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

1-1-1940 Volume 58, Number 01 (January 1940) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 58, Number 01 (January 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/265

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FOR LITTLE TOT PLAYERS “Picuurl cote fa-dt Wc cocUcUA. Aeouda them jot cJiddA&i /p ^cnJUni flidi ffiTro JEKK1HS extension piano SHE PEDAL AND FOOT REST Any child (as young as 5 years) with this aid can 1 is prov ided mmsiS(B mmqjamflm® operate the pedals, and a platform Successful Elementary on which to rest his feet obviating dang- . . his little legs. The Qualities ling of Published monthly By Theodore presser Co., , pa. Teaching Pieces Should Have EDITORIAL AND ADVISORY STAFF THEODORE PRESSER CO. DR. JAMES FRANCIS COOKE, Editor Direct Mail Service on Everything in Music Publications. TO PUPIL Dr. Edward Ellsworth Hipsher, Associate Editor /EDUCATIONAL POINTS / APPEALING William M. Felton, Music Editor 1712 Chestnut Street, Philadelphia, Pa. Verna Arvey Dr. Nicholas Douty Elizabeth Gest Guy McCoy TO LISTENERS Krick Dr. Peery / MELODY /PLEASING H Robert Braine Dr. Henry S. Fry George C. Rob Roy Pietro Deiro Karl W. Gehrkens Guy Maier Peter Hugh Reed For PUBLISHED thirty-eight years Century music lias enjoyed William D. Revelli Henry S. Sawyer /ADHERENCE TO GRADE / ATTRACTIVELY the distinction of being editions These Favorite Easy Piano published, yet its price is but 15c a copy. In the following list are featured some of our very 1883 BY THEODORE PRESSER latest Issues, including the works of four of today’s FOUNDED most popular . .i 1 Pieces Have Such ualities Teachers, pupils and players will find them all of jEXKiHS ADJUSTABLE Q exceptional value, especially Kay Armour’s •'Modem Piano Method” and Walter Itolfe’s •‘Book on Har- mony.” You can buy them at your dealer or direct PIANO MUSIC RACK GRADE TWO—Legato and Staccato from us. Teachers who use and recommend Century music • Brings music forward and ONE Various Keys win the everlasting gratitude of parents who can’t Contents January., 1 940 GRADE distance so a — down lo proper Price for No. Title afford the high prices generally asked for teaching Cjd. child can read his music with music. Century music helps you hold your old pupils Prevents strain , .M. L. Preston .25 ease. eye Composer 19219 Humming Birds* Lullaby and also aids in enrolling new ones. Cat. No. Title LVI II, No. I • PRICE 25 CENTS opportunity for VOLUME and nervousness. Invaluable A descriptive little number giving an Your money refunded without question, if not Ella Ketterer for adulis who have difficul- 23666 The Bobolink legato practice. fully satisfied with your purchase. OF MUSIC ty in reading music at a dis- Key of G. May be both played and sung. WORLD 25292 Hawaiian Nights Prank H. Grey .35 tance or who wear Li-focal 8400 The Contented Bird .Daniel Rowe Very popular with young pianists. In fancy one can hear YOUTH AND MUSIC glasses. is very popular. Written mostly in This little piano piece ukulele in the dreamy waltz melody. NEW Have You Youth in Your Community .Blanche Lemmon to roar the steel guitar and and screws or gadgets No eighth notes. Key of F. PRICE quarter ana Key of C Easy chords in thirds and sixths. Introduces the piano. Examine these at 6631 Just a Bunch of Flowers Geo. L. Spaulding acciacatura. EDITORIAL our expense and after doing IMPORTANT aids to child piano •o, if are not highly t These you pretty little waltz song that seems ever popular. Singing the a A 6850 Folded Wings. Lullaby R. R. Forman .25 Music aud Dawn of New Day players are used and recom- pleased, rrltirn to us at our only. Key of F. notes A very popular number in the Key of G. Splendid study mended by the following expruse. We will pay all known pedagogues in 5786 Sing, Robin, Sing. .Geo. L. Spaulding in legato and staccato. Left hand melody. fnoDERn aiethod MUSIC AND CULTURE well transportation charges. a classes. pmno their John Thomp- One of the most popular first grade pieces with words. Fre- . 6 15111 A Winter Tale Bert R. Anthony .25 The Making of a Name . . . son, John Williams, Bernsrd Descriptive Literature quently used as a first recital number. Key of B flat. Wapnrss, Robin MacLachlan This little song without words is in C major and provides Wartime Musical London. Paris and Brussels .Maurice Dumennil Mailed U /ton Request FDR BECinnERS >nd many others. 23484 A Little Waltz N. Louise Wright excellent practice in legato playing. Left hand melody. Creating a Character in ..Friedrich Schorr 0 Children enjoy this sprightly waltz with its slightly synco- 3198— Dreams of Old Musical Dae id Ewcn 10 6755 Fairy Footsteps F. E. Farrar .30 Cnn be adjusted to any pated rhythm and tuneful left hand melody. Key of D. 3199— A dainty little composition that provides splendid practice KRTHLEEfi PRITIOUR IEKKINS MUSIC IN THE HOME piano — grand or upright 7514 Dolly’s Asleep R. E. DeReef in legato and staccato playing, in rhythm and accent. PRICE 15c EACH PART —in an instant. V-M0S1C CO- very simple waltz in the Key of F. chords. Extra Ilere is something 11 KANSAS CITY. MISSOURI A No 9634 May time Revels, Gavotte L. A. Bngbee decidedly new and original. It Television and the Music of Tomorrow Rose Hcylbut is issued in five parts in sheet form each large notes. music and Lovers . . . .Peter Hugh Ret d 12 Small pleasing and attractive number, giving praituc in it n- New Records for Home Music GRADE TWO—For Hands A part sells at the regular price at per which 15c copy, Musical Triumphs in Motion Pictures 1/ ary H arbor 13 2262 Four-Leaf Clover, Waltz H. Engelmann cato playing and in changing fingers on the same note. enables the pupil to start the study of the piano with Cat. No. Title Composer Price Donald Martin 14 of F. Grade Large notes. very little financial outlay. This modern is Current Films with Worth While Music Key lfo- 3846 Rustic Dance P. A. Schnecker work based 6849 The First Dancing Lesson R. R. Forman .25 on the middle C approach and is so clear and step- Music Lover's Bookshelf B. Meredith Cadmun 15 19690 The Owl N. Louise Wright .25 An excellent recital piece. Staccato work for the wise Especially suitable for a beginner in second grade work. right that the pupil is playing little tunes almost at ' the The melody alternates between the hands. Printed in extra hand and easy chords in the left. . outset. Profusely illustrated. Teachers, be sure 3213 Little Blonde Waltz L. V . Holcombe .25 large notes with appropriate text. Key of D minor. to see this outstanding work. MUSIC AND STUDY A charming little easy piece in G and C. 8372 Indian War Dance Platon Bromnof .30 3(96—Part I— Learning Letters on the Keyboard Making Five Finger Piano Technic Vital Harold Parker 10 19658 The Sick Mama Doll Helen L. Gramm .25 18868 The Chariot Race Rob Roy Peers/ .35 Very easy but most effective. The entire accompaniment 3197 Part II —Notes, Bars, Time Signatures Training the Hands for Definite Goals Fllen Amey 17 A cute song for a little girl to plav and sing. Key of D very easy little galop from the delightful set ’’The Old- consists of the open fifth on Part III—Five Finger Exercises A the tonic chord of t minor. Maier 18 minor. Circus.” Key of C. played staccato. great Part IV—The 2/4, Time Signature The Teacher’s Round Table Guy Time A favorite with boys. 3200 Part V—Introducing the 8th Note Art Opportunities for Singers . . .Dusolina Giannini 10 PIANO Thoughtless Errors at flu* Church Service . . . .Eugene F. Marks 21 CENTURY SOLOS, 15c ea. Why Not a Mother's Study Group .Mary Jarman Kelson 22 GRADE With Left Hand Melody GRADE \S7ith Left Hand (Capital letter TWO Melody . . ONE— — indicates key-number the grade) Getting the Meaning to the Audience William D. Revelli 23 3178 Wish A . (Symp. No. 3), F—2 Beethoven-Rolfe Real Art in Violin Playing Albert Spalding 25 MASTERPIECES Cat. No. Title Composer 3180 A Prayer (Symp. 2), G—2. Beethoven -Rolfe Sing, Price Questions and Answers . . .Karl TF. Gehrkens 20 Robin Sing Cat. No. Title Composer Price 3171 A Little Ballad, G—2 Chopiu-Rolfe 7235 Rose Petals Practical Hints in Writing ..William yar fSscv or Piano Paul Lawson .30 3143 A May Day Dance, C—F—2 Crosby Melody Henninger 27 OF 19860 Circling ’Round N. Louise Wright .25 An immensely popular second grade piece. It is a most 3165 An Airplane Ride (Arpeggio), 2—D. Richter Master Lesson—Chopin’s Nocturne Op. 32. No. Isidor Philipp 28 & Geo. Spaulding L Key of G. Four-measure phrases. All half and quarter notes. pleasing little romance. Key of G. 3187 Andante Cantabile, Em—5 Tsehaikowskv Hints to Accordion Teachers Pietro Deiro 57 Ave Maria, F—4.. Easy right hand chords. 7779 June Morning K. Forman §!§*} Schubert Artistic Effects on the Guitar George C. Krick 60 3189 Barberim’s Minuet, C—2 Hasse A singing melody fqr left hand with staccato chords in 3166 Bounce the Ball, C—2 Richter PlflRO MUSIC 16338 The Big Bass Singer Walter Rolfe .30 the right. Key of F. Very popular. 3168 Busy Little Bee (Valse Capr), Am— 2, Richter MUSIC An excellent study for melody playing in the left hand, 3179 Chicades 18611 In Merry Harvest Time .Walter (Symp. 8), F—2, Beethoven-Rolfe chords in right hand. Printed in extra large notes. Rolfe 3155 Darting and Master Work easy An easy melody with chord accompaniment. In Out, C— 1 Armour 3175 Dark Eyes (Easy), D—Mi—3 Armour Nocturne, Op. 32, No. 2 .Fr. Chopin 29 TUT WORLD'S I ARGKbl I0I IIX ITON 17811 Merry Brook 22786 Song of the Pines Mildred Adair .25 . Anna Priscilla Richer 3170 Dancing the Minuet, G—2 Chopin-Rolfe 3190 First Waltz, Of StANDARll PIANO MLNC. CONLMMNi, A very popular left hand melody piece in 34 time The right A bright, lively little recreation piece. time. Key of C—2 Durand-Rolfe Fascinating Pieces for the Musical Home % C 3184 Flight of Bumble Bee, hand accompaniment is in 2-note chords. Keys of C and G. 14123 NorcUaua C—5, Rimsky- Korsakoff Saucy Damosel William Baines MORE THAN IWOltCMIPHI ClASSIC. DW Dich Slater 3188 Garland of Roses (Waltz), C—2 Streabbog 33 No eighth notes. Inis tavorite little From Long Ago number is frequently used as a study 3154 In Rose Time (Waltz), F—B£—1.... Armour Elea Chittenden 34 MUDIRN.0PIRA1K ANPSAUtlPUIMI'INIION;, & m phrasing and 3134 In Gay Costume C Spider Dance expression. (Minuetto), G 2 . Crosby //. L. Cramm 34 24642 Pretty Rosebuds H. P. Hopkins .25 — — 12189 The Peasant’s Song 3162 Jumping Rope (March Tempo), C—2. .Richter Dawn Fairies E rangeline Lehman 30 A smooth-flowing waltz in C major. Few accidentals. All p. F Harker 3137 Jolly Little Sambo, F— Crosby A little song without — On Wings of Song Mcndelssohn-Fclton :;t quarter and half notes. words that may aiso be used as a 3173 Laces and Frills, Am—2 Chopin-Rolfe “mUMIl solo for left Wid a Banjo on My Knee Kenneth hand alone. 3176 March Militaire, C—3 Schubert -Rolfe Bradford 88 PUBLISHING COM Don't L PANY J 15447 Daddy’s Waltz Walter Rolfe .30 12916 The Soldier’s 3182 March of the Sardar, E—5—C—m, Iwanow Be Weary, Traveler S. Colcridge-Taylor 39 Song * Sidney 3156 Moonlight Waltz, G-—1 An interesting study in expression and legato playing. Key A pleasing little reverie, the Armour opening and closing sections 3164 Mr- rd Jakes a Walk, 2 Richter Outstanding Vocal Instrumental of F. of which are written 8 * ™j, C— and Xovelties entirely in the bass clef. 3051 My Little Pet (Valse). C—2 Hopkins Fifi (Piano Accordion) 3150 Nannette Poeo Animato )/F— 1 Armour Bertram Altbayrr 41 \l 3117 Out on the Ocean (Waltz), C—2 Hopkins Saraliande (Organ) William 8. Xaylc 42 Keys Only 3169 Pussy Willow 536 Pages Cloth S3.00 Paper $2.00 GRADE ONE—White (Valse). C—2 Richter Freedom (Vocal) Rosuctter G. Cole 43 GRADE TWO—Finger Dexterity 3151 Roaming Up and Down(Mar.J, C--1, Armour A Bag of 53 CLASSIC Whistles (Vocal) Bainbridyc COMPOSITIONS such as (Pieces having neither sharps nor flats) 3054 Robin Red Breast (Waltz), 2. Crist 44 Any Teacher or Prospective F— . . .Hopkins Spring Song (Mendelssohn) Teacher 3161 Sail on Little Boat (Bare.), Cat. No. Title Composer Price Cat. No. Title F—2, . Richter Composer Price Delightful Pieces for Junior Etude Prelude in C (J. S. Bach I 3139 Scouts on Parade (March), G—C—2 .. Crosby Readers 6482 Airy Fairies Geo. L. Spaulding .30 May Secure 75 MODERN COMPOSITIONS such as for Examination Any 3135 Shadow Waltz (Valse). G-^-C-2 Crosby Catch If 3978 In the Twilight Me You Can ! Elizabeth L. The most popular first grade piece ever published. Carl Game bah 30 3131 Skaters Waltz, C—2 Waldeuf Hopson 40 Melody in F (Rubinstein) el -Rolfe in 0,1 Review its dreamy melody is pleasing to the Scarf Dance (Chaminade) 17000 Learning to Play Paul Lawson .25 or All of These Instruction Works student and it pro- JJ *t 40 vides excellent practice in finger Grasshoppers Frolic Bryan Dority 38 LIGHT COMPOSITIONS such as Appropriate text and extra large notes. Waltz time. dexterity. 47 Sunny Garden .Sarah Coleman Braydon Simple Aveu iThome) 24425 My First Dancing Lesson Wallace Johnson .25 These "tried and tested” works are the ~| 3450 A May Day .... 48 A. p. G. Rathbnn .40 The Band is Coming ! Cradle Song . (Hauser) Musical and pleasing .Berniccc Roue Copeland 48 Melody mostly in the left hand. regular aids of the majority of teachers this piece gives a happy picture of 25 SACRED COMPOSITIONS such as May. It is very 11876 First Lesson, The C. W. Krogmann .30 [ popular as a teaching piece. Largo (Handel) everywhere. J THE JUNIOR ETUDE .Elizabeth The little verses assist the pupil. Single notes only. 4228 Song of the Gest 6S Ave Maria (Bach-Gounod) Leaves Carl IT. Kem .35 29 OPERATIC COMPOSITIONS such as 11557 The Scouts Are On Parade Geo. L. Spaulding .25 Pr ' CC * ^ * n< E *‘ vin* P r *<3icc in finger MISCELLANY Evening Star (Wagner) jolly piece for small boys. Appropriate text. dexterity A Celeste Aida (Verdi) 24010 MUSIC PLAY UJnLTER ROLFE Voice Questions Answered Waltz With Me Robert Nolan Kerr .25 FOR EVERY DAY 8232 Arrival of the Brownies Xichola s Douty r your ,avor 'tc music Bert R. Anthony .35 A pocket sized simplified Organ and Choir Questions Answered pr>oT?ii?i counter or sent All single notes five-finger position in each hand. method of the elements H enry s. ) ; A snappy little composition Fry upon receipt of price. Money The Gateway to Piano Playing Price, from the set In Fairyland of harmony, embracing the scales and Violin Questions Answered re- 16829 My First Effort Geo. L. Spaulding .25 #1.25 Good finger training their con- Robert Braine 54 funded if volume does not meet with exercise. struction, the intervals, the triads in both major Begin the Year with your ap- The greatest of all very first piano books for very and Music Florence Pr 'NOT SOLD IN Two very first pieces entitled "To and Fro” and "The young beginners 12090 minor keys up to and including the dominant Smith 8 ,°y?' CANADA). Illustrated in ages Cheerfulness 7th ’ Making Midwinter Piano Study Fascinating Family Pet.” Single notes. 5 to 8. It just fairly captivates the little beginner. D.-i,/ .30 and its inversions. .Alice Thornburg Smith 24 w ^ contents cheerfully sent al upon lmlc V,Ise Vive -" Everything is The Etude Historical Musical Portrait Series request 24536 Pirates Bold Mabel Madison Watson .30 Nic« finger work in the quoted in the simplest terms pos- 04 rfght hand sible so that even a Pedal Problems for Little Folks child with a year or so of piano .Garnet 8a eery Bass clef practice and clever verses. BEGINNER’S C n ” “ Publisher’s 07 MUMIL BOOK 25109 Jack and Jill y OW thrU «• Be sm‘e Notes PUBLISHING CO., INC. F1 . vf .30 scc lt. p RfcE, 25c. 1140 Broadway, By nd d New f ork. N. Y. Theodore Presser Price, de n Pltnt of h«nd The Century Catalogue #1.00 work y' » ”°“ contains over 3,000 comno- Enclosed find $ for GRADE Cross K4 of G tl££ Mttons_ consisting of Entered as second-clan matter which send post- Hand Work This is a veritable PIANO January 16. 1884 TWO— . at "first reader" for the piano. Exceptionally SO LOS-O U OS and the P. O. at Phila., Pa., under paid Masterpieces of Piano Music Cat. Title T8IOS — VIOLIN and PIANO — t 3e March No. Composer Price popular with teachers everywhere. 22657 DUOS TRIOS , °f 3, 1879. Copyright Hickory Sticks M. , 1939. by Theodore Prener and QUARTETS Co. for < > PaPer lot J5 — SAXAPH0NE and PIANO USA ( ) Cloth 11938 A Dream Song - First ° _ and Great Britain. R. R. Forman .30 practice for interlocking hindi.' MANDOLIN and GUITAR and VOCAL Excellent left hand practice in rhythm and phrasing. Ask your dealer for Century Name music, and U S - A ’ and sio if " " s 5°°3 Jolly he can’t . Argentina, Bolivia, Brazil, 22545 Through STANDARD GRADED Darkies . . , supply you, send your order H - Colombia. Costa the Air COURSE direct C. W. Kern .40 y .35 to us. Our iom- rVl"b D"n n "''ln , R pub K ' Ecu d°r £1 h VC beSt ** plcte catalogue will be mailed ’ SAvztior, Guatemala, Mexico. Nicaragua An arpeggio waltz in the keys of G and C, modern in style Uin* in this" grade. clever you FREE on request Paraguay,pir ’J"? H M < u i / Street— im’itation of P'«“* A Republic of Honduras, Spain, Peru and with a brilliant climax. OF STUDIES T ocam the and Uruguay. Canada and New- the middle section erf the CENTURY MUSIC foundland, $2.25 a piece,bTkc' the left hand carrying PUBLISHING CO. year. All other countries, $},00 a year. Single 19188 Hungarian Rondo Georg Eggeling .40 By W. S. B. Mathews the melody. copy, Price 25 cents. City & State_ In Ten Grades, #1.00 ea. I E 1-40 This typical little Hungarian piece is full of snap and go. 4320 The Song of America’s most outstanding the Katydid r s piano educational A few easy runs are introduced. Keys of and B flat. work Gives the r J5 C best selected v studies for all grades. Grade One is “ u,ble - • the ideal first JANUARY, 1940 study book for beginners of all ages over 10. 1 J

ciuorite azuieS SONGS at FIRMLY-ESTABLISHED FAVORITES WITH SINGERS AND THE BEST TEACHERS OF SINGING REDUCED PRICES OFFERS MONEY-SAVING COMBINATION

magazines by taking advantac ... rite Range Price . s .p may be new or re Range Price ETHELBERT NEVIN combinationj. otters now. Subscriptions CECIL BURLEIGH Man (30469) special Jf A Canadion and AN- 'o The Dream-maker s ^ address,m if desired. THE TWENTIETH E g !f0.50 different Sunrise (30700) d to D §0.60 may be sent to a IN c t0 E 50 each magazine THE PHILADELPHIA HERE. THERE AND EVERYWHERE of the ap- Sunrise (30701) Mighty Lak’ a Rose (30026) NIVERSARY F-sharp .50R foreign postage extra. COMPANY, with W. CHADWICK E to OPERA WORLD pearance of “The Six” GEORGE ,J0R Lak’ Rose (30027)... d to E .50R THE MUSICAL Faith (30072) a to F-sharo Mighty a Sylvan Levin as con- .50R Lak’ a Rose (30028) .. .c to D .50R $2.00 Beth —a famous group of Faith (30073) S to E Mighty THE ETUDE My Desire. Mon Desir. Fr. and Eng. THE ETUDE ...$2.00 Both .50 $2.15 ductor, Mary Binney modernist composers in- c-sharp to g-sharp .60 R BETTER HOMES AND REGINALD DE KOVEN (30081) Save as ballet . 1.00 ! Montgomery Eng. GARDENS . $2.40 $2.50 35c Tail- Comrades in Arms (Bass) (30102) Mv Desire. Mon Desir. Fr. and Regular arlea cluding Germaine g to D .6UK (30082) b-flat to F .60 R Save 60c mistress, and Mrs. Clar- popular Viennese com- Regular price .. $3.00 GEHRKENS, for the last OSKAR STRAUS, leferre, Franqois Pou- Clock (30189) Necklace of Love (30221) ETUDE •2.00 Beth KARL W. The Naughty Little A THE ence A. Warden as chief operettas, is reported d to g .6UK b to C-sharp .50 Both WOMAN'S HOME COM- editor of the Volume poser of waltzes and lenc, Darius Milhaud, 1.00 twenty-two years to F .60R F to F .50 THE ETUDE PANION $2.75 Rosalie (30440) <= The Woodpecker (30262) ... 1.00 of the roster of patron- have received his naturalization papers PATHFINDER $2.40 Save 2* Proceedings of the Music Teachers’ to Arthur Honegger, Louis The Woodpecker (30263) d to D .50 33.00 of Save 60c Regular price esses, won the accolade Born in Vienna, Gf.rmaine NATHANIEL DETT Regular price *3.00 Association, has resigned be- as a French citizen. Durey and Georges Au- R. , ALEXANDER RUSSELL National Tailleferre Glad Trouble Don t Last *2.00 Beth Academy I'm So E-flat to b-flat .50 $2.00 Both THE ETUOE of a sold out of March 6, 1870, he has lived for many years F to F •’ 0 Sunset (30017) THE ETUDE ROAD 1.00 cause of pressure of duties as head ric—was recently cele- Alway (30340) b-flat to F .50 2.00 OPEN $2.45 at Your Door Sunset (30018) AMERICAN BOY $3.50 of Music for a perform- Paris. Somebody’s Knocking Save $$e the Music Education Department of in brated by a special concert at Radio-Cit6, b-flat to E-flat .70 Regular price 33.00 J (30341) OLEY SPEAKS Regular price $4.00 Save 50e ance of Gounod’s “Faust” on the evening Dr. Milhaud con- April Rain (30422) E-flat to g .60R Oberlin Conservatory of Music. Paris, with Honegger and Both 32 00 Beth “The . Mozart’s CAR April Rain (30423) -c to E .60 R THE ETUDE . $2.00 THE ETUDE of November twenty-first. FRANCK FESTIVAL was held ver- (30050)... d tog .60 1.50 1.00 Gehrkens, an internationally known A CESAR ducting. Mile. Tailleferre possesses a Th

Editorial Vouth and Music Concerts you’re not Youth {ORRY, MR. ORMANDY, but Have You allowed.” i “Excuse me, sir, but persons over twenty-five are not permitted to attend.” glad to let you come in If I could, Day “I’d be very Music and the Dawn of a New madam, but these concerts are for persons be- Community ? tween the ages of thirteen and twenty-five. So in Your sorry.” should “bounced” persons who try to crash experts who tell us that the notes on the music rack Thus are AKE TO THE DAWN of a new and modern era in Philadelphia Youth Concerts, those inter- normal range of vision. The the dawn comes new hope. Frank always be easily within the evenings that pack the city’s musical life ! With every esting musical too tall, and we are sure that our his lovely quatrain Etude of yesterday was of Music six times each year. In the Dempster Sherman caught this in Academy W “format” (as printers call it) readers will welcome this new case of Mr. Ormandy the early decision has been ° “Out of the scabbard of the night long-needed improvement. reversed, for he is now conductor of the Phila- in as a valuable, practical, e m hand drawn in color. delphia Orchestra and consequently leader of By God’s Next, note that the paper is pure white, not dull words he e i light, four of the Youth Concerts. In other l Flashes his shining sword of This, together with a much sharper, slightly larger and now can feel perfectly free to come in at the !’’ And lo, the dawn clearer type, will make the entire magazine far more read- back door. It was before he occupied this posi- the able. consulted a famous oculist about these betterments, tion that he found at the front door that a rule In all the confusions, the disorders, the turmoils and We terms. at a Youth Concert is a rule. So strictly enforced verging on one side to sheer anarchy and on and he approved of them in the highest department dealing with young hates apparently is this age limit rule that some patrons take ad- Etude in this issue launches a new However, these matters of phys- The to pure idiocy, there are young woman, for ex- age. We desire to keep in touch with all the other vance precautions. One men and women of the “teen” ical improvement are merely in- letters addressed to this still endless manifestations of the ample, proved beyond a doubt that she was music youth movements in the country, and late cidental compared with the more for admission by displaying her birth Lemmon. A former pupil of the indicating that, with eligible office will be welcomed by Miss human will had the experienced teacher whom '! comprehensive and practical edi- certificate. There in black and white she Alexander Lambert, Miss Lemmon is an time, order will again come from until well after midnight would musicians of note have paid the great torial program we have prepared evidence: not Sergei Rachmaninoff and other world chaos and happiness will their families. the she reach the age of twenty-six. compliment engaging her to teach members of for you, in keeping with the new of be restored. If you think for Unfair to oldsters? Not at all. They have con- again age. While we retain all of the certs of their own. These concerts are given for a moment of the origins of the fine study features those music lovers who are between the ages of world’s behavior for the past six substantial and twenty-five, and seats in the large which have made The Etude thirteen months, it may all seem clearer. the ticket-seller at Concerts for Youth at which the boys and girls auditorium are insufficient in number as it is. the boy who first greeted friends everywhere, we have made hear not music that is “played down” to them The international whirlwind did This year the balcony was sold out in ten min- 9 a.m. He started the line, that was later to regular the publication more comprehen- or chosen because it isn’t "heavy.” but material things ; it utes after the seat sale started; the entire house extend over blocks and blocks and blocks of the not start with symphonic fare such as is served to their elders sive, more directly appealing to was disposed of in an hour and a half. The dis- city's streets, at 4.45 in the morning. started in the brains of men and risers and the when they attend con- appointed persons who never even managed to This mental picture of early women who, instead of taking a the musical needs of this great for longer long cue of eager ticket buyers gives you an idea, certs. Except for the fact that the conductor get to the ticket window have wailed a friendly at- hour in world affairs. But this is words, hopeful, constructive, period, but realize they have only themselves to perhaps, of the interest taken in Philadelphia's introduces each number with a few and titude, have taken the opposite only a beginning. We hope to make blame. They didn’t get in line until 7.30 a.m. To that the audience sings one song or two. and it better and better as the issues secure these tickets you really must arrive early. that the price is attractively low, there is no dif- stand. Setting an example—and possibly a record—was ference between these concerts and those that Guns do not fire themselves. roll on. The greatly expanded mu- are given the for adults. And do the youths in Wars are started in someone’s sical interests of the world call for Philadelphia area love it? Each year the demand brain; and the confusion stops this. We welcome your cooperation for tickets grows greater. only when understanding comes at all times. We want you to write The person who conceived the idea of giving fully freely. Tell us concerts for persons of this age was Dr. Stokow- into the minds of many. Therefore us and what ski, permanent conductor of the Philadelphia anything, which will bring more you want most. Tell us what you Orchestra at that time. He. like many other con- happiness, more understanding, do like and what you do not like. ductors, had directed children’s concerts and had more contentment, more order to Write personally to The Editor thought and spoken of the little people as the the world and readjust the jum- and state frankly any idea you Orchestra’s future audiences. And then it oc- curred to him that there was a more immediate bled minds of men and women, is may have for the betterment of future audience that probably was not being one of the remedies for world your Etude. reached at all: the boys and girls who attended chaos and is of vast importance to A very large part of the success the junior highs, the high schools and the col- every individual in our modern of The Etude, through the years, leges, the group who would soon men be mature scheme of civilization. MUSIC HAILS THE DAWN has been due to the cooperative and women. Prices asked for the regular sym- phonic Ever since the earliest times, spirit of our readers, who have concerts were necessarily high: many of these students mankind has looked to music as one of the divinely appointed gone far out of their way to introduce The Etude into probably could not attend even if new they were interested in great music. In some way agencies for leading man away from the mundane things of homes, schools and studios. their needs must be met. life to a higher stage, where he may have a loftier vision and Our editorial in the October Etude held forth for “Music The first step taken in this direction was a a broader concept of his relationship to others. Now, More than Ever.” Judging from the Youth Concert, many letters re- launched in the spring of 1933 At this Music is one of the great human factors in forwarding the ceived, many of our readers realize the wisdom of working successful trial offering, Dr. Stokowski suggested best in our modern scheme of living, and The Etude Music for music with all imaginable enthusiasm at this time in to his youthful audience that they the might help to again accepts the challenge to in make more such concerts possible, Magazine promote every world’s history. Be proud of the fact that you are engaged in and asked them to j send in their names if they possible way the use of music to this end. music with its fine influences, its splendid opportunities were for interested. Even he. perhaps, did not expect In this issue of The Etude Music Magazine will be found promoting lofty human ideals, its inspiration at this hour a response so immediate and so gratifying. upon long Volunteer changes based and cooperative correspondence when spiritual courage is one of the greatest needs of life. committees sprang up. greJ became with our subscribers. It is The Etude adjusted to the new Thus does The Etude greet its army of e l0ped chalrn»en, Etude friends, H and took o««r r 5 n there day. You notice at once that it is not so tall. The smaller piano faithful and true and all engaged in a kind of royal progress ' were committees enoufhLenough to takef u t°° THE PHILADELPHIA charge of everything except and the smaller music carriers called for this, as did the eye to a finer, more beautiful life. YOUTH CONCERT "WAITING LINE" e Sy Ph niC programs - a task which. Thousands of students stood in line for natuShv p hours to buy tickets. n 8^ f^he COnductor The box office opened at 9 A. M. The first boy customer arrived wishes to keep at 4:45 A. M Las hLhis own.own Ata i thei ( Continued on page 55* Happy New Year to you — all of yon — everywhere in Music Land. 4 the JANUARY, 1940 etude 5 .

for many years a young„„ man I was Music and Culture “As a aspired to be a virtuoso, a tea violinist an< ' ? professor of music at a Music and Culture when the Ecole Normale One day dowdown and began to time set for the reopening of umversity Both, The midwestern ^ ^ ^ Musical London, de Musique and the Schola Cantorum. assets^I Wartime danger of bom- .-Arthur Judson was born Feb- appraise ^y with that of the however, are bravely facing the Biographical compared * buildings and Be studied music when I use to be bardment, and it is in their own 1881, in Dayton, Ohio. There was no ruary 17 Leopold violinists are being held. under Max Bendix and great relatives and friends, in Paris that the classes in New York, preserved in small orches- pushed on If I had Paris, during the day at least, has Lichtenberg; played the violin present field. one of resolved fy-finTmyto accustomed liveliness. conducted an orchestra of Making I still be back in many spots much of its and then „ I might tras' From that and Brussels the Galeries Grove, New Jersey. university. The Paris Back of the Opera, for instance, hundred men at Ocean position at that the Conservato y fTTam!my same and the Printemps still display their 1907 he was Dean of m „ few people are v/fihng LaFayette 1900 to verv the University, Granville, Ohio, le their real bargain counters along the sidewalk; and of Music of Denison make an inventory of school to a mod- S°st dowHnd crowds assail them, picking it from a small music same feminine developed Middle Name than their desires. the a assets rather Everyone carries institution known throughout eagerly through odd materials. em honorary By in June, 1931 he received the at a Bound a gas mask enclosed in a cylindrical contraption West ' and No "Excelsior" Music from this University. the boxes used by botan- degree of Doctor of with a name that will earn J somewhat resembling an artist " Mr. Judson was manager of “To make e i hunters. It is lucky, however, From 1915 to 1935, By year out, is a long pull. It is m ists and butterfly in and u Orchestra. In 1915 he organized money year > policemen never look inside, for they might the Philadelphia few temporary successes. The 2 that Arthur Judson, Inc., not based upon a tobacco, pipes, Concert Management attractive fees is rice discover, in lieu of the mask, his ft artists get such then with a branch office reason why puffs or cosmetics! first in Philadelphia, law of supply and French Turkish cigarettes, powder Radio Program di° more than the old fH Distinguished York. In 1926 the Judson a nothing average Radio programs continue to elicit much criti- in New is not like the and Educator to provide artists and demand The manager Musician. Author Corporation was organized Let us suppose cism. Since M. Jean Giraudoux’ appointment as radio broadcasting, man or manufacturer. programs for commercial business soprano. general director, too much of the time has been Man- a demand for a dramatic years later this and the Concert he has of the world of and two S if does not just in time monopolized by personalities one one diary which he brought to America absorbed the Wolfsohn reach out and get This is M. Dumesnil’s vivid agement Arthur Judson He cannot lecture way over the heads of their Noted Concert Manager- automobile manufacturer, he this issue. Wholly impartial, it conveys to readers of The letters who Bureau (.founded in 1884 and oldest in exist Unlike the to be printed in Musical and In- conditions at this vitcil time in audience. these were the size of his factory Etude some of his impressions wpoTi musical In December, 1930 all of Columbia Concerts Cor- cannot increase call America). President of the create a great Europe. Editorial Note One night during an alert (as the French Concerts Corporation, a his supply. He cannot — merged into Columbia crease the sirens) or was it a mere and York Phil- that, and the Almighty the sounding of — Columbia Broadcasting System poration-Manager of the New artist Only God can do division of Only about every alarm given in bureau in the world (managing has given us very sparingly. largest booking harmonic-Symphony Orchestra come Imagine four order to keep the artists and organ- twenty years does an artist Somewhere in Normandy, in September one hundred and twenty-five ten fifteen or hundred and training of the president. musical fields, who is a top isations) with Mr. Judson as along in the various ILLIERS LE SEC IS OLD, very old. My , thirty tempera- population up to 1922 Mr. Judson has been manager of genius.’ has spent at least a century and a Since home mental artists, the mark—I had Orches- name, before any con- in the -Symphony “In starting to get a V quarter under its slate roof. About one Concerts, publicity, there many with their the opportunity of 1923, of the Stadium is given to any kind of night last September, I was tra and, since sideration the morning, one witnessing from a advisory manager potential artist families, bawling and for five years he was must be long preparation. The awakened by the jangling of the bell which Inc.; children, the pet suburb a truly un- For all these serv- qualifications of the Cincinnati Orchestra. must have three fundamental probably had not rung at that hour since the by the French com- canary of a forgettable sight: ices to music he was decorated First. Complete technical mastery house was built. At the door were two gendarmes. the prominent prima the aerial defences Government with the Order of Officer of bined with an ever growing repertory. This “Monsieur, do you know that the light is burn- donna, all kinds of Paris in action. Arts. It first. Academie des Beaux is usually mentioned last, but / place ing in your kitchen, and a beam may be seen genius of dogs and cats A ring of some Without it, even the greatest natural outside?” I hurried to find a covering from the from French fifty powerful in the world has nothing to sell and nothing and the only thing at hand was a copy of The r A rose by any poodles to Great searchlights rising, HAT’S IN A NAME? that can be depended upon, year in and pear Etude, with a picture of Johann Strauss II, would smell as sweet. But, if Danes. Someone revolving, crossing other name out, to give satisfaction. which I placed in the transom; and there the and not a flower, she had even added rays while every a rose is a singer Second. The artist must have something famous Austrian composer served to complete w not final a name she can a touch by other part of the will soon find that without to say. By this l the “black-out” required by the war. bringing along a landscape re- bring many ticket buy- mean that there Ineligible for military duties after three years parrot which mained in com- ers to the box office. must be a distinc- of service in the Great War, I decided that I a squawked aloud plete darkness. Shakespeare was tive individuality should fulfill professional contracts in America. and every now and This mighty spec- master showman, of interpretation Economically, every mouth to be fed is a liability known then. tacle was more he must have that moves the in a time of hostilities, when it was impossible well. In many com- than thrilling : it this only too public with which to gather properly the crops, and with millions he must partments ama- made one feel the “However, the artist comes in of apples and other fruits and vegetables rotting known that teur strategists, actual presence of also have contact. on the ground. Accordingly I motored to Paris in of any per- of war together with a name Third. The ar- order to try to secure passage. On my way to by means manent value cannot match sticks a comforting sense tist must have the capital I encountered English troops arriv- be founded upon any- representing bri- of protection, personality, that ing, singing bravely along the road. Drawn by and thing but real worth. gades and divi- it brought visions something in ap- the voices and the shrill music of the har- Tons of paper and sions, are fighting pearance, manner, monicas, the country folks gave up their break- of another world, oceans of ink have the war vigor- b eh avior, and fast and rushed to their doors to watch the of another planet been wasted in trying ously. As the where ocular thought, that in~ parade. Wish me good luck as you say goodbye val- to make ‘names’ for train leaves, the ues would public. (the first war song hit in Europe today), the assume be artists who trigues the would Bravo, soyez les bienvenus! the whole group meanings un- the boys sang. , get no more for their Even ichen off French crowd countered. I improvised myself bursts into sing- WAR—SANDBAGS—OPERA IN PARIS known to us. attempt than bitter AMPARO and JOSE ITURBI , America's No. stage the artist interpreter: “Here it’s not goodbye,” I shouted, ing a new version disappointment and with theii plane. Iturbi has been 1 box ofiice draw, "discovered" should be able to The famous National Grand Opera in Paris, wiih its striking exterior since by Mr. Judson of T ipper ary and under Judson Management over a decade “it’s welcome!” sculptures which it like chagrin. More than make a favorable make an outdoor Art Gallery, as it was being his arrival in America in 1929. ago. “It’s a long way, Brussels curtained with sandbags to ward off enemy bombs. this, no manager can impression upon as Paris, early October the way to Antwerp at once pick up ‘talent’ which many people as At the Gare Montparnasse a special train has Rennes, it’s a offered a great is only fair and good, Brazilian soprano of the Metro- possible. BIDU SAYAO, been provided to remove the entire staff of long way to go.” The French learned to sing in contrast despite the shrinking of maritime and by some secret politan. A "sellout" under Judson Manage- "One of the things Radio National (the Government controlled English, during the last war. traffic. The busy avenues, the Neon signs aglow, alchemy of showmanship make it great, unless ment. which needlessly discourages some young Amer- broadcasting organization) to Rennes in Brit- The Conservatoire National was also moved the brightly illuminated cafes offset a general the merchant by some very shrewd clairvoyance ican artists is tc witness the furore that greets tany, about one hundred and fifty miles away. out of Paris, but to a closer exile. Hardly had the uneasiness, a latent fear of tomorrow. discovers undeveloped greatness. Still, millions certain European prodigies make when they There are music stands, double basses and belated students of the big type, colors Interview their American Conservatory The opera season was already on its way; and, have the Hollywood idea that, by An Secured debuts in New York. They fail to realize around ninety thousand pounds of orchestral of Fontainebleau rushed to the last available public may be that looking at a poster, I saw a double bill: and explosive adjectives, the these young people do not drop into success. has Expressly for The Etude scores and parts which are being piled up in boats, when the great palace of Francis I was “Daphne” of Richard Strauss, and cajoled into believing that a great genius They frequently have with “Medee” by worked for years baggage cars. My friend, Rhene-Baton, one of requisitioned for that great national In other words, the ‘would be European school of Darius Milhaud, both in first performance. The been discovered. by audiences. The first night that Horo- and the leading conductors, is taking the removal music. Extra studios were equipped and tuition impression was one of must make good in an extraordinary way witz appeared —at Carnegie disappointment. In —“•''Bfc nan,Hall, hene was instantlyi very calmly. The conglomeration is incredible. was resumed in November. This was also the “Daphne,” sure enough, prove it to the experienced musicians and man- greetedCTPPt.Pri with « one notices here and thunderous applause after ^ first on. agers, before he is worth spending a penny Grant Heywood number, and he has ( Continued on page 62 ) JANUARY, 1940 7 THE ETUDE —

Music and Culture CURIOUS SITUATION seems to exist in called upon, whose so our young American favorites” are reputation dating regard to those of mcreasesjteadUy, and a great Wag- Belgian composers value is a A singers who undertake the number of only or perhaps even d VII , America produces and Culture believe, 01 aie led to the days nerian roles. On the one hand, Music since many , - back some aphonic no er neces can hear material; on the other, work and perseverance are Victoria outstandingly fine vocal Queen . thorough metier and hard result? ic.fingered instrumentalist with hints of Strauss’s musical career. What is or rne only the smallest proportion of these people there the whole, sary for a best soprano “ bitious program Character instrumentation. But, on one can an am develop into truly great Creating a stunning Countless short works of which struggling to fine natural voices ever and shows the dec in mos* caS ability of singers and vir- work lacks substance unimportant. In ta artists. This is not spoken in terms of spectacular the to say that they are which would of Rosenkavalier. As s fce commissioner but of the author of “Der written, though '' r e successes, in radio or the motion pictures, vitriolic thev are incorrectly tubs, in ‘he P spirit and in the usual show , enllrprising “Medee ” it is conceived discovered here and tH«e. »| Bls solely of those qualities which come to mind passages SeL may be r some good There are some inspired had he y th could also do as Nordica or Milhaud idiom. the composer could do, '.dependence, when one hears such names great beauty. But the what ^technical even one chorus of and to acquire Whitehill, both Americans who distinguished in an Opera and discord. patience to study often marred by unwise Young writing is too without which no durable Europe themselves in the Wagnerian repertory. the worm io.elrest equipment If good bye, B,”Sels remain, one o. works! That s what F Mid November; secure engagements and give a fried be reached Great Americans do of Belgium. French nothing the rWer^the cities “le petit Paris” and hope B.t Far- away dow^ account of themselves in their posts; but and they aie Sd Be.gi.rn expect Southampton. good potatoes are still an institution countries are suffering that, in propor- the seems to happen. Both S P the fact remains, nevertheless, whether you eat them in called wealthy chatter. smoke, equally delicious might perhaps be SS««y tion to the many great voices one finds here, the or buy a francs from what S-S on transcribe of the Metropole I might grill room amateurism’.” war ,U.e aneSdotes. number of distinguished artists is too few. Amer- bag at one of the P°Pulai contrasttoto and te? this recital. worth in a paper as a happy to brighten up yet, apparently, found its however, Unquestionably, and 01 r»f thpm here ican artistry has not stands. At the present time, Leon J°n n sta Tommies stepped into “friture” such conditions, Joseph and freshly landed fullest development. Let us try to find a reason dissatisfied. Since the mobiliza- today, Three Paris the Belgians are musicians of Belgium^ elegant and aristocratic important, a means This strikes as the leading _ one of the most for this and, what is more at ten P. M. . tion, all cafes must close and dignified ar o'clock, and the place habits^ through their well grounded ? mLrntr it was five of improving the condition. the people’s deepest rooted the wad at one of fashionable women. On chief reasons. First, there is its cafes. Th y wa" fineTwUh There are two can Brussels do without Music in London from better Baritone of the Metropolitan Opera Company, and What placard, a remnant amount of charlatanism among Leading place, a club, an after There hung a still a great are used as a meeting metropolis holds the record of orchestra, every after- and m The British • ‘‘Music by the X. those who set themselves up as vocal teachers. Internationally flenowned Interpreter of Wagnerian rillcs lounge, by the whole population; certainly beats times dinner and in this respect it 6.30.” Of course, the X orches- the outset. There should small orchestra It was darkness, noon from 4.30 to Let us be quite clear at of them there is a is indeed hazard- line. Our most Paris. Walking after sundown on the Maginot but admiration for the many excel- that a banquet took place of tra is somewhere be nothing in one of these cafes streets becomes a matter e personalities who ous, and crossing sat down and ordered °" lent and competent voice the Fall in honor of two like the ie Tommies in concern to those not endowed, l five cents at the present devote themselves A Conference Secured Expressly for from the Conservatoire Royal: Blue of tea costing about teachers who have lust retired power of seeing in the night. .thenthey and Albert Zimmer race, with the exchange rate, for the three of t^m to maintaining a high standard Joseph Jongen, the director, trenches and sand bags are successor of windows, shelters, corned beef and even-4ktfl0t of artistic integrity in their The Etude Music Magazine the violin department and the street pulled out cheese, head of everywhere. The people on manager rubbed hh however, A sentimental aspect increased noticeable —onion sandwiches. The work. There does exist, Cesar Thomson. seriously, in a businesslike way. contain his by manifestation; probably seem to take war nervously and could hardly a very different type of the meaning of this carry their gas masks, hands I believe they really do up; but before our accredited in the annals of any musical indignation. Finally he walked “teacher,” and for the first time outings to the bakery or the his own brother even on short word, one of the boys, seeing vocal masters must regret its institution, a brother succeeded he could utter one HOSE HEYLBUT occasion. grocery around the corner. as he pointed to the existence perhaps more than directorial chair. Such was the the the situation, shouted in the season is in full swing and director, was also The musical mister, what d'you mean, drawing any other of us. He is the pure Leon Jongen, the incoming Society, London placard; “Say elite. three orchestras (Philharmonic Where's night by the city’s artistic here under false pretenses. charlatan, who knows nothing feted on that B. B. C. Orchestra) give customers Symphony Orchestra, cares less; who succeeds Jongen! bloomin’ orchestra?”. of singing and aria. She did not And Jongen the Queen’s Hall. The Ger- your “put feeling” into The Dream symphony concert regular programs at of the neutral accepts pupils solely for what The preceding evening, a and The tender stood alongside even realize that an acquaintance with King the masters, Haydn, Mozart, Beethoven in the atmospheric hall of man flying the flag of the Netherlands. he can get from them; and who per- had been given the bulk of the classical ocean giant Henry had anything to do with a thorough of the two Mendelssohn, make up the incalculable harm to the featuring works the military patrol and works ' Conservatoire Royal, there seems to be some We were cleared by formance of Elsa. But it has. King Henry is part and colorful diet. In the modern list, as well as to the brothers: “Malaisie,” an impressive horn blew. As we sailed down the river, several profession “.” modification in the “standardization” of ac- of the tradition of and the “Symphony for Orcnestra around the ship, passing young throats that are offered suite by Leon, names. As unbelievable as this may air bombers circled Joseph, a magnificent master- cepted to them to his care. What mischief such Tradition and Organ” by of Tschaikowsky sometimes so close that we could wave Acquiring the request of appear, I did not see the name The latter was written at proceeded cautiously “teachers” can do! Students piece. the symphonic programs scheduled Led by the pilot, we The sort of study which our young singers the inauguration of the on any of The have confessed how they have John Wanamaker, for through submarine nets and mine fields. is a pene- the over a fortnight. Brahms, instead, was there need more than any other, perhaps, organ in Philadelphia. Since for the been allowed to force their monumental of his sym- pilot left us; the Isle of Wight dwindled, musical tradition and all it implies. suffered some repeatedly: four performances tration into construction of this instrument gained voices so that organic injury has resulted. Young on almost every recital or sun sank below the horizon. Soon we It is a significant thing that, at the present was postponed, the phonies, and groups been “promised” lucrative engage- delay and the inauguration sea. The Continent singers have music program. As to the British speed and reached the open time, there is not one major artist among the for the first time at the chamber ments after three months of study, and with symphony was heard vanished out of our sight. Opera’s Corporation (B. B. C.) , it continues American singers in the Metropolitan under the direction of Broadcasting. bothersome scales or exercises! These peo- Royal Conservatory, beautiful America and the prospect no magnetic con- giving programs of varied interest. Many are Ahead was German wing, who has not studied abroad. This Desire Defauw, the efficient and ple (mostly male) open vocal studios after hav- especially when younger elements are of professional engagements made long before means only one thing, that our American artists same forces, with the composer at excellent, ing been employed in the households of well ductor. The “old the thought of war. other night m the taking part. Unfortunately, however, some have not yet learned Wagnerian tradition as the console, were on hand the known singers and “picked up” a few points after twelve years thoroughly at home as they are compelled to same hall, and this reunion about the voice. Now by this time it should be the thunderous learn it abroad. And there, perhaps, lies one afforded an emotional element in quite plain that our quarrel is not with the explanation of the less developed state of Ameri- ovation which greeted the work itself. Begin the Year With Music legitimate singing teachers; but it is dangerous almost can artistry in German opera. The Theatre de la Monnaie is active to believe that every vocal studio is a worthy during my stay Does it follow, then, that the remedy lies in every night, and the billed (t^u Florence one. Butterfly,” “La a speedy departure for foreign shores? Not at were “Carmen,” “Faust,” “Mme. The second reason why American artistry has Chemmeau, a de- “The fireplace is the music all! Geographic location has little to do with it. Tosca,” “Lakme” and “Le It has been said that Few people realize the great part that not yet attained its fullest development, as far Brussels Walloma, comfort in a home and the plays in (Upper) Friedrich Schorr in Beethoven's "Fidelio." (Above) The remedy lies in developing here at home the cidedly latin list. But is not m center of physical their lives. The average person, it seems, as German operas are concerned, has nothing night a regi Friedrich Schorr as Hans Sachs in "Die Meistersinger." earnest, thorough, and French culture prevails? One piano is the spiritual center.” looks upon it as a pleasure, juot one of life's to do with vocal teachers. It has to do with the same penetrating where Note the marked difference in these two characters. boulevard on 1 s of study that form the foundation ment was marching down the Music has become one of the very essentials delights, instead of feeling that music is a gift, students themselves. The finest teacher in the methods of Unable to sing, e- in fact, it be said the work abroad. way to the railroad station. of our existence; may that a blessing, and realizing that it Is given to us world can do but little for a student who lacks soldiers whistled cause of the late hour, many music is our daily companion. Do you realize for the purpose of uplifting, inspiring and urging seriousness of purpose. The average American What, in a word, is “tradition”? It is a deep the “Marseillaise.” that we eat, play, dance, talk and sleep to music? us on to bigger and finer things. student does not mean to be less than serious; reports are merely the nails which hold together and painstaking study of every single detail Even our clocks and bells and chimes all are Longfellow the entire stress of modern life, with its the floor boards of this important structure. The historic, literary, musical, dramatic, human The Belgian School of Today said, “Show me the home wherein but to harmonic notes. The soldiers march off restlessness, its desire “quick American student inclines to work in terms of that lies behind and around the music one is very few remaining tuned music dwells, and I shall show you a happi- speed, its for re- Brussels is also one of the not invaded to war to the thrilling strains of great patriotic peaceful and contented home.” sults,” puts him at a disadvantage where serious speed. His questions are framed, not in terms studying. It cannot be acquired hastily. It can places where the modern rush has The bride and bridegroom tread the traditional study is concerned. Time of “What can I do?” but “How soon can I do it?” scarcely be acquired through the easy musicians still enjoy marches. So let our homes in the year of 1940 be filled artistic and method of all phases of life, where music; aisles of the church to the music of “Lohengrin” with good music, be and again I have talked with young singers who He has not been taught to take trouble and waiting for a lesson to be assigned. It requires meeting for quiet evenings of chamber and in so doing we shall wedding marches. Every are doing all they if pains, exerting his own initiative digging out the most devoted care on the part linger over a cup of and Mendelssohn home, contributing to our •nd believe they can, they pre- and of the student, where they still find time to country, happv. peaceful while discussing every place of business, is today equipped with contented homes. pare the lessons assigned them. But the assigned details for himself. I know a young lady who in researching, independently, into any and coffee and a Belgian cigar radio. Entertainment of every type is entirely lesson is not enough. Art is not a question of worked hard coaching the role of Elsa in everything that may even remotely touch soundly and impartially. Henry Ford said, “Teach your children to pUy his musical subjects music. Jongen and incomplete without The hours of worship some satisfying a teacher, or coaching a role, or get- “Lohengrin.” She was much surprised when work. Often this research leads nowhere, but it I had lunch with Joseph musical instrument, whichever Is best One day are contemporary in our churches enhanced by music. Yes, adapted to ting a good report. It is a lifework of spiritual asked to tell who King Henry was and when he must be gone through, notwithstanding, in the the conversation turned upon their ability. Do not let them be the keynote around lessons, are very similar music is which all else merely building; and the the coaching, and the lived, instead of her being given a chance to hope that the next clue < Continued on page 66) music. “Conditions in Belgium listeners. What the world wants is crea- said Jongen. The revolves. tors of to those existing in France,” music and other fine things.” JANUARY, 1940 9 8 THE EJVDE Environment Musicmusic That Reflects Music in the Home history of Viennese light the ent URING THE SPRING OF 1939, The Na- Of course cafe-house. The Culture from the tional Broadcasting Company inaugurated Music and springs d value in a music rst waltz king of there is but little “action the fl D the first scheduled broadcasting of tele- best, waltzes quadrilles and Television musical performance. Fingers in motion, vision America. limited number of television straight in A mouths of Vienn*’ family

Music in the Home

sharp con- auditorium, there was apparent the and the inade- in trast between the living voice Triumphs good as it Musical quacy of the earliest film recording, work, inflates Music in the Home first mentioned of the battle of the 1 sixciv of the was. Some justification original proportions (Victor set “canned music’ — music tojymphomcj critics of that time against the Quartet with discs—could be Records as they called the Vitaphone New 3 ’ M (horns) (Columbia t° ’ and Dennis Brain understood. A y parts of the “Diverti- plSyLg all six fMM-379)379 ?, P Pictures Movie Opera set y the eighteenth century Motion The in ve came with the mento ° Both works, admirably The next big step forward ^ music Of Love”, re- establish their sepa- picture, “One Night °wlll undoubtedly Lovers rendered, Columbia on July 6, 1934. The formula Home Music Singer leased by for rate audiences. the Art, from Jazz had been presaged by “Be Mine for Rossini is further A History d£ for this picture Toscanini European taut and dynamic Tonight”, featuring Jan Kiepura, a in his dramatical^dramatically ' evidenced by Universal in 1933. Overture to William Teu i victor to Today film imported reading of the Tonight” was a combination trav- recording, made in the studio “Be Mine set M 605). The merest thread of NBC Symphony Orchestra elogue and “scenic”, with the from which the operatic arias. improvement over those a story, using, however, three broadcasts although an By and room for more spa- The movies, with their greater flexibility previous!^ ’made, still offers greater illusion of reality than the opera stage, e? ciousness of tone. the pet where the audience is always conscious of proscenium dividing them from the singers, now presented grand opera selections in a natural the setting “so that,” as Mr. De Bra said, “in exploitation vernacular ‘the public would go for them’.” OF THE RECORD COMPANIES have Love” WO dramatic The scene chosen from “One Night Of real contributions to re- fa- melody was used to strengthen the recently made NCE AN ART MEDIUM HAS GROWN Moore is singing Vio- In time the theme was that in which Grace in the albums: Early it casu- continuity of the picture. T corded Americana miliar, it is far too easy to accept Traviata” from the balcony aria from “La and to be an artificial interpolation in letta’s Ballads (Victor set M-604) , years behind its song grew American O ally, forgetting the the courtyard, to the accompaniment of the thought that over Negro Spirituals (Musicraft set 35) been with music the action just because it was Favorite gradual development. So it has music students practicing across the way. Almost accompanying himself on a every picture must have one. It was a popular John Jacob Niles, field of motion pictures. in the in the leit- overnight Grace Moore was enshrined sing in the authentic manner adaptation of the idea of the Wagnerian dulcimer, is said to We have become accustomed to the stream of theater goers. Mr. De Bra gives an integral part hearts of Millions of early American mountain folk; he Hollywood and motif. When it was no longer of the first class musical films from commented, “To Miss Moore and to music lovers which he has col- it had been at first, the theme us six early American ballads Europe and are seldom conscious of the great of the picture as include The Gypsze was ridiculed out of exist- lected and arranged. They expenditure of time, capital and creative energy song Lullay (The Coven- jokes and Laddie, Barberry Ellen, Lulle which has made these films possible. We do not ence by cartoons, American tune) and The Seven critics’ jibes. try Carol with an fully appreciate the importance the years of the famous Hampton important contri- Joys of Mary. In turning to development have had in making it possible for The most spirituals sung by its Quartet, “The Jazz Singer,” Institute for good music to reach an immense new audience bution of for the Negro spirit- awakening Musicraft has done wisely; motion pictures. however, was the “feeling through have the authentic , whole world to the fact ual, in order to A stimulating survey of the important steps of the several voices; and the Hamp- had become should be sung by growth of music in motion pictures, dur- that the “movies” for in the Quartet has long been admired “talkies.” Millions who saw the ton Institute ing the last ten years, was presented last Novem- performances of the traditional Negro works. were immediately en- its ber in the Skylight Theater in New York, in a picture contains in all ten spirituals, many of over the potentiali- The set program of the Musical Adventures club. This thusiastic favorites, but several of them— Three years which are old subscription organization sponsors five programs ties it unfolded. Reign, Massa Jesus, Reign and Mary and Toscanini and Ihe famous N.B.C. Orchestra Audiences grew accus- like each year, to increase interest in good music in passed. Jes’ Gone ’Long—are less often heard. novelty of hear- Martha every medium. For the second Adventure this tomed to the All are sung with a conviction and feeling that characters burst Victor honors our neighboring Republic, year, Mr. Arthur De Bra, of the Motion Picture ing screen eliminate monotony in sequential playings. were not dis- Mexico, with its recording of Carlos Chavez’s Producers and Distributors of America, or, as it forth in song and in American music, There is a growing interest Office” turbed by the fact that the Con Amore “Sinfonia India” and ‘‘Sinfonia de Antigona”, is more familiarly known, the “Will Hays which the record companies are wisely meeting. Caimato music came from played by the Symphony Orchestra of Mexico was asked to prepare a program showing what background recently came an album From Victor (set M-608) motion pictures an unseen orchestra. (set M-503) . The distinguished Mexican com- contributions the finest musical Music for Orchestra, played by the of American ance of Goldmark’s “Rustic Wedding Symphony” increased interest in music. On November 30, 1930, War- Orchestra under poser-conductor plays his own works, and also have made toward Eastman-Rochester Symphony the lyrical ner Brothers announced a Vita- (Columbia set M-385) emphasizes his arrangement for orchestra of Buxtehude’s On the day of the program, Mr. De Bra dis- direction of , who has done the charm and grace of this simple, naive score. informally the high spots in musical pic- phone operetta in technicolor, encourage interest in Chaconne. The two symphonies are music of cussed much to promote and suite than a symphony, has “Viennese Nights”, an original The work, more a deftly planned effects, melodically concise and tures of the last ten years, interrupting his American music. The selections in the album are no program, other than titles of its five parts, illustrate his points by having excerpts story by Sigmund Romberg and from “Symphonic Sketches’’, rhythmically stimulating. The first is based on lecture to Chadwick’s Jubilee of which finds the fullest play Oscar Hammerstein. This pic- the sentiment genuine Indian In- of the films shown on the screen. TECHNIC MacDowell’s Dirge from the “Indian Suite”, melodies, and the second on ALLAN JONES INITIATES NEW MOVIE in the music. They are: Wedding March, Bridal ture, featuring Alexander Gray, Tyrannus”, Kennan’s cidental music that Chavez wrote for a pro- With the famous Donkey Serenade a new type of musical treat- Paine’s Prelude to “Oedipus the Garden, The Movie Art Moves created a pattern for Song, Serenade, In and Dance duction new mu- ment was introduced in the movies in the highly successful film Soliloquy and Griffes’ The White Peacock. of the Greek play by 3ophocles. This Night Finale. length pic- sical films. It was a transitional "Firefly." music deserves to Limiting his material to feature There is healthy elation in the Chadwick music, be heard. In his Trauermusik (Victor disc 15643) Hinde- tures of classical or semiclassical music level, step from the incidental music an appropriate note of dramatic import in the Chamber music enthusiasts will And much mith pays homage to the late King George V, about Mr. De Bra started his resume with October 23, of the theme song period to an Paine score, and great depth of feeling in the which to be gratified in the Pasquler Trio s for this reflective and deeply felt music was when Warner Brothers released their much original, well planned musical drama written Sempre Libera was an old favorite; to many of short piece for solo performance of Beethoven’s major. 1927, MacDowell. Kennan’s occasion of that “Trio in G written on the monarch’s Op. heralded Vitaphone picture, “The Jazz Singer,” especially for the motion picture medium. the new music movie audience it was a previ- and orchestra is a work of genuine beauty and 9, No. I” (Columbia set 384). This highly funeral. The work is scored for solo viola (played featuring A1 Jolson. This is the film which stag- At this point in the program, Alexander Gray ously undiscovered source of inspiration.” inspiration; and the Griffes composition is color- artistic ensemble attests the of this recording, the composer) worthiness I Bring in the by and string early gered Europe with its musical possibilities. The singing a Love Song from “Viennese With the overwhelming success of “One Night ful. With the exception of the MacDowell and work of the great Titan. Janos Scholz and orchestra. Vitaphone mechanism was a hybrid pictures Nights” was shown on the screen. Then before Of Love”, musical films gained a secure position. the Griffes works, these are first recordings. Ernst Victor Wolff unite — Mozart’s “Divertmento in F major” (K. 247) again for a performance the lights came up at the end of the Bruno of projected on the screen from film, with music house They became good box office. Among new symphony recordings another of the viola da gamba and harpsi- and his “Divertimento in D major” K. 334) are and sound coming from a whirling wax disc song, a spotlight was focussed on the side of “Naughty Marietta”, introducing the popular Walter’s warm and spirited performance of chord sonatas of given widely different treatment in two Bach. This time it is the Mr. person, major” (Victor new synchronized with the projector. the stage and Gray, in appeared combination of Nelson Eddy and Jeanette Mac- Schubert’s great “Symphony in C “Sonata in G minor” (third), recordings. Ormandy, with the Philadelphia unquestionably “The Jazz Singer” a new dramatic im- taking up the song. As his rich voice filled the Donald, followed February and Weingartner’s finely controlled the foremost With on 20. 1935, from the set M-602) Orchestra, playing four movements of the three sonatas that Bach “Symphony, of the plement was discovered. It was found that music studios of Metro-Goldwyn-Mayer. Attempts had and tonally rich reading of Brahms’ wrote. The opening allegro vivace is the im- could heighten the effect minor” (Columbia set M-383) occupy pelling and song be used to been made on Broadway to revive the musical No. 1, in C Bach, and both Scholz play and Wolff of a crisis or to act as a turning point in the comedies of Victor Herbert. The music conspicuous places. They may well be acclaimed it with appropriate MUSICAL FILMS was still brilliance and vitality. The dramatic action of the story. Presently the theme as the best performances of both works on recording popular, and it was (Continued on page 61) of these works is excellent. records, even though to both notable justice has RECORDS Musicraft, in its set 36, its Barlow’s perform- almost surpasses 1940 been done previously. Howard own high standard JANUARY , 13 of ( Continued on page 54 ) 12 THE ETUDE Music in the Home

Music in the Home Lovers Bookshelf While Music The Etude Music Current Films with Worth opera. Mr Copland, music, ballet and The “Forty-Eight” first American com- incidentally, is the A witty writer in our western states spoke of OF 1940 will see Guggenheim FoUowship he NEW YEAR poser to win a Bach’s “Forty-Eight Preludes and Fugues as the of what promises to For Of Mice And the release By award for music. constitution of the piano student. They are really the most important promises a non- T be one of Mr. Copland the great orchestral ar- Men” more that that, as many months. At the the musical films in conventional film score, discarding rangements played by foremost orchestras elo- of the pic- marKn writing, the name employed in present neutral mood so often quently argue. So far as the keyboard of the between Victor Her- ture is hovering music, and offering themes think that a better simile Herbert background piano is concerned, we bert and The Great Victor rugged native higher which will reflect the would be that they are the gateway to a and directorial policy (Paramount), atmosphere of the story. Pianist’s Art.” Until one has of American “Temple of the may order still another revision forever Until recent years It has been rather passed through this gateway, he must before it comes to the screen. But title composer of reputation to be upon a lower level. Charles W. Wilkin- Herbert. Oddly first unusual for a remain it is about Victor Miss Martins mas- Belongs To Daddy. This is Hollywood for the creation of purely son, author of many books upon how to play the picture is not in any sense a are ex- brought to enough, and great things procedure for written a manual composer. The screen appearance, music. The normal terpieces for the piano, has may be secured from The Etude biography of the great popular supporting members of background he Any book listed in this department pected of her. Among the kind, involving no stars, performance of the fugues, which mail delivery. of Victor Herbert have felt of tonal settings of this for the the price given plus the slight charge for son and daughter Foster, grandniece piano students, Music Magazine at father, the cast is Susanna and no actual musical per- terms a guide book for the use of a full biography of their illustrious no “big names," that Collins Foster. staff music and interpretation the like, Stephen been to ask the as an aid to the unraveling with its stress on student years and formance, had suitable, and to masterpieces, insuring a more intelligent receive its suitable setting Intrigue to send up something of these instruments might or might not Scores That librarian hun- of various kinds, in America; but of Mr. Copland by keyboard rendering. An average of three graphic sketches. For instance, when Schumann, with the result that Paramount it go at that. The engaging nor music lovers. on the screen, release of outstanding mu- let analyses “I have alone make neither musicians Another January in the direction of is given to each fugue. These in February 1894, wrote to Joachim: attempted a work of documented re- Hal Roach is another step dred words this new book which has not students, particu- sympathetic ink; and The main objective of movie audience music con- will be found helpful to many often written you with search. However the making the average Spaeth has given us is, however, study without a too, there is a secret writing Dr. Sigmund Victor providing them with the best, as has larly those who are obliged to between these lines, period is that of scious by to show how more musical enjoyment can come The Glad Days of recent years of the fugues are obtainable on rec- which will afterwards be revealed. Music is silent Herbert, and he ap- been the case with scores created in teacher. All his subject Victor Herbert, with a I must from music; and he has approached Still, and players; and we can easily see how at present, externally at least, and now pears in the film play, Connolly, Schonberg, Korngold, Janssen, ords by able colloquial Walter by have a in a thoroughly catholic and his usual would be a persistent student, deprived of a close. Night is beginning to fall.” We as a lovable individual known for his like- others. This is a laudable procedure. It diligent and entertaining reading of fine rec- passing into the manner, which insure very ness to the com- to remain exclusively teacher but with this book and a set picture of poor Schumann who guides the des- pity to allow musical movies draws a rather drab picture of poser, as he plays very interesting study of the cerebral shadows where he “heard the choirs of for many. He tinies of the hero and for exploiting famous names. Movie ords, could make a for Mary Martin, the a medium of the musical union, which that with later additional the calls of demons.” He sees the the 130,000 members heroine. Of greatest Para- hear background music of symphonic “Preludes and Fugues,” angels and heroine. A goers, who says, by the way, “does not recognize singers a really competent teacher spirits of Mendelssohn and Schubert who whis- he importance is the fact mount picture. value, cannot fail to carry a symphonic impres- instructions from union The writer has which he notes down. A as musicians.” He points out that the that the entire musi- them. would lead to their mastery. per themes to him sion away with musician does not accept less than a minimum “spotted” several great pianists who could play the few hours later he bids his faithful spouse good- cal setting— known be out of a Another Notable Enlists into the Rhine. Re- wage for his work, even though he solos, background mu- entire forty-eight from memory. bye and throws himself time. He is also weighted Preludes and is taken to a sanitarium job for months at a sic, orchestral selec- It is reported that John “How to Play Bach’s Forty-Eight covered by strangers, he his with rules, regulations and restrictions, so on has Charles Thomas, the noted where two years later he dies in the arms of down tions, and — Fugues” music, faded into and is not allowed to get much fun out of been fitted together American baritone, has By: Charles W. Wilkinson devoted wife. Thus a great genius if he feels like it, “which you generally from Herbert numbers finally capitulated to the Pages: 135 the beyond. even don’t if you are that class of musician.” exclusively. Thus it lure of Hollywood, after Price: $2.25 It is this sort of intimate picture that the (N. Y.) making “Music teachers”, he contends, “are often dis- will' rank as one of the having for years rejected Published by: Chas. Scribner’s Sons authors have caught again and again, appointed performers, and they have most of the few musical films of offers from practically William Reeves (London) the book one of fine, human interest to all music proper- unhappiness of the musical tradesmen, with even which the entire score every known producer in lovers. Deems Taylor, in his introduction, biographies less recognition or financial return.” represents the work of motion picture indus- ly says that he has found these the Men of Music per composer. MERE- well considered and just.” They are He hopefully assures us that ninety-nine but one BURGESS try. Producers Corporation Twenty-one outstanding musical creators, from “refreshingly undertaking presents its own prob- DITH and BETTY but as cent of the people can get, and are getting, more Such an of America, an independ- have been selected to make designed not merely for the musicologist, rights in John Stein- Bach to Stravinsky, lems. For one thing, the acquisition of the FIELD reader who knows that fun out of music than are the self-confessed and ent producing company, is excellent volume, “Men of Music”, well for the “ordinary” involved four full beck's "Of Mice the new and the book to the various selections has this book in hand he will enjoy the broad- amateurs and professionals; therefore Men," for which the to present Mr. Thomas in be of stimulating as well as entertain- with thirty-four Herbert melo- designed to whole. years of work. Of the American composer casts of “Toscanini” with far greater zest. is addressed to the country as a from the "Kingdom Come.” Little ing assistance to the new world of music lovers dies used, some were acquired directly Aaron Copland has He founds his propositions on the cheerful of the radio and record performance for a “Men of Music” others had to be repur- written the musical has been learned who look to composer’s estate, while By: Wallace Brockway and Herbert Weinstock basis that music should, from childhood up, be that score. This is a picture, to date, except the deeper familiarity with great masterpieces. This chased from previous owners. It is thought of fun rather than a source of labor. United Artists re- list at the Pages: 613 a source music than news of its projection; as is represented in a carefully prepared the Herbert film will contain more lease. that music study should start with gives the prices of Price: $3.75 He believes picture ever produced. soon as facts materialize, end of the book, which also any other musical motion Publishers: Simon & Schuster toys and rhythm bands, if you please. But that doubt about the popularity of the they will be reported in the best records. There is small Mice Men” is not new, as already there are literally thous- such fa- sical importance is “Of And (United these columns. It is a safe hazard, though, that There is always a keen desire to know more featured selections, since they include also has a based on John Steinbeck’s much dis- partic- ands of toy bands in America. He Artists) , Mr. personalities of the composers, perennials as Sweet Mystery of Life, To Thomas will be given ample scope for dis- about the Extracting Fun From Music vorite same name, the splendid chapter upon singing. Then, in the Romance; A Kiss In The cussed novel of the produced by playing his art. ularly the influences which led them to produce Here is an author who comes to us with The Land of My Own book, there is a fine section upon Hal Roach, and directed by (who writers a bold atti- confession that his book, “Music for Fun”, middle of the Alone; Lullaby; Kiss Me Again; and Anyone who has the musical welfare of motion their masterpieces. The show frank Dark; Thine the approach to musical notation, which, in directed “The General Dies at Dawn” for which in trying to carve out of the available mate- is written for an audience about which he says, All For You. pictures at heart will be encouraged by the news tude Janssen provided the musical better.” these days, recounts much of the music lessons (who undertakes no actual Werner score). that Werner Janssen, American rial in the vast musical archives, that which will “The less they know about music, the Victor Herbert the eminent the public schools, The Steinbeck picture is not in any sense a music masters stand out as that there are only 1,300,000 musi- that students get in modern musical performance in the picture) is to be born conductor and composer, has resigned his make these great He contends musical film; it is musically important because note that at a America, representing particularly those in which the phonograph and portrayed by Walter Connolly, whose striking post as conductor of sponsored individuals. It is interesting to cians and music-lovers in the municipally chapter the listeners’ it stands as a straight picture for which a dis- say, “It’s a cent of our popula- the radio are used. A upon resemblance to the composer makes it possible Symphony mu- Chopin concert a lady was heard to at a liberal estimate one per Orchestra, to become long list of is usually tinguished composer has been engaged to write looking”; and that is wrong. library deals with a what for him to go through the role with almost no sical director for pity he’s so insignificant tion. Perhaps he is right and perhaps he Productions. short popular classics, which one played by Allan Jones, the background music. The first of these special Moscheles found Chopin’s tone “too small.” John We never have made an accurate survey. Figures known as may make-up. The hero is During two seasons as conductor of the Balti- orchestral appear- musical scores' for a moving picture was written was jealous of Chopin, called him would seem to indicate that there are vastly hear by means of the phonograph and the radio, American , who followed more orchestra, dis- Field, who Mr. Janssen brought it difficult and longer selections. Damrosch by motion picture in 1912, by Joseph Carl Breil, for “Queen Eliza- sickroom talent.” Yet, where in the musical more than this number of musical instruments, followed by more ances with Walter tinguished national recognition. conductor “a with in The This is music that cultivated people hear dis- appearances in “Rose Marie” and “Show Boat.’ beth,” the title role. feels, however, world can be found a more fervid or exquisite that continued work in motion like think they know. It essays the heroine, and later, her In the present case the composer is Aaron Cop- genius. All this, however, explains why Chopin, cussed and to is very Mary Martin pictures offers greater oppor- quality land, whose “Dance Symphony” won scope and greater commendably worked out. The next chapter, daughter, bringing to the screen voice the $5000 tunities than with his great ability never could have been award in those of a three months season the Composer”, gives and musicianship of a far higher order than is RCA Victor 1929, and who has been with such a success as a virtuoso as was his robust “Identifying sketches of a symphonic organization (incidentally. fame as the steadily adding to his musical stature nineteen composers, ( Continued on Page 59) indicated by her recent leap into since then Mr Janssen friend . The book is filled with the fields of opens the question as to whether a interpreter of a “hot” number entitled My Heart in orchestral music, incidental so limited season is »> (.Continued on pope JANUARY, 1940 15 14 THE ETUDE I 3

Music and Study

Music and Study N WORKING TOWARD A GOAL it is im- portant to keep in mind the objectives that I tend to mark the course and to bring us Vital straight to the point at which we aim. In the Training the Hands Piano Technic matter of finger training the prerequisites are Making Five Finger control and strength. These two words exactly denote what is to be sought in developing a Article reliable finger technic. All gradations of touch, Instructive phrasing and the binding A Highly time, tone, tone color, for Definite Goals of inner and outer voices depend on the con- TECHNIC, with the potential ive FINGER Teachers scious control of the fingers. Experience with the essential part of his building Younger pianist, is an for law of inertia has taught that control should most perfect architecture de- F material. The be exercised with the first digital movements. smallest piece of stone, so does pends upon its The release of a key is just as important as its By arts, music, depend upon this one of the greatest attack; which means that the movements of most minute detail. the extensors should be as carefully timed as the teacher to seize upon its It is the task of K. Virgil claimed that it them in those of the flexors. A. essential features and to present most is more difficult to leave a key properly and in manner which at once captivates the pupil s -A"""* a time, than to attack it. In his invention of the £(len industry and at the same time per- interest and clavier he used a “click” to record the up stroke the maximum aesthetic petuates in the instructor record the The pupil of the finger as well as a “click” to satisfaction at a minimum of effort. enthu- down stroke. to a large degree by the mutual benefits The lack of action of each individual finger while the teacher finds his siasm thus aroused, adult makes a poor showing, particularly with For both the finger touch and the timing of a bearing fruit and consequently derives idealism to mistake weakness pursuit. at the piano. beginners. They are apt movement, there is nothing more helpful than increasing delight in his artistic outlined in Illustration hang our five finger exercise right arm, hand and fingers for stiffness. The purpose at this point is to must take things for 2. Let the the single note exercise played with a single The teacher never definite climax or peak. 5, for now.it has*a the side. learn the cause of the trouble and to decide obvious to the teacher, are not limply at finger. It will strengthen that particular granted. Things, There may be Take, foi in- Clench the fist. on the course of treatment. digit help gain the balance necessarily obvious to the pupil. 3. and one to backwards and forwards, in reasons for a physical stiffness in of the five finger exercise 4. Move the fist of weight with a single finger motion. stance, the teaching ten- order to determine the exact amount of some cases, but the handicap is more shown in Example 1. sion compatible with flexibility at this Joint often weakness from inaction. This is Ex. I Ex. the fist drooping technical matter that may be musical 5. Lift the entire arm with only a We have before us a precise picture in the wrist to about six inches above the corrected by movements which will order to carry out the above in- from shape. Now, in exercise. supply to the concentrate on keys represented by our flvc finger increase the blood teresting suggestions, we must some interesting means of the arm up and down from the shoul- muscles exercised. These movements Let us consider means of improving our five finger 6. Sway The two note exercise, played with repre- ways and relaxed until from the knuckles, or focusing the pupil’s mind on the sounds der, keeping the rest of the arm should be made two fingers, combines the timing of the him technic. fingers held in a sented by these notes and thus place before a state of pliant balance is reached third joints, with the downward and upward strokes for a of the mu- the fist is position as in piano playing. a delightful picture, or visualization, Improving Finger Technic 7. After having made certain that curved true legato, and, consequently, requires these sounds can take. drop to the most natural They should be made rhythmically sical shape Before we consider some interesting ways of hanging, let the arm the shifting of balance and weight from take on the five keys and with a feeling as in a stretching improving finger technic, we must first discuss position the fist can one finger to another. Picturing Musical Shape exercise, rather than an exercise in kinds of touch we wish to improve. specified. notes of the five finger the different If we are to give the wrist must bend which to acquire strength in the drop. Ex.2 types of finger touch. The 8. Particularly note that the , affixing of a There are two main 5 musical shape, the mere that of a physiolog- 5 ' 5 4 5 exercise percussive touch, which gradually downwards at the moment the fist The result will be as seen in first is the bent finger or common, or beat, time-signature, The flow of blood will in- finger pushing the key contacts the keys. ical law. itfgtJ-fz great deal. is accomplished by the Exercise 2, will help a crease the energy of tho digits and give I down from a vertical angle; and the second is 9. Test for wrist, elbow and shoulder plasticity and control. Ex. 2 is the fist up and them greater strength the flat finger or nonpercussive touch which as follows: for the wrist, move In both of these exercises the arm key down of a rocking-horse; fulfiUed with the finger pulling the down like the movement A Medico Prescribes moves only as it carries the hand along from a horizontal angle. Since the former touch for the elbow, sway the body back and for- the keyboard when the fifth finger For finger stiffness a physician has of the 1. the two it lower arms form we know where the beginning is the more fundamental touch of ward so that the upper and changes its key. Now treatment given for stiff or this briefly the shoul- suggested measure really is; but we will not stop at will be dealt with first and it will be part of a hingelike movement; for Note that when two fingers are em- joints of the fingers. First he uses things with in order that the ankylosed point, we will find more interesting summarized in its various aspects, der, rotate the upper arm, producing ployed, as in Ex. 3, the finger playing the appog- passive motion, then active motion and later which to deal. the pupil shall gain a perfect understanding of movement of a swing. massage. This tends to break up any adhesions We could accent every note in each measure what he would like to accomplish with this 10. Test for rotary freedom of the forearm, made Ex.3 present around the finger tendons and produces of the five finger exercise as indicated in Exercise touch. possible by keeping the upper arm still at the Ellen Amey in her studio with the de- an easy flexor movement of the digital muscles 3, but this would not be in keeping 1. The pupil would like to obtain the best side, and rock the fist on the keys as if turn- and joints. With this end in view the adult lineation of musical shape; we must think of the position his particular fingers, hand and arm ing a door knob to the right and left re- time signa- pupil, or anyone who needs special exercises finger technic rest on the timing of the stroke, rhythm designated by this particular require at the keyboard. peatedly. giatura is held close to the key. The finger play- weakness or stiffness of the finger muscles and the manner in which the touch is made to that the second and flexibility by substituting suf- for ture. We must remember 2. He will gain 11 . Once the percussive tones made by the above ing the principal note should have a wider are and joints, should know how to effect relaxa- produce the tone. Timing the stroke is a train- fourth beats of each measure in our exercise ficient weight for the maximum muscular muscular actions have faded away, resume stroke, otherwise an inexperienced the keyboard, ing that will prepare the fingers individually for player is falls on the first tion, how to carry the hand to weak accents; a strong accent power possible. the original position after the apt to push into the key and use no finger first taken position, mental or emotional guidance. well timed motion place on the third joints how to take with ease the proper and A and a medium accent takes 3. He will make his finger (knuckles and drop of the arm. at all. retain this position through control of stroke is not necessarily a well controlled touch. these measures. phalanges) strong enough to support the how to pulse of 12 . Take the thumb out of the fist, lift it and In Ex. 4, a rhythmic form often and hand. The fingers may then be One of the first considerations should be the used by weight and muscular tension imposed on the arm put down the key slowly and silently with a Mozart, the action is reversed, because the first Ex. exercised under the same conditions as if they cultivation of a rich, round tone. It must be them. firm, deep pressure of the finger. note of every two bears the accent. effect were used in piano playing. The object should understood, however, that a beautiful tone is The is 4. will gain equality of time and tone for He 13. Once the thumb will lift the produced by a slight wrist support the arm. strengthen them enough to allow control not produced by the finger alone. It comes from motion to aid the each note of the above five finger exercise. be to wrist to the normal playing position. fingers. greater finger and to give the pupil the assurance that he is the entire relaxed arm and forearm, with a accents 5. He will develop strength so as 14. Take the second and In Exercise 4 we can clearly see these finger out of the fist control of finger movements. There pressure touch made by a swing of the finger. Ex.4 to be able to control the up and down finger gaining their importance. depress it, lifting arranged properly in order of the previous finger. each is The direct muscles and to increase or decreace should be also a sensation that finger motion should be and simple, avoid- the tones 15. Have the so finger joints correlate physically the weight of the whole with- ing a plummet-like fall Ex.4 of our exercise at will. able to bear arm of the fingers or any as to maintain the without correct curve out a sagging wrist or weakening phalanx, and spasmodic movement. Since the motion is always 6. He will be able to increase speed and develop breaking in. necessary endurance power. to balance that weight as they change from one under the control of the performer, it can be Choosing pure basic material and creating the 16. Lift and it depress the third finger, and so on to another. Simple five finger exercises to suit Well here is a real surprise; The finger made any requirement. While the swing from steps and half steps stimulates interest following until all five fingers are taken the fist first if properly practiced will from are best for this work, practiced at a table may be either wide or narrow, there never should in five finger study. For example, Our next consideration is that of shading, for exercise help the pupil 17. use the first Play silently from the fifth to the all these things. Let finger back and then at the keyboard where the fingers have be any waste motion. There should be only such five tones of the major and our exercise would be merely an ugly, mechanical to do us consider this thumb, and minor scales, and successfully duplicate the solidity to meet resistance of the keys. weight as is necessary for the desired tone vol- this device. There is more exercise in its various stages, play them consecutively on each tone of the drill unless we used of touch already the experienced when using The several requirements for a dependable ume or accent. first point and shape to the manner of performing Make sure of the correct posture of the body chromatic scale, ( Continued on page 56) ( Continued on page 60> JANUARY, 1940 17 16 THE ETUDE Music and Study A “Sissy” Activity Is the boy who of my problems Study 0nrmc® ° but Music and ,„ and enjoys his lessons; hfhatesto practice, and feels that It Is piano “sissy" to take suggest? A. M.. New York. for Sinners tics do you Art Opportunities many children, Table Let us not forget that Hound are notorious The Teacher’s who do not like to practice, sorts of excuses to for inventing all masque the real reason for trying to get your boy (like some others Conducted Monthly By out of it. But if By that piano playing I know) is convinced him the power it takes is effeminate, show Physicians are ini to play our instrument. sheer physical endurance an* Tennis and Ping-Pong amazed at the required when a pianist plays a recital you believe that playing tennis, single brilliant 0 even a tin* Do harm- or a concerto, or ping-pong or other similar sports is the care composition. To play the "big.’’ bravura ful to anyone contemplating ®£ Noted Pianist accompanist or pianist? Liszt. Tschaikowsky and of a professional compositions of Distinguished Star game of tennis I find that an exciting Music Educator a herculean feat. Good condi- and Brahms is leaves my hands and wrists out of eating concert pianist must be as Concert and Opera tion for a day or two. Is it a case of Heavens! A of “us is as hard one's cake and having it too; or can strong as a truck horse; he games without critters” indulge in these Correspondents with this working as a common day laborer (11 permanent harm? G. D. G., Kansas. Department are requested there are any more such left In our land! i have developed limit their Letters to One Some pianists I know Not harmful at all, if both your game to Secured Especially for “grip” so that you howl with pain An Interview and piano technics are physically well Hundred and Fifty Words their the pressure they can exert on your coordinated, and free. If your piano play- by Others can tear apart a deck ol The Etude Music Magazine ing suffers after a few sets of tennis, your hand. have you ever felt the muscu- approach to the tennis is faulty; and I’ll Stops Between Measures cards; and in a real pianist's fore- by that your piano technic also is in lar development wager I enjoy your Round Table discussions Sissy activity. Indeed! need of repair. It should take only a few very much. I am teaching piano to my arm? W. S. B. this power, piano play- minutes of quick rotational forearm son. aged eight. We are using In addition to JULIETTE LAINE Grade I. swift and exact movements to limber up for the piano Mathews’ ing develops such expertly 1. Practicing one half hour a day. how doing this be sure at coordination as to make It one after such games. In long (approximately) should it take him muscular skills known to first to let the arms hang limply at the to complete Grade I? of the most marvelous would you advise studying how any good side, fold the fingers and thumb lightly 2. How long mankind. Show your boy Biographical: Dusolina Giannini was Lorn in gent, cultured public, still piano, before beginning violin or ? for and “shiver” loosely from ‘ has it all over” the magician, into the hands, R. W. M., Iowa. realize that many artists produce beauti- pianist just long enough in the past that expects its singers to sing. much Philadelphia the forearm as rapidly as possible. Use spite obvi- he can coax out of his Instrument ful, even thrilling results, in of the date is of no interest; she having escaped both rotary directions (first toward the your boy only more beautiful, enduring and startling A Glamour Bubble Pricked When you read this answer ously bad technical approach—and Durbin class, with far yet to go toward the fifth finger) ever produced by the the Deanna thumb, then will probably be in long trousers—and far because of their overwhelming artistic articles than were reaching that bane of the feminine mind “Another misapprehen- counting four, with two complete rota- book! The time depend on world's greatest master of magic. before beyond that first Mathews vitality. The rest of us must prev- count; set the metronome any- fellow himself known as being "mature.” On March 14, 1923, sion unaccountably tions to a interval between question, answer and our brains to develop that “feeling and Then, let the young where between 138 and 160. Continue the energy it takes but little locally known; but Anna Case alent among present day publication is often so long that I hesitate ear.” Only through good, scientific teach- demonstrate how much she was exercise, each time for four beats, with a diminished that evening with students is that grand to reply to some of the more pressing in- ing can we get the musical result of which to play a string of fortissimo fell ill and could not appear light flip of the arm into the air at the hand quiries. It ought to take at least a year for you speak. seventh chords—four notes in each the Schola Cantorum of New York; Mme. Mar- opera offers an easy, re- end (when you say “one” again). Then any eight year old to get through Volume up and down the keyboard in octave cella Sembrich, teacher of Miss Giannini, sug- munerative, and glamour- rest four beats, and repeat. As you con- feeding him a doesn't exhaust him. ask I, I hope that you are now skips. If that gested her as deputy; and on March 15th her ous career. It is the avowed tinue, gradually flex the forearm (letting fod- Speed Demon or more times nourishing supply of supplementary A him to play each chord two musical world. Her goal of nine-tenths of our until reach approxi- name was a sensation in the out the fingers) you the Mathews diet. He and down the der in addition to rapidly fortissimo up at fact mate playing position; remember now 1. What do you do with a child who European debut occurred on June 19, 1924, students; and the be- needs it! has a tendency to pass judgment on all entire keyboard, thus: that your wrist must hang. Look, as you Queen’s Hall London, with a second concert de- comes even more puzzling DUSOLINA GIANNINI as Carmen 2. At least two, but preferably three the music you give him? rotate, as though you are suffering from later; her Anna in when we realize that com- years. 2. Are there any “tricks" to hold back manded and given Donna in palsy ! Finally go to the piano, and ex- a child who speeds, and resents being Mozart’s ‘‘” then conquered , paratively few of these young people have ever able period, perhaps six months or more, before stopped? B. B„ Pennsylvania. actly the same way play the following worthy estimate of its promise. Paris and Oslo ; and in the 1934 witnessed an operatic performance, or have any daring to venture a groups, at the end of each letting your Tone Production all traditions knowledge of this art form other than 1. very she won an ovation shattering of first hand arm bound lightly upward, and fall to the Consider myself lucky, and wish you not think that good tone is Demands of the Opera Do I had many more! Carefully treated, such these events and leading to her debut at the what they have learned by way of radio broad- lap where it rests until the fourth beat more a matter of musical feeling and ear a critical child will develop fine York. casts. “Grand opera is very difficult. It demands the when you “prepare” it for the next repeti- than a question of physical means? And musical Metropolitan of New ear develop, the phys- tion. (Note: larger notes refer to rotary that, as feeling and taste. Always give him a wide choice of “Unfortunately, their innocence does not give utmost in voice, talent, and sheer physical en- ical means of tone production would vary direction.) pieces to study. If he is negative about the very phrase ‘grand opera’ is durance. Beauty of tone is not enough; the in different players—hut all would get a TTTlHEN PERSONS OF MUSICAL AUTHOR- them pause; his dislikes, persuade him to be articulate piano musical result? That is sure to convince him that ITY offer advice to students of singing, wreathed in glamour, and they decide at the operatic voice must have volume, resonance, and L, R. B., New Jersey. about his likes. You will soon see which playing is a man sized job! w they are usually so anxious to stress the outset that they will be a part of this colorful be capable of holding its own against the modern characteristics please him; you can then of the other qualifications in pageantry or will not sing at all. orchestra and the latter is not child’s play. Bravo! That’s the kind of question I play on these prejudices, and constantly importance many — evidence offer addition to the vocal gift, that they give the “Even before the voice has been tested or “In addition to a superb vocal endowment, the like ! On every side we are given him music of better quality. Then C lass Lessons of diametrically opposite technical ap- too, you can “put one over” by tempting student the impression, however unintentionally, classified they have decided what they are going singer should have appreciable histrionic ability, Following your advice. I have had class to the piano. In the case of him to select a piece is it, studio to excellent the ability to learn proaches that technically lessons for all my students. In addition that the voice itself is actually of minor im- to do with and they dash from one an memory, foreign musical persons, the difficult, artists or extremely and then making him work at it. to the private work. One thirty minute portance. And, since he sees and hears innumer- another until they find a teacher so astute—and languages, and, by no means least, he should be frequently beautiful or ap- For, after all, it private period and one forty-five minute results are was his own choice wasn't singers with mediocre voices, who are ap- unprincipled as to agree with them. As a result, blessed with a pleasing face and a good figure. class comprise the weekly schedule. The able — propriate. But what of the thousands it? Ah, sweet revenge! I never compel any results have been excellent, with most parently successful, the student is only too glad the teaching profession is overrun with charla- “Even with these many qualifications, the of aspiring players with poor physical student, young or old, to study a piece pupils enjoying however, the class A few. to seize upon such encouragement as excuse for tans who promise to make anyone an opera operatic aspirant will be dismayed to discover coordination, little natural musicality, against his will. do not wish to study theory, music his- his own shortcomings. On every hand, in every singer, and in very short order, to boot. that his opportunities for public appearance will sluggish minds? How are they to develop 2. Children dislike being tricked, except tory. harmony, and so on. Do you think ear” except by that every pupil should be made to take line of music, he sees singers whose principal “As a matter of fact, it is difficult, if not im- be so few as to be almost negligible. Also rotation toward the fifth finger. your “musical feeling and as a joke; so I avoid any such devices. The operatic the class lessons? H. O. S., Vlrgtnla- thus: being taught exactly how to listen, how The best brake for the pianistic speed asset is charm, personality, or clever showman- possible for any teacher, even the most honest, to field, both in this country and in Europe, is to study, how to master the various com- demon is to give him one or more slow, ship. Apparently a fine voice and trained artistry judge an untrained voice and its possibilities at a cruelly overcrowded, and with conditions Ex, 2 No; but if students do not attend the grow- plex pianistic technics by the simplest, ponderous chord pieces with handfuls of class lesson they should arrange for * are not the all-important qualifications they single audition. So much depends upon the pupil’s ing worse instead of better. sanest, most concentrated approach pos- tones. Students usually “fall for” such second, thirty minute private period, once were, and he decides that he too will follow intelligence and application, and upon the physi- “I have no desire to discourage the novice, but sible? There are certain natural ways of pieces, and are delighted when they can which would, of course, cost more. But I this modern and easier course. cal responsiveness of the voice; and for this rea- I consider it highly important that he face the playing the piano, which, if taught and make the huge mass swing along sonor- do not quite see the necessity for devoting “He could make no greater error. applied correctly, quickly convince every- ously. son the teacher must work with it over a reason- problem sensibly and practically, as would a the class period to harmony one of their rightness. But alas, how few Also, in rapid theory or “Rossini’s famous statement that a singer business man. This does not mean he pieces, if you persistently lessons. must trouble to ferret out Why not add to this a happy needs but three things, ‘Voice, voice, and voice,’ This is the best exercise I know for gen- teachers take the direct attention to the hand that has the abandon his career; it merely means that he vital playing time solos, two piano conditioning the these simple, sensible principles! Thou- easier part, — duets, is just as true today as it was the he eral loosening up and you will find the piece less day made must revise his original plans and must try his ensemble, technic try outs, and so on— muscles used in piano playing; it is far sands of them still say, “Well, Mr. precipitate, much more under it. Times and customs change, but the public control, and with you often wings, temporarily, in easier and more readily half hour of desul- (a well known pianist) does it this way, the necessity for joining in the playing’ more helpful than an interrupting reduced to which attends concerts and opera, the intelli- If you make it attractive attainable fields. An old saying tells us that ‘God tory scale or etude playing. and so it must be right.” How little they a minimum. informally enough the students will love it. ANVARY, 1940 18 J 19 THE ETUDE :

Music and Study playing. If organists would but CAREFUL. Bear in mind exhibited in his reactions RGANISTS, BE enormous power of clean cut phrases, pubhcs Current Films With vehicle of con- realize the in quarter-notes, is course, portance to the that your instrument is a undefined tune, Old Hundred, written people believe. It is true, of rofe would be less of marred or Study greatly during thel P of tone, without there follows: Music and persons of in- suffer O tinuity and smoothness While an ac- too often blurred as that, if one knows w £ While Music meanings in their interpretations. sional life; and later, Worth display of any degree of accentua- without open- and importance, they may, ffle even the least exist as a continuous back- never closes one door fluence retire, they ^ecom consequently companiment may con- grow old and page 14) to disturb or mar its evenness; and this seems espe- through their social or business liv (Continued from tion still the melody itself should ing another,’ and unhappy. Those who engender calmness of ground to a melody, of music; be able to secure auditions lonely it is an instrument to each line of a stanza cially true in this matter nections, ex er1 any orchestra to clearly phrased, just as only for their art do not P ®™^ adequate to bring thoughts, and ideas of eter- be present grand opera trial appearances for an unknown spirit, meditative certain inflections and for, while just at or fluctuations, y accomplishment of its pos- a poem is defined by be these emotional the full drifted and found its true in are fewer than ever, young singer; but they will not nities; so it naturally of the reader. opportunities and an innei he exchanges a the retardations in the voice live in contentment sibilities) . Thus, of the church, and all in the history of music able to do his singing for him. What niche in the sanctuary any hymn tune, say, never before can destroy. with one city for con- To illustrate, let us select to thoughtless- will peace which nothing brief season have viewed this instrumen Of course such playing is due been so many other fields comes of the audition or try-out ie master composers written in quarter-notes have there when their time for work of national outlet. Mr. As the Church Old Hundred, which is musician well knows that which the singer not only depend wholly upon the singer and Moreover, tinued as existing in that environment. ness, as every of music in this spiritual tran- won an Academy should be rendered also can chance given tirement comes, Janssen, who purity, you can see from this entire phrase can distinguish himself but what he does with the greater and stands for nuillitv becomes even with his first musical film organist, sustained legato touch. There is living. him. There is no ‘influence’ like award that viewpoint that you, an with .a make a comfortable for score, has begun writing the music in handling remedy of a technical nature “The radio is an excellent outlet, ability; both natural and cultivated. should aim at perfection no Wanger's forthcoming “City For your talent nothing eradicates it not only for the established singer, “The same common sense view- Beckon On for your instrument, as far as such faultiness; Vistas Thai completion of which and care. The the beginner. Many a point must be applied to the over- Sale.” after the and application to hard work will except eternal vigilance but also for country to make when soloist on ‘charm’ and ‘per- “I look for our will at once begin work on the mind, be anxious to mistake is encountered young artist has begun as worked theory of pres- he allow. With this in same strides in music; but at Across The Bay.” allowed to leave ‘sustaining program’ and sonality.’ Both attributes are good great music for “House intrusion of any disturbing Thoughtless some of the fingers are a studio obviate the our viewpoint and ap- notes is selected for a sponsored have; but they do not take the ent much of in your rendition at the serv- the keys before the time of the been quickly to too much Again element proach is wrong. We think We Go "Young" the middle voices. program, who would otherwise have place of talent, at least not with ice. completed, even in interpreters of music and too ragged waited interminably for his big musically sophisticated audiences. cf the During the holiday season. Para- The “be careful” at the beginning of This careless habit produces a the composers. important thing for a dimpled cheek will not atone for little of its creators, mount released “Gulliver’s Travels.” by the observ- uncouth rendition, whereas a chance. The A Flag- this article was educed and People go to hear Heifetz and cartoon in tech- parts will give an beginner is to obtain a hearing, and bad enunciation, nor will a radiant a feature length ing of a few disturbing elements in smooth legato in all not because of what they are Errors this the radio offers freely and un- smile make them forgive a bad stad, nicolor. This playful version of the playing of several organists. In one artistic and desirable performance. to play or sing, but because negligence conditionally. Not only can a soloist tremolo, or other defects. Such going Jonathan Swift's masterpiece is the instance the choir and congregation Another disconcerting are great names, great artists, of auditions and try-outs, but things may occur in ‘revues’ and they first long color cartoon to appear the tempo during the has been noticed is the tying obtain at were dragging which and the public is curious to gaze be the singer in .choir or chorus may musical ccmedy but, we are not dis- on the screen since “Snow-White singing of a hymn. The organist, in notes or chords when they should the star rather than to listen be- find also this work through radio. cussing that field of music. And The Seven Dwarfs." The picture order to pull the singers up to time, repeated in order to make the meaning the star is going to play “It always has seemed to me that “To succeed, not merely in a ma- cause the work of Max successive beat on rhythm of the musical phrase never drawings are pumped out each at the or metric handicap also in that deeper, Brahms or sing Wagner. We playing too many young singers terial sense but Fleischer, veteran animated car- the pedal for several measures. Finally, clear. A special instance of such in- gives satisfaction can claim to be a musical nation themselves with a diversity of finer way which toonist, who celebrates, during 1940 this did have the desired effect; but was in the rendition of the Intermezzo until we place music above per- terests. To make the most of one’s to the soul, one must bring a tre- year in motion and quite disconcerting “Cavalleria Rustieana” at the en- lover his twenty-third it was trying from organize all other sincerity to his work. One sonalities. In Europe a music talent one must mendous picture work. The film has six to the hearers; and it made one feel trance of the coda, where the melody ‘This afternoon I am around it and restrain all must work for the love of music, says to you: coralling following activities catchy featured songs, by Leo Robin as if he were witnessing the note “F” appears as in the which do not tend to de- impulses and Ralph Raingcr. and a score by of a herd of horses rather than ex- Church Service excerpt or improve it. This is impera- velop Victor Young. Mr. Young is a veteran periencing elevation by a hymn. tive, not only for the student but in the musical end of motion picture established artist as well. One A Gentle Remedy for the production. After much experience does his best work by keeping wholly fatiguing as conductor and composer, he took How much easier and less to himself, by working hard, and by annoying and over the Atwater Kent radio pro- to the organist, and less talking very little about it. listeners, if the or- (of memory) in 1929 noticeable to the I gram happy “When speaking of hard work some 4ft stops to his Since then, he has devoted himself ganist had added unrepeated chord as an accompani- do not mean vocalizing for hours on did not film foundation stops; and, if this small part of to work and recordings. ment, as follows: end. Singing is only a effective, had added still further On the whole, the outlook Is that prove our ‘work.’ Reading musical history even discontinued the 1940 the a 2ft stop, and as well as familiariz- will contribute greatly to and tradition, pedals. The brilliancy and acuteness with the work of our advance of music in the films. In ing ourselves produced by this arrangement would comes under the addition to the usual fare of “star- contemporaries, surely have stimulated the lagging So does piano ring” vehicles, tremendous advance- heading of work. up to the desired tempo, singers to come can easily see, study. Intelligence is not measured ment is being made in the engaging which rendering, anyone and especially if the organist had grad- memorize a rele in of ranking musical personalities to kills all rhythmic measure beats. Even by our ability to accelerated the time. ually the accompanying five days or to acquire a good French take charge of the musical settings see that if this with changed positions of lagging in hymns is caused by in- in its entirety. One can readily Frequently of accent. It is not what we know, but of nonmusical films. It is hearten- begin- chord (as given in the piano arrangement correct pitch in the singers; and in such cases is played, especially upon the organ, from knowledge, that ing to see the film looking piece) the desired rhythmic division of the how we utilize that industry break, it this , this remedy of added 4ft and 2ft stops is very ning to end continuously, without a determines our intelligence. We can to music to build the mood for en- try phras- melody would be lost. In order to render this efficient, not only for the tempo, but also for the will prove decidedly monotonous. Now "How would you like to sit in a draft all evening?" demonstrate it by our ability to look tertainment which, up to now, has tone, in coincidence melody note “F” according to its rhythmic pitch; and it is far superior to beating time with ing by a slight cessation of to foresee possible difficulties ranked almost visual or the demands of its metre, it must ahead, exclusively as a itself in with the end of a line of the poetry (in some formula applause or other going to the pedals. However, if a choir lags to prepare for them. For in- rather than for hear Beethoven’s “Appas- commodity. It to repeated as written, as a tied “F” destroys the and is not too much key, usually the fault may examples of this tune this point is designated be I think so often of sionata.” Here tempo or sings off stance, I read recently of one of the considerations. he says ‘I am going hope that progress kind may melodic intention of the composer and makes of this insufficient practice at re- by a pausa sign over this particular note) . Even Cox’s ‘Gospel of Art’ which to hear Moritz be traced back to Sherwin-Williams audition winners Kenyon Rosenthal.’ You see change the in phrase unintelligible. entire status of music persists, if this break is in melody-line alone, notice how the runs: the difference? hearsals. If, after due practice, the error who surprised his fellow artists by the movies. We had occasion to ask becomes. If the For a prefatory recital to a regular church it would be better to change to singers with greatly enhanced the tune in ‘Manon’ in work’s sake; a motion the the organist had selected several pieces. rehearsing his role ‘Work for the picture executive why discernment for accurate pitch. organist allows all four parts to cease at these service ignorant worship of personality native full costume. He explained that he Paint or sing or carve films have not seized the matchless will These works evidently had been chosen at Another cause of lagging is for the organist to vital points, the flow of the metric rhythm After all, a fine tenor is a fine ten feared the frills and furbelows of The thing thou lovest. opportunity they have of making delineated; and these breaks random; and he meandered from one piece to a fine pianist announce the hymn tune on his instrument at be more clearly the body starve. is a fine pianist; tt movie operas. without having finished any one such a eostume might distract him Though His answer was that and then, at the time for con- will not in the least mar the progression of the another, com- what difference does it a certain tempo make v the average pletely, and with all codas entirely ignored. Per- during the actual performance; so motion picture audience begin to sing, he changes the gait. tune but will rather greatly aid the congregation ‘Who works for glory sings or plays the music so gregation to himself before- long is not yet ready to them: haps the organist had reached a decision made he was accustoming Misses oft the goal; it is well accept This produces a state of hesitancy and uncer- in adhering to correct tempo. done? The genuine me thinks hand. That was intelligence. Another them “highbrow." If that is which naturally results In contrast to the distinct phrasing advocated by others, that the preliminary organ numbers Who works for money lover is a ‘music’ lover, not tainty in the singers, a s the case ex- are designed to drown the noisy entrance of late singer, fearing the footlights would Coins his very soul! worshipper. —and a motion picture in a lag. This fault of changing' the tempo seems in the foregoing paragraph stands a slipshod The radio has done ecutive ought to know it is a pity. several treating phrases as practiced by some comers, and that no one listens to them. The make her nervous, sang with the great deal of educational — to be habitual with some organists, as manner of the work’s sake then work, 1 ‘Work for And for that lovers melody purpose of an organ prelude, however, should be to chorus for a whole week before mak- the public needs what reason, music instances have been noticed. organists; that is, the breaking of the And it may be psychologi must hail eradicate perturbed thoughts and ing her debut. Again, intelligence. call reeducation. the steps that are now senselessly and making a cessation of tone sug- to prepare the That these things When the liste: being inaugurated to The Phrase a Thing of Beauty places. minds of the congregation to receive openly can say ‘Ah, Schubert’s to wed music gesting the end of a phrase, at incorrect the "Every Tub on Its Own Bottom" Shall be added unto thee.’ “Unfinisl the Symphony!”’ movies in a worthy way. If the Another example of carelessness was observed For example, the first line of our model hymn- Gospel message; but, from such an erratic medley and sit down to en “I am frequently asked if ‘in- “The true artist never allows public is given fine with organ prelude; and as a portion of this piece and then a the it without knowing whether music along during the rendition of an touch fluence’ is not more important now- adulation its motion picture organist of that one, we cannot conceive of public’s to ‘go to his head’; being conducted by fare, it cannot this was a negligence in phrasing. The this mental Toscanini but react adays than ever before. I do not he knows, better than anyone else, John Smith; to it in a favorable manner continuous flow of sound from the begin- condition being achieved. It is far preferable to only then can we And gave a know. I do not see how it ever could whether he has sung well or badly. said to be once it does that, operas, and ning of a movement clear to the end. That is finish a piece entirely, then allow a short silence ‘getting somewhere’ in be the ‘open sesame’ that so many Artists who attach too much im- all good music, no phrasal outlines whatsoever (even as much as thirty (Continued on musical education as a nation.” cannot long remain to say, there were page 53) absent from the screen. 20 JANUARY, 1940 21 THE ETUDE . . ;

Music and Study here is an old, old tale about several blind men who Study Twere to “see” an elephant for Frequently composers used dy- Music and the first time; and naturally their namic terms when in reality they way of seeing was to approach the Getting the Meaning were thinking in terms of mood, and Group? animal and to feel what it was like. not so much of variations in motion a Mothers' Study Each one touched a different part or speed. Again tempo is dependent Why Not of its anatomy, and to the man who upon the nature of the music, not touched its massive side it was just upon a set of metronomic figures. It Mothers the man who felt Experiment With like a wall, while is not difficult to know just when a of One Teacher’s the Audience Recent one of its legs declared that ele- to for the A # correct tempo has been set, tor an phants must be living tree trunks. where With Suggestions tempo is right at that point Pre-School Children others were D f The reactions of the the listener is not conscious of it, teacher man Income to the just as strange, even to the where the music expresses itself Project That Brings Extra “An Interpretation in Interesting who grasped the tail and said, The True Significance of most naturally, and where tempo Forms A and B elephant must be a sort of snake!” and expression are most clearly in A lesson lies in this story—all Before the first meeting the Band and Orchestra Music focus. In the course of observations FOR TEACH- all were wrong. A INCE FEES carefully tabu- were right and at high school contests, I have often children By answers were ING pre-school man with open eyes could tell them conscious only where lated, and transferred to index become tempo necessarily higher of the elephant’s size, could inter- S are it misfits. great many times al- the course vari- A school age chil- cards. During appearance. Man than those for pret the animal’s fast and andantes too can ous items were added to each legros are too dren (because the very young is by nature curious, and from earli- for my own rec- slow, for tendencies are usually in lessons much more mother’s card, an explanation must come to a est times he sought direction of excesses. ord. The following Material was the often) many friends and neigh- of the things about him, whether , It is advisable to assume from the unable to I assembled in a 12"xl8“ red rope financially phenomena of nature or bors were they were outset a tempo which best adapts it- to our clas- folder (cost: 8c each, at the Interpreta- send their children the handiwork of men. composer had in stationers) self to what the ses. They had been told often tion, then, fills a need. To interpret Book view. It is psychologically incorrect that we were doing very little The best all-round Pre-School music explain, one must make one must rehearsal at a very slow that they could not do to begin during the first stages I could find. clear what is hidden. The meaning work were some- Fora A music pa- tempo and then gradually to just as well at home. In fact, they A loose-leaf notebook containing, of things must be brought out by Teacher— Conductor, University of Michigan Band to the correct tempo. Regardless which the KU3IC CLASS FOR MOTHERS OF PRE-SCHOOL CHILDREN "reper- up times surprised to observe a lesson, per, library list, list of fifty easy either artistic presentation or sym- of the tempo necessary for the “visit,” as it took will gut notes child and I preferred to call a I. What you toire” songs, and blank pages for pathetic understanding. one original and one movement, providing the performers flower garden with us picking 1. Working material aeaembled in folder; place in the printed book of pre-echool auelc. and assignments. As applied to music, interpreta- at least technical ability, two-I- informal lecturee, group have some and singing: “One-I-love, 2. Ten olaee leseone eoneletlng of to be made Into The daisies, petals and so forth, with Another loose-leaf notebook, tion is supremely important. participation In eo.iga, games, all to walk into our questions and discussions. music, intonation, the dynamics; they would arise from they should play and hear the selection with love,” or still more shocked a “Sofa Book” for the child. of music is the performer of discuss with teacher interpreter 3. One 45-mlnute private Interview, to to its climaxes, inflections, dynamics, “teacher sitting problems. individual moods, temperaments, responses of contrasts, house and find a small boy and your specific A mimeographed “text-book” of my own and he may be an instrumental or vocal soloist, him at his idea) and pretending 4. One Informal visit for your child. (Please drop He the symbols found on the “blue-print”; and they and so on, in correct tempo at its first perform- under a table (it was studio, and call for him thirty minutes later.) authorship. or the conductor of a group of musicians. a great amount of children's would be guided either consciously or uncon- ance. In this way they get the important first in the cockpit of an airplane (we had 6. Privilege of borrowing to points of we were material, articles, books on music teaching, musloal A pencil—with the request that It was not has to take into consideration many psychology, and others. sciously by the interpreter’s ideas of the com- impression which subtly influences the effect for just been singing a song about one) removed for writing telephone numbers, performance: tempo, dynamics, attack and re- 6. •Consultation* by telephone, when teacher Is not engaged. be as far as actual one visit per month to studio, for next year. poser’s intentions. which they will later strive. The good derived Of course, I told these mothers, grocery lists, or Junior's arithmetic. lease, phrasing, nuance, inflection and articula- 7. The benefit of a teacher's knowledge and advice that are wisest to many But wherein are these differences evident? We from this method overcomes the mistakes which piano playing was concerned, it was the results of the expenditure of many dollars, of emphasis, mood, and the of study, and of long teaching experience. The library consisted of some sixty books, col- tion. Add to these experienced teacher. years do not have the interpreter of music explaining are made in speedy passages; in fact, the result have the children under an lections, individual songs, and articles clipped individual emotional and intellectual reactions, in the II. What it will cost in words his feelings on the piece being per- is usually a more careful attention to dangerous there was a great deal of background interpretation is not so simple But For materials, mimeographing, and so on (payable In from magazines, covering every phase of pre- and we see that and crude instru- advance $2.00 formed; nor do we get his meaning from the passages on the part of the players. form of singing, game playing, activity. numbered. matter as we might first believe. For lessons .9^00 school musical Each was a mental work, that a small child needed before *10.00 expression on his face, nor necessarily from the The conductor must always be judicious in his ($4.00 payable March 1) This library was placed on a table In our front the piano. This sort of thing (34.00 payable April 1) The Spirit of Interpretation movements of his body. If he is a conductor, choice of tempo, although he is not restricted too he ever approached hall. A chart with name slips hung above, so so much fun, that it was really a shame In any case, interpretation in music is the ex- those explanations are received by the members thoroughly. The matter of tempo will always was Lessons will begin the first week In February, ar.d will between meetings and conclude the second week In April. any mother could come they were missing it in their homes. pression of an individual’s conception of the of the musical organization which he directs. claim his attention if he wants to be accurate Schedule will be arranged to suit the majority of patrons; exchange a book, without interrupting a lesson. and no change will be made after the first week subject, which may vary from the simplest song But for the audience interpretation is dependent in interpretation. It Ice Is Broken No lessons will be made up, except In case of illness. must be remembered that although some of The to the most complicated symphony. Every serious upon the individual’s choice of tempos, his these mothers had studied piano four or five Dynamics Finally, an energetic mother, whose older boy musician should give thought to his manner of handling of dynamics, his use of diminuendo and years in their youth, some had sung In choral was studying with me, asked if I would conduct interpreting; for, if he feels that he understands crescendo, his transference of mood to the play- Dynamics are not always unchanging sign- up a group societies or belonged to chamber music groups, a study course, if she would round a piece of music, if he feels that he has caught ers, his balancing of instrumental voices with or posts—probably no two performers react to them sort none had ever taught music. A few had tried to of mothers who would be anxious for this its meaning and spirit, he must be sure that he against each other, and his method of delivery. in exactly the same manner. That is one reason it. I teach their own children duets, and to make of fun, but ignorant of how to go about is giving a form to his means of expression which These matters we must examine closely, if we why even our major symphony orchestra con- them “count”; which was about as sensible as try- agreed delightedly. actually conveys and explains that meaning to are interested in interpretation. ductors find it necessary to rehearse dynamics, ing to teach them that “The square of the hypo- In larger communities it would be wise to have others. and to have everyone reach an understanding tenuse of a right-angled Tempo is prominent in women’s triangle is equal to the follow- a “key” woman, who (last name) (Initials) (address) (pnone) Does interpretation call for merely the and a balanced conception of the dynamics as sum of advertise by CHILDREN: the squares of the other two sides.” clubs, P.T.A. groups and so on, to ing of a musical score? Most musicians are able In reading scores, many tempo markings are scored. If all of the players visualize and feel Age_ 3chool? well as by Sex. . In Nursery Our greatest problem was getting mothers word of mouth, and telephone, as the to read the printed form and markings which too indefinite to be regarded as authentic. For the dynamics just as the conductor does, then 1. Do you have a piano? to sing notices, the organizing of such a spontaneously, away from the piano and record on paper a piece of music. But interpreta- instance, we cannot say that Andante always has newspaper 2. Vlctrola of any sort? the effect of the whole is just as he conceives it. away from the books, 3. Do you contemplate purchasing either within the next and to lose self-conscious- than mechanical rendering the same meaning it may thing group. year? tion involves more a — mean one with This will be true whether a piece is rehearsed How long study muelo? What Instrument? ness in Any teacher, the majority of whose pupils are 4 . did you games and crude dramatizations. of what appears in that score. If it were not one composer, and something else with another. or not. 3. Regardless of amount of study, or ability to perform, how We divided in school or kindergarten, must squeeze in les- our songs into the following gen- so, how regimented and dull all music would be. We cannot attach definite and limited meanings rate own musical In the same way that andante or would you your ear? Excellent Fair Poor eral groups: allegro do between the time school is out and dark, best, the musical score is a “blue-print”; and, to any of these terms; and this fact is sons (Underscore correct word.) At more not always mean the same thing, piano and of 1. tax Saturdays to capacity. The prospect 6. If you play the piano, oould you play a simple hymn tune? Lap Songs—To be sung while it does contain the composer’s ideas and apparent when we check up on the metronome and to the child when forte may separately have different meanings at pleasantly (and proAt- 7. Do you sing around the house? he is very, Ailing a vacant morning very young. thoughts, and guides the performer, it is subject markings given by the composers themselves. different times. How soft shall 6. Does your husband sing or play? a piano be, or how like a 2 . ably) without having to watch the clock About-The- House-Songs at to the differences in emotional and intellectual With each composer the nature of the music loud 9. How would you rate his ear? Excellent Fair Poor —To be sung a forte? The answer depends entirely upon, most agreeable. 10. Does your child sing spontaneously? any time of reactions from what appears on the musical determines the exact meaning of hawk, was day. This included all sorts allegro, or first, the composer, then the character and mood met Arst for a morning discussion and Carries tune well. Fairly well. Sings, but not tunefully. of activity” page. particular reactions are in evidence if andante. It is for this reason that We songs and games. No we can not of his music, and his conception of the 11. Does he ever give any sort of physical rhythmic response to dynamics forms A 3 . coffee in the studio. Previously typed Sofa Songs—Sung from there is only a following of certain notes, and rightfully criticize the tempo used by a per- muelo in your home? a book, with the to be employed. and B were passed out. It is so very easy to have child looking spiritless observance of the ordinary musical former, so long as the tempo taken 12. Does he ever go to the piano and •bang*? at music and pictures, at a correctly de- We cannot conceive of a undertaking, piano, as used by misunderstandings about a new 13. Does he ever try to pick out tunes by ear? that time of rules, the dynamics and agogics indicated by the fines the spirit and intention of the music, and day when the child climbs Wagner in the Death Scene of “Tristan care- 14. Have you ever tried to teach him songs? Name some. and when agreements are made only verbally. I up beside his mother recorded symbols of music. so long as it is musically sound. 15. Has he ever and says: “Read Isolde,” as being similar to the course planned been taught anything on the piano? What? piano found in fully went over the outline of the me a story” If we were to take ten leading musicians—let 16. Did both of you enjoy It, or was It nerve-racking for you or “Sing me a 'song." places in the Overture to ” be ten, the “ by for six weeks (which turned out to aad a ohore for him? violinists, for example (Underscore correct phrase.) nstrumental” Songs us say —and have each Mozart. They are ques- —Songs to be sung opposite in moods, and this so interested) and invited 17. Are you willing to spend about 15 minutes a day with your rst interpret mothers were then transferred one the same concert, the musical ef- fact must be given child, to glasses, xvlo- consideration by All who decided to “sign in some sort of musical activity? variations in tions and suggestions. phone, and finally fect in each case would be different. The differ- BAND and ORCHESTRA intensity original piano. and volume as applied to the up” Ailed in the questionnaire, with n there ences, however, would not lie in the notes, the term were also many Instrumental com- piano in each selection. suggestions for added interest. positionsTnf to be played ( Continued on page 53> JANUARY , 1940 22 THE ETUDE Music and Study very highly colored “Lohengrin.” This prelude is crescendo is sys- count for each, so that the yet in the opening measures they Study ac- with dynamics, Music and graduated and the change is sensitively, while in the tematically be treated very may be derived from a scene or picture—a brook in studying must which curate. The same plan works selection the crescendo leading to countryside; or restless Attention must be given to a matter dynamic middle of the winding over a quiet This method of developing mUSt UP Bra other by every competent musical inter- diminuendo. Lax of the PTelUde ^ waves dashing against a stony cliff. On the is recognized the common fault of Sc tremendousi peatt Playing wholesale dy- control helps to eliminate reached a in Violin in a feeling or preter, that of indiscriminate and sue- ually until it has Real Art hand, this idea may originate diminuendi which are merely the part of almost every instance crescendi and excellent control on abstract. It is not neces- namic markings. In the bet- This requires emotion—concrete or den changes of dynamic level. Naturally, treatment so as not to scores for band and orchestra give a players and a careful sary that we inquire too specifically into the musical effective the crescendo or not ter the control, the more crescendo too soon. When feel, certain dynamic level, such as a pp ff , reach the peak of the By origin of every piece of music, so long as we a. V\o xiritVi o trpmen_ to all the other or diminuendo. for only to one voice or section but making the or are deeply impressed by, its motivation; such passages as If the wind player will feel that in sections as well. If we play than sometimes the impulse of our heart is more the diminuendo he is lifting the tone rather marked, with all choirs faithfully observing authentic than the product of our logic. will be more likely to retain a written, the effect is very unmu- dropping it, he Mood dynamics as and therefore ev Even a short inquiry into the art of composi- It is at this steady pressure and intensity, performances sical, and the parts are unbalanced. often we hear musical Jll, student that violin music is intonation. The common Too tion will convince a intelligence and aural have better tone and perfect but lack emo- point that the musical which are mechanically Albert Spalding, the distinguished more than just a combination of notes resulting error lies in thinking of a diminuendo as a drop- of the conductor come into play. The in these it is evident that conception cor- tional value. Usually American violinist, was born in Chicago, in melody, and that speed and agility are not the off, which causes a relaxation and a thing is to bring out the voice or ping given to drilling of important careful attention has been August 15, 1888. His early training was qualities needed for a satisfying perform- respondingly bad effect on the tuning and qual- only voices deserving the limelight, and to subdue the dynamics. Yet neither the notes, rhythm and with his mother, an excellent pianist; fol- ance. There is a warm meaning in every note a as to interpret properly the ity of the tone. others in such a way conductor nor the performers have caught the were years of study in New conservation of this Of course there are varying degrees of cres- lowing which composer puts on paper. The composer’s intentions. of the composition. In spite of diminuendo. Sometimes a crescendo spirit, or mood, York, Paris and Bologna. His debut was warmth in the interpretation is the aim of the editing the parts to accomplish this end, cendo and In perfection of ensemble, there is a coldness Paris in a joint recital with Patti. slight lift in tone or phrase, and at the reluctant but nevertheless made in true artist. advisable to red pencil the dynamics so that is merely a T IS MY BELIEF, it is or stiffness of interpretation. Notes and careful His American debut was in 1908 with the music be sug- others the change is very great in scope. One that the average violin student in The “feeling” in a page of may they appear as they should be played by the themselves create emphatic, markings of symbols do not of of New York Symphony Orchestra. He has his teacher, but this “feel- variance sometimes hears crescendi which are grossly ex- I this country has an improper conception gested to a pupil by individual voices, even if they are at part of the conductor not brought up mood—that is distinctly a enable appeared with most of the major or- ing” will always remain only the teacher’s throughout the organization. Instrumentation aggerated and others which are the time, effort, and training necessary to repeat and performer. To a large extent the conductor chestras and has given countless recitals enterprising student does occasionally we find that sufficiently. The amount of crescendo, to him to become a first rate artist. He measures emotional concept. An affects dynamics, and for moods established in his mu- what has been said so often here, depends upon is responsible mechanical training. in America and abroad. —Editorial Note. more than just ape his teacher’s performance. the balance of a composition is greatly improved art too much in terms of upon sical organization for the different pieces of are valuable, dynamics so as to secure color the character, mood and style of the music, often can become a skilled artisan Though artistic examples by alteration of personality has much to do with the One the passage, its position in the phrase, and from music. His because they reveal the emotional depth and blending, whereas the musical effect would by these methods, but it takes “the study integrating the separate moods of and to it is leading. I once heard an success of his artists found in a sheet of be completely distorted if the original dynamics what what of a lifetime” to make one an artist. certain have the individual players so as to approach that were maintained. able conductor say, and very aptly, “Some cres- European students apparently are more printed music, it still remains for the cendi are meant to be no more than a slight which expresses his interpretation. live his We have already noticed that dynamics mean aware of the tremendous amount of pupil to sound his own depths, to rippling waters of a quiet pool; The greatest conductors are the most success- different things when used by different com- breeze barely the thought and labor required in the pur- own music as he lives his own life. Further- others are meant to be mighty winds forming- ful interpreters usually because they have not posers. This is no less true when used in different suit of their art than are those of Amer- more, we are all at our best when we ex- foaming waves in the ocean.” only interpretative genius but also the unusually works of the same composer. For instance, the ica. They realize, more than do our press our own emotions. Examples of the use of the first type of cres- vivid personality and means to project the force pianos of Wagner’s “Das Rheingold” are hardly students, that quick learning often pre- It goes without saying that a student cendo are to be found in the quiet evening song, of that genius on the players, whose perform- to be interpreted in the same manner as those cedes poor results. Our students need BffiPS must cultivate his musical nature or his and the second as written in the storm scene of ances in the last analysis are the final deter- in his “Gotterdammerung.” Frequently, also, we sympathy and enlightenment, however, interpretative outlook. For even though the Overture to “William Tell.” Both minants of interpretation. find that the dynamics written in opera scores types are more than comdemnation. his performance carries the conviction of establish whereas if the same com- frequently employed in the same composition, To the proper mood for the artistic are reduced to ppp, A violinist who constantly endeavors to H j his individuality, it may still fall short of or as witness the Prelude to Act 1 of the opera ( Continued on page 55) position is performed as an orchestral band improve the mechanics of his technic, artistry. Sincerity alone is not a guarantee concert number, the same dynamics would be without giving thought to the aim of of beauty. Nevertheless, no student should usage they are purposely ineffective. In the first that technic, is walking up a blind alley. despair because of early imperfections. No accompani- reduced so as to keep the orchestral He should stop to examine the spiritual artist ever started with polished results. Naturally, these Making Mid-Winter Piano Study Fascinating ment incidental to the singing. quality motivating any technical skill in A student should strive to broaden his the same selec- dynamics are not applicable to should ask himself whether he is to heighten s4(ice hornburtj ith art. He emotional interpretations and tion as transcribed for instrumental perform- m merely trying to play faster than he has their conception so that they will grow in ance. Mid-winter is the time when the piano student doing thirty minutes before breakfast, an- heard any one else play before; whether value to himself and to his listeners. After either does his serious only bid for listeners is the supple- The Crescendo and Diminuendo most study, or it is the nounced, “Thirty minutes practice, and I feel his much diligent study he will learn to season he takes for a big slump. The first en- like ness of his vibrato; whether he is striv- arouse in his audience the same high Perhaps the most effective tools in securing a million!” thusiasm of renewing study after summer vaca- ing for perfection of the arpeggio and tonal contrast and in arousing interest in a par- Progress that month reached a new high. emotions he feels within himself, for feel- tion has died down; the holidays have spiccato alone, or whether he is attempt- ticular passage of music are the crescendo and taken Students, who were usually full of practice ing and interpretative power mature with their toll of lost practice hours, ing to convey feelings, impressions and diminuendo. Properly used, these tools can do so February and alibis, found they really could find time. The open-hearted study. A musical interpreta- March are either dull or inspiring as the teacher emotions. is much to make possible adequate interpretation. mothers were grateful, as they always are, If tion, however, which sincere and makes them. No shifting of responsibility there. A mind completely submerged in tech- In order to make clear our idea of how cres- you help them to get even a toehold on this emotionally alive, has no reason for shame Thinking on these things, the nical processes will seldom glimpse cendo and diminuendo should be understood by conclusion was practice problem. even though it be immature. “Let us ad- reached that if adults were achieving results visions of beauty. The urge a student has instrumental players, we usually employ the fol- an i,iic Lumcdi tauic mire where admiration is due,” once said with safety weeks, give-to-charity weeks,, be- to play notes clearly and fluently is com- lowing imagery: in with forty-three hours and nineteen minutes. a great painter, “nor cast aside the daisy kind-to-animals week, and so forth, it might also mendable; but this urge should not ab- Let us use a sustained tone in building a well Her sister also made a good score. Their family because it is not like the rose.” crescendo. be the answer for the young piano student. reported sorb his entire work. A violinist who conceived and properly graduated the most musical month in its history. Therefore, we announced that five prizes would Those wishes to become an artist must look Inspiration from Others This tone is to be held for sixteen counts at who were only runners-up in February, be awarded for extra practice during the beyond the face value of notes, and must M.M. — 60, and, allowing four counts to each month had a new chance in March, A student could also help himself ma- February. for the March con- “block” representing a change in dynamics, we of Ten hours of practice were re- test was possess more than mere dexterity of a review contest. For each page of re- terially by studying books and magazines quired, after which, all time, even bowings and fingerings. go from to ff. minutes, view work well pertaining to music, p done two points were given. If it for these are sources counted toward a reward. Mothers were held was ALBERT SPALDING. memorized, five points were allowed. Regu- The Composer's America's Eminent Violinist of technical and spiritual help. Here he Ex.l responsible for counting and recording the Mood time lar work had to continue will find theories concerning correct 12 3 4 5 6 7 8 9 10 11 12 13 14 15 16 as usual, but more time for students too young to do so themselves. was taken As a beginning in this search for deeper at the lesson for review methods of study, valuable advice of com- 1 hearing II II Did it work? Like a charm! Even the boys values, a student might imaginatively inquire m pieces. Intermediate students fort and encouragement, and a wealth of other P P f ff entered in with enthusiasm. One Junior were allowed to go into a composer’s mind. What moved a composer High ac as far From a Conference as second grade pieces. Advanced Secured Especially for material. He should remember, however, that the School boy would set his alarm clock for to select a certain order of notes? What “feeling” Next, we subdivide these “blocks” into a total six students could not road leading from the abstract o’clock, and get go farther back than third to the actual of eight, as follows, with two counts to each, an hour of practice before any- grade Numbers has he tried to record? What mood did he mean The Etude Music Magazine which had been put aside for must be kept always open. Theories should be and corresponding changes in dynamics, going one else in the family was up (I’ll not say to crystallize? months, even years, weighed for the actual awake!). But the families, were brought out and en- values they contain from fff to ppp. too, entered into the joyed A composer’s life would be certainly a very again. Albert “Thinking constantly translated into doing.” spirit of the contest and did not complain. easy one if all he had to do were to jot down the By Green This Recently 1 a student asked whether an audience 2 3 4 5 6 7 8 9 10 11 12 13 14 15 10 boy’s mother said that he gave them all a laugh, first melody that came to his mind. This is not u wln ter musically responds more cn sitting at- the piano wrapped r speaking, and came when a violinist plays to their m in an old fur coat h r; r f , ; the way most compositions reach paper (judging, fff [=ft m P P PP MV ° f f f A ril hearts, or when he for early mornings (when we tl plays to their minds. in February even in southern studAnf ? always start at any rate, from my own experience as a com- The r Une recital division made in this question is The next step in a proper conception of cres- , are nippy, to say nambers) with tl an obscure one. the least. Another poser) . Let us take for granted, then, that a chanceschanLf looking,T bright The two faculties are cendo is a division into sixteen blocks, with one mother reported that her for a good so closely associated that I, son, aged ten, after formance public pe composer starts with a definite idea. This idea with which to for one, am not able to ( Continued closeCyea!5 wm on page 59 1 24 the etude JANUARY, 1940 Music and Study Playing Popular Music playing popular music hin- Music and Study G 1 Does observed in writing melodies, and then the more serious have der one's ability in Practical Hints in striving for as much originality as possible in music? , , Citizens? and you please make a list of this of the details. Are They U. S. Questions 2 Would the handling popular music that can be played vear's for few general observations. Let if follow- grade of piano So much a Q. Will you please tell me the bv a person in the third States pieces as ing composers are or were United study I can play such Sir Oala us see how they can be put to work. Godowsky, Sparkling Brook citizens: Levitzki, Lavallee, had March and Hu the We have here three fragments of melody, each and Rachmaninoff?—Sr. M. G. which appeared In the June issue of The helpful if length, which may be classified as Etude. It would be very you a phrase in Francis music like these pieces. Writing nat- asked Dr. James published more Melody poor, fair, and good, respectively. It would A. I have Answers —C. E. M. Cooke about these musicians and he has urally be impossible to illustrate in these few following information: given me the fragments, all the factors, good and bad, that were from Rus- A. It depends on the amount of time Levitzki and Godowsky But those here ex- spend on each. In general it may be enter into melody writing. sia, but became American citizens. Rach- Information Service you A Music popular music of the hibited are fairly representative. maninoff has taken out first papers as said that playing By what the teacher of an American citizen. He is utterly op- jazz type tears down r the present Rus- serious music is trying to build up; so it posed in, every way to Conducted By - Ex.l hour a day on each your A sian regime. He is Slavic-Aryan. Levitzki you spend an Jienn^r and Godowsky are of Jewish extraction; progress as a musician will be retarded. your time study- Lavallee, French Canadian. But if you spend most of ffi"*" ing and practicing serious music and play \[!i only occasionally by way at The Tremolo popular music Instructor in Theory »of Music W diversion, no particular harm will be last Pennsylvania State College Q. In Ah Sweet Mastery of Life the done. Q are written thus: few measures jj music is even more difficult 2. Popular Music, Oherlin College Ex.l Professor of School to grade than serious music and I am not the sufficiently expert as a "swing fan" to pro- HERE ARE SEVERAL ASPECTS of melody cession of words" is simply the means to Musical Editor, Webster New International Dictionary vide you with such a list as you want. If writing which are often seriously neglected end. Remove the words, and the original idea third grade music well you still the idea, and the words you can play T or completely overlooked by those who can exist; remove learn almost any of the it cor- “A” is poor because it conveys nothing definite in Arioso one measure is written should be able to be sure, writing a melody cease to mean anything (to put more also No question will be answered in THE ETUDE unless accompanied by the full name teach the subject. To Only initials or pseudonym given, will he published. popular songs of the day—at least after expression to enough to call forth a mood or title; it rambles and address of the inquirer. , business and many things rectly, words were invented to give Ex. 2 is- a highly complex a fashion. difference tonally; it is unnecessarily awkward at certain have to be known and kept in mind when writ- the idea) . So it is with music, the only basis is undefinable; among ing even the simplest one. Now to do the task being in the medium of expression. points; its harmonic last four notes should be thirty-second Music Dictionaries What Dikes zti 2 Mean? looking at it from every How, specifically, can music be used to express its other weaknesses. notes. This probably accounts for your in- successfully requires matter of ideas or meanings? If a Brahms symphony “B” is a definite improvement over the first, Q. Will you please tell me where I may ability to place the four counts. The In the June issue of The Etude the possible angle. Sometimes it is only a all counts except that it, too, is not strongly obtain a music dictionary? And will you counts come respectively on the notes B. above question was asked but not com- re-evaluating the principles involved in writing means one thing to one listener and something on and the same notes repeated. As both of also give the list of books, and their E, D-natural. Since this measure E. Vail, of Fort else to another, is not its ultimate meaning as suggestive of a title. It is still less of a genuine, these are thirty-second notes just how prices, that are used by Oberlin College A, and pletely answered. C. them. should they be played? As a tremolo? freshmen.—D. B. has twenty-one notes instead of the usual Collins, Colorado, kindly informs us Asked of his methods of composition, Tschai- varied as the numbers in its audience? Let us melody than a “melodic exercise,” because, al- —M. A. K. sixteen and the tempo is so rapid, I ad- about this direction as follows: kowsky has left us this significant statement: assume that this can be the case. Here is another though technically correct, its contour is obvi- A. You may secure a music dictionary vise you not to try to distinguish be- A. You are right. They should be played “The melody never appears in my head without truth, however: If there is anyone that can be ously studied and superficial. from the publisher of The Etude or from tween the various number of notes to the “I do not have at hand the miniature as a tremolo. its attendant harmony. In general, these two sure of the meaning behind a musical work, cer- “C” is good on all counts. The inexperienced any good music store. If you want a small beat. score of Tschaikowsky's 'Fifth Symphony,' elements, together with the rhythm, cannot be tainly that person must be its creator This must listener might not succeed in identifying it as a one I suggest “Elson’s Music Dictionary,” but I do have the scores of the Brahms conceived separately; every melodic idea carries be true even when composing it is, as Tschaikow- minuet, which it purports to be; but he would be When to Pedal which costs about a dollar and a half. If symphonies, Eulenbcrg edition. In many sky again says: “A purely lyrical process, a poorly trained in discrimination if unable to you have ten or twelve dollars to spend I in with it its own inevitable harmony and say of students who Clefs Male Voice Music places in these the mark zu 2 occurs, usu- Q. 1. I have a number 1 suggest the “International Cyclopedia of rhythm.’’ This confession of the composer is musical confession of the soul that . . . pours that it is definitely superior to the others. have not yet learned to use the pedal. Q. Will you explain the use of clefs In ally following a passage where the instru- Oscar itself out sound, I learned to press the pedal down at the Music and Musicians” by Thomp- music for male voices and tell me how to ments were ‘divided.’ and Indicating that worth considerable thought. through just as the lyric poet What, however, makes this tune a minuet? beginning of each measure instead of the son. if you want the largest and best play such music on the piano? Mrs. G. 2 And — the instruments , bassoons, horns, The truth of the matter is that melodies are pours himself out in verse.” This is important because the real difference in syncopated pedal. What do you advise? It P. L. — one in English, buy “Groves Dictionary of the is easier to teach as I have been taught, violas, and so on—are to play in unison. not just written off note for note, as one might quality of this tune, as compared with the to be “behind the Music and Musicians.” Freshmen at Ober- Making Melody That Lives but I do not want A. When the G clef is used in music It is a German expression meaning Tor recite the alphabet. They are composed in every others, rests in its title, and in its use of such times.” lin use a variety of books and materials. for male voices, it is understood that the two, or ‘both,’ while the marks a2 or a3. sense of the word. And to compose means to Let us assume that such music is intangible, technical features as make the title a reliable 2. What does unn curds mean? Terminology course they ctudy In the parts are to to 3. I start teaching the scales In two sound an octave lower than which you refer, are French expres- is, in- insofar as its innermost meaning deter- “Music Notation and Terminology” by “form by combination.” That to write an can be one. tetra-chords. Do you think this is a good written. the sions for When F clef is used, the the same idea." implies understanding mined. There is still a great deal of music method? Should I quit the scales when Gehrkens. Any of these may be procured teresting melody an and which tones sound as written. Because the sec- the pupils start their velocity studies? from the publisher of the The Etude. working knowledge of tonal relations, harmony, is more concrete and tangible, and whose mean- Discovering the "Label" —Mrs. O. H. B. ond tenor and first bass parts often Questions About Form all ing is rhythm, form, counterpoint, and so on, in at once obvious. We speak of it as being The answer lies cross it is difficult to play such music on in research. Upon examining Q. 1. degree; is to descriptive or programmatic. A. 1. The pedal usually comes up, not the piano, and Should the three periods of a sim- varying and to compose one form Musical works of the wealth of minuets left us by composers of What Does a Hold Over a you will just have to do ple ternary down, on the beat. As an experiment try form be separated by double into a combination (the mental processes varying length, that come under this simple the best you can. The important bars these the past, we find it possible to make a concrete Bar Mean? thing when the second period Is In a dif- playing the Doxology. The pedal should is here must be rapid and spontaneous) record- classification, can be, and have been composed. to play the first and second tenor ferent key? , list of the characteristics which generally recur come up at the exact instant that each 2. Would it be better to Indicate the Q. 1. Will you please explain to me parts at the same pitch at which they ing only that single line of notes which is de- No one, for example, who professes to be suf- in them, change of key features which might be summed up chord is played. If it does not seem about the pause over the bar In the ex- are sung by by merely placing acci- the men taking these parts. dentals before fined as melody. In other words, a good melody ficiently grounded in musical matters to under- as their least natural for you to do this, I strongly ample shown? the notes affected and omit common denominator. the double bars? is a composition half written; because, for all take the writing of melodies, will confuse a the little book of pedal 1. They are always in triple meter. advise you to get 3. Would the to same answers apply its apparent simplicity, it calls into play more funeral march with a minuet, or a chorale with studies by Gaynor. You will find this an compound ternary periods 2. They move at a moderately slow, dignified is form, or If the What the Rhythm are repeated? musical elements than appear on the surface. a hunting song. And it is safe to say that the excellent help in teaching your pupils and uniform tempo. (History tells us that the 4. I am writing a in the person how to pedal. It may be procured from of the Scherzo? composition who cannot turn out tunes capable of minuet was discovered key of C-flat major, with middle pe- Creating a Significant Melody among French peasants the suggesting title, the publishers of The Etude. riod In the key a tunes whose technical char- and carried Q. I have been under the impresslor of F-ffat major. Should by the royalty into their courts.) 2. Una corda means that the soft 2. Also, In the same piece (“Sonata In this the light of this, it is easy see acteristics that the scherzo Is always middle portion be written In the en- In to why the can be learned and applied, is not too Beethoven), please written In two- 3. Their form is clear and well defined. pedal is to be depressed at this point. C-sharp minor," by four time. harmonic key of E However, I know of one bj major? old definition for melody—a succession of tones well qualified to write the more subtle type of tell me how this measure is to be counted. 5. Give the 4. They are melodically lyric, It is to be kept down until you see the Mendelssohn, that Is written In name and address of the and even —K. B. K. commor publishers bearing a specific relation to each other and melody. If certain of the masters left or four-four time; it who carry the Peters Edition. have us though term tre corde. Una corda translated can be found oc instrumental in conception, are often page 822 of , Germany. V. P. expressing something definite and pleasing no literature The Etude for November — to to prove that they were capable of singable. means one string. When this pedal is 1929. Is it imperative that this kind ol the ear is wholly inadequate. As definitions turning musical A. 1. Yes. — go, out the more obvious type of tune, it depressed the action of a grand piano composition he written in two- 5. They use simple but varied rhythms, with four time? Would 2. It it is theoretically correct; but it simply does not proves nothing except that they did moves a little to the right so that the not four-four time b< would be better to do it this way not require the just as well? more rapid rhythmic effects on the weaker —Mrs. A. A. K. if the strike at the root of the matter. It is as vague this simple hammers strike only one string—two on second period begins in the tonic stepping-stone to greater things. beats. key and as most of the melodies it begets. present-day pianos. When it is released A. 1. The fermata placed over this bar A. The scherzo merely modulates to a new key. And to the Enough has been said to justify putting forth was first used as a 6. They make frequent use of But if the experienced musician it is full ornaments, the action moves back and the hammers line indicates a breathing point—silent sonata movement by Beethoven, entire second period is in a of implications the contention that in the title of a melody lies who different such as trills, turns, mordents and grace notes! strike all three strings. pause. It would not be good musical taste felt that it key, it would be better change of which the uninitiated knows practically its reason for was not so limited as to existence. By a consideration of it, the the signature. which usually fall at certain rhythmic 3. There are many ways of practicing to pass on to the next count without this minuet which had nothing. one of the greatest points been employed by weaknesses of melody writ- in the scales, but your method seems all right; break, because of the contrast. It would 3. Yes. Repeated successive phrases. Haydn and Mozart. Since the minuet sections are always Let us look at it from another angle. A poem, ing, that of aimlessness, can be eliminated. is enclosed And 7. They however, since most music is written in be very much like the little girl who said, in triple measure, within double bars. make conspicuous use of repeated most scherzos also play, or short story is not simply a succession of from that point on, it is simply a matter of mas- either three- or four-beat rhythms, it “I have the hives and a new hat"! Some were written 4 Yes. Why not tones, even when the in three-four time - write the rest of the words bearing some relation to each rhythm is fairly simple. but piece in other and tering the technical features that go into the is well to practice your scales also in editions are here marked with a com- there are many examples the key of B and have the signa- 8. They have a harmonic basis of scJier’zos in expressing something definite to the mind, ex- type of tune one aims that is in- triplets. By all means keep on with the ma (,). tures uniform? to write, of observing other varieties of measure, and teresting but unpretentious. there is 5. cept if there be a purpose behind it. The “sue- those fundamental scale work, regardless of what else the 2. In copying this I see you have marked no reason why Peters Edition be principles that all composers a scherzo should not take publications may 9. They are carefully treated pupil is doing. all the notes sixteenth notes whereas the procured from from the any foim desired by the publishers of The ’Bowen & von Meek: “Beloved Friend,” p. 248 J the composer. Op. cit., p. 206 standpoint of ( Continued on page 63) 26 JANUARY, 1940 THE ETUDE 27 r — —S

d’Orleans and the maids of honor. Chopin, applauded and MASTER WORKS and Study See opposite page for lesson on Music admired as a favorite, played some Etudes and Nocturnes. this piece by ISIDOR PHILIPP Nocturne FR. CHOPIN, Op. 32, No. 2 N THE years 1809 and 1810 Chopin’s After I had performed in my NOCTURNE there came into the world turn some Etudes, old and new, Lento M. M. J = 60 I three great artists whom a meeting with like approval, we Grade 7. tragic fate removed all too early took places together at the from their admiring contem- piano. While we played a So- poraries. They were Mendels- Op. 32, No. 2 nata for Four Hands, the close sohn, Chopin and Schumann. attention of the little group After a century and more, their was not broken except by the works still enchant those who words ‘delicious,’ ‘divine!’ At music. LESSON love and feel A MASTER the end of the Andante the Of the three, Chopin alone Queen said softly to her maids piano chose to compose for the of honor, ‘Would it be incon- you not write an only. “Why do By siderate to ask for a repetition opera?” Asked Count Perthuis of that number?’ We began — " ’ ’’ — of him one day. “Ah! Mon- ifr ifr ifiT >r O again, abandoning ourselves, m ft replied Chopin, “Let sieur,” _ „ , 2 in the Finale, to the verita- 4 2 4, t „ 1 write music for the piano; 3 n 4 2 2 me .pkif't’f ble delirium of music. The pas- all that I know how it is sionate impetuosity of Chopin P ZP to do.” or seemed to elec- Chopin came to Paris in the JiiJ iN trify our audi- fall of 1831, in the full flower ence, praised Eminent French who 5 2 4, his 2 | ft p. of Romanticism. He gave 1 * us most enthu- p- "y lu* —t • first public concert early in Piano Virtuoso and Teacher siastically. Some 1832. On that occasion he in days later the wk played his “Concerto F e£r minor” and his “La ci darem” King sent to Ped. simile Variations with Orchestra from Chopin a gilt cup — and to me a n *?r fjr the ‘‘Don Giovanni” of Mozart, Chopin, the immortal dreamer traveling-case. before a large audience. In 1833 — ^ 3 2 4 ^ he was heard again, this time Chopin always in a concert with Liszt and loved to joke, 3 3 .Hiller. Each of these concerts and he said to i attracted an illustrious assem- me, ‘The King m 10 blage. With Liszt, whose friend sent you a tra- Chopin had become, he shared veling-case so -—kp 4. the enthusiasm of a loyal pub- m that he might the lic. His life, his rare distinc- sooner be rid of EJJ m -1 ” ci/~ tion of character, his Polish you.’ cJJ~ cJLj cJJ Ci origin, also, just at the time w when Poland stirred all classes The Artist to romantic generosity— all As a pianist, Chopin was these elements made Paris unique. Moscheles. Mendelssohn. glory in him. Heinrich Heine, Meyerbeer. Heller, all pronounced the most admirable of all the him incomparable. Stephen German poets, whose friend Heller and Mathias have often Chopin was, called him the spoken to me of the power of Raphael of the piano. “Poland his playing, of the bravura, of gave him her feeling for chiv- the extraordinary gradings of alry and her historic suffering; tone. Sir Charles said: “It France, her elegance and grace; was a marvel to hear that gen- Nature, a countenance of ius. to watch his hands so sup- charm and refinement, a heart ple. so aristocratic, moving over which is noble and filled with the keys. “Those who have heard genius. He is neither Polish, Chopin,” so Mathias declared, nor French, nor German. He M. Isidor Philipp in his studio in Paris, which has been “can say that never since that comes from the land of Mozart the rendezvous of many of the greatest musicians. time have they heard anything and Raphael. His true country to approach him. His playing is the realm of music and po- was like his music. And what etry.” No heart that was not warmed unto his art. sion to repeat, to you, even at the risk of seeming virtuosity! What power! But it lasted only a monotonous, that my affection and admiration few moments. Such exaltation, such inspiration! Contemporaries Acclaim of you will ever remain the same.” The whole man vibrated with it. The piano be- He associated himself with ail the great artists “It is not well to listen a whole evening to our came intensely alive, so marvelously that one who were in Paris at that time—Heine, Liszt, Chopin,” said Madame de Girardin. “Existence shivered. I repeat that the instrument which Meyerbeer, Halevy, Rossini, Delacroix, Berlioz, is far from pleasing the day after these feasts one heard when he played never existed except Thalberg, Stephen Heller; and from the moment when a superior being has led you into the world under the fingers of Chopin.” of his appearance anywhere he was greeted with of fairies and of dreams.” “Liszt is a demon.” said Balzac, Chopin murmurs of pleasure and feverish anticipation. Moscheles, in one “and of his letters, gives an is an angel." The great singer, Artot-Padilla, wrote to him in account of a soiree held in honor of Chopin and At the close of his life Chopin’s playing had 1841; “My dear Chopin, do you know that you himself at the court. “Yesterday,” he writes, become very weak in tone; but managed his make me jealous? Wherever one goes all the “was a day not to be forgotten. At he nine o’clock effects with so women are much art. so much skill, that he talking of Chopin; ‘Do you know in the evening Chopin and I were conducted to always achieved the last Chopin? Have you heard Chopin? I would like the Chateau same success. For his St. Could. We walked through a concert in Paris he played his Barcarolle, so to have Chopin here!’—Chopin here, Chopin number of rooms in the palace till we came to ir Charles .” Halle has told pianissimo, but . . me, there—towering like a pyramid. the salon carre, where the royal family were with such contrast in of Even his rivals loved him. “Caro Chopinette,” assembled. It was only nuancing that his lack a small gathering. Around powei Liszt was not felt. “And how the wrote to him, “I am profiting by this occa- a table were seated the Queen, the Duchesse he understood pedals! It was unique.” < Continued on page 58> 28 JANUARY 1940 THE ETUDE 29 — * — — —— — —1 —

Ped. simile -TpT iff fff Iff—

3 3

J iiliiPiiiP J appassionato 50 51 Jf 52 ^ f e * J $" ' 1 — 3B | 3 w P^cUdr ?fr—r$r Ped. simile

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^ ' ?pr so JANUARY 1940 THE ETUDE 31 — ^

FASCINATING PIECES FOR THE MUSICAL HOME SAUCY DAMOSEL william baines words, the great deal to do in adding vitality to the performance. In other The varieties of touch which the composer has indicated in this piece will have a note. Grade 4. fingers must paint a little “sound and color movie” which keeps changing with every Daintily M.M. J= 132 _ poco accel. ^ a tempo 8 3 SL

a ten * V° ^ 2 r 5 g 1 ava w ' L* p : p f-f-f-Ffq fflf r * * „ J3- 7 ' • L ^4*, r ff r j ^ U l,i= poco accel. H f poco rit. ^ 2 *. iS 4 4 * I L: f Cl? - r >— t2=- e =P -=fc= 1 - l [ —4 ^ r 1 r=j * =*4 -a - I f ^ ' 4 5 5 41 f

poco accel. _ P°co rig. g- a tempo y Fine i JJj -A 8- & or i I A* i 1 2

_1 I I L_ 1 L -J L- _J l_ Broadly a 1* l •f i 1 y i—t— 3:54« 4 0- i i i J L. _1 L

d ^ J j J J h= 3 ‘j~j * j i TTj i f f l—i

cresc. I ^— dim. a tempo i -j o ¥

5, c

Jl ll 3 ifT ^ Rf-fclF

Copyright 1939 by Theodore Presser Co, British Copyright JANUARY 1940 secured THE ETUDE 33 I AGO FROM LONG CHITTENDEN Grade 3£ ELVA Gracefully m.m. J = U4

Copyright 1939 by Theodore Presser Co. British Copyright secured SPIDER DANCE TARANTELLA Helen L.Cramm never wrote a more charming piece than this. The tarantula, from which the tarantella is named, is a forbidding kind of snider Here however, we have to think of a very lively spider with his delicate gossamer web dancing from strand to strand as he makes his Jacev pattern Played’' rapidly this piece becomes a gem. Grade 3. 1

JANUARY 1940 35 —^

ON WINGS OF SONG gave to art one of 113 Wings of Song” (Auf Fliigelndo. Ges.nge.J, he When the poet Heine wrote “On "“^^‘‘'.^garrlenof roses and watch sister are at the banks of the Ganges river in n in. y The poem is one of sheer beauty. A brother and his little ru.tl >ol the violet, at their feet, up to the stars and l.s en to the the lotus blooms floating in the water. The, look from the »£££«' and pure lyne and the melody is pe.haps his level Mendelssohn has given a most appropriate musical setting to this chaste

Arr. by William M. Felton Andante tranquillo M.M. J =63

1 ^ 1 — - — — -=? -is—^ _^Tf ,+ F-l* r r-*— -f l fr 4^. 4 — 1 ir U 1 {lh> j da.j\ J if ^ ^ y 1

5 4 2 2 1 ^"5 4 3 2 r i 4 k i 3 -4

1 *7" % » • m 5- £ -4s- m 4 — cresc. mp . dim.. mf /ffc. 3Vf ^?\>W + 2 2 m i m rf: £ 53 m BP a |5 3 ^ ,TT j i i J u I—2 | l_

Copyright 1938 by Theodore Presser Co. 1940 JANUARY 37 WID A BANJO ON MY KNEE KENNETH BRADFORD

DON’T BE WEARY, TRAVELER s.coleridge-taylor Negro melody. Grade 5. 12 A vigorous setting, by a distinguished composer, of an American Op. 59, No. Allegro moderato m.m. J_=96

Copyright MCMVby Oliver Ditson Company International Copyright secured JANUARY 1940 . 39 OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES *&• FIFI BALLET GIRL THE LITTLE BERTRAM ALTBAYER PIANO ACCORDION Arr. by Louis B. Mainey Tempo di Valse

Ossia

Bass — Symbols CD— Major Chord. (2)= Minor Chord. (3) = Seventh Chord. ( ) = Counter Bass.

NOTE:- This arrangement may be played on the 12 BASS accordion by using major chords and playing the fundamental bass of the chord indicated in place of counter bass.

Copyright 1939 by Theodore Presser Co. British Copyright secured JANUARY 1940 b rea 41 SARABANDE FREEDOM Bernice M. Wells 1 rossetter g. cole Registratton Swell: Strings, St. Diapason 8', Oboe, Flute 4i Hammond Organ ( ( Prepare \ Great: Soft 8'& 4.' Siv. A$ 00 55 32 lOO J Pedal: Lieblich & Bourdon to Sw. ' Ped. 4-2 WILLIAM S. NAGLE — —

play with you — at noon,. ’Twill sing with you in the morn mg, And

ten. f/k=~ a tempo

- - rish tune. And dance with you in the eve ning To a Jit tie I

> > ten. meno mosso —v m m * (n *—a- "—* -J 7 fl' • 1Lp > u !=MH?- -P p r m rish, And I am I rish too; And here is my bag of whis - ten. cresc. meno mosso U 7 7- = 7 7 7 . f — ) Y--7.-_.-_

- 4 y- 7 -y—y- 7 y f I _ .. rit. II ten.

International Copyright secur'd JANUARY 1940 THE ETVD1 — — — —J — — — — ,— — i

READERS DELIGHTFUL PIECES FOR JUNIOR ETUDE _r - CATCH ME IF YOU ' ELIZABETH L. HOPSON Grade 14 Moderate* m.m. J = 88

6 1 > . ==^_ —®i ifk J ?U-| Id J,_ < ^ cresc. ii/J [,- 'dim. — if p- f® fed — a- —a «s» fC@| Graded GRASSHOPPERS’ FROLIC DORITY Sprightly M.M.J = 152 BRYAN r.h. r.h. r.h. 5 5 2 3 3 4 3 8 f.S V 2 2 l l l A 2^.—-1 1 1 2 , 1 )y S HP ppr am TlsSf fn^ n n mf m >f Copyright 1939 by Theodore Presser Co. British Copyright reeawi ni\. y f >

Allegro M.M. J = 92 7 * 7£ 7 jLi. AH is excitement- WINGS ON REVIEW * Pp many planes are flying about. RENEE MILES Grade 24. what a sj g ht! '* 8 r.h. r.A 1 3 4 5 s'—^5 2 1 3 tl m

' m u - « 0 . Pp p r rr cv m rf yF S t/f •; S 7 1 ^4 w 7 7 LJ 7 / 7 - 7 7 7 if $> T p m i > P P 2 p p p - f 2 \ r .. ntn />, ./ w. -V mf i - m ) f £ > Dt-; fl -J v Fpir-> — bt- \ .. k u J — y M r .7 £ £ 1 Af— P-7 P 7 7 -• VTL^ Q, f.— Ui x P 7— ^ * t i i P- j| Wish I could fly one 1 1 2 of those seaplanes! 5 5

• 3^ 5, ^ • 2s ." P * 7“ |» m • I d \) 7 ^ _23S=p£_ -7~7-m,

. mp mf V Ftne V — —* )Lfc- — 9L ^ «/ A h f.* J- (V7‘ K7 k 7 1 hA 7 7 ^ - l fvtr - U|L J ) -r Z-7 ’It- ml —£ - t r \L1S / 7 ? / 7 ? Look! they have assembled and J Jl ? 1 i ' Now are now flying in close formation. they are flying ingrouns one ‘ lowest han the other One plane makes 3 a steep dive. ^ 2-^ 3^1 —j- • j * * * 1 V —» • v jS-v w m f £±=t F=bU » 7 at m r—7—l a to/'^ D.C. -g- * m ; ^ —- = ^ a fe=U=FTu:> 4 H— i IhgA — Ft—‘ - lA*j-e^ ' Y-— Y— r -/AU _r_-.7 y A=2=e f- Uv-f F f- .Wl Copyright 1939 by Theodore Presser Co. Copyright 1939 by Theodore Presser 46 Co. British Copyright British Copyright JANUARY 1940 secured THE fTUlt 47 3 i f - , ,

of the day, Brahms and Bruckner, SUNNY GARDEN Dreams of Did who (as was known throughout Vi- SARAH COLEMAN BRAGDON enna) were antagonistic to one an- A PRACTICAL Musical Vienna cannot make out Grade 1. other. “I really what you are trying to say in your HARMONY Moderately m.m.J-=66 KEYBOARD ( Continued from page 10) works,” Brahms once told Bruckner. By CARL M. ROEDER “Never mind, Doktor,” answered Musical Art away. The Rebbuhn, as a matter of Bruckner, “that is quite all-right. I Member of Faculty, Institute of yours, School Music fact, is connected with one of Schu- feel the same about of the Juilliard of end the np bert’s greatest works. One evening, It was in an attempt to two leading Foreword by GEORGE A. ^ EDGE £ at this cafe, a friend of Schubert quarrel between these £ of of theoretic knowledge composers of Vienna that friends “The practical app’ication (Randhartinger, by name) brought prob- to the keyboard is one of the most difficult poetry. As both composers arranged a meeting There are a few him a volume of Mueller’s Pricc 75 Cents lems facing the piano instructor. which students need as in their between them at the Rothen Igel. It fundamental pr.nciples Schubert’s friends were busy basic knowledge is included >n musical vocabulary for intelligent study. While this the autumn of 1889. often not available, and when they are. merry conversation, he glanced was during courses in written harmony, the courses are for the immediate necessity slower and more detailed than is required verses. After a few Bruckner, quite amicable, came early the pace is of casually over the demands of the piano lesson. three por- impatiently for and had consumed two or problem, gives the facts h a minutes he called “This book, the result of years of experience with this by will be welcomed by teachsrs and etude. .ts paper; and, in the midst of the furor tions of Nudelsuppe (noodle soup) sound, musical and practical manner, and arrived. For the al.kc.” of the cafe, and with his friends the time Brahms followed a looking on, he conceived the first next few minutqs there attempting song of his exquisite song-cycle, the frigid silence. Finally, this embarrassing quiet., 4 “Miillerlieder.” t. o dispel FAMOUS r r is One more important element in Brahms called for a billrof-fare. good humor he called Vienna’s musical life could be wit- With feigned SYMPHONY THEMES the waiter: “Now we shall see British Copyright i nessed at the Rebbuhn in 1820. out to Copyright 1939 by Theodore Presser Co. bring Piano Duets During late afternoons,' and each what there is to eat. Waiter, knodel. evening, there took place concerts of me smoked ham with At Arranged anil Annotated by joined in by saying, IS COMING! popular Viennese music by a four once, Bruckner HOWARD KASSCHAU THE this “Ah, that’s it, Herr Doktor. Smoked BAND of piece orchestra. The leader MARCH orchestra was Josef banner, later to ham and knodel (dumplings) ! At — Contents — Grade 2. which we BERNIECE ROSE COPELAND become the first waltz king of last we have a point on Unfinished Symphony—Schubert 111 J=126 World Symphony Dvorak march time M.M. violinist of this can freely understand each other.” New Vienna; and the 75 Cents Fifth Symphony Beethoven group was Johann Strauss, the first, This witticism eased the tension and Surprise Symphony- Haydn Third Symph ny.—Schumann Symphony in D Minor Franck in his own for the rest of the evening a genial *feu t=.t=t=. a great waltz composer Jupiter Symphony—Mozart Les Preludes Liszt t i l? I I l-t £ £ right, but more famous as the father relationship existed between the two difficulty in Grade 2, these arrangements are pianistic and interest- Strauss, the com- composers. However, this meeting at For players of equal of another Johann ing for both students and music lovers. Excellent for sight reading. All the themes are poser of the Blue Danube Waltzes, the Rothen Igel, successful though well chosen from the favorite symphonies. In the Rebbuhn, Lanner’s early it proved to be at first, did not have f f they permanent results. Bruckner and f rr fey i fe*r> IMf waltzes were introduced, and made so great an impression upon Brahms were too far apart tempera- THE VISUAL APPHDAEH TO SCALES 53 1 a 1 18 1 Franz Schubert, that, inspired by mentally. When they separated after By CHESTER HARRIS Price , 75 Cents them, he composed his own set of this pleasant evening together, they This book is supplemented with the first steps in Transposition and Keyboard Harmony. Viennese dances, the handler. were still at odds with each other, The subject matter is presented in the simplest form. A second cafe-house, still in exist- and afterwards still treated each 1 *-#- intimately asso- other with cold aloofness, I* — ence in Vienna, was [?=] *-Um J-J-J-l l * -*-.r.d3 — dated with . It is Other cafe-houses which appear ISew Augmented Edition 1 =f=f=| a — — —fe ffe * * * — the Rothen Igel (The Red Hedge- in musical histories include the m hog), situated in the corner of Dommayer’s Casino where, on Oc- RECITAL ALBUM f f : / Wildpret Market, close to the Augus- tober 15, 1844, Johann Strauss, the ™ ~~72*— 1 Ry JOHN THOMPSON w 1 • f 'v tinefstrasse. Here methodical son, made his memorable debut as /• if f the — Contents — ' Brahms visited for a period spanning a conductor of light music, and was tH=± * Happy Holiday—Bilbro Merry Jig—Wells L 1 May Breezes Rolseth Moon Shadows—Hibbs » 4 . .. . _ ±3 thirty years, eating his meals, meet- so successful that he was forced to — 1 1 5 Tale of the Orient—Frazee Will O’ The Wisp— Behr ing his friends, planning his greatest repeat his own waltz, the Sinnge- Bells of Capistrano—Hibbs By the Brook—Thompson Huntsman Merkel Water Sprites Heller works, even sketching of dichte (Epigrams), eighteen times; Happy — — and many After the Ball—Ward Two Finnish Folk Dances- them in great detail, making the also, the Dianasaal, where this same Frolic—Davis arr. Rolseth Swinging—Nearing Little Caprice—BesthofT Rothen Igel so much of a home that Johann Strauss, on an unforgettable Fanfare—Stamaty Lotus Petals—Tenney it was soon known throughout Vi- winter evening in 1867, introduced a Price Cents £ £ £ enna as the Brahms cafe. Here he set of waltzes called The Beautiful For students in Grades 2 and 3. the numbers contained in this collection have been discussed with his friend, Joseph Blue Danube to an excited audience. carefully chosen for their recital interest as well as their teaching value. Joachim, the great violinist, his con- Finally, there was the Zum Rothen certo for violin and orchestra. “I Kranz (To the Red Wreath), in the Netv Augmented tit r , Arranged by think with deep melancholy,” wrote Himmelpfortgrund section, where in 7| TIT TlTTT? T P HOWARD KASSCHAU one of the visitors of this cafe, “of 1828 Franz Schubert and his brother Edition— rl/iI\IU UUJb 1 the glorious evenings when Rotten- went for dinner. The food was com — Contents — Oxen Minuet—Haydn Watchman’s Song—Grieg berg and I sat alone with him in the pletely tasteless to Franz, and he T Little Romance (Op. 68, No. 26) Schumann nvention in F Major—Bach Rothen Igel, and the silent Brahms pushed it aside impatiently. This Minuet in G—Beethoven Elegie—Massenet Waltz (Op. 39, No. 16) —Brahms Sarabande (with variations) —Handel thawed and showed us glimpses of was the first realization that both Price, 75 Cents his great and strong soul.” Franz and his brother had that the For players of equal difficulty in Grade 3. fatally sick. £ . . composer was Genius in Repartee Examine These Publications at Your Dealer ti l t £=!=££ E£ Zum Rothen Kranz was the last It was at the Rothen Igel that a Viennese cafe-house that Schubert p historic meeting took place between visited. A few weeks later he was Ik the two great Viennese composers dead. SCHROEDER & GUNTHER, Inc. # * * * * 6 EAST 45TH STREET NEW YORK, N. Y. "The time has arrived when the country at large can have full confidence that this chance is for everybody. There is a wonderful opportunity to-day, Thematic Catalogs sent gratis on request Copyright 1939 by Theodore Presser Co. with all the foundations and attempts to help the young artists, for- the American musician to get somewhere." Rudolph Ganz. 48 — British Copyright JANUARY, 1940 49 JVM ,, —

tures, when the foremost American music teaching The by centuries of would have been horrified of Professor Wei, a Chinese musician actors to challenge to man sl«n Television and the na- greatest display their art on films that and a distinguished virtuoso on ty to see fo were is the curios Wei was processes shown for five and ten cent admi$. tive instruments. Professor an enlarging of his WuRLlIZER Music of Tomorrow television himself, through Similarly, radio was Voice Questions _^n6werecl invited to appear on a sions. an ac- personal vision. Beauty of rich tone from the Augmented program, with the result that a the cepted medium of entertainment Sounding Board—Beauty of charm and ( Continued from page 11) early to consider It is still too exquisite proportion, of fine woods . number of televiewers expressed an long before ‘‘big name” artists con- of television. So By DR. NICHOLAS DDUTY t and luxurious finish to breathe, to career possibilities be shown how how entirely unexpected comprehension expertly sented to come before the micro- the chief need is for open their mouths. Demonstrations of the “queer” Chinese sounds. Peo- far, Thus the earliest screen and phones. and in THE ETUDE unless accompanied by the full name equipped television engineers No question will be answered can be given in close-up, at angles. ple who thought they could dismiss were provided will be published. bring satisfy- air shows with com- and address of the inquirer. Only initials, or pseudonym given, for such talent as can A telecast of a harpist’s fingers will Chinese music as quarter-toned and petent but less than top-flight performances to a field in which pro- teach more in fifteen minutes than “queer”, were caught by the visual ing personally familiar with your voice and style. still in grams. This is not the case with She Change Her Teacher? themselves are Shall these things and also can be learned in an entire winter demonstrations of the tones are the demands I have been a vocal student in a small Your teacher knows how television. The pioneer work Q. limitations. of today’s music of and this has been my first op- your best points and your vocal of observation at symphony con- and sound as they a fluid state. Many conservatory , choose, made why they earlier Industries has I am nineteen He will be better able to help you in tele- those created portunity to study , although students will find outlets you, than we can at certs. Entire periods of musical his- do. Thus, in the brief weeks of its years age. My teacher is head of the voice being on the spot with it is a critical awareness In the of years hence; though public told me nothing about the distance of several thousand miles. There tory be recreated. The very at- vision five department, but lie has can existence, television has already con- songs in two what mind that will cause the average correct control, even scale is a fine book of old Italian present difficult to say just correct breathing , mosphere of Schubert’s Vienna will tributed to a better understanding at that I have learned volumes, and several books of oratorio and to demand the best, and so on; and I feel will be. It is certain, televiewer sim- sing- each book costing from $1 to come to life on the screen during of oriental music. Again, a harpsi- these outlets nothing about the real art or technic of of opera songs, ply because he is already used have read books $2.50. The separate songs cost various prices broadcast of the Moment Musical. however, that a consummate degree to ing, after a year of study. I a chord recital was telecast, to show as cents to seventy-five cents. best. If your standards upon singing, by responsible people such from about forty musical skill will be the first of the hare will get any or Already the curiosity interest of how this instrument looks and how of Witherspoon, Lehmann, Douglas, and others; The publishers of The Etude public been set by Nelson Eddy on the groping in the dark. all of them for you. television has had results. While it is played. Such a pushing back of the “musts.” The taste of the but I still feel that I am without agree that the stage setting for a it screen or Alec Templeton on the My voice is clear, pure and true but 2. We searching for new material, NBC horizons can accomplish more in a today is vastly superior to what air, be very sim- great volume, with a singing range from A graduation recital would better pic- the chances are that you will about with learned of the presence in New York single year than has been achieved was in the early days of motion not below Middle O to high G. Is such a voice, ple. However this is so hedged intensive that cannot see how it can Invest anywhere from $100 to $1000 with this short range, worthy of conventions we be unique. Just learn to sing better, to look pHARMONY BY MAILp in a television set, in order to watth better, and to act like a simple debutante; Guaranteed A practical and thorough course of 40 lessons, at amateur glee club. Thus, regard- and these may make your recital individual Improvement an cost of personal instruction. therefore unique. Your friends, who send Weo build, strengthen the vocal organs— a small fraction of the teacher to try and but by fundamentally less of "name” values, the perform- A. It is the business of your with tinging Icssans— Small monthly payments. Send for particulars. flowers or other gifts, will expect you to re- sound and scientifically correct silent turrets'* - to show you: and absolutely guarantee to improve any Binning ceive every evidence of pleasure refunded . . . Write tor to your words. ers who come before the iconoscope of good quality, them with or speaking voice or money Music composed 1. How to produce tones sent free. Learn WHY you that they should be displayed so that wonderful voice book— without stiffening the and can now have the voice you want. No literature at all, will have to Oder first rate without effort and by parent. everyone in the audience will be able to see ent to anyone under 17 unleaa signed HARRY WOOLER, B.Mus. of the throat. muscles PERFECT VOICE INSTITUTE. Studio 5581 Buffalo, abilities. them. Your accompanist will help you to Chicago 1116 Elmwood Ave. N. Y. 2. How to form vowel and consonant sounds 64 E. Lake St., arrange them to the best advantage upon the comfortably, during both speaking and sing- OPPORTUNITIES piano, or upon some other convenient object Shall the Eye be ‘Tilled"? ing. if Awards, and in full view. It might be misunderstood Advanced Diplomas, Certificates of Medals 3. How to make a fairly smooth scale, from Student and The addition of cameras to the you were to attempt to improve upon this the top to the bottom. SINCERS and PLAYERS WANTED Other Requisites for Awarding Pupils custom at your debut recital. to accept opportunity of sinking or playing for good pay in raises question 4. to control your breath so that you microphones the of How home localities. NO COURSE. No "placing” charge. Appli- Completing Courses in Music softly The early songs up to and including Mozart may be able to sing long phrases, both cation form, details, 6c stamps. No commissions required. ... ux the IfVjudic “looks.” How much is persons! might be called classic; Schubert, Schumann, and with full voice. SKILES SYSTEM, 454, Freeport, Pa. Brahms, and others of this period, romantic. beauty going to count in the net The studio procedure by means of which THEODORE PRESSER CO. Bach and Handel were oratorio writers, al- ADVANCED COURSES field? these things are accomplished is usually 1712-14 Cheatnut St. Phila., Pa OFFERED BY THE It is quite possible for a less though Handel wrote operas too. Mozart wrote called the teacher’s “method.” It is a job every sort of thing musical : masses, cantatas, than handsome performer to make difficult to master, and it requires quite a UNIVERSITY operas, grand scenas, and simple songs in a EXTENSION CONSERVATORY long time, great skill on the part of the Letters to The Etude a success In radio. How about tele- style at once perfect and unique. Charpentier, teacher, and intelligent cooperation on the to find out what this great Musical Massenet, Verdi and Puccini will give you a Music has always ranked high among pro- Organization vision? Will a competent artist find part of the pupil. has to offer you. very large selection of operatic arias from ^eu’-EASY PIANO At a very small cost and- with no A moment’s reflection should make you interference with himself blackballed because Nature which to choose. Marx, Strauss, Cimara, and fessions. There is never an overcrowded your regular work, you can easily see that it is impossible for the editor of Get Out for a Walk and has failed a other later composers, are perhaps complex, quickly qualify for higher and more profitable to provide him with Voice Questions Answered to tell, without Famous Musicians Set Good Examples or both melodically and harmonically, but to A It II ANG EAIEXTS field for the well trained musician. positions in the musical world. hearing you, whether or not your teacher is Greek Mor- : nose or wavy hair? Mr our ears they are so beautiful that no recital To The Etude doing any or all of these things for you. We Unless we keep before us the wisdom of hav- ton brings us the encouraging word program could be called complete without DIPLOMAS OR BACHELOR'S point out what must be done. The final ing a “break” in our studies and work, and of Git EAT AMERICAN Interesting positions DEGREE them. the • are open in every part of the field. that this will not be the case. Co* decision must rest with your intelligence in getting out amidst the trees and flowers of We put you in position to earn countryside or gardens, taking a stroll along Schools and Colleges are making it necessary for every more and to prepare estimating her work. Your range is a good for bigger things. Quick advancement questionably, “looks” will count for A Dry Throat and Hoarseness in Summer the beach or river bank, or some similar diver- teacher to be equipped for his work; the Radio is calling can be yours one, if all your tones are of good quality, MELODIES . . . sions, there always will be the danger of mental m the teaching field or any easily distinctly, Q. Why is it that in summertime l cannot for highly specialized training, and standardized branch of the musical more in television than in radio if you can say your words and breakdown in Moreover, teaching sing, only in cold weather t the latter exhaustion and health. profession. With a musician, if From makes competition keen even in small diploma or Bachelor’s Decree if you are a good and you have it gives a freshening fillip to our mental activi- communities. (where they count not at alii- As part of May till the first of September, / you can meet all competition. a pleasing personality. One year of study is ties. The elusive word or phrase, the melody Are you an ambitious musician? have much difficulty for a few moments I will soon as a camera is introduced, its a very short period in the history of a singer. ; or rhythmic device we have sought for in vain, be all right, but after that the voice gets tumbling VICTOR The alert musician today does not rely upon the haphazard RAPID oft comes into our brain. HERBERT ADVANCEMENT impersonal lens transmits some sort raspy and hoarse. I tried drinking water, and The great poets knew not only the joy of the use of books and methods, but chooses a definite method and Our simple A Singer in the Philippines Inquires open spaces, but also their inspirational value. EASY PIANO and easy Extension method of of impression to observer; and that helps for a time, say a minute or two, with special preparation, meets the competition. teaching the Q. I am supposed to graduate from the So did the mighty Beethoven and many other A success- you both the beginning and then it is as bad as ever. This condition has ful higher branches of it is this Conservatory of Music, University of the music masters. Ivor Gurney, a British musician ARRANGEMENT SERIES musician is most always a busy one. Because of this very music right naturally better to make existed for many years; but I never bothered in your own home has written over fact it has been gained in Philippines, this year and to give my graduate who two hundred songs, ad- is almost impossible for him to go away for addi- a busy impression unpleas- about it because I did little singing in the experience of 36 years. pleasant than recital in March. I am required to sing classic mits that many of his melodies were born of his tional instruction; yet he always finds time to broaden his Follow the example ant. summer. Now that I have the opportunity walks. of other musicians especially in a field that is to modern , romantic, and oratorio songs; and a experience. To such as these our Extension Courses are examined who have to sing more at this time of the year, I would The very titles of many of MacDo well’s TOYLAND our lessons available to part of an opera. I have confidence in my of greatest benefit. Etude readerse s bybv proceed along the commercial lines like to know the cause and the remedy if songs and pianoforte pieces tell us of the joy sending for them today. teacher in the selection of songs, but I would and of there is any.—F. A. V. inspirational effect of the fields and gar- Digging out for yourself new idea? sponsorship. But looks are not the like to have your opinion for the repertoire. dens and open spaces upon him. for the betterment of your Filt In and Mail This My audience will consist of music lovers, but Finally, let us take note of the authoritative TRAMP! TRAMP! TRAMP! students Coupon Today- sole consideration. represent A. live in a rather climate; U NI EXTENSION They You dry and per- voice of the great Melba, “Queen of Song." is a wearisome time-taking task, VERITY CONSERVATORY, Dept. A-168 they do not have musical training enough to "An 1525 E. 53rd Street, but haps you suffer from that curious abnormality hour's walk on lovely Chicago, Illinois. one of three factors and. in Mr understand songs that belong intel- a country road is as even though you have knowledge of to the of the Price P S e nd C mucous membranes sometimes called good for a singer as an hour’s practice." SOe Each 1 ^ 6 a "d fu " Morton’s listing, third lectual audience. I want songs that will at dependable sources. When you can havevim |rked w,Tha n Xbliow." '"Nation regarding course they rank in Dry Catarrh. This means, in plain words, that —Arthur O’Halloran I least appeal to my hearers. Please inform me affiliate with a school recommended Piano, place. the throat, mouth and the nasal cavity are Normal Course First comes the performers where I can obtain the songs and the approxi- for Teachers Guitar inclined to be too dry, because of an in- by thousands of successful teachers, Cornet artistic price. voice In Spite Handicap Piano, Ear Training skill. Second. comes the in- mate My has a range to two line C of you may be sure that their confi- Course for Stu- Voice B and sufficiency of the natural secretion of the dents S ' in vocalization, and a tone and a half lower To The Etude : History g , Singir 6 definable mucous membranes lining these of of Music 1-1 . element personality— parts dence justifies your confidence in Public School Music LJ Mandolinu ^ of for public use. I am associated with the K. M. J. studios in Choral the body. In order that the vocal cords and HARMS Harmony Fresno, California. SERIES new ideas for your work which we Clarinet Saxophone that luminous by-product of human 2. Please give me your suggestion as to For many years it has Adv. Composition Piano the muscles that move them shall function been my pleasure to read your publications, and make available to you. Violin Accordion stage arrangement, whether or not I have to OF -J Banjo chemistry that vitalizes a perform- efficiently, there must be the normal amount I sincerely congratulate you for choice in EASY PIANO put all the flowers on the stage. I am tired of Look back over the past year! What Reed Organ ance of this secretion to act as a lubricant. If selecting material that is constructive and Name and makes one forget whether this and hope you can suggest something sim- ARRANGEMENTS • typical of your magazine. I have progress have you made? .Adult or Juvenile-. there is too much, phlegm is present in the the use of the ple and unique, better than a stage filled with only seven fingers, instead of Street No performer glam- throat, while too little causes ten. When I If has Hollywood the dryness you feel you have gone as far as flotoers. Thanking you in advance—S. H. B. was eleven years of age, I contracted infantile City our or of which you complain. Naturally this condi- your present musical training will not. Ernestine Schumann- paralysis and for six months was confined in tion is worse in TEA FOR State. summer, because the weather bed, TWO . . . without being able to use any muscles take you; if you are ambitious How long have you taught Heink to Piano?. . stood example A. You have indicated clearly the How many pupils as the perfect usual is warmer and heat, as everyone knows, tends in my body. Gradually I improved, with the (YoumaiiH) • have n i , _ _ you now? make further progress, enjoy greater Do you hold a Teacher’s of the conventional program for a graduation re- to make all natural things too dry. Also in final result that I had lost the use of my left Certificate? Have you consummate artistry and recognition, and increasing financial studied Harmony cital, as outlined by your teacher. Commence summer one perspires arm and hand. After consulting the outstand- Wouid you like VT" more freely, and more to earn the Degree of Bachelor of hearty asserted with some old Italian ing medical doctors throughout returns, then you owe it to yourself Music?. personality that music, or Bach and of the natural moisture of the body is exuded the United Handel. States, I was told that a mild form of exercise THE MAX I themselves The second group may be slightly in the form of perspiration, leaving LOVE on the stage, the phono- less to would be the only means of stimulating and more modern—Haydn, Mozart, Schubert, be used as a throat (Gershwin) graph. lubricant. No moving perhaps restoring a portion of the use of mv the screen, and the air. with- Schumann and even Brahms. The third group machine can run efficiently without being left arm and hand. For fourteen years I have out may be still more modern French, the assistance of classical beauty. German, well oiled. The voice is produced by a marvel- spent from eight to twelve hours* a dav prac- THE Italian Price 50r Each University Extension And in and songs, and an opera song or two, ously adjusted, continually moving machine, ticing and practicing to perfect my technic Co third place then come gad by such composers on the piano and to win ndervcito as Verdi, Charpentier, which needs the out over mv handicap. r natural lubricant exuded by Although looks. Massenet, Puccini, Cimara, my left hand is shrunken, I have 15 2 5 Richard Strauss, the mucous membranes which its EAST 53RD STREET (DEPT. - surround substituted unusual A 1 6 8 ) Marx, Rhene-Baton, and so fingering and supporting on. In the United mechanism. When this is Nil'S 1C l» Fill. IS II CHICAGO. even partially my. third finger with the fourth one on top EIIS ill. States the last group is usually in English, absent, one cannot hope Luring the for the vocal organs of it, when running scales, and using awkward HOI. Ill >4. Ill II It Mood and it consists largely of contemporary PO ATI OX com- to work correctly. Have an experienced throat positions to play with my left hand. Another *ad posers. doctor The purpose of this M. Wilmark A- Sons • lliirms. In*-. field in which music examine your throat and treat it, and writing is not to receive We have refrained from suggesting praise, but to inform people just one It.-iiii.-k Mimic I iir|l. television to any most likely your trouble will be improved thing will be useful that is. “Never take mutually special numbers to you, because we are not and perhaps entirely advantage of a handi- IU.% lluilalina • New York. eliminated. cap." —Ralph Kuettel \. y. (Continued on page 521

JANUARY, 1940 THE ETl'DB 51 t t 2 , f - — .

i]

Thoughtless Errors at the Church Service on red-browns, burnt orange, peach- upon a natural Television and the tan, and shades built Questions IT FREE! (iContinued from page 21) nor and Choir TRY basis. Today, neither black Organ dropped in the Music of Tomorrow considered desirable in seconds) before beginning another The third beat is white is two Black causes a composition. Even if modulations second measure giving only Continued from page 50) television settings. ( j, , US','C, l rhythmic beats to the measure in- smudged image, while glaring white are introduced, as conecting links the a halo. Tans and between the different numbers, a stead of three, thus changing each other is in the definite estab- tends to shoot out general use, continuance of sound grows tedious. time in this measure from nine- lishment of mood. In the experi- grays are preferable for S. FRY. Mus. Roc. are nec- By HENRY of silence becomes golden, eight to six-eight rhythm. This beat of plays, it has and where black and white of the A. O. O. A moment mental telecasting of the Pennsylvania Chapter (as, for Ex-Dcan one realizes the value of omission is not confined to one in- been found a great advantage to essary to a specific setting and no for several congrega- accompany the spoken and acted instance, a bride’s gown or a man s THE FAMOUS FRANZ silence better than the musician. stance only, clothes) very dark and very Another error is the habit of drop- tions of different churches were dialogue with “mood music”, so evening , other colors are sub- ELECTRONOME ping a beat at the end of a phrase, guilty of this particular error in the its emotional light tones of S PAT OFUCE softly played that »* srz&r'™* izzrtZAt 2 TR A06MARK REGISTtRfO U used in the at the finality of the im- same hymn. In order to overcome message is conveyed to the tele- stituted. The piano especially which that Operates Electrically" fourth this careless defect in rhythm, the viewer without disturbing his un- television studio is grey, — rr££ttrwaKsr “The Metronome perfect cadence usually in the ELECTRONOME. well and shows up as You take no chance with the measure of common time, when a organist must be sure to exact the derstanding of the words. In the “takes” very Teachers. Students. Master -Musicians—anyone seek- ing ABSOLUTELY ACCURATE TEMPO—can try for this is impossible be- white. note is often held for three beats total number of beats required living theater, sendln sprHfraliomM for as it out at home for six days at our risk. Controlled to hare only (J. / am g er*1 sta- proper /or a choir by one of the world’s finest precision motors, it the the present time only one n Is it In 1cl rriMcacf, g’lff uoo sUtp and rest occurs on the fourth. The each measure; and it would be ad- cause of varying distances from At he tier form to be installed in any position. No springs a or is it consider,,! keeps PERFECT TIME a Processional, your op inlon of Ike specipeaUoef no tension to weaken, the electric “tick” is costs. In in America sends out television ft Iclnd « ytvt me to wind, is usually deleted and only three visable to use the metronome dur- stage, to say nothing of tion Ueccssional also when never rest to hare a you hair an idea at to hose meek u always exactly as you set it. It can go wrong York t At the " " Do proper beat covered by 5-year written guar- the audience is depend- broadcasts. That is NBC’s New Cantata or musical program on the ; beats allotted to the measure. This ing several repetitions of the same radio, where •« 1 organ this spr n fir at 10 m should tout Co Processional or Recessional of antee. City. The images choir has a literature on difierrat ent upon ear values alone, two aural station in Radio or should you send me try •/ dropping of a beat at this cadential hymn, with a careful synchronizing for the audience to stand, ASK YOUR MUSIC DEALER better form consoles t Where cain / obtain Ike book -Oseut impressions at the same moment are relayed to the 85th floor of the seated —W. 2. point is not confined to an. occasional of the bell-clang with the first beat they remain Thtatrr Orffflin” by WhlHtorthf Ain for a FREE trial. If, after testing the ELECTRO- is a matter to and « Building, three-quar- use of a Recessional NOME six days, it fails to give full satisfaction, slowly often cause confusion. But in tele- Empire State A The Dictionary of Dry*in Htopst—il. U. Y. occurrence here and there, but in of each measure. By going in by authorities of the particular your money will be instantly refunded. If your they are be decided the ELECTRONOME, send us vision, where everybody has a front ters of a mile away, where Recessional U pr.l- A. With addition*, we «u**r*i ihe tc«cf. dealer does not have certain localities it seems to be quite such practice, there will, no doubt, church, but we think a his name and ask for FREE descriptive booklet. to radius The entry cation unoum prove rainy uuiuancry let t obligation to you. seat, and where the ear is aided by amplified and re-sent a erable if there is a Processional. FREE trial arranged without general, in fact it occurs so frequent- be surprise at some of the glaring seem, The Tibia iiadudidti going out of the Choir certainly house oritan Clau*a ft t/uit# feduity . eye, the impression of the seen of fifty miles. Beyond that distance and ly, in so many communities, deficiencies disclosed. rtf- the and » li usually I Urp scaiec and more dignified and proper if Proce- lonal vnur aoociflcatlon The FRED. GRETSCH MFG. CO. be but it is not that the would be too lot and heard acting is stimulated images may good Recessional are used. We suggest ntop and probably ~t*f~ yem Musical Instrument Makers Since 1883 that it may be said to be almost The errors herein mentioned were and a joy forever I during both Proces- ensemble effect#. but might be u«d u 1 rather than dissipated by the in- certain that they will be received audience should stand 6^ROADWAY^ROOKLYN^NJT. Jl universal. Another point at which so evidently the result of thought- Regardless of price however, every WICKS, nolo ntop We muggeet the addllica of 1 mood. without blurring. For the immediate sional and Recessional. ORGAN includes patented Direct-Blectrio visible music which sets the Nazard Flute 2-2 3 to the 8well oryas uc. this error is exhibited is at a change less inattention that they may in h<> mg Q. I am very much interested 4' Action, tone voicing by the world's great pipe constantly being present, television is limited prac- a Twelfth 2-2 3 1and Octave to the Gm: Adjustments are so that the art ton of tempo, such as: serve as danger signals to some my reed organ repaired, the latter elope to be teaht artists, finest materials, and lasting construc- of tically to the visual horizon, because you organ— both made to combine something will he as good as orginully intended t'an Schools—Colleges organist. Eternal vigilance is the cost properly to "mateh” your Diapatoo Con** tion. It will pay you to investigate the many • >1 Ex. 4 something of the very short radio waves used, send me the name and address of a r> organ screen technic with The price will depend on the bulkier te.wjri of victory and must be the watch- WICKS designs, ranging from the cost of a manufacturer f The stops of my organ do not radio technic into a new technic take on some of the characteristics music. and on how mut l\ duplealof and u&fjni 'make, any particular difference in tin CONVERSE COLLEGE word of every performer before the good piano to organs costing thousands of 1# Included (You:r apecincauon doe* not tt- >>r ,tir 3 is entirely television. Bor one of light waves; that is, they tend to wrong with thvmt Would lark Ernst Bacon, Dean, Spartansburg, S. C. dollars— all built to the same high standard. which What is elude thin inform.etion.) We ran not tend jk public. The least mishap will be straight lines. in the bellows hr the cause t Does a Irak mg COLLEGE, DEPARTMENT OF MUSIC thing, notes of any kind are taboo, travel in nearly literature nhowltuc different trot* of tomda bellows require only a new covering or the Galesburg, 111. observed, whereas perfection will be you rmgnt secure urn iroro use owicezi ex James MacC. Weddell, the moment the cameras begin However, there are at least two bellows H h<> KNOX Chairman. installation of a whole new Catalogue sent free eat 1 mate the cost of your iomiAoiUOQ ~Tti upon request unacclaimed and accepted as a Radio performers, who methods of linking stations together could make these repairs for met I hare at “shooting.” Contemporary Anirrlcan Organ.” by Bena* CONSERVATORY natural due. my disposal a pair of bellows that terrr OF MUSIC are required to keep notes before in a network, both of them nearing contain# 1 Hu* trail one of variout type* of organ Courses leading to WICHS used on my organ with »ugge*t ’'Organ «ktopa” by Auddry. or Tfc- the B. Mus., and B. Mus. Ed. degrees. Rates music to these is the automatic radio relay, is up to pitch. Is there any reason why it familiar they are with the tlonary of Organ ntop*” by Wfd#ioofi. al reasonable. In the heart of the Shenandoah would nerd new reeds f Why do you not ad - i.*»# an ingenious device the book# mentioiAfd. a# well a* LxOemi a— Valley. Dayton. Virginia. be performed, will have to reaccus- that receives a the attachment a blower to a retd organ? Not a Mothers' Study Group? AIMS of Why RC Theater Organ#” by Wh il wonh. can t* tom themselves to the habits of program from one direction and —M. R. WICKS ORGAN COMPANY ••cured from the publishera of The Etude A. We are sending you information by (Continued from page 22) lesson days, singing and playing passes it on, by means of a narrow HIGHLAND • ILLINOIS • 2>efpt. ET. mail. We cannot tell what Is causing the con- T Answering Etude Adver- T everything by heart. Again, the radio beam, to the next television dition of your not noticing any difTcrcnct* 0- What are 1 organist he a ^Mautfer *' • tisements always pays 1 by mother, while the child listened located, and books given to makeup and costuming of television station. The other is a metallic con- with the addition of stops. We can understand UuaWT Cam an J/miic" In chart I- that this is true of some a rAf-J. C. or participated in some rhythmic to pri- their ductor, capable of passing, stops under some L and delights the reader. J. such members study make demands of own. A dec- without conditions but A. The duties of a ntlnttter ef some of the stops should make activity (marching, dancing, hop- vately, so as not to waste the "THE CHIEF CORNER STONE" ade ago, when the earliest experi- too much distortion, the great num- an apparent difference. We should think that are dependent 01a the InteroretaUco of & parueak: ping, tip-toeing, and so on) or ments in television were being made, ber of electrical frequencies used in a new covering would correct a leaky bellows, term by the au thoritlee of the time of the general group. The By Hermes Zimmerman provided it is in good shape otherwise. W. church in quntion « e miouhj played a “rhythm” instrument. talent tests it was thought that black and white transmitting television Seashore were images. Thus, suggest that you get in touch with a prac- the term a# Ind The outstanding Negro Spiritual now SPECIAL NOTICES The following is a general outline given at an evening meeting. would “take” best. In those days, nationwide television networks are tical organ man in your vicinity to examine to the church in I11UK4V * available * u . the instrument and advise you. organ l«t can be a Minister of L 2 of the course, covered in ten hour- there were reports of black lips, “on their way.” At the present mo- He can also Since our studio is not sound- advise you whether the piano-player bellows can All the requliretnent# a* decided by ® AND Regular copies 40£ and-a-half to two-hour periods: proofed, we found less dis- dead-white cheeks, and heavily pen- ment, seventeen other stations can be used to advantage. chucrh *. generally uodenseoc hold If all the reeds authentic It t* Octavo for choruses 20C are speaking satisfactorily, I. Survey of home situation: cilled eyebrows. Recent improve- television licenses and are ready and we see no reason to Include the c! turbances from outside noises for replacing them with new ones. We have equipment, At Dealers ments in the camera’s sensitivity to waiting to send out telecasts in their no ANNOUNCEMENTS needs, interests of then. The two mothers whose reason for not recommending a blower 9 At uchal for a reed organ children, problems, and so on talent rated highest, light, however, have done away with own territories. The “mike” has at where such installation is metronome when and who practical. THEODORE PRESSER CO., Jobber the need for such startling makeup. last been joined by its brother, (see questionnaire) at the end of the course had the ^aadl Q. I IV* lc* note, wo,mid rrcrfyg rh sue 1712-14 Chestnut Street Today, television’s panchromatic “ike” (the am enclosing a list of the stop, n SPECIAL NOTICES General bird’s-eye view of all accomplished most with their iconoscope) ; and, to- on H r three manual organ. Which of the tit. Philadelphia, Pa. From th , ... * pre-school musical activities makeup is similar to that used in gether, the pair already has begun np will you should he used rise Prelude* and ahkb children, were the ones with kindly suggest how I ) RETIRED MUSICIAN WILL SELL his as nearly as hymn, t T. K. music library and instruments, including from birth to years. motion pictures, with an emphasis to do amazing things for music. possible a French ll,„n. It,,. H seven least training. string Quintets, Quartets Bnglih Horn and Harp A. We would act the metronome d and Trios. j . y. jy| Classical and II. Beginning to acquire a large IV. Becoming A. You have no counting Semi-Classical. More than familiar with ma- stops with which to re- two to three hundred selections in manuscript, produce faithfully three The refucr repertoire of songs. At least terial for children, books Learning Signatures, Dates, Notes and the the stops you name eight note# to each count arranged especially for amateurs. Also old both Like a substitute A» ecvordtac *• New- PIPE ORGANS- Used for you mlgi tlon for Prelude9 would vary Italian Violin by Nicolas Sarto 1734 and fifteen minutes of each meet- and recorded music. Many vol- Doppel Flute or the yea Cello by William Forster. Write Musician, Builders of pipe organs for church and studio. Ef- Oboe or Cornopean type of muni c being pi# . v Ufv^v ' ing was given over to ficient, up-to-date used instruments on hand at all Cjeorg^e ' roiunion smoothiy voiced). o#e*d l*- 101 Park St., East Orange, N. J. learning umes were reviewed and tried & For the Bassoon your noft 8 stop* to be thaw times, priced very reasonably. We also rebuild you might and use the bass end of atto". of and singing new songs. modernize tracker and tubular organs, additions of the Oboe. For f.iTuIkh For congnmtlonal alnctnr UNUSUAL OPPORTUN ITY Songs out on children in the homes. Horn we - — Retiring stops, couplers and chimes installed. Yearly care A most effective and intriguing pile with the signatures facing up- suggest that you you might try musicians would consider experiment , selling com- were usually learned by rote, V. Methods and of organs. We solicit inquiries. a combination of Oboe available bination school and home. demonstrations way, especially for young students, ward. Then, taking up the cards and onf of ^o^r - througl Refined atmos- in stops adding a l®31* phere, well-established as we found the mothers could Delosh Brothers - Organ Experts brighter color on the left and riight hand Ode# c4 the business, ideal of teaching children to sing. of learning year succession, to the Oho 3508-1 05th Street such things as the name the key for each place. Write C. DeFloris, c/o Etude. Corona, L. I., N. Y. City ment. sing more spontaneously for My nephew, and children who of birth of a composer, the number signature. Turn each card over to their children after having were not self-conscious before of sharps or flats that constitute the see if it is 0 What show named correctly, and put other stops that learned may im^TSS^St^ Mr.ndin s min** ANNOUNCEMENTS them this way. a group were used as “guinea key signatures, and the names of aside those not correctly named, to placed GUILMANT ORGAN SCHOOL on th* Onrat manual f Where III. Music tests of talent and knowl- pigs.” the lines and the spaces of the staff, be gone through f tions rail FORTIETH YEAR again for addi- for 97 . J»S or 7i lf

spend most of his time upon his GeRing Rie Meaning to the Audience Real Art in work, is often so pressed by the from page 24) or duties _jfnMvere {Continued For Students , Schools weight of outside activities Violin Questions J Violin Playing that he longs to escape to a hermit’s Clubs and Fraternities! of any musical selec- form, for it is accomplished, and after existence where every second of his BRAINE' interpretation Of By ROBERT tion which has real worth is no mean presented to the world by the sculptor from page 25) time will be entirely his own. {Continued painting is also wise that he achievement. Sometimes we find even it is unchanging. The course it would be - SMt To MiMaster, this New 1940 P-A publtibti. our major symphony orchestras un- definite in form—each stroke of the separate them. In a musical work of assimilate his training in an un- # Just touch a key and blow normal* STEPHEN FOSTER ly; you can't miss. So easy, and such able to get into a mood fitting the brush is exactly as the artist desired, think bothered, unrushed, contemplative tone. Nothing to compare art a performer should not onainta Witten beautiful with these new P-A Saxes, Clarinets, performed. One cannot and when one goes back to that IMMORTAL MELODIES neither should he way; for the things which are to be {MUCH of the man number being without feeling; ani I , and other P-A instru- to descriptions, photographs genuine, and their »*< regret to m, appropriately interpret what he does painting the stroke is there un- feel without thinking. It is the happy of lasting benefit must have time **em%f the yoltns an J ments. Fully guaranteed; your suc- tub us to teU ( f I he actu cess assured. See your music dealer texture is as this is impossible. „ tkt real motor » not feel within himself, and a great changed in position and and balance of these two elements that grow within. Indeed, solitude that or write direct for beautiful free labels in violins are counter/ ^ '-putahle development of the of violin to Mh • ' ran ;h,a,nc4 L “! Greatest fun, easiest with P-A. 1376 ° « Literature is recorded, set. The artist flour is for the making of Stud / Otkt proper emotional set up. T collection of Stephen Foster’s student should be careful not to play as art i ’ing J* from ’t hif “a dv SSEST* PAN-AMERICAN 108 P-A Bldg. Elkhart, Indiana words of the immortal writers read publicly a piece that he has been bread. Yet, despite the advantages of Some conductors call the bond be- songs, including many of his com- exactly the same each time. diligently studying (perhaps intel- an isolated life, I do not think a tween the mood of the band or or- positions heretofore unavailable. Rebuilt Band & Orchestra Instruments But music is more nebulous— student will find it necessary to re- Rebuilt—Fully Guaranteed chestra and their own emotions lectualizing) until convinced he has it require* a good artist Honestly difficult, and to do Please specify instrument you are inter- purpose of The Mechanical Vibrato .,. ested in we will quote prices. often that contact is magic idea in the mind of the com- recaptured the enthusiasm and emo- tire from society for the that you hath ae Justice to It. and “contact.” So A G.—I am glad to hear Distributors King Band Instruments. W Dept. E-l only partially recorded tion experienced on its first reading. music study. There are times, of vibrato which is satis- WEYMANN CO., broken, or does not exist. The har- poser can be found a mechanical 1613 Chestnut St. Philadelphia, Pa. two of them, and that The Paniirniu inmil* see. Mechanical Though an intellectual slant is course, when the pressure of outside factory, that you have mony of spirit in any musical organ- for other men to Arthur W. Griggs, H. M. C.—Vincen*o Panormo. Pari* iaIso 96 Pages they “will do the trick.” Mr. indicate the nature of his practicing, activities threatens serious work. us Sicily and Irrlaud) 1740-17*0. beloocrd to i ization does not exist automatically. symbols advantageous while it of Worcester, Massachusetts, who sends family of violin maker*, of which the Um should never lead to a lack of emo- But this situation should be firmly this information, states that he will be glad QUESTIONNAIRE Oftentimes it is spontaneous, inspired. conception, but they do not express it. him. where member died In ISOS in Brighton. England. Bo to tell any one who will write to DO YOU still try to teach music to young is interpretation is so indis- tion in a public performance. These met and controlled. A certain con- been a re*Ue*a genlu*. It can result from serious study of That why this device may be procured. Tun Etude 1>u« Is said to have and Eh children in the old fashioned not only life was similar to his work. leorumn bit ? life composer, pensable to music. In no other art qualities (the mental and the emo- tact with life is desirable, not seen It, and consequently cannot guar- way the works, the of the Instruments resembled master Cremona no- DO YOU use games that hold the child s tional) do not battle each other in for normal relaxation but also as a and teach lesson at same and from an understanding of the does the same bit of artistic produc- llns. and at other tlmea they were like inure- interest 87 Songs time? the work of an artist; they inspire humanizing influence in the work of ments made by a poor band. Hu Urartu aims, sources, and spirit of the com- tion undergo so many differing ren- Maggini Violin DO YOU have enough ambition to try each other. The more we intellec- a student. The qualities, which a A model was the Stradivari HU son*. Joseph modern ideas which have proven position itself. Performers too often ditions to man’s senses. All the more J. 1. Giovanni Paolo Magglnl was an M. O.— George. Louis and Edward were also vtods successful? tualize a piece of music find the student needs in order to vanquish violin maker In Brescia, from 1590 to spend years acquiring the technical reason, then, that the original con- — Italian makers. Somewhat more emended accounted A MUSIC KINDERGARTEN and 1640. He was the best pupil of Gasparo da Salo. proper place for accenting tones, for the cross currents of life—character, the life and career of Panormo ate to be ORCHESTRA skill and knowledge of the instrument ception should be understood. Yet the Many of his violins (but not all) have double TOY SYMPHONY the found In the works on violin maken pub- will make you financially independent. hastening or retarding tempos, and courage, and conviction — are purfling. The tone Is broad, dark, melancholic. they play, and at the same time are interpretations need not be inelastic; Price 25c lished In Europe. Complete course by correspondence from scarce. leading violin so forth—the more we add to the very qualities he needs for the build- These violins are very A foremost children’s school. $30.00 now. woefully lacking in the fine art of and one cannot be too severe in judg- dealer once told me that he did not believe possibility of correct emotional in- ing of a personal style in his playing. Valuable Teaching Aid interpretation. relative of separate I that there are more than fifty genuine Mag- A BRUCE SCHOOL, INC. ing the worths H. R. N. —The "Violinist's Manual." a Pro- terpretation; for our emotion then I am told that some healthy, am- glnl violins In the . Notwith- 624 E. 63 St., Kansas City, Mo. For interpretation is an art that is interpretations. What is necessary in gressive Clasamcatlon of Technical bUtmaL standing the fame of these violins, they are Home of famous faces the task of rising to the occa- bitious students practice the violin Etudes. Solo Piece*, and the most Important KANSAS CITY TOY SYMPHONY inseparable, especially from music. every case is that the interpreter Words and music complete. Ar- rarely used by artists In public. I do not re- sion of the nuance thus intellectually seven hours a day, without any chamber music works, as well as a abort rjn- member ever to have heard a Magglnl used The fact that music is such a mobile, shall be inspired musically with a ranged either as solos, duets, trios, opsls of the literature of the viola, to nid selected. What we say with our mind, harmful physical effects. It seems to in solo playing, in public, by a really Orat liquid art makes this true. Other arts sympathetic and artistic conception, Is added. Hint * for Ihr Violinist, by Eugtsr male or mixed quartettes . . . also class solo violinist. 2. Double purfling Is occa- Piano in other words, must carry the sin- me that seven hours a day is al- would be you. are more definite in form; the piece full of the spirit of the composer and sionally met with In the violins of other mak- Gruenbem. a valuable work for includes 2 piano solos. It contalna a vast cere conviction of our heart. If we together too much to practice any ers, but not often. 3. It would be only guess amount of informatics « of sculpture is permanent in its final of the fire of interpretative genius. work the violin and viola, together with llrti d decide that a passage calls for a instrument, above all, one as exact- to fix the value of a Magglnl violin at pieces for violin and piano, viola puso: the present time. It would probably run from and Be the most popular member of your crowd. Learn to play whispery softness, we seek the exact ing as the violin. Harmful effects may two violin and harp; violin and organ; twovtoiiar swing music on the piano by ear this NEW EASY WAY". thousand to three thousand dollars, in 15 lesson “learn -at-home” magic booklet and transposing i duos); two violins ructsi chart only $1.00. Satisfaction assured or quality of that softness, and this not appear immediately, but it is the case of good Instruments. 4. Pear tree and piano: two NOW MONEY' viola: REFUNDED. Mail your $1.00 bill (or COD request) TODAY ROBBINS MUSIC CORPORATION violin pegs are rarely made at present and two violin* and violoncello: th.tr WITHOUT FAIL to HavE selective process, carried still farther, not at all improbable that they may Ebony, You Youth ConcErts in Your Community? boxwood, and rosewood are violins: three violins and piano; three vtodra HOLLYWOOD SCHOOL OF MODERN PIANO 799 SEVENTH AVENUE • NEW YORK much preferred. “School of the Film Stars" (20th Successful Year) leads us into the realm of artistic I and viola: do so later. The maimer of counting do not know when the manufacture of the three violins, three viola*, nl Dept. 80- A 6842 Sunset Blvd. Hollywood, Calif. pear tree pegs three cellos. (Continued from page 4) selection—the selection made by our the number of practice hours is, was discontinued. There la also an extensive chapter os Vuu heart. however, subject to individuality. Literature. The Meditation Leaving this question, what from “Thais” The student present time these smoothly working available as to how many chaperons PLAY seems What some students consider seven H- T. hunting for a puce euliaUt LOVERS SWING PIANO S. —One of the most exquisite solo for ICIp playing at a concert or entertainment atl Ml committees number eight in all and have survived a season of this!) most amazing violin among students hours of practice may really mean works for violin and piano is the Unlitat::,, Superb records at This Amazing New Easy Way At Home And a large number In thu little work “The B V I ^^9 ^^9 Now is their inability to listen. from “Thais.” by Massenet. The melody bargain prices, each one has clearly defined func- But the chief motivating force and you can learn to play popular tunes with a real pulsat- Since the only three hours of actual work. A can Hints for Violinists" exceUrsi ing Swing Rhythm,—with professional bass and breaks— only be described U a mine of (Bach, Beethoven, Brahms, Mozart, Wagner, etc.), the as “heavenly”; and It has tions. are: style you hear over the radio or on the stage. Discover the art of music to the Information on all it playable on any phonograph. They the chief volunteer in the early days thrill appeals ear, one student, for instance, may reckon achieved enormous popularity subjects at Interest Original imports cost of “Building Up” the latest song “hits.” Enjoy the since the vert- the violinist, $1.50 to $2.50 each American duplicates only satisfaction of being a “finished” Swing Artist. would believe that the sense of hear- day of its publication. and violist It may be tecum! — 1. Soliciting advertising for the of the Youth Concerts was Dr. Sto- his practice time from the opening The solo part Is rather 50* and 75*. Send for FREE catalogue containing through the publisher* of Tng Em* Learn In Few Weeks! Ten Day Home Trial! ing would receive at least its share of his violin case to its closing. thousands of selections. programs. kowski who gave his services without Axel Christensen's Home Study course contains clear, con- This cise directions. You’ll be amazed how quickly vou'll learn and how easily. of thought and study. But The Cramophone Shop, Dept El, !8E.48thSL, NewYork 2. Writing and releasing publicity. fee. It was his invaluable aid, plus You take No Risk! If after ten days in- how might easily be seven hours. How- spection you do not believe our course the finest, it costs you nothing. wrong is this belief! Many students 3. Writing program notes. the cooperation of ever, if he deducts the time he has New Records for Home Music the Orchestra SEND NO MONEY! spend as much time practicing for rested, the time Lovers 4. Making and hanging posters. Association, plus the work of the Don’t send one penny. Just put your name and address on spent looking out a postcard and mail today. Free Booklet and Information their defects as virtues. ( Continued from page 5. Planning and sent immediately. Special Offer to teachers! for their In of the window, and the time wasted 12) making and Youth committees, that made it pos- 7 5 b AXEL CHRISTENSEN STUDIOS c hi^, *,V,.^- the main, I would say that the running foreign (or pet) passages, hanging decorations in the Academy. sible to charge admission prices low containing two scenes from Sinov Violins by the late John Lento average violin * liis last works sacrificed student does not know he may find that he has practiced , -c. '-’n cue r for Cash. Supers, $150.00; few 6. Taking care of clerical and enough to make the concerts avail- Boccanegra < Victor features tine rebuilt violins, $100.00. No Trades. Worth double. how to listen tonus organ 15642). nor what to listen for. only an hour. at the Westmir W. ASPLIN. 427— 12th St„ San Pedro. Calif. miscellaneous work. able to all persons in the age group. Choir . Rose Bampton. He underestimates the amount of There may be students School, Princeton, 7. Selling boxes (these are the When Mr. Ormandy who can do proves 1 Giovanni became musical attention that self the Martinelli and the Metro- should be given to the seven hours of work without fear of foremost organ playei New and old violins at only seats in the house that are director of the Orchestra he con- sounds records. politan Opera Chorus, and offers un- a surprisingly low price. received by the ear. An open harm; but by substituting His program Expert repairing our specialty. reserved) tinued the deep, con- this time forgettable precedent, and thus ear leading eludes and much to be prized e. to a closed mind is of centrated thought for “Toccata j. & j. VIRZI CORP. 8. Enforcing the Choice actual finger and Fugue ii admission age without interruption the concerts of charms and insignia for your music aroun Write 503 Fifth Ave. today minor,” moments from great im- New York for FREE 1940 book showing newest designs! small value in the process of proper work. The method in which a “Toccata and Tibbett’s and the “chaperon” rule (in other have passage Fugue i continued. Now they are as listening. major’ personation of of the C. K. CROUSE CO. In the course of his study is to be played or interpreted and “Toccata the title rcle words attending to the polite may be with much a part of the musical season 304 Bruce Avenue N. Attleboro, opera . “VIOLINS Mass. a pupil is probably advised, begged, Fugues in . . Donald Dickson, baritone AND VIOLINISTS” pondered away from the instrument. E major”, all “bouncing” of persons not eligible as the Orchestra’s by B Timely: interesting; authoritative. Edited by Violin Expert more numerous or in his first dis- commanded to listen: when he This and rendered record 'Victor 2024' . Single issue 25c — $2.50 for 12 in U.S.A. — Foreign mental work can act as a with vital artistry $2.75 for admission) concerts for adults. plays out of tune; with plays musical un- ^E^f|i^JD^^^G^^22^Unmai^ve^^EvanstoiLlllinois when he blurs a supplement an style, rather i to physical practice. In- avoidance of undue but That chaperon rule has a catch About twice a year Youth Concert SURE ROUTE scale; matics. certain TO when he scratches; and so on. terpretation can be, in vocalism in his projections in it. these intervals, It does not, as you might at Dinners are held in honor of the The student of LEARN "SWING" who carries such flaws molded in the mind and later Admirers of Lily Respighi's Nebbic and Rossini's MUSIC first blush believe, allow HAPPY- LAND sub- Pons Quick course to players of all instruments—make your owi an over age conductors. This year Dr. Stokowski have rr arrangem nts of “hot” throughout his musical career may jected about Tarantella. his e breaks, choruses, obbligatoes, em to the judgment of which to Paul Robeson uses belHshments, figurations, blue notes, person to act as the escort playing. rejoice in Vic whole tones, etc of merely will lead one of the concerts and not necessarily lack the ability to rich ELMER B. FUCHS Some students may even find m ly P°nS voice to good effect In selections 370 Lewis Av. his son or daughter or that in S°ng ” ,set Brooklyn, N. Y. a young Dr. Ormandy will direct four. To correct them—he may be just an in- they can do their 599?599). TheThe from Bess Dec' best work in in- soprano Gershwin's Porgy and friend. By no means. It stipulates the dinners are ,\nc. attentive was never invited all active V listener! terpretation in a quiet better voice on (Victor discs that in nook, with records, and 26358 59 >. addition to his own ticket members of the various committees The serious violin student, eager gram her INCREASE YOUR to the violin in its case. is a well A first, recording PhiffiP the chaperon chosen one Be< of a Carl INCOME must buy ten youth (it affords an opportunity for them a group of Emanuel — songs by Debussy Bach sonata for harps- Easily Substantial —Pleasantly tickets. Furthermore he must, when to become better acquainted) a It is a pity that it " , seg- is impossible to acquire musical culture Delibes — Take Subscriptions — as easily as and Faure chord owes to transfer for entering the Academy, be reading and writing; the Yella Pessl its led by or ment of the Orchestra, and a seg- for the pleasure of diving into the depths and beauties THE ETUDE MUSIC 1 arran e to discs 'Victor There MAGAZINE followed by or be surrounded of the score of a master-work is as great and intense S ment of set M-606L by the ment of the Board of Directors. a pleasure as any in Da^h — Write for particulars — (You is more this ten charges TO the whole range . than in whose attendance of art —. Ac<““'s historical value 1712 CHESTNUT ST. PHILADELPHIA, PA he just can’t invite a whole symphony “n peratlc disc music, as per- has made possible. of unusual Miss Pessl's delightful (No data were ( Continued on page 66) 54 me formance testifies JANUARY, 1940 — 7 . 1 . .

Definite Goals Training the Hands fur FOR PIANO TEACHERS O N LY front page 17 1 ( Continued The Piano Accordion FREE: "The Student Pianist,” a 36-page Book containing the 11 piano 1 WHERE SHALL GO TO STUDY? of the cadenzas in Liszt’s Liebes- to active major. Thi ing listed below, every number absolutely COMPLETE, the minor and then the compositions triads. traum. No. 3 should be known, even all major and minor piano teachers. includes the piece may not be this work. Exer- though studied. RECEIVE THIS 36-PAGE BOOK, you must establish with us your professional status. x In connection with TO cadenza in Scott’s Lotus and issue of The Etude). Enclose N H speed after The Land Fill out coupon at the bottom of this ad (or mention page 5 be used to try cise may or other means of identification, or refer to one or two promi- Private TEACHERS(Westem) (Eastern) to where the notes form a broken sec- Hints to Accordion Teachers professional card, letterhead, 2 Private Teachers J eighth notes slow practice. The nent music publishers by whom you are recognized as a teacher. movement ondary seventh chord—E-flat, G-flat. be detached by a wrist By : EDNA GUNNAR PETERSON BARBARA BLATHERWICK gives ; B-flat, D-flat— an excellent NEW ) Recital - Coloratura - Opera (wrist staccato Pianist Artist Soprano M * Concert — Teacher exercise for gauging distances Teacher Voice H to be M of 11 EASY TRANSCRIPTIONS FOR PIANO 229 So. Harvard Blvd. , Calif. M eino The Italian , founded on the Ex. 5 reached as the hands, which are music by well-known American composers, including the world-famous marches. Our FE. 2597 w Tuneful, rhythmic J Drinciples of Manuel Garcia jPietro Emblem NC-4, and Down Main Street, carefully transcribed, edited, and fingered. As Director, National , used alternately, play a position S East 10th St. New York Tel.: GRamercy 5-6392 title-page does much in arousing the pupil's interest, this feature has been given careful 2 As Told to ElVera Collins an attractive LAZAR S. SAMOILOFF higher each time. attention, the editions carrying smart, modern designs in attractive colors. 2 Transcribed by Title Transcribed by KATE S. essential work, however, Title Voice teacher of famous singers CHITTENDEN J The lies talented and music always had come usical students fall OUR DIRECTOR, March (Bigelow) MOONLIT RIPPLES. Barcarolle (Rolfe) Pianoforte x M From rudiments to professional engagements — Repertory — Appreciation uniformity of touch in the scale and chord exercises- effort. Walter Jacobs Walter Rolfe * Strength and HEIR to much gratuitous naturally to him, without x Beginners accepted. Special teachers' courses THE WYOMING, 853 7th AVE., NATIONAL EMBLEM. March (Bagley) RURAL PICNIC, Rustic Dance (Rolfe) Ex. which is ex- broken chords and arpeggios—in all to >4 YORK will be found in 6, M advice from many sources, When he began teach he nat- NEW Charles Repper Walter Rolfe H 610 So. Van Ness Ave., Los Angeles, Cal. [J as a sequence study. It the keys. In these are found all the urally expected his students to be Rolfe H cellent to use but teachers have less opportunity NC-4, March (Bigelow) R. E. Hildreth CANZONETTA (Rolfe) Walter consecutively on material for creative work. (Weidt) PICKANINNIES’ PICNIC (Four Little * OLIVER DANIEL 2 should be played basic The to receive suggestions or to discuss endowed with his own talent. The DOWN MAIN STREET, March 2 ELIZABETH R. E. Hildreth Blackberries) (O’Connor) Norman Leigh SIMPSON x Piano tone of the chromatic scale. fingers trained in the study of this their problems. Some of these prob- result was that he gave them lesson H each (Rolfe) Walter Rolfe WHIP AND SPUR, Galop (Allen) h Author of "Basic Pianoforte Technique" "One of the most intelligent music-makers of the WU HU will easily rising generation." Boston Globe. material follow the tactual lems are rather general, so we shall assignments which were far too dif- AUTUMN TINTS, Waltz (Rolfe) .Walter Rolfe Walter Jacobs Teacher of Teachers. Coach of Young Artists. M 26 Lynde St., Boston Carnegie Hall, New York Ex.e it Pupils Prepared for Concert Work. Class Courses 2 image wherever appears, either in offer a few hints which may prove ficult for them. This is very discour- The regular editions are 35 cents for ^ 175 Westminster St., Providence, R. 1. in Technique, Pianistic Interpretation, Normal _ each number, less the us ual discount to Teachers. M . Katherine Gibbs School Marot Junior College pure form or complex arrangement aging to folks, as they never 2 helpful. young ^ Methods for Piano Teachers. N An exercise using the notes of a The question often arises whether have the satisfaction nor the pleas- 609 Sutter St., San Francisco; WALTER JACOBS, INC. 2833 Webster St., Berkeley, Cal. CLAUDE GONVIERRE 2 5 group of progressive chords is valu- or not a teacher should be strict and ure of perfecting a lesson. 120 Boylston St., Boston, Mass. Internationally known pianist. m Please send me FREE and without any obligation whatsoever "The Student Pianist” as described above. ways. criticize his students when the Each lesson assignment should be Formerly from Paris, Rome. M able In many Played in each I enclosing [please check] professional card letterhead to establish my status teacher. Private Teachers (Mid-West) am Q as a [Publisher Co-artist with Geraldine Farrar m references as to status may be given below if card or letterhead is not available.] 2 key as the pupil is taken through occasion demands. Some teachers somewhat more difficult than the Teacher of H. M. Queen Joanna of Bulgaria and N many well known artists. N the scales, it will supply voluminous contend that they can accomplish previous one but a gradual, progres- Name. 3 ELSA HARTHAN ARENDT Pent House Studios 1225 Park Avenue, New York n Telephone Independent action of the fingers more by being lenient and by flat- sive program should be worked out M Vice-Pres. Sherwood Music School Sacramento 2-5714 m and exhaustive material. Street City & State. * Soprano Teacher of Voice while the hand is held in a con- Chords furnishing the material are tering their students. We do not and the material should be within Publishers who recognize me as a teacher: Soloist-Director 1st H >4 Congregational Church, MARGARET HENKE tracted position, as in playing Ex. 7, agree with this policy. Our personal the technical possibility of the Oak Park, III. M Voice Physiologist Ex. tO experience student. * J requires the utmost relaxation. The has been that a student 300 Fine Arts Bldg., Chicago, III. (Harr. 6267) Teacher of Singing: Bel-Canto, Phonetics. M 337 So. Brainard, La Grange, III. (La Grange 2070) Overstrained, defective voices adjusted. finger movements suggest those progresses more rapidly if the Some accordion teachers have lost Jj N 610 Riverside Drive * which are necessary in playing some 1 teacher is firm and does not spare many pupils without stopping to WALTER JACOBS, Inc. New York i NINA City EDgecombe 4-2388 h & U 2 BOLMAR passages found in Chopin and De- his criticism when it is needed. analyze the reason. They have al- Teacher of voice bussy. Many students through their lowed their teaching methods to get 2 ALBERTO JONAS 3 Each chord, played thus, will de- go Endorsed by L. S. Samoiloff H Celebrated Spanish Piano Virtuoso velop all the fingers in arpeggio musical studies with an indifferent into a rut. The fundamentals of x 612 Fine Arts Bldg. Chicago, III. Teacher of many famous Ex. pianists style. attitude. They have the ability to music naturally remain the same, Phone: Web. 4937 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-2084 2 J On Tuesdays and Wednesdays in Philadelphia, as 2 perfect their lessons, but do not put but, during the past ten years, other Director of Piano Department in the Combs Colleqe *2 3 ROY DAVID BROWN of Music, 1331 S. Broad St. forth the necessary effort to develop phases of accordion instruction have Pianist and Teacher X their latent talents. They repeatedly made rapid strides. A veritable J (Frank) (Ernesto) x To develop free action when the assistant and successor to Emil Liebling fall into the same errors and are wealth of diversified teaching mate- H LaFORGE-BERUMEN STUDIOS thumb may be sluggish in lateral X 612 Fine Arts Building, Chicago, Illinois £ negligent about properly preparing rial is now being offered by pub- * Telephone Webster 4937 Voice— Piano L movements, hold the second and their lessons. These lishers Frank LaForge-teacher of Lawrence students need of accordion music, yet we Tibbett since 1 922iC third fingers of the right hand on D MOO Park Ave., Corner 89th St., New York N sharp criticism and strict discipline, find many teachers who continue to CECILE DE Tel. Atwater and 2 HORVATH 9-7470 M E above middle C and reach the X to bring them out of their apathy. follow the same stereotyped teach- Concert Pianiste and Teacher thumb from C to F passing under J Naturally, a teacher must know ing program that they did six Pupil RICHARD 3 or X of the noted virtuoso and conductor, McCLANAHAN the fingers without turning the Representative TOBIAS MATTHAY his students well enough to judge seven years ago. small Ossip Gabrilowitsch hand; A group of 2 Private lessons; class lessons in Fundamentals then reach from C to G. 418 Fine Arts 2 The when it is advisable X Bldg. Chicago, III. 10 to criticize and selections forms the repertoire, and Thursday evenings, Oct. 12 to Dec. 14 following Arabesque * exercise is very good for Schumann’s much loved 806 Steinway Bldg., New York City when not to do so. When teaching every student must go through this ELAINE DE SELLEM the thumb and it requires finger has four voices carried through its 2 the timid, shrinking type of student, list, first regardless of individual char- Music Lovers H Mezzo-Soprano CHARLES NAEGELE action. theme. All these parts change at to earn LIBERAL COMMISSIONS J the emphasis generally should be acteristics or securing H Youthful voices developed. Mature voices talent. subscriptions for THE ETUDE. Part or Distinguished Pianist M different times, and each voice has rejuvenated placed on the encouraging side. • full time. No Cost or 2 Individual and class instruction of X Technical studies can develop a Obligation. Write for com- Major Teacher something definite to say. Brafanb M of Voice all grades under his personal direction. X plete details student, TODAY! Address : American Conservatory H but it will be found also x Kimball Hall Special privileges available to gifted applicants has even more complexities in Discipline CIRCULATION * With Popularity DEp’t X Chicago, III. THE AMERICAN CONSERVATORY OF MUSIC that certain passages in various DRAMA & DANCE ' X rhythm and phrasing. Bach speaks the etude music magazine A group of accordion teachers re- selections 1 T2 CHESTNUT ST.. PHIT.A.. I'A. 1 14 East 64th Street, New York City form a valuable part of RICHARD DE YOUNG 2 with two. three, voices 2 four or more cently had an interesting discussion * There are technical training. These can be x Teacher of Singing Learn the ACCORDION the PERRY way many exercises simultaneously, for the each with cleark on this subject, Teacher of many famous concert, radio fourth and they wondered assigned to meet the individual J and opera ROMEO PERRY J and fifth fingers. artists. The follow- grounded definite Associated teachers in languages, har- phrases that are whether strict On stage, screen & radio for two generations, the X ing, taken discipline would de- needs of each student. There mony, solfege, classes in operatic repertoire under from a LeCouppey in never Alone in Tone MUSIC Perry is 1 ENGRAVING 2 name famous. will teach you the right X study accent ACME- famous conductor. way. 3 ' and in rhythmic flow. tract from Phone: Delaware 2338. 4196 is a teacher’s popularity. seems to be the "Every artist Piano, J Park Ave. (Cor. 177th St.) Bronx, N. Y. X good. same practice re- who tries an Acme will agree with Band, Orchestra and Octavo work. We 721 North Michigan From this be * Ave. Chicago, III. Phone—Tremont 2-4821 X limited survey It can There need be no fear me that it is the greatest accordion achieve- specialize on this point, sistance when a student is working in book work; also engraved titles. easily ment since the piano accordion invention." seen that endurance, speed, because steady progress FAY EPPERSON FRANTZ in playing on a selection as when he is merely Send your mss. for estimate. PROSCHOWSKI I agility and skill, gained through the will soothe even the OTTO A. C. NULSEN School of Whistling Vocal Teacher H most tem- doing exercises. P - °- Box 774 M Breath-control, tone placement, Practice to and ... „ bird-calls. 200 W. 57th St., New develop strength peramental student. Furthermore, a 124 Government Place Platform etiquette York J When making out a music order Cincinnati, Ohio M Tel: COLumbus 5-2136 control of X *>tud'o: 522 Fine Arts Building N the fingers, constitute teacher has a deep responsibility ... e to it probably is easier merely list 4 '° Sou Michigan to N Chicago, III. the of Phone: J5 STUDY MODERN POPULAR PIANO PLAYING fundamental physical part the parents of students entrusted x Studio, Webster 2738 Home, Midway 5287 WITH M to the same old selections each time; HENRY SCOTT piano playing. cultivated him, and To have a he should do his duty con- but we believe that it is Famous Screen .and Radio ue iouni the duty of MAE ELEANOR ; Pianist-Teacher Courses 2 technic J KIMBERLY the usual the able scientiously. There is in Swing-Harmony-Orchesirations-Jechnic-U-nusual teaching repertoire fingers must be a time and teachers to take time to n Coach— 2 Wei become ac- Accompanist— Pianist Rhythms-Transposition-Modulation-A'ccdmpanyi'ng- Perpetual to act place 2 Motion, the voluntarily. Just like a refles for encouragement and compli- quainted with SWING PIANO Studio— Improvisation. new Room 422, Fine Arts Bldg. Specip 1. Master Courses for teachers Rondo f arrangements J * his action. Play piano same style as « ' Sonata Proper should ments, but discipline dance and radio placers S - M ‘ chi in finger should not be Put In '?'? ,S°n Ave. Chicago, III. PROFESSIONAL PREPARATION x C major,” training and compositions so their snappy runs, w is fu] students breaks and fills. Play all the late song 1el - hits W ° b - 7579 M Heme Tel.—Grd. 1547 315 West 57th St., New York X suggestions. bring omitted at sight It is easy City MacDowell’s out that instinctive response when necessary. may have the with our new, guaranteed 20-lcsson Phone: Columbus 5-6894 X Hexen opportunity to study course. Mall the coupon or post card today for free details. - contams a m tonal ac- We had an occasion ARNOLD SCHULTZ — X few similar ones. quality, phrasing and not long ago them. New technical studies are 2 lefe La E. s Papillon cent which to to help a young teacher Ersklne m Teacher of Piano EDWARD TREUMANN J has some will express or carry discover a being published from time Studio. Dept. ES. 810 East 14th St that sh to time, Oakland, X Author of the revolutionary treatise H the Calif. on Concert Pianist—Artist-Teacher t0 6ry ° listener such a message or con- serious flaw in his teaching method. to prepare the accordion X piano technique i y Ung student Gentlemen: Please send _ an to me free Information Recommended by Emii Von Sauer, Moritz Moszkowski P' ° Sole about your 3 e Riddle of the Pianists' Fingers" 2 denShedent. The r 7 ception It was causing New York & Philadelphia Agents 20-lesson course in piano jazz. . in him to lose , and Josef Hofmann. construction as the pianist mav find many of meet the rigid technical PIETRO DEIRO ACCORDION published by the University of 2 and the fl require- HEADQUARTERS M Chicago Press t n 46 Greenwich itudio, Carnegie Hall, Suite 837, 57th St. at 7th the his students. The AVE., N. Y. C. 622 F| NE ARTS BLDG. Ave m written music. young man in ments of professional Name x CHICAGO, ILL. 1Pel. playing. Columbus 5-4357 New York City Ac- — WRITE FOR FREE CATALOG — 2 * * * question was a fine musician and an cordionists must remember that, IXlIIITTTT T T TTTTTTTTTTTYYytr'ry ACME ACCORDION CO., Inc. Address excellent ISO great performer. He was very 7th Ave. So. (Nr. I Ith St.) sources k ( Continued on page 63) N. Y. C. of life , health ,

56 City . . JANUARY, 1940 State. THE ETUDt 57 slow piece, delicate young Italian short, in style nuances must be followed precisely; favor. There is a badly) I myself have known. She, elegiac or sentimental. It is to John years old, Made the basses must be sustained with Dp. girl, eight the musical art Chopin’s Nocturne, 32, too, was astonished that Chopin did Field that owes this ex- is blind, and care; there must be a light, moiselle Merli, who already not understand Schumann and Schu- she form. But Mozart had writ pressive accent on certain notes of But in my opinion No. 2—Master Lesson bert. But Bellini he adored! a pianist. ten his Eine Kleine Nachtmusik The pedal must be used with of talent and and the left hand, as in Measure 30: is a real prodigy So it will be seen that I have Mendelssohn the Nocturne to “Mid- great care. A pianist must always ( Continued from page 28) you, will you hear SAM0IL0FF Can known several persons who knew genius. summer Night’s Dream." The play clearly, and the pedal, used you. Nacht- Chopin. Often, at the home of her? I thank all The Social "Lion" affec- stiicke of Schumann* and d« incorrectly or too often, blots out will hold Believe me, with all my Mathias, Prince Czartoryski was at Abends of the “Fantasiastucke. outlines and all accents. Chopin was adored by the world your devoted, Op luncheon with us, an aristocrat of tion, With regard to style, measures 1 of society. At the home of Baron Meyerbeer.” 12”, are also nocturnes transposed the most exquisite courtesy, and a slowly SPECIAL SUMMER Rothschild, or of Prince Radziwill, of into German! But it was Chopin who and 2 should be played and all the many works friend of Chopin. When I suggested Among softly, like an improvisation. The of Count Apponyi, or of the Mar- which, dur- was to ennoble this title. There k These five notes—E-flat, F, E-flat, to Mathias that he ought to give Chopin there is not one chioness de Lanner, he was always nothing more perfect in the true theme does not begin till the D-natural, D-flat—must be brought MASTER CLASSES ing a century, has grown old. From works a concert to make us understand the third measure. The group of notes quality of tone. surrounded by admirers. The mo- sees in him of this unequalled genius. These out, with a velvety magic of Chopin’s playing, the prince his very first works one ment he arrived the eager audience contain hitherto in Measure 5 must be simple and From Measure 36 to Measure 39 during genius emerging, developing, pages unheard of also insisted. But Mathias replied: the without emphasis, and likewise the increasingly would begin asking, “Is he going to personality musical riches: here are tenderness the expression is dra- “No one plays like Chopin. I expanding. Here is a play for us?” am group of seven notes in the sixth matic, and the crescendo in these than methods and and charm; grief, even to sobbing; June and July but a man; while Chopin is of the which is stronger measure, which should be divided Chopin was very particular about caresses, heroism—in fact the three measures leads to a forte in essence of the fairylike.” At his home rules. Shedding light around, it whole his appearance. Mathias used to thus: 39, and from there to a fortissimo for gamut of feeling. Chopin has all I met also Schulhoff, who was not breaks through the limits of con- say, “And his polished half -boots? to his lyre, and Ex.4 in 43. Here the pace becomes faster. very interesting. Madame Dubois ventions and of worn-out technical strings he has made They were the most shining I ever The passionate feeling reaches its Teachers, Singers and O’Meara, very reserved. At the home theories, and, rising above them, them all sing with an intensity of c-r have seen. He had a very small foot. u-r climax at the reprise of the ex- of Saint-Saens I had the honor leads us a step higher into absolute emotion which is matchless. And he always wore a double- pressive theme of the Nocturne; and Beginners several times of meeting Madame beauty. To gain some idea of the variety The trill in Measure 8 must not breasted coat, buttoned up to the this, instead of being interpreted like Pauline Viardot, who in a few words We can apply to Chopin what of his genius, it is enough to glance seem hurried. Measure 9 demands highest button, and tailored in the the intimate dolce of its original at his could conjure up the very spirit Balzac said of music: “It is a through his scries of nocturnes. In special work for tonal effects: the latest fashion. Every detail of his statement, must be appassionata e of Chopin; and it was a joy to hear language a thousand times more them vibrate all the ardor of his five notes at the beginning must be dress was the most finished, the most forte. Gradually the excitement sub- Saint-Saens arts passionate being, all the played expressively and the elegant that could be imagined.” and Viardot exchange rich than words. The other joys and all mf; sides at Measure 56, and we return Bel Canto Studios & Opera Academy reminiscences. Marmontel, eminent impose on the mind creations which the sorrows of this heart exalted or last C of this group and the first Before me lies a letter from to the melancholy of the beginning. professor at the Paris Conservatoire, are definite; music is infinite in hers. cast down. It is his exceptional C of the next beat must be played 610 SO. VAN NESS AVE., LOS ANGELES, CALIF. Eugene Delacroix, the famous In the finale—Measure 63 to the painter: I know very well. Several times I saw Each soul can interpret music in power to express emotion which elastically and as if they were two end—the first five notes of the right Henri Herz, the celebrated pianist, terms of its own grief or joy, its makes the music of Chopin so notes of a triplet group, as: • • Dear good Chopin: hu- hand must be delicately marked, REPERTOIRES LANGUAGES ACTING a delightful “The address of old man, whose mind own hope or despair.” man that it seems to each indi- the shoemaker with an exquisite combination of was stored with vivid interesting is 19 Rue Feydeen. Tell him ex- and vidual the song of his own heart. Special Voice Clinics for Teachers rhythm and abandon; the trill of actly what recollections. Both of these latter Again the Teacher The shape you wish the touching beauty of his works Measure 64 must executed with- ” were friends of be toe of your boot be. Chopin. To return to Chopin arises “Everything for the singer to He is ac- as a professor; from their absolute sincerity out haste; and the whole close There was also must customed to making them round, Alkan, the great Chopin insisted on training the and spontaneity. hand The close of the measure must be poetically, as it breathes away WRITE FOR CATALOG like the English but now forgotten artist, whom I in stretching, boots. Instruct but without fatigue. “Chopin." said Liszt, “had a tem- played diminuendo, and with sen- mysteriously. him to had the honor of seeing and hearing He laid make you some boots for much stress on passing under perament of extreme nervousness; sitiveness, but with exaggeration Samoiloff Studios affiliated with the Zoel!ner Conservatory of often. He adored no One more word of advice to per- winter with very thick soles, Chopin, and I re- the thumb, in but scales and arpeggios. yet one could not help loving him. of feeling. Music. Credits given for all subjects taken in our school gret deeply that formers. The first duty of a virtuoso light weight. I love you as I did not write These were to be much practiced at first He knew how to restrain himself, In measures 12 and 13 the is toward degrees of Bachelor of Arts and Bachelor of Music. all 11, bass to impart confidence to the audi- [ as I admire you. down that he told me of the great very slowly, ] and then gradually ac- but without being able control should be sustained genius. letter to without the help ence. An accident does not matter, Delacroix.’’ A from Alkan to Cho- celerated. He taught first the scales himself drilled of the pedal, pin, dated completely; and he except where the pedal if it is merely an accident. But if, His life might have run smoothly, 1836, runs thus: “I am with the black keys, and last of all himself every is marked. The passages going to trouble you, dear Chopin, morning in conquering in small through nervousness, one becomes perhaps, had it not been disturbed the scale of C, the most difficult. He his passions, his hatreds, his anger, notes, from Measure 14 up to the insecure, or shows fear of an ac- nORTti PARK COLLtGE by the liaison with for I am about to make a request desired A professional school George Sand. By absolute suppleness of the his love, section in which will his grief, his impetuosity. twelve-eight rhythm, must cident, the audience also becomes what anomaly was this being, cost you something to arm combined E. Clifford in a university environment so with firmness of the Did be done without hurrying. 49th grant and will also cost you he know Young's "Hlght The uneasy and does not listen attentive- Toren, aristocratic, refined, fragile, brought some- fingers. He advised the Year For Free Bulletins Write to use of the Thoughts”? by agitato, which follows, is to be ex- ly. If the tone becomes uneven; Director into association thing to refuse. Nevertheless I can- Had he been inspired if with that vehement “Preludes” and “Exercises” of pressive not resist de- them? One could almost believe it yet with care in the nuances the lines of the melody are not SCHOOL OF MUSIC woman, always inclined towards speaking of it. It is, would menti, the the “Etudes” of Cramer, Trains students for active musical careers in be willing the in reading some of his nocturnes." which are marked. But, I would re- clear and distinct; if the listener 1830 Sherman Avenue plebeian; you to play with me, with their chosen field. Progressive faculty. Conserv- why was his destiny min- “Gradus ad Parnassum” of Evanston, Illinois two pianos, at Erard’s? demen- peat, one must guard against com- does not follow the text as calmly atory occupies own building. Piano, voice, gled with hers? If you do not ti, “The Well Tempered Clavichord” mitting violin, cello, reed and brass instruments, church consent, please A Master Work Dissected the great fault which is so as if he were reading it, he will no and choral music, But to what purpose try do not even write to of Bach, theory, music education and NORTHWESTERN do we to and finally some expression. For information excuse yourself. “Etudes” common with interpreters of Cho- longer listen. complete explain the unexplainable? Always the same, of Moscheles. The Nocturne, Op. 32. No. 2. in A- Occasionally, for pin: Write E. CLIFFORD TOREN. Dir. Alkan.” There were no excuses the flat Do not, then, exaggerate the Remember the thought of Leo- study of major, should be played with 3201 Foster Avenue, Chicago, Illinois. sonority, he added feeling; UNIVERSITY Chopin the Teacher made; and the concert took place on the simplicity, do not change the move- nardo da Vinci: “Study without en- ‘Nocturnes” of Field, and with expression, without the first day of March, 1836. his own ment; for these alterations will add thusiasm ruins the memory; for the Mathias has described Chopin at Fingering, any exaggeration, and with the he considered highly nothing to Excellent im- expression which is true latter does not then retain what it merchandising opportunities ore to be found in Etude his lessons: “I remember them so portant. He nuances carefully observed. advertising columns did not hesitate to and sincere. The marks well. His, And the Pianist place At for the takes in.” ‘Very well my angel,’ when the thumb on the black first the left hand must be things keys. He went well; and his hands Chopin’s attitude broke practiced alone. it as at the piano was rules of fingering, authorized But to play grasping his hair when they went a marvel of calmness all sorts written is would /V* and nobility, of liberties, and not enough, if one The Etude Music badly. ‘Keep developed Lover’s Bookshelf your elbow level with a contrast to that of Liszt, which was the technic of master it. I would advise the fol- the piano to a per- the keyboard,’ he would lowing CContinued from page 15) say, ‘your extraordinary. He lifted his head fection equalling that analyses of it: of Liszt, if not hands straight, turning neither to as if inspired, raised his eyes surpassing sketches that toward it. He required are not biographies for which America, with its rag-time, Choose right nor strict Ext SHERWOOD Because— to left.’ And how he would heaven as if seeking for the stars rhythm; He but rather descriptions of detested all mannerism their jazz and swing, is partly responsible, make you feel and understand the in space. At other and styles. times he would exaggerated rubato. although there are, in this century, masters. His What is Thorough words were as eloquent lean over toward the keys, or again, the rubato of In keeping with the very training, next to talent, Accredited instruction. Chopin? It is a compre- inevitable harvests from the war as his music. nuance is the most Courses lead to certificates, And yet he was a seem about to depart, like a spirit, of movement: hensive character of the book, there important element in there is in it with fields of Europe. The reader is left diplomas, simple person, antici the exception Measure and degrees in piano, violin, not a litterateur, nor from his seat at the piano. pation and of is a chapter upon the success of a musician. Sher- holding back, “Jazz and Swing with the impression that Dr. Spaeth cello, voice, organ, a critic after restlessness ond similar wind instruments, the manner of Liszt Chopin’s contemporaries felt d repose, measures: Simplified” with a glossary wood provides ambitious students and agitation and in which had a lot of fun from writing the theory, composition, public school and Berlioz. He did calm But with not care for showed toward him the greatest of this rubato must Ex. 2 we learn the significance of barrel- highly specialized training, music, conducting, microphone Schumann, be used whh The book. tech- nor even for Mendels- deference. Meyerbeer once utmost Vi blip, at moderate cost, under nique, dramatic art. wrote to moderation, * . * house, gobstick, icky, and so on. “Music for teachers sohn; else it Fun” Dormitory he detested the paintings of him: become W > VT who are also accommodations at mod- unendurable, as if The chapter upon “America’s Mu- Author: Sigmund outstanding pro- his friend one looked Spaeth erate cost. Write for catalog. 410 Delacroix, and he was not “Dear and illustrious Master, a concave inS sical fessionals. S. or a convex Problem” picks up some very Pages: 257 Michigan Ave., Chicago, at all interested mirror wmchwhich 111. in the literary I regret extremely that you gives back In interesting keynotes. The an lmageimaae rtJp the middle measures book pene- Price: $2.00 Institutional movements of his .” formed, section, Member of the National Association period. . of Schools . did not find me at home, when grimacing.grimacing 27 trates a new world in the of Music and 50, the first tone art Publishers: Whittlesey Mademoiselle Gavard, two hands should House to whom you did me the honor of wish- be practiced Chopin dedicated separately and slowly. the Berceuse (and, ing to see me. Today I am writ- A Musical Form ***** Glorified portamento, and legato. by the way, she played then very “‘Patience is the this very ing to pray you to grant me a The but passion of great hearts,’ sings James Russell Lowell. Nocturne never forte. 38. MUSIC 1 was Measures 37. and Stick to it. Success in SCHOOL — originally music may come to a 49 and you before you know it.” 58 50, may be studied thus: SHERWOOD JANUARY, 1940 THE ETUDE 59 — . :

Century .If this procedure is correctly ac- strated until the Twentieth quickly and firmly on the proper taken, however, not to lift the fin- Making Five Finger Piano complished, it seem as if the Musical Triumphs in Fox’ picture, “Here’s To Romance”, should off the strings, and to relax the Instruments frets, the notes sounding without gers arm, hand and fingers had been Fretted break was released on August 27, 1935. Technic Vital the assistance of the right hand. In fingers just enough to cause a dropped into a tank of water and Motion Pictures descending passages it is necessary in vibration. Step by Step the Show Advances ( Continued from page 16) then permitted to rise out of the to place all fingers needed on the water into the air again without Other Effects page 13) Following the formula set by “One striking (Continued from next respective frets and, after providing 18. Be certain at the outset of this loss of resistance. Try this the Effects on the Guitar considerably Night Of Love”, that is, of Artistic the first note of the group, the The pizzicato is used exercise that a portion of arm time you are in swimming, to sense through the film the a natural, believable setting for op- others are snapped quickly in suc- in modern Spanish compositions, found that weight, first released on the fist, properly the physiological and psy- could be enlivened for era arias, “Here’s To Romance” cession. This so called slur and snap and its use in the proper place adds story tempo is carefully transferred from the chological effects. execute the generation. In the stage brought the magnificent voice of employed in legato is used also to variety to one’s technic. To new fist to the thumb and retrans- to inter- Nino Martini to the movie public. grace note it, lay the outer edge of the right operetta, it was necessary ferred to the remaining fingers The Perfect Tone Piclure play grace notes. If the action while the char- Also in this picture appeared the principal note, it is hand along and over the bridge, rupt the plot of the hand. By practicing in the manner out- is below the front sang; in the late Madame Schumann-Heink, played in the usual manner and the covering a small section of the acters faced and 19. Now try the exercise in reverse lined in this article, instead of mere- strike singing could be done singing Brahms’ Cradle Song—an principal slurred; if above, the strings at the same time, then movies, the order, that is, beginning on the ly strumming out each note of the note the strings with the tip joint of the while the action was proceeding, example of the great service the fifth finger instead of the thumb. five finger exercise, without shape, principal note is snapped after thumb, being sure that the hand is and the two reenforced each other. films do in permanently recording 20. Once perfect equality for all five without rhythm, without shading, striking the grace note. If there is entirely relaxed. To get satisfactory From “Naughty Marietta” was shown great musical personalities. A month fingers has been experienced, re- and without the means of gaining AT- third finger. This produces a group of two or more, all the notes, GUITARIST, HAVING the har- her screen de- including the principal note, are results, the practice of major and the scene at the ball where Miss later Lily Pons made peat the exercise, sounding the them, we avoid torture of our own a fair amount of monic octave of the same string. TAINED but in picture “I Dream Too slurred or snapped after the first minor scales is strongly recom- MacDonald and Mr. Eddy sing Ah, RKO’s keys and build up the tone from ears and those of teachers also. • will stop our A technical proficiency on his We now the first string in which she sang the Bell note of the group has been plucked. mended, until the right hand accus- Sweet Mystery of Life on the stair- Much”, PP to //. Let us not practice incorrectly and instrument, will find it quite enjoy- at the first fret with the first Anger When a chord accompanies the toms itself to this position. case, instead of having to trot down Song from “Lakme”, Caro Nome from 21. Make sure that all five fingers waste precious time but apply the able and profitable to make a study of the left hand, and. with the index above principal notes, the lower notes of The vibrato is employed to prolong to the footlights. “Rigoletto” and Jerome Kerns’ de- maintain their proportionate interesting points to making of the many ornamental effects pos- finger of the right hand extended, recordings still lightful Jockey on a Carousel. share of finger power, good tone. is the chord are played together with the tones. Since the string vibra- All this time were especially There no very good rea- sible on the guitar. touch the string at the thirteenth On April Universal gave the fourth and fifth fingers; and, son why the tones made at the piano the first grace note and the follow- tions of the guitar ore of compara- being made on wax discs, and syn- 30, 1936, So called “harmonic tones” are fret and pluck it with the thumb or vibrato film. it “Showboat” to the world. Since the if there is any loss of power, re- should suggest some one pounding- ing grace and principal notes are tively short duration, the chronized with the Then was used extensively, and we will discuss third finger; which give* us the har- large halls beginning of musical pictures there peat the exercise until it can be on an anvil. Good sound at slurred or snapped. should be practiced and used exten- found that for the sound- the piano them first. The natural harmonics monic octave cf F natural. played in its entirety without the keyboard must be controlled by our To get a staccato effect, strike the sively. To execute it properly, press track is preferable to the wax discs. had been much interest in using the are produced by touching the string We now are prepared to play in slightest loss in finger power. touch, if we are to make anything note or chord and immediately drop the string firmly with the tip of the Movietone had used, however, in folk music of America. One of the at the proper fret with a left hand harmonics the complete chromatic 22. Now give the left hand adequate we play to be beautiful. Even the the fingers of the right hand back finger and sway the hand back and 1928, the film soundtrack to make greatest examples of musical Amer- finger and striking it with the scale on the first string, by stopping attention. anvil would produce good tone if it on the strings to stop the vibration forth, keeping it relaxed and the an interesting “musical”, “Hearts in icana, “Show Boat” continues to hold thumb or one of the fingers of the the string at each fret with the 23. Once both hands have mastered were tempered like a well tuned and muffle the tone. When playing thumb exerting only a slight pres- Dixie”, with an all colored cast. its place as one of the foremost mu- right hand. The string must not be proper left hand Angpr and using each step of this exercise, take piano. Think of the wonderful means five or six string chords it is advis- sure against the neck of the instru- Eventually disc recording was aban- sical films of all time. Its music, pressed down on the finger board, the right hand fingers as already in- the usual position at the key- at our finger tips, and make the best able to use the palm of the right ment. When using the vibrato on doned in December, 1933, but the written by Jerome Kern, and in- but the finger should just touch the dicated, twelve frets or one octave board for each hand in turn, use of them. is double notes or chords it is advis- process fully spired spirituals folk and string and then be quickly hand, when this staccato effect film-sound was not per- by Negro and raised a above. This of course applies to ail develop the speed gradually, from To carry our picture to a perfect desired. Another way of producing able to keep the thumb clear of the fected and its advantages demon- (Continued on page 65) fraction of a second after the string strings. adagio to allegro. conclusion, let the most earnest the staccato when playing chords, neck. It is important that the tip cf is plucked. To play several notes Occasionally wc come across a pupils study the expression is the finger be kept in the same place marks harmonically, the finger one that most effective on the Developing a Melody Touch should be three note chord with the top note in Exercise 6 and put them accurate- plectrum guitar, is to release the during the time of the vibrato if held stiff and straight — across the to be played as a harmonic. In this We will next deal briefly with the ly to musical use. Because pressure sideways it will by so strings exactly over the of the left hand fingers for moved cause a devi- metal fret case the notes of the chord are flat finger or nonpercussive touch; doing we will actually make the five a moment after the chord is struck ation from the correct pitch and a not between frets as in ordinary fingered by the left hand as usual, and we shall find that the particular finger exercise interesting as a single with the plectrum. Care should be “blue” note will result. THE CURTIS INSTITUTE OF MUSIC fingering. To get a clear bell like the right pains we have taken to master the entity and will in addition find the hand index Anger touches harmonic, it is advisable to pluck the top previous bent finger touch will stand application of it of practical and note twelve frets higher with RANDALL THOMPSON, Director the string somewhat nearer the third us in good stead here. Instead of musical value in the playing of pieces finger plucking It. while the Why Not a Mothers’ Study Group? bridge than is usual. pushing the key we now pull it down, and studies. thumb and second Anger stnke the In Spanish guitar music, harmon- ( Continued from page 53) Rittenhouse Square thereby producing a mellow, singing remaining two notes on the inner ics are usually indicated by book was different, reflecting but all had to prepared, as we quality of tone, which is of excep- Ex.6 the strings simultaneously. be Philadelphia Pennsylvania abbreviation “Ar.” followed by the the personality and interests drew names from a basket to decide tional value in the performance of From Adagio to Allegro The glide, or glissando. is very ef- number of the melodies. fret over the open fective of the individual child. who was “it.” Here is a typical on the guitar, if executed MAJOR COURSES string. For instance, if we see the VIII. Instruments — both “rhythm” assignment The next exercise, in its graphical- properly, and it should practiced three line E below be ly arranged the staff, or the and those of definite pitch. 1. Briefly review two books, dis- steps, will aid the pupil extensively until mastered. It is Singing open sixth string, Oboe to pp — ~ topped by Ar. 12. IX. Preparation for piano — “Fin- cussing each from the stand- master this most wonderful means pp usually indicated line this string by a straight Piano of obtaining p P should be touched at the ger Plays”; duets with mother point of musical content, word Clarinet tonal beauty in piano- mp mp between the two notes involved. twelfth fret and plucked as forte playing. mf directed Strike the (one or two notes for child) content, practicability, eye Organ Bassoon "f These natural harmonics first note and glide to the 1. Let the relaxed weight of the arm f can be next, keeping X. The child at the piano. Survey appeal, and so on. f produced on the a firm pressure as the Harp Horn fall upon the ff twelfth, ninth, sev- of much material. Demonstra- 2. Select a partner who represents thumb. ff finger moves in enth, fifth, fourth, across the frets, 2. Transfer some of this weight to and third frets order tions by my pre-school pupils. your child and teach her an Violin Trumpet to maintain enough string vi- In conclusion we quote an excerpt and, beyond the end of the second finger, which must be the finger bration Some of these ladies, I think, had “activity song.” Viola from J. S. Bach’s Prelude in board, on to sound the higher note, in a flat D major, what would be the entered the group with attitude on the top of the six- without striking the idea that 3. Sing three songs of any type No. 4. Of “Six Short Preludes” to teenth and nineteenth it again. Observe Violoncello Tuba key. frets. This the same “teacher” would do all the work. without music or piano ac- exemplify what great compositions applies to any of the rule on the descending 3. Pull the key down into sound with six strings. It But they soon found that they were companiment. Double Bass Percussion we can perform can glide. If the glide grace a by making five fin- be readily seen that the ends with a slow, controlled draw of this placing note followed mistaken. I was determined that 4. Of three songs to be chosen by ger piano technic interesting. or a finger on any of the by the principal note, Flute Conducting finger from its original spot on frets men- this they should have “value received” the instructor, which is the tioned divides the note is to be plucked again. the key. Ex.7 string into cer- and should leave the last class meet- most suitable for transferring Composition tain sections, Glides of two or per- 4. Andantino grazioso (m.m. = the resultant more notes are As the key is being pulled down, J 84) tones of rmed ing with a great deal more knowl- to an instrument? Why? which are based on in a slmi,ar manner, al- due to finger contraction, permit scientific prin- t£ edge and skill than they brought to The performance of the ciples. though assign- SUPPLEMENTARY COURSES Lack of space, occasionally it is necessary the wrist to lift slowly as the arm however, pre- the first one. There were a few who, ments naturally brought about vents us to substitute much comes into from going another finger, which Soltege Piano action. more deeply is at the beginning of the course, won- discussion, criticism, and light on Vocal Repertoire into this done immediately glide 5. Let the arm phase of the subject. after the Harmony; follow the hand and has been dered if it were not going to take various home conditions. Counterpoint Chamber Music Diction fingers to the started. initial stage of the The too much time from bridge; but, be- Should other teachers try this ex- Orchestration Woodwind Ensemble Choral legato is quite an important Singing exercise above the keys. fore the classes were over, they were periment, I’m sure that they Now let P lase of can History, Literature of Music Orchestra 6. Once the us for a moment guitar technic and should Opera exercise has been disne asking for (and getting) a great add innovations and original ideas. with the left ac ficed Eurhythmies mastered, employing hand and use Pf religiously. It is gener- Recorder Languages the thumb By putting this scheme into daily only a f, deal of extra time. They all really If a gay informal atmosphere per- right extending the y indicated by con- and second fingers, do it with all index finge, a curved line seemed Music Criticism use we soon will have added a valu- this necting to enjoy getting “back to vades such group meetings, any the other hand so that the the notes to be played thus, pairs of fingers. able tool to our tip come' school” and having some Auditions in technical equipment. contact t is home work teacher who has not children of her April for enrolment September 1940 with the first string most effective when these notes * * * * * at are to do. own will not only profit financially, twelfth fret, at the oca ted on the Catalogue on request same time pl u the same string, Typed “Music, to the mind, is as air to assignments were handed but will learn just about as much the body.”—Plato. mg the string with St °ne 561118 the thumb Plucked, the others (Inquiries should be addressed to the Secretary 60 P™oduced„ out at each lesson. Only one mother from mothers, as mothers learn of Admissions) by dropping fingers the was called on under each heading, from her.

THE El JANUARY, 1940 61 ,

“A famous singer, once under , I — c =jJUILLIARD SCHOOL OF MUSIC management, was engaged The Making of a Name to sire t 1 Hints to Accordion Teachers a rough Pennsylvania mining Ernest Hutcheson, President to** f page 6) When she arrived in the " ( Continued, from page 57) ( Continued from early m0R; | ing a cold rain swept the drean possible. Thus, now I rehearsing old n,t been repeating this with every con- New York City is railroad platform. The whereas the study material and lit- nical studies and to JUILLIARD SUMMER SCHOOL enthusiasts is launched mag- as well as to preparing cert since. He has had little adver- and then, a career Mayor was there with the erature for other instruments have repertoires Director public and George A. Wedge, expense of a New for new ones. There is no such thing as tising. He was his own best adver- nificently. The a brass band to greet the been in the process of assembly hall pn^ ! for- tisement. the strange thing is York recital, with advertising, tired countless years, the publication of standing still in music. We go July 8 to August 16, 1940 Now donna. The and worn ii run from pri®’ practice and back- that on that momentous night, rent, tickets and so on, may donna, half awake, stepped the greater part of accordion lit- ward when we Wontk upon the Accredited music courses leading to diplomas, teacher's fifteen like when it evident to audience seven hundred and fifty to erature has been crowded into a ward when we do not. Students was the platform and said, ‘Great guns, en- whr up as models certificate, and Bachelor of Science and Master of Science that he “had everything,” the critics hundred dollars. The manager does manager send brief ten years. Much progress has to hold their teachers my me to a God- many of ideals. They receive inspiration degrees. Instrumental and vocal instruction for beginning were very cool. have present as ‘ and much more will be or • The final decision is deavors to forsaken town like this?’ been made Naturally classes, methods and always with the public. the ‘necessary’ as possible, critics, made, so teachers should be alert to from teachers and naturally are and advanced students, repertoire she was anything but a success ^ influential music workers. li material. disappointed when a teacher neg- materials, public school music, theory, composition, and managers, that ‘God -forsaken’ town, new study A “Number” of Surprises When Growth Is Slow which she musicology. Department for high school students. Unless the artist is really in the top have lects his playing until his repertoire Our Friends who are might inspired with her musie surprised, and we hope And Finally is to limited group of delighted, “On the contrary, the build up of class, all of this money may be reduced a Special one-week Forum Courses in all phases of music with THE ETUDE for January Managers, who are supposed remodeled in spirit with to be the new day in other artists is often aggravatingly wasted. You cannot force a success. Our last word to accordion teach- hackneyed selections which he fum- education. musical and world affairs, callous to may look forward such Incidents, must con- to a monthly crescendo of interest slow. Once I became interested in a I believe in throwing money ers is to ask why so many of them bles instead of playing in a masterly Catalog on request in each do not tend with issue for 1940. Mention of coming features them all too frequently follows: very young and brilliant artist who neglect their own playing when they way. They have in their hearts a pity had, it seemed to me, very great po- by force. fa have begun to teach. We realize that A teacher should play in public 120 Claremont Avenue Room 122 New York, N. Y. the artist who Is compelled tentialities. He was filling small en- “As for the wiles and influences of to live the teaching profession is an exact- frequently. Such appearances com- an unnatural life in hotels and gagements, at very small fees, when the press agent, the publicity man, Pull- ing one, and that a conscientious pel the necessary rehearsals and are I mans. whisked around all over sent for him. Obviously he ‘had they are worthless unless there Is the teacher must necessarily devote a valuable means of indirect adver- map. Do you wonder that everything’—voice, presence, intelli- real worth behind them. The press when a most of his time and attention to tising. Do we hear teachers protest- \ BALDWIN-WALLACE manager considers a new gence, musical feeling, and a per- agent may toot the artist as another artist he promoting his students; but this ex- ing that they are too busy to do \ CONSERVATORY OF MUSIC makes health one BEREA, OHIO (suburb of Cleveland) sonal charm that was of the first con- cuse is not adequate. schedule this? refer to the inimitable. angel Gabriel with his trumpet; but, No Then we them Affiliated with a first class Liberal Arts College. siderations. / \ Four and five year courses leading Faculty Slowly he was built up and ‘sold’ Only a strong person, should be so crowded that it does advice they give their students when to degrees. unless the ability is there, this only of Artist Teachers. Eighth Annual Bach Festival. strong In nerves, for or until he began to receive seven hun- digestion, muscles not permit some time for the teacher an excuse for not practicing is given. / \ June 8 and 0, 1040. Send catalogue informa- makes the chagrin worse. tion to: dred and fifty dollars and spiritual patience, can stand ALBERT RIEMENSCHNEIDER, Dean. Berea. Ohio a concert. “The best press agent is the one the to devote to his own practice. Daily The same advice will aptly apply to / \ This terrific CONSERVATORY was expanded to the radio strain. No wonder they be- attention should be given tech- and who tells the truth, tells it intelli- to the teacher. OF MUSIC the moving picture come Irritated / \ field and he is gently and and do seemingly ec- attractively. He should Pietro Deiro will answer questions about accordion playing. Letters should be now one of the best centric things. / 73 rd YEAR \ M1LL1K1N CONSERVATORY OF MUSIC and most highly have one thing in The Ideal artist is an addressed to him in care of THE ETUDE, 1712 Chestnut St., Philadelphia, Pa. mind, and that is A complete school of music, dramatic DECATUR, ILLINOIS paid of all artists. But it angel. art has taken the continuous, year in and Unfortunately they cannot / and dancing. Courses lead to degrees. \ year out, Special students mav enter at Offers thoro training in music. Courses leading to ten years of hard work, by both ar- exist. anv time. success. To interest the manager the / \ Bachelor of Music Degree. Diploma and Certifi* tist SECOND SEMESTER cate in Piano. Voice. Violin. Organ. Public School and manager, to accomplish artist “Many people object must be able to make good, to the meth- Practical Hints in Melody Writing Music Methods and Music Kindergarten Methods this. ods / Opens January 26 \ season after of publicity we employ here to Bulletin sent free upon request season. Write for catalog ( Continued from page 27) “During the course of a W. ST. CLARE MINTURN. Director year I “Many of the most make artists. Wc are still a pioneer / 2650 Highland Ave. Cincinnati. Ohio. \ hear hundreds successful ar- ZO ELLIOTT of applicants, and tists are country In arts. those who built up their We shall not be phrasing dynamics; which, I possibly pick ten who seem and makes the list a formidable one. In worthy careers slowly. upon the right artistic road until Such an artist is «e though often stereotyped, are point of the effort of being ‘built up’ into of fact, students in melody A SONG THAT MADE Dalies Frantz, who put music first. In Europe they an- names.’ Each with no foreign capable of much variety in detail. writing are trained in the observa- THREE MILLION DOLLARS one of these must be flair, ^£)hr Qlrbrlattiijnfilitulp uf but a splendid nounce a recital of in big (f)uair studied with training at the Brahms 10. Their cadences are well de- tion of most of the principles and Zo Elliott, composer of There's minute care and a reg- a Long , University of type and Long 1 rail a song Michigan, under the singer in small type. Confers Bachelor of Music Degree, of the Great War, ular program laid out to make Guy fined, with effective rhythmic mo- would have little difficulty in apply- Master of Music Degree, Artist Diploma that had nothing to do with military their Maier, made Here they listen matters, technic, astounding successes to the artist and the tion in the lower parts. Faculty of Nationally Known Musicians tells the unusual story of this their repertory, their mu- ing them toward improving, let us very popular piece. wherever he appeared. masters take a sicianship, But he second place. 11. They have a smooth and say, first BERYL RUBINSTEIN, Director, 2605 Euclid Avenue, Cleveland, their personality, all the of the three tunes here Ohio worked for years with small thoroughly professional. One young- audi- And So Wo Grow somewhat melodic bass, often of given, assuming that it were worth ences, before his ability discovering the ster may be and the important contrapuntal value, a improving. is riches emotionally great, but clever “There is a system What more, with the OF OLD management of now. known as MUSIC wholly without control or judgment, Lawrence the factor which cannot but affect the proper guidance students can and Evans produced real Community System. It is a way OSMOPOLITAN LAWRENCE COLLEGE Wanda Landowska, whose art wooed so that his results. melody itself, toe technic is so unstable of arranging when taken into do turn out in profusion, melodies musical world back to her romantic for concerts without SCHOOL OF instrument, that MUSIC CONSERVATORY OF MUSIC tells how she has been no manager would consideration at the outset, as it of the quality of the second one. un- consent to names.’ The SHIRLEY 6ANDELL. M.A., Oxford covering Harpsichord music written concert promoter goes APPLETON, WISCONSIN some two engage him. Another' young should be. (History again tells us But what is more strongly empha- University, England, President. centuries ago and making artist to a small city. 34th year. Accredited. Offers courses these pieces The American He is a kind of mis- Carl J. Waterman, Dean current “hits.” may have public in all branches of Music. Certificates, controlled emotion loves that the minuet was first per- sized here is that the important Courses In piano, voice, violin, to the know sionary of diplomas and degrees. Desirable board- ’cello, organ, theory, about the culture. He works up public school music and extent that the individual formed by ing accommodations. Located in down- choir directing leading to performances are and I the two instruments—the difference in quality between the Bachelor and Master degrees. private personal local interest and the citizens town musical center. cold, the affairs, as Box E. 306 S. Wabash Ave.. Chinaoo THE HARPIST ‘artist’ is gawky. They distin through viol and bass viol.) second and third tune lies in the from his stage life. a campaign to raise what AND HIS PROBLEMS have to be advised as to Most artists lo< 12. They have an accompani- fact that a definite purpose moti- the best upon this as they can afford Marcel teacher sordid and to pay for a series. Grandjany, famous French harn- and coaches to develop hate to ha ment which, along with the bass, vated the creation of the latter, as ist their heir Then he who is now on the faculty of the private lives returns to his New York milliard general culture, their hung out like moves in a simple rhythmic set- School of Music, presents fresh musicianship, wash office indicated in its title. This was not AMERICAN CONSERVATORY on the and seeks he f Playing which will their line. It is the best artists teiw «n in- stage deportment. often li ting, seemingly independent of the applied in the terest all musical readers. Then they can obtain former. have to g n eeth t0 for ‘his' city, knowing OF MUSIC-CHICAGO have get itself, advice on deportment, this mat melody in a complementary It goes without saying that, if it S Domt°" t ’hTblame at these artists Offers courses in all branches of music and dramatic art clothes, the artist. must make good and many other things, Blan style; another factor which has is possible to learn what Faculty of 135 artist teachers A as the public. Once or he cannot makes any MASTER LESSON well as their approach in a while promote a series the an undeniable Member of National Association of Schools of Music to the public. a twi influence on the tune good, it is no less possible to Send free FROM of public following for a catalog— Addr ess : John R. Hattstaedt, President. 576 Kimball ROSENTHAL affairs year. This a Building Chicago comes along th seems to me structure of the melody. learn what On? of the most may either Ve makes a tune specifically brilliant and colorful Crossing the Rubicon make or and progressive step. of the Mazurkas of wreck a ° All these factors must be carefully minuet, Chopin—the. famous sonal career. & P ^oPeople a or anything else the com- 2 B-ftat—i* analyzed “When the artist The Washing imagine that managers considered Make andn,f,i annotatedLE is ‘ready’ there before an effective min- poser may want to write. There re- THE ETUDE Your Marketing Place. Etude Advertisers for performance, for perience make fortunes. Open the 6 * S are two Marlon If do HE ETUDE, by none less means of introducing IZZTn <1 they do. they uet tune can be written. Moreover, Doors to Real Opportunities mailthan r ,T her great mains simply the task of PYammino- Liszt s eminent pupil Moriz to the colored contralto, from Rosenthal. This public. If she is of one managing. The ar- a similar list, equally varied, be perfection, before printed lesson will on- type her an SE h°. s can the literature of )1 ,?ny opportunity kave ?J ® intelligent player to interpret she proceeds through a few to sine f the yachts, flying ma- compiled for a tune it with a new understanding years of multitude 8 for of a different the would be meners would risk a Hail, The Bagpipes! of its before • nes technical singing at the t , and country problems and emotional spirit. concerts, working up mansions. The character, be it a hunting to mortal, was, ^ Me na song, noc- this literature is'oduction of a Gil- a debut at of couSe N r bas A Scotchman had met with an accident, a recital, or ’ ^ only commission turne, waltz, by which his an appear- licity &re at put nr^, fi! a or any other well de- course, it is pos;>Peretta. Producers breast-bone had value anri P n the been forced inward, to such an ance with an orchestra, in artists’ earnings. There are fined form. extent that his breathing teas impeded, and New by S. ^ hand* work done by s^his wealth of ma- Ins York. The Hurok her me CC Urate death in consequence quite imminent. Nothing could be New York debut is indis- ' figures as to the gross done for’ him, times S°me am,f * dents often feel t time, but Geoffrey and artists, by 0 f he was told so. Just at that moment an itinerant Highlander pensable, as the public thoTghtdeSS ° business artists; Where Genius Buds commenced throughout - done for :omise of a release of a spiteful mark but if gation the teache to play the bagpipes in the street below. the country The patient ' begged, as a dying The usual watches New York. Lturf km t^ * only a small com- Regarding those principles delightful music sec- They heity that n amount, which with proper guidas the first to at- request, that the player might be brought tion usually give has taken’ to up to his bedside that the last with a variety of first preference to years fhe future possibilities. apply to all melody new and ‘what to . writing, whether of classics. “The sound in his cars standard up. Two great A writing melod^avoy should be the pibroch of his clan. The doctors selections artists ' C consenting for all music goes’ in the great city. hav a ’ ein r through Its orchestras. of a broad or specific nature, it is of its American the minstrel was brought into lovers. years, so ’ recen principles one play the ward, and blew for all lie Occasionally offended tvT i con„Irt S was worth the one encounters an ’ com munity series, and impossible to touch on them pipes skirling and screaming. they have rartir. in an self in musical lil 1939. An adequate The dying man gave such a tremendous artist of the ’sigh opposite type, who is 01 phon article of this length. that the effort expanded his chest, so So doll ars °8raph. Is making The very fact Geniuses this film appeared putting the breastbone back to its finished much for an i,„„ . ereat were normal that an immediate debut ntr adVance that they are so state. Doctors and nurses 'were all delighted, in “*«e °"able muslcally. Another far-reaching as to and perhaps th r February 1939. and congratulated the man on temeer™”„r » Een P rat his 62 ougb apply to melody marvelous recovery. They then turned to the other t to have a truly writing in general, them geniuses. Have Music”, also patients. They were musicalmusir iTAmerica.” nil np/in JANUARY, 1940 THE ETUDE 63 — — e B

Etude for October, directly to the art of living in ‘100 described in The Jascha Heifetz and was re- Series Musical Triumphs in Men and a Girl’.” features Portrait United Artists on July 25, The Etude Historical Musical Made in France, “The Life and leased by Pictures Again, the movies made it pos- Motion Loves of Beethoven”, featuring Harry 1939. ^e de»irinf additional ropie# Etude reader# of tki« sible for the music of a famous vir- ( Continued from page 61) Baur, was imported in 1937 by World page and page* previMialy publiihed are referred Paul This series, which began in February. 1932, has Serial Collection of „Alphabetical direction* for »ecurin|t them ta tuoso, formerly enjoyed only by included to date a total of 4180 celebrities. It to the the Pub- Pictures for American showing. UNIVERSITY *erlion of thi# i*#u*. will be continued alphabetically until the entire lishrr’s Motet songs, not only gained widespread concert seats, this European film those who could buy t CHICAGO of music is adequately covered. There were in history World's Best K nown Musicians popularity through the movie but brought within the reach of The important developments in technic, to be SCHOOL OF also became accepted as native goer who can pay his THE one of them being film action bor- every theater American music. For the program, dering on phantasy as a visual ac- twenty-five cents. “Musical Adventures”, Mr. De Bra years when “The Iflusic companiment to the playing of the In those early selected the sequence in “Show Nights” offers accredited courses in Piano, Voice, symphonies. The Beethoven picture Jazz Singer” and “Viennese Paul Robeson sings Violin, Organ, Public School Music, Boat” in which oppor- first appeared, musical pictures were IP" also showed forcefully the Harmony, and Orchestral Instruments. Ol’ Man River, thus showing the primarily as a novelty. tunities which lie in store for bring- looked upon Confers Degrees ol B. M„ Ph. B„ and progress in sound mechanism which feeling that this was ing to life the musical geniuses of There was a M. M. made it possible for the voice to be replaced the past. a fad which would soon be Distinguished faculty including thrillingly reproduced, and the great by some other “I took this picture, when it was in the public’s fancy ARTHUR C. BECKER possibilities which lie in the combi- possibility of their first released, to the Juilliard School innovation. Any SERGEI TARNOWSKY i \ "'it mu photography and B. Bedford. John Wilton It Fa Martlaar Wil«*a nation of superb point of record- Heinrich Rudolf Willmers Meredith Willson — Cond. Nicolai von Wilm—B. Kiga, Francis Wilson—B. Phila., Grenville D. Wilson—B. Ira. B. Wilson— of Music to show it to the students”, ever reaching a high MME. MARIA KURENKO d. Musical director of impor- cl. 1880. Comp., Kent. April 5. 1594; B. Berlin, Oct. 31. 1821; Russia, Mar. 4, 1834; Feb. 7, 1854; d. New Yo k. Plymouth, Conn., Jan. 26, Iowa. Sept. 6. superb music. with Vienna, Aug. 24. 1878. Comp., tant “hours'’ of N.B.C. In Wiesbaden, Feb. 20, 1911. Oct. 1935. Singer, writer, 1833 cl. N.vack, N. Y., Sept. mus. dir. For many years don. Feb. 22. 1073. ing perfection was viewed 7, ; related Mr. De Bra. “Most of them, RICHARD CZERWONKY pianist. Concert tours, 1838- 1936 he conducted the San Comp., pianist. Studied at actor. Won world in 20, 189 7. Comp., pnst., trhr. active in Dayton. Ohio, as famous lutenUl. W« fame The “Firefly” of Rudolf Friml rep- the critics. 53; prof, at Stern Cons. Francisco Symphony Orch. Leipzig Cons. From 1860-75 the field of light opera, his Fdr., 18 77, Nyack Symph. writer of church music, edi- her muslelan to Chi from four to sixteen years of age, gloomy skepticism by WALTER KNUPFER 1864-66; then located in in the premiere of his “First prof, Imp. Nicolai Inst., and ar- Wrote aones, ballad at greatest role, perhaps, being O. Wrote Chap l in the tor of mus. books, resented another endeavor to present Vienna. Piano works. Symphony.” Petrograd. A prolific comp. in and ratrhes. production genius has tri- Cadeaux “Erminie.” Mountains , and other pi. pcs. ranger. had begun to play the piano as they That SAMUEL A. LIEBERSON of the through the realistic medium umphed in spite of this early opposi- written for the The Dept, ot Drama otters a 3-year Course camera an operetta tion is proof of the perseverance of Metro- Address Registrar for Bulletin stage. It was released by the motion picture industry in work- Goldwyn-Mayer in September, 1937. AN IMPORTANT REQUEST ing through all its devious channels DePAUL UNIVERSITY picture, featuring Jeanette This and vast resources to give the great- Room 401, 64 E. Lake Street, Chicago. III. Jones, brought Readers of The Etude: Would MacDonald and Allan est entertainment value to the songs to the full length film many of the old favorite you like to see a American public. The major problem screen; but it demonstrated that, in patterned on this Musical Adven- the perfection has been, of course, 1867—Seventy-Third Year— 1939 adaptation of stage material tures program, to be available for general, of sound mechanism and improved as material writ- conventions, clubs and edu- is not so successful music films through engineering research Chicago Musical College Marie Wilt—B. Vienna, Jan. Marek Windheim—Tenor. Lothar Windsperger B. Hermann ten especially for movie production. cational showings? What pictures — Winkelmann B. George C. Winkler— B. Or- Edith L. and experiment. 30. 1833; d. there Sept. 24, Was member of Metropolitan Ampfing, Upper Bavaria, Oct. Winn—B. Foxboro, Septimus Winner It I'hlla RUDOLPH GANZ. President Brunswick, Ger., Mar. 8, lam Unde, Ger., Oct. 7, 1902. Mass. ; d. there October 1. contribution of this like included in this 1891. Dram, soprano. Debut, Opera Co., appearing in 22. 1885. Comp. Studied in May 11, 1827 ; <1 there Sot The important would you 1849; d. Vienna, Jan. 18. Comp., cond. One of the 1933. The extent to which music is now Graz, 1865. Sang opera in world premie: e of Grueri- with Rheinberger Violinist, trhr.. urtr. 22. 1002. Comp., t|o|lnl«l J. 1912. Dram, tenon Debut at younger group of mus. di Studied. Member of the North Central Asso- Vienna. Berlin, and Lon- berg’s opera, “The Emperor and Rudolf Louis. Has writ- Sondershausen, U.S. and Europe. teacher. Many work# Cnn old music but in the technic used music do you hope to find in to- also as a cone, singer. doburg and Jena. Orehl. irks. an interesting way in the current Institutional of the Franklin, Xlass. Etude eon !br.‘ Bird and Schools; member Wktaperimp Hap* presenting original number writ- morrow’s pictures? Looking to you an Warner Brothers picture, “Elizabeth National Association of Schools of ten for the picture, the Donkey as the discriminating musical and Essex”, the last film on the pro- Music. This sequence, which was audience of America, the motion A Professional school of music con- Serenade. gram. In the original version, the ferring accredited Bachelor and Master shown ' during the program of “Mu- picture industry solicits your execution of Essex was photographed of Music Degrees with major in Piano, sical Adventures”, revealed what opinion. Write us your sugges- in all its gruesome detail, with back- Voice, Violin, 'Cello, Organ, Orchestral been done in linking film action tions. Your letters will help to had ground music written especially for Instruments, Musicology, Composition with song, to give a new unified piece determine the future course of or Music Education. it. Before the picture was released internationally and nation- of art. As Mr. Jones sings the naive musical movies. Faculty of it was realized that the music con- ally famous artist teachers. song, the clopping of the mules’ feet, You will have, by writing, a veyed the action as well as the pic- Preparatory School for Children. rattle of the wheels, the definite voice improving music the carriage in revulsion ture did, without causing Second Semester Opens February 5th Alexander Winterberger—B. Anton Witek B. Saaz, Bo- Herbert Witherspoon very of the carriage of after — —B. William Withers—B. West Georges- Martin motion and in the movies. Your answer, Weimar, Ger., Aug. 14, 1834; hemia, Jan. 7, 1872; d. Bos- Buffalo, N. Y., July 21, 1873; Witkowski Julius Witmark in the audience. Therefore the con- Point. N. Y., 1836 ;d. Roches- B. Mostagneux, — l! ,V« (rank d. Leipzig, Sept. 23, 1914. ton, d. — Algiers, Xivtr Witt— Gunter d« Witt Aug. 19. 1933. Violin- New York, May 10, 1935. ter, Ci : <' »>ere the horseback rider, are so geared to consideration by The Etude, will N. Y., Dec. 6, 1916. Jan. 6, 1867. Xff June 14. Waldetbach. Hat CHICAGO MUSICAL COLLEGE Pianist, music critic. Pupil ist, tchr. At Comp. Pupil of 19-9. ‘f aria Feb clusion of the execution was cut, and 22, was conce’-tm. Dram, bass, teacher. From Comp., vlnst., bandmstr. in Singer, mus. publ. d'Indy. (,r-' in 9. 1834 ;d. Hchatabofen at Leipzig Cons, and of Liszt. of Berlin Philh. Orch. From 1908-16 with Met. Opera Co. £ Lyons, of Appeared as ballad lie the music, that the rhythm becomes in hands of those R. A. Elrnquist, Business Manager Civil War. Mus. dir. of Ford’s bchola Cantorum singer 2. 1888. Comp., be put the who Was prof, at Petrograd Cons. 1910-18 concertm. of Boston Just prior to death, apptd. and the in minstrels editor. Ac- Elizabeth is shown, sitting alone Thoa t e r. Was . & mus. comedy. h. , D P . , a 1 1 i Societe tive Wrote piano works. m des Grands Concerts. in efforts to Improve Buren St., Symph. O. Taught in N. Y. Gen. Mgr., Met. Opera Co. of Lincoln’s assassination. In 1885 founded M. Wit- He irresistible and the audience itself are the determining factors in the 64 East Van Chicago, Illinois Operas and orehl. works. mark Cath. church music. Wrote with her grief, while the music & Sons, mus. pubis. many masses am! iitanles. begins to bob heads in time with it. moving picture field. visualizes the unhappy scene at the And Stokowski Serves execution block. More musical pictures are on the “100 Men and a Girl”, from Uni- 1 SCHOOL OF MUSIC way. Soon to be released from OF THE UNIVERSITY OF MICHIGAN versal in September, 1937, brought learned to walk. When the photo- | is M-G-M “Balalaika” with Nelson Complete curricula leading degrees in the personalities of Leopold Sto- play ended and the lights came on, g to Eddy. From Universal comes the new §j all branches of Music. Faculty of distin- kowski and Deanna Durbin to the they sat motionless; they did not Deanna Durbin film, “First Love”, | guished artist teachers. Concerts and May screen, and also made two other im- clap; tears were in their eyes, but s Festival by world's greatest and from Paramount, “The Great artists and portant contributions. In this pic- their faces were radiant. They had it organizations in Hill Auditorium seating Victor Herbert.” Twentieth-Century 5,000. Chorus ture the first use was made of “mul- met Beethoven in person.” H of 350; student symphony is orchestras, glee Paul Wittgenstein Fox preparing a biography of §§ clubs, bands, etc. Recitals — B. Eberhard L. Wittmer—B. Marcel Wittrisch B. Leip- tiple channel recording.” Instead of Vienna, Nov. 5, 1887. — Frederick W. Wodell B. Pian- Freiburg, April 20, 1905. zig. Oct. — Franz Wodl. —B. Vienna each week on $75,000 organ. ist. 1. 1903. Tenor. London, Dec. 17. juser von Stephen Foster in its “Swanee Lost his right arm in Comp., tchr. Pupil of 1859; d. June 12, 1S99. Woess—B. Cat- The Inevitable Savoyards J. Since 1929 has sung at Sta- St. Comp , rnwk recording the music through one World War; Petersburg. Florida. Feb. dir. X lma,la Wohlfahrt — R. Rr,. - then a - Ermt Waif became Weismanns. Active in Frei- atsoper in Berlin. Pupil of Karl Frohaska £? June 13. jnen. Wilhelm left handed Has been 13, 1938. Comp., autho*\ SS6 mp Ger.. April 15 River.” At the conclusion of the pro- Second Semester begins piano virtuoso burg. Formerly in tchr - Has written masses active also as Nordhausen* ^Gulled ‘<1. School Mua. Aletro” Opera De Bra said, “Art has been tied “They Shall Have Music”, .” B A. B with music maJor Deu'chm,, 64 £ also minds Edward Robinson. town f'ufuteg. „ — Frank H. Shaw. Dir., Bar 510. Oberlin m.nl JANUARY, 1940 THE ETUDE 65 T I Aprs and all deep voices- SCHOOL OF MUSIC teach the baritone— that Kirsten Flagstad appeared un- doing; and he must them all—albeit a precocious one— he may be watch with care. That is the More HUTCHESON, President critic and should years of age. These heralded and unannounced. ERNEST in Opera his pupil to be his own There who is fourteen Creating a Character question of range. are cases the special events made hear himself will be introduced to Youth recently adviser, so that he can singers who have three time of prominent be- possible by this generous and un- ART (Continued from page 9) help himself when “lesson Concert audiences this winter, mak- INSTITUTE OF MUSICAL and after having been bari- scheduled this about come first appear- named person have been Dean over. How he brings ing before them their GEORGE A. WEDGE, the is tones. This does not mean that and his Hindu may be more fruitful. Obviously the Wagner says expressly that the individual grasp with the world famous Phila- in advance. Shan-Kar depends upon do the ance Theory, Com- learn to speak beauti- every baritone can same. one of these, the Ballet vocal and instrumental instruction. Classes in young lady, who knew nothing of singer must students. That is why vocal delphia Orchestra. Ballet was Individual of his mean is that, in percep- and correctly. At once, a new in- What it does the another. This year for the position, and all branches of music education. King Henry, lacked the first fully teaching must remain a highly Two other contests are held each Russe before the case, the singer really was a series degrees in instru- tion of tradition, no matter how field of work opens itself first the best bill- first time the Youth Concert Courses leading to diploma and B. S. and M. S. dividualized matter. year : one to choose her student. must speak well, learn tenor all along, and that he did not an opera. On April 3 departments. much hard work she put into He range of voice, there are no board design, the other to select the is to include mental, singing, and public school music As to until late high-C’s. to enunciate, rub off all roughness them- discover the fact in his the special event will be a perform- special problems that present best program covers. The prize given Catalog on request. self-consciousness in articulat- career. It often happens that a bari- sung by the and category of voice the first instance ance of “Carmen,” Personality selves to any one to the winner in Claremont Avenue, New York Penetrating a ing. Further, Wagner required his special tone (or alto) has one or two high Philadelphia Opera Company. Room 122, 120 alone. Neither is there any is a season ticket to all of the Youth should the singer approach singers to recite their lines before notes that may even be higher than another unscheduled How method of singing; there are only Concerts, in the second the award There was the task of creating a character so they sang them. He says: good way the normal tenor (or sopranoi event that took place at one of these good and bad singing! The is two tickets to the concert at which that it will ultimately reflect living style, range. But that does not make him concerts glimpse of Walt Disney is built upon the old bel canto the program cover is used. —a there exists reality and authoritative tradition? “In my opera The lowest pitched Wag- . After exploring every tone of the voice, a tenor. One night a University of Penn- (the guest of Dr. Stokowski) NEW ENGLAND Let us use my beloved Hans Sachs no difference between so-called developing the nerian tenor aria is the Spring Song Youth he took a bow every autograph placing it well, and sylvania student passed his MUSIC as an example. It would be an ex- ‘declaimed’ and ‘sung’ phrases. “Die Walkiire”: but a baritone, see if he had his CONSERVATORY OF tones by faithful scales and exer- from Concert ticket along to a friend. He seeker checked to declama- Wallace Goodrich, Director. Quincy Porter, Dean of the Faculty. Faculty tremely unwise thing to sit down On the contrary, my old even one with a few high tones in pencil in readiness for that after- Master’s Degrees. Diplomas. Spe- cises. There is no equal to the ill, but he was familiar with of eighty-four. Courses for Bachelor and was not Illustrated 1938-39 with a score of “Die Meistersinger” tion is equivalent to song; my students in all fields. Orchestral, ensemble classes. Dramatics. each tone is sung his voice, feels uncomfortable when that were the-performance rush, clutched his cial Boston, Mass. grand scale, where all the orchestral numbers Opening of first semester September 15. 310 Huntington Avenue, off the notes. “But,” you to declamation; and the catalog. and sing song, attempts to sing it. The state of tightly hoping to keep it slowly on a full breath, to probe he to be played and it did not seem program to learn those cessation ‘song’, fol- ask, “am I not going definite of baritone or a tenor is never Disney’s signature forever the full possibilities of the voice. being a to him that he cared on that par- and Mr. notes?” Yes, you are; but the differ- lowed by the customary en- presence was over, THREE FREE COURSES After this preliminary practicing, determined by the of one ticular evening to bestir himself to after. When the concert between learning to know Hans trance ‘recitative,’ with the Trinity Principle Pedagogy (Perfect) ence of it stampede had re- and Advanced) which should be gone through every or two high notes; depends solely go to the Academy. Next day he however, and the Musicianship (Elementary Sachs and learning to sing the notes conventional differentiation of Piano Playing (New and Different) set routine. upon the natural color or timbre of sulted in only minor injuries, there day, there can be no found that it is never a good idea to - of his part, marks the entire dif- two varied styles of singing, has |rHT (not “do re mi” voice, the feeling of ease no Mr. Disney at the not numbers Each singer must work at his special the and stay away. The youth to whom he simply was SINGINGciNiriMr ference between artistry and color- place in art.’’ not intervals no my as j difficulties. One may need to develop and comfort while singing. Many lent his ticket practically spoiled stage door. As mysteriously less dilettanteism. had EFFA ELLIS PERFIELD while another has excellent voices have been ruined by sitting Mickey Mouse or Donald Duck might a longer breath, his luncheon for him by 1 03 E. 86th St. ( Park Ave) ., New York City The first thing to decide, in One must learn Hans Sachs as to learn to avoid slurring up to his the mistaken attempt to convert a across the table and telling with vanish from the screen, so Mr. Dis- SAcramento 2-4859 approaching any character, is one would a dramatic play, without tones. The individual needs make single high note into a different enthusiasm about the “sur- ney had disappeared. whether he is historical or imag- music, to make the lines and the bursting t.Vwair nwn nrnnt.irp rnlpc register range. evening befor-e, and Philadelphia is proud of the suc- inary. this your entire interpre- alive. Such pre- prise” of the On character come and WANTED: A REPRESENTATIVE ££*& As to the concert or the opera, it ruined it entirely by relating what cess of its Youth Concerts, tation will depend. Obviously, Hans liminary studies are necessary, be- Wagner and the Voice TRAIN CHILDREN’S VOICES 4LVIENE "THE/JTRE is undoubtedly true that the com- he counts them an important part of 1 (45th year) Choice— Drama, Dance, Vocal; Stock Theatre Between superlatives High Grade Work Excellent Remuneration • Sachs was historical a real human fore is touched, if happened. — appearances. Motion picture filming, screening mid Radio — the musical score LOUISE WEIGESTER, 160 W. 73rd St., New York It is a great mistake to accept the its cultural life. Mr. Stokowski’s plete “show” of grand opera makes explained that Mr. Ormandy had ales: Una Merkel. Fred Astaire, I.<*e Tracy. Peggy Shannon, being. step, then, is to find - “ • ’• The next the character—any character! —is Separate children's'ren's dedepartment. (Catalog) Apply frequently youth is ' 'y heard dictum proved ! 85th St.. N. V. that “Wag- that form seem more glamorous. On the audience at the close thesis has been : Sec’y Shubert, 66 West out all about him—his life, his to live as a person and not merely turned to ner spoils the voice.” Wagner does the other hand, absence of and had appreciative of fine music and en- times, what he did, how he looked, as a role that has been coached. the very of an orchestral number not “spoil” a voice provided that the this “show” surprise they riches its life with it, when given the CONVERSE COLLEGE DENISON UNIVERSITY what his age stood for, who were score itself is — in concert work makes announced that as a The study of the a School of Music voice is fundamentally suited to opportunity to do so. To those who CONSERVATORY OF MUSIC his contemporaries, the relation in never-ending task! To know the it harder to cover over one’s short- had with them a singer—a Mr.—Mr. Spartanburg, South Carolina Wagnerian singing. that A Leading Southern Music College Granville, Ohio he his That is to say, comings. But the question of '‘glam- well, he just couldn’t think of the believe with Luther Burbank which stood to contempo- notes means very little. Each time An endowed professional school; nationally accredited. A Liberal Arts College with Music Majors it must be a voice Full Bachelor of Music and Master of Music degree raries. Sachs of natural volume our” or ‘'difficulty" should not enter name—but he felt sure they would “music is fundamental—one of the Hans involves a one sings them, one must strive to and diploma courses; B. A. Music Major in Converse in A.B., Mus.B. and P.S. Music courses and power. Wagner requires life, health, strength College Liberal Arts Department. Teachers of national For catalogues address a great into the calculations of the serious all enjoy hearing him. And at that great sources of , complete knowledge of the Master- penetrate them more deeply, to reputation; Women’s dormitories. Summer session; deal of forte singing because of great music for Artists' Concerts. Moderate Tuition. For Catalogues singers, whose art he himself per- clarify the student. His mission is to work—a'l moment who should appear at the and happiness,” Karl Eschman, Director them more completely, to Address: Ernst Bacon, Dean importance of the orchestra. desirable fected. In this particular case, a full build a well rounded, living world But his life—in order to penetrate the side of the platform but—Lawrence youth seems not merely the well trained, well used voice well. If there are other documentation lies easily at hand. with Hans Sachs as its center. Hans can meaning of the music he sings, the Tibbett! When the applause had but vital as sing forte as readily as piano. projects of this ESTABLISHED 1857 A complete statement of the Mas- Sachs has been selected because I If a texts he delivers, and the characters died down to a point where he could cities carrying on voice is not equal to Philadelphia com- tersinger’s contests and rules is to have lived with him and loved him Wagner (for he portrays. In this sense, the ulti- be heard, Mr. Tibbett also spoke to sort the youthful reasons other than those be found in Wagner’s own libretto: well for many years. But the method of natural mate goal of achievement becomes them. Said he: “Well, even if Mr. mitteemen would like to hear about range, indeed, the text of power, or other essentials) it has forgotten name I them and arrange to exchange ideas. “Die Meister- of approach is the same for any , equaled in importance by the study Ormandy my is not being correctly used; interested they singer” is used in many college character, historical or imaginary; and a itself. Study, in other words, be- am happy to know by your spon- Or to cities that are OTTO ORTMANN. Director voice so literature courses misused will ultimately greeting all recog- like to extend the benefit of One of the Oldest as the most au- and no character can be made to be comes a fine art in its own right. taneous that you would and Most Noted Music Schools in America, “ruined,” thentic textbook this If, even by doing folk songs. six years of experience. At the on period. live without it. That is part of the And it remains the most gratifying, nize John McCormack when you see their however, There is one thing, however, the explanation of “mas- work of tradition. that perhaps, of all. him.” And then—he—sang! present moment, however, they are tersinging” were not so accessible, That surprise was one of the spe- a little weak on one point. They the conscientious student of Hans Is there Sex in Teaching? cial events that are made possi- do not know just what step is taken Sachs would simply Have You Youth have to go to Many have asked whether a man Concerts in ^our Community? ble each year by an interested when the Youth Concert enthusiasm some library and dig out the facts teacher is competent to build a and anonymous donor. There was becomes so great that a hall seating ( Continued from for himself. woman’s voice, and vice versa. There page 55) another astonished and gaspingly thirty-two hundred will not accom- can be no objection to either condi- delighted audience on the evening modate all who want tickets. Spiritual Unity with the Authors ranged in value tion, provided the teacher can give rectors at one time, from five cents to and : When the historical so ten. and period the pupil a complete understanding done piecemeal.) background is in good order, Youth the stu- of what must be done. This depends At these banquets Concerts auditions are held the keynot in dent must look next to the librettist upon the pupil’s receptivity as the spring, for purpose of much the entertainment is the Pedal Problems for Little Folks the Fun. Last and composer for their personal as on the teacher’s explanations. If there selecting persons to appear as was cross-sectioned for indications about the character to a man teacher has an intelligent guests soloists in the following season’s Cjarnet auery amusement a typical Fr be studied. Wagner, himself, gives woman pupil, who understands ex- afternoon concerts. This year the judges must (adult) audience I detailed directions for the singing actly what he means, and acts upon have found were seen the placid their task an arduous T hk problem of playing the pedals is always adult. The Jenkins Extension Piano Pedal his knitter, of operas; and the earnest stu- it, he should do very well one, for with her. upsidedown score there were over a hundred a matter of concern to the teacher of little and Foot Rest, which I have used, aids in dent will reader, the make it his business to But if a soprano pupil needs more contestants. folks. The pedals are very intriguing for securing a correct posture for arrival who stumbled into Chosen were a soprano. the child at read all that Wagner a 1; children. Many five wrote and than normal demonstration, it fol- locked Frances Greer, of year olds have ruined the keyboard and avoids the hazard of strain seat, the soulful eyeshi who is a member most of what has been written about lows that she will learn better from the Philadelphia their piano playing position by twisting upon the spine and internal organs. The and ceiling gazer and the Opera Company him, in order to get at the pith of a soprano who can show her hail fe (this themselves into awkward shapes reaching child in a natural position plays with more what who waved or choice pleased the girls, for called a for distant pedals. There is these directions. Yet, notwithstand- to do, more effectively greetin last only one way ease and makes better progress. I find that than a tenor his multifarious year all the winners were mas- ing friends. A fat of getting around this and that is by some children like their music better and practice this, I know a young singer who or a baritone could. The function of culine) took up her own ; a violinist. Frederick Vogel- device of a simple nature, ventured one of and an irate ne whereby the little more readily if they are given the proper the minor parts in the teacher is threefold: he must bor’s gesang, seat; there were who since the audition has one may play the pedals the same as an helps at the keyboard. “Das Rheingold” and admitted, at give his pupil a positive grasp upon coughers joined throat clearers. Even Dr the Philadelphia Orchestra as rehearsal, that he had not yet read the right thing to do; he must make Orm- one ***** was represented, leading of its youngest members; and the Libretto! his pupil aware of an ore “There is to-day a tendency to forget that music is something to be heard, the wrong things tra of men a pianist, whose instrum Robert Comman, Curtis not merely studied,’’—Dr. B. McEwen. Institute J. 66 student and the baby of JANUARY, 1940 THE ETUDE 67 ; ; ; , ; : ,

Story Early Notation Junior Etude Contest Old Chiefs this month, The Etude will award three pretty Subject for story or essay Of course, there always has been plenty language and so made their own literature, The Junior Practice Period.” Must contain not to from centuries prizes each month, for the best and neatest “My ZjyCer Bri of music in the world, but in past ages, which has come down us onica answers over one hundred and fifty words, and e, m writ- back; so why could they not write down original stories or essays, and for there was no satisfactory method of Junior Etude Office, and he wandered alone not? They to puzzles. must be received at the smiled dreams ing it down on paper. So people just learned and read their own music? Why CHIEF EAGLE EYE 1712 Chestnut Street, Philadelphia, Penn- LD forest. When he went to but little by little, Any boy or girl under sixteen years of through the to sing it, or to play it on old instruments had not discovered how ; his two grandchil- 15th. Names of prize fondly at hunt, of age may compete, whether belonging to a sylvania, by January woods, he went not to but and to pass it on, note by note, to others through their efforts in making drawings for a the will who were begging Club or not. Class A, fourteen to winners and their contributions ap- O dren beauty he found there; and the process was slow and unreliable. the music, they did develop notation. You Junior to enjoy the Eye, in his youth, Blass B, eleven to year in the April issue. The thirty next story. Chief Eagle can read it and write it now, and it seems sixteen years of age; the wind whistling through the honorable real Indian life, but at under fourteen Class C, under eleven best contributors will receive had lived a chattering brook- very simple. in a hollow reeds; the 11 cl mention. the time of this story he lived Specimens of their early notation which years. let; the bird’s songs. When he heard 11111 1 other people. J T, are in the European Museums, show us cabin just like lots of ejjudltMUA clno iAlfaittVUVCLi) the flutelike notes of the wood Rules And he knew, oh! so many, many thrush he was enchanted and he things, and had such interesting Put your name, age and class in which have anyone copy your work for you. wished that he, too, could express mm you enter, on upper left corner of your paper, When clubs or schools compete, please stories to tell. beautiful sounds. h. himself in null* Jvrcrf-fi -ftv v have a preliminary contest first and submit “Now, now,” said the warrior, nod- Un, fir and put your address on upper right cor- for But little by little experiments were made ner. If your contribution takes more than no more than six contributions (two ding his head with many eagle and systems were developed in the attempt some of these attempts made from the tenth one sheet of paper, do this on each sheet. each class). plumes moving in his bonnet. “You to find a .good way to write the notes. to the fourteenth centuries. Write on one side of paper only. Competitors who do not comply with all another story, do you? Well, I want People could write and read their own Could you read these? Do not use typewriter and do not of the above rules will not be considered. GEST will tell you about something that you both; but, first of will interest School Music all, I must show you this,” and as he Composers Names Puzzle (Prize Winning Essay, Class A) spoke he very gently took from a When the music to the Overture By Harvey Peake case a long bone that had been Roman Carnival, by Berlioz, was de- A Game for 1940 polished to a satinlike gloss. livered to my school it was bound In thf, first and last columns of this ban- “Grandfather Chief, why do you J4Jen and numbered so that it could be By Beteib ner, put the names of two well known keep this big bone in that case?” composers. (Read them downward). If A Change of Musical Diet used for years to come; and it was asked little White Dove. correct, reading crossways will give the then passed out to the individual Now, when everyone is making hurrying. Miss Left Hand goes first “I have always wondered what was six four letter words. Which two com- J3u StfUtfU._y}uauitci lUixled members of the orchestra. The con- New Year’s resolutions, why not let and plays eight measures, and you 7y in that queer case of yours. Grand- posers’ names will do this? certmaster recommended fingerings yours be “Better practice for 1940?” record on a pad the number of mis- father Chief,” said little brother Blue for the different string parts, and we Perhaps you have made this resolu- takes she makes. When she can play it, not any more than you get tired of just Lately Jean could not pass a piano without Feather. playing one piece for three months. In fact were ready to go to work. tion before, only to find when prac- these eight measures with no mis- reaching to its keyboard and strumming “My children,” answered Chief occurred to that I a little hard The different sections and indi- tice time comes, some little imp take, down o. Then Walts in flat, by Brahms it has me am mark a big she out a bit of the A- Eagle Eye, “this is not an ordinary about practicing and always during her practice period she spent on you your viduals were rehearsed for hours, makes you think of parties and ball must make zero three times in suc- and here. at all. wanting you to learn something new. The bone that we have Not half of her time playing this piece, even first for intonation and then for games instead of music. So here is cession. After this, let Mr. Right idea must be very much the same as cook- This is a priceless treasure. It is an though she knew it perfectly well and it Thtf Old Chlal phrasing, expression, dynamics, and a good way to keep your mind on Hand take his turn. Mark down his be pre- ing,” her mother continued in a very seri- ancient flute that was made by one was not a part of the lesson to so on, until it sounded quite satis- your practice. number of mistakes in the same ous tone. first few months ago it was the same of the fathers of our tribe. It “He worked hard, and after years pared. A factory; then the strings, brass and Make it a game. Imagine that you way, and when he gets his big o “Mother, I'll tell you what I will do. If with the Minuet in G, by Beethoven. In has been handed down from father of in experimenting he succeeded wood wind choirs were combined. are in a contest before a referee. family you will make a chocolate pudding tomor- make him get it three times in suc- fact she played that so much that her to son for generations. Some day it making the flute here. we have After much hard work we finally Suppose it is difficult piece that and threatened to row, I will study my new Chopin Mazurka a cession. almost lost their patience will be yours, little Blue Feather. Waban opened the way and others very seriously,” Jean responded with a played our semiannual concert and must be conquered. Divide it into Then, Miss the piano if she refused to get down Left and Mr. Right play sell Then you must learn to play on it.” followed in his pathway. Instru- something toward the new challenging accent. received a fine ovation. Then, having sections of eight measures to a sec- together. Keep score on them and to work and do “Could I really This was just what Jean's mother had play on it?” asked ments were then made of reeds and piece. captured honors in our city orches- tion, and mark it with a pencil. see how long it takes them to get hoped would happen, and of course Jean the boy. from bones. Then, years years Sometime later that week Jean’s mother and tra contest, we proceeded to the Now for the contest. Miss Left their three zeros in succession. Then had the chocolate pudding the next day. “Yes, child, but it will not make later, metal struck upon a little idea that she hoped was discovered and National Orchestra Contest, where Hand and Mr. Right Hand are the begin on the next section of eight From that time, whenever Jean seemed in- music as beautiful as you can make would work. Every single day for a week, beautiful instruments were made of we had the thrill of hearing the players in the tournament. Be sure measures. clined not to work out new things, her with your own flute.” including Sunday, she served bread pud- this material. It took centuries of judges mother served the same dessert at every announce, “Lane Technical that they do not play too fast; just a Try this and see how your prac- ding for dessert. “Why?” asked Blue Feather. “Why hard meal and while no words were ever spoken work to come to that. Today High School, National Orchestra speed at which the music can be tice improves ; in 1940. It will give “What, bread pudding again?" Jean asked is that?” asked White Dove. we have again about this matter, the example worked such instruments.” champions!” played comfortably. No lagging; no your teacher a pleasant surprise, too! on Friday evening, in a disgusted manner. The kind old chief puffed gently beautifully. “Well, Grandfather Chief. I am Thomas Petrick (Age 15) “But I thought you liked bread pudding, on his pipe as he began to answer. glad we live now when we have such Illinois Jean.” her mother urged with surprise in “Many hundreds of years ago our beautiful instruments,” little her tone. said Musical Poles people lived in caves on the sides of White Dove. “I do but I don’t like any one thing for School Music Prize inners for October ; cliffs and mountains. W They had “So am I,” a steady diet. I’m so sick of bread pudding seconded Blue Feather: (Prize Winning Essay, Class School Music Honorable Mention By JlLtka W. Be'onner many things to learn, for they were B) for October Composer s Chain Puzzle now that I don’t ever want to see it again.” “and I’m glad we don’t have to live young and man Our school is small but we have a (Prize Winning Essay, Class C) Essays 1-2. Two old-time dances of renown was new upon the in Class A, Durecia Rowe (Age 15) “But I’m afraid you’ll have to, if you a cave in the side of a cliff. And earth. They fairly good glee club. We learn part Music, if you appreciate it, makes Jim Leeman; Anita Dorsey; Hilda Trimmer; 3. whence did not have want any dessert,” her mother replied The land from they came musical I'm glad I have Alabama Instruments. They my beautiful metal singing; and, as we go along, we you think of the pleasant things you Marianna Dumond; Joan B. Ford; Ellabelle firmly and much to Jean’s amazement. 4. The man who wrote The Dancing Doll had only rhythm flute Clark; Dorothy Campbell; Louis Class B, Etoile Robinson (Age 12), to play on. Sometimes I do not learn the notes. cherish. In order to Bonelli; course, you know his name.) and they could Our music teacher know music you Betty Mason; Lattell; rather (Of beat rhythm with Betty Helen Bemans; Ontario “What’s the idea?” Jean asked like to practice, I their hands but I am glad chooses our classical numbers. must study it, and that is why we John Klndman; Betty Madigan; Allen Doug- saucily. and with sticks and with Class C, have my beautiful las; Donald Etherson; Nellie White; Mary Dorothy Etherson (Age 9) gourds and with flute.” The Standard School Broadcast is have Music Appreciation courses in “Well, you see, my dear, I once took lots of things. That “But,” Ellen Peters; Bob Chambers; Margaret Ken- Maryland sighed old Chief Eagle Eye. excellent, as it teaches school. yon; Theodora the trouble to learn how to make bread was the heart beat of music.” us the dif- Pratt; Elva Robinson; Adele if Waban had Prince; Josephine Palmer; Marie in “°h 1 not worked so hard ferent kinds of music, what music Music, to me, is one of the best Van Tassel; pudding well enough to please everyone > know all about ” rhythm we probably Cathleen Conway; Edward McVltty; Guy the family and that it would not have our means to us and subjects in school; ; now I have made said little White Dove. something about and I always wait Marsden; Hazel Grim; Dolly beautiful Martell; Julie Honorable Mention for Com- so many times it really is too much trouble flutes today.” the lives of the composers. It impatiently until a music Cullen. “What other things could they makes period to bother with any other kind of pudding “I’m glad he worked said the music poser's Chain Puzzle: make rhythm with. Grandfather hard,” and composers very real. comes. There I can sit and enjoy and, since this is a perfectly nice pudding, Blue Feather. Answer to Composer’s Chain Joyce Chief? asked Blue Feather. Much of the knowledge of music I myself for forty minutes, singing Alworth; Don Williams; Ann Goodman; there is little sense in bothering about any- Yes, we Stephen Froman; Jim Leeman; Leona De “They stamped with must all work hard, no now have has come from my school. beautiful melodies. I hope some day Puzzle thing else.” their feet and matter what Grasse; Doris Weir; Bettyrose Mosler; danced around we do. You see, we old I learned the requirements for my to become a really good pianist and GrieG GounoD Dorothy Patterson; Dorothy Terrace; Isabelle “I should think you would get tired of Westmont Rhythm Band, Canada to express their — —DvoraK—KreisleR emotions, chiefs know' what that It Music Merit Badge, Boy express Sheetz; Elliott Galland; Dorothy A. Dunlavy making the same old pudding all time, and they means. Scouts of some of the beautiful music —RaehmaninofF — FrimL the beat on drums— — LiszT— Joan B. Ford; Marilyn Rapport; Orace Byrne: drums means that we where America, at school and I and then having to eat it, too. It really Answers to MUSICAL POLES made of hide never know' expect to re- now admire so much and am TschaikowskY Jessie Stevens; Shirley Phllbeck; stretched over our —YsayE—ElgaR (Sub- Dorothy to make hollow work will be ceive the badge learning Ann Laux; Milllcent Eisensteln; ought you want to make something 1-2. Polka., and Po/onaise logs. Among those found, or how much soon. about in school. stitutions may be made beginning Edith early good it Blanke; Estelle Rapport; Ben Rogers; Bar- different.” 3. Poland; 4. Pofdini will do. it John Ward (Age en there Was a But we must do 12), Beatrice Galbraith (Age 11), with F and ending bara Boyett; Dorothy Schmidt; youth called well. with T, as Foot.E- Rosemary “Oh, not at all. I don’t get tired of doing Waban.wS« w Remember his California McGovern: Evens Apthrop; His eyes were filled Waban and New York Ernst) Catherine Con- with flute.” sldine; Ethel Sanders; Carol West.

JANUARY, 1940 THE ETUDE 69 Z —-— — — ' " — — — - ——

guide containing complete direc- Resurrection Song will be ready TWELVE PRELUDES, From the “ Well - TWELVE MASTER ETUDES IN MINOR to remember that the title of this book ager’s 75c, Ca ary The Sorrows, Oratorio (Bile) for “Everyone" Loves and that tions for costuming, dancing, lighting, of ff in plenty of time ample rehearsals. Tempered Clavichord ,” Book I, by Johann KEYS, For the Piano, Op. 29, by Franciszek is Melodies The Last Words Of details. (Sheppard) 60s; wishing to become acquainted Bach, Compiled by Orville A. Zachara—This probably will be the last the younger generation listens in on and other important several stand- Those Sebastian (Spross) 75c; the great deal of Those desirous of obtaining single Christ with it as early as possible, can do so Lindquist—Johann Sebastian Bach stands month during which orders can be radio programs, hears a this theme by Rossini, tuneful ard oratorios on single copies now at our placed for copies of this good music in the schools, and doubt- copies of the vocal score of this proficient by ordering* ad- out to-day more than ever before as Dubois and others for the these melodies. operetta at our special advance of pub- the vance of publication price, 30 cents, post- the greatest composer of all time. His work at the special ad- less knows and loves and Christ’s Words From price of 40 cents, postpaid, choir, paid. Copies will be forwarded as soon originality and fecundity of thematic in- vance of publication Many young people, advanced to the lication cash R. Forman) 40c; The Cross (Mrs. R. from the printer. prodigious price as the plates have grades mentioned, and with hands suffi- may order them now and be assured (Lacey-Baker) 10c as received vention are amazing and his Story Of the Cross developed to span comfortably an of getting them as soon as the work is for energy produced an output which, from been engraved and ciently and other cantatas and anthems POEMS FOR PETER (A Book of Rote Songs) the standpoint of volume alone, is await only the okay of octave, will be delighted to have a book printed. volunteer groups. Lysbeth Bovd Boric, Set to Music astounding an inexhaustible mine for the editors before being of this kind for their very own. Copy- have prepared attrac- Texts by — CHILD’S OWN BOOK OF GREAT MUSI- The Publishers will confine the sale of material by Ada Richtri—The thought expressed study. Orville A. Lindquist, for many delivered to the prin- right restrictions tive folders listing appropriate CIANS DVORAK, by Thomas Tapper—It from in last month’s note on years Professor of Piano at the Oberlin ters. As before an- this volume to the U. S. A. and Its Pos- for Lenten and Easter programs hardly is necessary to call to the atten- this book that "much to Conservatory of Music, and an ardent nounced, these studies sessions. which selections made may be had foi tion of music educators the value of this for be envied is the person Bach disciple, has selected for this com- will be issued in the Music Mastery examination. Ask for these, and also AT THE CONSOLE, A Collection of Pieces forthcoming addition to Tapper’s pop- “on who can perpetuate in pilation twelve of the most representa- Series at 60 cents a copy. However, any of the above mentioned works for Home and Church, Arranged from the ular Child’s Own Book series of biogra- verse and prose Juvenile tive and beautiful Preludes appearing in orders accompanied by a cash remit- approval.” Masters, with Special Registration for the phies. Dvorak’s Humoresque, Slavonic sayings, happenings and the first volume of the “Well-Tempered tance of 20 cents and received during Hammond and Other Standard Organs, by Dances, Songs My Mother Taught Me, there humor,” illustrates well ;* Clavichord.” the current month, will be honored and CALENDARS—Always in January William M. Felton—All and the momentous Symphony From the attitude of many of When, in later years, Bach conceived copies of the new book mailed to these continues to be a flow of orders for the lovers of organ music will the New World with its beautiful us who enjoy the books the idea of writing a Prelude and Fugue advance subscribers as soon as the work Musical Calendars offered by the Theo- be delighted with the “Largo”, are familiar to every American of Mrs. Borle. The Pub- in each of the twenty-four keys to prove is ready. dore Presser Co. Since supplies are limited contents of this book, music lover. believe that equally the superiority of the new “tempered- Modern piano compositions, probably and no additional editions are run it is lishers booklet . which will be practical This will be presented in the envied will be the talented com- scale” tuning over the old, he went back beginning with the works of Brahms, re- r M long to be : a case of “first come first served” as ¥? for both home and same manner as the sixteen previously poser who gives these texts charming to some of his earlier compositions and quire a special technic and while the as the stock lasts. church use. Some num- published subjects in the series. Un- used them as Preludes to the Fugues. Chopin, Cramer, Mos- .IS* there are three subjects. musical settings that place them in master etudes of The photographic work for the cover For 1940 bers, well known in their bound, but with cover, needle and silk treble voices of youngsters of Some of them actually were transposed cheles and Bach are indispensable in the J5? e There is the Gallery of Great Pianists of childish Advance Publication Offers issue comes from the studios of original instrumental or cord for art-style binding supplied, it of of this Rachmaninoff, today and the days to come. into other keys. Surprisingly few of training of the advanced student and the To-day, (Paderewski, vocal setting, have taken provides ample space for the child stu- Harold M. Lambert, Philadelphia, Pa., these Preludes are available to the music — Rosenthal, Hofmann, Horowitz, Ham- Mrs. Richter Is too well known to virtuoso, the occasional introduction of January — and the art work is from the brush of on new luster in their dent to write his own version of the 1940 Ganz, Grainger, readers of The Etude and to the music student, except in the complete edition modern etudes of this type will produce — Miss Verna Evelyn Shaffer, Philadelphia bourg, Iturbi, Bauer, new organ version, while other selections, biography, designates places where the Samaroff.) There are teaching profession to require a recital with the Fugues. a more rounded technical development artist. Hutcheson, and perhaps only players of attractive “cut-out” pictures in Mr. Lindquist feels that there are two the student for a better inter- known to the ac- All of the books in this list are in portraits in this panel. Another of her achievements. Her many pub- and equip twelve stringed instruments, have proven highly companying packet are to be pasted, and preparation for publication. The low Gallery Great Com- lished works in recent years are used good reasons for selecting and publish- pretation of the compositions of con- EASTER MUSIC—The Jan- subject is the of effective thus enables the Prices apply LENTEN AND ing these Twelve Preludes form; in the organ arrangement. young student to make Advance Offer Cash panel gives portraits of and admired everywhere. It requires no in book temporary masters. Grades 6 to 8. uary issue of a magazine, delivered ere posers. (This will his book.” only to orders placed Now. Delivery first, in order that the musicians of The contents include arrange- “own the Christmas Holidays are spent, seems Bach, Beethoven, Chopin, Handel, great tax on the imagination to visu- (postpaid) will be made when the America might get better acquainted ments from the works of Bach, Handel, In advance of publication single copies alize sympathetic musical treat- Collec- books are published. Paragraphs de- hardly the place for mention of Lenten Haydn, Liszt, Mendelssohn, Mozart, the MELODIES EVERYONE LOVES, A of the with them, and second, to furnish piano Mozart, Beethoven, Liszt, Bizet, Grieg, Dvorak booklet may be ordered Schubert, Schumann, Verdi, and Wag- ment she has given these literary gems tion Piano Pieces for the Grown-Up Music scribing each publication follow on and Easter music. And, yet, Easter in of Tschaikowsky, Pierne, Chaminade, Du- at 10 cents, postpaid. The previously Mrs. teachers with some excellent teaching these pages. 1940 falls on March 24 and Ash Wednes- ner.) The other subject is the Gallery of childhood from the pen of Lover, Compiled and Arranged by William material. rand, Massenet, Boellmann, in addition published booklets are priced at 20 cents. of Recent Great Composers. (This is a Borie. Mothers seeking material for a M. Felton There is a growing tendency day, the traditional opening of the Len- to transcriptions of several folk tunes Felton $0.75 Twelve Preludes from the "Well- At the Console— ten season, will be observed February 7. panel of the portraits of Brahms. De- bit of pre-school music, and teachers of in this country to discard some of the Tempered Clavichord will be issued in and a special piece for the Christmas EIGHTEEN SHORT STUDIES IN TECHNIC Child’s Own Book—Dvorak—Tapper 10 bussy, Dvorak, Elgar, Gounod, Grieg, the kindergarten and primary grades, outmoded ideas that the ability to play Even before this note was written, and Easter chinch seasons. AND STYLE, For the Eighteen Short Studies tor Technic and the Presser Collection of standard studies Piano, by Credic W. Style Piano Lemont 20 Thanksgiving week in late November, MacDowell, Rimsky-Korsakov, Saint- will be more than delighted with this the piano had to be acquired in child- — — and classical collections in book form. The numbers will be in the medium Lemont The teaching material of this Jack and the Beanstalk—Story With requests had been received from some Saens, Sibelius, R. Strauss, and Tschai- book for which texts were selected hood, and then only through the me- First-from-the-press copies may now be grade of difficulty with registration sug- talented American composer is always Music for the Piano—Richter 25 choir directors for information about kowsky.) from both of Mrs. Boric's books "Poems dium of long dreary hours spent playing Melodies Everyone Loves—Piano—Felton.. .40 ordered at the special advance of pub- gestions for the Hammond pre-set and welcome in the piano stu- Lenten and Easter program material. The Calendar mounts neatly frame for Peter" and "More Poems for Peter." insufferably monotonous finger exer- Poems for Peter—Rote Songs—Richter 50 lication cash price, 20 cents, postpaid. harmonic drawbar combinations, to- dio. His teaching pieces Of all the feasts of the church year these panels, making artistic wall dec- Single copies of Mrs. Richter’s book cises, mainly in the key of C; also hour Resurrection Song—Easter Cantata—-Stairs .30 gether with the corresponding stop noted for their grace and none is so generally celebrated with orations for the music studio or for the Poems for Peter may be ordered now after hour in pounding out the scales. Side by Side—Piano Duet Album—Ketterer .30 designation for standard organs. beauty, are favorites with Symphonic Skeleton Scores— Kataner . . . special musical programs as is Easter. In musical home. The size of the Calendar publication SIDE BY SIDE, A Piano Duet Book for course much of such “work” at the special advance of Of must Single Set of Four 90 copies of this work may be students in their early recent years many choirs have presented mount over-all is about 10% x 7%". cash price, 50 cents postpaid. Young Players, by Ella Ketterer New be done by the embryonic virtuoso, but No. 1 Symphony No. 5 in C Minor ordered now, at our special advance of years of piano study. There is cut-out for earliest Beethoven 25 regular Sunday evening or mid-week a cover flap over the material the instruction of thousands of America’s young folk have Calendar publication price of 75 cents, postpaid. This new work, de- No. 2 Symphony No. 6 in B Minor programs during the Lenten season, and pad. The portraits in the THE THRESHOLD OF MUSIC, A Layman's piano pupils always is welcomed by learned that a more pleasing way of Tschaikowsky 25 Copyright restrictions compel us to con- signed for use as supple- Good Friday observance is defnitely on panels are reproduced in quality lithog- Guide to the fascinating Hiuif, teachers. Variety in as- learning to play exists for those who wish Language of fine the No. 3 Symphony in D Minor— Franck 25 the raphy, sale of this book to the U. S. A. mentary material for increase. The resourcefulness of the the coloring giving living like- by Lawrence Abbott For nearly’ two years signments to first year to become pianists merely for their own No. 4 Symphony No. 1 in C Minor—Brahms.. .25 — and Its Possessions. grades three and four, choir director is called upon to care for ness to the portraits. The panel alone there has Etude, students is essential, es- enjoyment and for the entertainment Threshold of Music, The—Abbott ... 1.25 been appearing, in The covers this cycle of church devotions and the is worthy of framing pecially such problems as Twelve Master Etudes in Minor Keys when the Calendar a series of articles above title where the stu- they can bring to family and friends. WHEN THE MOON RISES, Musical under the A legato (Piano) — achara 20 ambitious leader will plan early the pro- has served its purpose. dents and staccato playing, triplets, oc- The price is 10 by Mr. Abbott. These articles have been come from the The “grown-up” beginners’ books pub- Comedy in Two Acts. Book and Lyrics by Twelve Preludes from the “Well-Tem- taves, chords, grams in which he will present his choir. cents for each Calendar or $1.00 a dozen. same neighborhood. arpeggios, running pas- pered Clavichord” (Bach) —Piano—Ed. so popular that we have received many Sup- lished in recent years offer eloquent Juanita Austin, Music by Clarence Kohl- by Lindquist Even the small volunteer organization, Where no choice of panels plementary sages, phrasing, pedaling, left hand 20 is named requests to issue book form. material, de- proof of the success teachers are having mann Those who had the pleasure of them in melody, finger When the Moon Rises Musical with soloists of moderate ability, will dozen lots will be supplied assorted. signed for control, double thirds, — Comedy We are pleased to announce that this study as well with more mature pupils. Mr. Felton is seeing performances of An Old-Fashioned Kohl mann 40 find plenty of appropriate material in double sixths, etc. will soon be done. as recreation, always the author of one of the most successful Charm, that delightful musical comedy the many fine cantatas Soon to appear in the Music Mastery and anthems THE RESURRECTION SONG, An Easter should provide “some- of these. Many “graduates” his The author is the able assistant of Dr. t from by the above authors, will be eager to that composers have provided for the Cantata for Volunteer Choirs, by thing different.” Series priced at 60 cents, this work now Louise E. Walter Damrosch at the National Broad- In as- Grown-Up Beginner’s Book (1.00) and see When the Moon Rises. great church festival, be Easter, and the Stairs Those familiar with the signing piano duets to first may ordered at the special advance published casting Co. the year students its successor Progressing Piano Studies The events of the story, taking THE COVER FOR THIS MONTH—The forty His grandfather was place days preceding it. cantatas of this composer will teachers of experience prefer of publication cash price, 20 cents post- be de- famous clergyman. Abbott. A to select, for the Grown-Up Student (1.00) wel- in the sedate atmosphere of an ultra cover on this month’s issue might well Among the newer publications lighted Lyman paid. are with the prospect of as a rule, material that is seeing trained, practical thinker, entirely un- comed the fine arrangements in his col- fashionable hotel, bristle with action and be entitled “Forward With Music In some especially worthy compositions of another musician and one in print before next Easter. familiar, as it is this type of 1940”. Mr. Abbott has capable number lection of piano pieces Play With Pleas- comedy. Among the fastidious guests The young lady drum majorette Louise E. Stairs, who thoroughly under- of proved himself JACK AND THE BEANSTALK, A Story with Some the reasons for the popularity that affords the best means of training of leading others quick under- ure (1.00) and will now want the some- there suddenly appear some gypsies. An Music the Piano, definitely suggests stands the tastes and recognizes the of Mrs. Stairs’ into a for by Ada Richter—Mrs. music are its melodious- the pupils in sight reading, developing a what more advanced volume here the peace - time limitations standing of a usually dry subject. an- important event is scheduled to take Richter’s Cinderella brought to of the average volunteer ness, vocal simplicity, sense of young- easy range of rhythm, and introducing the nounced, Melodies Everyone Loves. place use of music and choir. Hallelujah! Sing To The Threshold of Music is not a text when the moon rises; much of the sters in the kindergarten and primary Jesus (No. voice, and the perfect blending other features that of text book make the use of The contents will include melodies comedy is the fact that in 21366) 15c; Hymn Of Joy (No. 21328) filled with dry rules and intricate owing to the fact that no one grades a new musical adventure. and music. Any volunteer choir duets so valuable in the The that ever problems, early training frequently heard on the radio, those is exactly certain music all are 12c, are recent anthems from her pen has used her but a series of readable, inti- just when that will telling of a familiar childhood story with compositions will attest to of the pianist. young. There is mate, common the used as “atmosphere” for motion picture occur. The dialog is logical and snappy, and another note on these pages an- the ease of the vocal sense talks about Miss songs and descriptive piano music was rendition, and to Ketterer’s contribution in this features, and not a few hitherto obtain- hardly a person nounces her new cantata The Resurrec- problems which a knowledge of simple the situations, however comical, take a novelty for the class, for the relative shortness book is the young of time required a group of piano-four hand num- able only for orchestra, band, who is not able to tion Song. Last year, Hail! King harmony makes clear. It listening or in piano place naturally, and the interest of the pianists, Of for learning them. In causes bers with and especially for the “actors” these cases re- rhythmic definiteness, limited arrangements too difficult for think of a number Glory, 60c, a cantata by Lawrence Keat- to music to become pleasure instead the aver- performers never flags; this lessens the who took parts hearsals are not a burden on a technical demands in the playlet that was of gray-haired one’s time of a bore. and attractive melo- age performer. There will be melodies labor of in- ing, was successfully given by many and patience, but a In these days of the increas- rehearsals and doubly insures given from the material in the book. constant pleasure dies, all kept within the five-finger posi- from light dividuals well past volunteer choirs. ing growth of es- and grand opera, also, over- a good performance. In this pleasing cantata music appreciation, tion and Jack and the Beanstalk should prove will be found with both parts of equal inter- tures, pieces in light three score years More experienced choir organizations solos pecially’ among make rhythmic style, and There is a fine variety in the cast, equally for each voice; a those who do not est. All attractive—even more so, duet for soprano keys up to two sharps and two selections from we of age who, when find excellent material in such cantatas music their career, to the classics and from giving opportunity for good character and alto; a trio for soprano, it is a mistake flats imagine, for the male section of the participate alto and have been used. After the duets folksong sources. they in music as performers, as Messiah Victorious (Hammond) 75c; neglect the And all of these are interpretation. The musical numbers tenor; some recitatives; many opportunities, through have been learned are class. The boys certainly will enjoy conductors, or listeners, just and seven radio they may be used as brought within the playing seem to Victory Divine (Marks) 75c; Rabboni choruses, some and worth-while publications, of capabilities unusually melodious, well diversified, participation in of them varied first recital material for the playlet, and all of have a well-spring of youth arise within with short juvenile per- of the pianist who is able to play (Loveland) 75c; The Glory of the Res- solos and increasing our pleasure. music and of moderate range; they consist of ithe vocal combinations. knowledge and formers. students should be interested in them; so “Forward With Music 1940” The text graded from 2 to 5 in the In urrection (Spross) 75c; and The Resur- has been Single copies of book 3y catalogs of six solos, three duets, one quartet, and coloring based largely upon this valuable A single copy of the illustrations. This happy and, by all means, those who have the rection (Manney) 75c. passages may this book may be leading publishers. Lenten and Holy from the Scriptures now be ordered at special ad- a number of choruses, one being for combination talent and from our ordered now at the special of work and play should so to do, should work to “Forward Week programs may be enhanced famihar vance advance of This volume may be ordered now at by hymns. The time of of publication cash price of *1125, men’s voices. Upon the publication of prove ideal, and Music In 1940”. performance is publication cash price, 30 cents the many orders that presentations of such works as The Man thirty from postpaid. post- the special advance of publication cash When the Moon to thirty-five minutes. Copies will be forwarded upon paid. Rises there will be have been received by price, 40 cents the Publishers Advertisement publication postpaid. It might be well issued, for rental only, 70 a stage-man- ( Continued on Page 72) JANUARY, 1940 Advertisement ETUDE THE 71 — — —

Presser obtained from Theodore Co. at nominal price of 5c each. If data on various instruments and THE noted on the BEANSTALK Continued trances of the As will be composer or musical celebrity JACK AND THE indicated TRA.-I^SFRIES—“ a certain instrumental groupings are “ issue, where the prove that there ^ this it is not necessary that the lor copies of this book especially convenient anothe P ° alpha- is desired They should prove . appeappears, the the month and year real need for such publications. current ^tataent inquirer know in Church Cantatas is for non-pianists who have some knowl- I nspi rational the current month copies still betical listing that particular individual's por- During edge of music but are not accustomed to which ordered at the special advance celebrities in biography appeared. Just men- may be from piano scores. For music ina trait and post- reading name in ordering of publication cash price, 25 cents the Etude H orlc tion the .musician's 2biUon club study they should be “just for paid. Musical fPortraitf copies of The Etude Historical thin „ separate Series rapidly is Portrait Series. Each symphony will be published in a SaSSil&Hr Musical in ’ OWN HYMN BOOK, Favorite Hymns neai ing conl J e MY separate book and in advance of publica- AGENTS Easter by Ada | FRAUD ARE ABOUT and Piano Easy Arrangements for , tion. What a W ARNING CANTATAS Lent above tion single copies of any of the of complaints the worst advertise- inter- —The regular crop con- Hi cii tor—Perhaps at the special cash wealth of gratis from the Publishers. works may be ordered music of Lenten and Easter Music may be had piano is the manner in tinues to come in from lovers tile A complete Catalog ment for the postpaid; the set of four, esting material for price, 25 cents, to The Etude, which many amateur pianists play is being who have subscribed paid 90 cents, postpaid. this hebrisbks hymns, either at home or in Church or proven for stu- the canvasser and are not receiving their is be- due to delayed holi- Sunday School gatherings. This ruBuumun ”• dents of music copies. This may be EASTER AUVArvor, ut , for four-part singing as schools, coiieg nd or to an unscrupulous can- cause the notes WITHDRAWN—Among the first additions appreciation in day mail, EASTER CANTATAS the average hymn or gospel radio and phonogr P has not forwarded the sub- given in to the Presser Catalog bearing the 1940 academies, for vasser who often are not conveniently in keeping scrap- no money to any one not SEASON THE KING OF KINGS song book copyright date will be two new publica- “fans” who delight scription. Pay VICTORY DIVINE HE LIVES, hands” for the average pian- their favorite programs you. Read any con- FOR MIXED VOICES “under the tions that have been included in these book memoirs of personally known to VOICES CANTATA CANTATA FOR MIXED Price, 50c the artists whose you before pay- Priscilla Richer ist. notes for several months past. Copies and records and of tract or receipt offered Marks Price, 75c By Anna By J. Christopher music, but publication them cantata, not only in excellence of now have in course of will be have brought joy to not permit a canvas- solo voices and for Here is a splendid We ordered in advance of publication performances ing any money. Do Victory Divine’s well contrasted numbers for E. Roos. Its nine "“"‘bets also in the well-presented texts by Juanita the music for more listen- THE RESURRECTION satisfying to the lover of good music as well this book containing Publishers feel that thousands of appreciative the terms of the printed chorus are always as the story of the Cross, the mailed soon and the and to ser to change brilliance and melody. impressively bring out as to non-musical folk who are won by recommended especially to volunteer than fifty hymns, so arranged as to make feel circumstances, accept Cantata lor Soli. Choir and Organ deserve men- Resurrection. This cantata is those who receive these copies will ers. contract. Under no Feature solo numbers for soprano, tenor and baritone a part ol tne and also for use where the cantata is made for young pupil who has eight years ago, Price. 75c successful renditions includes small choirs ot choirs it possible a their bargain. Of in planning this series bargain offers. We cannot Charles Fonteyn Manney tion. Its record of service. Time, 20 minutes. well satisfied witn unauthorized By way up to splendidly regular church Easter to “show up” that volunteer singers with fair soloists all the had only a year of study are placed on Publishers foresaw the demand work of swindlers. about 25 minutes, with voices. lime, course, these books now the be responsible for the An excellent Easter cantata, running trained larger city choirs numbering several hundred amateurs who do not know how to for copies quartet, trio for women s voices and a tunn- older fair retail price and the eventually would be created solos a cappella 1 hour. the market at a the text is HAIL! KING OF GLORY Finale. The work is in three divisions and for Treble playing properly, when If there has been ing choral Divine also is obtainable in an arrangement handle hymn publication offers are separate from The Etude pages, as many DELAYED ETUDES— few appropriate hymns. Victory special advance of entirely Biblical with the exception of a Appropriate solos. Price, 75c. CANTATA for MIXED VOICES have nothing but the average hymn of saving all in The Etude reaching you, Voices singing in three parts. they withdrawn. Copies may be had for ex- readers make a practice any delay arrangement for Two- Keating Price, 60c This The Resurrection also is published in an By Lawrence book from which to read the music. and, naturally, us immediately, telling us what Price, 75c. average volunteer amination at our usual liberal terms. copies of the magazine advise Part Chorus of Treble Voices. This new Easter cantata is just right for the RESURRECTION Easter hymns, meet- THE GLORY OF THE is ever fitting it tells the is a fine variety of favorite are unwilling to mutilate it, even to ob- numbers you have not received. During choir. With a melodic flow that All-Classic Band Book, arranged by Erik tragic, and sorrowful moments to the gospel songs. Teachers will do CANTATA fOR MIXED VOICES story from the dramatic, ing, or helpful data given by these the holiday rush, where first class mail chorus of praise. I he text sixteen beau- tain the Price, 75c triumphant resurrection and a closing pupils W. G. Leidzen, contains By Charles Cilbert Spross familiar hymn lines. well to see to it that their young biogra- over magazines. De- THE RISEN KING consists of scriptural adaptations and some photographs and “thumb-nail” takes precedence effective way. That tiful gems of melody from the writings Tells the Easter story in a most attractive and a trio for women s voices, and solo Oppor- this book for recreational as well Choir Organ around There are several duets, have phies. Therefore, arrangements were cember and January numbers sometimes Canfafa tor Alto Solo. and text, Frederick H. Martens, made the compilation and bass. I he hnished great music masters brought genius of tunities for soprano, alto, tenor, baritone, particularly when such of the wove his melodious and musical effects to special Easter as practical uses, to print a lot of each instalment are delayed. Advise as should your copy Schnecker Price. 75c which the composer performance will take about forty minutes of the playing capabilities of first made By P. A. beauties of these Easter thoughts. This is a cantata of those within the enhance the service. pupils come from the homes choirs having simultaneously with its appearance in not reach you around the first of the in the musical content of this that will win favor with experienced, well rehearsed year bands. No time divisions smaller Considerable variety is achieved who attend Evangelical Churches. of love and praise with an alto solo, trio trained soloists. LIFE are used and yet the magazine. All instalments may be month. 25 minute cantata EVERLASTING price than an eighth note choruses for men. The fact that only one solo- The advance of publication cash of women, and FOR MIXED VOICES it appeal to many choir directors. CANTATA the harmonies are full and satisfying, ist is required will make single copy is 30 cents, postpaid. Price, 60c for a MESSIAH VICTORIOUS By Mrs. R. R. Forman for all of the instru- also is available in an arrangement for Three- there being parts The Risen King in orders accepted for delivery beyond in two parts, presents the story of the Resurrection No Part Chorus of Treble Voices. Price, 75c. FOR MIXED VOICES This cantata, included in the modern school The World of Music CANTATA average volunteer choir States and Its Possessions. ments a most beautiful and effective manner. The the United William C. Hammond Price, 75c the music band. Smaller groups, too, may use (Continued from page 3) By with a solo quartet would find no difficulty in learning Resurrec- are ten musical A stimulating and uplifting musical presentation of the and giving it the proper interpretation. There these selections as the harmonies are hour and there bass, and duets for ETUDE BINDERS AT COST—Subscribers fourteen year old LIFE tion and Ascension. It runs just about half an numbers, with solos for soprano, tenor and ARNOLD BELNICK, ERNEST HUTCHESON, widely known THE NEW that vein and brasses. always is predominating a musical fervor in its decided melodic tenor and through the whole work there runs Etude have a complete set complete with the clarinets alto and ; to The now violinist, and winner of the One Thou- American pianist and teacher, has re- Cantata for Soli, Choir and Organ and rhythmic construction. The musical composition reveals marked of satisfying melody for which Mrs. Forman had such a gift. Time The Piano Part serves the dual purpose Hymnal of 1939 issue. Are these so arranged Rising originality and the texts, selected from the Scriptures, the for rendition, about 45 minutes. the sand Dollar Prize in the Sealtest ceived from the French Government the (Orchestra Parts available) of an aid in rehearsals and as a Conduc- and other sources by Rev. James M. Farrar, D.D., seem truly that you can lay your hand on any copy contest of last year, won Musical Star decoration and medal as Chevalier of Rogers Price, 75c inspired. Silk tor’s Score in performances. Price By James H. you wish? We have a fine Blue praise of the critics such as should have the Legion Score of Honor. the IMMORTALITY gold on the Parts, 30 cents each; Conductor’s An Easter cantata that differs from many in approaching Buckram Binder, stamped in pleased a veteran artist, when on October and cents. 4i $ # • 4 narrative of the Resurrection by the paths of prophecy, THE RISEN KING CANTATA FOR MIXED VOICES opens flat, keeps (Piano), 50 human back “The Etude”, that his York debut in a following it by an epilogue which dwells upon the 15 he made New CANTATA FOR MIXED VOICES Stults Price, 60c significance of victory over Death. The solos are modest in By R. M. copies from becoming soiled or torn, and Out of the Sea, by Lily Strickland, is recital at Hall, with the Mozart Thu Ilhnir Invisible Town their requirements and the choruses well calculated for con- By Alfred Wooler Price, 60c Mr. Stults was not only a prolific and talented composer, he was retail price is $2.25. fanciful operetta for juveniles that text. choirmaster as well. This well-planned cantata is the a “Concerto, No. 4, in D major” as his chief venient yet strong performance. Biblical the kind of a cantata to make a genuine appeal to volunteer an experienced SIR CHARLES W. LINDSAY, who started Just given performances by all having in interesting to the choir, and the solo assign- one of his best, and, annually, it is many Here is how you get one of the binders merits the attention of offering. choirs, it is always in life as a sightless piano tuner, and rose melodic gifts never were choirs of average ability and with limited solo material available. for 1940 or rec- ments are very satisfying. The composer's at cost. Send your renewal charge the musical, educational, Immortality also is obtainable in an arrangement for Treble Voices to be one of Canada's best known workers better exemplified than in this effective work for the choir's Easter now, and your check for $3.25, and we reational activities of youngsters. The “BLENNERHASSETT,” second twenty- HAIL THE VICTOR contribution. —2 Part. Price, 60c. for the blind, died on November 7. at his will take pleasure in mailing one of these characters introduced are most unusual, nine minute radio opera by Vittorio Cantata for Soli, Choir and Organ home In Montreal. founder of $2.00 child Giannini commissioned by the He was binders to you, postpaid. Remember and therefore appealing to the Columbia By Alfred Wooler Price, 75c C. W. Lindsav ti Co., Ltd., dealers in LENTEN CANTATAS covers your renewal, plus $1.25, the imagination, the plot is full of surprises Broadcasting System, had its first broad- musical instruments, and was a governor, Told in both Biblical and metrical verse, the Easter narrative, of binder, $3.25 little humor, and the music is cast at ten P. M. on November 2nd, over with manufacturing cost the and no from preparatory events to glorious fulfilment, is told LAST WORDS OF CHRIST CALVARY honorary president, vice-president or clarity and continuous melodic flow, the contrast of mood being in all. far above that usually provided for these WABC, with Howard Barlow conducting. CANTATA FOR MIXED VOICES CANTATA FOR MIXED VOICES board gained through the intelligent textual arrangement. A fine member of about every important Price, 60c juvenile entertainments. And yet the The plot deals with Aaron Burr and the work for the average choir. By Charles Cilbert Spross Price, 75c By Ernest H. Sheppard eleemosynary institution of Montreal. composers makes a notable SYMPHONIC SKELETON SCORES, A Lis- preparation of a performance is not dif- tragedy that stalked one of his young In this Lenten cantata the well known composer, Charles Gilbert In this cantata one of our prominent last three num- Spross, has produced a masterwork. It is melodious, yet devotional. contribution to the repertory of church music. The tener’s Guide for Radio and Concert , by ficult for the youngsters, nor expensive henchmen and his fiancee. very fine the chorus work is bers may be omitted for Lenten use, but with them included this JOHN F . BRAUN, internationally known The solos for the men's voices are ; Violet Katzner for the producer and the sponsors. Price, CHRIST IS RISEN and very interesting to sing. An excellent work for any time work also is ideal for Easter. The solos are for tenor, baritone and singer, art collector, and solid A QUINTET OF AMERICAN PRINCIPALS manufacturer during the Lenten period and especially appropriate for presenta- bass and the chorus material is well within the capabilities of the 75 cents. Cantata for Soli, Choir and Organ Time, minutes. characterized a recent New York per- civic promoter, passed away November tion at the Good Friday services. average well trained volunteer choir. 30 No. 1 Symphony No. 5 in C Minor By Eric H. Thiman Price, 75c formance of “Carmen” 18, at his home in Merion (Philadelphia), Beethoven CHANGES OF ADDRESS — When you by the San Carlo A scholarly conceived cantata for Easter Day in which the THE MESSAGE FROM THE CROSS Opera Company. Coe Glade appeared as Pennsylvania. His second wife was Edith No. 2 No. 6 in B Minor change your address, advise this office composer has followed somewhat the Wagner style in use of VOICES Symphony Evans, of CANTATA FOR MIXED Carmen; Sydney Rayner as Don Jos6; Marysville. Ohio, former accom- the leit motif for the various scenes and characters. There are CHRIST'S WORDS FROM THE CROSS Tschaikowsky immediately giving both Old and New By Will C. Macfarlane Price, 75c Leola panist to solos for each of the four usual solo voices, stirring choruses FOR MIXED VOICES Turner as Michaela; Mostyn Schumann-Heink: and together Orchestra Parts Obtained A LENTEN MEDITATION No. 3 Symphony in D Minor addresses. We should know not less than and an organ part that is quite superior to the average. Texts May Be they By Mrs. R. R. Forman Price, 40c Thomas as Escamillo; became widely known in song re- mainly from Few, if any, Franck four weeks in advance when you change and Harold the Gospels. This is a sacred musical work of unusual excellence. Kravitt as Zuniga. citals. Mr. Braun was a virtuoso collector compositions embracing "The Seven Last Words” of Christ upon With the effectiveness of sincere simplicity, this musical work No. 4 Symphony No. 1 in C Minor your address to insure the ensuing num- provokes soul-stirring meditation Christ's last words. It is easy of American the cross surpass it in beauty of melody, in effectiveness of harmony, on Art. and his gallery contains recitative. chorus work leaves nothing to be to sing. There are short solos for baritone, bass, and alto. A men's Brahms bers reaching you promptly. Do not de- A BALLET THEATRE has in pathos of The been organ- some of the choicest products of our FROM DEATH TO LIFE desired. The solos may be confined to the tenor and baritone voices chorus is called on, chiefly in unison. Four-part mixed chorus work. pend on the post office to forward mag- indicated suitable for soprano ized in New York, with Michel Fokine, if desired, although several are as painters of all eras. He was for eighteen Cantata for Soli, Choir and Organ The timely publication of these books azines where an address is changed. First Adolph Bolm, and and alto soloists. Time, about 45 minutes. Mikhail Mordkin. for- years a 'Trustee of should be of much interest to the thous- class mail will be forwarded. Second the Presser Founda- By J. C. Bartlett Price, 75c merly of the Imperial Russian Ballet; tion. lovers who enjoy was a leader in establishing the Phil- THE STORY OF THE CROSS ands of American music class mail, under which caption mag- Anthony Tudor In two parts—The Crucifixion and The Resurrection—and, THE MAN OF SORROWS and Andree Howard, adelphia therefore, CANTATA FOR MIXED VOICES the fine recordings of world-famous will not be forwarded Orchestra in its premier place suitable for presentation separately on Good Friday ORATORIO FOR MIXED VOICES azines are mailed, English and choreographers; Agnes De Mille among Easter. The composer’s "gift of melody” is well exem- By Leroy M. Rile Price, 75c By A. Lacey- Baker Price, 12c orchestras the periodic radio broad- such organizations of the world; and and they are destroyed if not deliverable and Eugene Loring, plified in the melodious solo passages and the easy-to-sing Americans; and and it For the choir of ample proportions, with opportunity for frequent There are instances where a full length cantata does not fit in with Jose was he who led choruses. The text is made up of Biblical and metrical elements. casts of leading symphonic organiza- at the first address given. in the renovation and with capable soloists, this is an ideal Lenten offer- the plans for the church service, but where a musical program Fernandez, brilliant Spanish terpsichor- and rehearsals, a tions; folks who want to understand preservation of Philadelphia's his- ing. It should satisfy for special musical services during this season. bit more pretentious than an anthem is desired. For such occasions ean; in the Any of These Cantatas May Be Had for Examination directorate. Beginning with toric The organ accompaniment is especially noteworthy while the solos during the Lenten season, or on Good Friday, this short 15 minute more and more the beautiful music that PREMIUM WORKERS—Have you received and acoustically perfect Academv of January 4th, and choruses will appeal to the discriminating congregation. work is ideal. an extensive season is Music. is brought to their own firesides by these the latest Etude Premium Catalog? If planned for New York. card and we will be glad Any of These Cantatas May Be Had for Examination. modern inventions. not, drop us a EVANGELINE As described in former announcements to send a copy to you. There are many A LATE LARRY, a pupil of Franz MUSICAL DISCOVERY is a Kneisel, for nearly half active these scores present the themes of the fine, attractive and useful rewards given “Sonata in C major for Two a century Violoncellos" as a violin teacher master works in an unbroken melody in exchange for Etude subscriptions and by Boccherini, which in Providence. Rhode ver ) Theodore Presser Co. was reported to Island, and Oh 2 itAon Co. line, no matter instruments are you can secure them without any cash have mentor of a large number of which been found at the San Pietro Music Publishers, Dealers, Importers Everything in Music Publications. a successful violinists, THEODORE PRESSER CO., Distributors — playing the "tune.” Of course, all en- outlay and very little effort on your part. Majella Conservatory in Naples. died recently at Hartford, 1712 CHESTNUT STREET. PHILADELPHIA, PA. Advertisement Connecticut. 1712 CHESTNUT STREET, PHILADELPHIA. PA. 72 THE ETUDE

ruiNTCD m o. s. * BT me. Standard Reference and Texi Books — Adopted by Leading Educational Institutions LOVER'S LIBRARY V A L U A B L E WORKS FOR THE MUSIC

Course ELSON'S OUTLINES OF A Study MUSIC DICTIONARY MUSIC HISTORY in Music Understanding By Louis C. Elson By Clarence G. Hamilton definition and pronunciation of by the Contains the A clear-cut and up-to-date history book for Recommended such terms and signs as are used in modern class use or general reading. 18 pages of illus- MUSIC CLUBS music, together with a list of foreign com- outside NATIONAL FEDERATION OF trative music. Reference groups of posers and artists, with pronunciation of their reading material at the end of each chapter. names, rules for pronouncing foreign words, and Copiously illustrated by pictures, maps English ltalian vocabulary of First Year— and a short chronological tables. musical words and expressions. Bound Price, $2.25 Cloth — THE FUNDAMENTALS OF MUSIC Cloth Bound—Price, $1.75 By Karl W. Cehrkens Cloth Bound—Price, $1.50 INTRODUCTION TO 1 . The Notation of Music 2 . The Function of Rhythm in Music ^rv Edition MUSIC APPRECIATION in 3. The Melodic Element Music ELSON'S AND HISTORY 4. The Harmonic Basis of Music 5. The Polyphonic Element in Music By Dorothy Tremble Moyer POCKET MUSIC DICTIONARY 6 . Form and Design in Music Gives an understanding of the form, traits 7. Acoustics in Music Who in music, student or instructoi, has and history of music, in a concise series of 8. Expression and Interpretation in Music not experienced the need of a handy language, and chapters, free from all technical reference for defining musical terms? traverses the story of music from its primitive — Here is a convenient-size booklet that origins to the present day. Each chapter in- Second Year can be tucked in the pocket of a man s cludes review questions. 1 4 illustrations, 75 FROM SONG TO SYMPHONY coat, or a lady's handbag. It gives all of music cuts, 141 pages. By Daniel Cregory Mason Cloth Bound Price, $1.50 the important terms used in music with Cloth Bound Price, $1.50 — 1. The Folksong their pronunciation and concise defini- 2. The Art Song tion. List of outstanding composers with 3. Opera and Oratorio their birth and death dates. 160 pages. MUSIC APPRECIATION 4. Piano Music (The Smaller Forms) ^ Paper Bound Price. 35c By Clarence G. Hamilton 5. Piano Music (The Sonata and Concerto) Based on methods of literary criticism, this 6. Chamber Music unique book is for those who wish to listen 7. Orchestral Music (The Classic Period) to music with quickened hearing and real 8. Orchestral Music (The Modern Period) ELEMENTARY understanding. There are numerous sugges- MUSIC THEORY tions for supplementary reading and a bounti- Third Year— ful supply of portraits, diagrams and music By Ralph Fisher Smith cuts. MUSICAL INSTRUMENTS A text book used in many schools, colleges Cloth Bound—Price, $2.50 By Edgar Stillman Kelley Cloth Bound Price, $1.50 and conservatories of music, in class or pri- Primitive and Oriental Instruments vate instruction. It is designed to cover a year's Early and Mediaeval European Instruments work of three 40 or 45 minute periods a SOUND. AND ITS The Organ week if used in class work. Leads to the The Piano and Its Predecessors study of advanced ear-training, melody writ- RELATION TO MUSIC The Violin Family ing and harmony. By Clarence G. Hamilton Wood-wind Instruments Cloth Bound—Price, $1.50 Every intelligent musician should be familiar Brass and Percussion Instruments with the physical laws which underlie his art. The Modern Orchestra Here is a compact statement of these laws and HALF HOUR LESSONS of the chief facts, theories and experiments in Fourth Year accordance with which they have been formu- IN MUSIC lated. A most valuable reference or text book. EPOCHS IN MUSICAL PROGRESS By Mrs. Herman Kotzschmax Cloth Bound Price, $1.50 By Clarence Hamilton — C. Cloth Bound—Price, $1.50 An invaluable guide, or manual, for the music 1 . Primitive Music educator is this book of short, concise lessons Mediaeval Music written to illustrate music facts and told with IN The Polyphonic Period ART SONG AMERICA anecdote and diagram so as to appeal to the The Classic Period (With 1930-1938 Supplement) youthful imagination and intelligence Espe- The Romantic Period By William Treat Upton cially valuable for class work and for sup- Music in the Nineteenth Century Presents an interesting and most compre- plementary study in the home under the Music Today and hensive survey of the development of song Modernism mother’s guidance. Three Hundred Years of Music in America composition in America from its earliest be- Cloth Bound— Price. $1.25 ginnings to the present day. A work of im- I portance to every singer and voice teacher, Fifth Year and of inestimable value to the library of the MASTERS ESSENTIALS music club. OF THE SYMPHONY By Percy Coetschius Cloth IN Cloth Bound—Price, $3.00 Bound—Price, $2.00 CONDUCTING 1. The Development of Orchestral Instruments, By Karl W. Gehrkens and Evolution of the Symphony ' Many think a conductor is ' bom. not made. 2. Haydn and Mozart 3. Beethoven TALKS ABOUT Nothing could be more untrue. Talent in 4. Schubert and Mendelssohn leadership must be reinforced bv an adequate BEETHOVEN SYMPHONIES 5. Schumann and Brahms technic of the baton, a practical knowledge of 6. Liszt, Tchaikovsky, Dvorak, Sibelius By Theodore Thomas and group psychology, and a musical educa- 7. Berlioz, Franck, Saint-Saens, d'lndy sound Frederick Stock tion. This practical book discusses every phase 8. Elgar, Mahler, Bruckner Strauss of conducting Edited by Rose Fay Thomas Epilogue—American Composers orchestras and bands. These analyses by the two great conductors Cloth Bound— Price. $1.75 of the Chicago Symphony Orchestra were written to serve as an aid to students and con- cert goers in understanding and listening in- telligently to the Beethoven symphonies. They are written in nontechnical language and pro- fusely illustrated with quotations. Oliverver ^LJition2)i, Cloth Bound—Price, $2.50 Co. THEODORE PRESSER CO.. DUliibutor., ,„ 2 CHESTNUT ST.. PHU*.. PA