege to make the pre¬ M. P. MOLLER . ... _ ago this “fingering by gering of the scales just mentioned. We here, or elsewhere, when the notes move in below it. Hence the nonleeatononlcgato produced bvby TOY SYMPHONY a century pending naturally upon the particular sea¬ lude recital a suitable beginning of a service Presents n example, the scale of D major manner which the old English writers successive uses of the thumb will scarcely of true worship and devotion. substitution” was regarded as being son of the church year. Longer chorale 2-manual of the most important and urgent matters double thirds and sixths, with the usual would have described as “briskly.” be noticeable. The chief requisite in pas¬ to need attention in one’s early organ “Plaidy” system of fingering. Ex. 3 shows a descending passage in sages of this description is the preservation Portable Pipe Organ Kindergarten thirds, from Rheinberger's “Sonata in D- efforts. Ordinary scale practice and finger¬ Ex.l of the legato in the outside parts, that is, ing were neglected in favor of the study of flat, Op. 154, No. 12,” which, again, would the treble and the real bass. How to Care for Church Music the scale of C in thirds with a change of be impossible to render legato, unless fin¬ Illustrations similar to the foregoing ) fingers on every degree. Yet even at that gered after the manner of a regular scale. could be multiplied almost indefinitely, but By Jessie L. Brainerd it of the "rut” and make your mornings pay. Exclu¬ period there were conscientious teachers our readers will doubtless be acquainted sive use granted In cities and performers who stressed the correct with, or can discover, other examples for CHURCH music is expensive, and it is apt to be among the first things to be s than 100.000. Only order of study. For instance, in Musical themselves. Those selected have been chosen a duty of the choir and the choir burned or to be ruined by water. Opinion of 1887 there appeared an article almost at random, and there should be but director to keep the music as clean as pos¬ (4) If the music is kept in a cupboard, by Dr. Charles Joseph Frost (1848-1918), BRUCE SCHOOL, Inc. The following measures, as arranged by little difficulty in supplying others even sible and in repair. Ragged and dirty music have a door on it to keep out the dust. Each which, while showing where fingering by 6308 Trooat Are., Kansas City, Mo the present writer in his edition of Henry more appropriate. All that it has been de¬ is unsightly; and pages out of order only set of books, leaflets and octavo music substitution was necessary, declared that Smart’s fine Andante in E minor, will serve sired to demonstrate is that the ordinary- lead to confusion. should be piled separately, labeled and listed this method “must be resorted to only when to illustrate the fingering of sixths in both fingering of scales in thirds and sixths, and A few simple rules, if observed by all the in a key book as to number of copies and the ordinary fingering falls short.” Later on TINDALE the general principles underlying that fin¬ choir members, will keep the music in good for what occasion. The less music is han¬ —in 1911, to be exact—Dr. Hull, in his Music Filing Cabinet gering, can be applied to passages in organ repair. dled, the less wear on the copies. work previously mentioned, asserted that music in which fingering by substitution (1) When new anthem books are pur¬ (5) Ask each member to keep the music Needed by every Music substitution should be attempted only “after Music Student. Librai would be either impossible or unnecessary. chased, give each member a book, write his off the floor during the service. If there is the simple fingering has been thoroughly School and Convei In legato diatonic or chromatic octaves or her name lightly on the top and in pen¬ not a shelf on which to put the music, it set by the practice of scales, trios, and so this passing of the longer finger over the can rest quietly on the lap, and does not UeT £2 on.” In another place, Vol. Ill of “The cil, and make each one responsible for his Here the passing of the longer finger shorter—in this case the fourth over the need to be rolled, bent or fingered over Organ,” the same writer goes a step own book. fifth—is again essential. when not in use. farther, maintaining that in modern organr an over t*le shorter is denoted by an asterisk, (2) The backs of octavo music should dmvn Of course, all correctly trained students (6) It is worth the trouble to go over playing “finger changing must be Ex. 7 be stapled or sewed together to keep the last have had impressed upon them the impor- music every few months, and to repair any TINDALE CABINET CO. to a minimum, and used only pages in order and to prevent any from „ . , ... tance, in the playing of these scales or of torn pages with transparent tape. A tiny M. P. MOLLER, ING. 40-46 Lawrence St. resort,”resort, a very different teaching fromtrom that , , / . , . , being lost. Flushing New York ; , j , J, . ... passages founded upon them and similarly tear can become a long one if not mended of the older pedagogs who put this method ...... , .. , . (3) It is wise to have the music insured. Hagerstown, Maryland 1.:. fingered, of keeping down the thumb in n ther! forefront° ofJ their precepts and prac- Churches may get afire, and music is very i which the other fingers have that member, namely, in the 50tf and 75

railing against his fate; but here is dis- Music Field Briinnhtlde appears in flight, with Sieg- played in a truly godlike character of Unde, from the wrath of Wotan for having transcendant nobility, disobeyed him. She begs her sisters to He now invokes Loge, god of fire, to shield her from his furv. Sieglinde en- encircle the summit with flame. He strikes University Methods treats that she may be left to join Sieg- the rock thrice with his spear, and the For Home Study with a cry of joy, is now determined Ex. 14 Fire M

MUSIC HAS ALWAYS RANKED HIGH AMONG PROFESSIONS. THERE IS NEVER AN OVERCROWDED FIELD FOR THE WELL TRAINED TEACHER mmm hp You can get this invaluable training right in your own home, without any inter¬ ference with your regular work, and at but a fraction of the cost in time and and the painstaking guidance of the master teachers of the UNIVERSITY EX¬ TENSION CONSERVATORY, and gladly testify to that fact.

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A proof of quality is important for one interested in further training. We give , a demonstration to build confidence. We send you regular lessons from the course. You examine these at your leisure and then decide for yourself how they can be adapted to your needs. An examination of the lessons which are sent with-

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Notice—Correspondents OLIN AND PIANO DUETS, 15Ceo. If "E. C.” of Cartright, North Dakota, will are signed with the full name of the writer, have nmked^fth an X^bdow. Sam^e lessons’ ant* send full name, we shall be glad to answer as an evidence of sincerity. In answering these her recent letter of inquiry. As stated at the inquiries, we never publish the name of the □ Piano, Norma! Course □ Ear Training and STsIilvsC

OCTOBER, 1936 so quickly as a little bowing practice with down, at the beginning and again at the the bow hair moving above the string. end of each practice period for the first THE VIOLINIST’S ETUDE JuAt OjuJL Start with the bow about a full inch week. Increase to ten full bows, five up above the A string. Bow slowly, four full and five down, three times each practice (^onqfiuiicb/i Edited by beats to each bow. Concentrate upon keep¬ period thereafter (at the beginning, in the ing the bow exactly one inch above the middle, and at the end). The Latest Aid in Creative Musical same place on the string. Then do likewise Before a month goes by a wonderful ROBERT BRAINE above the D, and the G, and the C strings. freedom and sureness in one’s regular bow¬ Education for Teachers of Class Music, Crades or Piano It is the ambition of The Etude to make this department a “Violinist s Etude comp Then start again above the A string and ing will be noted. decrease the distance between the bow and By fingering scales, and other passages the string to three-quarters of an inch. while practicing this “silent bowing” you Next try a distance of one-half inch, and will “kill two birds with one stone.” finally bow just one-quarter of an inch The difficulty of this “silent bowing” above the strings. may be increased by practicing all types Orchestra Routine in Violin Bowing Make six full bows, three up and three but the “bouncing bow” in this manner.

How amateur orchestras may learn to how properly The Young Violin Student By Edwin H. Pierce and the Vibrato SCHOOL ORCHESTRAS have in¬ separate bowings instead of the number of Single notes separated by rests are notes, makes no difference. In vocal music, creased in number by leaps and printed notes. down bow, if on accented beats, or < however, the mere use of a flag implies the By J. W. Hulff bounds. Many of them are instructed beat if intended to be forcible. If < use of a slur, and on the violin, such notes Ex. 1 should be played in one bow. In vocal and led by persons of orchestral experience, accented beats, lights and flitting, F THE violin teacher, who specializes a bow. The violin should be always held in music, notes sung to separate syllables each I facilitate and encourage composition who are especially trained in violin technic. I bow. in the teaching of children, could read proper position, with the left arm well have their individual stem and flag. ThuS and musical education through the There are many leaders, however, whose the minds of his students, he would under the body of the instrument. supposing the following example to be use of the following simplified equip¬ former experience has been chiefly with find that at least ninety per cent of them Probably the easiest way to produce the copied literally from a voice-part 100 ment: vocal public school music, or with the piano are eager to acquire the use of the vibrato. vibrato is to employ the third finger in the or organ, and for these directors, competent 1. A Staff Board that has raised Bx.tS Original and Standard Solos It is safe to say that no two teachers use third position on the E string. It is well to guidance in many little technical details, black lines on a white background. the same methods in teaching. It is true confine the actual limbering up of the left may prove of timely helpfulness. Beautiful Colored Title Pages that the majority of teachers will outline a wrist muscles to the third finger movement 2. All musical characters, clefs, rests, A few years ago a certain supervisor of Slurs Not Always Bowing Signs Editing, Composing, Fingering, course of study something like this: Scales, —at least, at first. Try to curb your stu¬ measure bars, etc., moulded from un¬ music who had been almost forced by popu¬ Pedaling with Special Foot Notes breakable rubber which are easily and ONE OF THE FIRST things that a Etudes of Kayser, Sevcik, Sitt, Dont, dent’s natural desire to use the bow at this lar demand to organize a high school it should be played thus quickly snapped on to the staff bar. young violin student is taught thor¬ time and have him to use the third finger orchestra, though without any specific train¬ By MOISSAYE BOGUSLAWSKI Kreutzer, Fiorillo, Rode, Gavinies, Bach’s oughly, under a good teacher, is that all oscillations until the finger comes toward the 3. A guide to lines and spaces which ing for that branch of musical work, asked six sonatas without accompaniment and the the notes under one slur are played in one . TEACHERS—FREE-, player to a point about forty-five degrees may be placed on the staff boa/rd the writer this question, “How can I get the The foregoing rules apply most strictly Paganini “Caprices”; and graded solos se¬ bow. This may be quite true as regards a regular copy and catalog FREE I from the perpendicular. Insist on a very when desired. violinists to bow alike, as they do in a pro¬ only to the beginning of a piece, or to an lected according to the young student’s entry after a rest; during a continuous music written for the violin by a violinist, | to any Piano Teacher—Postpaid. | technical ability. slow movement, and at no time do you allow fessional symphony orchestra?” The answer but composers who are not violinists often Ask your dealer or passage, if the natural succession of bow¬ On Sale At Your Music Store How much attention, in the course out¬ the finger to slip from its place on the fin¬ was in effect somewhat like this, “There use the slur sign merely to indicate a write for circular to are certain well established principles about ings happens to make some measures begin lined above, is given to the acquirement of gerboard ; the finger rocks but does not smooth manner of performance, with no down bow and up bow, just as there are with up bow, some down, just let them run MODERNE PUBLICATIONS the vibrato? Every experienced teacher slide horizontally. The forward sway of the EDUCATIONAL thought to the technical manner in which rules of the road in driving. Professional that way, but recover the proper bowing 2611 Indiana Ave. Chicago, Ill. knows that the answer is, “None at all.” hand is at first confined to forty-five de¬ MANUFACTURING CO. this is to be attained. In such cases, the players learn these as part of their routine, immediately after any break. It is not wise, So we have this situation; The student grees, because it is more difficult to acquire violinist must take the liberty of dividing 27 Jefferson Avenue and apply them almost unconsciously. They however, to continue, uncorrected, a bowing with a natural desire to use this expressive than the backward sway of about eighty the bowings as seems necessary—a matter Bloomfield New Jersey are chiefly based on the fact that the down which violates the rules measure after meas¬ —as Webster puts it, “oscillating effect of degrees, from the perpendicular. The more calling for much taste and discretion. A bow is generally used on the first note of a ure. The correction may be easily made by JUST OUT sound” ; no mention of it in violin etudes evenly this total sway of one hundred and complete measure, or accented notes: while simply taking two notes (supposed to be good-player can make a change of bow so or instruction books; and the average twenty-five degrees is divided between the bowed separately) in one bow, but not cleverly that he preserves a perfect legato, teacher who frowns upon its use by Jhe forward and backward swings, the more the up bow is used on the weak beats or Regard mg the Violon¬ The Only Work of Its Kind ! SUMMY’S CORNER unaccented notes. Where there are excep¬ legato. This is the simplest way also for a which is really all the composer had in young player. pleasing will be the effect. mind. For example, in the phrase, tions for any reason, or places which might player to put himself right again, if he finds cellist's Bowing The Gramophone Shop’s Rocking the second finger follows after Works of be ambiguous, the concert master (leading he is inadvertently bowing in the wrong Ex. 8 Use Judgment the third finger has produced satisfactory direction. As one amateur violinist was ENCYCLOPEDIA results; then comes the first and finally the violinist) marks his copy with the necessary OW, WHY all this mystery and im¬ heard to explain to another, “You see, there By Howard H. Walrath fourth finger, all in the third position, with¬ signs ( u for down bow, y/ for up bow) OF RECORDED MUSIC plied disapproval concerning a beau¬ J. S. BACH and the librarian copies these marks onto are only two directions to bow—down and out the use of a bow. Now repeat this up—so, if I find I have made one mistake, Compiled and Edited by tiful embellishment of violin tones, that not discussed by Allen Spencer in the other violin parts. The second violins, N PRACTICING TO develop a thor¬ procedure on the A, D and G strings, in the I just make one more, and then I’m all I only the teacher but also our greatest violin THE ETUDE for July, 1936 violas and violoncellos are also marked with quite possible to order given. Remember, up to this point ough technic, we should keep in mind soloists use? their own proper bowings, which are not right again.” execute it as written; if it is f, it may better the exercises have been designed solely for that •’There is always something a little Some teachers never attempt to aid the EDITION PETERS No. 208. 1.00 identical with the first violins unless in The chief exception to rule 1, is the case be played thus limbering up of wrist muscles, with a slow harder to accomplish than that which wt student in acquiring the vibrato; others Contains Echo, Duetto in E minor, passages where they are playing in unison of a piece or a passage which commences rocking motion and an effort to increase are striving to do at any particular mo¬ may make brief mention of it, only after Capriccio in B-flat, Postillion’s Song, with the latter. Amateurs who are' not with a long crescendo note, as in the Over¬ Cfie (Sramopfjone ^>fjop, Kite. the forward sway of the hand. Later, when ture to “Der Freischiitz” by Weber. ment." the student has had months of careful scale familiar with orchestral routine will, of The World's Best Recorded Music the bow is employed, the result of the Let us say that a certain difficulty of EDITION PETERS No. 214. 1.50 course, need many more marks to. ensure work. “silent” wrist work will become apparent, technic confronts us. We practice sincerely, 18 East 48 St., New York Suite in A minor, Preludes, Fugues, uniformity. Appoint you? best violinist con- A violin student, who is at all interested and the student is then usually able to take patiently and at length. The difficulty re¬ in his work, naturally desires to play with certmaster, even if he is none too good, mains a hazardous undertaking. We may, care of himself, with a supple wrist that has all possible expression and feeling; and he EDITION PETERS No. 216. 1.25 and explain his duties to him. Tell the by brutish determination, acquire some Special been correctly trained for its work. others to follow his bowing directions, cannot understand why he should not use An interesting demonstration may be Capriccio in E minor, Fugue in D facility in that particular problem; but our Credit 1 the vibrato. So, if the teacher is not alert Major, Sonata in D Major. where marked, and in general to imitate his Here the up bow is used, technic remains unsure because we attach is high-grade violin. made for the student by using phonograph style in execution. If you see places where specially favorable to playing and watchful, the pupil will, when away too much im|>ortance to the problem's de¬ records of violin solos by famous violinists, crescendo. from the teacher, begin to use what he Other BACH Albums recommended the style could be improved, in the matter gree of difficulty. Remember, no matter played as slowly as the motor of the instru¬ of bowing, take it up with him privately, The rhythmic figure Note well however, that though it is quit thinks is a correct vibrato. Not only will for study and teaching .... how difficult it apjicars to be. there is al¬ ment will allow, and with the entire atten¬ and get him to try out other bowings for allowable to break a slur, under proper cir such a player be apt to use it on his scales, Ex. 3 ways something relatively a little more £} 6U8TAV V. HENNING tion given to the quality and mechanics of BACH-SPENCER ALBUM.50 vour benefit, so that you may advise which cumstances ,t is never allowable to cut ; but he also will probably employ a vibra¬ difficult. And by concentrating on the more the artists’ vibrato. Allen Spencer has selected and edited you prefer." tie. lhus, to perform this phrase tion that is produced almost entirely with a choice collection for Intermediate nnnn. difficult step we acquire ample technic for One of the most impa-tant points to be Ex. 11 a movement of the left wrist below the Grades. Not simplified. facility in handling the original difficulty. remembered is. that the pliable wrist mus¬ Conventional Rules of Bowing which is given in various forms of bowing aUGUST GEMUNDER Si 50N5 fingerboard. This, unless detected by the cles are used to impart a movement above, in violin methods, is understood The violoncellist lias a technical problem 119 West 42nd St., New York POETIC FOLK DANCES.60 ■ f teacher in time, becomes a habit with the and not below, the fingerboard. A faulty EVERAL GENERAL rules for govern¬ Easy; for the very first approach to S played in orchestra as to in bowing. It is difficult to maintain an even student—a habit that never can produce ing the bow stroke may be noted. Old & New VIOLINS vibrato is usually produced by either a stiff the Master. Edited by Calvin Cady. pressure while endeavoring to keep the bow “Gemunder Art Violins” a correct vibrato, because the wrist muscles 1. Subject to some exceptions, which will would be a crude barbarism, entirely a from sliding up and down the string. Bows, Cases, Strings, Expert Repairing wrist or an exaggerated movement below be explained later, a full measure com¬ are not relaxed. NOTE BOOK OF ANNA MAG¬ mg the composer’s musical idea. Nevertheless there arc other tilings ew» Est. 184U Send for Catalog E. the fingerboard, that shakes the fingers of mences with down bow. America’s Famous Violin House the left hand. Such a vibrato, so called, can¬ DALENA more difficult to accomplish. Bowing with¬ PETERS EDITION No. 3829.75 2. A single note, coming before a full An Ounce of Prevention Vocal Music Played on Viola out actually touching the bow hairs to A* not be controlled to function slowly; it Twenty easy pieces in various forms. measure, is played with an up bow. •n zvhen left unmarked. With si string is but one of the more difficult WHY NOT REMOVE the “vibrato “shakes,” or “quivers,” as some students 3. Two single notes, coming before a full t masters, the figure OCCASIONS SOMETIMES r HO! VIOLINISTS: things. A small degree of proficiency in taboo” and, after the scales have been put it. Hence the necessity of first limber¬ CLAYTON F. SUMMY CO. measure, are “down, up.” V where ™linists are expected to FINE FIDDLES equal the 1 ing up the left wrist muscles correctly under from a vocal score, for instance in ac, this Win bring about a very great improve¬ well begun, allow the use of the vibrato on 429 S. Wabash Ave., 9 East 45 St. 4. Three single notes, coming before a sustained tones, under proper supervision? the teacher’s supervision, in order to bring Chicago, Ill. New York, N. Y. full measure, are “up, down, up.” panying community singing. Although ment in the technic of bowing in the regular manner. The writer has found it best to com¬ them under control for the production of a It is apparent that rules 2, 3 and 4 are occasions no special difficulty here ,s phase of notation in vocal m , • r Exvert Revoicing, Repairing, Refinishing. mence the teaching of the vibrato without correct vibrato. merely the result of complying with the The bow slides up and down the string because the muscles of the fingers and wrist CHELSEA FRASER. M.V.M. principle involved in Rule 1. These rules' Ex. 6 Street Saginaw, Micl Name (2, 3 and 4) imply separate bowings; in are not physically capable of holding it ® SCENERY rent case there are slurs or ties involved, one J-i-.J any desired place. Those muscles must he FOB ALL OPERAS. Newest Settings 1 Street . should reckon by the number of actual strengthened. Continued practice, while the THE ETUDE Your Marketing P City . State. ot a flag connecting t\vo or i bow is on the string, will not develop the “Me Advertisers Open the Doors to f 658 right hand finger strength anywhere near ■«-.Opportunities

the etude OCTOBER, 1936 659 VIOLIN QUESTIONS The String Quartet A Great Musical Revival A Radio Talk Answered, Chicago Industrial Music Meeting Indicates Notable Advance By Edward Ellsworth Hipsher By Robert Braine

News of the three day convention held sales were reported to have gone up 37 Ho question will be answered in THE ETUDE unless accompanied by the full name The string quartet occupies a place soon will give way to an interlude or in the Stevens Hotel, Chicago, July twenty- per cent. One of the distinguishing features and address of the inquirer. Only initials, or pseudonym given, will be published. all its own, among musical compositions. musical discussion of subordinate ideas; seventh, twenty-eighth and twenty-ninth of the convention was the great interest Less spectacular than the opera or sym¬ and this will lead into a Second Theme should prove a powerful stimulant to pro¬ given to the piano accordion and to wind (Much of the mail treated t° the TMinM’* Btudeeo^taf^ phony, it yet represents the highest achieve¬ which will be in some grateful contrast to fessional musicians, as well as to the in¬ and string instruments. The sales of piano and their "ZtuV. ment in refined expression of musical ideas. the first—usually more romantic. From dustry. Represented in this great conven¬ accordions are advancing hourly and large ZlayZat this is imnosMhtc. factual ^Unm^tbecxams^d. The gi The string quartet was invented by the this point there will be a general working tion were The National Association of numbers of musicians in all fields are study¬ erfcit and o indication of the real maker. majority of labels m •— ------valuable oh take or Italian Luigi Boccherini—born in 1740 and out of the two themes, which will end in Eleven Outstanding Piano Solos Music Merchants (Charles E-. Wells, ing this instrument to meet the demand for We advise the owner of a suppos'd «__ ,v of such dealers c« died in 1805—who was composer of the a brilliant peroration much as the good President), The National Retail Musical reputable expert or dealer columns of The Etude and by Prominent Composers teachers. One firm exhibited at Chicago an be obtained from the adc other musical pa famous Mamet Celebre, in A, still a model essay or oration finishes in a glowing Instrument Dealers’ Association (Howard accordion valued at $1,000. Another firm of appropriate grace and elegance in both climax of fine rhetoric. R. Lyons, President), The National As¬ of wind instrument makers estimates that melody and rhythm. It is from his “Quin¬ The second movement will make an sociation of Sheet Music Dealers (Edgar business has advanced 35 per cent and states teachers and pupils I am asked to criticize • JOHN THOMPSON and have never heard them plav. How then tet, Op. 11,” which differs from a quartet agreeable contrast with the first. Thus it P. Hangen, President), The National that the saxophone is still the instrument Hide and Seek ---.30 could I give an intelligent opinion, without only in that it introduces an additional in¬ usually will be in a slow rhythm. It will Piano Manufacturers’ Association (L. P. most in demand. Companies that formerly the slightest knowledge of the teachers Puck . -40 method anil theories of teaching. So main strument with. its individual part in the be more poetically sentimental and will Bull, President), The National Associa¬ made mandolins and banjos now report playing scales, an» *h“* several other Ir-ac-her*—preferably In another chandise Wholesalers (Charles Sonfield, ‘ ~ ’~ r plays —* | , himself. In litv—and get their opinion as to the methods nature. But it was Mozart who achieved playful movement of the work. Originally to keep large factories running at capacity hat case it would lie - nother whlrh^ are^ being UHctMn bis cane, and the the heights of perfection in this, one of the most often in the form of a minuet, President). Accompanying the meeting eacher, who has good it • WILLA WARD was an excellent exposition of musical for a long time. Oni of the features of the s large enough to have most difficult forms in musical composition. Beethoven quickened the movement and de¬ The Trumpeters .30 merchandise of all kinds. convention was the introduction of violin It was exactly suited to his superlative veloped this episode into the Scherzo, or t Thirty-flv« R. K. Having studied the violin for seven joke, of the story. It is the comedy scene In all branches of the industry, encourag¬ horns and ’Cello horns, made by adapting .1. G.- ____ years, from^lhe age of seven to fourteen, with gift for exquisite, alluring and always ap¬ • MABEL BESTHOFF the wood-wind instruments so that long¬ eral years ago, I cannot say definitely what posite melody: to his polished taste in the of the drama in tones, to relieve the more ing progress was announced. The sales for progress vou could make, on taking up the polil Auer), uml having given up the study selection and handling of appropriate highly wrought emotions of the two pre¬ Little Caprice . 25 instruments in 1935 were reported to total necked horns can be affixed to the sound work again at the age of thirty-five years, of the violin for eight years, I should think $60,000,000. For the first half of 1936, piano without having heard you play, and learning your prospects would he (.right for further themes; to his elegance in expression and ceding movements. chambers. exactly what you had accomplished In your improvement. If you should resume, as yon his unerring sense of ensemble; to his Fourth, and last, will come the most bril¬ • HAZEL VOLKART flrst^years of study. As you are^plumdiig^to contemplate. Your repertoire contains some spontaneity in musical characterization and liant movement, in strong and rapid Oriental Dance .—...30 thatnwouIdUbeSaU.S to the development of your repertoire. The cious of gifts, to his unique talent for of vitality and dramatic significance; and Have You? Try three months‘of lesson, .Mowing books will Interest and help you: suffusing a work with that sufficient it will culminate in a grandly cumulative • MAXWELL ECKSTEIN of that time your teacher win ne am flollu Teaching and Violin Study,” by warmth which is necessary to excite and climax of radiant tone which will bring the tigeno Grueiil.org: •Violin Haying, as 'I Circus Clowns .-. 25 you if you are making satisfactory i each It." by Ismpold Auer: "Mow to Produce to maintain the interest of the listener. tale to a satisfactorily happy end. By Dorothy Freas and you. yourself, will be able to judi tice an hour and a half or two hou ltcintif.il Tone on the Violin,” l.y Helen The string quartet is built on what is These are but a few suggestions, but Circus On Review.—.. .25 and more if you are studying for Timmerman: "The Vlollnist'a Lexicon.” by fession. and I known as the general outline of the sonata. they may lead to a better enjoyment of the Have you tried a large piece of paper Have you used a small pencil mark to That is, it is a story in tones, developed exquisite art of the string quartet, than These numbers vary in difficulty from Grade Two to Grade Three. Ask your dealer for a descriptive thema- with a small square cut in it just the size in several movements quite similar to the which there in no composition more re¬ show a repeated wrong note? This can be t Brai tic circular, or, you may order them On Approval from and location of a difficult passage? It covers erased when the correction is permanent. the radio, from New York, is my son. lie is A. SI.—Whether you have made good prog, chapters of a tale. fined and more fascinating for the true a staff pianist of^the National Broadcasting ress or not. depends entirely on how well the publishers. the rest of the page and helps you to con¬ Have you tried changing the order of the you Piny the list of pieces and studies yon There will be a first movement to get the music lover. centrate on just the notes that seem “un¬ parts of the lesson for a beginner? Atten¬ pianist and composer, whose works are often send me. I cannot tell, without hearing yon story well and vigorously under way. It (.Incidentally, the synopsis here given will played by leading symphony orchestras. play them. You rannot expect to make good comfortable.” tion is held easier if the pupil does not If your violin, labelled Antonio IVdrinelll. is progress by taking only a lesson every other will be in the Sonata Form; that is, it will apply, generally, to the symphony, the con¬ Have you corrected a small mistake in a always know whether sight-reading, review genuine, it was made l.y a noted Italian maker week. It Is too long between lessons. You follow the contour of the first movement of certo, or to any composition modeled after TWO PIANO BOOKS pupil's performance of review work, only and is valuable. A lending authority- savs of should hnve at least two lessons a week from the sonata form, ivhich has so greatly in¬ or memory work is next. eni« . -Anfonio PedrlneMi, '(’respam. a good teacher. Bonis Spohr. the famous (5er- a well constructed sonata, in which there to find that more follow fast and furious? Have you worked on a difficult left hand (Italy) 1781-1834.i Hei... v originally a ear- man violinist and teacher said that a violin will be a strong, vital First Theme, which fluenced musical art.) A nervous child will play better without part, before attempting the rest of the new " ' under ' nd almost wholly pupil, to make proper progress, should have inline at least one lesson every day. In the United interruption. Correct him only at the end of piece? It always seems easier to fit the lodehn Stntes, violin pupils usually take only one a review composition. right hand to a left hand already prepared. Then lesson n week : but this is not enough, as they are apt to acquire faulty intonations and to grew. The tone of his Violins “is exceptionally forget by the end of the week what they good and PedrineUi is one of the makers who learned at the beginning. A lesson every other Do You Know maintained the reputation of Italian violin week, or one lesson a month ia worse still. "Music is a personal thing. I cannot live it for you any more than you for kmg, during the fore part of the lilth itury. His violins are listed in the catalogs me. Yet I have seen appreciation lessons with good materials ruined by dolin dealers at from $200 to Fnv"*( \KS.—t“£ ' Kti iis does not criticize the That the earliest records of music, as ments—as an indication of musical fervor? teachers who insisted that their interpretation must be their pupils’.”— $1. o quality. work of teachers. Yon can readily see that That the ram’s horn (Jewish shophar) is Franklin Dunham. I cannot criticize your teacher's methods of an art, in Spain, is the singing of Ziryab, teaching, when I know neither yon nor your a Persian from Bagdad, who settled at believed to be the most ancient form of the ,Kc B-—As an advanced violin pupil who teacher, nor have 1 ever heard yon play. Yonr wishes to study another instrument to edu teacher is wise in advising you to take two Cordova in the ninth century and founded trumpet, and that it is still in use? In harmony. I should lessons n week, instead of one. If you recog¬ a celebrated singing school. That the sackbut (trombone) was in¬ complete fd™e the Piano- The piano is a nized your mistakes, as soon as you made vented by a Spaniard about 1300? them, when practicing, it would he another That Spanish music, as a type, was matter: hut the trouble is that a pupil makes established by the production of “Carmen” That western Europe was the last part MI kinds of mistakes without knowing it. by Bizet (a French composer) in 1876? of the earth to know the drum, and that it when the teacher is not at his side to point AT THE ZOO TECHNI-CUES was brought there by the Crusaders ? The “eft haLrcan'^ede^pml'^'a them out. If you take a lesson every two That the Spanish style in music may be by weeks, ns you wish, you will acquire all sorts traced back to little songs of the shepherds That the tambourine has been unchanged b.y. extent by playing the guitar, as Paganini of mistakes and wrong methods, and your Louise Christine Rebe Maxwell Eckstein the piano.iano.Ut d 'S not to i’*1 compared to teacher will have to spend two or three les¬ in dramatic entertainments written by Juan for thousands of years? Price 60 Cents Price 60 Cents sons to correct these mistakes. If you knew ael Enzina, a composer who flourished be¬ That the flute received its name from a exactly how to^ play an exercise, yon conid (’hanging: Teachers. tween 1483 and 1494? small Sicilian eel, the lamprey, which has Descriptive and fascinating piano solos In An excellent second book for piano, contain¬ R. V C. and L. L.—Tn the second grade of difficulty which will de¬ undertake to criticize violin That Marines are called “leathernecks” seven marks like holes along its body, and ing tuneful studies, each one a page in violin department. I do not light and interest every child. Each is writ¬ length, especially valuable for the older the violin with y because their first uniforms were made with which in Latin was called a fluta? ten with a thought to technic, which Is so a leather stock about the neck? That the Pan’s pipes (forerunners of important in this grade of supplementary student. The object of each study is indi¬ That Greek trumpeters, centuries before flutes and organs) are the oldest, and material. cated and developed in a practical pianistic Christ, used to boast of bursting blood surely the most widely used, of all musical Hints From Chopin "I consider AT THE ZOO one of the way. One of the outstanding new books. vessels by hard blowing of their instru¬ instruments ? finest books of its kind—well-written and By Mary E. McVev splendidly illustrated." advanced teaching ideas of Chopin. C ing, or of the particular technical device. SCHROEDER & GUNTHER, Inc. trary to the notion prevalent during Another valuable suggestion left us bv Mark Twain's Favorite Music 6 East 45th Street Music Publishers New York, N. Y. time, that a pure finger technic was t> Chopin is that piano students should listen to singers as much as possible and study Chop n wrote a number of Etudes wh INTRODUCTORY OFFER E. O. 36 revealed his knowledge of and preferc; singing, themselves. Rubinstein and von Go Chain the Lion Down for the principles of relaxation and a Biilow gave similar advice. The latter SCHROEDER & GUNTHER, INC. said, “We learn too little from singers. I Swing Low, Sweet Chariot 6 EAST 45th ST., NEW YORK, N. Y. advise you to go to hear some such artist ‘wains daughter, Mrs. Ossip Gabi Ever Lighter Grows My Slumber— Enclosed one dollar ($1.00) for which kindly send postpaid one copy of each of the above as Mme. Sembrich. From her you can ,?c ’ following list of compositi new books. • i. ' .are said to have been the g Brahms learn much that will be of value in de¬ To:— veloping a singing tone at the keyboard.” m°nst s best liked pieces of music. Lullaby—B rahms In practicing Chopin's music it is helpful, Scarin’ Area’, Jean Serenade—Schubert wrote pianistically; ,],e to the student whose rhythm is somewhat How Gently, Sweet Afton Street. . sages in his works can be solved and m weak. to accent the bass note at the be¬ omc Laurie Ave Maria—Schubert tered by the discovery of the proper fingi ginning of each measure, thus making the anks and Braes of Bonnie Doon Almighty Jehovah—Schubert City_—..State.. left hand a sort of orchestral conductor. THE ETVDE 0Ct0BER, 1936 661 QUESTION AND ANSWER DEPARTMENT Conducted by Why Do Musicians Thank Us Profusely? WHERE SHALL I GO TO STUDY? Karl W. Gehrkens The Preschool Music Class Because They Say We Send Them Professor of School Music, Oberlin College By Josephine Canfield Musical Editor, Webster New International Dictionary Private Teachers (Western) ALFRED MIROVITCH No question will be answered in THE ETUDE unless accompanied by the full and address of the inquir- ” • - ' - • > . ARCH BAILEY

!^?An98k teacher and to the children themselves, that boys andwill like Ho, ,o be a FanZ

HOMER MOORE inaugurate’such XLS’ta contecdo^wid! enjoy Tinging" VERA BARSTOW thThePrbInefitiear0e"Siasting and far reach- games such as FImTdYou ing: the child’s feeling for rhythm is de- nor. The Mulberry Bush, A-huntL ,ye ,,c^:S5SH£3^i,s veloped appreciation of the best music is IVill Go, should be used occasionally JOHN A. PATTON early instilled, and freedom and practice m Dances jnay begin in the simplest man- self-expression are afforded te c ^ »"• finerVe^ for ui'emsTves'.'asTr'aT^' to sible. For example, suggest that the little

Vidfniti EDNA GUNNAR PETERSON

229 Sc. Calif.

CHARLES DALMORES EDOARDO SACERDOTE r!’on!d kTdngTenter"sT’T'Tr" n'arTing. nTa 'circle" ahl!".^'i-n'aguun'1 and so on. The class should meet for an Steps from folk-dances are quickly learned =F The lesson period n Now located at 6054 Yucca Mr^d ABBY DE AVIRETT teen minutci’each : (a)''rhythm’drills, (b) "ti'ic' rhythm'<>rchTsirI"'/TrhaTs^fiHs the

ANDRES DE SEGUROLA

LILLIAN 1 BERTHA VAUGHN eTee-B^teAl

—.. HOLLYWOOD OPERA COMPANY Private Te/

Singers KATE S. CHITTENDEN

Other'r . , ^ ____ , Horses (Cavalry Trot by Rubinstein) Tthe t(> *** training as this makes the children first listening to the music, then Preschool music class one of the most grati- trottmg as they think a horse trots; Gal- >'>'ing of courses. Through it the scope oi HAROLD HURLBUT mS and' nZ‘y od^r "“si 'T ^ h' mUSiC tcacht;r is and'. b>' 'JC

Cf8rse-»en STUDIOS t of all fine arts-Music.

'nk LaF°rge t6aCher TibbeH 5inCB ° l4WKWa».^Y0RK Finishing That Piece

RICHARD McCLANAHAN By Edna Faith Connell ' " » TOBIAS MATTHAY

FRANTZ PROSCHOWSKI

DR. GEORGE LIEBLING Ne"Y< MaSteTre?clhiSnae^tJ;n/' 1“'?' ^ 5S33,^«Sivd.^,Sa,, • EDWARD E. TREUMANN

MARGARET ELLEN MACCONACHIE Recommended by Emil Von Saner and Josef Hofmann I

THE ETUDE A Great Poet as Music Critic VOICE QUESTIONS

(Continued from Page 651) Answered

By Frederick W. Wodell asrj** sr' tgiEEfs scm t as

t i”h0aai,r,“ Schools—Colleges braun L converse COLJJEGE KN0XZL'~«®sS.»^ Schoof3 Education ^17^°

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^ 103 East 86th St., New York, N. Y. Louise Weigester School 160 West 73rd St. New Y.-u Katherine Carey Successor to Mrs. Babcock's INTERNATIONAL MUSICAL sSIKeatre and EDUCATIONAL AGENCY

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October, mr, Mastering Skips in the Exercises that Strengthen Train for Professional Success Waltz Bass the Fingers Internationally known artists bring their varied ex¬ perience and teaching methods to the training oi Sherwood students for professional success. A con¬ By Ruth Dynes By Arthur A. Schwarz AMERICAN venient location in the cultural heart of Chicago affords opportunities for wholesome recreation and broaden¬ In playing skips in the waltz bass, the 5. Come down straight, and play the After the great Isidor Philipp, whom ing contacts. D-flat. arm should be thrown from the shoulder; lames Huneker called the modern Tausig CONSERVATORY Fully accredited instruction. Courses lead to Certifi¬ and the notes or chords should not be 6. Throw the arm quickly up the key¬ cates. Diplomas and Degrees in Piano. Violin. Voice. (“Mezzotints” by Huneker, in the chapter played until the hand and the fingers are board until the 3rd and thumb rest di¬ on piano studies), has tackled technic, as in Organ, Cello. Wind Instruments. Theory, Composition, rectly over D-flat and A-flat. Public School Music. Band. Orchestra and Choral Con¬ in the correct position over the piano keys. his monumental “Complete School of Tech¬ ducting. Class Method of Teaching Piano and Band This gives a better tone than if taken “on 7. Play this chord, and again throw the nic” one would say that all the possibilities OF MUSIC Instruments. Microphone Technique, Dramatic Art. the slant” and it also prevents fear of arm until the 5th finger rests directly over of the subject had been exhausted. At the E-flat. Play Production. Liberal Arts and Dancing. playing the wrong keys. risk of seeming presumptuous, I offer some Student aid and scholarship opportunities for de¬ In playing such a passage, for example, 8. Come down straight on the E-flat, fingerings for double-note study, which I serving pupils of limited means. Dormitory. as these measures from the Valse Brilliant, and once again throw the arm until the have nowhere encountered. To be sure, Founded in 1886 by John J. Hattstaedt, today The American Conser¬ by F. Chopin, 2nd and thumb rest directly over E-flat these fingerings have, some of them, been vatory of Music is outstanding among institutions for music education SEND FOR CATALOG and G. used in double-note trills, but I never have in this country. Its graduates are to be found occupying positions of In the last measure there will be no found them recommended for scale practice. honor and responsibility in every department of music. throw of the arm because A-flat can easily The 'results gained by their application, SHERWOOD MUSIC SCHOOL be reached. I append two more exercises which especially after using the rhythmic sugges¬ 410 S. MICHIGAN AVENUE, CHICAGO, ILLINOIS The motion of the arm from the shoul¬ for those only with strong fingers and The Faculty—One hundred and thirty and Teaching Eng 1. Let the hand be outstretched, with tions of X Philipp, will prove a revelation. artist, teachers of national and interna- der, up and down the keyboard, may be wrists, and a good stretch; though, if used The scales should be practiced in two or the Sth finger directly over the piano key, represented as something like this with the utmost discretion, they are excel¬ more octaves and in all keys. One octave, A-flat. Up the keyboard lent stretching exercises. As they are ex¬ Accredited Courses are offered in Piano, 2. Play A-flat and then throw the arm only, is here given; and the left hand is to tremely fatiguing, they are not to be played Vocal, Violin, Organ, Orchestra and quickly from the shoulder, up the key¬ be played an octave lower than written. more than three minutes. Band Instruments, Public School Music, fyp Qlriielattii Jnalitate of fl)ufitr board until the 4th, 2nd and thumb are Children’s Piano Work, Class Piano, Mu- resting directly over the keys E-flat, A-flat 1ff~ Ac Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma and C. 5 4 2 1 Public School Music Course in conjunction with Western Reserve University 3. Come down straight, and play this Down the keyboard BERYL RUBINSTEIN, Director, 2605 Euclid Avenue, Cleveland, Ohio chord twice as written. catalog which will be maile 4. Throw the arm quickly from the shoulder until the 5th finger rests di¬ Students’ Self Help-The OBERLIN CONSERVATORY OF MUSIC Qo you take advantage of the many rectly over D-flat (always keep the hand Eb, Ab, C to'AMB: excellent merchandising oppor- outstretched for this kind of work). 4 2 1 For^entranc^ school^'OT^^eQuivahsnt^^bornUtoTies' tun't'eS which ETUDE Advertising i-alaliS! ra°C Frank H. Shaw, Dir., Box 5106, Oberlin, Ohio Columns offer yOU ? The Problem of the Adolescent Student For free catalog address John R. Hattstaedt, Pres. ATLANTA CONVERSE COLLEGE SCHOOL OF MUSIC FOR WOMEN CONSERVATORY of MUSIC (Continued from Page 616) These same fingerings should be used for AMERICAN CONSERVATORY OF MUSIC HUGH HODGSON GEORG LINDNER SPARTANBURG, SOUTH CAROLINA An Endowed Professional School, Nationally Example 2, which is also to be played in 575 Kimball Hall, Chicago, Ill. Cour«?!rnCmNO. VOICE, VIOUN,°0RGAN Accredited. Full B. Mus. Degree and Diploma all keys, ascending and descending. PUBLIC SCHOOL MUSIC, NORMAL TRAIN- Courses. College Environment. Teachers of of a lighter nature. Our problem, as all chord inversions, as part of this same ING, DRAMATIC ART AND DANCING National Renutation. Artists’ Concerts. One need only play the scales and Ex¬ teachers, is to chart a course that will be routine. The last portion of his first lesson Catalog upon application Moderate Tuition Fees. ample 2 in D major and E-flat to realize of immediate use to them and at the same consisted of a penciled manuscript copy oi the tremendous difficulty of these technical Especially beneficial are these exercises time guide them toward definite and solid a simplified arrangement of Harvest Moon. achievements in music study. Was he going places! inventions. The benefit of their study will in revitalizing piano technic after several be apparent at once. years’ inactivity. ESTABLISHED 1857 Before the summer was over he had been TRINITY COLLEGE OF MUSIC A Conflict of Emotions SCHOOL OF MUSIC led painlessly through all chords and their (LONDON) ENGLAND THIS PARTICULAR adolescent relation to one another. In spite of himself (Instituted 1872) OF THE UNIVERSITY OF MICHIGAN PFARfinV CONSERVATORY needed an incentive to study. His he had become interested in Victor Her¬ President Complete curricula leading to degrees in 1 LrlDUU 1 BALTIMORE, MD. music lessons were pointing in one direction bert, and Fritz Kreisler’s transcriptions, A Game of Flats The Right Hon. Viscount Hailsham all branches of Music. Faculty or distin¬ OTTO ORTMANN. Director and his desires in the opposite. His only and he had a speaking acquaintance with a of Hailsham, P.C guished artist teachers. Concerts and May One of the Oldest and Most Noted Music Schools in America. defense was to get over the “tough” parts Chairman Festival by world's greatest artists and few- of MacDowell's easier numbers. He By Harold Mulinex Sir Granville Bantock with the least possible effort and interest, was actually beginning to respect them. organizations in Hill Auditorium seating and to glean what enjoyment he could EXAMINATIONS teted by the Col- 5,000. Chorus of 350; student symphony He became acquainted with and liked his lege throughout the t uding the TJnired orchestras, glee clubs, bands, etc. Recitals from the lighter portions of his lessons. instruction book. He went to his new After the playing of the old lesson, do hesitates too long in deciding about the States of America, to. . —--5’ Diplc—r-, Do We Listen Enough? I insisted upon working with an instruc¬ you dread to start the new lesson? Does note. Pupils’ Certificates in all Musical Subjects; also each week on $75,000 organ, teacher in the fall with more or less Elocution and Spoken English. tion book, and in this he acquiesced will¬ stoicism, it is true, but he was beginning the eternal forgetting of the sharps and The first time the pupil misses, the pi" Second Semester "71 By Mary Earle Gould ingly. I took his own book, which was flats in the new exercise irritate you to teacher should chide him just a little, in Full particulars may be obtained from the States to understand the necessity for work, in the National Chairman, Dr. Becket Gibbs, F.T.C.L. Fe^tSth John M. Williams’ “Second Year at the building of anything worth while. And per¬ the point of nervous exhaustion ? If so, try much the same manner as one of his play¬ 99, Claremont Avenue, New York City; Syllabuses, 11 ! OO MUCH stress is laid in the be¬ quickly. Can we possible get any tone when T Piano.” For the first lesson I eased him haps most important of all. he derived the this simple little note game. It actually mates would be apt to do. When the in¬ Text Books, Music, etc. from The H. W. Gray ginning of piano lessons on hand the blow on the key is so sharp and then Company, 159, East 48th Street, New York City. into shallow water. No scales were given. most fun of his life from his daily practice teaches the pupil to remember sharps or correct note sounds, the teacher should position. The child becomes so conscious has to travel all through those joints to Those would come after about three les¬ periods. It is true that at this time, so tar flats as he reads, and most pupils love to make the mark at once (even though the of how he is holding his fingers that all the wire ? Rather think of staccato as C. N. H. Rodwell, Secretary sons, when he had been shown that he I'lay it. correct note might be played immediately), Trinity College of Music, London, music, all beauty, is lost. touching a spot that is hot, and quickly as his understanding has developed, he still could derive some real fun and satisfaction has a desire to play "popular" music; but ‘ Jim,” we say, in introducing our little and say, “Aha, now I’ve got one.” Jim Cable address:—’ wrWesdo,-J“ London mmw-MUSICALm-j ARTEqF Do we tell our pupils that the white snap back the hand at the wrist, after the from practice. Falling Stars was selected game, “what do you see at the beginning will usually learn to remember so well ivory key is at the end of a long stick, that no one can force a youngster’s ambitions note is played. This makes tone. And later for his first exercise. He strolled easily of this exercise just after the clef signs, that in a short time it will become neces¬ sriSSSSS&ssi in turn is fastened to another stick, and experience will guide the children in adapt¬ into unwanted channels. And as to this over the preliminary exercises, and was desire to play “popular” music, is it wise and before the first note?” sary to decrease the number of missed flats that is fastened to a hammer? And that ing staccato to express the kind of tone really interested in getting into the piece for us to refuse to recognize this phase of “The time signature.” allowed if the game is to be kept interest¬ LAWRENCE COLLEGE hammer is sent up to hit the wire when needed. No simple music that lies within itself. His grasp of the beauty of the little American development? It is here, and the “Correct. What else?” ing. This game is valuable in teaching the CONSERVATORY OF MUSIC w;e strike the white ivory. Now all of this the scope of children need be brittle stac¬ song was surprising. “One flat.” child to think the flat rather than to depend is done in very quick time. But just stop youngsters insist upon participating in it, cato. Another way to fix the tone of a I said “Now we are going into chords,” upon hearing a bad sound and then cor¬ and think of those actions when you play staccato note in the mind is to say a sen¬ whether they do it W'ell or very badly. JEAN WARREN CARRICK and his face fell. Then I explained that the recting it. and see how differently you feel about tence-first very staccato and then not so Music teachers will continue unable to chords we were about to learn were the Jim will recite B-flat and point out sei your touch on the white key, and about much so. This can express the more at¬ obtain even half cooperation from their same as ^those used in accompanying the . of them on the piano to get the your listening to the tone. You will con¬ tractive way. students of adolescent age, so long as they old time square dance” music, and he was Positions well in mind. centrate then on the quality of the tone, An interesting way to teach a child give them for lessons only that which repre¬ Bringing Dp the all eagerness. We began with tonic, domi¬ Let’s play the flat game, Jim." At th and, expressed in color, your tones are beautiful tone in vibration is to put on the sents hard work and nothing which they nant, and so on. In one lesson he learned point the teacher should form a roug Left Hand MILLIKIN CONSERVATORY OF MUSIC Secretary Western Office going to mean much more to you. soft pedal of a grand piano, and then to can recognize as being of immediate en¬ the entire routine: tonic, dominant, tonic estimate in his mind of the approxima DECATUR, ILLINOIS Place yourself away from the keyboard, show how the hammer strikes but one wire. joyment and use to them. The teaching of subdominant, dominant, tonic ; which is the "umber of flats in the exercise. “Watc By Gladys M. Stein Offer, thoro training in mulic. Courie, leading to as it were, and listen. Children can do this Playing on one wire makes an unusual weH known “chording” enjoyed by ‘ our this type of student is fifty per cent a psy¬ Bachelor of Muiic Degree. Diploma and Certifi¬ chological problem and the other half a carefully for the flats, and for every fl; cate in Piano. Voice, Violin. Organ. Public School Answering Etude Adver- T| very early. They should become tone con¬ vibration and will stimulate the child's lis¬ grandfathers and revived by this genera¬ doling piano pupils in the early part of A question of leadership, presenting to and you miss or I have to tell you about, Muaic Methods and Music Kindergarten Methods. I scious and not finger conscious. Then they tening to tones. tion. He learned the progression in all kevs second grade often have better control Bulletin rent free upon rcqmrt tisements always pays I* relax muscles and touch the keys with a instilling in the student a knowledge and will put a mark at the top of the pag Normal children are ever alert to sounds by counting whole steps and half steps their right hand than of the left. W. ST. CLARE MINTURN, Director feeling for the beauty through the tone. understanding of the basic, fundamental « you have more than five marks again and delights the reader. JJ —they are more sensitive, remember, than from tome. He learned in that first lesson /ery few of these students are inter- u Staccato is badly acquired in the early facts of all good music. Make joy the key¬ when you finish the exercise, then adults. Teach them beauty of tone and do to build triads on any key. Later he learned sd in doing extra practice on the bass stages. Tell the children how chickens pick note of all your work. !m’ lf there are five or less at the finis! not hinder them with too much about mus¬ then you win.” ts of their regular pieces, but if the up a piece of grain—pecking it so very cular position of the hands. cher will give them a book of tuneful J'm W1" J>e extremely cautious to mal “I should say a great detriment to success is envy, and whenever the musi¬ e tnat he does not overlook any. If 1 t hand solos such as “Five Little Tunes Five Little Fingers” by Mildred Adair cian has it, he stands weakened before his profession and his auditor. It is "To bathe in the glow of the mighty masterpieces of genius neutralises imrT? ?ver‘y cautious, making the rea< always proper to admire, applaud and acknowledge greatness in others, and if much that is evil.’’—Moore. gymnastics of the affections In ,,11 \ica,,°.n °f »’»n without music. It u aborious, then t,1e teacher should ad 1 inspire them with the idea of learning icthing different, they will soon develop you are worthy, you will very soon find that the ivorld acknou’ledges that in sary to keep body and soul in health:’— Richter°" rxcrc^s, it is m marW SCOring P°int—the right to take you.”—John Philip Sousa. 666 Wk for himself, every time the pup lazy hand. THE ETUDE October, 1936 667 Quicker Practicing By Louise Gros ‘Qw “MUSIC HUNTING” made easy Publisher’s With many young pianoforte students ing up the suitable speed of the piece. A Bulletin of Interest for All Music Lovers practicing a new piece consists in playing Each succeeding phrase should be prac¬ • The conveniences of “Presser Service” it through from beginning to end (usually ticed in the same way, joining it to the enable you to select, right in your own far too quickly) several times in succession, previous phrase (or phrases), until the en¬ home or studio, just the music you need. making the same mistakes in time or notes tire piece can be played through slowly, in every repetition, until these mistakes be¬ and without any mistakes, several times iii come a fixed habit difficult to correct. succession. The best, and in the long run, quickest From these slow beginnings the speed of the piece can be gradually increased, until PRESSER SERVICE includes: - way of learning a new piece is to practice The Cover for This Month each phrase alone very slowly, with sep¬ the correct tempo indicated has been at¬ Advance of Publication Leading the World Promptness in Filling Orders from the arate hands, paying strict attention to such tained, when the finer details of interpreta¬ The Etude is in¬ Offers—October 1936 debted to Dr. Josef Largest Stock of Music in the World details as right notes, fingering, and time, tion, including pedaling, can be attended to. Charge Account Conveniences Practicing a new piece of music is like • In the Olympics at Berlin, the athletes Hofmann for his gen¬ and insisting on every repetition being ex¬ All of the Forthcoming Publications erous courtesy in Libera] Professional Discounts actly the same. learning a piece of poetry, each sentence of in the Offers Listed Below are Fully of the United States piled up more points lending from his per¬ Music Sent for Examination To play a phrase incorrectly after per¬ which must be learned separately. No one Described in the Paragraphs Follow¬ than those of any other country. As one sonal collection a A Large Corps of Efficient Music Clerks haps two correct renditions, simply nullifies would be so foolish as to attempt to try ing. These Works are in the Course of sports’ writer put it, “The mark of a highly prized auto¬ Preparation. The Low Advance Offer to Help You in Making a Selection the good of the two previous repetitions, to learn a whole poem, or even one verse, champion is that he can ‘take it’.” The graphed photograph and practically means starting all over all at once, yet this is exactly what many Prices Apply to Orders Placed Now, of Anton Rubinstein with Delivery to be Made When thing that gives us the most confidence again; hence the importance of slow prac¬ pianoforte students try to do when they for reproduction on Finished. about American progress is that we, as a tice with the mind keenly alert all the time. set out to practice a new piece. the cover of this issue. The great Anton It may take a dozen or more repetitions, In studying a new composition it is not Fourth Year at thb Piano—Williams $n sn nation, have shown indomitable signs of My First Song Book—For Little Pianists endurance. “We can take it.” No matter Gregorovitch Rubin¬ depending on the difficulty of the piece, and the constant repetition which makes perfec¬ —Richter . stein was born in Vichvatinets, Bessarabia, the technical ability of the pupil, but the tion, but the "making haste slowly" that Pianoscript Book for Beginners—Jonas. .. what happens, we laugh at fatigue, disap¬ November 28, 1830. He died at Peterhof, PRESSER'S “ON APPROVAL” PACKAGES time will not have been wasted; for the will ultimately bring success to the pupil Presser’s Concert March Album for Or¬ pointments and obstacles. near Petrograd, November 20, 1894, when his details will be fixed, and mistakes will be who has the patience to work towards this chestra-Parts, Each. American musicians who stuck it out celebrated pupil, Josef Hofmann, who had less likely to occur when it comes to work¬ very much to be desired goal. Piano Accompaniment . been world-famous since he was nine years Presser’s Two-Staff Organ Book during the great depression, which was in of age, was nearing the age of nineteen. Recreational Album for Duet Players no sense a local depression in music but a Rubinstein lived in Dresden the last several -Piano, Four Hands . world-wide financial debacle due to the years of his life and while he lived there Sea Album, the—Piano Solo Collection . .. Great War, are now reaping their reward. Josef Hofmann travelled twice a week from "Time” Third Year at the Piano—Williams. Berlin to Dresden for piano study under . , Three hundred percent more pianos were Thirty Rhythmic Pantomimes—Riley, ■ Rubinstein. Gaynor and Blah- ^ sold in the first six months of 1936 than By C. F. Thompson under iHE Big Top—Piano Solo Album . Space here does not permit detailing of Young People’s Choir Book—S. A. B. in 1935. More people are realizing the his tours and the various incidents of his practical importance of music study to the individual, to the successful career, but music folk of the HEN young beginners can play eighth notes are “faster.” This is often at¬ United States no doubt will be interested in family and to the state, than ever before. Capitalize these the recalling of his visit to the American quarter notes and those of longer tacked by counting the eighth note as the opportunities by new efforts to secure larger classes, new continent in the season of 1872-1873 when value steadily and in good time, the teacher beat note in practice, and thus making, for A “Telescope” for Music Lovers recitals, new study of up-to-date teaching material. If the he played 215 concerts. He was one of the is apt to brace himself and attack eighth example, two measures of four eighth notes To the naked eye, only the most brilliant Olympic victors had not prepared for their great effort, the greatest of all the pianists of the world, notes with about the same enthusiasm he in one real measure of four-four time. But rivalling the supremacy of Liszt with his of the stars are recognizable in the heavens. United States would not be leading the world in that field displays for leaving the house when the when the pupil returns to counting one to Through a telescope, however, the many less amazing technique and the fire and soulful¬ thermometer reads ten below. a quarter, the trouble pops out again. brilliant stars become recognizable and can right now. ness of his playing. He was a master piano Very often this attitude seems to be jus¬ A method which has given better results be located with little difficulty in the constel¬ pedagog and a fluent composer. Some of his major works, including operas and oratorios, tified. Why should a child who can under¬ in some cases is this: Explain to the pupil, lation to which they belong. In many ways, The Etude Historical Por¬ are seldom heard to-day. Much of his cham¬ stand that a half note is twice the length of not that he must “get two eighths into the ber music, lighter compositions, his songs, a quarter, and who can tell one glibly that time of a quarter,” but rather that he has trait Series is like a telescope—a musical tele¬ scope-focused oil the “stars” of the music the church or Sunday school pianist, as the mixed voices and Once a Night in Bethle¬ and one of his symphonies (Op. 42, Ocean). a quarter note is twice as long as an eighth, plenty of time to play the eighth notes, be¬ pedal notes printed on the lower staff hem (.12) is an anthem to be sung a cappella. keep his name among the immortal play the eighth notes as if they were only world. Through it you can sec not only the cause there arc only two of them to each famous musical celebrities of the past and played by the left hand. Incidentally, there is a new anthem for about thirty-second notes in time value? quarter note. This method has steadied present but also those less prominent (but Truly, there is an exc:ceptional , opportunity Advent published this year. It is entitled who would like to know more about We see this fault all too often. more than one pupil, and banished forever nevertheless important) in their various for■ur cuuuuuyeconomy -,-.-in repertoire maintenance - How, . Beautiful- .upon : the, Mountains,, . (.12). . the life of Rubinstein now that they are in Perhaps it is because teachers are apt to the hurried feeling before experienced in fields of musical endeavor. Brief biographies ordering a copy of this book at the special and is a composition of William Baines. possession of so excellent a portrait as given . ■■ iV —i —:— An —n T«In Anirschoirs wtipwwhere the feminineff'rnlnin,, sectioncf.ntir»n on the cover of this month’s issue of The impress upon the pupil’s mind the idea that playing eighth notes. "locate” these individuals—tell where and ..„ of publication cash price, 40 cents 8 when they were bom; where, what, and with copy, postpaid. sometimes depended upon for the entire musi¬ Etude, may obtain in The Etude Musical 'vkom they studied; and what they accom¬ cal program, and in young ladies’ schools, Booklet Library series for 10 cents a short plished. academies or colleges, the new arangement for biography of Anton Rubinstein by Dr. James Christmas Music three-part singing of Chas. B. Hawley’s can¬ Francis Cooke. Forty-four pictures with biographies are tata, The Christ Child (.75) will be most wel- Hallowe'en Spirits Go Musical presented each month in The Etude. Over As you peruse this copy of The Etude and This has been one of the most popular Presser’s Concert March Album WOO have appeared to date and there are eve lights on the above caption you may rh l its arrangement for almost as many still to come. At least, the I « nnt so Gnristmas (Continued from Page 612) be” startled;-- ' but,, really.■ Christmas, cnoirschoirs ofoi mixedmixea voices anaand it lenaslends luseiitself read- for Orchestra scries will not be concluded until everyone far away. Indeed, many choirmasters, organ- tQ ^ new three t arrangement. deserving of recognition in the field of music ists and those having m charge the selection ^ . . . Concert orchestras, especially those formed has been included. Choir soloists will enjoy singing Harry of student musicians in high schools, acad¬ Jack-o-Lantem. “The one that James of music for the church have already sent in Alexander Matthews’ new Christmas solo, Almost any of the numbers given may be inquiries and requests For new material to Vivtn WnQ Rnrw (R A emies and colleges, find frequent use for Whitcomb Riley told about in his beauti¬ 'th^ ?y°U ^°°k and enjoy this spectacle King Was Born (.50). It is published for omitted, or others more available may be look over with i m * o arranging""" the Christ- marches, not the type used by bands for ful poem. Norma Stevenson says it finely, both high and low voice. parades, but the more stately concert march substituted. To assist in making any needed Anyone desiring extra copies of this or any mas program. For the organist there is a brilliant new and I am asking her to speak it for us changes, a list of compositions, suitable for previous installment for scrap-book purposes Now is the time ioi senusend tolo Theodore transcripti of the assembly or festival program. to-night.” cription of Silent Night (.50) by Clar- In order to insure a variety of such mate¬ such a program, is added. can obtain them from us at the rate of 5 Presser Co. for music to examine and for 0nee. _ Kohlmann.K”h Detach and Mail this Coupon a sheet. rial for the repertoire of these organizations, (Norma speaks) Ghosts and Goblins.Johnson information on Christmas publications. An Those seekings music for Christmas Jack-o-Lantern. “Now, Mr. Ghost, we will especially trained personnel which includes tainments wiu l>e interested in two new read- the publishers are issuing this inexpensively Witches .Rogers priced compilation, the arrangements of which THEODORE PRESSER CO. have some pieces especially to please Presser’s Two-Staff Organ Book individuals actively engaged in church work ;ngs wjth musical accompaniment bv Frieda you.” The Ghost of the Haunted as organists, choirmasters and soloists, will j.evc]ie_^christmas Eve (.50) and The Christ- have been made by a skilled musician from 1712 Chestnut St. Date. For One or Two Manual Organs the compositions of outstanding American Philadelphia, Pa. The Ghost.Wright Grange .Ewing gladly assist you in making a selection. Write Spirit (.50). It has been the publishers’ experience that and European composers. While the instru¬ Spooks.Gailup The Ghost in the Fireplace_Crosby fully, describing your needs and request the . of t[ie aboye mentioned new publica- Gentlemen:—Send me, in accordance with your "On Sale” plan, the packages ew organ book is about the most appreci- material “for examination. Send for colder tjong> ^ wej[ as thousands of other Christmas mentation, as will be noted, includes all of The Jolly Phantom.Baines A Ghost Story .Berwald announcement among the forthcoming P-2, Christmas Music for the Church; r older num^ers? may be had for examination from the instruments of the modern school orches¬ music they contain, keeping and paying for only the music I use and returning A Ghost Came Creeping.Ketterer March of the Hobgoblins.Crosby pnbhcations described in this “monthlv let- P-13, Christmas Solos and Duets; or, if you Theodore Presser Co., 1712 Chestnut St., tra, smaller groups may give an effective per¬ for credit the balance. formance of these marches. The piano part (Ghost leaves the stage.) Goblin’s March.Preston no ,reaSOn for lhis is obvious. Probably are interested in day or Sunday school enter- philadelphia! Pa. Jack-o-Lantern (looking around surprised) tainments, ask for Folder P-10. These may be will be cued in for use as a Conductor’s Score. Package No. Package No. Package No. Package No. March of the Goblins.Overholt m.nj j en£al=e|I musician has greater de- The instrumentation includes: Solo Violin, “Why, where are the Witch and Goblin ? toiiT m!!de,upcm ,lim for an extensive reper- had FREE for the asking. . Package No. Package No. Package No. Package No. Hobgoblins.Harris An exceptionally fine lot of new Christmas Going to Move? First Violin, Violin Obbligato A, Violin Ob¬ And even the Ghost seems to have dis¬ ebii.'l,aaa frequently, especially in smaller bligato B, Second Violin, Viola, Cello, Bass appeared! Such is the power of music Hallowe’en Parade .Terry compensation received does not music is being published this season Last . . , ,, . .. TTarrv Patterson Hopkins contributed If you are going to change your address, Flute, Oboe, First B-flat Clarinet, Second to dispel evil spirits. Well, let’s have Dance of the Witch Doctors_Ewing ^nitfe ouflayof any considerable sum for easv-to-sing Irran^ments ?of Three Polish don’t forget to notify The Etude. The U S. B-flat Clarinet, Bassoon, E-flat Alto Saxo¬ some Jack-o-Lantern pieces, anyway.” Hallowe’en Pranks .Rolfe Christmas Carols (.15) that were acclaimed Post Office will not forward magazmes with- phone, B-flat Tenor Saxophone, First B-flat forevm* L°olc,of 0rsa" music is an economy March of the Pumpkins. Copeland Nightmare .Bennett evervwhere thev were heard. He now presents out payment of additional postage Failure to Trumpet, Second and Third B-flat Trumpets, at tl,„e y c. ,rcli musician, this new volume First and Second Trombones (Bass Clef) or Name. Hallowe’en Frolics.Overholt Jack o' Lantern.Baines another Polish carol. Gently Rests the Saviour send us notice of any change in address will Jack-o-Lantern Parade (duet) .Rapelje an unusSdfiadVauCe °-f Publica,ion Price is *08) arranged for mixed voices. Mrs. R. K. therefore require payment of forwarding Baritones, First and Second Trombones The Ghost .Wareing Kenemoj 7 fine harPain. It will contain a (Playlet may end here, or in case the Forman, whose flow of inspirational melody postage delay delivery of your copy and risk (Treble Clef) or Baritones, Homs in F, E-flat Street or RFD. ... ludes (f™ e.ctlon °f material for use as pre- Homs, Tuba, Tympani, Drums and Piano teacher takes the role of Jack-o-Lantern Jack o' Lantern .Morrison seems practically inexhaustible, is offering a loss_ in... the mails. PromptPromnt notice (four weeks two stavl 0nr and postludes. all printed on advance, wherever possible) will enable us (Conductor’s Score). which simplifies the order and announcing The Witching Time o’ Night. .Crosby on organs an.d.?°.arra"g«l as to be effective set of Tiro Christmas Carols—The(Message City or Town.. State. of the Angels and Beautiful Star of Bethle- correct our records and continue service In advance of publication orders may be of the musical numbers, she may now close Hallowe’en .Burleigh f!»ge2 i! u'le,i registration. This ar- placed for the various instrumental parts at hern (.10) arranged for two-part singmg, imnr new address without interruption. organk it, h°LUld ,Prove of real help to the 20 cents a copy, postpaid; the Piano (Conduc¬ thew/r%g/ramny Plarng some such number 4 Hands preferablv for treble voices. Lily Strickland, yourself unnecessary inconvenience. as Witches Dance by MacDowell.) Hobgoblins .Williams the individual^ '-Ule tlme for Practice, to i i *1 A__ u-nmnn romDOSer, IIIIS tor’s Score) at 40 cents, postpaid. This col¬ (Curtain) organ nr wbo ,IS. accustomed to the reed 53K33 £3=American wum*" " . *-X. n being sure to give BOTH your lection will be sold only in the U.S.A. and its Danse Grotesque .Berwald ,0 plav H,Pla”° 8nd 's suddenly called upon (Continued on page 670) 668 y the P,pe organ; yes, it will also serve J-TaT*:n aM&S^^rand OLD and NEW addresses. THE ETUDE v v Advertisement Ktober, 1936 669 World of Music Young People’s Choir Book Duet Players-For the Piano Serving Up the Turkey A Word of Warning Under the Big Top Recreational Album for For Three-Part Mixed Voices A Collection of Circus Pieces publication of them in sheet music form is {Continued from Page 608) November and De¬ MUSICAL LITERATURE You may never meet up with a m£_, In the making of “home music ’ no more nece arv From some of the best of these (Soprano, Alto and Baritone) _„ _ __|__ „ ______‘beat” (one who solicits magazine subscrip- For Piano easily arranged rendition of other than solo cember bring the holi¬ issued in recent years the editor ire to , 1 THE “DIAPASON” PRIZE, offered through The breaking up of a well trained group day seasons when Cooke. $1.00 tions and fails to report either orders c Everything about performances is feasible than the playing of ing this Recreational Album for pla.seis „f young singers is most regrettable and yet money collected). We hope you won’t. But piano duets. Vocal and instrumental solos and the American Guild of Organists, for an organ many family tables ______the circus as it enters capable of playing Grade 3 and 4 music-. None that is the fate of many Junior Choirs, even are sure to have the The Structure of some of our readers have been cheated by town, from its color¬ ensembles usually require some rehearsing; composition, has been awarded to Geori piano duet players, as a rule, are “sight- of the arrangements has been included in any Mead, Jr., of New York City. Bom in Nei though the name is changed to try to hold extra boards placed these self-styled “agents,” losing not only the ful railroad cars, or those young people who, in moving out of money paid, but all confidence in the many its ornate transporta¬ readers.” Many a pleasant hour may be spent previously published collection. York, in 1902, Mr. Mead was musically edu- in them and all in at the keyboard in playing over piano duets cated in the choir school of Trinity Church, the junior high ages, begin to feel too big the family feel the .sa¬ trustworthy men and women regularly in the tion wagons or trucks, Teachers and piano players will be inter¬ Spare Time Rewards as the case may be, and the cost is very little when the music is at Columbia University, and under private to be juniors. It has become apparent that livary glands spring- subscription business; which is entirely unfair obtainable in a well-selected collection such ested in knowing that a copy of this excellent teachers. He is organist of Central Congre¬ one of the contributing causes has been the „ - --action _ Would you like to have, without cost, to them. to the complete set-up book may now be ordered at the special ad¬ of its menagerie and as this. gational Church, Brooklyn; conductor of the lack of material between the easier two-part they await the “What attractive, chromium-finish Bread Tray, _ For your own protection,. and on_ behalf of its grand performance, The demand for piano duets for studio use vance of publication cash price, 35 cents. Lyric Club, Newark, New Jersey; the Scars- anthems or sacred choruses and the four-part will you have?” ques- lovely Cheese and Cracker Tray, a set of the thousands of bonafide magazine repre- has a magnetic appeal to juveniles. Those and in piano recitals is such that the frequent dale Choral Society; the Brooklyn Heights “Ihems intended for mature voices. The tion from the carving Book Ends, a Flashlight, Camera, Fountain sentatives, may we therefore caution you of us who have seen circus performances, Madrigal Society; and many widely used three-part sacred choruses for mixed voices head of the family. Some want white meat, Pen, or your choice of dozens of other useful against paying any money unless the solicitor whether we be young or old, have found compositions are to his credit. provide the logical means of lengthening the some want dark meat, others feel that the and valuable articles? These are the rewards has proper credentials and can give you a re¬ more than one occasion when we have ad¬ ng in three parts. The orig¬ 20174 Old King Cole—Sheppard. - * Surely, they will want copies of these new our Publication Dept, in the preparation of inculcate 4-=-fr in/01' choir of mixed voices is one of the 35327 Monkey Said to the Chi books for the third and fourth year in their cate m the pupil a sense of rhythm. The Geo. B. Nevin. First Pedal Studies this book, but the work is progressing -irhythmic - -' - variety in this book is most extern ANTHEM CONTEST: One Thousand and popn ar Christmas cantatas published re Melodies. In Three Volurr reference library. factorily and it is hoped that copies sc Dollars are offered in Twelve Prizes ranging 0(ioi^a"nUa -vL ,s presented by outstanding Now is the time to obtain them while they be ready for those who have ordered them in from Two Hundred and Fifty Dollars to Fifty to the Ver>'' lere- This work lends itself well Belshazza VOCAL COLLECTIONS may be ordered at the special advance of advan of publication. However7during thb for^blicaUonmders°f p,re.par?tio.n Dollars each, for unpublished anthems. En¬ where ,hn7 arrangement and in churches CHORUS COLLECTIONS—WOMEN’S VOICES g^Songs^. — ^ Wo8rldnd Shad°W Pictures for the publication cash price. 50 cents, postpaid. ~ _• i tries close February 1. 1017. and full infor¬ with Dorothy Copies will be delivered just as soon as the 5 cents a copy, over\ i! f?Te Section of the choir ,akes ^!a1.7?:%S,?.Tl.7t/TCu7c77l‘ection! ! AS _ Gaynor Blake .... Songs of Modern' Child’Life.' in CoUabora- ' it the special cash price, 75 c< mation may be had by addressing the Lorenz srlinei; I. tae service, in young ladies lian Three Part Chorus Collectior Sacred Songs for Little Childr n. For ‘Every tion with Dorothy Gaynor Blake_ books are printed. Publishing Company, Third and Madison Songs of the Child-World. In Three Vol- * Page 671) an nnii P"ugee and academies, it will supply BAND „t s for Girls’ Voices Streets, Dayton, Ohio. 34036 Heads Up!

Maurine and the Bach Invention Junior Etude Contest (Continued) The Junior Etude will award three pretty and address of sender and be received at Baclr Yes, Weed. In fact, you know you gized to Mr. John Sebastian Bach, and prizes each month for the best and neatest the Junior Etude Office, 1712 Chestnut can find a game in almost everything if original stories or essays, and for answers Street, Philadelphia, Pennsylvania, before you look for it. We used to have fun to puzzles. the eighteenth of October. Results of con¬ playing together in my family. Any boy or girl under sixteen years of test will appear in the January issue. Maurine: I’m so glad you showed me how. age may compete, whether a subscriber or Put your name, age, and class in which And, Mr. Bach, I really do apologize for not, and whether belonging to a Junior Club you are entering, on the upper left hand what I said about your music. or not. Class A, fourteen to sixteen years corner of paper, and put your address on Bach: That’s all right. The trouble is, you of age; Class B, eleven to under fourteen; upper right hand corner. If your contri¬ have not studied long enough to make Class C, under eleven years of age. bution takes more than one sheet of paper Subject for story or essay this month, do this on each sheet. Write on one side of “School Music.” Must contain not over one the paper only. hundred and fifty words. Do not use typewriters, and do not have Competitors who do not comply with all any one copy your work for you. Characters: Maurine, a girl who can will try to show you how to play them ???Who Knows??? If mine: Thank you for helping me so. of the following conditions will not be con¬ When schools or clubs compete, please Sharps and Flats play the piano well, too; and then perhaps you will see And will you do me one more favor? sidered. have a preliminary contest, and send in why I wrote them. Do you like to play Mrs. Mack, her mother 1. Name the most famous composer of Will you play for me? All contributions must bear name, age only two contributions for each class. By Bertha M. Huston John Sebastian Bach games ? present day Finland. Bach: Well, that's one thing I never could Scene: The living room of the Mack Maurine: Oh, yes, I certainly do. 2. In what country was music printing refuse. (He plays several of his short Cecelia Eileen played as well as could be home. Maurine is practicing a Bach: Good. Do you know how to play invented ? compositions.) And now, good-bye, Mau- JOHN SEBASTIAN BACH A piece that was written quite simply in C; Two-Part Invention by Bach. follow the leader? 3. How should the word “pianist” be pro¬ rine. Remember to look for the fun in Maurine: Yes, I Ihave often played it. Chorus Singing Chorus Singing But my 1 When a flat or a sharp came along Mrs. Mack is seated nearby, nounced ? things. he taught me how to play the “Inven- She usually managed to do something Bach: Then we will play it now; only, in¬ 4. What were Handel’s given names? Mrs. Mack (entering): Maurine, dear, are (Prize Winner) stead of running and jumping around, we wrong. Maurine: Oh mother, why do I have to 5. Name three forerunners, or ancestors, you asleep? Mrs. Mack: Good. Come and tell me all The human voice is man’s natural way of will do the things on the piano. Now, we giving vent to his emotions through music. practice this old Invention f I've struggled of the piano. Maurine: Have I been asleep, mother? And about it. (Exeunt.) An artist gives and receives an inspiration Cecelia Eileen had a strange dream one will run all over this Invention. You will through three of them and that should be 6. In what opera is there a ginger-bread did I dream it? Well, anyway, I apolo¬ Curtain beyond measure, when putting his heart in our chorus. enough. be leader this time, and you will play house ? his singing. However, very few are they who I think chorus singing is good for training A garden she saw, and a ladder upright possess this rare gift of voice. But many children’s voices. When my parents were Mrs. Mack: But you know your teacher this part (points to upper voice of In¬ 7. Is the clarinet a wood or a brass in¬ would sacrifice much to leave on this earth young they did not have the advantages we Against a rose-arbor, so lovely to see, says you can not be a real artist without vention). Play two measures and then strument ? a pulsating memory of the music of the have to-day, and I am glad someone has And each rung looked just like an ivory selected the kind of music children need, so them. Bach is the bread and butter of stop, to see if I am a good follower. 8. What is the lowest tone that can be October Anniversaries we can get the kind of training in chorus sing¬ your musical education. (Maurine plays first tzvo measures, Bach played on the violoncello? ing we should have. Birthdays, or anniversaries of the death, hides is arranged for four hands; a Hun¬ __ _hing of our own And I am so glad that I can be in a chorus, And all of a sudden appeared a tall man, Maurine: Well, if Bach was such a great plays next two.) 9. What is meant by a six-four chord? feeling for music, is a great help for the satis¬ because I do love singing. I hope some day of some famous composers, occurring in garian tune from his Rhapsody, No. 2 is And in a high voice now to sing he began; composer, why didn’t he put a little Maurine: That was good. May we do it 10. What are leger lines? fying of the hope that we, too, may give a to be a teacher, so I can have a chorus of my October, follow. You might honor some arranged very simply; and the march tune little of the inspiration and greatness He sounded quite like many ladies we melody in these things? again? (They repeat.) (Anszvers on next page) possessed only by good music. Mrs. Mack: He has, my dear. His melodies Bach: Now here is where the real fun be¬ of these composers by playing their com¬ from the same composition is also ar¬ Therefore, if it is not possible to be an positions at your October club meeting. ranged for medium grade. Victor records artist, one should consider it a privilege to (A man singing so was indeed very queer). are of the finest. Wait till you hear some gins. You are going to jump the ditches take advantage of an opportunity to sing in of his organ compositions. You will just this time. No stopping this time until we JACQUES OFFENBACH, composer of 6863 and 6864 give Les Preludes entire, school and church choruses, for music plays t in the dirt % of life’s path- thrill over them. And I think you owe come to measure twelve. (They play to¬ Jig-Saw-Puzzle Game the opera, ‘‘The Tales of Hoffman," died played by the San Francisco Orchestra; John Sebastian Bach an apology. Some gether.) ia Paris on OCTOBER FIFTH, 1880. and the Hungarian Rhapsody, No. 2 is JUNE SON (Age 1 day you will think so, too. (A bell rings). Maurine: But you did not wait for me to By Gertrude Greenhalgh Walker The famous Barcarolle from this opera played on the piano by Cortot, on Victor, Oh, some one is at the door. finish before you began. has been arranged for piano solo, from 6626, and by the Philadelphia Orchestra (Mrs. Mack leaves to open the door. Bach: Of course not. It is not written that easy to difficult arrangements, and also on Victor 6236. Any of the pieces named Chorus Singing # Maurine turns reluctantly to practice. way, is it? in duet form. may be secured from the publishers of (Prize Winner) She plays a few measures, drops her Maurine: And you did not follow me CAMILLE SAINT-SAENS, the great The Etude. In a chorus there are any number of voices, “My name, it is SHARP,” thus he sang, head on her arms and falls asleep. united on each part. This demands each in¬ exactly, here and there. You changed it a. French composer, was born in Paris on oh, so high ; Some one enters.) dividual in the chorus to be under the judi- little. OCTOBER NINTH, 1835. Everybody "I always go up, toward the beautiful sky; Maurine: Oh, how do you do, sir. You Bach: So I did. I suppose I will have to knows his lovely melody, “The Swan,” Answers to Who Knows Yes, I am a sharp, I go up every day, frightened me for a moment, because you Cut plain white cards into sections, and Whenever you see me I’m up on my way.” pay a forfeit. Let us go on, and this time from the Carnival of Animals. It comes 1. Jan Sibelius. look just like the pictures of John Sebas¬ I'll be the leader and you follow. on each section write a syllable of a musi¬ GIRLS’ MUSIC CLUB, HARLINGEN, TEXAS tian Bach. cal term. Jumble all together in a box. in a good duct arrangement, not very 2. Italy. And as he climbed on to the very last rung Maurine: This is quite exciting. Let’s begin difficult, and mav also be heard on Victor 3. Pee-AHN-ist, accenting the second Bach: And why should I not? I am John all over. (They repeat.) Players draw pieces out and try to match shade- —„- the highest order of He faded away like the song he had sung; Records, Nos. 1143 and 1430. syllable. Musical Word Square Just then, at the top, came a short, funny Sebastian Bach. the pieces together to complete the terms. individual skill is ex Bach: Now, do you begin to see any sense GIUSEPPE VERDI, one of the greatest 4. Georg Friedrich, but as he lived in in the chorus. Each oue has to do his Maurine: Really! And what are you doing in this horrid old Invention? to make a well balanced chorus, or to e By Stella M. Hadden here? of Italian opera composers, was born in England it is often spelled George a crown in the end. With deep, hearty singing his song he Maurine: Oh, don’t call it that. I just love The letters in the following four-letter Bach: Well, I thought I heard you say you Italy, OCTOBER TENTH, 1813. Many Frederick. Lily King (Age 12), Class B square read the same horizontally and could not find anything interesting in my of his arias have been arranged for piano 5. Clavichord, spinet and harpsichord. Bach: I’m glad to hear that. And you know A State Recital vertically. “Inventions”—horrid, I think you called solo, though of course they should really 6. In “Hansel und Gretel,” by Humper¬ you do not need two people to make it 1. An INTERVAL them! You see, I had a great deal of fun By Katherine Painter Fulling he heard sung. They can be heard on dinck. a letter from Hawaii. Most of o fun. Let your right hand be you, and ow and sad. It originated fro ' 2. To RING SLOWLY writing those “Inventions,” and I want mor records too numerous to mention 7. Wood-wind. ___very rhythmic. your left hand be me. Now, hands, get Why not have a State Recital for one 3. A character in “LOHENGRIN” you to get as much fun from playing 8. C, two octaves below middle C. vaying to the chants and ? going, and see what happens. (Maurine of your special club meetings this season? were soon dancinj s they sang. There is not 4. To PERFORM. them. 9. A chord having its fifth in the bass, or much variation in plays.) A very interesting one we had took place Maurine: Well, I would like to. My teacher in its second inversion, as G-C-E. to these isles they Maurine: Are all the “Inventions” like on our State Day. brought with_ them_ c that entered Into thinks they are beautiful. But, of course, uLTOBER SEVENTEENTH, 184 10. Short lines added to the staff to accom¬ .... _s of the natives. It was after this “Oh, my name is FLAT; I’m as flat as this? I mean can we play “Follow the The pupils’ parents were our guests of modate notes too high or too low to the Hawaiians began to have beautiful melody can be, Leader” with them? honor. We had typewritten programs made !°u shou|d be able to play several of I in their songs, but the old rhythms are still be written on the staff. I climb on the ladder, but backwards, you (Continued on next page) by the pupils, with a covered-wagon sticker s ort Preludes, Mazurkas, and oth compositions. Cortot, the well knov Probably the best known Hawaiian melody at the top of each one; and they looked Player of Chopin’s music, may be hea, Down, down, do I go, and I never once very attractive. The older pupils told about Letter Box by the famous Queen Liliuokalani. It has the Answers to May Puzzle: n Vmtor No. 6612, and there are mat sad plaintive melody of the early Hawaiians. the outstanding musical events of the state, :ak Junior Etude : - From your friend, Clef, Bar, Note, Rest, Tie, Band, Bass, her Chopin records of compositioi Our club, The Merry Musicians Club, ha: Lydia Sutherland (Age 11). When YOU see my sign, just go down¬ and the recognized composers who were enrollment of fifty members, all playinj 2514 Olopna Street. Trebel, Piano, Tone, Dot, Crescendo, Fine, ward like this.” a are too difficult for the averai Honolulu, Hawaii. Con, Staff, Octave, Accent, Crescendo, born or who lived in the state. The pro¬ Player to do well. Diu^feaeher entertains ns at the Christina: Brace, Tonic, Do, Fa, Re, Ti. The little fat man kept on going right gram included original work done by the eting. and at this meeting we select officer: pupils themselves, who will be the state’s , GOUNOD, French compose • our regular monthly meetings, held at tin “p lor his opera “Faust," di. label's* homes. Our programs consist ol Prize Winners for May Puzzle His heavy bass voice made him seem like a future musicians, and also compositions by ^OCTOBER SEVENTEENT1 our tpachpr. Tne one gerund tue Class A, Corine McDonald (Age 14), the representative composers. receive.* a prize. Our parents anrl California. The performers looked picturesque, 4 simPIe Meditation and Ti t **rnark Then he disappeared and the ladder did, invited to the meetings. Our final Class B, Edwin Bright (Age 11), dressed in the costumes of the early western f'l 'Vre arranSed very easy du held in June, and always in July picnic. Our colors are blue and Massachusetts. pioneers and cowboys. Several songs of do CM *3e p'a>’ed by beginners wl Cecelia Eileen opened bright eyes of blue, Class C, John W. Murray (Age 7), the early days were sung, which were ob¬ on „ 3 Ways feel Prepared to take pa Indiana. “Oh, mother,” she cried, “now my dream tained from the Historical Society. Vb„r°gramS’ Then th«re are sever Small state flags were made by the pupils, —The picture of this club. The Merry Honorable Mention hearing reC°r

A Cure for “Nerves”

(a) The Merry Cora W. Jen John M. Williams Books (b) The Dearesl Wish Cora W. Jen One of the Most Successful of (a) From the Land of the Sky^ All Piano Instructors for Pupils TUNES Nine to Twelve Years Old— FOR TINY TOTS ^0* FIRST YEAR AGreat Poet as MusicCritic AT THE PIANO {Continued from Page 664) . Next Month

BOOK FOR OLDER HOW TO USE THE SOSTENUTO PEDAL BEGINNERS

EARLY FORMS OF THE PIANOFORTE SECOND YEAR ssrssss mmmm AT THE PIANO

FROM SPIRITUALS TO SYMPHONIES iassss WSM

Either or Both of These

Quartette for Violin, Violoncello, Clar- 9. Welsh £ FREE to Any Piano Tea “31 «i k™, fail™ Knew Me.MacDermi Piano Duet Byron Jones> bv w. , „ (c) -- - - y rather Mr. J

10. 1

bt u th ^ Cora Jenkins

ihe Excursion Train. William Baines ' <» Si 1712-1714 CHESTNUT ST. „.*£& &?“ s,i"r ““ttliS,d*tT«'o"’ I**- S3

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