June 1946) James Francis Cooke

Home , Anahid Ajemian, Beryl Rubinstein, Eugene List, Four Altos, Never Regret, Robert Scholz (pianist)

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

6-1-1946 Volume 64, Number 06 (June 1946) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 64, Number 06 (June 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/194

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. - In This Issue GREAT DAY AT POTSDAM BY THE AMERICAN PIANIST, EUGENE LIST THE BOSTON UNIVERSITY College Of Music held a three-day Music Festival April 30-May 3, in commemoration of the four hundredth anniversary of the death of Martin Luther. The festival featured the works of Johann Sebastian Bach, one of the highlights of the programs being the second complete memorized performance in America of his “Catechism for Organ,” the Lutheran Liturgy set to music, by Richard W. Ellsasser, the sensational nineteen-year-old concert organist. Mr. Ellsasser is the youngest person in history to have memorized the complete two-hundred and nineteen organ works of Bach.

CARNEGIE HALL, New York City, was HERE, THERE, AND EVERYWHERE the scene of something new in music programs when the seven-week series of IN THE MUSICAL WORLD Carnegie “Pops” concerts opened on May 4. With seventy members of the Phil- harmonic-Symphony Orchestra, conducted by various noted baton wielders, the program included some of the lighter by Charles Haubiel, Willem van de Wall, classics not usually found on the regular Quincy Porter, and Robert Scholz. The Dihe Choir Sinuidible symphony program. A Victor Herbert Etude extends greetings and all good Festival on May 7 was conducted by Ro- wishes. THE ETUDE learns sario Bourdon; and a “Viennese Night” ROBIN H90D DELL in Philadelphia with deep sorrow as we on May 9 was directed by Josef Bonime. will open its seventeenth season on June THE WALTER W. NAUMBURG Musical are going to press, of The series will run until the opening of 24, when Dimitri Mitropoulos, musical Foundation has announced the three the death on April 26th the out-door summer concert season. director, will present an all-Tchaikovsky young American artists winners in the of Walter S. Fischer, program. A number of guest conductors twenty-second annual competition. They president of the music THE EICHTH ANNUAL will make their appearance, including are: Anahid Ajemian, violinist; Jeanne publishing firm of Carl festival was held by the George Szell, recently appointed con- Rosenblum, pianist; and Leonid Hambro, Fischer Inc., founded by Bach Festival Society of ductor of the Cleveland Symphony Or- pianist. They will be presented in debut Mr. Fischer’s father in Philadelphia on May 24 chestra, and Sigmund Romberg, who will recitals next season. New York City in 1872. concerts for Walter S. Fischer and 25, in the Academy present one of the “Pops” On the death of Carl of Music. Conducted by which he is famed. Nathan Milstein and THE METROPOLITAN OPERA GUILD Fischer in 1923 Mr. Walter Fischer became James Allen Dash, musi- Alec Templeton are two of the soloists has announced the results of the Opera president of the firm which controls cal director and founder announced. Preference Ballet conducted through ar- several important catalogs. Mr. Fischer’s James Allen of the festivals, the pro- rangement with the Metropolitan Opera charming personality won him many Dash gram included on the THE GUGGENHEIM FELLOWSHIP Association to determine the operas to friends in the world of business and in first day a number of Bach’s smaller AWARDS for 1946 included eight com- be broadcast during the season of 1946- the music world. His fine character, works, and on the second day, the after- posers; John Ayres Lessard, John Wee- 47. The six operas selected by the radio clear-headedness, kindness and progres- noon and evening sessions were devoted don Verrall, William Laurence Bergsma, audience are “Aida,” “Carmen,” “La sive ideas endeared him to all who knew to the “Mass in B Minor.” Soloists in- Harold Samuel Shapero, Alexei Haieff, Traviata,” “Haensel and Gretel,” “Boris him. Mr. Fischer was born in New York cluded Ruth Diehl, soprano; Jean Wat- Henry Dreyfuss Brant, Gian-Carlo Men- Godunoff,” and “Der Rosenkavalier.” City April 1882. He was educated at the son, contralto; William Hain, tenor; otti, and Louise Juliette Talma. Horace Mann School. His favorite instru- Mack Harrell, bass-baritone; and Albert FOUR SUMMER CHOIR SCHOOLS will ment was the cello. He was a Director Brusilow, violinist. be held during June, July, and August of the American Society of Composers, DAVID STANLEY SMITH, Battell Pro- in various parts of the country, under Authors, and Publishers (ASCAP). fessor of the Theory of Music and former the Leadership Education program of HARRY T. BURLEICII, noted eighty- Dean of the Yale University School of year-old baritone the Presbyterian Church, John Milton VINCENT YOUMANS, composer of many RECORDINGS soloist of St. George’s Music, will retire from active teaching at DOCUMENTARY song hits, including Great Day, I Want First of NBC Episcopal Church, New York City, sang Kelly, director of sacred music. The the end of the current academic term. Faure’s The Palms this year, schools will located at to Be Happy, Without a Song, and again mak- Professor Smith is also retiring as con- be Warren H. ing the fifty-second consecutive Palm Wilson Vocatiohal Junior College, Swan- Through the Years, died on April 5, in musical score with narration written by Cesar ductor of the New Haven Symphony album, . . rendez- original and Denver, Colorado. forty-seven With the release of its two-volume Sunday he has sung this piece at St. Orchestra, a position he has held since nanoa, North Carolina, June 3-14, Alli- He was chronologi- George’s services. Mr. Burleigh began his son James School, Sante Fe, New Mexico, years old. vous with destiny,” the National Broadcasting Company Saerchinger, these excerpts are blended into a 1919. career at the church in 1894. June 24-July 5; Hood College, Frederick, the story of our times. cal sequence of stirring history. Maryland, July 1-12; and the College of CRENA BENNETT, for forty years mu- makes an impressive contribution to THE FIRST CHILDREN’S CONCERT ever THE GOLDMAN BAND, conducted by Wooster, Wooster, Ohio, July 22-August 3. sic critic of The New York Journal- given in Copenhagen, Denmark, by a Based on the radio addresses of Franklin Delano Roosevelt, Edwin Franko Goldman, will open its American, died in New York City on From the challenge of the opening excerpt, “This genera- symphony orchestra was conducted on twenty-ninth season of the Daniel and EDWIN MacARTHUR has resumed his April 4. and designed expressly for educational use, this is the first of ” May 4 by Karl Krueger, noted musical tion of Americans has a rendezvous with destiny, through Florence Guggenheim Memorial Concerts duties as musical director of the St. Louis director of the Detroit Symphony Or- Recordings — designed to on the Mall in Central Park, New York Municipal Opera Company for this sum- MOTHER GEORGIA STEVENS, founder a series— NBC Documentary the final conviction of Roosevelt’s words, “ We cannot live chestra. Mr. Krueger, on an extensive City, on June 12. The concerts will con- mer. Eleven productions are scheduled and for a period of thirty years Director life as conducting tour, also conducted the preserve the pattern of contemporary American tinue through August 11. and will be performed during a period of of the Pius X School of Liturgical Music alone, at peace,” here is truly absorbing documentation Brussels Philharmonic Orchestra in an eighty-eight consecutive nights. of Manhattanville College of the Sacred heard through the medium of radio. Easter concert for the benefit of Belgian of an era. THE AMERICAN OPERA COMPANY in Heart, died at the college on March 28. children. Mr. Krueger has accepted an Philadelphia is the name of a newly SUMMER CONCERTS Mother Stevens was also the Principal of invitation to conduct the Vienna Phil- formed group in the Quaker City. Ver- will soon be in full swing, the Father Young Memorial High School. Concerned with recapturing the spirit of those decisive Future presentations of NBC Documentary Recordings harmonic Orchestra next March. JflH non Hammond is the artistic and musi- with the several well f . . release. two volume album years preceding and during the second World War, “. ren- will be announced on The cal director; and Mme. Rose Landver is known open air music W HERBERT BRANDON, celebrated Eng- AN EXPERIMENT in visual education in the stage director. The new company centers giving their UR lish poet, writer of many verses set to presents the actual words and “. . . rendezvous with destiny” contains twelve 12-inch dezvous with destiny” plans to feature in the public schools is a new venture spon- music Charles opera English, and opening programs. The fffr JBfl by Huerter, American according to present plans, Smetana’s sored by the Motion Picture Association composer, died recently in England. familiar voice of America’s late Chief Executive in excerpts recordings playing time two hours. It is obtainable from Stadium Concerts by the — which has appropriated 100,000 for the “The Bartered Bride,” is scheduled for $ New York Philharmon- radio addresses. With an Dept. H, Radio-Recording Division, New York 20. opening production. production of seven sample experimental from 23 of his most important NBC the ic-Symphony Orchestra JAMES S. STEVENS, nationally known films, “which it is hoped will serve as a Erica Morini will present the first choral leader, a founder of the Associated standard for producers of classroom GIAN-CARLO MENOTTI’S first full- concert on June 17, with Artur Rodzinski Glee Clubs of America, died at Hartford, films.” length opera, “The Medium,” which was conducting and Artur Rubinstein, pianist, Connecticut, on April 16. commissioned by the Juilliard School of the soloist. George Szell, Alexander Music, received its world premiere on A NEW MUSICAL QUARTERLY, “Mu- Smallens, and Paul Lavalle are scheduled WILLIAM E. PILCHER, SR., dean of May 8 when it was presented at the sicology,” , has made its appearance, re- for guest conducting appearances; and American organ builders, for years head Brander Matthews Theatre at Columbia leased by M. & H. Publications, Inc., at soloists announced include Erica Morini of Henry Pilcher’s Sons, Louisville, Ken- University under the auspices of the Middlebury, Vermont. The first issue, and Carroll violinists; AMERICA’S NO. 1 NETWORK ...the National Broadcasting Company Glenn, and Eugene tucky, died in that city on March 14, at university.' edited Alan A Service ol Radio by Carter, contains articles List, pianist. the age of -eighty-seven. Corporation of America JUNE, 1946 "FORWARD MARCH WITH MUSIC” 301 i . ~ . .

Editorial drama music music

S’ 5 ® ® ms§(£ £58 <» g7 ®

Ph.D. by M. EmeU Wilson, pride that Professor of Music ONESTY, integrity, the musicians Ohio State University take in their work, and its D Assistant Editors morality, and char- Ethel M. McKray, A McCoyr “*“andd tt^ c*rtinn remarkable effect upon hu- MUSIC HISTORY AT GLANDS Guyy MCWW fjHor, MUSU Section acter are not the designed ^ R°> Maier H work Rob Dr. Guy concise authoritative Dr. . w Gehrkens 1 ' Douty N. Clifford Page man character. That musi- and thorough Nicholas .. j,eth Gest monopoly of any race, na- quickly, accurately i Dr. a Peter Hugh Reed ^to the n rel atlve cians, for the most part, part essential informat,° tion, or creed. Nor are these and accomplish origin, development develop a Very high ethical and musicians throug traits essentially heredi- ments of music — pv THEODORE PRESSER 8}, ° sense, is obvious. This fact out the ages. Pn /INDED 18 tary. Parents with unstable is emphasized because of GLANCE is a mental conditions and brain MUSIC HISTORY AT A rtant m“ical our association with busi- 55. °£ aU ™p° lesions can and do, under of all outstandingftentog 1946 figures- a synopsis 8 forecast Contents fortune, conditions, transmit ness leaders in many other it today; and a some . musicmusic as we knot cross-sec ion o!: musicians; a ... PRICE 25 CENTS callings who, when they be- music and future. No.v 6f. •» their afflictions to another of music in the VOLUME LX1V, what we may expect 301 of generation. Character, how- come acquainted with the music practicing, world of Musician . . . the facts about the manner in For the 303 ever, is very largely a mat- 01 hi works ' EDITORIAL Charactercharacter? individual’s ad- which musicians meet their - Music Develop ter of the Glance Does and, all ... At A 305 responsibilities and obliga- furnish it accurately MUSIC AND CULTURE Eugene List justment to his fellow man ...... •••• fleck 306 for Potsdam. .7”... Hattie C. tions, are surprised .who wishes to^therh^ mJc Preparation and to the world in which when Music Laser . 307 For the T great masterworks 309 these are compared ith ment of theart.thiSrguide^ovMes.inna ^ he finds himself. A fine spir- w ^ Lind ^ Tour of Jenny Glance. artists, all ... At A Se eing itual, domestic, religious, records of the average rf'm^ic'interpreted by fine THE HOME ...Alfred Lindsay Morgan 310 book to supply MUSIC IN worker in other enterprises. ^rpr.nrpsent reference School and Home. 311 educational, and wholesome the . Meredith Director _. _whc meets these Radio in B CMM Teacher an,l . . ndium adequately Bookshelf For the compe THX Etude Music Lover's moral background during a Thus, in surveying the ac- vital authentic Price $1.00 STUDY Dr. Guy Maier 312 of Glonce MUSIC AND child’s early years is of tual facts in thousands • • • At A ai1 Round Table...... 313 ? - Teacher's Evangeline Lehman — The Bel Canto. SA'&SSS Master of musical professional ac- Incomparable course among the most pre- Battistini. the 3U Vi) . Do Declare! (Section MacCregor 315 counts, the very small num- Ave. Well. I Evelyn cious of treasures. Yet one ,gm So. Campbell Concerning the Contralto VV Dunham 317 738 Rowland of the sweetest and richest ber of uncollectible debts is 12, ILL. What Price Technic?...... George F. Stricklin® 318 CHICAGO Diction—Diction—Diction. Alnin C. White 319 characters we have ever startling. Music workers and Cymbals 320 THE ASSEMBLY ROOM AT THE PRESSER HOME Drums known was a German ser- everywhere may well take Selinsky 321 Caricatures by Harold Berkley Used for daily gatherings and occasional concerts and entertainments. The room is spacious and Forum pride in the splendid aver- The Violinist's Dr Kari w cchrkens 322 vant girl whose father cheerful and looks out through large windows to the gardens of the Home. This is a photograph Answers Delight!I Questions and Yehudi .Mi uuhln 323 was a professional thief in of a Sunday afternoon group of residents. age shown by their profes- and A Reading Musicians in World War II .Herbert Huffman 321 Teaching Aid (Columbus Boychoir) sion. Musicians their A "Sing, Ye Citizens!" Europe. pay MUSIC Among the greatest at- bills and pay them promptly, Selections HISTORY and Contemporary 325 STANDARD Classic Stanford King tributes of character is the development of a righteous conscience, unless some disaster makes this impossible. Indeed, when some me ,n Vienna by h«~v i 326 » :::::::::: B ecirich sme^;^: in this religious child is impor- catastrophe comes to a musician and he finds himself “up against and the of MUSIC . background the most OF Folka No. , 328 R. Schumann, Op- 21. Enlarged Edition Robert A Hellard 330 tant. Here the church, the synagogue, the temple can play a very it” and unable to “make good,” the condition may go on for years Latest Revised and Spring Breezes Hoffman 332 .Adolf G. vital part. and the debt obligation may lapse legally. But does such a debt FRANCIS COOKE Meditation. icman —333 By JAMES „ . John T * No. Pride in one’s personal behavior, one’s understanding, one’s lapse with the musician? By no means. The instant that good Reginald DeHoven. Op. ICS. Prelude in E Minor tolerance, one’s life ideals has a deep bearing upon character. The fortune comes to him he cannot wait until he joyfully “cleans the Vocal and Instrumental Compositions . Franc,s C°°“ 335 White Orchids (Organ) ability to hold one’s head aloft and to look clear-eyed, with sym- slate.” We have witnessed this innumerable times, but it never You I am Praying (Sacred duet or choir) For eery ,36 ") Roh hoy r pathy and understanding, life’s interminably complex ceases to give us a thrill of pride in our fellow musicians. This in the interest “Singing Children of the Church .. .Ira D. Sankey— toward music folktoix to make possitle (From world-noted**u noted of lp pIact^cal arrangement (Violin and Piano) • • ^ Purple Dusk Kf 340 problems, with justice, frankness, and honesty, but without bit- very day we saw three instances of debts discharged which were a graphic, well-told tale, Henry 'book In a style rivalling Harold Locke Headings of a this mission to impart a use- Lily Pads (Piano Duet) Chapter successfully fulfills its terness or smallness, is can respectively twenty-three, twenty-four, and twenty-five years old. tub,eels th s book known an attribute which only character of the many history from the earliest Delightful Pieces for Young Players . feu, fu knowledge of music 349 in this volume the epoch-making Ada Kirnter covered instruments, and composers to Dawning Charles Wakc/icld Cadman, Arr. by evolve. The English essayist, Walter Savage Landor, wrote: “A There had been no solicitation. One was for an extremely small facts in At 34^ Began and the present eminence of the art cn is Brown How Music . , living composers, Was a in the band and orchestra Puppets on Parade , Polyphonic Music education, in our social lile, 343 man’s vanity tells him what is honor; a man’s conscience what amount, but the musical debtor never had forgotten it. What It is an to Be in radio and motion pictures. Bicycle Ride How It Came w . field in opera and Gave to Music class use because the logical and Gert What Early England ideal' text book for Elizabeth A. is justice.” Such instances sometimes come up in the routine of the average Family and the -work of the teacher THE JUNIOR ETUDE Wonderful Bach practical arrangement simplifies The Lived at and entertaining Some Musicians Who and makes the subject clear, interesting MISCELLANEOUS There is a spiritual essence in music which inspires its true business man and prove a pleasant surprise, as well as a restora- is lust long enough for 304 Time , Each chapter ‘ the Same to class members. * set test Practical Organ, the V assignment and is followed by a of A Program Idea followers to live exalted lives lives shorn of all hypocrisy and tion of his confidence in the basic honesty of man, but insofar as How the , .V? a story lesson 304 — the‘"aArtJ of Lsse Piano Influenced historical charts, index, and colored Music Helping Pupils to Create Ru’>y the questions. Its 304 great teaching aids. It includes Leans learn, Man of Europe are also Music Loretto V. cant. We often have sought some tangible proof to present to our we can such cases are far more rare than are those of Bach, the Greatest phonetically gives the pronun. A Review Book Johann Sebastian over 200 illustrations and 304 • * ie • u • • J* words of foreign origin. Newjn ew Keysfi.eys to Practicepractice , of the Polypnonists elation of hundreds of names and readers, giving them more evidence that music does develop musical debtors. This leads us to the belief that there must be and De- are indexed, ! ~ S 0 Franz Joseph Haydn Nearly 900 names and well over 100 subjects Renaissance in Piano Study in Public School Music and the 316„r. of the Sonata a superb, permanent y valuable reference character. Through close association with a great musical, edu- something in music which elevates the standards of ethics and velopment making this Addinsell ny composers and vital music data. Richard S P volume on important Douty 34^ WillihaUl Ritter von .Dr. Nicholas Ch rlltoph Voicevoice Questionsquestions AnsweredAnswerea . .... cational, and philanthropic foundation, as well as with three large personal character in a very notable manner. Of course musicians Reform of the 348 Gluck and the Letters from Etude Friends — $1.50 349 music publishing companies, and through personal contact with have known this in theory for years, but theories fade unless they Bound Price, • of Cloth Hpcfon anH Chnir Onactinnc in—n., »1 RCTiry S F^V and the Age Organ and Choir Questions Answered _ _ .Dr. Robert Schumann 350 Musical Romance Competitions musicians in many parts of the world, encountered in extensive can stand the test of facts. Famous Opera Writers of the Some Violin Questions Answered. Harold Berkley ^5* Nineteenth Century lecture tours and professional travel, we have made numerous Since its establishment in 1916 by the late Theodore Presser, Music of RcveM Richard Wagner and the Band Questions Answered William D.

the Future" , , enviable musical friendships and have had ample opportunities The Presser Foundation has conducted, as one of the major Composers of the Entered Phtla.. Pl - Great French PRESSER CO. as second-class matter January 16. 1HH4 at the ?. O. at Century THEODORE under the Preiser L o., 1 or Nineteenth Act of March 3. IS 79. (opytght. 1946, hy 1 hcojorr to observe all types of music workers. This, combined with facili- branches of its work, a Department of Relief for Deserving and Its Com- The Modem Art-song U. S. A. and Great Britain. f ties for watching the reactions of employees in large numbers in Musicians. large number of musicians here and abroad (includ- Fiano Everything in Music Publications A Recent Great Virtuosos of the

in America . .. activities here and abroad, has led the follow- artists) _ , “" vast non-musical to ing several eminent have been assisted in desperate Music Twentieth S2.50 a year ,n U. S. A. and l>om"J cases of the Early Poaesuom: alio in ( ™ Rita. Masters Republic Guatemala, ol Hon 1712 CHESTNUT ST., PHILA. (1), PA. Haiti, Meako. N’karagua. Panama. Repuhlu conclusions. duras, Salvador GuianaJ- ing deductions and by this Department. The individual grants are not great, and American Musical Lights Spam and all South American countries except the Newer S2.75 a year in Canada and il Newfoundland. $\.50 a \cst m all One thing that has impressed us more than any other has been have been designed to help in emergencies. Sometimes, however, .1 single copy. Price 25 cents. "FORWARD MARCH WITH MUSIC THE JUNE, 1946 303 302 I —

Music and Culture Pupils to Create year, »> •»“*“«« Helping Culture conv^.d. Music and to popular opi that contrary caIlings Anyone than in many unter I2aly much smaller .j tQ enco by history and who has studied music dishonesty, the emergencies, through protracted sickness raUty> experiment with my despicable instances of ago, as an pupils, lasted over considerable many , yes, music OMETIME continued disability, have compose a piece for me for their betrayal, and its twln told them to periods. The majority of grants have been applied its Pharisees, I free of^^jemblers,its d was a pleasant surprise, upon the is by no means nchau- next lesson. It well along in years who, without 1 its MU to musicians ’ Preparation for Potsdam its Mach S little tunes many had in- its Tartufes , find the have its Judases its fl to Presser Foundation, would harlatans , r return assistance of The .J c this immensely. sens, its humbugs, its 9™, time they all enjoyed Some existence insufferable. The work of the Relief &fc Qne tented- and found all the down, and these mountebanks. They are ' imposters to be written were Department of The Presser Foundation is conducted {he were good enough Conference with numerous. H at a small student A they were far more > of the pupils re- very confidentially, and every effort is made to protect people uiaved by several music today are vastly few had no knowledge of harmony, in . music? youngsters the musician’s natural pride. exalted^ nature oof These imagine. Is this due to the practically all secured by ear; Relief Department is one of the two philan- the art. ^ their efforts were The refining character of Presser Foundation, the other Is it due to the teaching them to create, to draw upon some- thropic branches of The demanded by mus ? “ rJlidt Teachers, due to the discipline themselves, and this is what we all £*uffene being The Presser Home for Retired Music great precision, callingni from within encased in tasks demanding Jhfng in Germantown, a suburb of Philadelphia. The Home measurement tools and infinitely minute eI Distinguished American Pianist many residents have called for delicate ^Love every human enjoys developing his (founded in 1907) , which integrity. psvchologically, reputation for veracity and capital H,” is like a private hotel have a forth his individuality, and the “a home without a part o self,' bringing for accuracy and exactness is inner located in a five-acre garden plot. It accommodates are tr unconsciously enjoys this even though his ef- know the importance of tests that 'tudent taught music They through this he Is sixty-five guests, each of whom has exactions of ‘he mo small and imperfect. Yet. SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT honest, that will meet the forts are in the United States for twenty- five years, and has tins greatest principals and, If de- calibrating devices. Somehow learning one of life’s of sixty-five and precise gauges and entered the Home between the ages its into he will enjoy always. As he c+onHarrf truth fulness seems to work way it is something dol- veloped seventy-five. The admission fee is four hundred It, who knows where older, should he perfect their lives and characters. becomes ‘ lars. Liberal provision is made thereafter for all of No other occu- > LAYING at Potsdam left me feeling very Stuart and I got a hurry call to report to Potsdam. calls for incessant precision. his talents may lead? | residents’ Music 1—^ humble and grateful to be a musician. Never of the needs. with such pre- pupil, a high school girl, with whom We knew, course, that the Big Three Conference pation demands that the mind work I have a young Presser Foundation’s educational and philan- •*- before had I realized quite so clearly the was being held there, it The infinite number of tem- very successfully. She has had some but never did dawn on either deeds posterous rapidity in such an I have tried this thropic projects are supported through large the universality of music. No other form of entertain- of us that we might be part of it! Even when we directions. More than this, harmony. She says that every morning, Presser, in his poral and spacial rudimentary of trusts left by the late Theodore is ment no speaking, no acting—could have crystallized got to Potsdam, nothing was indicated. life work, fill her — There was in order to accomplish his awakens, new and beautiful melodics by the profits from the Theodore Presser musician, when she will, and that he has vei> and has the proper the electric force of that occasion, as music did. a large group of fine entertainers present, headed by so continuously and busily engaged mind! When she can take the time Company and its affiliated companies, and from The touched the deepest emotions of all those Mickey Rooney, his music. In most in- harmonies, she may bring Music and our orders were simply to stand purpose little time for anything but knowledge to work out these Etude Music Magazine. It was Mr. Presser’s present, the need for interpreters. It is by pettiness, without as a sort of ‘long-hair’ contingent, in case . . . stances he has no moments for meanness, fruit that will bless her efforts and lend and ideal to return benefits for the promotion of the forth some I luck, thoughts. He is so CARROLL GLENN (MRS. EUGENE LIST) unimportant that happened by sheer good to be Then, on July 19, after we got back from a morning music and music teachers, from which or for ignoble, sneaking, selfish pleasure to many people. interests of the musician involved in the proceedings: the main of sight-seeing, we were told that to play times he neglects his personal affairs / Love Li/e The well-known violinist sews a "hash mark” on her we were derived. engaged that at One song such as Trees or Mana-Zucca’i his fortune was thing is that the power of music itself was so won- that night. Nothing more said does not see that he “gets what Is to thousands husband's uniform. was but that we’d be work of the Relief Department and of the to a fault, and or many others would be an Inspiration In the derfully emphasized. playing ‘for the President and a few guests.’ coming to him.” He is often generous to a high the small effort Who Home we have been brought into close contact with of people and would certainly be worth badly duped by schemers, “While I was doing clerical work in the Army, my those guests were to be, we did not know. Well, we affairs a large number of musicians degree and is sometimes can offer! the domestic of some teacher music was strictly extracurricular. I did work, should have spent the advantage of his trusting nature. But honest my afternoon practicing, but we and music teachers. It has been the invariable ex- who take His ideal of meeting money and practiced in my own time—and that time was were so excited about the President that we ran around . indelibly honest. the musician receiving assistance he is— Eugene List occupies the unique artistic perience that when position of combining limited by the fact that a full day’s job leaves one trying time obligations, and the ethical obliga- in to get our clothes pressed and our hair cut. from The Presser Foundation is no longer obliged obligations, success with sensational success. In his early twenties, he has hardly excelled. less than the best practicing help, he writes at once and tions toward his fellow man can be already asserted himself as one of the outstanding young pian- to depend upon such Miisic Book form. evenings were great statesman of the last A Review ists of our time. Many that aid to him be discontinued. More than this, There is a story of the Besides this, he is known the world over as "the asks also taken up with playing for century, Henry Clay, who, when he was timidly asked boy who played at Potsdam." Born in Philadelphia, Mr. List lived it is not unusual for recipients who have been helped in Army functions. I lady if he would make a speech for JL eon aril Los Angeles until he was fourteen. At five, he began studying made up in time of need and who later have come into funds, by a Southern L XorAlo W. the piano with replied: “Madam, I suffer when I don’t!” his mother, a professional music teacher. He my mind, however, to keep to make full restoration of every penny received. her group, difficult to encourage students confesses that he did not enjoy practicing. At ten, however, he my fingers in good shape and even gratefully insisted upon paying When musicians have obligations, they suffer until OMETIMES it Is Some have appeared as soloist with the Los Angeles Philharmonic Orchestra they find themselves in a position to discharge them. to review past work. It is right at this point, to hold on to my repertory, interest on obligations which have long since been under Artur Rodiinski (under whose baton he was later to play even if Their pride and conscience and character make life however, that you can greatly aid their reading it killed me! At night, outlawed. S both in Cleveland and in New York). At fourteen, when he had difficult for them until their business equilibrium ability, build and control their repertoire, and review I’d put in an hour or two Music of course has its share of rascally cheats just finished junior high school, the boy accompanied his mother that must have never more—working at the and questionable characters, but on the whole we is restored. fundamentals painlessly—fundamentals on a long and fatiguing bus trip to Philadelphia. The day they difficult parts of my pieces. so many, many repetitions before they become second- arrived, an uncle happened to look over the newspaper, and In that way, I kept reper- nature to the student. All this Is easy to do with the announced that it was too bad Gene had not come a bit earlier my an open scholarship competition for tory fluent and dug into serious, musical child, but it is quite another matter — study under Olga Samar- off Stokowski, at the Philadelphia Conservatory, was just closing technical problems at the same if the child is not especially interested, and has only ; had Gene been on hand sooner, he might have entered it. Great time. For instance, instead of one half-hour lesson a week. agitation ensued; Gene forgot the fatigue of his trip and set ploughing the students through routine oc- At their first lessons in a new term about seeing what could be done. What A Practical Program Idea happened was that he tave studies, I practiced the leave all studio. their previously learned pieces In my was admitted to the contest and won it. For the next three years, Liszt Sixth Rhapsody for right- We try to review one or two of these pieces every few he worked with Mme. Samaroff, finished high school, and was hand octaves, and the Chopin lessons. As soon as the student Is able to play the piece graduated second in his class which also chose him as "the best Polonaise in flat all-around student." At about this time, Mr. List A- for left- nicely again, we put it into a home-made notebook. won the Youth award offered by The Philadelphia Orchestra which entitled him hand octaves. Other pieces This notebook is two pieces of manilla paper cut slight- to a public performance under Leopold Stokowski. Mr. Sto- provided other problems, and ly larger than the size of music. Holes are cut through kowski had just received the Shostakovich Piano Concerto which I had the gratifying feeling the cover and through the music with a paper punch. never had been performed in this country, and was eager to of not losing ground. been Gay yam is tied through the holes, which have try it. Could young List learn it in six weeks? He learned it in “I had long been eager to protected with re-enforcement tags, to make an ad- four, spent the final two having influenza, and appeared, in go over-seas to play for of the justable binding. the cover December 1934, the first artist to play the new work in Amer- n Some youngsters decorate men, but the chance did not ica. In 1935, jus before his graduation with pictures, and some draw original designs. from high school, Mr. List was seem to come. Then my Col- THE STAR SPANGLED BANNER a engaged as soloist with the New York Philharmonic- This review is beneficial to the student, and quite onel, INI [KMISSION Symphony Crchestra, and was offered a five-year contract by New Jersey’s former “lift” to the for show- Connie teacher. It serves as a balance Arthur Judson. In Governor Harold Conrad: New York, he was immediately given a Fellow- G. Hoffman, Courtesy, The Chicago Jan Waite: ing only “Sun” The Rider's actually it takes ship Story, Op. 68, No. 23 Schumann what the student knows, and to the Juilliard School which he accepted at the same time let me go with the most won- 13 J S Boch MUSIC Two-Port Invention—No. Volse Arobesque CHARMS LITTLE EARS in A Hot Masters a few that he was Tschoikowsky After ploying the minutes of the lesson time. busy on professional concert tours. derful Waltz from the Serenade Schubert l» wtiKA COflni* KOnpMln He says that he assignment that a G.I. Mr Old! Sergeant List plays for young Morche Militaire, Jock will Violin Solo: Schoen Rosmorin did his homework on Chicagoans Kreisler counterpoint on trains, and mailed it back ever got. I Moment Musicole in F minor Schubert toke us down Memory Lane had simply to re- Mr. Neil Conrad to school, with few tunes: hoping for good marks while he played o singable his concerts. port to Paris Headquarters for Beryl Dee Sturges: In 1935 he Indian Love Coll Friml Patsy Gresham: toured Europe for the first time, and began to enjoy In Mozart r-Roto Marls”) musical service, and Fantasia No. 1 D minor the happy feeling spend the rest of the time prac- We reported at the The Nest Passocoglio i New that his career was starting in Little White House before Valsonte Poldini Love Hirsch Keys to Practice a serious way. the Lo Poupee i"Maiy*i Sonatina ticing and traveling. > Then, in March of I did a lot of playing, both to dinner horn- in the Patio (Tango) Rcpper Giga 1942, he enlisted in the Army. —and only then did Doncer Alwoys Berlin | For the first we learn that Stuart soldiers and civilian Transcribed for piano Mor. Volse Brillionte in flat two years, Mr. List to audiences by i. Anthony E Grum was in no way reserved for musical work. (there were some and I were to play at the first official Joan Wilhite: Oust with Elizabeth state dinner, Brau: l., He had an office position Paris recitals and three Chopin The Sleeping Beouty Woltzes juL i Jon and worked a full business day at appearances in the Royal for the Nocturne—Op. 37, No. I Tschaikowsky m. President and his guests—Churchill, Atlee, typing, filing, and doing Albert Hall in Escorlofo Repper reports. He determined, however, that London that I shall never forget) and Stalin, ; Molotov, Byrnes, Admiral Leahy, nothing should the whole interfere with his music, and devoted every mo- I was teamed up with the violinist Corporal Stuart Big Anthony, at La Jolla, Cali- Three contingent! A teacher, Mr. Morris “,C1U LU ouua meir VII ment of his scanty leisure to intensive practicing. Canin to .. classes. Then he was form an ensemble group. Once we were given “Of course, The Etude a program of one of his At the top of the sent abroad as a one-man we were terribly excited. So much so, fornia, has sent program Mr. Anthony has concert unit to play for the G.I.'s; and ten minutes notice a row Gon t be loudly, to board a plane and go to Rheims, that I includes an idea which many of especially engaging hesitant about playing firmly and then came Potsdam. Before going don’t very well remember the beginning of students’ recitals which and animated portraits abroad, Mr. List was married to substitute the of his for even practice. for Heifetz. We had. no rehearsals to- activities. with profit. pupils Imagine the pianissimo is the result of fortissimo to the charming young violinist, Carroll Glenn. I only know that Stuart and I took turns, teachers might adopt pride of a parent in seeing In the following gether, and this It was Liszt forte- conference, Mr. it was Stuart’s first plane trip; so in all throughout recitals are valuable for giving students op- appealing arrangement! who said, “A pianist must first be a List tells of the events that led to his experience a dinner that lasted more than two Pupils’ The original program between looking out u pianist, then And at Potsdam, and of the musical conclusions of the window, he gave me hours. He played violin appear in public, for stimulating a thirteen and one-half a mezzo-pianist, and then a pianist.” he draws from it. solos from the lighter classics portunities to inches wide. The partial directions about where repro unless hope Editor’s to slow down and where to pick ( Zigeunerweisen giving parents the delight of auction B less we practice cannot — Note. , Traumerei, Claire de Lune, wholesome rivalry, for than half size. The design as great pianists do, we up, and* so of the [ to and that was all the rehearsing we got. accomplishment of their children. As mteresting Play as they do. forth) and I accompanied him, and then while witnessing the “ grasP of “Last July, he got and parent ”P° then, while I was playing in Munich, his publicity value of pupils’ recitals psychology? ga l n freedom concentration breath, I played piano ( Continued on for the teachers, the ,, in playing, build up Page 360) rough habit—not JUNE, 1946 through effort. "FORWARD MARCH WITH MUSIC” 304 "FORWARD MARCH WITH MUSIC” 305 THE ETUDE Music and Culture Music and Culture

Mozart The Dramatic Last Hours of University Training for

displeasure of his father, he had only his beloved sister, in whom to confide his an artist of quality, troubles! Motion Picture Musicians Mozart married a cousin of Karl Maria von Weber. hij ^Jfcitlic C. 3U marriage angered the elder Mozart and caused a This son that lasted to rift between father and the end. wife Happy in his home with a who had little care or responsibility, the Mozarts had many children beautlfulcW^ sense of and he, too was a but through ail this ozda small apartment handsome persons, who died in infancy, sadness, the Lj WUL & at the door of a LOUD KNOCK of talent and person - ! not outwardly startled a The combination serene nature of Mozart was disturbed, in a shoddy side-street of Vienna a four y ars off Professor of Film Music for boy an idol, and when constant debt. Two sons, of his senses. He made of the yet it kept him in neither of little nervous man almost out with Ws . his fond parents A from age he astounded became famous, survived him when he died at University of Southern California visits whom The heavily in debt and constantly had tune in exploding his was love of music, the father lost no himself against his fears and in a The the age of thirty-six. collectors. He braced became the wonder boy of the time. (come in). The son who soon was while his wife was away on one of her many strong voice commanded, “herein” and piano aided by It boy, an apt pupil of both violin the strange messenger a mysterious stranger ... not a be- recreation trips that appeared man who entered was teacher and press agent, played DR. M1KLOS ROZSA occupant his father, a good request for the Requiem. He had been com- collector. The stranger handed the then on his with his Miklos Rozsa was born In Budapest In 1907. He entered the University of Leipzig ( musicology) in 1925 familiar six years of age; and from the fore royalty at pittance, as he needed in 1926. Before final examinations, publishing peculiar packet, a sealed letter, with Austria, posing cheap music for % money and the Conservatory (composition) the noted house of of the room a well-known. Maria Theresa of Placing his travels are work found no ready markets. Breitkopf & Hartel signed a long-term contract with him, publishing his first works (mostly chamber to open it until he had gone. much when his better His command not mother of sixteen children, lavished HE INTRODUCTION of sound to motion pic- herself the music and orchestral) . His first international success, "Theme, Variations and Finale," was performed moist brow, the little man sank heavily opera “The Marriage of Figaro." the work he loved hand upon his lad who had played for her, and tures created new possibilities of musical expres- lines of the affection upon the no by nearly all the leading orchestras of the world. It had its American premiere in 1937 by the Chicago chair, and began to peruse the Prance, best of all his creations, received great acclaim, into a later the ill-fated Queen of sion for the creative artist, and an array of jobs Symphony Orchestra. under- Marie Antoinette, "The Magic Flute” T peculiar note, without, in his bewilderment, and “Don Giovanni" and were at became his playmate. for the averagely talented educated musician. The In 1938 he was awarded Hungary's highest musical honor, the Franz Josef Prize for composition. His mind was almost a times Ignored. Sometimes there standing a single sentence. child, by times successful and at feature Pastorale e Danza" was an outstanding success ot the International Festival The strenuous life imposed on the growing music in motion pictures became an important In 1939 his "Capriccio, Music was Wolfgang Amadeus Mozart, episodes of real acclaim; for Instance, in Prague blank. The little man father, finally developed into a were and an integral part of the industry. Its importance in Baden Baden. Later, this work was performed in America by Ormandy, Coates, Lange, and Stokowski. a request his proud but unwise mysterious stranger had brought him the performance of "Don Giovanni,” Mozart’s in America are: Sonata for Two Violins; Two Songs; Concerto for String and the young man already rec- when at is equal to the other component elements of this Dr. Rozsa's published works for sort of slavery, and even as a now composition, to be executed, without asking presence stirred the house to a riotous reception of the Orchestra; two madrigals for female voices; and " Kaleidoscope" (piano pieces). He conducted the for a ognized in the musical world as composer as well as new art, as are the story, scenario, direction, acting, whom, why or when. It contained a definite request, composer who was carried to the stcge, and who burst premiere of Concerto for Strings with the Los Angeles Philharmonic in 1944 and appeared with the virtuoso, Mozart was constantly guarded and chaper- art direction, and photography. the Mass of the orchestra in the Hollwood Bowl several times. that the composition be a Requiem, tears as he stood serenely accepting the beloved same of his parents. He began to resent it and, into The evolution of the music in motion pictures in the price, and to oned by one Rozsa's first engagement for pictures was in 1936, for Alexander Korda's "Knight Without Armor." Dead. He was also requested to state his ovation. The Ballroom scene of "Don Gio- Dr. that resulted in strained relations with his Bohemians’ last seventeen years has been enormous. The require- strange messenger of course, In 1940 he came with Korda to America as his musical director. He has composed music for the keep it a secret transaction. The Incidentally, is considered the greatest single he loved dearly. vanni," ments for original music have grown steadily, and the "The Thief of Bagdad," "That Hamilton if accepted, would father, whom following pictures in Hollywood: Woman," "Lydia," "Sundown," would call later for his answer, and written. This caused the tre- ," picture of any opera most important member of the music department has "The Jungle Book," "Jacare "Five Graves to Cairo," "Sahara," "So Proudly We Hail," "The Man pay for it in advance. weep in public, un- The Urge to Compose mendous bravos that made Mozart become the composer! The composer of the twentieth in Half-Moon Street," "The Hour Before the Dawn," "Woman of the Town," "Double Indemnity," irregular mode of life, noth- To a person of Mozart’s plaudits, he forgot the Mozart began to feel the urge for composing, ashamed. Thus reminded of earlier century finds new artistic problems and new pos- "A Song to Remember," "Dark Waters," "Blood on Sun," "The Lost Week-End," "Lady on a Train," yet this request puzzled him. Soon ing was really surprising, for the hour. His "Spellbound," the last named winning the Academy Award of 1945 for the best musical score and according to his own statement, he was “tired of his drab existence and lived only sibilities of artistic expression, which from a purely and letter haunted him with the idea that he should The " familiar red coat, with the atalnlng gold buttons, for of a dramatic or comedy picture. never thought about entertaining when his brain was “flooded with music.” social point of view play an important, and not to be have written something he had In 1943 the National Association for American Composers and Conductors awarded him a citation Beauty and contentment were necessary to his peculiar which he had paid out some borrowed ducats, was underestimated, part in his life, for they offer new Requiem. He had composed many Masses, of merit for outstanding services to American music. In 1945 he was appointed by the University of before—a great man to also nature, which explains his extravagances for gaudy soaked in the tears which caused the economic advantages, defying the old tradition that a as well as sacred songs and secular songs. He had Southern California as professor of film music for the University. — Editor's Note. raiment when he required a meal. Mozart soon realized exclaim: “My Prague people understand me!” composer of serious or even progressive music cannot composed operas and concertos in vast numbers, but the coldness of the world once he refused to entertain The Bohemian capital was ever Mozart's most make a decent living by his art. This is one of the never did a Requiem occur to him. He tried to dismiss and do its bidding. Jealousies and intrigue stood in hospitable worshipper. Italy loved him, but envy reasons why nearly all foremost contemporary com- the request and the stranger from his mind, but he his way, and with the death of his mother, and the retarded his success there. {Continued on Page 354) posers do, or sooner or later will, contribute music to as composing can- important musician in the studios is the did not succeed. I don’t have to point out that just The next motion pictures. Mozart had long despaired of monetary success. He not be taught to people without a special gift for it, so orchestrator. This is an entirely new occupational pos- Let us now see what are the jobs for which musicians had become famous but never received very much film composing cannot be taught to those who do not sibility for a skilled musician. Before the highly indus- are needed in the film industry, and in what way a money. His failures began to undermine his health. He have talent for this type of creative work. My advice to trialized methods of the cinematographic arts came basic university training can prepare young men for had contacted the strange messenger, and promised to young composers would be first to attain maturity in into being, composers had enough time to orchestrate these jobs. do his bidding. He asked fifty ducats for the finished style, form, and technique of musical composition, their own works. At present, however, when a film work, a sum gladly paid by the messenger. A ducat, before thinking of composing for motion pictures. score has to be completed in a few short weeks, this is The Need for Quick Thinking the equivalent of two dollars and twenty-five cents, The composing of dramatic music for films is entirely physically impossible. The potential film orchestrator brought his stipend for his finished work to one hun- First of all, the creative artist—the composer. Film detached from the point of view of form, and inasmuch who has no talent for composition must master the art dred and twelve dollars and fifty cents. composers often like to surround themselves with a as the mastery of musical form is one of the most im- of orchestrating as thoroughly as a modern university mysterious fog and talk about their God-given abilities portant factors in the study of composition, I would curriculum demands. Again he must have not only Figure An Impoverished for writing music in motion pictures as an extremely advise that exercises in motion picture music should great skill in orchestrating, but also, much practice in special gift feeling Mozart, a startling international prodigy, might have —a for this kind of music which is be included only in the study of composition for fully it, as the time element in this work is vital. Therefore, been a child of fortune instead of the impoverished not given to every composer of average talent. This is matured students. Just as composition exercises in the the potential film orchestrator should take a regular figure that he. remained until his death. Born in lovely naturally nonsense and nothing but an expression of dramatic arts and scenes for an opera or oratorio are course in orchestrating and after having mastered that, Salzburg, on January 27th, 1756, he was baptized the a strong inferiority complex! Every composer who parts of the last year in the study of composition, so he should join the film workshop where he can be following day in the Cathedral; in Salzburg they said knows the technical requirements of his art, and who exercises in dramatic film music should only follow familiarized, by experienced teachers, with the micro- “the ceremony was very short, the name very long.” has a dramatic vein, is able to adapt himself to writing these. There should be a work shop where dramatic phone technique and other specific requirements of The infant was burdened with the name of Johannes dramatic music for motion pictures. Therefore, the film scenes would be available for the student for which film orchestration. Mozart. In his kind of composer, Chrysostumus Wolfgangus Theophilus who a century ago would have com- he could try to compose music; and a teacher who is later life he preferred to be called Wolfgang, using the posed operas, dramatic theater music or program sym- either a composer for film himself, or a man who has The Conductor's Job in German Amadeus, which he himself translated first phonies, is the one who can turn—in. our century—to been closely associated with music in films, should The conductor in motion picture studios must have then again later cinema. Naturally there from Theophilus as Gottlieb, and the are numerous new tech- point out to the student the shortcomings in his the education and abilities that we expect from every florid Amadeus, all mean- nicalities has while in Italy, to the more which he to learn, and from the artistic dramatic endeavors. conductor entrusted with a conductorial job. Inasmuch Love of God. Thus his signature, point of view, the most important fact is to ing the same thing— condense as time in motion picture studios is valuable and ex- Mozart, a name beloved by men his musical writing to a given Part of the Orchestrator Wolfgang Amadeus and unchangeable time. The pensive, he must be experienced in his work. This ex- throughout the world. Somewhere we see references But even this, which may be the most difficult task for The competition between composers is so great today perience could be greatly enhanced in the workshop, if added, but this is not authenti- young composer, who is that Sigismund was a accustomed to formulating that it is hardly to be expected that even a young man the university orchestra could be placed at his disposal. his musical thoughts according cated. to the rules of musical of ability, having just finished a course in film music, Then he could try conducting music written by himself The father of Wolfgang was Leopold Mozart, a vio- form and logical development of his themes, can be would find a job right away as a composer in the or other students to given scenes. He could learn how linist of note, born in Augsburg, Germany. He had learned with practice, in a short time by a talented studios. His study, therefore, should be only optional, to conduct with a stopwatch to a given time, and how traveled to Salzburg in quest of better conditions, and man. He must possess, however, a gift for fast musical and the young composer should try to make a name to synchronize music exactly with dramatic action. there he had become court composer and director of invention and ability for quick writing. At the present for himself through his compositions before hoping to Musicians without abilities for composition, conduct- the orchestra of the archbishop in 1747. Mozart’s time motion pictures have to be completed in such a enter a studio. But he will find his early studios and ing or orchestration can find other jobs in the film mother, Anna Maria Pertl, was the daughter of an short while that this kind of talent is absolutely the familiarity with the technical requirements of the studios. An important position, which should children were born, only be filled official at the court. Seven essential. He has to be an absolute master of his art; studios an enormous help. No head of a music depart- only by musically educated people, is the assistant to two of whom survived; Wolfgang and his beloved THE LAST HOURS therefore, his college or conservatory ... . OF training must be ment will fL- , MOZART be able to turn him down with the usual the conductor, who helps in the technical preparation sister, Nannerl. Mozart’s parents were considered the same as every composer has to undergo. the very h lrom excuse that he has had no real experience in film work. of a film ready for scoring. ( Continued meUculoM ° *>aintin<> *»Y on Page 360) artl8, ‘ H- KouU>a 306 "PORWADnl°R\i ‘h (1846-1909)! ARD MARCH WITH -JUNE, 1946 "FORWARD MARCH WITH MUSIC” MUSIC” THE 307 Music and Culture

Music and Culture The Amazing American Tour

of Jenny Lind

Lind's In October 1945 The New York Historical Society gave an exhibition of pictures relating to Jenny the tour in America. These pictures were assembled by Leonidas Westervelt. The Etude is indebted to society tor permission to republish them. Editor s Note.

September 1. 1850 Jenny Linds arrival in New York.

This curious tribute is a picture of Jenny Lind u OUT passe—L’art robuste seul a l’etemite, Austin surrounded by an arabesque revealing the Theophile Gautier; translated by British sculptor Dunham, one of the showman’s most Everything was Jenny Lind.” Yet the collection shows / wrote amounts of the diva's charitable benefactions. stays Feb. 5, 1852, io Olio Gold- M “All passes. Art alone enduring Jenny Lind wai married cherished ornaments in his Bridgeport home, were gifts his list to be far from complete. Manufacturers and Dobson: It put out advertisement the officiating pastor was the was as an by New schmidt in Boston. The of Bamum’s great granddaughter, Mrs. Alvin C. Bruel. retailers both vied with each other to exploit her popu- to us.” This daguerreo- York hatter who bought the first ticket for her while listen- Rev. Jonathan Mayhew Walnwrlght. larity. one is vividly reminded She gave also the two original Lind-Barnum concert - debut, Of which truth couple al the wedding. for $225. Jenny Lind as Marie in Donizetti's 1816 farce; as type shows tho bridal “Publicity city like tidal wave,” says ing to “The Barber of Seville.” Rossini’s contracts, one signed by his agent abroad, the latter rolled over the a of the Regiment." "The Daughter Opera's little “all highly gratifying to the great show- sung this season by the Metropolitan one by both principals in New York City. Mr. Westervelt, Figaro, the new Metropolitan Opt ra house in coiffure, Del- . the new of man. Belles imitated her glide and simple coloratura, Bidii Sayao, as Rosina . . opening night A Jenny Lind letter requests Mr. Barnum to reduce that great team of neither of them were Jenny Lind’s rivals. hear her monicos served special dishes ‘a la Jenny Lind.’ A Bos- youthful Martial Singher . . . and 1883. So the price of tickets so that the poor could Jenny Lind had captivated European manuscript is of ton butcher offered Jenny Lind sausages; there were Italian buffi, Baccaloni and Pinza. “Although sing . . . his reply acquiesces. Another that delight our own Way back a full century ago, the “Swedish Nightin- cities, with the self-same arias Bayard Taylor’s song Greeting to America, for which Jenny Lind trout flies, new floral varieties, candies, practically unknown gale,” Mademoiselle Jenny Lind was captivating opera opera fans today, her name was Barnum offered a two hundred dollar prize, to be sung cigars, valentines, paper dolls, playing cards, needle him: ’Who goers in Europe with Rosina’s florid cadenzas in Una in America. Barnum tells of someone asking at the first concert. cases, hundreds of merchandise items. 1850- overseas were her voce poco fa; which she sang also in America in is she, some dancer?' Famous A handsome book is a Hamburg song collection of “A clipper ship was launched and christened the 1852. rippling cadenzas, her trill or ‘shake.’ her marvellous 1784, inscribed “Felix Mendelssohn-Bartholdy,” who ‘Nightingale,’ with her form as figure-head, as shown first Castle that reached out she gave the in a colored lithograph, with of the ‘Atlantic,’ Her very first number, on her memorable pianissimo . . . plus, a ‘something’ composed music for her. There’s a fan one Garden program, September 11, 1850, was Casta Diva over the footlights to delve deep into her listeners violinist, Ole Bull, who played at one concert. which brought her over. On display are men’s fancy from Bellini’s "Norma,” a Metropolitan favorite today. hearts, and win them. A choice find was a pair of rare candle extinguishers vest buttons of her likeness, cast-iron flat-iron stands, reputation That same evening her Italian singing-partner also ex- “Said Barnum: ’I relied not only on her of porcelain made in the British Royal Worcester fac- clay pipes, snuff boxes, cups and saucers, and tumblers, tolled the delights of being Figaro, the Barber, in as a great musical artist, but also on her character for tory. One named “Diffidence” represents her form, with a bowl and pitcher, even a small stove, and half a

Largo al Factotum. benevolence. I felt sure that multitudes a nightingale’s head, a shy, little bird . . . the other dozen whiskey bottles and flasks, all adorned with her extraordinary * Fully one hundred years before Lily Pons electrified would attend her concerts for this feeling alone’.’’ shows her singing from full heart and throat, as “Con- portrait.” New York with Marie’s trills and tremolos in Donizetti’s fidence.” One was picked up in a Long Island shop, Yet many items are charming works of fine art such “The Daughter of the Regiment,” Mile. Lind overseas Partners in Research the latter in Caledonia Market, London, years later, for as decorated fans, perfume bottles, desk ornaments of had found the same role to be her favorite. She thrilled Mr. Westervelt determined to re-create her magnetic a mere song. bronze, mirror frames, ladies’ dressing cases, ivory her listeners also with arias from Donizetti's “Elixir of personality, and perpetuate her fame, by assembling Two figurines are shown, one of Mendelssohn, an- carvings, bronze and gilt girandoles and candelabra, Love,' and Bellini's “La Sonnambula.” She left the relating to her career. other of Jenny, with numerous others of her in cos- choice porcelains, mirror frames, wall papers, beautiful everything possible to find, China figurines showing Jenny Lind and her husband. opera stage for good when only twenty-nine, but con- forever in 1887, tumes of the operas, in which she sang. vases, and fine glassware. Worcester china candle extinguishers made in 1848 in “Although her glorious voice was stilled tinued to sing the arias in her American concerts. had “My Kaleidoscope turned,” recalls the collector, “and St. Louis had a trotting race, with horses named for honor of Jenny Lind. before phonograph-recording days, I soon felt we P. T. Barnum brought in Orleans I found a fine Haviland china bust, a her and Barnum, Belletti, the baritone Benedict, Jenny Lind to New York become friends. New and under contract, sight unseen and songs unheard, on a comers gold handkerchief-ring she wore at a masked ball, a the conductor. Benedict won and Barnum chuckled to “So Jenny and I searched out odd nooks and showman’s gamble that enriched them both. or program of the sixty-sixth concert. Havana yielded the Jenny, "Looks like we’re ( Continued on Page 355) Before she in every place where she had lived or studied, sung would sail he had to post a guarantee fund of $187,500 rare program of the concert there. In her native Stock- visited, or at long last died. In musty curio shops and ... his entire fortune plus borrowings holm, valuable prints and autograph letters, were found . . . with her dusty archives we unearthed autographed letters and London bankers. and acquired. documents, clippings and reviews, magazine stories, The ninety-five Barnum-managed concerts, however, “In her honeymoon city, Northampton, was found a broadsides and program booklets, portraits and porce- weighted his cash boxes with $712,161.34, of which well preserved copy of a Metropolitan Song Book of her lain figurines, tokens and medals. share was $176,675.09, . according to his memoirs. One Jenny Lind airs . . also a quaint, brass, valance- “We picked up many a choice ‘collector’s item’ here can see their smiles as he rubbed his ample hands ornament, with cupids crowning the bride. Observe this over and there. Here hundred volumes, the gains. is a library of four r doll she dressed for a friend’s child, with pieces from . . . f° some of them . . own Bible inscribed . like her These facts, and many more, are revealed her own costumes. in ninety- she was deeply impeccable personal five-year-old program religious, with an booklets, and other items, in a com- remarkable character. Scandal and gossip by-passed her collection of Lindiana, now on display The "Jenny Lind Craze" in pletely. its new home, the stately building of the New York in to “This handsome lithographed portrait, surrounded Historical Society, “As my collection’s fame spread, gifts came facing Central Park. me by panels showing her numerous benefactions, was enrich it. Her daughter. Mrs. Raymond Maude gave issued by John Genin, the hatter, a neighbor of Bar- Jenny’s wedding-gift locket, containing daguerreotypes of her and Daniel num’s American Museum on Broadway. At the auction The collector, favorite Americans. Washington Leonidas Westervelt, sale of first tickets in Castle a Long Islan Webster. Here’s Mr. Webster. Garden, he bid two hun- of rate tastes and ample a letter of praise from means, became inocula seal, dred and twenty-five dollars and said he would have with the incurable “She gave me also her mother’s gold-and-ivory “Collector’s-itch” virus bid up to one thousand dollars. In other cities high as a dra engraved with practice sheet as student of Professor Brander initials and a lyre; and a Matthews, ’in Colum her as six hundred and fifty dollars was bid, by ardent ad- University. His of music, in her own hand, with pencil notes by Jenny Lind enthusiasm fever mirers. still ra accompanist-husband, Here is a through his veins, after forty Otto Goldschmidt. years of searches m jus1 Genin profited hugely from the advertising. A large both here and in quaint daguerreotype of them both in Boston, other lands. part of the collection consists of a myriad of mer- before the wedding.” His efforts won him the 1943 Jenny Lind Meda or " chandise items exploited by their makers, with Jenny Sweden s Royal This is but one of some two hundred and fifty P Academy of Music. Of his Lind’s name and portrait. Of the “Jenny craze” quest* traits the Vic- Lind many cities, he tells displayed, in every style and medium of delightful tales. the like of which America has never known, even in torian era illumi- “Good music,” . . . engravings, colored lithographs, Ossian E. he declares, “was almost the later Gibson-Girl, Lindbergh, and Sinatra Dodge. P. T. Barnum, and Jenny Lind. Dodge was a Boston unknowi nated colors, eras, our crude, young republic music sheets, posters, oils, and water singer. Not to be outdone by Genin, the New York hatter who paid The Jenny Lind craze is shown by the in the fifties. New York Barnum’s Memoirs say: tured only tawdry reviews dainty miniatures. $225 for the iirst seat sold in New York for a Jenny Lind concert. iron hard coal parlor stove manufactured and minstrel shows. “We had Jenny Lind gloves, bonnets, hats, Ade Some riding Dodge raised the "ante" paying Philadelphia. Patti was but a child of Many depict her in costumes. by $625 for the first seat sold in in Her name and portrait Jenny Lind dressed this doll in scraps from seven, in 1850 her operatic shawls, mantillas, robes, sofas, chairs, pianos, the s' and beds. Boston, thus insuring the culture of Beacon Street against Fifth Avenue. are cast in the age also as Christine show her as a blonde, jet-black hair. Many metal. her own wardrobe and presented it to the Nilsson, another Swedish others with chosen prima sin idealize little daughter of a friend. donna to sing Marguerite her plain, homely features. in Faust! the JUNE, 1946 "FORWARD MARCH WITH MUSIC” 309 A handsome marble bust and pedestal, signed by "FORWARD 308 MARCH WITH MUSIC” THE ETUDE make some of can promote it if they these programs conversation. It is a definite issue for always a good to give opinions Music in the Music in the Home idea to get youngsters rather than Army Bands Home the parents advance theirs. Some children have are ‘A History of Military Music in America.” By Wil- to give an opinion; they look to a parent reluctant to liam Carter White. Pages, 272. Price, $3.00. Pub- them and accept or reject the things that guide the lishers, The Exposition Press. reject. But music parents accept or appreciation is in this America always been “band-minded” and at this not developed satisfactorily manner. Parents has surfeited with some it probably possesses far more fine bands than can have become music of true moment of any other country. We refer to the concert bands to worth, music that has a type message or emotional The Etude be found in American colleges and universities, which stimulus that they no longer feel the need of. It may nonetheless often attain a virtuosity which, to the bands of other be a poor parallelism but it serves a pur- that the diet of days, could hardly have been conceivable. pose to cite the fact the young is Records of bands in America go back as far as 1767, not made up of the same substantials and the often but there probably were bands even before that date delectable but highly seasoned dishes which the par- Music Lover’s Bookshelf in our country. There still exist records of the fife and ent enjoys. Similarly, the absorption of music of the drum corps of the American Revolution. child and the parent may radically differ. Children can In 1792, in the “Laws for the Regulation and Gov- eat and digest a lot of sweets that a grownup cannot ernment of the Militia of the Commonwealth of Mas- lot of music do. Children also like a which the experi- Any book here sachusetts,” the following passage appears: enced music lover no longer enjoys. There are certain reviewed may “Passed by Act of Congress, May 8, 1792, and be secured from superficially popular characteristics in music that ap- THE ETUDE MUSIC amended by Act of March 2, 1803, Section XIV. peal enormously to the young. The child is going to MAGAZINE ot the Be it further enacted that each brigadier general price given plus be cognizant of sentiment, color, harmonic beauty and postage. or commanding officer of brigade be authorized, melodic tenaciousness before he is conscious of tech- by voluntary enlistment, to raise and organize a Children with a natural aptitude for rhythm nique. band of music in each brigade and when so raised turn to a lot of popular music these days much to the to issue warrants to them accordingly.” elders who do not share their disgust of their admira- Since that time hundreds of military bands, good, music. But there is a healthy tion for this kind of ele- bad, and indifferent, have been organized in America. stimulation that deserves hj (J3. djereJilh Clacltman ment in rhythmic some Some are very old. The Allentown Band, Allentown, element can be found in thought. This same good mu- Pennsylvania, said to be the oldest, was founded in sic, or shall we say classical music, and it is here that 1825 and was known as the Allentown Military Music can help the child. Find something a little the parent Band. It is still in flourishing condition. a means to a new and higher life. He believed firmly Dr. Spaeth, in a running stream of historical com- along the same lines of the child’s seemingly International News Photo better William Carter White, the author of this interesting that temperament and character could be developed ment, frank observations, and anecdotes, invades the preferred listening. Plan a sort of radio “treasure hunt” and valuable new book, is a bandmaster of the U. S. it life. field music, and like NEW YORK'S FAMOUS MUSICAL EX-MAYOR through music and demonstrated in his own of recorded a capable Cicerone at and offer a small reward for discovering a program Army. He was formerly Director of Music of the Your reviewer knew him in his last days, when he was an art center, points out the delights of this or that York to take a position as a radio commentator at Fiorello H. La Guardia gave up his work as Mayor of New worth listening to each day or week. U. S. Army Music School, Washington, D. C. beset by annoyances which many would have thought transcribed masterpiece. Anyone who owns a phono- trained son of a bandmaster took delight in presenting $100,000 a year. Before leaving City Hall, this musically There are commonsense, adaptable a. pects to the use in city unbearable. He met them like a man, bravely, smil- graph can add immensely to the delight of perform- musical instruments to twenty-nine children who won musical scholarships for their musical aptitude of radio in promoting music appreciation for children Solesmes ingly, and triumphantly. ance by referring to this excellent work. Worthy records schools. "Hizzoner" is a firm believer in the value of music in making better boys and girls. The Method as well as grownups in the home. The schools through- In his work in Milwaukee, Chicago, and other cen- of all kinds are introduced and analyzed in simple “Text Book of Gregorian Chant.” By Dom Gregory out the land are using radio as a means of promoting ters in training great choruses (he was choral direc- language. Sunol, O.S.B. Pages, 221. Price, $2.00. Publisher, music appreciation, and one of the several ways of the tor of the World’s Fair in Chicago in 1892) and in his It is the best illustrated book of the kind McLaughlin & Reilly Co. we have use of radio is supplementary or assigned listening in work in public schools, he always made a powerful and seen, because it contains the notable collection of re- the home. No resourceful teacher would fail to call the The Congregation of France, or the Benedictines of beneficent impression. He believed and said that all productions in full color and the masterly original in the School and Home Solesmes, as it came to be called in England, so Radio attention of his or her students to the large schedule was life found expression in song—disappointment, bitter- Magnavox paintings, which are among the finest mu- of fine musical programs. Radio’s appeal is both fas- named because the seat of the Congregation was at ness, sympathy, triumph, laughter, thoughts of thank- sical illustrations ever made. There are sixteen full cinating and alluring and the child should be made to Solesmes, a village near Le Mans in France, and was fulness, courage, contentment, exaltation, and, pos- page illustrations, done with authenticity and beauty. founded Prosper of Gueranger. Congre- think of it in this manner. Parents will do well to play by Dom The sibly deepest of all, the sentiment of joy. These dramatizations of scenes from musical history, gation .this up so that the child does not take the viewpoint became famous because of their labors to study The Boston Transcript said of him in an editorial, done in oil for the Magnavox Company, are among the and the performance of the plainsong. that supplementary listening is simply more “home The Monks “The time will come when his name and fame will best contributions in our country to music. work.” were expelled from Solesmes in 1901, for political rea- rank with that of Froebel and the few great educa- sons, and moved to the Isle of Wight. They reestab- Now that the summer is coming on and some of the tional leaders of the race who have understood the lished themselves in Solesmes in 1926. great programs alluring to child as well as adult in necessity of bringing the spirit that giveth life into the One of the leading authorities upon the Gregorian the presentation of widely admired celebrities are no work of educating children.” Would that in this day DUCATORS have prepared various booklets on by networks and local stations to all listeners, irre' Chant is Dom Gregory Sunol of the great Dominican we had more Tomlins, rather than pettifogging longer with us, there is definite need for finding new musi- the use of radio in grammar and high schools, spective of age. It is important, in our estimation, tha' Monastery at Montserrat, where your reviewer visited cal technical upstarts! interests. There will be plenty of programs of good but similar material on the use of radio at home the parent use discretion in regard to programs tha him some years ago. Dom Sunol is a musical savant of Consider, for instance, the E music to be heard fine artists will be con- captions of the follow- and a lot of serious attention. and are strictly entertaining rich has not been given the same By to a young person. To deprivi scholarship. He is a genial and devout personage ing chapters in this forceful little book which called tributing to its performance. great orchestral he for him of his The two large, radio at home is fundamentally employed favorite soap-operas and serials with at who is thoroughly in touch with the modern progress “The Psychological Foundation.” broadcasts, the NBC Symphony Orchestra and the entertainment; young listeners are addicted to story idea to making him listen to selected programs of civilization, although he resides in a romantic his- whicl Philharmonic-Symphony York, will I Human and Social Problems of Today a parent believes Orchestra of New programs, mostly of the serial type that carry on day worth while, might create a prejudici torical structure suggesting the Middle Ages. His II The Living Breath that still be on the air. They may be on a summer schedule by day the adventures of certain characters which would be hard to surmount. But to suggest sup “Text Book of Gregorian Chant,” which is translated III The Song Voice but they will broad- thing be plementary listening still play good music. The Opera from they have grown to admire. This sort of can is another thing. If the the Sixth French Edition, is one of the estab- IV The Theory of the paren casts from but there Breath certain amount of such listening has thinks that certain daily the Metropolitan may be gone, lished authoritative texts overdone, but a or weekly programs dealini upon plainsong. V Completeness are other programs place. Such a pro- its place, in the life of all youngsters. There are people with good music or other cultural to take their mediums would b The singing teacher and the singing pupil will find gram is the new heard over who contend that more often than not melodramatic of interest to a child, a suggestion that Let's Co to the Opera, Producing Music the child listei EST. in Dr. Tomlins’ book certain precious concepts which carryings-on of certain radio characters are not good to these should be advanced. Mutual network—Sundays from 7 to 7:30 P.M., The parent should not b “Living came from the life and the philosophy of a truly great This new series the world’s With Music.” By David Barnett. Pages, 62. for youngsters. The late Irvin Cobb once pointed out adamant but instead cooperative; persuasion presents popular arias from man, is bette good Price, $1.50. Publisher, George W. Stewart, Inc. and which your reviewer has never seen in any that those of us who did not have recourse to radio than demand. It would best-loved operas, sung in English. It might be a be well to discuss such pro other work. source for the fact in our youth indulged in reading of a similar charac- grams with the child and get his children to get opera-minded, and A thoughtful collection of ideas by an experienced or her viewpoints 01 called, them. that it employs removes the teacher, ter; the “dime novels,” as they were were Make listening an adventure to the English language composer, and pianist, designed to convince the youneste and Your Treasury of Musical Records frankly melodramatic, highly adventurous, and filled and share in the proceedings feeling of an alien element between the listener the reader that everyone has a native ability to ex- by talking over the pro the stars of “At Home With Music.” with incongruous episodes which, in their day, thrilled gram and what it has to offer, thus music. These new programs are featuring press himself in music if he learns how to go about By Sigmund Spaeth. Pages, keeping it alive ii the young as well as some of the old. Cobb contended the youthful listener’s mind. the Metropolitan Opera as well as other distinguished it in the right way. The author has been the pupil of 366. Price, $3.50. Publishers, Doubleday, Doran and handled Company, that the pitting of the forces of evil against the forces Undeniabiy, many parents vocalists. The orchestra behind the singers is many distinguished teachers here and abroad and has Inc. who listen to certaii less worth by conductor, of good in such literature was far harmful for while musical programs daily Thomas Scherman, the young American taught at Wellesley College and at the Thomas School. This have been able t book, in which Dr. Spaeth has endeavored to children than some would have us believe; the hero, get their children, also who returns to his this program interested in these broadcast* musical career on bring forth the fact that music that is always appeal- It representing the forces of good, he said, inevitably won would be interesting to know after nearly five years Music Philosopher Extraordinary ing, how different parent in the Army. interesting, inspiring, and entertaining is always this psychology of thought have great- out in the end, and it was accomplished this and how There are lots of other equal and the best music appreciation programs of “Song and Life.” By William L. Tomlins. Pages, 105. music, is probably the finest of his twenty prevailed with most youngsters. their h er that young ones was subsequently worth. It is our music appreciation popular developed. Natu contention that Price, $1.25. Publisher, C. C. Birchard & Co. musical books. True, there are those who find Children with a love of music will turn to the radio, rally, not all children is being the have the same leaning developed by way of radio throughout their greatest delight in life in working out mathe- as well as to records if they are on hand, for a type of n™* *»*"> land by an hour One of the last accomplishments of a great pub- “ “»» - « local stations that have 15-minute to matical problems, but to the average person, musical rule they not know how to ££ lisher, the late pleasure which as a do de- broadcasts spe- C. C. Birchard of Boston, is a precious of classical music from recordings or formulas, logarithms, sines, and symbols make pain- velop. It is our belief that an interested parent can cial sufBcien little book by William L. Tomlins. Mr. Tomlins, born transcriptions. Few of these programs get fully little impression. help a child help himself with some thoughtful use publis in London in 1844, came to America when he was publicity. In many cases local radio stations of radio. The child should be given assistance in sort- a wor twenty-six, as an organist. An injury to his hand monthly program sheet showing what musical ing out the wheat from the chaff, to develop a good will broad- forced him to turn to conducting. From that time be played during the different scheduled schedule of daily listening that includes the cultural, casts. chi until his death at Delafield, Wisconsin, in 1934, he de- RADIO Parents may get these programs, and some practical and entertaining programs which are offered voted his life to demonstrating the vitalizing force dren may look them ones they wa of BOOKS over to mark the music. He regarded to hear. Page 3461 music and the study of singing as We think all homes ( Continued on 310 "FORWARD MARCH WITH MUSIC ETUDE JUNE, 1946 "FORWARD MARCH WITH MUSIC" THE 311 — —

NE EVENING in October 1928 the Salle Gaveau Music and Study Music and Study in Paris was filled to overflowing by a public O which could be described as “bien parisien" typically Parisian: resplendent opera lovers of the past few decades, important personalities of the world of business and finance, high ranking politicians and dip- lomats sat next to noted musicians and writers in the The Pianistic Giants of Yesterday Table Teacher's Round boxes and orchestra seats. Up above, the galleries were The Conservatoire students and aspiring N THESE DAYS of smart-aleck, hard- crowded with Battistini, the Incomparable recital boiled musical scriveners it is re- operatic singers. All had gathered to hear a by I freshing to turn back the years to a vocalist already in his seventies but whose voice had preserved in spite of a long and another breed of critics—competent, as- Conducted by as Rubinstein’s is golden and Joseffy’s been miraculously sured writers who did not hesitate to go silvery. active career. Dignified, erect, wearing white kid gloves, Mattia Battistini walked on the platform at nine thirty Master of Bel Canto all out for their enthusiasms; reviewers "Eugen D’Albert, the greatest of Scotch with splendid with zest, sensitivity, and above all, style. pianists, bom in Edinburgh, musically and sang a lengthy program the most baritone voice which had ever echoed through the hall. . . . Where are the newspaper men today Von Buelow gave the cues from the key- educated in London, is another heaven he gave encore after encore, in French, English, who can hold candles to an Aldrich, an board and distinctly cursed the leader, stormer. When I last heard him in Ber- Then Italian, Russian. The audience would not let him go H. T. Parker, a Henderson, a Hale or a the orchestra, the composition and his Mus. Doc. lin, people stood up in their excitement. Huneker? Where are the critics who are disciple of and it was nearing one o’clock in the morning when own existence, as befitted a It was the grand manner in its most £*vcincj.eline man, Was. Sboc. able these in knowledge, the Noted Pianist the event came to a close only when the lights were to match men Schopenhauer. Though in his playing chaotic form. A musical volcano belch- penetration and, individuality? turned off. fervent note was absent, the rhythmic ing up lava, scoriae, rocks, hunks of Bee- Distinguished American Composer, Music Educator little Take Huneker, for example. We often irresistible. and Strangely enough, the name of Battistini meant attack was thoven—the Appassionata Sonata it hap- the read him now with smiles for his ex- Rubinstein, too, displayed the to the few American listeners who had come to Author, and Vocal Coach “Anton pened to be—while the infuriated little travagances and his onomatopoetic pre- heard his lion- Salle Gaveau mostly for social reasons. When they grand manner. Whosoever Vulcan threw emotional fuel into his fur- occupation with high-falutin’ words; but keyboard left however, the same question rose to their lips ; how like, velvet paws caress the nace. The unfortunate instrument must artist, ac- even as we chuckle, it is a pleasant relief shall never forget the music. He is the was it possible that such a consummate have been a mass of splintered steel, wire to carried along the of his un- municated no little of her gracious charm claimed all over Europe since many years, had never be on crest greatest pianist in my long and varied by sixteen years he had one point in common: the of authentic, genuine quality (distinguished from learned more from her and wood after the giant finished. It was bridled love for music and his unre- fire blown sky- to Paderewski. He appeared at the Metropolitan and remained practically list. ... A mountain of persistence of certain music commentators in question- falsetta ) retaining all the vitality and manliness of all the precepts a magnificent spectacle and the music strained . . plastic style than from United States ? Since his debut in Italy enthusiasm for musicians. . the elemental in his passion- unknown in the full ward when glorious. ing the proper timbre of their voices. One recalls the a tone even when scarcely louder than a whisper. Almost thirty years ago—March 11, 1917 temperament broke loose, he could of Leschetizky. in 1878 he had sung in England, France, Germany, ate "Another magician with amusing and authentic anecdote concerning Caruso, They also recall a curious trick which he used through- Huneker wrote the following article, a “At that time Teresa Carreiio was a a peculiarly Portugal, Russia, Austria, pursuing in- coo betimes gently as a dove. With Tausig Poland, Spain, during of his seasons at the Teatro out his career: that of introducing small personal style was Rafael Joselly. which occurred one “pulsations” Sunday chore for the Boston Herald. My blooming girl, and shared the distinction . . . variably a long series of triumphs. Whether in London, and Liszt he was a supreme stylist. . . . Colon in Buenos Aires: the critics had advanced the into his long sustained, flowing soft tones, thus ex- friend, Ruth Burke of Portland, Maine, with Adelaide Neilson and Mrs. Scott- I first saw him in old Steinway Hall. In Madrid, Berlin, or Moscow he achieved the feat of He was not always in practice; and most that his voice was not that of a genuine tenor, hibiting an uncanny mastery of the control. the beginning you thought of the opinion breath discovered it, yellowed and cracked in his tours was Siddons of being one of the three most aurora filling the largest halls repeatedly at top prices. In his of the music he wrote for that in fact he was a “tenorizing baritone.” This made Another remarkable attribute of his voice its borealis, shooting stars and exquisite was her attic. Its content will pull you up of in beautiful women on the stage. Carreiio, native land they referred to him as "La Gloria d’ltalia”, composed in haste and repented Caruso furious, but his tremendous flexibility. meteors. The iridescent shimmer was with a shock. . . . Like the article’s de- today still the conquering artist, was in the Glory of Italy. What was it then that prevented leisure. It is now almost negligible. The not help mat- Virtuosity absent. wrath did passages of cayed and clouded page, how have the one of a much that faraway day fresh from Venezuela, never No one has ever played the him from extending his conquests to this side of the D Minor Concerto reminds ters and the criticism almost coloratura type reputations of the giants of yesteryear pupil of Gottschalk and Rubinstein. Chopin E Minor Concerto as did Joseffy. ocean after an early . . . But Rubin- a Atlantic? Simply, his dread of the traversed railroad station was repeated time after had no terrors for him, paled and withered! There isn’t even ductile tone like She wore a scarlet gown as fiery as her . . . He had the tradition from his be- voyage to South America. It was for this reason that stein, the virtuoso, had a time. When at the end and in this respect time to shake heads lugubriously and re- a golden French horn, and the power playing, and when I wish to recall her loved master Tausig as Tausig had it he returned to Oscar Hammerstein, unsigned, a con- " of the season a concert he was a rival of Pol peat the old saw, "sic transit before those passion of the from Chopin by way of Liszt. tract in which the manager left to him the privilege and man was organized for the Plangon. “stellar” names have vanished. Yes—the never been equalled. “In the same school as Joseffy is the of naming his own fee. Being a man of independent have benefit of the Associa- Battistini’s operatic fame of a pianist is like the spectacular He played every school with capricious Vladimir de Pachmann. This means, he could afford to be one of the few rare artists tion of the Critic, a dele- repertoire was very ex- appearance of an astronomical nova, a consummate skill from the last representative of a school that in- who refused to be crowded into taking engagements gation called on him, tensive. He was espe- magnificent explosion, then darkness. iron certitudes of Bach’s cluded Hummel, Cramer, Field, Thalberg. that implied any degree of physical discomfort. He requesting his participa- cially successful in “Don Huneker’s article, much condensed here, polyphony to the murmurs and Chopin—this little de Pachmann (at placed other considerations above the material reward tion and explaining that Giovanni” and Victor begins thus: of Chopin and the romantic that time he was bearded like a pirate) to be won in this country and he never felt that his “ would not be ‘Here lies the event Maurel’s only rival in one whose name is writ in rustling in the moonlit gar- captivated us. It was all miniature with- career was in any way incomplete through having complete without the su- that part. The way ivory’—might be the epitaph of every den of Schumann. out passion or pathos or the grand man- overlooked the winning of popularity with American preme attraction of “the pianist’s life; and the ivory is almost as in which he sang the “When Sigismund Thal- ner, but it perfection audiences. was the polished tenor.” perdurable stuff as the water in which world’s greatest finale of the first act berg, another giant played, of an intricately carved ivory ornament. the great artist is written the epigraph of John Keats. Then of “Tosca” has also re- his scales were like per- Pachmann played certain sides of Chopin Example to Be Followed An smiled, and he answered: mained memorable. It The career of both the executive mu- fectly strung pearls; with is incomparably. In a small hall, sitting on you. sician and the actor is brief but brilliant. What was the technical process by which this ex- “I cannot sing for regrettable that phono- Liszt the pearls became red a chair that precisely suited his fidgety Glory to them is largely a question of traordinary artist could retain his talent intact at his You want a tenor . . . graphic recording was hot. . . . Too much passion spirit, if in the mood, a recital by him memory; when the contemporaries of a advanced age, and could keep it untouched by the I am a baritone!” But still somewhat undevel- in piano playing today is was unforgettable. tonal artist pass away he has no existence years like Jean-Baptiste Faure of the Paris Opera with Caruso’s heart was as oped at that time. A few voted bad taste. . . . Yet “After de Paderewski, and Pachmann, it dealt here in article? big as his generosity. discs are in except in the biographical dictionaries. standard of technical whom was another Once more: existence the after Paderewski, why Leopold Godowsky the same careful handling of the voice throughout a After enjoying for a which to “To each generation, then, its music virtuosity is higher a degree dem- than the of course! I once called Godowsky lifetime. Battistini often that misuse of while the disgruntled •making. The ‘grand manner’ in piano it was a century ago. Girls stated “only onstrate the extent of ap- superman of piano playing. He is an the it looks the faces of playing has almost vanished. ... A few give recitals with programs voice can wear out, not age.” He insisted that on his artistry, even though parition. a contra- artists still live who illustrate this man- A Chopin doubled by his only secret was “singing correctly.” For this reason his visitors he shook the reproduction is that are staggering. . . . The puntalist. Bach and Chopin in curious ner; you may count them on the fingers Chopin concertos now oc- his example should be emphasized and recommended their hands, and gave rather primitive and of conjunction. His playing is transcenden- to young singers of our days frequently seek his consent a typical lacks one hand . . . Rosenthal, D'Albert, cupy the position, techni- who so — the tonal faithful- tal; his compositions transcendental- MATTIA BATTISTINI . the their effects in volume. Battistini not “yell”; demonstration of his Carreiio, Friedheim, Reisenauer . . how cally speaking, of the Hum- did he ness of electrical record- many others? Paderewski emulates the mel and Mendelssohn ism of the future. A new synthesis—the avoided the glottis stroke, and knew that more passion kindness. ing. But they remain combination ele- big style, but this magician never boasted concertos. Everyone plays of seemingly disparate or sorrow can be expressed through a beautifully turned The same controversy happened about Battistini’s highly interesting from a documentary standpoint. ments and styles with innumerable per- musical all of panting, voice, and even singer like a fortissimo arrow in his quiver. . . . Has Chopin as a matter of — phrase than through manner a Giuseppe de Luca has Summing up, Battistini may be described as the the grand manner become too artificial, course, and with few excep- mutations, he has accomplished. sobbing, and ultimately forcing the voice. His fame been quoted as saying emphatically that he was of perfect exponent of bel canto. When he sang it sounded too much of the rhetorical? It has gone “Dramatic passion, flame and fury are rested on the high degree of perfection he had at- course a baritone, but that the quality of his voice so simple easy that tions, badly. . . . Virtuosity, and and almost anyone might think out of fashion probably because of the yes, but new Rubinsteins not present; they would be intruders in tained in bel canto. He had, to begin with, a type of the way in which he employed it suggested a tenor. he could do likewise. He reached the very heart of rarity of its exponents; also because it have not materialized. his map of music. His 10 digits are 10 production rare among singers of today: that of a tone Battistini’s high notes played no small part in this music and melody and nothing escaped his attention. no longer appeals to a matter-of-fact “The year of the Phila- independent voices recreating the ancient which floated into the head with an exquisite pianis- judgment, and the amazing way in which he produced Whatever was hidden and yet capable of expression public. delphia Centennial Expo- polyphonic art of the Flemings. He is simo of the same vital quality as his full voice. With a brilliant high A, with the ease and power of a he brought forth to light. His art was the result of “Liszt first. like his all its tenore robusto, elicited was the . . . Liszt was a sition, 1876, was a memor- a Brahma at the piano. Before power and resonance, this full voice sounded much comment from vocal ex- constant study, devotion to music, technical research volcano. Thalberg, his one-time rival, able one for visiting pianists. serene and all-embracing vision every indeed as an intensification, a magnification of the perts everywhere. which all combined into giving him the possession of possessed all the smooth and icy perfec- ... I heard not only school the void. pianissimo. He achieved his dramatic effects through Caruso and Battistini sang together many times in a supreme “know how.” Hans JAMES GIBBONS HUNEKER appears and disappears in Throughout his career he fol- tion of Nesselrode pudding. Liszt in von Buelow but also The are reenforcement of the tone, through bringing into it Petrograd, the Leningrad of today, Battistini as an lowed the logical of two 1860—1921 beauty of his touch and tone law singing: “Never make use of reality never had but two rivals close beautiful women, one at only matched by the delicate adjustment more and more emotional coloring, never by explosive established favorite, Caruso as a young aspirant for your capital, but know how to make the most of your to his Karl of outbursts throne— Tausig the Pole and the apex of her artistic of his phrasing to the larger curve such as those from which our ears so often world recognition. On such occasions one noticed the interest.” This basic principle is as sound vocally as " “ Mezzo-Tmts Anton Rubinstein, the Russian . . . Von career—Annette Essipoff Modem •• ••, in pian- have to suffer nowadays. He also possessed an unusual great breadth of shoulders of both artists, it Music , , the for the identical is economically. There are "Overto " composition. He is a pianist many singers before the Buelow was all intellect; his Bach, Bee- Tereso and S 6epleiack command of the long-breathed legato. powerful “bellows” for producing and Carreiio, just oAers-most of whlck In , [ ists, and I am glad to say that the ma- His voice was a continuous volume public today who might well ponder this, and save publlsh ®d b Charles thoven, Chopin, and Brahms were cere- starting on her Scribner Sons, was the Y fact. always vital, never wabbled, never indulged in'excessive of sound, a feature which also triumphal first editor a jority of them gladly recognize this was conspicuous in their voices instead of wasting them. Then, like Bat- Theodore !'? ed ky kis friend bral, not emotional. had the Presser for ? vibrato; instead, it ... He tem- road to fame. Essipoff the THE ETUDE “One evening several winters ago I was remained at all times straight and Fedor Chaliapin. But it was Battistini’s exquisite tistini, they would remain as untiring and masterly perament of the pedant. I first heard him wife of Leschetizky sustained. pianissimo, carried was the hearing Godowsky play his newest piano to the topmost note of his range, at seventy as they are, or were in their younger years. policies in 1876 when he introduced the new most poetic of all oi this magazine. How should Battistini’s voice be classified, and how which obviously impressed women sonata at his New York apartment. He his admirers above any- Like a few other great singers of that period, Bat- Tschaikowsky B-flat Minor Concerto, pianists that I have heard. Clara was Josef could one place him in relation to other famed vocalists thing else. The Battistini pianissimo has remained tistini was a true gentleman, Schu- I close my eyes and interrupted by the entrance of noticeable by his great with B. J. Lang directing the orchestra. mann was as musical, but she straightway as in a were of his period such as De Reszke, Plangon, Maurel, famous on the Continent and some of the older gen- amiability was aged scarlet mist Hofmann. Godowsky and Hofmann and his exquisite refinement. When he ap- The quite I see her, hear conductor was superfluous, as when I listened to her. Essipoff later her! Tor lev Liszt. Chaliapin, Caruso? With the latter who was his junior eration of opera goers still point to it as an example peared either in com- Paying has as inseparable as were Chopin and opera or ( Continued on Page 354) always been scarlet to me (Continued on Page 345) 312 "FORWARD JUNE, 1946 "FORW'ARD MARCH WITH MUSIC” MARCH WITH MUSIC” 313 THE ETUDE “

Evelyn MacGregor's singular hold on the hearts o I the American Music and Study people is best attested by the fact that she is starred on three of the most popular musical programs on the air. This singular hold roofs in singular gilts. Miss MacGregor possesses a rare true contralto voice of immense range, extending from lovr D to high B-flat. In addition, she possesses an ability to reach human hearts. Her moving interpretations of simple songs have enabled her to carry music to people who might shy away from more glittering demonstrations of art. Yet Miss MacGregor's performances are based on the soundest Concerning the Contralto artistic integrity. Evelyn MacGregor was born in Pittsfield, Massachusetts, of a thoroughly musical family. Her paternal grandfather had been a noted choirmaster in Scotland; her father and her uncle Conference with were accomplished violinists; and one of her aunts was a 4 singer, with a voice quality remarkably like Miss MacGregor's. She has always sung; she cannot remember a time in her life when she was not singing. Even as a child, she had a deep contralto. She says that if ever she sang higher than the G above middle-C, she was afraid she was going into an unnatural falsetto! Not until she began serious study did she Greatly Admired realize her true possibilities of range. She was given her first American Contralto lessons at the age of fourteen, as a Christmas present. Finding Star of the American Melody Hour, The American that she had a naturally correct production, she did not continue these first lessons long, but launched almost immedi- Album of Familiar Music, and Waltz Time ately into choir work and singing at church and club affairs. She frankly states that, as her career progressed, she wished she had spent more time in routine study! Her present position rests on a background of serious work, including a return SECURED EXPRESSLY FOR THE ETUDE BY STEPHEN WEST to the studies she abandoned as a child, and solid accomplishment in the fields of concert, radio, and opera. In the following conference, Evelyn MacGregor outlines for readers of The Etude some of the needs and the problems of the contralto voice. stress of florid technic for its sake that I think own Then, on the same breath and without stopping, pull Editor's Note. *4 — inadvisable. appeal of the contralto voice lies your lips The in forward and change the EE into a clear OH. its sonority and velvety smoothness which the public Do this two or three times on each note, in a pattern describes “rich.” as of EE-OH, EE-OH, EE-OH; then take the exercise up “There is but one safe and correct way of producing to the next tone and do it again. I find it helpfull to voice, regardless of its quality. That is the bel canto work my way up five “A"j AHE DEVELOPMENT of the contralto voice tones, and then down five tones. method of natural breathing, natural resonance, and This drill relaxes the begins with an understanding of its nature. mouth and face, and also it is natural emission. Any ‘tricks’ of production should a great help in The worst mistake a young singer can make is getting the tone forward. Well, I Do Declare! signals light little danger to fall into the impression that a contralto is merely “Although I have nev- in your mind. There are a voice of deep range. The nature of the contralto is er had any particular no tricks in singing. determined by its quality, or timbre; and that quality problems as far as There are, however, cer- is one of fullness, of richness, of a certain amount of breathing or production Musical Instruments Throughout the World tain exercises and de- darkness. It is inherent in the voice, and cannot be go, I once did run into velopers which, when put there. The matter of singing deep tones is sec- serious difficulties as the based on natural pro- Section VI ondary. It is quite possible for a true contralto to sing result of over-work and duction methods, help to high tones, and it is equally possible for a mezzo- over-strain. Since many keep the voice free and soprano, or a dramatic soprano, to encompass tones as singers find themselves focused. The exercise low as any contralto. It is strange that so many people in a similar situation, I that I find most helpful even professional singers still tend to confuse stretch am glad to tell This is the sixth — — of my ex- and last of a series of around-the-world pic- (and with which I begin of range with inherent quality. If you are in doubt as perience. Through overtures appearing in The Etude for the past six months. The Etude every day’s work) is the to the nature of your own voice, never try to solve the strain, I suddenly found is always on the lookout for new and distinctive illustrations. Grand Scale, as described doubt in terms of the length of your scale ! It is quality myself lacking freedom by the great Lilli Leh- —Editor's Note. alone that must guide you. in my singing. I could mann. It consists in not accomplish any- Listen singing the scale slowly, to Yourself thing; I did not enjoy taking a full breath for “Thus, the chief problem of the true contralto is to my work. I was always Photos—From Three Lions each tone, and vocaliz- maintain its natural quality. Good singing begins, not conscious of tightness ing every bit of that It looks like in the vocal cords, an ash receiver but it but in the ear. Learn to listen to and constriction, and I really breath in full, searching, is a Burmese drum. yourself! Learn to know the quality of your own voice. did not know what to round tone. It sounds That is the thing for you to develop. Singing teachers do about it. So I sensibly simple! Actually, it is will agree, I am sure, that one of the most common went to a sound vocal one of the most difficult faults of the young singer is to try to ‘do things’ to teacher for help. That is drills to master, since natural voice quality. Deep voices try to thin them- always the wisest thing every bit of the breath selves out, in order to sing higher; high voices try to to do when problems must be used in full, push, or force, or ‘color’ their tones, in order to make arise! I worked with him focused, perfectly pro- an effect in the lower registers. They could not make for months, and found duced tone. Naturally, a more serious mistake! Whatever one accomplishes by that my trouble had van- one begins slowly! The way of range or ‘effect’ must be built upon a sound ished. What did he do? young singer might start development of the natural voice quality. First of all, he freed such work on three or my “In this regard, I am often asked about the technical mind of worries by en- four tones, progressing development of the contralto. Is it ‘good’ or ‘bad’ to couraging me. He ex- gradually to the full work at coloratura florituri? I hesitate to venture any plained exactly what the octave. I practice the dogmatic solution of the question, since each voice ( Photo ly Bruno of Hollywood) difficulty was, Grand Scale through and as- needs its own development; but I am perfectly willing EVELYN MacGREGOR sured me that it could two-and-a-half octaves. to speak of my own work. For myself, I have never be overcome. I cannot I find that it gives the believed too much in this coloratura development. I sufficiently stress the ac- voice solidity and evenness of scale, exploring, as it know that other contraltos may not agree with me, tual physical help of being put on the right mental does, every vibration of tone. and I am quite ready to accept their methods as the track. Certainly, vocal problems cannot be cured by “A helpful exercise for relaxing the jaw and securing kind best for them. In my work, I have always felt that words and good thoughts—still, it is surprising the muscular freedom that is so essential to good sing- quality is more important than any sort of technical how the entire physical organism can be affected ing, is built by embellishment, on the shifting vowel. Begin on your most mental attitude. and it seems to me that an over- Once I began to hope again, I could comfortable tone, shape your mouth into a wide natural insistence on coloratura exercises endangers contralto work with greater freedom. The next step, then, smile (never forcing it, was however) , and sing a pure EE. quality, thins it out, causes it to lose a careful some of the vel- and concentrated return to the basic ele- vety texture without which it would not be a true con- ments of good production which I thought I had tralto. However, this does not mean a neglect of flex- mastered long ago! Posture, breathing, work on single ibility and technique! Basing itself always on natural tones—all that was gone over as though charming production it were new artisan who is and natural quality, the contralto voice material. playing it. Then came work on scales. Gradually, Bagpipe and reed players at a street must be made perfectly flexible, VOICE tone festival and ready for the for tone, I rebuilt an even in Brittany, scale. Then I worked France. demands of all musical passages. It is simply the over- at Portuguese full scales, arpeggios, and college men serenading an invisible simple vocalises. In all a y at Portugal's oldest university at Coimbra. JUNE, 1946 "FORWARD MARCH WITH MUSIC "FORWARD MARCH WITH MUSIC’’ THE ETUDE 315 . 7

in Public School Music a popular tendency these days to dis- Music and Study Music and Study in Piano Study HERE is Renaissance count technic. This is noticeable especially Bond T among organists. While it is true that those who those months of ‘rehabilitation work’ I did no actual ly W. S. are most vocal in de-emphasizing superior skill are singing at all; no songs, no interpretation; just con- the very persons who have it in the least noticeable centrated elementary drills. It wasn’t long, though, form, and they are frequently people who have at- public schools, when the need for it is fully realized before I felt an entirely new solidity of foundation. the highly tained some prominence in the profession. The result- Mr. W. S. Bond, President of students long ago studied medicine '^^-fTh'se Medical privately And once I was conscious of that, I could sing again! Pennsylvania, IY*' S ing confusion, particularly among students and young Piano Company of York, i ? r ^ doctor’s office. Law students studied Pu ic in some privately “Young singers often ask me about the ‘secret’ of ideas upon the importance ot the piano in professionals, is something that should be regarded and hr law office. No other way seemed Price Technic? music industry in some practical What in the interpretation. What is it, actually, that causes people Mr. Bond has spent sixty years with some concern by serious musicians. 'etimate. method has long upon as the results of but that antiquated since been aban- to feel a song with you? My answer is—feel the song opinions must be looked To begin with, let us see what is involved in building and those students are now taught in yourself! For the simple heart song (in contrast to doned classes up an adequate and dependable technic on the organ. universities. The deep-rooted feeling that in the piano piano mastery is essen- the operatic aria, or the traditional art Lied), I feel satisfactorily First of all, a weU developed NSTRUCTION in singing has been can only be taught privately must be up-rooted. that professional coaching is less important than a orchestras Group tial. This does not necessarily mean that one must public schools. Bands and given in the instruction at the piano partakes of the nature of Nevertheless, deep, personal penetration into the meaning of the participating a be a concert artist. the closer to this hij i'^oiulancl WJ. ^t)unLam are quite successful, but the number far more interesting to song itself. In a sense, music is a sort of ministry; I game, and is beginners than standard of execution, the better for the aspiring or- is limited. when you sing to people, you give them more than too individual instruction. ganist. Nearly all the top-ranking organists have been of music Dean, College of Music, University of Colorado The piano is the fundamental instrument words-and-music—you give them a bit of your self. And If there were a concerted opinion as to the best excellent pianists. In my own experience with some of the home and is best adapted for individual use in so you must put your best and deepest self into the equipment for class piano instruction, the help of these men, I was impressed with the superior piano in collective musical perform- songs you sing. You will 4iever do this by copying the or for accompaniment expert piano manufacturers could easily be secured Farnam, Alfred Hollins, and musical to playing of Lynnwood ance. It is the most useful and the most used interpretation of a teacher, a coach, or another singer, develop it if any development is necessary. The follow- Joseph Bonnet. History reveals similar ability in the instrument. The piano should, therefore, be the basis no matter how exquisite such an interpretation may ing equipments have been experimented with: case of Bach, Mendelssohn, and Cesar Franck. The f since for musical instruction in the public schools, slide be. The best way to sing Brahms’ Lullaby is not to (a) Flat printed paper keyboards. developing of a real piano technic has been advised by strated, but there ought to be a real evidence of an to his foot on the surface of the pedals into the develop- it affords the best foundation for all musical spaces pattern yourself on the Sehumann-Heink record, (b) Wood keyboards with Immovable keys. so many eminent organists that it would seem need- understanding of the style and purpose of the music. between the black keys thereby locating his at a believe, ment, whether limited to amateurs or aimed position. even though you as I do, that it offers one of (c) Movable but silent keys. less to elaborate were it not for the fact that opposite Anything else is bound to predict plenty of trouble When the toe was against F-sharp, he was the most perfect interpretations of that song; but to professional career. later. on F. Around the corner was G. E was to be found (d) Improved toy pianos (with various degrees of opinions have been voiced so often. Nor is piano technic sing yourself. The public school is not the place for developing it Find out what it means to you; ask improvements) to be abandoned once the organ becomes the main My own feeling is that this is not enough for en- beside the E-flat with D around the comer. This more than it yourself where you ‘feel’, what you ‘feel’, why you complete professional musicians any of the most complicated of mu- worked out very well in discovering any white note. (e) Pianos, consisting of a Master Plano with keys objective. On the contrary daily piano practice is still trance to the study finished artists in its art course, or expert ‘feel’ it. Then put all that into the song. The chances makes definite “must” as long as the sical instruments. I would like to demand a much more The black ones were easy. All of which was practical operated electrically by an unlimited number of a organist wishes to are that you will not offer anything like the Schu- mechanics, architects or engineers in its manual train- organ- enough in slow consoles, which are played the usual way. avoid retrogression. rigorous preparation. To hope to succeed as an passages but it involved two motions mann-Heink interpretation ing course. —but at least you will be ist, student ought to be able to play well piano if the player drew his foot back as he exerted the (f) A number of pianos (size of the pianos and num- a offering a sincere personal interpretation. And that The masses in the public schools should be given More Rigorous Preparation Fantasie-Impromptu, necessary pressure. ber of octaves to be determined). music of the grade of the Chopin This drawing of the foot backward, is all that your hearers want of you. Diction is in- the opportunity to learn to play the piano fluently, Just what is meant by a piano technic that is neces- the Beethoven Sonata, Op. 26, or the Liszt Etude in however, was in exact contradiction to the natural tensely important to good interpretation. If your song which greatly enriches any life and gives the broadest Suggestions for One Interesting Class Piano sary for the organist? Many statements of varying D-flat. Scales should be played easily at 60 M.M., eight movements of the body in playing, which are forward. is worth singing at all, it is worth singing clearly. You understanding of music generally. From that point Method notes to the beat; ar- In addition, the waste motion involved prohibited even cannot hope to project that song if your hearers do the private teacher and the conservatories of music peggios slightly slower. moderate speed. It is really amazing to note the vast not know exactly what it is about! My own awareness would take on the work and the number of piano 1. Familiar melodies are more interesting to begin- Some sort of a sight- number of organists, even the younger players, who of diction-values grows out of my childhood, when my students would be greatly increased. ners than original music. reading test especially maintain this manner of finding and attacking the parents took me to concerts. They were most critical One hindrance is that in the public schools only 2. Equipment--six pianos in a eke two students at in keys with more than pedal key. When modern instantaneous electric action of the singer’s enunciation—when they failed to un- subjects taught in classes have been considered prac- each piano. Painted keyboard for teacher to use three sharps would give was perfected, a more direct method was obligatory derstand the words, or when the words were mouthed tical. With proper equipment practical as blackboard. and a course a some idea of an impor- for good playing. or distorted, they would say, ‘Hm! Singing with a hot 3. Start with right hand, all players in unison. tant need for the future potato in the mouth is not good!’ That gave me food 4. Next add a very simple left hand part for each Church musician. Even An Easy Matter to Learn for thought! player—all six pianos alike. some simple transposi- The principles that are involved in correcting these “It has been my experience that the songs that 5. Then use regular piano duet music- all six pianos tions might be requested. fundamental deficiencies are simple as they are sensi- people enjoy most are those which contain some bit of alike. Four-hand music should be the form most additional in- ble. The idea of relaxation personally applicable thought. With the and poise must be utilized Songs like The Rosary, generally used in the course. formation derived from in the attacking of the pedal key with the foot. The All Through the Night, Somewhere a Voice is Calling 6. For the sake of novelty, music should be orches- such requirements as thrusting of the foot onto manage to merge art and melody values with the pedal with just enough feelings trated for groups of two, three or six pianos so these, an organ teacher pressure (not force) to make it speak precisely under that occur again and again in average, everyday life. as to gradually form a complete piano orchestra. might anticipate the absolute control and the subsequent gliding (the foot And so they reach people in a personal way. There is a Simple at the start and very gradually advancing prospects of a student always in contact) from great field of service in exploring the simple heart one key to the other is an in grade. easy song. Its projection, however, rests upon a firm back- with organ music be- matter to learn. Pedal keys must always be de- 7. Special effort should be made not to advance the elementary pressed with ground of honest, sincere, and, above all, natural yond the a fonvard motion to coincide with the grade preparation, both vocal and interpretative.” of the music too rapidly. Stalled pupils stage. natural direction of bodily direction in playing. The become discouraged and do not advance rapidly. Pedal technic is a spe- complete absence of extraneous muscular effort re- 8. Always select and arrange music for the course cial study. In many sults in a poise and complete feeling of ease that is that will produce the best effect for the skill re- years of teaching hun- conspicuously absent in the playing of those who use quired in playing it. dreds of organists, I “elephantine” methods. Widor used to call it “skating” 9. Exercises may be introduced (but sparingly) that have been amazed at which is a most analagous process. A considerable take Richard Addinsell the form of interesting games. the large percentage of amount of work with pedals alone is a constant 10. The aim is to develop a desire in the pupils to previously trained or- necessity. play the piano fluently, rather than to learn to ganists who have never Coordination of these two separate technics requires American music lovers have made the acquaintance dislike the effort by being too technical. Keep MACKY AUDITORIUM even been aware that the one thing so many of us dislike so much—prac- of a new, young British away from of there was such a thing. tice. But it must be intelligent practice. composer through the great technical high-brow Professors In this stately building the Music Department of the University of Colorado, at Boulder, Usually a Music. success of one of his works, “The Warsaw Concerto.” Their function comes later. will be housed. Dr. Dunham gives regular recitals on the large organ in this building. Hit-or-miss methods of teacher is needed to see that this complicated pro- Richard Addinsell was born in London in 1907 and 11. Interesting stories may be told of people who taking down pedal notes, cedure is learned correctly. Otherwise the organist went to Oxford University with the idea of devoting have gained advantages socially and otherwise blind uncertain manners becomes a bungler and a mediocrity. Unfortunately, himself to the law. As a hobby he composed the in- from their ability to play the piano fluently, using definiteness are to be found in catalogs of music of finding the correct note, and an utter lack of proper there seem to be relatively few teachers who have the cidental music for several Oxford University Dramatic fictitious names. schools setting up prerequisites for prospective organ muscular coordination are the chief features of such know-how. Society productions and in his third year at Oxford 12. Use only sparingly those who became famous students. Among the items mentioned as standard are pointless teaching. For constructive advice as to material, I would sug- the abandoned the legal career to become a composer. artists and made great fortunes, as did Paderewski Bach Inventions and the Mozart Sonatas. These gest W. C. Carl’s “Master Studies for Organ;” the Since 1927 he are explicit Exploring the Pedal Board has composed the music for twenty-four and others. Use rather commonplace examples of enough. To play them one needs a modicum “Twelve Trios” of Albrechtsberger and possibly Reger’s films, six stage plays, nine radio of finger control, adaptation plays, and one opera. those who enriched their everyday lives by their to be sure, but certainly not of the The hit-or-miss method might be described as mov- of Bach’s Inventions (for piano) in which He composed “Adam’s sort required Opera” to the libretto of the musical experiences and enjoyed generous part- in the major organ works of Bach. Every ing the foot in the general direction of the desired a third part has been added and the original bass as- famous playwright-novelist, Clemence Dane. time earnings. experienced organ teacher has seen far too many pedal key and hoping for the best. In the old days signed to the pedals. With these more or less com- It was not until 1941 when his real chance came. 13. aspiring students reach couplers actually depressed the pletely covered and really In Such stories might be inserted on occasional pages the stage of a major Bach when note on any mastered, the student is a film entitled “Dangerous Moonlight,” which was fugue or modern organ or to it was coupled, there ready for that complete proof the printed course or text books. Explain the symphony sonata with a manual which was an oppor- school of advanced organ duced in August of that year and concerned itself manual development technic, with three steps in musical so scanty as to preclude a finished tunity to test accuracy by partial pressure on the pedal the Trio Sonatas of Bach. Here is a com- the development: struggles of Poland, he wrote the “Warsaw Con- performance regardless of any number of hours of key and noting if the correct manual note coincided. As pendium of the entire range difficulties 1. Hearing and appreciating the music of others of which should certo.” Later, when this W. S. BOND hard was played by the London 2. practice. It would be hard to estimate the per- a youngster this was my own procedure. remain the constant daily companion of any organist Symphony Producing music composed by others Orchestra with Louis Kentner at the piano, centage of pupils we receive are usefully ill- Another system was that advocated John Stainer who desires to become 3 - who by and remain a first-class per- . Composing original music the piece became a very successful gramophone equipped record. • to begin organ work without some additional in his “Organ Method.” Here the student was taught former. To discover the Tlie above are offered only suggestions. The possibilities of finished tech- It has also had a large sale in sheet music as form. in the public schools course piano study. It must average well over fifty per cent. nical equipment, I urge that all organists buy maybe taught to may develop many more valuable features the Addinsell is said to be six feet tall, lean, fair-haired, play the Certainly fluently, very successfully. than here stu- an ability to play music such as has been records of these works played by Carl Weinrich. Here and a bachelor. The development suggested that will interest the His case is that of a well trained, tal- able equipment 0l mentioned should mean a real mastery of the music is a demonstration and a suitable dents. The main masses in the of perfection rare in the library ented musician who worked for years in his method or tex! point is that the field and for class piano public technically and musically and not merely scant com- of recorded music. For entrance to Curtis instruction will contribute schools should be taught in classes to play Institute one finally attained international success overnight. the mi petence in playing success of piano the piano using most of the notes correctly. Not ORGAN of these Trios is a requirement, perhaps the principal instruction in classes fluently by some practical method i only should a there be fluency and accuracy demon- one. The same might be said ( Continued 316 practical equipment. on Page 343) "FORWARD MARCH WITH MUSIC JUNE, THE ETUDE 1946 "FORWARD MARCH WITH MUSIC’’ 31 ,

HE DRUM is to be found in every corner of the Music Music and Study into these other fields. and Study world, but it is unusually common in India and To go through a choral number without letting th Africa. In India it is the most significant medium the T audience understand words (printing the text for the expression of emotions, both of joy and sorrow. the program is a cheap subterfuge) is like putting T Its hollow tapping sound comes from the shadowy a play and leaving off the stage the principal char fastnesses of the stately palm forests, and from little the text is the raison acter, for d’etre of the mus country crossroad temples where dusky devotees woo When the muscles of the mouth, tongue, cheeks a'ri the drowsy attentions of unresponsive gods. In coun- - - working at less than and Cymbals lips are capacity Drums Diction Diction Diction in singing w try, village, or urban native quarter, the air at twi- have this inertia. To push these muscles into greater light time, heavy, murky, misty, and redolent of activity is a matter of will power and perseverance delicate incense, fumes of mustard oil, the acrid smoke Exaggeration will have to be employed at first, gettin of cooking fires and pungent aroma of curries, vibrates the muscles of the face to give more throbbing of than the usuaf continuously with the innumerable drums. ’eorgei J^trichlinc^ effort, before this inertia can be eliminated. jungle, plain, hill, and desert, the composite nerv- But first In h there must be the will iluin *lAJliite Q of the singers the insignificant by of even most to want to brine ous system community about this desired change in diction-clarity, of hungry, unclothed beings, is soothed or stimulated and it isS here the director will have to work his hardest Word by the magic beat of the little drum, just as the heart should actually be seen upon the lips and throb dominates the nervous system of each individual. CCORDING in the face A to one of the great English choral to the composition as a whole unless his ear is so of the singer, so that a mute person, In fact the drum has been called India’s heartbeat. ecstasy of a native drummer in the throes of manipu- on top of the other. dependent upon jLl directors* the three most important things skillfully trained that he can pick out one or more lip reading for communication can The Hindu and Brahman believe that the Creator lating his instrument, would be beyond the compre- The modern cymbals consist of two discs of resonant -* easily read the about choral singing are: first diction; sec- of the inner parts follow its progression as it — and song even though he cannot hear it. invented the first drum which he made from the hensions of our languid tympanist. One must see a metal formed not unlike large dinner plates and about ond diction; third — —diction. And he does not exag- weaves in and out of'the fabric of the music. In another way the blood-soaked earth of his enemy, a demon god whom drum performance for himself in order to realise that twelve inches in diameter. They are held by means of nature of the music helps gerate, for without diction a chorus is inarticulate. A or interferes with the deliverance of the he defeated in battle. The first old Indian drums were the drum player furnishes the musical background of a loop of leather attached to the center of the instru- chorus may be singing the most gorgeous The Fault of Inertia text. In slow tones ever • passages where the syllables may called myrdangas or “clay-bodied drums” and ante- India. He is capable of giving expression to all of his ment and passed around the hand of the performer. produced be sung on stately from human throats, but unless the words Singer-inertia (another for plain the insistent, persistent beat of his Cymbals are name laziness) has half and quarter notes it is a matter of dated even wooden drums. According to Hindu myth- emotions through played not by clashing them together, are alive and full of meaning, comparative those beautiful tones as much to first excited, or slow, solemn, do with poor diction as anything else, and ease to sing them properly, but speed up ology, the drums came and the flutes second in drum, quick, gay, and and but by striking their edges with a sliding movement. are as dimmed and dulled as light falling through the tempo unless the singers can be stirred into belligerent enter- throw in eighths and the evolution of musical instruments. portentous, as the occasion demands, for funeral, for Like other art instruments, cymbals may be of fine or sixteenths, together with poly’ dirty windows. Pew choral compositions have been prise, provoked out of their slothful contemplation of syllabic words, and difficulties If there is any harmonic effect at all in Indian festival, or for dance. He is the conductor who keeps poor quality, producing, on the one hand, a brilliant, composed which deal solely increase by the sec- with vowel sounds, and is excited the increased ond. In the latter case music, it produced by the overtones of the drums. time with his body, and, when by sustained, and somewhat terrifying tone, or, on the those which have been written have not created much the throat ad- justments must be It is claimed that six distinct overtones may be heard velocity of his tempo, jerks, sways, and expresses the other hand, an impotent, dull smash, like broken crock- of a stir either among choral directors or their made so rapidly that audi- from the sound produced by a skillful performer on nuances of his music in physical contortions un- ery. The pitch is indefinite. enunciation is bound ences. It would be wonderful if the to lose in such a director had only this universal instrument. The drone of the tonic and dreamed of even by a jazz traps player. The drummer struggle and the letters come to work with vowels in choir training, but unfor- forth in playing Various Kinds anything but the dominant usually provides the entire background must also be an artist, for the of his instru- tunately the consonants outnumber the vowels four true perfection. Individually for a melody. is by strict rules it requires un- a soloist can ment governed and For motives of economy, one of the cymbals is some- to one and have to be reckoned with when it comes make the text of Rossini’s Figaro There is an endless variety of drums, ranging from usual digital dexterity. The flexible fingers of a good times attached to the bass dram, the two instruments to tone production. One of the posters in our or his La Danza sparkle with pre- choir the tiny monkey-drum, so popular with the snake drummer beat double, triple, and quadruple rhythm cisive being played by the same performer. As the cymbals room proclaims: “Fine diction makes for fine singing,” articulation, but let ten singers at- charmer and animal trainer, to the great ceremonial with astonishing rapidity and apparent ease. lose much of their characteristic clash by this treat- which is an axiom of the utmost integrity, for words tempt the same and the results will sound double headed drum used mostly in religious and ment, it is not followed in first class orchestras. One have a direct bearing on intonation, phrasing, balance, like an unscrambled telephone conversa- military pageants. In the more remote hill districts, The Crashing of Cymbals cymbal is sometimes held in the hand and struck with blend, color, and purity of tone. tion over a four-way wire. drums are used as efficacious means of devil chasing: The use of cymbals, in connection with religious the bass drum stick a single stroke or even a roll. One of the most frequently expressed criticisms lev- A Variety of Sounds and one can readily understand that the noise pro- ceremonies, is frequently referred to in the Bible. For Used in this way the cymbal takes on something of eled at choruses and solo singers is the unclarity of duced is sufficient Hazard of a different to drive away the Prince of devils example, concerning the incident when David pre- the character of the gong. When short notes are re- their diction. “She had a lovely voice but I couldn’t character is pitch. himself. In the measured beat of the place for of read, “And David Above the staff a soprano myrdanga one pared a the Ark God we quired, the tone is damped by quickly bringing the understand a single word she sang.” How often is this must make a great hears the musical pulse beat of “distant India, won- spake to the chief of the Levites to appoint their cymbal against the chest. In the dance orchestra, one true not alone of the soloist but also of chorus! many compromises with letter pur- the drous fair.” ity, The inevitable hand drum furnishes the brethren to be singers with instruments of music, cymbal is fastened to the bass with There is some excuse for the chorus and this concession we are willing drum and, each where many sing- bone and sinew, foreground to grant the and background, and psalteries and harps and cymbals, sounding by lifting beat of the drum, it is struck by a metal attached ers are trying to achieve unanimity of letter expres- her, for the sake of a better tone arm is indispensable in Indian music. This drum has many up the voice with joy.” And again when Solomon in- to the pedal mechanism. Another sion, but there is no and color. And the bass singer finds him- cymbal is suspended excuse for the soloist who does not forms self and is a most interesting instrument, although ducted the Ark into the Temple, on the occasion when over the drum and is struck with a snare stick have to synchronize the word with any other person. weighted down with slow tonal vibra- drum the kettle drum, tabla, and side drums are very effect- the good King Hezekiah restored the true worship, to produce a crash. And while the soloist may be singing a pure “ah” no tions of the low notes and must needs ive. These latter are played with small hard-headed cymbals were used. There were two kinds, both of Cymbals may be played (1) by clashing them other voices are making diphthongs out of that vowel seek relief in sacrifice of letter purity. to- hammers instead of the palm and fingers. They pro- very ancient Asiatic origin. gether, (2) by striking one of by sounding an “oh,” an “ee,” or an “I” Singers may have perfect a them with a kettle drum simultaneously, diction as duce a sharper and more definite tone. For this reason The crashing of cymbals has been ever sweet music stick (see the Ride of the Valkyries) (3) by perform- thus creating greater opaqueness of vocal sound. group and yet be completely submerged , they are most commonly used on more formal occa- to the ears of an Arab. The manufacturing of the ing a roll on a suspended cymbal The style of the music sung has to through sheer weight with the two drum much do with of the accompany- sions such as festivals, durbars and military proces- instrument has been monopolized by the Moham- sticks. This is the means adopted by Wagner in Scene the clarity of the diction. Homophonic music, in the ing medium, whether it be piano, organ or sions. their control of secret medans, because of a process III of “Das Rheingold,” ( Becken mit Paukenschlageln hymn style, where all voices are singing the same orchestra. In this instance the coverage ) the composition in the metal, so that even to this syllable at the same time of in swelling from pp to // suggesting Albrich’s lust for creates not much of a prob- the text is no fault of the singers but Are How They Played day their cymbals, it is said, are superior to any gold. The roll may also be obtained by rubbing the lem, but when the opposite style, or contrapuntal that of an inept director. two In the Indian dances in which the nautch girls take other. They are made in various sizes from the finger plates together in a contrary circular motion. music, is introduced then diction becomes a real prob- We have come being This to think of Latin as part, in cymbals, inch in diameter, the larger lem. Take for instance and which the thin melodic line of the music an to ones used is called the plate roll. A coat of heavy paint applied a measure from the Patrern the root of all languages and for singers Omnipotentem from is expressed on a flute, it is the primitive reiteration in the orchestra and band, measuring a foot or more ta one of the surfaces of a cymbal will effectually Bach’s “B-Minor Mass,” where one of the easiest in sing, for its which to of the drum rather in diameter. the four parts are singing than the melody that fascinates deaden the tone. This may later be taken off if the syllables as follows: seven or eight vowel sounds are much sim- the listener. The very bareness of the accompaniment Ancient cymbals were much smaller in size than original tone is pler desired. In doing this one should paint Soprano: O . for the singer to comprehend and to seems to add to the charm of the dance. those in present day use. They differed also in having from the center, (the boss) of the cymbal, and work Alto: um - et - in - vi - reproduce than the thirty some we have si The favorite instruments of the temples are the no rim, in the form of handles by which they were out toward the edge. The further toward the edge Tenor: O - rem - - coe in English. Yet because our spoken lan- flutes, trumpets, cymbals, bells, and always the drums. held, in the depth of the bowl, and in timbre. They the surface is painted, guage the more the tone will be Bass: coe - — li - et has so many sounds we must admit Very few Indian drums are played with sticks, and all were made usually of brass or copper, and were used deadened. that it is the more versatile and expressive in the celebration of pagan rites in religious Obviously, from such a heterogeneous concert and dance drums are played with the fingers and Music for the cymbals is sometimes written on pattern of of the two, painter a for by comparison the and palms of processions. The cymbal seems to have derived its sounds as this, no listener can be expected to gain a the hands. As a rule, a sort of kettle separate part, but generally their part shares the same who has thirty different shades of paint clear concept of what the drum swung across the saddle of a horse or camel is designation of crotales from that given to rhythmic staff as the snare and text really is, nor is it the ONE OF bass drums and is indicated AMERICA'S MOST from which he can draw, ought to be able used only instruments in general in those days. Rattles, clappers, intention of the composer to convey a definite textual WIDELY BROADCAST in military maneuvers or at durbars on by the abbreviation “cym.” to reproduce painting meaning. Counterpoint a more beautiful special public occasions. There are over two hundred dnd castanets were known as crotales also. The re- Gluck first gives the choral composer the Th. Heights A introduced cymbals into the orchestra; C„„™°c F than if he had only a few primary colors. varieties of semblance of the small cup-shaped cymbal to a large utmost freedom in regard to the allocation of words. SMtlr drums in India, for the Indian musician and he had a hard fight over the innovation. His Choral directors are not wholly in accord feels that castanet, may account for the same name being given The text, ofttimes reduced to a few simple phrases, the drum furnishes sufficient accompani- enemies issued satirical pamphlets, in which his “big as to should is which type of pronunciation ment for his songs to both. merely a clothes line upon which the composer gives and dances; a natural hang-over noises” were ridiculed; but Gluck went on his own free be used for songs in Latin, whether to from his ancestors The Egyptian cymbals were quite similar to our rein to the development of canonical and fugal whom, as legend states, played the way, determined to carry his point and prove himself inanimate passivity, the adhere to the Latin of first intricacies. In director ,, classical, traditional drums handed to own in shape, but were apparently very small. There justification of the director’s position, had best , down man by the gods them- right. Small cymbals tuned a fifth apart were em- his efforts upon 116 c assroorn or if the creator of the music securing beauty of ’ to use the Italianized pronunciation selves. There is probably no other instrument that are two pairs in the British Museum, one of them only ployed by Berlioz. does not see fit to correlate tone anri f et the intelligibility of the USe in the church sung, vocal sounds as to vowelization text. Not only is where this music is largely possesses so great an appeal to the natural and primi- five and a half inches in diameter, and made of bronze. it is quite evident that evident sineer in» ? ™ When the New York Philharmonic Orchestra in enunciation but Preference is for the latter use of it is tive instincts Two different shapes of cymbals, however, were no responsibility devolves upon the director to bring in such other and my in man; and if one abolished all other found played at Orchestra Hall in Chicago, stage matwf f fur er in February of about deportment, attacks and strengthened by the authority of the 'Solesmes mediums of musical in Egypt and Assyria. One consisted of two flat plates any unanimity of vowel sounds. One cannot be releases and ^ expression, save the flute and the 1928, one of Chicago’s leading music critics allotted g ng method as set expected to have sopranos forth in the “Text Book of Gregorian drum, these people would still have enough express which were clashed together sideways; the other of sing an “ee” and the tenors Chant” to a full paragraph to the effective work of the cymbal and in “Legendo.”** themselves musically. two cones with handles, one cone being brought down an “ah” and have the listener be aware of only one player—nearly the same amount of space as There are was vowel sound. The unintentional diphthong available two albums of Gregorian Chant The drummer is the most important of the musi- gfven the sounding records eminent conductor, Toscanini. This was in of “ah” and “ee” BAND, made by the monks of so all one has cians in the Indian cannot be resolved into anything orchestra Solesmes, orchestra for it is he who sets the reference to the tone poem, Les Preludes of Listz, in to do to gain a Latin tempo approaching homogeneity. So, in the case of first-hand knowledge of how the and rhythm. The entire personnel of every the finale of which poly- should about eight crashes for cymbals phonic be pronounced authoritative Indian music, the auditor must needs perforce listen and CHORUS is to listen to such orchestra take their cue from the grotesque had been interpolated. „ recordin gs. BAND and ORCHESTRA Edited At this point it (.Continued Page 352) motions of the drummer and the reverberating » by William on sound Modern cymbals have been Henry Coward— "C.T.I.” The Secret—Novello. D. R.,. made from metals of m which he coaxes from his instrument. physical * 0lc of Gre review on The all kinds including steel, and ( Page ?n «<»1im chant—Dom Gregory Sunol. See Continued on Page 353) 318 LegendoLv.G.L. "FORWARD J. Fischer Sc Bro., N. Y., agents. JUNE, 1946 MARCH WITH MUSIC” "FORWARD MARCH WITH MUSIC” 319 THE ETUDE —

Music and Study Music and Study Concerning a Glissando

is ", . . The following excerpt from the Serenade Espagnole Chaminade-Kreisler, the twelfth and eleventh measures from passage-work must be played with varied the end. Is the twelfth measure a mis- shading if it is to justify its existence. print since there are not six counts? No longer is technic for its own sake Would the glissando be a continuation of satisfying the intelligent listener. Too the Down bow from the D? How should The Violinist’s Forum to tlie glissando be divided rhythmically?" often one hears a violinist who plays his Miss N. G., Illinois — solos with full attention to the expres- Conducted by sional possibilities of the melodic sections, but who treats the technical passages as technic and nothing else. No matter how excellently these passages may be played, the total effect is disappointing. I said just now that most books of The twelfth measure is printed cor- studies are printed without dynamic rectly. There is a fermata (hold) over, markings. There is one shining exception Teacher or rather under, the D, and the single Prominent to this—the Studies of Mazas. Each of chord in the accompaniment also has a these studies is built around a specific and Conductor fermata. From this you may assume that technical problem, either for the left time ceases in that measure. If we wish hand or for the bow arm, but all of them to be very precise, we can consider that are written in so musical a style that they the glissando takes up the counts that demand of the player that fusing of It is a bad mistake to put technic and are not printed. So you need not worry technique with expression which is one music into two separate categories. In about the number of beats in the meas- of the hallmarks of true artistry. The the last analysis, each is a part of the ure. Go to the D, hold it as long as may student who can play Mazas well is on other, and the earlier a pupil realizes seem to you compatible with good taste the road to becoming an artist, whatever this the sooner his playing will become personally I should not hold it more than the future may hold for him. AS IF IT MATTERED! interesting and expressive. Good intona- BEN SONORE CLARINET VIRTUOSO AS OF ANGELS' VOICES five beats—and then make the glissando tion is, of course, the first essential. Until down to the F-sharp. a pupil can play at least fairly well in Most people find it easier to play a Tenseness in Public Performance tune, and has developed an ear critical glissando on the Up bow, and that is how of his intonation, the matter of expres- I should advise you to play this one. Don’t sion must take a back seat. But as soon tell it is that when I change bows on the D, but start the Up “Can you me why as these qualities have been acquired he play in public and let myself go, my -sharp the first bow on the C — note of right arm stiffens up? It always happens Caricatures by Selinsky make his studies sound as interesting as the glissando—and include the low F- when I play something like the fourth No question will be answered in THE ETUDE should by all means be encouraged to movement of the Lalo Symphonie Es- sharp in the same bow, taking the re- unless accompanied by the lull name pagnole, or anything else I and address the inquirer. Only initials, he can. where want Vladimir Selinsky, mainder of the measure as I have bowed of Russian-American conductor on the Helen Hayes or pseudonym given, will be published. Here, to decide just to play intensely. . . . When it once it in the quotation (Ex. however, we have Textron radio 2). comes into my arm the stiffness remains program, has decided gifts as a caricaturist, as these what expression. I suspect In actual performance a glissando has you mean by even when I am playing lightly and sketches of his players indicate. —Editor's Note. that what you have in mind is varied softly. I get away with it, but I don’t no rhythmic divisions—it just ripples dynamics rather than emotional feeling. play as well as I should. I know it. . . . gracefully down to its destination. But I am twenty-eight and have studied with be tensed; for this reason, it is well not Most studies do not lend themselves to for study purposes dividing it into groups good teachers. All of them have told to practice the glissando for very long at latter, there are may be helpful. In the present instance, the but few that cannot me that I must learn to relax if I am to any one time. do best in public, you would begin with three preliminary be made interesting by appropriate dy- my but they don’t tell the me how to relax. ... I know I have a notes, When left hand motion is under namic shading. Many of the best books C-sharp, C-natural, and B, and good bow arm, for I never have any control, some thought must be given to then play the rest of the half-steps in of studies do not have any dynamic trouble at home with any sort of bowing, the part played the it groups of four. Thus: by bow arm—and markings at all, but the teacher who even when I am sight-reading. It is only is a much more important part than takes the trouble to mark in suitable in public that I stiffen. Can it be nervous- ness, or is it more than that? many violinists realize. As little bow as crescendi and diminuendi will be well —Miss R. B., Ontario. possible should be used. Well played, the rewarded over the years by the rapid de- glissando is full of grace and charm, but velopment of his pupils’s interpretative Without knowing you and hearing you if much bow is used the result is more abilities. play, it is not an easy matter for me to likely to be a despairing howl. The rea- And it is not only on the purely mu- say just where your trouble lies. But I son for this is easy to understand. The sical plane that satisfying results will be am inclined to think the explanation of For some reason, many violinists are oscillations of the left hand are com- noticed: the pupil’s technical equipment it is that when you are playing at home afraid of the glissando, and fight shy of municated to the violin itself, and when also will be developing more rapidly. To you hold the bow too lightly; whereas in I HOPE I MAKE IT! any solo that has one. Perhaps they were the bow is moving slowly these produce play with more shading and color re- the stress and excitement of public per- "A." PLEASE made self-conscious by the strange sounds a semistaccato effect that enhances the quires greater technical control, and to formance you almost certainly hold it which resulted from their first efforts. I articulation of the notes. If a fast bow is strive for these qualities is about the much more firmly. This puts a strain on VLADIMIR SELINSKY will admit that early endeavors do now taken this staccato effect is lost, and each surest way to develop this control. As a the muscles of your hand and arm to and then produce rather comical sounds; note tends to blur into the next. simple example, take the martele bowing. which they are not accustomed, and con- however, given some thought and a little The expressive effect of a glissando is The pupil of average talent usually has sequently they become tense. At home, patience, the glissando is by no means heightened considerably if the first three little difficulty in learning to produce a it is not likely that you play with the difficult to acquire. The essential point or four notes are played rather slowly, very fair martele—if he plays it forte. same intensity you feel urged to give to remember is that it is a semi-involun- the speed of the run then increasing rap- But can he also play it piano? Can he out in public—in fact, it is not advisable tary movement produced by stiffening the idly. There is no need to stiffen the upper make an even, gradual crescendo or to do so—but nevertheless you have to upper arm and keeping the wrist loose. arm until after these first few notes have diminuendo, keeping the martele clean train your bow arm to be ready for the played. The upper arm is stiffened, and the fin- been and pointed? Usually he cannot. But if extra strain that will be put upon it. ger moves down the string while the he is taught to play every martele study There are several exercises that will help hand makes a vibrato motion from the Technic and Music with appropriate shading, it will not be you to do this. wrist. long before he can produce an effective To begin with, I suggest that you take “There has been some discussion among Some players can produce a very fair martele in any dynamic shading that the second study of Kreutzer and the teachers in town, violinists and play glissando as soon be required. the he as they know how the pianists, as to whether pupils should be may And work that it as rapidly as you can at the frog of effect is obtained; others find difficulty in taught to play their studies with ex- has put in to gain this control will di- the bow, using the wrist and finger joints coordinating pression, or whether they should think the movement of the fore- rectly benefit his entire bowing technique. only and holding the bow very firmly. of them merely as technical exercises and arm with the vibrato of the hand. This principle also applies to the For keep expression for their solo numbers. In all likelihood you will find that your the latter, a few days of slow practice is Some of us think that if a study has any legato. The pupil who can play a legato firm hold of the bow tends to stiffen the solution of their musical qualities it should be played as problem. The run study smoothly with an even mezzo-forte your wrist and fingers. There is your should be musically as possible, but the majority divided into groups of four tone has undoubtedly gained something problem In a nut-shell. But the solution, do not agree with us. . . . It would help notes, every half-step being sharply artic- me a lot if you would tell me what you that will always be of value to him; but fortunately, is not difficult. Find a tempo ulated by a quick backward snap of the think about this."—Mrs. A. A. L., New the pupil who can play the same study at which you can maintain a firm hold hand. This Jersey. practice will very soon de- with varied dynamic shading has cer- and also keep your hand flexible, prac- velop a sense of the relationship between I agree absolutely with you and those tainly gained a great deal more, includ- tice the study at this tempo for a few the movements of the arm and the hand; of your colleagues who think as you do, ing the almost subconscious ability to days, then very gradually increase the and as soon as it is felt, the tempo can and I hope—for the sake of their pupils! play melodic passages with equally flex- tempo until you can play it at least as BASSO PROFUNDO be increased. GAD, THIS In all glissando practice, no —that you bring the others around to ible shading. fast as = 120. IS BEAUTIFUL! matter J how slow, the upper arm should your way of thinking. One should never forget that technical 0Continued 320 50 FEET BELOW SEA LEVEL on Page 350) "FORWARD MARCH WITH MUSIC JUNE, 1946 THE ETUDE "FORWARD MARCH WITH MUSIC” 321 a —

have know if you any information in your possession.—T. Q. Music and Study Yehudi Menuhin first give evidence of his powers of breaking Music and Study before he was a year old; his parents, ardent music- A. I have not been able to get records any in. lovers, smuggled the baby info symphony concerts because formation about the present status of the they had no one with whom to leave him, and he sat up, paid Festspielhaus, but my colleague, Many Questions Walter strict attention to the music, and understood it. He asked for Rubsamen, of the music department before he was three, and played a recital at six. At fen, Q. 1. In your “Music in the Grade of a violin Schools” you recommend the practice of the University of California at Los An- he was established as a child prodigy. In the twenty years since pointing to the quarter notes when they are Answers sleuthing he added to his breaking of records by withdrawing from Questions and geles, has been around for me then, the unit of the beat, but you do not say devote himself to serious study, and in a volume of Verdi’s letters public attenfion to chiefly under whether or not th&second eighth note should not yet Musicians in World War II emerging into English, Georges Enesco, and by as one of the few child be pointed to, in a group of two eighth translated he found two prodigies to win recognition as a mature artist . . . one of the notes. Do you think that a child’s sense of references to the “failure.” In a letter to greatest of all time. When we entered the war, Mr. Menuhin's rhythm would be strengthened if he re- Conducted by Muzio on March 6, 1853, he wrote A Rare Conference with frained from pointing to the "and” beats? (in status as the father of a young family exempted him from “Dear Emanuele, 2. What is the significance of the term part) "Traviata’ was a service in the armed forces. Unwilling to accept exemption, aspiratamente as found in Chopin’s Noc- failure last evening. Was it my fault or however, he devoted himself fo giving concerts in military and turne, Op. 72, No. 1? . . will naval establishments of all the Allied Powers, all over the the singers’? . Time decide.” Then 3. How should a pianist distinguish be- one to Luccardi, he said: world. In the Aleutians and in fhe Americas, in Europe, and tween the two different kinds of accents (jehrhend, Wud. 2boc. in “The result VU. Australia, Menuhin played to the men, often appearing several eL adi 'enuTiin as found at A and B in the accompanying [of the first two performances of "Travi- illustration limes a day, and proving himself able to break still more y from the last movement of Cho- ata’l has been a decided fiasco. I do not pin’s Piano Concerto in E Minor? records. The Etude has fumed to Mr. Menuhin to find an World Renowned Violin Virtuoso fault it is know whose —better to say answer to the important and much-discussed Professor Emeritus question of the nothing about it.” Dr. Rubsamen himself effect of the war years on musicians. —Editor's Note. ventures an opinion, and since Oberlin College he is a SECURED EXPRESSLY FOR THE ETUDE BY GUNNAR ASKLUND musical scholar of note, I will quote ex- Music Editor, Webster's New actly what he says. It is as follows: Several reasons have been advanced International Dictionary 4. Which is the original form of the con- for the unfavorable reception given to cert paraphrase of The Beautiful Blue the opera. In all of them there is a grain “p HE QUESTION of what the war did to musi- which earnest musicianship cannot go forward. Making imagine the difference in atmospheric pressure. Nor- Danube (Strauss-Schulz-Evler) : the two- hand, or the four-hand, two-piano arrange- of truth, and the real reason may be cians cannot be settled by a single reply. In music is not like making things in a factory; one can mally, an artist plays to an audience that knows him ment? taken to be a composite one. It is certain A some cases, it worked undoubted hardships; in reasonably well calculate mechanical output; one can and comes for the express purpose of hearing him 5. Should a pianist be careful to play all Pavanne, that Verdi underestimated the deep- others, it provided what might be called advantages if figure out that so many hours of filing, so many hours otherwise it wouldn’t be there. In the military work, six-note arpeggios in Chopin’s Etude, Opus Morton Gould: Gavotte, rooted objection of the Venetian public it were possible to feel that war can ever be of drilling, so many hours of painting -can turn out a one had no such assurances! 25, No. 1 as sextuplets Sonatina. to advanta- modern costume In opera. This geous to anyone! What the hardships first-class article. One cannot possibly predict the “Some of the audience came because they Ernest Hutcheson: Prelude, Op. 11, was an and advantages wanted Ex. 2 innovation that the escape-seeking audi- are, and who were affected by them must be calcu- number of hours of planning and meditation and love violin playing—but some came because a buddy No. 1, Capriccio, Op. 10, No. 2. ence was unprepared to accept. lated, of course, in terms of the individual that must go into a first-class rendition of the Men- dragged them along, because they Gail Kubik: Dance Soliloquy, Sonatina. Bonavia. men and had nothing else T j j j j j in his biography of the composer, points the individual capacities involved. For aU their uni- delssohn Concerto. The performer must count not only to do, because they had a curious attitude, because Harl McDonald : A Tone Portrait. the first formity of training, the men of the forces on time for practice and performance, but on time for they had a challenging attitude! Harold Morris: Sonata. to performance of “Madame armed are And always one was rather than as double Butterfly,” which also was a failure at an enormously complex and diversified group. Many quiet thought. And just those hours of quiet thought, sure that some would accept what one brought them, triplets? Walter Piston: Passacaglia. first because Italian opera audiences of them have no interest in music whatever, many of personal (not technical) preparation were con- and some would reject it. Facing such a varied audi- Ex. 3 Beryl Rubinstein: Four Fantastic re- have the open-minded attitude of ‘show-me,’ spicuously absent from military life. It is not usual to ence had its effect on one’s Sketches. sented the familiar, unromantlc modem many playing. Certainly, one costumes. Two letters are professional musicians, while some are capable and meditate while on KP or MP duty! Thus, to the rou- wanted at all times to give one’s best but the ques- J J J J J J Roger Sessions: March, Scherzino. from Verdi to Pi- — expressive performers. The war ‘did’ something to all tine musician, the war brought hardships that it will tion arose, what, under the circumstances, Leo Sowerby: Toccata. ave, before and after the performance, was one’s show that* the opera of these—but not the same thing! require much time to overcome. best? Thus, one grew aware of problems of interpreta- In Measure 17 could the double-triplet fig- Virgil Thompson: Piano Sonata No. 3. was not only badly ure be used? performed also “The musician was, perhaps, the most exposed to "On the other hand, to the solo artists who continued tion, of projection, that never arise in the formal There is also a fine volume entitled but poorly staged In Ven- 6. Has Artur Schnabel edited other col- double-triplets. These arpeggios in the in their fields, the brought concert hall. “51 ice. (G. Morazzoni: Verdi-Lettere inedite; war Gradually, one came to realize that, lections or separate pieces aside from the Piano Pieces from the Modern Re- right hand must of course be played so Milano, rich rewards. In saying this, I without ever exaggerating, one had to think in terms two volumes of the Beethoven Sonatas? If pertoire,” which costs only one dollar, 1929) to Piave, Feb. 16, 1853: “I lightly and flowingly that not even the must make it clear that the of the emotional values on so, who is the publisher? and includes have received from Venice an anonymous which the men could feed, division works by the following 7. As I am to give a program of American into twos is apparent. work was never easy. As a as human beings. If the music was to Americans: Bloch, Carpenter, letter which tells me that ’Traviata’ will mean anything a piano recital, I should ap- Fuleihan, composers as 6. So far as I know, Artur Schnabel record of fact and in no sense to them at all, it had to reach Grilles, Guion, be a complete fiasco unless I change the them emotionally preciate it if you would list several num- has edited and Harris. no other piano music than .” of complaint, I may say that not abstractly, not theoretically, not academically, bers by contemporary American composers woman and the bass. I know, I know . . consider representative the Beethoven sonatas. If he has, the the performance schedules but warmly, as common which you would But it was too late to change, and Verdi humanity. To enable his of their style of writing —B. D. works either have gained little popu- hy were of necessity greatly tax- music to do this, the W Was La Traviata a was not really convinced that a mediocre performer had to think in terms, larity, or else were published in Germany ing—in one year, I gave over not of an isolated figure on a platform, but of A. 1. I do not recommend pointing to Failure? performance would do much harm to his a man and have never reached this country. In two hundred and fifty concerts speaking to his brothers. eighth-note because this takes work. to And becoming aware of the second collaboration with Carl Flesch Q. When Giuseppe Verdi's opera "La On March 16, 1854, he wrote he did Traviata" “ that this taxing schedule this was a distinct gain in projection. away still more from the flexibility of was first produced at La Fenice Piave: "Traviata’ was badly performed — One’s con- edit the piano and violin sonatas of Mo- Theatre in Venice on March 6. involved the same lack of lei- certizing became more personal. the rhythm. Even pointing to the quar- 1853, it was at the Fenice also very zart and Brahms, terrible Theatre, but which are published a failure. Some authorities claim sure that I spoke of a moment “Nothing pleased the men ter-note is likely to make the rhythm badly mounted.” more than just this feel- by Peters. He has also written that the lack of public approval was due to quite a ago; that one often felt great- ing of oneness. In the Aleutians, I stilted, and you will recall that I advo- the fact that the characters Nevertheless, been played for a splen- few original compositions, including were attired in there must have ly fatigued; and that it was did group of Army fliers. cate a long sweeping “point” from the costumes that were modem at that time, more One of them was a very songs, chamber music, and a sonata, profound reasons for the failure. a but tire audience was accustomed to opera not an advantage to rush upon capable pianist, and so I asked him elbow or even the shoulder, rather than G. M. Ciampelli, in the volume cited to play one of suite, a concerto, and shorter pieces for being presented in costume of bygone days. the platform begin play- the Beethoven a short, quick jab of the finger. This is and Sonatas for violin and piano with me. the piano. But all of these are These critics state that such a change dazed above, page 136, contends that the Vene- published ing ten minutes after hopping He had little because the rhythmic feeling develops the audience and thus had but time for independent practicing, only by German companies. Perhaps the resulted the lack of tian public, accustomed to strong con- proper approval. This off a plane. Despite these very and none at all for rehearsing with me; still, better with a response from a large mem- idea, however, is trasts and excessive display of pas- he loved publishers of The Etude can give you not very likely, an ber rather than small because audiences even understandable drawbacks, doing it and the men loved it even more than he did. of the body from a more information back sions on the part of opera singers, did on this subject. in those days could appreciate good though, It one. Musical rhythm has its fundamental the work was mag- gave them a special lift to hear-and-see one of 7. The majority of contemporary music, regardless of the clothes not react to the sweetness of sentiment, Amer- worn by nificently stimulating and re- their own basis in free bodily movement, and al- the performers. The more number taking part in the performance. ican composers are more interested in popularly ac- to the delicacy of emotions expressed in cepted version of the reasons warding. I think that everyone He did it splendidly, too. A month later, I though it is guided and directed by the for the fail- the plot “La was to play chamber and orchestral music than in ure is attributed and music. In other words, “time” represented in the note values, to the soprano who sang who engaged in it will come at a camp in San Francisco. I wanted to present a piano solos. For this reason their Violetta, (and it Traviata” was too subtle for a public most will be recalled that Vio- back with the same feeling of Sonata yet “time” must not be allowed to letta by Bartok—a difficult and interesting work representative compositions are not usu- was supposed to die of consumption), accustomed to heroics. who weighed having gotten much more than but was beset by two major doubts: dominate rhythm too rigidly lest it be- ally found for several hundred pounds The could Mr. Bailer, that medium. Also, many tenor The chief reason, though, from my come rather than was also hoarse, and these he gave; of having been en- my accompanist, and I get through it merely mathematical of the most significant two rea- properly without piano works by sons combined were ample point of view, was that the public found genuinely musical. to prevent such riched by a deeply stirring any rehearsal—and, even if we could, would the men our present-day composers have never a composition becoming "La Traviata” realistic. For that time, successful. But too experience. like it? So I asked the men 2. This Italian term can be interpreted surely Verdi would never themselves to help me. been published. But the following list, have permitted the death scene was rather hard-bitten, variously. In this instance I believe "whis- such a performance. “The work had practical After I had finished the concert before which includes works of varying He did not write "La the one at degrees Traviata" as and some of Verdi’s contemporaries pering” is a good translation. a farce, and he would cer- results, too. For one thing, which I meant to use the Bartok work, I of difficulty and different styles repul- YEHUDI MENUHIN spoke to of writ- tandy never agree to let (Chorley and others) thought it 3. The obvious interpretation is the such a tremen- the performer won a greater the men, announcing that we ing, should give you dous Violetta would play the final some help. All of die of consumption. Obvi- sive. The opera audience, then as now, correct one: the note which has the 16 flexibility in dealing with au- movement of the sonata and asking them these compositions are published ea n for the failure to give me in this f J .?-° is due sought entertainment and not realistic heavier accent sign should be given the either to Verdis hardships. Unless he of diences. Always, one felt the complete informality their exact and honest reactions it. country, and may be obtained absence from the per- was assigned to the pursuit to I assured them through formance or to tragedy. The story of Violetta would have his greater stress. some reason which I own calling (in bands, orchestras, that from the men. I can compare it, per- it would remain great music the publishers of The Etude. do not entertainment emanated even if they did not there been a it with anT information on success had Verdi treated units, and the like) spirit like it! The partnership 4. I have been unable to find the an- , he was almost completely sep- haps, to the sort of that exists (in an exagger- worked beautifully. Marion Bauer: Preludes Op. 15. the subject that you can over They paid impart to me’ It complete sentimentality and glossed arated from the most swer to this question. But since Schulz- Abram h6,P music making. His opportunities for get- ated degree) between audience and entertainers in a concentrated attention and though they Chasins: Preludes Op. 11, 12, t0 darify the audience Have there realities. He did not, and the ting hold of had Evler was a concert pianist of the virtuoso been any reports instruments were a matter of hit-or-miss night club! It wasn’t quite that, of course, but—some- never heard the work before, they loved it, and 13. , from and . Ger- many as to a was cold an affront school, possible bombing of and indignant at such chance, and his own order. Whatever it, gave it a thunderous I would suspect that the two- Aaron Copland: Billy the Kid, mous the fa- ambitions had to be deferred. thing on that one may call how- reception. With earnest sincerity, The Cat Festspielhaus in Bayreuth? to their first I have in- sensibilities. Even when he was assigned to ever, it soon infused into performer they assured that it hand version was made as a bril- and the Mouse, Piano Sonata, formation in my musical service of some the a new basis me was entirely ‘all right’, and Piano possession that tells of th“ cort, liant display piece for the arranger’s utter destruction he played the music given him and only his of approach a new ability to size up audience that I needn’t hesitate to play own Variations. of the great La cinaif » » • had — an — it for the next group. a canty recitals. P US ‘ n Milan leisure to devote projection I cannot tell ' Ita,y to works wished power of that comes only Paul Creston: - 1 have he might have from much experi- you how much that helped me. Prelude and Dance. of th h° if- heard °f the hnmbing of the to study 5. Even sextuplets a Berlin State Onera and which might not be included in the ence with all kinds of varied audiences. No other “We still have the must be used David Diamond: Eight Piano Pieces. and a bomb “Show me the wherein music dwells, young, or beginning, artist to con- was reported to have home routine throug'hout. landed programs. Most of all, the conditions of mili- playing experience that I know of could provide quite sider. What At no place, not even Meas- Roy Harris: Sonata for Piano, °f Vienna and I shall peaceful, did the war do to him? On the whole, I think "Little ImPerial Opera show you a happy, ary ure But^fttl Rothlng fife reduce to a minimum the leisure for the that quality; and it undoubtedly served it benefited 17, should the rhythm be changed to Suite.” has been said and to sharpen him provided he was assigned, as it was WagnersWoJ, “I SF about contented home.” thought, done Festival House. Please the preparation, the development without awareness to one’s powers of reaching out. You wherever let me —Longfellow can possible, to some ( Continued on Page 350) 322 "FORWARD MARCH WITH MUSIC" JUNE, 1946 "FORWARD THE ETUDE MARCH WITH MUSIC" 323 1 i* I * — / —

cooperation, then patience, First, they learn depend- They learn that they Music and Study ability, and reliability. have to We have few disciplinary keep appointments. prob- 8 tardiness, and lems, such as absences, misbehavior, SPRINGTIME IN VIENNA interested as the boys are extremely in music,” Mr! Double thirds and double sixths were used so frequently by the Viennese waltz composers that they have become an idiom in these lovelycompo- Huffman explained. opening' thirds of Springtime in Vienna be rubato. Imitate the legato of the violin, phrase carefully, The case of a boy at the present time enrolled sitions. The should played with a pleading In the school proves definitely that character can be built through music. Possessing musical ability and “Sing, Ye Citizens!” a very likable personality, the boy at the same time was a very poor student and presented a very serious disciplinary problem. The family was in poor circum- the widowed mother finding it necessary From a Conference with stances, to work to support herself and the boy. Finding it a difficult problem to keep him in school, his former school principal called Mr. Huffman and asked his help in placing him in the Boychoir. ci / ^JJ^erlert ^JiuJum After the first three weeks of enrollment in the School, the boy reverted to his old Director, Columbus Boychoir School Boychoir habit of truancy. Upon a second offense, Mr. Huffman, hoping to impress him, called him into the school room, and told him to gather up his belongings as he would SECURED EXPRESSLY FOR THE ETUDE BY DORIS W. LEAKE have to return to his old school. As the boy sobbingly protested, Mr. Huffman informed him he would give him one more chance. As a result, he has become a different boy, developing a frank and open person- UNIQUE Boychoir School which uses music, not with a budget three times as large as that at the ality. Last year, when the school presented the opera, as an end in itself, but as a motive for building beginning. It includes on its staff four full-time Huffman and Bastien and Bastienne, he took the part of Bastien. A character, has just completed its fifth year. academic teachers, two secretaries, Mr. His former principal, who heard him sing remarked, This is the Boychoir School of Columbus, Ohio. his assistant. It offers all the fundamental school “If anyone had told me this would happen, I wouldn’t Resembling in many respects the boychoir of the subjects of grades five, six, seven, and eight, in addi- have believed it." popular “Going My Way,” movie, the boys of the tion to musical training, and is interdenominational. choir range in age from nine to fourteen years and Physical training is also included in the program, are taken from all types of homes. Personality and and baseball is a favorite sport. Concentration and Cooperation attitude being important factors in selecting boys No tuition is charged, the school being solely sup- In many other cases where students have presented for the school, they must be recommended by public ported by public contribution. However, the parents a disciplinary problem they have worked out well in the school and music supervisors. of the boys who can afford to do so contribute what- Boychoir School because of their interest in music. Herbert Huffman, musical director and organizer ever amount they wish. It includes on its National As Mr. Huffman said, "Cooperation is the first essen- — of the school, first began to dream of a Boychoir Advisory Board such prominent people as James tial for Boychoir School students. While it is fun to - A a • f r" ^ % -% • • 0 School when he directed a smaU group of boys at Melton, Gladys Swarthout, Lawrence Tibbett, Donald sing, music requires a lot of work. The boys must / -J/L ui + I J r/Q c ^ r ^w t t x * —— p m K » 1 p w ~ • ^ 1 n. i i.a b t 1 • \r/ t m i r Broad Street Church in Columbus, where he is Dame, Hon. John W. Bricker, and Louis Bromfield. learn to concentrate for long periods of time. If a "-0-. *as| a- r ^ -£==r= l—l J Director of Music. boy doesn’t keep up in his school work, he loses his A

i Starting the first year with forty boys, he organ- Few Disciplinary Problems part in the choir and cannot go on trips out of town.” ized the group into a choir increased nf which the second One and one-half hours rehearsals are given daily, Aaron Cohen, now staff accompanist for radio ' year to fifty members. The dream itself / ! g. materialized forty-five minutes in the morning and forty-five station WBNS, got his start when he appeared with YT~' f ~ f- /'"i r* the third year, when the church provided a building School 1943 in York Hall. $ Jgy m tf * " minutes in the afternoon, Mr. Huffman using the the Boychoir in New Town ? ZJLz » * * I •r v ' ? — * to — P be used by the school. Beginning with a meager piano for accompaniment or sometimes nothing at Because of his excellent performance, he was awarded h 7 r 2. -* budget of $6,000, three academic teachers J u 4 L were em- all. Most of the boys prefer the classical selections, a scholarship in music. Mr. Huffman was of course — 1 1 3 ployed, Mr. with Huffman directing the music. It was but jsuch songs as Don’t Fence Me In are enjoyed disappointed when his former pupil turned to "swing.” j* not until this year that Mr. Huffman received a salary. and are needed as relaxation. A native of Plain City, Ohio, Mr. Huffman studied As other boys became interested the enrollment “The Boychoir School definitely helps solve delin- at Ohio Wesleyan University, going from there to increased and the school, a nonprofit organization, quency in giving the boys a real sense of purpose. Miami University, with the expectation of becoming has grown in five years to ninety-seven members a lawyer. However, his love ( Continued on Page 346)

„ BOYCHOIR three BOYS FROM THE COLUMBUS BOYCHOIR FMSO In roles from 'Bastien and Bastienne” which _ nV THE Mozart Conrf,, , HEBnpn- Ohio wrote when he was only r °f T bus . twelve years old. the ,he HUFf FIVE Coluin Mu° C°1»U MAN Vnited el rk °ych0irchoi a - sZe?, ^°* ward receiving 0 JUnr° °waVrPreS '°' Cham ed ber 07 c ^ Commerce. Copyright 1945 by Theodore Presser Co. British Copyright secured "FORWARD MARCH WITH MUSIC” THE ETUD JUMJE 1946 3‘*6 4 it',.4 in \ - . 2 lit 1 r-f Mf-fffgf # a y cresc. a i e=?m

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PRELUDE IN E MINOR 1 Henry Louis Reginald de Koven ( 1859-1920), best while known for his grand operas, “The Canterbury Pilgrims” and “Rip Van Winkle ,’ and WHITE for ORCHIDS his many very tuneful light operas (particularly “Robin Hood”), was a facile pianist and had high ambitions for his piano pieces. This pizzicato 8' Sw. Tibia, Vox Humana BRIDAL PRELUDE REGINALD DE KOVEN, Op. Oboe, Horn Diap. 8', coup, to Sw. Hammond Registration Allegro eon spirito 165, No. 2 Gt. Bourdon 16' Sw. A'i (10) 10 5320 420 FRANCIS COOKE ~ Ped JAMES “ • • • • esc Sw. B (11) 00 7002 OOO Gt. B (ID 00 5352 300 Trans.. by Clarence Kohlmann Lent o ilia non troppo A = f^J-r JT] -j— rT=n 1 ffTj P uPV'T 5-.-- rJ ' Wp , KTK ^ JJ-J = Hg ^ -~-| i- :r ~ MANUAL Sw. - ~—mp '—•— \ 5'1/A ytj f _|2 ‘ tv. -2— = - -& = 1 ' f w :v f 1 f - ^ . { /t>4 L r — . :^ . ^ . . . a tempo ^ i ^ rail. ^ i^ . a poito eresc. r . tr\ — -0— — * (• * ^Y. 2 * m-rn —m — iff fW PEDAL -h i gf'Lj -Vy- 1 J\>A L L LJ d --•=L:^=:M J J J ih 3=^ n ; t vj Red. 52 “ ^ - - » rrs U. 1 IJ - j m J • a 3=zz " i * |y'

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Nelle Richmond Eberhart AT DAWNING Graclt CHARLES WAKEFIELD Andantino ( CADMAN* J= 63) N '“ Arr. by Ada Richter

BICYCLE RIDE Grade l. J. J. THOMAS Tempo di Yalse (J

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composition died a-borning. Yet, all pi- Teacher's Round anists can profitably tackle some of The Godowsky’s extraordinary output. After Table a period of study on one of his larger Piano Teaching Collections For Children! compositions, technical difficulties in Godow- from Page 312) most other pieces vanish. Perhaps ( Continued These are remarkable collections of piano music for children. Written by distinguished sky’s music does not live for pianists be- about things they understand in an idiom they appre- cause only the much-loved “Leppie” him- composers, they talk to children an apology for dis- Hofmann, making self, with his peculiarly flexible hand, is. no writing down. ciate — without sacrificing any of the values of good music. There into another room—and turbing us went and his ten incomparably independent practicing, The style is genuine — the form, spontaneous. Each collection contains a special annota- him slowly ^n we heard fingers could do its contrapuntal texture suppose? Some new con- tion on background and execution. Teachers will be delighted with these collections. what do you full justice. new-fangled bedevilments? O of They will find superb teaching aids in them. S?o with And where are the living successors This giant played at Sancta Simplicitas! Huneker’s giants of yesterday? You will the octave passages of l funereal tempo be lucky indeed if you can name three of Chopin’s Polonaise in the left hand or four these already well along in years. nowadays rattles — 1 schoolgirl DMITRI SHOSTAKOVICH • Six Children s Pieces a flat Every What of the younger generation of with the humility off as ‘easy,’ but Tempo di Marcia them keyboard artists? Are there giants among artist Hofmann practiced the nf a great them? The answer is a tragic negative. were still a stumbling section as if it Why? Because the Titans of yesterday Hofmann, I once compared block As to were not interested in passing on their * MARCH hammer, whose mar- him to a steam tradition, knowledge and discoveries to enables it to crack an velous sensitivity young talent in the world WILLIAMS range the army of M. Hofmann’s JOHN crush iron. shell or teaching is as demand- egg today. . . . True is unequaled, even in of tonal dynamics ing of time and pains as concert giving, ® Contains the following pieces: t. March 2. Waltz. 3. The Bear, 4. A Happy Fairy perfected piano technic. this age of and infinitely less glamorous or finan- List Tale. 5. A Sad Fairy Tale. 6. The Mechanical Doll . 60< wonder if the vanished of ^ “I sometimes cially rewarding. To direct the talents FAMOU piano virtuosi played much generation of a gifted young pianist consumes tremen- hammer must free itself Godow- action of a this blow, the than the artists of today— exacts an outpouring of The primary function of the SERGE PROKOFIEFF • Music For Children better dous energy and the string before the # or the lyric Bauer, or sources manually from contact with sky, or Hofmann, physical, mental, and spiritual piano is to transmit certain Andante tranquillo complete. In other # Gabrilowitch. . . . The vibration cycle is many-sided . . Those giants to first the without limit or stint. . created impulses from the keyboard piano hierarchy might be precious life’s strike its blow, and move m contemporary were not willing to dedicate which per- words, it must King: Pad- the string. The mechanism Hofmann, a . re- speed M^ classed: t noble cause. . . The than the greater m thus blood to such a several away, at a speed a prophet: gen- this function is subject to erewski, a poet: Godowsky, is that we are left with a forms at sult, alas, sound. In order to do this, it must, # MORNING Bloomfield-Zeisler, a sibyl; D'Al- often “sensa- mechanical essentials. It must of Fannie eration of busy, bustling— exacting the point of impact, he free to move at Busoni, a philosopher; and it must be vi- the GRADE-BY-GRADE bert, a giant; tional”—pianistic dwarfs. be light, it must be positive, speed which is required. This Rosenthal, a hero. it must lightning bration proof, it must be quiet, and the ladies! I am sorry I can’t say when the key is struck, the PIANO COURSE “And "Paintbrush” Touch purposes everlasting. means that I’ve The be to all intents and ^ Contains 12 little episodes, including Promenade, Regrets, Parade Of The Grass- •place aux dames’! Space forbids. hammer must have a positive connection Goddard in making made of the hoppers. Rain And The Rainbow, Tag , Moonlit Meadows List $1.00 Arabella some difficulty therefore, are heard them all from I seemed to have The parts, mechanism but, paintbrush touch described with the balance of the from Alide clear to a pupil the all of these to Mme. Montigny-Remaury; (Maier-Lig- only material which fulfills the “Children’s Technic Book the fraction of a second in which Krebs, Anna Mehlig, Paul- in a during • Topp, Marie brought in from my work-shop wood. Years of painstak- • LEV SHULGIN Ten Children's Pieces gett) until I requirements— must free it- Ingeborg Bronsart, Made- paint brush large enough the stroke is completed, it ine Fichtner, new, clean, actual in the at- discernible to both research have been spent Modernto Julie Rive-King; and its reaction easily ing reestablish posi- ^ , line Schiller to to make self, and immediately— PROPER TEACHING SEQUENCE employed in a vivid demon- which will make the most, masculine of us. This was tempt to find a material virtu- from Sofie Menter Visual Education. Now contact. Such agility requires stration. Excelsior! . . . tive €1 ON THE Ethel Leginska who paintbrush For it is difficult to meet of Liszt players to students know exactly how a a better action. bearings which can never my brush ally frictionless afire; from Helen stimulus we u e - Such a and toler- jA STEPPES plays like a house acts under the f the exacting dimensional limits the VERY FIRST PIANO BOOK 75 of standard teaching loose, must never be tight. Thus Katharine Goodson: from is hereafter a part my be Hopekirk to a mechanism with wood. Pupil’s musical vocabulary and playing experiences equipment.—J. P., California ances of such are pivoted on Clara Schumann to Fannie Bloomfield- moving parts of the action better than wood, or are limited to Middle four notes and four newly to teach That no material by C — up Zeisler; Olga Samaroff and the Of course that’s the best way nickel-brass center pins surrounded Includes the following titles: On The Steppes, On A Bicycle, Pioneer Meeting, found for Guiomar paintbrush as wood . has been notes down. come Brazilian of high promise, I often use it in even as good which are shrunk ^ the touch. felt bushings Song, To The Sound Of The Accordion List 75 < special Turkmenian it in the fact • Novaes.” practice in Teachers’ classes, but this purpose, is clearly evident touch smaller around a wire 1-1 000th of an inch THE HAPPY HOUR BOOK 1.00 Concluding his article, Huneker ob- occurred to me to recommend it Baldwin action parts are never that today’s permanent pins before the ac- ‘ demonstration, I use a than the DMITRI KABALEVSKY 15 Child ren's Pieces Pupil enlarges his musical vocabulary. Plays and serves: to others. For Intricate, highly special- handle, made of wood. pressure against that only Chopin, with a long, pencil-like tion is assembled. The reads notes on the entire grand staff, altho playing “It is noteworthy brush developed which Suspend it ized machines have been Liszt and von Buelow were Christians a half inch brush base. the center pin is never sufficient to cause is confined to five-finger position. and with- the the second and third can produce dimensional accuracy among the masters of the keyboard; gently between appreciable wear on the felt bushing but unimportant exceptions) supported delicately with the of l/1000th of an inch. Elabo- A rest (with a few fingers, in limits by virtue of its elas- FIRST GRADE PIANO BOOK 1.00 hand hanging is always enough # were and are members of that race whose thumb tip; now with your seasoningand drying procedures ha\ e LITTLE SONG rate gently to the pin and per- 3 Pupil learns all the major scales, the tonic, dominant incline them a high wrist, touch the key- ticity to cling religious tenets specifically loosely from with the final result that the brush to- been devised noiseless movement. and sub-dominant music . . . narrow side of the mit free, easy and chords in each key. to the love and practice of top with the possesses the key swiftly Baldwin action made of wood Selah!” ward you; then brush By the same simple movement of the Contains the following delightful episodes: Playing Ball, An Old Dance, Having Fun, a very qualifications. It is light, ADVANCED FIRST illustrious pi- free-arm stroke, making all of the needed the GRADE BOOK 1.00 Huneker mentions other with a key, the damper is removed from Toccatina, A Little Joke, Dance On The Lawn : List $1.00 After a while, virtu- of them un- fragile pianissimo tone. . . . quiet, vibration proof and Bridges the gap usually found between first sec- anists of former days, most positive, of impact and 0 and more swiftly ap- string at the exact moment known to us, few even mentioned in brush or sweep the key ond grade books. ally everlasting. retracts. additional weight as the tone in- returned as the hammer ALEXANDRE TANSMAN • Children At Play recent biographical dictionaries. Missing plying rather Note especially that the But these attributes are physical from the article are conspicuous contem- creases in power. the action does, and in SECOND GRADE BOOK 1.00 as basic function This is what ’ 1 not lowered and the porary pianists of the day (1917) like wrist does not dip or is than mechanical, it does so. To get the 1 how fool- this part how and why Cortot, key is brushed. Also notice is mechanical. From ’* Lhevinne, Siloti, Rachmaninoff, the of the action "I f* THIRD GRADE i BOOK on long and pains- /* 1.00 down or to squeeze full story it would take MELODY J i A sparkling” ish it is to press to do things -5 2 and Schnabel. The “fresh and standpoint it is called upon ! realiz- brush after the tone sounds! study of blue prints and mathe- 1 > Mischa Levitzki who died before the few mechanical taking 4 FOURTH GRADE trans- which are expected of BOOK 1.00 pres- throw away the brush and way is to ing his full stature is among those Now must actuate matical formulae. A simpler Contains 13 charming pieces, including Two Voices, Game, Barcarolle, Peasant to your single, devices. Among others, it ent, as is Percy Grainger, “the young fer the process directly own a Baldwin. Then its lightness, its Invention, American Dance List 75 FIFTH GRADE you will pro- hammer to strike the Dance, South 1 BOOK . 1.00 Siegfried of the Antipodes,’’ who this hanging third finger, and the percussion ^ its uniformity and its everlast- of paintbrush tones is governed quietness, year celebrates his fiftieth anniversary duce a great variety string with an impact which 0 try to apparent as it is now to . • Then finally ingness will be of concert giving. Much space is allotted from pp to mf. . speed ol the pianist’s fin- CHILDREN’S PIANO PIECES • By Soviet Composers All contain carefully moving your exactly by the Z chosen selections each for- the brushing without world’s great artists. to Alexander Lambert, now all but feel touch the keys. Having struck the Allegretto preceded by This is of course gers as they explanatory and analytical text gotten. The passing of the romantic Ossip finger from the key-spot. with application of the paint- practice suggestions and procedure. Gabrilowitsch is every day more lament- the practical hold the hand sus- MR. and MRS. ed. Harold Bauer, Samaroff, and Leginska brush touch. Always from the forearm. Avoid BEETLE are teaching. The successors to Hune- pended lightly the wrist as the key WRITE FOR COPIES ker’s long (and curious) list of distin- lowering or dipping "ON EXAMINATION" lower your . . You may guished women pianists are few—Ger- is “brushed.” . « $ you want after the tone Contains 29 pieces, including The Clown by Alexander Gladkovsky, Mr. and Mrs. THE maine Schnitzer, Elly Ney, Myra Hess wrist as much as 9 Beetle by Vassily Barvinsky, Jumping Game by Ivan Shisov, etc list $1.25 ® and one or two others. is made. COMPANY • CINCINNATI 2, OHIO apt word “brushing” is to THE BALDWIN PIANO Godowsky, alas, has left us too, and I What an BOSTON important weight- MUSIC one of the Pianos COMPANY fear That describe Hamilton and Howard has taken his music with him. . . . Makers of Baldwin . . . Acrosonic * piano tone! Building • Radio City • 116 BOYLSTON ways of producing LEEDS MUSIC CORPORATION RKO New York 20, N. Y. STREET c^> BOSTON 17, MASS. “transcendental” Godowskian school of "FORWARD MARCH WITH MUSIC’’ 345 344 "forward MARCH WITH JUNE, 1946 MUSIC" THE , n t c r i •

fi IJ L It It A IV S E IV impressive and perhaps more important is achievement you have made in Sheet “Sing, Ye Citizens!” the Music Cabinet self-discipline, courtesy, poise, and per- piano Moths sonal responsibility among the lads of Voice Questions ( Continued, from Page 324) the school.” The Boychoir School has been respon- for music led him away this field from sible for organization of many other $200,000,000 yearly is the of price of l of endeavor, and it was at the suggestion boy choirs, among them one in Buffalo, neglect. | of one of his professors that he entered AsIc your piano .Answered L DR. NICHOLAS DOUTY New York, and one in Dayton, Ohio. As tuner for a FREE copy } Westminster Choir of School, at that time a post-war program the director expects "How To Fight Moths." or send 3dv located in stamp to: Dayton. to offer a regular conservatory course, be answered in unless ///> i N“ VANAUG P,ANO talk youcaS now* piograms 475 i SCHOOLS care not to strain your voice by trying to in- of vocal or instrumental music. The name part comic opera, Bastien and that you think your child 4/5 Fifthrhh Ave. bept.n E PHONOGRAPH Bastienne, might New York 1 RECORDS OF FREEMANTEL'S 7. N. Y. its volume too soon. Volume should come in Leo Delibes’s opera “Lakme” is a type of ântel's VOICF they received like. Find some points crease Letter-Lessons, and actual volce praise from both critics’ of mutual interest, coloratura soprano role. 3 on to you as you grow older, as your vocal mus- ’ kulrtc you every step of the way Voice culture breathv-c°û and laymen. During and use this as a means of 2.The lyric soprano is one that is capable of control, diction, timbre-taught and demon: the Sunday broad- inciting in- cles develop and as the result of correct and stratcd so you cannot fall. If you do your part. casts the boys had to iearn one new terest. Maybe another work by some com- careful exercise. The voices of very few girls the expression of subjective feeling, especially WRITE FOR FREE number every poser the can be said to have matured at fourteen. in lyric forms of poetry. Mimi in Puccini’s FRrr DETAILS day. Many letters of ap- child has discovered only re- opera “La Boheme” is a typical role for the * “ “ Even If You Can't Sing —The range you quote is quite long if all a Note preciation were received cently for the first time is ad from people scheduled for tones are good and easily produced. lyric soprano. Our answer to C. E. D. in the W a Fr n etho ha CLASSIFIED the We ?thers pr ? dons for marveling at the broadcasting; ADS oê t hirYOnean H^ T S ability of the boys to with a bit of subtle persua- could scarcely classify it without a personal July 1942 issue of The Etude contains a sched- VOioe ' Pay as Y™'®™. Write NOWfor do the things they sion he or she audition, but it to too high for a real ule of the approximate ranges of the various fun details''^ did. After their ap- can be made curious about seems be Joan Fonlaim (soon to bo seen in R. K. 0.‘s "Christabtl Cairn”) classes of voices further clarify FREEMANTEL VOICE pearance in this as contralto. Ask your teacher about it and also which might tnjojs tht Magnavox in h»r Btvtrly Hills homo INSTITUTE Town Hall in 1943 the yet unfamiliar composition. As the Sfod.-o 6E—Steinway Hall whether or not you should sing contralto in the your3. ideas about your daughter’s voice. Her 113 W. 57th New York Times said of child takes an interest U VW St., New York them: “Better in a form, like ANTEI) MUSIC Choir. it remark that she does not care whether she is 19, N. Y. a Piecenie oH?. ; exchanged Junior From your note seems more part singing, fut piece, ;,c each; finer dynamic symphony or concerto, quality matched like a mezzo-soprano than contralto. a lyric or a coloratura soprano so long as she shadings, other works in Burpee s bpecialty Shoppe, a clearer phrasing that form Del'ton, Mich-’ does not breathe through the makes the most of what she has, proves, to our or nicer feeling will may be marked for his listen- —One dia- seldom phragm, but with that very elastic muscle, mind at least, that she is as sensible as she is ans/ be found anywhere.” ing, and whenever possible a little back- well educated. Your description of the careful, ground aided by several other very important ones. or human interest about patient, scientifically accurate lessons given to Larger the com- SAtEl Please read some books which describe in de- Building poser should J VII STEINWAY CONCERT S. period and one- Necessary be provided. It is ui.ANDq as tail the structure and the proper actions of the her by Mrs. during a of two the thrill of a full symphony, soft always new, nine feet lone: 1 When you want fuliv enai . half years and the physical and vocal improve- As a result of broadcasts well to have a musical d iSCOU J muscles of the chest during inspiration and ex- we have encyclopedia close Oakuak " OKe " h Holstad, 357 received at hand Grm?e°dove, -Minneapolis,M S Minn. piration. Resonance is the reinforcement of the ment that she has shown during that period, is background music or the gaiety of light opera, Magnavox U'-'f® Results GUARANTEED! applications from boys ail to the radio; one i\/ over never knows vibrations produced by the action of the breath a marvelous tribute to the ability of her teacher. /sSSflBly .*tr».n»,h.en the vocal organs- Snl'i?'t the United States, when it is going S n9m9 lessons—but by sound, sci- but lack of to serve a upon You can safely trust Mrs. S. to choose the VJJMI,•o/Jill \ih/if entlfl l'L Nu i finances good cause. the vocal cords, occuring in the bones In this enti flc aMy corrert silent and gives it to you—faithfully reproduced. superb vocal exercises. and facilities has There are books, proper exercises, songs, arias, and roles for made acceptance of too, on music well worth LEARN piano tuning at nnvir and cavities of the chest, face, nose, and head. ast's's to suggest "sK'ft^ss acquiring, se by - It is easily your daughter’s advancement and them impossible,” Mr. and since r VVm - Braid Whit.- most reproduced when all these radio-phonograph the world’s great music is brought Huffman asserted. The Etude Hnvf i 5? Write Karl PERFECT VOICES. has a lianenbach, 1001 organs are healthy them at the correct time and in their proper The building book 2 Wells St., LafayeUe, Ind! and when no stiffnesses are now in use is far too small eview section that covers a wide present to prevent it. Read Fillebrown’s book order. to you with concert hall splendor and trueness of tone. for the rapidly expanding ground one can school. How- not do better than to “Resonance in Speaking and Singing." —Of course it is quite possible that the ever, he explained a recent scan that department 4 * Grading of piano individual, golden quality of your daughter’s gift of $10,000 monthly for worthv -ARRANGER Lyrics set to — music varies with the Magnavox gives you a rare combination of fine y mS'IviS — transmitted to her by an FREE will be used to start a building suggestions. e e 1 la ‘‘°scores. Cop.vwork. publisher. It would be impossible for us to tone may have been Sample Record fund! Mail uscri mV* i ancestor Spanish blood. However, the same As for the and prepared for answer your question accurately. However, we of music, distinctive style and beauty which is not boys themselves, they H could have been our publication^ father revealing are pleasure this HaH ' * 35S Ureenleaf are informed that quality existed in the voice of her and how you con Chicago*??, ’ the grading in both Canada be taught singing normal, healthy boys, month to IHinois!* and as Mr. Huff- discuss the many and the United States is apt to it is scarcely necessary to seek farther and speaking by famous teachers fine pro- be somewhat duplicated by any other radio-phonograph. through man says, “Of course they grams of this past similar. to find a more direct inheritance. We hope Educational Records. have their season and more par- differences of lcularly 5* —Here are the names of four songs, very she will be able to preserve this lovely tone opinion, but I always try of those that L Write for record brightened the rsED CLASSICS— varied in quality, unspoiled and unchanged throughout Sent absolutely free to e t e Schirmer character and in three languages: reason things out with them.” fust post-war Eastertide. *.M edd m m* , When We would like tali 1fradeb'strumen- Kramer, The Last Hour; her entire life, for it will certainly make her one Vo—«i “o 01 s " Hahn, Si mes vers talks with Mr. Huffman, to have been fSsTie E 3151 High, Denver avaient singing attractive and contribute greatly mmicT-o-MS • it is very able to name a 5, Colorado. des ailes; Brahms, Feldeinsamkeit; more so s. o« ran 5 dozen or ihk . nsm . m obvious that the quality more of the Charles, When I to her musical success. that has con- worthy summer broadcasts Have Sung My Songs. tributed 6. There are so —Miss Rose-Marie Brancato’s address is most to his success with but advance news on many fine music schools in the these at the time Canada that 1560 Grand Concourse, New York City. If you boys is that of patience. of writing we hesitate to specify any one. was not available. McGill University will address her there, perhaps she might be One might in Toronto has a music de- Combining all the wonders of radio science, amazing One of the wish it more personal details of chief were partment willing to give you interests of the boys different, but production that is quite celebrated and the outside 1 Toronto her life and her career. We believe she is GUITAR of music is aviation. during and since Conservatory is very well spoken, of. CHORD CHART Next in the war is still on short •Muwa-ays F. M. and automatic record changing with the best in furniture line their main schedule. Greatest Musical Sensation! American bom. risffi&sas interests are baseball National programs often change ssBasmis Pzayers, famous singers completely craftsmanship, Magnavox is designed to hold raicE si.oo and movie actors at the last moment; After an Attack of Quinsy Her High there are' — . . ^ u a UU1UIII nonco l radio personalities, multiple VUilUlJ UKUtR this greatest and the popular reasons why this T Il SOMI:THI V(; Q. What is Tones Break chart buy NOW can happen of*r®?tal NEW!” Abook a coloratura voice? Is it the qua! its place over the years. See, hear and compare comic” , l rn books. or it all contests *ty, the range, . —In March I suffered an attack of quinsy CAKQL-Box The boys spent their has to do with a system. ing ideas and teach- the flexibility, or what? M Q 21 E-Lefferts-Brooklyn vacation But Bodman. $1.25. daughter after which my doctor advised me not to sing 25, N.Y. last despite Price ( Mus . Bac. — summer in* last minute Clark , in composition and instrv. Magnavox with other radio-phonographs Chautauqua changes, the radio OSra ,b Book Publishers. 2425 mental a while. For two months I did not sing. New York, Riversidpverslde Placep| T music, Yale), has studied voice wit for where for goes on and it ' Los the second year is always there. Angeles 26, California. two Now I have commenced again, and my low It can be good teachers. The first, an Italian mat you won’t be satisfied until you own a camp for musical relied but on higher notes my boys was established upon but in order to died shortly after she started. tones sound the same, in get the best The second, wit response to requests from it whom she is voice breaks. I can hit the notes, then nothing PIANO to make the we ourselves must exercS now studying, is a well know one—a wide choice of models, TRICKS! training some arp student will purchase New York more will come. Before my illness I could sing of the Boychoir iscretion and Lvn'n'nJf'ul V singing teacher, a lady. Both sai School avail- meet it on its own Y n e t har P- -Must be in C. Will I ever be able to sing these sched- Eond c n (1 mTn »?° , she was a lyric B and high able to n ‘ soprano, but starting at $214.50, in America's other boys. ule. Mrs ’ both I am sur Here the Children as well torla, Wlllls L- Bolen, Fos- is it only lack practice? I f boys take as grownups Ohio thought she tones again, or of 8 3 1 ;| r son s should was wasting her time because he . ° 6 on the cur? part in ren t “hu JJAti J 1V such activities to sing with a iveil 3 18 as crafts, canoe- endeavor to arrange their voice was so small— have been offered a chance fine modem-styfe 11 ing, time to tune- "A little girl voice." He stores. br'ea^ rwve^figure^ swimming, and in great difficulty known chorus, so please let me know whether woogie booefiT’8 baseball, in addition at the beginning of was incorrect breathing, cause effects and a program . tricky embeflfshments to vocalizing. To oy illness when or not to accept —Miss P. P. tune-in at the half-way mark a child. Mrs. S., the New Yor INVALUABLE often spoils e gave êr breathing TO PIANISTS R CCallSter ones l‘ exercises whic A. Quinsy sore throat is usually associated ’ Program pleasure — Director and certainly it made her grow Tht Georgian Shown is approximately $260* TEACHERS AND of Chaut^ is no wav taller pom the waist up and sh with streptococcic infection, which in your case qua : to 0 ' js Slightly west of STUDENTS' ’ Was promote music r°be noto well-proportioned, higher Rockies Single copies are Pleased with appreciation. ton? So g-Battle ° f 7 which she was nc seems to have extended into the vocal muscles 25 cents, stamps or coin thefrr Performancenerf nata-Jam ^ Jore, last year 2520 Hewitt. C. Hal and she has learned to control cords themselves. Some in- ; ,j , when he * * * LaMothr^r-aaiothe St., ?? her voic and even into the *« told Detroit 6, Michigai SfBTsi Mr. Huffman, breathing. It used to come persists. When you try AT/tc SymAof Qua/tfy in F/tm/io- as arffiffit.'v?jh “We were aU greaUv -l out ever flammation apparently A “It is the 4 lt impressed with nature of instrumental should not and not much at tha the higher tones the vocal muscles find the I to sing high standard music it u- . en of in its highest form two and one-half years patten difficult to approximate the cords and a —Since /9/S : musical performance to express in .t.rJ? . of it which you sounds IEWs 7/8 size. Phone y An experienced have or write- t * , , \ singer who has You should return to the doctor developed what is inexpressible in vat ls watche break results. with words." ; n ’ 888 sth st - the boys, but Brooklyn o«r ? East a3 es with interest said, exam- equally ’ ^\ ew v "At last sh who treated you for quinsy, for a new an VOX 7-484*}/ ôrk. Phone Esplanade hnl f. “nd} she, 346 —Wagner. is a coloratura." My daughte ination, diagnosis, and cure. It would seem to PH C0Te J whether she is a lyric or a colora be rather dangerous for you to sing a great forward turnra asn i . long as she MARCH WITH MUSIC” makes the most of what sh deal at the present moment. THE ETUDE JUNE, 1946 "FORWARD MARCH WITH MUSIC” 347 — 5 a . meg What Price Technic ing forth in temples and ruined houses, the music department of Foochow Col- (.Continued from Page 317) ach You just sit down and PLAY! lege has kept up its work, and in fact of other md Choir Questions institutions including some of has grown and improved, keeping pace Orgm the better Universities and Conserva- with the rapid increase in the popularity eethoven tories. Daily practice, including technical 0 f mus i C j n china. concentration, is obviously a must for “Being completely cut off from the out- the organist as it is pianist. for the side world, and unable to get recent is- Neaily every one _JlnMverecl ly HENRY S. FRY, Mus. Doc. of us is endowed with sues of The Etude, I scoured the country a super amount of laziness. old friend, My f01. 0ld COpies of which I found many in Says a recent letter, "Century is to Josef Lhevinne, used to remark in Many people think the mo- libraries and private collections. My vocal three B's are be congratulated tor reminding every ments when he did not want to do his also the three best. pupils eagerly read the articles by Pons, It is the logical teacher that there is great music daily avail routine, “I am naturally indolent!’’ thing to select Flagstad, Lehmann—artists with whose your favorites in Cen- able in the early grades." We think that How truly does this feeling apply to ° ------most voices theyuiey familiar tury Edition. were laminar fromirom my recorrecord They are complete, au- an examination of these numbers at your every individual. Yet this one weakness library . Piano students studying Beetho- thentic and beautifully printed and, registration they contain grade difficulty dealer will bring is what leads to so much irritatingly bad — interested in the do and of what enthusiastic agreement ven Sonatas and chopin Preiudes read o I am much of course, priced at 15^ a copy. to approximate the chimes. are they? “A Book of Organ Music.” Rogers; from you. ng e's pecially among organists. We on mu 1934 organ avidl the master an effect “Organ Repertoire ,** “Organists Offer- ]essons on those works . simulate such Orem; t ' organist did must^ practice,oractice.nr nraetme »nd a rain nrnr>- . - quest practice, and again prac- ... A in the ing,” Orem; “Ecclasie Organum,” Carl. and fought for the pictures of their fa- BACH no set of chimes is included tice else we lose although Anna what we have. different times I have had other or- The volunteer choir in our church consists of It?! Magdalena, D-2 .Bach vorite pianists—Iturbi, Horowitz, Rubin- 3378 orqan At 3709 l Air for the G-String, C-4 but have the following voices: eight sopranos, altos, Minuet #1, Anna Magdalena, G-2. .' Bach Now how about the sages who tell us to locate the registration, four stein. 3417 Arioso in G, -3 nanists try 3710 Minuet it. you can three tenors, and basses. Is this an even #2, Anna Magdalena, G-2...Bach technic is overrated? been successful in securing If five 3608 These persons will 3488 Fugue No. 5, D-6 ZT Musette, Anna Magdalena, 0-2 Bach “At present the great need in China is suggestion I shall appreciate it. balance? Please suggest some anthems for a tell us that if 2400 Gavotte in B Minor, - make a helpful -7 1 Ecossaise, our musicianship is strong 3 Eb-2 Beethoven for well specification of the orgaij. choir that has had little experience. 4 trained music teachers in all 3257 Prelude in C, -3 Enclosed is the 3 Sonatina #29, G-2 Beethoven enough we can cover up technical slips ^ ^ fields 3558 Toccata and Fugue na n 30 F '2 —voice, strings, piano, theory, school in D Minor -6 A. In answer to the suggestion that we name # ' Beethoven and nobody will nVnc lu rt' ,?, , even know the difference. 3418 Two Part Invention No. ?* D° n s Lament, G-2 Franck music—to carry out the work of 8, F-4 suggest that you continue your experi- organ numbers for certain days, we suggest the 1971 In reply training A We Gavotte, C-2 Gossec I insist that those who follow Perhaps the successful organ- following: Thanksgiving, Demarest; Lenten 2264 the hundreds who are enrolling ment with stops. Song of the Fatherland, Eb-2.... such advice are for music BEETHOVEN of the “Parsifal” Griea doomed to eternal inepti- used a note combination productive Prelude—Good Friday Music from 2257 Watchman's Song, E-3 study in the ist Griea conservatories and music 1313 Try on your Wagner; Chant Heroes, Gaul; "The tude and failure. Nothing Bagatelle in D, Op. 33. No. -4 plus proper registration. for Dead “* °VP.y Rondo, G-3 WnaT/n ever has been 6 effect, departments of colleges. Before I left 3328 Bagatelle in Eb, Op. No. -3 8' 4' flutes the following combination Liturgical Year,” Back-Riemenschneider. xe " Minuet, C-2 devised to substitute for 33, I, soft and ° Haydn the long grind 1186 Moonlight effect 4* 1177 Venetian China in Sonata, C#m, -6 and if it does not produce the The Salicet is the stop of the Salioional fam- Boat Song, of arduous practice November last year, fully a of notes, which alone pro- 375 Rondo, Op. 51, No. I, a sixth (so called string P ‘ C-3 registration: -bottom note— — ily stop). * Mendelssohn dozen schools appealed try other 37T7 n3 Menuettou a' duces the ability to me to find mu- 3345 Rondo, Op. 51, No. notes & Air, F-Bb-2 Mozart to play even moderately 2, G-3 third—a fourth—and another fourth—five If a 16' stop is to b£ included in the Great Or- * ara " ,ell sic teachers for them in 3494 Six Variations, "Nel ." a America. Cor . . . Om-2 Prokofieft difficult music Surely G-3 also your investigation of a gan, we prefer a lighter one (of the open pipe . satisfactorily. suggest 3639alio To be sure, 398 Sonata, in all. We Tambourin, Em-3 Rameau there Op. 49, No. I, Gm-3 Solos, for an 16'. the fakers get by must be many musicians, young or number from the following Piano variety) such as the Gemshom or Dulciana 3715 Little Waltzes from with what they call 400 Sonata, Op. 49, No. 2, G-3 Op. 9A. 2-3 . .Schubert -.Trin- old, to whom this illustration of the combination of notes If a reed stop of the Tuba variety is to be in- 3 L° SS ' 2 musicianship opportunity for travel, 1341 Sonata Pathetique, ‘ m Schumann but which is nothing Cm-S lln n u ! but chimes—Decker; Cathedral Chimes. Brown; cluded (some builders omit it where Twelfth Happy Farmer, F-2 Schumann all expenses paid, for life in a ity unmitigated bluff. Yes, they do fool foreign Cecilia, Worthington; Chimes at and Fifteenth are included) for ensemble pur- enn e - 2 most Chimes of St. ' Am Schumann land and BRAHMS lien !“i^ , of the contact with the finest poses prefer a stop of the Trumpet character. March '2 people. How many honest youth we ‘ G Schumann men 7 «x of that 2447 Hungarian d Norseman, Am-2 can be land, for teaching and concert- Dance No. I. Gm-S S The French Horn is the character stop we would c Schumann happy in such a devious proced- 2451 Toy Soldiers 2395 Hungarian Dance No. P-4- in effects, and its inclusion March, D-2 Tschaikowsky ure? izing for a three year term on a 3, 5 not use ensemble I wish more musicians generous 2203 Hungarian 5,’ 6 ° reams had a con- Dance No. - our church a depend the decision of those in . C-2 Tschaikowsky p#m We are having installed in would on ell w u salary would appeal.” 3249 Q. 896 Waltz, Op. 39, No. science which Hungarian Dance No. 6,' Ob-6 . . would rebel be 8, Eb-3. .Tschaikowsky at such pro- set of chimes for the organ which may authority. The Gamba (mild), and the Mixture, 3336 Hungarian Dance No. fessional ethics. Never 7, P-4 played from the console in the church, and they Twelfth and Fifteenth, should be included for forget that this 3491 Intermezzo, Op. 119. No! 3 C-S recitals before ensemble effects. Vox Humana (Swell Organ) Ask your dealer for Century music. thing the 2448 will be amplified in the tower for If he cannot incompetents label musician- Beethoven s Waltzes, I, 2, 8, 15, Op. -5 Bonn 39, service. I recall an article in The is also subject to decision of authorities. The supply you, send your order direct each Sunday to us. Our ship is not musicianship at all. It is The following letter Etude regarding the playing of chimes, but I other stops you name for the Swell organ complete catalog listing over was received from an Ask your dealer for 3700 numbers is merely a label Century music. If he can- to distract attention American musician to trace it. Can you tell me the should be included together with a soft 12th. FREE on request. from in Bonn, and should be of do not seem able not supply you, send your order direct their clumsy efforts to “get interest to Etude readers: to us. number of The Etude that contained the article In the Pedal deoartment we. of course, prefer by.” Our complete “I catalog listing over 3700 num- the set will include a soft Bourdon 32' to the Resultant. We suggest, No amount of preaching was interested to note in your issue I wish to read? I understand will ever bers is CENTURY MUSIC of July FREE on request. twenty-five notes and I would like suggestions if the latter stop is included, it be a 16' real PUBLISHING CO. eliminate the baneful 1945, which was forwarded to influence of those me pieces using chimes for the church serv- stop from the second "C” on the Pedal Board 254 West 40th Street New York from as to 18, N. Y. who tell us technic is my home, the reference only the organists differ in monies to fit every selection, foolish and un- made in CENTURY MUSIC PUBLISHING CO. ices. For outside work do you play (it may be borrowed). Since You pick out a simple chord necessary. The Maurice Dumesnil’s article to on the chimes, or do you fill in two or technique, and we are not accustomed to grade entire purpose of this lit- Beethoven’s 254 West 40th Street melody New York 18, N. Y. first . . . the every mood. tle birthplace in three note harmonies? What are the most suit- organ pieces by numbers indicating difficulty, . . . hesitantly at and article is to emphasize the age-old Bonn, Germany. Altho I Robert Whitford Break Sheets able stops for using as a background )or the we will give you such information as we have for Piano principle that cannot vouch for the to perform artistically it contents of this services? about the numbers you name, including prices. Hammond Organ responds with is the instrument that Revealing the greatest jazz chimes in the regular church Here patterns yet. is, building, Send for sample and always will be, or of the museum adjacent, M. W. S. Jongen $1.00 25c copy. necessary to de- I — Chant de May, of organ tones. You a rich blend family can enjoy. . PIANISTS velop a well-ordered and am happy to inform you that both Festival Prelude on Ein Feste Burg, Faulkes your whole adequate tech- houses ilMmillilJtM.'fi A. We, of course, cannot tell which article Send for your free copy are consecu- of our catalog of ultra-mod- nic. To do this involves still standing, although $1.25. An effective number, although try a little tune, and the music ern piano publications. the inconvenience neighboring Pianists in The Etude you wish to read, but refer you to youngsters as well as grownups State It you are a —8end for free booklet show- tives are apparent on the third page. of regular buildings are nearly ing how you may greatly 1910, the Septem- ROBERT WHITFORD PUBLICATIONS practice. By living a life of all destroyed. It is improve your articles appearing in the July technic, accuracy, memorizing, Te Deum Laudamus, out of stock at present is beautiful beyond belief. |8 North Perry Square one of slght- ber 1917, the May 1931 numbers of the will take to it at once. The Dept. 5E Erie. Penna., musical integrity, the those fortunate coincidences and playing and I uhhshvrs USA sincere musician that thru mental and price is not given. of Exclusive Modern Piano Material d R ton Mck result. magazine. We suggest a selection from the fol- these -. Q Practice effort becomes a credit to his buildings escaped damage, S T- P L On Hearing the First Cuckoo in Spring, Delius quickly profession and whi'e mji ' S ,,iani 1 "'’ ci,ers for Hammond Organ a “ ’ and lowing pieces for use in playing the chimes Classics, ballads, swing no man nearly every No oLTi g.-fon $1.00. transcription of a fine number. — of honor in the world. other building on the street your services: In Moonlight. Kinder: Evening A Broad well Studios. Dept. music an important All of was bombed out. 66-F Carina, California Bells Macfarlane; Sunset and "The Liturgical Year,” Bach-Riemen- of music makes which may be taking the musi- I was not able to visit and Cradle Song, matter what kind you y schneider, $2.25. cal career too seriously. the Beethoven house since Evening Bells, Federlein; Far o er the Hills. part of your family life. Are there other Every man must it was placed All except "The Liturgical Year” are subject prefer, it sounds better on the PIANO decide under Frysinger; Eventide, Frysinger; Silent Night, for himself whether a strict military safeguard of per cent. This book is a he will do it as a LEARN Gruber: Temple Bells, Peele; Chimes of St. to a discount ten the hard historical building, 'SWING" MUSIC collection of Bach Choral Preludes, covering Hammond Organ. The rich, sus- Moderately priced and so way or drift into the ranks of by the military gov- Marks, Russolo and Angelus, Matthews. There METHODS Liturgical Year. comparable musical hoboism. ernment. belllstiments, flLjgaaaBftg are many more chime pieces available in ad- the Of one thing there is hûratlonfi.blue notes, whole tones. etc tained tones of the Hammond compactly designed that it fits MODERN DANCE dition to those named. Outside chimes ordin- The organ books you mention contain music no doubt. The price of “It may be of interest too, ARRANGING a worth-while that I re- Duets, trios, quartettes and useful to the average organist, as intended. to the cently ensembles—special chorusei arily would be given out in single notes, but even the simplest into a four-foot square. Oper- SHEFTE METHOD technic is unremitting saw in another —modulating CO other keys— suspensions—anticipation! Organ make industry and in- magazine a state- we suggest that you use them as decided by the We suggest a "musical balance” for the choir defatigable ment that 10 ** Coor cttecls— swingy backgrounds— perseverance. the University at Bonn was WriuTtoday proper authorities. Ordinarily some Gedeckt or you mention, which seems well balanced so far music beautiful; its vast tonal ates from an ordinary electric not very ... ELMER 8. FUCHS Stopped Diapason used to accompany as number of voices in the respective depart- As is often the badly damaged. 335 East would be case in purchasing From my ob- 19th St. Brooklyn N. Y servation, 26, chimes, because of lack of overtones, but we ments are concerned. We suggest a selection resources offer intriguing har- outlet; never needs tuning. I would say that the buildings excellent merchandise, it prefer the more colorful Vox Celeste and so from the following for the choir you mention is well to of the University were almost a total forth, for use with the chimes. as having had little experience: "Anthem Wor- beware of the Letters many inferior articles from loss insofar as being put ship;” "Volunteer Choir Anthems;” "Anthem to any further WM. S. use would HAYNES COMPANY Q. Please send me information in reference Devotion;” All of which are available through The Hammond Organ is the instrument offered on the market so disguised be concerned. The centuries- to organ Etude, at thirty-five cents old pedals for use in home practice. the publishers of The Hear it at your dealer’s now. Etude Friends Minster was bombed but Flutes of Distinction of today. as to confuse the buyer. is still in —M. A. D. per copy, less discount of twenty per cent. use. The large Send coupon or write for complete Evangelical Church near STERLING Also "Anthem Voices” (eight books in series,) SILVER — GOLD — PLATINUM A. We suggest that you advise organ firms the Umversity is closed which may be had from the publishers of The information and name of nearest dealer. The SHEFTE PIANO METHOD due to bomb Of your wishes, and are sending you by mail stands a damage, but Catalog on request Etude, for thiry-five cents for each book. Any Want Music Post in China? services were held for army name and address of party having pedal and in a class by itself of the books mentioned can be had on approval, and is Unique in its personnel in a large 108 Massachusetts bench for sale. (Radiating, but not concave A. Faurot of the American Board Confessional Church Avenue, Boston 15, Mass. on request to the publishers of The Etude. many merits Beacon (14 m the Poppelsdorf pedal board). and excellent features. Street, Boston. Massachusetts) area at Bonn. I had and for the the past ten years head of the pleasure of playing the Q. Will you kindly suggest a stop-list for Music organ in this Q. Please suggest some organ numbers for Department of Foochow College, organ to be placed in a church which HAMMOND church for an China, several services. It Answering Etude Adver- Thanksgiving, New Years, Good Friday and before leaving for a recital was also people. organ is tour used by Memorial Day. 4'? accommodates six hundred The On sale at all music stores or sent The Etude this highly the German congregation What type stop is the Salicet appreciated for tisements always pays Are the following to be located in the riaht transept of the write letter about music conditions their services. stops necessary in a medium TODAY for the descrip, in war- size two church, the edifice being built in the form of ORGAN torn China. Evidently and delights manual organ? Great—Open Diapason there is an oppor- “I thought the reader. 16', a cross. Please specify which would be more five folder that you Gamba 8', ' on the SHEFTE tunity for the right teachers might be inter- Tuba 8', French Horn 8 Mixture, ©1946 who want ested in this Twelfth, advisable, a two or a three manual instru- RAPID to know more of the Kingdom news of Beethoven’s Fifteenth. Swell organ-Vox Humana COURSE. of Cathay. birth- S', ment, and what stops would be most effective. place, Trumpet 8', Salicet 4', 4', 2'. Editor’s and that music Clarion Piccolo — Note. lovers touring Eu- PLAY Pedal organ —A. J. rope BY SIGHT —Open Diapason 16 Resultant 32 Hammond Instrument Co., 2929 N. Western Ave., Chicago 1 8 “You will m the future can still PIANISTS. If you cannot with- be interested to know look forward play a composition Choral Bass 4'. Will you describe briefly the A. The stop-list will depend on the builders how to a visit 1*!1* Practice, you need special Instruction Without obligation, send full details about the Hammond Organ to: your to the great SrJSEPto eliminate following organ Forster Music magazine has brought inspiration composer’s home.” this handicap. The best Pianists and numbers? Are they suitable for being considered, the acoustics of the church, Publisher, Inc. mp nists of church to music students ££?K* £ are Sight Readers. The secret 7ise? Also give price and grade of each. and so forth. We suggest as large an organ 216 in China during is regaled in OF Nome South Wabash Avenue, these Sincerely, “THE ART Chant de May, will Chicago 4, III. war SIGHT READING”. Jongen; Festival Prelude on as the space available permit. We, of years. Although forced Lin Feste to flee to the Improve your playing rapidly. Burg, Faulkes; Te Deum Laudamus, course, prefer a three manual organ unless Address - country, James P. Autenrith and advance more like so many other schools 5 Lessons complete with Music $3.00 yia.ussma.nn; On Hearing the First Cuckoo the two manual instrument would contain in 147 1 st Engineering Maintenance Delius; “The Liturgical Year’* the essential stops for a proper accompany- Co. PANFORO HALL. III. m 1358-AC Greenleat, Chicago 26, B&ch-Riemenschneider.n Are the following Col- ing instrument, in which case we would pre- 'FORWARD lections MARCH WITH /MUSIC” really good music? What type of music fer the two manual instrument. THE ETUDE JUNE, 1946 "FORWARD MARCH WITH MUSIC” 349 \ . — —

1943, January 1947. The dead line and Edward Kilenyi—were and December 1944, No- City in the spring of employed with The Violinist's 1946; and matters musical. It Forum vember 1945, and April 1946. for filing applications is July 1, was less fortunate all details may be secured by writing to for young artists without an already Violin Rachmaninoff Memorial Fund, Inc., Questions the established name; In such cases ( Continued from Page 321) there 113 West 57th Street, New York 19, N. Y. was no public evidence of their natural Competitions abilities and consequently less chance of You should practice in a similar man- reserving them for their own work And ner in the middle of the bow and in the A BAND MUSIC COMPOSER’S CON- Musicians in they, of course, suffered hardship in be upper third: the TEST for the best “Concert Descriptive .Answered Ig HAROLD BERKLEY in middle with the wrist ing deprived of it. This brings me and March,” the award to be one hundred to sav finger motion only; in the upper World War II and -for the first time, something dollars, is announced by the Rock River that third with the forearm participating suf- I often thought but hesitated Valley (Illinois) Music Festival. The to express ficiently to produce a good detache stroke. 0Continued from Page 323) during the war emergency. composition will be entitled Salute to the It is that Practicing a powerful, cleanly-articulated I believe it to Twin Cities (Sterling and Rock Falls, be a mistake to draft into Saint-George is perfect; the other marteld in the upper third will also More Concerning George would not use it if he bene- Illinois) and will be given its first branch of activity where he might pur- regular service those per- who, by natural writing the recent comment on this were paid to do so. So much depends on the fit you. all these Since In exercises produce as formance on the festival program on sue his profession—in a radio station, ability and intensive letters from Miss player's bow technique training, can give composer, I have received and on his tempera- much tone as you can, and never forget August 2, at Sterling, Illinois. The clos- in an office that serviced entertainments, more than routine Cleveland. Ohio; the Rev. R. V. ment. values. Many countries Irene Dali, ing date Ontario; J. F. Scarlett, that all four fingers must be firm on the for entrants is June 30, and all and so forth—and when this happened, that were harder hit Wilson, Orangeville, by the war than Saul Ambrovitch, bow and that your wrist details may be .procured by addressing Powell River, B. C.; and Concerning Appraisals and fingers it gave him a better start than he would we were, made it possible to material Mr. Elmer Folkers, keep per- Los Angeles, Calif. The biographical J. A. B., Maryland. must remain flexible. Later, as feel Secretary, Rock —I have no personal you have gotten in civilian life. Such young formers at their own jobs. correspondents have been kind enough acquaintance with River Valley Music Festival, Sterling, And they did these any violin dealers in the yourself gaining control, practice in the artists mental stimulation, a scope it, has already been printed; what town Illinois. had not in any intention of ‘sparing’ to supply you mention, so cannot conscientiously the is the degree of admiration same way the eighth study of Kreutzer for development, travel, excitement, the performers, but of impresses me recommend anyone to whom you could take enriching the others. Saint-George’s two Suites in and the second, eight, expressed for your violin for appraisal. Why do you and twenty-second COMPOSERS are invited to enter a com- chance to experience new sights and con- That, I think, is the that not wiser procedure the Olden Style. It would seem they ship it to one of studies petition for the firms in New York I of Rode. a new anthem to be added ditions, and, above all, a sense of to- in the long run; better known in this country, for the men in service should be much have mentioned from time to time in these to the Chapel Choir Series. The contest very well suited to Together with these rapid bowings you getherness with the work for which they need all the spiritual for they are, apparently, columns? Then you would know you is sponsored and emotional were should by the Chapel Choir Con- High School orchestras. The Suites, in the getting an entirely practice long, sustained, forte were prepared. These young men will stimulation they can get, and dependable appraisal. As ductors’ Guild of Capital University, where they keys of G and D, are published by Augener you have been strokes. Start with eight seconds come back greatly enriched reading this magazine for to each Columbus, Ohio, and more can get it from their own I appreciate deeply the kindness and full details may be group they of London. some time, you know that the chances of note, bowing close to the bridge secured than ever able to take their place in receive it prompted so many readers to write to and by writing to Mrs. Boyd Henry, enthusiastically. that your violin being a genuine Strad are ex- striving for a full, intense Secretary the world of art. I can think of me about Saint-George. ceedingly remote. tone. The of the Guild, 545 East Allen many "On the whole, then, I should say So don’t be shocked at any- that thing the main thing to watch is the Street, Lancaster, Ohio. job assignments that appraiser may tell you. By the way. change of must have been experience in the military services was Price of a Durer Violin did you read my article on violins in The bow: it must be made by a flexible mo- a pure joy. I should have enjoyed them, far from a loss THE COLUMBIA UNIVERSITY to musicians, despite the W. H. M., California.—I have never heard Etude for last January? tion of the wrist and fingers, BAND I know. One that I but without offers happen to think of unavoidable hardships it of a Wilhelm Durer violin selling for the a first prize of one hundred dollars involved. Some any is weakening of the grip on the bow. to was the charge of a beautiful little is- men will have amount you mention. The usual price be- To the winning composer of an original a hard time finding their Develop the Bow Arm You can also practice land in Hawaii. tween one hundred and one hundred and three-octave scales, composition for full symphonic Certainly, there was way back, musically, to S. M. N., Nova Scotia.—My best thanks for band. The the point at fifty dollars. An especially well-made speci- eight notes to a bow and one second contest closes routine work to be done—but after, there your very cordial letter. I am very happy to November 1, 1946; and full which they left off. But in many men might bring a little more. If you are more indeed that my books and the articles I have each note. details may be secured by writing to Har- was leisure for practicing, for thinking; cases, in the Durer violin. I think you the combined influences interested written for The Etude wood Simmons, of dis- for have helped you so In the past two 601 Journalism Building, the man assigned there looked out over cipline. should take it to a reputable dealer ap- and a half years The of comradeship, of travel, much. To know that one has been able to Columbia University, New York the ocean, of praisal before you buy it. There are hundreds Etude has printed several 27, N. Y. took wonderful walks up the excitement, help another person is always gratifying. articles in of emotional impact violins sell for around five and of of makers whose Without hearing which I suggested various sides of two choice specimens of vol- spiritual you play, it is almost im- exercises for The Rachmaninoff Memorial Fund, Inc. eagerness must have a stimulat- hundred dollars, so it would be futile for me cano, read, possible for me to suggest solos that would the development of relaxation is sponsoring a contest to discover and studied nature. Only by ing and enriching to recommend any particular one. The choice and co- Amer- result. I know that help you with your bowing. There is one ica’s the rarest of luck could of a violin must depend to a very large de- ordination. It might benefit outstanding young pianist. one find a com- I felt piece that I you to look A series the value of it and that the experi- can recommend Tambourin, by of preliminary bination like gree on the player’s temperament and personal through the back numbers of regional auditions will be that in civilian life! ence of Leclair-Kreisler. This solo requires a very the maga- my years with the armed forces preferences. zine, held, beginning sometime after September “Again, many young artists agile and delicately-balanced bow arm. and particularly those for December of already has crystallized into a rich 1, with the finals to be held established and reward- if you practice it carefully you will certainly in New York name—men like Eugene List ing Material for Class Teaching memory.’’ benefit from it. The studies you are doing Miss G. L. T., Ohio.—Every teacher who are all excellent. Spend a lot of time on DIVISION OF SELMER, SALES OFFICE-ELKHART, INDIANA • PLANT-NEW CASTLE, INDIANA does much class teaching faces a different Fiorillo—there is much splendid practice for problem with each different class, and the the bow arm in those thirty-six studies. material she uses should be chosen with an eye to those problems. I think your best plan Forget Your Troubles With One Or More More Bow Markings Needed would be to write to the publishers of Tst lOU/uim- attdSon FINE OLD VIOLINS Etude asking to have several methods sent D. S. C., Michigan.—I fully agree with you to you on approval. Then you could choose that many of the more important student’s 207 South Wabash Ave.—Chicago 4, III. Large selection from $200. to should those best suited to your needs. concertos be re-edited in the light of SPECIALISTS IN VIOLINS, BOWS, REPAIRS, etc. $3,000. Send for latest list. modem advances in violin technique. Pub- CATALOGS and LITERATURE on REQUEST lishers, however, tend to conservative, VIOLINISTS" FRANCIS DRAKE BALLARD Tools for Violin Making be and PUBLISHERS OF "VIOLINS ond are usually not easily persuaded to make America's only journal devpted to the violin Collector & Dealer P. M. W., Maryland.—As a result of the war, — changes in numbers that are already selling Specimen Copy 25# 12 issues for $2.50 Troy, Pennsylvania tools, molds, and so forth, for violin making well. And there should certainly be are not as easily obtainable as they were more signs to differentiate the various types of a few years ago. However, I suggest that you bowings. The poor little staccato dot, for write to The Metropolitan Music Company, JOHN MARKERT & CO. Make THE ETUDE Your Marketing Place instance, is sadly overworked! It must stand 135 W. 45TH ST., NEW YORK 19. N. Y. 222 Fourth Avenue. New York City, telling Etude Advertisers Open the Doors to Real for so many different things. One must rely VIOLINS OI.D & NEW what you want. If tools and materials are Expert Repairing. Send for Catalop Opportunities on one’s taste and understanding. available, I think that company will have I them. Definite Proof The line "Made Playing by Ear Miss J. C., Pennsylvania.— Tell Your Music Loving Friends about THE ETUDE and ask them to give Czechoslovakia" on the label of your N EVERY COMMUNITY Miss H. W., British Columbia.—I hardly in there are ambitious We offer violin is a certain indication that the instru- you the privilege of sending in their subscriptions. men and them withou w _ think that one could compare the violoncello women who ' know the advantages of to the ment is not a genuine Stradivarius. He worked rga" izati on now in contralto voice as one compares the 1712 Chestnut Street Philadelphia, Pa. / new inspiration and ideas ? its 39th suc- Cremona, Italy, not in Czechoslovakia. The THE ETUDE for their are the in musical ad- We only school giving instruction cessful s ve violin to the soprano. The violoncello (’cello, ancement. It is in music bv and trained many musicians from twenty-five to to those our Extension he and f ^°Pf^ for short) violin may be worth Courses are Home Study Method which includes manv enrr f^f is a bass instrument, and it bears of the in its teaching 5 ’ To you dollars. greatest benefit. we offer same the same relationship the violin that the seventy-five UrSCS neCeSSary t0 obtam die advamaees wh Vh haveb '“l’" to Degree of Bachelo? be< «lvcn «> them. Don’t wait bass voice The most successful of Music! anv lonferi Thern i? bears to the soprano voice. For musician, of course, is UP n the very W bnng you our catalo illus- an adult, all string instruments are rather Plastic Violins usy one. • £. Yet he is the one who finds trated lessons^nd f extra time for 1 ™'' 011 ab°Ut ** leSSons wbich difficult to learn. However, the left-hand A. G. S., Wisconsin.—As an experiment, a Piano Teachers Lecture Courses and Piano Classes something worth while. Openings in the music field are will be of of trans- And to such a one Extension untoldâlue” position on the ’cello is much more natural few violins were made not long ago Courses are the growing very rapidly. There are proved to have a fairly greatest boon. It isn’t always possi- than it is on the violin; for that reason, many parent plastic. They big t>le to give up an interesting paying positions for those ?PP°rtumty adult beginners find easier pleasant quality of tone, but lacked power. to be given by class or position and - - JJL-JL IP.F* —Maii the Coupon the former the go away for instruction. who are ready for them. TODAY! instrument. (2) Anyone who can play by ear While the tone was of better quality than is lucky, that of those wooden boxes that are opti- e provided he does not rely on it ôme Study Method is it did not compare . equally advantageous to exclusively. To develop technique, one must mistically called violins, the Do you hold the Key beginner or the amateur. Because play a great with a really well-made vjolin. I have not the work can be 316 deal from notes; furthermore, done have lessons and foil plastic BERNICE FROST at home in spare time, marxed with aifx^below'”' information regarding one must learn to see, not only the notes, but been able to discover whether these with no interference to the best teaching course I with one s also all the instruments are on the market, but I doubt regular work, many minutes each day may s ic other markings that are printed be “- D Harmony on the page. they are. used which ordinarily go to position nji:::is; £:s: “1 Violin The ability to play by ear is that waste. —a Diploma? u c Cornet J. School —Trumpet ~1 certainly E £!! Mus.— Beginner’s — Cuitar a great help in memorizing. Columbia, South n Public School Advanced Cornet Carolina—June 17th to 21st—Piano Teachers of Columbia Mus. —Advanced H Mandolin Value of a Genuine Guidantus Advanced i Voice Look Back Over the It M Composition Last Year is up to YOU. On i Saxophone The Cost of M. U., Missouri.— genuine J. F. Address— Eula Lindfors—4104 North Main Street, Columbia, South Carolina. your ahf Ij Conducting a Good Bow Miss W. A own Reed Organ condition, What progress have decision will rest your History* of" Music* J Clarinet S. T. B., California. You can buy a good Guidantus violin, if in good could you made? Perhaps you have Dance S Banjo — wanted future success. Fit J Band Arranging violin bow for one hundred dollars. be worth as much as $2,000. However, there to send for our catalog and sample yourself for You can lessons be- bigger also pay as are many correctly-worded Guidantus labels rore just to look into position—demand Name. much as $4,000. The greatest bow Juilliard — them. That is your privilege. maker are not worth one-tenth Summer School—July 1st to August 9th • of all time inside violins which largeffees. You can' do7t‘l Adult or Juvenile. was Frangois Tourte. There were many amount. It is very easy to imitate a Street No other very fine makers, such as of that Address— 120 Claremont Avenue, New Yorlt 27, New York. Kittel, Lupot, Voirin, Lamy, Tubbs, Eury, and label, you know. As I have said many times label City others. A J. B. Vuillaume bow, in good con- in these columns, a transcription of a the origin and ation. would be worth from two hundred to is of no use at all in judging . State three hundred of a violin. If you wish to know the Syracuse, York August to Are you teaching now? dollars. The qualities to look value New — 19th 23rd—Central New York Music Teachers NIV ERSITY , how for in a bow value of your instrument, you must take or extension conservatory many pupils have you? are balance, elasticity, and Association , Do you strength. reputable dealer for appraisal. (AddressJ Dept.„ A-535) hold a Teacher’s But the most important quality is send it to a 765 Certificate?. Oakwood Bird., whether it fits send it with complete confidence CHICAGO, ILL. Have you studied your hand or not, whether it You could Address— Ethel Connell Phoenix—360 Midland Avenue, Syracuse, New York. Harmony?. in The ea what you want it to do. Rarely do two to any one of the firms that advertise . violinists agree on a bow: one may think it Etude. 350 ''FORWARD MARCH WITH MUSIC JUNE, 1946 "FORWARD MARCH WITH MUSIC” 351 THE ETUDE gicau uiipux taiU/C wxioyuam articulation, much of the muddiness of diction would be eliminated, for contrary t BOB widespread opinion the JONES consonants COLLEGE are of equal if not greater importance than the vowels. If there were no bones in our New bodies we would be Compositions for Piano by as shapeless and glutinous as a jelly fish. Consonants have often been referred to as the skeletal part of the word. Without consonants there would be no difference between the ERNESTO speech of man LECUONA and the utterance of beasts, so the importance of consonants cannot be overemphasized. MALAGUENA, ANDALUCIA It is true that the vowels cjuiiliccl are the flesh of the word and ComôJe/* oj- l l upon this flesh we drape LA COMPARSA, GITANERIAS * the singing TO BECOME tone, but yf as previously mentioned a song which consists solely of vowels is not ARAGON 60 GRANADA 1.00 TRES MINIATURAS 1.00 compelling in interest and lacks the sparkle and zest which crisply articulated ARAGONESA 75 RAPSODIA NEGRA 1.00 ZAMBRA GUANA. .60 consonants “AMERICA’S can add. A few of the consonants are capable of bearing sustained sound. L, M, N, NG, V, Z, but all others EDWARD B. MARKS MUSIC CORPORATION fall into explosive and vowel stoppage groupings. MOST UNUSUAL RCA Building Radio City New York 20, N. Y. Someone has said that consonants function as “starters, spacers, and stop- pers,” which down to the sea in sheeps” for “I will go puffing of the cheeks, as well as develop explains all too succinctly Singer -inertia again is noticeable when to endurance and control. The drawing back Philadelphia Conservatory UNIVERSITY” their actual functions. It is instance, will sing an .“ah”, down to the sea in ships” is not only exactly in a singer, for these three operations note present an impossible means of trans- of the lips, however, should always pre- of that the chorus yet before the third beat of a whole Music singer portation the audience on the one cede the act of drawing them toward the shows his ignorance of effectively reached will lazily have let the jaws to 216 South 20th Street is all BOB JONES using such letters. hand, but also to further strengthen the center. Keep the chin pointed at Marta Ezhrman Drake COLLEGE A “starting” consonant close until the forthcoming sound has Managing Director must not only be discernible appreciable loss singer in assuring him he can continue times. to the ear changed to “uh” with an Faculty headed by Located almost in the but it must to take other and more miserable liber- center of the City of Cleveland. partake of the pitch of the of quality and some pitch. Vowel purity Samaroff, Tennessee, finds it impossible Olga Mus. D. following vowel, to ties with words. Developing a Community on the prênt site and if this consonant is consonant clarity must continue leading to Degrees to expand sufiiciently to accommodate and Courses the hundreds of additional one of the singing Song is a combination of words with Orchestra consonants it must be the two greatest objectives in good students who wish to take advantage of the spiritual sing with the vowel. music, and the director can never be- educational and cultural op- The “spacer" con- diction. Q. Through The Etude I have noticed that portunities the institution sonants must actually to sing in a come oblivious to this welding of the two. you have helped many teachers in the organ- offers. The Board of Trustees, therefore, space the vowels When the amateur begins BALDWIN-WALLACE has decided to apart, he will have to ization and development of community orches- accept crisply, alertly and with the proper church choir, or chorus, he labors under There are times when an attractive proposition I teacher of piano and have studied MUSIC to sell the present plant to priority in performance, tras. am a CONSERVATORY OF and build a modern plant emphasis in order that the partitioning a false impression that there are two decide which has at the violin for a period of five years. Last sum- BEREA, OHIO (suburb of Cleveland) a new Jocation The of the music, but if he thinks new plant will be of modern vowels may be made clear. pronunciations for words; one to be used the text or the mer I was asked by the Recreation Commis- architecture, the first unit of When Affiliated with a first class Liberal Arts College. double will justly arrive at the con- sion of our community to direct a Children's five courses leading to degrees. Faculty which will cost $3,000,000 consonants appear as spacers, for when speaking, the other when singing, clearly he Four and year and accommodate a minimum of Artist Teachers. Send for catalogue or Informa- of 3.000 students. instance clusion that music must be kept in the Orchestra. I accepted the invitation, and the in “les-son”, the first so immediately he sings the word “man” tion to: “s” is project proved to be very successful. I would eliminated. and that the text is often ALBERT RIEMENSCHN EIDER, Dean, Berea, Ohio It is with the “stopper” con- as “mon” and “ship” becomes “sheep.” ascendancy like to increase the personnel and will appre- music sonants that the singer often shows com- Even experienced directors will palliate merely the excuse for bringing the ciate any suggestions that you might have to plete creation. technic of words is a offer.—R. V. M.. New Jersey. disregard for the true function of such distortion of words under the guise into The the part of a singer’s BOB JONES COLLEGE WILL closing letter. Someone has told him of securing better tone. There are not highly specialized A. I suggest that you confer with the REMAIN AT THE PRES- he should he must always give the Saint Mary -of -the -Woods not “pop” the final “t”, so the two ways of pronouncing words, and the equipment and administration of your local schools and ENT word effort and consideration in pro- COLLEGE LOCATION UNTIL THE “note” will be emasculated to “no”, final authority as to whether the “i” in greatest city and ask their cooperation and sup- COMPLETION Music for girls. OF THE thus so they can be both Conservatory of Applied Music, giving no meaning to the word for “ship” is long “e” or short “i” must be jecting his words port of your program. If this is granted, Theory. Public School Music, leading to B.A. and NEW B.S. with a major in Music Education. Piano, voice, PLANT WHICH IT the listener. the “I weel go heard and understood. is public in HOPES TO HAVE READY BY On other hand, true to the dictionary. To condone the next step a meeting organ, harp, violin, other instruments; composition, harmony. Beautiful, well-equipped buildings, spa- singer-contrariness, he will either the high school or civic auditorium THE FALL OF 1947 linger over cious campus. All sports. Early registration advised. OR 1948. the Box IB. Stint Mary-of-the-Woods, Indiana. final sibilants—S, SH, C, Z, until the at which time plans such as personnel, Catalogue. effect is that of a slow leak in a tire. One equipment, rehearsal schedule, and other of the Drums and Cymbals greatest weaknesses of the singer problems can be discussed. Since the When the institution in moves, it will be expanded connection with consonants project is sponsored by the Recreation BOSTON UNIVERSITY The University will is that of ( Continued from Page 319) into a stand, as does Bob Jones Christian university of the highest anticipating the spacer or stopper con- Commission, why not encourage all quali- aca- College, for Coffer/e o/J/uJec the "old-time religion" f demic standards and the sonant so that the effect purpose for which they are fied adults as well as school students to and Christian culture, to becomes ludi- aluminum, but many of them have been lates the absolute authority of the Bible. crous, like Offering complete courses in Piano. Voice. Organ, which It will continue that of a person walking to- used. Sometimes it is to punctuate long join the orchestra? Many adults are fre- Brass, Woodwinds, and carefully-chosen young people will impractical for use. White metal has Violin. Cello, Percussion instru- come in both its wards a ments, Public School Music. Composition, Church graduate and undergraduate chair who starts the act of been results. The phrases, sometimes seemingly to wake quently awaiting just such an oppor- from all parts of the world fields used with satisfactory Music, Musicology. Chorus. Glee Club, Orchestra, Band. and receive their sitting includes members of Boston Symphony. the practice which Bob down ten feet away from the world’s greatest manufacturers of cym- one up; while the little brass ones are tunity to participate in an ensemble. You Faculty Bache- training and from Jones College has al- lors and Masters Degrees in all musical subjects. Dorms. which these trained chair. I have just this truly community project. Catalog. MUSIC, 73 St., Chris- ways followed often felt that publishers bals is the K. Zildjian Cie of Constan- like the castanets of the Spanish, can make a COLLEGE OF Blagden Boston. tian leaders of offering music, speech, and would will go forth to render service do choruses an incalculable amount tinople cymbals rhythmic time-keepers. The Ewe speak- Our communities need a great many for art without additional who have been making the cost above the regular of good if they Lord in all corners of the globe. would adopt a different for over three hundred years. ing people of Africa call their native more such bands and orchestras. academic tuition. method of printing cym- syllables, so that the Cymbals are found in all countries and cymbal the chinfugu. The Japanese GREENSBORO COLLEGE last two are mentioned types of consonants are of various sizes. The Grecian cymbals are called the do-byoshi and Solos for Flute and Piccolo SCHOOL OF MUSIC would be spaced off by themselves so the bals are small in size, about three inches popular at festivals or in temples and Greensboro, N. C. singer Q. Would you please recommend a solo for (Member National Association of Schools of Music) could visibly see and be warned— in theaters. In the Philippines, they are diameter, and are tuned to a very the flute and also one for the piccolo? I have “Conservatory advantages with small college not yet’ For detailed information —in the sounding of those let- high pitch. Among the favorite accom- called platillos and are undoubtedly of played for five years and I am first flutist in atmosphere” writ’ leading to B.M. A.B. ters. Chinese origin, anciently called pom- our school band and orchestra. I also play in Courses and degree with paniments for the voice in India, are major in music. Faculty of artist teachers. In- Vowels the local American Legion Band. Would you fare much better in the mouths cymbals. size piang. All, regardless of name, provide formation upon request. Mark Hoffman, Dean. DR. BOB One can find them of every please give me some advice as to the possi- JONES JR. BOB of singers than material. JONES COLLEGE the consonants, perhaps in the Indian orchestra. The size regu- interesting research bilities of my earning a living by playing the because there are fewer of them, but flute and piccolo? I am seriously considering Cleveland, Tennessee moie likely professional playing as a career. THE MANNESm because voice teachers and choral —J. E. N., Pennsylvania. directors spend much time vocalizing and Answers MUSIC SCHOOL with them. Theirs task Band Questions A. I suggest the following flute solos: be pronounced is the real Study with Artist Teachers, complete Diction—Diction— as in “father,” the of carrying Solo courses lead, Diction ac- these articles are the music along, hindered Sixth de Concert in F by Demersse- lng to Artist’s Diploma or Teacher’s Certificate. Special tive mind can being written courses for children. Class and individual instruction. quickly conjure up the from the every mann, Sonata standpoint of a high note or two by some stumble-bum R.JIi No. 6 by Handel, Concerto Violin, viola, cello, harp, piano, voice, wind instru- many varieties school choral L, VUitlia.n 5b. ments. Opera, Conducting, Chamber of pronouncing this word direc! consonant in major Music Depts. Write: C r r which will for a second com- G by Mozart. For piccolo I Continued from Page 318) from^the broad “a” as iSn langUageS WU1 DAVID & CLARA MANNES, Directors in “fawther” to not pletely tone. (1) recommend La Rosignol del Ser°mtoenter into the ri close the mouth to the issuance Lip bouchure before producing the Opera by 157 EAST 74th STREET NEW YORK 21, N. Y. the short “a” of the Irish discussion, but the follow- Control in Oboe Playing “father.” Hence of any the teeth. Damare or Rosignol mg suggestion is sound, or which will take forma- Place the lips slightly over Chant du by Fili- it becomes obvious that made, that if a Q I have just taken up the study of the might be the singers in song tion back into “smiling" posi- povsky. well to mention that it is highly has to be sung in in the throat, as hard G, and oboe, with the (2) Draw the lips a the chorus will have to French, Spanish, school band instructor helping improbable pattern their German, or cause a bottle as much chin pointed. (3) Place As to your ambition to follow SHORTER that any two persons can articulation the best teacher neck of the vocal tone in as ho can. I am finding it very tion, keeping the a career COLLEGE of the letters and in that Ian difficult to Founded by Alfred Shorter say a single letter in syllables that region. The keep my lips in a smiling position into the mouth. (4) Draw the as a professional flutist, the decision exactly the same after that of vowel is responsible for when the reed the director. (Let’s ** be' blowing the tones as my cheeks tend to ROME, GEORGIA way, so when you read hope he asked to S “ the quality of toward the center of the mouth, shauld be based on your talent, prepara- in one of the aid in the » the tone as well as the get filled lips in Institutional of the can speak our language procurement with air. Will my control develop in Member National Association mentioned without foreign of the Pitch, of Schools of Music. Excellent books that the “a” best pronunciation for an improperly time so that the tones will easier? but retain firmness. Do not lose the position, background, and ambition. I suggest faculty. Moderate should accent embellishments). possible. formed or placed respond tuition fee covers all music and academic courses Inasmuch as If vowel more attention can wreck havoc with of those —E. J., Illinois. tion suggested in Points 1 and 2. The that you immediately seek a fine sym- Well equipped Fine Arts Building. were paid to both 352 the important A. center phony flutist, for Catalogue and illustrated bulletin. qualities of a good chorus. I suggest that you practice the fol- drawing of the lips toward the play him, and ask his 'forward WILBUR H. ROWAND, Director of Music march with music lowing routine when forming your em- of the mouth will tend to eliminate the opinion on the matter. THE ETUDE JUNE, 1946 "FORWARD MARCH WITH MUSIC” 353 Battistini, with tears as the Incomparable Master of great glassy eyes swam they affair with none save three friends to around his bed, 1 sang, causing all men to witness the blessing of the corpse in a the genial man they Bel Canto weep openly for had side chapel of the Dom. His wife, too loved. On December 4th, they sang his overcome with her long vigils, was absent. ( Continued last time. Mozart was MAIER from Page 313) Lacrymosa for the One of his former benefactors GUY T/reJOhN was pre- so weak he could not sit up. He died at vailed upon to pay for the casket, which announces o’clock that night, December 5, 1791. was of the cheapest kind. It rained as recital one the one was immediately struck by It was one of those events which He was organist at the Vienna Cathe- little cortege left the church, and one THOMPSON his impressive bearing took and traditional place at the Salle Gaveau in Paris hut dral at the time of his death, but before after the other retraced his steps toward courtliness. He completely refrained from no one TEACHERS' WORKSHOP suspected it would closed his eyes he begged his wife not home, leaving the unaccompanied THE the be his ’final he coffin professional mannerisms of the the- farewell. Faithful modern course to an old custom to report his demise until the man in line to be interred in the pauper’s grave, with ater, and he faced his audience Bat with tistmi had taken a short post at the Dom could be installed but one public a Two-Weeks Course in Pianogogy an promenade on for his servant to lower the body for equanimity and confidence that made the boulevards the piano during the afternoon. as his successor, otherwise another might of “The Great Genius” into the earth. him entirely justified in assuming Thk 1-12 the was the only preparation in case of death. Faithful to Nowhere else • MINNEAPOLIS .... JULY he needed ex be chosen have we a record of a man becoming role of grand seigneur of the eluding the usual “warming up" the last, he showed consideration for his singing his own Requiem, as Mozart did MacPhail College of Music, LaSalle at Twelfth Street. concert stage. At the same time so nec- he essary to the average vocalist. assistant. His burial was the most pitiful his own death song. showed great During his • CHICAGO JULY 15-26 consideration towards jour- first group the audience seemed more Sherwood School of Music, 410 South Michigan Ave. nalists who sought interviews .with him. absorbed m self contemplation than He always treated these visitors in YORK JULY 29-Aug. 9 with giving its atttention to • NEW utmost regard the great artist and it was not long until who Juilliard School of Music, 120 Claremont Avenue stood on the platform. But he pulled out his wallet, extracted as he a continued with the familiar MARYVILLE, TENNESSEE AUG. 12-23 visiting card engraved aria II balen • with an impressive from “II Trovatore” The Amazing American Tour of Jenny Lind crown, sung without strain Maryville College, Manager, George D. Howell then scribbled a request to ’ the without hurry, in the most Co-Manager; Helen Knox Spain, box office natural man to ‘‘please deliver to the ner ( Continued from Page 309) hon- imaginable, the attention Hotel Atlantan, Atlanta 3, Georgia. orable bearer two choice of all the free tickets for listeners was captured and the concert.” until the end our speed.” A cow named Jenny for a ticket. “There half If the reporter lingered a they remained losing goes my wages, under the spell of while there was likely to appear this Lind won first prize at the New York but I am determined to hear her sing an en- magical art. Three arias THE FESTIVAL COURSE AT MARYVILLE, TENNESSEE velope containing from ‘%a Fa State fair, her picture shows. this concert.” a Battistini picture, vorita” were included in the program" sometimes in one of his operatic Of many stories of her generosity, two “Poor girl,” exclaimed the diva. “Go Maryville at the gateway to the Great Smokies is 16 miles south of Knoxville. . . . cos- and after the concluding Largo tumes, other times in informal al fac- are typical. A Swedish servant girl find her, Max, and give her this with my Reasonable board room and practise facilities are offered on the beautiful college clothes totum the audience was swept and riding either on into a sort journeyed to Boston from Duxbury for a compliments.” She gave him a twenty campus of 320 acres. ... A festival of solo and two-piano concerts will be featured, horseback or on the of clamoring frenzy. After the encores including two appearances of the sensational young pianist Leonard Pennario. . . . seat of an elegant victoria. a mere peep at Froken Lind. They chatted dollar gold piece. few friends took the Associate teachers, Margaret Dee, Dittl^ Martha Baker, and Elisabeth Tillman Like recitalist to an in- Roland Vladimir de Pachmann, Battistini timate for hours about old times in the ‘old Lyman Abbott wrote after hearing hqr supper during which Isidor will be available for private lessons. gave a large number of “farewell Philipn country,’ the maid was given a choice seat sing I Know that my Redeemer Liveth: recitals” asked him to come again and during his latter give an- and sent home in a carriage with a goodly “It is impossible to doubt the Resurrec- years. The responsibility other concert for the benefit of his for this however lay not “Asso sum in her purse. tion while she sings it. She seemed a with him but elation of Pianogogy weeks, morning class with private former Paris Conservatoire Course—Two ten sessions, one with his manager. When teased on Jenny’s secretary told her of hearing a celestial witness; to doubt her testimony the students.” To this request lesson or conference $50.00 subject, he Battistini girl say as she laid three dollars is to her veracity.” smiled and said: “My im- yielded down doubt One week, -five class sessions, and one private conference 35.00 most graciously; but a few presario has announced days Two weeks, ten class sessions, without private conference 40.00 my golden ju- later he sent a bilee. In message expressing reality I am two years ahead deep his One week, five class sessions, without private conference 25.00 regrets and telling of of him, for I have only a sudden ill- been forty eight ness and his years doctors’ veto on traveling Advanced repertoise classes will be offered by Mr. Maier, also afternoon courses before the public. If my jubilee Two more weeks elapsed. on "Streamlining Your Teaching" by Margaret Dee. means my farewell, . . . Then an- then I am still two other years telegram from Italy brought to the good. But confidentially the tin . sad announcement that enjoij. a Summer op music at I trust that my real the great singer farewell is yet a had passed away. long way off!” The magnificent voice was forever stilled. ROOSEVELT COLLEGE SCHOOL OF MUSIC * \ . — the music School u/ith a purpose / \ the first COURSES IN APPLIED MUSIC, THEORY, AND MUSIC EDUCATION / \ grade book ThE Dramatic Last Hours of Mozart SUMMER SESSION—JUNE 19-AUGUST 16 / \ (Continued from Page 306) SPECIAL PROGRAM FOR TEACHERS UN IVERS ITY / CONSERVATORY \ FIVE W EEK SESSION—JUNE 19-JULY. 24 t CHICAGO / OF MUSIC \ r Germany, with its luminaries of that ~ age thoven, he knew he • PIANO TEACHERS TRAINING COURSE—Eva Jack / \ r:r recognized his had listened to a rare THE SCHOOfi OF 80th Year greatness. The faithful genius. • INSTRUMENTAL METHODS FOR H. S. BANDS—H. Salita " ' " PnCe Joseph ' '°° Haydn, who felt / A complete school of music, dramatic \ $1 that he was un- Beliajus “TEACHING LITTLE Becoming • INSTRUCTION IN FOLK DANCING—V. F. art and dancing;. Courses lead to degrees. FINGERS TO ” I worthy to share in the weakened and ill from con- PLAY A h u limelight of Mo- 1/Jlusit / Special students may enter at any time. \ ginner stant privations, it combining Rofe b *- zart's genius, was one was necessary to con- for full information address: and Note of his greatest sult REGISTRATION—September 6 and 7 approach admirers. a physician. His loneliness / \ Cen,S But the generous lighthearted- when his Offers accredited courses in Piano, “THE ' wife was MUSIC Write for catalog SECOND GRADE ness of Mozart on her vacations, did not ROOSEVELT COLLEGE SCHOOL OF BOOK” robbed him of the help Voice, Violin, Organ, Public School / 2650 Highland Ave. Cincinnati Ohio \ business o cheer Avenue, Chicago 4, Illinois 19, $1 °° acumen so necessary Mozart. He was always happy 218 South Wabash “THE THIRD to a man of his when Music, Theory, and Orchestral In- GRADE BOOK” genius. Everyone she returned, and he would show with whom he dealt struments. ' ‘ httle fatigue PnCe ' $1 °° but himself in her presence. “THE FOURTH became enriched by his She noticed GRADE pro- his decline, • BOOK” . however, ductions. He was robbed by and it was now Pr ' Ce unscrupulous that Confers degrees of B.M., A.B., ' $1 °° agents his work on his SHENANDOAH CONSERVATORY Has Your Child “THE FIFTH GRADE and managers, and his Requiem kept him BOOK” concert occupied. the advantage of piano study with and M.M. chairs were filled She was advised to restrain Price, with persons too OF MUSIC a member of the OBERLIN » $1.00 poor is efforts Distinguished Faculty to pay for them. Often and she hid the score from after a concert her CONSERVATORY OF MUSIC he husband. Member National Association Schools of was poorer than before, Taking days or hours of NATIONAL GUILD but he be- rest, lieved Mozart again Music • 7/ie that the poor were and again begged for Thorough instruction in all branches of PIANO TEACHERS A Division of Oberlin College WILLIS entitled to mu- his manuscript. WeU aS Finally Frau of music • Inc. Address Registrar Bulletin Thorough instruction in all branches MUSIC th°Se Wh0 couW afford Mozart gave Degrees: B. M. and B. M. Ed. for the ° of music ... 46 specialist teachers EAST CO hi*n™ h™’ and he goal of achievement for every student suitable • started • A nay . . . . excellent FOU » TH ’ he called it eagerly out- Certificate in Church Music. equipment . . . concerts I a V necessity. mg to his age and advancement. DePAUL UNIVERSITY by world-famous musicians and organ- ilMili cincinnat. s & parts of it. “I am writing — this (NOT A CONTEST) . . Came isations . . weekly student recitals oô ^ t0 Mozart in Requiem When writing please state SCHOOL OF MUSIC Send Vienna ^He for myself,” he said. ... for these reasons Oberlin attracts WaS seven “I feel the Better Teachers Are Members for this teen years of The serious and talented students. De- FREE hnt tv?' age te of special interests. Room 401, 64 East Lake Street Book! but the unruly death upon Chapters in every large music center grees: Mus.B.. Ed. Mus. B.. A.B. shock of hair , my tongue,” he above his yf, e with music major. Write for catalog. m 0 ’ and FOR INFORMATION WRITE Chicago, n y flattened face so it was that he considered For full information, addressy Illinois obli 9 ation THE made him appear Frank H. Shaw, Director THOM p1oN ' JOHN older MA NUArs No He requested stran&e messenger IRL ALLISON, M. A. Box 566 Oberlin, Ohio e that Mozart ai one from heaven, ^ ~ of "THE ^ C ' n9 a cafalo accept him as L. E. HILL. Pres. * MODERN 9 a ough he FOUNDER AND PRESIDENT COURSE FOR PlAKin"P AN ™ci? pupil to which the had been sent by a vain TECHNICAL S EfclENTA,Y Master disagreed Dayton Virginia AUSTIN, TEXAS .OOKS" ..f •TH°%r V nobleman, who, quite Box 1113 U 0 ESrSE R“ES,- th t0 Play a musician, wished > however, o impress wLhmen heh did, selectingT his friends by pretending that nam e one of Mozart’s the C S work came from 0nS ' He his pen. Played so differ! To STREET, enUv °tha? ^ Siissmayer, one of ¥°Zart became intolerant Mozart’s beloved stmStill, the M he entrUsted Master went to the the finishing of the CHICAGO MUSICAL COLLEGE door of an r A u QbbplaniJnslitutp af(Dusir CITY other room A* i* e lay and called , dying, Founded RUDOLPH GANZ, President out to his visitor- ; Mozart sang the 1867 by Dr? F. Ziegfeld -STATE. ome, n VOice T646 look at this so weak CONFERS B.MUS., B.MUS.ED., M.MUS., M. MUS. ED. Bachelor of Music Degree. person; he will make hlo i ? could hardly be DEGREES OF Master of Music Degree, Artist Diploma a r ' big noise in the world A Pnpil rolled the Member of North Central Association and National Association of Schools of Music one day piano close to BERYL RUBINSTEIN, Mus. D., Director 3411 missing the D£ c°“poser ’ ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS Euclid Ave., Cleveland, O. youthful Ludwig s bedside. The master di- 354 von Bee- Charter of rected by Address Buren St., Chicago 5, Illinois Member the National Association of'Schools of Music "FORWARD nodding his head. Mozart’s Registrar, 60 E. Van MARCH WITH MUSIC’’ THE ETUDE JUNE, 1946 "FORWARD MARCH WITH MUSIC” 355 Cowboys and Their Songs Junior Etude Contest ELSE RARTRAJA AREADT Junior Etude will award three at- you enter on upper left corner of your The Member of the Artist Faculty prizes each month for the neatest paper, and put your address on upper Pouijjuet tractive hf Paul essays and for answers right corner and best stories or of your paper. Renowned as a concert and oratorio singer in Contest is open to all boys and Write on one side of to puzzles. paper only. Do the United States, Europe, and South America. under eighteen years of age. not use typewriters and do not have any- Honorary I HE RODEO arrived in town and soothing effect on them; and girls Teacher of many successful singers. also to A, fifteen to eighteen years of one copy your work for you. Uncle John promised to take Class Vice-President of the School, and Artist Teacher let the animals know just where twelve to fifteen; Class C, Essay must the age; Class B, contain not over one hun- TBobby to see it. Bobby cowboy is, of lAtice. had so they can hear him ap- under twelve years. dred and fifty words and must be re- never been to a rodeo and it turned proach, instead of having him come Names of prize winners will appear on ceived at the Junior Etude Office, 1712 out Instruction from eminent Artist Teach- to be far more wonderful than upon them suddenly. in a future issue of The Etude. Chestnut Street, Philadelphia (1) Pa., A stampede this page , by is at he anticipated. He was thrilled by something next best contributors will re- the 22nd of June. Results of contest will ers is available to talented students to be avoided at all times The thirty the trick riding, the bronco- busting, if possible, honorable mention. appear in September. Subject for essay Sherwood, from the beginning of their and the cowboy rides ceive the colorful regalia of the cowboys slowly around Put your name, age and class in which contest this month, “My Aim in Music.” all night for miles studies. Certificate, Diploma, Degree with their high-heeled boots, ten- and miles, ELIZABETH A.GEST singing simple songs with courses in Piano, Voice, Violin, Organ, gallon hats, and colored scarfs. a steady, monotonous rhythm which Cello, Wind Instruments, Public School Music, Conducting, On the way home Bobby remarked, he takes from the foot-fall of his Clock Contest “Cowboys are such lively Composition. Dormitory accommodations at moderate felloWs, horse. The slow pace of his Theory, Uncle John. horse is Then why are their his metronome. These cowboy cost. Courses for veterans under G.I. Bill of Rights. Fall Semes- " songs - Una songs so sad, like Headin’ h Vi Wall for the and ballads are an important ter September 15. For free catalog, write Arthur Last contri- opens Round-Up and Bury Me Not on bution to our Draw a clock face in a center of twelve, American folk-music.” Avenue, a starting at one is the winner. the Lone Prairie”? Wildman, Musical Director, 412 South Michigan piece of cardboard. Make a hand “That’s very interesting. for a Points allowing the pennants to be “Well,” Uncle Illinois. spinner from an old answered Uncle John, “sup- John, Chicago 5, game, or cut one moved ahead are and now I can see why from given at lessons or club pose you spent they thin card. Gild it and attach most of your days sing the to meetings for excellent work, perfect way they do. But then clock with pin so it can be and nights alone on the range, revolved. Pin memorizing, and so forth. riding sometimes they have up on The contest fun, too, don’t studio wall. Make small pennants may around for miles and miles, tending take several weeks or several they? I mean when they are of colored papers, each one bearing cattle. How do not in the months, depending on how many points you think you would lodeos or riding initials of the pupils or club the range?” members.and can be gained in one feel? You’d be lonesome, pin week. The clock too. What “Of course, just like beside clock. The first contestant everybody else to hand always remains pointing to would you sing about?” Institutional Member of National Association of Schools of Music get his pin moved the they have their parties around the clock to most advanced pennant. and dances’ Oh, a Home on the Range, I sup- Nowadays most of the ranch houses pose,” Bobby replied. have radios and can therefore have “Of course. The cowboys frequently the best dance music, but Finger Dance express their feelings formerly in their songs. they would have a AMERICAN CONSERVATORY Then they self-taught fiddler use songs to help them in who would VJarjorie play with amazing speed See letter below OF MUSIC—CHICAGO -J4unt Pettit their work, too. They could scarcely and endless variations Offers courses in all branches of music and dramatic art do their work well some old PRACTICING I’m dancing on my fingers without some dance tune or Special Ifonorahle Mention Founded 1886. Faculty of 135 art'st teachers ‘break-down’, as they Member of National Association of Schools of Music Right songs.” (Prize Winner in Class B) up and down the keys, called it, such ( i ood Ideas Send for a free catalog Address: John R. Hattstaedt, President, 578 Kimbnll Building, Chicago “How as Turkey in the Straw — With dainty turns do they use songs in their In beginning the practice period, I play and pirouettes, You might learn that, The following good ideas on practicing work? That sounds easy.” some day,’ scales and exercises to limber up the fingers As lightly as a breeze. Bob, as well were included in essays by the other two “But as Red River Valley, The and prepare them for the work to be done a cowboy’s work is anything practice period. Com- Lone Star Trail, I’m a Poor prize winners and other contestants: during the remaining but easy. When moving Lonesome positions come next. They should be prac- OSMOPOLITAN A minuet is stately, a herd of fingers Cowboy, Shirley Burch , Illinois, pretends her DILLER-QUAILE and Git Along, Little ticed slowly, watching all signs, rests, acci- cattle-thousands Dogies players in orchestra. A saraband is of animals at are an SCHOOL OF slow; a By the way, we dentals, ties, and so forth; the correct finger- MUSIC time if should be singing Lydia Wheitsel, Pennsylvania, takes three of SHIRLEY GANDELL, M.A.. Oxford A tarantella speeds the cattle have a tendency ing is very important and this should be one School Music along Git Along, Little Dogies lessons a week, piano, violin and cornet, University, England, President. to lag, the right now, of the first things to perfect in learning a 42nd year. Accredited. Offers courses As fast as it can go. cowboy tries to get them and says it is quite necessary for her to or we’ll be late for piece. There should be no interruption while where the well-known Diller-Quaile in all branches of Music. Certificates, into dinner.” Do you practice well. and degrees. Desirable board- a better pace by singing you practice. Choose some time when things diplomas a know what dogies Mary Ann Dapagny, New Jersey, aims at ing accommodations. Located in down- snappy, are, Bob?” are quiet; concentrate your entire attention teaching material originated, offers town musical renter. A polonaise is lively rhythmic song. Then some- perfection in practice. “Nope. Haven’t on what you are practicing. Bex E. 306 S. Wabash Ave., Chicago. III. times he sings an idea!” confessed James Halley, California, says one must Musicianship With syncopated grace; them lullabies. Don’t Remember, what you will get from prac- courses in Piano and Bobby. have a definite goal. smile like that, ticing is determined what you will put A hornpipe makes my Bobby! I said lulla- Jean mental by for Children and Adults, and a Answers to Quiz fingers jump, “They are Sommers, Pennsylvania, says MILL1KIN CONSERVATORY OF MUSIC bies! You little baby calves, too into it. And fly frdm line to see, a herd of cattle is concentration is important. ILLINOIS 1, The stick with space. young to herd, William E. McDonald (Age 14), Training Course for Teachers with DECATUR, which the conduc- easily frightened, and they are some- Dolores Nadeau, New Hampshire, says every especially during North Carolina training in music. Courses leading to tor leads the orchestra; times too small minute of practice should be a minute demonstration class of children. Offers thoro 2, Sweetly; the night to keep up with the Bachelor of Music Degree. Diploma and Certifi- I’m dancing on my when every little sound of learning. Prize winner in Class A, Shirley Burch 3, 1732; fingers— pace of cate in Piano, Voice, Violin, Organ, Public School 4, Prestissimo; 5, In Spain; the big herd.” But Mother Patty Hamilton, South Carolina, advises (age 16), Illinois. Music Methods and Music Kindergarten Methods In smiles at me 66 EAST 80 ST., NEW YORK 21, N. Y. BU 8-1050 6, Westminster Cathedral in Let’s go to the rodeo practicing groups of measures. Lon- And says, again tomor- Prize winner in Class C, Lydia Wheit- Bulletin sent free upon request don; “How well you’re Susan Rosenstock, Maryland, makes a prac- 7, e-flat minor; - row, Uncle John, 8, Twelve practicing!” because I know so tice schedule for the coming week. sel (age 11), Pennsylvania. W. ST. CLARE, M INTURN, Director 9, Sibelius; 10, Composer. much more about Irene Levine . Pennsylvania, says to start She doesn’t know, cowboys and their you see. music with a smile. now.” Answering Etude Adver- \/ Janice Gregg, Iowa, says to fit yourself into Honorable Mention for V the mood of the piece. A tisements always pays l\ ^ Phyllis Webster, Maine, says practice will March Essays fRdeive X TKeatre engagements make a musician and give pleasure to l Star making. Students seeking professional Cooperation Rita Keating; Dorothy Ubbel- !/ and delights the reader. 1/ coached by Stage, Screen, Radio and presented in pro- others. Joyce Batek; ductions for showing to B'way-Hollywoed Talent Scouts and hor; Florence Menard; Margaret Ulieger; public. B'way also Summer Stock. Sprine course opening. Esther Haupti, Kansas, practices well so SEC’Y SHUBERT. 1780 BROADWAY. N. Y. - Adreinne Rousseau; Lida Litvin; Paul Dupre; Pulu 2). Uuitu Quiz she can play in the band. Paulette Ledlair; Sally Ann Sapp; Devna Freddie Turner Maryland, thinks about his “What does , Jeannette Laprise; Sybil Zeligson; Helen =JUILLIARD SCHOOL OF MUS1C= cooperate mean ated to No. 11 favorite musician and then does not mind Fair; make it the success Koder; Myralir Daniels; Mary Sullivan; mother?” asked Bob. “I heard it was. giving up some foot-ball time. Miss At the studio 1- What Jeanne Deshaires; Alice Glenna Ballinger; WILLIAM SCHUMAN, President Ross Miss Ross tries to help is a baton? Janice Kruger, Wisconsin, practices hard tell Jack today he was not very you Joan Draper: Albert Dussault; Marjorie .learn to play well; 2. What is because she thinks it is fun. cooperative at you follow meant by dolee? Gauthier: Irene Bilodeau; Constance Blad; his music lessons.” John Ruth, Pennsylvania, says it pays to her instructions 3. Frances Sul- willingly; When was Haydn practice June Claffey; Donna Younger; JUILLIARD SUMMER SCHOOL “It means working you co- born? well and you will never regret it. together, help- operate livan; Gail Roach; Mary Ann Shmucker; with her so you will 4. Give a term Martha Murdock, Indiana, practices every ing each other to be suc- meaning as fast as Peck; Ben Emerson; Joan Booth; do something,” she cessful in day for an hour and then does some more Laura GEORGE A. WEDGE, Director your music work.” possible. George Lloyd Brian; Diane Jean Leslie; explained. ‘‘The last time your for the fun of it. music “I see. Well, now, 5. In Joyce Strong; Barbara Lou Andreas; Ilazel club a little’ coopera- what country is scene met here you and Jack helped the of Jean Lyons. July 1 to August 1946 tion, mother. If I bring the opera 9, write the invitations in the wood “Carmen” laid? and plan the and rea d the letters in the Junior Etui pare the potatoes, and 6. Where is t stunts you cook Handel buried? ox a nc* enjoy them very much. M Instruction in all branches of music and music education and programs. huu ? . You cooperated 1S dinner, and I eat 7. try in.g new pieces on the piano, Letter Box with so I can practice What is the relative aisoaic , Miss Ross to make it the minor of like to write and receive letters and ha\ suc- my music afterwards, G-flat several Send answers care Junior Etude cess it that is cooper- seems major? pen pals. Professional Courses was. Then; last week you magnified; when Junior Etude: boys ating, isn’t it?” the sudden 8. From your friend. Dear cooperated cry of How many half-steps are Jane are sending you a picture of our club, with each other to build a wild coyote, or there Garlick (Age 15), We Opera School. Church Music. Radio Technique. “Of course. You even the in New York the Junior Chaminade Club. It was organized that have the right sound an octave? rip , _ y „ music cabinet, for the of a horse’s uear j un IOr Etude: in 1927 and our purpose is the study of the club. Re- idea and I will hoof striking a Operetta Production. Stock Arranging. Jazz Improvisation member? be glad to have your 9. Name a well-known h Ve studi ed music two years and am ge best music. Students in eighth grade or high You had the 6 W0U d CaUSe present-time ti«« aî boards, Jack help. a stam e vei*y ell, I aii school may become members. Cooperating about P de. T a^L w but wear a hearing had the tools the right ThereforeThPr f fl composer of Finland. am getting along meeting the biography of some he got for his birthday, things the cowboys keep singing well in school, too. At each Catalogue on request makes everything easier 10. Was From your friend. famous musician is read. This year we have and Jim had the paint. for Debussy a pianist, composer, You cooper- everybody.” t0 keep the animals Raymond W. Wolfs, Jr. (Age 13), had many interesting programs given by our Quiet, singer or conductor? members. 120 Claremont Avenue Room 122S New York 27, N. Y. as T Indiana , . the •\r human voice n rry „ friend, has a ° ’ Raymond, but you forgot to ir From your 356 ( Answers pIuh’It'Iu on this page) name of your town Donna Fay Swartz, Sec'y, no«« if, in your addres letters can be forwarded to you. Wisconsin THE ETUDE JUNE, 1946 357 — —— — — — a;

THE ORGAN by SELECTED rHORAL PRELUDES FOR FIRST GRADE STUDIES, For MIDSUMMER’S NIGHTMARE - About a TEN ETUDETTES IN THIRDS AND Bach, Compiled, Revised, Piano, Compiled SIXTHS harm Sebastian by David Lawton—Piano score of years there Piano, by Mana-Zucca I ago was a very strong for We take pleas- by Edwin Arthur Kraft—Here teachers searching for supplementary and Edited 1 STUDY? thought-provoking editorial WHERE SHALL GO TO in The Etude ure in announcing still another addition collection of Bach organ music materials for first grade pupils should is a new entitled “Midsummer’s Nightmare.” It to the widely used Music Mastery Series ‘oared with meticulous care by a dis- find this forthcoming addition to the had accompanying illustrations showing of piano studies. This new Arthur Kraft, Music Mastery publication tinguished musician, Edwin Series most gratifying. magnificent structures which had been will represent the distinguished established authority on the They will recognize its pedagogical merits Ameri- who is an (New York City) brought into being by painstaking build- can composer, Mana-Zucca, because of Private Teachers (Western) Private Teachers with her music of Bach. the inclusion of works by ing and then it showed those same struc- Ten Etudettes in Thirds and Sixths a devotional content of the eighteen specialists in children’s musical litera- tures half tumbled down and in a tei- group of musically HELEN ANDERSON attractive third and Preludes is enhanced by the in- ture. Among the composers represented HAROLD FREDERICK DAVIS rible state of disrepair Choral through neglect. PUBLISHER’S NOTES fourth grade studies in double the new pedal- are Kohler, Gurlitt, Streabbog, VOICE Concert Pianist noies re- teresting registrations and Parlow, The editorial directed consideration of Interesting course—piano, harmony of quiring practical keyboard application phrasing provided by Bilbro and Bugbee. The material has been Member National Association ing fingering, and the awful tragedy of letting musical ac- Lovers for both hands. Teachers of Singing Many Successful Pupils A Monthly Bulletin of Interest to all Music A special feature of this Every organist will delight in carefully edited with detailed attention the’ editor. C. Tel. Sc 4-8385 complishments built up through the 606 Templeton Building Salt Lake City 1, Utah 146 W. 72nd St., N. Y. pre- new work will be the use of a number examples of Bach’s master- given to phrasing and fingering. of these sturdy Phone 3-0316 (or 4-5746) for appointment ceding season deteriorate through sum- different keys BOXALL BOYD in conjunction with a achievements, and every teacher of Orders may be placed now at the MARY mer neglect. It was the case many years ful (Leschetizky) variety of rhythmic patterns. to use some or all of special Advance of Publication Cash Price back that organ will want HURLBUT Pianist and Teacher through about three months Prior to its HAROLD appearance on the market, with his pupils. Orders for of 25 cents, Postpaid. The sale is limited "Of all pianoforte teachers with whom 1 have had or a little these works Hollywood more of good weather many let single Paris—New York— to do, either as pupil or associate, Mary Boxall Boyd copies of Ten Etudettes in Thirds only are being accepted now to the United States and its possessions. the vacation single copies Member Natl. Assn, of Teachers of Singing is, in my opinion, the best."—Leland Hall, Prof, of mood cause them to drop The Child Chopin Childhood Days of and Sixths may be reserved at the special Publication Cash Price Singers of Metropolitan Opera, Chi- Piano at Smith College. all study une 1946 Famous Composers—Lottie Ellsworth Coit at the Advance of Developer of and practice, with the result , etc. “VOICE c/o Nola Studios, 113 W. 57th St., New York Ruth 8ampton Advance of Publication Cash Price cago Opera, So. Calif. Opera, Radio, Add. and 20 of 25 cents, Postpaid. ADVANCE OF PUBLICATION OFFERS teachers students; that the first few months of the Fall of 50 FUNDAMENTALS" (J. Fischer & Bro., N. Y. Pub.) City, N. Y. Summer classes for and cents, Postpaid. Delivery will Nantucket Island, Choral Preludes for the Organ. .Bach-Kraft .50 be made WITHDRAWN — The new publications Endorsed by W. J. Henderson, Bispham, Amob, Etc. June 15th to Sept. 15th— Mill Hill, meant j a catching up to the level of ADVANCE OF PUBLICATION Mass. Eighteen Hymn Transcriptions For Piano immediately after these studies for 2150 Beachwood Dr. Hollywood, Calif. achievement that are re- ready distribution to advance sub- had been attained be- Kohlmann .45 - Ar- Tel. Gl. 1056 leased from the press. WORLD’S GREAT WALTZES scribers, and upon special fore the summer let-down. OFFERS THE which the ad- FREDERIC FREEMANTEL Mother Nature Wins—Operetta in Two Stanford King—Visions ranged for Piano by vance of publication price is withdrawn, In recent years, however, Acts for Children Shokunbi-Wallace .30 Voice Instruction special in- of the court balls THE INSTITUTE OF VOCAL ART All of the books in this list are in of the swirling gayety include two numbers of interest to piano Author of 24 home study lessons, tensive music courses offered by Organ Vistas 90 THE CHILD — summer preparation CHOPIN Childhood Days of playing over SAN FRANCISCO "The Fundamental Principals of Voice Productions and for publication. The in old Vienna are evoked by teachers. One is a distinct novelty— OF music study camps, leading schools and Selected First Grade Studies For Piano Famous Composers Singing"; also "High Tones and How to Sing Them" low Advance Offer by Lollic Ellsworth Coit appealing information write Cash Prices ap- Lawton .25 charming waltzes in this piano ensemble piece concert propor- For Studios: 205 West 57th Street colleges, and private teachers are sought Ruth the of ply only to orders placed and Bampton—This book will be the of three NOW. You Can Play the Piano, Part One.. Richter .35 new book. Here are favorites tions but simple enough for students of J. W. NASH, Director New York City Phone Circle 7-5420 by great numbers who want to meet next Delivery postpaid sixth in the Childhood ( ) will be made Days of Calif. You Can Play the Piano, Part Two. .Richter Famous generations by nine musicians who are 305 Grant Ave. San Francisco 8, season’s music activities when .35 limited attainments. The other is a set of in the Fall bet- the books are published. Composers series. The earlier items KLEISSLER Themes from the Orchestral Repertoire of well-known for their ability to write study pieces covering an important phase OTTO EUGENE ter prepared than ever before. It is even Paragraphs describing each pub- this For Piano Levine .40 popular set of children’s books ISABEL HUTCHESON SINGERS! SPEAKERS! VOICE ASPIRANTS! have music of lasting popularity. Out- piano technic in style. Copies true that many teachers unable to get licati it appear on these pages. dance of modern Weak, strained, misguided voices quickly corrected to Ten Etudettes in Thirds already established Piano Teachers and Sixths—For themselves among these is Johann Strauss, Teacher for and strengthened to vocal heights undreamed of. some of these special Piano standing among of these may be obtained from your local summer music Mana-Zucca .25 the most unique of Modern Piano Technic: Group work for Teachers: the vocal art taught. Beginners ac- teaching aids. The for the court All branches of Basic Violin Technique Berkley Jr., whose famous music dealer, or from the publishers for exami- pianists: Conducting "Piano courses make it a point to carry through .40 The World's Great Waltzes King .40 Coaching concert cepted. By appointment only. Studios New York and contents will be arrangements, suitable balls he conducted has made him famous; nation. Teachers Forum." Newark, New Jersey. Address all correspondence: special self study work, special practice for students between the ages of five Emperor Waltz are rep- BROOKS MAYS MUSIC STUDIOS Carnegie Hall, 154 W. 57th St. to refurbish their Vienna Life and Concertino on Familiar Tunes, for TWO Trafalgar 73587 own technique, and and twelve, including l005*/2 Elm Street, Dallas 2, Texas Phone C-6214 Studio 123, New York City Nocturne in E flat; inclusions. Ivanovici’s Danube special review of music to enlarge resentative Pianos, Four Hands, by Stanley R. Avery per- BASIC Waltz in A Minor; Prelude in A; VIOLIN TECHNIQUE by Harold YOU CAN PLAY THE PIANO! Theme Waves; Gold and Silver, Lehar; Arditi’s MUS. DOC. CHARLES LAGOURGUE STUDIOS sonal repertoires or scope of teaching A Book for from the is a recital or teaching number in three EVANGELINE LEHMAN; Berkley—The majority of adult "Ballade in A- Flat;’’ and the VOICE PRODUCTION—SINGING- materials to be utilized. violinists, tlw Older Beginner, in Ttco Parts, The Kiss; Joseph Lanner’s The Schon- Moderato, Andante, by Adn •‘Butterfly’’ Etude. movements Allegro Mastercourse in Vocal Coaching COMPLETE MUSICAL EDUCATION whether teachers, soloists on tour, or- There also will be an Waltz Dream In the summer Richter—The phenomenal sales records brunner; Oscar Straus’s A Brio. founded Mr. Lagourgue will conduct SUMMER CLASSES in as at all other times of easy duet arrangement and Allegro Con These are for Artists, Advanced pupils, and Teachers chestra players, or talented of the Military SINGING in the INTERNATIONAL COLLEGE of the year Theodore Presser amateurs, achieved by the Ada Richter instructive are among the fifteen selections. The lilt childhood favorites and folk tunes, Grand and Light Opera, Radio and Concert Co. welcomes Polonaise. on CANNES, renowned resort of the French Riviera. rarely have more than an hour This book has been arranged Studio: 167 Elmhurst Ave., Detroit (3), Mich. the opportunity to give a day for and recreational works for piano and grace of these melodic dances has Bridge; Three information apply to New York Studios. any special serv- prove with the such as: ABC; London Telephone: To. 5-8413 For personal practice; and they know only definitely same educational point of view ice or special information desired by their general usefulness. Now, been retained in Mr. King’s arrangement Blind Mice; Pop Goes the Weasel; All 35 West 57th Street. N.Y.C. too well that constant performing which has made this series so successful those wishing to carry with as further evidence of her expertness for the average pianist. to out any special in Piano teachers Through the Night; and Drink Me LUCIA O'BRIEN LIVERETTE little or no time for concentrated practice this highly and school music super- EDITH SYRENE LISTER music study plans or special teaching specialized field, Mrs. Richter Previous to publication a single copy Only with Thine Eyes. The humorous Several years assistant to will impair the visors as well have found them AUTHENTIC PRODUCTION courses. most perfect technique. has prepared this valuable, ordered the special Cash Price VOICE Among other things, it is sug- up-to-the-minute not may be at qualities of this composition will appeal LAZAR SAMOILOFF Here is a book that fills only from the idea of developing 405 Carnegie Hall, New York City gested to teachers that an obvious method for the older beginner. of 40 cents. Postpaid. The sale is limited Price, 60 they write imme- skill in to the studio recital audience. Now Teaching in His Academy Collaborator and Associate Teacherwith the lateW. need for a systematic pattern of daily performance, but as suitable texts diately to the Theodore In You Can Play the Piano! the United States and its possessions. 401 Wilshire Blvd. Los Angeles. Calif. Warren Shaw and Endorsed by Dr. Floyd S. Muckey Presser Co., the au- for music to cents. (Two copies required for perform- practice that includes all the essential thor appreciation and history work Phone Fe 8294 Wednesday: Troup Music Studio. Lancaster, Pa. 1712 Chestnut Street, Philadelphia Pa., presupposes the student's knowledge 1, elements in early grades. ance) . Thursday: 309 Presser Bldg., Philadelphia, Pa. of technique. Exercises for the of the Directions for making a asking for the types of materials they fundamentals of music, and so Studies, by Orville A. (FRANK) (ERNESTO) left hand develop the miniature stage and Six Melodious Octave HENRY FRANCIS PARKS desire grip of the fingers, prescribes suggestions for pre- is made to examine in the course of this work at the keyboard from the ORGAN VISTAS—This collection the latest addition to the — LA FORGE-BERUMEN STUDIOS the flexibility of the fingers, senting the story as a play Lindquist, Organist—Conductor Vocal Coach summer in selecting and the sub- very first. With special are included. up of nearly thirty compositions suitable materials for a suc- stress on smooth Music Mastery Series of piano study ma- Park Presidio United Church Voice—-Piano consciously correct position of the Thus the teacher can stimulate Interest cessful start of the 1946-1947 hand performance, she here devotes for church services, with a few selections STUDIO: 451 Frederick St. Among those who have studied with Mr. La Forge are: teaching and more at- in the terials, presents in a most attractive man- arm. For the bow arm there are drills composer’s works and life by the Telephones: SEabright 0900 Marian Anderson, Lawrence Tibbett, Richard Crooks, season opening next Fall. tention to actual work at the piano appropriate for Easter, Christmas and for steadiness, than integration ner a feature of piano technic that fre- YUkon 1816 and Mme. Matzenauer. flexibility, and agility. to such of music, art, literature and theoretical matters as scale con- Vesper programs. Most of them are origi- pupil has SAN FRANCISCO CALIFORNIA MOO Park Ave., Corner 89th St., New York The exercises are designed drama. quently is neglected until the to embo’dy the struction and nal copyright by contemporary Tel. Atwater 9-7470 harmonic procedures. A works progressed beyond the third and fourth means of giving the player a subconscious number One copy to each customer may be EDNA GUNNAR PETERSON EIGHTEEN of arrangements of favorite folk composers such as Arthur G. Colburn, take up HYMN TRANSCRIPTIONS for sense of onen’ess with his ordered now at the grades, at which period he can RICHARD McCLANAHAN instrument. tunes from Europe Advance of Publica- Concert Pianist—Artist Teacher Piano Solo, Arranged by Clarence and the Americas are Chester Noraman, Ralph Kinder, Roland Here the various phases of Representative TOBIAS MATTHAY Kohl- The text material, presenting a tion Cash Price of 20 cents, these studies. valu- included in the plan Postpaid. Diggle, 229 So. Harvard Blvd. Los Angeles, Calif. Private lessons, class lessons in Fundamentals mann—Seldom does an individualized able of this work, and Giuseppe Stabile and Cyrus S. technic are given in appropriately section on the orchestra violinist octave FE. 2597 Summer-class, Southwest Harbor, Me. also there are adaptations Mallard. of Bach, style of arranging achieve such instant and from Brahms, There are also works pieces—The Xylophone Play- 801 Steinway Bldg. New York City detailed explanatory notes, is a use- Johann titled study popularity as has that Strauss, and others, along with THEMES Field, Jensen, and Liszt. Each has been The Spinner of the late Clar- ful aid in helping FROM THE ORCHESTRAL REP- er (repeated octaves) ; THE SAMOILOFF the busy player make some especially ence Kohlmann, organist for prepared material from ERTOIRE, For Piano, carefully edited and registration has been Solitude (legato) BEL CANTO STUDIOS & OPERA ACADEMY EDWARD E. TREUMANN many years the most of each Compiled and Ar- (tremolo octaves) ; precious practice min- Mrs. Richter’s at the immense pen. Cartoon drawings ranged arranged for both the Hammond and the The Chase The only place where you can learn the original Concert Pianist—Artist-Teacher Community Auditorium ute. by Henry Levine—The same popu- Mirth (chromatic octaves) : provide the entertaining Samoiloff Bel Canto Method which developed such Emil Von Sauer, Moritz Moszkowski of Ocean Grove, New Jersey. illustrations. larity which standard church organ. Victory (so- Recommended by When his Mr. Levine's octaves) ; and outstanding voices as NELSON EDDY, BIANCA Send your pre-publicatiqn order While former arrange- (interlocking and Joseph Hofmann. Concert Transcriptions this work is in preparation for ments Those interested may order an advance SAROYA, DIMITRI ONOFRl and many others. Now of Favorite promptly, for the have always had with nority). Price, 60 cents. Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. book will soon be ready the market, pianists under the direction of Zepha Samoiloff. orders for single copy at the Introductory Price of 5-4357 New York City Hymns for Piano (75c) first was pub- for distribution. copies of everywhere is predicted Cash Tel. Columbus A single copy may be either for this fine Write for Catalog, 4015 Wilshire Blvd., Los Angles 5 lished, or both parts will be accepted 90 cents, Postpaid. Summer Master Class—June 15 to August 15. thousands of pianists discovered reserved at the at new album. Comprising Send $1.00 for Phone FE 8294 No charge for Audition special Introductory Cash the special it are twelve fa- it to be what Advance of Publication Cash vorites they had been seeking for Price of 40 cents, Postpaid. of the orchestral repertoire, none RHYTHMIC DRILLS MME. GIOVANNA VIOLA church Price of 35 cents each, Postpaid. and Sunday School use and for of them symphonies. Here are tone ELIZABETH SIMPSON Dramatic Soprano itfOTHER RHYTHM LESSON ONE BOOKLET Teacher of Singing—"Bel Canto" home playing. His More Concert poems, suites, NATURE WINS, An Operetta for "Basic Pianoforte Technique" Tran- overtures, ballets, chosen Author of Experienced European trained Artist scriptions Children, Libretto by Mae Gleaton Shokunbi, and of Favorite Hymns for Piano from a wealth of masterworks. Among Teacher of Teachers. Coach of Young Artists. Coaching Opera, Concert and Radio Music Pupils Prepared for Concert Work. Class Courses production, defective singing corrected (75c) also proved most successful, THE COVER the included by Annabel S. Wallace—'The final EXPLANATORY BOOKLET Correct voice and FOR THIS MONTH-“Under- numbers are in Pianistic Interpretation, Normal Dell located in Philadelphia’s Debussy’s work lechnique, Beginners accepted his recently issued Organ Transcriptions neath the summer famous Prelude to on this two-part operetta for young Methods for Piano Teachers. Trafalgar 7-8230 skies" thousands in Fan-mount Park. the Afternoon of a Faun; EFFA ELLIS PERFIELD Phone: of The Robin people is Street York Favorite Hymns ($1.00) seems to be various sections of Hood Dell Themes from finished, and copies are expected 609 Sutter St., San Francisco; 8 West 86th New City the United States summer Saint Saens’ Danse Maca- En.I 86th St. (ParkAve.) New York Cily equally series of concerts were from the 2833 Webster St., Berkeley, Cal. attractive to organists. thrill to great musical treats. It organized bre, from Enesco’s printers very shortly. This two- would be in 1930, and Roumanian Rhapsody CRYSTAL WATERS The third of the Symphony Orchestra act musical play can be staged simply or Mr. Kohlmann’s piano impossible to name all of the special of No. 1; Theme from “Les DR. FRANCIS L. YORK 80 to 90 Preludes;’’ Noc- Teacher of Voice solo books is now performers are chiefly elaborately as desired. scene only is in preparation, and summer concert undertakings, but some Philadel- turne from "Midsummer Night's Dream;’’ One Advance Piano Interpretation and the Theory work since phia Orchestra required, Colleges required for the degrees of Mus. Bach., and Mus. Radio, Screen, Concert the initial announcement of its of the most prominent players. World famous and Air and stage directions are com- Schools— are those held in from “Suite No. 3 in d\’ by Bach. Mas. Special Chopin interpretation. Opera, Pedagogy forthcoming publication, orders for copies the Hollywood conductors and top-rank These plete in the copy. Catchy tunes, clever Bowl (California), the artist-soloists follow the general Mr. DETROIT CONSERVATORY OF MUSIC 105 E. 54th St. New York City are style of SCHOOL at the special Advance of Publication Lewisohn presented. It has been Levine’s dialogue, and numerous dances lend OF Detroit, Mich. Tel. Vo. 5-1362 Cash Stadium (New York City), estimated that earlier arrangements, but their Price, 45 cents. at themselves COLLEGE MUSIC Postpaid, are pouring in. Ravinia Park (Illinois) some concerts the turn-out appeal will well to the capabilities of CONVERSE , Robin Hood Dell’ has be to pianists run of fifth and Edwin Gerschefski, Dean, Spartansburg, S. C. No wonder, when a partial list of con- (Philadelphia, Pa.), between 15,000 and sixth children between the ages of five and Boston Esplanade 18,000 persons grade accomplishment. Excellent SCHOOLS of MUSIC - DRAMA - OPERA tents The Department of Music includes All Hail the Power of (Boston, Mass.) photograph thirteen. The cast requires five solo , Berkshire Festival (Mas- on the front cover judgment and taste are apparent in the KNOX Galesburg. Illinois Jesus’ takes in voices, of SAN FRANCISCO Name; Holy, Holy, Holy; Crown sachusetts), Potomac Basin only a portion choice a chorus of twelve for unison and Thomas W. Williams, Chairman MUSIC and ARTS INSTITUTE (Washing- of the customary of numbers and in the retention Catalogue sent upon request. Him with Many Crowns; Jerusalem, hu^e two-part COLLEGE Summer Master Classes July 8th-August 17th the ton, D. C.), National Music Camp - audience. This of the fine singing, and a group of dancers. — (Inter photograph is a good re- qualities of the originals. CONSERVATORY Golden; Lead, Kindly Light; My Faith lochen, Mich.), There is yet DUSOLINA GIANNINI—LUBOSHUTZ and NEMENOFF—RICHARD PURVIS and a number of other minder to millions not At the special Advance Publication a chance this month to OF MUSIC Looks to miss the great of Wiua £. Miller. Pres. up to Thee; and Ten Thousand places. Cash secure a first-from-the-press copy of this IHENAND0AH Singers Pianists Organists-Choirs musical treats available somewhere Price of 40 cents. Postpaid, a single Courses leading to Times Ten Thousand. Orders for single For the near copy work by taking For Free Catalogue and Information Summer Classes and Fall Semester write cover of this issue is their may be advantage of the low B. Mus. Ed. degrees. Rates there individual ordered now. of this he Mus . and copies only c’ommunities in Sale B Shenandoah may be placed now. utilized a photograph of summer book Advance of Publication Cash Price of 30 easonabie. In the heart of the ROSS McKEE CENTURY CLUB BLDG. 1355 FRANKLIN ST. the Robin Hood concert series. is limited to the United States and cents, talley, Dayton. Virginia. its possessions. Postpaid. 338 Advertisement ADVEIiTISEMENT 359 THE ETUDE JUNE, 1946 1 | — — — — p

Preparation for Potsdam

(iContinued from Page 305) “Bed SJLB With There Is A Thrill In The Patriotic solos—Liszt, Schumann, Johann Strauss, tigue. In the first years of study, | that is and Chopin which President Truman hard to do. Until one has a fairly | sound especially loves. Everything had to technique, one rzCeciclincj be simply must work at ^Jêaferd ûeru.where! ‘right on tap,’ smoothly in my fingers, scales, arpeggios, and etudes. But once and I was thankful for the odd bits of background that is in fluent order, I be- Fervor Of The practicing X had gotten in, in the months lieve it much wiser to practice pieces I before. making their difficulties into exercises," Piano Educational Works “And then the thing happened. After and mastering technique and repertory dinner, I saw the President rise—and the together. The next point to watch is the by... next thing I knew, I heard him announc- steady continuity of practicing. Many ing that Sergeant Eugene List students have the MARCHES would erroneous SOUSA notion that LOUISE ROBYN play part of the Tchaikovsky Concerto. one practices in order to smooth out the When I had finished, Generalissimo individual difficulties of individual pieces. Stalin suddenly sprang his feet This is not altogether POWER MARY BACON MASON to and the case. Besides THE STARS AND STRIP said that he wished to drink a toast to polishing off individual problems, prac- and GLORY BERNARD WAGNESS the pianist. I stood there, seeing every- tice puts into one’s fingers a resource thing as if through a layer of veils; it that, in the final analysis, is the only FOREVER March didn’t seem real. Then the basis of President confidence in playing. When you PHILIP Introducing JOSEPHINE HOVEY PERRY JOHN SOUSA PIANO SOLO (Cat. No. JC 30111 1 ^jf().50 beckoned to me to come forward. Stalin play for yourself, you play without ^ “Onward Chris- effort LIEUT. COMMANDER, U. S. N. R. F. met me in the middle of the great floor; and without pressure. But the PIANO SOLO—Simplified Arrangement by John W. tian Soldiers” moment D. C., November 6, 1854 |J orn —Washington, we clinked glasses and he spoke to someone listens to Schaum 30552) 50 (Published by LOUISE me you, something creeps Reading, Pa., March 6, 1932 (JC ROBYN Died— Theodore Presser Co.) TECHNIC through his interpreter. He asked me into your playing awareness, self-con- TALES—Book 1 $0.75 PIANO SOLO (TRIO PORTION)—Simplified Arr. Introduces about Russian music, sciousness, PIANO SOLO 15 essential principles in first year and, by some mira- call it what you will, but you piano technic coordinating mind, by Bruce Carleton (JC 30868) 30 eye, and hand. cle, I remembered to tell him about are longer (TP 19209) .50 Illustrated. the no functioning under the LIBERTY BELL—March Shostakovich PIANO DUET— 1 PIANO, 4 HDS. (JC 30112) 75 PIANO DUET TEACHER’S MANUAL TO TECHNIC TALES Concerto. Then he asked same conditions as you are when alone. Book 1 me to play (TP 19210) .75 something by this Soviet Now, these extra conditions need a shock- PIANO TRIO— 1 PIANO, 6 HDS. (JC 30113) 1.00 TECHNIC TALES Book — 2 . 75 ’ composer. luck, wm FULL Continuation By I knew some of his absorber of confidence and security. BAND of Book 1 with 1 5 lessons' 'for You TWO PIANOS, FOUR HANDS-Arr. by M. Zadora second year study including Piano Prel-ides (TP 19211) .75 marcato chords, —and after I had played need to be, not up to the mark, but well triads, two-note slurs, etc. them, PIANO SOLO (JC 30044) .50 (JC 30862) LOO another toast seemed to be in past ‘the mark,’ so that any slight FULL ORCHESTRA (TP 19212) *1.15 TEACHER’S MANUAL TO TECHNIC TALES strain PIANO SOLO—Simplified Arr. by Rob Roy Book 2 order ! Happily, I played no more Russian or stress SONG FOR MEDIUM VOICE (JC 30114) 60 .75 which might throw you off keel 30761) .50 TECHNIC TALES——Book Peery iJC 3 (Chord Craftorsl 7S music and there were no more toasts cannot do more to you than bring ROBYN-HANKS you < JC 30442) .75 CHORUS OR QUARTET OF MIXED VOICES HARMONY—Book 1 .A PIANO DUET A Junior Course, else I should never have been in condi- back to for students of any age, in the point where you want to be! STANDARD BAND .75 10 written (S. A. T. B.) (JC 35260) GLORY OF THE YANKEE NAVY harmony, keyboard harmony, and ear- tion to oblige Mr. Churchill And training. when he only steady and continuous prac- SYMPHONIC BAND 1.50 called out for the Missouri ticing ;0RUS OR QUARTET OF MEN’S VOICES PIANO SOLO 50 ROBYN-HANKS HARMONY—Book 2 75 Waltz, doubt- can do that for you. ORCHESTRA (Small) .75 ROBYN-HANKS 75 less 12 HARMONY—Book 3 in compliment to President “Again, ORCHESTRA I Full 1 1.15 (JC 35119) BAND KEYBOARD Truman. in the matter of repertory, al- 75 TOWN ,75 I had never played it, but I Includes more than 75 little melodies for early knew the ways try to have some pieces thoroughly CHORUS OR QUARTET OF MEN’S VOICES training in note reading. tune and improvised in the key of C and fluently at your fingers’ ends. If you (T. T. B. Arr. by E. A. Tidmarsh (JC 35428) .15 ROBYN-CURLITT 7 r B.)— ROBYN-HANON 12 I wasn’t taking any chances with the do not have many, then KEEPING STEP WITH THE K'lk Si'i ids .« M Famous Picture be satisfied with HAIL TO rote cards black CHORUS OF TREBLE VOICES, TWO PARTS ;;;;;;;;;; J, notes! Then the President wanted few^-but let Plitli,' fioy'i/t/fro them be perfect. It is better UNION 'if'" Chopin, and the (S. A.) (JC 35233) 12 SPIRIT formality of that meet- to be able to play three pieces adequately, THE OF LIBERTY MARY ( Published by BACON MASON ing took on the pleasant easiness of under all com- circumstances, than to smatter SCHOOL CHORUS, THREE PARTS (S. A. B„ PIANO SOLO .50 FOLKSONCS nion Theodore Presser Co.) AND FAMOUS PICTURES 1.00 joy in music. And it was wonderful! fifty. First at Melody in Bass) (JC 35234) 10 instruction in notation, rhythm, scales* BAND .75 etc. “That is always the most Cut-out pictures and flash cards add in- important “I feel that my own share in the PIANO SOLO Pots- UNISON SCHOOL CHORUS (JC 35232) 10 ORCHESTRA (Small) .75 terest and value. feeling that comes to me when I speak dam proceedings ' F'RST C LAss,cs was pure luck. It was (TP 17600). .50 AND FOUNDATION of that more-than-wonderful STANDARD BAND 75 ORCHESTRA (Full) 1.15 HARMONY experience luck that I was chosen at all; y qq luck that I PIANO DUET Second year material including —the compelling power of simplified music. And knew Russian music; luck that I had in SYMPHONIC BAND 1.50 classics and elementary harmony after that, I (TP 17601). .65 BOY think there are a number of my fingers the pieces MUSIC that were wanted. ORCHESTRA (Small) 75 r t piano method especially deductions to be made! The first PIANO, 6 HDS. £«i .5 _ for boys 8 to 16. is— But I do not think I should INVINCIBLE EAGLE—March D U LT A PP R have been 0ACH to the p ia no always be prepared. If I had let ORCHESTRA (Full) 1.15 fla s h r myself ready to receive my good (TP 17602).. .80 ca ds . . j;°° luck if I , . . ;;;;;; had PIANO SOLO (JC 30870) .50 get slack on technique or repertory, not I worked at technique and repertory. 2 PIANOS, STRIPES Simplified should not have THE STARS AND FOREVER— BAND .75 BERNARD WAGNESS been able to play. If The best advice I can offer to other young 8 HDS. Piano Arr. of Trio for Piano Solo by Bruce Carleton BERNARD A6MESS I had ever groaned and felt ORCHESTRA (Small) .75 W PIANO COURSE—PREPARATORY BOOK annoyed at performers is be prepared. You never 50 (TP 17603 ) 1.25 New, logical, and practical the difficulties ORCHESTRA (Full) 1.15 procedures based under which I had to know how, or when, on the laws of physiology, psychology, Or under what and work at the piano FULL BAND Tempo di Marcia M.M.J = 120 i I I II during my early // W u pedagogy leading to real achievements with (stressful!) circumstances your own big beginners. Army days, the practicing ‘paid off’ chance (TP 17604).. .75 — + at may come - PIANO your way. Be ready for t r- jt 0 11 R S E COURSE—Bock 1 Potsdam! j 00 The first conclusion, then, is to it by FULL 1.15 Reading cards covering three octaves", keeping your fingers in condition ORCHESTRA (TP 17605) rah for the flag of the THE rhyth- keep up one’s mic drills, keyboard harmony, etc. practicing under any Interesting and and by being able to give a fluent per- SMALL ORCHESTRA (TP 17605A) 75 pieces to play. all circumstances. AVIATORS The next, perhaps, is formance of repertory. ENSEMBLE BOOK—Supplementary to Piano And the only an- Course to make that practicing so ÂVIATORS 1 . . interesting Book . . — *7c swer to that is solid, thoughtful, contin- March PIANO COURSE—Book 1 in that it does not become a physical fa- ued practice!” (Published by PIANO COURSE—Book 3 on A Selected Group of JOHN PHILIP SOUSA TECHNIC J Theodore Presser Co.) FUNDAMENTALS . S SECOND YEAR ETUDES 75 Other ... . Popular Marches For developing style and accuracy PIANO SOLO THIRD YEAR ETUDES ... n By John Philip Sousa (TP 25480) .50 EIGHT CHORDAL ATTACKS 1 raae material University EL PIANO DUET l’ covering all chord- Training for Motion CAPITAN MARCH attacks. Picture Musicians Piano Solo .50 — Piano Duet .75 (TP 25481) .60 ( Continued from Page JOSEPHINE 307) Piano Solo—Simplified Arr. by Carleton .50 BAND 75 HOVEY PERRY Piano Trio LOO PLEASURE PATH TO ORCHESTRA THE PIANO .... f 00 He helps in timing the Full Band .75 Symphonic Band 1.50 Pre-schooi material scenes to be scored. the — (Small) .75 using the black keys as training of musicians who want to He Orchestra I the first approach. Familiar sits in the sound engineer’s (Small) .75— I Full 1.15 rhymes and stories booth at specialize in ORCHESTRA introduce foundation instruction the these occupations. ACROSS THE SEA—March recordings and handles the recorded MANHATTAN BEACH MARCH _ HANDS = BUSY WORK FOR BECINNERS .... Other possible jobs like librarian, (Full) 1.15 60 sound tracks. Piano Solo .50 Piano Duet .75 A writing book furnishing entertaining — and in- copyist, orchestra musicians, do not re- ° U " Another Piano Solo—Simplified Arr. by Hodson .50 Trio. — r~- ^ y g Pia "° begi "" ers position in which , _ — — -ggr ’ musical quire MORE BUSY WORK „ such training and can be filled by Full Baud .75 education wou.d be essential —Symphonic Band 1.50 THE .' HOUSE THAT JACK BUILT .' is that of 75 anybody with the usual qualifications. Orchestra (Small) .75— (Full) 1.15 Clever preparatory the sound ' material covering reading cutter, the person who syn- r p and playing in four octaves. Though song writers of KING Attractive little chronizes the sound and arrangers COTTON MARCH THE pieces and illustrations. track with the film. popular music are in Piano Solo .50 It is his task to great demand in — Piano Duet .75 make cuts, if so required, (JC 30649) 50 and the studios, I don’t think that any college Piano Solo—Simplified Arr. by Hodson .50 PIANO SOLO for this purpose he must not only JOHN CHURCH CO. be' education could help Full Band .75—Symphonic Band 1.50 75 able to read music, but them in their pro- STANDARD BAND also be musically Orchestra .75 OLIVER fession! It is (Small) — (Full ) 1.15 nIT my firm belief that uni- SON intelligent 1.50 THEODORE PRESSER CO., Distributors CO. enough to BAND know in which part versity FAIREST SYMPHONIC THEODORE of training in motion picture work OF THE FAIR—MARCH PRESSER CO., DISTRIBUTORS the music such cuts can be made with- would greatly improve Piano Solo .50—Piano Duet .75 ORCHESTRA (Small) 75 1712 CHESTNUT STREET 1712 CHESTNUT STREET, out destroying its the quality of the PHILADELPHIA 1, PA. very structure. A work- Piano Solo cinematographic art —Simplified Arr. by Schaum .50 (Full) 1.15 shop at the university and open new occu- ORCHESTRA supervised by Orch. (Small) .75—Orch. (Full) 1.15 PHILADELPHIA (I), PENNA. pational possibilities for talented skilled technicians could young Band .75 greatly help in men and women. 360 "FORWARD MARCH WITH MUSIC” THE ETUDE

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