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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
11-1-1940 Volume 58, Number 11 (November 1940) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 58, Number 11 (November 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/255
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POEMS FOR PETER RICHTER’* A Book of Rote Songs ADA Texts by Lysbeth Boyd Borie Iran If some one were to GIVE you a piano books Music by ADA RICHTER home or school fascinating An invaluable addition to any library mcnqjamQm made book, with its exquisite illus- is this beautifully and Mrs. Richters tuneful musical Published Monthly trations in color By verses that Mrs. Borie wrote Theodore Presser Co.. Philadelphia, pa. FOR settings of the clever Mothers and teachers will wel- for her young son. EDITORIAL AND ADVISORY STAFF introduce to children, this opportunity to at DR. JAMES FRANCIS COOKE. Editor come Suppose a good friend were FOUK the best in music, literature and art. Guy McCoy and Helen MacVichie, early age, Assistant Editors MUSIC an to offer you any piano in the William JUVENILE gift book. M. Felton, Music Editor A grand Kobert Braine world. Without regard to Dr. Henry S. Fry Blanche Lemmon Peter Hugh Reed Price, $1.50 Pietro Deiro Cloth Bound— Karl \V. Gehrkens Dr. Guy Maier William D. Reveiii price, you could choose the Dr. Nicholas Douty Elizabeth Gest N. Clifford Page Henry S. Sawyer one you wanted most. You George C. Krick Dr. Rob Roy Peery Founded mbs by Theodore would choose a Stein way! ' Presser first song book BEANSTALK my Hill Why not choose a Steinway JACK AND THE Easy Arrangements for the Piano when you spend your own Familiar Songs in Very By ADA RICHTER money ? A Story with Music for the Piano Compiled and Arranged illus- grade two, are used to The Steinway piano is the Little piano solos, about By ADA RICHTER C^ontenti j^or which may be sung^ ^IJovemler, Ity/fO wisest of the story. Some have texts investments. It holds trate with modern procedures forty songs, presented so the young its In the light of successful This collection of value over the years. De- has much to recom- BOOK play and sing them, makes the VOLUME LVIII, No. 11 PRICE 25 CENTS young piano beginners, this book MY FIRST SONG piano beginner may preciation is slight. “Trade-in” that necessary the child a matter WORLD groups it provides knowledge being gained by OF' MUSIC. mend it. For class music 723 is always high. quality, and tor interest and enjoyment. Experienced teachers attention-getting and interest-holding of real editorial very character can prove to be pupils it furnishes that realize how a book of this The Middle Years Your nearest Steinway private as well as class wins parent the best things to place in the young beginner s dealer will gladly lesson that Richter • one of YOUTH arrange helpful carry-over from the A» AND MUSIC ^ lessons since it not only helps hands during the first Scoring a Success very generous interest and cooperation. Blanche Lemmon 724 purchase terms. piano playing ability, but also helps the little L-. develop MUSIC AND CULTURE Stein way & Sons (founded cents who want to see results Price, 60 one interest those in the home Great Painters and the Art of Music Verna Arvetl 727 1853 in New York expenditures made to covet music lessons. Practicing City), for the on a Mental Keyboard i Ucn Spencer 728 ca Training from Sleinway Hall, 109 W. 57th cent* l?, a Famous Master Z inka Milanov 729 SING Price, 75 WhatJ the PLAY AND Pianist of Tomorrow Must Possess Sigismond Stojowski 730 STEINWAY St., New York. 17 of Sound l-ffects in the Radio Studio Easy Arrangements T-u ef!', Lucille Fletcher 731 Favorite Songs in ihe Christmas Piano and the THE INSTRUMENT OF SONGS OF Nineteenth Hole Eliot S Harvey 733 THE IMMORTALS for Piano CINDERELLA MUSIC IN THE HOME FOSTER ®e ras Yo W111 STEPHEN By ADA RICHTER '?, ? Ehjoy Peter Hugh Reed 734 , A Story with Music for Piano 733 Arrangements its predecessor. Mn®lc Lo er 8 Lookshelf In Easy Like /;. Meredith Catlman 73G Sound Waves Over y; My First Song Book, By ADA RICHTER the Morld Alfred Lindsay Morgan 737 Piano for the this collection of MUSIC AND STUDY RICHTER song arrangements This unusual book, which is a Piau Playing By ADA ? George B. WilUston 738 grade familiar tale of Tbe Dn™,= 1 for Unusuai does not exceed based on the Song Programs Eva Gauthier 739 successful composer of Hbd, TPoacB a,ul The beautiful melodies of our first two in difficulty. Cinderella, may be put to How to Sing Them Frederic Charles Freemantel 741 Wasted Resources in the always enjoyed. Here, in this book, Here we find School many uses. Detailed sugges- Organ Marvin Anderson 742 American folksongs are Famous Clarinetists popular, such as Beauti- Songs, Songs of Other tions for recital programs 7)V A lT„ r WhZ 743 Mrs Richter has included the most The Teacher's Round Table 7.7.'.'.'. University Extension some Lands, Songs of My utilizing the story arc out- Gun Ma er 744 Conservatory Black foe, etc., as well as akiDS Violins ' ful Dreamer, Jennie, Old ' • '-Char, V. Browning 743 Country, Songs from lined. It is especially suitable Questio^andQuestions and Answersf 1903 Ring de Banjo, and Rarl w Gehrkens 746 CHICAGO not so well known, as Gentle Annie, and Songs or Practical Antidotes 1940 Operas, as a book for a mother for Stage Fright '.Sydney B These are presented, with Master Lesson Dawson 747 THE WORLD’S Down Among the Cane Brakes. My Grandparents teacher to rejd and play for —Bird As Trophet, Op. S2. No 7 LARGEST HOME STUDY by Robert Schumann CONSERVATORY arrangements. The book is forty individ- the texts, in grade two piano Sang Long Ago. In all, there are over a child. For piano classes, it Hints 748 OF MUSIC for Improving the Technic of the BeUows ' beautiful portrait in colors ual song selections. It is safe to say that in these provides excellent supple- Mauro Pietro JcZ 7SI attractively illustrated, with a Graham MEMBER OF child is can be used . . .George O. kZI 7S5 of the composer” days of radio broadcasting almost every mentary material in which the music of Foster on the title page. The "life MUSIC familiar with the melodies of these songs, and with "extra work" and the illustrations accompanying a Classic and Contemporary is the Preface. The Selections these easy arrangements, any second grade pupil piece may be colored for "busy work . Bird cents as Prophet, Op. 82, No. 7 Price, 75 • ...... in satisfying form. about second grade. So t .R. Schumann 749 may play them illustrated with piano solos of Valse, in D Flat, Op. 70, No. 3 ’. .’.*.*.7.7.7 Frederic Chopin 731 of them are with words which may be sung Barque O’ Dreams Elva Chittenden 733 Price, 75 cents Viennese Dance A distinguished faculty of • . . .Thusnclda Bircsak Price, 60 cant* Prelude, in F Minor 734 Highest Standards of Abram CJiasins artist teachers. In Old Seville 735 CHRISTMAS CAROLS Vernon Music Instruction In Command 77 Lane 739 Frank Grey 7G0 Vocal and Instrumental In Very Easy Arrangements Compositions A CHILD'S JOURNEY Now Take Thy Rest (Vocal) ADA RICHTER S Roland Digylen- , Our America (Vocal) .... 761 Rote Songs for Primary .Anna Case FOR PIANO DUET Ode to Thanksgiving (Organ) 7G2 BOOK mn Beethove* 763 School Activities KINDERGARTEN CLASS Carry Me Back to Old Virginny* ’(Guitar) By ADA RICHTER James Bland— . trans. By ADA RICHTER , , ~ bn Vahdah Olrntt- Riel? for, 5 n°tCd teaCherS leading A Piano Approach for Little Tots Assembly Grand March (Piano, Four Hands, 765 ’ t0 ^P^as, and Degree ern 766 o^Ba^o^ofMusic : These arrangements Delightful Pieces for Young Players Mrs. Richter, in this book of sixteen songs, book In « most attractive manner this The Kangaroo make possible the presents stories of individuals, scenes, and — P° Siti ° n by StUd Marian Wilson Hall 768 convenience at attention of very young Swimrinv TT->h ^^thj^xteifsion^ Method” ™ of engages the participation events a child might encounter on a holi- Little Pet Duck Co,cman Bragdon 76S years of age) **“ day trip. There also are songs for Hallow- beginners (4 to 6 Jolly ' Aaa Richter 769 6 6 young pianists and Little Piper A *^ C ° UrSeS ' CreditS on the -George ea d making music ' Johnson 769 ™ * e'en, Thanksgiving, and Christmas. Titles, soon has them The Post Horn .... advancement . Christ- V singers in the them. ^ texts and tunes are most interesting and piano out of notes placed before “ 780 a d niUStrated IeSS ° THE nS Sent entertainment JUNIOR ETUDE without obligation to you. mas the piano accompaniments are quite simple of Goldilocks a*» Maheth A. Gest co'upolf b effi w Check ; The childhood story MISCELLANEOUS 788 programs of church in fact, the songs are sufficiently rhythmic used as a continuity the Three Bean is Radio to sung without Helps Music Pronunciation _ as the be accompaniment. Primary is based. 7 ~ T . or school, upon which all of the work Voice Questions Answered C.Jbuik 740 1 ^VERSITY grade teachers, ever on the alert for new nJ Vt- * , 1525 E. 53rd EXTENSION CONSERVATORY duets are within the Profusely illustrated. Organ and Choir Questions V 773 Street™ material, will welcome this publication Answered o°r as Violin DrhFni™' **c* r» *• Fr 775 pianistic capabilities Questions Answered ... V demils a valuable addition to their teaching reper- Price. SI- 00 777 „f your Home Study Method by n“nd °V players, Is . of young toire. . WaL Piano „ 7SG Course for Students - Price, 75 cents Advanced Composition Normal I ! Voice each carol. The 790 t Course for Teachers History and the texts are printed with Violin of Music Guitar Choral Conducting group singing fl Comet Mandolin duets may be used to accompany Pub. School Trumpet Music Clarinet in char- mMer Ear Training of these carols, eight of which are sacred Published V, Hi. IRM, M the P. O SI Phila P, Harmony and Saxophone by under Sight Q 8V - Cop},i h Singing dozen included, such * '’ 1940 h Theodore CoiotU.yl Piano Accordion acter, the other four of the w cJstZV- Name . childhood songs of as jingle Bells, being favorite THEODORE PRESSER CO. Street the holiday season. City Everything i n Music State Price, 75 cents Publications I Experience 17 12 CHEST I NOVEMBER, 1940
721 4 T . 1
Music...for Christmas enjoy MORE OF YOUR Carols for Church, Selected Anthems and magazines Programs favorite School and Community THE CLUB OFFER way! MIXED VOICES
CHRISTMAS. ^ FAVORITES 4 and Alto Solos) ON YOUR (With Sop. cave up to $ 7.75 MILDRED DILLING, N , rth TOday BA L E CHRIST. (With Sop. Solo .^™||»S>C - -.0 SPECIAL 5 5Vb DAY OF jg LRTirT! THESE K Rejoices .(Phrygian CHRISTMAS NOW AT concert harpist, spent HERE, THERE AND A NEW CHAMBER MUSIC SOCIETY OF Sop.. So* and ERENCH EVERYWHERE IN (Wlih ^“‘“llx'^LD"" , BY ORDERING TIDINGS." _ 10 Bsl^GOOD Sleep, the summer in Holly- PHILADELPHIA was recently organized to Violin Obbl.) • •••*. All; COMBINATION PRICES Dove SAVING wood, where she made a THE MUSICAL WORLD M Cappella) .12 Uttle — • 'ci^STMAS sponsor a series of six concerts by the BE MANGER. (A raiircH HONET fS,9i3 So5ND"TSE 13,692 SIX OLD CAROLS (Second i“^‘wln^'ArsoieSn picture for Artists Films, Curtis String Quartet during the coming CICHT IS World Was White ‘XSklT SHINE! rOR.fHr 12 Call -“M' (With Tenor or Sop. soioj Midnight one of a series of educa- season, to take place in the foyer of the COME. IGOR STRAVINSKY has dedicated his THE ST. LOUIS SYMPHONY ORCHES- BUTCHER. N, 9* KEEP tional shorts featuring 5 T mortal FLESH Academy of Music. f££ addresses^ “Fourth Symphony in C” to the Chicago TRA, under Vladimir be Tent to different twenty-four of the lead- Golschmann, with 0 ld l Tim- ^aZ'eZay elTs: °SmPa.» a™. If Symphony Orchestra in honor of its fif- Jascha Heifetz, Vladimir “Sd^’SpS B 15 ss^- “ ing concert artists of the Horowitz and * Megarlae pani, ad lib.) • S ETUDE Muile FRANZ BORNSCHEIN, “SsS THE Bllli tieth anniversary, this season, will and 15 «? 50 ) Both HOME Jose Iturbi among the soloists for the E E Tenor THE KING? Music Magazine WOMAN’S country. While Miss Dil- Baltimore CL REJOICE. (With IS THE ETUDE lio i COMPANION conduct composer and 12 ,^Sl" sn?G AND ^ 5.00 $3.25 the work at the Thursday- year, opened its season on 1st, E n A D E R So.o, .15 THE MUSICIAN $ ling November Solo) MflTT H W BELLS. (Sop. c was completing her member of the 3 IiNG c^?S™AS ' Save 50 Friday Peabody l 3 9 2 55.50 concerts for or November 7th and in St. Louis, Missouri. Sir Thomas Beeeh- , (With SOP. feature, Jose Iturbi 0 '“j cSBs'BSaS HYMN. ^ CE ye faithful was registering his Conservatory of Music I’ Iitheh, 1 Both 8th. Other Tenor8 Solo) "me .15 0 ETUDE Mu.lc M**»JlM »2 “l Beth composers who will take part am will be conductor on December 13th 6 -part) (A Cappella) THE piano playing on another stage. Artists ( HOME l 0t faculty, recently won the 4 $4.25 AMERICAN > $3.25 in the orchestra’s approaching Golden and 14th. ' to follow them at the studio were the 0 Save 25c priee Sw*25< Wisconsin Hymn Con- Regular . Jubilee are: Sergei Rachmaninoff, who Coolidge String Quartet, Vladimir Horo- test Both conducts the first sponsored by the Magazine THE ETUDE Mu.lr Me.ailae 52.5*1 Chicago performance JORGE BOLET, young Cuban pianist, "SlrSfeiTalE:!! THE ETUDE Music HERALD 2.(»( witz, Albert Spalding and others. During Milwaukee ROAD FOR BOYS CHRISTIAN $3.75 of his choral work, “The Bells”; Alfredo Midsummer L B TI L M in OPEN gave a recital at Town Hall, New York OS walked " 10 her Hollywood stay, pf o°plI THAT 12 S J Save 25e SOI 73c Miss Dilling was the i 3 i ?! "the *S3. 50 Regular price Casella, Festival Commission. DARKNESS <&? Regular price Georges Enesco, Roy Harris, City, October 29th, II ,’979 IT CAME UPON & guest of Madame Nina Riviere, whose as winner of the Franz .12 (With Son. Solo)_ The prize is GAUL. » fl E (French) CT.EAR. (T^or^Solo)^ -12 i Both Meparlae 52 »i Beth Zoltan Kodaly composition *?yi YT ?TV A KYRIE CHRISTE. REJOICE. (Tenor^ Magazine $2.50 ETUDE Mu.lt and Darius Milhaud. Josef Bornschein 7 6 (Caro! 1 3. 33 5 SING AND ETUDE Music THE next-door neighbor Hofmann Award of the Curtis DO MOAN. WERE SHEPHKKua- THE MAGAZINE 1-00 is Deanna Durbin. ™e" T™l 13 418 THERE " PARENTS' a choral treatment ^ 3 1 9 A^ ^ and Bass Solos) WEE WISDOM — $3.10 $3.75 of if the Mountain .15 Sop®, Alto, Tenor Institute of Music, which carries a (Italian) » 40c Miss Durbin took her first lesson from Town ‘ Save 5*.5S Sm 73c • • 3 J ° the C price • • * Regular price.. verses entitled “To Thee, Wisconsin.” abhuzzi. Regular 1 CARNEGIE HALL, world famous ?2 15 UPON THE SNOW. Miss Dilling on music Hall concert as its prize. !rB S?M^ 'l 4,701 a harp given her by her $2.50 1 Megarlee 52.5*1 Beth center in rt
composers needs, and, what , , mppt voung men As efficiently Editorial \° To produce telling results. is fitted out with test scientific laboratory Music as a necessary appa- youth and TLrts scales and other musical laboratory is fitted out with ratus’ so this Tqvmnhony orchestra, a ballet, an opera depart- Sy and several TT recording system, a choir, Lljears Soloists, QflM, Success wind. too,
Music and Culture
Great Painters and the Art of Music
“AS MUSIC IS THE POETRY of sound,” de- Chinese hat. Also by Vermeer are “The Concert”, dared James McNeill Whistler, “so is By “Lady and Gentleman at a Spinet”, “The Music painting the poetry of sight, and the sub- Lesson” and “Lady with a Lute.” ject matter has nothing to do with harmony of sound or of color. Art should be independent of Gainsborough Inspired by Music all claptrap, should stand alone and appeal to Gainsborough is perhaps the most outstanding the artistic sense of eye or ear without confound- example of a painter literally absorbed in music. ing this with emotions entirely foreign to it, as Far from being a mere diversion from painting, devotion, pity, love, patriotism and the like. All Gainsborough’s music was his real inspiration, if these have no concern with it, and that is why I term it “symphonic” and feel himself “enveloped we are to believe his own words. Certain of his insist on calling my works arrangements and by some immense orchestral surge and ebb of portraits, he related, were actually painted to harmonies.” emotion.” Whistler called some of his paintings music. Despite the fact that portrait commissions Indeed, there has long been known to be a pro- symphonies, as well as arrangements and har- supplied his chief support beyond his wife’s not found sympathy between artists and musicians; monies. inconsiderable income, he wrote: “I’m sick of they are working for a common artistic goal even The likenesses between the arts are far more portraits, and wish very much to take my viol-de- though they express themselves in different than superficial, as is true also of the personal- gam and walk off to some sweet village where I mediums. But mere sympathy is not the only ities of artists and composers. On looking through can paint landscapes and enjoy the fag end of bond between these arts, for their histories have a collection of self portraits by famous artists, life in quietness and ease, but these fine ladies run parallel throughout the centuries. one observes how many took pride in being and their tea drinkings, dancings, husband-hunt- musical, posing frequently with such instruments ings, etc. will fob me out of the last The Renaissance ten years.” as the harp, the violoncello, or the ever popular Thicknesse, who claimed to have discovered Before 1200 A.D., both art were con- and music lute. Gainsborough, bought a picture from him in his nected with the church. Gregorian chants and And, indeed, the lute played an important role earlier years and loaned him a fiddle for, said scales balanced the arts of stained glass, illumi- in the career of Leonardo da Vinci. He was a Thicknesse, although he had always loved music, nated books and classic sculpture and architec- precocious youth with amazingly varied talents. he had never before played a musical instrument. ture. At the beginning of the Renaissance (about played He the lute exceedingly well, singing with By the time the fiddle was returned, the artist 1200) ornate Byzantine art paralleled the de- it “most divinely” and improvising both words had made such a proficiency in music, that I velopment of polyphony. About 1400, the True and music. As a young man of thirty he fash- would as soon have painted against him, as to Renaissance, subjects for paintings became non- ioned a silver lute in the shape of a horse’s skull, have attempted to fiddle against him.” Gains- religious, and the Troubadours appeared on the which so pleased Lorenzo de Medici that he sent borough not only enjoyed going to concerts, but scene with their secular songs. In the countries the artist to Milan to play before the Duke, for also gave recitals occasionally in his own home. where artists painted with extreme detail, there whom music had especial charms. The Duke in Apparently, music was a never failing passport to was a purely intellectual trend in music, with turn was captivated, and thus a silver lute was his affections, for he “considered a good musician involved counterpoint and puzzle canons. actually the means of bringing Leonardo into as one of the first of men, and a good instrument By 1700, music and art were first designed for the service of the Duke of Milan. as one of the noblest works of human skill. All the and dedicated to the nobility. When court life be- Music appears to have played an essential part hours of intermission in his profession he gave came formal and precise, both music and art in the home life of the early Dutch masters, judg- to fiddles and rebecs. He was so reflected passionately at- that formality. And with the dawning ing from the many paintings entitled “A Music tached to music that he filled his house with all of the Romantic movement, after 1800, painting Party” or “Musical Party” and showing young manner of instruments, and allowed his table to and music became more personal, less intellec- and old playing and singing in obvious delight. be infested with all sorts of professors, tual. This save bag- period was followed by the impres- The earliest known signed and dated painting pipers. He loved Giardini and his violin; he ad- sionistic era both in art and in music, when an by Rembrandt is entitled “Musical Party.” Done mired Abel and his viol-di-gamba; entirely different, he was in non-realistic technic was used. in 1626, when the artist was just twenty, it por- raptures over a strolling harper who descended Ultra-modern, cacophonous music of a later trays his father playing the violoncello, his sister from the Welsh mountains period had its into Bath.” Indeed, counterparts in cubism and sur- singing, and himself plucking a small harp as his chief companions at Bath were such musi- realism, when art and music broke formal bonds, his mother listens. cians as Charles and the aim of Frederick Abel, Giardini, Fischer, artist and musician became the And Jacob Maris, known as the greatest of the singer Eliza Linley and a number expressing of his own creative imaginings rather the Hague of theat- School, made a water color of a “Girl rical people whose than literal reality. portraits he painted. at the Piano” in which the young musician ap- Melodious sounds seem almost to have woven To-day we find that self-expression as the ulti- pears to be a engrossed in her playing. Gerard spell over Gainsborough. mate goal has practically run its Smith once found Col- course, and that Terborch (born in 1617) painted little master- onel Hamilton playing so exquisitely artists and composers—formerly revolutionary pieces to him on depicting Dutch life and manners of the are returning the violin that the artist exclaimed, “Go on, to the purer, more classic forms. middle class; for example, and “The Music Lesson”— I will give you the picture They are looking to the outside world for subjects of the ‘Boy at the of which there are several versions in various and themes, Stile’, which you have so often wished realizing that to understand is to museums— to pur- “The Mandolin Player”, “A Music chase love and to enjoy, of me.” The Colonel proceeded, and Gains- that in the eyes and ears of Party”, “The Officer and the Trumpeter”, “Young borough stood in speechless the audience the familiar is the most admiration, with dear. Both Lady Playing a Lute”, “Lady Playing the Theorbo” artist and tears of rapture on his cheeks. composer are aware at last that one and “The Concert.” Hamilton then called a coach, can be original without being fantastic and carried away the picture. to the Franz Hals is well known for his “Laughing point of ridicule. Goya, who was said to have had a fine singing Boy with a Lute”, “Girl Singing from a Book” voice, painted the “Pilgrimage and “Singing to San Isidro” in Essentials Boy with a Violin.” And yet an- in Art and Music which the pilgrims, led by a guitarist, are singing. other Musical Party” is the The subject of a painting And Velasquez painted similarities in art and music are basic; by vagabond musicians. Peter de Hooch. One of Gabriel Metsu’s most the same technical elements enter Ingres, French artist of Napoleon’s day, into both genteel canvases, “as fragile was forms and delicate in paid little for his of creative expression. Artist and composer tone portraits in his early art years as it is in anecdote,” is “The Music must carefully Lesson.” and unfortunately was consider rhythm, balance, design, Metsu evidently not able to keep what he took delight in musical settings earned. spirituality, thematic character, Often, when he spent it counterpoint, for also from his brush on some rare are “The Amateur Musi- curiosity line and unity. And finally, from an audience instead of food, and his wife asked cians” and “The Music Party.” Vermeer’s the viewpoint, the “Lady reason for such folly, emotional reaction is the same. at a he replied that at dinner Spinet” is rich in detail, and his “Girl One who looks at a masterpiece with a time he would play such lovely of painting may Flute” looks quite music on his violin intriguing in a decorative that they would forget ( Continued on Page 778) NOVEMBER, 1940 727 Music and Culture Music and Culture stage, as “theatrical entertainment.” We, to-day, who regard “Parsifal” as the most reverent por- trayal of spiritual mysticism and compassionate a Vocal Training from a humanity, must be grateful to the pioneering Practicing on spirit of those artists of 1903, and I am proud to have had the torch of our art handed on to me by one of them. Famous Master The three years that I stud- ied under Mme. Ternina were Mental Keyboard of immense help. Ternina had definite theories of her own about the voice, and for me, A Conference with at least, they have had excel- By lent results. Never was I al- v lowed to sing forte unless, of ffjifano course, the music expressly ' indicated it and during my nce Internationally — early years of work, she saw Sr Distinguished Soprano MU to it that I sang no music Leading Soprano of The Metropolitan Opera which did. All work, all prac- ticing was done piano. Ac- The second approach is, of course, tually, there is no need to id YOU, AS A SERIOUS student of music, the aural—through the pianist’s ear. practice forte. Everyone can visualize a mental piano keyboard? ever himself to lis- T IS SIMPLE ENOUGH to sum up the purpose has appeared in pub- The student must train produce loud tones without D Every pianist, who of vocal study—to sing well! —but the attain- Secured ten so attentively that the slightest practice. The art of singing amount of time, is confronted with I lic for any performance of allen spencer ment of this goal is a full life’s labor. It is a good form for each misreading in another’s lies in developing the voice so the problem of keeping in mistake to look upon singing as something that work he has studied will be instantly Especially phrases, to spend long days in a public. If. at first, as to sustain to en- concert. Forced as he is ber that is soon to be played in be learned once and for all time, and then noted. can Pullmans and hotels, with no piano advised to use the hitherto velop the musical line tonally; travel, in relation of the student can be let alone. There is no such thing in art as stand- of The third approach, the visual, the and the strain of too available, he must devise some other form that he spends upon street much important, but not wasted half hours ing still. Either one goes forward, or backward. For the eye to the keyboard, is loud singing defeats this. practice. cars for this purpose. Its practicality becomes The greatest artists are simply those who have physical of such vital importance as the first two. Most soon teaches him that his is made to Another thing I learned Experience keyboard evident at once. And a student who perfected more in their work than others have side of his pianists find the ability to watch the THE ETUDE mechanism—the so-called technical complete difference between a from Ternina was to guard asset, and many difficult understand the done. But there is always more for them to learn. in fair condition, and as they play a great against forcing the middle playing—as a rule remains passage the mind knows in minute detail, and hours before passages may be made more secure by reading The first requisites for a successful vocal career often improves, with the daily two the fingers, has taken register. We have all observed the several ex- one which is merely felt by are an unusually good natural voice, an inborn By release from practice them off the keyboard. However, an audience. The enforced study. The sensible a tendency, among certain I heard, prove a great stride in his musical feeling for music, and that physical and nervous them more elastic. On cellent blind pianists whom have frees the muscles, makes select for this mental study some schools of singing, to bear this is not an absolute essential. We have student will energy that is robust enough to withstand hard the musical mind soon shows the that Rose Heylbut heavily voice, the other hand, composition which is sufficiently on the middle no feeling of insecurity when we hear an Alec rather brief work, and flexible enough to rise above strain lack of daily discipline, and becomes amazingly approaching the upper regis- Templeton performance. complicated to offer genuine exercise for the and disappointment. That may sound too obvi- de-vitalized. Unless drastic means are employed ter with much more care the mind. Likewise it should be a work of such musi- — thought, disaster ensues. The fourth approach, the purely technical, ous, perhaps, to need special mention; it is of to insure alert musical and explanation being, perhaps, stressed as the all important one for cal depth that both the mind of the student utmost importance, however. Instruction can do Hence, almost every seasoned pianist will have used to be call "soul" will grow, as that the middle range is more exer- good piano playing. We will never come to the that intangible thing we no more than develop the gifts within one; it can- worked out, for himself, his own routine for “natural” result of the detailed study that is to be done. and has more en- in order to direct, with point, I hope, of neglecting the technical side a not supply those gifts. Thus, the ambitious stu- cising his musical mind durance. This is physical apparatus of pianistic training. However, we are only now dent who looks forward to making singing a life confidence and clarity, his Brahms' "Cradle Song" Intermezzo a great mistake. understand more rap- work, render before an audience. beginning to how much can himself no better service than composition which would be useful at this It is precisely The teacher of advanced piano playing, who idly this technical mastery grows, when it is A to make sure, through trial and consultation, “Cradle Song” Intermezzo, through care of at least a few of his students merged with our other faculties, and when every point is the beautiful that he possesses: hopes to prepare the middle voice toward the keyboard is actuated Op. 117, No. 1. in E-flat major, by Brahms. The (a) for a concert career, faces an interesting prob- movement by a voice of sufficient natural quality to interpretative purpose a desire for material in this Intermezzo is compara- that the higher lem in helping them establish habits of thought an and tonal thematic attract attention beauty. it with such variety, range is both which will enable them to appear before each tively slight, but is used (b) sufficient musical power to use his voice suc- acquired and new audience with composure and confidence. such subtlety and finesse that it cannot be as a medium of art The First Steps Away from the Keyboard com- maintained. If Obviously, this is no work for the novice. Only cessfully played until every slight change is (c) sufficient physical endurance to enable the middle voice those students, who are musically well grounded When all these things are considered, it is evi- pletely registered in the pianist's mind. him to carry the program through. the dent that no student, that is in good con- and are masters of thoughtful study at key- no matter how musical he It must be taken for granted, of course, A lack of any one of these factors can open i t i concentration be, or how been d o n , the board, are ready for the intense may much natural facility he may these slight differences in text have already the way to bitter disappointment, and sheer will- music study anything but possess, can begin accurate mental but it is higher tones de- needed to make mental study away worked out in detail at the keyboard, power cannot undo it. It is wise to go forward from the keyboard until velop far more a slovenly procedure. he has developed a very difficult for even the most experienced slowly, making certain of one’s inborn qualities reasonable naturally There are four definite approaches to piano maturity and routine. teacher, listening, to tell whether a musical pupil in time. and quite apart from the The entire absorption it. freely. Never playing which, at first, are of a new text, away is really thinking a passage or merely feeling At the age of sixteen or seventeen, the young later the four must from the keyboard—as the defi- force the middle emotional side, although instance when Von Nevertheless, even a few days of thinking, girl’s general equipment should have asserted emotional if a genuine interpre- Billow was obliged to learn a to range, merge with the Tschaikowsky Con- nitely, away from the piano, is almost certain itself, normally speaking. that time, and By the voice ZINKA MILANOV in “Turandot" achieved. certo aboard a train on his way to never sing forte tation is to be the concert produce a clarity of musical thought, which, should reveal its natural possibilities, and the is hardly desirable in the case of a there. unless the musi- student. The though not definable in words, is surely natural tastes and habits should be sufficiently Four Approaches to Piano Playing I am a Croatian, from Zagreb, in Jugoslavia, cal indications coordination of the passage, its harmonic actually seem to call for it. basis, In this Intermezzo, one of the slight changes marked to indicate the qualities of temperament and began musical its my vocal studies at the age of fifteen, Mme. Ternina The first approach is through the shape and the number of notes all devoted the first year of study the defined that is difficult for the student, who avoids and physique necessary to a well-rounded career. under to retain every hand will Milka Ternina, also a Croatian, and one of entirely to placing mind, building up its capacity cover at one time, with the muscular be- my voice, and helping me to mental effort, is the difference In rhythm The next step, then, is to place this untrained the greatest sopranos the composition at hand. The action to be used in of all time. It was she who secure a feeling of ease in fact concerning performance, demands 3, all tones. She worked the tween measures three and fifteen. In Measure voice and temperament under the care of a com- created, in America, be taken literally. As Ossip use of the keyboard at the role of Kundry in “Par- in an interesting way. word every must first. Trouble is saved six-eight One day, we concentrated the accompanying E-fiat octave is in petent and understanding teacher. To my mind, sifal”, at said, “There is really no such later, if careful the Metropolitan Opera House, in De- on the Gabrilowitch once thought is given to the middle voice exclusively. Note by note, I exact rhythm. the teacher should be able to sing correctly him- cember of 1903. thing as detail. A performance either is or is fingering to be used, from the worked through the octave very beginning A self, and, from middle-C up- also, to transmit the principles which A great deal of discussion not.’’ bad fingering, employed only for and notoriety pre- wards, singing the tones on all a few days, is Et.I govern correct singing the vowels, then even for the most gifted almost in a clearly understand- ceded that historic performance. It is a slow process, certain to obtrude itself when The opera’s on vowels with consonants before them, least able manner. The most successful teaching re- and student, to attain this mastery of the harmonic expected. director, Heinrich Conried, had had difficulty f / in finally vowels with consonants after them. In this sults when the instructor is able to demonstrate securing and melodic lines and their relation to each Therefore, it is wise to the American rights to the production, way, the use some composition what tones were fully explored, and the first indications he explains, to explain what he demon- and certain other, together with the dynamic of already well learned as a elements of public opinion held that, elements of enunciation practical start to strates. My own studies were launched were added, partly to the composer. proper mental In Measure into th under sin- because of the deeply religious study. Choose, if possible, 15, the octave changes significance of the achieve clarity of diction, and partly a num- gularly fortunate auspices. work, to develop four rhythm. tContinued on Page it amounted to sacrilege to present it on a ease in carrying over < Continued on Page 782) 728 NOVEMBER. THE ET! 1940 729 ,
HE first sound effect in a radio drama Music and Culture went out over the air waves just about Music and Culture T eighteen years ago—on August 3, 1922. That evening, Station WGY, Schenectady, broadcast Possess “The Wolf”, a drama by Eugene Walter. At one To-morrow Must point in the action the director of the play, Mr. The Mystery of Sound Effects What the Pianist of Edward H. Smith, slapped a couple of pieces of two-by-four together, to simulate the slamming of a door. By way of indicating to what heights HE PIANIST OF THE FUTURE has much the radio sound effect has been carried since that be his ad- inauspicious beginning, we may mention the fact to which to look forward. It will with mistakes of the A Conference that the National Broadcasting Company now in the Radio Studio T vantage to profit from the the goal of owns a device used only for medieval door slams past and the present, and to reach k ought to be — portcullis for sound musicianship by a path that St°i° a probably not arrive there the gateway of a less devious. He will d of to- ° n castle. The Co- unaided, however. Thus, it is the teacher ii,n of the lumbia Broad- day who must shape the foundation Si$ to be? casting pianist of to-morrow. What is his goal System all, musician- spends a hun- I feel that it should be, first of W omission and commis- Etude by Benjamin Brooke dred thousand /. ship. Our current sins of Secured Expressly for The f V Uc great a stress upon the purely dollars year Jjto 3 include too sion f ciU‘ instrumental and sportive aspects of piano play- lu the approach used by nuances of ev- ing. By sportive is meant same time, the best way to guide the pupil along in their sports, whereby muscular skill is Must Interpret eryday clicks, athletes The Player the path of worthy musicianship, is to encourage jL . T of This article is reprinted with permission of the its own sake, or for the sake adjust rumbles, echoes, k Editors, from emphasized for musician must also learn to him to delve beneath the surface of the prob- proficiency. To concen- The young displaying mechanical musical scheme It is not squeaks, and the delightful and ever effervescent “New Yorker Magazine” himself to his own place in the lems that confront him. enough to further and faster, on lifting fPjfl trate upon running surround the ca- measure. Rather, let the of things. We are inclined to “clean up” one pupil there jumping higher is, to my 'M are still many problems which push the more weight, or on halo that does is troublesome, headquarters a £/ certain that measure and (Left) this nor- pable performer with a discover why With frame- sound-effect technician to mind, a sportive perversion of the healthy, hears staff of the limit of his skill to him. How often one set about mastering this special difficulty work of wooden pegs lifting, and not properly belong then and ingenuity. mal activity involved in running, five engineers the sound effects de- “Are you going to hear for all time. Let him realize that all art enthusiastic query, once and : the partment can simu- The modern school of sound-effect engineering their assist- i jumping. to-night?” And how thought, not upon mechanical and V.’ Maestro X, or Madame Y is predicated upon late the sound of a In piano playing, this sportive emphasis is ants toils day is represented in New York by the Messrs. Walter questioner grows when the answer This is the surest way of riveting his marching army. exultation in technic for amazed the plodding. Pierson, who has found in an excessive and night in A crackling wood lire is simulated been sound-effect director at I have not seen the pro- attention and Interest and atten- reverence for achieve- comes, “I don’t know; interest and — C.B.S. since its own sake. Our modern all soundproof stu- by crinkling a mass of cellophane. 1933, and Ray Kelly, who has held average attitude is to center keys with which problems can (Below) This battery dangerous gram yet.” The tion are the only A smaller piece of cellophane is has led us into a peculiar and of phonograph turn- the corresponding position at N.B.C. for ten years. ment ‘ star for- dios, seeking to in the conductor or the , solved. The student must be taught to pene- rolled between the palms to pro- as such. The error enthusiasm be tables is worship of technical display, add to the stu- equipped Under their guidance the studios have learned to them there is still Beethoven weaknesses, to analyze duce the noise of frying bacon. commit finger fleetness must getting that back of trate to the root of his with records of is a simple one to ; re- dio’s repertoire approach the problems of reproducing noise Brahms. Their music was pretty well to cure them at their source. Does he find sounds which are and cultivation means the over- and them, scientifically. be cultivated, of ticks and difficult to reproduce Pierson and Kelly started libraries garded before the ap- difficulty in playing scales? Then let him pause coming of difficulties; in the studio. that is, storage pearance of the new- crashes. Huge machines have been constructed — rooms for sound effects—for the in his playing to discover the difficulty. Perhaps thus, we reason, for the reproduction of the sounds of different their networks, trained est celebrity perform- posture, an unrelaxed wrist, an more difficulties we it is faulty arm er, and will continue kinds of wind, of rainfall, of thunder, and of technicians, and even- better awkwardness in passing under the thumb. A overcome, the waves. C.B.S. worked seven years perfecting tually solved several so through a hundred the problem a puz- is sound thoughtful analysis of the root of — which gunshot effect suitable for radio broadcasts. zles which had more changes in routine seemed enough so far. But if will bring better results than hours of stellar enthusiasms. Radio recruited its first sound-effect men mostly insoluble. the next step in our plodding at the general subject of scales. Thus, our young pi- from among percussion artists who One of the first things reasoning leads us to The wise teacher remembers that each student anist must distinguish had played in the pit orchestras of Kelly did when he got to demonstrate these is a highly individual organism, with special han- between the normal movie houses. In the day of the silent N.B.C. was to invent a physical victories to dicaps as well as special facilities, the proper value of the composer pictures, you may remember, it was machine capable of re- the exclusion of deep- understanding of which requires psychological and that of the in- the duty of the trap-drummer to help producing the noise made er musical meaning, penetration as well as purely musical counsels. terpreter. The inter- point up climactic scenes with such by a zephyr—a notable we are falling into These individual facets of personality are pre- preter has a valuable elementary sound effects as pistol achievement in view a profound mistake. cisely the ones that need most careful attention. of share in the partner- shots, hoofbeats, and the noises ap- the fact that the best the Beware of a too sla- I interesting experience in this re- once had an propriate to burning ship, but always a houses, storms at radio was then able to vish regard for bril- gard. I inherited a pupil from a teacher of repu- do secondary one. Listen sea, landslides, and railroad trains. in the way of wind liant scales and easy tation overlooked a startling sounds who, somehow, had Some drummers, dissatisfied with reflect first of all to music. the was a hurricane-like octaves that pupil’s right and left howl. discrepancy between the range of effects produced by an ordi- nothing more than Do not regard Beetho- who Kelly’s invention consisted hands, very apparent to an attentive listener nary set of traps, had invented and brilliant scales and ven merely as one of of an electric fan inside heard the boy for the first time. On the routine a the “numbers” that built special devices. An outstanding easy octaves. Musical mate- box which had a number assumption that there is more pedagogical pioneer Mr. lie Maestro X performs. was Arthur Nichols, who meaning does not 'since of vents cut in its surface, rial for the right hand than for the left played that way. Sportive The goal of musical the drums in the orchestra of a and he found that by most pianists have an over-trained right and the Prospect ad- tendencies are laud- eminence cannot be Theatre in Brooklyn in In this picture NBC's sound effects man re- per- justing the speed of the comparatively neglected left) this boy had 1927, just before produces the sound of horses galloping on able only insofar as achieved by subject- talking pictures ar- drill- pavement (with two fan and the size of the sistently been given additional left hand rived. He was the builder of the “sound cocoanut shells). they serve a human- ing the student to vents he could regardless of the undiscovered fact that he was box”, an ungainly, simulate ly profitable purpose. dreary hours of rigid organlike wind in- symptoms- the sound of anything by nature left-handed. Thus, many strument with which he could, pulling air, In athletics this pur- drill work. Great by out like a building caving in, a real kiss like a from a breeze to can a tornado. A greater achieve- that seem to point to musical deficiencies, various stops, imitate automobiles, airplanes, rhinoceros taking pose may be hygienic strides can be made a bath. The sound-effect artist ment was his conquest of SIGISMOND STOJOWSKI oi the age-old problem of be traced to distinctly personal idiosyncrasies locomotives, sawmills, shower baths, dogs, lions, was forced development, train- by discarding waste- to deal mainly in substitutes, clashing rain reproduction. Until Kelly wind, appeared over the ing, relaxation, fun. ful, and non-musical origin. machine guns, pistol shots, telephones, teaspoons together to simulate swordplay, crum- therefore dis- horizon, radio men were plodding along with In music, the purpose of technic is simply to fa- couraging, cuckoo clocks, and boat whistles, to mention pling up tissue a study methods. Toward this end, I but paper for the crackle of flames. rain device probably known a small part to the Elizabethans cilitate the fluent expression of musical mean- advocate the thorough mastery of a few things, Classifying the Problems of his repertoire. He was signed up Nowadays, since microphones are more sensitive few —a peas in a drumhead. This was admittedly ing. When it carries beyond that, into a vain- rather than a by Station WABC in 1928. and accurate, superficial dabbling in a many simple objects produce noises unsatisfactory, many Piano study can be further simplified by ^ being capable of producing neither glorious chase after mere effect, it becomes an Progress must be guided that sound exactly like by the individual needs literature what they are, and thus crescendo nor realization of the fact that, while the An Early Handicap diminuendo. One hot afternoon in actual obstacle to human development as well of the student, never by curriculum present no problem to the requirements is so rich seems an i® sound-effect men, the summer of 1933, Kelly of musical values. For that its complete mastery Sound-effect engineering was sitting alone at a as to the searching out alone. It is desirable, of course, that was complicated in who keep storerooms filled with sewing all students mense at the com machines, lunch counter, eating a that reason, we must guard against allowing a make some task, the fundamental means its early stages by the fact that the old-fashioned tomato-and-lettuce salad progress within a 6 kitchen sinks, music boxes, given • clocks, period of poser's comparafi'' milk bottles, and worrying, as it happened, mere pianistic mentality to block the highroad time, it disposal are. by analysis, microphone magnified about rain effects. but is dangerous to regulate whatever noise it picked china, mixing bowls, slot machines, that progress few. to bew-r telephones’ Absent-minded, he into music. Technic is simply the means of ex- by Most technical problems are found up so greatly that the use picked up the saltcellar a yardstick that is built in of real, taken from cash registers, dice, poker chip, advance and sub to These tvp* ping-pong sets, and sprinkled a leaf pressing musical meaning; music is not a vehicle sequently a few ever recurring general types. life sound was impossible. For example, of lettuce. The resulting applied to all. a real swords, knives and forks, blocks and include; and sca-^ door tackles! sound, a gentle, familiar patter, for displaying technical skill. The best way to further (a) runs (such as arpeggios slamming would have sounded, over the marbles, intruded upon progress and, at “ bed-springs, and roller skates. However, his the based on meditations. He ( Continued on a proficiency < Confirmed W on Page 776) 730 NOVEMBER, 1940 731 Music and Culture Music and Culture
ne- (Left) The piano is a cessity in the progressive household as the attractive The Christmas Piano Everett model in this mod- ern home indicates.
(Right) Baldwin's striking new acro- and the Nineteenth Hole sonic model inLouis XV style presents a restrained ap- pearance worthy ol its fine artistic reputation. arve £kot S- -tt * VERYONE at the Schuyler Hills Country Club was still full of the incidents In the famous golf tournament, now three weeks E Steinway 's new modern design is characteris- had there been such a gallery of dis- tically chaste and original, fitting past. Never “What’s that?” interrupted Taggard. “Chopin ful grand piano, which he presented to us last handsomely tinguished visitors and never had there been or Brahms?” Christmas. with the newer styles of home decoration. spirit. such fine club “Search me,” laughed Putnam, “I’m like the “It is clearly an honor for this club to have as of glasses and the laughter of the The clinking Englishman who said that he could never tell the a member one who has attracted national atten- (Right) There is still a large "Nineteenth Hole.” as younger set in the club's difference between God Goes the Weasel and tion in different fields demand for the long stabilized —one who is recognized for was called, was particularly gay Pop Save the King.” type of grand piano such as this the main room his high executive ability in industry, wise judg- instrument by Knabe. Saturday afternoon when the “Shut up, fellows!” handsome on the November exclaimed Dr. Bob. “Every- ment in labor decisions, and for his fine con- was to present no less than body’s looking at you.” State Committee I structive imagination. (Below) This small Kimball grand three championship cups to the club. At the end of Herb’s solo, followed by a quickly “We wish that we might revert X\ with especially graceful lines has to the old-fash- it matter if Bobby Jones and Gene demanded encore, the President an obvious domestic appeal. What did of the club arose ioned custom and present you, Herb, with an invitations to be present? and said: - Sarazen had declined engraved testimonial of our esteem, which you ! i golf celebrities to make “I want to thank Herb There were still enough for helping us win not would probably send promptly to the garret, but the papers called "a memor- only one of the toughest championships the afternoon what of years, I am presenting you just now, on behalf of the was drawn to the “win- but also for his greatly appreciated able occasion.” Attention interest in Committee, with this cup, which you so ably won nahs,” the smartest foursome in the club. Just the club and for his generous gift of this beauti- in the tournament.” (Continued on Page 782 ) look at its members! There was Nick Putnam, former New York dramatic critic, who knew all the smart answers in the great quiz on the local radio; there was Len Taggard, discoverer of the new plastic made out of peanuts, soy beans, watermelon seeds, or what have you; there was Bob Owen (everybody knows "Dr. Bob’); and most interesting of all. Herb Beston, who had even received special mention in Time, Fortune, and The Saturday Evening Post, but who still (Above) The modern blushed when his friends pointed him out as a smaller home which has created an imperative himself at the coming man. Beston was seating demand for the newer type piano piano when Putnam whispered to Taggard: finds an excellent response in this “Never knew anyone like him. He's a virtuoso chaste Lester model. at everything he touches. Just listen, the moment (Left) Gulbransen's new model is he starts talking, just as playing everyone stops eminently suited for the home in they do when he steps on the putting green—” which music is a part of the prac- tical everyday life of the family.
(Above) Wurlitzer's Style 800 gives a new note in home furnishings in the modern sense. (Right) A charm- ing Colonial type model is presented in this new Ma- (Right) TheConsole Minuette pre- thushek known (Above) This highly sented by Winter and Company distinctive model of the new as the Spinet Storytone piano is representative of the pioneer hy Story and Clark embraces the Grand. technical ideals of this firm to amplification that is attracting make an wide attractive attention. and practical instru- ment for the modern home. (Left) A standard small (Right) Georgian influences are model grand by Weaver suit- clearly seen in this handsome Mini- able for the home of to-day. piano made by Hardman-Peck. 732 NOVEMBER, 1940 THE EJl -pum somewhat mars the recording. Perhaps for Music in the Home side of the music is best this reason the spirited Music in the Home records. In the present perform- set forth in the rearranged the order ance the players have of the second as the finale. the movements, playing Columbia and Victor simultaneously issued “Symphony Music in Film-land Enjoy new recordings of Brahms’ No. 2 You Will 73”; one by John Barbirolli and Recent Records in D major. Op. Orchestra of New the Philharmonic-Symphony York (Columbia set M-412) and the other by Eu- gene Ormandy and the Philadelphia Orchestra the approach (Victor set M-694). Curiously, of work is widely the two conductors to this di- being a vigorous, vergent; that of Barbirolli yet while that strangely loose-reined one, of Or- mandy, although more mindful of the lyric char- over aracteristics of the work, is much empha- performance shows the subtlety sized Neither seeing Interlochen at work. It all turns out well quality. “There’s Magic In Music” should be good the Beecham reading (Columbia library. and finesse of in the end, to be sure, and the regenerated entertainment; beyond that, it deserves credit for to be included in practically every record he DRASTIC PRICE REDUCTION on ail and even though the newer sets are work of , contest focusing national attention upon the Charles M. Courboin, the organist, is heard set M-265) heroine saves the day for the Camp in a records has made the world, Dr. latter, we still prefer phonograph or- better recorded than the with big name professionals. the Interlochen Music Camp. to advantage in a program of Cesar Franck’s performance T as one correspondent suggested, almost a performance. in complete the Beecham The cast includes Susanna Foster, Allan Jones, un- gan works (Victor set M-695) . He is music lover’s paradise. If any readers are to departing on his South American tour Music and Action Synchronized in the music, and the recording does Prior Lynne Overman, Margaret Lindsay, and a num- this scale of prices, as an- sympathy with familiar with new his newly formed All-American Youth Or- chief among "The Long Voyage Home" playing full justice. The selections are: Pas- with ber of highly gifted child musicians the major companies in August, we his recorded several nounced by chestra, Leopold Stokowski year old In O’Neill’s sea drama, “The torale No. 4 from “Six Pieces for Organ”; Move- whom are William Chapman, seventeen directing Eugene invite them to call upon their nearest record works for Columbia. “Chorale baritone, and Heimo Haitto, a sensitive faced lad Long Voyage Home” (for Argosy, at Walter Wan- to learn the facts. Records now cost less ment from dealer, The first of these to ranks Finland's greatest vio- ger Studios) John Ford has managed to combine of fifteen, as , No. 1, in E major”; who than at any time in the history of the phono- be issued is the orphan refugee in the United a distinguished story, the spirit of the sea, and a Beecham, “Chorale No. 3, in A linist. Now an graph. When records by Toscanini, “Symphony No. 5 in HEIMO HAITTO States, Heimo (Hay-mo) is making his film debut novel and interesting method of musical treat- Heifetz, Flagstad and minor”; and Piece Stokowski, Koussevitzky, E minor, Op. 95” from This amazing fifteen year old Finnish violinist genius, in the Interlochen picture. He left Finland after ment. This new sea play is an intimate drama of be bought Heroique. on- and all the other great celebrities can "The New World" by both of whose parents were lost in the Russian best his father and brother were killed fighting the a group of virile social outcasts at sea, who is far less reason than One of the slaught on Finland, is now a leading figure in "There’s for one dollar each, there Dvorak (Columbia set teams now Magic in Music", the splendid new movie dealing with invading Russians, and his mother and younger hunger for the land, and grow impatient and dif- in the past for an American home to be without two-piano M-416) . This per- public, the National Music Camp at Interlochen, Michigan. sister were lost in the civilian retreat from Lake ficult to handle as their confinement aboard ship in recorded music. If readers desire as- before the the best formance truly testi- citizens, well acquainted with the in selecting choice recordings of any Pierre Luboshutz and Ladoga. Finnish continues month after month. Realism and sim- sistance fies to the remark- invite them to write to us. A Genia Nemenoff, apt- CHEDULED FOR NOVEMBER RELEASE boy’s great gifts, urged him to come to the United plicity sound the keynote for the picture, and its given works, we results that the able comes “There’s Magic In Music”, Para- six self-addressed stamped envelope should accom- ly turn their atten- States. He has been in Hollywood less than mood has been adroitly recaptured in the score. conductor obtained to two encore S mount’s gesture toward disseminating in- months, has learned to speak English. His Mr. Ford has striven for tonal effects which, in pany all requests. tion and with the new orches- formation about National Music Among the high lights of recent record lists is pieces: the Russian the famed Camp filmed directing of a two hundred piece sym- their form as well as in their content, express the tra after only two for Michigan. the third and last volume of the Chopin “Ma- Dance from Igor young Americans, at Interlochen, phony orchestra is nothing novel to weeks' rehearsal. It zurkas”, as played by Artur Rubinstein (Victor Stravinsky’s “Pet- Dr. Joseph E. Maddy, founder of the Camp and Heimo, who has conducted the Finnish apparent Chopin un- rouchka” and Mischa was quite professor of radio music instruction at the Uni- Symphony Orchestra and similar or- set M-691) . In these Polish dances, from the recording questionably found a spiritual congeniality and Levitzki’s Valse Tzi- versity of Michigan, served as technical adviser ganizations in Norway and Sweden. that Stokowski had an artistic inventive, for they are among the gane Op. 7 (Victor for the production, and many of its scenes were On the set, one day, when Producer- moulded these young most enduring manifestations of his genius. As disc 2096) . The infec- filmed directly at the Camp site. The picture has Director Andrew Stone was filming players one writer has said: in them, “he is unrivalled, tious verve of the American a plot, of course, and stars, but its chief interest sequences near Mt. Wilson, a group of organi- downright fabulous.” The late James Huneker Stravinsky dance is into a superb would seem to lie in the Music Camp itself. army bombers, on test flights, zoomed which was under the firm conviction that “no compo- particularly well con- zation, one The history of Interlochen began in 1928, when low over the company of picture play- with the sitions are more Chopinesque than the ‘Ma- veyed. performed Dr. Maddy organized this unique, guild-like form ers. Heimo saw the war-birds; with zurkas.’ ” The Polish pianist, Artur Rubinstein, Wanda Landowska, brilliance and style of providing musical instruction for 'some three stark horror in his eyes, he mechani- seasoned has played all fifty-one of the mazurkas for the eminent harpsichord- of a fully hundred and sixty boys and girls from all parts cally dashed for cover. brilliant, Com- phonograph, and the present album, which con- ist, gives a orchestral body. of the country. Membership selection is competi- “It was something I could not help,” sensitive and enthu- set tains sixteen, is mainly concerned with those of paring this new tive; each scholar comes as the “champion” of his he explained later. siastic performance of Op. 56, 59, 67, 68, and 69. Rubinstein plays these with the recording section, and almost all are of ’teen age. For eight The boy marvels at the peace and of Haydn’s familiar ARTUR RUBINSTEIN “New works as persuasively as any living pianist we the Dvorak weeks, from mid-June to mid-August, the stu- security of America (taken for granted notable, artistic “Concerto No. 1, in might imagine; his is truly a D World Symphony” dents live at the Camp; practice daily; receive by so many of us!), and dreams that that students major. Op. 21.” (Victor Album M-471.) Or- achievement. It has been aptly said The con- that Stokowski made with the Philadelphia instruction from recognized masters in vocal, in- he may one day hear that his mother “the careless and capti- tention of those who believe that will do well to notice finer-grained chestra five years ago for Victor, one finds an strumental, and group music; and work together and sister have not perished, but are Rubinstein imparts to the in- characteristics are obtainable in this music vating swing that when enthusiasm in the playing of the younger group for the learning and propagating of the best in well and sailing to join him here. evitable triplets that the mazurka rhythm performed on the harpsichord is borne out by which is less apparent in the older orchestra. music. Capable of anything from Bach to The The professional opera troupe ap- abounds in,” for therein lies in part the secret comparing Landowska’s performance with that sets; Beer Barrel There are points of favor, however, in both Polka, the youthful vocal and in- pearing in the film includes Irra of their success in performance. of Roesgen-Champion on the piano (Columbia of strumental groups render concerts ALLAN JONES and not the least of these is the richer beauty Sunday and Petina and Richard Bonelli, both of and SUSANNA FOSTER Those interested in the later piano sonatas of set X-118) . So wholly delightful is this work broadcast over national Stars in and string tone of the Philadelphia Orchestra. airways. The work of the Metropolitan. By way of novelty, "There's Magic in Music" its Beethoven will find Walter Gieseking’s perform- performance that we urge the reader to be Interlochen is genuine contribution to Dimitri Mitropoulos and the Minneapolis Sym- a Amer- two separate groups of singers and ance of “No. 28 in A major, Op. 101” a most re- sure to hear it. ican music-craft, Paramount Studios have phony Orchestra give the most forceful recorded and musicians perform the Toreador Song from “Car- basic X-172.) Of several spirit of the action. His theory of musical warding performance. (Columbia album the Organ Concertos by Handel that now devoted their vast facilities to making it performance of Beethoven's Leonore Overture men” and the Trio from “Faust”, simultaneously. obbligato other recording of this work available E. Power Biggs and Arthur is that motion pictures must avoid a The one Fiedler and his Sin- No. 3 Mengelberg better known. (Columbia set X-173) since the The music is counterpointed and the effect is mere accompaniment of sound; is by Schnabel, in a Society Set. Of the two re- fonietta have played for the phonograph, rather, the music “No. version. The drama satisfying, Greek conductor stresses the if somewhat amazing, harmony. Mr. must become an integral part of the cordings, we prefer the Gieseking for its more 11, in G minor, Op. 7, No. 5” (Victor discs’ 2099/ A Prodigy from Finland action itself. of the music to the utmost, but shows a strange Stone, in commenting on such streamlined over- All of which sensitive exposition of dynamics and better re- 2100) is perhaps the most is sound reasoning, based on the enjoyable. This is oc- disregard Mitro- The plot of the picture (which for its lyric beauty. Moreover. may or may not hauling of jpera, explains that great music pre- precedent of experience production. There is a sensuous beauty in the casioned in part by the better balance and Wagnerian music obtained poulos does not strength prove an unalloyed asset to the Michigan music sented in distinctly this sonata which, as in the convey the blending of modern form, will have wider drama. Frequently, explains Mr. opening movement of recording between the organ and the or- Ford, we wit- and delicacy that one finds in the Bruno Walter camp) is a fast moving, adventuresome romance appeal. Further, new words have been written ness a filmed Schauffler has said, “provided an inexhaustible chestra. Biggs plays on the Baroque scene of struggle—war bits or street organ of the the of the “Under Pup” type. gifted young singer, .” performance of this overture. Even so. from A for the arias, which are said to advance the plot fighting inspiration for a host of Romantic composers . . Germanic Museum at Harvard —where turbulent music is required; University, but found playing in burlesque, gets into difficulties but recording standpoint, this new set is unmatched of the picture. It all sounds daring, but Holly- what happens The slow movement attains the lofty nobility unfortunately the pronounced echo is that the studio’s symphony or- to the’ Mu- when the is raided, finds sponsor is in vivid realism. show a who wood has never shown itself lacking in that chestra supplies representative of Beethoven at his best, and the the sound, regardless of the fact Great musicianship evidenced when interested in the Camp, and is paroled on condi- that finale reveals the composer’s strength and heroic is surely symphonic renditions are seldom available one tion that she go to the Music Camp to improve work, this sonata is artist makes the forget the superla- at the moment courage. Although not a long listener when the fighting actually occuis tive in herself generally. Her adventures in adjusting rich, nevertheless, in emotional content and pro- performance of is proved and are RECORDS another. This consequently quite out of harmony with Nathan the herself to the new atmosphere form much of the MUSICAL found thought. The present recording deserves Milstein's poised exposition of FILMS the actuality of such a scene. Similarly, action, and offer an excellent opportunity a cottage Tschaikowsky “Violin rCon/inuei on Page T74) for scene may show a man ( Continued on Page 734 771) NOVEMBER, 1940 735 ^
Music in the Home Music in the Home
not say, but maybe there is something in his assertion that the girls “take orders better from Lover's Bookshelf Sound Waves Over the World a man.” The Etude Music When “Saturday Night Serenade” completed it its broadcast on September 28 (CBS network) , officially began its fifth season on the air. Re- Pioneers in the Tone Art By garded as one of the most popular and melodious Baltimore tavern there once By On the walls of a ClVl variety radio shows, this broadcast has never series of frescos which displayed Balti- was a altered its form of entertainment. Gus Haenchen, American cities ni "•''I “firsts.” Many other more’s who directs the orchestra, says, “People like our proudly boast of their “firsts.” There is a natural iaf program because we offer them real variety. Our human curiosity about getting at the source of cl M appeal is to listeners with varied tastes; we try to things. David Ewen has written a book aimed to Jth give them a tuneful blend of the best ballads of penetrate the historic archives with the view of yesterday, and the popular hits of to-day and a discovering the sources of musical composition. HE BIG NEWS of the National Broadcast- Musicians. The programs are non-commercial generous portion of good dance rhythms.” Mary In this he has given particular attention to per- in sky. The writer has talked with many ing Company this month is the return of and an outgrowth of the recent NYA auditions Eastman, the soprano star of the half-hour mu- sonalities whose works are more rarely heard in lark the all seem to be 23rd. through Dit- composers of this type, and they TMaestro Toscanini on November Mark which Leopold Stokowski formed the sical production, has been with it since its intro- halls, such as Rameau, Schiitz, listed in this department our concert as Any book unconscious of the operation of composing, the day on your radio calendar as an important All-American Youth Orchestra. “These auditions,” duction on the air. She first came to the Colum- tersdorf, Kuhnau, Field and Buxtehude, all of may be secured from The Etude Music Foster just sang his melo- Wilhelm Steinberg, said NYA Administrator contributed something significantly was Mozart. Stephen given plus the date. In the meantime, Hans Aubrey Williams re- bia Broadcasting System back in 1932. Originally, whom have His Magazine at the price dies and permanent art works were born. officially opened the series of the NBC Sym- cently, in announcing the radio concerts, “dis- she planned to become a pianist, early new. slight charge for mail delivery. who but as as knowledge was very limited, but we often conduct the three Saturday closed to us that there were thousands The author delves into early opera and oratorio, musical phony concerts, will of young her thirteenth year she began her vocal studies. if such a man is not the real composer prior to Toscanini’s first ap- people with great ability and feeling for early instrumental music and new musical forms; wonder night broadcasts music Born in Kansas City, she studied at the Chicago rather than he who struggles to create great who ought to have chance and he has brought to the surface much unusual pearance of the season. a to learn kind barrage of complicated II. Because Johann had been divorced, information not generally found in books about works through a of Johann On October 13th, the New York Philharmonic- and be heard. Now we are going to be a Protestant in order to marry Adele; music. technic. he became Symphony Orchestra resumed its eleventh con- able to present their ability to the It is not surprising that in the last chapter of in doing this he gave up his highly valued “Pioneers in Music” and secutive season of Sunday afternoon concerts on public . . . This is an important step “America’s Challenge, and Victory over nationality. Adele helped him greatly By: David Ewen the book, Austrian the air (Columbia Broadcasting System, 3 to 4:30 in our musical history.” The NYA was European Dance Forms”, Jacob has given fore- by inspiring him to write “The Gypsy Baron.' Barbirolli officially formed Pages: 280 P.M., EST) . On this date John in June, 1935, as part of the position to John Philip Sousa, who, from the Strauss married his third Price: $2.75 most Jacob writes, “When began his renewal engagement of two years as WPA to help young people through Publisher: Thomas Y. Crowell Company wife, he was fifty-eight years old. After his death the orchestra’s regular conductor, and the or- school or provide work for those at- s she said, ‘I never had the feeling that I had mar- chestra entered its ninety-ninth year of exist- tending school part time. The group 34r* ” Father and Son ried an old man.’ Strauss was inwardly a young ence. The commentator, as he has been since was founded with about forty players, really altered—never man. As his music never 1936, is again the distinguished composer, critic but to-day it has a membership of The famous Strauss family of Vienna has by no grew older, or colder, or hardly even seemed more and author, Deems Taylor. An impressive list of one hundred and nine. The ages of means been neglected in biographies. One of the serious in the sense of being more mature—so the soloists is announced for this season, which in- the players range from eighteen to best we have seen, however, is that of H. E. primary base of his music, the human being in cludes, among other prominent artists, pianists twenty-four inclusive. Each member Jacob, translated by Marguerite Wolff. It is par- Strauss, never altered. Eduard Strauss was a Ania Dorfman, Jose Iturbi, Artur Rubinstein, and receives twenty-two dollars a month ticularly valuable because the author has had brother of Johann II. He was ten years younger Rudolf Serkin; violinists Adolf Busch, Nathan for sixty hours work. Readers will find available original sources of reference to which than his brother and a competent conductor of Milstein, Albert Spalding, and Joseph Szigeti; the programs of the NYA groups, many other writers upon this phenomenal family we distinguished appearance, but of second rate and the violoncellist Gregor Piatigorsky. During believe, of considerable have evidently not had access. The writer has interest. ability as a composer. Josef Strauss was a brother the mid-season, two noted leaders are scheduled always had the opinion that the elder Johann of Johann II. He was said to resemble Franz as guest conductors: Bruno Walter, has been A New Conductor for a Famous Strauss was perhaps overrated and the younger who Liszt and was a conductor of ability. Richard associated for years past with the orches- Orchestra underrated. However, we are glad to know that many Strauss, famous Bavarian master, is not related tra, and Dimitri Mitropoulos, director of the “A no less than Richard Wagner said of the younger woman’s as good a musician as a to the Vienna Strauss family. Nelli and Terese Minneapolis Symphony. man,” says Izler Strauss, “His is the most musical head that I Solomon, who con- JOHN BARBIROLLI, English-born conductor of the Strauss were sisters of II, and Ferdinand As it ducts New York have ever come across”, and that Schumann Johann has been previously done each year with the famous Chicago Woman’s Philharmonic-Symphony Society, who has met with distin- was a brother who died young. the regular concerts of the People’s series said, “There are two very difficult things in the Young Symphony Orchestra of sixty-five guished success in America. Jacob’s of this family is of the players, world. One is to make a name for oneself and romance remarkable New York Philharmonic-Symphony Or- in the “Design for Happiness” a “must” volume for library, but it chestra, will broadcast those given the other is to keep it. But let us give all praise the musical CBS on No- programs (heard Sundays, 5 to 5:30 PM., EST Musical College and later in New York is also very casual under to all the masters—from Beethoven to Strauss.” a captivating book for the vember 2, December 14, January 11, February 15, CBS). Solomon contends that the fifteen years noted musical coaches. Miss Eastman has suc- musical reader. March 22, and April 19. Rudolf Ganz, the noted this organization has been together Brahms, of course, was one of the warmest ad- has produced cessfully appeared in musical conductor-pianist, comedies and also mirers of Johann II. His close and beloved com- “Johann Strauss Father and Son” will direct all of these concerts. a perfection in ensemble playing without destroy- in recital as supporting artist to Richard Crooks Author: H. Besides being this country’s oldest orchestra (it ing any of panion, Jacob, writes, “Brahms played Strauss E. Jacob the individuality of the solo players. If and other noted operatic stars. She is assisted by waltzes with great enthusiasm, as Liszt, a gen- Pages: 385 was founded in 1842 as the Philharmonic Society you listen in on one of the “Design for Happi- Bill Perry, tenor, and the Serenaders, a chorus Price: of New York) it is of eration earlier had been a brilliant performer of $3.25 , also the third oldest in the ness programs, we believe you will agree with fourteen mixed voices. For world. those who favor vari- the waltzes of the elder Johann.” Brahms’ own Publishers: The Greystone Press Sixty-three players were in the original or- the conductor on his estimation of his lady ety shows leaning toward the popular, we recom- waltzes, written in 1865, conformed so closely to ganization, but to-day the orchestra numbers one players. A list of noted soloists is scheduled to mend “Saturday Night Serenade.” Viennese taste that this cannot have been acci- STRAUSS THE hundred and four players. Compared with three appear with this orchestra, FATHER A Wagner Lexicon and the programs are The soloists to The face of be heard on the Antonini Con- dental. His performance of the Blue Danube with Johann Strauss II is fairly familiar to musical concerts given in its first season, one hundred appropriately divided between orchestral selec- cert series readers. Here is that of his Perhaps the last step in earthly fame Is to have this season, Mutual Broadcasting an improvised introduction was, as Lindau re- father, who was equally and nine were presented last year. Most of the tions and featured numbers. Sys- famous in his reached Solomon, an ener- tem, Tuesdays, day. a state where a dictionary is required to 8:30 to 9 P.M., EST, are to be Nino lates, a marvel. Unfortunately, none of it was great conductors in the music world have led the getic man of thirty, has been, according encompass one’s time to his Martini, tenor; Vivian Della written down. works. The writer has not orchestra in its Chiesa, soprano; - almost a century of musical life. sponsors, “a perfectly willing ^ mubu unginai to check guinea pig for Hilde Reggiani, coloratura The melodic fertility of upon the possibility of Wagner diction- The soprano; and Robert Johann II was nothing all composers. It may safely be Sunday morning series of orchestral pro- American music.” The conductor himself said that none aries in other that says, Weede, baritone. Nino Martini, short of a natural phenomenon. Many men have tongues. It is hard to believe grams (CBS, 10:30 to EST), given in the Metropolitan the scores of Sousa tunes resembles 11, leading “Only by playing it can American music be ad- gained any ti they may not exist, has been Opera tenor, is the first to be heard the reputation of being masters, who have previously composed. as Wagner now cities by the symphony and concert orchestras of vanced. I shall continue with Alfredo Jacob pays a very defir dead these to perform as liberal a Antonini’s Concert created during their lives only a few tunes which fifty years. However, this is the first the National Youth Orchestra. He will be featured and deserved tribute to the great Administration, has been fit- number of such works as possible in my time band masl book of this type Eng- new for the first weeks and then has permitted to survive. Certainly Johann Jacob gives valuable that we have seen in the tingly characterized as “an important step in our series of programs.” be followed by Miss information upon th lish Although in existence for Della Chiesa, II was one of the most melodically fecund all tongue. It is the type of book one would musical who in turn, after several of who make up the Strauss family. history.” NYA organizations in New York, fifteen years, the Chicago Woman’s Symphony weeks, composers. He ranks with Schubert, The m expect to originate English will be followed by the other Chopin and famous are, of course, in England, by an Cleveland, Chicago, Philadelphia, Pittsburgh, as Orchestra had fairly singers. Both Miss Johann Senior and Joha writer tough sledding until last Reggiani only a few others in this gift. The writer and an English is, how- and Miss Della Chiesa has Junior. The elder Strauss publisher. This well as others from the states of Alabama, Cali- year when Mr. Solomon took are seasoned was the son of ever, over its direction. opera singers; often noted that where one is endowed with this published in America. fornia, they made their initial Austrian innkeeper, Franz. He was Florida, Georgia, Massachusetts, New Whether or not the ladies agree with him appear- heaven-born gift, the melodies themselves baptized The book we can- ances with the Antonini have the Catholic Church by gives the stories and arguments of Hampshire, and Rhode Island are scheduled to concerts last winter two the CarmeliteV os Miss characteristics, the first of which is that Straus Wagner’s Music play in this Della Chiesa will be recalled (one s ), composer of Dramas, lists of the original series. The sponsoring committee is by listeners as they seem to bubble forth with the “The Chocol casts, one of the featured fresh and Soldier” and other dates of the lists composed of Mrs. Franklin singers with Alfred Viennese operettas very composition of the music, D. Roosevelt, Mayor Wallen- fluent ease of a forest spring. The tunes are writ- in ml of musical stein’s Mozart Opera series the Strauss style, is not compositions other than operas, short F. H. LaGuardia of New York, and James C. last spring. American ten with the unconscious related to the ear ease of a song of the family. Adele iographical Petrillo, president born Robert Weede will be a Strauss was the third sketches of Wagner, his family and of the American Federation of new voice to the wife Antonini concerts, antecedents, his friends, but ( Continued on 736 < Continued on Page’ll Page 779) NOVEMBER, 1940 THE ETUDE 737 4
fore-arm. This is certain straight line with the Music and Study a more incisive tone as well as in a Music and Study to result in more perfect control of key release. The arm adjustment recommended here should the one previously de- not be confused with former case, the right-angle posi- The Demand for Unusual Song Programs Playing scribed In the Piano relation to the keyboard re- Clear and Distinct tion of the arm in mained unchanged. In this instance, however, the to move a arm pivots, forcing the elbow greater It is not intended to re- distance than the hand. This is Part Second By movement, but merely place the first type of to of fourth and of the very colorful supplement it. The problem fifth- accentuated in idon finger articulation is passages conference upon the ter from Valse Oubliee, by Liszt, tkl VUiU such as the one Art of Program Making aa g shown here in Ex. 3, where dexterity is further £,va extension of the fingers. Q curtailed by a lateral oubtless, the program Distinguished Ex. 3 which created the most dis- French-Canadian Soprano D cussion over the longest pe- music here exists among pianists a rather traction. To obviate this difficulty, the riod of time was the one which practiced with an ample wrist staccato. common tendency to conceive of brilliance should be included a group of American pop- Secured Especially for for a free play of the arm is The Etude T solely in terms of dynamics and speed. Here the demand ular songs by Irving Berlin, Jerome Clear Articulation While these are contributing factors, their im- even more imperative. Such exercises as this in Kern, Walter Donaldson and George difficult to realize in developing the articula- By Stephen West portance is largely determined by the extent to Clear articulation is more Ex. 4 are excellent for Gershwin, and which presented spread of fingers: which the ground work of articulation has been passages that require a considerable tion of the fourth and fifth Gershwin, for the first time on a development the fingers. Wide intervals tend to force the fin- serious program, laid. Although the basic step in the Ex. not only as a com- Paul Whiteman, » who something about this the l s l : 1 > ^ i l unusual music, and the cos- of a clear enunciation is the acquisition of a true gers into an extended position. For example poser but also as a pianist. John Sargent's decided No. famous drawing of Eva he too would tumes worn; so that in giving a little legato touch, the clarity of scale and arpeggio following excerpt, from “Rhapsody, Op. 119, Can you imagine Alexander’s impromptu Rag- Gauthier, in the Boston Museum. This give a recital. by the normal Then and talk I soon found that the audience was inter- work is greatly enhanced by the incisive quality 4”, by Brahms, must be played time Band and the first perform- is considered one of the finest works of there he commissioned of the middle the great ested in knowing something about the of the tone itself. The public seems to appreciate hand with only a very slight flexing ance of the great narrative aria American artist. French, our young pianist to or other languages, in which the songs and respond immediately to a finely articulated joint. from the “Gurrelieder” of Schon- might be compose a work, later presented. Audiences rhythm. Fred Astaire, the famous movie and stage berg on the same program? were most grateful for this Well, each had its to be called “Rhapsody in Blue”, which was lo information; and many singers have followed the star as well as his negro confrere, Bill Robinson, turn, and it is unnecessary to tell which created make both of them world famous and to become custom, thus breaking owe their success and fortune to their wonderful These should be executed with a gradual pivot- the sensation. I did not down the barriers between “jazz” the songs but sang a pattern for many to copy. Even Ravel paid audience and artist in a really rhythmic sense and articulation. Nothing is ever ing of the arm on each finger. If this movement them “straight”, after having studied them with friendly fashion tribute to Gershwin by using some ideas from the jumbled or ill-timed. Every step falls in its proper relative position of hand and so adding much to their own is timed accurately, the the same care for line and phrasing as I would success. With the leverage of the fingers thus weakened, “Rhapsody in Blue” in his last place. and arm will have returned to normal by the songs by Schubert or Through my Javanese songs in- Schumann, or by any one work, a “Concerto for Piano In order legato passage articulately there is a corresponding loss in quantity and I made the to play a time the top note is played. As the exercises also of the most earnest composers of the acquaintance of cisiveness of tone. The spread of the hand here present and Orchestra.” at a slow tempo, it is necessary, of course, to keep involve a wide spread of the fingers, they can be period. that great painter, John Singer can be greatly reduced by allowing the arm Some of my programs were each key depressed until the next tone is sounded. practiced to advantage with the staccato touch. But the accompaniments Sargent, who was instrumen- to the presented the most built from materials As the tempo increases, this problem of timing movement to carry the hand from one key gathered tal In all such fingers, the habit of coordinating arm serious problem, because no regular in making possible my next. This will, of course, necessitate the use of accompanist during extensive travels in the release of a key by the depression of the one by could imfi many appearances and fingers can be more readily assimilated do justice to the particular technic re- practically every in Boston. following increasingly difficult. the staccato touch. This approach should be civilized becomes more first practicing them with a very light touch. quired for jazz playing, At his solicitation I sat for special in of as the written notes are country of the world, Finally, at it is possible to achieve given emphasis the case small hands. and in a rapid speed have less very simple two portraits, one High tones are more penetrating and and the real accompaniment is the some not of which articulation only associating the release of Fore-arm rotation plays a very vital role in the so civilized. For a by a tones. They therefore one improvised now hangs in the sustaining power than low at the moment. In my dilemma it number of Boston Mu- key with its descent and not with the ensuing acquisition of clear articulation. Its effectiveness years I made my lend themselves more readily to clear articula- was suggested that one of the seum. Many delightful eve- as an adjunct to incisive finger attack is par- publishers in “Tin- home in Java, where I had attack. In other words, to play articulately at a the nings were tion. To maintain the effect of uniform articula- pan Alley” had in his employ as a “plugger” a privilege spent at the home fast in staccato. ticularly apparent in such passages as Ex. 1. If of studying the na- tempo, one must think terms of pianist of the widely tion in all registers, greater attention should be who could read notes; so off I went in tive known American It is only logical, therefore, in the early stages of these adjustments are incorporated into the stu- music in the palace of the paid to a distinct separation of lower tones. This search of this young man. When found, he turned poetess, Amy Lowell. Most of slow practice, to disregard frequently the legato dent’s technic, they should compensate for limited Sultan of Solo. I was the first 53". out to the musical excerpt, for example, from "Sonata, Op. by be a tall, modest, but charming young fel- white material gathered indications of a passage and to practice it stac- reach to the extent that it no longer assumes the woman to bring that semi- low with a strong, in J ava was put proportions of a serious handicap. Often the Beethoven, must be played with at least a interesting countenance, who music to western to excellent use cato. audiences, by staccato touch, if it is to sound clear and bril- was then beginning to be known as a successful and the late Charles T. Griffes, The natural tendency, when playing slowly, is articulation of such passages can be further in- for many years it formed liant. composer; and, without knowing him, in his widely known orches- for the fingers to move slowly. However, to in- creased by the use of a high wrist. This tends to I had a very large part of my pro- tral Ex. I> picked three of his songs for one of work, “Kubla Kahn”, sure the best articulate results, the individual draw the fingers into a position more nearly my groups. grams. As these Javan songs also When he first heard proposition, in “Sho Yo” and finger-stroke should be swift, regardless of the vertical to the keys. Thus the impact against the my he was were always given in costume, in some very songs. key is met doubtful and hesitant, first, because At his death the tempo. This sharp impact of the finger against by the rigid, bony structure of the he did that style was adopted as my s mate- not quite get my idea, rial was returned the key will not only produce a more brilliant finger and the resultant tone is more brilliant. and second, he never had trademark. to me, then accompanied, or played in given to Maurice tone, but will be attended by a more prompt fin- public, and the thought Ravel, whose Difficult Fingers of appearing before really Individuality work, as ger rebound. While the method of attack will a musical audience of Style well as that of De- was Articulation is perhaps somewhat terrifying to one of so little experi- bussy, shows the influence vary with the amount of tone required, the key most difficult in pas- Here is a point that I would of sages ence. On reflection, however, the lovely release should in all cases proceed from a relaxa- which involve the frequent use of the he decided that if I like to emphasize. If Javanese music of were possible, fourth and fifth fingers. willing to take the chance, he would the “gamalang”; tion of the finger. Any vigorous movement of the The movement of these do the have something which the heard by fingers same. By that time he both of finger away from the key is apt to hamper the in forte passages is largely effected by was becoming sincerely public associates with them as very young interested you r ^ ... control muscles located in the fore-arm. and quite keen to begin work. in a Royal men. Much of of the following attack. It is apparent His alone. Perhaps it will be what we now salary was then a costume. The effect of brilliance in forte passages is often then, that the maximum efficiency but fifteen dollars a week; and, song, call modern” music can be ob- T% or the way the hair is was at dulled release tained only when these are when I tempted him with an offer of first greatly by an over-emphasis upon the of brought into perfect three dol- dressed, or the style of clothing , influenced bv and lars an hour, affected. Even arm weight. The transfer of arm weight from one alignment with the fore-arm. If Incisiveness of Tone the deal was on; rehearsals immedi- to mU Sarg6nt we attempt to this day people tell me of some dress Was living ^ play the ately started, and there I wore p“iS 4 tlme f finger following was ;£r ’ and to another tends to retard the speed and passage (from “Fantaisie-Im- In the matter of articulation no composer the beginning of a many years ago, that had some of his finest por- great career made a lasting impres- traitsfrt n and also to affect the incisive quality of tone. The promptu’’, by Chopin) without arm places execu- and of a friendship which was to be sion drawings are of Javanese adjustment, more exacting demands upon the by its individuality. I never followed dancerU It we find that tiagically cut short the style was actually a serious upper- and fore-arm should be largely supported the hand is deflected to the tant than Bach. particularly some fifteen years later. His of the day, study of all oriental right The problem is but made my own; yes, I made them music by their muscles. tension while the fourth and fifth name was George Gershwin. that enabled me to own Any beyond that fingers are playing: acute in such a passage as this from his Prelude. It was my privilege myself, so that there understand and to master to would be no danger of find- contemporary, the which is required to keep them in a lightly sus- No. present this young composer and pianist or so called Ex. 2 7. where a certain tone is sustained through- to ing the same model on “modern” music. the musical a dozen other people. Let pended state will only serve to impair the free- out the public. And for the first time duration of a figure: the style in vogue be forgotten. Let Advice from dom of the fingers. If precision in key attack American popular the gown the "Swedish and songs were accorded the agree with the Nightingale" personality of the wearer, so release is to be maintained, the volume of tone dignity of a place on a concert program; that Digressing now from the and, the two blend into an individuality. subject of program in passages marked must be chiefly the result as one critic so aptly Even the male making, I have ff ~ wrote, we “made a ladv singers might in my possession a copy me lingers out follow this rule to a mild of an of finger and hand exertion. The execution of operate at a disadvantage. of jazz.” extent. interesting letter written To facilitate the le\ Another innovation in by Jenny Lind such That my recitals was the air in passages, however, requires a firmness of age of these fingers, the concert made musical history. In the answer to another asking arm should be allm of informality which her to explain vocal hand that often leads to excessive muscular con- Clear audience sat a very came from the singing of to swing out until the little articulation is possible here, only when stout young band conductor, problems and how she had finger form: oriental songs. It was necessary mastered them. Practi- there is no 772' to tell people cally more ( Continued on Page speaking, it is a question 738 NOVEMBER, 1940 whether problem THE ETUDE 739 3 '
accompany Music and Study high, in try- protection, and to her on he ability to SING HIGH TONES is not once pushed the voice up too and Study Marchesi was able to see at out of a her farewell tour of Canada, as a the sole accomplishment to assure a suc- Music done ing to make a coloratura the harm that already had been too star in my own right on my first tour T cessful singing career, but it is one of the contralto, which was a change voice. As she was then becom- She got just as much excite- exacting requirements of the discussions are especially helpful, to my return to Paris, there. many necessary and felt extreme. On my ing rather old—seventy-six—she ment out of it as if it had been her singer’s art. because no two singers have pre- for six months with Bouhy, too much to over- however, a privilege difficulties, but ex- that there was keep- own first tour. What to be The correct singing of high tones requires what Tones cisely the same by High straight again verdict was that it had he put me others are always worth come, so her the en- associated with such an artist and is known as an open throat, and this open throat periences of ing me on a Mozart aria for been a beautiful voice, but she feared every night. I practical under- something, even if they do not apply since worked to hear her know of must be coordinated with a tire six months. I have that a career was out of the ques- other young singer who began breath support. to one’s own case. For instance, Jen- with the late William no a standing of her fees were quite in London, letter, “I mas- tion. In any case, career so auspiciously. I was paid Let us first consider an open throat, and get a ny Lind says in her Shakespeare, and in Berlin, with beyond my pocketbook. When later pounds Sterling or posi- tered the chromatic scale when I no Schon-Rene; but this was only fifteen (seven- workable comprehension of this action possible for me to meet Madame to Sing Them it was made and How longer needed it.” She stressed the al- ty-five dollars) a week, and traveling tion. Stand before a mirror so that you can watch really a continuation of what I these fees, and I called for another me, the constant working of the middle Paris and a check- expenses. That was, to a fortune. your entire face, and particularly the front of only comment was, ready had done in not to abuse the use of long interview, her I have been always a student, and throat, just below the jaw. Now take a glass in voice; after years of hard concert — “When there is no money I am not ing up phrases and too long a breath; and much fatiguing traveling. I studied every song that attracted your hand, as if about to take a drink. Bring the interested,” even though I stood work and By the practice of the trill as most use- to America I me, for future use. For that reason, vessel up to your mouth quickly, and notice how, , there with the money in hand. Which When I first came ful for coloratura and portamento. I never refused to listen to the com- just as the glass is raised, you draw in quite a ^ / thirty-five consecu- was the end of that dream. even survived I should like to add to this with a positions of any young deep, quick breath through the mouth. “'*'"'“"' in vaudeville, which is the composer I then went to another teacher, tive weeks quotation from the great Battistini musical field, who asked for a hearing, lest I might You will observe that as you draw in this quick 3 the but after a few lessons my voice left hardest work in who followed the economic law of pass up something that would be breath, the throat expands, or your neck becomes CkarU vocalises the operation. but I never failed to do my bel canto: “In singing you must not me, and then came the least an hour every useful in my work, or that I might fuller in front, and the inside of mouth, back When fully recovered I was admitted and scales for at make use of or eat up your capital; is dilated distended. Take and thus avoided any vocal dif- fail to encourage a talented composer of the tongue, or a to the to the Conservatoire, in the class of day, but one must know how make voice to continue his efforts; for, unless breath in this way again, quickly, and carefully Dubulle; but, on the advice of the ficulties. I never strained my most of his interest.” There are notice this physical action. The throat has opened trying to sing too high and never the composer can hear his works a pupil William Shake- singers should ponder director, Theodore Dubois, I left. Be- by Frederic Freemantel, born in London, was of American who performed, he cannot progress. When because of the quick intake or gasp in of the being a con- in any way abused it on the high Sir Joseph Barnby, Dr. Hugh A. Clarke and this very seriously. cause of my size and my speare, Alberto Randegger, when I a work was once chosen for perform- breath. This is one way of explaining an open tralto, he advised me to go in for notes. They were there others. He has appeared as tenor soloist at festivals, concerts and ora- In the same letter Jenny Lind says, throat. them. A strong medium ance, it was given the most careful in Aida in 1906. For concerns voice, difficul- concert and oratorio, as he felt that needed torio performances. His American debut was made “As my my Now let us try another way to attain an open time range and good breathing will pull study, in order that it might have as York studio. Editor’s Note. ties with my throat were so great, at that time I was wasting my some years he has maintained a New — through the most fatiguing pro- fine an interpretation as I was able throat—the imaginary yawn. Sometimes the de- the hindrances were so tremendous, in studying for opera, and the Con- one to give. I never sang any composi- sire to yawn comes at an inopportune moment, they necessitated such constant en- servatoire was interested only in grams. and you are compelled to keep the mouth closed voices for the opera. Most important of all is good dic- tion out of friendship, if it was not ergy and patience (two virtues which Laurie Songs Mother Taught Me. years of study with up to a standard that would entitle to conceal the yawn. Although you suppress the phragm is lifted, causing a constant breath pres- Annie and My for me, alas, were almost impossi- tion. During my A Remarkable Career Bouhy, who was a most severe it to be heard. outward manifestation of the yawn, the inward sure against the descending larynx. If, in the ble), that only my burning love for Low Voice, Lift Breath once commented As a last word, be a part of what physical action is opening the throat to a marked ascending scale, the larynx and adjoining parts \J Art in its spiritual sense could en- I now went to Jacques Bouhy, one teacher, he never degree. The internal distention is so great that if ascend with the scale, your tones will be white, able me to go through the dreadful of the greatest singers of his time, on my progress, until my very last is being done in your time, as well you should try to speak, your words would sound pinched, tight and brassy, and your voice will slavery. My breathing was naturally and a great teacher as well. With his lesson, when he said, “I think you as a devotee of the classics. Keep greatly distorted. This type of open throat is too deteriorate. very short, there was not a sign of care I overcame the handicap re- will make a career.” The reason for informed of all that is happening in quickly extreme to be used in singing, but is an excellent of the larynx coloratura, and my attack of tones sulting from the operation; and it is his lack of encouragement was his the art world, including all forms of The correct downward movement example of an open throat. point in the was impossible. I never heard such doubtful if there is any singer of my uncertainty that I would ever fully literature, painting, sculpture (if not and its parts is very slight at the generation who did more with her recover from the effects of the Place your hand gently upon your throat as scale where this movement begins. The descent an attack in anybody else. For twen- op- surrealist) , dancing, anything that you these actions again. In Songs moth-er— ty-five years I have worked steadily voice than I did. In a career of forty eration on my vocal cords; but he will help to produce a highly cul- perform two once should not be compelled by any physical effort my taught— me both instances it will be noted that the outer on the chromatic scale, and only years, under the most trying condi- lived long after I had made a suc- tured nature. Do not stop with vocal aside from breath support. It can and should be The correct sound of the upper tones of the tions of illness and fatigue, only of throat expands, and the “lump” in front of the of correct singing five or six years ago did it come cess my career, though he never recitals and opera, but attend piano, brought about by the use the woman’s voice can be detected as she calls, “Hoo! once was it necessary to postpone a all throat—the larynx or “Adam’s Apple” descends throat with perfectly.” approved of the new music I was violin, chamber music and orchestral — word and the thought of the open Hoo!” to attract the attention of some friend at recital; and even that I could have slightly, and sometimes profoundly, as the throat I too had a great deal with which sponsoring. In fact, he refused to events. They will form your taste breath support. a distance. to cope, early, carried off if I had not paid atten- teach me my role in “Pelleas et opens. The phrase we use in explaining this is: voices, this open throat and breath as very just as I was and develop a nature, personality With low This “Hoo! Hoo” sound is invariably the “head tion to a stupid throat doctor. That Melisande.” Debussy “The throat opens up, downward.” starting my studies in Paris, I was was beyond him, and style that will hold the world lift will prove helpful when applied on or about voice.” This same free and “popping out” sound forced to undergo a most serious was the first and only time that I except for the very eai'ly works. Before going further, you should understand one of these notes for you. is observed even in the voice of the non-singer, operation on the vocal cords, because ever went to a throat doctor, since His parting advice was, breath support. “Never when she calls out in this manner. The proper of an ailment brought on by singing the one who had operated in Paris. sing for nothing, even for charity. Breath support may be described as the lifting Ex. 1 detection, appreciation, and development of this too much when still quite young. In Even now I would like to go back Get a fee; and, if you want to do of the chest, ribs, and waistline as the breath so. Radio Helps Music sound into the glorious singing sounds of the other words, I had strained one of to my teacher, Jacques Bouhy. It was give it back to the enterprise. And flows out. Stand upright, inhale a breath and see woman’s upper tones, can be accomplished by the vocal cords, and it took well over for him that Bizet wrote the Torea- never expect any help from another Pronunciation that your chest is lifted high. Now notice that, as High voices will find it practical to begin on or the alert singer who applies the rule of open five years to recover. It was only with dor Song in “Carmen.” He was most artist, especially if she is already the breath is released, your chest naturally be- about throat and breath support to this freely produced the utmost care and patience that I careful and never forced a voice, but advanced in her career.” But there 8* £llJ C. JinL gins to sink. Now reverse this procedure: as the worked on the middle “Hoo! Hoo!” sound. was able to overcome the injury and voice and let he was wrong; because it was from breath is released, deliberately lift your chest E x. 2 One great help the radio has Here is another illustration which may help to recover the use of three notes in the pupil find out for herself and a very, great singer, and not young, and hold it up while you exhale. This action is correct what given me is that of assisting pupils someone gain the courage and confidence to sing the middle scale. Till the age of was wrong. The stu- that I got my first help and en- what we call breath lift or breath support; which to musical twenty-three, I very dent was allowed freedom pronounce correctly the high tones. Have you ever heard a terrified was a deep con- much in gagements. In memory of that, I brings into action all the expiratory muscles in a the choice terms and the names of musicians. woman scream? Did you ever hear a higher, more tralto; so I may say that I made two of a repertoire; and for have made it a rule to assist in every consciously controlled manner. It is wise to sing up and down a scale slowly, each In fact, musical pronunciation is penetrating top tone? Just analyze how this is complete careers, since after that the lesson there were always two possible way any artist who Now sing a few words softly on one of your low making the top tones of your first scale, your needs due voice went up. new works studied and it; now on a wholly different basis, brought about. First—there is a very quick in- memorized, and it has been my privilege to or middle tones, and apply the rule of open first “high tone.” on which to the standards kept up by trained halation of breath, the and throat At the age of thirteen I was sent he put the finishing help many. throat and breath lift. You will find that the mouth being touches. announcers. Even little pupils Ex. to Paris as a scholarship student of That is how I developed my my tones become too distorted to sound pleasant, and opened abnormally; and out comes the scream Low Voice the repertoire and often surprise me by the manner in Canadian Government (by the my sense of taste in you thus realize that this action is not for low which the tense body revulsion to the situation way, there were about forty of us, songs. There is nothing which they rattle off names which in that I did Bouhy was very much tones. The action should begin only at about your has caused. all not learn, surpris once were to their branches of the arts) . As I was if it appealed to me. stumbling blocks - This same “scream” could be when I told him of my being engag first head tone—or first high tone. “But,” you Lift transferred into too young to be admitted to the Paris Until elders. This makes believe that the age of twenty-three I to tour me say, “which is wonderful, singing high tones, if the physical with the great Emma Albai my first head tone?” Every singer, Ex.4 Conservatoire, and in order to waste was a contralto; the sense of hearing music itself is and then, when I my countrywoman. young, old, inexperienced or experienced, can High Voice action and mental reaction were controlled by She had been tl no time, I went to the only teacher went to Italy to study opera, as the being constantly improved. In talking poised thought. do not recommend person he had had in mind, readily tell which is the first high tone to bother We screaming I as 1 this knew, Marchesi, with whom I ar- voice was showing signs of becoming over with some other teachers. for singing; it knew I was to see her in him; and that is the note or tone where you will is only to the way it is done that ranged an audition. I London, I pupils As was very a soprano (even as a contralto the found that they all felt that 'Lift we wish to as a Canadian had been brought find the open throat and breath support a great draw your attention. small and thin, with a shock of range was a 1 instinctively expres- very large one with on the played more help. Almost all male voices have soft upper name of that famous singe tones, black hair, Marchesi was more im- great facility for coloratura) sively than years ago. There is no Good experimental phrases will be found in , I can Curiously enough, on her The open throat necessary for high tones means usually referred to as “falsetto.” There is a dif- pressed with the size of my eyes than say that I had two distinct previo question in d the radio careers, toui in my min that that, beginning singer’s ference between this falsetto the Canada she had been aski at a defined point in each and male head with my voice, and she called them and that my voice was a most useful and the records are bettering musi- to hear me sing in Ottawa, and ascending scale, the larynx and adjacent parts voice. The difference is this: the falsetto is pro- lucarnes, which is the French for the one, as I delved into both repertoires. hi cal performance every way. and refused for lack of in should descend inversely to the ascending scale. duced with a high position of the larynx, while round windows so time. the much seen in Bouhy never approved of my go- at the same time they are making A few years later I The extent of this movement varies with the VOICE head voice is the result of a lowered position of the French houses. ing to Italy, was to beg and my teacher, Oxilia, my career the music teacher’s work more with her and under h individual voice. As the larynx descends, the dia- larynx brought about (Continued on Page 772) 740 simple and more pleasant. NOVEMBER, 1940 THE ETUDE 741 Music and Study Music and Study ALMOST EVERY ORGANIST at /X some time has felt that the instru- “* "^ment which he plays effects, eliminating those lacks ade- which aredk 1797 produced the beautiful “Op. 11” which he quate tonal resources. This is especially agreeable. To discover useful new com Countess von Thom. Later he ar- true of organists who play the older in- binations, be somewhat dedicated to daring w Famous Clarinetists three 20” for the same struments. As a matter of fact, ranged his “Sextette, Op. the upon the instrument you play < Resources ^ instruments and dedicated it to Dr. Schmidt. It average organ of twenty-five years ago Wasted and hearing it for seeing the first time 38” 1805. is larger and has a greater variety of was published as “Op. in Memorize every useful combination of to the tone than the average organ built to- Mendelssohn was especially attached stops and try to use each of them By occa-' an day, although such may not seem to be chalumeau tones of the clarinet. He was sionally, without overworking any the case when the par intimate friend of the Baermanns, who were console stop lists are ticular one. composed for them compared. This article is written in the Organ famous for their playing, and in the A few examples of unusual belief that many organs have within registra- two graceful trios for the clarinet, basset horn tions may well lead to the discovery themselves much tone that is being 0f (alto clarinet) and piano—“Op. 114.” others. If the organ has a Melodia wasted. When we speak of wasted re- 8 ft But Carl Maria von Weber was the real devotee and an Octave or Principal 4 ft. sources in the organ, let us bear in on the of the clarinet and employed it in a way that Great, these stops can be used mind that there are two ways of wast- By together no other composer has excelled. His two clarinet on bass clef melodies. If there ing a tone: by using it too much, and is no concertos with orchestral accompaniment, which Melodia. any 8 ft. flute such by not using it at all. r?>on as Gedeckt display the quality and compass of the instru- If e or Stopped Diapason will do. the organist feels that his instru- This solo ment to perfection, are still frequently per- tone can be accompanied ment does not have sufficient volume /Lyi on the Swell was inspired to write for the pi ALL DRAMA has its protagonists, all sports formed. Von Weber he is likely to waste what volume it by fairly strong 8 ft. tone. As a solo their famed athletes, literature its writers, clarinet by Heinrich Baermann of Munich, a does have by an unrestricted use of full tone on the Swell, a soft 2 ft. stop com- science its standard bearers. This is like- famous clarinetist of that time. The two artists organ. By so doing he defeats his pur- bined with any 8 ft. stop is likely to be wise true of each musical instrument—for it is made more than one tour together, for which pose. If full organ is used sparingly, it Why is the playing of some organists dolefully monoto- satisfactory. In solo combinations the the great and famous of every field who enrich von Weber composed several pieces for the clari- will seem more powerful when it 4 ft. 2 ft. stops is nous while that of others is alive with interest? Mr. Ander- and are seldom used net, “Variation, 33” for clarinet it, who contribute to its worth and beauty. Each including the Op. used. The wise organist will select one alone but frequently In combination instrument in the band or orchestra can trace end piano; the brilliant “Duo Concerto, Op. 48”; place in the program or service as the son answers this guestion in this practical article. with other stops. However, there Is 34” no some of its growth and much of its musical value the “Quintet, Op. for clarinet and strings; climax, and reserve the greatest vol- reason why this rule should not be to persons have excelled in its performance, the two concertos with orchestra, “Op. 73” and ume for this purpose. This climax who will broken If the result Is satisfactory. For who have developed its musical possibilities. “Op. 75,” and the beautiful “Concertino, Op. 26.” usually be found in the last verse of the example. If the 8 ft. flute has been used Among the instruments, the clarinet has a long closing hymn. If the hymn is begun a great deal. It might be desirable for Composers Inspired by Clarinetists with a moderate and interesting history, and the richness of this registration, another the sake of variety to use a 4 ft. flute great factors: stop added at the beginning of each background depends upon two Brahms was so inspired by the playing of as a solo stop, playing the music an stanza, with the full organ coming out first, its recognition as an important musical Richard Muhlfeld that he composed four of the octave lower than written. in the last stanza, the congregation voice by composers, and secondly, the develop- finest works of chamber music ever written: the When playing the melody on solo cannot fail to sense the climax. a ment of its powers by great clarinetists. These Two years later, the clarinet appeared as a “Trio for Clarinet, Violoncello and Piano,” the tone, it Is desirable to play the accom- A clever means of making full organ two factors intermingle, because where great solo instrument, probably for the first time, in “Quintet for String Quartet and Clarinet,” and paniment on another manual with tones composers their attention called the seem more powerful is to contrast it have had to the combination with strings sometimes called two sonatas for clarinet and piano. of a different color. Solo with a soft tone. To do this one should flute tone clarinet by great performers, many performers the “Stadler Quintet”, although better known by Schubert made much use of the clarinet in his • Melodia. Gedeckt, Stopped select a soft string or flute tone for a Diapason, have been attracted to the clarinet by the fine the deserved title of the “Celebrated Quintet.” orchestral and chamber compositions, and the and so on) is most effective passage of suitable character, then at when ac- music written for it. It was first performed for the Musicians’ Chari- instrument divides honors with the vocalist in companied on another the proper point he should come out manual by string table Fund on December 22nd, 1789, and was the elaborate aria, Der Hirt auf den Felson, for with full tone (Sallclonal or Aeoline, Celeste and Music ihe Clarinet organ. Of course this must not doubtless produced for this concert. It is cele- written in his last year. The name of the clari-
be done unless Vlollna) . Solo reed tone i Oboe. Clarinet, Mozart the first great the music and the oc- was composer to use the brated not merely as a work for the clarinet, but netist who first played it has not come down to casion justify such and so on) may be accompanied by clarinet, and learned its function from an interpretation. Haydn as an exceptional piece of chamber music. Cast us, but the composition is said to have been On the other soft flute him. Mozart wrote hand, if full organ tone or flutes and strings parts for the clarinet in many as it is in the most beautiful form, and possessed written for Anna Milder, one of Schubert’s ad- seems too heavy or dull, combined. are of his works, and probably it a refreshingly When accompaniments omitted from some of the most charming sound effects, it fully mirers. different type of volume played or of the important symphonies only can be ob- on the Great, the Dulciana because there justifies the praise bestowed by Ambros in At the court of Prince Sonderhausen, Louis tained by registering all stops except Melodia is too were no outstanding players of that instrument may be used. If Dulciana Goethe’s words: “Its whole being floats in sensu- Spohr heard the clarinetist, Hermsted, for whom those of flute tone, omitting Melodia, weak in his experience. “Ah, if we had but clarinets and Melodia too strong, perhaps ous health and sweetness.” Men have studied the the Prince requested a composition. In his auto- Stopped Diapason, Gedeckt, manual Dulciana too,” he once wrote, “just imagine the splendid and Great to Great 4 ft. may clarinet for the sake of playing this beautiful biography, the composer wrote that he was glad Bourdon and all other wood stops. In solve effect of a symphony with flutes, oboes and clar- the problem. In the case of cer- quintet. to accede to the request, “as from the immense most organs this will produce a pleas- tain stops It to play inets!” But Is very satisfactory a few weeks before his death, Mozart pro- execution, together with the brilliancy of his ing volume of bright quality. To this both solo on the The long vogue for flute and oboe doubtless duced the “Concerto, 107.” and accompaniment Op. This, too, was a tone and purity of intonation, I felt at liberty to registration the flute stops may be kept the clarinet in abeyance as solo instru- same manual, especially on 8 ft. stops a work of charity. Anton Stadler inspired these give the reins to added one at my fancy.” Spohr wrote four a time as more fullness that ment, even after it had found a place in the rich increase in strength as the tone additions to musical literature, but did concertos and a set of variations with orchestra of tone is desired. Experience with this orchestra. Handel ascends. was a virtuoso on the oboe for nothing to turn them to the financial for registration benefit of the instrument, leaving nothing to be desired will show that the quality which he wrote a sonata, and Frederick the their composer. in the way of difficulties for the of any registration depends not only 81 Great performer, and Means of Avoiding Monotony honored the flute both with his royal touch Beethoven regularly upon employed the clarinet, of these the “Op. 57, No. 2” is especially interest- what is included but also upon and his efforts at composition. Monotony in several A breath of genius using for the most part the ing. what is can be avoided upper register. He His six songs for soprano, clarinet and omitted. Imbued with this idea, was needed to bring piano ways. Above your use the clarinet to the attention composed three very fine the player all. be sparing in duos for clarinet and are full of beauty and dramatic effect. can make any tone in the organ sound and will be in of composers, in And good taste if of order that it might receive the bassoon, and a more interesting indulged snarino-i,. the tremulant. Certainly the tremu- Septet with an exceedingly beau- among them. The Maiden and the Bird by preceding and contrasting it However, there individual is per- is no need for lant is desirable does prominence it deserved. That genius tiful clarinet part. While with tone of entirely the organS wlo and effective, but good taste he made the most of haps the best known. different quality. does not have these fancy not was Albert Stadler, who not only played the stops to lament their permit its incessant use. Many tones sound clar- the instrument in his orchestral works, there Mendelssohn wrote T 6 ab inet brilliantly, to the composer, concern- traditional ^gan much better of but also helped, with his brother seems to Favorite Stops Can Be Overdone stops us^lly without it, which is true also have been no virtuoso in Vienna to ing the Cradle Song. mTeh'chuichn organs found Anton, in adding “It pleases me exceedingly, have much wider certain This to the mechanical perfection inspire him to write Many organists, even those useful nec &nd compositions by the old masters. especially for the clarinet, and has so completely charmed who have compara- aiso offer great possibilities of the instrument. me with its as colorful does not mean should be and he would have been the last tively large instruments at their that the tremulant to furnish a beauty, that I both sing and play it command, often carefully arred Mozart had but recently every day. rely from Let it made the acquaint- composition free to an impecunious upon a few favorite stops for all solo music of the classic period. friend, as It is not on account of any particular effects. Whatever the organ at be ance of the Stadlers when in August, feature Vox our disposal let * used when times, it 1786, he in the case of Mozart with Stadler. Humana and Chimes often are worked assume 1 flrst needed, but if omitted at The clarinet that I admire it, but for its perfectly to that any stop or will produced his beautiful “Trio for natural death, Broun nf t be even more used. In Clarinet, Viola, voice figures, of course, in his while the more dignified and truly musical used as a PS be effective when it is symphonies— sweetness as a whole, which, from beginning solo tone. Even ^ is and Piano”, the composition being written, to a s ? how- notably in stops stand by in silence. If eel gly ffre connection it is interesting note that the the “Pastoral” and in compositions for end, flows there are chimes the combination akish to ever, so lightly and gratefully to the feel- may be useful in its not so much for the clarinetists as for listeners expect to remulant is somewhat quality. wind instruments. Possibly due to the behest ings.” hear them, and they should there can he of a gauge of tone Franziska of no ha™ In trying od von Jacquin, one of his most talented his friend, Dr. not be denied this £, £%£«£* organ tone it, but Schmidt, he tried his pleasure; but cultured ears sounds very well without hand on a Schumann composed three “Fantasiestiicke” poor piano pupils. He avoided the deeper tones of the will be annoyed by the repeated tones fairly trio for clarinet, violoncello, and piano, for blaring forth of demand the tremulant. clarinet and in clarinet and piano, and, following long nother in this trio out of consideration for the the ex- melodies. Two or three notes repeated on means of avoiding monotony is to ample of Mozart, he viola—its full, liquid produced four years later an the chimes as vary the tones being especially well an echo, or an occasional note pedal tone. It is true that some organs interesting composition for are adapted to the delivery of the melody. clarinet, viola and as an after beat will satisfy deficient in because The com- the chime fans pedal stops, probably position piano, entitled “Marchenerzahlungen.” ese stops is a charming one, and critics have BAND and ORCHESTRA Handel are more expensive to build than most Edited used all the ordinary instruments 742 manual placed it above all the Mozart trios. by William D. Revelli of the present stops. Perhaps (Continued on Page 774) orchestra except the (Continued on Page 778) NOVEMBER, THE ETUDE 1940 743 —
Music and Study Music and Study
The Teachers Round Table Fascination in Making Violins
A. 2. Try Mana Zucca’s “Ten Studies in Conducted Monthly Black and White” and Enlarging the Hand the Czerny- Liebling “Selected Czerny Studies, Vol- have a pupil who Is a woman about I ume II.” forty, very ambitious, but with little training. Her hands are very small. She A. 3. Solo suggestions of recent publi- to play things really too difficult wishes cations for third and fourth grade ado- for her. At present she Is working on lescents : Buonamici’s “Eighteen Little Preludes yi/laier and Fugues” from Bach, as well as on Moment Dialogue, Spry; Only a Yearn- both MacDowell’s “Woodland Sketches”, ing Heart, Tschaikowsky-Hodson; The which she does with reasonable ease. of Hitch-hiker, Lowe; Swinging Along, Can you suggest a few compositions Nuted Pianist Ben- nett; On Silver Skates, Federer; which are not too demanding of technic, Educator Cava- but which sound .and appear much and Music tina, Sadness, Gehring; In an fact of its imperfection English will undoubtedly be faulty tioned test disclosed the harder than they are? I had her work on strument Tea Garden, Rungee; Slow Theme from design. While the grain filled the lower bout Schumann's “Scenes from Childhood, Op. to a degree. of Correspondents with this Depart- the “Rhapsody in Blue”, 15”, she felt they were too easy and ji Gershwin- the shift was made to but ment are requested to limit f tters Every violin has a central point right to the bridge, when tackled the Schulz-Evler arrangement of to One Hundred and Fifty Words. Levine; Tales of a Gypsy, Coburn; Feu space division; however, the upper bout, the grain passed the bridge by Strauss’ On the Beautiful Blue Danube by Follet, McGrath; and Bourree and Mu- of equal air herself! H. S. T., Washington. more than three fourths of an inch. A cross view — sette, Chenoweth. it is very important that this central considerable full- You might examine some of the follow- point of division be located at the of the instrument disclosed a ments. At later meetings original tunes, lower bout. ng: Novelette in D Minor, Goodrich; bridge, with the bridge in perfect ness in the arch of the top, at the chord progressions, or piano stories are Clog Dance, Hanson; The Flirt, Borowski; Glamorizing coordination with the There was also some lack of fullness in the upper used. agreement or Passacaglia, Cyril Scott; Valse Arabesque, I should like very much string bout. After careful calculation a new top was Then follows a ‘.‘Technic” routine, in to know jour correct string length. The Op. 38, No. 1, Zeckwer; Valse, a la bien theories on the matter of having pupils the lower bout and the course of which students play scales, length upon the full sized instru- made, reducing the arch of Aimee, Schiitt; Valse in A, Op. 10, No. 2, memorize everything. Other teacher* say fullness bout; in other chords, tone exercises, or a study. To be they require this, and I cannot just thirteen inenes adding to the upper Rachmaninoff; Presto Agitato, Mendels- eye each key and each finger played, at help won- ment should be prize, dering how they do it. My own huge class words, deflating the lower bout and inflating the sohn; Spanish Dance, No. Granados; the same time “hearing” the pitch eligible for the yearly program from the bridge to the upper end of 5, and of students are Interested, enthusiastic members must submit memorized technic the nut, with the upper bout enough to compensate for the defect Valse Brilliante, Op. 34, No. 2, Chopin; length of every tone. and progressive. But. my goodness! If they the finger board at on every program. and Hungarian Rhapsody, No. 3, Liszt. had to memorize everything, we would bridge slightly inclined toward the in air space balance. When entirely completed, For the “Solo” section of the program, never get anywhere, especially for th«e per- ‘The Merry Music Makers tail piece. the test came within a minute fraction of students who find memorizing difficult. I choose the offer any number they wish. outstanding, inasmuch as Absolale Pitch Mrs. certain of their favorite pieces to be Credit for the consummation of fection. The result was F. F. B. (Oklahoma) has the per- When a recital is in the offing, the learned by heart. others they Q. 1. I hope you will mention a book of fect The review as well as it transformed what was practically a worthless name for a young people’s club : “The this important feature, teacher finds the club meeting an ideal and “polish", and play for etudes to follow Volume III of the Czerny- me now and Merry Music Makers.” Now in its seventh practically all others worthy of men- “fiddle” into a really excellent violin. Liebllng series for these of us who have tryout for students. Games are an im- then, but do not have to memorize them year, going stronger than ever, it all. If we attempted to to struggle along without teachers. meets portant finale to the program. It is usu- do that, many tion, belongs to the famous Italian Q. 2. I would like see on the third Saturday of pieces would get so stale that the children All Important Balance to something on the month from ally unwise to play more than two of master violin makers. For example, your page about absolute pitch. Can it two would hate them.—L. E. C.. New York. until four-thirty. Membership usually these. For suggestions tests writer prove the be acquired? Is it necessary to have abso- see “Games and we may refer to the models of This and other by the includes ten students, with the average Puzzles Three cheers for you! You have ex- lute pitch to become a fine artist? Exactly for the Musical” by David Bloom- Stradivari. If are fash- necessity of the incorporation of this near per- age ten years. instruments what does it do for a musician?.—M. H., Officers elected are Presi- field. pressed my own sentiments so much bet- Michigan. dent and Secretary, A young violin maker ioned with extreme exactness in out- fect feature in the construction of a violin. Should and the teacher acts Mrs. F. F. B. ter than I can, that there is nothing fur- suggests a musical ana- in the Black Forest dif- as Program Chairman. There are no dues, ther line and arch of plates, employing the test indicate only a moderate degree of A. 1. Again (and for the last time), X gram game that intrigued our family. to add. All students should “go all in it the expenses being defrayed by the teach- through” as possible, the Stradivari models, near perfec- ference balance, may be minimized by say, “There ain’t no sech animal.” If Here is the list, each word a familiar much literature as er. The club pin, a treble clef, is given to to EVERAL EXCELLENT ARTICLES relating to tion of equally balanced air space both fore and proper adjustment of the sound post. However, you have mastered the Czerny-Liebling, musical term. (All of them look positively develop technical, musical and reading each member after the first appearance “Selected Czerny Studies, Volume III”, cuckoo!) facility, and. above all, to let them enjoy the violin, bearing on its construction and aft of the bridge, conforming with the correct let it be understood that, while the sound post is on a program. you are a corking pianist. If you must go TAFSF; DTO; music. A few of the more precious, richly S care, have appeared in The Etude Music string length, will be assured. just as essential to a violin as the rudder is to a LURS; TFLA' EIT' glowing on with studies, try Czerny’s “School of To quote F. F. B., "Each month three EMIT; RAPSH; TURALAN; TEAPRE jewels among the lot can be Magazine; among them one in the June 1937 ship, it is a mistake to think that the sound post the Virtuoso, 365” taken out, lovingly placed Test with Rice Opus where you meet a prizes are given: one a program prize ENIL; USEAP; ACESP; TACCEN- polished and issue by Mr. E. J. Randall was outstanding. The A Grains holds a cure-all for the many defects of incorrect series of technical tours de force suffi- usually a box of candy TENO; in the treasure chest of the heart, there costing a quarter GINCOTUN. article described what this writer considers one The test for this feature may be accomplished design, poor material and unskilled workmanship. cient to blast anybody’s confidence. But —for which members draw; the other After much difficulty to radiate warmth and beauty for a long two USEAP finally of the most important factors or details in the in the following There several why not manner: first, properly locate are considerations to be observed expend your excess technical given to those successful in the games. gave us “pause”, but GINCOTUN drove time to come. correct design of the violin. Quoting from one the bridge upon the instrument; then pour grains in the proper adjusting of a sound post, among energy on the Chopin “Etudes Op. 10”, A program and attendance prize are us nearly frantic. Have you unscram- which are musical part of his article as follows: “The impulse given of rice or wheat through the sound holes, enough them locating the post at the proper position to as well as technical awarded at the close of the season; also bled it? It is something every student masterpieces? by these vibrations to the mass of air in the box fill Both of these may be ob- prizes for the most original tune, the should do, but won’t! Slecplessness Again to the lower bout up to the bridge. A card with secure the best results. Perhaps even more essen- tained through the publishers of The most interesting story, and the best scrap F. F. B. makes an excellent is made as nearly central as possible by dividing its edge against the bridge should be pressed tial is proper tension. There is a certain “just final obser- 1 was much Interested In the answer Etude. book. vation. equal area. “Although the membership you gave to D. D.’s “81eep!ess” problem, the sounding board into two parts of down over the sound holes to keep the grain from right” tension or push upon the plates, necessary A. of 2. No, absolute pitch cannot be ac- “An important part of ‘The Merry cured each meeting is Music Makers’ represents and would like you to know how I The bridge being used to mark the division.” spilling. Shake the instrument in order that the to bring the plates into harmonic accord. If too quired, but relative pitch, which is a kind the social hour at the end. Tea or children whose myself of this nerve wracking condition soft families are able to give This would imply that, in order to have perfectly grain will be level at all points. loose, the will either fall of propped up I bought two cheap alarm clocks. At When this is post or the plates will pitch consciousness, can drinks are served from a gaily appointed them about anything they wish, their night I have them ticking where I can balanced tone centralization, there should be the accomplished reverse the instrument, allowing lack the necessary stability to produce be developed. For instance, you can read- table, the President dispensing interest has good tone. the hos- never lagged. They will hear them. At first they do not tick a- ily train yourself miss same or equal amount of air space both forward the grain to flow into the the contrary, if to sing or recognize A, pitality. Food is the happy anything actly together: wait upper bout. Place the On the post is forced into an in- climax of but a club meeting. If you end the Idea is to determining the distance get then and back of the bridge. card in front of the bridge, of other tones any meeting. Woe to the club sponsor your club enthusiastically until they gradually get In unison, shake level as before. strument at so high a tension as to spring the started and to of by interval measurement, chord recogni- who does listen as one slowly draws ahead If the instrument is not take this into account!” keep it moving, it will in perfect balance, the grain plates, the result will doubtless be the destruction tion, go over with a the other. After awhile, they are back Balanced Air Space and so forth. This must, however, The Merry Music Makers’ bang.” should come to program be- again In unison—but by that time I am up the bridge as before. The of the equilibrium of vibration. The adjustment be practiced interminably, or skill and gins with a roll The call, members naming usually asleep. It works like a charm. knowledge gained by many years of prac- amount of grain required for a full size violin of the sound post in accuracy quickly is any worth while instrument deteriorate. the radio program they have —C. W.. Massachusetts. tical enjoyed experience in the construction, repair, and slightly more than would be contained in a one should be intrusted only to those There are many fine artists, particu- most during A Jothcr 7 eacher with unques- the month. Then follows Holy Smoke! Your cure seems to me study of numerous violins has convinced the quart measure, larly pianists, w. i. i which would be the equivalent of tioned knowledge and ability. Many good instru- without the super-sensi- the “Great — . uur Composer” section. Pictures son -who even more nerve the ail- tivity twelve years wracking than writer that this feature of perfectly balanced air about sixty-three of the “absolute pitcher.” It is, of are shown old, to play. He cubic inches. Tests by the writer ments have been passed by as unworthy, of him as a child, his family, rized has me ment. Have those because course, the first five of the you ever considered space both fore and aft of the bridge, which is a great intonation help to sing- home, and “Elghtee i L indicate that the entire interior of the full of an improperly adjusted so forth. Members give short Preludes” by Bach. Should sensitive musicians who cannot endure size post. ers, string, woodwind or brass he cent! the culmination of several factors in design, is players. talks, each covering one phase of his to review them by Stradivari models contain approximately one There are, to be sure, other life, memory or drop t] clock ticking; or those who would be contributory factors For conductors it is indispensable. But the teacher completely when of paramount importance in the fashioning of being prepared to fill in finished? How a hundred and twenty-six cubic inches of air and details, all of for the should he m made miserable by the ticking discrep- space. which should be consummated the purposes of musical memory it gaps. Two or three study in this book’ violin. The club members play ancies; trying consummation of this feature, accom- Recently, the writer tested is He has also fln ‘shed “ or some, like myself, who. an instrument to insure a high class violin. Briefly, the requisites dangerous to rely upon. Absolute pitch, compositions of q,,?' Czerny’s the composer. V l0Clty to fit the panied by perfection of other details in design, which, ' 2 99." tunes or patterns to from practically all being instinctive, is not controlled °P- Would rhythm points of view, should in the making of a fine instrument are: first, by The Listening Lesson” “FiftvFi ty Selecteq . f and comes next. „ j* Studies in Velocity wayward ticks, would be Jolted wider measurements, as well as high quality ma- have been a good violin. intellectual processes. Therefore, it j.j B.! Cramer 7 On the contrary, the correct design and measurements in all often The members submit lists of sounds be suitable to follow the leaves the nervous they 1 awake than ever? And what do you do terial and workmanship, not only produces per- instrument proved almost performer in a des- have heard, which they afterward BBeSt anythln 8 better? worthless, lacking in various details, as formulated by the masters; mimic O«. 3°Win3. Will when without both of fection in perate lurch at critical moments. For you also list a few niece, warning, one or tone quality and balance, but also power and very poor in and illustrate at the piano. him to play? * response. The above men- second, material of superior quality, having the “Sounds c. . the most of us the safest s M „ wisconsfn infernal “alarms” split the peacefully insures that quality demanded by professional memory insurance Heard at Home”, “Sounds Heard proper texture and temper, is Out- A. 1. (?) ticking sony—1 — and seasoned only by the frequent, very slow, silent playing doors”, Put him on night air? No, I'm musicians “Perfect Response.” the contrary, “Sounds Heard in School” “Twenty Pieces On nature’s processes of our pieces k cannot recommend your panacea to the over a considerable period of away from the piano, hands “Sounds Heard at Night” f° r His Son if this feature of air space balance is lost through and “Music and ?Bach M°° Frieden trusting them time; and third, the plates singly and together, seeing in our mind’s Noise” (Bach-Maier). He has readers of this page. Let incorrect VIOLIN not only properly syn- are some of the monthly assign- done enough8 design, it matters not how clever the Preludes for the try it if they insist—but the responsibil- by chronized, but also properly matched in present. workmanship or choice Robert material how the material, the in- . 74 - ity will rest squarely on their own pillow! quality. This last is very ( Continued on Page 77G) THE ETUDE NOVEMBER, 1940 745 ! 2
Music and Study Pedaling a Haydn Work Music and Study Try to sense 1. In Haydn’s sonatas. understood by them and appreciated. Q. Nos. 2 and 3 will you pleas s indicate Use the where I can use their reaction when you first appear. the pedal, as the pianos of Haydn's time different groups of children. Questions and had no pedals. same program with Many Questions Praeludium in your- 2 . In the of Mendelssohn As soon as you have gained confidence In measures 10 and 12. should the Q. 1. I understand the sign P-sharn self, arrangements for appearances before left hand of Antidotes make of the the second Practical beat be Ex.l simultaneously audiences. You will find a response played with the F-sliarD institutional right hand, or of the between the A and from these listeners that shows unusual appre- F?—S. E. S. of the means four measures silence. What is ciation. When you feel that you are master A. 1. Lack of space the meaning when it occurs at the very Answers forbids our an- performance, you can safely try a regular audi- beginning of a song? swering comprehensive questions like Fright ence. If this proves unsatisfactory, do not become 2. This sign for Stage your first one. The best advice I can give discouraged; remember every audience is differ- Ex.2 you is to buy the Information Service Wiehmayer Edition of 2 A -Music ent; probably your next performance will pro- the Mozart Sonatas. These are beauti- pedalled. cure a more favorable reaction. fully Study this pedalling and you will have a much better These directions are scarcely practical for the which I understand means a double whole Conducted By knowledge 2>au»on rest, also occurs in the beginning of an- of how the compositions of Haydn should young pupil experiencing stage fright. When a other song. Explain its meaning in this J) be pedalled. This is a foreign publication person goes into training to become a tumbler or position. but can be purchased through the pub- acrobat, first thing he learns to do is to 3. Can you give me the proper pronun- jJh an the ciation of: Rcpaz Band, Edelweiss Glide lishers of The Etude. fall. Many of these professional people are able to Waltz? 2. No, these F-sharps do not come to- fall gracefully, covering up mistakes in such a 4. Explain the word augmented in ref- Q gether. If you look at erence to time value. W your time signa- jut way that the audience never realizes anything is ture you will see 5. Why are the intervals of a fourth, a that there are eight HERE HAVE BEEN tedious and countless your future success. No doubt you experience a fifth and an octave called perfect inter- thirty-second notes wrong. This also gives the performer more con- to each count. This, discussions expounded by eminent psychol- feeling of embarrassment. You hardly know what vals? fidence. Too many teachers make the error of of course, would give you four for each to say, and what you do say quite 6. Should six-eight time be played much Togists, which have left one with a feeling sounds unnat- hand. severely criticizing the pupils’ mistakes. No doubt faster than four-four; or would the six they would ural. Your every gesture seems awkward. This will beats counted that if he could understand them be the same as we count Professor of School Music. ’ speakers deliver wonderful be reaction, you have heard some four, depending on the tempo mark of About es and "is eliminate stage fright. More than one essay has your unless you have a message of course? (I refer to hymns rather than to Oherlin College message, sway their audiences, yet make gram- Q. 1. Will you explain to metheuneand been written by music teachers, proving psycho- vital importance or an idea you wish to present, other music.) matical errors by the score. If you make a mis- origin of the particles ea and it as used in feel 7. I had in my possession a piece hav- logically, that psychology has nothing to do with which case you more at ease—provided by German musicians? take during a program, it does not matter great ing some of the low notes written Musical Editor, Webster’s New you have your heart soul in the a O 2. Will you give it. Various kinds of advice have been offered by and message. with an explanation that me information con- for the notes International Dictionary cerning the composer deal; the message is the thing. Today, machines marked thus, the bass board could be Fr. Lorenz Smith’ musical doctors; “Think only of your music, the —J. E. R. de la P. are on the market that reproduce music, note struck with the foot. Explain the mean- message you and your instrument are giving, and Meeting Dominating Personalities ing of note and bass board. E. B. perfect, musical — A. 1. The particle it used but the interpretation of the with a letter you will forget the audience;” or other sugges- Often you come in contact with an individual does A. 1. It means that the accompanist is indicates a pitch a half step higher than message not compare to that of a personal some understanding, in order to have tions just as detrimental. who appears to dominate your personality. No to play a four-measure introduction be- the diatonic tone of the scale. In Ger- performer, though he make mistakes. even an elementary appreciation; and it stress the impor- fore the singer begins. Most articles on this subject matter how important your message is, you are many the scale letters are C, D, E. P, G, Have your pupils meet as a class and let them is the business of the music teacher to 2. The pianist in tance of a fine technic, and a thorough knowl- embarrassed. If this case has two A, H (this last letter pronounced hah and you have had a great deal of play solos, fan the little spark of love until it be- with the class listening carefully, then measures introduction. representing the edge of the mechanics of the instrument. Some experience with such people, you know that the comes a very glow of incandescence; and scale pitch for which we criticizing the interpretation, never technical 3. Ra'-paz; a-del-wlss. use B.) Thus Dis means D-sharp; writers claim that these two things must be mas- best way to meet them is fully to realize that at the same time, step by step, to help Bis you mistakes. Do not let the pupil get the impression, 4. It means increasing the length of means E-sharp tered or stage fright will result. The youngest the pupil to learn all sorts of things (which must be thought are their equal and that your message is im- each note usually by doubling its however, that technic is of minor importance. — value. and read thus is neces- about music so that the love will grow for the sake of harmonic pupil knows that adequate preparation portant to them. You let such people feel this by 5. The earliest part singing resulted Let it be understood that it is an essential quali- wiser at the time calculations and resolutions, though on sary before a public performance; such advice from the fact that the same that it is growing looking them straight in the eye, rather than tenor range of a all keyed fication, but it should never be necessary for the deeper and stronger These two items and fretted Instruments it seems is superfluous. great many perfor- man’s voice is about No doubt a permitting them to measure their own impor- a fourth or a fifth to be class to waste time criticizing and correcting in- are often separated, but this is wrong, and is played as F); Fis means higher than that of a bass. Thus tenors mances have been ruined by a pupil stumbling tance through a reflection of your actions. and in the finest music education the F-sharp; and so on. The particle es simi- excusable mistakes. found it easiest to sing a melody a fourth or forgetting, but this was caused by lack of Audiences are massed personalities, and must development of No question will be answered in THE ETUDE larly indicates a pitch a half step lower; or a fifth higher than the appreciation is en- unless accompanied fright. basses. Be- by the lull name proper preparation and not from stage be thought of as one person. It is said that the Practical Points for Victims of couraged by a progressive, integrated and address and thus Des means D-flat; Fes means Footlight Fever cause of the purity, or hollowness, of of the inquirer. Only initials, or pseudonym given, Why do some professional people occasionally mental age of the average evolution of both feeling and under- will be published. F-flat, and so on. I find no special signifi- audience is eight In appearing these intervals, they (along with the been before an audience remember standing. Merely learning cance of these particles, have stage fright? Actors, who have ap- years; with this in mind, a performer should octave) were for centuries the only facts about and my guess is these things: ac- after night for cepted music can lead only to intellectual bar- that their usage Is simple convention, pearing before audiences, night have no feeling of stage fright. Possibly, in audi- intervals. Hence they came to be 1. You have a musical message A Double Grace Mote like often, that you known renness—there is no aesthetic response. our English suffixes, “er”, “ish", and months, with no suggestion of nervousness, ences attending concerts, the mental age is higher as perfect and all other intervals should be prepared to deliver But relying feeling Q. A discussion about the way a double others. with an intel- as imperfect. on alone leads to out of a clear sky, experience stage fright. It can than eight years, but even so, remember are grace note is played came you ligent interpretation. the other extreme sentimentality. up between 2. A search of 6. Six-eight measure—or six-eight — As in some friends and myself. all the Important music hardly be said that this is due to lack of proper there to deliver a message. Face your One of the de- audience 2. all of life, there must be a fine coordi- baters Is reference When you make your entrance on the time, as you call it is given a music teacher, but I books discloses no such com- preparation. — two beats decided as you would a friend; let them feel that it is in nation of feeling and intelligence, that The Etude could give poser. stage, look straight at to the measure or six, depending on the if me a depend- Leo Smith, an English musician, the audience, and let able answer to the their interest you are there; be secure in your genuine appreciation of muse is to result question. was born feel tempo and the mood of the particular I would February 26. 1881. Or, is it not them that it is important that you are like to know when the grace A Matter of Self-consciousness knowledge that you are master of the composition. If from our efforts. notes possible that, situation. the tempo is fairly rapid in the example below are played taking foreign pronuncia- there. Fifty percent of winning a favorable and the In teaching a group of high school Are they played on the tions into You may find a different reaction, at times, in mood a flowing one, there are beat, or before consideration, it is Florent Suppose we place a plank, one foot wide and audience reaction depends upon your smile, pupils the most important thing the beat so that the following the same audience. two beats—on one and four, of course. is to quarter Schmitt, eminent French Musician, born twelve feet in length, along the ground. Any per- Ycu personally may know note can be played In proper poise, and personality. But if bring them into actual contact unison with the the tempo is slower, one usually with a bass chord?— September 28. 1870, in whom you are in- people who meet you one day with a smile, giving H. R. son, who is physically and mentally normal, will 3. If a mistake is counts or lot of fine music well performed. made, remember that it beats six. This terested ? His biography may be found in you a delightful feeling of freedom, and the next will necessiate Ex.l wager that he can walk the plank, with eyes does not make a great deal 7. The bass board in this case a good phonograph and any good of difference, and probably musical encyclopedia. blindfolded. day, with a cold indifference almost impossible to refers a library of records. If Why? Because he has mastered the try to cover it to the part of the upright piano you are to have approach. up in the best possible way; it is your pupils technic of walking. the Walk down the street, greet your case just above the pedals. for an entire year, I suggest To ask any one to walk the musical message you are trying All sorts of Two-Piano umbers friends with a frown, to give your novel that during the first semester plank, with eyes open, would joke. But place and you will wonder what sound effects are being introduced, you group Q. be a listeners, not a note perfect "Can you recommend some recently is wrong performance. especially in your music by topics such as “Piano the plank four or with the world. Then try smiling as you popular music, and this is published pieces for two pianos, four five stories above the ground, 4. If you are playing a lengthy Music”, “Orchestra”, hands, meet a few friends, composition, probably one of these. “Opera", “Art not too difficult, but effective between two buildings, and what happens? These and notice the difference in do not repeat a movement that you do excep- Song”, and so on. Then in the numbers for recitals?"—T. D.. New York their reactions. Audiences second A de^ate on this question same people who, with eyes covered, could walk are the same; meet semester would t tionally well, unless you make a mistake; Music you might have them study futile,f,,£; as there A. them in a gracious, smiling then Appreciation is so much difference Bach-Godowsky, Chorale. Oft, How the plank on the ground, will probably have to manner, and you will some one of the many good < repeat the movement to show the audience Q. Could you textbooks opinion. In other words, Fleeting; Bach-Maier, Air on the G get a favorable response. This explains its give me some ideas in different peop] crawl across on hands and knees; and yet they why pro- about muscial history, playing will tell real beauty. teaching music appreciation in and dis- you that it is String, also Pastorale in D fessional proper to play thei and Allegro have mastered the people occasionally have stage fright; the high school? Mrs. D. N. cussing many compositions of technic, of walking. Stage 5. Practice — each com- either way. I should be Minor; Beethoven-Saar, Contre Dance, very little the day before a con- poser better able to fright is their own personalities provoke an unfavorable as the history of musical develop- swer ar probably due to a mixture of inferiority- cert, A. Music this question if you No - 1: Duvemoy. Feu Roulant (Pin- and less the day of the performance. appreciation varies infinitely ment unfolds. If any had told me th complex and reaction in their audiences. members of the name of the icheels); self-consciousness, combined with both in kind and amount; composition from Gehring, Spic and Span, also 6. Finally, remember that no matter how dis- but always, class can play or sing some of which th unusual even the illus- measure is taken. Tick and (Le and unexpected conditions. on a very elementary level, For instance Took; Glidre, The Wind astrous your first encounter with it in- trations, that if it i stage fright will be excellent. If played Let Seeking the cludes something you at a fast tempo Vent); Grasse-Ringo, at Play: us suppose that you are in the presence of Cure of feeling and some- have a good orchestra the player migh Waves may have been, it is the experience of or chorus in the be inclined to a thou- thing of understanding. If make a triplet Simmons, Deep River, also Scherzino. and harmless moron. What are your reactions? You So much for you merely school, these might help on th^sec6 Sec the cause; now for the remedy. If sands that the day will come love sometimes ond count, like The when you can music, but have absolutely no un- Singmg this: Gryphon and the Mock Turtle feel perfectly at ease, and doubtless take the you have stage fright by the members of the class only at times, you will look back to those first tragic derstanding of is (Minuet); experiences and it at all, you do not ap- also an excellent Ex. Turner, “Two Cornish initiative in conversation. This same feeling pre- doubtless find way of having them the cure in what has already been laugh at your fears. Stage fright preciate it. And if you understand Sketches" (The Pottery Wheel and Sea vails cannot be it to study some of the music. while in the presence of most children. You written; if the but you experience stage fright every cured over night. Do not utmost intricacy of harmonic or Shanty); Rachmaninoff, Prelude if be discouraged, every Throughout the entire course feel confident that you have the situation well in time you acoustical detail, the make a public appearance, it will not be audience is different, but have no love for it objective C-sharp minor. Op. No. 2 and Ro- and when you have ex- is to cause the pupils to 3, hand. Taking the other extreme, picture yourself so simple. whatever, you love mance Probably the wisest way to begin is perienced again do not appreciate it. music more me umer nana. Op. 8. No. 2 from “The Second to the reaction, which lets you and to make their love suddenly thrust into the presence of know There must be some love grace notes Suite"; All the gov- give frequent performances before combined with deeper and wiser. would ‘^und Cui-Luboschutz. Orientale. audiences of you are the master of the situation, you were ^UeT^Vh the ernor, or some person upon whose favor depends children. are played before the above are In the late intermediate or Use very light material, pieces readily well on the road 746 beat. to recovery. early advanced grade.
NOVEMBER . 1940 THE ETUDE 747 . ) > — X
Music and Study CLASSIC AND CONTEMPORARY SELECTIONS
See another page in this issue fora Master BIRD AS PROPHET Bird As Prophet, Dp. BA No. 7 Lesson by Jan Chiapusso on this piece. Grade 8 VOGEL ALS PROPHET No. 7 (Vogel Als Prophet) Edited and fingered by Jan Chiapusso R. SCHUMANN, Op. 82,
Andante con molto tenerezza MJVl. J =63_
'* By ROBERT SCHUMANN Langsam sehr zart 4 0 MASTER LESSON BY
Distinguished Dutch-American Pianist and Teacher
ultimate effect. Practicing becomes Now is the time to be careful. Do not lose sight an inspiring process, when in the of the purpose of this exercise, for it Is at this course of many otherwise dull point in the art of practicing rep- that the greatest — j 1 7 etitions one sees the living art work blunders are made; namely, the student may gED y be- y V d - -=* ROBERT SCHUMANN emerge with the composer’s true come too Interested in finger gymnastics entirely If
1 poetic vision. i In this manner one as such, and forget the ultimate end to which they may experience the thrill of recreating. are only the means. It does not require very much I now should like to take the reader to the repetition to accomplish 3 HE the right aim, which is — i h-# DIFFICULTIES ai i of recreating the poetry piano, i. and ' 0 l_ try ' to make clear J the artistic and the ability to reach swiftly 1— of this delicate little piece are many. This for the entire block of » technical process of recreating this tonal p'j^ —Hr gem notes in advance. iff T elusive, highly As soon as this has been suggestive tonal miniature by Robert Schumann. ac- p =*£= requires a very refined technic, sensitive fingers, complished, the exercise has fulfilled its purpose. Before making a sound, let us read the musical Now and great dynamic control; but above all it back to the musical effect. With the ability de- text, and try to sense the inner f message. Here is acquired to b> El. r 10 mands musical skill. The pronunciation of this aim at the notes of the triplet figures a] "IT' [>J £ 9 % a swiftly whispering melody, gliding over a phrase—musical skill, always in advance, the melody line now should AV > -0 makes pupils raise roll out a , 1 j rather wide and airy space 4 T 4 7 of notes, all very light / r 1 — their eyebrows. Students are generally baffled and little more smoothly. There are seven points by legato. The pauses are quite long; the com- per- "irg this taining to somewhat vague concept. Yet, once a piece poser the interpretation of this first little b= f seems to draw 1 ~ one’s attention to the still- 1 l i is learned, and the phrase: )l pupil is able to negotiate the ness rather than to the melody. Imagine a forest various pianistic figures with ease, he can apply wet after summer rain; so silent it is then, 1. The legato 4 this type under of skill; he can begin to “paint” light the dripping leaves. The birds seem afraid to re- 2. The exact time value of the triplets and shade, to imbue his rhythm with life sume their through song. We listen. 3. An effective rise and fall ( crescendo and that “rubato” lilt, and to create those quickening Let us try to play the first phrase (to the mid- decrescendo or relaxing effects by control of the tempo. dle of Measure . 5) If the triplet is played as fast 4. A sonorous C-sharp Generally, however, this musical treatment is as required, the picture received from reading 5. The right treatment of the final note postponed until the piece is technically mas- the piece is disturbed; and it is played too loud 6. The effective pause after the phrase tered; that is, technically, in the common, but In order to remedy that defect I lay my fingers 7. The right touch incomplete sense of the on the keys and the balance of weight word. The relation be- in advance (D, G, B-flat, C-sharp) tween technic Points and interpretation is rarely un- as if to play them in one chord. 1, 3, and 7 depend really upon each other Then, with for derstood. Even famous music critics make the a movement their success. The little of the fingers, I play the crescendo is accom- vulgar mistake of aS plished by dividing an artist’s abilities ^Peggio, rolling the fingers a slight pressure of the finger against t h o t over into these two categories. the keys like,f the the key No better than a lay- spokes of a wheel, and giving weight. In order to feel this weight of the only a little man do these all-wise bystanders grasp the additional push of each key, which is (on a well finger individual regulated piano) four fact that the two for a slight crescendo to ounces, elements in art are interde- C-sharp For the the fingers should be neither too firmly pendent. next four notes (D, G, B-flat. D) The popular idea of technic is mere such additional set, nor too loosely relaxed. r C 1S Unnecessar Their muscles should mechanism and velocity. But true technic y> for these notes fade be just is the awIy in fone. enough contracted, just as soft, or as ability to master and project any musical intent In order to feel the chord necessary to feel that flexible resistance to bring into formations well in relief those subtle shades of mean- advance one of the key weight. One should ing might invent a little not use the full arm that lie hidden between the notes, those exercise. Bu- weight, fine soni advises a similar for this makes the tone too heavy and variations of practice in his edition tonal dynamics and rhythmical the “Well-Tempered of uniform. pulse. Clavichord”; as does in his Cortm In contemplating edition of Chopin’s the first figure, attention is It is a mistake to think that musical “Preludes” An h effects E tudes/’ In fact, rawn to the most can be postponed this is a well known and sonorous note, the C sharp, until the pianistic mechanism device. old ere is Practice the entire a fascination about gives so is mastered. For the first nine measures that tone. It musical idea determines the this manner: lnin wistful, so pensive a sound; as if it should go manner of technic, not vice versa. By putting the rig t on into its solution, but is arrested by some cart before the horse, one is often led to practice peculiar urge. certain figures One longs to dwell upon it; it with an entirely wrong touch, or S U ^ ave a slight pressure, pressure even with wrong fingering, for finger H° K but a patterns which affects the are largely dependent upon speed of the touch, and conse- one’s choice of quently the phrasing. In order vibrancy of the tone. This pressure to steer directly and quickly must not toward be against the woody key, the final musical aim the art of prac- bottom of the ticing against that oft The requires that, while engaged in the neces- mentioned key weight. reluctant sary grind, one constantly W to leave this note, should hold it keep in mind the e ast fraction of its value, when it must sud- en 748 y vanish, as if by ( Continued on Page 780 a) If the D is played with the left hand, as advisable, use the upper fingering, b) See a) NOVEMBER 1940 THE ETUDE 749 —
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NOVEMBER 1940 THE ETUDE 751 j " — —
BARQUE O’ DREAMS i s ion time. The left hand part has a character of its o\v n, a\ k Undulating like the waves, this barcarolle follows t he conventional six-eight strictly maintained. Grade 3 ELVA CHITTENDE
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source of information “This is the most comprehensive picture of the piano ever published; it is an almost inexhaustible and will inevitably pianist and person interested in the piano. AN AUTHORITATIVE OPINION: become an essential in the library of every piano teacher, to Coast Contents The above The Verdict oi Music Critics from Coast Read This Complete Synopsis of opinion is taken from the review by will be coast. Concise excerpts from their reviews are pre- Every subject of Paul J. Weaver, Head of the Cornell If you wish definite assurance that “The Piano” Weaver’s review of Piano,” quoted you will fully agree with him. In Professor “The either study or sented herewith for your perusal, and you can hardly as aj of real value and service to you for anyone interested in the piano p University indis- above, he lays special emphasis on the comprehensive portance to Music Dept., in the “Music Clubs Magazine’ recreation, we suggest that you read the opinions of fail to sense the universal opinion that it is an b of the instrument has and exhaustive character of the book; if you will read teacher, student or lover more than thirty leading music critics from coast to pensable volume. the Synopsis of Contents printed below, we know that completely but concisely covered. Alabama Kentucky New York is a of utmost importance “The Piano” is streamlined, yet it is In “The Piano” Mr. Wier has covered Here book doubtful whether any other book con- nearly every phase of information per- to musicians and students of the piano Part I History and Construction of the Piano — tains so much information in such con- taining to the piano; material of interest a book that few authorities on music upright piano will write. Syracuse Her- Early keyboard instruments—History of the modern piano—The densed form; when this is considered, to the professional as well as the amateur have the to Glos- ald-American. The art piano—The player piano—Materials and parts—Care and tuning— the price of the book is nominal. Mont- musician. Lexington Herald-Leader. sary—List of piano makers. gomery Advertiser. Louisiana North Carolina Arizona The piano is described and discussed The most comprehensive single vol- PART II —The Development of Piano Music Another eminently usable book; the from every possible angle in a book ume covering every phase of piano ac- tivity that have ever seen; the ordi- The harpsichord composers—The classic composers—Early modern composers scope and nature of the work suggests written by Albert E. Wier, titled simply we that it is indeed one which any student Orleans Times-Pic- nary music lover will find it intensely Contemporary composers. “The Piano.” New would prize. Tucson Star. ayune. interesting.- Charlotte Observer. PART III—Piano Teaching California Maine Ohio Students and teachers will find inter- Individual instruction—Methods of famous teachers—Class instruction. Seldom is such a complete collection of Without waxing romantic about his THE esting reading and reference in “The subject, facts PIANO material assembled in one volume; an Mr. Wier records so many PART IV—Piano Technique Piano,” an extensive new book by Albert invaluable source of information to and so much unexpected information E. Wier. San Francisco Examiner. students. that his book becomes somewhat roman- Early development—Elements of technique—Technical exercises—Chords and piano teachers, players and Connecticut Portland Telegram and Press-Herald. tic without intention. Cincinnati Eve- part playing—The pedals. published another Albert E. Wier has Maryland ning Post. ITS HISTORY, one of his compendious books, “The PART V—Interpretation of Piano Music MAKERS, PLAYERS Albert E. Wier, the musical genius Oklahoma Piano”; it is concise, packed full of in- who edited and devised the arrow score We are always being told that some Phrasing—Interpretation—Methods of memorizing—Sight reading. formation and interesting reading.— series, has written a most comprehensive book answers a longfelt need; a new one Times. AND MUSIC Hartford which actually does is “The Piano,” PART VI—The Piano in Ensemble Music book on the piano; teachers and students District of Columbia will find much to interest and instruct compressing into one handsome volume Sonatas for piano and violin—Sonatas for piano with viola or violoncello Piano — No other monograph in English holds them. Baltimore News-Post. a wide range of information. Tulsa trios, quartets and quintets—The art of accompanying. between two covers so much information Daily World. of specialized character; its value for Massachusetts itself encyclopedic in Pennsylvania PART Vll—The Art of Two-Piano Playing teachers, students and mere listeners is “The Piano” is scope, and should prove extremely valu- “The Piano” makes a distinct and val- Essentials of the art Survey of two-piano music List of two-piano immediately apparent. — Washington — — music. uable contribution to musical knowl- Post. able as a reference work, considering its importance and general sound- edge, and performs an important service PART VIII—Biographical Dictionary of Pianists Florida range, ALBERT ness. Boston Post. to pianists by filling a yawning gap in E.WIER not only is interesting but, Biographical dictionary of pianists, duo-pianists, harpsichordists, accompanists, “The Piano” the field of contemporaneous evaluation of the vast amount of informa- Michigan teachers, editors and theoretical writers. by virtue of the piano. Pittsburgh Press. tion it contains, is invaluable to the mu- A book for both amateur and profes- and music student, music lover, sional musicians; a gift of lasting interest Rhode Island PART IX—The Piano in Records sician critic and ordinary layman. St. Peters- to a young student, it will probably be- Much of the information will be ex- comprising recordings The piano in records, for piano solo, piano duet, two burg Times. come standard equipment for reference tremely useful, and all of it is interest- pianos, piano with orchestra, harpsichord and clavichord. The volume also con- Georgia and teachers’ libraries. Grand Rapids ing, concise and sensibly arranged. Herald. Providence Evening Bulletin. tains an unusually complete list of works in English and German referring to The most remarkable book of its kind the piano; also a comprehensive index for ready reference purposes. I’ve ever heard about, much less seen; Minnesota South Dakota should soon be on every music student’s Mr. Wier has undoubtedly penned the Piano devotees, whether teachers or table, as well as in every music lover’s most complete treatise on the piano; an just players, will find in this volume all library. Savannah News. enthralling book for piano students and they want, or need to know, to perfect all music lovers. — Minneapolis Star- themselves in their favorite art. Sioux This volume has intense interest and practical Illinois A book that will afford teacher and Journal. Falls Argus-Leader. usefulness for every piano teacher, student, student of the piano great enlighten- Missouri Tennessee player reference ment; it now serves us as a It seems unbelievable that so many A fascinating and comprehensive and music lover seeking authoritative information. book among the many in our private subjects could be incorporated under work about the piano; in spacious yet Herald. collection. Chicago one cover; there is no doubt that this swiftly readable fashion Mr. Wier has affords ample proof that “The cost them in Indiana will a valuable aid to teachers, organized his encyclopedia. The above synopsis excess of $200.00. The musician book be — Chatta- can obtain Albert E. Wier combines vast learning and to all who are interested in the nooga Times. Piano” contains information, in concise form, of in- full assurance that the information he finds in this book with a well developed sense of the prac- piano. Kansas City Journal-Post. Texas terest to piano teachers on the history, music, is authoritative, well tical; “The Piano” is likely to prove an (1) presented and absorbingly Nebraska As a study of the piano it is interesting inter useful handbook to anyone estmg if endlessly teaching and technique of the instrument; (2) to piano he will read the three A work of exceptional value and in- and instructive; as a reference work it is columns of reviews who is at all attached to the piano. on the terest, furnishing a useful accessory to practically indispensable. San Antonio students on all subjects connected with their studies; opposite page headed Indianapolis Star. “The Verdict of Music LONGMANS, GREEN AND CO. the study of the piano, its music and Express. Cubes from Coast Iowa (3) to pianists on the classic, modem and ultra- to Coast.” Prominent lONOOK'NEW YORK -TORONTO composers. Omaha World-Herald. Utah critics who Of interest to any pianist, amateur or guide and mould musical New Hampshire “The Piano” has been planned modern music that has been composed for their use; taste in their communities professional, and of unquestionable to in- in A book that is virtually a dictionary, clude all subjects of interest, and to more than thirty states, value to any music school, or library pre- to duo-pianists, or those seeking to enter this pass judgment on biographical encyclopedia and compen- sent the material (4) “The Piano” is this com- in such a way as to through terse having a music department, excerpts from lengthy dium of information all in one; every- make the work a welcome addition to popular field either for profit or pleasure, in regard reviews; the ver- I prehensive book on the pianoforte just dict is invariably thing is there. — Manchester Union- a musician’s library. Ogden Standard- that it is not only off the press. Dubuque Catholic Trib- to correct procedure and available music; (5) to lovers the first mm Leader. Examiner. pletely satisfying volume ever une. of the instrument on every subject with which they published on the in" Kansas New Jersey Vermont strument, but that it also is a book Students and teachers of the piano will Invaluable for the serious music stu- A complete compendium of everything wish to acquaint themselves without tedious research which everyone interested in the most interested in this new volume; dent, and a treasure house for the casual about the piano that professional and piano will find as 467 Pages Blue Cloth Binding be in libraries, or the purchase of books which indispensable^ Dle as it is a scholarly work by an authority in music lover; here, in concise, business- amateur pianists, teachers, students and would the instrument itself. and every music lover will like narration is the story of the piano. lovers of the piano might like 6" 91 " the field, to know. x /2 Price $3.50 want a copy. Kansas City Kansan. —Newark Sunday Call. —Rutland Herald. more than two thousand dealers everywhere in ar« the UNITED STATES A POSTCARD WILL BRING YOU THE LONGMANS MUSIC CATALOGUE containing ready to show y„» ,his rcmarkab|c vo|„ Piano” and of the Miniature V.s.t your me a detailed description of “The Arrow Score Series. local mMS8e or book store to-morrow LONGMANS, GREEN AND CO.—55 Fifth Avenue—New York.
THE ETUDE NOVEMBER, 1940 757 piu lento
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758 secured International Copyright Copyright 1940 by Theodore Presser Co. British Copyright secured studs TH£ NOVEMBER 1940 759 V — — J9 — — O — —
VOCAL AND INSTRUMENTAL COMPOSITIONS IN COMMAND MARCH FRANK GREY NOW TAKB*THY REST SONG SACRED Words an d Music by ROLAND DIGGLE
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ODE TO THANKSGIVING OUR AMERICA Music by ANNA CASE Words and l Sw Full Sw. Hammond Organ-
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MANUALS'
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r r 8 P s(mtemtiO ZJfi] y r l ^TT-lT --|9 (® brave. The stars and must! Our cause it _ is just; A - mer-i-ca, Our A - mer- i - ca! The land of the 4^~ a? S * S J - »r — i Vip ,*•*5 hi _ - AV/tc SOS/CMM^O ' at
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m j» h n j= 5=*tf ^ g m i i i m j. j ,ro mnct nti ctiro** t a tVi a a '#U* Copyright, MCMXVII by The John Church Company , 762 International CopyrigW Copyright 1940 by Theodore Presser Co. THE ETUDE NOVEMBER 1940 763 • m . f — FullSw. Gt Andante sostenuto a: j. J- J J J J ±XJj= t * . ^ ro- i #: p o f=^ f t sl7T7 Csjail'f . M e_i .J J J J J J.£L 11 4-n i i -F,V*- it • 0 r\ Poco allargando B p— t=f u »p f 1 fTTO molto cresc. -Jf J i d Jr—^ f rit. • : mMH: £—I 1 1 £ i-- — ; r^-^rTr 1X11 * 1 kur A fd ? ^ ^ 3^ t - r MH J " r ® 1 1 e 1 — ^ J J J — —o 1 i# i J U -o- CARRY ME BACK TO OLD VIRGINNY GUITAR JAMES BLAND Moderato Transcribed by Vahdah Olcott -Bickford, Op. 70 Moderato , Full Sw. tap p^--sn *— i r r rr r r tf * U~i r r "f (71 mm =:/ j i J J J i~.L J ,«> ’?-? & £ 1p=r 35 uiifjz [Ei iei un Pi^2=4: o XT Con brio Pe(PlTir~ 4l • • Jrg^Wa-illL^: 11 : « ! « _ V ]*a tempo .7 . ^ ^ *' 3 £ Copyright p MCMXIX byOliver Ditson Company I NOVEMBER 1940 765 — 2 ASSEMBLY GRANT) MARCH ASSEMBLY GRAND MARCH SECONDO CARL W ILHELM KERN, Op. 475 PRIMO Tempo di Marcia Tempo di Marcia CARL WILHELM KERN, Op. 475 i i li t * * % A i i ^ i j j ;yW 5< ~mzzjnz y-T-^==^t Y P t f' % n 3S frffr p fr m p P f / »i£. ^rV1?a B-. f «: p H:p-|Ef m ft % ~ ~ frl £ Bj! - - P ^ 2 < mmy -v ri¥ i 4 ^ $ed.^p^P ^P & p F 3 4 3 -%p p 5 3 5 a SSfc Y * 3 * jU J t i t ^ t j: i i ^ Li d. * ii 3 3 f ^zAm ') > : r f fft rGf .f 3^ 1 fg* E # n p m f y M, ij y y £ =f=gF Y 1 D Y a «S|£ & fete i T mmjf ^ md iiiit itfe . v , NOVEMBER 19{0 767 PLAYERS DELIGHTFUL PIECES FOR YOUNG LITTLE PET DUCK Copyright MCMXL by Oliver Ditson Company 768 International Copyright secured THE ETuVB — — important. The meaning and char- What the Pianist of To- acter of the composition alone de- HORN morrow Must Possess termine the technical tools that THE POST must be used to interpret it. In one Page 730) (Continued, from case, we need a well trained thumb, (b) chords; (c) to be passed under in arpeggio Grade 2g. FREDERICK A. WILLIAMS in thumb-passing) ; positional changes; (d) work; in another, a swiftly moving, Allegro skips and flexible wrist; in double notes (thirds, sixths, and all another, the canta- 3 octaves) (e) exten- bile which is special to the piano intervals up to ; / J? N„ -^r-\ m P y P inter- and which, to-day, is G v-- m - mV/ sions or stretches; and (f) the much neglected, r r i- i ?-8 - of hands. The alas, for the sake of a shallow, per- lg ^ '~ *• — locking and crossing 4z; J most difficult passages can be an- cussive brilliancy. ( At of these Incidentally, we must remember _=* ( PI alyzed to fall into one fZ } £ that the piano has the right ^ — groups. By removing the troublesome to be m passages from their textual settings considered as a stringed instrument, H J- and mastering them, once and for as well as one of percussion, and we ^4 a 1 must regulate our tonal approach all time, the most difficult music be- to comes reduced to the sum of its com- it accordingly. Sir James Jeans re- ponent parts—technically speaking, cently launched the amazing pro- of course—and its synthesis into flu- nouncement that, from the view- point the J7]«^ ent performance is correspondingly of science of acoustics, the =Sg simplified. human touch has no more influence £ in the field of musical pat- on tone values than the striking of Again, tern, we find that most formal works a key by a hammer, a knife, or a tuning fork! Artistically, # * / (in distinction to improvisations) of course, .f follow the old Aristotelian principle this is quite unsound—for the simple pffr unity and variety reason that the tone produced by the The Wurlitzer Spinette, tf of achieving new Model which blend harmoniously with the mm use of three devices: human hand is directed less by the features the % mm through the 590, most recent furnishings of all types of home imitation, variation, and develop- hand itself than by the brain that acoustical development — the Con- decoration. i i Ped. simile idea. guides it. It is the thought behind cert ment of the underlying The Tone Chamber. Its sweeping Write for a collection of sixteen approach his the striking of the key, not the per- curves grille student must music and wide permit a free full color illustrations and prove to its cussion itself, that makes for worthy flow with a clear understanding of of pure, rich, resonant tone. yourself that a Wurlitzer Spinette details piano playing. structural pattern. The more Wurlitzer Spinettes are available will bring an added charm to your Thus, the pianist of of texture he discovers, the better to-morrow in many smartly designed models home. will he appreciate the composer’s must learn to-day to construct his Moderately priced . . . Easy terms skill in expressing his meaning, as entire musical edifice upon a foun- well as his own duty in capturing dation of thought. He will assign a and giving back that meaning. reasonable scale of values to all Nothing is more rewarding than things pertaining to music, reserving THE RUDOLPH WURLITZER COMPANY, DE KALB, ILL. the thoughtful study of polyphonic his deepest devotion for music itself. music, but we must remember that He will subordinate his own role as Twenty-One for polyphony is not merely a matter of performer, as well as the technical IN MELODY LAND MELODIOUS SOLOS academic part writing! Do you re- resources at his command, to the the Not an instruction supplementary call Chopin’s exclamation, after a musical meaning of the composer. YOUNG book, but 0 f Positive Worth visiting countryman had played a He will learn slowly and thoroughly, VIOLINIST to the method in use. g RQBERT W. GIBB mazurka for him? analyzing his problems in terms of y CONTENTS: Playing 1 2 their basic causes, and conquering on the Open Strings: —A Wee Bit; —Little Indian; 3—On the Lake; “Fool! He thinks there is nothing 4 Drummer 6 7 — Girl ; 5—Soldier Boy. Introducing the First Finger : Raindrops ; — —The Swing ; 8—Lullaby 9 Roaring Lion. Introducing the 10 to it but a bit of melody.” them, not for the sake of one ; — Second Finger: —Merry-Go-Round; 11 —The Cloister; 12—Fireflies. Introducing the Third Finger: 13—Chatterbox; 14 —The Scooter: 15—Music There is “piece”, but for the sake of endur- Box; 16 Folk Dance; 17 The Princess (Founded 18 a tendency among stu- — — on Scale of D Major) ; —Arrival of the Prince; 19 -The Peacock (Founded on Scale of Major) 20 G ; —Gavotte (Founded on Scale of A Major) ; ing musical mastery. And he will 1 dents to overlook ' the complete mu- 21 —March, “Our Class. Each piece, if judiciously selected is a drill on the subject at hand, although sical pattern of a work. Only the dif- make himself aware of the complete to the pupil it is a “really truly” violin solo. Practical application to any system of teaching—class or private is facilitated by grouping of titles ficulties receive attention. sig- musical pattern that is given him — Key under headings in the table of contents. For example: Where the lesson introduces the second finger, the selection should be made from numbers and 12 natures and technical problems are to unfold. If he masters all of these 10, 11, ; if the study is in the key of D major, assign number 17. The piano parts have been kept well within the scope of the average pianist to encourage about the only things the average points, the pianist of to-morrow will performance in the home. the highroad student will analyze, without a spe- be well launched upon PRICES: Violin & Piano (bound separately), $1; Violin Book alone (without cover), 30c; Piano Book alone (with cover), cial reminder; not unlike a certain of happy achievement. 75c. famous singer who said to a fault- WALTER JACOBS, INC. 120 Boylston St., Boston, Mass. finding composer, “Let me first get the notes, my dear sir, and I’ll put in Film-land Music Masterpieces of Piano in your sharps and flats later!” Music ( Continued from Page 735) There are also rhythmic values to be has been termed the library of Piano Music in one volume. The more than watched, including the rests (it was singing a simple home song—and 200 selections by great composers con- Busoni who said that in Beethoven again, the obbligato is carried by an tained in its 536 pages, comprise 53 there is nothing more beautiful orchestra of such size that hardly Classic, 75 Modern, 38 Light, 25 Sacred and 29 Operatic than the pauses). There are legato, half its instruments could be crowded Compositions. This vol- ume is truly a source of constant enjoy- and staccato. There is the matter of into the room depicted. Mr. Ford ob- ment and entertainment to the pianist tonal volume and intensity, which jects to that sort of thing. The audi- who delights in good music. proves to the thoughtful student ence may scarcely be conscious of For sale at your favorite music counter POSTPAID or sent that touch can never be separated the lapses from mood authenticity; upon receipt of price. Money re- funded if volume from does not meet with your ap- technic; that the meaning of still, they are there, and they place proval (NOT SOLD IN CANADA). Illustrated the music folder with contents cheerfully sent upon is as much dependent a subtle barrier between the spec- request. upon touch as it is upon key, rhythm, tator and the fundamental mood of mumil publishFng~co7, "i N c. or tempo. the scenes. Mr. Ford has avoided any 1140 Broadway, New York, N. Y. Enclosed Thus, the student must learn to discrepancies in his sea piece find $ for which send post- such paid Masterpieces of Piano Music. scrutinize the entire well ( ) Paper musical text by keeping the projection as as ( ) Cloth in the light of what the composer the content of his music well within Name wishes to have expressed. Will it be the actual scope of his characters. depth Street or lightness, solidity or flu- Accordingly, there are scenes in ency? Only in City & State. Erilish Copyright secured this regard is technic (Continued on Page 780) E 11-40 THE ETUDE NOVEMBER. 1940 771 — ? ? ? — voiced fort on your part, as soon as the basis of all full they the notes changes the technical the sound, ready. Good singing low apparen . are is Clear Distinct high tones will be made seldom and complexion of the piece consider- loud singing. The quality in fac , of This shout need not be loud; your ably. The content of the basic chord voice is the most important Piano Playing be only mezzoforte. thing is from cgcetogce it should now reduced to keep in mind. The voice power first, such tones is ( between At Continued from Page 738) andana methe awswaxuawkward swwtuustretch developed by breath support rather crude, but P and the first and second and the fourth be y ._ pressure on the B-flat is ^ ^ hWrio breath control, which, in than just loose, and gradually bring- turn, are and fifth fingers is eliminated. free and ^s^nAwered ! sufficient to keep it from rising. controlled and directed Any breath support and control to by your This is the age of unreserved, ing exertion beyond that is apt to affect will learn to sustain mind. headlong precipitation. Hurry! Hur- the tone, one the control of the other fingers both an enhancing It is assumed that anyone applying HR. NICHOLAS H0UTY goal even the shouted tone with in the production and ry! Hurry! Get to the cessation of thrilling as that of these rules and principles to the though cross the line stagger- quality quite as tone. Those who have heard pianists you production of their No question will be answeredin THE ETUDE unless accompanied by the full name upper tones. high tones will breath. In rightly produced ana address the inquirer. be published. as widely divergent in style as Pad- ing, pop-eyed and out of of Only initials, or pseudonym given, will be careful, how- already have established the lower such a day when so many depart- Men singers must erewski and Gieseking play Bach reach these and middle voices on a firm in high ever. Some can safely tonal know with what infinite skill their ments of life are running robust shout, understanding. To go to the Songs and Exercises for a Young Girl mal young woman, who eats and drinks gear, clarity accuracy in music correct tones with the top control of the voices is blended but and Q. 1 am sixteen years of age. Please sug- sensibly, who does not stay up most of the while others tones before the middle voice is are in of being sac- as a preliminary tone, well gest some classic or simple operatic songs for night smoking dancing, when she should at the same time is always articulate constant danger and must use a much softer approach to developed is an error. It is like try- my voice. I would prefer songs with "Alls’’ be in bed sleeping, may consider herself in the smallest detail. rificed on the altar of speed. Al- events, the ing to finish the attic of and "Tras” in them like My Johann by Grieg, sufficiently developed to study singing, some- though the admonition to slow down the shouted tone. In all a house Incisiveness of tone, which is such as I have very little music of that kind. My where between sixteen and twenty years of robust, with before the ldwer floors are safely *s frequently heard at the piano les- “shout”, be it soft or voice is rather weak but it lias a sweet qual- age. Again I advise you to consult your phy- a vital part of good articulation, is constructed. ity. My range is from A, the second line below, sician, your singing teacher and your own son, a more effective method of re- proper breath support at the prime LAMINATED HARD COVERS possible only where the impact of to D the second space above the staff, treble common sense. does give one the No. 201—Album ol Favorite Piano storing the proper balance is to in- instant of attack, Book clef, and I prefer to sing high soprano songs 3. Humming helps some voices, because it the finger against the key is met by Contains 62 most popular piano all physical Solos. suitable for my voice and range. encourages the upper resonances. Some other sist upon those phases of technic natural coordination of are all graded from very easy firmness in all the joints. That is solos. They The Middle Years Includes such numbers as 2. Can you suggest any exercises to develop singers, especially some women singers, find that insure good articulation. All the actions required by these high tones. to medium. why the not uncommon practice of "Andantino," "Fairy Wedding," ‘’Humor- the power of my voice? I am quite mature, so that they stiffen the throat and jaw when ( Continued from is familiar with an ex- Page 725 ) esque," "Jolly Coppersmith" and 58 others. I am not handicapped in that respect. I bc- they hum. In latter case, it is allowing the first joint of the finger red light stops in the world are Everyone the not ad- PIANOS Every number is arranged beautifully, in- licrc that Lucille Manners developed her voice visable to practice the hum, but to sing the worthless if between tension ladder of two or more sec- to cave in constitutes you speed terestingly, edited and fingered. such a serious window, watching the oncoming of by talcing exercises. Do you know what type exercises with the mouth naturally open. Quality becomes increasingly appar- lights. tions. Where the two sections come 200—Album of Favorite Songs. .1. Do tonsils have any effect on the power deterrent to clear articulation. This darkness with a woe-begone face and Book No. (Contains 127 complete songs and words. of the voice ? I have been studying the piano ent with the passing of time; to this rule, habit not only affects the quality of together we find that the top few Una Bella Voce great staring eyes. Thank goodness Arranged for all instruments. for eight years und I have natural ability rungs of the lower ladder overlap the Q. I am a boy of seventeen, weight one Lester Grand Pianos and Betsy Ross tone, but also its duration. When Book No. 201—Album of Favorite Piano and a good ear for quality. Our town is quite High Tones and this day sees little of self-imposed hundred and seventy-two pounds, with the They are ladder, Solos (Contains 62 most popular piano isolat'd the larger cities and there is no Spinets are no exception. that joint breaks in, the key will re- lower few rungs of the upper from ambition to be an opera and concert singer. stupid martyrdom of this . kind. solos.) opportunity to take lessons —J. S. fully guaranteed for ten years but main depressed for a period of time to Sing thus being strengthened at the point About two years ago a singing teacKcr heard How Them are Book No. 202—Album of Favorite Strauss There periods in the life of A. Try the following songs: A Heart that's me and said I had a “Bella Voce” but I was their actual life is as long as you care of juncture. Although the upper sec- Waltzes (Contains 25 complete Strauss after the middle joint begins to op- Free, by Robyn; Damon, by Stange; Spring's too young to begin serious study. My voice (Continued from Page 741) everyone when solitude is a blissful Waltzes.) to keep your instrument. We would be erate. Even though this interval is tion is the higher section of the lad- Awakening, by Sanderson. It does not seem is now changed; it has become richer in tone Book No. 203—Album of Famous Waltzes refuge from the world, when we can as If you were quite far enough advanced and has much more volume. I speak Italian pleased to mail you our catalogue. very slight, it is sufficient to blur the by and maintained with breath sup- der, the few lower rungs of this (Contains 63 most popular waltzes.) commune only with our souls and for the larger operatic numbers. Of course, well, and this might help in my studies. Am P°rt- higher section are, nevertheless, low Book No. 204—Album of Favorite Piano Ac- articulation by an overlapping of you must map out for yourself a scheme of I too young to start the serious study of our God. is especially cordion Solos (Contains 70 complete Piano This the case dally practice. So many minutes should be singing? will you please the tones. In most cases this habit is The soft head voice, or even the rungs. Accordion Solos.) And recommend a after an overwhelming loss, when a given to voice placing exercises, so many to teacher falsetto, can be used by tenor Book No. 205 Album of Favorite Children due to an improper mental attitude and You can liken this upper ladder to — scales and vocalises and perhaps a smaller supreme moment comes that no one Piano Solos (Contains 139 finest piano solos A. If you really have “Una Bella Voce” toward the baritone voices as the approach to the soft upper tones of number of minutes to songs. These exercises keyboard and not the re- your voice for children.) you should certainly learn how to care for can ever comprehend. Yet, it is utter should be practiced standing, because one sult of actual physical weakness. the full rich top tones—if used in (falsetto or head tones) and know and to cultivate It. Your knowledge of Ital- does not breathe as well sitting at the piano. foolishness for one in middle years ian should help you a great deal, for many About the only satisfactory method the right manner. The best soft up- that the first few high tones, when Read a few books upon the voice, Shakes- fine songs are written to Italian words. There Lester Piano per tones to prolong or exaggerate this period. peare's “Plain Words on Singing” among Mfg. Co. of correcting the fault, therefore, is can be made most easily produced with this soft voice, are is a tendency among young people of Italian others; and buy some simple exercise books to focus the attention by an “ee” or “oo” sound, with the really the We know a woman in middle years origin to glorify the mere sound of the voice INCORPORATED upon that spe- lowest tones of the high M. M. COLE like Abt’s “Singing Tutor, Vol. 2”; Sleber's and to neglect musicianship. Do not fall Into cific joint. mouth almost closed. Therefore, if series of notes. must realize who was so affected by the death of "Eight Measure Vocalises for Soprano”, and LESTER, PENNA. We that PUBLISHING this error. If you have a good physique, a a child CO pernaps "Vaccai's Practical Method." It is The following simple exercise may the singer will first put a soft “y” in we are up and upon our higher lad- that it was feared that she pleasant personality and a good education, 2611 Indiana Ave. Chicago, HI very difficult to teach oneself how to sing front of an “ah”, sing would lose her reason. A kindly I see no reason why you should not start prove of benefit in that connection: “yee-ah” with der of tones and not reaching up to without exceptional talent. your singing lessons Immediately. Consult allow the full the “yee” very soft, and then it priest quoted to her the words of St. of the books mentioned may be pro- weight of the arm to run the top rungs. Actually being upon Any the best singing teacher in your neighbor- cured through the publishers of The Etude. hang from the fingertips, with the into the “ah” without any change in the low notes, or low Chrysostum: “Him who is dead and pHARMONY BY MAIL= hood, have an audition and abide by his FILE Your Sheet rungs, of the 2. Although your body seems very mature the gone, advice. Detroit is a great musical center wrist lowered. Now draw the weight volume of tone, he will retain the higher ladder, we are honor with remembrance, not A practical and thorough course of 40 lessons, at for sixteen, it is a question whether or not Music—DON'T on top of these containing many excellent singing teachers. towards the quality sound of this easy “ee” with tears.” a small fraction of the cost of personal instruct ion.. your vocal cords and the muscles that move keyboard solely by when tones which are sustained by breath She had been a music Among so many good ones it would not be PILE IT! Small monthly payments. Send for particulars. them are developed like those of a mature means he sings the “ah.” tactful for the editor of Voice Questions of finger contraction. Care support and enthusiastic teacher and she was advised to start to THIS beautiful TONKabinet, courage. Music woman. You must, above all things, be con- GET composed to your words. recommend a particular one. file your sheet music handily in the should be taken that the The second step is to give a school in child. haste slowly. Try for sweetness, movement the “ee” The highest tones in the voice the memory of her tent to make many convenient drawers and save HARRY smoothness of scale, clarity and ease of enun- endless searching through “stacks” is initiated by the first joint, and with a slight aspirate like “hee”, have always This she did with amazing zeal. In WOOLER, B.Mus. been called head tones. of voice as of music. TONKabinets preserve 11206 Harborview ciation and leave the power your He Cannot Form the Consonant L Drive Cleveland, Ohio valuable sheet music against tear- that at no time is it allowed to col- quickly and softly, then run into the The term, less than a year was content grow older, if Q. I am nineteen head tones, is rather con- she It is, for the present. As you years old, and I have ing. fraying and loss. Sizes and lapse. strain voice while you are a speech disorder existing styles for homes, schools, bands, When the finger has reached ah” like “hee-yah” with a more ex- fusing to some and rationally interested in life. you do not your from birth. I have who think that thev etc. WHITE FOR interesting new Llftoiiro fnllnn 1 / , .. ' . . young. It will gradually grow more powerful. trouble saying L. When I say “Lie down,” its it plosive, fuller folder and name of nearest dealer. maximum contraction, should sound on the “ah must be “put into fill in the head.” Of Many things may be used to I do not know what special exercises Miss it sounds tike “Wie down,” giving the L a W be allowed to unbend gradually. which will result in TONK MFG. CO. (Dept. 212) a more courage- course, such a thing is impossible, the inevitable leisure of the middle |Mp ° RTS Manners used, If any, to develop the power sound. I should appreciate any advice you PFf fipn Brand new, English 1980 N. Magnolia Ave., Chicago |\ |_ M |\ | M of her tones. You might write to her per- can give me to improve this. D. M. ously sung high tone. for no voice tones years. more \ — Proper Fingering can really be di- The more absorbing, the ^ POLYDOR-SERIES sonally, enclosing a stamped, self-addressed AH records—never before sold at these low prices. Sur- A. In our long experience as singer and _ men singers who can attain rected into the of Radio Station over head or anywhere creative, the more constructive they faces superior to envelope, in care the teacher, we have Proper fingering plays a vital role domestic records. Finest artists and never met a condition like TONKdimts this soft Is singing, and perhaps she will upper voice realize Stras * which she that the else. are. n outstanc*' n 9 classics. 10" records only this. L and W belong to different > r r the better. If have not pre- c consonant C you for sheet music in the acquisition of good articula- “high 75c. Send today for new, FREE catalogue containing tell you. groups, and their — tones” thus produced are It is formation demands very believed that this pared for them you may become a hundreds of selections. Exclusive with 3. Do you mean, do enlarged and diseased - for p/ionosraph records tion. Since size and flexibility of term came different actions of the speech muscles. L easily reached and sung. Only the about The tonsils have any influence upon the power because the vibrations of these very unhappy individual. The parent GRAMOPHONE SHOP, Dept. E belongs to the lingual group, and its forma- hands vary so widely, it is not al- fuller voiced and quality of the voice? The answer is that upper tones seem to upper tones 18 East 48th Street, New York tion requires the tip of the tongue to rise ways seem to be felt in the who gives his child a musical educa- they have a great influence upon both. I wise to adhere dogmatically to bother them. and press against the upper front teeth, head. You too can feel tion against have taken up this question in some detail established fingering. This passage, them vibrate, may be insuring him lips and jaw remaining quiescent. W belongs The fuller tones will come if the if in an answer to A. B. which appears in this Improvement Guaranteed you place your open hand many lonesome, isolated, bitter, mel- Answering to the labial group, and its sound is formed for instance, from Etude, Op. 10, No. singer uses upon Etude Adver- "T1 issue of The Etude. Please read it carefully. We build, strengthen the vocal organs this soft “hee” as an ap- your by rounding the lips and slightly compress- not with singing lessons—but by fundamentaUy head, near your par- scientifically ancholy is Bound und correct . 1, by Chopin, is usually edited forehead while wasted hours. This tisements ing them. You might try silent exercises with proach to the tone. The fact always pays I* the following and absolutely guarantee to improve any sinein,- that he you sing apeuking or or voice or money refunded . . Write for hum softly up ticularly true in this when so Tonsils and Adenoids Once More. Humming exercise. Select an easy tone in the middle . the fingering here given above the the scale day wonderful voice book—sent free. Learn you can sing the high tone softly land delights range and quality of WHY should As you go to the reader. JJ Q. Does it affect the voice; sing softly and quickly, with very can now have the voice you want. No literature notes. the higher tones, m&ny are trained to play in ensem sent to anyone under 17 unless signed by parent. give him confidence to you the voice to remove tonsils and adenoids? little breath pressure: “Lah, Lay, know that he will feel Lee, Lie, PERFECT VOICE INSTITUTE, Studio 5588 a distinct vibration 1316 de- is the average age at which a has on the groups, adding to music a 2. What Low, Loo. Sing it three times in one breath. 64 E. Lake St., Chicago the fuller tones in his voice and op of developed? the head. This does not Mghtful social soprano's voice is fully You may also invent other similar exercises needs only prove atmosphere. voice —-A. B. the courage to work them at S. Does humming help the using short words commencing with L. Two the voice is in the Mfake your glorious Schools—Colleges out. head; it middle years Enlarged adenoids, as you can readily books are suggested for you to read: JENISON’S Juvenile Songs, Musical Readings, proves only that A. you feel the vibra- glorious for yourself and glorious for understand, obstruct the passage that leads “Graduated Exercises In Articulation” by Musical Comedies, Operettas And now listen carefully to a man’s SCHOOL L AY S Delightfully amusing. Denison’s plays tions, just as into the nasal cavity, and thus interferes S. A. King; and “Gymnastics of the Voice” are you do in the chest others. Avoid the black mists of con- OF W ; for all produced everywhere. Complete spontaneous shout of “Hey!” when CONVERSE COLLEGE MUSIC with the natural resonance of both nasal and by Gutmann. OCCASIONS mmsLrei material. Free Catalog. w en you sing brnst lower tones. hate Bacon, Dean, Spartansburg, T.S. Denison &Co. , 203 N.Wabash.DepL 73,Chicago attracting In reality, fusion and the hurricanes of 8. C. head cavities. Enlarged and diseased tonsils From the description of your difficulty in the attention of someone V01 Viblations are f e that proper have a somewhat similar effect, plus obstruct- forming the L, I should judge that the at a distance; again ^ lt &11 over often come from lack of COLLEGE, you recognize Kbodyr in DEPARTMENT OF MUSIC ing the free emission of the voice Into the ligaments under the tongue may be too varying degrees. great Galesburg, 111. For small hands, this necessitates the freeness occupation. Come out into the KNOX out into the open air. To re- short, too contracted. When you EDWARD ELLSWORTH HIPSHER, and openness of the o James MacC. Weddell, Chairman. mouth, and so try to place no be in a hurry Catalogue MUS. DOC., A.R.A.M. a reach that greatly interferes to make your day of life and in the words of St. sent free upon request move them, if they are really diseased, should the tip of the tongue against the upper with sound. And note, too, the carrying higher Twenty Years Associate Editor The Elude tones loud. It certainly change and Improve the quality of front teeth the shortness of the ligaments . the operation of the fingers, espe- is best to keep Matthew: Instruction by Correspondence power of this shout. If men singers CONSERVATORY the voice, provided the operation Is skillfully may make It difficult. Consult a good throat t d OF MUSIC Harmony, Counterpoint, Musical Form, cially the fourth fifth. ith g°0d before Consult a good surgeon who will surgeon. Sometimes a slight and However, will apply the rule for breath quality “Let your light m> -him- SHENANDOAH Wade E. Miller. Pres. performed. cutting of these Composition sup- TheT ’»r # 2 hemselvesT ' take them out, but ligaments give Musical Literary the alternative fingering develop ,m n tbat they yo*r good Courses leading advise you. It is easy to may the tongue more liberty and Manuscripts Criticised • mmy the to placed be- port to this same shout, , nat- m B Mna and sustain nvoiTurany r 8 n again. of action. It is and Prepared for Publication into B Mns ' impossible to put them back an operation, which, slight louder tones, work* and glorify your Father*hieh reasonable Ed - Rates ' in th V, without Pf_ th? heart age; It depends upon as it is, should be Club Papers Written is in Willey. tw*” of the Shenandoah 2. There Is no average attempted only by a skill- Heaven.” • 772 Virginia the individual. But a healthy, strong, nor- ful man. 249 Madison Ave., Marion, Ohio ETUDE THE NOVEMBER, 1940 773 . ) —f — • and European music study, slightly separated from in Eu- suggestions in this article are should be of the rope the student works; in Wasted Resources other as: America unusual, and that the resulting tone the the teacher.” llup/fHT 1 in 1 i ivniii llii in some cases may seem weird. Never- Ex.6 tn of the Organ If the student is to be stimulated $tmco JMU Ls llii ill 1JU tSTIOlVj these sug- theless, a judicious use of 1 to the point of studying in the man- t SSHI wsmmm ( Continued from Page 742) in gestions will assist the organist outlined, the MUSICAL ner teacher will cer- achieving new tonal effects. Perhaps the minimum pedal tone that any ainly have to work, as well as the CHURCH has is 16 ft. by these means some of our alleged- organ a pedal stop student. But if, finally, keyboard, this is easily this process (usually Bourdon) and a pedal coup- ly wasted tonal resources can be At the ^Jlniwered l from the piano the of thought is successfully inaugu- TOWERS V ler for each manual. this salvaged. What the organist should neglected; away Even pov- rated, the future or at Vesper Time!—what is instantly becomes clear. work for the Christmas— erty of resources does not mean that acquire is a definite knowledge of idea than music from your church tower ? 5. FRY, Mus. Doc. teacher diminishes, as sweeter HENRY In the second part, in Measures 9 that of the music of cathedral beauty is now there cannot be a certain amount of the tone of every stop, the courage to Carillon Ex-Dean of the Pennsylvania Chapter of the A. G. O. the student increases; which is for your church. Sunco Electric of this middle section, as it available variety in pedal registration. try these stops in all possible com- and 10, played manually like an should be. Carillons can be subtle modulation from E-flat minor records. Will make In playing soft music, the 16 ft. binations, and the good judgment to ornan or electrically with be clarified. a more valuable community A-flat minor should • church pedal tone will sometimes seem too select from these trials only those to your the full Virtuosi Who Employ Icaiitiful free hook—there No questions will be answered in THE ETUDE unless accompanied by Neopolitan sixth of the first Mental asset. TT-ife for heavy for the manual tone. To tones which are truly musical. Here the name and address of the inquirer. Only initials, or pseudonym given, will be pub- Practice is vo obligation. the sub-mediant of the lished. Naturally, in fairness to all friends and advertisers, we can express no opinions remedy this, the 16 ft. pedal stop key becomes naturally, into the Josef Hofmann has as to the relative qualities of various instruments. should be left off, and the pedal second, resolving, discussed, in special low noise seventh and, finally, several interviews, the Write for long list of coupled to a soft tone registered super-tonic practical use for church and on acetate recordings suitable seventh. he makes of this type carillon music, bell chimes, etc. one of the manuals. The pedal music Practicing on a into the dominant of practice, general use— Nigl. 1 while tour. Adeste Fidelcs—Silent , should on The writer has re- 77 7280-A Q. I am planning to begin playing the pipe opening both knee swells. For communion then be transposed, so that • • con- Ex. 7 Holy Night ; The simplicity and charm of this Wicks two-manual gretfully Midnight (dear organ very soon, but cannot understand the you probably should have soft stops. Your all Mental Keyboard refrained from conversa- It Came Upon A notes are in the low octave. The ruC -9A1 8' 5 ‘ of Bethlehem $3.00 use of the manuals and stops. Will you please list does not indicate soft stops, so that sole (available at slight additional cost) brings added , O Little Town j . tion with Harold Bauer, — 2' result will be a very soft 16 ft. pedal ( Continued from Page 728) while he sat, Especially suited suggest some organ books for beginners which you may have to use Harp Aeolienne 12 inch records, two sides. beauty to the increasingly popular, latest Wicks small relaxed, in an easy All are had with vibraliarp explain these matters in detail with exer- which we presume is effective only in the stop, furnishing a welcome change • V chair and re- towers, and can he — Ex. 2 for musical - amazing vol- no extra cost. cises t The organ I shall use has two manuals, lower part of the keyboard. It will be neces- organ, shown below "an organ having from the eternal Bourdon. called “from the back of his and chimes at brain” stops included list. sary to confine your playing to the range of Satisfaction guaranteed. and on enclosed —J. F. F. Direct-Electric Action Order Trim. ume, exquisite tone and Of course the pedal 16 ft. stop will the text of a composition he sales territories available for com- the stop. If this stop is not available (hymns wished ,, ft „ protected A. We suggest “The Organ,” by Stainer- | agents. Write ! might require a more extended range), use be needed on all registrations 9 p to play. A composition, mercially rated Kraft for your use. The upper row of keys of studied J. in your softest 8' stops (or 4' stops played one Prices begin at $775 3 ENGINEERING CO. includes the Swell organ stops and the lower greater strength, in which case a Then the two this way, becomes a part of the per- SWVDT octave lower than written). For your general modulations from Avc. Chicago, 111. row the stops of the Great organ. The for the complete sin- 4783 Ravenswood information 8' stops speak normal pitch judicious use should be made of the E-flat to B-flat should be compared. If former's life; surely a desirable couplers act according to the names. 8' stops this chain of harmonic thought MEMORIAL GIFT (same as piano) while 4' stops speak an oc- gle manual, exclusive pedal couplers. A MOST FITTING produce normal pitch (same as piano) while Normally, the proper Both are made by the same means; is clearly thing. tave higher and 2' stops two octaves higher; conceived, the passage FOP YOUR CHURCH A 4' stops speak an octave higher. of frontal decorative pedal registration for full organ the sub-mediant chord in In a note the writer received and 16' stops speak an octave lower. We do E-flat be- “floats in the air” in quite a different from pipes. not know what arrangement of the Brahms would be all pedal stops and all pedal comes the super-tonic Myra Hess, a year Q. We have an Estey organ No. 212258. in B-flat, but manner from a performance in or so ago, she Cradle Song you wish to use, and therefore Would suggest to appropriate couplers. In exception to this, each is PIPE ORGANS- Used you me music for when alive with its own different which only the notes are accurately mentioned the Schubert ‘‘Sonata in New— cannot intelligently suggest registration. church and studio Ef- that organ, especially in the mixing of the both hands are playing full chords meaning. Builders of pipe organs for We suggest you send In the first, the C minor B-flat,” and wrote: “I am finding it used instruments on hand at al tunes, the use of the harmonies and the use played. ficient, up-to-date now for free literature We also rebuild and Q. Our church has a small organ of four on the lower notes of one manual, chord (the final times, priced very reasonably. of the pedals f Would you be kind enough to chord of Measure a delightful traveling organs, additions of produce I'ust completed . . . f When the first theme returns, in companion, modernize tracker and tubular sets of pipes, lacking the stops to chimes Installed. Yearly care send me, if you hare any, a description of and the pedal part runs up into the 6) jumps directly stops, couplers and required tonal qualities necessary to the into the tonic of E-flat this season.” inquiries. major, a very definite decision of organs. We solicit the Estey organ f I would he very glad if yon higher organ. How is it possible for a church that is pedal notes, it is more satis- B-flat, while the melody apears in This certainly sent to me samples and prices.—B. T. must be made regarding interpreta- represents a differ- Delosh Brother* --Organ Experts unable to finance the undertaking to solve factory to I., N. Y. City couple the pedal only to the left hand. 3508-1 05th Street Corona, L. A. We do not know the style of the in- problem? choir is not advanced tion. The melody is now in octaves, ent mental attitude from that of this The that manual upon strument from the information you give us enough to give a concert, and eevry way that which the hands Ex. 3 and many pianists of few the pianist must decide whether a years past, and cannot intelligently answer your ques- conies to mind proves impossible. The are not playing. In this my case, if the want, merate them. We instead, to tribute to one of Scoring a Success pay them: this WINCED HARP PINS youthful laboratory and the youth- from Page 724) (Continued ful dreamers who have hoped and #ift Since to do groped and despaired and exulted nuite eaually vitalized. in composition it. Certainly they have played a this has meant raising ca- a status pa ble part in aiding us to reach from a neglected position to such s4nswered by Suggestions Pin that enviable musical eminence Clasp with Clasp Pin Clasp Pin eoual with those departments our No. 14 No. 15 No. 16 « “ received the lion’s share —creative as« well as our interpretive IN The “Winged Harp” and the “Lyre and Wreath” have long ROBERT BRAINE PRICED club, society, alert designs are quite popular with music this adjustment may faculties and operative. and class members and wi h choir folk. Both designs of attention, are frequently used as prizes and as Christmas re- to be specialization membrances. Nos. 15 and 18 initials will be en- have appeared On No questions will be answered in THE ETUDE unless accompanied by the full name graved at a small extra charge. These designs are is none—except in AND. UP Actually, there and address the inquirer. Only initials, or pseudonym given, will be published. MUSICAL obtainable in the following qualities: of wm *A—10K Gold $2.00 music. Fascination in Making B—Sterling Silver 50 *C—Gold Filled D—Gold Dipped 30 to the Fore Schumann’s Advice to Pupils JEWELRY 30 Composition Study Violins Strings Break Too Often E—Silver Dipped R. E. W.—It was Schumann who advised T. Y.—Constant bowing and wear on violin (Illustrations Are Exact Size) Mr. Han- LYRE and WREATH PINS For so many years, adds ( Continued from Page 745) pupils to “make Bach your daily bread.” strings at the point between the bridge and son, the emphasis has been placed Schumann was such a profound admirer of the end of the finger board will, in time, important, since some types of top Bach that he advised his own pupils, and in render or cause a “perfect fifth” string to How to Order of performers that upon the training fact all pupils, never to let a day pass without become false. For this reason it is well to Use the numbers in ordering to indicate wood, while in sympathy and ac- path is rated playing as much of the works of Bach as they change the strings often, depending, off which style pin is desired. Where letters a deviation from that cord with certain types of back ma- had time for. course, upon the amount of use given the are given for qualities, write one after num- as news. We have so stressed instru- ber to indicate the quality wanted. (*.) in- har- terial, are not adapted to other types instrument. dicates that clasp pin has a safety catch. ment and voice teaching, with CENTTTRY gives you the world’s best music, beau- About Savicke Should you experience trouble with strings paper, every bar- in the More Special Initials engraved on Nos. 15 or 18, of back material. Doubtless this ac- tifully printed on the best Learn more about these breaking near the nut or peg, it is well to / theory required for bal- size, each note certified to be correct. a3 B. B.—In the past six months several cor- 25 cents extra. mony and standard to counts, in a measure, for the so- wrote it! What more can sheet music be! have the “peg looked after com- pianos that appeal situation, the master respondents have inquired about the violins box” by a that to reverse the There are over 3,000 compositions in the Century ance, of a maker named Savicke. Diligent search petent repair man, for, if the peg hole is not Children — about their LYRE or CROSS IN called element of luck. The proper catalog, all 15c— (20c in Canada). MOTTO PINS making harmony and composition selec- through works of reference on the subject “centered” correctly, the abrupt angle or compact size, attractive material When you buy music, tell your dealer what ENAMELED FIELD matching of may justly be and be sure to say, “In the CENTURY sharp break from the nut to the peg hole The Novelty Motto Pins subjects, and thus giving tion you want has failed to develop any information con- case design, beauty and the major EDITION, please.” That means you will pay only shown here are great favor- 10K Gold .... of the fine arts cerning this maker, so, as is custom in will cause the string to break. *A— called one of violin than half what you usually pay. And you my volume of tone, and re- ites with pupils. Many equal opportunity to the creative ar- 15c_i ess *B—Sterling Silver better music at any price. such matters, I called in the assistance of the teachers use them for indi- making. Varnish of a fine mellow can’t buy sponsive touch. Write vidual prizes or awards and Clasp D—Gold Plated tist, makes it a focal point for atten- THOUSANDS OF SUCCESSFUL TEACHERS Use readers of The Etude. After several months, On Selecting a Violin I not a few organize their Silver quality is and recommend “CENTURY CERTIFIED EDI- for free booklets. No. 87 E— Plated elastic necessary. All fit- I received a letter from a Mr. Benedict Bantly, S. P. 1. If you wish to buy a lawn mower, pupils each season into an tion. Giving to the matter little real TION” exclusively—because they know it is all that — The background of circle in the Lyre design is red California, con- “Always B Natural Club’’ good music can he at half the price or less. Its 118 Victoria Avenue, Puente, an electric razor, a watch, a radio or a mow- with lower panel in black; in the Cross design, blue tings, strings, and so on should be with each member wearing seemed to think modest price aids them in enrolling more pupils, and information. Mr. Bantly GULBR ANSEN CO. with lower panel in white. All other parts of the understanding, we taining the desired ing machine, all you need to do is to go to the pin as the club insignia. parents greatly appreciate the saving. silver. of first quality. Last, and most im- ‘Die Geigen The Qualities and Prices are pins are in gold or that performers must study, whereas wrote: *‘I have a German book, reliable, first class firms, who sell these Also obtainable with the word "Choir” and Lautenmacher (Violins and Violin Quality Price Ea. portant, workmanship must be of a Century Piano Solos, 15^ each articles, and make your selection. You are substituted for "Music” creative youth needed only to tap Willibald Leo Ferd. von Lutgen- *A 10K Gold $1.00 Makers),’ by pretty sure to get a good one. With a violin — very high artistic order throughout, (Capital letter indicates key—number, the grade) *B—Silver 35 spon- dorff, published in Frankfort am Main 1922, it is different. MUSICAL SHORTHAND brow with pencil to produce Chorus (II Trov.) 3 Verdi Out of a large number of Sometimes B Sharp C—Silver, Gold Plated .35 511 Anvil G— from the beginning through the final Clayton’s Grand March, Op. 100, 3 Blake This work comes in two volumes. violins, Clasp Pin No. 22 E Gilding Metal ... .15 3064 Eh— Germany. made by the same maker, from the A SYSTEM OF RAPID MUSICAL NOTATION — taneous emanation. No facilities Gardens, Traditional LYRE IN SHIELD *3123 Country F—3 In it there is about a half page devoted to same materials, and on the same model, some finishing touch. An instrument so 3063 Cradle Song, Eh—3 Brahms In Sets of Three needed, nothing but a menu card, or Vienna, Born 1792 in Indispensable to the Composer, Ar- 1902 Dance of Hours, C— 4 Ponchielll Carl Nikolaus Savicki— of the violins will be much better than the No. 101 A brand-new design in musical created should be, to quote again 190 Doll’s Dream, Op. 202, No. 4. C—2„..Oesten Vienna.” The cor- ranger, Teacher and serious music jewelry novelties. The lyre and some other available piece of paper, Lemberg, and died 1850 in others. It needs an expert to pick out the 1433 Dreaming, Meditation, F— 2 Llclmer "A—10K Gold $2.50 that if any reader of The student because of its high speed. An border are in gold or silver, the from Mr. Randall’s article, “A per- Dream of Shepherdess, Op. 45. G 4..Labitzky respondent stated best of the lot. If you are not an expert judge B—Silver 1.00 on which to jot down a Hark, Hark 1673 — background in black, blue, red or 2506 Edelweiss Glide, (Simp) G 2 Vanderbeck further particulars, he would for the up-to-date Never B Flat C—Silver. Gold Plated 1 .00 — Etude wished of violins yourself, try to get some one who up-to-date book green. (State color preference and fect creation, peerless, superior to 1204 Etude. Op. 22. No. 1. Ah—5 .Wollenhaupt Clasp Pin No. 23 E—Gilding Metal ... .40 the Lark, as it bubbled to the sur- be glad to furnish them. is a good judge to select one for you. If you teacher. With intelligent use, teachers quality ordering.) 699 Farewell to the Piano, F—3 —.Beethoven number in Improvement." maker, Savicki, seems to have made face. The facts in the case have af- 1818 Flower Song, Simplified, F 2 Lange This have no friend to do this, you will have to can revive the lagging interest of LYRE PIN 626 Gertrude’s Dream, Waltz, Bb—3...JBeethoven some good violins, but he was not especially depend on the dealer. Tell him just what *90A—10K Gold $2.00 521 Golden Star Waltz, C—2 „.J3treabbog many students who would otherwise fected the misconception but little; famous. qualities you desire to have, in a violin, and TREBLE CLEF PIN *90B—Sterling Silver CO 627 Gypsy Dance, Dm—3..._ Lichner drop out from further music study. 1222 Humming Bird. Waltz. 1-’ 2 Schiller \\ 10K Gold *90C—Gold Filled 50 it is so romantic to believe that tell him to send you one possessing these 'A— 1179 Hungarian Rhaosody No. 2, Cm— 7 Liszt D—St-rling Silver 90D—Gold Plated 30 The Mystery of Sound The Maker Panormo qualities. Have him send such a violin on per 2262 Hungarian Dance No. 5, Easy, Cm—2 . Brahms 50^ copy *C—Gold Filled ... 90E Silver Plated 30 nearly all compositions of worth leap (also — 2251 Impromptu in Ah. Ah— 4 Schubert p. N. L.—Vincenzo Panormo, Paris approval, with the privilege of returning it, D —Gold Dipped . effortlessly 698 Invitation to the Dance, Op. 65 -Dh—5 . Weber 1740-1780, belonged to (Special prices in quantifies) E—Silver Dipped . from forehead to paper. C Sicily and Ireland), T you do not like it. 2. Buy a bow with a 2749 Japanese Lantern, A— — 1 Hopkins Effects in the Radio Studio 270 violin makers, of which the last Pernambuco stick, at a price not less than Illustrations are To correct this erroneous Impres- La Paloma, Bh—4 Yradier-Twitcheli a family of Musical Shorthand GRAND PIANO 272 Largo, G Exact She —3 Handel member died in 1892 in Brighton, England. He five dollars. 3. The bad tone when you play ( 2467 Liebestraum (Love Dreams) G—3, Easy.JLiszt Clasp Pin sion; to give young creative talent a Continued from Page 731) been a restless genius, and the note. E-flat on the A string, probably 278 Lily of the Valley, Op. 14. E—4 Smith appears to have A miniature 2746 Little French Doll, A, C 1 Hopkins with his life, is also his work. comes from bad bowing. 4. cheap violin grand chance to flower; to bring some con- sprinkled again, listening carefully, — in accordance A —Instruments in Miniature—, piano in black and gold. 1613 Little Rondo, C— 1 ..._ Martin instruments resemble Cremona can be sometimes improved by a skillful re- 3133 Love Dreams (Waltz). Greenwald Sometimes his crete enlightenment to this abstract then rushed triumphantly back to Ah— 3 again they Y 1611 March of the Boy Scouts, C— 1 Martin masterpieces, and at other times pairer, and sometimes not. Get the advice No. 84A—Gold Dipped 3122 May Night, E VIOLIN 30c subject has been a task not easy of his laboratory, bearing with him the —4 „.S. Palmgren look as though made by a poor hand. His of the repairer on this point. I cannot tell pSyuaAe/u *No. 84B—Gold Filled 1648 Military March, No. 1. D—3 Schubert Clasp Pin 50c 2519 Moonlight Sonata- favorite model was the Stradivari. His sons. without seeing and hearing the violin. 5. accomplishment. (Simp). Cm 3JBeethoven I copies of “The Messiah,” CELLO It could have been saltcellar and the lettuce leaf. That — Faithful >176 Nocturne, Op. 9. No. 2. Eh—4—. Chopin Joseph, George, Louis and Edward were also Violins should not be purchased merely be- Stradivari’s most famous violin. Sub- said that no university of standing 2308 Norwegian Cradle Song, F—3 Morel price your afternoon he embarked upon a series !024 On the Meadow. violin makers. I cannot set a on cause they are of a “certain make.” They lime tonal quality and great carrying Op. 95, No. 2, G—2. .Lichner j Clasp would balance its 358 Pizzieati (Sylvia). Eh—3 Delibes violin, supposed to be a genuine Panormo, should be selected by an expert judge of power. Free historical folder. Pin MOTTO BAR PIN No. 12 curriculum so of experiments to result I which was 854 Preludes. Op. 28, No. 7... Chopin Edged in gold, body of seeing it. In the catalog of a leading violins, no matter of what “make” they are. Expert repairing and revoicing. No. 25 poorly •531 Priests’ March without nel, imitation that its chemistry students (Athalia). F—4..Mendel s sohn hard ena 1 in N.B.C.’s rain machine, an elec- Panormo Pure as Snow, Op. 31, Eh—3..._ Lange American violin dealer, genuine old violin color. — fared less 0b 'n’s Return, The 2 CHELSEA FRASER, M.V.M. VT~ well than those studying trically pelts 5 (Simp) G— — 3. .Fisher violins are offered at from $1,000 to $1,800. A Letter on Maggini No. 24 driven behemoth which 2 0 Romance Sans Paroles, F— Streabbog Street Saginaw, Michigan 3 I 2025 Stark Gold Dipped 30c law; it 1312 Scales and Take your violin to a leading expert in There seems to be quite a revival of inter- fAv 'y — could have been said that sheets with Chords, 2 Kohler of paper gelatine ”96 * No. 24B vy and Serenade (Staendchen) .Dm—6..Schubert-Liszt Philadelphia, where you reside, and get his est in the violins of Maggini, which are ex- no teacher re ade {Staendchen) VIOLIN APPRAISING — CERTIFICA- Gold Filled 50c of physics or , Dm—3 Schubert biology ecc f? 1 , music dealer in or birdseed on the salt and lettuce prin- 655 appraisal on it. Any leading tremely rare. C. G. M. of San Francisco writes: Shepherd Boy, The, G—3 Wilson TION — EXPERT ADVICE chemistry would feel his your city can give you the addresses of such “I have just read your article in The Etude, work ca- ciple ef- N. DORING, 1322 Hinman Ave., Evanston, III. CORNET The staff, notes and lettering of this and affords such diversified E. bar experts. of this month and year, about Maggini violins. Editor—VIOLINS and VIOLINISTS—Publisher pin are in hard French black enamel, form- pably done without a laboratory Piano Clasp Pin No. 26 in fects as rain heard through the Duets, 1 5c each Per issue 25c $2,50 for 12 in U.S.A.—$2.75 Foreign ing a strong contnst to the The noted violinist, Henri Marteau, a pupil of — metal. The which tests and (4 Hands) illustration is actual size. experimentation rain Violin Polish Hubert Leonard, of Paris, played in public window or on the street, and 3079 A Bunch A of Daisies (Talsel. C—1... Martin is VIOLIN TONE could be 1984 D. K. violin cleaner and polish which concerts on a very beautiful Maggini violin, THE SECRET OF No. 12A—Silver $0.70 carried out, and neither Amaryllis, Gare. do I.ouis XIII. F—3._.Ghy» —A falling on grass, shingles, tin roofing, 1826 use, varnish, but in No. 12B—Silver, Gold Plated Barcarolle, Tales of Hoffman. F 3..0ffenbarh extensively used is made from this formula: which had a very outstanding tone, both for was never reached through age, or 70 should a teacher of — proper construction, as exemplified in SCHWENK composition; it Chon Sticks, Waltz. C— 1 lie I.ulll No. J2C—Gilding Metal, Gold Finish ... .30 or a pavement. fine raw linseed oil, seven parts; oil of turpen- quality and quantity. He toured the United Artist Violins, Violas, and Cellos. $150 buys a gem. Gardens, F—3 .Traditional No. 12D—Gilding Metal, Silver Finish .. could have an™ Free Trial .30 been said. . . Waltz. Martin tine, one part; water, four parts. States about 1896, and made a great sensa- Gold Filled 50c C— 1 Pert. A. V. L. SCHWENK CHICAGO, ILL. Star Waltz. G—2 Streabbwt Mix thoroughly, pour some of the liquid on tion wherever he played. I heard him three Gold Dipped 30c But instead of g930 nv,tat,on saying, the East- Endless Research to the Dance, Op. 65. Dh— 5. Weber violin. Lustsplel, a cloth, and rub rapidly over the Then or four times and saw this Maggini violin. MOTTO BAR PIN No. man School Overture. Eh—4 JKeler-IMa has pointed arch Mll 'talre, Schubert trace of the mixture, and polish years, out the ex- Mr. not 55? 5J D—3 wipe off every Leonard played on it for many and on TROMBONE jqi__ Pierson does his best work 147 Over the INCREASE YOUR Waves, istent Mex. Waltzes. G—3.. ..Rosas cloth. BANJO disparity and Poet and Peasant, with another clean, dry his death Marteau bought it at once from the Clasp Pin No. 31 need by the in ,751 overture. D—4... Suppe such dazzling flashes but with the 3129 trouble, however, to INCOME! Clasp Pin No. 29 graphic Shadows on the Water, F—3—4 J/rnmey As it is considerable widow, paying a handsome price. Marteau method of doing. Emily —Substantially —Pleasantly And with painstaking attention to detail which obtain and mix these ingredients, most violin- never would part with it while he lived. only a few Piano Trios, each cleaners at the music called old — Take Subscriptions for — years of life behind it. 15^ ists buy ready prepared “Two days ago, I on an friend is said to characterize genius. For Instructive fn_ „ ,, , , Ensemble Numbers for Six Hands on the mar- In styles Nos. 13A, B, and stores. There are a large number and was talking to him about Maggini. He THE ETUDE MUSIC MAGAZINE D E, the staff, organization, it Three performers °n one Piano) Gold Filled 50c Gold Filled 50c clef, notes and letters are raised, example, when he was called upon ket. had a lot of old ‘Strad’ magazines (pub- a minia- has eJhL ,! ! Do — Write for particulars — Dipped 1Ve 3090 " (Ml.). F—l....HopMns Gold 30c Gold Dipped 30c ture of the bas-relief style. In Nos. 13C and youth to pro_ S lished in London). Among them he found to create a rocket-ship noise for a 30% n?,h ““f-povered Church, C— 1... Jlopliins 1712 CHESTNUT ST. PHILADELPHIA, PA. 13 F the background is filled in with hard duce there the^ |»rt>ara (Waltz), 0-2 V61 3071 M. Greemvakt Tourte Bows and Stiff Fingers one dated, June, 1908, and it showed a photo- enamel in the proof of the rum or colors mentioned below. Buck Rogers program, he did not ’ The (March) ,F—2..Hopliins vi- GUITAR 3088 r S P.as r!'!3! W. S. 1—There are many thousands of graph of Marteau’s Maggini, top, back, and MANDOLIN pudding- taneihi ^h F,dd,e (Hum’esque), 1. .Hopkins W. No. 13A—Silver g ble and lauda 3097 l F— Clasp Pin No. 30 $0.70 tory re- try aL stamped “Tourte”, as you say yours sides. It fine looking fiddle, Clasp Pin No. 28 to go into the problem cold and olin hows showed a with No. 13B —Silver, Gold Plated *ults a Par lIe Play piano same style 70 ' The < Va,se>- 2 .Martin of 3070 GX .. p 2 C— is stamped. Some of these bows are only double purfling, and some ornamentation as dance and radio play- No. Silver, e R "d l 13C— Enameled in Red, Black pluck an idea instantly from his 8?,£ ", Waltz), G—1 —.Hopkins It has ,, . 3093 genuine Tourte bows ers. Put in snappy Blue or Green 70 nominal value, but the in the corners, on both top and back. I have and runs, breaks and fills. brain - ob- hundred to No. 13D—Gilding Metal, Gold Finish .. He did extensive research, first quality run from four serious doubts if there are even ten genuine .30 we are of Play all the late song No. pardombiv m°U gen- 13E—G’lding Metal, Silver Finish .. .30 ° f the de ~ hundred dollars, but they must be Maggini’s in the U. S.” hits at sight. It is easy Gold Filled 50c tained data from such authoritative twelve No. 13F—Gilding Metal, Enameled lief that five dol- with our new, guaran- America ha range from regard to the above, I . Gold Dipped " mer uine. Imitation Tourtes In would say to our , , , 30c Finish in Red, Black, Blue or ^ed from sources the teed 20-lcsson course. Mail the coupon or post card today as Weird Stories and "umbers state that your fingers seem to correspondent, that another authority esti- Green the Xle oMvm and so designated are lars up. 2—You for free details. 30 not available in Canada dip them NeW Y°rk constructed catalog be stiffening, from the fact that you mates the number of Maggini’s at the present American ’ and contains forth on the tion, over 3.000 mmposi. musical stage r solutions, used in photo finishing. time as only fifty. Of course there is no Erskine Studio. Dept. E, 810 East St. Sith 2? his best TRIOS vlnnl ° /L*?° SOLOS. DUETS and in chemical 14th machine according to the PIANO. Oakland, Calif. fldence and surety in QUART FT9 oi DUOS—TRIOS and Your letter does not state what the chemicals means of knowing the exact number. Also her step“ SAXAPHON and PIANO Gentlemen: rhlo cf n+nr. AT- 1 ToV contemporary sub- -MANnn work to ascertain there are practically no Maggini’s Please send me free Information about your THEODORE ’ guess used by PRESSER thought on the , d it would be CO. this status GU,TAR an<1 VOCAL. Also, are, so 20 there have &,OTblen„mlJ , -lesson course in piano jazz. been rS ( r instruments. This your trouble comes from them. Ask noted violinists at the present time. The taste many ject. The convincing catalog wlUu behi^L ,-/ i .IF™' whether 1712 CHESTNUT STREET, contnbutive result was a mailed FREE to anyone on PHILADELPHIA, PA. factors, so many request. a chemist whether he thinks that the chemi- of famous violinists now runs to the violins Name in fact series of which that we shall hisses and splutters cals cause the stiffening of your fingers, or of Stradivarius and Guarnerius, for their con- not attempt MUSIC PUBLISHING CO. Address to enu- 254 West know, after ex- cert work. The tone of the Maggini violins (Continued on Page 784) 40th St., New York City possibly a good doctor would 776 fingers. is too dark and somber. amining your CIty State THE ETUDE November, 1940 777 : - . ,; second half “Animals in Music.” The “a man of mind, an eager , + „ nninted “Boy reader an Sound Waves Over from IMUIEM to be lived from o Exceptional Opportunity music of the latter half ranges nervousness and unwillingness of the enthusiastic lover of music.” Violin PXamnle And pieces by Mendelssohn to Deems Great Painters and while finishing “Parsifal.” with second for ‘PIAJO LET disturbed , since it is Whistler’s painting, “At Baroque sty best the the World Taylor. During the actual painting, Renoir Piano”, is said to contain ’anda forms, the basic • itri.m-fec* the Art of Music of curveh lines November 8 KL»NI> charming and jolly, and composed In his broadcast of HM(I US found him imprint of the artist’s already fornl- PIANO TEACHERS (Continued from Page 737) Page 727) rhythmica y (second concert of Series C and D) ( Continued from clearly had no thought of satirizing ' has any instrument a ing style. Thomas Eakins, who viewed Seldom in musical history (born m 1733) and sustained a rise in popu- irtntti u! lllltl 1/ I made at John Zoffany en nvd so dramatic not a new voice to radio listeners. Dr. Damrosch turns his attention him. From the drawing he marimba is enjoying IfflEUHKTBI their hunger. One of his sayings was the world an educated ob favor as that which the HAVE J™ lar He has successfully to two oil German paim today. appeared in op- first to “The Fugue” and secondly music, as in all the other arts, that time, Renoir made looking for material data”, “In England did attended the swing to this in- became fa:mo 1 8 Tndped so great has been era not only over the air but also “Handel Program.” Music by Bach, paintings and a lithograph. who so widespread its influence, that a there is no grace without strength.” many concerts to watch the strument and n ReUnion: per- dealers are confronted with a serious MUSIC inter- charmingoil, A manv of our with the Metropolitan Opera Com- Beethoven, and Handel will be used Among composers especially a for marimba instruct on, Delacroix, who painted portraits of _ _ formers . The result of the demand _ key this studyV which & tds the supply of competent p J ‘ pany, of the broad- ested in painting, one finds Sibelius, the Minuet which he has been a mem- to illustrate the fugue. In Chopin (1838) and made a sketch of d vealed itself in such Daintinac „ instrument and a ber 1937. Mendelssohn, MacDowell, Cyril Scott, board opportunity is one mat belongs since cast of November 15, (Series A and Paganini, was an ardent admirer of “TheThe Concert SingerSinger" a The resultant ‘The Bal- a d.gmfled,dienifiA you; for all our experience indi at s Ruggles, Lou as dance accompaniment. logically to We generally know where radio is divided between Beethoven, but disliked Paul Hindemith, Carl niano teachers may quickly and easily actant a B), the program Mozart and long that FOR PIANO Both instru- Singer” by Hogarth has ® themselves to marimba instruction.. Alter and George Gershwin. Gersh- lad type, with a remark program begins, but we do not al- a focus on the string instruments, the music of Berlioz. Chopin he ad- as as ments are of the percussive Elisabeth ; action, at the similarity. Regular ano mus'c A Collection of 74 Best-Loved Melodies because a famous favorite. able keyboard p “Fairy musician friend. win first bought paintings been instruction. ways know where it stops. Take for violoncellos and basses, and mired both as and and studies may be used in marimba popular ar- ’ ' Cell° drawn to them, Jacques-Louis David, adding substantially to latter half of But Chopin, in turn, heartily de- he felt genuinely To teachers interested in example the “Wings Over Jordan” Tales in Music.” The Arranged and Edited by the y we have an interesting story to tell. his col- French Revolution, of • tested the paintings of Delacroix. and later took great pride in tist of the .. tst program, those thirty-five negro this hour features charming music won James up artist of the con- lection. In 1929 he himself took up Republic and of the Empire, Humper- MAXWELL ECKSTEIN temporary American choristers who blend their voices in by Mendelssohn, Ravel, Been a as a painter of scene, painted * Renoir Might Have painting and tried to imbue his art fame during life J. C. DEAGAN, Inc. moving spirituals on Sunday morn- dinck, and Grieg. For the Student or Casual Performer onccrt. thel Waters Musician but, ironically , show- work with the same qualities in- historical pictures, Dept. 4158, 1770 Berteau Ave. ings over CBS; this program orig- In the broadcast of November 29 as among mg ) ie singer standing near the Price 75 be a release ior the pent up emotion the hand. The aiming should of active than the preceding section. There for Bird As Prophet movement of the hand, rather are only six measures of this beautiful Piano Accordion of the finger. The (Master Lesson) thanksgiving. Do not attempt PIANO TEACHERS This entire passage is rather aim- to cross- make too much of it. Do not bring ( Continued from Page 748) cult because of the awkward only be out the soprano, for instance. ing of hands. This difficulty can Rather magic. Up it goes into the G minor play it in the manner of FREE: “The Student Pianist”, a overcome only by clear thinking. a church arpeggio. organ, upon which, in 36-page booklet containing the 11 Memorize this passage at once, the character Hints for Improving the Technic of This solution is made most deli- the instrument, all EASY TRANSCRIPTIONS FOR hands separate, as well as together. of notes sound cately. The last note must almost round and PIANO listed below, every num- When memorizing, think the mel- equally mellow. One By entirely disappear. The little dot typi- might even accomplish the ber absolutely complete but re- ody. Sing it, or if you have the legato over the high D is rather misleading, the Bellows leir° duced in size. cal pianist’s voice, whistle the tune. after the manner of the organist. for it does not indicate a staccato. not At any rate, do not memorize dead This implies to depend on the To receive this 36-pace booklet, you must In Mozart’s sonatas one sees them so piet>° source of pedal for your legato; rather hold eaders of this column HOLDS 200 COMPOSITIONS establish with us your professional status, notes! It is always a 4 often. There, as in our little tone to see with the fingers what you can. have again asked for further therefore enclose your professional card, amazement to the teacher As Told to ElVera Collins SAVES TIME AND MONEY . . . poem, these dots at the end of slurs 4 letterhead, or other means of identifica- many students ignore the sim- Play these religious chords rather R ideas on how to perfect bel- how MAKES TEACHING EASY . . . tion, or refer to one or two prominent indicate rather that one should of plest melody. In their struggle be- slowly, with definite motion. Do not lows technic. We are glad to observe number notes while using the 4 music publishers by whom you are recog- avoid an accent. If, in our Schumann interest in this smallest possible of air in nized as a teacher. tween the ink black notes and the think, on the other hand, that you the increasing phase amount Enables you to ef- number, this end note should be- the bellows. fectively organize piano keys below, many a tune has are not allowed to dwell upon cer- of accordion playing, as it is an en- SUMMY'S Tuneful, rhythmic music by well-Itnown American com- come noisy and pointed, it would your work and ad- posers, including the world-famous marches, Our Director been lost to the ear. This incredible tain notes of your special likin couraging sign in the trend of ac- Many accordionists do not under- National Emblem, NC-J,, and Down Main g your time Street, carefully most assuredly ruin the mysterious ministrate transcribed, edited, and fingered. As an attractive title- as a One should never cordion progress. A few years ago, stand the advice that they must not but common oversight comes suppress spon- to attain maximum page does much in arousing the pupil’s interest, this effect of suspense in the following feature has been given careful attention, the editions result of mechanical practicing. taneous feeling, but he should pre- students felt that it was sufficient waste the air. This means that there results. carrying smart, modem designs in attractive colors. silence. The entire sequences of musifile In Measure 11 I play D, E-flat, A, vent sentimentality by adhering to to manipulate the bellows auto- should be no movement of the bel- OUR DIRECTOR, March Bigelow these figures must be whispered, general, matically and let it go at that. lows unless actually needed. Ac- in the MUSIFILE. It NATIONAL EMBLEM, March Bagley C, E-flat with the fingering 1, 2, 4, 5, the fundamental tempo and You can file over 200 compositions vertically March swiftly, with the purpose in mind leather-grained covering to blend with your NC-4, Bigelow Many of these letters are cordion artists have many little so- has a beautiful brown 4. In going over to E-flat with the rhythm. Pick up the tempo when the from immediate use, or it can be DOWN MAIN STREET, March Weidt of emphasizing the silences. All piano, on which it can be placed for WU HU Rolfe fourth finger, again do not aim only moment of indulgence is past. Espe- pianists who find no difficulty with called “tricks” which they employ placed on a 12-inch shelf. AUTUMN TINTS. Waltz through the first part one should be Rolfe library dust-proof and visible at cially is it Inadvisable any other phase of accordion unconsciously. One of them is that It will help, you keep your music MOONLIT RIPPLES, Barcarolle Rolfe at the one note, and do not play the to waste time play- The kept in wistful expectation. Only To obtain SUMMY’S will be the time-wasting search for materials. RURAL PICNIC, Rustic Dance Rolfe at | all times. Gone with finger between phrases. ing. Their musicianship, developed the pressure of the palm of the left indexes, instant access to the contents, and the 15 CANZONETTA E-flat mere motion. Play MUSIFILE with \ drop opening gives you Rolfe Measure 20 the suspense is lifted, once you have FREE, send us your order | cream index guides make the file indispensable PICKANINNIE’S PICNIC O'Connor that note as if you were to play an I hesitate to give more from piano study, naturally has re- hand plays an important part in heavy than gen- for these or write for in- your material by subject or alphabetically by name. WHIP AND SPUR, Galop Allen when the poet sings out his warm — — | classified formation: Send your order now for this valu- octave: eral information; for the individual vealed to them the important fact their bellows technic, because it is 1 BE PREPARED! BE SUCCESSFUL! feeling of gratitude for his romantic, price for the MUSIFILE complete The regular sheet music editions are KALEIDOSCOPE 1 able aid to better teaching. The 35 cents for that proper used as sort of brake arrest THE NEW sentiment of the performer bellows technic holds a to the piano I is each number, less the usual discount to Teachers. pantheistic inner world. 4 should (Perry) — Eighteen with the index guides $1.25. t pieces selected for their ap- j instrument pils required a much longer goougood muomusic. Unless the period. there will always be sufficient We can recommend ing machine, which have made piano that time, voice that no better piano willnH1] standstand a By my was securely is abused, a good carry him through tonal projec- practice for perfecting the The Christmas Piano and study twice as fascinating. and I was to bellows Remember, before placed, able to progress golf? Of great deal of use. and dramatic play at the same technic than the bellows shake. “Why do you all play from one register of tion good piano there was range to the notice that the great the Nineteenth Hole answer is ‘For the we had this time. You will When this was originally introduced course your first good other, without the slightest little incentive for any uneven- “Aida” usually finds in accordion fun and the sport.’ Well, you know very Nile Scene in music it was not taken (Continued, from Page 733) ness. Only then was I allowed in the club. to be- in a contemplative seriously where I stand in golf. At the same music the prima donna but was considered a sort SHERWOOD Develops Outstanding Musicians educational ex- gin the study of serious songs. Schu- anything that “I have consulted without too much action. That of fad or musical trick. It soon “Speech, speech, speech!” came in time I don’t know of Der Neugierige mood, be- learned that it Is bert’s was the first. pciperts,oo, anduiiv* have**— * of the enormous vocal de- came apparent, a chorus from the whole room. gives one more sport than music , , , is because however, that the - ' - •*- ctnHv that music s u The second year of study followed isn’t to never studied generally conceded y of the scene, the musical line bellows shake is a very “There much say,” smiled study, and if you have 4 mands necessary Among Sherwood graduates are e . < ‘ 0 Accredited instruction. Courses lead to a very beneficial discip inary V> rst - ^ never Beston. “I’m proud of the cup, of music, you are like the chap who has has of which calls for eight measure part of technic, since it is the best some of today’s outstanding per- apart from sang forte, and I began certificates, diplomas, and degrees in golf. sociological value, entirely each day’s single possible course, but I only did my best. Per- never gotten interested in You phrases, to be taken on a method for producing rap- formers, conductors, teachers. piano, violin, cello, voice, organ, wind artistic and aesthetic importance woi wit l voca lses in the middle haps you will give me a few minutes simply do not have the slightest idea its breath. The singing of Lieder is less idly repeated notes distinctly. Whether you wish to play an in- instruments, theory, composition, pub- - - — • folks. The and upper registers, combining the upbringing of young them lic school music, conducting. to tell why I gave this piano to the what I am talking about in physically, because the in- Ex. 1 to teach, conduct, sing • - » -1 i 1 « c 1 1 A #.,11 AAM 1. T taxing strument, the girl who does not have a finally, into a full scale. I was Bellows Shake to be used only club last Christmas. boy or not terpreter is relieved of any bodily on the repeated six- concert, on the radio, teenth notes. in opera, or Dormitory accommodations at mod- chance at a musical training in these allowed to begin operatic roles until Most of you have gesture. It is in the study of these Moderato this forty-year-old Conservatory can erate cost. Write for catalog. 410 S. I days is decidedly handicapped. I had studied five years. The first known me all my life. songs that one develops phrasing help you achieve that ambition! Michigan Ave., Chicago, 111. know that there are still hundreds roles given me were extremely You remember that and with it, poise. of boys and girls whose lives would “vocal” ones, like Leonora Institutional Member of the National Association of Schools of Music my father died when in “II own practice routine is made up piano My I was ten, and as I be bettered if they had a good Trovatore”, where there is much of half-hour intervals, in the early in the home. legato singing, not much look around this room, forte, and morning hours, with a brief period I see many who were “I wish that there was some huge a fine sweep of melodic line. After rest between them. I warm up my MUSIC SCHOOL for of boys and girls in national fund to provide pianos five years of study, I passed my state voice in the upper register, singing SHERWOOD homes to which my those of limited means, but of course examinations, and made my operatic piano vocalises that encompass only mother used to send that is Utopian! However, I want to debut as Leonora, at the age of a few notes at a time. When the me with my little ex- do my little bit, and I am going to twenty, in Zagreb. nORTH PAR*UCOLLEGE voice is warmed, and the vocal cords A professional school press wagon full of establish a fund, so that every Such was my vocal training, E. Clifford i and are vibrating freely, I go through my in a university environment £>ckool homemade pies and Christmas there will be enough Toren, 1 I speak of it only in terms of what singing scales and exer- 50th cake. full range, For Free Bulletins Write to Director ™ Somehow, she money to put a good Christmas piano has been good for me. Vocal 1 Year prob- cises. I find this system beneficial for struggled along, and in the home of some talented child lems are too SCHOOL OF MUSIC individual to permit of needs, and trace it back to between my own Trains students for active musical careers in cookies and in this immediate community who general or dogmatic 1830 Sherman Avenue pronounce- early counsel on sparing the middle their chosen field. Progressive faculty. Conserv- the music lessons she otherwise Evanston, Illinois huilding. could not have one. More ments. The only advice one atory occupies own Piano, voice, may safe- voice. After two such half-hour peri- violin, cello, reed and brass instruments, church gave, she brought up than this, I have named the fund ly offer to all is to remember the and choral music, theory, music education and Kranich and Bach, one of ods, I am ready for work on roles NORTHWESTERN my brothers and my the long established American after the little mother literally expression. Fall semester begins September 16. piano who goal of well. manufacturing firms, presents this up-to-the-minute singing Make sure the And, finally, I return to sisters and myself. worked her fingers off to bring me and songs. Write E. CLIFFORD TOREN, Dir. design for 1941. voice is well placed, and that it “sits’’ 3201 Foster Avenue. Chicago, “She was a great up, the Catharine the importance of practicing piano. UNIVERSITY Illinois. A. Beston Christ- easily mother, men! in place, before attempting a Loud singing ruins the development She tried to give me “There are no limitations to music. mas Piano Fund because I — am sure study of repertoire. music lessons I Spend a period piano tones, legato phrasing, and when was a little tot, You can just go on and on learning that if my mother of could know of of study but somehow it never on art songs before ventur- line. Ultimately, it ruins the seemed to more and more new captivating corn- this (and I hope that she does) she vocal — ing on operatic roles. Begin with take. She had a little upright piano positions. voice itself. CONSERVATORY Like your golf game, every would say that nothing could bring AMERICAN that Father gave her those roles that can be most readily the first new play presents new problems. more continuous joy to the home, The musical illustration shown OF MUSIC — CHICAGO Christmas after they were married. Furthermore, mastered by the still maturing voice. you can play music all rich or poor, than a fine, new Christ- herewith is an excerpt from “Carni- Offers courses in all branches of music and dramatic art “The year after After that, be alert to learn, to im- Hints for Improving the Faculty of 135 artist teachers Father’s death the by yourself, if you wish. You do not mas piano.” val of Venice” arranged so that the Member of National Association of Schools of Music great flood came and we had to prove, to master any vocal situation take need a twosome or a foursome to repeated notes may be produced by Send for a free catalog—Address: John R. Hattstaedt, President, 576 Kimball Building, Chicago to the hills. When that may arise. Technic of the Bellows we got back to the enjoy it. More than this, you can en- the bellows shake. This was taken house, it was on Christmas morning, it There are very practical reasons (Continued from Page 781) joy at any time, rain or shine, day Vocal Training from from the text book, “Bellows Shake.” We found that the waters hadn’t or night, winter or summer, for advancing slowly. The singer 1/ \ sounded. Let the sound cease The arrows indicate the opening and OSMOPOLITAN touched the parlor floor. The first “The second a who aspires to difficult roles too soon, reason why most of Famous Master abruptly with the accent and not closing action of the bellows. We / \ SCHOOL thing that Mother did, when she places himself at a disadvantage OF MUSIC you play golf is for release or relief believe it will provide interesting went into the room, ( Continued from Page 729) drag along into a groan. / \ SHIRLEY GANDELL, M.A., Oxford was to sit down The which may seriously harm his future University, England, President. man whose business activities material for practice. at We are often asked how many bellows 37th year. Accredited. Offers courses the keyboard, and with tears in these development. The art of breath con- / \ times place an almost un- the principles in all branches of Music. Certificates, streaming of pure vocalization measures one should play with the diplomas and degrees. Desirable board- down her face, sing and bearable trol, for instance, in strain upon him, simplyJ has is important / \ ing accommodations. Located in down- ft 1 Q ^2/1/7 A'WI TT7 Ll All i „ CONSERVATORY niPVplay PraisePY O Fr 0110 "' 1 outward and closing action of the God From Whom All to escape for a '^ more wa s than the fundamental Letters to THE ETUDE town musical center. time each day from day, wV Y OF MUSIC Box E, 306 S. Wabash Ave., Chicago. Blesszngs Flow. repeateVthis entV bellows. That is like asking a singer / \ this pressure and escape through in ihTulZr pr°j ectiori °f tone. No one should Beston ^Sister 1 ’ how many words he should sing be- 74th YEAR stopped for nearly half a some means that will so — Hands Together / \ absorb his the C abo^midSle C to " for he A complete school of music, dramatic ’ takes a breath. Let us always MILUKIN CONSERVATORY OF minute and looked out over the links, h C ThC art and dancing. Courses lead to degrees. MUSIC attention that he cannot for the time third breath control is so well mastered To Thu Etude : / \ day I was allowed f Special students may enter at any time. DECATUR, ILLINOIS Then he went on: being a think in terms of phrases and mu- Referring to a discussion in a past issue think of anything else. This I brief that he can encompass long phrases of The Etude as to why the left hand of and verTsimn^ sical / \ Offers thoro training in music. Courses leading to Well, that made think. If found out, was sentences and get entirely all untrained pianists reports before the right SECOND SEMESTER me as very fortunately, when I without thought of breath. The dra- Bachelor of Music Degree. Diploma and Certifi- nothing like a concert hand, may 1 be permitted to add my mite..? grand namber away from the mechanical part of Opens January 27 cate in Piano. Voice. Violin. Organ, Public a mother as that thought so was a young ' but / \ School man and I used to play simplv matic play of opera, which is as im- Years ago I read in a magazine, I think it a cnmniete 1 the Write for catalog Music Methods and Music Kindergarten Methods much of music, it was something baseball with musical unJ t that bellows action. We cannot stray was The Etude, an account of a scientist a back lot team. Then portant as the great / 2650 Highland Ave. Cincinnati, \ Bulletin sent jree upon request would cam;y tu e singing, makes who rigged up an electric apparatus for Ohio. worth working at. I started in came along Prmc iples of tone far, if we think always of how a to . for golf as a grand release r»w „ demands upon the supply of breath, measuring the time it takes an impulse W. ST. CLARE M1NTURN. Director Step further travel from the brain to the ends of the practice and I can’t tell you all of from this high speed, than ™re singer would divide his song into to mechanized syllabies.TvnamefVI and the singer who is not absolute fingers. All astronomers are so timed, I be- INSTITUTE OF the things that sang the little phrases or TIFTDAIT regular practice did life that has prematurely killed so song master how a violinist would ar- lieve. through in its of its technic often finds he found that an impulse traveled UEiIKUH MUSICAL ART to my character, my habits of many entirety, and then range his bowing. However, who have not found out this himself left side of the body much faster LAWRENCE COLLEGE Termna would suddenly unable to project down the DR. FRANCIS L. YORK, Chairman thought, and my mind. truth. analyze it, praising than down the right side. If that be a fact, his B. President me for what I tones, because the breath has Maintaining an Even Tone it accounts for the left hand reporting first DR. EDWARD MANVILLE, CONSERVATORY OF MUSIC “There is had done well something about music “Well, I have discovered and in piano playing. Member of the National Association of Music Schools. that a sur- censuring, in been spent in physical action. APPLETON, WISCONSIN which makes a no measured A common fault is to produce a It seems to me the easiest way to correct Founded 1897. All branches of Music and Dramatic Art. man think far more prising number of high terras School of Sacred Music. Faculty of 70 artists. Accredited Carl powered busi- what Any form up this fault is by reversing the movement. J. Waterman. Dean had impressed of exercise uses very firm Teachers' Certificates, Diplomas and Degrees. quickly and with greater her tone with the beginning report first. By Courses In piano, voice, violin, 'cello, accuracy, ness and professional men I unfavor- Force the right hand to organ, theory meet y. Not breath. In acting, great strides or H. B. MANVILLE. Business Manager public school music and choir directing leading There is a syllable of the outward using any five finger exercise, or any other to something which gives him find a special ‘release’ in escaped her and closing action of 52 Putnam. Detroit. Mich, Bachelor and Master degrees. music study Then we animated gestures their de- for that matter, and zig-zaging the notes so a refinement would go over make the bellows first which he cannot get in that they are unable to secure the sons- action and then to per- as to make the right hand come and from ugain, mands on the purely left hand to follow, will in a short time any bettering the breath supply, mit it the other way. It seems to train the anything else. good points to diminish. Let us remember both OBERLIN Conservatory In fact, music calls polishing and as exercise. give control of the right hand so that up the In addition, the singer is Make THE ETUDE Your Marketing Place intellect and also gives normal lib- for far more concentration weak ones—improv- that perfect bellows technic re- hands can be played in unison. It not A Division of Oberlin College. Thorough instruction in alt than golf. easy it sounds but a little prac- branches of music. 46 specialist teachers, excellent equipment mg n e here must manage his tones on the same quite so as Etude Advertisers Open the Doors to > practice rooms, 23 Real eration to the emotions. color there, quires that (200 modern organs, etc.) Degrees : Mus.B., And don’t forget, music , diction the player should be able tice will help a lot.—C. Y. is always a “third'H° ^;’ in supply School Mus. B., A.B. with music major. Delightful college 0 uT of breath, and he must do so all, this trouble is but a result of Opportunities “I wouldn’t take anything for W k to produce an absolute (After town. Catalog. Fra^k H. Shaw, Dir., Box 5110. Oberlin. Ohio my e evenness of careless thinking—or lack of thought. Why e - W°rd bs musical training and I * word °b though "he were stand- tone, think straight. The hands hope that this possiblepossioie pia.vingplaying ,’ „tut no matter not just learn to davs.days. - Vh°'„wnen the in what position rlesson £ ing , suggests. Think *i- was over, quiteauite still.sti]1 ThisThiq doubleHmih p drainingrtrainlne do only what the mind Christmas piano idea will spread “I I knew the" the bellows have noted that the piano I song. may be. miiltaueouslv through the fingers of the two with of the single breath supply requires In three all of you who have families and gave to the club After this has hands and they will drop together. last Christmas has Advancing the been mastered, the and a half decades of teaching, we never want to safeguard with Care utmost care. It is for this reason them with the best been much accordionist this to fail. With all respect for the ^fljp QlrbrlaniiJnBltlirtr of(J)usir appreciated. I am glad Mme. that may then experiment knew in life. This is particularly Ternina kept operatic work must await the with opinions of the writer, it does seem a need- important to see that it is used for me at thic tonal shading way of dances as routine advanced and build up the less waste of time to learn a wrong Confers Bachelor of Music Degree, Master of Music Degree, in this age of the radio and throughout period of study. Even the one another error, “on a Artist Diploma the talk- well as for the serious programs one full year to a climax, then diminish at plaving, to correct of suring as experienced not strike directly at this error, Faculty of Nationally Known Musicians me, however, artist must constantly will. guess.” Why that other Any technical up on our brain so that it 782 ’pu- exercises may be by just checking BERYL RUBINSTEIN, Director, watch the management of breath, so “thinks straight?” Take your choice of 3411 Euclid Avenue, Cleveland, Ohio Practiced for this purpose. methods.—Ed.) THE ETUDE NOVEMBER, 1940 783 a , “ -JUILLIARD SCHOOL OF MUSIC however, are mechanical matters waited. He hadt° wa1 ERNEST HUTCHESON, President effects compact, violinlike affairs of ideas, and technicians doubtless — the Sound Effects^ which will The Mystery of Sound leather, with tun- seven years, while Fhetted Instruments catgut, wood, and work out when the necessity arrives. struggled along with cap ing pegs, are filed away in individual Department your MUSICAL ART finally he At the moment, real sound- INSTITUTE OF Effects in the Radio Studio undeniable pistols and the like, but boxes, and give him an effect artist is concerned not with GEORGE A. WEDGE, Dean was rewarded. The Uhlig-Colt ladio (Continued from Page 776) edge over Kelly. television but with the abstract solid-nosed arumge in Classes in Theory, Com The echo has only recently been revolver, <& Individual vocal and instrumental instruction. sound, and already music is being special blank cartridge education. satisfied millions of conquered. Five years ago, a radio ment firing a position, and all branches of music for years enthusi- electrically distorted over the radio Mauro Giuliani capable of producing a beauti- in instru- astic kiddies several nights a week. actor who wished his voice to echo and Courses leading to diploma and B. S. and M. S. degrees without smell oi to suggest discordant emotional The door slam serves radio drama- was forced to shout into the sound- ful, plain report public school music departments. states. One radio director places mental, singing, and first used in August, tists even more faithfully than the ing board of an open piano—an un- smoke, was program. great faith in an oscillator, which higher than the regular guitar, pro- Catalog on request. telephone does the legitimate drama- satisfactory trick, on the whole, since 1933, in a Gangbuster re- produces a constant humming. “By ducing a more brilliant tone. Some there was no control over what re- C.B.S. considered itself well Room 122, 120 Claremont Avenue, New York tist. It establishes entrances and given Giuliani credit of research. itself, a low-pitched oscillator sounds writers have exits, so the characters are not al- sulted. Kelly now relies on an “echo warded for the years sound- like fog,” he says. “With a very low for inventing this instrument, but ways having to say, “Here comes organ”, a battery of tubes varying in However forehanded the storing up sustained note on the organ, a high- it is a fact that it had been in use Aunt Effie,” or “Now that Ronald length from thirty to a hundred and effect crews may be in THREE FREE COURSES oscillator will sound like for some years previously; Giuliani, cannot anticipate the pitched be- of MUSIC XEMPLE l Trinity Principle Pedagogy (Perfect! twenty-five feet. sound to be noises, they i SCHOOL office . . The has gone to the Door and Advanced) Properly however, used it more extensively Musicianship I Elementary every script. Orson ing seasick. used with other 1526 "pose St., Different) slams are thus almost certain to repeated is piped through a tube— demands of 1 UNIVERS1T Piano Playing (New and be Phila.. Pa. I sources, oscillators can give and wrote many pieces for terz gui- I * '” called for script short tube for a nearby echo, a long Welles proved to be a special prob- noise the (not "8° re m in the of any radio t all CITHT latter part of tar with accompaniment of string 1 Thorough n lessons in e.K.rl.Mr- 1 not numbers one for distance lem: his programs called for all sorts impression of a person taking ether uring the education,J Yl "private"“riva and SINGING play, whether it be laid in palace, —and picked up by musical Theory j not intervals 1 fainting.” Obviously, the 18th Century Italy gave quartet, orchestra or piano. hovel, or haunted house. Until 1931, another microphone. Pierson experi- of unheard-of effects, and he could or sound- the EFFA ELLIS PERFIELD world many famous SAcramento 2-4859 door slams on the radio were hit-or- mented with this device, but gave it be satisfied with nothing short of effect artist is only waiting for an D to the Concerts and Soirees New York City amongst whom the name 10S E. 86th St. (Park Ave)., miss affairs with which it up in favor of an echo chamber. perfection. It was Welles who nosed O’Neill to give him a psychological guitarists, for Catalog- was impos- I fees. Write interpret, not Giuliani stands out pre- In 1815 he was engaged with the sible to interpret dramatic nuances. This is a labyrinth of concrete pas- through a dozen housewares stores drama to forgetting of Mauro sageways right basket for door slams and squeaky hinges. Born in Bologna in 1780 violinist, Mayseder, the pianist, Hum- 46th Sometimes the sound-effect man built into a room on the before he found the eminently. YEAR was devoted to violoncellist from the flfti;iene TKeatre created a slam by lifting the lid of fifth floor of the Columbia Broad- the guillotine sequence in “A Tale Giuliani’s early life mel, and a a DRAMA, DANCE, OPERA—For Acting, Teach- guitar, 1^3 Schools— RADIO studio grand piano casting Building, with a loudspeaker of Cities,” Welles who insisted of the violin and royal opera, in giving what they ing, Directing. Faculty 36. STAGE, SCREEN & and letting it Two the study BALDWIN-WALLACE appearances while learning. Graduates: Una Merkel, Fred Cata- latter be- Conzerte”; also Astaire, Lee Tracy, Laurette Taylor, Peggy Shannon. drop; sometimes he clashed at one end of the maze and a micro- that the sound-effect men really after a few years the named the “Ducaten 85th_St _N __Y two but CONSERVATORY OF MUSIC log-. Apply Sec’y Schubert, 66 West L; J 1^^__ Music in Film-land and soirees in the music stands together.; at best, he phone at the other. The sound comes play billiards for a sequence in “The came his favorite instrument a series of six musical BEREA, OHIO (suburb of Cleveland) of attention. En- of Schoen- Affiliated with a first class Liberal Arts College. had a tiny door and frame, six or out the loudspeaker at the same 39 Steps,” Welles who almost suffo- ( Continued from Page 780) received his undivided Royal Botanical Gardens Four and five year courses leading to degrees. Faculty WANTED: A REPRESENTATIVE fiTg time it abil- royal Teachers. Send for catalogue or mfo.ma- eight inches high, and daintily goes on the air, travels cated inside a wooden box in an ef- dowed with more than ordinary brunn in the presence of the of Artist TRAIN CHILDREN’S VOICES tion to: Work Excellent Remuneration slammed it when the cue came. All through the maze, and is picked up fort to perfect the hollow laugh he Beginning with the days of the free aptitude for music study he family and the nobility. For these RIEMENSCHNEIDER, Dean, Berea, Ohio High Grade — ity and ALBERT LOUISE WEI GESTER, 160 W. 73rd St., Now York these by the microphone total- his 62, makeshifts were unsatisfac- at the other end. wanted for Count Dracula. lancers and the song pluggers, the soon formed a style of playing concerts Hummel wrote Op. This tory, acoustically and emotionally. mechanically achieved delay of Another effect required for the plot encompasses the emergence of different from that in vogue in Op. 63, and Op. 66, “Grand Ser- ly Established 1857 A nursery door closed a fraction of a second results in his by the mother the memorable Welles “Dracula” was the such figures as Irving Berlin and Italy up to that time. Excepting enades”, for piano, guitar, violin and of a sleeping child effect of an echo. The sounded like a time lag in sound of a wooden stake being George Gershwin. Mindful of the rudimentary lessons Giuliani was en- violoncello; also “The Sentinel, Op. CONSERVATORY door slammed in the heat of the echo can be controlled by moving of passion; driven through a vampire’s heart. nostalgic value of old-time songs, tirely self-taught, yet he soon sur- 74”, for voice with accompaniment a cell door closing on a the microphone about in the laby- BALTIMORE, MD. convicted The C.B.S. sound man had, after due which served him so well In “Alex- passed all previous masters of the piano, guitar, violin and violoncello. PEABODY felon sounded no different from rinth, nearer or further away from OTTO QRTMANN, Director the thought, provided a chunky savoy ander’s Ragtime Band”, Mr. Zanuck guitar; in fact, he might be called After the departure of Hummel from door of a millionaire’s town car. the loudspeaker. “Twenty feet gives Most Noted Music Schools in America. cabbage and a sharpened broomstick has introduced such tunes as Amer- the founder of a distinct and refined Vienna, Moscheles joined Giuliani One of the Oldest and Pierson and Kelly now have in you a small courtroom, ninety feet for the occasion. Welles auditioned ica, I Love You (which had audiences school of guitar playing. His style of and Mayseder and these artists ap- their libraries more than twenty-five Madison Square Garden,” Mr. Pier- the savoy cabbage at an afternoon standing on their seats and cheering composition also far outshone that peared together in all important doors and as many windows—all son says. rehearsal. “Much too Music Lovers to earn LIBERAL COMMISSIONS leafy,” he said when Sophie Tucker sang it in 1915) of the most renowned of former cities of Germany. full-sized, built securing subscriptions for THE ETUDE. Part or to careful specifica- when it was over. “Drill a hole in the to-day re- Goodbye Broadway, Hello France, writers and his works even In 1821 Giuliani left Vienna to full time. No Cost or Obligation. Write for com- tions, The Radio Gun and completely equipped with cabbage and fill it with water. We Get Out AiifL Get Under, K-K-K- remain a living monument to his turn to his native land and for sev- plete details TODAY! Address: hinges, knobs, locks, and lintels. The C.B.S. Sound Effects Library need blood.” This was tried, but still years giving recitals in CIRCULATION DEP*T Skimming Katie, Smiles, and Pack Up Your genius. Before he was twenty eral years was busy VVANTEDi. at random through C.B.S.’s contains the only gun ever designed Welles was dissatisfied. “Too leaky,” THE ETUDE MUSIC MAGAZINE Troubles. There are also original of age he had given many concerts Rome, Naples and other Italian 1712 CHESTNUT ST., PHILA., PA. door library, you will find Screen, especially for radio broadcasts. The he said. They tried everything any- in his native land his unerring, Subsequently he trav- Automobile, numbers by Mack Gordon and Har- and music centers. Revolving, Cell, Speak- story of the quest for the ideal shot one could think of with the cabbage, ry Warren. brilliant technic and powerful, sonor- eled through Holland, Germany and easy, and French. N.B.C. At no time, perhaps has all starts back in 1927, when John Car- but presently it became plain that has popular (or popularized) music ous tone won for him the reputation Russia, and finally reached St. these, and also the portcullis lile, we who later became production Welles’ mind was wandering. At last played such a vital part and carried as the outstanding guitar virtuoso Petersburg where his reception was spoke of, not to mention a picket manager of C.B.S. was arranging he said, , an “Bring a watermelon.” Two gate and such telling influence in the lives of of Italy. so flattering that he stayed there several doors that squeak. Armistice Day program. Innocently porters rushed out, and returned ten everyday people, Now followed a continental tour for a number of years. The question of squeaky doors thinking to impart as it has in the past realism to a minutes later with a watermelon. It finds Kelly and Pierson seven or eight years; “Tin Pan Al- that took him to Paris and other In 1833 he visited London, where sharply di- round of shots fired during the cere- was laid on a table before a micro- vided. Kelly goes ley” records this development and important musical centers and his his playing aroused much enthusi- in for realism, and monies, he brought a squad of Mar- phone. Welles stepped from the con- keeps begging his shows what makes the wheels go fame spread throughout the length asm. Here it was that he met for the friends to be on ines with rifles from the Navy Yard. trol booth, seized a hammer, and the lookout ’round. Alice Faye (credited with and breadth of Europe. Towards the first time his most distinguished for squeaky hinges. In rehearsal, their salvo sounded took a crack at the melon. Even the being close of the “Don’t throw away your squeaky very much like an “the screen’s foremost song year 1807 he reached and only rival, Ferdinand Sor who earthquake, so for studio audience shuddered at the hinges, men!” he exhorts the N.B.C. the plugger”) and Betty Grable carry Vienna, where he soon established was well known to the London pub- actual performance Mr. Carlile sound. That night, on a coast-to- staff, by memo. the feminine himself as virtuoso, composer and lic. The playing of these two ar- “Send them into the beat on a cardboard box with a cur- coast network, he gave leads. millions of teacher sound-effects department, and we tain rod. The effect Walt Disney’s “Fantasia”, sched- and there he associated with tists was of a different style and was a success, listeners nightmares with what, even will exchange them for hinges uled for its the leading musicians of the city had numerous adherents that but the deception rankled, and he though it be produced New York opening in soon each with a melon who do not squeak.” Pierson, on the other made a vow some mid-November, and due to be shown held him in highest esteem; he amongst the English musical public, day to produce a and hammer, is indubitably the hand, has applied his analytical mind real gun that to the nation subsequently, will re- became the intimate friend of whose interest in the guitar was would sound well over sound a stake would make piercing to the problem and reached a totally the air. ceive more Haydn, Hummel, Diabelli, during this He got nowhere with the the heart of an undead body. detailed treatment in the Moscheles never greater than different philosophy. “There are door idea, however, next issue, and Mayseder and until 1931, when he when it will be available was a welcome period. Like Audience, Like Artist squeaks, visitor stair squeaks, windshield- met a man named Max Uhlig, who Special Problems to audiences outside the metropol- in the homes of the aristoc- In June 1836 he was again per- wiper squeaks, shoe squeaks, rigging itan had a similar obsession. Uhlig was Television, area. For the present, let it suf- racy. Amongst his pupils we find the forming in London and later we find “I was playing at Oxford. Except for the first few rows where squeaks, if it catches on will and pig squeaks,” he has a sound-effect fice that two Polish virtuosi, Vienna, the scene the dons and their wives were sitting, the audience consisted man at the Para- probably complicate the a score put together from J. N. Bobrowicz him returning to said in explaining his approach to the sound-effect and P. entirely of young people. And they were so keen, mount laboratories, working on Bet- man’s problems. some half-dozen masterpieces of clas- Horetzky, the Archduchess of of his early triumphs where he lived so attentive; problem. He will have to be “The man who tries to ty Boop cartoons, but his heart sic repertory, ustria, the 1840. you cannot imagine. I had thought that in England, as in some was just as adept as he has ever under the musical di- Princess Hohenzollern, until his death in mold them into doors, been at e other countries, the new generation had no interest in music. stairs, wind- in radio gunfire. Night after night, invoking rection of Leopold Stokowski, should Duke °f Sermonetta and Count An English critic said of him, shield an airplane out of an no. I could feel wipers, rigging, and pigs is he would elec- eorge But that they were interested as soon as I began. stay late in the laboratory, tric fan or make this picture one of prime in- of Waldstein. At this time “Giuliani’s expression and tone in cafe society out of I must tell you, it was not all only going to drive himself crazy. It stuffing a glass miani And at an easy programme. To cotton and gunpowder down and swizzlestick terest to music lovers. composed some duets for guitar playing are astonishing. He is better to and he will also tell the truth, I had been a little nervous. But when that feeling work up each squeak the muzzles of guns and firing ar and degree them have to synchronize this Piano, which he frequent- vocalized his adagios to a came to me, the feeling that they were vitally interested separately wizardry l after and time it in with any into microphones. Mr. y performed Carlile hired with large in public with impossible to be imagined by those all, I was very, very happy.” other effect casts and unwieldy Hummel (These last words were not spoken you want. Even doors Uhlig, gave staee “When osc him the freedom of th 3 props. Briefly, we turn to the past for heles at the him, his melody in in the prima donna’s expansive his new . piano. He also who never heard manner, but with grave delibera- guaranteed to squeak do not always C.B.S. job will be wisdom arsenal, arranged to have the to see we become cowardly. We Produced in longer like tion.) “So happy, in fact, that I myself squeak on that the hinge squeaks his concerts the terz slow movements was no became young again.” cue.” Mr. Pierson’s squeak Colt firearms people carry only decide then ar out his when the door not to do anything but ’ a smaller instrument short, staccato of the piano, re- —Sergei Rachmaninoff. is swinging. These h with the echo -what they did in r or 784 the past.” strings tuned a minor third (Continued on Page 787) November, THE ETUDE i 940 785 . , 4” polished the Lener Quartets attain in Op. 18, No. with their compositions that cords those flashes of genius which minor, respective performances. brought to this latter answer the hundred and they display to many more of his purity (Victor set Claudio Muzio one ques- harmonies; and Recent Records of style and tonal master guitarist and in- earned Gershwin the admiration ol Several months ago, her recording (Columbia tions constantly arising about the every possible advantage the char- show the other recording Columbia is- aria in . The one so many musicians. This is an Amer- M-696) enormous activities beauties spired composer. Lener String sued a brilliant recording of 9107-M) of this amazing acteristics, capabilities and You Will Enjoy this fine work is by the Ravel’s the present ican work that belongs in everyone’s “Introduction genius. of both instruments. The best known Of great interest to from 1937. There is and Allegro,” at which t Continued, from Page 774) Quartet, dating Giuliani’s collection. “A Richard guitar and violin day guitar student are power to this time we intimated that it might Wagner Dictionary” of the duets for a greater breadth and bet- Waves Over concert Etudes. The Coolidge Quartet perform Sound Author: Edward M. Terry (or flute) are Op. numbers 25, 52, 76, technical studies and music are Musicraft’s “Chinese Clas- ter have been called a “Harp Con- Beethoven’s “Quartet No. 4, in C include “120 Right Hand sical Music” (set 44) played upon certo,” since it features Pages: 216 77, 81, 85, 126 and 127. For two gui- These , that instru- the World Price: Studies, Op. 1”, interval studies in ancient instruments by Professor ment. Victor now brings forward $2.25 tars, there are Op. numbers 35, 66, a from Page 779) sixths, octaves, tenths, spe- (.Continued Publishers: while for guitar thirds, Wei Chung Loh, and Columbia’s “A recording of this work played by The H. W. Wilson Co. 116, 130 and 137; the and so on; Program of Mexican Music,” spon- and piano the Op. numbers 68, 104 cial studies in ornaments, French harpist, Lily Laskine, with his pet recordings. His choice Op. 100”; “Pa- sored by the Museum of Modern Art the Calvet Quartet, plays and 113 are most effective. For guitar “24 Arpeggio Studies, Marcel Moyse, orig- Music and the Modern music is just as unusual and pillon, 30”, thirty-two graded in New York City (set M-414) . The of solo, Rondoletto, Op. 4; Grand So- Op. flutist, and Ulysse Delecluse, clari- as his particular line of Jabber- World for the student; “8 Graded latter set, performed by American netist (discs 4509/10). inal nata, Op. 15; Sonata Eroica, Op. 150; pieces Although this is often wocky, which by the way Pieces, Op. 148”; “Etudes of Medium and Mexican musicians under the latter set offers a finer Rollo H. Myers, an English musical and Grande Overture, Op. 61, all are Copying of Copyrighted Music grained per- given to sly pokes at direction of Carlos Chavez, presents Why satirical and philosopher, engages himself upon written in the classic style and they Difficulty, Op. Ill”; “6 Preludes, Op. formance than did the Columbia music chosen from the programs Is Illegal foibles of radio. You might hear 83”, exemplifying the art of modula- by Hand or Otherwise one, the recording here— the this very serious and comprehensive would give grace to the program of made sev- South African dance re- heard at the Museum of Modern Art one time a topic, about which volumes have been any artist. tion; and “25 Concert Etudes, Op. eral years ago in France—hardly an- during its recent exhibition of cording on his broadcast, and 48”, for advanced players. In an editorial in The Etude for July, 1940, we does notable justice written. In two hundred and four Lack of space prohibits listing of to the tonal col- an English Music Twenty Centuries of Mexican Art. attention to the fact that other time either pages, one can touch only the high called our readers’ oring of Ravel’s ingenious score. There are six selections in this al- or some nonsensical num- is illegal. Many people Hall ditty spots; and this he does in very sound copying copyrighted music There is quiet include traditional a beauty in Arthur comedian he par- bum; they Mexi- that the law was vio- ber by a singing and illuminating fashion, for those seemed to have the idea Foote’s A Night Piece, can and Indian compositions, as well for flute and admires. They say Morgan lated only if the music was printed and offered ticularly who have already become acquainted string quartet. This is music as a Pre-Conquest Aztec piece ren- of re- 1 case. Anyone ad libs sixty per cent of his program. WHERE SHALL GO TO STUDY? for sale. This is distinctly not the with warding tranquility, the fundamental principles of dered with old instruments. Several showing this that “Campana’s First who copies by hand—or otherwise—any piece of Do you know musical aesthetics. It is not a book to of the numbers employ a chorus. If American composer’s rare gift for copyrighted the permission of the Nighter” began recently its eleventh music, without sustaining be read hurriedly. Your reviewer en- you do not wish the entire album, an expressive poetic the Colum- A A A A AAA owner of the copyright, is a law breaker. One season on the air over deavors to make these discussions of mood. It is splendidly you would be wise to acquire the played in the (Tuesday DR. FRANCIS L. YORK Etude correspondent wanted further information bia Broadcasting System new books helpful to those who may Private Teachers (Western) J Columbia recording Advance Piano Interpretation and the Theory work m first disc, containing “Sones Maria- (disc 70339-D) that Eric Sagerquist, upon this subject, and we are pleased to present nights); and be contemplating making additions to required for the degrees of Mus. Bach., Mus. Mas., m chi,” an arrangement of music na- by John Wummer, flutist, and the the following from the offices of our legal coun- musical director for the program, ROSE OUGH and Ph. D. in music. H their musical libraries. It is therefore DETROIT INSTITUTE OF MUSICAL ART m tive to the central Pacific states of Dorian String Quartet. VOICE sel, Duane, Morris & Heckscher. plays on a famous Klotz violin which necessary for us to note that, in order Detroit, Mich. H Mexico, which has been most effec- Andre Kostelanetz. with his Former Assistant to Lazar S. Samoiloff x “Your reader was quite correct in asking if orches- to Ysaye? That the once belonged Eugene to enjoy this book, one must have a in Hollywood tively arranged by Bias Galindo, a tra, has made a set of charming Reopened Her Voice Studios at Editorial is based on the Copyright Act of March se- Robinson is in his fourth Private Teachers (Eastern) Edward G. knowledge of a large number of rep- 1931—8TH AVENUE OAKLAND, CALIFORNIA full-blooded Indian. lections called the “Music of 4th, 1909. That Act, with its amendments, is col- Victor on the air in the racket-bust- Telephone Glencourt 6115 The Chinese introduces season resentative works, ancient and mod- album an lected Herbert” (Columbia set M-415). The in 17 U. S. Code Annotated, Sections 1 to ing drama series “Big Town” (Wed- EDNA GUNNAR PETERSON BARBARA BLATHERWICK accomplished Oriental musician ern, upon which the writer makes J who melodies lend themselves - 63, and supersedes all former statutes on the well to the evenings CBS) and that Recital - Coloratura Soprano Opera m first came to this country in 1939 to nesday — , many illuminating comments. Concert Pianist—Artist Teacher subject of Copyright. Act Kostelanetz treatment, and the con- Teacher of Voice The became effective Ona Munson continues as his lead- 229 So. Harvard Blvd. Los Angeles, Calif. raise funds for medical aid to his ductor “Music in the Modern World” The Italian Bel Canto, founded on the July 1st, 1909. plays them with a smooth FE. 2597 principles of Manuel Garcia ing lady and Leith Stevens’ orches- * native country. This is the finest Author: Rollo H. Myers 121 Madison Ave. New York Murray Hill 6-6963 “Section 1 of rich tone and apparent affection. the Act gives to the copyrighter supplies transitional music? LAZAR S. SAMOILOFF album of its kind ever issued in this Admirers tra again Pages: 204 the exclusive right (a) ‘to print, reprint, publish, of Lotte Lehmann will Voice teacher of famous singers country, and deserves to be heard Price: 6s net ($3.00) KATE S. CHITTENDEN find * copy and vent the copyrighted work; ... (e) to the soprano’s rendition of From rudiments to professional engagements by a wide audience. Professor Loh, England, Edward Ar- Pianoforte — Repertory — Appreciation . perform eleven of Publishers: In Beginners accepted. Special teachers' courses a copyrighted work published for profit, the twenty-four songs that THE 853 7th AVE., n who is head of the WYOMING, Ta Tung National The Etude Music Lover’s nold & Co. ~ if it be a musical composition, and for the pur- make up Schubert’s "Die Winter- 6IG So. Van Ness Ave., Los Angeles, Cal. NEW YORK Music Research Institute, is an ac- Longmans, pose of public performance reise” cycle Publishers: In America, complished for profit; and for the among the best she has ELIZABETH SIMPSON musician. Here he per- Bookshelf Green and Co. ALBERTO JONAS ! purposes set forth in sub-section (a) hereof, to done for the phonograph in this forms on five instruments, the Ehr- Author of "Basic Pianoforte Technique" Celebrated Spanish Piano Virtuoso ( Continued from Page 736) make any arrangement or setting of it or of the country (Victor set M-692). Her Teacher of many famous pianists hu (a two-stringed violin), the Pi-pa Teacher of Teachers. Coach of Young Artists. * meioay oi it 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-2084 ana any system of notation or any spontaneity and ability to color her Pupils Prepared for Concert Work. Class Courses (a plucked string instrument) the On Tuesdays and Wednesdays in Philadelphia, as , publishing houses, and so on, with GiuRani in Technique, Pianistic Interpretation, Normal H form of record of which the thought of voice will please lovers, Mauro Director of Piano Department in the Combs College Ching (a seven stringed instrument, the many music Methods for Piano Teachers. a full description of Bayreuth, char- of Music, 1925 Chestnut St. author may be recorded ^ and from which it may although those who adhere to tradi- ( Continued from Page 785) regarded as the most illustrious of 609 Sutter St., San Francisco; M be read or .’ acters and where they appear in reproduced . . tions find 2833 Webster St., Berkeley, Cal. (Frank) (Ernesto) m all Chinese instruments) and the may that these same qual- , “You will note that in sub-section ities Wagner’s various works, bibliography a profusion of harmony to LaFORGE-BERUMEN STUDIOS (a) , the frequently lead the singer from quiring Phoenix and Ti-tze bamboo flutes. Act ; of over titles and forbids, inter alia, the copying of the one hundred the deficient sustension of (Mid-West) Voice Piano n There is a haunting beauty to these a copyrighted paths of legitimate vocalism. cover up Private Teachers — work. It seems to me that the authors about Wagner and leading invested with a Frank LaForge teacher of Lawrence Tibbett since 1922 N part of the Edi- Again, those feel these the notes, but it was H old instruments, and to the music who that 1100 Park Ave., Corner 89th St., New York torial which probably motives of the music dramas. penetrat- that interested your reader was songs are essentially masculine will character, sustained and Tel. Atwater 9-7470 Professor Loh plays, that can- CECILE DE HORVATH J the statement that The book is it copying pieces rather than hardly find the qual- so well done that ing. In a word, he made the instru- not be done full justice in a few warm feminine Concert Pianiste and Teacher buying individual copies is forbidden ities will become a “must” to all but the EDITH SYRENE LISTER words. by the Act. of Madame Lehmann's voice ment sing.” ; These excellently recorded Pupil of the noted virtuoso and conductor, “An excellent case which smallest libraries. writer has Collaborator and Associate Teacher with the * discs will delight all music lovers. substantiates this persuasive in all the songs she has The Ossip Gabrilowitsch late W. Warren H statement in the Editorial uncovered Original Works Shaw is McMillan v. King, elected a lot of material which Many 418 Fine Arts Bldg. Neither of the above sets should be to sing. Paul Ulanowsky ac- Chicago, III. in AUTHENTIC VOICE PRODUCTION 223 Fed. J Rep. 862. In that case, a teacher will be new to Americans. Much of prolific composer regarded purely as exotic music; in a companies her at the piano in these Giuliani was a (Wed.) Troup Music Studio, Lancaster, Pa. M tutoring school MAE ELEANOR KIMBERLY Thursday, 309 Presser Bldg., Philadelphia, Pa. each had been copying passages out records. this is very informative. For in- and during his M contains music of universal ap- for his instrument Other Days, 405 Carnegie Hall, New York City, of a book on economics Coach—Accompanist— Pianist * and distributing stance, the his — y peal. these Marian Anderson sings Scarlatti’s author presents the eight lifetime the Opus numbers of copies to his pupils Studio—Room 422, Fine Arts Bldg. Jesus Maria Sanroma, Fied- during his lectures. The Se programs which Wagner conducted compositions reached 150 Arthur Florindo £ Fedele far more con- published 410 S. Michigan Ave. Chicago, III. RICHARD McCLANAHAN ! holder of the copyright was granted an in London, Tel.—Wab. 7579 Home Tel.—Gra. 1547 Representative TOBIAS N ler, and the Boston “Pops” Orchestra injunc- vincingly than she does Purcell’s in 1855, with the London while more than one hundred re- MATTHAY tion forbidding Private lessons, class lessons in N the further distribution of Philharmonic Fundamentals give a brilliant and expressive per- these When I Society. For this he in manuscript. It is a curious Lecture-demonstrations for M copies. am Laid in Earth from “Dido mained teachers The Court, in granting Steinway Bldg., M formance of the late George Gersh- the injunction and received $1000.00 ($125.00 difficult works ARNOLD SCHULTZ 806 New York City Aeneas” (Victor disc 17257). a concert) fact that his most N went so far as to say that it made Teacher of Piano win’s “Piano Concerto in F major” no difference Perhaps the which in this day seems almost written during his early career, whether or not any lack of an orchestral were Author of the revolutionary treatise on direct financial loss piano technique FRANTZ PROSCHOWSKI (Victor set M-690) . This is by far the was background prevented the singer microscopically small, in comparison and were evidently intended for use shown to have been "The Riddle of the Pianists' Fingers" finest caused by the copying with Vocal Teacher m recorded performances of a in from sustaining the fees received virtuoso The others were published by the University of Chicago Press order the rhythmic line, by in his own concerts. 200 W. 57th St., M to obtain an injunction, nor that the New York Gershwin work, from almost every copies although conductors. his pupils 622 FINE ARTS BLDG. CHICAGO, ILL. Tel: COLumbus 5-2136 * were distributed her voice brings the neces- The programs are inter- undoubtedly written for to the students without M angle. For the first time we hear the charge sary somber esting in that only “There are numerous other hues to this famous la- two of Wagner’s and amateur players. RAYMOND ALLYN SMITH, Ph.B., A.A.G.O., concerto performed in its entirety; cases on the gen- own ment. Kosti Vehanen is at the piano. compositions appear upon them. “Grand Concertos for Guitar”, Dean EDWARD E. TREUMANN eral subject. You might care to forward The for the Roy Bargy-Paul Whiteman the fol- Beethoven’s Central Y.M.C.A. College Concert Pianist Artist-Teacher lowing additional Irene Jessner, soprano of the Met- name appears eight Op. 36, Op. 70, and Op. 103, with ac- — m citations to your School of Music Recommended by Emil Von Sauer, Moritz version (Decca) is cut. Hearing this reader ropolitan limes; or Moszkowski * Fred Fiske, Inc. v. Opera Company, is heard Mozart’s seven; Weber’s, seven; companiment of full orchestra Complete courses leading to degrees. Coeduca- and Josef Hofmann. M set Dillingham, 298 Fed. Ren. we realize why Gershwin was re- 145 to Haydn’s, tional. Fully accredited. Day or Evening. Low tuition. Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. N Buck v. better advantage in Marietta’s three. Mendelssohn’s quartet, are unrivalled in gui- Russo, 25 Fed. Supp. 317.” com- string Tel. Columbus 5-4357 M garded as an outstanding musician Kimball Hall, 306 S. Wabash Ave., Chicago, Illinois New York City Lied from Korngold’s “Die Tote positions appear five times, despite tar literature and their performance Summer Master Class—June to Sept.—Apply now. * of his times. The work may be con- Stadt” he fact than she is in La Mama Mor- that an artist of the first order. * sidered Wagner, five years requires RUSSELL A. WOOD uneven by many, but most ta e from Giordano’s “Andrea Che- l°re, had written his “Judenthum There are numerous quartets, quin- Private teachers in the larger cities will find? listeners will agree that Teacher of Voice here for the nier” m this column quite effective in advertising (Victor disc 17256). Jessner Musik” to sextets for guitar and their . first time prove that the Jews tets and School of Music are fully revealed on re- lacks were courses to the thousands of Etude readers * the requisite Latin tempera- not an artistic strings, duets for guitar and violin Central Y.M.C.A. College people. who plan to pursue advanced study with an ment, The J which, for example, the late writer these duets we find the Hall established 786 has often wished for a or flute. In 1234 Kimball Chicago, ill. teacher away from home. „ well codified book rarest and choicest melodies and .ZIZXXIXlAAlUAlIlAlAlIXZXIZIZIIIZlZZZZZZZXZXTXTzTTTTTyfj THE ETUDE of this type, to November, mo 78 7 ! ‘ : : : ; A, fourteen to The Violin Maker The Junior Etude will Class of age award three worth while sixteen years ( Continued ) Junior Etude to prizes each month for the Class B, eleven Violin Maker C, The most interesting and fourteen; Class man peered down at the part of my violin. I wish I knew if Stewart The little under eleven years. By Martha M. could see that his it were.” original stories or essays and Harry Contest prize win- boy on a given subject, and Names of ovei hanging his lips were “Yes, it was,” placed his violin in neath the branches of a were twinkling and a familiar voice an- their con- Harry carefully eyes for correct answers to ners, and tree. replied, “So little swered. dreamy look large oak as he Harry looked and saw the tributions, will this page in a its snug case, and a laughing puzzles. Contest is open to all boys and appear on the “Oh, I wish I knew something may make lovely music, Wishes - Come - True - Dryad still thirty came into his eyes as he tucked boys like you girls under sixteen years of age, whether future issue of The Etude. The reddish- about the man who made my violin,” music makes the hearts of standing on his violin case. He looked next best contributors will be given hon- green velvet cloth over its for lovely a Junior Club member or not. Contestants thought aloud as he birds and of brooks back to where he follows orable mention. brown wood. he placed his people and of had seen the old are grouped according to age as inter- violin case on the moss-covered flowers sing all day long.” man carving the violin, but he and “Gee, Miss Owens,” Harry and of SUBJECT FOR THiS MONTH takes so long rupted his silent thoughts, “I wish ground. “But grandfather, it the little boy were no longer there. came He closed his eyes as he to make a violin, and you Then Harry turned his head to thank I knew just where my violin leaned for you “07 Don’t you get from and who made it.” back against the rough tree trunk, work so very hard. the little dryad, but he was gone, Schumann do, Harry.” Miss but he leaned forward with a start very tired?” too. The moss seemed greener, Philadelphia, Pa., not “Of course you very, and All entries must be received at the Junior Etude Office, 1712 Chestnut Street, of the 15th. Winners will appear in the February issue. Owens smiled. “I rather imagine we when he heard a tiny, high voice ex- “No, no, not when I think the birds’ songs seemed sweeter as later than November boys girls all wonder what type of person made claim, “Oho, you would, would you?” sweet melodies that and Harry stood up with his violin case CONTEST RULES — Harry blinked as violins. If I thought fifty words. our violin and what he thought about he saw a little will play on my his 1. Contributions must contain not over one hundred and tucked snugly under arm. address in 2. Name, age and class (A, B, or C) must appear in upper left corner and your as it under his chin for the dryad standing on his violin case, would not make the melodies be he put they “And I will make my music sweet the upper right corner of your paper. If you need more than one sheet of paper, first time, to check its tone.” laughing as he swayed back and beautiful, then perhaps I would be sure to do this on each sheet. A.GEST and beautiful,” Harry said aloud. “I 3. Write on one side of paper only and do not use a typewriter. She closed the piano part of forth. and tired. But they will under- for you. sad will practice more than ever and 4. Do not have anyone copy your work 5. Clubs or schools are requested to hold a preliminary contest and to submit not more than Harry’s piece and put it with his “Who are you? Where did you come stand and practice and make them very, very carefully, for it would be six entries (two for each class). will not be eligible for prizes. other music. “But then,” she went from?” Harry questioned breathless- sweet and beautiful. I know they 6. Entries which do not meet these requirements _____ dreadful to disappoint the little man on, “you know something about ly- do win.” Dear Junior Etude : who worked so hard to carve a violin Puzzle in Contrasts have a club called the Music Lovers* Trajjic Summons your violin.” “I’m the Wishes-Come-True little, old man nodded his head We Dryad The Club which meets every two months. At the — so that I could make the hearts of By E. Mendes By Cornelia W. Hurlbut “Yes”—Harry nodded “I know it of these woods,” the wee fellow re- and looked down at the piece of meetings we talk about what music means to us, which music is best and about the lives of in Italy about plied, I carving. people and of birds and of brooks was made somewhere “and heard you wish to know wood he was Find the opposites to the following the great composers. We plan to give a party Jane had just returned from her note—that is your ticket. All week 1750, but that’s all.” something about the maker of your “Oh,” said Harry, “that looks like and of flowers sing all day long.” words. When correctly arranged the for the Senior Music Lovers’ Club soon. We piano lesson. “I do think fingering you watch the places that have two are also going to give a party or a play for “But is it not wonderful to know violin.” first letters will give the name of a our parents. We have little club pins, shaped is a bother,” she complained to her numbers. Then on Saturday we will like grand pianos and edged in gold. They are that someone, almost two hundred “Oh, yes! I wish to know that more famous composer. aunt. erase every one that is correct, which Clyde’s Football Practice very pretty. years ago in a faraway land made than anything else in the world!” Word: Opposite: From your friend, “Most young students feel that will mean you have paid your fine. By Mary Furze Risch Ruth P. Duane (Age 13), your violin, carving it carefully from Harry exclaimed eagerly. 1. Little New Hampshire way about it,” answered Aunt Nelle; All those that you still neglect we fine pieces of wood, putting it to- “Well, now, Harry," the dryad Clyde glanced at the clock as he line. Each finger makes a mistake; 2. Always “I suppose I would feel that way too, will send to jail, with a red circle gether, and varnishing it so it would cried, “you close your eyes and open began his practice. Through the open that hand is thrown for a three-yard 3. Difficult if I did not know how important a •around the number. You know you have such a sweet, throbbing tone?” them when I say, ‘Wish a wish and window came shouts and laughter as loss. But the side with the smallest 4. Mild matter correct fingering is,” she do not want your fingers to get in ” Harry then picked up his little ’tis here.’ football team, in score wins here, not the highest. The 5. added. “But let us try a new game.” the high school False black case and his music and walked will length of the piece, “Oh, good!” exclaimed Jane. “You Harry closed his eyes so tightly their new orange and black were game be the 6. Shut toward the studio door. “Maybe some that they field, playing with no time out, and no substitu- 7. know I just love games. What is the hurt and then he heard a running down to the Late day somehow I’ll know about him.” new game?” — “catch” as they ran. “Some day,” tions. No fourth finger going in to 8. Low “Perhaps so,” replied Miss Owens. little finger. No, sir! And, “It is called Traffic Summons. Do Clyde said to himself, “I’ll have a suit play for 9. West After he left the studio, Harry like that play the Simpson Oh, boy, is this going to be hard!” Answers must give all words as well Juniors of Joplin, Missouri, in costume recital you know what a traffic summons and on ( found himself walking is?” toward the High team. But now I have to prac- So intent was Clyde during his as composer’s name. woods at the end of town. He often “Certainly,” answered Jane, “it is tice my piano lesson.” practice that he was startled when the jail, because it is Prize Whinners for very hard to went there to practice amid the twit- his mother opened the door and said, what you get from the policeman if As he opened his book his mind Answers to Beheading erase a red circle.” tering of the birds and the June Beheading Puzzle: you park too long, or in the wrong faint was with the team. He was thinking “Come on, Clyde. Did you hear me June “Maybe I will not get any red cir- rustle of the leaves as the wind swept Puzzle: place, or go by a red light or any- of fifty yard lines and—“Say, I know call? It is supper time and you have Class A, Ruth Adolph, Texas. Class cles,” said Jane. “I’ll be very careful through them. 1, H-aunt; 2, A-gate; 3, N-ever; 4, thing like that.” something!” he said to himself. been practicing an hour and a half.” B, Arthur Leavitt, Washington. about it. This game is going to be He walked to his favorite spot near D-rake; 5, E-late; 6, L-east. HANDEL. “Then what happens?” asked her “Well, what do you think? Keyboards fun,” she added. a winding creek and sat down be- aunt. and football. What do you know? My A Summer Concert A Summer Concert “Then you have to go to the police hands are two teams. Sure they are. (Prize winner. Class B) Musical Mother Goose (Prize winner, Class C) station and pay a fine, and if you Extra ! Extra Thumbs on middle C, the fifty-yard The first summer concert I ever attended By H. L. C. The children in my neighborhood are going don’t pay it you go to jail.” was at the “Water Gate” on the Potomac Success to get together to give a summer concert, and All About the Toy Recital River. The orchestra played while on a barge we are going to make our own instruments! “Well now, you play your piece and on the water. The barge looked just like a “Where are you going, my little We can make tambourines by fastening bot- if Have you ever taken part in a TOY tainer. Then, tle you play the wrong fingering I will a few days before real stage, decorated in blue and yellow, with maid?” caps loosely on large covers from tin con- RECITAL? it. The audience was tainers. A drum can be a coffee can with give you a traffic summons; we will Why not get one up this Christmas, they are distributed big lights flashing on and many people who were not “To give a recital, sir,” she said. spoons for drum sticks. An Indian rattle can write year and have it about the middle of among tremendous the fingering twice above the the children in hospital shore were in canoes on the be a baking powder can with stones inside and December, seated on the or earlier? wards, or in orphanages, or among water. The music was wonderful and the a string tied around it for a handle. We can charming, and I enjoyed it very “How did you learn so well to make sand blocks of two pieces of wood cov- ALL the pieces played must have the poor children Dear Junior whole effect of the town Etude : who indeed. ered with sand paper. We can hum on a Whistle, Hum or Sing names relating l n wl at: Ulight much play?” to toys; each per- do not J, !, i called a music fan as have many toys. l r Mary Elizabeth Long (Age 12), comb covered with tissue paper. We can an(* Piano and from former sinii ^ £ come a mu- “I practiced carefully every day.” (Game) brings to the recital the toy So why not father District of Columbia make cymbals of two tin covers and clap get up a toy recital slmr! is a hand director and T . , 11 them together. about which his piece is named. The Violin Maker„ e ny mother plays piano and my By Gladys Hutchinson For this year? Speak to sisS’niays J your teacher both Piano and clarinet. I We are going to meet once a week to prac- . . am en- instance, if Johnny u°singolnsin (? hr „ , plays the Sol- original poem called tice and later give our Each player, w king on wee “Music.” concert for other chil- is given a slip of paper diers’ March voice almost shriek, “Wish a wish From your friend, dren, or any grown-ups by Schumann, he ., who want to come. brings otherotner nLesneVZpieces perhaps Tshe will^ ” ELIZABETH let you FLETCHEII (Age 14). upon which has been written the and ’tis here Joan Mary Bromberk (Age 9), a little tin soldier; if Ruth plays the Illinois name of a very 6 11 y0Ur Wisconsin familiar tune. On the Sl0Wly ’ carefull his Doll’s Waltz, by Poldini, she brings a toy pfecT You wm^niov^h y- Harry opened reverse side of 6 ^ • i'Mvuuun the slip has been writ- little doll; and each ^ that h the fun! R ' aiclt0; Mary Elizabeth Martha Jane Lancaster; Alice Neuscheler; for. If the awfiTe? barrv Ri™, Long player cannot do this, \t£ so Everybody in the audience every- Bomano Mascetti; Louis Gate; Dolores Tourangeau; Charles Eugene Ed- that — Harriet the other players son ; Alya wards; Helen Hunt; can recognize body—brings a toy, Myers Carson; Betty Lo Doris Peterson; Ethel too, for their ad- S“ , Dan elS Mann; ' George Conway; the melody, 1 Mary Eila Tansbian Russell Roberts; Alfa he looks on the back of mission. this Beth Todhimr So makes a big collec- And Wilked " P “ EarI Anderson; Berson; Eunice Smlthers; Phyllis Conway; his slip and remember there are lots Charle pays the forfeit called tion of toys, and at oSS Harry ask, Marlan Edwards; Annabell Carson: May Stoekwell; Katherine the end of the good children in man^d heard him Colvin Shirle for. (Forfeits may be like the world this vearear ^ Paula James McKay; Lillian Robinson; Irene Goldman; those used recital „ a. y Grandfather, Mary these are gathered up and why do you carve the Hlen WhTte ' Bertha Mary Belle Recktor; Patsy Grant; in other children’s games.) Hickerman- Nieheimer; Jane Virginia put in a basket, or c^11 Jane Farwell; some other con- Elsa Lottus: John Ganet Stella Holden; June Schwartz; Ellen McMu’rtr!UrtrS » ’ Agatha Whiteman; Harry Lewis; ( Continued on next page) fangeau Drake; Dolores Tou Ruth MeSwain; Juniors of Scarborough-on-Hudson, New York, in Mother Goose playlet George Ellison; Anna Marie Fleck. ETUDE NOVEMBER, THE 1940 789 — — — — — GREAT MUSI- simplicity. is particularly in- Land, by Gertrude M. CLASSICS FOR THE CHURCH OWN BOOK OF Should a teacher wish to elab- are ready to attempt their first solos no the classic composers In Santa Claus PIANIST, CHILD’S contains Compiled by Lueilc Karhari NEVIN, by Thomas Tapper—When orate there are unlimited possibilities in matter what instrument they play, and teresting since the stories it Rohrer (.60) Realizing her and on ' favorite American composers setting, costuming, dancing the lives of the composers Christmas, by Chas. H. Gabriel congregation deserved the best, think of and addi- therefore, the contents are identical in from A Jolly Lucile various certain to think of Ethelbert tional Mother Goose characters. the origin or inspiration of the (.40) Earhart (herself a church pianist) com- we are each of these volumes: the pupil s piled this volume of Nevin. In his short life- It lends itself to any branch of school [Suitable numbers gives added zest to Toy Symphonies all-classics for use Solo Book for C Instrument wrote many beau- activity fine musical gems The Coming of Santa Claus, by Frank in the church service. Preludes time he — Music Department, Physical for Flute, Oboe, and C Melody Saxo- playing of the many and Of- which fertories are included tiful numbers which have Education Department, Nursery School, phone] given In this book. Such a book, L. Eyer ( .50) and Bach, Handel g-M endeared themselves to a Parent-Teachers presentation [Suit- makes possible a fairly early appreciation A Snowy Christmas Eve, by Allene K. Brahms, Mozart are but a few of the and a Solo Book for B-flat Instrument W. " the hearts of music lovers host of others. of the classics, can do much toward firm- Bixby (.50) masters represented. No problem con- 1 The rhythm band may able for Cornet, Trumpet, Soprano ' to con- School fronting the church * the world over. His Mighty play an important role in the way of an Saxophone, Clarinet, ly rooting in the pupil a desire For Junior and Senior High pianist has been - Saxophone, Tenor ^ sM of piano overlooked and all Lak’ a Rose, Water Scenes overture or accompaniment. Baritone (Treble Clef) or Trombone tinue up through the steps choral groups: selections are well i M , that permits an ex- (with Narcissus ) , The A single copy of this operetta study to the ability Unison within the pianistic abilities of the aver- L 'WL. may be (Treble Clef) ] master works. 14871 While Shepherds Watched—Rich- age player. Each number A SX Rosary, as well as Dawn, ordered now at the special advance of Solo Book for E-flat Instrument [Suit- tensive investigation of the included will Gondoliers, Venetian Love publication This book, which will so enable the ter (.10) lend dignity to and beautify the church cash price of 30 cents, post- able for E-flat Clarinet, Alto’ Saxo- with (.08) Good Night, which constitute paid. Alto teacher to inspire the young pupil 11045 All Hail the King—Nevin service and each number is worthy of Song and phone, Baritone Saxophone, or in Venice, have won for the gleam of greater musical joys to come 11574 Jesus Was a Baby—Long (.10) concert performance. his suite A Day Horn] hence, may be subscribed for in Treble-—Two Part This volume will come as a welcome him an enviable niche in the annals of CHILD’S OWN BOOK OF GREAT MUSI- Solo Book for Bass Clef Instrument in years melodic gift that CIANS advance of publication at the special ad- 12077 Hark! The Christmas Bells Are addition to the library of the church American music. The —FOSTER, by Thomas Tapper Dur- [Suitable for Baritone, Euphonium, in these ing last vance offer price of 40 cents, postpaid. Ringing—Ward (.10) pianist. was his is our priceless heritage the several months there has Trombone, Bassoon, or Bass] 13429 Two Christmas Carols—Matthews A single copy of Classics for the Church compositions and the many others that been an ever-increasing revival of in- Book for Piano Accompaniment pen. terest OF PUBLICATION OFFER (.10) Pianist may be ordered now at the spe- flowed from his prolific in American music. Included are Blue Danube Walts, ADVANCE the and Schools, WITHDRAWN— the time those who 14195 The Christ-Child’s Star—Somervell cial advance of publication price, 50c The story of Nevin composer colleges, univer- Skater’s Walts, Theme from “Finlandia”, By publication orders (.15) postpaid. Nevin the man is truly inspiring, espe- sities, civic organizations Home on the Range, Merry Widow Waltz, sent in advance of the following book are reading this Treble—Three Part cially to young folks, and therefore it and music clubs through- Arkansas Traveler, Valse Triste, Dream for they no will have received 14296 Around the Manger—Beach (.10) MY PIANO BOOK, by Ada Rirhlrr—It is should prove to be a valuable addition to out the country now are of Love, Dark Eyes, and Country Gar- note, doubt satisfied themselves 651 Say. Where Is He Bom?—Mendels- never good to ask the tiny tot to concen- the Child’s Own Book of Great Musicians featuring American com- dens. All of these numbers are something their copies and have they gained through sohn (.12) trate on one thing too long, and there- series. It will include the same features positions more than ever that they can hum, whistle or sing al- as to the bargain in America, and with the desire to carry their orders in advance 12557 Lo, How a Rose—Praetorius (.10) fore the average preparatory book for as the forthcoming Child’s Own Book of before and in many in- ready, and therefore this is truly a First having sent in a Thanksgiving thought in the cover for Treble Four Part kindergarten — of publication. —November 1940— — piano pupils Great Musicians Foster, described else- stances entire programs are devoted to Solo Album. this issue The Etude Music Magazine 10588 Tryste Noel—Bullard (.15) is not lengthy, and very where in this same section of The Etude. our favorite musical sons. This is a small While this new compilation is “on the feels that it was very fortunate in being 13199 Merry Yuletide often it Preludes, from The Well-Tem- All of the books in this list are in —Rimsky-Korsakoff is asking too much In advance of publication, the special but extremely vital part of a general press” single copies of any one of the Tioelve able to secure from the photograph preparation for publication. The low (.12) of the youngster to go from cash price is 10 cents, postpaid. trend towards greater appreciation of above listed Solo Books with Piano Ac- pered Clavichord, Book 1, by Johann library of Underwood & Underwood, New Advance Offer Cash Prices apply Male Voices such preparatory books into Americanism in all of its phases. With companiment may be ordered at the Sebastian Bach', compiled by Orville A. York, so fine a Thanksgiving family only to orders placed Now. Delivery 14194 Hark! A Burst of Heavenly Music the average first instructor. MY OWN HYMN BOOK, Favorite Hymns in this stimulated interest in “our” music, special cash price of 50 cents. The sepa- Lindquist—This is an age of time-saving group as is pictured on this cover. Here (postpaid) will be made when the •—Nevin (.10) Here is a book that Richter specially priced devices and Professor Lindquist, in using supple- Easy Arrangements for Piano, by Ada naturally there has been stimulated in- rate Solo Books are now the three generations of an American books are published. Paragraphs de- 12704 Oh Come, All Ye Faithful—Read- ments the preparatory book —Children do like things for their very terest in “our” composers and the story at 25 cents each. Any such orders are his intimate knowledge of the wealth of family are pictured and with the aid of scribing each publication follow on these pages. ing (.20) and leads into the larger own and advantage may be taken of this behind their compositions. American postpaid. beautiful music existing in the volumi- an artist the cover has been completed to Anthems—Mixed Voices instruction book. One new fact by the teacher of young piano be- Opera and Its Composers by nous works of Johann Sebastian Bach to give in words and music the basic theme Edward 10200 Angels from the Realms of Glory point is all that is attempted in each ginners. It is easy to understand the Ellsworth Hipsher EIGHTEEN MINIATURE SKETCHES, For bring forth this judiously selected lot of of this great American religious Child's Own Book—Foster—Tapper 10 and other similar holiday. lesson Child’s Own Book—Nevin—Tapper 10 Bullard (.15) and, of course, from step to step added incentive to master the art of volumes will tell that story to older the Piano, by N. Louise Wright—This one dozen of the charming Preludes from Classic Masters Duet Book—Piano—Beer 35 11425 The Blessed is Lullaby—Nevin (.10) a very gradual moving up of the little bringing forth music at the keyboard people; Child’s Own Book of Great Musi- volume solves many of the problems con- Book 1 of The Well-Tempered Clavichord, CHRISTMAS MUSICAL GREETING FOLD- Classics for the Church Pianist—Earhart .50 Eighteen Miniature 12248 The Child Christ—Marzo (.12) tot's playing ability. Melody is para- when the young pianist has his her fronting of first and second has performed a beneficial and labor- ERS—Those who want Christmas greet- Sketches— Piano or cians will help to tell it to young people. the teacher Wright 20 10360 The Child Jesus Comes—Manney mount. All in all, whether used in class very own book, giving musical arrange- Stephen Collins Foster’s biography will grade piano pupils. Its saving service for the busy piano teacher ing folders with a musical aspect have First Solo Album—Wood Wind or Brass (.15) or private instruction of little piano be- ments that or and average pupil. The retail price placed a choice of six different designs in the Instrument and Piano—Webber 50 he she can handle of soon be added to this popular little book- primary purpose is to pre- Magic Feather of Mother Goose, 13744 Break Forth, O Beauteous Heav- ginners, teachers will find this is cents. folders which may be The this book as- hymns that there has been pleasure in let series. Up until a short time ago only sent the technical phases on newly issued work 60 Juvenile Operetta—Austin and Sawyer 30 enly Light—Bach (.08) suring gratifying results. singing in Sunday School and in Church. of teaching in most secured from the My Own Hymn Book—Easy Piano Collec- the master composers (Bach, Mozart, a at- tion 14416 The Holy Birth McCollin Advance of Theodore Presser Co. —Richter 30 — (.15) publication cash price for a This book gives a generous number of Wagner, Liszt, Chopin, Tschaikowsky, tractive manner, remov- CHANGES OF ADDRESS—When changing My Piano Book—Richter * To volunteer choir directors single copy at 5c each, including 25 searching 25 cints, postpaid. hymns dear to Christian hearts and in etc.) were included, but recently a Mac- ing all trace of the dull, your address, notify us at least four weeks Once-Upon-a-Time Stories of the Great for a Christmas cantata we recommend envelope, or 50c a Music Masters—Easy Piano Collection the choice selection given there are num- Dowell book was issued as the sixteenth drab and much disliked in advance, if possible. Please give both Robinson “While Shepherds Watched”, CLASSIC MASTERS DI ET the dozen. In dozen lots 40 by Law- BOOK. For bers for the special religious festival oc- in the series the “study” element. Each se- old and addresses Songs from Mother and first in an “Ameri- i|p new when sending Goose—Homer 40 rence Keating (.60) Piano, by Leopold J. Brer wealth the customer has the —The of casions such as Easter, Thanksgiving, can group”. Foster’s life story will be the lection approaches a prob- \ notice of a change in residence. For music supervisors wishing to good materials published for pianists to- privilege of specify- pre- and Christmas. The genius for making second to be published in this new group. lem through child inter- sent a nationalistic Christmas day is almost unbelievable. ing an assortment if program Students and satisfactory but easy-to-play piano ar- ests and hobbies. combined singing Of course, the usual interesting style will “Pitter, Pitter, Pat”, SWINDLERS ARE ABOUT—We again cau- desired. by older and younger we have compiled the following list: virtuosi alike now can find, in the mass rangements which Mrs. Richter demon- be employed and the loose leaf pages will “Frog in the Meadow”, “Organ Grinder”, tion our musical friends against paying groups. 14617 Czech of These musical Carol of the Cattlemen—Arr. available literature, music to fill their greeting folders cannot strated in her very successful books My he accompanied by the “cut-out” pictures, “An Autumn Day” and all the numbers money to strangers for subscriptions to This book is being offered in Gaul (SATB) every need. be sent “On Approval” since they repre- advance (.15) The intelligent arranging and First Song of Book and Play and Sing is the heavy paper cover and the silk cord contained in the Eighteen Miniature The Etude unless convinced of the re- publication for the low cash price of 13691 Six Old French Carols transcribing of sent special seasonable items, but for the —Arr. Man- standard works and the evidenced in these 40 cents, postpaid delivery presentations of for binding in art style. Sketches present basic training material sponsibility of the canvasser. Pay no convenience of those wishing — to be made ney (SATB) (.10) composing of new numbers by persons to see one hymns for young piano pupils. special advance of publication in rhythm, fingering, phrasing, staccato money before you read contract just as soon as the book is received from 14998 Mexican Shelter The cash or re- of each the Theodore Presser Co. will Carol—Arr. Gaul who have a true conception of the in- While the printers. the work is in preparation orders price for a single copy is 10 cents, post- and legato playing. The ideal teaching ceipt offered you by a stranger. Permit supply a single sample set of the six for (SATB divided, with children's strument has brought about this ex- will be accepted for single copies at the paid. procedure of “approaching the unknown no changes in any contract offered. If in 25c, chorus) (.15) tremely including the envelope. favorable situation. Of course special CHRISTMAS MUSIC—To many of 13267 advance of publication cash price from the known” is followed throughout. doubt, take the name and address of the The six different folders our The Three Kings (Catalonian the master compositions have been readers the have always of 30 cents, postpaid, approach of Christmas is Carol) delivery to be made FIRST SOLO ALBUM, For a Wood-Wind or Any of the sketches may be used as pupil man or woman, the company represented named as follows: Silent Night Folder, —Arr. Schindler (5-part) been the mainstay of any good repertoire A still of little concern. as soon as the recital material Mindful of the im- book is published. No a Brass Instrument , Arranged by Carl Webber and each has a positive and send the full cash subscription price Song of Best Wishes Folder, Lyre (SATTB) (.15) and that is true and portance of now more than ever orders for their portion of forthcoming 15035 The Little this book can be filled outside —Every young instrumentalist needs the pupil appeal. to us. We will give credit to the agent. Wreath Folder, Joy to the World Folder, Jesu of Braga (Portu- before. Even the young beginner can play festive programs, far-sight- of the United States single Carol Star guese Christmas simplified and its Possessions. “tonic-like” effect of a solo now and then A copy of this book may be Please follow these instructions to the Beams Folder, and The World ed Canzone)—Arr. versions of many numbers that supervisors and choir Gaul-Bailey to make him feel that he is “getting ordered now at the special advance of letter. We cannot be responsible for the in Solemn Stillness Folder. (SSA) (.15) heretofore have been “programmed” by directors long since have 20255 somewhere” and to lighten the burden of publication cash price, 20c postpaid. work of swindlers. Three Slovak Christmas Carols accomplished selected and pianists only. GOOSE, SONGS FROM ordered for Arr. Kountz An Operetta for Children, Booh and technical studies that must be mastered MOTHER GOOSE, Set to (SATB) (.10) This volume of one piano, four-hand their needs have rehear- Lyrics by Juanita Music by Sidney Homer Truly a collection — 21424 Companions, Raise Austin, Music by Henry S. if he hopes to become an accomplished ONCE-UPON-A-TIME STORIES OF THE SUBSCRIPTIONS TO THE ETUDE ARE Your Cheerful arrangements, for instance, is only me- of songs for sals well under way. There asypr—Teachers looking course, solos serve another GREAT MUSIC MASTERS, For Young Pian- “young or old”. In this com- Song (Ancient Irish Carol)— dium difficult for a sure-fire performer. Of WELCOME CHRISTMAS GIFTS—Any one Arr even though it contains juvenile pilation, Sidney Homer is still time, however, to Hopkins operetta purpose also, since they put into prac- ists, by Grace Elizabeth Robinson Most Of who is musical will welcome revolutionizes the (SATB) ( A Cappella) compositions by — the monthly plan Handel, Mozart. Cou- will idea that Mother Goose rhymes are and prepare a satis- welcome the tical use important points on fingering, the progressive piano teachers of today visit of The Etude Music Magazine. sole- perin, Rameau, Scarlatti, MarpurP’, Kirn- A ly factory program if Publication for children. So unique are the thirty- you start now. May 21425 O Fir Tree, Dark of The tonguing, breath control, etc., that have will recall that when they were neophytes Christmas gift subscription is (Swedish Carol) berger, Kuhnau, Krebs, Kd-Bler and an all-year five Mother Goose rhymes we suggest therefore that you order a —Arr. Hopkins Magic Feather This work has been in piano playing teachers utilized easier reminder of contained in (SATB) (.10) Kirchhoff. Furthermore, of just been taught. the thoughtfulness of the this selection from the 21227 the numbers in- Mother collection that their lilting melodies following list “On Three Polish Goose. It is serve all of these purposes arrangements of the classics, but in most giver. Aside from this, Christmas Carols— cluded are not the better compo- compiled to subscriptions to and Approval” with the privilege known filled jocund texts will make them a high- of returning Arr. Hopkins (SATB) with forty-five perfectly. cases these easier arrangements were not The Etude take the (.15) sitions of there masters but, instead, worry out of Christ- light in the encore repertoire whatever may not be suitable for your minutes of of the con- Organ Solos hitherto unpublished enjoy- Mr. Weber is well qualified to select easy piano solos. Instead, they were sim- mas gift shopping. You simply send us cert needs? or forgotten gems ment artist. Written within the range of Rhapsody for partici- plified or abridged handlings for on Christmas in the ancient dance forms and arrange material such as this by third $2.50 with the name and address of the the child voice Upon many will fall the responsibility Themes—es- discovered by pants and the medium range of Gigout (.60) and audience. experience with and fourth grade piano pupils of classic recipient Mr. Beer in the libraries and music virtue of his previous and we will send a fine gift the adult voice, youngsters and of presenting Christmas programs with Melodic, oldsters Instrumental archives of singable beginning clarinetists, cornetists, trom- compositions which, in their original card bearing the name of the alike juveniles. To those his native Vienna. donor, to will enjoy singing “Old King Cole”, we suggest: Twelve Junes kept Christmas Carols for Pianists w’ho are within bonists, etc. By working with young bands forms, demanded the ability of fifth, reach the music lover as nearly on “Little Boy B-ass capable of playing ie Blue” and the others. An Choir—Arr. range of Operettas Wyre (7 Parts third and the child voice, and easy and composing successfully for them he sixth, and seventh grade students. Christmas morning as is possible. ideal collection and Pia^o fourth grade music are sure to for home "sings”, grade Santa Claus’ Party, Complete, pic ures( by Louis F. Gott- $1.00) find this duet book a iue dances, are climaxed has learned not only the limitations of This book of Once-Upon-a-Time Sto- Where two Christmas gift subscriptions and high school combined assemblies welcome addition to with j or schalk (.10) their a mrthday novice, ries includes piano solos so arranged For prompt and library. Single copies may be or- party at which Mother each instrument in the hands of a are sent, they will be entered for $4.00, a other groups where the song leader finds The Crosspatch individual attention r Fairies, by Norwood merely dered now presides and introduces expect of the average from the music of the masters as to be very substantial saving it diflicult to address a at the special advance of her be- but also what to over the yearly suggest numbers suitable for Dale (.60) communication to us d nursery stating your publication cash price characters. student. He knows that certain compo- ideal for use with the average boy or rate. Christmas music needs of 35 cents, post- Advertisement paid. 6 setting and costuming most popular and girl along in the first year of piano study. Let The Etude 790 prowf present no sitions are invariably help you make Christ- * ms and introduction are quite effective in their best known by all youngsters when they This early to the music of mas shopping a pleasure, not a task. THE ETUDE Advertisement November, 1940 791 " k :, THE SOCIETY FOR THE PUBLICATION ETUDE PREMIUMS MAKE SPLENDID The World of Music OF AMERICAN MUSIC, A Walter Kramer, Numbers for Pupils’ GIFTS—You can do all of your shopping president, has chosen for publication this Piano Recitals Musical Plays outlay 723) Christmas for holiday gifts without any cash (iContinued from Page year Bernard Wagenaar’s “Third Quar- through securing subscrip- on your part tet.” It has been performed by the or for Study Use in the Holiday Season For Young Participants tions for The Etude. The gifts offered in CHARLES KULLMAN, outstanding young Curtis and the American Quartets and the exchange for Etude subscriptions are all American tenor and member of was given its first New York performance PIANO are all the traditional characters of the class merchandise, guaranteed by been SOLOS SANTA'S SURPRISE high Metropolitan Opera Company, has by the League of Composers, last March. Jester, Heralds., the Astrologer, the Friar, and are sure to please. von COMPOSER GRADE PRICE CAT. NO. TITLB By Gertrude McRae Pr., 75c Pages, etc. Traditional carols and dance the manufacturer Mahler’s “Das Lied COMPOSER GRADE PRICE in- ru engaged to sing CH.K0. fine for entertain- music numbers are provided. The score A feature the Christmas March . Martin 2 .35 27010 tried this before, Adeste FMete, Jack-in-the-Box all dialog, staging and costume If you have not method the Cleveland Orchestra BAUR, President 19,47 3% .40 ment program in which children from 5 to cludes music, der Erde” with BERTHA Emeritus of ...,Borow8ki 4 .50 4023 Knight directions. 18483 Adoration Rupert 14 years of age may participate. There start now. You will be surprised to see 7th Crosby 2 Rodzinski on November Conservatory the Xmas Tree... .25 should be at least 10 children about 12 and under Artur the Cincinnati of Music, 16192 Around 25516 The Lead Soldiers, March 214 .35 Risher .25 14, and 20 or more younger children. There IN SANTA CLAUS LAND it is to obtain Etude subscrip- Xmas Tree . 1% how easy the Philharmonic- Around the Little Jack Frost 2 .3 0T and 9th; and with passed away September 19th. She was a 17358 are 2 parts for grown-ups. Time of per- Rohrer Pr., 60c Santa Claus.. .Engelmann 3 .40 By Gertrude M. friends for Arrival of 25484 Little Tin Soldiers, .... tions from your musical and York, under 2728 March Grey 2 % .40 formance is about 1 hour. There are 2 acts favorite one-act Christmas musical Symphony Orchestra of New niece of Clara Baur, founder of Karoly 3 .40 Quite a the of Christmas and 5 scenes. These scenes are easily ar- subscription secured, a credit of 8755 Bells 23856 March Carillon 5 .50 play for children. It runs about one hour each 23rd and 24th. Engelmann 3 .25 ranged, however. The dialog and musical Wont Bruno Walter, on January school, and for many years directed Cathedral Chimes at Xmas Eve and is readily produced with a minimum of the 6380 26224 March of the Candy Dolls Renton 3 .40 point is given toward any gift se- Oreemoald 3 .40 numbers convey the whole spirit of Christ- rehearsing. one Chimes at Christmas Vs activities of this distinguished institution. 1H51 25836 Merry Sleigh Bells Preston 2 .25 mas in a bright and happy fashion and BOK, Johnson 3 .35 lected. Simply collect the annual sub- MRS. MARY LOUISE CURTIS 45840 Christmas Bells there is lots to entertain the audience as THE MADCAPS 23142 O Holy Night .Adam- Hess 5 .50 March Wyman 4 .40 everything ends up in a party for Santa of Music Christmas Bells. scription price, $2.50, and forward it to founder of the Curtis Institute 19961 26207 Poinsettia Overholt .40 and Eskimos By William Baines Price, 60c GIULIO CATTI-CASAZZA, for Day Spaulding 2 .25 3% Claus, with some penguins twenty- 11822 Christmas 26051 Santa Claus joining in the party. Now, here is a worthwhile operetta which The Etude with your request for the Philadelphia, has given ten thousand Stairs 1 .25 in Christmas Eve Blake 2 .25 children or adults, or a combination of seven years artistic director and impre- 17925 2354 Santa Claus Is 6r 2 .25 Coming Hiller 2 .23 both, may present. The plot puts forth a premium desired. dollars toward building a theater at Tan- Christmas Eve ‘:‘" E SANTA CLAUS of Metropolitan 1678 H 24802 Santa Claus Is Coming real moral. The attractive chorus work is sario the Opera in New Christmas Fantasia Mueller 3% .50 .25 Note a few articles selected at random for the Berkshire Symphonic 23105 CHRISTMAS PARTY all In unison. glewood Hymn and Bells Pitcher 2% .35 1420 Santa Claus March York City, died in Ferrara, Italy, Sep- 25103 Christmas ..Nuernberg 2 .25 from our catalog. The number of sub- A BRILLIANT CHRISTMAS ISSUE has an- Tree Watson 1 .30 By C. E. Le Massena Pr., 60c SANTA CLAUS DISCOVERED Festival, Serge Koussevitzky 25386 The Christmas 15046 2nd. Under his A sparkling, entertaining operetta in which tember regime, many of Games and Toys Watson 1 .30 13836 scriptions required to obtain each one Christmas has always been a high moment nounced. With the completion of the 25387 The Sleighride children from seven to fifteen years of age By Elizabeth U. Emerson Pr., 35c March of the Merry Men Watson 1 .30 the world’s greatest singers were discov- 25389 17359 The Talking Doll may have a part. The music is tuneful and This pleasing Christmas cantata Is for follows the description. in the history of THE ETUDE. This year you festival will be able to in- Snow Watson 1 .30 Risher 1)4 .25 theater, the 25388 Playing in the easy to sing. The plot has to do with jolly children's voices assisted by a baritone and 23456 Three Little Christmas Pieces. will find it at its best. ered and developed, among them Kirsten Christmas Watson 1 .30 ...Hammond 1 .25 a tenor or soprano. Act 1 is a country clude opera, next season. Twelve thou- 25384 Snow for old St. Nick’s good work with some young of Sleep and Snow Watson 1 .30 24405 Tommy’s New Drum Risher .30 cynics. schoolroom scene; Act 2 calls for 2 scenes, of fine Flagstad, who was the last of a 25385 Song 2V& Leather Wallet: Made leather, given toward great above both with a woodland background the first sand dollars has also been The 6 numbers listed immediately 26253 Toy-town Soldiers .25 — line discoveries. 1% daylight, the second scene being night time. this Wallet is obtainable either with or of Gatti are piano solos forming a set entitled THE CROSSPATCH FAIRIES the construction of a new hall for cham- 9243 Toys and Candies ..Greenwald 2 .35 How Santa helps to give children a vision Christmas in the Country. By Norwood Dale Price, 60c without the zipper fastener and includes Institute of Music, 9244 Under the Christmas Tree ..Greenwald 2 .35 of the light that streamed from that Star of ber music. The Curtis 1680 Christmas Morning Ever 2 .35 Gets the holiday spirit “across” in an Bethlehem is brought out in the dialog and 7609 Under the Mistletoe an open face pocket for license cards, a DR. JOHN M-E WARD, dean of Phila- Morning at Home Martin 2 .35 .Engelmann 214 .40 effective is bright and action. Inc., has offered to finance a group of 19090 Christmas manner. The music The chorus of children participates characteristic 23143 Venlte Adoremus melodious. nice length operetta introduc- In 6 numbers. Santa has solos there coin pocket, another pocket for calling delphia church organists 16781 Christmas Suite (5 5 .50 A 2 and the and a promi- ing Mother Goose and Fairyland characters is a solo for Jack their outstanding students to attend pieces) Armstrong 2% .75 23148 Frost and for one of the with, of course, Mr. and Mrs. Santa Claus. school girls. cards, etc. Your choice of black or brown nent physician for forty-nine years, died Coming of Santa Claus Eyer 2 .40 Berkshire Summer School in future sum- 1681 13837 Yuletide Bells Ashford 2% .60 finish for securing two subscriptions. in Philadelphia, August 30th. He was 9238 Dreaming of Santa Qrecnvoald 2 .35 YE OLD CHRISTMASSE A JOLLY CHRISTMAS mers. 9239 Hanging the Stockings Oreemoald 2V& .35 Bv Charles H. Gabriel Pr., 40c seventy-seven years of age. For many 25832 Hobby Horse Clafftin 2 .25 MASQUE—By Wm. Baines Pr., 40c Even primary tots may help In this veritable Light: Sleigh Ride Hopkins 2 .25 A novel Christmas program utilizing carols, Adjusto This unique Lamp of years he was 26994 Holiday children’s jubilee OTTO KLEMPERER, giant conductor the president of the Na- dances, jousts, and friscols as performed in with marches or drills, 9242 Holly and Mistletoe Greenwald 2 M .35 dialog, solos and clamps everywhere—can be used for read- UNDER merry England in ye olden days. Children choruses in an Interesting the Los Angeles Philharmonic Orchestra, tional Association of Organists. 13530 Holy Night, Peaceful Night Oreemoald 2 .25 continuity. of grammar school and junior high school ing, writing, sewing protects eyes and 26955 Hush-a-bye, Dolly (With Words) ....Stairs 1 .25 — has completed a new score for four ages can handle all of the parts. There are SANTA 23855 Impromptu Hanson 5 .50 THE CHRISTMAS TREE CLAUS' PARTY eliminates eyestrain. It is finished in 24 named parts, a number for a dancing soloists, mixed choir and orchestra, en- 26752 In a Manger (With Words) Strickland 2 .25 of as boys By Louis F. Gottschalk A Suite of Eleven group 8. and many more and Pr., 10c brush brass STATEMENT OK THE OWNERSHIP irls as facilities permit and comes with cord and titled “Trinity”, the premiere of which will may be used A pleasing little bit. for a 15 or 20 minute MANAGEMENT, CIRCULATION, Little Pieces With Words for the various chorus groups. The scene is feature in a Holiday-time plug. Height 12", Base 4 ’4 " x 3". ETC program for will doubtless take place in the East dur- REQUIRED BY THE ACTS OE CONGRESS in the hall of the King's palace and there children. OF By Mildred Weston Awarded for securing three subscriptions. ing the coming season. AUGUST 21, 1U12, AND YE CHRISTMAS MARCH 3. 1933 Of The This little book delights young pianists yet in the first Etude, publish, , I Monthly ai Phila- PIANO BOOK grade of study. Its eleven little pieces, each PIECES Knife and Fork Set: A fine set of six THE NATIONAL ORCHESTRAL ASSOCI- delphia, with text, CHRISTMAS FOR Pennnyh aniu. Jur Uctobi r 1, lUIo. are Hobby Horse, A Doll That Goes to Sleep. The Tinkle- State Pt CHRISTMAS CAROLS Made Easy stainless steel knives and forks with ATION announces that its Gabrilowitsch of nnnyleania I to Play Tinkle Box, In a Little White Cradle, The Big Red THE YOUNG VIOLINIST— THE VISION Drum. Wooden Soldiers, Tops, County of Philadelphia j or Sing— Mary Bacon Mason Price, 75c The Little Pop-Gun, genuine Marbalin non-burn handles. Memorial Series of five concerts at By Jumping Jack, Candle Lighting and Twinkle, BELLS By Greenwald Before me, u Suture Public In and for the Time CHRISTMAS M. Twinkle, Christmas Tree. OF SCROOGE For little players, with large Your choice of green, red or onyx. A Carnegie Hall, New York City, will for State ami county urore»uld, personally ap- size notes, full fingering, (Catalog No. 171 12) Price,. 35c the text of each of the 34 carols, and next to each a peared . U&viO H Bunks, who. having been Price, 75 cents An easy little piece in first position. very practical gift and award. Offered the first time, this season, be devoted to space in which to paste an appropriate Christmas card. Cantata for Two-Part Chorus duly sworn according to law, deposes and says for securing two subscriptions. the works of one composer—Brahms. that he Is the Business Mtinuycr of the Theodore CHRISTMAS NIGHT of Treble Voices Preiser Company, publishers By J. Pietrapertosa The three soloists chosen for the Brahms or Tub Kti de LAWRENCE TIBBETT and that the following Is, to the host of his By William Mayonnaise Dish With Ladle: This knowledge (Catalog No. 840) Price, 50c Baines Price, 40c Cycle are: Leonard Shure and Aleksandr and belief, a true statement of the PIANO— attractive little number in position. ownership, FOUR HANDS An third footed Mayonnaise Dish is 6" in diameter management, etc., of the afore- Dickens’ beautiful Helmann, pianists, and Ruth Posselt, CAT. NO. TITLB Christmas story THE LITTLE OF said publication for the date shown in COMPOSER GRADE PRICE CAT. NO. TITLE COMPOSER GRADE PRICE DANCE OF THE POPCORN 214" TOWN the has been as and high. Both dish and ladle are violinist. Leon Barzin, Musical above caption, required by used the basis of the Director the Act of August 24373 Adoration 4 .70 16076 Two Xmas Melodies Garland 3 .40 By Gayle Ingraham Smith BETHLEHEM, PA. 12, text of this effective cantata. Musi- chromium plated. Awarded for securing ns ,me,,tJed bv *he Act of March 3, of the organization, will all T.lo., . J 2664 Arrival of Santa Claus 7615 Under the Mistletoe Engelmann 2 y» .50 (Catalog No. Pr., conduct con- 1.) embodied Engelmann 3 .50 26893) 35c three Bethlehem, the “Christmas City” of Amer- 33, in section o37. Postal Laws cally, it is not beyond the capabilities subscriptions. certs. Regulations, 9377 Christmas Eve Hiller 2 .25 A jovial little first position piece. ica, is a bustling industrial community of printed on the reverse of of the average junior high school 1791 Christmas Festival this form, to wit : Buttschardt 3 .60 60,000. Situated in the Pennsylvania chorus. This cantata may be sung 1. i hat the 4763 Coming of Santa CHRISTMAS CAROLS anti Claus .... Table Crumber: Wrought in Deitsch (Dutch) section it is alive with JACK PEPPER, former member of the names addresses of the pub- Eyer 2 .40 Aluminum lisher. editor, RECITATION with an accompanying series of tab- thrilling managing editor, und business 25724 Message of the Bells ARRANGEMENTS FOR a rich finish, Christmas customs. This article Los Angeles Philharmonic 2 .40 IN VERY EASY Butler 11%" long. Awarded Quartet, has managers are : ( With Piano Accompaniment) leaux for which a Stage Manager's by Jay Media will inspire you with 15315 A Sleighride the Clark 3 .60 PIANO DUET—By Ada Richter Price, 75c for securing one joined the Coolidge Quartet Publisher Theodore Printer THE NIGHT AFTER CHRISTMAS Guide, giving full staging directions, subscription. (Not your Christmas spirit. as its second Company, Phila- 9807 12 of the favorite carols arranged for first grade pupils at lphia, Christmas Toy Symphony (Piano 4 hds. Pennsylvania. also given for singing is available. own.) violinist, to replace parts to play as duets. The texts are By Frieda Peycke (18366) Pr., 50c Nicolai Berezowsky. Editor Jnmrs Francis only) Hewitt .75 Cooke, 38 Llanbcrri* Rd., with the four hand accompaniment. A clever little number for a bright child or Bnla-Cynwyd, Pennsylvania. 25499 Tommy's New Drum Managing 214 .30 adult reader. Square Fruit or Nut Bowl: Wrought LAWRENCE TIBBETT POINTS LOU GEHRIG is having no difficulty 1-Mi tor None. business Manager David W. Banks 511 E. Aluminum, 6" THE WAY filling the season’s box at Town Hall, , square. Awarded for se- Bd., Llanerch, Pennsylvania. «5/i^ SONGS FOR LITTLE SINGERS New York City, A. lhat the PIANO—SIX HANDS curing one subscription. (Not your own.) Lawrence Tibbett gives invauable advice which was donated to owners are: IN CHRISTMAS ENTERTAINMENTS to young men and Theodore Pressor Company, Philadelphia CAT. N°. women about to enter him by the Town Hall concert depart- TITLE COMPOSER GRADE PRICE CAT. NO. TITLE COMPOSER GRADE PRICE the profession of in Pennsylvania. ls424 A Sleighride .75 HAPPY IF music a very helpful Clark 3 .75 I 9943 Under the Mistletoe . ..Engelmann 2 Vfe CHILDREN SANTA CLAUS KNEW Electric Sandwich Grill: ment under Kenneth Klein, The Pressor Foundation, For toast- and illuminating article “There Is No to be used Philadelphia, Penn- By Wallace A. Johnson By Homer Tourjee Open sylvania. ing sandwiches or use as grill, Sesame”. by under-privileged boys and girls a this with Estate of Theodore (30508) Pr., 35c T Pressor, Philadelphia, (19571) Pr., 30c electric toaster will prove very handy. It whom Mr. Gehrig comes in contact in his Pennsylvania. The mischievous lad worries James Francis A joyful little number that is 1214" work as Cooke . 88 Llanbcrris Rd.. Bala- about Santa getting misinfor- long, 814" wide and 3%" high. MUSIC AS AN AVOCATION a member of the Parole Commis- MASTERS IN THE the program, whether per- may be played or sung by a Cynxcyd , Pennsyl van ia. Real novelties for mation on his behaviour. young performer. Has an air-cooled black baked enamel During many years Mrs. sion of New York. This is the opening Edwin B. Qarrigues, Cambridge Apts.. School grown-ups. utilize Vincent Astor of formed by children or They HO! ST. (Helen Lane d W issuhickon HALL NICK base with pressed-in handles, drip spout Huntington Astor) has been one of a movement instituted by Town Hall Are., Philadelphia, TOY toy instruments as the cuckoo, rattle, the to Pennsylvania. such NOEL. NOEL By Jessie L. Gaynor most ardent promoters of music in Christmas Eye in Merry and fitted drip cup and is finished in make fine music available to those 3. That the England tambourine, castanets, bells, anvil, pop-gun, New York City. She has set a magnificent young known bondholders, niortga- By Evangeline Lehman (30402) Pr., 30c T gees. and in the 18th Century bright chromium. Your reward for secur- example for music lovers everywhere. An people who may find it not only a pleas- other security holders owning or SYMPHONIES cricket, slapstick, sand blocks, et cetera. A bright tuneful song of ex- holding 1 per cent or more of total amount A (25778) Pr., 50c ing two subscriptions. able musician herself, her article in the ure but also a MUSICAL PLAY FOR MEN'S pectation and promised wel- force for social rehabili- ot bonds, mortgages, or other securities are Christmas ETUDE will be found an in- None. CHORUS In the sweet simplicity of come to St. Nick. spiration to all. tation. childlike thought, this song 4. That CHRISTMAS TOY SYMPHONY ARRIVAL OF THE BROWNIES SANTA Bread Tray: the two paragraphs next above, The Story sings of the little Infant Jesus CLAUS WILL Here is a Bread Tray giving the by Allyn C. Sa urer THE names of the owners, stockholders. By D. Price, $1.25 By Bert R. Anthony Price, 50c It can be used by children, or COME TONIGHT that ' LONDON PHILHARMONIC H. Hewitt is a little different. It is 11" x 6 -1 ORCHES- *ecurl holders, if any. contain not only The Music k /Y Composed and mature singers may use it to By L. E. WHAT’S BEHIND THE POPULAR TRA has just completed the list of Can be given with almost any number of rhythm Utilizes the piano, triangle, tambourine, cym- Orth Pr.. 45c T and has a gracefully irregular the most suc- stockholders and security holder;? Arranged advantage with audiences young rim with as they by instruments. The piano part Is for four hands. bals, sand blocks, whip-lash and drum. Always a Christmas “hit” as SONG cessful appear uimn the books of the com- or old. decorated tour in its history, playing the little ends. Its chromium finish is to pany but also, in cases where the stockholder H. ALEXANDER MATTHEWS singer qualifies the easily No more popular comedian on the stage, crowded houses throughout or security holder appears CHRISTMAS BELLS THE TIN SOLDIERS' PARADE promise with “if you’re good.” kept bright and new looking. Your England. upon the books of °"d WILLIAM SANTA CLAUS IS HERE screen, or air has appeared during the the company as trustee S. NAGLE or in any other By Seidel Price, 50c Price, SANTA CLAUS reward for securing one subscription. past ten years than Eddie Cantor. What fiduciary relation, Arthur By A. Louis Scarmolin 50c By F. J. Bayerl GEORGE A. SLOAN, eminent industrial the name of the person or Clut> Can rovide a he has to say about presenting a corporation Verf'ent.rt^ ® For piano and 3 water glasses or 4-tone trumpet, By Louise E. Stairs (Not your own.) popular for whom such trustee is acting, alning evening Triangle, tambourine, castanets, cymbals, sand executive (not A. P. Sloan, is the hnlw, around triangle, bells, castanets, tambourine and drum. (17960) Pr., 30c song immediatey becomes news. Read his chairman given ; also that drum. (26051) p r of the said two paragraphs Season with this musical blocks, piano and ., 25c captivating article in December. General Motors), contain statements Playy Th? 0 This song can be made addi- A cunning who was chairman of embracing affiant’s full sc ne of a massive little first-grade Book Cover: This unique Book knowledge and belief to oM knyl?.h 1f ? KITCHEN SYMPHONY tionally effective by the use piece with verses Cover the as the circumstances d room is SLEIGH BELLS that may be Metropolitan Opera Fund, and to arrani? easy a is made of Florentine which conditions under which stockholders and tha of triangle or bell in ac- sung by the juvenile per- leather, has hand- tion j4~ dialog and ac- By H. Kling Price, $1.00 OUR MUSICAL BEGINNINGS IN raised over one million dollars security holders who do not appear upon the arp By Paul Valdemar Price, 50c cordance with the marking. former. laced edges and includes last eood The J0y of a a page marker. books of the company as trustee, hold stock old 8 ne Piano with six kitchen utensils. THE spring, has been elected *£ *’!? d Christmas is triangle, tambourine, castanets, cymbals, A SOUTHWEST president of and securities in Portrayed For grand gift or prize. Your reward for the a capacity other than that t tci piano. or ' and ba8s whip-lash, sleigh-bells, drum and Metropolitan ot a bona soloists °5f' Opera fide owner : andT i securing one subscription. Our musical progress in the Southwest Association, to suc- and this affiant has no the™ for sneaking A SNOWY CHRISTMAS EVE (Not your reason to believe person, Parts 'take tL° has been a great surprise to all who have ceed the late Paul that any other T 6 “*in characters, own.) D. Cravath. Mr association, >*re are By Allene K. Bixby Price, 50c WINTER CARNIVAL investigated it. You will Sloan or corporation has any interest ns* A be delighted with ehorus slcal numbers, the also received ’ or * ?- the award of n,br?ct in the said stock, bonds, or partiemc ' A descriptive for triangle, tambourine, the picturesque article by Mr. Erna Buchel the National pat ng in all number Chas. Lecocq Price, 50c solo and , i except 1 By Theodore other securities than sleigh bells and piano. Presser Koehler. Committee for Musical as so stated bv him. U tet "umbers. Per- Co. Send post Appreciation “in (Signed) formance 9ticks, card for catalog showing I >ayid w. Hanks. Business Mnr. timp Y1 k Scored for triangle, tambourine or jingle a x) I hour, 15 recognition of his .''worn to rninutes ai.„ j Yt whip-lash, sleigh-bells, complete list of notable accomplish- and subscribed before me this 2nd adaptabl THE COMING OF SANTA CLAUS cymbals, sand blocks, rewards you can easily day Performance! e for radio and piano. ment in behalf of the or October, 1940. rhythm sticks, drum 1712 CHESTNUT STREET and quickly obtain Metropolitan Price, 50c without cost. Opera SEAL Alan A. McKinley. By Frank L. Eyer Association.” Price LIST AND PRICES OF RHYTHM BAND ' t'-OO Notary Public ip m- For triangle, tambourine, sleigh bells, whip-lash, REQUEST PHILADELPHIA, PA. (My commission 1942) b drum and piano. INSTRUMENTS SENT ON 792 expires May 6, « Oliver Ditson Co.) _____ * THE ETUDE ; PHILCO Dealers everywhere are Celebrating the 15 MILLIONTH PHILCO with Z/v^J ENJOY NEW THRILLS OF RADIO AND RECORDED MUSIC... Q/ows on/u in a V philco/ There is no other radio like a Philco! Outwardly, of course, its cabinets are original, striking, beautiful. But inwardly, it contains exclusive inventions and new principles which are yours only in a Philco! Listen to the 1941 Philco radio, for instance. Tone is purer, richer, more gloriously true to life; selectivity is doubled ; noise and cross-talk are reduced by 5 to 1 European short-wave reception is five times stronger, clearer and easier to tune. All this because of a brand-new circuit, invented by Philco engineers . . . and yours only in a Philco! The Philco Photo-Electric Radio-Phonograph, also, presents an utterly new principle invented by Philco engineers. Music on a beam of light! The scraping steel needle is gone! Instead, a floating jewel reflects the music on a beam of light from a tiny mirror to a Photo-Electric Cell. No needles to change . . . record wear and surface noise reduced by 10 to 1 . . . glorious new purity of tone. It’s the first basic improvement in record reproduction since the inven- tion of the phonograph! Only Philco has it! Your Philco dealer presents the sensational 1941 Philco now, in a great Celebration Sale! He offers liberal trade-in allowances, extra easy-payment terms and Special Jubilee Offers. It will pay you to visit him today ! PLAYS ANY PHONOGRAPH RECORD ON A Tilt-Front Cabinet— no lid to lift, no need to remove decora- tions, no dark, clumsy compartments. Only Philco has it! NEW PHILCO RADIOS AND $ 95 $ RADIO-PHONOGRAPHS .. . from 9. to 395 PHILCO 255T.The finest table model radio money PHILCO 245T. A full-fledged radio in a large, PHILCO TRANSITONE PT2. can buy in tone, performance AC-DC. PHILCO 2 8 and beauty. Power- handsomely designed walnut table cabinet. OX. One of a wide selection of radio console New 6-inch Oval Speaker and Beam designs. ful 9-tube circuit gives amazing sensitivity and Brand-new circuit with new kind Powerful 8-tube circuit, new kind of Overseas of Overseas Power output give finest tone ever selectivity. New kind of Overseas Wave-Band. Wave-Band and new American Wave-Band that brings in Europe 5 times and Overseas achieved in a compact. Horizontal stronger Eight Electric Push Buttons. Lovely Inclined Aerial System. American and clearer. Eight Electric Push and Foreign recep- Dial. Smart, streamline plastic Buttons. Large cab- Panel walnut cabinet. Only cabinet. inet of highly $5.95 down. tion. Just plug in and play. Only $3.95 down. Yours figured walnut. No installation; just on small monthly payments. plug in and play. Yours for only $6.95 down. EVERY 1941 PHILCO IS BUILT TO RECEIVE TELEVISION SOUND AND u T modulation ... the L , ... „... _ wireless way . when used with Philco Television Picture Receiver or FM Converter.