Gardner-Webb University Digital Commons @ Gardner-Webb University
The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
1-1-1942 Volume 60, Number 01 (January 1942) James Francis Cooke
Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons
Recommended Citation Cooke, James Francis. "Volume 60, Number 01 (January 1942)." , (1942). https://digitalcommons.gardner-webb.edu/etude/243
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]. MSI
toil* January*
5 UM IMQNITUE |WIP|THU |t II |3A
,8 '9 20 21 22 23 Zi t 26 27 23 2930 31 I r
What Music Means to By Helen Keller — —- — ))
Lovers Books for Duo- and Score The Yardstick of American Civilization New Hampton SERIES THE HAMPTON SERIES THE HAMPTON * **************** ARROW-SCORES TWO-PIANO FOUR-HAND ALBUMS MINIATURE
playing is one of the scores while homes, in cottages, in modest apart- Two piano, four-hand Do you like to follow Since the dawn of history the extent to which a people partici- with the many, in farm pianists, or the most fascinating pastimes for listening to concerts, radio broadcasts Here it has always been an orchestral works? pate in music has been, perhaps, the most accurate yardstick ments, as well as in mansions. but unfortunately records of great of scores of extremely expensive pleasure because is your opportunity to buy Rimsky-Korsakow s of their civilization. Many nations have produced great com- the high cost of such arrangements. works such as Jubal (ninth lineal de- ob- Prokofieff s Classical Sym- In Genesis iv. 21, we are told that Hampton Publications removes this Scheherazade, vm v«« I posers and great musicians whose inspirations, more often twenty- and Tschaikowsky’s A utcracker stacle completely by assembling phony Nfchotm Riro*ky-K.T«Jtnw father of all such as scendant of Adam and Eve) was the two-piano arrange- Suite at a few cents each. Read the con- than not, came from the patronage of the art by the fashion- seven (27) interesting Srhrhcnndc eight Hampton Miniature classic and modern compositions tents of the handle the harp and organ.” In the history of every people ments of able and that Score Volumes listed below, and you will wealthy rather than from the natural desire of a at a price ($2.50 for both parts) Kutu^n Fa*t« down to realize that you not only get these scores since the beginning of time as we know it there are references brings the cost for each number people to understand and use a form of expression that raises incredibly low prices, but also the the almost incredible figure of less than at Score-reading, endorsed to musical instruments. Music meant something in Fourteen of the arrangements Arrow System of the soul and spirit above the common level. This very patron- music and JOt each. * thirteen by great educators such as Dr. Paul J. 1 are entirely new, and the other life savages, long before there Weaver of Cornell University and Dr. tuMrrn* age of music and musicians by the select classes reflected a the of every people, even the are standard arrangements formerly sold George Wedge of the Juilliard Music at from 50{? to $2.00 each. yearning for something which is not to be found in painting was a telegraph or a telephone pole or a railroad track or an School, is added without additional cost. or architecture or in the printed word. For in music the crea- automobile—perhaps even before there was a wheel! It ha9 CONTENTS tions of the great can be recreated by countless others. The remained for the people of the United States, however, to CONTENTS (Saeta) Albeniz *Cadiz Vol. 5 Stravinsky Ballets masterpiece of a Raphael Vol. I—Rimsky-Korsakow — can only be admired ; the master- democratize music, to use it in their daily lives, not re- for Arensky Waltz (Suite Op. IS) Petrouchka Scheherazade—Suite The Firebird (Sonata in D) Sacre du Printemps piece of a Beethoven can actually be performed. muneration or glory, for the inspiring, Bach, J. C. *Minuet Russian Easter—Overture but soothing and cura- Price Beethoven *Minuet in Eb 96 Pages—Price $1.00 192 Pages— $1.75 foreign editions S9.00 tive influence of this most popular fine (Cos( in foreign editions $6.00) (Cost in of the arts. Bizet Minuet ( L’Arlesienne) America is the greatest musical nation in the world, not so Boccherini Minuet in A Vol. 6—Modern Overtures much in the acclaimed achievements of a few great composers Joyeuse Marche Vol. 2 Mozart and Gluck In times of national emergency music takes on greater import- Chabrier — Tschaikowsky—‘‘1812" Solemn Over- Intermezzo (Intermede) and musicians as in the daily participation in Chaminade MOZART OVERTURES ture music—the ance as the most potent Dvorak—“Carnival" Overture and economical morale building Chopin Military Polonaise, Op. 40, No. 1 Abduction Seragliolmprcsario, The Brahms—"Academic Festival” actual performance, good, bad and indifferent, if you will Pizzicati (Sylvia) Cosi Fan Tutti Magic Flute, The — avocation available Delibes Valse Lcnte and Brahms "Tragic”’ to every man, woman and child in Amer- Marriage of Figaro — Dance (Henry VIII) Don Giovanni Goldmark “Sakuntala” of its millions of people, old and young, in German *Morris Idotneneus Cleinenza di Tito homes, in the 96 Pages Price $1.00 ica. “Only when man plays is man truly man,” concludes a ^'Shepherd’s Dance (Henry VIII) — primary GLUCK OVERTURES (Cost in foreign editions S6.00 schools, in the high schools and in colleges. There *Torch Dance (Henry VIII) great poet. Alceste are more pianos in use in Gliere *Dance of the Russian Sailors Iphigenia in Aulis this great democracy, per thousand Vol. 7—French Works Tarantelle, No. 2 Orpheus and Eurydice Heller Op. 85, Debussy Nocturnes of population, than in any other country in the world. The House of 96 Pages—Price $1.00 — More Kimball and its dealers take satisfaction in the Mendelssohn Canzonetta, Op. 44 (Clouds—Festivals—Sirens) (Cost in foreign editions $7.20) — pianos Bizet “L’Arlesienne” Suite No. 1 are made here annually, more are sold to a knowledge Moussorgsky *Hopak (Fair at Sorotschinsk) — people that Kimball pianos and pipe organs are among Bizet “L’Arlesienne” Suite No. 2 *Minuet (Divertimento in D) Berlioz—“Roman Carnival" Overture whose state of civilization Mozart is the highest ever known; for the essentials to Vol. 3 Beethoven Overtures Berlioz—“Damnation of Faust” Suite a people whose masses have attained higher Prokofieff *Gavotte (Classical Symphony) — Coriolan Leonore No. 1 96 Pages Price $1.00 civilization is measured, not by — the conspicuous achievements civilization and Rachmaninoff Finale (Concerto Op. 18) Leonore No. 2 culture than the masses of any other people Egmont (Cost in foreign editions S9.00) Prelude in s minor, Op. No. 3 Fidelio Leonore No. 3 of the few, but by the state of living C 1, and culture that prevails in the Prometheus world. Ravel *Pavane for a Dead Infanta 96 Pages—Price $1.00 Vol. 8—Russian and Rimsky- (Cost in foreign editions $5.00) Bohemian Works Korsakow ^Flight of the Bumble-Bee Rimsky-Korsakow—Coq d’Or (Suite) * *ValseTriste Ippolitow-Iwanow ****** * " r * te *or a Sibelius (Kuolema) comphnientary copy Vol. 4 Miscellaneous Works 1FrPP1 *** — Caucasian Sketches CC of our illustrated ***** Strauss *Tales from the Vienna Woods booklet—“The Tschaikowsky—Nutcracker Suite Smetana— Yardstick of American Civilization.” (Waltzes) Borodin —Prince Igor (Dances) The Moldau (Symphonic Poem) Tschaikowsky Sleeping Beauty (Waltz from Ballet) Enesco—Rumanian Rhapsody Smetana Prokofieff—Classical Symphony From Bohemia (Tone Poem) Price $2.50 (for both separate parts) 112 Pages—Price $1.25 112 Pages—Price $1.25 (Cost in foreign editions S8.25) (Cost in foreign editions S9.00)
The starred, titles above are those of compositions that have either W. W. KIMBALL never been available for two-piano playing, or could be procured CO. only in old-fashioned arrangements. Particular attention is directed Drop a postcard in the mail for to the “Minuet in E” by Beethoven, the three English Dances by the descriptive brochure about Eighty-live Consecutive Years free, German, the Gavotte by Prokofieff, the “Favane” by Ravel and ail Hampton Miniature Arrow Scores other starred titles. KIMBALL HALL Copyright. W. W Kimball Co.. 19+1 CHICAGO HAMPTON PUBLICATIONS 400 MADISON AVENUE • NEW YORK CITY
JANUARY, 1942 1 f I . ' .
u M M M mmstl® majqjajnSv- Published Monthly By Theodore y presser Co., Philadelphia pa, EDITORIAL AND y ADVISORY ST A FI DR. JAMES FRANCIS COOKE. Editor Guy McCoy and Priscilla Brown, Asihtan/ Editors William M. Felton, Music Editor Robert Braine Dr. Henry S. Fry George i C Krick Dir, Rob Roy Peery KeO W. Gchrkens Blanche Lemmon P«ier Hugh Dr1 NichT'oNicholas llouty Elizabeth Reed Gest Dr. Guy Maier William PAPI, dis- Paul D. Revel li CENNARO Koepke N. Clifford Page IN TOUR of THERE AND EVERYWHERE conductor of FOUNDED 1S83 BY THEODORE FRITZ KREISLER’S CONCERT HERE. tinguished PRESS I: R Opera I some twenty-six appearances has been THE MUSICAL WORLD the Metropolitan cancelled or deferred until a later date. Company, died suddenly This seems to have been a precaution- in New York City on ary move, although assurance is given November 29, just a few injuries ORCHESTRAL ASSO- was to (Contents of his complete recovery from JUAN JOSE CASTRO, Argentine com- THE NATIONAL hours before he jor ^anuanj, traffic acci- Barzin, conductor, pre- the / 942 sustained last summer in a poser, was honored by the League of CIATION, Leon have conducted in November, at Carnegie Hall, mat- dent in New York City. Composers at its opening concert on sented opening Saturday Gennaro VOLUME LX, N„. x York, the Winners Series of five "La PRICE 25 CENTS December 7. Mr. Castro, who is in the New inee performance of Papi WORLD OF representative MUSIC to conduct the NBC Sym- concerts, during which Traviata.” Maestro Papl AMERICAN COMPOSITIONS were fea- United States which YOUTH AND MUSIC as pianist in works by American composers, career abroad before being the Mid-Year Festival of the phony Orchestra, appeared had a notable She “Delivers the Goods”. tured at awards were played. 1913 as Berea, a program of his own works. had won various brought to the Metropolitan In . Blanche I.t Baldwin-Wallace Conservatory at editorial Arturo Toscanini. From 191 « Friendship December 6 and 7. Composers assistant to and the New Year Ohio, on OPERA COMPANY an- conductor of Walter Piston, THE PREMIERE OF TIIE CHICAGO to 1926, he was the chief MUSIC AND represented included for CULTURE ALEC TEMPLETON’S nounces new attendance records opera at the "Met”; then fol- Music Through the David Stanley Smith, Jack Conklin, Roy Italian What Year opera audiences at the Civic Opera House. Clilcago Opera Musicc Mea s . “Rhapsodie Harmo- years with the t0 IM™ Kekier. Ham ,, Peake Tuthill, Leo Sowerby, and lowed ten Biiu'dlno , G Harris, Burnet minding Vv ocal J John ^Surety Rose Heyihut T nique” was the feature Recent performances have featured after which he returned to t >, '. Company, e JANUARY, 1942 5 Music and Culture — Music and Culture sensitive respon accepts them with the deeply have desire siveness that each composer must It takes two as the finest haven for his expression. crea e complete a master work—one to Music Through The Year artists to hun- it; and of the it, the other to comprehend Delightful Musical Notographs connoisseurs, dreds of professional musicians and music, By HARVEY PEAKE tr> whom this renorter has talked about Conference Secured Expressly for The Etude From a is a “I am very pleased to talk to The Etude. It magazine which I have known and admired for a long time. Of especial interest to me have been the occasional articles appearing there, in whidh blind people tell of the joy that music brings to their lives. “Music is an important part of my life. It reaches me in a very pleasant way. There are all HE NAME OF HELEN KELLER is indelibly “Teacher” and her gifted pupil the death of written among those of the world’s truly was ended by Mrs. Macy, in 1936. The spirit T great. Born a normal, active child, she was Sullivan Macy re- stricken by an illness that deprived her of both of Anne mains the lode-star of Helen sight and hearing, before she was two years old. In her seventh year, her instinctive need for Keller’s life. expression became so urgent that she fell subject A High Calling to passionate crying spells, the cause of which was apparent but the remedy for which seemed After earning the B.A. de- hopeless. Her parents, living in a small town in gree at Radcliffe College, Helen Alabama, were quite unversed in the special Keller chose as her vocation methods required to reach through to the ardent the improvement of conditions little being, who lacked both the visual and the among the handicapped, and aural impressions upon which to build normal many of our present reforms understanding. On the advice of Alexander in the care and education of Graham Bell, Helen Keller’s family applied to the the blind and the deaf are the Perkins Institution for the Blind, in Boston. direct results of her tireless There it was that Dr. Samuel Gridley Howe had efforts. devised a means of teaching Laura Bridgman Upon meeting Helen Keller, who also was blind and deaf; there it was that one is conscious first of her a recent graduate of the Institution, Annie Mans- radiance and charm. She is field Sullivan, was recommended to Captain Keller vitally alive. Her handclasp is as teacher for his child. Thus began the personal warm and eager. Her ready life as well as the education of Helen Keller. smile gives evidence of the Miss Sullivan—later Mrs. Macy, but best known innate sympathy with life and as Helen Keller’s beloved “Teacher”—came to the human beings that is the child shortly before her seventh birthday. She essence of rich living. Al- found her an untamed little creature, with only though the range and scope such impressions as she had discovered for her- of her interests are astonish- self through her senses of touch, smell, and taste. ingly wide, she is anything but She began to teach the girl by forming the a blue-stocking. She has a manual alphabet into her hand and acquainting sparkling sense of humor, and her with the names of familiar people and ob- enters zestfully into conversa- Helen Keller wilh her favorite pet jects. The child’s first important discovery was tion. She hears either by lip- that everything has a name. Endowed with un- reading or by manual alphabet usual powers of mind and eagerness of spirit, she translation. When words have been conveyed kinds of vibrations which I recognize easily in learned rapidly. Soon she was able to read in directly to her, she makes an almost involuntary the various instruments. The vibrations usually raised type; to write letters; to express herself gesture of eagerness and replies immediately, in penetrate through the floor and the furniture; if not merely in name-words but in fluent sen- spoken sentences couched in diction of singular I am in a room in which music is being per- tences; to master an understanding of purely ab- aptness and beauty. formed, I feel it through the arms of my chair, stract conceptions, like love, goodness, and God. In talking with Helen Keller, one is, indeed, through my feet, through my body. If I place my When the little girl was ten, Miss Sullivan began aware of a “difference” between her and other hand upon the instrument, or upon the lips and to teach her to express herself orally, using her people—a difference that lies in Miss Keller’s throat of a singer, the tones of the music reach organs of speech to form and utter words she had keener sensitivity, her greater awareness of me in a distinct forte. In this way, it is easy for never heard. But “Teacher” did not stop with beauty, her richer ability to distill her impres- me to distinguish between the different kinds of the mechanics of education; she gave the child sions into their purest essence. Where the aver- music. For instance, there is the access to the harp, deep and full pageantry of life. On their daily age person looks without truly seeing and listens resonant like the wind in the pines, quite as I walks through the woods, she opened to her the without truly hearing, Miss Keller penetrates feel it when I walk through the woods. violin beauty of nature. At lesson The time, she made her straight to the core of her experiences and has all the beauty of the human voice in it. It is aware not merely of the facts of history, litera- reaches their basic truth. Not only has she con- so delicate; its tones range the ture, and science, entire span be- but of the indomitable human quered the barriers of darkness and silence for tween joys and sorrows. In the organ I feel spirit behind them. And to her tasks, the day by day, herself but she is able to interpret human experi- might and thunder of the ocean, as its waves rise year by year, the child brought the most in- ences for others in terms of a poetic insight and fall domitable and roll away. spirit of them all. Under the wisdom granted only to a few. “I also get the rhythm and the spirit of music. and loving-kindness of “Teacher’s” guidance, In the following interview, Helen Keller sets I know if it is dreamy, pathetic, Helen Keller emerged from an imprisoned or bright. I know little forth her impressions of music. Whether or not jazz, too—and sometimes I like it! Jazz is an ex- organism into a gracious, compassionate woman, she perceives tonal vibrations in the same way cellent accompaniment for dancing. of singular intellectual attainments I enjoy and compell- that others do, seems less important than the dancing, particularly if I have a good partner ing personal charm. The earthly association of fact that she does perceive them, and that she The waltz, I think, is my favorite, though I am JANUARY, 1942 7 — Music and Culture HE SECRET of correct vocal study,” instruc- Music and Culture says Miss Roman, “is individual is no tion intelligently applied. There No How Many Music Teachers Have We? such thing as a single ‘method’ of study. constructed in exactly the same not averse to the rhumba, either! The rhythm two throats are of respond to ex- way; no two pairs of vocal cords Surety dance music is so marked that it is easy for me Vocal no two singers Building i treatment; and to follow it and keep in good time. But dance )3y. 3t)icLion Stinner actly the same to the same formula. music, of course, is quite apart from the tonal can be trained according While we have this fact, and devises splendors of the great master works that pene- The Etude prints the following estimates with reservations. The wise teacher recognizes A Conference with should say that the study best calculated trate our souls and bring a message of comfort no more definite statistics than has the writer of this article, we for each pupil the course of and his own voice. and of faith. number of music teachers in America is far in excess of one hundred fifty to fit the individual needs of thousand. Our estimates are based upon years of personal contact, travel, cor- The Speaking Voice Is the Singer's Guide Favorite Composer respondence, and general music sales.—Editor’s Note. StJfa &omeux “These needs assert themselves at the first “Of all the composers, Beethoven is my favorite. he LAWRENCE H. SELZ organization of there are at least 100,000 active (piano) teachers, note voice placing. Every singer has one In the majesty his lesson in Soprano-Leading of utterance, now stark, now Chicago conducted In 1938 a survey for the and many more who teach for pin money.” natural to him and Distinguished Rumanian in his voice which is entirely tender, one recognizes the voice of all humanity T National Selz Piano Manufacturers Association, Applying the same method to the estimate and upon which he can sing, naturally and correctly, Soprano, Metropolitan Dpera Company, speaking. Especially do I love his “Fifth Sym- as a result of which they arrived at the conclu- of a total of 13,774,014 instrument players, we note without special instruction. That is the phony,” because I realize that it is his supreme sion that there are 6,282,676 families in the reach an estimate of a total of about 155,000 the San Francisco Opera Company should be developed first. That is the note triumph over deafness. I try not to miss hearing United States in which which one or more members professional instrument teachers. it not which the teacher must discover, using the “Fifth Symphony.” If it is included in a play the piano. On that basis they estimate the This checks closely with the census figures. basis for further instruction, but as a WEST radio program, I am tempted to leave whatever number of individuals only as a SECURED EXPRESSLY FOR THE ETUDE BY STEPHEN who play at 9,424,014 (one Under the classification “Musicians and Teach- of the guide in determining the range and nature task I may have before me to go downstairs to and one-half times the number of families in ers of Music,” the figure in the 1920 census was this note? Not by listen- listen to it. I also very fond voice. How to determine am of Wagner which at least one individual plays). From re- a little over in the 1930 130,000; census, a little singing, but by paying close particularly the scene in which Briinnhilde ports of ing to the pupil’s is instrument dealers and teachers, they over 165,000, an increase of approximately other to observe the breathing of a his speech. Except for inflections of put to sleep—and of the Russian composers. estimate the number who play other attention to the instru- twenty-seven per cent in the decade. fairly limited young baby, in order to see what Tschaikowsky’s music wears the color emphasis, a person speaks in a of sadness, ments at 4,350,000—a total of 13,744,014, not al- The American should be. Breath Federation of Musicians (musi- his natural speaking body expansion it is so full of longing. lowing range of tone. The tone of for duplications. It seems unlikely that cians’ union) It has a membership of about 128,000, after listening to supplies the lungs, certainly, but “I have had the privilege of having Heifetz duplications would be voice determines its character; of sufficient proportions of whom they estimate that about half would should never originate there. Chest, or play for me; Caruso to affect few sentences, we can readily determine and sang for me. I shall the total materially. be classified only a as musicians, for census purposes- - voice.’ ‘top’ breathing serves only to tighten never forget that. He said he wanted to sing his The president whether he has a ‘high voice’ or a ‘low of a music publishing Arm, who that is, they receive the greater portion of their range and nature up the vocal tract. Breath originates best for me—a gallant compliment. He chose is considered by the Music Publishers This same tone determines the Protective income from work as musicians. with the strong muscles of the ab- passages from “Samson et Dalila,” climaxing the Association to the singing voice. It is quite possible, of course, be the best authority on the study The census figure of treat with the is undoubtedly made up reach heights or depths domen, but its chief support lies in lament that Samson utters when of “popular” instruments, estimates that there for an untrained voice to chiefly of instrumental teachers and of the con- he has been blinded. Caruso revealed aie pro- not at all natural to it; some- the diaphragm. Diaphragmatic the deep 700,000 students of the piano accordion and fessionally of range that are understanding active members of the union. The the trol—observable In the expansion of a great soul as well as the the Hawaiian guitar. The Selz estimate times this is done by forcing, sometimes by is that voice teachers and concert artists, magnificence of a great voice. I was spellbound, 2,100,000 play who would artificial technics, such as a per- and contraction of the region just the accordion and guitar. That is a not also application of be included in one or the other of feeling a river of pure beauty flowing into my ratio of one student these falsetto. For that reason, it is not above the waist line—is the key to to two non-student players. groups, are probably sistent use of hand. too few in number to affect singing. tone rests Applying that ratio to the estimated safe to classify a voice by its singing range alone. good When the number of an estimate based on figures “It was also a delight to as to instrumental air in its meet Alec Templeton players of the piano (that is, speaking voice, which develops naturally and upon a column of which, dividing the number teachers and union members. The and to hear him play. He is not only a gifted of players by the con- turn, rests upon diaphragmatic sup- three), we should have 3,141,338 The current unconsciously, and which, because of musician but a poet. opinion among leading music He puts his very soul into piano students. edu- it is put, does not submit port, the vocal tract becomes free, cators seems to indicate stant use to which what he plays. And the ease with which he The survey that the figures of the made by The Etude, in 1937, showed 1940 census easily to forcing, must always be the guide. and the tone can be held with but creates music, playing will show at least as great off his impressions with an average of 17.77 pupils per a per- natural place of the voice has thus a minimum intake of breath. As in teacher. Dividing centage of increase during “When the the same fluency with which another person the estimate of the decade as the piano pupils by this figure, we figures of been discovered, the most natural tone should be all matters of singing, no one gen- speaks! He played an impression 1930 showed. Because of of me, making should obtain an estimate of the great vocal development. This eral can be given as to how 176,777 piano growth in public school used as the basis for counsel the keyboard tell just how I seemed to him. It teachers. music during the 1930's the percentage may note, as a rule, will be found to lie in the middle this support is to be achieved. It is was truly remarkable. The resulting harmonies But surveys well be still higher. In view made by The Etude found that voice. It should be developed first. Then a half- helpful, however, to forget the lungs embarrassed me, but touched and pleased 42.8 per cent me, of the teachers had less than range, in both directions, should be added; think of the diaphragm when too. eleven tone of and pupils. It may safely be assumed that, except 1. If the increase then another half-tone. Extremities of range supporting breath. for a negligible were the same (that number of high-priced teachers proximately is an- should never be explored until the middle voice Music in Nature those with no twenty-seven per cent) the more than ten pupils are not census in. such a STELLA ROMAN The Importance of Preparation mak- 1 * 1940 W°Uld be is securely placed and easy to work At ing- their livelihood chiefly from Somewhat ^re "Although I do not play myself, I had a marvel- their teaching So. S time, it will be discovered that the higher and “Suppose, now, that voice place- and belong rather in the ous experience in the class of “pin-money 2 If fall into place with comparative Mormon Tabernacle not 64,000 for the musicians’ the lower tones ment and support are in good order, teachers” than in the professional union be added One of the outstanding debuts of the Metropolitan long ago, when I visited that great church during classification. o the present readiness. how can a singer assure himself of estimate of 155,000 Stella a lecture tour. this Percenta8 e of the estimated teachersteeners, tnethe Opera season of 1940-41 was that of Roman, The organist kindly allowed me to total result is 219,000. “It is a great mistake to try to develop range producing high notes that are full of 176,777, we international distinction. sit beside him and play have left an estimate of 101 117 Rumanian soprano of upon his magnificent This check would seem tn inHiooi-A before the middle voice (the natural voice) is and free? Here, again, the theory of professional piano teachers. Critics and public alike hailed the vocal surety of instrument. That is, I struck a few notes secure control. infrequently, hears with This checks under Not one the middle voice stands him in good trepidation, feeling that I rather accurately with the Miss Roman’s art, the purity of her tone, the breadth was presumptuous. esti- sopranos whose top notes are shrill, or contraltos stead. The “at.® of ** Ailison, commonest fault of the But I enjoyed it President of of her phrasal line, the fidelity of her interpreta- immensely, and the organist _ the National whose deep tones seem to issue hollow Guild of Piano from a inexperienced singer is to concen- geneiously said that he would Teachers, who says, “I believe mm tions. Miss Roman was born in Bucharest, where incorporate my SSS**** cave. Such tones indicate plainly that the singer trate on his top notes, attacking them notes into a theme. she completed her general musical studies at the has not found her real, natural voice; that she without preparation. The best Actually, I have been State Music. way to in contact with music attempted to ‘build range’ Academy of She has appeared with METRONOME has for its own sake, overcome this fault is to realize the all my life with man-made ACCENTS notable success at La Scala, in Milan; music as well as forcing her notes out of their natural compass at the Royal i importance of working with the wonderful music of nature r r r up to high which reaches (jlachjs l-i_j effect. Theater in Rome; at the State Opera in Berlin; in Stein ui_r for the sake of an The correct placing of notes from lower tones. me daily in the rustle of leaves, the whirring Barcelona, Cairo, Rio de Janeiro, The note, of Then place the the voice is of extreme importance, so that tonal and at the Fes- biids wings, metronome where it can before the high one, is actually and the rushing of streams As Young music students often have be seen tival performances in Salzburg. Scheduled of a only va^ue and heard by each ^ defects of this nature may be avoided in later for the child, I loved to hear the piano ideas concerning time pupTnT? ^ T greater importance, because it serves talk. signatures, ’ an< That was and where the start it ticking at about work. honor of opening the Metropolitan Opera season of even before Teacher accents fall in 100 as a tonal base. came to me. I have enjoyed the various rhythms. 1940 in Verdi’s “Masked Ball,” By concentrating To clear “Voice placing, actually, consists of two steps. Miss Roman was music ever since. One of my great up this subject and to help upon this lower tone as starting musical mem- these pupils develop «h detained in Lisbon because of the tear and made ories is — First, discovering the natural voice through the concert of the NBC a strong feeling for rhythm, hen begm point, the singer works his way freely Symphony Or- the writer suggests the two-beat time wit* her initial appearance in New York when the oper- chestra, with Toscanini a plan which sienatnrp ^ , speech; and, second, holding it in its natural conducting, which I at- has proved very successful with 1 1 and easily up to the higher note. If in her the metronome ^ position through breath control. atic season was half over. Despite the brevity of her tended. but At first glance, I shall never forget the thrilling ci&ss. accent6nt th?!?the first? possible, a high tone sensa- of every measure. couni season. Miss asserted should never tions I had, sitting Began it seems curious that the breath of the singer Roman herself immediately as there in the full midst of the lesson with a blackboard be attacked without vocal that drill on time an artist of first magnitude. prepara- rushing tide of harmony.” 8 should be of such vital importance; everyone The opinions which ’ the aCCents fal1 in dozen 7 & hal< Miss tion from a note of lower range. (As regards of them: each measLes^le/them^hifTtTth breathes, whether he sings or not; life Roman brings to readers of The Etude are the Miss Keller’s visit to the th could not Certainly NBC signature; 66 63 ’ this is true in the case of studios, it is interesting then to the four be sustained without a result of rich tradition plus wide experience. to note that her beL to1 thethi constant supply of air to means back to the S1X beat;^ Editor’s inexperienced singers. Again, the of listening, through three-beat the lungs. What, then, is Note. vibrations, and the ideal of ture; and so unusual about a radio All of these so forth, preparation of high notes is greatly transmission, changes must h« rI ( Continued on Page 6 d°ne at the singer’s breathing? Actually, the singer’s method 66) command, and teacher’s facilitated by correct diaphragmatic without1 st of breathing is PPlng ‘he the only correct one! 8 miss ‘ng a metronome C,api”^ ™ control. In approaching a high note, tlck! “Every singer has been told at one time or an- prepare ( Continued on Page 50) the /ANUARY, 1942 etude 9 Music and Culture sought to Music and Culture NE DAY, IN 1832, a family friend just console’ a young aspiring composer, entiance O eighteen, for failing to pass the “Don’t requirements of the Milan Conservatory. home and be a composer,” he advised. “Go back can make some Stage Fright Need Not Be A Bogie! learn a useful trade, so that you Fortunes in Melody money.” Did the young man follow this advice? musician who He did not. He dug up a theater went An Interview with gave him some lessons in composition, Attic the Comes Out o£ the ahead on his own steam, and became one of The Composer ever wealthiest and most famous composers who Guiseppi Verdi. Is Yours lived. His name was You Hit It Right The World 01115 If X PL%. Incomes Amazing Hollywood Verdi’s time, well wishers and Distinguished Psychiatrist Ever since have tried to dissuade young aspirants ' friends Author of Be fjlad You're Neurotic" Pin trim from becoming composers and living in the tra- (%u Tboron PC. persists, despite SECURED EXPRESSLY ditional garret. It is a legend that FOR THE ETUDE RY MYLES FELLOWES their the fact that composers have stepped out of attics long since. They make more than they did fifteen minutes at Dr. bravoed for Louis E. Bisch received the degrees of A.B.. M.D., and Ph.D. especially the top men. Unforeseen developments fol- one hundred years ago, its conclusion, and a flood of from Columbia University. He is actively engaged in the practice composers, for instance, draw from lowed the publication of these Goldwyn- psychiatry Hollywood mail followed. Metro of in New York City. During the World War, Dr. Bisch thousand dollars bands around town fifty thousand to one hundred songs. The Mayer purchased film rights at was Organizer and Director of the Psychiatric Division, which Fifth Naval year on contract; and, on a time basis, about began swinging them, dol- District. He has served a a reputed four thousand as Instructor in Neuropathology, New York bad to immediate two hundred dollars a minute. That isn’t jumped them the composer found Post-Graduate Medical School; Professor europsychiatry lars. and of N . New The yearly income of one popularity. This worried Bob York Polyclinic pay in any language. sudden demand for his work. Medical School and Hospital; Associate in Educa- intended a of these composers is more than Chopin made MacGimsey. He had tional Psychology, Columbia University; and Consulting Specialist his entire life. serious artists in the through his compositions during his songs for such American Opera in Texas United States Public Health Service. In addition to numerous reasons composers make more to-day as Lawrence Tibbett and John scientific writings Dr. Bisch has published One of the After studying composition many works on the pop- revenue: he was ular is that they have more sources of Charles Thomas, and aspects of personality control, for the use of laymen. For in New York, Julia Smith re- movies, radio, phonograph records, performance afraid that association with the fifteen years, he prepared the daily article on health and psychology turned to her home town, dance fans would ruin them for for the King Features Syndicate, published in neivspapers through- fees. Denton, Texas, with a com- out the country. Were Mozart alive to-day, paying the rent the concert stage. His fears He contributes frequently to general national plete opera she had composed, magazines. Books would not trouble him. Performance fees alone were unfounded. The songs ap- by Dr. Bisch include “Your Inner Self," “The the local col- seri- and persuaded Conquest of Self," and the recent on his works should net him fifteen thousand pealed both to popular and best-seller, “Be Glad You’re Neu- lege students to present it. rotic!" His newest book— dollars a year. He might sell movie rights to an ous music devotees, and Mac- CHARLES WAKEFIELD CADMAN “Why Be Shy?"—appears this month — The students not only sang Editor’s Note, opera, at figures ranging from fifty thousand to Gimsey had a good running the parts, with the exception one hundred thousand dollars. He would receive start as a composer. of a few leading roles, and royalties from phonograph records, which did not Some years ago, while work- played in the orchestra, but exist then, as well as from music. He would not ing on some songs for a music made the scenery and cos- ***• tM discii, noiea psycniatnsi have to sell his operas for a flat sum to theaters revue at the Federal Theatre in TAGE FRIGHT IS A NECESSITY to good tumes and devised the light- distinguishing neurotic traits whose property they became. New York, Earl Robinson se- performance rather a deterrent. ing effects. It was the first —in common with all non- In considering the financial status of compo- lected some sentences from Lin- S The cramping aspects of stage fright can musical of opera to be given its premiere neurotics—are their greatest assets, pro- sers, a point invariably overlooked is that few coln’s first Inaugural Address be cured. feeling. A person cannot feel stage fright vided those traits find unless from com- in Texas, and hence was expression in the proper he thinks any age derived their whole income and wrote a song called Abe The cure consists, not in bolstering up a deter- pretty well of himself; unless his stand- of event. Peo- channel. Thus, the first reaction to position. Bach was a church organist and choir- Lincoln. Owing to its subject something an mination for success, stage fright ards are so high that but in breaking it down! should be he fears others may not ple from all over the one of rejoicing; if you perform before master, Mozart a pianist and teacher, Brahms a and distinctive style, combining came These are some of the amazing new findings appreciate them. an audience at all, you pro- state, from the North and are finding expression If pianist and conductor, Rimsky-Korsakoff a the song and spoken word, the put forth by Dr. Louis E. Bisch, eminent this is true of everybody, it psychi- for your artistic impulses, is doubly true from Oklahoma. The contin- thereby escaping the of the fessor, Cesar Franck a church organist, Moussorg- Broadway revue, “Hellzapop- atrist and author, who has done more than any danger public performer, who mounts the stage of frustration. sky a civil service employee, Dvorak a teacher, rights gent from Oklahoma consisted other investigator, perhaps, in helping for the sole purpose pin,” purchased show the aver- of being observed and Indians, rela- age judged. Saint-Saens a pianist. which netted about twenty-five of full-blooded layman to understand the workings of his A Little-Understood He can hardly escape the audience Emotion aspect The same condition prevails to-day, as indi- tives of Cynthia Parker, who own personality. Dr. Bisch devotes his forthcom- of self-consciousness, which dollars a week. Dr. Bisch ’s patients is stage fright. ing in personality-control in- cated by a study made of one hundred American is the chief character in the book—“Why Be Shy?”—to the virtually unex- clude ’Indeed, a measure of stage fright FRITZ KREISLER ranking artists in all branches is essential her plored field of self-consciousness, of per- to the performer,” composers, native and naturalized, fifteen of opera which bears name and has kindly formance, who have says Dr. Bisch. “It means come to him for aid in he whom are women. Only six of these spend their and is based on fact. They consented to discuss certain phases of the is trying to please his sub- ridding themselves of stage audience, to win their ap- ject for the benefit fright and left him proving whole time at composing. Thirty-five—the largest came in full Indian regalia of readers of The Etude. wfih a recognition. A performer better understanding of the thing absolutely lack- According to Dr. Bisch, stage fright that mg in stage fright group—are teachers, professors, heads of music and made a colorful picture is nothing troubles them. Self-consciousness would be saying by his to dread. Any is the common- attitude schools. Eighteen are arrangers; performer worth his salt experi- that he doesn’t care conductors and at the opening, along with the est and least understood of to please! Such self-as- ences it. the human If he didn’t, he would engage in emotions surance would fifteen are soloists. As for the rest, we find a Texas ranchers in their high- some Shyness is self-consciousness be repellent enough calling other in action; stage to mar his than the public interpretation of a Stage farmer, lawyer, preacher, businessman and some heeled boots. Following the fright is self-consciousness in fright is one of the means creative thought. That is action before an publishers’ assistants. because the creative or audience. the artistarn rT‘has off paying Lecturing, criticism, writ- publicity which attended this Self-conscious people— the debt he owes to the interpretive personality is nearly which includes ing, commentating, music editing are a few of event, always streaked everyone to a greater C UStGn the composer was called with neuroticism, or less degree-have ‘° t0 him We hear much and self-consciousness is a com- ofwhat^n the by-products. All of which would indicate that to Hollywood. one pletely mistaken 7 Music in the Home OZART: cosi FAN TUTTE; performed guard their pupils too Festival Opera cians. Again, some teachers by the Glyndebourne often self-conscious, afraid to conducted by Fritz edition of this wor Music and Culture Teachers closely; players are M Company, follow the standard Piano The Busy someone is sitting too 814. tonally good, relax and play freely if Busch. Victor sets M-812, 813, Graeser. The recording is hand. Pupils are more John Christie’s Glynde- in the Germanic “Multura in Parvo’ close to the performing Before the war, at Records but the reverberation owned the song outright, they put Cadman on expression and true Fritz New Bacn the emotional Sussex, England, defeats clarity of line. his apt to feel bourne Manor, Museum often royalty contract; and he built a house on are made to feel festival Briscoe sentiment of the music, if they Busch directed yearly a Mozart indication of the instrumentation royalty checks. By _d)ddison Bd. left no first instrument. become historic by vir- the choice of ver- Kreisler alone at the which has already he had in mind, and so Some years ago, the discovery that teacher, who Pre- piano teacher feels keenly the need of also have the overcritical the recordings made there. individual. the composer of certain works attributed to The busy We tue of sions is up to the was the best on the notes and no singer of Walter keeping up a presentable repertoire from keeps a sharp eye concentrated by a company in which Partita No. in G major; old masters caused quite a stir. It was claimed sented Bach: 5 modern composers. His practice forgetting the music itself. Praise another, Glyndebourne be- set X-208). thirty years he had practiced a deliber- of the classic and fingering, quite stood out above Gieseking (piano) (Columbia that for necessary than too for time is so limited that it must be given almost confidence are more for its ensemble as contend ate “hoax,” fooling the critics as well as those and came as famous No matter what the purist may the paramount difficulties presented in supervision, which sometimes retards the three sets made strikes us who heard and bought music. Kreisler explained wholly to much close its solo singing. Of about Gieseking’s playing, it the compositions chosen for performance. development of a really musical student. 1 or, performances given at appeal- that he started the practice when he first began the from the festival Music that he is far more effective and the teacher to Great The following trill exercise, once thoroughly it is the first duty of “Cosi fan tutte has long delightful giving concerts. Being unwilling to put too many after all, this opera, house, ing in his performance of this mastered, demands but a few minutes of his each individual aware of the joy and the all-around best per- harpsi- of his own pieces on his programs, he began using make been regarded as music than is Kirkpatrick in the time; yet it gives to the fingers all the surety, the records, with the names of composers long since gathered to beauty of music. formance. Heard from chord version he made for Musicraft sev- nimbleness, and resiliency that follow a much a recital, it is a wise plan comes their fathers. Then, again, he wanted his fiddling Lastly, just before the English-Italian libretto which Also, one feels that prac- the eral years back. longer period of scale, arpeggio and etude the teacher to sit at quite a distance from guide the development of By colleagues to play his early efforts, and he be- for with the set to Gieseking’s performance offers a finer les- tice, provided of course those scales and arpeggios and hear my so more readily if the num- piano and think, “I must now see opera proves to be as de- lieved they would do the plot, this son in control and phrasing. have been at one time thoroughly mastered. I go If, as a musi- could bers bore established names rather than his own. pupils as others will, tomorrow.” lightful a musical treat as anyone on the assumption that every worthy teacher has students sincerely, has Since he was not detected, he continued the cian, she has served her ask for an evening’s entertainment. done this. feeling and reverence for Hei- practice. Some of the critics justified this per- so imbued them with a Mozart: Duo in B-flat, K. 424; Jascha Trill in four-four measure, four sixteenth notes Orchestra (Columbia disc 71250-D). formance on the ground that Kreisler got away music that each performer is able to express Primrose, viola. fetz, violin, and William taking an old fa- to the beat, changing the fingering as indicated, the mood the Beecham has a way of with it successfully, and that it did no harm to no matter how simple the pieces— M-831. Victor set making it seem like a on the accented first beat. Play Middle C and D sit back with vorite like this and the names of those he appropriated—Vivaldi, composer intended, then she may The Bishop of Salzburg, when he heard with the left hand; right hand one octave higher. fresh musical experience. The suavity, the Porpora, Couperin, and others—in fact/ that it a happy smile as if to say, “I am proud of the it was by this work in 1783, believed are Do this in one impulse, letting hands fall to the and hard work.” nuance and the rhythmic elan here showed exceptional skill in duplicating the works result of those hours of patience Michael Haydn, since Mozart indulged in lap hi complete relaxation after each exercise is other version of this of the old masters. Others cited questionable far ahead of any a bit of ghost-writing for his friend who completed. music on discs. ethics and claimed that the whole thing was just the work. Endeavoring to Fingering. Begin on Middle C. Each pair of was too ill to do publicity stunt. In any event, the practice Prokofieff: Peter and the Wolf; Basil Rath- a style, Mozart did not fingers trills one measure in four-four time; four assimilate Haydn’s helped Kreisler get started. bone (narrator) with Leopold Stokowski achieve the charm he himself was sixteenth notes to the beat. Right hand: 1 and 2; Minute Check-Ups quite Orchestra (Colum- When Paul Whiteman gave his first Aeolian hears this music and the All-American 1 and 3; 2 and 3; 2 and 4; 3 and 3 and 4 capable of. Yet when one Hall concert in 1924, he asked George Gershwin 4; 5; bia set M-477). is here, one can- and 5; and then in reverse, each pair of fingers By QLclyi Stein as beautifully played as it to write a serious work for the program, in the W. Prokofleff’s delightful lesson in orches- four sixteenth notes to the beat, changing to a not help but be impressed. new jazz idiom. It was Gershwin’s first attempt tral instrumentation has been a great fa- different pair of fingers on each accented first After talking interminably, trying to get my Mozart: Concerto No. 3, in E-flat for Horn at a long work, and he called in orchestrator, vorite in the Koussevitzky version. Richard beat: begin on D; 5 and 4; 5 and 3; 4 and 3; younger piano pupils interested in music notation and Orchestra, K. 447; Aubrey Brain with the Ferde Grofe. Grofe worked with Gershwin six Hale, the narrator with the Boston Sym- this fingering being more difficult than the signs and terms, I tried the minute check-up BBC Symphony Orchestra, conducted by hours a day, for ten days, on the opus. He also makes a great deal more of the others, should be trilled for two measures instead plan, and it solved the problem beautifully. Boult. Victor set M-829. phony, persuaded Gershwin to include slow major Sir Adrian the E dramatic effects. As for Stokowski, he plays of one); 4 and 3; 3 and 3 and 1; 2 and 1. Now, at the end of every second or third les- Brain plays this con- theme. The work caught on and netted Gershwin 2; England’s Aubrey this music most effectively, outlining Its Left hand, same keys, 2 and 1; 3 and 1; 3 and son, I spend exactly one minute testing the pupils certo with a fluidity and richness of tone a small fortune. A picture producer paid him than did 2; 4 and 2; 4 and 3 (two measures) 5 5 on some phase of notation. If drilling on time music is humorous touches more broadly ; and tire. fifty thousand dollars for movie rights. While 3; of which one will never The and 4. Then in reverse, beginning on D: 4 and 5; signatures, I open a music book at random and Koussevitzky. Gershwin already had a name in the popular in Mozart’s happiest and most congenial 3 and 5; 3 and 4 (two measures) 2 2 and have the pupil explain each signature to me Kalinnikoff: Symphony No. 1 in C minor: ; and of field, the “Rhapsody in Blue” established him as 4; vein, and the work is a fine example 1 and 1 and 2. just as if I were the pupil instead Sevltzky and the Indianapolis a serious composer. 3; 3; of the teacher. his best mature style. It is splendidly re- Fabien Then apply the same fingering in the same Other days key signatures are emphasized, as corded. Symphony Orchestra (Victor set M-827). Rachmaninoff's Passport manner to the following pairs of keys: D-flat and well as rests, music terms, and so forth. Tschaikowsky: Symphony No. 5 in E minor. Kalinnikoff (1866-1901) is best remem- E-flat; C and C-sharp; B and C-sharp; E-flat All of this work is approached as a game, to-day by this symphony and a few When Rachmaninoff was twenty years old, he and Op. 64; Eugene Ormandy and the Phila- bered and E; E-flat and F. This gives every possible some times I reward composed his Prelude in C-sharp minor and pub- the pupils with a candy bar delphia Orchestra. Victor set M-828. choral works. The symphony is Slavic in black and white key combination. if they answer every lished it in an album containing four other piano question correctly. The re- Ormandy’s finely recorded version of character and frankly melodic, perhaps After a few minutes of this exercise, turn sult is that the pieces. For some unknown reason, the Prelude to children are eager for these this symphony is obviously intended to re- lacking in distinction but nonetheless at- Bach, Beethoven, Chopin, Liszt and modern com- check-ups, and even swept Europe and America. Lurid title pages do considerable research place the earlier Stokowski set. His well- mospheric and appealing. Sevitzky gives posers, with Angers keenly alert for unlocking work in music bore such melodramatic titles as Storming of my dictionaries to prepare for disciplined playing and saner treatment of FRITZ BUSCH the work a forceful rather than nuanced their treasures. To avoid monotony and spare them. Moscow and Bells of Moscoio. At that time, there the score are greatly preferable to Stokow- Conductor of the Glyndebourne Festival Opera Company in reading, and the recording is excellent. your neighbor, the practice of this exercise on a were no international copyright agreements; ski’s melodramatic reading. England and of the New Opera Company in New York City Enesco: Roumanian Rhapsody No. 1 (disc clavier or table is most beneficial, with occasional every publisher issued the piece, and Rach- Tschaikowsky: Piano Concerto in B-flat minor. 18201); Eugene Ormandy and the Phila- maninoff tests at the piano for clarity. collected nothing from it. The composi- Amusing Musical Op. 23; Vladimir Horowitz with Arturo delphia Orchestra. tion, however, served him quite handsomely in Episodes Toscanini and the NBC Symphony Orches- Roumanian Rhapsody No. 2 (disc 18102) ; other ways; it helped his concert business by tra. Victor set M-800. chestra (Columbia set M-475) Hans Kindler and the National Symphony Or- Pciu( \Janderi/oort II making his name an international byword. When ? The Position of Teacher Toscanini sweeps everything before him here, This is one of the best performances that Stock chestra (Victor set M-830). he first came to America, the customs official brilliant son-in-law. is Sweet to its singers, but even his This magnificent has given us on records. He has long been praised Ormandy brings more subtlety and contrast looked him over with cold, appraising not to two disappointed eye. But, virtuosity, but in some ways hardly a for his readings of By Cither 2ixon suitors, was the duet of Thomas summation warm the Schumann sym- to his performance of the first Rhapsody than on hearing the name, he straightened up. Jefferson and his biide Martha Skelton. of the composer’s intentions. Tae superb record- phonies. Although Ormandy made more of the Stock recently did. In order to get the work on "Not Rachmaninoff who composed the Prelude?’’ It is related that when the The majority of piano teachers sit near the early president ing and the illuminated playing will unquestion- contrasts in the score. Stock however plays with one disc Ormandy makes a large “Yes,” said the composer. was wooing his wife, two suitors although not right hand of the piano while giving lessons. This who had ably appeal to most listeners. However, the greater affection, and is aided by superior re- important “Pass in, my daughter come to propose to Martha cut. Of a sentimental genre and more plays that piece,” the is a comfortable paused upon position, yet it has its disadvan- her doorstep Rubinstein performance is still enjoyable as a cording. broadly songful, the official said amiably. when hearing the blending of her second Rhapsody offers in- tages as well as advantages—for the pupil’s right voice with that recording, despite the fact that it dates from 1933. Bach (arr. Craeser) : The Art of the Fugue; played by teresting contrast first. Sometimes a single work will skyrocket to of Jefferson. They decided the to the Both works are hand is watched more closely, and the left Strauss: Don Op. E. fame, carrying along hand duet was good for a lifetime Juan, 20; Fritz Reiner and the Power Biggs (organ) (Victor sets M-832-833). based on Roumanian folk tunes which its creator. The composer is may be neglected. and departed with- are most A teacher who habitually sits out Pittsburgh Symphony Orchestra. Columbia set To comprehend this music lucky if this happens early in his interposing any sour notes. thoroughly one skillfully treated by the composer. Kindler career, since at the left of the piano gives likewise may have pupils * X-190. must have extensive it will publicize his name as nothing * * an knowledge of form. Yet an effective performance of the second else will. whose left hand work excels that Rhapsody of the right. Undoubtedly The intensity of Reiner’s performance is made without this knowledge it is possible to We call to mind also the case of Rudolf Friml. the most curious individual appreci- and the recording is full and rich. Sometimes an eccentric teacher will deliberate- part He came to this country ever written for a singer doubly impressive by the realism of the recording. ate the architectural magnificence of the music. Kodaly: as a concert pianist. ly drop books, bang windows was the one Mendelssohn Dances from Calanta; Arthur Fiedler and up and down, or Wrot But the over-cut and tremendously powerful Mr. Biggs, playing on the Needing some cash, he took several of his songs ** tos brother-in-law, William Baroque Organ of the the Boston “Pops” Orchestra (Victor pace the floor . set M-834). while the student plays, for the f Hensel, the to a publisher, thinking he might raise fifty artist. While composing quality of the latter may well occasion some Germanic Museum at Harvard, has chosen to dol- purpose of making a self-confident a piece for a domestic Kodaly does here with Hungarian tunes largely lars. Oscar Hammerstein player. One celebration, he trouble in reproduction. The best previous ver- happened to overhear such teacher said, put in a part for Hensel, what Enesco does with Roumanian “If my pupils can play well for who was ones. The him playing them. Before he left uslcaL sion of this tone poem was made by Fritz Busch the publishers, me, I am not afraid m consisted of one moods of the dances vary between to have them play for anv . note which gaiety and he had a check for ten thousand dollars in HenselHpUM,was to sing back in 1937. his audience.” This does seem, however, at the proper time. When the sentiment. It is hard to resist this music, particu- pocket and a a most un- music contract to ( Continued on Page 49) musical was given, Hensel Schumann: Symphony No. 4 in D minor, Op. 120; way in which to develop could not even hit his RECORDS larly the zestful final dance. Galanta is a young musi- one note town in in the correct pitch. Frederick Stock and the Chicago Symphony Or- 12 Hungary where Kodaly ( Continued on Page 56) JANUARY, 1942 THE ETUDE 13 Music in the Home relations. The U. S. porti°n ing to hemisphere American Figure of the broad- A Remarkable the first fifteen minutes Music in the Home will occupy as your reviewer has Latin American cities will If you knew W. C. Handy, casts. The following at Mexico City on him personally, you could understand heard from during January: known be heart interest which he has Guatemala City on the 11th; Teguci- once the unusual the 4th; autobiography, which he aptly Honduras on the 16th; and San Juan, packed into his The Etude galpa, This book, apart calls “The Father of the Blues.” Porto Rico on the 25th. and Opera musical interest, is so absorbingly inter- Concerts Programs emanating from the Studios of WOR from its should become a national best York are greatly benefited by a esting that it (Mutual) in New story of an seller, as it is the humble, human Bookshelf treatment recently applied to these Lover’s new acoustical climbing to the greatest Music concert hall quality. unusual little Negro boy studios, which gives them courage, heights in his realm. Handy is a man of Greater richness, more overtones, more sharp- Air character, and understanding. If all colored citi- Dn the outline and instrumental perspective are Any book here ness of could nevei be a lace This new technic zens were like him, there reviewed may possible from these new studios. be secured from question in America, provided all white citizens makes every studio a composite of uneven sur- THE ETUDE MUSIC equaled him in the understanding and traits MAGAZINE af the faces, giving it a slightly surrealist appearance, price given plus is. His new book, which have put him where he oostoge. say the WOR engineers. This treatment was coming, as he says, “out of the noise of Bioad- JJtj ljt’('(t cjitul.saij or^an designed by Dr. Joseph Maxfield of Electrical Re- m way,” where for years he has been a distinctive with Edward search Products, Inc., in conjunction of figure, is a notable picture of the development Content of the engineering staff of WOR. popular Negro music in America. Listeners who enjoy the chamber music con- Born the son of parents formerly slaves, in EHIND THE PRODUCTIONS of the Chicago heard in an unusual series of Sunday morning certs Of The New Friends of Music, Sundays, 6:05 to Florence, Alabama, November 16, 1873. he was a Theatersr of the Air, heard piano recitals (Columbia network 11:05 to 11:30 will find the Saturday nights at — 6:30 P. M., ESTEST——NBC-Blue network, old man * ' ’ * ' - ' tells us of the little, CJ, r ““ Q ID TV/T T?Q Alrnx IUa TV/T. Cirotniv. rvAAr. .... true child of the South. He B. B 9 P.M., EST,T over (g, MUM the Mutual System, goes A.M., EST) , taking the place of the broadcasts of January broadcasts particularly worth hearing log cabin, with the foot-hardened dirt floor; of a great dealll Ofof preliminaryDreliminarv work to make the the BudapestRnrianest StringStrinp- Quartet,Quartet whichmhieh last fall gavemvo Of course,nnnrn the broadcasthroaHenct bringshrlmrs usns onlynnlv partmrt ofnl the surrounding orchard of cherries, pears, dam- opera or operetta performance fit into the hour’s programs of the Hall, chamber music of Beethoven, the program being played in Town New the flowers, ber- -• *•- *• sons, quinces; of the deep woods, teachers. broadcast time. This procedure of —— «— and naivete prising American school music “streamlining” This young artist York City, but the mocking is told with the frankness, sincerity, ries, nuts, and squirrels, the music of the School Music-Making” a score is somewhat akin to walking a tight-rope, has been playing the quality of the interesting reading. There “An Experiment in high owls. He nar- which makes mighty contends William birds, thrushes, whippoorwills, and Author: Vernon Griffiths A. Bacher, the producer. For piano almost as long programs makes even are many tremendously dramatic pages. The pic- rates how he drove the hoot owls away by thrust- each week there is the job of cutting, revising, as she can re- that part a welcome who, after having lost one fortune, Pages: 103 fire. Why this sent ture of Handy and somehow altering ing a poker into the hearth $2.50 a score, perhaps two and member. At the age respite on a Sunday finds himself bankrupt and temporarily blind, Price: the owls a-scooting, he did not know, but he re- Educational half times as long, so that it fits into the broad- of ten, her parents thrill- Publisher: New Zealand Council for afternoon. Arthur outset, fighting to regain his business interests, is cast time. ports that this never failed. Thus, from the brought her to New Schnabel is perform- Research in all that he writes. ing in its presentation. “You cannot just cut a story York City from their he creates an atmosphere down to the time ing during the month In the seething conglomerate from which our alloted,” says Bacher. “If I were to cut a score home in Norfolk, of January, piano modern American musical fabric is being evolved, The Age of Quiz- down to fifty minutes without rewriting it, most Virginia, for ad- musical works of Franz Schu- the distinctive rhythm and melodic lines of the One of the most ingenious series of operas wouldn’t mean a thing on the air.” Re- vanced study. A z or bert. Thus, the four “Blues” have already had a part. It is fortunate quizzes (How do you spell quizzes, with one cently faced with the task of making Bizet’s fellowship at the ever concerts scheduled that the creator of the “Blues” has been per- two z’s? Two z’s. Right.) your reviewer has “Carmen” into a Theater of the Air production, Juilliard Foundation are in reality four re- suaded to put down his own exceedingly interest- seen is that which is published under the name Bacher had to write a new story around the old followed, and there citals by the pianist. ing story. In all, Mr. Handy has written and pub- “Musical Questions and Quizzes.” They were com- plot, while keeping the musical passages intact. she came under the In the January lished over one hundred compositions. piled by Marion Bauer. "Since our task is to produce a good musical instruction of Josef broadcasts of Music of Father of the Blues” The era of “Information, Please” has deluged show,” he explained, “it is of prime importance and Rosina Lhevinne. “The the Americas, the Tues- with contributions of quizzes. They that the plot fits the music, and not vice versa.” In 1932, she formed By W. C. Handy magazines day morning Colum- upon their accuracy, Bacher has confidence in his results, and from a two-piano team Pages: 317 are good or bad, dependent bia School of the Air their inherent interest, and the success of this Saturday night show, it would with Harold Triggs, Price: $3.00 their cleverness, and series, a variety of series seem that the majority of his listeners are in an association that Publishers: The MacMillan Co. Miss Bauer’s are all that. The Etude ran a subjects will be cov- accord with him. lasted until 1938 and of quizzes for a long time. They were given the ered. On January 6th, The Metropolitan Opera Performances On Saturday brought with it ex- A Schubert Musical Playlet dignified name of “Etude Day.” They included, the program is “The afternoons returned to the airways the end of tensive tours of this More lengthy than the usual mbsical playlet for each month, ten questions of musical history, ten Ballad and Ro- November, under the sponsorship, for the second country and of Eu- children and interspersed with notation and mu- questions in general musical information, and successive mance.” Among the season, of The Texas Company. Many rope. Miss Brodsky sical illustrations, is “Curtain Calls for Franz ten questions on The Etude music in the particu- most popular forms novelties, revivals, and star singers entirely new has taught at the Schubert” by Opal Wheeler and Sybil Deucher. lar issue in which the questionnaire appeared. to radio listeners are scheduled, in which man has according to the Curtis Institute in Many will find much that is charming in this These antedated the quiz craze by many years, management, for the Saturday expressed his poetic matinee series this Philadelphia and also book. The illustrations are by Mary Greenwalt. as they first appeared in March, 1916, and an en- season, which will run sixteen fancy are the ballad, weeks. One of the at the Juilliard Sum- The musical selections are in simplified form. tire page in The Etude was given to them each largest commercial hookups in radio history mer School. the romance, and the will We rec- VERA BRODSKY “Curtain Calls for Franz Schubert” month. The answers appeared in the same issue. bring these opera matinees into American homes ommend Miss Brod- corrido. The material By: Opal Wheeler and Sybil Deucher One of the most useful of Miss Bauer’s sets is in every section of the country. The series is also skys recitals to the used in this broad- attention of all Etude readers. Pages: 103 Key-Word Biographies, in which series of words being cast derives from the French a short-waved to Latin America this year, so The Americas Speak, a series Canadian, the of eighteen weekly Price: $2.00 representing high lights is given to that millions English-American ballads, and you have of opera fans in the neighboring broadcasts presented by the Mutual and Columbian, Mex- network in lean and Brazilian folk Publisher: E. P. Dutton & Co. Inc. guess the name of the composer. Here is one, for continent may share in these great musical collaboration with Rotary material. International, world- In instance: events. the broadcast of the 18th, wide service club organization, the subject is W. C. Handy designed to pro- ( Music and Study HE SUBJECT OF FIFTHS is of such great which Music and Study interest that the following question, Answer T has come in to the Question and Table Dr. The Teachers Round Department of The Etude, was sent by well known theorist, Normand Playing by Memory Gehrkens to the Lockwood, who sends a reply so detailed that Fifths In the July Eri'tiz I seem to detect ap- Everlasting it. The music Most of article of probation by you of playing with depth to a pianist’s playing. us we are making a special recitals. Am I wrong then In telling at to work like beavers for many years read The Etude for many years, and learning difficult pieces Conducted Monthly have Q. I have my pupils when left after they acquire that much needed hand greatly by your answers to that the real work comes to have been helped Interest to Musicians F. D. M„ North Dakota. incessantly shouting to Matter of Notable memorize?—Mrs. sonority. I am questions received by you. I, myself, have several A you no longer advise or more bass!”. “Your struc- Is It true that students, “Bass, and so here goes a try at necessary part • problems confusing me, require memorizing as a toppling on your weak founda- for re- ture is you in advance of music study, and especially having them cleared up. Thank memorize from tion!”, “More bottom!''. “Richer left citals? I teach pupils to tr give me. "parrot- for any help you can the first lesson, not to acquire hand!” not afflicted with very bad woo because I do man oCoch like" performance, hut flU are spared. To be left First, I am a young you Normand All of which bow to Instill habits of analysis, of any j3y know p at all. Once you I have seen every doctor in the East handicap eyes. and security any other ^ handed is no concentration Noted Pianist seemed to think way. Then the Joy of playing from mem- are assured of a good solid foundation consequence, and most of them anytime, it seems to me, Music Educator ory anywhere, and it should not be hard to build up a fine, I ought to give up music for landscape gardening, habit is sel- you Is worth acquiring; and this all male or female voices. Can strong structure. Don't waste your time pursuit less dangerous to human to standard rules. ensembles, or dom easy to acquire If not taught front or some other type; it is usual to adhere 111 frequent recitals on exercises away from the piano, but any following suggest such a book? the first, and used eyes. But I can’t imagine myself happy in Well imagine my dismay to find the second nature. Am I wrong about you again for hav- until start each day's practice with a half while I presuppose Applied Har- I’d be truly grateful. Thank M.. Maine. other field of endeavor; and quotation from “Carolyn Alehin’s this?—L. P. hour’s regular daily workout on sensible, far. bright, lightly percussive doctors, I still hope about ing taken time to read thus Thank you for encouraging some of us In general, that you will agree with the is certainly nothing modern technical exercises, scales, arpeggios and mony”! There A. B not require all pupils to mem- over the air best. Avoid I can as who do tone comes to find some humble spot in music where yet it is harmonized exactly do not compel them to piano, and octaves for right hand alone. But re- this example, and an- orize. and who abrupt contrasts of forte and 1. (a) In reply to your first question my notes or by myself and be happy. according to Goetschius, A. play in recitals either with but on the member, you must do this every day for keep I was taught not to And, Mr. almost never play fortissimo; I understand perfectly your memory If It upsets them. I studied harmony with a very fine teacher in swer is that can of soft, clear months before you will feel and hear Bussler, and others. Maler. you must know that there are contrary play a great deal your reluctance to abandon results. I’m sure that’s all you need! Philadelphia, using Ludwig Bussler’s textbooks devotion to music and many pupils who hate playing In recitals pianissimo. Do this even though the Ex. 4 professional gardener whose love of music study Is harmed harmony. Then, it. But why not become a and engineer or announcer tells you not to on theory and notation, and on public performance. by forcing Correspondents with this Depart- amateur musician? pupils enjoy their so—for it will give your playing much Revising Beethoven when I finished these, my teacher instructed me and an I find that some ment are requested to limit Letters do cover a of question, concern- music study so much more, and to One Hundred and Fifty Words. more dynamic range. A grave fault Is it permissible occasionally to change in Rene Lenormand’s “Modern Harmony”; after (b) In reply to your second more ground If the time It or slightly alter passages In Beethoven great deal most broadcasting pianists is the per- which he gave me the following advice: “Go to ing the use of fifths, I am giving you an answer takes to memorize Is reduced.—B. D.. sonatas when one's hand is small, monotonous mezzopiano to or Ameri- Florida. sistence of a when one finds difficulty In playing ac- the music stores and libraries and read as many that was provided me by the well known This is sometimes due Etude mezzoforte range. curately or with enough force? old and new, as your eyes will composer, Normand Lockwood, to whom I That brief reply to M.K. in The correct these lacks, to make up for these books on harmony, can engineer—but more often to the —L. G„ Minnesota. instead of (for «*xampl«U bristle! to the jf last July made many teachers spots. permit. Everyone has something not to be found submitted your letter. He writes: blind pianist. clear, but Do you recognize the following, quoted I try very hard to make myself too, I have seen so many truly in the others, and this is the best way to know Miller’s “New Har- of deference to this esteemed columnist, Then Use slower tempos over the air, since Then to top it all, in H. A. Out awhile an inconclusive reply like from “The New Basic English Bible?” once in musical persons, with no thought of fol- harmony.” I that consecu- at elucidation will be made, which, all music sounds faster when the per- monic Devices,” on page 24, read an attempt an that slips by; so I’m afraid that F.D.M., discontinue all lowing music as a career, important Love is never tired of waiting; love I took his advice and, to my chagrin, met with right anywhere, by put his questioner, “A. B.," on the Tablers former is invisible. Shows how tive perfect fifths are all if it helps to L.P.M., B.D. and other Round active participation in music just because is kind; love has no envy; love has the visual aspect of music is, doesn’t it? many new and insoluble problems. diatonic, and he will served its purpose. bear with me. Excuse it, chromatic progression, not right track, have will have to of these unwise methods of “painful” in- no high opinion of itself love has no Avoid excessive rhythmic freedom; the ; I would like your opinion as to what to do in “Mozart Fifths”; while discussion proper that is, of “fifths,” will please! I’ll try to do better next time. I’d rather teach a student who quotes the following as The struction. straightforwardly and evenly you pride; love’s ways are ever fair; it is I tried more regards to fifths in music, (a) In Bussler, perfect and in- of counter- B.D. evidently understood what could easily get over ten Beethoven so- not quickly teacher says they are still wrong be preceded by a brief consideration play, the better you wiU come over. made angry; it has no my to say: that it is unwise to force all stu- natas, playing them accurately with fifths, of all fifths, are absolutely forbidden; yet in relation to harmony; and one of harmony evil. . . point Make recordings of your pieces before thought of . admissable. dents to memorize. For some of them, notes, with good rhythm, tone and pedal, the following example occurs in a quotation from examples of and during the broadcast; before the to counterpoint. Both are shining playing without notes is nothing less than These lines possess a certain pleasant than a student who knew only one sonata Mozart’s “Jupiter Symphony,” (the Finale) Ex. problem chil- broadcast, because the record will startle musical quality, but when the theorist’s propensity to beget torture, makes public performance a hid- by (most pupils don’t even play you compare memory Ex.l their turns them against piano you by its fidelity in recording the piece them with the rich magnificence of the dren. Who is to blame for their misconduct, eous nightmare, one of them entirely—a movement is all as you played it—and not as you thought King James’ version, you are shocked by constant quarreling, their defiant attitude toward study. you can ask!). The first student would you played it. You will learn much from their inadequacy: (according to my teachrr) 0/ course, I believe in training the know something about Beethoven and those who attempt to befriend and to understand listening to it, improving it and remaking memory right from the start; of course do music, but the second would be narrowly Charity suffereth long, and is kind; if Mozart thought them suitable why them? Why, their parents, of course—their father, it. Be sure to have the broadcast recorded Now all my advanced students play every- My teacher explains this by saying that instru- restricted to remembering the notes and charity envieth not; charity vaunt- theorists to-day make harmony students sweat to the theorist, and their mother, the theory teacher. I —for this can also be an invaluable les- thing in public by memory; of course in all is not bound by the limitations putting the finicky “interpreta- eth not itself, is not puffed up, doth mental harmony of writing them? I want to enjoy Their chief injustice toward these progeny of think the best way to recreate a compo- son. find other ways tions” taught him. And, I ask you, which not behave itself unseemly, of vocal harmony. Does that mean that for in- Enterprising teachers seeketh worrying about a fifth brains is that they expect too of them sition is to memorize it. Put in all the everywhere are music, not spend my life their much of the two do you think would be more not her own, is not easily provoked, strumental purposes you can “slap” fifths all over "of courses” you want about the neces- buying recording machines for the stimu- here and there. Also in a case like the following, in their infancy and youth, with the result that likely to continue exploring Beethoven, thinketh no evil, rejoiceth not in lation, thrill and help it gives the pupils. the page wherever and whenever you feel like it, sity for memorizing and I'll agree with to don’t see fifths can be avoided even in the world expects too much of them in their want to know more about music, to go iniquity, but rejoiceth in the truth. I how everything. But, I still maintain that the But if you or your students are going in with no restriction? on enjoying playing the piano and its (I Corinthians XIII: 4-6.) classical, old-fashioned harmony. maturity. Neither harmony nor counterpoint will fetish of compelling young people or for broadcasting, a good recording ma- (b) In regards to fifths, why are they good literature? This seems nat- ever be a dictator; both are destined to be gov- chine is an absolute necessity. There you amateurs, who have no thought of be- have your answer ! Beethoven melodically, and frowned upon chordically? In By all means teach students to mem- Ex.o ural and normal to higher than those of their Is only erned by laws own coming professional musicians, to mem- orize, and have them play without notes Beethoven when he utters his Croisez’s “Piano Studies” and Lichner’s “Nine L> - - . 4. _ _-- another | where all fairness it orize when the process is too difficult or glorious i me, creation, although in must be said, in recitals. But watch out for those who Right Hand Exercises pronouncements in his own Sonatinas” the following occurs: too time consuming, is unwise. Many tongue. method is forced, as it will be shown, that counterpoint has all the are allergic to this treatment—and for Can you suggest any piano exercises teachers lose sight of our true objectives Ex. artificialandstilted. heaven’s sake teach them all to love to lor a left-handed person which would attributes of harmony plus his own. give the student technical develop the right hand — —to and read- make music for themselves! and arm? Are Czerny, Speed Demon To sum it up, One is more readily led to understand the there any exercises away from the piano ing facility, to foster love for the piano It seems which might prove helpful; and do you to me that only a virtuoso then, the question relationship of counterpoint to harmony than and acquaintance with its music—in fact, could reach IVj of E minor V of E minor believe that this handicap can be over- seme of the speeds set by Over the Air Czerny; stated is as follows: the reverse. Clearly enough, the horizontal move- to teach music, not merely a few set come?—A. R., New York. and although I conscientiously 1 Will you please make some try to have my pupils attain When writing music, whether modern, ancient, of concomitantly pieces, painfully memorized, agonizingly suggestions these speeds', hr. 0 * ment sounding tones produces tor radio playing for the May I ask you a question? not all can do . j grade school or What about so; I let them go ahead if is played, and forgotten in double quick .they classical, or what-not, what considered the best relationships of interval which harmony takes high school student? Should the pupil the rest of us who are right are able to give a fairly good clean time. teacher handed? How can a expect to make use the pedal as much as when playing Interpretation, rather than stick to Just because the chords are figurated, I can’t taste nowadays, with regards to any and all unto her bosom. Harmony, furthermore, embraces We too have the “handicap” of which the musical participation a vital factor ordinarily?—H. J. D.. Illinois. same study too long. Do you feel that it see why the theorist should allow these fifths, if fifths? Also: Does instrumental harmony have successions of you speak—but it’s on the Is concomitantly sounding tones. The through other foot I right to let them call these pieces the entire life of a student if he Pedal should always be used sparingly mean hand! We find that though finished” without the the same are to be forbidden when sounded as its own laws regarding fifths or other problems; basic point of departure of the whole theory is doesn't "cover the ground”— him our left correct tempo? I make a over the air. One of the best preparations remember one of hands may be weak, they are unspoiled. my teachers telling me regular chords. Also in Liszt, Chopin, Greig, and which laws differ from those of vocal harmony? the over-tone system—“Nature's Way,” fluent reader, give him playing ease, open about “Czerny as it were. for broadcasting is to practice the pieces They are Op. 740.” that only a vir- not so stiff or unyielding as our tuoso so many masters, there are fifths galore and even What rules govern fifths in vocal harmony? Finally, most music of all up for him an alluring vista of musical for several weeks without could be expect-d to reach the time recognizes tonal pedal, Anally too-much-used right literature? members; they are tempos set—Mrs. F. D. M„ North Dakota. in Bach’s “Toccata and Fugue in D minor,” thus: If you could “set me right” on this business, I center. Thus, permitting only brief dabs of pedal here harmony nourishes the tonal center more receptive, pliable, easier I am an implacable foe of that kind of to teach. Right should most certainly appreciate it. and there, just enough to insure the you are! Czerny is notorious for Ex. of music—its diet depending upon whether the So, what do we do? We just give instruction which results in killing oil all legato. Teachers are them setting impossible Furthermore, in regards to vocal harmony, I notoriously careless more attention. metronomic speeds. music reposes thereon, whether it moves away desire for study after When we practice tech- a few years, of the in training students to practice Teachers have long been in taught never to cross voices. without nic, we agreement on was My textbooks from it, or whether it moves toward it. kind that tackle the left hand first The prac- ends up with the student being pedal; also in teaching them and this point—so continue proper pedal your policy of etc. i Bussler, and others) all last, we learn the difficult crossed voices in their tices of multi-tonality and multi-modality able to play a program or two by memory, release habits. left hand being rarely Unless the habit of com- Czerny and satisfied with slower speeds. As to (c) When I studied Lenormand, I was given in examples and my teacher said and nothing else. I know, because Chopin studies, we practice you learn why to render this point of departure as fundamentally I was plete damper pedal release becomes “Op. 740,” give the student only au- arpeggios and octaves a half the very first chapter a set of observations con- avoid this in counterpoint. It trained that way. That was the tragedy tomatic, a much more with dozen of seems to me you inapropos. Only when music proceeds student invariably uses too the etudes—these to be mem- on the of my the weaker hand, to develop cerning fifths as used by twentieth century com- cross own years of study—of music, of much pedal in recital stretch orized have to voices sometimes. Also, I should like premise of atonality it or over the air. and practiced for many does not apply, or applies piano speed, strength, endurance. years. literature, of reading or technical Jittery brains result Each year posers of music. Then I thought my problem was to know where to get a good book in jittery lower ex- f ou they must be played faster, on how to in reverse, or inversely, or in the negative. facility, don t . know I knew nothing. My entire pro- tremeties then, how lucky you are to more settled. When you write music of a “modern” —and of course, it’s fare- brilliantly, more musically harmonize tunes for all and any vocal combina- fessional have a highly developed and you When, however, harmony is considered in rela- life has been spent trying to well to any pedal left hand, for know as flavor (impressionistic) control! well as I ; use fifths accordingly. tions, in various styles, that is what that such exacting with the melody on top, tion to counterpoint, the latter gives richness, solidity’ and etudes embodies the are never “finished.” When writing standard music of a conventional below, or in the inner parts; for mixed 16 vocal former. How many times ( Continued on Page 54 JANUARY, 1942 THE ETUDE 17 g Music and Study O MANY MUSIC LOVERS, there is no form satisfying as chamber of music so soul Music and Study under the con- T music, when it is performed them a string ditions for which it was written. To private quartet played in the music room of a modest dimen- Song Recital Ideal house, or in an auditorium of The Music: A Life exceptional delight. Seated sions, is a source of able within a few feet of the musicians, they are instruments, to appreciate the true quality of the nuances, the bite of the accents, the harmonic likely to be modified, rancid Idoyerd War-Tarn Russia all of which subtleties are (fdy in small or even lost, in a large concert hall. In a auditorium, almost all solo instruments, too, are qualities baritone and teacher sin 9in at their best and reveal characteristic Francis Rogers, distinguished American in ampler sur- at Harvard A. B. Cum Laud *- that are likely to disappear was born in Boston. He was graduated Sidney Sox leading masters in Boston, London (j]y roundings. studies in singing were conducted under of the most has sung in opera and in cojncert This assertion is especially true Florence, Paris and New York. Although he instruments, the human He toured with Mme. Sembnch during eloquent of all musical he is best known as a recital singer. Supervisor in the voice is unique the Great War he took part in one Mr. Sidney Fox is an American born Music voice. Among all instruments, her last concert tour of America. During in Phila- I my voice, F. in France. Since 1924 he a charge of the Music in the Roxborough High School in that it is the singer himself: am hundred and thirteen concerts for the A. E. his physical Music in New York. He delphia. He has studied at the University of Pennsylvania, my voice is I. The singer, playing on been on the vocal faculty of the Juilliard School of degree Bachelor of express himself with a veracity, Teachers of Singing; Vice President Pennsylvania State College, and has a of self, is able to is chairman of the American Academy of University. He was one of intimacy that can be achieved and President of the Bach Circle. Science in Education from Temple variety and of the famous “Bohemians” of New York; 7m/ jpt-o'nnh rimiprnrnpn.f the. of the the last Americans to visit Russia after the cessation of Visas. through no other medium. No other instrument 7m # n O/? L with Cross He therefore brings a comparatively recent picture of musical can express thought accurately. To one listener, life in the war-torn Russia of to-day. This survey ivas made a Chopin nocturne describes the moon rising over leave.— Note. another it speaks of young love. »w» ,B upon a sabbatical Editor’s silver waters; to Who can say what Chopin meant to express? Chausson’s Poeme for violin is very beautiful; is assigned to him Recognizing this dif- what does it mean? But in a song well sung, the and may have to ference of scope, VER AND OVER AGAIN IN RUSSIA I was greatly surprised to words, through the utterance of the singer, spend a whole sea- Jean de Reszke, a tru- find copies of The Etude in clubs, musical organizations, con- transmit with clarity the thoughts of both poet son, even a whole great opera singer, O servatories and apartment houses. In most cases the magazines and composer. ly career, performing would never sing in were worn almost to bits because only a few people spoke English, and interest limited roles that the articles had to be translated repeatedly for different The Words Inspire concert. He audiences. him little or not at his ambitions to the It gave me a new and spirited appreciation of the benefits I had in In the beginning was the Word. So it is in the has pre- all. My heart my home city where The Etude is published. opera house and composition of a song. The composer hears or often bled for a com- I went to the United Socialist Soviet Republic musical pared his interpreta- with the idea of making reads a poem that arouses in him petent singer obliged tions for no other a musical survey. I soon found that this would be difficult because the thoughts. Little by little these thoughts intensify In to devote his talents Russians were more interested upon surveying me than in giving me into an audible form expressive of their meaning environment. con- to the interpretation information. I did not speak Russian, but I had excellent interpreters and finally eventuate into a complete song. Such trast, Victor Maurel, of a dull, routine at all times. Many of the composers spoke good English. The Russian is the usual process of song-writing, though occa- though as eminent in role that is as in- language is a “tough proposition” and only a philological genius can sionally, as in the case of Tom Moore’s “Melodies” opera as de Reszk6, herently lifeless as a make much progress with it without many years of study. To the English- and Kipling’s “Barrack-Room Ballads,” the words by reason of his ex- speaking dummy. The un- person even the alphabet seems topsy turvey. One peculiarity are written to fit long-existent tunes. Victor traordinary qualities is that mitigated bores to be Russian has no “H”; it uses the G sound instead. Therefore, Maurel, the great French baritone for whom in the art of imper- Haydn is found in the dra- “Gaydn,” Handel is “Gandel,” Hitler is “Gitler” and Herbert Verdi wrote the roles of Iago and Falstaff re- sonation and his Hoover is “Gerbert matis personae of Goover.” ports that when Verdi sent him the score of “Fal- subtlety as a singer For an American opera are many, and democrat, it was hard to get the political dimensions staff” to study, he wrote: had mastered com- of the U.S.S.R. Russia, to its people, not even the finest is only a part or state of this group “First of all, acquaint yourself thoroughly with pletely the art of of republics. In this vast country there artist can vitalize .. -.„ Moscow are about one hundred verbal text, then, if _ 'n sixty the I have set it as success- song singing and was patad«“J different national and racial groups them. (I tempted ©#*“ speaking some seventy languages fully as I think I have done, you will have no eloquent in his am ,ical as yhy BV They consider it a misnomer to think of this here to insert the ffjoraen vast sociological area" in difficulty in learning the music, which, I believe, rendering of Rey- the single term of Russia. espe- sings itself.” What Verdi accomplished in “Fal- naldo Hahn’s L’Heure names of some In the U.S.S.R it is a crime, punishable by tiresome oper- arrest and imprisonment, staff,” the composer of every good song must exquise and Tosti’s cially o call any member of any racial group by a personages, but derogatory name. Acts of accomplish: the music must express faithfully Ninon, as he was in FRANCIS ROGERS atic anti-Semitism or any anti-national or anti-racial manifestation or the meaning of the words and through them sing Eminent teacher of singing desist!) remarks would the mighty phrases entitle the speaker to two years vacation singer of songs in jail itself. of lago’s Credo. His The °n .®e whole, most of the Soviet musicians I met were susprisingly At an advantage over all other instrumentalists was an art equal at has no such cruel well informed about music and musical life in America. When I by reason of his ability through to contend, unless, per Lev Kmpper, met the words to all times to the various demands placed upon it. limitations with which composer of six symphonies, whose “Song of the Plains” express thought accurately, the singer of songs art of song singing is more haps, he is so popular, especially with the radio is now world famous and To many singers the whose symphonic works have has in this respect America, been played \n an advantage also over the suitable to their natural gifts and more congenial public, that he cannot afford not to sing the he immediately started to question me about music iifAmerica singer of opera who, because of the large audi- than that of opera. In shallow stuff that the said public seems never to C namely with their temperaments ^ ’ H Hanson, Roy toriums in which Copland, « Ha ris Aaron he sings and the frequently the first place, an opera singer must have a voice tire of hearing. The treasure-house of really CoLnTT?Deems°TfTaylor and Marc Blitzstein. A. ’ composer Chrennikov vouna over-heavy accompaniment of the orchestra, is of sufficient power to be always audible in a beautiful songs from which the singer is free to whose first symphony was introduced in the u fbv LeoDol often unable to render intelligible any consider- repertory, in all the lan- Stokowski, displayed a theater of good size and in competition with a compose his European lively interest in American opera ballet and svm able sequence of words. In contrast, the singer sonorous orchestra. In addition, he must possess guages, is literally inexhaustible. From this un- of songs, performing in a small auditorium, ac- the dramatic instincts, the capacity for broad limited source, he can select exactly what suits companied by the piano alone, or by a small effects that opera demands. The number of roles his tastes and capacity. Enterprise and research group of instruments, has it easily within his in the current repertory is necessarily limited by will reward him richly. Some thirty-five years power to utter every syllable distinctly and thus EU!S popular demand and financial resources, and so is ago, an American singer, George Hamlin, dis- “n m“erS *k to express clearly the poet’s »„rce 5 « ““ text. never large. Unless the singer is famous enough covered the songs of a German composer, then S“»urm, The opera singer may be likened to a mural a ra to prescribe what he will sing, he has to sing what but little known, by name Richard Strauss. He e ',ay Moscow. appUed toVJS ' 1 ‘-Mdlately painter, whose work is to be viewed at a distance, studied them carefully, and, singing • them most to in (£cietff‘o. c,r Relations tries) with foreign and so is conceived and executed on broad lines. tor permission lo vnu th. Conn- artistically, introduced them to the American ^±r:ssssr^^ He seeks for general effects, rather than for finesse public. Strauss’ songs are irom now recognized every- These came detail. The concert singer and resembles the easel where as beautiful works of art; their discovery painter, or even the miniaturist, VOICE whose work and first exploitation in this 18 country they owe to must be able to sustain the closest scrutiny. George Hamlin. Hamlin’s ( Continued on Page 50) the etude JANUARY, 1942 19 Music and Study YOUNG LADY played for a wedding cere- was Music and Study mony upon an organ with which she A not familiar. She ended the service in tears because, as she thought, the instrument would T IS AN ACCEPTED FACT that Debussy’s produce nothing less than full organ. A young itself, get maximum vol- I music requires treatment peculiar to or the Pedals man in a desperate attempt to Accessories its performance lacks the very qualities for Debussy and ume from a very small organ slapped down every Mechanical which we look. Though much has been put in stop tablet in sight, not realizing that some of store by the use of the pedal, the performance them decreased the volume. The young lady did strays far from the desired artistry unless there not know .the meaning of the light under the is a perfectly coordinated functioning of both Cllsen l,e, did not know ()3ij ^acol word “Crescendo”; the young man Organ fingers and feet as directed a the by mind moved by i the meaning of “Unison Off.” of tasteful emotions and a logical intellect. Author of: "Weight and Relaxation in Piano Playing"; "Natural Various Controls On Striking the Keys Technics in Piano Mastery”; "New Hanon" and "The Pianist." Such misunderstandings are not confined to When one music lover expresses a preference beginners. Some professional organists use the for a piano with a brilliant tone, and another for crescendo pedal as if it were an expression pedal. arum er5on one with a mellow tone, both are correct. Every one understanding of the me- & Perhaps a thorough m of Debussy, the crescendos and diminuendos are diiU OU UI1> II W v UU11 UlllUUj _ a may, of course, make his own choice between accessories of the organ would enable time, a simultaneously vibrates in lengths in the numer- chanical gossamer mellowness and blatant brilliancy. But individualized for each voice. At the same an organist not only to feel more at home at a crescendo or diminuendo is indicated ical order of 1, 2, 3, 4, 5, 6, 7, 8, 9, and so on, with moving the piano, which is incapable of producing both long a long organs this building up is likely to ments usually govern the stops without strange console but also to get better results from in very large between the staffs to indicate the general direc- each section producing the tone peculiar to its lights at the same time, is deilcient, and especially so take place by a series of more or less abrupt ad- the stop tablets, it is best to have warning the length and its vibration frequency. Thus; his own instrument. for playing Debussy in whose music both are con- tion of the rhetorical emphasis inspired by taste would suggest at the side of the console to let the organist accessory is the expression ditions. For this reason good thought content of the music. This effect may be a. C sounds in five different pitches: the funda- The most common stantly required. Brilliant tones are required not of the crescendo pedal should know when these controls are in effect. pedal, with respect to which the important ques- that any motion alone for the termed a fluctuating crescendo or a fluctuating mental also called the first partial; twice in the hand that plays the melody but also take place during a rest, at the end of a phrase, The Great to Pedal reversible is operated by tion is, “What does it control?” The answer is for giving prominence to melody tones within diminuendo as the case second partial or an octave tablet on or off. Such Frequently in two-manual or between the notes instead of on them. the foot, moving the stop chords of may be. The dynamic shad- above the fundamental; not always the same. the accompaniment. Mellow tones are the difference between the reversibles sometimes are installed for other organs there is only one such pedal. It may con- To further clarify required ings fluctuate up and down ' four times in the for the secondary, or accompaniment, fourth manual to pedal couplers. Their value lies in en- of the Swell stops only, while the expression and crescendo pedals it should be ob- tones. Fortunately, all pianos are capable of pro- for each voice but the gen- \ ^ partial, sounding two oc- trol the volume . organist to change the pedal registra- unexpressive; or it may control served that an expression pedal changes only the abling the ducing both tone qualities. eral direction is from soft taves above the funda- Great stops are perhaps volume of tone, while its quality remains the tion with his feet when the hands are busy. In sounding melody tones, whether pianissimo, to loud or from loud to soft. mental; both Swell and Great expression and eight times in the pistons are for the Pedal. The latter type sometimes is same, but the crescendo pedal not only increases The adjustable combination fortissimo or any shade between them, the finger It is like driving to the top eighth partial, three oc- also the but usually an expression the volume but also builds up the character of purpose of obtaining a chosen registration action should be determined, with hammer-fall of a mountain over a suc- taves above the funda- labeled “Expression,” of the manual it controls. the tone. Therefore, when an increase of tone is quickly by simply pressing the proper piston in- precision, yet without causing the key to crash cession of inclines and de- mental; and sixteen times pedal takes the name of registering stop individually. The down upon its key bed. fingers clines, each crest higher organs desired on a stead each The should “Pull in the sixteenth partial, In some a the punches,” it than the last sustained note pistons under each manual control the stops as were, the finger stroke being until the peak four octaves above part of the Great the also the stopped before the key reaches bottom. This is is reached. is expressive or chord, that belonging to that manual and sometimes fundamental. Thus at organ not the easiest thing to do in the early stages of part it is increase should pedal stops. The pistons above the top manual least thirty-one vibration and of keyboard mastery. But the tones so produced are Study in Overtones be obtained by usually control all stops of the entire organ. lengths are sounded when not. In others, part spsesssop brilliant, full, resonant, rich These “general pistons” are located and in overtones im- Mastering the of the Great organ *' opening the sometimes notes, sep- striking the low C string. IIS «. parting the rare tonal colorings so necessary a arating them into logical is controlled by one proper expres- elsewhere on large consoles. b. G sounds in the third, part in an artistic performance of Debussy’s ‘Si it pedal units of thought or phrases, sixth expression pedal sion upon music. and twelfth partials. Adjustable Pistons expressing them with taste- and part by an- a previously c. E sounds in the fifth The accompanying tones are played with a soft, ful rhetorical emphasis, and tenth other. In some chosen regis- Adjustable pistons can be set to secure any gentle touch producing mellow partials. tones. Though and introducing dynamic cases we find sev- tration. As a desired registration of the stops they control. In d. B-flat sounds in the subdued, they must possess full body and reso- shadings with masterly pre- seventh and eral manuals con- rule the cre- some organs the desired registration can be set nance. In their mellow softness, these tones fur- fourteenth lEss-^C cision, all will leave the partials. trolled by one ex- scendo pedal on a piston by holding the piston in while setting ther enhance the sonority of the melodic line. music performance lacking be the registration e. B pression pedal should not by hand. The stop tablets will Often the line of the melody is found within a sounds in the in the ethereal effects so while other manu- moved during offer a certain amount of resistance and will set chord progression in which fifteenth partial; while the remaining notes necessary for Debussy’s D sounds als have individual a sustained with a slight snap. Thereafter, the chosen reg- must be produced with a mellow tone quality. To music in the ninth, F- unless the pedals are expression. or chord. istration will sound four notes simultaneously sharp in the eleventh, If there note be set up automatically whenever with one hand, properly treated. and is any doubt about that piston is pressed. one note of which is accented brilliantly while A in the thirteenth. the The striking of a hammer To Control the other three are soft These the arrangement, If there is a “Setter” piston, the combinations and mellow is not at all dif- against partials, more a string creates a the organist should Full Organ are ficult. Merely hold the finger which is to play the commonly called changed by making the desired registration multitude of tones of which over- melody tone a little lower and tones, try the tone of the The sfor- of the stop tablets, then holding the “Setter” in more firmly than the most sounding within the important is the various the others; then strike all the keys simultaneously low C, as an example, manuals zando pedal while pressing the desired piston. Thereafter, tone after which the key is are and the melody tone will stand out as desired. distinguishable while manipulat- brings on the that registration can be had at once by simply named. For example, low C to most every music ing the pedal in full or nearly pressing the chosen piston. sounds predominantly the lover as the Individualized Hands quality question. An addi- full organ in- There also is another type of C that corresponds with characterized as combination ac- In the tional complication recreating the music of Debussy, as with all resonance, stantaneously, tion in which a duplicate set of key. If it should sound only richness of stop controls for composers, the various parts, or voices, should be tone is that the Pedal instead of each piston is built at one side of this C, the tone would be quality, fullness of the keyboard. individualized. The music should be JACOB EISENBERG department usual- treated as pure and simple. tone, and by many other gradually, as Any registration set up on these duplicate con- the expression A string of two, three or four voices as the ly is divided among in the case of trols takes effect only never vibrates, however as descriptive phrases. A very when the corresponding case may be. Each voice or the various part should carry its a simple sensitive ex- the crescendo piston is pressed. whoie and therefore ,. . ear can dis- designated portion of the message it never produces a with good taste pure and tinguish some of these partials pression chambers, pedals. In some While most combination and simple tone. Such a tone would or overtones. De- actions are “visible” proportion in relation to the other voice or be dull bussy must have and part of it may J lmtereSt had a super sensitive organs it can (actually moving the stop m8 ' 0n the ear, indeed VIRGIL FOX tablets), in some con- voices. Whether the voice is expressed contrary, the string in any of vihm| p l to have combined not be expressive ibrates as a whole his chords in such a Head of the Organ Department of Peabody Conservatory be locked down soles they are “blind” (securing the wide range of dynamic shades and at the same time vibrates manner as the registration of brilliance or m sections 6 greatest advantage at all. The organist mellowness; of different lengths. of their inherent by a twist of without moving the tablets). In the latter case whether a desired tone is hard, Though all sec- beauties^ tions vibrate must know the the foot, metallic, or of simultaneously, each and the organist must understand that even though soft, resonant sonority, each voice produces the position and control tone peculiar to of each Pedal stop in order released by unlocking it. In should be individualized the numerical frequency other organs it is a all stop tablets may be in the “off” position, any and governed by its own of the to keep the Pedal in Sympathetic Vibrations tone proper relation to that reversible movement, in which case it phrasing, its own Hon - In shott always registration obtained by means of dynamics, its own timbre ' <" a combination and * ilent Pr6SS of the manuals. This knowledge can be like f r, d0Wn the G ke above obtained produces an effect the opposite of that produced piston remains the orchestra with its woodwinds, brass and Whenwn !f V middle C. in effect until it is cancelled or all sound has completely by trying each stop separately while operating last time it strings, all voices should blend with faded away, and was used, alternately bringing the superseded by pressing another piston. symphonic while continuing the expression pedal in But if the to hold the key down, question. sforzando registration on or off. coordination. strike with action is “visible,” a combination registration can P oke the c that The crescendo pedal should not be confused is an octave below Because the sforzando and crescendo move- be either reduced or silenced i ri ri I p r * by means of m the with its next door neighbors, the expression the Fluctuating Crescendo ° key ' °bserve that regular stop tablets. the° f^^arter sounding although thp t u Sometimes there is a special the C tone has pedals. It is a master stop control. As it is Dynamic shading is ended, the G is Dlainlv pushed constantly on the go or the or piston marked “cancellor” or “O” for each reading h,mmer on, it brings the stops on one at a time, gradually group is monotonous. In the well known Reverie, «™<* the string! of stops. Wh« SST building Of course any piston can be used as a 18 ‘h,t the ° partlals up from the softest stop to full organ in ' » over- tones,toes in to r t ORGAN cancellor by simply setting it with all 20 the C string set (Continued what is supposed to be the logical order. Except stops off. on Page 65) Conversely, in some consoles (Cont. on Page 52) the etude JANUARY, 1942 21 : Music and Study is ALWAYS FASCINATED by the whys Well, they had forty enthusiastic an wherefores of things that exist. Per- Music and Study people young folks who were and young — is a com- haps that is why history such scouts, girl scouts, athletes, active M boy But history teaches man a great with normal interests, pelling study. future citizens knowl- HIS IS THE STORY of ninety addition to satisfying his thirst for and a deep love of good music. They deal in young people and a woman: the story of the origin and growth of an Jessica Marcelli, tall, slender, edge. The had interesting, even to Bassoon of the Berkeley tremendously the T story Young is of instrument Youth Orchestras gracious, charming, understanding, The Story People’s Symphony Orchestra and person who has only a layman’s contact with kindly, capable. And they had an the Jessica Marcelli, its inspiring con- musical instruments. idea: symphony music played by ductor. bassoon is a distinctive instrument with young people. The which give it Several years ago, deeply inspired all of the individual characteristics Speaking of the first concert, Miss woodwind by patient study under the great that distinction. It belongs to the -4Li„ Win. Everywhere Marcelli said, “We played Haydn’s By 2), C violin teachers of Europe, Miss Mar- family, and is the lowest-voiced member of that ‘Surprise Smyphony.’ And we really celli returned to her home in Cali- group. Like other instruments, however, it is the played it ! After that concert, I realized fornia. She had studied music since of other and obsolete instruments. something really great development childhood, had played as a tot with that I had on of Its immediate ancestor was the bass shawm cracking. The Story of Ninety Young People my hands. I realized that it took French tropical climates, as it is immune from her brothers and sisters, in a family century, known in England as the corthol, or curtail, deriving from the the fourteenth which is exposed o orchestra. She even used to direct money to keep a youth activity like instrument which Sometimes the wing joint— bombardon, and in Germany as the brummer or application of courtant to an constructed them, waving a real baton. Miss Mar- and a Woman this going. And I knew that it wouid length. By the the greatest amount of moisture—is bass pommer. These instruments were made dif- had been shortened in over-all may be celli take good business management to or lined with it. The timbre returned during the depression, keys. Some of them Schnitzer of Nuremberg, a celebrated of ebonite, ferently, and had different year 1550, when two different and symphony orchestras were cer- look after our finances. the leading maker of dulled and heavy, however, possessed devices similar to the crooks and slides instrument maker, was air tainly not in a flourishing condition. used to form the walls of the early character- These instruments had two keys, and materials are The Project Is Organized of modern brass instruments. An corthols. and keys are Seeking newer musical adventures, Praetorius informs us column. The joint connections istic of the construction of these instruments was were made in various sizes. she was attracted to Berkeley, Cali- (11ij Jlarrij, Hhe cJlcaSaux “So I called on William E. Cham- corthol. usually of silver or nickel. a certain number of extra holes which were that there were as many as five sizes of fornia, where she entered upon a berlain to manage our growing or- have stopped by removable pegs, in addition to the It was common in Mediaeval Europe to career of teaching, always with an ganization. He knew the problems of A Wide Range usual finger-stopped holes. When the key of the bands or groups of one type of instrument per- eye to symphony playing. carrying on artistic enterprises. He bassoon is about three and pegs were oboe band, as it were, The range of the instrument was to be changed, certain forming together. To the In owned the Campus Theatre. He knew octaves, and it has three registers. The Adventure Begins The magnificent work done in the orchestra field by added or removed. With the development of the was added the “bassoon d’hautboy”, and we can one-half to the called “vox American conservatories public school orchestras how manage ‘show business.* higher register the tone quality is and more frequent modulations that later composers see that it was the bassoon’s function to provide the In 1936 she engaged in orchestra “He took over the work on the con- human voice; is coming into glorious fruition ivith the foundation affinity humana” since it so resembles the directing in the public schools, began to employ, this system became increasingly the lower sounds. There is a recognizable and dition that the Berkeley Young Peo- is trans- youth orchestras everywhere. Their quality and it is similar to the violoncello quality. It a through this work, of cumbersome, and was gradually supplanted by between the bassoon and oboe, particularly in was attracted to ple’s Symphony Orchestra efficiency are hardly credible. Everywhere in America would posing instrument, and is in the key of G major, a group of young people who were the modern system, employing usually seven holes their use of a double reed, and their type of bore. have to be entirely non -professional B-flat, two your editor has heard these amazing groups he has instruments of but extra keys carry it lower to meeting once a week in different and non-commercial; and seventeen keys. Both were the principal woodwind scarcely been able to believe his ears. The Sunday no grownups the middle-C. Ordinarily A-flat homes to play serious music. Imme- The early bassoon-like instruments were of the late seventeenth and early eighteenth cen- octaves below morning could play in the orchestra; and it although a diately, by programs broadcast from all parts of the nine or bassoon-like in- above middle-C is the highest note, that unpredictable quality would have considerable length—some of them feet turies. The earliest evidence of a country under the sponsorship of the Music Educators to be solely a youth have been sounded on known as “intuition,” the parents of long were straight. To the smaller is the mention of a bombard* number of higher notes activity, with more —and strument in England Conference, indicate how wide this remarkable move- the interests of the full and rich in these young people, and the young end was attached a metal crook, and a broad old English poem, “The Squyr of Lowe the instrument. The bassoon is young people always first. in an ment is. In Philadelphia the N. Y. A. Orchestra under Our whole however, is not often people themselves were attracted to double reed was fitted onto the crook. It was a Degree” (circa 1400) the lower register. Trilling, the direction of Louis Vyner broadcasts regularly over thought has been devoted to allowing this gracious, charming concert vio- natural later improvement to have the instrument used in this register, as it is rather ungainly. ivith great talented young people who are linist who had WCAU success. The article on this page mak- in great de- perfected her talents double back on itself, which feature is still unique “There was inyrth and melody, Bassoons made by M. Savary are indicates how one of the young people’s orchestras has ing a serious study of music to gain with hard study in Europe; and be- those of Morton, his successor, are ex- that exalted among the woodwinds. The modern bassoon is a With pypes, organs and bumbarde.” mand, and fore a come into being.—Editor's Note. inspiration which comes week had passed, Jessica Mar- seven-foot tube doubled back on itself about tremely fine instruments. Exceptionally good in- only from playing great music to- celli had told them of her lifelong have been made in Germany, also. gether in symphonic form.” thirty inches. The doubling of the tube is an in- The bassoon was first used orchestrally about struments ambition, to direct a young people’s of course, is the “A board vention credited to one Alfranio, canon of Fer- 1659, but the adaptation of keys to the instrument The big brother of the bassoon, symphony orchestra. of directors manages the rara, who brought out his “Phagotum” in 1625. of double bassoon, or better, the Contrabassoon. It affairs and shapes the policies in ac- was slow. The bassoons used in the production From the beginning, she had her con- cordance with developments. The name “phagotum” probably arose from the “Pomone” (1671) by Cambert, the French com- is the sub-bass of the wood-wind choir, and definite aim: this orchestra of young A mem- bership of subscribers fancied resemblance of the folded instrument poser, had only three keys. Only one more key tinues downward from the lowest notes of the people from nine to seventeen years of age, would pays two dollars and a half a year each to to a faggot, and the same word remains in use in (the G-sharp) had been added by 1750. By the bassoon. The contrabassoon is said to have been devote their thought and energies to playing real support it. In return, the members receive Germany and Italy to this day. The name bassoon beginning of the nineteenth century there were invented in 1539. Its development was parallel to symphony music in its unsimplified form. Only tickets to the two concerts per year. is derived directly from the French bas son, or eight keys, bassoons being used to-day utilize the metamorphosis of the bassoon. Writing in those who were interested in playing the great and “The list “low sound,” although it may be claimed that it numerous 1619, Praetorius mentions a gross doppel quint symphonic works of the masters were to remain of sponsors includes the wife of a col- from seventeen to twenty keys with is an elision of the English bass shaicm, with the orchestra. lege president, prominent citizens, community or an alternate fingerings. Some notes may be fingered pommer with four keys, all placed so as to extend groups, attachment of the suffix -on, meaning “big” to the compass downward. hundred years later, a A minister whose daughter played violin in the business men, and other citizens who like in as many as four different ways. Of fingering A group let the whole idea, the word bass. in use them have the social hall of his church and who are eager to hear the systems there are two principals, the French and grand or double bassoon was in England. for a meeting place. The question young people play. It costs nothing the German, but there is a tendency to prefer It was an octave below the ordinary bassoon, and of a music for a young Early library was solved person to join. Form when they found that the Uni- There are no highbrow require- the German. a few notes deeper than the largest instrument versity of California ments to Alfranio was not the inventor the music library, and also that become a member of the orchestra. of bassoon The total length of the tube from mouthpiece known to Praetorius. Experiments on larger in- of the Berkeley Public There 1S no itself, as has been at times erroneously Schools, were available to ‘puli' or politics. If you are good claimed, to bell is more than ninety inches, and the bore struments were not too successful until a man them. enough to the instigator its pass the audition, you are elected Re- but of doubled-back shape. As runs from less than a half-inch to about two named Heckel in Germany brought the contra- What did they possess now, in hearsals are held a matter of fact, through information the year 1936? once a week. It takes three or supplied inches. There are three principal sections: the bassoon to its present state of perfection. The ob- four months to prepare by Alfranio’s nephew, a learned ( Continued on Page 58) priest and bell or top joint; the long, or middle joint to ject of these experiments was to produce a voice in the Double Boss section scholar, we know that Alfranio’s phagotum was which a wing is attached which connects with of the bassoon quality which would, like the patterned after a cornamuse, which is a bagpipe- the crook and mouthpiece; and the double or double bass of the strings, sound an octave lower type instrument. The cornamuse and phagotum bottom joint, in which the doubled boring finds than its baritone relative. of Alfranio both have cylindrical bores, and place. In the eighteenth and nineteenth centuries The contrabasson is about sixteen feet in single-beating metal reeds. The bassoon, on the bassoons were usually made of maple, sometimes length, only it is doubled back on itself six times, other hand, has a conical bore, and employs a of pearwood, but for modern instruments rose- so that its coils stand about four feet from the non-metallic double reed. The phagotum was evi- wood is used, as it gives a clearer, brighter tone floor. It has a metal bell which curves downward, dently an attempt to give a bagpipe instrument than maple, although the lower tones may not and the crook with the double reed mouthpiece an organ-like quality. match the mellow fullness peculiar to maplewood is similar to that of the bassoon. The mechanisms During the sixteenth and seventeenth centuries bassoons. Ebonite seems to be best suited to of the two instruments are almost identical, so a cylindrical-bore bassoon was constructed, that the bassoonist can also * It must be perform on the con- known as a rackett or sausage bassoon. The tub- remembered that spellings of words in earlier cen- turies were not standardized to the degree thev are to-day Thus we trabassoon. In the well-established orchestras, of ing of this instrument was folded back on itself have variously, “bumbarde,'’ "bombard,’’ “bombardon," and so on course, the performer specializes permanently on several times to give it compactness. The Brussels the instrument. The double bassoon is essentially Conservatoire of Music exhibits a rackett, the a slow-speaking instrument, and is effective be- tubing of which is bent into no less than nine In the Violin section cause it can sound the deepest Jessica Marcelli with notes of the whole Gaetano Merola: Conductor ~ parallel branches. Fitting into the pattern of BAND and ORCHESTRA Marcelli orchestral ensemble. For all 22 In the Clarinet Edited by William D. Revelli of its low voice, it section instruments which precede the bassoon is the can be used with amazing flexibility. For special THE ETUDE JANUARY, 1942 23 — ! Music and Study roast all the more be- they enjoy the pianistic and Study saline touch of humor. Music De Pachmann’s Secret cause of the But when De Pachmann returned to America effects it can imitate grunts, growls, and even lei critics had forgotten the saline in- Sij VJ. 5. (ja in 1923, the snores. his unexpected sallies on the concert Biebrich his death, Vladimir de tensity’ of Contrabassoons made by Keckel's of SHORT TIME before remarks in the next kind platform, as witness their Ruined am Rhein are very fine instruments, as are the Pachmann, looked upon by many as a Good Violins and Bows Are reports of his recital. How designed by Dr. W. H. Stone and made by A pianistic caricature, gave to an inter- day's ones of he Deems Taylor started out in the “New York Haseneirer of Coblenz. The two models are not at viewer in London a curious outline of what thousand people saw murder touch.” How seriously this World” with : “Three all identical, but are individually outstanding. called his “secret of SURPRISING how little care many mu- last night in Carnegie Hall.’ T IS should be regarded is hard to tell. The general done sicians, professional as well as amateur, give Bassoon Music Colies, London critic, wrote: “De Pachmann an of De Pachmann is that he ^YVIorto n public impression I Many fine violins and bows i!3u ^J^lenru ma/. more talkative than usual, told the their instruments. is undoubtedly the violoncello of showman mountebank, who always was even The bassoon was a kind of impaired and rendered unfit for practical a press audience what he would do and how admii able are the woodwind choir. Yet it is unique in its many gave forth his educational wisdom as knowledge, or done.” service, either because of lack of uses and adaptability to other instruments singly agent gives his blurbs. However, those who knew it was, when it was York Tribune,” said the because of careless indifference to their peculiar or in groups. It has a chamelon-like ability to De Pachmann best knew better. His behavior, Gilman, of the “New inimitable one-man vaude- sensitiveness to certain laws of physics. imitate the tonal expressions of the other wood- when alone and unconscious of being observed, pianist “brought his kept a huge audience A violin requires expert' adjustment, even after wind and brass instruments. In doubling with the was as eccentric and abnormal as when upon the ville show to town and it is carefully made by a master craftsman. Most French horn, aiding it in melodic action, the bas- platform. He was clearly, with all his keyboard laughing.” makers, especially the ones who place their names soon tone blends so naturally that its assistance genius, a case for the psychiatrist. The “New York Sun” complimented him thus: jester, apolo- inside their instruments, adjust them for or- is barely perceptible. This correspondence of tone He had, however, made a fanatical study of the “He was his own best critic; his own chestra or solo playing before passing them on is so accurate, that were the horn to cease, very works of Chopin, which earned him the decora- gist, worshipper, father-confessor. He had a finished products. Nevertheless, careless han- few would note the change. tion of “Chopinzee” from James G. Huneker, who dickens of a" good time. So did the crowd.’ as dling ignorant dealers or novices, who attempt The instrument has the commendable quality was the first Editor of The Etude Music Magazine. And of how many recitals could this much be by an adjustment, often disqualifies the of giving assistance and strength and beauty to He worked for years to divine the best methods said? But no one, save a De Pachmann, could to change de- violin to such an extent that it is unsalable to other instruments or ensembles. The listener is of fingering Chopin’s piano works and for fill a De Pachmann role; so humor may continue anyone but an expert in mechanics, who can see rarely conscious of the many helpful bits that the veloping a Chopin touch. In “Great Pianists on to be missing from the piano recital. bassoon accomplishes in the way of softening a Piano Playing,” by James Francis Cooke, De the ^trouble and correct it. tone that might otherwise be strident, in bolster- Pachmann gave "important discoveries” he Sudden changes in temperature in poorly con- ing up a weak portion in the range of another claimed to have made. He also gave to a London ditioned buildings are detrimental to many fine Surgin, Also Dealt in instrument, or in adding staccato impetus to a journalist the following: Roger Giles, instruments. This does not apply to short periods low voicing, the effect of which might otherwise “In playing Chopin pianists get hard, brilliant Music of time, however, as many violins hang in a mak- be weak or vacillating. effects, when they should have the singing, vel- er’s workshop, under construction or repair. These The bassoon has been nicknamed the “clown” vety delicacy. They use the wrong fingers. The But Spelling Was Not His Strong Point are unstrung and are not under the extreme of the orchestra because of its mirthful pro- fingered editions of his works are full of errors pressure and tension of correct pitch. Also, the pensities, which may be laid to its weird, dry in this direction. I very early found out that if craftsman tests them for tone and responsive- quality of tone in middle and upper registers, and I played Chopin as he ought to be played I must ness before they leave his bench. in to its staccato passages in its deepest register. study out my own fingering. Hour after hour I The following signboard, now the Horniman Any attempt at a major adjustment, such as found in a Cor- This clowning ability was early recognized and have tried first one way then another, until I got Museum, London, England, was resetting a soundpost, refitting pegs, fitting a new “surgin” also had musical utilized, as it is found in Haydn. Bizet describes the quality of tone and the legato that I wished. nish village. The good bridge, gluing a crack where the top or back has rollicking tastes. the gay, manner of Don Jose in “Car- “I do not use the first finger in playing pass- ROGER GILES, SURGIN come loose, if not done by one who understands 1” men Suite No. through use of the bassoon. ages where a delicate effect is needed. The first Parish dark and skulemaster, groser and under- the model and its graduation, often results in a Perhaps the best modern example of its humorous finger is too heavy—too harsh. I use the middle taker, respectably informs ladys and gentleman permanent injury. use is in “Peter and the Wolf” by Frokofieff ; and finger. Now the stroke on the inner side of the that he drors teef without wateing a minit, ap- Deems Taylor effective makes use of it in his Alice finger and the stroke on the outer give two dis- plies laches every hour, blisters on the lowest The Sound Post Juggler in Wonderland Suite, “Through the Looking tinct tone qualities. The stroke on the inner side tarms and vizicks for a penny a peace. He sells Many students whittle a sound post out of any Glass.” But the bassoon's abilities are not con- of the finger is the violin, on the outer it is the godfather’s kordales, kuts korns, bunyons, doctors kind of wood that may be at hand, and attempt fined to humor. It is capable of warm, emotional flute in tone quality. Violin. in in 1786 hosses, clips donkies wance a munth and under- to set it with a string, crude pliers, or with any A Representative J. B. Guadagnini Guadagnini Died Turin expression, or gay, joyous descriptions. “The true artist can give such variety of tone takes to luke arter every bodies nayles by the ear. thing else that may seem to do the trick. Many As a rule the number of bassoons used in the to a simple five-finger exercise that he can make Joe-harps, penny wissels, brass kanel-sticks, fry- fine works of art are damaged in this If way. the certain model violin. Therefore, it is best to have properly by the middle of the stick ruins the hair. eighteenth century orchestra was larger than it beautiful. But how play five-finger many ex- inpans & other moozikal hinstruments hat grately post is too long, it may punch a hole in the top, to-day. In 1750, the Electorate Orchestra of Dres- a master-maker cut and fit the bridge to bring Grease from the fingers, due to perspiration, ercises over and over like machines until they reydoosed figgers. Young ladys and gentleman or hollow out the fibers on the under side. Some- out the best qualities of the instrument. This spreads the entire length of the hair when, later, den, had sixteen wind instruments and twenty- have taken their daily allowance of mechanism. larnes their grammur and langeudge in the pur- times such procedure pushes the top out of align- five strings. Of winds, will save trouble later. someone uses the bow, holding it near the frog, the five were bassoons and Listen to every tone that you play, if you would tiest mannar. Also grate care taken of their mor- ment, and enlarges the air column, which results five were oboes. To-day, there are two, or at most, play Chopin. in a proper manner. Some of the most beautiful rels and spellin. Also zarm-zinging, tayching the in imperfect tone. If the post is too Serious Defect three of each, with greatly short, the top Another effects in good violin execution are a increased number “Let me show you how I trill,” he produced at exclaimed. base vial & oil other zorts of fancy works, quadrils, of the violin, may sink down with the of strings. pressure Many people use stiff wire to fasten a tail-piece the heel of the bow. “Bend the first finger until it is the length of the pokers, weazles & oil country dances tort at home of the bridge until it reaches firm At the memorial performance a setting. This to the end-pin. They twist the wire together in of the “Messiah” thumb that they may be even. Then trill Many players attempt to re-hair a bow by almost and abroad at perfekshun, perfumery and snuff in throws the entire violin out of balance. in Westminster Abbey on the twenty-fifth anni- on the nail. There a rough mass on the under side of the apron, means of the crudest of methods. This is cer- you have a Chopin trill. In oil its branches. Attempting versary of Handel’s death to fit a guitar-type patent-head (1784), the orchestra playing octaves I find a much better effect resulting in badly scarred varnish. We have seen tainly no job for a novice. It requires skill, gained As times is cruel bad I begs to tell ee delicately contained twenty-six oboes and twenty-six that I has on a made violin is an excellent way bas- by the use of the thumb and little good violins with holes punched through a fine patience, and experience to properly re-hair a bow. finger than just beginned to sell oil zorts of stashonary ware, to ruin a master-carved soons. By the beginning of the eighteenth century scroll. No two violins are by alternating the third and fourth fingers spruce top by this ignorant practice. It should be remembered that the violin is not on cox, hens, vouls, pigs, and oil other kind of poultry. exactly alike in every point, an the bassoon, horn, and clarinet were added to and the older or the top notes in the Liszt style of playing. Blackin-brishes, It is also a bad practice, especially if one owns experimental machine, but a complicated crea- military band herrins, coles, scrubbin-brishes, more original the model, the greater may be instrumentation, but the bassoon "There is yet the a fine violin, made by a master maker, another thing. In playing pass- traykel, and godley bukes and to lend tion of apparent simplicity, all the more deceiv- was found to be inconvenient for bibles. Mise traps, difference in minute details. This being the case, military band ages marked for both it to everyone who asks for it. Very often ing hands, with the top note brick dist, whisker seeds, morrel each because of its plain appearance, and that for and the “serpent” took its place. pokkerankerchers many peg-holes are hollowed out by a penknife to be struck by the left borrower attempts to make an adjustment hand crossing the right, and oil zorts of swatemaits includin or to expert advice and repairs, it will pay to consult All of the great composers have made extended taters, sas- or a rat-tailed file until the metal posts will in a much better effect is made by taking with the sages, do some repair work. When the owner finally a really first class maker. use of bassoon. and other gardenstuff. Bakky, zizars, lamp a crude manner go into the the Haydn made it one of the chief left hand the peg-box. Most patent- lowest note marked for the right. oyle, tay kittles and other wakes up to the fact that he must secure the melody-carrying voices of the lower orchestra. intoxikating likkers. A heads have rough projections on the under-side This makes it possible for the services of an expert, he wonders Some Violins Cannot Be Repaired top note to be dale of fruit, hats, zongs, hareoyle, pattins, why the repair There is much appeal in the use of the bassoon buk- of the plates, and these cut into the wood if struck by the right, a crossing the bill runs so high. He merely With all the care, of the hands being kits, grindstones and other aitables. pays for his friends’ however, one may give his in "Military Symphony,” and it is beautifully Korn and holes are not counter-sunk with a sharp instru- em- avoided. A small thing, ignorance his violin, it apparently, but it is the bunyon zalve and oil hardware. and own generosity. is a strange but nevertheless absolute ployed in the "Creation.” Haydn also was a mas- I has laid in a ment. These keys greatly impair a pure violin small things that go to make a proper Country fiddlers keep the hair fact that some very ter in using the instrument perform- large azzortment of trype, dogs mate, lollipops, in their bows fine violins break down in for counterpoint in ance of Chopin tone and impart a metallic ring no musician and of all composers. ginger beer, matches & taut for days until the spring and elasticity are tone and volume, all at once, without his masterful fugues. Handel tended to use the other pickles such as hep- should tolerate. If a patent-key must be any ap- There you have some of used, all but gone bassoon as a my Chopin secrets som salts, hoysters, winzer sope, anzetrar. from the stick, and then condemn parent reason. These instruments are invariably supporting instrument, but gave it touch Old something less injurious to violin tone would and tone, quality, octaves, and rags bort be the quality of the wood. violins an unusual bit of descriptive the trill. and zold here. Newlayd eggs by me Roger Students also are guilty that have changed hands through a period work in the weird I have never more desirable. told these to any one before.” Giles. Zinging burdes keeped of this. In many cases holding the of several years and Dance of the Witches. When Handel was writing De sich as howls, Another thing that impairs many bow im- are not new, well made Pachmann at least brought donkies, instruments music for a celebration of the a sense of payrox, lobsters, crickets, also a stock of violins in the hands of musicians who peace of Aix-la- humor to the is an improperly fitted bridge. The feet of understand piano recital, an element in a celebrated the Chappelle in 1748, he had no less which brayder. I tayches gography, rithme- their proper care and individual than sixteen bas- it was totally bridge should exactly fit the curve of the top requirements. lacking. Many will aver that tic, cowsticks, jimnasticks of soons, forty trumpets, ( humor and other ehynees- There seem to be a few Continued on Page 57) has no place the violin. To do this requires considerable VIOLIN things that can happen beside serious music; others say tricks. skill. GQDE SAVE THEE bridge Edited to a violin which will depreciate its tone KINGE. A should be of a certain design to fit a by Robert Braine to such 24 an extent that even ( Continued on Page 54) THE ETUDE JANUARY, 1942 25 ! * 1 Music and Study short melody which would teacner play a in the adult beginner—for he back by those with at least ET US BELIEVE Music and Study then be sung on the market to-day! possibly including every- is the best material fair voices—this study piano next step would LJ is wanting and waiting to one in the group. The He melody of him. Indeed, there is no then be to have this same played playing—hundreds Did Rachmaninoff Make a enthusiasm. The and by various students, on piano, violin, or lack of grown-up-beginner Mistake Questions might teacher—not whatever other instrument con- actual demand is for the invincible with the Adult Beginner Is pronunciation ami for each one. Succeed I, What the medium Q. stitute a natural for the invisible pupil. meaning of the title J'oho/i i /telle, by Rach- final step would naturally be to have whether you could maninoff? The Perhaps you have wondered staff paper, the mel- 5, Fischer student write on just and 2. In the running passages (p. the guide these adults effectively, or how Ed.) the left hand has E-sharp. When has played or sung. In the Increase Income ody which he you might prepare yourself. Well, it is said Expand the Clientele and this passage recurs there is an E-natural. when How the Teacher May Answers very earliest stages the process would be the On the next appearance both E-sharp and that nine-tenths of all success depends upon confined to singing and playing. In that K-nalural are used. Is tills a misprint? And Russell Sage’s advice to those who Measure 21, on the second half of student would not become time. 3. In way, the straw hats in first beat there is a B-llat, but on the succeed was: “Buy your the frightened, for if he is musical at all he wished to next appearance there is a B-naturai. Is Music Information Service straw hats in winter! A to learn in a comparatively winter.” So, let’s buy our this an error? should be able our knowledge, our experience, ecircjciin 4. Should the chords In Measure 14 be short time to listen intently enough to a Let’s take stock of enroll- slightly accelerated or retarded? so as to be able to reproduce it appeal. This is the time, since adult U melody our 5. What would be the metronomic mark- both rhytlun and interval. ings of the different movements, notably Conducted By correctly in ment is increasing. the ap') 0"gliUura passages? The introduction of the staff as a part of There comes a day in many a life when a new 6. What would be the metronomic not in this case consti- for ing theoretical, or shared, the game would is sought. The grown-up yearns musical marking for the different themes of en endeavor expands beyond place ‘ tute nearly so great a difficulty, and I take an active part. will ever take the False do Concert by J. Wlenlawskl; and elirl something in which he can topics. And an adult un- Weber's Invitation to the Dancct believe that in the end the student would loneliness or of personal performance And there is no surer escape from derstands best what can 7. What are some popular pieces by same length of time. vi go farther in the music, with a piano for for them. They want the Beethoven, excluding the sonatas called Q drifting than the study of something l Of course the difficulty of the material be allied to inspira- "Moonlight," "Pathetlque," and "Appa- J(ar companionship. revelation and lias to be adjusted to the student’s stage non-technical already slonata?" tion that only individual 8. Have any of Beethoven's symphonies of advancement. established in his life. accom- been arranged for the piano?—Sr. A. M. The Adult Beginner study and solo Meeting Why go through books? Have A. 1. The pronunciation is po-le-she- plishment bring. Professor of School Music, “Where are these prospective pianists?” some Why not let books go nel'. He is a buffoon, a French carnival Can an Old Dog Learn New any of us been content you haven’t recognized them. through us? The first character dressed in black and white. Oberlin College one may ask. Maybe with less? Tricks ? making stump clue to concentrated 2. No, Rachmaninoff intended it to be They are a shy lot, and are not is to rec- that way. tThis answers your third ques- Musical Editor, Webster's New Q. Could you please help me out by speeches to publicize their hopes. How they want study-reading The Teacher's Appeal giving me the advice I am seeking. I am the tion, also.) to play! They are not courting a negative reply ognize the best as International Dictionary twenty-Iour years old, and I would like Let us excel in finding 4. If you had a little acceleration in think I could learn best. can remember to know if I am too old to begin taking when finally they ask, “Do you We the previous measure you would have a latent talent. Then we piano lessons. I would like to know if at to play a little—for my own pleasure—at my age?” the important, if we slight retard in Measure 14; otherwise it my age I could be able to play orchestra- shall deserve distinctive These modest music lovers are not likely to call learn to forget the un- should1. be in strict time. tions at sight, or is It impossible? Also, performers as our fol- music and he has given me the follow- how many grades would I be able to mas- at the studio in mid-afternoon; in fact, they are important. Let us read 5. About J = 144 throughout; however, well ing: Robbins Music Corp., New York; ter If I started the study of piano now? lowers. Let us look the middle section may be taken more not likely to call at all. Yet they are all about- every effective sentence Do you think I would be able to play be- Broadcast Music Corp., 580 Fifth Avenue, of only one into the relationship slowly. orchestrations at sight In ten yenrs of working in offices, teaching in schools—some as if it were the New York; Embassy Music Co., RCA tween pupil and teacher, 6. 1 cannot answer the first part of this study if I started now? Please give me them old acquaintances, casually speaking to un- worth remembering, and Building, 1250 Fifth Avenue, New York; your honest opinion on this. Also please it is here that one question as J. Wieniawski wrote several suspecting you on the street. And every one hop- dismiss every ineffective for Harms, Inc., New York; Leeds Music let me know If I am too old to master pieces called Valse de Concert and you do may find the first link in Corp., 1270 Sixth Avenue, New York; some of the sixth grade classical num- ing to find the understanding teacher without passage as if it had not not say which one. The introduction of bers. Here's some information that may satisfactory adult piano Irving Berlin, Inc., 799 Seventh Avenue, openly seeking you. been read. Invitation to the Dance should be taken help you judge these things. I am very education. New York. I suppose the proper pro- much Interested in piano. I love the sound Why not make yourself visibly accessible by re- Carry on, and apply to about J = 120, and the general tempo cedure is to send a copy of your song to of music and am fully interested in learn- Can you guide a grown- 80 or faster. arranging studio hours and spending more eve- every lesson some out- J. = ing and would one of the publishers and if he rejects it, study my best if I knew without “teaching” 7. nings there? Evenings are the adult’s recreation that has up Some of the easier ones are Fur I would some day be able to master six standing idea try another; and so on until you find one his Elise, Minuet in G, Six Easy Variations grades of piano playing, also if I could time, and an open studio may well be the funda- been read. Dickens said, him? Can you match who is interested. No question will be answered in THE ETUDE in play orchestrations at sight. My draw- G, A German Dance. A little more dif- unless accompanied by the full name mental adaptation to this interesting phase of “An idea, like a ghost, enthusiasm? Can you backs are the following; I had only eljht ficult are Eccossais, and Andante in F. and address of the inquirer. Only initials, treat student as a col- or pseudonym given, will be published. grades of education in school, and am not teaching. must be spoken to a little a 8. Louis Winkler has arranged them good at memorizing poems. How Many Chords are There? I also have Some grown-ups study music for its cultural before it explains itself.” league — and do away for piano. They may be secured through played Spanish guitar now for five years Q. Some time ago I read in The Etude advantages; others to find relief from the tension it often. awkwardness from the begin- the publishers of The Etude. Since the time of Wagner many differ- but have only an elementary knowledge So, speak to your idea: take it out and use with restraint and Just how many chords are used in music ent of notes. I now know that piano is the of their daily work. But most of these aspirants every time you apply ning? In you, this studerft hopes for a teacher composition. I cannot find the article, but kinds of chords have been con- It will reveal other thoughts only thing I really am interested In. I remember the number was over three structed, and whether they are music study because they want to become artistic it. who is above pedantry; a musician who Is com- Please let me know If It is too late for A banians 7 rill hundred. Can you tell me the exact num- or mere noise no one individual can say. me to play the piano.—M. W. pianists. And this is what teachers have been so Actual guidance of the adult beginner may go panionably understanding; a pianist who solves ber. and can you refer me to a book in Q. 1. How Is the trill played at the That time alone can prove. which all slow in believing. lesson and illustrates spon- beginning of .1/ rt the chords are listed? G. H. hand in hand with preparation for this selective his problems at the — the Coda of in m l — A. The lesson that modem psychology In ordinary harmonic music there are, ' Antique, by Paderewski? The beginning adult has long been observing A. If you, or anyone else, ever finds the teaches us is that it is never too late to service. After analysis-reading has become a part taneously at the piano. 2. At the very beginning of the piece, of course, only seven basic chords pos- exact number of chords used in music, learn, so I would encourage you the finer distinctions of interpretation in the of your daily life, accept an interested, but un- some copies have pedal marks, and some I sible, one constructed upon each degree to start do. not. Do you advise the hope you will piano lessons playing of famous pianists. He asks some explana- use of the send the information on of the scale. at once. Whether you will trained, friend as a first pupil. Next, make it Understanding the Student pedal? But on each scale degree to me! there be able to play sixth grade music or to tion of such subtleties as pedal effects and sing- that will specialize 3. Are the opening measures played In can be constructed not only triads, known you in adult teaching in the flexibility of teach- The crux read Your appeal may be a connected way, whole of your question hangs but 7th, orchestrations I cannot tell you; but ing tone. Of course, there are mysteries in piano or not?—Miss L. D. 9th, 11th, and even 13th chords, because you like it. A sympathetic attitude and ing ideas. A pupil wants something elastic—some- A. 1. upon the definition of the word chord, if you really love music and and each of these is capable of an in- are willing playing that only masters can pass on. For this an interested pupil will soon your influence and there are almost make thing he can shape into his own ideal. This desire as many definitions finite variety to practice two or three hours a day for of alterations. Many highly reason progressive teachers take advantage of felt. said: of this term as there are several Emerson to study music has not just recently entered his musicologists. chromatic chords are years, you will be able in that really only simple every opportunity to work privately with great “IJ a man can write better book, "Webster’s New International Diction- time to learn to play a head: he may have been thinking of it for years. etc. chords altered. Thus, the Neapolitan well enough so that ary” defines a chord artists. preach a better sermon, or as “a combination music will ; make a 2. Yes, the pedal should be used, but chord is only a II chord with chromatic give you much pleasure. So resign yourself to this fact; he will be more with of tones which blend harmoniously when better mouse-trap than his neighbors, discrimination. alterations, and the entire family interested in what he thinks he can accomplish sounded together, because of 3. They are played in a connected the pitch fre- Self-Preparation though he builds his house in the woods, way. Augmented Sixth chords is either IIv or musically, than in all that you try to give quencies are in the ratios of may him Do not use any pedal on the turn, but. small whole IV; the ivorld will make chromatically altered and inverted. Not all may live in a musical stronghold; but, a beaten pathway to his your way. Are your ideas numbers. But who can decide when flexible? keep the pedal down through the first I can refer you to no door.” tones blend harmoniously single book in Comin through intensive reading, we can all learn much Your appeal may be in two G chords. and when they which Through the Rye enthusiasm. Perhaps you do not? all chords are listed. Ordinary about great I am taking teaching. We can take a single book can fill every lesson with magic. By refusing to chords you will find fully the liberty of writing you be Arnold Schonberg treated in any regarding an at a time, such as that The Grown-up's Lesson > opens his Klavier- standard harmony answer to L. H. S. In The secret-filled manual, “The a pedant, you may become an influential per- I uhlishcrs of Popular Music stiick, Op. text book. For discus- Etude for June. 33 a, with the following chord: In the song. Cornin' Pedals of The Pianoforte,” by Hans Schmitt, and Let us remember that we are training an adult, sions of chords used in Through the sonality in the student’s life. Thus you will not Q. I am Interested In modern musio I Rue, Robert Burns had trying to have “Town” study it as if learning directly from an expert; and not teaching a child. This published a song— suggest you read “Modem In mind when he used the older pupil knows teach the adult beginner: you will learn with him. the type known as a Harmony” by word popular A. E. “Rye.’ Reference to the first line thus ending pedal uncertainties. things that song—which I have written, but Hull, or “Twentieth Century Music” many we have missed. You and I have Santayana once wrote: am also shows this with its “Gin undecided as to the procedure to fol- by Marion Bauer. a body Let us also extend our learning interest to sub- devoted our lives to music, that low. Perhaps meet a body cornin’ through we might become "Our dignity is not in what do, you could give me names According the 'Rye' we to thus composer’s ('toon').” Strange as it jects that can be related to music. teachers and addresses of some reliable firms.— Mrs practice may seem, that Is There is the —just as these other grown-ups have but in what of what the we understand. J. C. H. constructing chords with word means. The writer Is fours in- nuu to i in a philosophy of Santayana, the popular psychology equipped themselves for their careers. Therefore stead of eacli izar l raining position to know, as he was The whole world is doing things." thirds, and using the dimin- born and A. This lived, till he was of David Seabury, the older essays of Emerson. when an adult comes is a little out of my line but I ished or augmented Q. Will you give me some twenty-one. In Ayre, as a piano beginner, it is Isn’t it true that all teachers octave instead of Ideas as t Ayrshire, are “doing have asked the t6aCh Scotland, which Is exactly Profound writers have given us a friend of mine who plays in perfect octave, elementary ear training forcible words not because he knows little, but because he knows things”? this is a completely log- —M R three miles from Alloway. the But what of understanding? Yet under- a dance band to provide birthplace with which to correlate me with the ical chord, even though of the Scottish bard. useful ideas to the little about piano playing. there are ears to Some of the def- standing is merely taking the trouble to know the names of a few publishers of popular A. The logical procedure initions struck which it may not sound very in an ear me as funny, because in student’s individual musical problems. We may Adult aspirants, thinkers that they are, harmonious! training class my home town do not other side. It may mean listening with genuine would be to have the every child knows the well acquire the habit of using them. correct meaning of A student become poetic pianists through method promotion interest 26 the word.—L. S. S. to all the pupil has to tell of himself and will linger longer if he knows that our knowledge or mass production. They want to play! And noth- his ambitions. It is ( Continued on Page the etude 59 JANUARY, 1942 27 — CLASSIC AND CONTEMPORARY SELECTIONS Music and Study IN D MINOR ALLEGRETTO FROM SYMPHONY anck Arranged by William M. Felton Yugoslavia’s Picturesque Music The Song of the Guslar famous peasant king of the country of Serbia. The referee announced the first player, a venerable white-haired peasant. With eyes closed Jj5ij Esther ^on65on and head thrown back, he improvised an intro- duction to his song, The Sultan of Stamboul Writes a Letter. He began with a long wail, a suppressed outcry. We were wrenched from the The Etude last April published an article by the American pianist, Esther present and carried back centuries into the appeared at Jonsson, dealing with “Music in War Torn Greece.” The article guslar’s world—a world of oppression and sor- the time Yugoslavia the moment of the Nazi occupation of Greece. At same row. Jonsson has also traveled extensively fell and came under the Nazi’s heel. Miss All of the songs which followed, like the Sul- concertized there. She has made a special study of the in Yugoslavia and tan’s Letter, were never-ending. They were songs musical life of the South Slavs. Etude readers will find this a most striking of long-suffering and forbearance measured not . Editor’s Note. informative article by time, but by eternity. The accompaniment of tones smaller than our half tones—four or five at the most are used—revolve around one cen- tral tone. The turns and trills on these few notes HEN THE GERMAN An Ancient Relic measure the skill of the player. ARMY overran Yugo- The guslar’s song has re- Although I could not understand one word of W slavia, the Land of the mained the one remnant of the what was said, the performances moved me more South Slavs, last April, the Homeric style of chanting left than any formal concert I had heard in months. Yugoslavs sadly shook their to the world to-day. Listening Far from the musical market places of the world, heads and said, “This is another to the gusle for the first time we had come upon a spring of pure beauty. The us.” that, they Kossovo for By was one of the most inspiring guslar’s song is music born of oppression and their was meant that country musical experiences of my life. suffering and fulfills the highest mission of art. again into slavery being thrown Early one Sunday morning Inspiration springs from love, and the unselfish it in at the decisive at was 1389, we left Dubrovnik on the Dal- guslar, singing for the glory of his country, of Kossovo when the battle matian Coast and drove through arrives at the rare perfection of pure beauty and Serbia’s fell flower of manhood the lovely Konavli Valley white simplicity in art. before the Turk. With the de- with the first almond blossoms To hear the results which can be achieved with feat at Kossovo five centuries of of spring. At the “kavana,” or the most primitive form of one-stringed instru- darkness descended on the cafe, in the village of Gruda ment over a range of four or five notes is a reve- South Slavs, and the progress we were ushered into the upper lation to the modern musician, and makes one of the civilization and culture dining-room for lunch. We sat wish that the technic at one’s command to-day which had flourished so richly there rain-bound and shivering could always achieve results as noble as these. until the fourteenth century and watched the slopes of was halted. Yugoslavs, THE GUSLES The who Mount Orion across the valley A Musical People These instruments are carved by include the Serbs, Croats, turn white with snow. the peasants of Yugoslavia from The rain, There are no more musical people in Europe Montenegrans, Dalmatians, one solid piece of hard however, was not a misfortune; wood than the South Slavs and it is surprising that Slovenians, Bosnians, and rather it prepared our their mood music is not better known. It is one of the Herzegovinians, have one hope for the gusle contest we had remarkable things in music which has been over- —that this time the period of darkness will be come to hear. One should not approach a gusle looked by the musicians of the Western World brief. They have the faith that their country, concert in a festive mood. The gusle weeps and Everyone, from the simple (Continued on Page 64) which was bounded on the east by Bulgaria, on one’s spirit weeps with it. the south by Greece, and stretched for a thousand Apparently the gusle-public miles on the west along the marvellously beauti- felt as we did, for in a village ful Adriatic Coast, will be restored to them. of a few dozen houses, about During Serbia’s five centuries of bondage, it four hundred peasants packed was music that kept alive the hope of freedom in the hall. The players, twenty the hearts of the South Slavs. The conquering of them, began to arrive with Turks closed the churches and schools and for- their gusles, one more elabo- bade all public gatherings, but they overlooked rately carved than the next. one thing—the guslar, or minstrel, who wandered We were introduced to Basor, from village to village improvising his songs. The who later won the first prize. guslar was often old and blind, and the Turks A simple, one-stringed, man- thought he could do no harm. Not understanding dolin-shaped instrument, the the power of his song, they allowed him to con- gusle is carved from a single tinue his wanderings. He gathered the people piece of hard wood. Basor’s around him, and to the accompaniment of his gusle was strangely and won- gusle, he sang of the glory that had been Serbia’s. derfully carved. Across the back He sang of Serbia’s heroes who had fallen at the was the Montenegran eagle, battle of Kossovo, and the strength and beauty while the goat skin, stretched of his song gave the people the faith and hope over the bowl, was held in place that one day their freedom would be restored. by delicately wrought claws. For more than five hundred years the guslar, Among the scrolls and carving with his primitive, one-stringed instrument held of the head were pictures of the South Slavs together. His power over the Bishop Strossmayer and Kara- people was almost miraculous. DANCING george, or Black George, the THE KOLO In the background, 28 drying tobacco THE ETUDE 29 — — FINALE FROM SONATA IN G MINOR upon as a serious rival of Handel. 1683. Heti was looked of Bach and Handel Domenico Scarlatti was born at Naples in the same year as the birth '^ that Handel was the finer Q jn j on Was organ and the narps • *p When Scarlatti and Handel were twenty-three they took part in a contest at the his style might havebeen ’ tone> known the mo ein piano, w harpsichord. Had Scarlatti . . organist, while Scarlatti excelled him at the urauen ra j e fj.5. s as 1 sprightly movemen “ very different, but the world would have been deprived of such delightfully ROME!DOMENICO SCARLATTI Allegro m. M. J = 120 t Jr -F= ( V fete f > p >• > > > ' m = iy , ~ _ m ^ i if l - \=\ - M* 2 r= _ J— — J i S- — [ S V A =§=A 1 i 4 ^ p THE ETUDE — — Line Reference Target LRT-BE4-V2 RALPH FEDERI Grade 4. ELLA KETTERER Allegro m.m. J = ^7 4 . i J» • m P ifLffi a -iz=^7-= -p-y~ r ( / mjp mJJ 2 f — '«?=- * 0 ~r / — | [• c U_ L——-—ll j i y r H ^ *5 3 5 r = ^ r» — i i l 1 1 VIV Copyright 1941 by Theodore Presser Co. Copyright 1941 by Theodore Presser Co. 32 British Copyright secured British Copyright secur THE ETUDE JANUARY 1942 i — . Line Reference Target LRT-BE4-V2 VOCAL AND INSTRUMENTAL COMPOSITIONS «#. HERE’S ONE unknown Spii ituai <. Herewith The Etude presents a rare addition to the singer’s recital repertoire in a masterly arrangement of a practically veloped by William Grant Still, acknowledged as one of the most brilliant composers of his race. NEGRO SPIRITUAL Sti Arr- b William Grant Moderately <5fSlovly y - sus, Talk a -bout a child dat do love Je Talk a -bout a child dat’s been con-vert-ed, J*l J- J'l « 4 3 4 2 1 2 n'p retard gradually cresc. m 3 2 4 1 retard . . 3 5 4 4 n>p_ ^ „ *n tempo 1 3 2 a 1 P 7 f 7 P slightly 34 3-" Here’s one, here’s one. Talk a-bout a child dat do love Je - sus, Here’s one, here’s one. In ol’ Sa- tans snares I once was fall-in’ Here’s one, here’s one. Talk a-bout a child dat’s been con- vert-ed, Here’s one, here’s one. Ev-ah since I learned de gos-pel sto - ry ; ; * '- - i _ „ > -1 » = cresc k . nn £ PP "if retard tnp in tempo 4m. 7 P - ’ 1 3 V- 8' 3 5 4 4 * J 1 3 2 2 * 4 ^ -o- -e- 1 2 8 V retard gradually rrs stM in tempo 1 retard gradually dim.. *s P cresc. molto But I heard de voice of my Lawd call-in’. Talk a- bout a child dat do love Je - sus, Here’s one I ve been walk-in up de path to glo - ry. Talk a- bout a child dat s been con-vert-ed, ^r rrrrrr i egtfm^-^ 3 1 3 2 01 tempo /TNM, - - e= in tempo retard I af s in tempo rit. un poco Fine f r r r p cantabile cresc. A-Jr • 1 dim. i LP 1 retardgreatly 2 3 4 3 2 ^ a 1 4 3 I 2 - 1) !)= =is®^ * pdffl >fflt * i Here’s one. y... *»,#* 4 j -J * Pff~ p r f 1 jAy n E£~rT> ; i i Q <9- 1 0 i L i a rezi- >—i — — — # ff*! 14 1 ** 2 5 5 2 2 Copyright MCMXLI by Oliver Ditson Company 34 International Copyright secured Copyright 1941 by The John Church Company t»3 « International THE ETUDE JANUARY 1942 Copyright 3i —— — Arr. by Leopold Beer RIGAUDON FRANCOIS COUPERi: ST THOU ME? J. LOVE ROY NEWMAN (1668-1733) James Montgomery Poco allegro (1771-1854) Mod era to VIOLIN PIANO * that 1 lovel - ea rth be - neat h; Th( - in heav’n a bove And pow'r to an -swer, “Yea, Thou know est all things, Lord , |BE-~ fev- //>" '''v /r —^ ir a* 0— * f* TjlfU |» — 7 1 love Thee as I ought. Thy - - tf~r-J rPi J 1 r lovemust give that pow’r, Thy love a-lone; There^ noth ing wor thy - - 1 of Thee but Thine own. - 1 » mm 1 1^1 i a m/’ o l -j- d=3 j-j | n- = :: -Jr 4a A r ,0 J-H 1) . JJ_ J ! Jl —-ff i cr ^ \ ^ 1 « a — 1 m Edaczzz — trz r r r ^r=T vi 0 Lord, _ with the love where -with Thou lov - est me, _ Shed in my heart a - broad, j^vj would I love Thee._ JWri =grf — £?* (1 i f f 1 [1 • 8 8 Copyright 1941 by The John Church Company International Copyright 40 Copyright 1933 by Theodore Presser Co. THE International Copyright securcc ETUDE JANUARY 1942 0 ELFIN DANCE (ELFENTANZ) EDVARD GRIEG, Op. 12, No. 4 FOR TWO PIANOS Transcribed by Eyvind H. Bull Grade 3*. ^CODA 2 A J?e 3 . _ € i PP f ,00 m # • LA LA LA S3 xSB? r 0 0 A i 0 0 0 ALL i t T ? ? W 0 — m rr* M oresc. / pp m V m f * a; m pAA ( |^EL fcA f=AL Ill-i ALA Wjl i i mm m m fm * p"~ s a A i» A £ ?sc. i AL or p ll ppp 8=3 §£ ft «• 0 0£ * 3=L ! 1 LL § i i- P^g Copyright MCMXLI by Oliver Ditson Company 4.3 JANUARY 1942 THE ETUDE 4i — ^ ' , Hammond Organ Registration SUNSET OVER GALILEE Sw. @ (10) 00 8532 000 /Sw. Soft strings & Trem. (11) 00 1200 432 _ Gt. Flute 8' @ * ) Prepare: < Ch Clarinet & Nazard Gt. @ (10) 00 1233 333 Ped. Soft 18' & 8' to Sw. ROLAND DIGGLE Andante mo derate MANUALS TT i ) — - "l Lj Jjrj: r . . ^ | p j 1 J 1 1>T ” ffr sempre rubato rit , , - a tempo R: m. — rit. | -p- - r p p~~m - m P 0 f-tp- \ ' — 1 1 —— 1 gA . ~^):-r{7 L m—>— - ^ = k , ^ |- « » p — T r £- J m J ^ J J HHHl Ped.to Sw. Gt. Flute 8 (£$(10). Sw. Celeste * Registration only suggestive. Copyright 1939 by Theodore Presser Co. 44 British Copyright secured THE ETUDE JANUARY 1942 45 — — — 4 2 DELIGHTFUL PIECES FOR YOUNG PLAYERS Grade 2£. FAITH OF OUR FATHERS! HENRI E HEMY Ellison Crude 24. W. Faber (St. Catherine) Arr. by Evelyn Townsend NELLE S. SCALES Frederick Allegretto m.m. J=.i 20 SYLVAN CHIVIES 0. l_ J /.A. l.k. — 5 H- 2 ^_2 2 1 5 2| 5 Fine 3 t—! :— S> 1 v »' La. a -F 0M-F-+ 6-3 T#- -© ' * 3j -£ ^ so— few 1: ™ 1 A.” 0 6*- VI (S'— -LV U4— ^\| " 1 £ -0 } # . K frt} -o FfW= ill ^ r L 1 1—6 ^ 5 gi - -* 3 * U» — c, 5 3 3 Copyright 1941 by Theodore Presser Co. Grade 2. HEAR THE OLD BAZOOKA! N. LOUISE WRIGHT Ilia jocular manner m.m. J - 144 3= S33S 5 « m &FI & &1 n # 0 IF IF * w Ff m. m mp •• - '• £ =3* • * V 1 «• i• i j ji » 5 r g. Copyright 1941 by Theodore Presser Co. British Copyright scoured MARIE SEUEL- HOLST, Grade 2. AROUND THE TOTEM POLE l.k. .., Op. 35, No. w , With muc h accent and lots of pe p M.M. J= loo . ^V~3~ r. fl !.— 1 ? . . . -1 . £U , fir w4j Copyright 1940 by Theodore Presser Co. /’A.-o- 46 British Copyright secured THE ETUDE 47 , —m — i # *1^ 7 — — — ! — whose counsel TECHNIC OF THE MONTH Noted pianist and music educator, the pages of the Etude by The Technic of the Month is sought each month in teachers and students alike, says of the Steinway pro- SINGING OCTAVES . piano: “To be a successful teacher you must Conducted by Waicuer enjoys, With lesson by Dr. Guy Maier for this study on opposite page. CARL CZERNY duce students whose playing everybody Guy Maier you must turn out pupils who play joyfully with The octaves in the right hand sustained throughout, and played with power. All the rest very softly staccato. Grade 3a. Op. 335, No.37 rich, lovely tone. For this you need the best instru- Andante (m.m. J = 72 - so) ment available, which is, of course, the Steinway. — Singing Octaves greatest 1 The fact that practically all the world’s - i r 1 u . i - 1 " m ta r- 47 ^ G' artists use it exclusively proves that the Steinway \ J X /X 4/11 9 4/ w ^ > i P fZ ^ 4/ — 4/ 1 I/d. -4/^4/ 4/1 ' m *1 m—5? « v-— / 7 I (O • / r 1 -m — t P Ttl / 1 1 J M — $ 7 T ~rr^ \ m 7 M 7X7 'A (To be Used with Czerny, Opus 335, No. 37) .” 11 is the one and only piano for everybody f V *| r r r «| t T 9 J simple, beauti- Then, omit these right hand i F f p his month’s / p ful study needs little elucidation. thumbs; listen for strong, singing- k k K K K k K h K k _ L ) < \ 1 '1 i P\ T Two silver trumpets singing in fifth fingers. 4V-L— ) J 47 J— • 4 i _U a m * ) e~ S 4r ! ) 4/ 4/ V 1•i -V V v J • 7 —-* 7 7— 7~ i 7 - < file stately procession. \ J h XU— U-7. 4j 7 n / / 7 j / 1 n“7 ) 7 — 7 — — — — W~J octaves by in i * picture of m - If you want to give a tone 1 — V = * V 1 — — 9 < Hii i I—* this procession of aspiring, godlike creatures, with heads erect, chins up, eyes to the hills—you must learn to play it from the beginning without looking at the keyboard. First, memorize the right hand oc- tave melody, alone, without inner tones. Then add the left hand octave accompaniment, thus: Play all eighth notes—right and left hands at first sharply but light- Ex. 1 — s ly, with plucking staccato; later as P I \ straight eighths, the left hand with -#1 gently rebounding full-arm touch. — etc. Chords difficult to reach like the 1 J*J J' 9 frV- fourth beat of the second ending -d § i 9*3 (Part 1) are simply rolled. Quick PP “dabs” of damper pedal may be used Play right hand loudly, left hand very throughout. Be sure to make a sud- softly staccato; but do not “squeeze” den diminuendo in the third measure the right hand legato octaves. of Part 2 followed by a thrilling, sur- Now, play the etude as written, but prise crescendo in the next measure. omit all fifth fingers in right hand Guard against slovenliness in re- this to reduce stretch tension, to leasing inner eighths in right hand. emphasize rotation toward thumb, Make as much difference as possible and to achieve loose, richly singing in quality between the singing oc- thumbs. Let your elbows I float taves and the eighth note accom- paniment. Remember, won’t you, that the study is a kind of spiritual proces- sion? It must be played confidently, strictly in time, with strong, deep tone—but without any blasting of Invest in a Steinway trumpets. • For 89 years, members of the Steinway family have been engaged in building a piano that cannot be equaled. So much fine handiwork Fortunes in Melody goes into it, so many carefully selected materials, so many ex- (Continued from Page 12) clusive features, that the Steinway stands alone. For 30, 40, even write a complete musical 50 years, the Steinway will serve you well — the most show. trated and recorded, it is dubbed in economical Writing incidental music for screen on the sound film track. investment in the world of music! And because of the Steinway’s and radio is an expanding field for Film music is roughly classified as durability, composers, but one which is its resale value remains always high, highly main title, end title, montages and making it an invest- specialized. The essence of compos- inserts. In the first, the composer ment which holds its value through the years. ing for these mediums is time. The tries to capture the prevailing mood composer must have a ready muse; of the picture, since the music pre- • he cannot invite it at his ease in Pay only 10% down. Only $59.50 some cedes the picture. The end title is down for the Steinway sylvan retreat. On the movie lot, he something in the nature of a coda or Vertical, Sheraton — only $129.50 does not down for the Steinway Grand, see the film until it is cut, conclusion. Montages designate com- assembled and run off. “S.” (Transportation extra. Prices Then he must posite shots, usually showing elapses subject to change without notice.) choose the most likely spots for of time, and inserts are bits that can music. By timing the film footage, he be inserted anywhere to heighten the is able to tell how many seconds of emotion or action. Each piece of music are required. Nor has STEINWAY & SONS he the music for film or radio must be timed time usually to score the work. PIANO • The to a split second, and the composer MAKERS S T E I N W A Y HALL orchestration is done by specialists. must learn to adapt his 109 work to fit. WEST 57th STREET • NEW YORK. N. 48 When music is completely orches- Y. ( Continued on Page 60) the etude JANUARY, 1942 49 | N N ! , ? morning, ter.’ Then, the following Building Vocal Surety one of the newspaper criticisms may V/URLjTzER finds cause for laud, while another' years — a name famous in music for over 200 censure. What, then, is the singer to SIZE — POSSESSING A RICH, (Continued, from Page 9) do? Only one thing; if he is wise, he THRILLING IN ITS SMART, MODERN WURLITZER SPINETTE MODEL 380 will take pleasure in the praise, RESONANT TONE, THE NEW Ly NICHOLAS D0UTY DECORATIVE AND MUSICAL examine the blame for points of DR. CONTRIBUTES AN ADDED TOUCH OF REMINISCENT OF OLD WILLIAMSBURG. up to a certain point, guidance, and study his own CHARM TO THIS ROOM — the diaphragm as though you were helpful only future DEALER. of the SEE AND PLAY IT AT YOUR WURLITZER going to sing forte but do not sing after that, the actual practice work. His own criticism on his per- — No questions will be answered in THE ETUDE unless accompanied by the full name and, quite given, will be published. forte With the diaphragmatic ex- art becomes its own guide; formance should have been made and address of the inquirer. Only initials, or pseudonym such pansion fully prepared, attack the naturally, a person who has had while that performance was in prog- practical high note delicately, easily, lightly. practice, who can offer ress. He knows his own standard of can describe the Grades Four This creates a reserve of support demonstrations, and perfection for every tone; he knows Another Operatic Aspirant music well and plays the piano, age with a and Five. Her family background is musical, which holds the tone secure and sensations of vocal technic in its ac- also whether his tones are reaching q. I am nineteen years of teacher, who with several unusually good voices. She is service lyric soprano voice which my allows it to be held through the complishment, is of greater goal. If they are not, he knows into studying with teacher here, taking three that is my first, says I could develop a a only abstract reached lessons a week, and she is not allowed to duration of the longest phrase. than one who offers why. It is that criticism which helps coloratura. After my third lesson I would like High O easily, anil my teacher says I could practice except with her teacher. I “No singer is completely free of counsels. That is why the singer him most. even higher. She also says that my voice her to study at once, for several years, with rather go vocal problems, and the young singer “My own experiences were must early accustom himself to prob- has a lovely sweetness, is as clear as a hell, some successful teacher who was formerly a control and a sense successful opera singer. Would you advise is usually beset by several of them. painful. After completing my studies deeply that I have good breath ing his own work more and her continue with her local teacher for a of pitch. Does this indicate a natural singing to He should realize that this is the re- at the Bucharest Academy, I went to more critically than does anyone voice? year or two, or to make the change now? fives the world’s best music, beau- teacher take, to go into opera 1. Can you give me the, names of any such CENTURY you sult of his inexperience, and set to Italy, where I studied with a else; that is why his own standards 2. What steps shall 1 tifully printed oil the best paper, every bar in the What types of song should I study? Where teachers? standard size, each note certified to bo correct, as work correcting but one thing at a whose methods were highly recom- are, ultimately, his own guide. the master wrote it! What more can sheet music be! should I go to receive recognition ? 2. Do you think a woman should teach a There are over 3,000 compositions in tile Century time. single singers, but which A phrase of song may mended by other S. How may one develop volume ? Please woman ? catalog, all 15c— (30c in Canada). list some exercises. 3. Do you think that she is young enough When you buy music, tell your dealer what selec- reveal difficulties in phrasing-sup- proved valueless to me. He taught me to take singing the idea making tion you want and be sure to say. "In the CENTURY I,. Please let me have the names of some up with of port, in attack, in color, in inter- ‘smile’ technic; that is, he ad- KDlTJON. please.” That means you will pay only the books helpful to the singing student and tell a career, considering what training and ex- 15c less than half what you usually pay. And you f the perience she has hail? I would be very grate- can't buy better music at any price. pretation. In such a case, the young vised me to widen my mouth in giv- me where they may be purchased Also — ful for answers to these questions.—Mrs. THOUSANDS OF SUCCESSFUL TEACHERS uso singer should concentrate upon one ing out tone, as though I were names of a few opera songs. L. M. and recommend "CENTURY CERTIFIED EDI- The Song Recital A. O. P. case is quite similar to that of TION” exclusively—because they know it Is all that problem at a time. A. Your good He should not at- smiling. Before long, I noticed a sen- music can be at half the price or less. Its Mrs. A. C. P., and our answer to her in- A. Your daughter Is most fortunate to modest price aids them In enrolling more pupils, and tempt to correct his several difficul- sation of I ( Continued from Page 19) issue of The Etude. parents greatly appreciate the saving. great fatigue when sang, quiries appears in this have so many of the physical, mental and certainly ties simultaneously. He must repeat no matter how briefly. Not long Please read it very carefully. We musical attributes necessary to a musical Century Piano Solos, each hope that your teacher’s estimate of your career figure, 15£ the single —good looks, a fine a lovely phrase in question ten, after that, I lost my voice complete- example as a seeker should be fol- all qual- (Capital letter indicates key—number, the grade) voice is a just one. If you have the voice and a good education. Her training 511 Anvil Chorus (11 Trov.) G—3 Verdi twenty, thirty times; each time he ly. I consulted a celebrated throat lowed by all singers. ities named in your note, you may claim seems to have been excellent along the lines 3064 Clayton's Grand March, Op. 100, Eb—3..Blake with assurance that you have "A good natu- of choral and ensemble singing, both of *3123 Country Gardens, F—3 Traditional should bring nearer solution one of specialist —one who had successfully Not only are there in 1941 American decide enter upon the 3063 Cradle Song, EJ>—3 .. Mrahms ral voice.” If you to which are very valuable to develop musician- 1002 Dance of Hours, C- 4 Punchielli his problems. When he has controlled treated Caruso—and, to my horror, composers who are writing admirable long and difficult path that leads to an ship and rhythm. She has had, so far, little IPO Doll’s Dream, Op. 202, No. 4. C 2. Oeslen 1433 the operatic success, you must follow the regime Dreaming. Meditation, F- 2...„ Licbner diaphragm to the point of achiev- he said that my throat showed evi- settings of experience as a solo singer and, if she is to 1673 Dream of Shepherdess. — good verse and, conse- Op. 45. U -L.Labitzky given below: have a career, she must make her reputation 2506 Edelweiss Glide, (Simp) G- 2 Vanderbeck ing the entire phrase on one breath, dences of overwork and overuse. In- quently, are well worth thoughtful 1. Cultivate your voice with the utmost 1204 Etude, Op. 22. No. L. Ajj—5 Wollenhaupt. as a soloist and a singing artist—not an 699 Farewell to the Piano. F— 3 Beethoven he should begin all over again to asmuch as I had not care and assiduity, until you have acquired ensemble or singer. Therefore 1818 Flower Song. used my voice study, but also are there still many chorus she .Simplified, F 2 Range the flexibility, the control, the strength and 626 Gertrude's Dream. Waltz, lib 3... .Beethoven make his attack free, must immediately concentrate her whole at- — light, and sure. at all, except for study, I feared that songs by composers of established in- 521 Golden Star Waltz, O—2 Streabbog the clarity of utterance necessary to the tention upon learning those things which 627 Gypsy Dance, Then again, Dm— 3 Uchner from the beginning, he my career was over before it had performance of the operatic rdles which you 1222 Humming Bird, Waltz. F 2 Schiller ternational fame, many of whose the solo singer must have—a fine voice pro- 1179 Hungarian Rhapsody No. 2, Cm 7 Liszt should study to invest the phrase properly select. duction, a smooth scale, complete command 2262 Hungarian begun. The doctor advised songs still remain unsung, Dance No. 5, Easy, Cm— 2.. Brahms despite 2. Learn four or five rdles that suit your 2251 Impromptu in Ab. 4 with its suitable of her voice in both piano and forte, a clear AV Schubert interpretative shad- complete rest for six months, to try their 698 Invitation to the Dance, Op. 65-Db- 5 ..Weber merit. Franz Schubert, for in- voice, your looks and your personality, in enunciation, an understanding of the mean- 2749 Japanese Lantern, A C 1 Hopkins ing. The commonest — — mistake the be- to win back the use of my badly stance, the original tongues. Then have yourself ing of words in several languages. Then she 270 la Paloma, Bp—i .. Yradier-1 vltchell composed literally hundreds prepared in the appropriate action by a 272 Largo, G—3 Handel ginner makes is that of trying to strained voice. At the of must learn many songs, If she is to be a Uebestraum (lx>ve Dreams) G Easy. Llszt end that of songs. Of these perhaps 3, one hun- competent operatic coach. Learn how to recitalist, and several operatic roles—includ- 278 L lly of th0 Valley. (, 14, i ‘perfect a phrase.’ . b. E Smith It is better , . by far time, my voice did come back, but in walk, how to dress, how to make up for the 2746 Little French Doll, A, C— 1 Hopkins dred are more or less familiar to ing the action—if she is to be an operatic 1613 Little Rondo. C l . Martin to take the stage all other little tricks so nec- phrase apart and ‘per- a disappointingly limited range. and the artist. It is a large order for any young 3 ' 3 Love Dreams (Waltz). This musical ears, leaving ? Ab— 3 .Grechwa Id unknown scores essary for the singing artist. Then you will arr he Boy Scout8 ~~ fect’ the individual person to undertake. .. ' C l Martin problems that # 5?U K t.?U K ‘new’ voice had barely two octaves of of songs be ready start. There are only few of - S - I’ftlmgren that to a u V v deserve a hearing. Hugo 1. She seems to be In good hands where 1648 Military March. 1) It difficult. No. 1. —3..„ Schubert make In such a way, the range. the larger cities in America that can boast 2519 Moonlight Sonata .Simp) Thoroughly frightened by my Wolf is she is; otherwise her voice would not con- . Cm—3..Beethpven another song-writer of the cturne No. singer of a local Grand Opera Company. ' <-M‘- ». 2. EH- A— Chopin becomes self-critically When you tinue to remain “lovely.” iino B° , aware earlier experience Whether or not or e#, n Crad,c Snnfl at study, I kept first - p 3 Morel rank, many of whose are thoroughly prepared, you arrange B 2u .2 best songs must she should change teachers it would be diffl- Meadow, Op. 95. No. 2, G—2..Llchnor of his errors. Sylvia) away from all teachers, and for an audition with the manager of one < de- 2^5 , Kjj- 3 Delibes seldom, if ever, appear on a recital cult for us to say, without a personal audi- 854 Preludes, Op 28, No. 7 of these Chopin veloped what voice I companies and be able to compete tion. Even then we should hesitate to •531 Priests’ March (Athnlln). F 4. had according to make .Mendelssohn The Gateway to the program. The almost forgotten Carl with the thousand and one other girls with 368 Pure ns Snow, Op. 31, EH- 3 T.ungo Registers this enormously important decision for her 2429 Robin’s Return, methods that felt natural and com- the The (Simp) G—2 3. Fisher Loewe, composer of ballads, same ambition. - a decision which might conceivably 2 0 Romance Sans Paroles, Streabbog “If he finds deserves — affect F—3 that he tends to fortable. I used 3. Volume of voice comes with good pro- *3*2 Scales and Chords, 2 Kohler my voice moderately, re-discovery. her whole life. Eventually she must work 896 Serenade (Staondchen).Dm 6..schubcrt- Liszt stridency in the upper register, duction. Never try to force your voice, but with Scrennde he kept away from all forcing, sang a very experienced artist as you sug- 2J.96 (Htnendchvn), I)m—3 .Schubert no rather let it grow with age, like good wine. 655 Shepherd Boy, The, G—3 Wilson should pause to work gest, but just when she will be ready for assiduously forte tones, and concentrated What Is By the way, a coloratura soprano on my a Song Recital? does not this change you must decide for yourself. upon his middle voice—which, as we need so much volume as a dramatic soprano. Piano Duets, 15ft each natural, middle voice. By such means, 2. Some of the most famous singing teach- A song recital is, properly speak- 4. “Operatic Anthology,” ‘‘Opera Songs" (4 Hands) have seen, is the gateway to ers in the history of music have both my voice was restored. That is been and why ing, the singing and the "Prima Donna Album” contain still Bul D,lis, " s .Martin registers of by one singer of a are women—Marchesi and Lilli Leh- ("S Amaryllis,£ Y;!' range. If he finds a tend- I many fine operatic songs. SS* flare. ,| e Umis XI7I. F -3 Oh.vs incline to stress the value of self- The publishers of mann, for example. Tll whole program of A woman can exemplify Excellent merchandising s or Hoffman. F—3..0ffenliach ency to songs, or the sing- The Etude will send them to you, if opportunities are to be found in Etude advertising 924 Chop "i .t , vibration, or tremolo in his you for another columns Sticks. Walla, r l Hr I.ulli help and self-criticism, woman, and this Is very valu- applied under ing by write them. It is more difficult for r 'Traditional voice, more than one singer of us to able indeed. an™ Elizabeth he should work on that defect, a Waltz, c I Marlin the watchful control of suggest books upon the Art of Singing with- 925 a teacher who program 3. Your third Golden Star Waltz, ft 2 Stroatibon of songs all written question we have already Invitation concentrating again on the middle by one out knowing how far advanced you are. We to the Dance, Op. 95, I>h 5 Wobar is in his own right answered. Of course i???35B capable of demon- composer. she is young enough, Lliltioiol. Overture. Kb—4 Kalrr Bela (I once saw recommend Prochowski’s “Singing School," 940 voice, and singing piano with the announce- provided she has the voice, Masterpieces of Piano March Militaire, I a mini- the talent, Music >-:J Schllbfert strating correct vocal principles. Clara Kathleen Rogers’ “English the ,e lh Waves, Mn, ment of a Diction,” industry, all 2 I a Wallnt. G— 3.. Rosas giving-out program consisting the looks, the good Judgment, the ff°9l and Peasant, mum of tone. Whatever of Fillebrown's "Resonance in has been ,?!i ovccturr, n I suppo “The wise singer is Singing and termed the library of Piano 3129 Shadows not too much nineteen opportunity to study with the right teach- on tho Water, F—3—4 Loumry the individual settings of Heine’s Speaking.” These, too, may be obtained Music in problems may be, they elated or too Du bist ers, and enough money to continue one volume. The more than much disconcerted by wie eine through the publishers of The Etude. Your studying Piano Trios, should be Blume by nineteen until she Is prepared for 200 selections by great composers 15^ each corrected at their source, the opinions com- teacher should also a public appear- con- Instructive of friends or critics. be consulted as to what ance. Ensemble Numbers for Six Hands He posers. I was not Then she will be started, at least, tained in its 536 pages, comprise 53 (Three performers and separately. brave enough to you read and practice, and her advice fol- on one Piano) knows, deep within himself, upon the road to a musical career. Classic, 75 L Fr what his assist at it!) lowed. Modern. 38 Light. 25 Sacred ' neh Dol ?;>"' ) F-I.-Sopklna “It is my conviction A program S Ln nia',d Moss-CoveredU r L that the singer problems not falling and Church, 1 Hopkins are and 29 Operatic Compositions. 3099 Barbara« 9 C— whether or not within ThU vol- (Waltz), (I 2 M tireemvaM can this definition be of greatest assistance to should be called Tlie Young Girl of Eleven ume is truly a - - 1 r U h, Mnreh) him- he is solving source of constant 9 2 ^^.nopktna them. The Pretty Girl with enjoy- ! Every professional a I.ovely Voice 3089 Bi'n B» , .'"ri!S!r;i7Fiddle K- a concert. Q. I am eleven years old, 5 '.®"! (Huuvcsquc) , F—l..Hopklns self, through The song and I would like MASTERPIECES ment and 3097 cuckoo bong, alert self-criticism, and recital seems to Q. My daughter, twenty years old, has a jj entertainment to the pianist C 2 ... — . Martin performer has had the experience to be a singer. I have never studied 3094 P ar d T ,e (Vaiso). of have ’really lovely voice, singing who £'E*I 2 ?:„ O-^d'.Martin through a constant been a comparatively with a range from B-tiat delights in good music. 3070 Golden Rod„ ! and intelligent bat I take piano lessons. (Walts). which are not so common. On “sec- voices will be lost, except for stops keyboards the normal Mechanical Accessories drawn on that manual, when and if ond touch” pressure plays the regular registra- Orgm mu Choir Uuestioivs the voices cross on the same note. while a heavier pressure brings ! . of the Organ The use of 16' and 4' couplers either tion of certain specially regis- on or between manuals will cause the in the tone ( Continued Page 21) or couplers. A “Melody Jrom same trouble when the voices cross tered stops Coupler” duplicates at 4' pitch at the octave. The same is true of Octave note played at normal pitch, a combination can be set on a can- the corresponding manual but does manual to pedal couplers and of a single Lj HENRY S. FRY, Mus. Doc. it dupli- -Answered cellor or "O” piston if desired. not prevent these stops from playing pedal stops that are borrowed from but when a chord is played cates only the top note, thus bring- In some organs the usual combina- by means of couplers. In the case of manual ranks. Ex-Dean of the Pennsylvania Chapter of the A. G. O. tion pistons do not control the a long passage where the hands A good rule to follow in the use of ing out the upper voice. A more re- couplers and perhaps not the pedal must be crossed while playing on two couplers is to use the independent cent development known as the stops. In others a normal pressure on manuals, the music can be brought stops first and use the couplers later. “automatic pedal accompaniment” No questions will be answered in THE ETUDE unless accom paniecl by the full within easier reach to the thing the piston controls the manual stops by adding the In exception to this rule, the inter- does practically same on pub- name and address of the inquirer. Only initials, or pseudonym given, will be while registration one manual the “Uni- except that instead of a heavier pressure controls the on manual 8' couplers may be used the bass end lished. Naturally, in fairness to all friends and advertisers, we can express no opinions 16’ 4' service bell pedal stops. This is known as a “sec- son Off” and a or coupler. The freely when both hands are playing doubling the lowest note at 16' pitch as to the relative qualities of various instruments. jTIiis graceful little tell your guests ond touch” piston. Older organs have music then can be played an octave on the same manual. it duplicates that note on the pedal rings musically ... to higher that your china is true, and truly pistons with fixed combinations or lower, as the case may be. In regard to tremulants it is worth stops, thus supplying a pedal bass in American. For it is Syracuse Chinn which cannot be changed. Tracker An unusual solo effect can be ob- of in hymn playing without use of the feet. while to know some the ways has no Q. Would the enclosed specification for a Q. I have a reed organ which . . . the china that is strong and organs sometimes have toe pedals tained by drawing an 8' stop with intention is not to away with which they differ. If an organ has The do small unit organ Ire suitable for a church names on the stops. It has eight stops. Can light . . . und so thin you can sec which certain “Unison Off” 16' 4' the stops, draw groups of stops and both and only it affect the the pedal board, but to serve the stu- Even the person with limited piano playing ability seating about two hundred and fifty people t you give me appropriate names for one tremulant may your hand through it. and perhaps couplers. What would be the approximate cost of the and an indication of the feet (pitch) from withdraw others. In On an organ of three or whole organ, but in some organs it dent as a “makeshift,” within cer- can produce amazing results on the small Wicks organ without any case work t What would- the information enclosed It. K. — J Make this test at your favorite some modern consoles there are toe more manuals the organist may find Although built to standard A. G. O. speci- affects only the Swell or has but a tain limits, while learning (to be used Organ. be the next best addition to this specification t A. It would be difficult to give you names store today. I fold any of the beauti- studs which duplicate the it more Is it to another manual to a effect of comfortable to play some slight effect upon the Great. Where only when necessary) fications, these instruments are designed for possible add one for the stops without definite Information. ful open-stock patterns to the light. certain pistons. of the other manuals from manual reed organ t Would a vacuum cleaner We suggest that you can find the various the Great there are several tremulants the vis- “All Swells to Swell” and other operating with a minimum amount of skilled effort. have suction enough to operate a reed organ pitches If you will note that 8' is normal See how clearly your hand shows The combination keyboard by means of couplers. pistons give the In iting organist should determine similar Each organ is beautifully designed, tonally and at a distance of about thirty feet from the 4' what devices enable the organist pitch (same as piano) while pitch Is one through. I np a plate, hear it ring . . . organist a chance to express his in- this case, instead of taking off all organ t Would the vacuum produced be as octave higher 16' pitch one octave lower. parts of the organ they affect. Some- to control the expression all visually, yet prices begin at less than $1000. and tunefully little service of de- great that produced by the just as as the dividuality. the great stops he register as foot pedals of This does not mean that can Great times a bell which you con buy for a song. Vox Humana has a special partments from a single pedal when the organ. I have experimented with reed Q. What hook pedal studies do you “Unison Off” of they need be changed every Sunday, and then couple the Just Off the Press ft! organs for some time and would like to cor- k'nd tremulant of its own which comes on desired. There are some organs in recommend for the organ? Also, what China folder respond with anyone interested in same. Write for Syracuse or for every piece played. desired manual. —A. of shoes are best for a lady organist? L. I*. Thought- automatically when the stop is which it is — possible to establish the E. L. ET-1 . ful consideration and experiment will As for couplers, it is an amazing A. For a book of Pedal Studies you might drawn, and may or may not affect control of any all A new, attractively illustrated or expression A. The specification ought to prove fairly examine "Studies in Pedal-Playing" by Nlll- develop an intelligent and systematic fact that many organists do not real- book — “How To Play A Small the rest of the organ or have only a chambers upon any desired expres- satisfactory for the auditorium you specify. son. For proper shoes we suggest a medium Pipo Organ — an important use of the combination pistons. ize the significance of what happens It is lather unusual for the pedal to Include height and size heel with moderate weight slight effect upon it. In some organs sion pedal. adjunct to your music library. a 16’ Open Diapason (specified) on a specifi- soles avoiding high, small heels and soles While “Unison Off” or “Unison mechanically and tonally when they regular Send 50 cents to defray printing — the tremulant comes on auto- Special cancellors include cation of three units, but it is the only coupler and mailing costs for your copy. that are too thin. Cancel” and couplers perhaps do not are used. An organist who fully un- Indication matically when the Vox Humana is cancellors, 16’ and 32' cancellors, of the effectiveness throughout come under the classification of derstands their effect will of the 86 (85) note Open Diapason. We sug- Q. I am. anxious to purchase a used pedal me- be cautious put on, in which case it may be ad- sforzando cancel, crescendo cancel gest that you might have a Synthetic Oboe, hoard (radiating und concave) to use on my chanical accessories, it is not out of about coupling two manuals when visable to omit the Vox from heavy and others. Once the function if the Echo Sallclonal is suitable for Its being upright piano. I have a friend who has place of a to consider them here. “Unison playing contrapuntal music upon included to produce the stop. The cost of the use registrations. cancellor is understood, offered of a motor attachment to go the names instrument would vary Off” cancels all stops registered on them. If they are coupled one of the the according to the with the pedal hoard, to allow the notes to There are many other devices ( Continued on Page 57) builder selected, and we suggest your com- sound. Several firms hare quoted a price that WICKS municating with builders requesting price. is too much for me to pay. If I cannot find The next addition to the specification might a pedal hoard ready made, I should like some be a Geigen Principal unit, or a small bright directions in order to make one. Is this pos- ORGANS Cornopean unit. Unison couplers between the sible? If possible, will you give me some idea of manuals and pedals and the two manuals material and price?—J. C. ONONDAGA POTTERY COMPANY might also be found useful under certain A. You may be able Highland. . to secure a used Illinois conditions. It might be possible to add an- S r a c u s e, N. Y. TA Teachers pedal board of the kind you wish. We are y DiplomaTIT it other manual to a reed organ, but we should sending you by mail some information think it too involved practical, to be espe- which may lead to your securing what you rlAltfU I UNIN(j allied cially since used two manual reed organs TAUGHT need. If you cannot secure what you wish, to are available. cannot pianists and other musicians We give you the infor- we suggest that you write the American mation in reference to the vacuum cleaner HOME-STUDY COURSES ARRANCED Guild of Organists. Room 3010, International * efficiency. The appearance of your correspon- Building, Writeit nn for information Rockefeller Center. 630 Fifth Ave- Or. — dence wish may result in response, and we ABachelor s \ William Braid White, Principal nue, New York City, asking for measure- Degree . are therefore EARN 11 i Including it. School of Pianoforte Technology ments of the Guild pedal board, which we understand is Hair 5149 AGATITE AVE., CHICAGO constructed of oak wood. We Q. Would you consider the enclosed dia- do not understand gram the offer of the use of Face Inlfour Spare the correct placing for a small chorus a motor to allow the notes to sound. The Time at choir Home , or will you suggest a more correct Lips connection between pedal board and key- OFF plant— F.G.C.M. board of the piano probably would be me- __~. Chin Arms Legs IMPROVE YOUR PLAYING chanical, w A. We suggest placing sopranos on left in and no motor would be required. " * had IV u is a matter of syntax over Ex. complex, How Good Violins word-forms and grammar, and, in- Will be deed, of style and form over syntax. Violin Questions * can easily afford to - Published The performer and Bows analyze music more carefully with of knowing just what Early the objective ROBERT BRAINE is actually going on at any given Are Ruined ^Answered Lj The same principle, but with a little and where and when the tex- bottom time, in more emphasis to the one ture of elements changes from ( Continued from Page 25) answeredin THE ETUDE unless accompanied by the full name “part”: No auestion will be January weave to another. In such a frame and' address of the inquirer. Only initials, or pseudonym given, will be published. of mind he will find harmony and MUSIC BOOKS Ex. Stradivarius himself, were he alive, A SENSATIONAL COLLECTION OF counterpoint to be useful and friendly Importance other, by the same violinist; also the same Price $1.50 not rejuvenate it by expert A Good Foundation of First for could can be made composition is played on each Instrument. members of the Honorable and Amal- W.—Your recent question reconstruction, adjust- The room is darkened so that the audience repairing, and the basis of quite an Interesting discussion. gamated Society of Musicians. All neither the cannot see the violins sufficiently to judge 1 ment. These fatal accidents are rare, I quote, “Suppose a violinist has them by their appearance. The listeners 1 it* THE PIANIST three—harmony, counterpoint, and talent nor the inclination to become a con- vc to be sure, and of course that ac- different have slips of paper on which they record cert artist, but decides to play a *° the musician—must never, in their music, their Impressions as to the best instruments. 6 c ,c by Jacob Eisenberg counts for the fact that there are so type of music, like Jewish or Gypsy s' s* s* lifetime of musical peregrination, entertainment, would you ad- The slips are compared at the close of the violins in in places of *1* few hand-made a hopeless exclusively with contest, and the judges decide on the merits Twenty-Three selected compositions the Again, these three "parts” or ele- permit the power of The Rule to sub- vise this violinist to study condition. plays Jewish music (for a live- of the different Instruments. The principle value a man who Below are just a few books from this outstanding collection. The biggest WHOLE WORLD loves, in piano ar- ments can be made still more sepa- jugate musical horse-sense. Or, to on the side, or would of the affair Is about the same as that In- possessed beautiful speci- lihood) and teaches low price of SI.00 each. I once a profit best volved In a dog, flower, or horse show, ex- ever ... at the amazingly rangement with annotated texts, designed rate or independent. In the next put it perhaps a little more chari- you say that this violinist would men of the German art, which had by getting a good foundation from a real cept that the opinions of the audience are Make your musical friends happy! Give "Everybody's Favorite Series" music to bring to the music lover EDUCA- example, the top “part” has the tably, The Rule in order to be kept developed a tone of great volume concert artist teacher, and then perhaps in recorded by listening “In the dark.” books as Christmas gifts. Special Holiday cellophane wrappers. TION, INSPIRATION and RECREA- characteristics described above, the alive or, as the case may be, allowed the future get the knack of playing Jewish A number of such contests have been held and appealing quality. While cross- music by studying a few months with a In the United States, and a still greater BEETHOVEN, BRAHMS FOR PIANO PIANO PIECES TION. middle “part” retains the rhythmic to die a natural and holy death BACH, ing a swollen stream one evening, player of this type?” number In Europe, where many more vio- contains the acknowledged 208 pages, containing 60 compositions character it had in the previous ex- This folio must be constantly subjected to ques- In answer to this I should say that no lins of note are available. In some of the of Bach, Beethoven and from the pens of such famous com- FEATURES the case came open, letting my treas- masterpieces amples but with the difference that tion. By this process The Rule may, matter to what type of music a student contests, violins by Stradivarius, Guarnerius, Brahms. posers as Brahms, Beethoven and ure fall into the water. I ran down- Intends to devote himself In the future, he Amatl, Bergonzi, Stainer, Lupot, Vulllaume, Schubert. Biographical sketch of each composer. it moves downward and away from indeed, serve as an agent of the Good sized art pictures of composers or should first get a good, solid foundation, In addition to Instruments made by modem the “part,” stream and, by wading, waist-deep, GRADED PIANO PIECES PIANO PIECES FOR CHILDREN musical scenes. top and the bottom higher law and order. and play the great works written for the makers, have been entered. One would think compositions, essential for into the swift current, succeeded in violin as soon as he is ready for them. Let that the violins by Stradivarius and other Contains 76 An excellent folio for young pianists. Pertinent facts concerning each com- “part” also retains its former step- Lastly, in studying and practicing of students from pianistic develooment Provides classic studies ip simplified retrieving it in us consider the career of Leopold Auer, the great makers would always be voted “the position; its history, background, wise character a few minutes. Imme- Grade 1 through 4. 224 Pages. but moves upward the theory of chord relation (which teacher, was the greatest," version and easy solos to play. rhythm and melody. Practice helps: Jewish Russian violin who but, strange to say. those of com- diately I poured the water out of the violinists of problems analyzed and toward both of the other “parts.” is all that harmony, per se, should teacher of the greatest living paratively obscure makers often are voted technical and solved. PIANO PIECES for the ADULT STUDENT violin, wiped it dry, and as soon as I the present day. He Insisted that his pupils ahead of those even of Stradivarius and the PIANO DUETS FOB CHILDREN Exposition of terms used in the book. attempt to be), there is no subject should, first of all, secure a solid technical other kings of the profession. It must be 36 outstanding compositions especially A collection of 60 compositions ar- Glossary of musical Ex. 9 arrived home, hung it up in a warm terms with self-pro- as important as that of Bach’s choral foundation, on which they could build the remembered that the judgment of the lis- arranged in duet form for children. ranged and compiled for tho more ma- ture student. nouncing phonetic spelling. room. In a few days, the top and great concertos, and other large works writ- teners was based on the tone of the violins Excellent for advanced student* also. irJhfr n i harmonizations. All the old text books ten for the violin. He did not ask whether alone, as heard in a darkened room. Ask your dealer to reserve a copy for you, or back became loose, but were neatly PRICE S1.00 EACH abound in fussy little ditties which his pupils should study, exclusively. Russian, Such contests are very Interesting, not will be supplied direct upon receipt of price. replaced. The tone are not at all became more German. French, Norwegian, Spanish, or any only to violinists, but to all music lovers. Order direct, or from your dealer. Ask for booklet listing the entire Send for descriptive circular. suited to four-part beautiful for a few months other national music. All he asked was that In some contests, a fee Is charged to the Series" music books and their .TTJTL Tp harmonization, much less to say to and then "Everybody's Favorite contents. the music studied should be the highest owner of each violin entered, and cash occurred a complete collapse. This D. APPLETON CENTURY COMPANY, INC. any other. But here, in Bach’s cho- type of good music, to which they were able prizes and medals are awarded to the owners r r violin never regained its to do justice. Leopold Auer was Jewish, but AMSCO MUSIC PUBLISHING CO., Inc. 35 West 32nd St. New York, N. Y. rals, four parts have a raison d’etre wonderful of the violins voted the best. It is hoped he did not confine his own studies nor tone and is now worthless. that such contests will become more fre- 1600 BROADWAY • NEW YORK, N.Y. that is unquestionable and a vitality those of his pupils to the music of one na- quent in the United States, as they are As a working basis, these examples Some years that is to marvel at. And here, while ago an English violin tionality. He directed their studies to the interesting and Instructive to violinists, vio- are, to be sure, limited. Mile. Nadia music of all nations. His resulting ability as was brought to me to be repaired. It lin makers, violin students, and musicians we are on the subject of “fifths,” the a teacher was consequently enormous. Boulanger delights in citing the wis- had been In general. reason for Bach’s avoiding their fla- rescued from a burning A RARE FIDDLE EVENT! dom expressed in the advice of the building. Krelsler Recovers A Teacher Needed Here The Everlasting Fifths grant use is easily deduced. The varnish was not even A Guaranteed “STRAD” for Salel parent of To say F. A. C.—The entire musical world Is over- Y. T. E.—Not having heard you play the one of her oriental stu- Stradivarius. Cremona. 1701. With blistered. But the wood fibers learn Fritz Krelsler. Violin by Antonio SPECIAL NOTICES the very least, choral harmonizing inside joyed to that world-fa- violin, or knowing anything about your musi- of receipt by Firm of World dents: “If you know a lot guarantee authenticity and about were singed mous violinist, has recovered sufficiently from cal ability. I cannot possibly tell Experts. Price. 6.000 Dollars. For full particulars of ( Continued Page 17) as a practice and upon close inspec- you whether from is the most satisfactory this and oilier bargains please write to something, you know a little about his recent Illness, to be able to leave the hos- you could succeed as a violinist, or violin compromise tion with a magnifying glass, ap- everything.” between the theory of pital. When he arrived home, the first thing teacher. I would advise you to take a musical EI-LIS HOUGHTON So let us not blush in peared ANNOUNCEMENTS harmony and its practice. to be separated in an irreg- he did, after a few days of rest, was to call examination with a good violin teacher, for Exporter of Fine Old Violin s do we not ask ourselves, "Against considering “fifths” in If one relation to ular manner. This for his beloved violin, and his Joy was re- he could give you many good Ideas about your 42 New Bridge Street, Newcastle-on -Tyne, England what transcending ‘line’ or idea, ac- takes a healthy approach to the violin has never these meager passages. First, it must doubled when he found he was able to draw musical ability. A year’s study under a good tual practice of harmony been restored and several experts, his bow over the strings with something like or implied, does this harmonic be agreed that in simple harmonic on the basis of teacher would also help, for In a year he after trying his old skill. It is believed that after he re- progression appear?” And, as often, the Bach chorals, and to the practice everything they knew, would get enough of an Idea of your ability, SPECIAL NOTICES structure the interval of a fifth sug- covers his full strength, he will be able to play to advise as I pronounced it you to your future course. ‘‘Do we not find, here, a chordal pro- of counterpoint on the basis of a “ruined instrument.”' with his old time vigor, skill. gests if not creates an impression of the and Krelsler Is gression, two- and three-part One maker said that it surely a universal favorite, and Is considered by A Serious Handicap VIOLINS—REBVILT INSTRUMENTS— constituting one ‘part,’ root-position triad. motets of De was tonal Next, sound two musicians, and the general public as well, a3 F. L. S.—It was Indeed a calamity that. In Real masterpieces. Violins of com against Lassus (which is not a very good violin in parable tonal a single-note ‘line,’ consti- “fifths” consecutively, advocated by so the begin- one of the world's greatest violinists. He an automobile accident, you lost the Index quality cannot ordlnarll and there is con- Be Your Own be bought at many times my prices $35 tuting another or second ‘part’?” eminent a musician as ning, but the fact is that at one time templates resuming his world tours, as soon finger and the second finger of your left 0 created a strong impression of Quincy to $50.00. Write for details. Ralph Cost it was as he has regained his full strength. hand. As you say. It Is Impossible to try to Taking into consideration the first Porter), many of his buga considered by professional Harvard, Illinois. chordal movement whose component boos will and continue playing the violin In the normal two measures of vanish into the teacher alike to be On Re-hairing the Bow MUSIC mist manner, “A. B.’s” second mu- “parts” move in parallel motion— of unreality. It an excellent in- fingering with the left, and bowing SLIGHTLY ISKD CLASSICS — Folio! in H. A. There Is a good article re-halrlng sical example, this is safe to say that, strument. — on with the right hand. You will have to finger Classical Records. List 10c. Fore’s. 281 last question other words, two or more to all composers bows In the book, parts mov- “The Violin and How to with the right hand and bow with the left. Franklin St., Denver, Colo. clearly implies the correct answer. ing from Dufay (who adored “fifths”!) Another curious incident Master It,” by a Professional Player. Full di- There are Teacher as one part, rhythmically as well happened thousands of left-handed violin rections are given re-halrlng Foil SALE: Italian The top “part” represents direction to the Stravinskies of on the Pacific Coast. on bows, also the players In the world, some, that I have seen, Violin, Crenin as in angle of direction. Thus, day-after-to- A friend pos- Learn at Home 16S0. Expert Certificate in best hair to use, and other details. This book succeeding fairly well In spite —$275.00. Two A and rhythmic pattern morrow, “fifths” sessed a fine of this handi- by wonderful Improved meth- Recorders in "F" and a specific “A.B.’s” example, the hold no more prob- Cremona masterpiece, can be obtained from the publishers of The cap. I will try by well-known Engl “fifths” pro- to answer some of your ques- od. Simple as A, B. C— maker. Cheap. series of lems made Etude. If you are professional “Cremona” c/o ETUDE. tones, while the bottom duce than “sixths,” both being capa- by a pupil of Stradivarius. a violinist and tions. 1.—Get Schradieck’s “Scale child can learn it. Your 1m- no disturbing or ambiguous After Studies,” sons do Important playing In public, I would advise and practice the scale consist of real selections Foil “part” represents a three-tone chord- ble of sounding sour. a severe earthquake in tenths, one note instead of tiresome exercises. SAI.Ki Challenger Concert effect inasmuch as the passage The composer he found his you to take your bow to good violin Ran is a maker, after another (not In chords) from When you finish one of thes© Cost $t 00.00 — Reasonable — al the lowest John Bln I progression in broken but essen- has often to strive after violin had suffered who repairs violins and delightfully easy Box 21, clearly intended to represent strong, con- a broken bridge, re-hairs bows. It Is note to the highest, and Inter on in lessons you've Hawthorne, N. Y. only chords. added a new "piece" your tially unisonal vincing a loose quite difficult to do a good job of re-halrlng, 2.—"Technical to rhythm. two parts, counter-melodic direction bass-bar, and, Exercises,” by Schradleck. 3. list. You read real notes, too or, more properly, two ele- to in addition, all It and requires much experience and skill. The descending trick music. Only slight changes are justify many the strings run executed with a single —no “numbers" or Method is so thorough necessary ments. But possible harmonic en- were down. An exceedingly skillful and experienced that many of our 700.000 students are band and orches- consider each of the Repeated at- repair finger is called a ptissando. It is in this executed tra LEADERS. Everything is in print and pictures. First ANNOUNCEMENTS same example to transform counters, and successions of tempts by the best man once told me that It was not until he with a series of little transformed versions above, and it encount- repair men in Jerks. The books by you are told what to do. Then a picture shows you how had re-haired over two hundred to do it. Then the passage into ers, which bows, that Edith L. Winn, "How to Study you do it yourself an I hear It. In a one constituting will be seen would otherwise be America and Europe Kreutzer" few LEARX how “parallel fifths” mean- failed to restore he was able to do really good work. If Florlllo short months you will be playing real pieces and en- PIANO TUNING — Simpllfi you — Rode,” and others, are very good tertaining three ‘‘parts” or three concomitantly ingless and characterless— the tone of this intend to your friends. authentic instruction. $4.00 Literati would tend to relate the elements “fifths” violin. make a business of re-hairing bows, and will prove helpful. fCee. — I Free Print and Picture Sample Prof. Ross, 456 Beecher St moving elements. The following ex- included! In view would advise you to try to become an ap- , Elml rather than to of these Will permit them to retain facts, it is quite prentice to a good repairman. OukHy too i-™ through the C. S School home ample, in both its Repairing r’—bys— Jirnt m.a coupon In, F,c Rook and Fw Print end Ptoturw forms, leads us to possible that S-mple which «pUin Ml. H*» ««p mention their identity. If, on the the “Strad” violin string instruments and bows Is quite a lucra- your favorite instrument In. contrary, men- strume-nLa supplied when nee Jed. e--«h or credit. WINTER RETREAT IN FI.ORI observe these facts: tive business. the top “part” the tioned in Mr. T. In a good sized city. U. S. School of benefitting music professionals. purpose of these transformed OLDEST S. Chamberlan’s able Musle, 1823 Brunswick Bldg., N. V. C. Trot' and middle "part” MUSICAL SOCIETY setting, practice pianos, recital room differ in their passages had discussion, appearing Violin Contests sort been to relate their in the i 11. S. School pleasures, rest, sunshine. rhythmic The oldest existing June D. R. of Music, 1821 Brunswick Bldj., N. Y. C. For in form, although they re- musical society 1941 issue c.—You ask why there have been so mation write Box 5 41, elements, or to weld of The Etude, E I am Interested in music study, West Palm Be; them into two in Europe, has met with few “violin contests” of late. particularly in the main related because according to Grove’s By “violin - Instrument checked below, Please of their station- elements, “Dic- a similar accident contests” send y,air free U* “parallel fifths” sometime I presume you mean contests of 5 lustrated booklet. “How to I-ram COMPOSITIONS CORRECTED ary might well tionary of Music in the LEARN "SWING" MUSIC Music at Home". and 1 harmonic character. The bottom and Musicians,” is past the instruments themselves, ; and the free Ptlnt and Picture Sample. pared for publication. Arrangements have served toward this end. It is very probable and not of the from ni “part,” or the How the Hibernian Catch that the players. In Europe, the cause no doubt E Saxophone Trombone melodies. Original music comp, lowest tones of the and when, Club. It was great Italian may embellishment... figurations, blue note., whole tono”etc. = Violin Ma-dolin Banjo to your words. in composition, a master be laid - Guitar Send work for free ci arpeggiated musical founded by the Vicars’ made no mis- to the war, which has disrupted MODERN Clarinet Ukulele cism figure, form an inde- Choral of St. DANCE ARRANCINC Accordion Trumpet Harry Wooler. B. Music, 1 structure must music In all its branches. To Duels, trios, = other Instrument become more complex instrument in some extent, uuartettes and ensembles—special choruses Washburn Ave., Detroit, pendent line. Patrick’s and Christ question —modulating Mich. as to Church Cathe- might although not so great, the same has been to other keys—suspensions—anticipations E Name number of elements, have been one lntS—C°l0r effect8— or less drals. of his best, true In the United States. SKln S5' backgrounds— PLAN \Vrife*today PIANO J A 7. 7. like dance 54 when it left his A "violin | Street radio players. hands. contest” Is an event where a ELMER B. FUCHS Quick mail course. Infor of 370 Lewis Avenue tlon free. Erskine number violins are played one after an- Brooklyn, N. Y. State Studio, Dept B | Losedale Are.. Oakland. THE ETUDE mlsitltm Calif. JANUARY, 1942 5 . .. . ——. ,. ' — . ) is necessary human, communicative good fellow- A little stage fright good performance; an increased Stage Fright Need Not ship, the more quickly his tension to The Story of the Bassoon readily be controlled; all vanishes. An artist like Schumann- degree can the disturbance respond to Page 24) Be a Bogie! Heink did that from the start. It is forms of ( Continued from self-consciousness has especially important for singers who treatment. If become morbid— must take time to warm their voices been allowed to horns, sixteen oboes, the dwarf Mime by means of a bas- (Continued from Page 10) twenty French which, happily, is not often the case a long anyway, and who often waste it in eight pairs of kettledrums, twelve soon accompanied only by audi- the surest means of increasing kettle drum. The combating tension. What the — side drums and flutes and fifes, in murmur of the really wants is emotional stimu- peace of mind and improving work and emotion which the bas- felt no stage fright at all—no puls- centrate on them, not on the effect ence the band’ which he got together for pathos is to consult a reliable psychiatrist, probably best ing of the blood, no heart-hammer- they make. And keep on trying. lus, not proof of academic study. the King. soon can arouse is numbers until one who is equipped to probe into the “Symphonie ing sensation of “Will-I-or-won’t-I?” Experience is one of the best means Leave the “study” Mozart used the bassoon con- exemplified by yourself cap- the psychological background and of Tschaikowsky. —would be in a lethargic state, and of combating stage fright.” after you have shown stantly, often in preference to other Pathetique” able providing the spiritual and remove remote influences of which wrote a series of solos for capable only of lethargic, mediocre In treating a renowned performer, of members of the woodwind family. Paganini emotional lift! the sufferer cannot be aware with- bassoon for a Swedish amateur which performance. Thus, the performer whose consciousness of his own rep- He used it effectively as a support for The trained eye recognizes symp- out scientific help. But the normal the gentleman that he owes it to himself as well as to his utation causes him to fear endanger- the human voice in his “Requiem,” so delighted toms of stage fright in things that performer and the music student, pulled the improvident Paganini out audience to feel a bit out-of-the-or- ing it, Dr. Bisch breaks down the and also wrote a concerto for the dinary he faces hall full of mean nothing to the layman. The who are beginning their experiences financial hole with a handsome when a man’s sense of his own importance. bassoon with full orchestral accom- of a whose acclaim he wants artist who wears too many glittering in public can usually take care Muscovite, com- people to “The healthy attitude,” says Dr. paniment. reward. Prokofior, a win. jewels, a bizarre gown, a startling of themselves. They need only to un- bassoons which Bisch, “is for the performer to face Beethoven made such splendid use posed a quartet for the truth about himself. No matter coiffure is publishing a desire for at- derstand the nature of stage fright, was played in London in 1916. The LAMINATED HARD COVERS of the bassoon that one writer said, Importance of Being Natural tention. It is better for the per- to be glad they have a bit of it, how great he is, the day will come Book No. 201 —Album of Favorite Piano immortal London “Music” described certain most popular piano “But it remained for the By this time it is clear that stage when he begins to lose his grip. former’s peace of mind to dress less and then stop worrying about their Solos. Contains 62 passages in the work as sounding like solos. They are all graded from very easy Beethoven to reach the climax in ...When the timing cannot falter a fright is something to be under- That’s nature! Let him remember conspicuously, to call as little atten- own importance. By such means, to medium. Includes such numbers as after very the snoring of four men a the score ... it is "Andantino," "Fairy Wedding," "Humor- scoring for the bassoon and to place split-second from stood rather than avoided. It is only this each time he tion to his person as possible, and to Dr. Bisch assures you, performance appears. Perhaps esque," "Jolly Coppersmith" and 58 others. opulent meal. Nicholas Lanier, the then that professionals, teachers and it upon its pedestal of eminence when stage fright becomes excessive this will be the night of the break! concentrate on the music. standards will improve. Every number is arranged beautifully, in- English composer, refers to bassoons students alike turn to the musical terestingly, edited and fingered. which it occupies to-day as the ruler it is disturbing, that and its exag- As soon as the performer realizes as “muttering gentlemen.” world’s standard of accuracy . . Book No. 200—Album of Favorite Songs. old manifestations of the reeds.” In his “First Sym- gerated can posi- that he is neither all-perfect nor all- (Contains 127 complete songs and words. The contrabassoon was used by Arranged for all instruments. phony” he combines it wonderfully tively be cured. According to Dr. important, he takes the longest step ELECTRONOME Beethoven in his “C Minor” and iTrkdn Marti Mac. U.S. Pot. ON. Book No. 201 —Album of Favorite Piano clarinets in dialog between Bisch, however, many of our tra- toward self-control. of with a Smug little New Records Great Musie Solos (Contains 62 most popular piano “Choral Symphonies,” combined strings. of and ditional methods of self-control are solos.) the reeds and One the ELECTRIC METRONOME phrases of self-encouragement are the contrabassoon with two bassoons Book No. 202 Album of Favorite Strauss best examples of its use as a staccato useless. Every music student has been harmful. Don’t tell yourself, ‘I’m — One of science's smallest precision (Continued, from Page 13) Waltzes (Contains 25 complete Strauss in the duet of Leonore and Rocco as of told to stand straight, keep his hands going to do beautifully, Waltzes.) instrument is in the adagio the motors ticks off supremely accurate I can’t fail!’ they dig the grave of Florestan in Book No. 203 Album of Famous Waltzes “Fourth while Beethoven 40 to beats per min- still, hold onto nothing, and relax. Anyone can fail! That sort of talk — Symphony,” tempo from 208 spent part of his boyhood. Fiedler his greater (Contains 63 most popular waltzes.) “Fidelio.” delicacy here is more in Haydn and Handel both ute simply at the flip of a switch. Amaz- Dr. Bisch’s researches prove that stimulates self-esteem and introspec- makes use of its humorous abilities plays this music forcefully and im- keeping with the music. Book No. 204—Album of Favorite Piano Ac- used this sub-bass instrument, as ingly convenient; tempo changeable concentration on prescribed body cordion Solos (Contains 70 complete Piano in the first movement of the “Eighth tion, thus increasing self-conscious- pressively, and the recording is pow- Donizetti: Daughter of the Regiment Accordion Solos.) does Tschaikowsky. One of the mem- with one hand and right while it is attitudes tends only to increase dis- ness. Don’t bolster yourself up! Con- Symphony.” Outstanding in duet erfully realistic. Four Arias; sung by Lily Pons with Book No. 205—Album of Favorite Children orable uses of double bassoon is that running. No springs, no winding. comfort. Do what feels natural, vince Piano Solos (Contains 139 finest piano solos literature are three duos which he yourself that you are not a bit Covered by 5 year written guarantee. Ravel: La Valse; John Barbirolli and Metropolitan Opera Orchestra, Petro for children.) found in “Salome,” where the sever- provided it does not mar your work! important, then do your best and let wrote for clarinet and bassoon (Opus the Philharmonic-Symphony Orches- Cimara, dir. (Columbia set X-206) Write for Complete Catalogue ing of John the Baptist’s head is PRICE *12.50 There are many props to self-con- it go at that.” of 21 Assorted Books 147). tra of New York (Columbia set The soprano has fidence which have no harmful effect never sung better gruesomely depicted. See It at your local music store. Six-day There is in fact an anecdote about FREE trial at our risk. Send for details X-207) on records than she does here and The bassoon is on performance yet give the per- Face the Truth Beethoven involving a bassoon. At a proven indispensa- of money-back offer. The recording here is full and real- for this reason it is unfortunate that M. M. COLE ble in the orchestra. It has the dignity former a greater sense of security. That stage fright may be con- ^ rehearsal of “Leonora,” the third istic, but the music is One world-famed artist, whom Dr. almost too powerful at not of greater conse- PUBLISHING CO. of ancient origin, centuries of devel- FRED.GRETSCH mfcco. trolled is proved by the fact that it bassoonist was absent. Beethoven, ^ Bisch helped, times. The varying moods of gaiety, quence; only two of the arias, the 2611 Indiana Ave. Chicago, Ill.l opment, and the ^ Makers of Musical Instruments Since 1113 has never sings with- varies with the performer’s attitude waiting to begin his conducting, lost instrument and its first 60 BROOKLYN, NEW YORK out in sentimentality, melancholy and mor- and fourth, were really worth music have BROADWAY, some way touching the piano; toward his audience. If an artist patience. Prince Lobkowitz, been handled with dis- dancy perpetuating trying to she leans against it unobtrusively, or are far too disjointed here for on records. tinguished artistry. knows that important critics are lis- laugh things off and put him in better the good of the Cluck: Alceste rests her arm against it. Another music. And Bar- —Ah, malgre moi, and Rebuilt For versatility, tening to him, he is more tense than Band & humor said, “What harm done? The however, nothing birolli frequently drives his Recitative and aria: Non, clasps her hands. A third holds if climaxes ce n’est point tops the following his hearers know less than he does. Orchestra Instruments first and second bassoons are here use of the bas- tightly a little to a point of coarseness. un sarcifice (Victor disc 18218). P book of words. Such Again the answer is: don’t worry soon: Von Biiiow was once greatly HONESTLY REBUILT— FULLY GUARANTEED don’t mind a third.” Beethoven was unobtrusive props help ease nerve about what Coolidge: Quartet in E minor; The Rossini: La Cenerentola—Scene and annoyed people will think of you; Please specify instrument you are in- furious, and after rehearsal deliber- by the fact that visitors tension; they get it out of the system Coolidge String Quartet (Victor set Rondo Finale Act 2, and Semiramide terested in and we will quote prices. concentrate on your own perform- Distributors King Band instruments. persisted in coming uninvited to his Bel raggio ately crossed Platgoe Square to the in a physical way, M-719) iusinghier (Victor Dept - E-». 1613 Chestnut thus leaving less ance. disc 18217) lAICYMANNTV OH orchestra rehearsals. C I mnnn UU. Street, Philadelphia. Pa. gates of the Lobkowitz Palace, where He looked to encumber the personality. This is Sung by Rose They Again, if the performer’s program the work of Mrs. Elizabeth Bampton (soprano) around to the “Zurschauraum,” with Victor he stood shouting, “Donkey of a Lob- do not cure stage fright, but serve is above the Sprague Coolidge, one of the fore- Symphony Orchestra. heads of his audience, kowitz! where sat an avid group of unwel- excellently to tide over most It is Miss Bampton’s Donkey of a Lobkowitz!” a bad mo- and he feels no rapport reaching patrons of chamber music in fine musician- WM. S. HAYNES COMPANY come listeners, Mendelssohn in his music for “Mid- and facing the orches- ment. across the America and the founder ship which one admires most footlights to him, tension of the here. Flutes of Distinction summer tra he calmly called for a rehearsal Dr. Bisch oilers a number of hints Coolidge In the florid Night’s Dream” fairly has increases. In this direction, the per- Quartet. As a composer the works of Rossini, the of the STERLING SILVER—GOLD—PLATINUM the bassoons dance about in imitation bassoon part. Solemnly he for controlling—not avoiding—stage former lady reveals herself as singer lacks the sparkle can do much toward building a sensitive and fluency beat out thirty or forty fright, of Catalog on request of the antics of the clowns, the measures of all of which root in an under- human response and economic artist, with true coloraturas, but and (and thus lessening a striking here again rests, followed standing of the her fine 108 Massachusetts Avenue, braying of Bottom is made evident by a few guttural notes causes of self-con- the fear of inadequate feeling for lyricism and poetic ten- musicianship is most per- Boston, Mass. recognition) from the bassoon. sciousness. These causes are variable, derness. suasive, particularly in a comic manner. For impressive Then came more by the choice and arrangement of The whole works grows out in the “Semira- combining differently different of mide” majesty and solemnity, however, the rests and more grunts, and more si- in his program numbers. the initial theme which is a singu- aria. From the Answering Etude Adver- Tl people. They are (1) awareness of larly Verdi: Rigoletto same bassoon was most effective for lence. When Von Biilow looked around purely psychological point of view, malleable one. Of introspective —Cortigiani vil razza; the opinion tisements always his opening phrases again, of others, and (2) one’s quality, the Leoncavallo: pays |> of the Pilgrims’ he found that the combination says Dr. Bisch, the routine recital music suggests memories Pagliacci—Prologo; sung by riMhU own estimate of one’s March. Wagner, in the Learn to play real self. They add program—beginning with of past experiences. The Robert Weede (baritone) and delights the reader. JJ prelude to of silence and bassoon-squawks had Swing Piano. Send for free Hon the lesser- Coolidge with Or- Study Folder. up to “Siegfried,” depicts TI ACHI RS: write for hutnc.s olfe a desire for recognition plus known classics Quartet does justice chestra conducted the sly plotting of cleared the hall! CHRISTENSEN and progressing to to the music. by Erich Leinsdorf STUDIOS. 52 Kimball Hall. a fear that Chicai it will be withheld. How more popular Debussy: Arabesques (Columbia disc works as the evening Nos. 1 and 2; 71261-D). is one to control their effect? ’ advances is all Jose Iturbi This young American — wrong. Everyone has (piano) (Victor disc artist pos- A SAFE PLACE. “Do not think so much about your- felt the let-down 18237) sesses a rich, Schools—Colleges that occurs at the sonorous voice that has Mechanical Accessories of the Organ for your record collection self and your own merits,” says Dr. end of a program, been excellently when the printed Iturbi plays these two favorite schooled. His singing Bisch. “Do not imagine you are °i Specially designed tax this so numbers are Rigotetto’s pleas ( Continued purpose alone, done and the encores compositions of students of the to the courtiers is from Page 52) a TOXKahlnrt important that other piano CONVERSE COLLEGE “sT guards your precious records people are get effectively Ernst under way. There is freedom more lightly achieved Bacon, Dean, Spartansburg, S. C. and keeps them In easily going and and ethereally than without exag- out of their way to pick flaws good fellowship; geration; are self-explanatory. flndahle order. TONKahineis people call out Gieseking did and his voicing “Pedal to Com- most arc expertly wrought of in what in his recording of of Tonio’s cases he will do well to ignore beau your work. Form tiful woods by fin*- your standards they want to hear, them. announcement COLLEGE, DEPARTMENT OF MUSIC bination Off” disconnects furniture and the artist Both artists are of the play is deliv- the pedal those which he does not craftsmen; are distinguished in terms of impressive, Galesburg, 111. understand your own best efforts, gees in for ered with fine stops from combination additions to any home. Strauss waltzes and but it seems to us that assurance and ease. KNOX James MacC. Weddell, Chairman. pistons which thoroughly, except not Gieseking is Catalogue sent free to make sure at of what others may think of you. melodic Hahn: upon request otherwise WRITE FOR free folder favorites, regardless of more effective Si mes vers avaient would control both manual allowing Give the their in the first Arabesque, des ailes, and the outset that they are in the “off” large variety of other fellow credit for or- Paysage; •tries and sizes. intellectual significance. That “en- since he sung by Kerstin CONSERVATORY and pedal. position. dinary decent outlines the melodic line Thorborg (This of course does not in- human cooperation. core spirit” wnh Leo OF MUSIC TONK MFC CO (Oetrt. 212) should be caught Rosenek at W&deE. Miller, Pres. Because some of these Keep your at once! better than Iturbi, and the piano (Vic- SHENANDOAH and innum- clude “union off,” which 1980 N. Magnolia Art., Chicago standards high and con- The sooner Iturbi is tor disc should be the performer establishes more 2174) erable other devices counteract and left effective in the second, since “on” at all times, except when in ( Continued reasorable. In the heart nullify 56 on Page 72) of the Shenandoa each other they often are actual use TCNKM„"s J Valley, Dayton, Virginia. during the composition C confusing to for sheet the visiting organist. In being played.) £ — music tor - — THE ETUDE — phonograph records JANUARY, 1942 57 ’ ! reason or other recital national daily newspaper. Without Henschel that really popularized the For some offered by PIANO Youth Orchestras song programs in programs were not woman FOR trying to be so, they’re “news.” performance of A NEWAND UNIQUE ALBUM an extraordi- singers till some time in the first Everywhere “Why not a high school concert or- this country. He was chestra? Jessica Marcelli knows the narily versatile young German mu- decade of this century. Sembrich was never before trans- answer. She says, “Our group draws sician, who came to this country in the first to win national renown in Many works ( Continued from Page 22) In presenting this entirely new type the most talented and most serious 1881 as the first conductor of the this field. Her lovely voice, her super- cribed for piano concert. A few weeks before con- Mozart Album, on the 150th Anni- for a musicians from the various high Boston Symphony Orchestra. He had lative musicianship, and her all-con- of A representative selection from cert time, two rehearsals are held a baritone voice and quering personality won for her a the master’s death, we sin- school orchestras in the Eastbay dis- a serviceable versary of year of his creative life week. everv trict. But we supply a need that a played his own accompaniments to reputation that to this day has not that we are making a cerely believe biographical sketch of the master “At present, the Berkeley Young high school orchestra pos- perfection. knew well the songs been surpassed, or even equalled, by A cannot He to the world People’s Orchestra Is in Its significant contribution Mozart Symphony sibly furnish. In school orchestras, of all the great German Romantics any woman. Those who heard her song- Several rare vignettes of fourth season of concert work. They music. each pupil who wants to play, may —Schubert, Schumann, Loewe, Franz recitals in Carnegie Hall with, first, of good and his family are playing more difficult music than Luckstone, and, subsequently, do so, regardless of how serious he —and had come directly from the Isidore Reproduction of original Mozart ever before, and they are doing it album contains many of is about music. This is as it should studio of Brahms himself. He sang Frank LaForge at the piano, were Because the well. This time, they’re playing a pro- manuscript be. But in order to get the highest also the lovely Italian airs of the privileged to assist at a lovely art Mozart’s selections never before avail- gram which includes Mozart’s ‘Jupiter Thirty-fi ve selections in all benefits from playing orchestral eighteenth century and many good form in its very best estate. Luck- able for piano, the hook will he par- Symphony’; Prelude to the ‘ Deluge music, you must play with the very English songs of the nineteenth. His stone and LaForge deserve special No publication of its kind in any by Saint-Saens; and the ‘Concerto in ticularly welcomed by musicologists best musicians. That is where our American wife shared the program credit for establishing the practice country A minor for Piano and Orchestra,’ by well as stu- work lies: in bringing together the with him, her lovely lyric soprano of playing all the accompaniments and Mozart scholars, as Grieg. And remember, the unsim- The Album is priced at $1.50 very best players.” contrasting happily with his mas- from memory. dents and teachers. plified version is always used. And what of these young people? culine tones. Their programs, en- “You should see them come bound- Are they all majoring in musir? The tirely free from operatic influences, A Notable Personality ing in to rehearsal. They pull up in • RCA BlJg. • RADIO CITY surprising answer is, “No, not all of were models of taste and musician- A unique and preeminent figure in EDWARD B. MARKS MUSIC CORPORATION jaloppies, and have to worm a couple them, by a long shot. Of course some ship. The evidently deep personal the recital field was Victor Maurel. of bull fiddles out of a tacky rumble of them are. One boy in the clarinet sympathy between the two artists He will, of course, be chiefly remem- seat. They chat and giggle, and tune section is. He recently composed the added greatly to the eloquence of bered for his magnificent impersona- up and raise the roof with discord a entire musical score for the annual their singing, especially in their tions of the leading baritone roles that would make Mozart shriek with Berkeley Hi comic opera, and, by duets, when their “voices com- of the French and Italian fury. Their rehearsal before they repertory, — himself, arranged the whole thing mingling, breathed like one on the but his profound study of his roles get down to business—sounds more for his disappointment if his sonata; a Bach prelude; a Greig the fifty-piece concert orchestra! ear.” and his ambition Imagine like a football rally than a symphony to make their “Then too, a little Japanese girl, first difficult composition is one to lyric; a short Chopin number; small every detail significant seem to have Succeed With the Adult Beginner practice. who recently Other Vocal Artists lifetime aversion pieces by Schumann and Heller; pos- graduated from Oak- led him into which he has had a "Imagine a young group of ninety the field of song-sing- land Technical High School, all the beautiful music that sibly two or three Czerny Studies, Op. and, in- Another singer who deserves to be ing as a kind of With musicians yes, the Berkeley Young avocation. He was Continued Page 27) — cidentally is one of Jessica Marcelli’s ( from has been written for the piano, surely 299; and a few of the “Twenty-five remembered was Max Heinrich. Like born in 1848 and twenty-five People’s Symphony Orchestra has private years pupils, is now in Japan doing Henschel, he played his own accom- later teachers can encourage every pupil Short and Melodious Studies” of grown to ninety active members. was singing leading roles in concert work. Other music majors paniments. What he lacked often as simple as that. He has waited the lesson completed until the stu- to commit himself to the music he Schytte for fun in transposition. Their vocally, Italy, England, and the — ages are from nine to seven- have left United the orchestra and are now he made up for by his exuberant no contemptible length of time to dent is supplied with sufficient in- loves! Our experience has been with adults teen, although a few are approaching States. With his exceptional gifts, he going ahead in various colleges. fervor and innate musicianship. He won his first talk to his teacher, and it is to the spiration to fill all his waking hours who continue their study year after the age of nineteen. One may join if “But successes easily. Then, Student's Repertoire a surprisingly large number, identified himself with American teacher’s advantage to hear his ex- right up to the next lesson. In the The year, working steadily towards their under seventeen, and may retain tiring of the limitations of the con- especially the boys, are pursuing musical life, and did gallant service ventional pression first. It has been said that words of Gracian, the teacher should When he announces that he wants own ideal, with no thought of limit- membership until twenty-one, when technical methods of operatic sing- subjects such as electrical in familiarizing our public listens with interest to not be “all front, like houses half “Moonlight Sonata,” he must leave.” with the ing, he began to study a wise man to play the he ing the scope of their musical train- engineering, chemistry, intensively mathematics, songs of his contemporaries, Chad- things he knows all about — when finished for lack of funds.” Lessons expects to play the same notes that ing. will dis- the development of vocal timbre (as Some day you make a and business administration. One in- wich, Foote, Johns Gratifying Results and Nevin, as he calls it) they are told by one who knows noth- must not be half finished for lack of great pianists play. No simple ver- covery: You will find that your Adult ; we should call it vocal teresting fact stands out: as soon well as as Schubert, Schumann and color, the ing about them. solutions and revelations. sion for him! An easy arrangement Beginner has become an Adult Per- What has this group of ninety they leave expression of emotion by the Berkeley Young Peo- Brahms. He was one of the young people and d woman accom- first to the quality of the voice, rather than The teacher must be prepared for only makes the intelligent adult former! They all do. ple’s Symphony Orchestra, they recite Your His Income get Strauss’ “Enoch Arden” in this by the Time and direct questions from his student. suffer mentally from a sense of in- plished? First of all, it has brought a into another symphony quantity. In this matter of organization. country. Also he was an excellent adult pupil take more of This eager person cannot answered Let the Pupil Watch the Teacher great blessing to the young people. vocal color, no singer within living- The may be feriority. Usually he has seen the No matter how hard their studies at singer of oratorio. Jessica Marcelli believes that the memory has your time; but you will take more of superficially, and the teacher’s re- original score. Of course, he couldn’t Play- college, or their equaled him. Every song work in the world, Plunkett Greene, an Irish baritone, right start in any activity is neces- he sang was a distinct his money. His income is his own, to sponse should have no tinge of thin- read a note of it; but he knows that they stick to their music.” creation, with Teacher should play for his pupil! was another favorite recital singer of sary. She also believes that one is the tone of his voice reflecting spend as he wishes. If you can hold ness. It should prove, through its very this large-type copy on the music The mere movement of the nineties, every hands on the never truly a musician until who gave much pleasure his interest, he may study for years. clearness, he has mood of the poet. Songs by Tosti, that teacher, too, once rack is a substitute. Why, he can keyboard will delight him. And no to his audiences, not so much by his played symphony music in a sym- which had not been After all, he is free to take it or leave faced that problem, as a student. really read this one! So begin with music lesson voice, which was none too highly — is static where piano phony orchestra; also too reliable, esteemed, it. Mediocre not that music, in his interpretation be- teachers are in his There must be an answer for every- the original. It may be weeks before illustrations abound. as by his musicianship, his sincerity’ understood in its deeper, more spirit- The Song Recital came deeply moving. plan, and he studies with the best thing. And the answer should solve the pupil conquers the first phrase; and his great His rendering of The pianist’s finesse is this student’s ual meanings, is builder personal charm. He a of strong Schumann’s lieder in he can afford. the problem before the problem be- but he will feel that he is sitting on sang Schubert and Schumann French was secret aim—regardless of what he character; and she also believes that de- quite as comes tall ( Continued from Page 50) lightfully, poignant as Ludwig Wiill- enough to escort the pupil top of the world—for this is it! may say to the contrary. it but, more important The Ideal Teacher Therefore, prepares one for a deeper appre- still, ner’s and much home. Illustration he was more variegated. It is is the best reply, the teacher who plays ciation of life the first to sing to us the has the strong- itself. She has seen than likely the memory of The grown-up enjoys clockless les- since illustration Artistic Progress to conclude with the lovely Irish Maurel’s stress on unfolds the result. est appeal. It is how all this ballads arranged by not necessary to have has worked out with her his nuance rather sons with no interruptions. He is This Quartet from “Rigoletto” or the friend, than on vocal volume encourages the pupil by enlarg- Indeed, the teacher may expect as charges. Villiers Stanford, and the a large repertoire; but surely a theme Sextet from “Lucia.” Very —he had volume silently intolerant of telephone calls ing his hope, and a lesson popular in stirring Hungarian songs when it was appro- may be much from this grown-up as the or two can be prepared for More than that, this group has en- arranged priate— distract each les- the nineties was the “Nordica— that adds to one’s which the teacher, and aller- very drab without it. riched by Francis Korbay. regret that grown-up expects from the teacher. son? the life of the community. The gic to chatty Campanini Concert Company,” the nowadays so many recitalists callers who knock at Berkeley A worthy successor to Greene, think There is no more reason to believe Bring back the pieces Young People’s Symphony a that to the door. If he enters The Mature Personality you used to make-up of which was Giglio Nordica decade utter their songs with the studio and that he cannot build Orchestra is later, was John McCormack, sten- up a sound play—those things now reaching out beyond (Lillian Norton) torian tones finds a six-year-old playing with everybody loved— , soprano; Sofia is the ease There is a greater Scal- whose tenor voice, art, height of art. On difference be- technic than there is to say that the its own subscription concerts. They and skillfully the music that once was thought too chi, contralto; Italo Campanini, chosen contrary, the art of his own most difficult piece, woe to tween the guidance of grown-ups and the have played in the recital programs captivated the recital younger pupil cannot change familiar or too world famous tenor; and Emil demands the teacher! If the next pupil listens simple to play for Fischer, bass; real the hearts of something quite different the teaching of children than is from a faulty technic Greek Theatre of the University of all whether they were to one that is people. Remember artists all. Isidore Luckstone, ^recitalist in on the last part of his lesson, woe generally that the great who hard-boiled professionals should be a sound supposed. Adults have reliable. The pupil’s progress California. They gave a concert in or the un- leans Josef Hofmann still died just recently, was the and subtle to the teacher! So, to be friends with their gives us the accom- sophisticated populace. musician, so conversant passed first-impression growth, upon the teacher’s honor of Mayor LaGuardia, who is resources, of Melody in F panist. Most of the program with the language beginning adults, certain periods while children are —and Traumerei, over sponsoring was Before the last war, in which he is beginners in course. But it is this a similar activity in New we had two or singing grown-up who the radio! operatic, but there was a sprinkling that he is should be reserved exclusively for thought as York City. three visits from the able to project the well as in finger develop- plays with a semblance They played two concerts of songs German singer, poets of the artist’s Succeed with in English, which language Ludwig thought by means their lessons. ment. With the adult, success the adult beginner! at the Golden Gate International Ex- Wiillner. Wiillner’s voice was of a perfect lies in performance at the end of a year’s provided all the singers but Nordica diction and an Learn with him—understand position of mediocre quality, infinite variety of touching his recognized impressions. study, while him— on Treasure Island, one of with but he inter- vocal Inspire the Pupil the child spends many play tongue-twisting difficulties. color. Add And for him. And above all, believe which was preted the great lieder to these quahties one can build on top of his un- years growing broadcast transcontinen- Campanini with an un- into a comprehension in him! was greatly aplauded for derstanding appropriate posture, A lesson should be fundamentally shakable foundation with tally. Deems Taylor heard about that and intensity that gesture and interesting of the finer points in his “Good-a-boy, were eXPre serious, piano playing. * * • * Sweet-a-heart-a” deeply 0n ' Such a and intermittently gay: yet and compensative and said some fine things about impressive. A tincture of combination results. The average adult and so was Emil the mof l , f beginner has a Fischer for accomplishments informality should make itself felt. “The man who succeeds them over a CBS symphony his humor that characterized is rare to find in The grown-up’s dislikes must have modest above his program. “Ruddierr zan ze Greene any one repertoire of classics in twelve Cherrr”. and singer, but when To this grown-up each lesson is an generous felloios is the man who early They’ve been written up by McCormack would have it is found consideration, since he is in life an inter- I rather think that added a the song months’ time.- It is not unusual for it was Georg desirable recital is a musical important event in his life. And the past the age for rigid clearly discerns his object, quality to his performance. joy of discipline. Why him to be able and to- 38 the very first discerning to play from memory order. teacher will not consider give him a piece he ward that object habitually directs doesn’t like? a short movement from a Beethoven his powers .”—Lord Lytton. the etude JANUARY, 1942 59 sented. The Italian operas are ex- mobile Plant. All around me were Music: A Life Ideal popular. “La Boheme” (pre- men and women workers of the tremely _~ ~mr assembly lines and shops. During in- w at least once a week) , “Tosca,” STUDY? sented WHERE SHALL I GO TO in War-torn Russia “La Traviata,” “Rigoletto,” “II Tro- termission, fragments of the opera PlMD ACCUHDIOIV heard, hummed by many . vatore,” “Aida” are great favorites. could be lgI} “Carmen” is perhaps given more who evidently seemed quite familiar TTTTT»T Tt TT» t MiriI TmmiIIIIIXXIIimim»»^ ( Continued, from Page 18) than any other opera apart from with the arias. In the lobby was a (Eastern) Private Teachers (Western) Private Teachers those of the Russians! Wagner’s billboard with the cultural programs ballets were performing in the resort of people from the many republics. “Ring of the Nibelungen” was being- for October. Listed were two operas, How an Accordionist Projects Rhythm cities in the Crimea and Black Sea Kolkhozniks (collective farmers) in rehearsed, and would take another two symphony concerts, three re- MAY MACDONALD HOPE CORYELL KATE S. CHITTENDEN areas. The opera season began Sep- their national dress were visiting Repertory — Appreciation year or two before presentation! citals, Shakespeare’s “Twelfth Night,” Concert Pianist—Artist Teacher Pianoforte — tember 1, and the orchestra season Moscow to view the Agricultural Ex- poetry recital, three By Pietro 2)e THE WYOMING, 853 7th AVE.. “Eugene Onegin,” by Tschaikowsky, a cinemas, two Pupil of Teresa Correno and Leopold Godowsky on October 1. However, I did hear a hibition. NEW YORK The hotels were thronged ushered in the season at the Bolshoi jazz bands, four lectures on national Calif. L.A.S. 5530 Collins 775 Colusa Ave., Berkeley, few performances. One in As Told to ElVera was the with Cossacks, Mongols, Georgians, Theater. War news had filled the and international events, one circus, Leningrad Park of Culture and Rest. Armenians, Ukrainians, Uzbeks, Turk- press and radio all day. The en- one ballet, Ibsen’s “Dolls House,” ROSE OUGH FREDERIC FREEMANTEL This was a symphony concert which memians (who carried prayer rugs trances were crowded, and as we ap- Tolstoi’s “Anna Karenina,” amateur BEEN ASKED to ex- produce their accents with the bel- VOICE Voice Instruction attracted about five thousand per- E HAVE Samoiloff and knelt in true Mohammedan style proached people Former Assistant to Lazar S. Author of 24 home study lessons, many rushed to us, music, drama, and sports clubs of the frequent advice to lows. We caution all pianists to be on ondl sons. Another, a concert by a chil- in prayer plain our in Hollywood "The Fundamental Principals of Voice Production to Allah three times a asking if we Her Voice Studios at Them had extra tickets to sell. Union. accordionists to “project” their guard against this fault. Reopened Singing"; also "High Tones and How to Sing dren’s orchestra of sixty in the day). All were accorded equal priv- W 1931 —8TH AVENUE OAKLAND. CALIFORNIA The theater sold Studios: 205 West 57th Street was out, and I soon ( This interesting story will be con- learn early in their 6115 Pioneer rhythms. Many accordionists Accordionists Telephone Glencourt Circle 7-$420{ Park (a children's play- ileges and accommodations with all their New York City Phone became accustomed at seeing every tinued in the February issue The accent the ground with theaters, club of play in perfect time but fail to estab- studies that they must rooms, other citizens and tourists. seat in theaters and concert halls Etude.) first beat in three-four time and the outdoor auditorium, amusement de- Billboards lish a definite rhythm. Perhaps they EDNA GUNNAR PETERSON along the street were always occupied, with overflow ALBERTO JONAS vices) had it inwardly, but that is not first and third beats in four-four , an enthusiastic youthful already displaying the may feel Concert Pianist Artist Teacher programs of crowds outside. The first night au- — audience of playing does not time with the heavier accent on the Celebrated Spanish Piano Virtuoso three thousand. the first ten days of the enough if their 229 So. Harvard Blvd. Los Angeles, Calif. opera sea- dience consisted of a typical cross- Teacher of many famous pianists it. first. There is still another accent FE. 2597 My five days in Leningrad gave me son, opening make the listener conscious of 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-8920 September 1. In order section of the Soviet people: time workers, which occurs when there is a change to see the beautiful city, the to get going into the subject of in Philadelphia, 132 South 18th Street. a complete picture of the doctors, engineers, Fortunes Before On Thursdays students, Red in Melody Tel. Victor 1577 or Locust 9409 Hermitage Museum, with its collec- musical activities rhythm, let us give some of harmonization. We often hear bass of Moscow, I visited Army men, sailors, projecting LAZAR S. SAMOILOFF Not connected with ony Conservatory. tion men and women of great art masterpieces of the All Union (Federal) ( Continued from. Page 49) to just what it is. Although accompaniments played so that every Committee of many nationalities some proudly thought Voice teacher of famous singers Rembrandt, Raphael, Titian, and of Art. The secretary, a and rhythm are often spoken of bass is accented the same. A listener young lady wearing government decorations. Probably the best way to get a job time From rudiments to professional engagements French impressionists. These had who spoke French, they are not. Rhythm will find such playing mechanical Beginners accepted. Special teachers' courses EDITH SYRENE LISTER German, and Several foreign tourists in pictures is to see the music heads as synonymous, long queues of watched this AUTHENTIC VOICE PRODUCTION citizens, Red Army English fluently, gave the time and is the motive and monotonous and yet not be able 610 So. Van Ness Ave., Los Angeles, Cal. me pro- gay audience in of the Hollywood studios. In radio, embraces 405 Carnegie Hall, New York City soldiers, the boxes and stalls and sailors of the Baltic grams of companies for It animates the mu- to analyze the reason. September. formerly reserved for the larger stations employ fairly power of tone. Collaborator and Associate Teacher with the late W. Fleet filing through the nobility. the halls that While writing it down, I remember outline formed by time. The pro- Example 1 shows the proper ac- Warren Shaw and Endorsed by Dr. Floyd S. Muckoy The opera students of large staffs of arrangers, among sical ELIZABETH SIMPSON once echoed to the the conser- Wednesday: Troup Music Studio. Lancaster, Pa. footsteps of the the feeling of being overwhelmed by of rhythm means to bring out cents for a bass and chord accom- vatory were jammed into the whom are composers. These staff jection Author of "Basic Pianoforte Technique" Thursday: 309 Presser Bldg., Philadelphia, Pa. Czarsi The Leningrad Conservatory, the pros- sheer quantity of entertainment cenium men write the distinctly the constant forward pro- paniment. long famous boxes. Next to me sat a original music for sus- Teacher of Teachers. Coach of Young Artists. for its great teachers —a feeling that Pupils Prepared for Concert Work. Class Courses was to be augmented mechanic explaining taining programs. gression by means of regular alter- and to his young On commercial in Technique, Pianistic Interpretation, Normal (Ernesto) students, was strangely silent as by the quality of (Frank) performances. Here lady programs, nating strong and weak beats. The Methods for Piano Teachers. I friend the merits of various the advertising agencies wandered through its magnificently is the picture of opera LaFORGE-BERUMEN STUDIOS in Moscow. beats are accented to differen- 609 Sutter St., San Francisco; equipped opera stars whom he had heard in usually farm out this work. strong rooms, conscious of the 2833 Webster St., Berkeley, Cal. Voice—Piano There are five professional opera In the weak beats. This presence various roles. the National Committee for tiate them from Frank LaForge teacher of Lawrence Tlbbett since 1922 of Rubinstein, Tschaikow- and ballet theaters, and one student The orchestra was American Music, a number accent is produced on the accordion MOO Park Ave., Corner 89th St., New York sky, Rimsky-Koraskoff, excellent, but of musical Tel. Atwoter 9-7470 and half- theater. The Bolshoi (Grand) Opera (Mid-West) the wood winds, as in all Soviet organizations have banded by giving the bellows an abrupt short Private Teachers hoping to bump into Shostakovich. House has about or- together twenty-five hundred chestras, to pull identical moment that the I left Leningrad seemed peculiarly nasal. stimulate, launch and otherwise at the on August 20, 1939, workers—two hundred fifty for each The is being played. at midnight during sets were a stage designer’s encourage native composers. One of note to be accented ARNOLD SCHULTZ RICHARD McCLANAHAN a blackout! A group of musicians, ballet corps and dream, and it the most realize that f p "f p f p f Teacher of Piano Representative TOBIAS MATTHAY sixteen year old girl, was obvious that no fruitful departments of the Accordionists should journeying to artists, plus costume designers, direc- Author of the revolutionary treatise on Private lessons, class lessons in Fundamentals expense was spared in the Committee is the the very nature of their instrument first bass, C, is played forte and piono technique Lecture-demonstrations for teachers Moscow to participate in the finals of tors, conductors, produc- Composers’ Forum The assistants, painters, "The Riddle of the Pianists' Fingers" a national tion. During intermission, Laboratory, a part of makes it imperative that it be played the chords which follow are 806 Steinway Bldg., New York City tennis tournament, ex- and dressmakers. most the Federal two published by the University of Chicago Press These perform in people plained left the auditorium to Music Project started in rhythmically. The next thing to con- marked piano. As the second measure 622 FINE ARTS BLDG. that blackouts had been factory and collective prome- 1933. The CHICAGO. ILL farm auditor- nade around object common for five years, to the lobby, or munch of the Laboratory is to enable sider is that the method of producing is of the same harmonization as the be ready iums. Each theater has its EDWARD E. TREUMANN own style sandwiches, composers for any eventuality! Alas, that pastry and chocolate to hear their own song rhythm on the accordion is somewhat first, the bass G is played only mezzo- RAYMOND ALLYN SMITH, Ph.B., A.A.G.O., Concert Pianist Artist-Teacher even- of productions. I saw the same opera, or — and sip soda pop in Symphony. Dean Recommended by Emil Von Sauer, Moritz Moszkowski tuality has come with terrific vio- “Eugene the buffet. The more complicated than on other in- forte. The third measure, however, Onegin,” in two different Central Y.M.C.A. College and Josef Hofmann. lence. duel scene was memorable. A number theaters, Evidently of scholarships, competi- struments, and therefore, extra prac- shows a change of harmonization; School of Music Sfudio, Carnegie Hall, Suite 837, 57th St, at 7th Ave. each done differently in C. Lemeshev, tions Tel. Columbus 5*4357 New York City Moscow was an amazing city, the Lensky, was a and grants are open tice is required for this purpose. The therefore, the bass is played forte Complete courses ieading to degrees. Coeduca- full style: one extremely lavish in each year D Summer Master Class June to Sept. Apply now. scenery favorite tenor, to tional. Fully accredited. Day or Evening. Low tuition. — — of life and bustle of people for immediately after aspiring composers. The left hand has the combined duties of in the the in the who and personnel, the other scholar- same manner as C Kimball Hall, 306 S. Wabash Ave., Chicago, Illinois seemed more Lensky’s Aria, the ships to have much work to do. stylized. The stage was bom- include courses of study playing the bass buttons and provid- first measure. Although these slight student theater, besides barded at Before plunging into the with flowers, showered down leading institutions, ing an even flow of air for the bellows Private teachers in the larger cities will find musical its own student conductors and including the variations in accents may seem triv- activities of this by the opera students Juilliard DR. FRANCIS L. YORK this column quite effective in advertising their metropolis, I spent directois, is who led the School, Curtis Institute, with the proper tonal shading for ial they are essential for projecting supervised by directors audience and Advance Piano Interpretation and the Theory work many days on trolleys, in applause. At the others. The interpretive courses to the thousands of Etude readers double deck of the professional close of competitive playing and the proper rhythm. The illustration is required for the degrees of Mus. Bach., Mus. Mas., opera theaters, the awards run used taken electric buses, opera, half the audience fiom one and Ph. D. in music. who plan to pursue advanced with in modern automo- thus enabling the rushed and two thousand to accents for rhythm. If these accents from the text book, “Modern Rhythms study an students to learn to the ten biles, and on foot, viewing pit, there to show their thousand do not occur proper the city. the various styles and methods. appre- dollars. at the moment, for the Accordion,” by Alfred d’Au- Everywhere ciation by vociferous y » enormous construction The Moscow opera demonstrations, I asked Charles Cadman or if they are not graded in tone to berge. niXIIIIXIIimiXIItlllllll IimiimXIIIIITITTTTTTTTr— — — lover has the while the what he projects were in progress, students carried would do if their streets choice of any one of Lemeshev he were starting denote importance, there is no Another cause for unrhythmic were being six operas tiiumphantly out to- play- expanded into boulevards on their shoulders. day. “I’d distinct rhythm. This brings Tell jour Music Loving Friends aboi it THE ETUDE and ask them almost every evening, and on It begin,” he said, “where us face ing is the robbing of time from the to give two hundred rest is quite generally you the privilege of sent ling in their feet wide. Apartment day the custom at the there is a need, to face with the fact that skillful subscriptions. (Sunday) each theater presents by writing two and end of a measure. This is particularly houses, factories, end of a performance Ask for Catalog of Rewart !s for subscriptions you send theaters, and a matinee! “Sadko,” to have the au- three-part songs for manipulation of the bellows is very noticeable “Snegouratch- dience grade schools. where the bass note which TIIE ETl'DE 1712 ChestilUt Street schools were going up so ’ rush imediately Philadelphia, Pa. rapidly that ka, ‘Coq d’ Or,” to the foot- Then I would try necessary to produce distinct accents whole etc., Moussorgsky’s lights and operettas. There is follows requires a movement of the sections of the city changed “Boris bombard the performers a great for projecting rhythm. Godunov,” Glinka’s “Russian interest at present in Clumsy ma- fingers some distance on the bass in appearance almost with flowers. These school overnight. and Ludmilla,” demonstrative music; two and a nipulation of the bellows may bring “Ivan Susanin,” displays half million boys keyboard. The player is usually so If you live further Send for your FREE The first thing that struck me was of favor are wholly and the copy of Tschaikowsky’s “Eugene Onegin,” different girls are playing- in school accent too early or too late, too afraid that he will not than the sound of singing and 10m the restrained bands have his fin- convenient in the street. “Jeanne D’Arc,” audiences of and orchestras, loud or too soft. THE MUSIC TEACHER S HAND BOOK Whenever his ballets “Lake of other and some of our best ger in position over the right button traveling distance people travelled together countries. Contains lists and illustrations of Studio Swans,” “Nutcracker,” , >SerS ^ave While observing the playing of Supplies in and Borodin’s Several done work in this in time that he pushes it ahead of any Teachers’ Business Helps. Diploma and a group, whether students, singers, ballet ’’ from of our Certifi! or Red Prince Igor.” Then dancers, fi°ld^ various students were cate Forms, Medols and Musical Jewelry the modern So- musicians, we surprised to time. Many accordionists would be suitable Army soldiers marching or and two branches this for awards and gifts for music students, riding in viet—Djerjinsky “Quiet directors bore the Now, as find that many former pianists, etc. Don,” Pro- title, always, the main who surprised if they realized that a group in trucks, or “National problem the will interest you. Theodore Presser Co. workers off on kofieff’s “I, Honored Artist of of 1712 Chestnut SL Phila.. Pa Son of the Working the the composer is to played with perfect rhythm on the actual some job, singing Peo- Republic, ’ an get himself time count on some of the would break out ple,” award granted to piano, has compiled Chrennikov, “The Storm.” those heaid and known, to were guilty of very unrhythmic measures two con- spontaneously. Old Russian The whose contribution create a de- they play resembles that So. THE SUPER A folk operas of other Soviet to Soviet culture mand for playing on the accordion. ^Pxdtlo- cise and easily under- songs, nationalities was his output. This The reason shown in Example 2. and popular songs of the day, outstanding. may be stood correspondence courses that will - —Georgian “Absalom and accomplished for this is that they are so accus- ACME floated along Etari” (re- e through a “Ballad for bring into your very home his popular Sole New York and with the group’ VeningS later 1 Philadelphia Agents markably like “Tristan - listened to tomed to and Isolde”) _ t Americans,” a Prelude producing an accent on the system of instruction. Send for our Free Especially was this true, with a VnZproduction of in C-sharp Cat- PIETRj DEIRd ACC- R DION groups and Armenian “Carmen” in the Minor, piano alog of HEADQUARTERS “Almast,” are repre- Palace a “Rhapsody in by the degree of force they use Accordion Music and Accessories of Culture of the Blue.” Or it 46 Greenwich Ave., N.Y.C. 60 Stalin Auto- in striking PIETRO DEIRO ACCORDION Write for Free Catalog may be through a long build-up. the keys that they find it HEADQUARTERS T237 West Girard Ave.. Phila.. Penna. Acme Accordion Co., Inc. difficult to change this 4S GREENWICH AVE., system and ( Continued on Page 65) New York. N. V. 43 W. 16th ST.. N. V. C. THE ETUDE (B«t. 5th A 6th Im.) JANUARY, 1942 61 6 All Piano Beginners THE CURTIS INSTITUTE OF MUSIC r YPICAL of the EFREM ZIMBALIST, Director present day opportunities for Special Exercises for Guitar not have to be Children! the piano teacher is the report Do d. -J\ricl MAJOR COURSES of one teacher who found it easy to encourage grown-ups speaking of right Another variation is shown here in hen Composition Flute (some of whom were parents, hand technic on previous oc- Example 4. repeatedly Kx.l Oboe relatives, or neighbors of chil- W casions, we have Voice stressed the necessity of using the Grown-Up Beginner s Book dren she taught) to start piano Piano Clarinet finger as much as possible, in FOR THE PIANO third study just for the joy of play- order to give it strength and flexibil- Organ Bassoon By WILLIAM FELTON to that of the first and M. PRICE, $1.00 ing favorite melodies them- ity equal Remember that, in guitar music, X Harp Horn finger. We all know that second signifies thumb; . indicates first fin- Here is a book of piano instruction material for grown-ups, high school age pupils selves. Grown-ups with busi- playing a series of four or five Violin Trumpet when ger; . indicates second finger in- and college young men and women, that really leads j towards a definite goal—not ness or working hours note chords the top note of each die much dicates third finger. Many more com- Viola Trombone digital dexterity of the virtuoso—but the ability to play the many fine composi- be heard distinctly, chord should binations be worked out by tions of intermediate grade, and the playable arrangements of classic and standard shorter than a generation ago may cases it is the melody Tuba since in most of chords in other Violoncello compositions, that ate available. It begins with the rudiments, but quickly has using progressions the now have leisure time to de- note and must not be overshadowed pupil playing interesting melodies while making rapid keys, depending on the ingenuity Double Bass Percussion acquaintance with fundamental chord. But vote to music by the other notes of the student. The technical problems. Keyboard illustrations assist in correlating the notes of the and can afford and imagination of the the arrangement of strings on the printed page with the keys of the piano. piano lessons main purpose is to keep the third which for some guitar causes this note invariably to Everything in the book is designed for the adult student—the music will appeal finger as busy as possible; the notes third finger of the Catalogue on request to reason were not available to be played by the the adult intelligence, the pieces and exercises are arranged for playing by fully- of the arpeggios should be arranged right hand, which, with most play- matured hands. While intended for use them in childhood. with this object in mind. A book ers, is the weakest. To overcome this Progressing with a teacher, the explanations are so showing chords in all positions, such Kindly address all communications to Piano Studies handicap, it is absolutely necessary clear and easily understood that the as Book 2 of Foden’s “Chords for FOR THE GROWN-UP STUDENT to find some means of strengthening diligent self-help student may get much Guitar,” would prove quite helpful in Secretary of Admissions By WILLIAM assistance from the this finger. M. FELTON PRICE, $1.00 study of it. this matter. One of our correspondents re- The Curtis Institute of Music to strengthen the Here in this book are gathered Another way together etudes that have all the char- cently remarked that he had diffi- 1720 Locust Street actcristics that appeal third is to it in the prac- to adults; the same type of material employed in the finger use authors culty in finding exercises for this Philadelphia Pennsylvania Grown-Up Beginner's Book. They have been right hand , carefully graded in Play With tice of scales. The usual progressive order, the fingering Pleasure purpose. In fact, guitarists of the plainly marked, and the editing has been fingering for major and minor scales most thorough. AN ALBUM classic period employed the third fin- FOR THE GROWN-UP PIANO STUDENT is alternating first and Teachers will be done with delighted with, so comprehensive a course of studies ger only when absolutely necessary. Compiled let use the al- under one cover. Adult pupils will welcome the economy and Arr. by WM. M. FELTON second fingers. Now us effected and will PRICE. $1.00 It is in the music of J. K. Mertz that appreciate the opportunity of perfecting their technique to a point where ternating third and second fingers they can play the not-so-difficult pieces of st« of being placed in the dining All of this combines to make the woman, with the male guests. The Yugoslavia’s Picturesque Music richest folk music imaginable. room an Accordionist Debussy their feast in another How It was not easy to travel in South women had where the room to themselves. From low, (.Continued, from Page 28) Serbia, to find villages Projects Rhythm And the Pedals modern piano and radio had never wooden tables we ate lambs’ heads, Afnother been heard and where everyone still lamb stew, and black bread in fitting 61) ( Continued from Page 20) solemnity. It was not long, however, (Continued from Page peasant in the village to the diplomat He was born in the northern part sang in the natural scale. I soon OF SHE It WOOD’S in the capital, makes music, nat- of Yugoslavia, in the province of found that the villages I wanted to before someone began to sing, and measure is short the time of a the G string sounding in sympathy urally, simply, and spontaneously. Medjumurje, lying between Croatia visit were not on any railroad or soon everyone had joined him. This Each DISTINGUISHED note, and naturally there with it, thus enriching the tone qual- It nevers occurs to the peasant to and Slovenia. Situated between prov- autobus lines. I often had to rely on happens at every feast or dinner of sixteenth rhythm. Those who are ity of the C string with gentle sounds go to a shop to buy an instrument inces that have become westernized, one of the hard-working and reliable the South Slavs whether it is in a can be no ARTIST-TEACHERS for orchestra playing of the G string. Try it with the E to play. He takes the material at Medjumurje remained an island of little Balkan burros. peasant’s hut or at the Prime Min- preparing particularly careful that Key held down silently. With other hand to make flutes, stringed instru- folk lore. Slavenski’s mother knew I had heard of the village of Laz- ister’s home in the capital. should be full count. keys held down silently the overtones ments, and whatever he finds neces- and sang the old songs which had arepolje in South Serbia on the After the wedding ceremony, the each measure receives its "Podolsky not content to in many instances come out stronger JJeo sary for his musical expression; and come down through the centuries, Albanian border, but when the Press bridegroom, pirouetting first on one Students are often within their in sympathy than the fundamental. as a result, each instrument is the and it was from her that he learned Bureau in Belgrade was asked about foot and then on the other in the play music which is Renowned virtuoso pianist. Soloist with Chi- individual expression of its owner’s to love ability. They are impatient The beautifying (damper or loud) the native folk music. it, they were puzzled. They gave me style of the ancient Greeks, led technical cago, Detroit and Los Angeles Symphony taste. With only a pocket knife, the Although the South Slavs are play difficult music; consequently, pedal, as the writer prefers to call it, a railroad ticket to ride as far as I the whole village in the kolo. The to Orchestra. Recitals in New Yorl Boston , shepherd carves out a thing of great members of one large racial family, struggle through a selec- by raising the dampers, functions on could and wished me luck in my peasants tested their endurance in when they Chicago and other large music centers and beauty and then improvises on it as the music of one group differs from search. I was eager to hear the music tion which is beyond their scope they a grand scale in permitting all the rhythms of three, five, and seven, in all the principal countries in Europe. his father did before him. Often his that of another according to the in- connected with the mass marriages rhythms that had been handed down cannot play it rhythmically. It is all strings to vibrate in sympathy with power of improvisation is so great fluence which their neighbors and which took place once a year in the they can do to find the correct keys each tone as it is sounded. It is not from ancient Greece and Byzantium. INSTBUCTION from eminent artist-teachers is available to talented students that he can sing and play for hours, overlords have been able to exert on region of Lazarepolje. After buttons. We urge those who are difficult to see how these effects may piano, weeks of and from the beginning of their studies at Sherwood. Degree courses in holding his peasant audience spell- them. For example, the music of the A Strange Custom this fault to bear in mind be used to great artistic advantage searching, I found Boshko, a four- guilty of violin, voice, public school music, conducting, cello, organ, wind instruments, bound. Croats, who were once a part of the pleasure when properly employed in playing teen year old boy from Lazarepolje, The men soon left their brides to that a listener derives more theory, composition. Moderate tuition rales. Dormitory accommodations. When I played, for the first time, Austrian Empire, is quite different accordionist play a Debussy’s music. S. Michigan Avenue, Chicago, Illinois. who offered with great pride to take go out into the world to look for work. from hearing an Write for free illustrated catalog • 412 in Belgrade, the capital of Yugo- from that of the Serbs in the south- rhythmically correct, me to his village in time for the one According to their custom they left simple selection slavia, I found the most enthusiastic ern part of the country. Una Corda (Soft) Pedal important event in the year. their brides at home to wait for them than to hear him struggle through a audience to which I had ever per- There is no road leading in a slovenly, unrhyth- corda (soft) to Lazare- until the next August when, if they masterpiece The una pedal has formed. I A Mixture of Races VY/y'Mf/Music School had been invited by the polje. Boshko and I, been insufficiently on horseback, were fortunate, they would return to mic manner. exploited with a ASSOCIATION OF SCHOOLS OF MUSIC famous Obilich Society, a choral so- The old Austrian Empire included INSTITUTIONAL MEMBER OF NATIONAL climbed the narrow mountain path Lazarepolje. When I Rhythm is a gift bestowed upon consequent loss of a great variety of ciety made up of university students, left Lazare- so many dissimilar racial groups leading to a village of a thousand polje, the mountain top was deserted, some musicians. It is so natural for tone color in piano performance. to come to Belgrade to play with the that the identity of its people was people where only rumors of the left to the women and children. them that they would find it almost The difference between the softest Belgrade Philharmonic Orchestra. often confused. For a long time mu- existence of motion pictures and There are impossible to play any other way. pianissimo (pp) possible without the The conductor of the thousands of the kolos, N| Society, Mr. sicians thought of Franz Joseph radios have been heard. Boshko’s and almost every village Those who do not have the gift can una corda pedal and the softest enwooJ Lovro Matacich, one of Yugoslavia’s Haydn as an Austrian, in Yugo- / \ simply be- family, in a- Slavic- dialect of the ninth slavia has its own particular cultivate a sense of rhythm if they pianissimo (ppp) with the una corda most gifted musicians and conduc- cause he lived in Croatia, which was kolo. In century, welcomed me as the first order will make a serious study of it; and pedal adds that color / \ CONSERVATORY OF MUSIC tors, had heard play to be a good Slav, one must be much more tone me at the Salz- a part of the Austrian Empire. We foreign woman ever to visit the vil- able to dance they will find that when once the to the pianist’s palette. Also the una / Division of Hndenicoo4ColU:o9 burg Festival and had assured a good kolo. The \ for Women. Thorough prepara- me know that Haydn’s parents were lage. problem is tion for camera In music under that the Serbs liked dancers form a circle either by hold- conquered, they will al- corda pedal plays an important part Mozart. To my Slavs and there is no mistaking / \ a distinguished faculty. B.M. the The barren rocks and rugged slopes CONSERVATORY ing hands or putting ways play rhythmically. in equalizing the power of the long degree, cert I Urate and diploma surprise, they got as excited over a strong Slav characteristics in their hands on Haydn’s that surround Lazarepolje / OF MUSIC \ in piano, voire, violin, organ, have never their neighbors’ shoulders. The first important thing to re- strings of the low bass with the Mozart concerto as the Salzburgers music. When in Yugoslavia, I was With pride harp, otlter Instruments, pub- produced enough to support its / DIAMOND ANNIVERSARY lic school music, theory, har- themselves. One would have thought of race, they hold their heads high, member is that the fingers should shorter string of the treble. When \ told that his parents moved to people. For A complete school of music, dramatic mony, history and appreclat ion hundreds of years the as always of music. Well -equipped stu- he was attending an American foot- they dance, and the upper part be prepared a little in advance used simultaneously with the beauti- art and dancing. Courses lead to degrees. Croatia from a Serbian village where of / dios. beautiful buildings on men of the village, who are called Special students mav enter at any time. ball the body straight. over the piano key or bass button fying (damper or loud) it 138 acres near Bt. Louis with game instead of a concert in the practically everyone was called There are simple pedal sof- by “pechalbari,” have / Its frequent concerts, operas, Balkans. People left their moun- kolos which anyone which they are to play, and then they tens and mellows the SECOND SEMESTER who reacted in that the name of “Haydn,” a common can dance, but low bass and other musical attractions. For tain top to hunt for work abroad, / Opens January 26 \ catalog and view bonk, write way to Mozart surely had an inter- Slav name. one must be born a Slav to dance will always play in correct time. The proportionately strengthens the treble but once a year they Write for catalog Harry Morehouse Gage. Pres. esting music of their own, I return for the more intricate next thing is to enunciate all tones. / decided. It is in South Serbia, where the and complicated ac- 2650 Highland Ave. Cincinnati, Ohio. \| Box 1241. St. Charles. Mo. St. Elijah Day, a special day in rhythms. cents great Serbian composer, Stefan Mok- distinctly so there will always Young Modems August, when everyone who intends Coordinated Fingers and Feet ranjac, The South Slav peasant is be the constant forward progression. lived and worked in the to a nat- The get married during the year, ural Some students modern music heard in Bel- nineteenth century that musician and poet. His song is make the mistake of Detailed directions are found in the some of the marries on the same day. grade and Zagreb, the papital of most unique, always a free improvisation, neglecting this subject until they are Reverie to which Qlrbflanii^hatitute colorful, and truly It takes and he reference has been nf (J)uair Croatia, three days for a marriage that is, music of composers great music is sings from the heart well advanced in all other studies to be found in the in Lazarepolje, —from a great on made. The crescendos and dimin- like Slavenski, Tajcevich, Miloievich, and music is con- and the Confers Bachelor of Music Degree, Master of Music Degree, Artist world to-day. I was anxious to follow generous heart. His blood does accordion, but this is not right. uendos for individualized voice ex- Diploma and nected with every detail of the cere- Faculty of Nationally many others, was by far the in the path of Mokranjac not run smoothly, and Practice for rhythmic playing should pression, tone Known Musicians and in monies. The bridegroom’s one cannot volume for each voice, most interesting music I had friends, hold BERYL RUBINSTEIN, Director, 3411 Euclid heard 1938 set out for South Serbia with him to a simple one, two, three begin with simple exercises and the fluctuating crescendo and fluctu- Avenue, Cleveland, Ohio a when they shave him on the morning in Europe on concert tours from recording machine, a rhythm. His rhythm, scales, and, when these are motion picture of his wedding day, especially in once ating diminuendo; and the beauti- Scandinavia to Turkey. Here sing a special South was camera, and a stock of kodachrome Serbia, often changes mastered, there will be no difficulty fying pedal directions, OBERLIN Conservatory song, and the bride’s friends at every are all com- Make THE ETUDE Your music that was vital, strong, sing to bar. A Division of Oberlin Colleov. Thorough Instruction Marketing Place and film. With the aid of motion pictures on future studies. plete; as are fingering in all her as they dress her and phrasing. branches of music. 46 specialist teachers, excellent equipment Etude Advertisers fresh! It had life for her wed- (200 practice Open the Doors to Real because it sprang and sound I could present, While the music We urge accordionists rooms. 23 modern organs, etc.) Degrees: Mus.B., I felt, to ding. of Western Europe to analyze The una corda pedal is indicated by School Mug B., A.B. wiih music from At six in the morning the con- major. Delightful college Opportunities the soil and straight from the tends their town. Catalog. Frank H. Shaw. Dir.. Box 512. Oberlin. Ohio. my American audiences, a true im- stantly toward a cadence or an end, playing and see whether they the words e sempre una corda hearts of changing rhythms of the two which a people. pression of Serbian the music of are merely music, the music enormous the South Slav peasant playing correct time, or simply directs that the left foot be ~ JUILLIARD The modern school drums begin and are soon SCHOOL OF MUSIC== -== of Yugoslav I had grown to love so deeply. never ends. His whether they are joined by two shrill song expresses the projecting the set upon the una corda pedal composers is comparatively trumpets. This and Ernest young. Long centuries, from the time endlessness, the eternity rhythm. Hutcheson, President of orchestra plays continuously of being. He kept there throughout while the right It was only after the last war that Alexander the for is not worried Great, have made three days. about the present war foot engages the beautifying the composers of From morning until night ***** pedal as Yugoslavia realized South his life JUILLIARD Serbia rich in song. In villages the and song will directed. SUMMER fully that kolo, the national dance of go on just Sound the melody tones SCHOOL they had within their own where clocks are the the same. Pietro Deiro will answer questions unknown, songs South Slavs, brilliantly, even in their George A. VG^edge, borders the most fertile goes on outside the pianissimo Director field of in- have had time to grow, certain about accordion playing. Letters and music bridegroom’s house. that the one thing softness, with decisive finger strokes; spiration from which to draw, and comes which should be forth naturally as the spon- this war will not addressed to him in care of July 7 to August 14, 1942 they turned away While for three days the whole affect is the while the secondary or accompani- from the stereo- taneous expression of music of the The Etude, 1712 Chestnut Street., the life of the village sings peasant. The ment tones are .Accredited typed and exhausted and dances and wars of sounded with a mel- music courses leading to continental community. When the Slavs cele- the last two Philadelphia, Pennsylvania. diplomas, teacher’s came to brates, the bride thousand years low tone quality, even if certificate, schools of composition. must stay at home and the fortissimo and Bachelor of Science and Master South Serbia in the seventh century, suffering he has of Science shut up in her own room. endured have only dynamic power were desired. The degrees. Instrumental Josip Slavenski, for example, who they found Her fiance made and vocal instruction for beginning the music which the' him sing more. lives must not see her face until Wars can de- remainder rests with the good taste and advanced in Belgrade, is self-taught. He Greeks he takes stroy students, repertoire classes, methods had left behind. To this they her only material things; CORRECTION and is not to the church. She is they can of the performer and his understand- materials, public interested in the least in imi- added their not allowed, On school music, theory, composition, own Slav rhythms and even, < estroy the music Page 706 of The Etude for Octo- and tating the to come to the marriage ? which lives ing of the tonal message which the musicology. French or German schools. the oriental feast' in Tvfthe ber 1941, Department for high school students. scales and intervals which takes m hearts of a people. reference was made to composition In fact, he thinks that the Continent place at the bridegroom’s is meant to convey. which the Turk brought with gain Francisco Braga as the composer of Special one-week Unit has him house the night before the guslar wiU gather Courses in all branches of music produced nothing new or truly fi her wedding. th?nf ^ om the East when he conquered P P 6 around him the Angel’s Serenade. This of course ***** and music education. original since I had the pleasure of attending and tell them the time of Beethoven. Serbia in the this notLr tof J is incorrect, fourteenth century. feast despair-that one as it was Gaetano Braga, “The road to perfection, to Catalog on request and the honor, as a foreign dayy theyy master- will again be an Italian composer, who wrote this 64 free. ship, lies in the direction of constant 120 Claremont Avenue Room widely known piece. application.” Merz. 122 New York, N. Y the etude JANUARY, 1942 65 . The South American City, Buenos for Guitar “Delivers The Goods” Special Exercises Aires, is the home of many excellent She c E RY guitarists. But, according to opinions Page 63) ( Continued from Page 4) musIc Attractive Work-Play Materials ( Continued from expressed by Miguel Llobet and An- PEABODY °ofD dres Segovia, Maria Luisa Anido de- BALTIMORE, M this winter.” Young Music serves the greatest honors. This Erda sinks from view of the audience. Boston recital for Beginners still able to impress I then you will be description of her artist has appeared in numerous re- There were many other exciting In that brief I your listeners with a satisfactory per- there is a line that citals, and from her pen have come too. She was photographed, pressing affairs 2nd Semester Teachers of young pupils will find it profitable to investigate these events, formance. girl fine arrangements of classic congratulated, and called reveals the spirit of Mary, the books of songs, dances, and pantomimes which possess such admirable J many praised, Players frequently have the idea idea and doesn’t give 1 st guitar . Schumann-Heink”; she who gets an February qualities for entertainingly developing the thinking and co-ordinated numbers for a “second BEGINS I that, in order to impress an audi- until she has carried it through action of little folks who must be kept occupied. Last but not least, we must men- talked with opera stars and conduc- up I fast they ence, they must show how to successful completion. Before the firing Made tion the name of Vahdah Olcott tors who had just been wonderful Reginald Stewart Arrangement* for Enrollment Now I can rush through a certain piece of Director Bickford of Los Angeles, California. names before; but perhaps the most tumult and the applause of her I music; they completely forget that This fine guitarist has given concerts outstanding event was Lauritz Mel- Metropolitan success had subsided, Preparatory Department Musical Education in All SONGS OF THE CHILD WORLD SIX LITTLE SONGS I a beautiful tone, shades of expres- singing Mary was back at wox-k, studying for in many cities in the United States, chior’s remark, “You’ll be VIRGINIA BLACKHK,\D as FOR THE CHILDREN TO SING I sion, and proper phrasing are the Superintendent Branches — for Beginners Three Volumes individually and in conjunction with with me soon.” It was a wonderful her school examinations and prepar- I most important things in the rendi- Students By By George Henschel her husband, Myron Bickford. Tech- which did not fade. ing for the recital which would mark well as Advanced Alice C. D. Riley dream, According to Based I tion of any musical composition. Tuition on the text from Scott's "Nature Study nically well equipped-, Mrs. Bickford of last season was filled with the end of her institute days. She and and the Child", these songs of a higher type of All Grade and Study I These last suggestions may well be Circulars on Request Jessie L. Gaynor musical composition, appeal to children because has published quite a number of ex- important events according to a let- had entered that institution with of an unusual, but not too difficult melodic and I followed by players of the banjo and cellent not the purpose of getting a Bachelor of The most popular col- rhythmic structure. transcriptions of classical ter that I received from Mary I mandolin. lections of children's Price, 60 cents compositions. long ago. “I do not ever expect,” she Music degree. Her ambition was not OF MUSIC- songs published. For In a recent letter, one of our read- -JUILLIARD SCHOOL years these have been writes, “to have a busier year in my inflated with self-esteem; nor did used in the home, in I ers wanted to know “whether there laurels already Just ERNEST HUTCHESON, President the kindergarten, in SONGS AND SHADOW PICTURES life than the one just past which in- she rest on won. I are women who play the guitar pro- primary classes, in FOR THE CHILD WORLD cluded concerts in numerous cities, as any graduate in the institute she public and private I fessionally and how they compare schools, and in juve- Verses by the daily attendance at my school, passed her examinations; although INSTITUTE OF MUSICAL ART nile I with clubs and socie- Rachel Barton Butler the well known guitarists among What Music Means to ties. could bring large The songs are classified for various seasons my church position, flying trips to her name now her GEORGE A. WEDGE, Dean and occasions, Music by I the men?’’ We are glad to state that for various activities in the life fees, she, like other senior, gave of a child. They are educational, recreational, Jessie L. New York for the auditions, an ap- any Gaynor I the men have no monopoly on guitar yes, and even devotional, as several sacred songs Helen Keller instrumental instruction. Classes in Theory, Com- Shadow Pictures pearance with the Cleveland Sym- a recital that was free to the public. Individual vocal and for Sunday school groups are included. by I playing, and we can point to several Cloth Bound. Price, $1.25 each Susanne Fennimore Tyndale phony, guest appearances on the That Bachelor of Music degree rep- position, and all branches of music education. I members of the fair sex who have (Continued, from Page 8) Ten fascinating songs for little children, attrac- Firestone and Ford radio hours, resented years of work, and the ful- leading to diploma and B. S. and M. S. degrees in instru- I earned an enviable Courses tively gorten up in a miniature art volume that reputation as in- makes a most suitable examinations, a senior recital and, fillment of the obligation that public school music departments. gift book. The verses are terpreters of guitar music. Louise mental, singing, and printed both with the which requires SONGS OF MODERN CHILD LIFE song and on a specially an absence of vibra- all, scholarships and aid the Knight illustrated best of the Bachelor of Music de- from prefatory page. There is an clement Walker of Vienna is considered the Catalog on request. ot tion, nearly caused an impasse. By Jessie L. Gaynor freshness and newness to each verse. Mrs. The gree. One of the high spots of the Memorial Fund had imposed upon s outstanding virtuoso guitarist and Dorothy Gaynor Blake Gaynor' music is tuneful, of course, and she in studios are built of solid 120 Claremont Avenue, New York always keeps her concrete winter occurred when I sang the her integrity. Whether you are ped- Room 122, songs safely within a moderate Central Europe. She began her study Begun by Mrs. Gaynor, this book was completed voice range. which does not conduct vibrations. II Trovatore with dling ice, or getting Metropolitan by her talented daughter, Dorothy Gaynor of the guitar duet from Richard Cloth Bound. Price, 75 cents when five years of age. For that very Blake. The songs were written at the suggestion reason, Miss Keller Crooks on the Firestone Radio Hour. Opera Company contracts, or win- of a member of the Council of Public After receiving a thorough musical Safety and cannot hear through concrete. of the Child Health Organization of America The I also received tremendous stimu- ning degrees, you must, according to THIRTY training, she gave her first guitar BALD WIN- WALLACE as the simplest way to set down the first princi- RHYTHMIC PANTOMIMES difficulty College of Fine Arts was solved by placing a lation from the encouraging Kirk’s ethics, ples of child hygiene. Delightfully original texts recital at the words Mary Van code of “de- CONSERVATORY MUSIC Song Texts by age of fourteen. Since OF and especially charming tunes for tiny tots. small wooden platform under her Syracuse University then, this of Dr. Serge Koussevitsky after my liver the goods.” BEREA. OHIO (tuburb of Cleveland) Cloth Bound. Price, $1,00 Alice C. D. Riley artist has appeared in all chair. When Toscanini appeared on Affiliated with a flrat claw Liberal Arts College. . Bachelor of Music the important music five couraea to degrees. Music by centers of Eu- the DegI CCS - Four ami year leading Pu-ulty stage, the audience began ap- Ma»ter of Music of Teachers. 8md fur catalogue or Inform* Jessie L. Gaynor rope. She ArtUt also gave two recitals in lion to: plauding. Miss Keller at once per- Piano, Piano Teacher Training, Voice, LITTLE SONGS Description and New York City, ALBERT RIEMEN SCHNEIDER. Dean. Berea. Ohio a few years ago. Miss ceived Violin, Organ, Cello, Harp, Composition, Illustrations the clapping and joined in.) FOR LITTLE PEOPLE by Walker possesses a flawless Public School Music technic “As to the Dorothy Gaynor niceties of nuancing and All the advantages of a large University. Special By Georgia B. Perry Blake and produces a large, beautiful tone phrasing, I have, dormitory, with 35 practice pianos for women From the celebrated alas, to accept the Concerts And Opera On The Air MILLIKIN I his book of songs has been given a warm wel- Songs on her chosen music students, pipe organs CONSERVATORY OF MUSIC oj the Child World instrument. Her re- 5 come bv all interested and sympathetic friends volumes interpretation of others, adding my DECATUR, ILLINOIS of Dorothy Gaynor Rlake has cital programs childhood. The songs are short enough to be Dorothy Gaynor contain the best in (Continued from Page 14) SUMMER SESSION—July 6 to Aug. 14 learned by the youngest selected for this book thirty own fancy to it. But I always singing child, they em- Blake guitar get the For bulletin address login music. Couraea leading to most attractive songs. literature, including body both commonplace and extraordinary ex- Ac- works of Bachelor of Music Degree. companying each are essential meaning of a Diploma and Certify periences of little clever "match-stick" the composition; Dean H. L. BUTLER children. There are songs for drawings classic and modern composers. cate in Piano. Voice. Violin, Organ. Public School home, school, which show- the rhythmic action for I church and social gatherings. know whether it is a dream, afternoon Room 3 5, College of Fine Arts Music Methods and Music Kindergarten Methods young people. Besides the rhythmic conscious- a trag- concerts of the Phil- be featured first; this will be fol- Cloth Bound. Price, $1.00 ness deveIoped the child thus is given edy, or Syracuse, N. Y. Bulletin sent jrte upon request } early a tossing-out of laughter. harmonic-Symphony training in music appreciation Other Women Guitarists Orchestra of lowed by Beethoven’s Coriolanus and and group activity “Music W. ST. CLARE MINTURN. Director work. Mothers, too, can use these rhythmic means much to me. It rests New York. Dimitri Mitropoulos, pantomimes Wagner’s Rienzi Overtures. Return- and songs with pre-school children Ida Presti, a resident after Revealing in of Paris, is me a day’s hard work, A New Book in Two Parts HEALTH SONGS the home Suggestions for use of the rhyth- and it regular conductor of the Minneapolis ing to Series B and D, the program mics with hailed as other songs in the original volumes another fine guitarist who gives me happy anticipations J^Wparagon of rhythmic counting By Jessie L. also are given. of the Symphony, will round out a five-week of the 23rd will Gaynor Complete texts, of course. has be divided between for given many recitals. A well harmonies I shall all rhythms RIVERDR1VE SCHOOL OF MUSIC and Dorothy Gaynor Blake Price, $1.25 some day hear as engagement with the concerts of Motion in Music and works by Schu- & ARTS known French critic PARAGON OF HARMONIZING 84 These eleven songs arc those listed under the says: “Ida Presti well as feel with my fingers. Riverside Drive above Some January 4th and 11th. In the pro- bert. applied to captioned classification in "Songs of is an astonishing Modern and most prodigious day—who knows?— New York City Child Life.” and published in an inex- how wonderful it gram of the 4th, Eugene List, the Rudolph Ringwall, associate con- I FOUR KINDS OF HARMONIZATIONS pensive paper-bound book for convenience DANCES AND GAMES guitar virtuoso. FREDERICK G. KOEHLER, Director and Gifted with an irre- will be if I find J for economy in distributing music turned into pianist, will Send explanatory circular Dormitories copies to children and FOR CHILDREN sistible be the soloist. Fritz ductor of the Cleveland Orchestra, parents. inclination for this color! I EFFA ELLIS PERFIELD wonderful feel that music should give Busch, \W Students may enter at any time. who has recently been heard opened the first of a twenty-week W 103 East Price, 2 5 cents Descriptive Text by instrument, 86th St. (Park Ave.) New York City she produces a brilliant us greater faith For catalogue and information address Susan Hoffman in this day of crisis as the leading Secretary Gilman sonority of conductor of the New series of concerts by that orchestra tone, has an extremely for the world. I Music by mean faith in the Opera Company in New York, will on December 6th. Ringwall also led COLLEGE OF MUSlc varied range of expression inner Jessie L. Gaynor and in- resources which God has be- lead the COMBS —Est. I8SS— program of 18th, Children’s comparable the and the orchestra in the broadcast of Complete musical education. Alviene Academy and Songs musicianship, and it stowed Preparatory Theatr Silhouettes by is upon all of us. That department for Eft. 1804 spiritual Serge Koussevitzky the 13th. children. Teachers’ training Opera. Drama.^ Dance.^ M an enchanting wields the baton This new series of or- courses leading Music. Study for: culture* tnrhlm By Jessie L. Gaynor Susanne Fennimore Tyndale experience to listen power alone to degrees and diplomas. or a r.reer, St**e. .Screen, natfni^n, can help us to endure on the 25th. Ridla Nci vTrk » to this artist.” chestral concerts emanating from Hit. 2290 (Phone) 1925 Chestnut St., Phlla- The Elephanr $0.50 A most complete and practical volume of and to hope 8g’S»S V^y .rWo'..~- mate- and to cling to our ideals There will One-a- Penny rial tor the kindergarten or primary grade Alice be three NBC Music Severance Hall in Cleveland, one of 30 teacher De Belleroche resides and desires, who appreciates the value of instructive in Eng- until the great darkness Appreciation The Tin Soldiers 50 play and land, programs, under the the most perfect acoustical audi- group activities. It contains complete where she is looked of the Twilight Song directions and music upon as a world rolls away direction ELLISON-WHITE 30 for 27 dances and games and we see of Dr. Walter Damrosch, toriums in the world, is a INCREASE YOUR that are interesting virtuoso guitarist. the Saturday What a Very Handy Thing a to youngsters. The illus- She has given light of peace Conservatory of trations are healing the na- during this Music INCOME! silhouettes in free-hand paper cut- month—on the 9th, 16th afternoon feature of the Columbia Monkey s Tail concerts in Must Be 40 ting. Belgium, Germany, tions. Music may Ariel Easily —Substantially —Pleasantly Eng- be a means, per- and 23rd. The broadcast of Rubstein, Director Price, the 9th Broadcasting System (time, 5 to 6 Take $2.00 land, and France, haps, of All Branches of Subscriptions for — and frequently helping to bring about this is divided Music—Outstanding Faculty between Series B (The P.M., EST). Courses leading to B. Mitt.. M. Mua. broadcasts from ultimate healing. and THE ETUDE MUSIC MAGAZINE London. Miss De For the wonderful Imaginative Side of Music) Artists Diplomas and D Artur Rodzinski, who assumed — Write for particulars — Belleroche was thing is that, 1539 E. a pupil of Andres no matter what lan- (Composers) N. 10TH AVE., PORTLAND, OREGON 1712 . The first part of the control of the orchestra on the 20th CHESTNUT ST. PHILADELPHIA PA- Segovia and Matilde guage we speak, we can Cuervas. Ma- all under- program will present the orchestral of December, was formerly associated tilde Cuervas, stand music. It is The John wife of the Spanish a bond of beauty, fairy tale, “Peter and the Wolf,” Church Co. stronger by with the Philadelphia Orchestra, as guitar virtuoso, and more enduring BOSTON UNIV. COLLEGE OF PHILADELPHIA THEODORE Emile Pujol, is an than Prokofieff, and the latter part will be assistant conductor; CONSERVATORY PRESSER CO., Distributors all discord.” and later he Thorough preparation artist of great devoted for careers I I C I ^ attainment. to music by Beethoven. In in music. B.Mus., M.Mus.Ed.IU..ULIO.LU. CtllU — OF 1712 She is * became the regular conductor of the A W V and w W MUSIC CHESTNUT STREET * * A«M. degrees, and diplomas. Voice. Plano. Organ PHILADELPHIA, PA. looked upon as the the Violin, Chartered by greatest exponent broadcast of the 16th, Series A Los Angeles Philharmonic Cello, Brass, Wind and_Percusslon instru- the ‘‘He who Orchestra. Public School Commonwealth of Penns; of the “Flamenco” combines the useful with (Instruments Mustc Thron- of style of of the Orchestra) and Under his direction Sffijjb- Musicology Composition. Church Music. 216 guitar the agreeable, the Cleveland Distinguished South 20th Str playing. carries off the prize.” C (Form faculty, including many Boston in Music), music for the Orchestra has h n ches a membcrs. Cultural opportu- Maria Ezerman —Horace. become one of the S?Mi? n f L?l i( Dr 66 oboe, »i«£f*°L®2fton ' Attractive dormitories. Catalog. English horn, and d **' Me5"r Managing Director bassoon will major orchestras ’ Dean - 53 Bla*den St., of this country. Stlss Boston. Courses leading to D THE ETUDE JANUARY, 1942 67 ) ; HHH9I Prize Winners for Schumann Music and Social Science Junior Club Outline Square Puzzle in October ( Continued Port- Assignment for January Class A, Constance Morton (Age 15), land, Oregon. in the Class B. Peggy Wood (Age 14), West this work, became interested History Keyboard Harmony used exten- Point. Virginia. recorder, an instrument Class C. Allegra Hess, Bareville, Pennsyl- of time, and we i. How is a major scale altered to sively in that period vania. Haydn follows Handel in the prog- (Special congratulations go to Peggy Wood form a minor scale? a recorder ensemble. musical history Refer to your formed for the beautiful way in which she ar- ress of fourth years j. Play the following pattern of tonic, During the third and ranged ner puzzle answers.) outline in the November Junior Etude subdominant, tonic, dominant and time is devoted to a study of the for details about Handel the tonic triads in at least six major musical objectives of the nineteenth a. When and where was Haydn born? keys without stumbling. and twentieth centuries and to the b. Haydn is often referred to as the Taking Part in Junior Music above outline assignments of the composers from Bee- “father of the symphony.” Why? The may works be completed by each member or they thoven to Debussy; and following this Club Programs c. How many symphonies did Haydn the works of many of the (Brize winner in Claim C) write? we discuss contemporary American composers. pro- d. He also wrote much chamber Taking part in Junior Music Club This most interesting and instruc- grams Is a lot of fun when we know our music. What is chamber music? pieces well. I belong to the Junior Music tive course, illustrated by these e. What great University conferred Club in our school, and I played J/Inert ii t O instruments gives a vital idea COE COLLEGE JUNIOR BAND. Cedar Rapids, Iowa last meeting. When we A. GEST upon Haydn the degree of Doctor strange by Beethoven at our (See letter these programs, we should Just feel of the evolution of music which can below) play on of music? that we are in a room by ourselves, and that be obtained by studying the sub- (Handel and Haydn wrote ora- not no one Is listening to us; then we will play Keyboard Harmony Pattern the printed page; and it well. That la what our teacher told ut to corios also; the study of this subject ject from Letter Box 7 he Challenge do, and we all played well. really enjoy develops a keen interest in music Wo will be included in a future outline.) may be divided Demi Junior Etude By Aletha M. Bonner hearing ourselves play, because we know we among the members this Music and Social Science among the students who take You should be here on Saturday mornings are playing our very best, and this is always of the class or club. Books for refer- to hear our hand the Those fine in Music and Social Science. make campus ring with old hymns we know and fun. course music! Some of our instruments are ence: “Standard History of Music” drums, love, Dorothy Glersc (Ago 11), St. Louis, Terms the above article is tambourines, triangles, melody bells, e, aototLect JJiinmcin ( The writer of small Missouri by Cooke; “What Every Junior Should marimbas, harmonicas, fluttalets. recorders, student in the Trier Township When voiced by human tongue, a New and various other rhythm instruments. I f. What is a double-sharp? Know about Music” by E. Gest and play Fling High School, Illinois, Mrs. Elizabeth the marimba. We meet every Saturday morn- out a challenge to each soul. In g. What is meant by core grazia? ing under the general our High School, the freshman played on a Japanese samisen, an in- “Keyboard Harmony for Juniors” by direction of the head To practice what is sung. Ayres Kidd, director.) of our Junior I’iano who finds h. What is a phrase? E. Gest. Department, though “Music Integration” writ- strument used in old Japan by the other teachers in the department and twenty ten on music students help to direct our hand. As his program card is somewhat geisha girls. This instrument has a So when I go to church and sing we have one hundred and fifty members, we bewildered at first; but the student soundbox consisting of two parch- are divided into small groups for practice, “My faith looks up to Thee,” then brought who is given this course soon realizes ment surfaces Musical Program Taking Part in Junior Music together. and uses three silk When we give programs wo wear white My soul will feel the hopeful prayer that it is not as bad as it threatened suits with strings. This is the instrument which While Club Programs C.O.E. in gold on our crimson Those words will bring to me. to most of Haydn’s composi- phony,” either sashes, and we have caps to match. I am be, and before very long he finds I attempted to reproduce for as solo or duet; Gypsy my tions are for the orchestra, (Prize winner in Class A) sending you a photograph of our band in cos- that he is really or string Rondo, solo or duet and hope you very fortunate in semester project. My copy is exact, arrangement; tume will have space to print it quartette, or other chamber In the large city of Los Angeles which Is in The Junior Etc he. We have lots of in being selected for this course. music Rondo from “Symphony No. 6”; Min- fun Composer-Instrument Puzzle except that the original was made of overflowing with talent, I form but a small our hand. groups, he also wrote many piano uetto The course is just what its name from “Symphony No. 1”; Finale part. Staying at home by myself and playing From your friend, By Aletha M. Bonner sonatas, some of which are not too from an Instrument for pleasure is all right, un- Joyce Sanborn implies, an integration of music with “Quartette in F”; or either of (Age 11), In the following names, the second less one wishes more earnestly to forge social science. The difficult to be included on your pro- the Haydn themes Iowa subject matter is from Symphonies ahead; therefore I believe a Junior Music letter reading down will give the gram. (No one player need play the as presented through demonstrations on found in “Miniature Duets from Club offers development to its members and name of a musical instrument. (An- whole sonata.) You gives them a chance forge strange instruments, and we can also include Master Symphonies” E. to ahead to better have no by Gest. Also Dear Junior Etude ; swers must give SUNSHINE STUDENTS some of advantage. composer’s name as “home work” to do; the following arrangements: include I am sending yon a picture of our music except, when in some recordings of Haydn Recently, I tried out for one of the fine well as Tottenville, N. Y. (See letter) club, which we call the "Sunshine Students.” the instrument) : the Andante from the “Surprise art clubs freshman year, some sort of a Sym- symphonies if possible. in our high school and was ad- We have bright red and gold for our colors. mitted. 1. A great composer who wrote project This club holds various socials which In tile picture, some ol’ us are wearing cos- connected with the course is tiking give the members a chance to appear be- tumes we wore in our costume playlet of many waltzes and nocturnes. 7 Part in Junior Music due at the end of each semester. fore an audience frequently, and thus gain “Cinderella.” At our meetings we read musi- cal stories, play musical games, have rhythm 2. A great composer who wrote Club Prog The beginning of the course deals and strings for convenience in car- In experience on the stage and before an audi- rams the sophomore drills ; and once a month year the course ence With the idea of always having some- we have a program. many operas. with the beginnings rying. Gold stars are given for perfect (Prize winner in Claim B) of music and its is integrated with thing ready to perform- history and Eng- play, we do not relax into ance. 3. The first name of the development in ancient To return to the study lazy and sloppy com- times, in course, the lish and deals with the development habits of playing. My piano From your friend, The music clubs in our school never need teacher always tells me to remember that poser of “Pinafore.” to ask for members, for combination with our ancient history subject matter of the second semester of country Eva G. Beaulieu, they are always dances and song forms, I have a message to give in my music; and 4. An American full of students who really enjoy working course. We learn how the is connected with the study Totten ville, .V Y. composer. complicated of the such as the ballad and the canon, to remember that God gives us these gifts in groups, who like to learn and recognize rhythms of our modern music had middle ages, and we learn about to bless others, making their lives happier beautiful music and prepare for engage- the which lead to the Elizabethan lyrics Playing the old instruments through our talents. ments where we may show their origin in the drum beat of evolution of the organ, part singing, and our prepara- left: A drum from madrigals. Some of us, because of Eleanor Waldron (Age 16), Los Angeles, tion. All of the groups are willing primitive Java The Junior Etude will to learn man; that the most popular musical notation and the different California Class A, fifteen to their parts Center: Ancient Greek Kithara ( Continued on next eight- nnd accept criticisms, knowing of our page) award three worth while instruments, the piano, is no Right: Javanese Anklung classes of minstrels. One of the boys Junior Etude een years of age; Class that willingness is the key to musical prizes each month for the progress. more than a development taking the course B, twelve to fifteen of the became very much ; Class most interesting and When the date of the Junior Music Club dulcimer used by the ancient interested in the organ Answers C, under twelve years. Mesopo- teak wood, while mine is as a result of to Schumann Square program rolls around no brighter laces made of oak original stories or essays Names can tamian cultures; how our present (teak this work, and built an organ of all of the prize be found than those who participate in the wood is more expensive and with on a given subject, and Contest eight-tone Puzzle: winners and their con- program, whether it is instrumental, solo scale was evolved from the difficult old parts he bought at a to obtain) . By junk deal- for or chorus. using an orig- 1. Zwickau; 2. June; correct answers to tributions Taking part In these programs ancient Greek system; er’s. He used 3. Clara; 4. Wieck; 5. will appear on and how the inal instrument a vacuum cleaner lour; b. piano; Is something that each student enjoys as a model, I was for 7. July; 8. Robert; 9. law; 10. puzzles. Contest is open to all boys and this page in future and simple _ issue of The looks forward to. five-tone scale pumping air Alexander; 11 . is found in able, with the aid into the reservoir! Bonn; 12. Saxony. girls under eighteen years of age. whether of a mechanical Etude. The thirty next best "contributors Anne Vasaturo many primitive countries to-day. (Age 14 ), saw in our school workshop, a Junior Club member or not. Contestants will be given a rating Pennsylvania In the to copy of honorable men- study of the Greek scale we the are grouped according to age shape very accurately. Attaching as follows : tion. discussed the Dorian mode, and the Honorable Mention parchment to the head of the for heard this scale played SUBJECT on an instru- instrument Upper picture: FOR THIS MONTH was the most difficult Schumann Square Puzzle .* ment of ancient Greece, Playing Honorable the kithara. thing as I had to the ancient Samisen Mention for October make it stick while ele JcnclraKiak: Martha Duval; Wanda This instrument ? , is the ancestor of it was Tw Johnson; lyfJen soaking wet. The bright col- “ Marjorie Ann Pettit; Patsy t to the (Concert Hssa ys.‘ our modern violin, p U its tone is harp- ; Norma Jean Billman; ored cover on the P, . Robert original is of em- rranicrurt;W All entries must be received at the Junior Etude Office, like Christine Czech; Elaine 1712 Chestnut Street Pl.il. 1 I t.- t, and its shape resembles the lyre Schwei- later than P n °* Jane Peck; Polly Halsted; bi oideied silk, while ger, Joyce January 22. Winners will appear in the Donna Jean mine is merely Harris; Richard Bonner; Marian AprU Usue Scott: Claire Stevens; except that it has ribs, or sides, ma Ruth Collins; Made- like a piece of rayon Alice Mary Judson; Russel Gray; leine Proctor; dress material pasted Anr, »i- CONTEST RULES Priscilla Johnson; Marian the violin, whereas the ““Marie Wienburg; Mc- lyre uses the on flat Lower picture: Frances Cartright; 1. Contributions must contain not over one Murtry; Ethel Frame; John cardboard. The samisen is ne McCray; hundred and fifty words Conway; Marv mandolin type of soundbox. A closer view of the u Anne Buttlesea; Patsy Jean Cook; Constance constructed so that Samisen r AngeIa Crozier; Virginia the handle Martln I Elaine Brown; Doris Holzer; As an is re- R„ta? ’T Dorothea Coddington; Alice illustration of the penta- movable ulse Tapperson; Allen Hohmeyer; man; Traut and the instrument may Arrfoii 3. Write on one Russel Donnelly; Adele Ethrinirton" tonic scale, we be Metcalf; Roberta Wood; Alma Black; side of paper only and do not nse a typewriter. heard several melodies r , 4. Do not have Anna Holt; Polly Grim; separated into head, handle, S a F etcher anyone copy your work lor you. Edith Hovie- Svd- pegs, Gr»v wlSht Reneker; 6. Entr.es Chester; Svivta Henry Grimm which do not meet these requirements Stainer; Gertrude will not be eligible for prices. Patterson: Bertie Foimnn- Eleanor Sutcliff; Edna Stackmeyer. ’ the etude JANUARY, 1 942 69 a — — sympathetic Practically all chorus in which careful and publication cash price of 40 cents, send games, and pep meetings. seventeen solo Symphonic Skeleton Scores al- limitations of when using these studies The sixteen numbers making^ up the attention was given to the The pi iced at your order now and a copy will be sent of the the ('OVER FOR THIS MONTH— one duet study for teacher and issued are attractively voices. Included in this vol- and ready upon publication. contends provide words for singing, and the young cover for this month is another photo- single copy of the Tschai- immediately pupil. 35 cents but a the Gloam- ume are many original compositions by of limited the familiar airs include In graphic subject by Mr. James Malley teacher has need for such a 4th may be ordered for a numerous adapta- Every kowsky ing, Men of Harlech, John Peel, Yankee Mr. Keating as well as Salem, Virginia, who provided the pho- come off the press, ANTHEM BOOK, for Choirs collection and wise ones will take ad- time before copies ADAM GEIBEL tions of well-known melodies. Among on our November cents Doodle, The Marine Hymn, and De tographic subject used the special price in advance special cash price of 25 of Mixed Voices—We here offer a collec- vantage of for the Camptown Races, among others. The in- the original works are: The Sunlight of 1941 Etude front cover. comprising thirteen of Adam Gei- of publication. 25 cents sent now will postpaid. tion the Lord, The Glorious Giver We Praise, Mr. Malley, who is a teacher of music, strumentation is for full band. reserve one copy of STUNTS FOR PIANO bel’s successful anthems which, hitherto, Copies of the various parts may be The Lord’s Prayer, The Lamp of His a church organist, and a piano condi- WALTZES, for in sheet form. to be sent postpaid as soon as publica- STRAUSS ALBUM OF have been available only the fine eye for ar- ordered adva“ce of publication at the Mercy, The Beatitudes, etc., and tioning expert, has a Vienna life ever field of Church * tion details are completed. Piano—The gaiety of Dr. Geibel’s fame in the works of tistic photography and the photograph special price of 20 cents each, the Piano- adaptations are from the the music of Johann Strauss Music was well deserved, as these an- appearing on this issue of The Etude pervades Conductor book, 30 cents, postage pre- Tschaikowsky, Beethoven, Dvorak, Si- its listeners with PART TWO, by fills the hearts of thems will prove, for his works were for suggesting that MY PIANO BOOK, Ada and belius, Grieg, Schubert, and others. seemed just right Pald - author’s lately issued laughter and joyousness ever in the mood of praise and worship. music may be a new joy for many in the Richter-This and A single copy of this fine collection much needed in this busy The anthems making up this collec- already successful My Piano Book, Part our special ad- New Year. piano student CHILDHOOD DAYS OF FAMOUS COMPOS- may be ordered now at which this is a natural succes- world. The tion have been selected so as to include One, to Lottie Ellsworth vance of publication cash price of 25 ability as well ERS— The Child Mozart, by sor, has met a definite need with its up- of average works for general use as well as for sea- 1942 CALENDARS—With defense priori- Coit Ruth Bampton Wonderfully cents, postpaid. Delivery will be made home pianist will Easter, and affecting to-date approach to piano study for as the sonal celebrations, such as ties and other things the pro- is “child wonder” as the as soon as the book comes from the this album gives a apropos the of materials, feel very little people. Now, in this forthcoming find Thanksgiving, and Christmas. Each an- curement we subject of this new pub- press. The sale is confined to the United rich store of selections them is of average difficulty and is es- fortunate indeed in being able to offer book, Mrs. Richter continues the same Possessions. delightful to lication, the first to be States and its any musical calendar subjects this year logical foundations laid in the first book. that are pecially adapted to the use of chorus incentive to the released in a new series at the nominal rate of 10 cents each or It follows Part One without break and play and it will be an choirs. Their keynote always is melodic since of books for those won- IN ROBOT I.AVI)—An Operetta for Men’s $1.00 a dozen. further prepares the pupil for serious student for further practice periods simplicity, marked with a notable sin- results from derful children in your Voices, in Two Acts by L. E. Ycnniniw—The There is a choice of five subjects this piano study in the more advanced grades. a feeling of achievement cerity of purpose. They readily fit into familiar home, studio or school late author of this operetta had a spe- year. You may request any one of these My Piano Book, Part Two, can be the successful rendition of the service and, in all, fill many needs. concert room—those musically cial gift for writing entertainments of subjects: “Handel and George 1 of taken up after work in the average first melodies—melodies heard on During the time when this book is minded youngsters who interest to amateur performers and England,” “Mozart and His Sister Before book. In grade, it lies at about one-and- stage and radio. being made ready, a single copy may be intelli- are askinS for that extra something and their audiences. This work was found Maria Theresa,” “Mozart at Vienna,” S. Stoughton one-half, and provides work involving Here is a chance for artistic, ordered at the advance of publication (Catalog No. 21320) ; and copy at our special advance of publica- will settle for nothing less than the among his manuscripts and its unusual “Beethoven and the Rusmnowsky Quar- Christ Triumphant “thumb under” passages, grace notes, gent playing of music of great value, cash price of 35 cents postpaid. Delivery by Harry Rowe Shel- tion cash price of 30 cents, postpaid. that tette,” and “Great Masters of Music.” volume are the beauti- “grown-up music” and its story plot and captivating music immediately ley (Catalog No. 35141). Especially suc- Prompt delivery upon publieation will triplets, arpeggios, and easy scale pas- included in this will be made as soon as the book is These pictures are framed in a calendar Vienna they have heard you play or mention. appealed to the publishers who believe cessful cantatas for mixed voices are: make the work available for early re- sages. There are also pieces of suitable ful Sounds from the Woods; On issued. mount, the framing sheet being a Valen- Interesting and captivating, indeed, are it will be eagerly accepted by men’s sing- The Message from the Cross (Lenten) hearsals. difficulty. Preliminary work in scale the Beautiful Blue Danube; Roses from cia green in an imitation leather finish. Artist’s Wine, Women, the many features of this story with ing organizations, college glee clubs, by Will C. MacFarlane; The Risen King playing is touched upon, and at the end the South; Life; CHILD’S back OWN BOOK OF GREAT MUSI- pictures, presented with a and high school boys’ choruses. The mount showing has an ap- by Alfred Wooler; of the book there and Song; and others. music and The Conquering STUNTS FOR PIANO, A Very First Exercise are general test ques- CIANS—SOUSA, by Thomas Tapper— in- proximate margin of Vs" all around the An complete understanding of children ex- There is nothing childish about the Christ by Lawrence Keating; and tions. The attractive drawings through- During the special advance of pub- Im- Hook, by Ada Richter—Countless teach- spiration to American youth is this true Valencia green sheet, and is made of empllfied on every page, musical content of the score even if the mortality by R. M. Stults. This latter is out will entertain the lication period the price is only 40 ers, who have learned that this author’s young student. “»*’*"•«»’ - . ... - darker green stock. life story of America’s great March The calendar pad also published for cents, postpaid for a single copy. Place Mozart, the boy who loved music even story does deal with a race of supermen Two-Part Treble materials for young people are musical While this work is in preparation, or- King.” in our Na- is in legible size figures. A cut-out flap Bom at the age of three, played the harpsi- such as are currently the awe and, shall Voices. gems that combine the ders for single copies are being received your order now, so you will be among in the framing sheet of the mount cov- tion’s Capital, he grew up his tunes” at the advance of publication cash price the first to obtain this new album. chord, and “made up own we say. Inspiration of the youth of to- ers the calendar soundest educational to be essentially an Amer- pad when not in use. soon after, is a fascinating subject for day. The cast of characters calls for but THE RESURRECTION MORN—/In Easter principles and up-to-the- of 25 cents postpaid. Delivery will be The musical picture subjects are rich ican, but because of his “composers,” Cantata for the Volunteer Choir— minute made immediately upon publication. CHAPEL MUSINGS—/In Album of Sacred young embryo “artists” or two female impersonations, and as these sepia prints. Text by teaching features association with the men six typical compositions ar- are ridiculously Elsie Duncan Yale, Music by Lawrence Kent- with the almost Compositions for the Piano, compiled by and the funny caricatures there These calendars are excellent for uncanny and women of all parts of ing-Music has long been considered Rob Roy Peery—Among the most popular ranged as easy piano compositions (for is no need for apprehension on the part teachers to use as Holiday or an touch of one who thor- SYMPHONIC SKELETON SCORES, A Lis- New Year’s the world, he developed an solos will afford an unfor- integral part of oughly tener's and successful volumes of piano music and duet) of prospective candidates for these lead- greeting remembrances to pupils, or the understands chil- Guide for Radio and Concert, by for international spirit. Thus gettable musical experience for them. ing worship service of the dren, will welcome news Violet Katzner. which we have been privileged to pub- roles. choirmasters or other music folk to use while his music is brimful Christian Church, that this lish are those containing music of a Just to know that two of the numbers In fact, the entire plot abounds in In their holiday greeting mailings. supplementary No. 7, Symphony No. 4 in F Minor appeals the people of Americanism it to that they may play in this volume were \ and no better type method dealing with basic Tschaikowsky religious and contemplative character. comedy situations. The music is excep- of all lands. before his of service could be technic, is now in preparation. Readers will be familiar with the several written by Mozart eighth tionally tuneful, not too difficult, but the LENTEN AND EASTER A universal boon for all persons inter- As Sousa’s music appeals to everyone MUSIC—With the birthday is refreshingly stimulating and found to commem- Strange as it seems, children actually ested in music volumes of this type which we published score includes four solos, three duets, a responsibilities of Christmas and —student, artist, and casual so the story of his life touches a re- New orate value of the musical experience is the resurrection of Christ than this will enjoy the short basic studies as listener alike in the past; Sunday Piano Music ($1.00), the quartet, and some dandy choruses. Year services now in retrospect, early —is something unique, to in all its readers. Writ- beautiful cantata. Tranquil sponding chord undeniable. It engenders the true they are presented in this book. Many say the least, Hours ($1.25), Reverie Album Eleven principals are required and there attention to musical needs for the com- but embodied in this series ten well in a clear, concise form; printed spirit of Easter, one of joy, peace, and youngsters usually balk ($1.00), Piano Voluntaries ($1.00), Sac- Many of the innumerable educational should be a fairly large chorus. ing Lenten and Easter Season, at this phase of is just that type of publication. Here is Febru- divine clearly on sturdy paper this makes in- promise, and the nature of the piano study but few can resist the “fun” something red Music for Piano Solo ($1.00), and and program possibilities are outlined in The costuming and scenery will be ary 25th to April 5th, would seem wise. no one interested in good teresting and readable material for both text and music makes it Classics particularly of playing such for the Church . the form of suggestion concerning its numbers Pianist . , comparatively The many services throughout this as Mrs. Richter music can afford to overlook. ($1.00). . , inexpensive and the per- part suitable boys and girls. Added interest is pre- for an Easter sunrise service. includes in this book as STRETCH Students Hence we feel confident that this new usage by young people of various ages, formance time will take the of the Church Year make heavy de- in colleges or conservatories sented by the personal” touch which up better This cantata is composed of YOURSELF, collection of Included are correlative listings mands, not only upon the fourteen RELAY RACE, BROAD will find in this series a sacred piano music will be of avail- part of an evening’s entertainment. musicians type of sup- every little owner may give to his own numbers. These include six JUMP, CLIMBING welcomed not only able recordings for the listening themselves, but upon the choir library choruses, A POLE, RUNNING plementary score for which they have by the many church pro- In advance of publication single solos for soprano, ON pianists book by writing his personal version of as well. Suitable music must be alto, tenor, and bari- TIPTOES, and POLE VAULTING. long felt the need and high of the country who need music gram and also complete directions for copies only of In Robot in read- school mu- the story on the blank pages left for Land may be tone, a duet for The numbers are cleverly for service dramatizing iness always and, again alto and tenor, a trio illustrated by sicians can now, for playing but also by those the story of youn Mozart . ordered at the special we suggest, the the first time, delve that purpose. Too, the child introductory cash for women’s “matchstick” drawings. music lovers has a part xhis latter earlier the preparation the better the voices, a mixed quartet, a So enjoyable into the mysteries of symphonic form, who appreciate fine music feature ^ especially useful price, 40 cents, postpaid. Advance or- will be the musical suitable in the compilation of the book by placing rendition. hymn for the congregation, and several experience of pupils working from a to the Sabbath. for recital and classroom presentation. ders will be delivered “melody line score” that “cut-out” pictures in the designated when the book is scriptural with this book that they will never The contents of this If ordered in Famed everywhere for its complete readings, one with musical real- they can understand and afford. The volume does not now, advance of publica- issued. ize that they are learning duplicate places in the story, and binding his book stock and unexcelled service, the Mail accompaniment. The music has pur- to “extend same opportunity also may be enjoyed anything in our other piano tion, a single copy of The Child Mozart their fingers over books. with the heavy silk cord and needle in- Order Department of the Theodore posely been kept within one octave,” run by concert goers, Nor are these numbers available will be forwarded to you as soon as it is the scope of the listeners to radio and book. THE SINGER’S HANDBOOK, by Lazar S. “scales divided between the in piano collections cluded with each Presser Co. is at your service in the mat- average volunteer choir and hands,” play recorded music as well as other music published elsewhere, ready, for the cash postpaid price of 20 Samoiloff Dr. should pre- “keyboard Fine for awards and remembrances, Samoiloff is known and ter of helping you with leaps,” and execute “staccato since the contents is confined cents. your plans. Your sent no difficulties in execution. patrons who have not had a formal ed- exclusively recognized the world over as The and legato phrasing,” to this book may be used in private teach- a leading special needs stated to us will promptly time of “thumb under ucation in this compositions copyrighted by this performance is about fifty min- field, and well-trained authority on voice and voice teaching, bring you passages and “pedaling.” company an “On Approval” assortment, utes. Place your A maximum musicians are sure to the and not available to other pub- LAWRENCE KEATING'S JUNIOR CHOIR order now for a single of appreciate 2L knows and has JSSff and the list of his pupils, some of from w'hich your choices can pleasure and results may be expected lishers. Practically every who used the previous whom be made. time saved by using these melodic scores number in the BOOK—During the past few years the became members of the Vocal Solos, Duets, book has been booklets in this series will be eagerly Metropolitan Anthems, Cantatas, for a quick review of material already newly arranged or com- junior choir has assumed a position of looking forward to this release. and Chicago Opera Companies, bears and Organ Music, posed new Here f . , as well as publica- studied in detail. especially for this volume. great importance in the musical ._ , , program‘ _ fine opportunity fore A, evidence of his ability. He has been tions in other classifications, are avail- Composers represented is a those who have an -Advance This new Score (No. 7) No. are among the of the Christian Church> and t£er(f Pultication , Symphony ha active vocal able under of Offers leading never used the Childs Own Book of teacher for many years in this plan, and we urge your 4 in F contemporary writers of this lately been Minor, by Tschaikowsky, now in a marked increase in the New York and Los Angeles early response to this suggestion. country. The titles Great Musicians series to become ac- and has held JANUARY 1942 preparation, will have the same fea- are indicative of the number of these groups in this country. quainted. The biographies of 20 Master Classes in many of the large Some excellent Easter solos are: The ° he boobs tures religious character of the music, famous f n tbis list «re in preparation of the other six issued thus far. and increased de~ music centers t" , for Publication The are musicians already are available of the United Voice Trumphant by R. M. Stults (High J J As has been appropriate to the church or Sunday in this mancTfnr^ States, it mentioned before, the com- ™ f°r Unior c*oir is Voice, series, for 20 cents a copy. now his intention to present Catalog No. 4715; Low Voice, Cat- DeliverTTpoJaZ) Zill plete school service. Among A special ad- to the *£ZaTtohenZe bool" melodic line is extracted from the them are On PP5 pi esent Jl!lls excellent alog No. Paragraphs describing Mount vance of publication, postpaid, cash musical world a volume containing 5202); Come, See the Place each publication appear full score. Olive, In Remembrance, Canti- price the on thtZ This is lined up on the several boQk fruits Where Jesus Lay by tales' lene, of 10 cents a single copy is of his many years of rich Paul Ambrose (Med. Adam Geibel Anthem Book pages of Faith, Prayer, Moonlight Over now granted , , experi- 35 Let’s Cheer-Band the book in a manner that S6 Wh f ndlar Wlth Voice, Catalog No. 18665) Book. . Fulton-Chenette Nazareth, on “advance orders” for the Sousa book- ° Mr- ence. ; and Songs of clearly March of the Shepherds, f r Chapel Musings— For Piano Band Books, Each shows the analysis along the left Sab- w° SU rZ Joy by William Hodson Peery .20 bath let, delivery to be made as soon The author discusses in (High Voice, Piano Sunrise, Aubade, as the . ^T4 ?ff a simple Conductor .30 hand margin where all important sec- and Vesper Prayer, of Glory;mZ. While Catalog Childhood Days of Famous My Piano Book. to Shepherds Watched; lucid No. 27101). Outstanding mixed Composers— Part Two... Rich... mention book is published. manner the basic principles Moiort The Resurrection .25 tions, phrases, periods, a few. There will be selec- of Coit-Bampton .20 Morn-Easter' etc., begin. and The Monarch Divine, voice anthems for the Lenten and Easter Cantata rons suitable no further good singing, including his Keating Throughout, and adjacent to the music for preludes, offertories, famous Bel Child's yl r. . .30 recommendation of this new book Is season are: My Redeemer Own Book of Great ' S'"9* r and Canto method, and My Lord Musicians— ‘ Handbook itself, postludes; morning evening and deals extensively S ° usa Samoiloff 1.25 the instrument or instruments or serv- LETS CHEER! BAND BOOK, by Fulton- by Tapper .10 ice; necessary other than to say that Dudley Buck (Catalog No. 35057); Pl0n° and some the with the problems that face Richter .25 featured are indicated. seasonal compositions for Chenette—Here is truly a “singing the serious In Robot Land— Straussl ;iu Additional points band composer has maintained Why Seek Ye the Living Among the Men's Operetta Album of Walhes-For Christmas his usual high student of voice, such Piano.... .40 of value are the foreword and Easter. book with which members of as: selecting the Dead? Yeamans .40 Symphon.c Skeleton on symphonic the band standard of excellence by Charles H. Maskell (Catalog Scores—Keener Every pianist and has shown right teacher, tone Lawrence No. 7-Symphony No. form in general, the and teacher will want or bleachentes may sing production, musician- No. Keating's Junior Choir Book... 4 in F Minor diagrammed form familiar tunes himself an expert in 21283) ; Break Forth .25 to his choice and into Joy by R. of the secure this promising book. prep- ship, foreign languages, Tschaikowsky .25 specific work and the splendid To be as- to the accompaniment of the band. It aration vocalises, pro- sured of of material. The book contains gram picture of the a copy at our low advance of is unexcelled making, auditions, speaking 70 Advertisement composer. for football or basketball about forty numbers etc for two-part Also included is a carefully Advertisement selected list THE ETUDE JANUARY, 1942 71 . — d of songs for every type of voice. the New Year This book deserves an important place Friendship and THE SUCCESSFUL RESULT OF AN EARNEST on the library shelf of everyone inter- BERNARD WAGNESS ested in singing, and should be ordered {Continued from Page 5) now at our special advance of publica- EFFORT TO PROVIDE FOR YOUNG PIANO BE- tion cash price of $1.25, postpaid. language, music, will aid a jitterbug palace. But that is no tional enormously in bringing about friend- ADVANCE OF PUBLICATION OFFER more. The girls have learned the use- trash. Now I hear ship, we urge musicians everywhere WITHDRAWN—The publication of an lessness of musical GINNERS A COURSE WHICH WOULD MEET WAGNESS it as never before. , ERNAR0 album of piano music suitable for play- them playing Bach, Chopin, Brahms, to employ We have known of many instances ing in church or in the home always is Wonlt Debussy, and de Falla. They bring welcomed by Etude readers. Classics for back records of the greatest singers, where friendships born of music have THE MODERN DEMAND FOR ATTRACTIVE MATERIALS the Church Pianist ($1.00), Reverie Al- instrumentalists, and orchestras. been of great practical, personal bum ($1.00), Sunday Piano Music ($1.00) From this has come a kind of collec- value. We have repeatedly seen young Piano Voluntaries ($1.00), and other tive interest and friendship which men and young women of fine musi- BASIC similar publications of Theodore Presser “EVERY PACE A ‘BUY’ ” AND RAPID PROGRESS AND YET PROVIDE THE amounts to a social revolution in the cal accomplishments secure introduc- Co. are in great demand. This month That is the way one of our enthusiastic readers wrote about a recent issue of THE cultural activity of the undergrad- tions to personages of high position the publishers are issuing a new book ETUDE. The February 1942 ETUDE lives up to this high standard. and thereby receive promotions in of sacred piano music, Concert Trans- uate body, which is a genuine delight MUSICIANSHIP AND TECHNIC EVERY PUPIL NEEDS. criptions of Favorite Hymns, that gives to educators. Of course, on high days life which without their musical abil- promise of being equally successful. As and holidays, and at dances and fes- ity might have been altogether un- is the publishers’ policy when offering, tivities, they break loose with the likely. We know one man in particu- in these "notes,” works in advance of popular music of the day, which is as lar who started life as a very poor publication, this will serve as a with- it should be. But, you cannot induce boy. He went into business, but found drawal notice of the special advance them to waste their time with the time to become a very acceptable price. Copies of the book may be ob- pianist. interested ernura l/l/aane55 tained from your local dealer, old-fashioned trashy music at other This a music- JWc, or from BEP.NAB.DBBWAGMESS the publishers. times. Just what has been responsi- loving millionaire in his chosen busi- ble for this I do not know. I suppose ness, and to-day that man has be- P I A Pvl € S CONCERT TRANSCRIPTIONS OF FAVOR. that the streamlined bands and the come a powerful influence for good, PIANO COURSE IT E HYMNS, for Piano, by Clarence Kolil- fine radio hours have played their an enormously wealthy man, and a Piano -So/od - fOiiuedt ^efaaxataly mann is an album containing a fine selec- part, but I do know from talks with British baronet. IllNUUI IN I HU'S I INI! • \l IILAIITIVI tion of the most frequently sung hymns, other college presidents, that the What is the world’s great need, arranged by a gifted composer, a skilful Preparatory Book Book One movement is nation-wide. It bespeaks now and always? Behold, with arranger, and one of our outstanding per- (Oblong Shape 12 ’A” x 9’/,") (Oblong Shape) formers of church music. He is the fine balance and good sense and speechless shame, the clamor of the IN the or- Provides the Type of First Lessons THIS SERIES THERE ARE EXCELLENT ganist of the great tabernacle at Ocean consciousness of the beautiful which war-torn lands, with the pounding A First Grade Book ior Beginners TEACHINC PIECES Beginners oi Pre-School Require SELECTED AND Grove, N. J. Although not Age as difficult as we have always known that our of guns, the roar of bombs, the drone PRICE. $1.00 RECOMMENDED BY MR. WACNESS the composer’s well-known transcriptions PRICE, 50 CENTS ETHEL BARRYMORE young women possessed, but which of airplanes, the shrieks of tortured of Silent Night (40c), and Deep River This book may be used to follow the Preparatory Book, was eclipsed by a peculiar mania for and terror-stricken people! Its new, logical, and practical procedures lead to real Put be- or as a very first instructor with the average-age piano Your Dealer or the Publishers Will Be Ola (35c) , these arrangements will prove ridiculous license achievements with very young beginners. The tactile, aural, that beset our na- side this the concept of a symphony beginner. It contains the most complete presentation of to Charge, equally fascinating and music lovers ob- ADVENTURES IN MUSIC mental, visual, and rhythmic faculties are co-ordinated in Give You, Without a Thematic tion for nearly a decade. Best of all, of the nations reading cards covering three octaves, exceptional rhythmic taining a copy of this new book will be Ethel Barrymore, looked upon by thou- in which cooperation, synchronous use through phrasewise reading. A most help- Catalog Showing Portions of These Places. sands as America’s foremost stage star, however, is the drills, perfect treatment of keyboard harmony funda- more than pleased with the many fine promotion of groups understanding and human love are ful preliminary book to any piano course or method, it Is also an exceptionally fine musician. mentals, car training, and technic, combined with interest- pieces it of friends brought together will serve the veriest beginning needs in private or class presents. Price 75 cents. by the in- mingled to take the place of Title Grade Compoier I In this very spirited article she tells, in the hor- ing musical pieces to play. It first Key piano instruction. makes piano playing a most attractive comparable way, of her adven- charm of music.” rors of a ghastly state of wholesale efforts a delighting experience. At the Barn Dance (2) (G) Wagness CHANGES OF ADDRESS—When changing tures in music. The deep concern of all thoughtful murder. Imagine for an instant what At the Derby (2) (A minor) Northrop address, be sure to advise us at least four men reaches, at this Band Concert at the Fair (G) Langlow moment, far be- would happen if some great all- Book Two (154) weeks in advance, giving both old and AT HOME WITH PADEREWSKI yond the charnal house in the war- governing force Beautiful Dreamer (2) (D) Wagness new addresses. This will prevent copies might turn every PRICE, $1.00 Book Three Francis Rogers, one of the foremost of Castilian Dance (2) (F) Novarro going ring world. Think as you will, as long man now fighting astray. The Post Office Department American teachers of singing, was an into a member of a Progress, a paramount aim in this book, is achieved as PRICE. Cello, The (l'/2 ) (D) Wagness intimate friend of as you will, and as tensely $1.00 will not forward magazines if they Paderewski. When as you will, grand chorus of harmony, rapidly as is logically consistent with proper technical sup- are joy, and Dark Eyes (2) (D minor) Wagness Paderewski was at the height of his port, undeliverable at the first and you will find that good ear discernment, and basic musicianship. Sup- Materials selected Foster address given. career, Mr. your mind friendship. Civilization cannot go on from and other popular writers Davey Jones and Pirates and Mrs. Rogers spent some plementary the turns back pieces supply the pupil with a first recital reper- of folklore songs, combined with the classics, time with the master at his home in again and again to world fighting and selected minor) survive. Somehow this toire of a (2) (G Franklin HOLIDAY RUSH MAIL IS STILL Switzerland. Mr. Rogers commendable character. These pieces “match etudes, and original compositions, make this a most inter- ON— now gives a understanding, world friendship, hu- Elfin Frolic (F) vivid picture priceless international harmony must up” and progress in the right sequence with the principles (2) Wagness Some Etudes may be a little late in ar- of the great virtuoso and esting book for the student of this grade. Presents all major man brotherly love, Flying on the Clipper Ship humanist. as exemplified in be obtained of keyboard harmony made clear in the moving along of and tonic (2 54 ) (C) Hastings riving owing to post-holiday mail busi- through ourselves as a minor scales and revolutionary methods of chord the Sermon on the Mount, lesson materials. Technic needs are developed Hail King and the Snow Queen, The ness. Bear with us as the fun- heritage for our successors. Let that through analysis. Copious illustrations of pianisdc problems involv- during this period. copiously THE FASCINATINC damental basis for illustrated principles. ing the arm, hand, and fingers. (2) (A minor) Adler If a copy does not reach you within two ART OF lasting peace. be your dominating thought for 1942. Hobgoblin, . . . PRACTICING Friendship is The (1) (A minor) Wagness weeks after the date of publication (the impossible without un- May your New Year be filled with Home on the Range Wagness first of the month) Anddr Foldes, Hungarian piano virtu- derstanding. Emerson, in , send us a post card his ‘‘Con- the splendid oso and head of the Piano Department blessings of friendship. SUPPLEMENTARY MATERIALS Hunting Song, The (2) (F) Wagness and we will gladly duplicate. duct of Life” writes, “ Second of the University of Utah, has been ’Tis a French There is no possible Hymn to the Sun (F) class way in which it (2) Pelham mail is always subject to some de- heard by millions on his definition of Friendship, THE ENSEMBLE many broad- vien que may be BOOK SECOND YEAR ETUDES THIRD YEAR In a Starlit Garden (E-flat) lay in casts of made happier. There are ETUDES (3) Federer December and January, but all piano concertos with Mr Erno By Bernard s’entendre — good understanding.” WagnesB By Bernard Wagness In Old Vienna (F) Rape£ 's brilliant Radio City friends waiting for By Bernard Wagness (2) Wagness copies should be delivered by the 15th Music Hall you everywhere. orchestra. He has Because we feel that Price, 75 cents In the Sultan's Palace of surprised us with a the interna- Let your Price, 75 cents Price, 75 cents (2/) (A minor) Nason each month. Tire Circulation Depart- very penetrating music find them out for you. "tell how” article This book provides Duet and Second Indian Rain Dance (1) (A minor) Stoctyridgc ment is here to Musical studies to supplement the pupil’s A collection of remarkably good supple- give you good service. If upon practicing. You will find that Piano parts for pieces in Book One of work in Book Two or in any second mentary material in Grade Three and Jcanie with the Light Brown Hair there is the your practicing is certain to the Bernard Wagness Piano Course. It slightest cause for com- improve grade early Grade Four. The thirrv-three after reading was published in response to an insistent method. Designed to bring out (2) (F) plaint, do not it if you put his sugges- studies include works by Wagness hesitate to advise us. demand from many teachers soecial points, it introduces some ot Mr. Czerny, Heller, tions to use. regularly Burgmuller, Litde Brook A-Murmuring Loeschhorn, Lemoine, Le (2) (C) . . Piaget New using this course in first piano instruc- Wagness’ most imaginative and benefi- Records of Great tion. CouDDey. etc., along with those supplied Magic Forest CAUTION: Music These Secondo and Second Piano cial writing, and is generously annotated (3) (E-flat) Wagness FRAUD MAGAZINE by Mr. Wagness to meet special AGENTS parts can be played by the teacher, throughout. needs. HOW TO TRANSPOSE par- Too, there are studies se- Invaluable March of Victory (1) (F) Wagness ARE A IIOUT—We wish to AND ( Continued ent, or a slightly hints for practice are given caution all from Page 56) more advanced pupil. lected from standard educational works. MODULATE throughout. Orchard In Bloom, An (l'/j) (C) magazine subscribers to exercise every Davis Another helpful and Ping Pong (1) (F) care in placing subscriptions for elucidating article Thorborg Parnell maga- by Miss Helen Dallam, voices these songs with TECHNIC zines with whose practical contrived but not important music FUNDAMENTALS EIGHT CHORDAL Plantation Serenade (2) (C) Wagness strangers. Pay no money un- ideas have definitely admirable ATTACKS helped many to restraint and tonal nuance.’ Sandman’s Song, less you are have a from one of Moussorgsky’s lesser By Bernard Wagness By Bernard The (2) (F) Bruce convinced of the responsi- clearer insight into the myster- The facile Price, 40 cents Wagness Price, 75 cents ies of charm and poetic Sea Chantey, (A-ftat) bility of the harmony and its suavity known operas. The most useful Mr. Wagness here A (2) Wagness canvasser. Read any contract application to and successful work of its kind to be intro- provides an illuminating work on the vari- practical music study. of the songs seem r ous attacks employed Shadows in the offered to suit her. m ccnt V«rs. It is copiously illustrated in chord playing. Each phase of Water (1) (C) Fleming you carefully. Permit no changes Those Evening Bells (Elegy); , f with photo- this and The grapns Of the important adjunct is individually author’s hand ’’in action”, and is discussed and photographi- Shadows of the Night to be made in that Recommended: recommended cally illustrated. (3) (C) Podes^a contract. If you are Dvolak: Slavonic Snow Has Blown SIOr Practice material for each is Over Russia (Popular n Ihe first year's work as soon as the student also included Singing in nashas dev„i V , along with recital pieces composed Hands, Singing Heart doubt, take the name Dances Nos. 1 and developed an adequate reading especially to clarify the and address 3; Dimitri Mitro- Russian Ballad) ahility. points at nand. * ; sung by General (lkf) (C) of the canvasser, as Wagness well as the name of poulos and the Platoff lu5 Minneapolis Sym- Don Cossack Chorus (Victor Singing Wavelets (E-flat) the company for which he works, send phony (3) Harding F Orchestra (Columbia disc 18236) Sleeping the disc . Russian choral music ef- Waters (314) (F) Mamville full amount to us and we will see 11645-D) . Excellently recorded fectively Song from the Deep, A that he receives credit for the ver- rendered. Counod: Faust (154) (G) Wagness order. We sions of wish to The usual polished Salut, Wid a Banjo on My Knee (2) (D) Bradford protect you but cannot be re- delightful music section performances. demeure; and Flotow; Martha sponsible with a variety of new Moussorgsky: Khovantchina Wooden Soldiers in the Haunted Forest for unauthorized men or women and standard — Persian M’appari; sung by Jussi Bloerling selections for Dances; ( 1 54 (C) collecting for subscriptions all music lovers. Howard Barlow ) Nason to The Etude and the Co- (tenor) with Orchestra (Victor disc Music Magazine. lumbia Broadcasting Oliver Symphony (Co- 13790) . The Swedish tenor well do. sings lumbia disc 17286-D) . Effectively without exaggeration. THEODORS PRESSER CO., Distributors, 1712 Chestnut St., PHILA., PA. THE ETUDE PRINTED I M THE U. S. A. BY THE CUN EO PRESS. INC . PHILCO THE MODERN No needles RADIO-PHONOGRAPH... to change! Records last ten times longer! New beauty of tone! Absolute fidelity of pitch! No annoying needle scratch! Convenient Tilt-Front cabinet Simple, r gentle, reliable record changer ecorded music, today, is a new and greater bothersome steel needle, with the annoying surface R thrill, thanks toiu thewic minventiveveil Live genius or plus Frequency of Philcornilco noise and expensivecApcusive Modulation at new low cost! engineers! The recordrecora wear ofot the ordinary these modern radio-phonograph is a are the marks of the modern phonograph. They have released hidden radio-phonogr Philco . beauties in . . with Music on a . . . anti they are Beam of Light, the yoqr records, brought yours only in a Philco' Philco Automatic you new convenience of Record Changer with Strobo- operation, new grace and beauty in scope Control, the Tilt-Front Cabinet. cabinet design, These sen- in addition, exclusive sational developments radio developments bring have done away with the you glorious tone and“ ,,u U nC < lati0n ' ,tan ‘ amazing br0ad< ' penormanceperformance . . a Exclusive . S^tem ^hi^o H R Philco RADIOS, RADIO-PHONOGRAPHS, PORTABLES, AUTO ^ RADIOS from $14-95 1 $* 55 Q Z • 1. * ° °‘ SEE AND HEAR THEM TOD/ ” ject 10 change u i,houl prices slightly higher Denser and HItaly, to fine records—Kreisler’s this patronage. Mary’s of 1942. We of The Etude and success changed her ideas and her months nations of the world were and Schumann-Heink’s and other dreams achievements tell the real story. Honors That is, most of the warring artists—Mary completely. She such as and its associated companies, value the began to listen to her voice, she Presser Company, brilliant young formed the opinion that the most wonderful has received are due practically to her The Director, Lewis Vyner, a thing realizing that people own know that it is only represented. in the world would might be right, and that ability. friendship of every reader because we be to play the violin, to play what the see why you are asking this question. director had said was true; there success of The Amercian, said, “I it as superbly as did Fritz Kreisler. were During her years of through these friendships that the wide One night she not many fine study at the Cleveland people are fighting decided con- While the relatives of all these young to find a way to get a violin so that she Etude has been possible. The main source of circulation tralto voices. Dreams are playing together with could learn to play too. of mouth” and killing each other, here they of violin playing, at building in The Etude has always been “word She was sturdily built. In only have a world symphony in a red wagon, she least concert-violin friends have been subscribers delight. Oh if we could often cruised up advertising. Some of our and down Thayer Street in playing, would play together in profitable unity faded and was issued, and they which the nations Akron, Ohio, where she lived. And since 1883, when the first Etude for some rea- grew hazy. Then came young people, starting out in life son, strength and the they have and friendship! These red wagon suggested to her point with pride to a collection of Etudes which dreams of singing art with the highest ideas, mind establishing an ice route, with a common interest in an although there operatic roles. been making for the fifty-eight years. Imagine ! Fifty-eight was no precedent for will last a lifetime. such action on the part of r are making friendships which As high years ! you wonder that we hardly know how to answer a girl. Supplying school days Do nearby homes with ice, Mary several millions of people who, drew to a close, There are, in our country, figured, would be a good Mary letters coming from friends and patrons for such a length way to earn some money; and teachers in and the only thought, as every high youths thanks to the labors of our music teachers way of getting a violin just then was of time? We usually assure them that thousands of to earn school senior does, have a practical knowledge of one herself. the world over are carrying on The Etude enthusiasm the public school system, Ice about what she would proved to be heavier than is growing amazingly every day. The she had sup- did in past years. all, then, young and old, we music. The interest posed. However, do after graduation. as they To having obtained customers by musicians never dreamed She had no money shout as loud and as gladly as print can shout, “Happy very things that American piomising expert service, Mary for was not to be is recognized at the thwarted by what further education; Year!” could happen are now realized. Music at the outset seemed to be an New insuperable whatever she accom- public morale. The music busi- obstacle. After a bit of Literally millions of fine friendships have sprung from moment as a vital part of persuasion, plished from the man at the ice house now on greatest cut those fifty pound the widespread interest in music, the world language. It ness in many of its branches is knowing the pieces in two; then must be, as her violin she was able to manage the expansion in years. deliveries. That summer had been, the result has brought innu- lingers in her memory great depart- as a particularly hot of her own endeavors. merable groups of One one—one in which she did a lot of perspiring. Many of her friends ment store in the But in spite of heat and effort people together in she delivered could plan whatever the goods. inspiring profit- East, which has vocation they wished always done a A New Business Venture and their funds were able comradeship Before she had adequate to meet that could hardly splendid business money enough for her violin however, cold weather those plans. But her pianos, reports came and the ice business have come from in dwindled. Some other future was a problem. scheme was necessary. She any other manner. that its sales in decided that selling newspapers Her singing teacher, would be an all- August were the season business which the man who MARY Can you think of would rapidly increase her had VAN KIRK savings. liked e sold »ce and This work proved her voice so newspapers to anything that the greatest in ten easier; but help ge , „ ound her feet much musical lraining the route long and wearisome. To that he had world needs more years. The whole her lighten labors, Mary sang at e S SS ble her tasks, earning for P f°r h6r 0n a scholarship at the beginning of piano manufactur- herself the nickname S'oasis, feltfeit ^lsure hen V “Sunny Mary.” And cus- knew the only logical tomers foz answer Church as con- the epochal year, ing industry has must have liked her a girl with such a f lusty song as well as talent as hers, and that her service, for was a career was at Chautauqua appearance than friendship to made gains of five Christmas Eve found her of song. Why not, he where rXrn- suggested Messiah” £ 938; She sang “ The red 011 with the Chll’ti the infer- wagon heaped with their a VOiCe Scholarship displace and six hundred gifts. She ? at chestra Or- “aTalso returned on that Oberli^College? under momentous nieht thTdSS ’T , nal enormity of the per cent in the last e "’‘" Prior to that rt StoesseL e mMe *»' ChristmS . engagement she ;^ ianth„?„'rone. "S‘ appeare world-wide en- five years. In fact, money enough at A Career Begins operas there. During d in last to buy her violin the ^° Gd the h With Mary, has been a SUmmers she mity, in which so the ill-advised °UrS ° f persistent competitions seem to be student at the f the work and synoymous °pera sch ool SaturdayS^urdav morning C e an<1 Berkshire Festivals at the nations are lessons. She endured the her *»* Her ere many know-it-alis, who Srlln1 oK; r. in the fall opportunity came ’ and from there of 1940 > after when now submerged ? she two years the only a few years went to Cleveland to eastern Ohio “ North ' study for four years at Metropolitan^rf° “f faith, the Cleveland the Air, Pera Audit ions Without ago claimed that Institute of Music under and won wuw of vileg; W °hi°aPS freedom and both the of gol?to ’ the piano and to be admitted to Sundayf ^Ymkt Ppear THE JOY OF MUSIC the high afternoon on the friendship, the MAKING school orchoLiTshe Auditions 2 hi the phonograph A ' m the semi-finals « She sang This picture of the splendid National Youth Administration Orchestra ol Philadelphia, and later a/fh world becomes a had passed into ob- .Van KirkBrh under the brilliant Lewis Vyner. portrays on the faces of these pupils of celebrated master w« „„e of chaos of conflict, presented Zle teachers the beginnings of friendships that last a lifetime. livion, now appear k a “ for i ‘bonaond and humanity plaque, “d a M in a very absurd Metropolitan Opera contract. ColpaTy passes from one war to another. Well might Aristotle say, light, as do those who thought that jazz and swing music “Without friends, no one would choose to live if ' ana even he would forever eclipse good music. OI the Mr The Magic ’ 1 = her .S ment,” as r amaze - Portals Open had all other goods.” she phrases it ih! The president of a large college for women in the South wasas Erda*Erda’s th< finalnal aud Your editor, after speaking at a metropolitan broadcast, recently told us that he always used to dread the wamilglll/n^lwarning to audition,ition. coming Wo tail frf ° ;L? “Siegfried,” Mary m WOner’s opera in which some one hundred young Americans were engaged of the fall season when the girls omrn , brought back their music by the Ranney the very excitinge tta MetropolitanMetrouolitJ rJ i * to go to in presenting a magnificent symphonic program, OpTa Hols? * inquired, and their phonographs, and “made the campus sound like the an? to elevator by whichn be shown ( Continuedf on Continued on Page 72 Page 67 )