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October 1930) James Francis Cooke Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 10-1-1930 Volume 48, Number 10 (October 1930) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 48, Number 10 (October 1930)." , (1930). https://digitalcommons.gardner-webb.edu/etude/783 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]. Special Issue: THE MUSIC AND MUSICIANS OF HUNGARY upon their dawning little personality ABOUT OUR rare glamour that makes the whole come smiling? CHILDREN The popular people we see about Because this finest of all musical instru¬ accomplished people . accomplis ments, the Steinway, ranks so high in the world of excellent things, it long has been looked upon as the exclusive possession of musical artists or families of wealth. But the give to our children ... a share in sport, in fact is, that every family may acquire the Aboht our children we rear our gayest dancing, in art, literature and music. Instrument of the Immortals on terms that dreams, clothe them in our most poignant They need not excel in any of these; but will not overburden even the modest income. hopes, and probe their futures with a bright their performance in all must be authentic. fear that is as old as the world. They will be And this particularly must be the case with strong and brave . they must be healthy ... their music. That is one reason the Steinway and to their prosperous door-steps the pleas¬ is treasured in important homes where chil¬ *875 ant people of the world will beat a pathway. dren are being reared in the cultured tradition. So run our dreams and our hopes. But The Steinway brings an authentic inspira¬ everything we have and all that we can do tion to the child's instruction. It is, in itself, must be brought to bear on the effort to make a graceful work of art that develops a sense 10% down these things come true. In the budding char¬ of artistic values and an appreciation of the acters we can strive to encourage such few utmost in musical expression. And the virtues as we, ourselves, had to pass on . Steinway, choice of the masters from Wagner the small, lithe bodies we can guard and to Rachmaninoff, leaves the impressionable develop . but how shall we imprint young talent unhandicapped, from the all- THE INSTRUMENT OF THE IMMORTALS STEIHWAV THE WORLD OF MUSIC TEE ETUDE VUE ETUDE OCTOBER 1930 Page OSS OCTOBER Pupils Find It Fun to learn piano pieces like these Schroeder & Gunf her, Inc. OCTOBER 1930 THE ETUDE A Selected Group of Some of the Most Famous Vocal Publications The Songs and Song Collections on This Page Constitute a Splendid Library for Voice Teachers, Singers, Radio Broadcasting Studios or Any Sincere Lovers of Music FAMOUS SONGS SACRED SONGS SACRED DUETS ° Voi"s- FOLK SONGS OF MANY NATIONS ___„_SONGS I FORTY NEGRO SPIRITUALS EDITORIALS ^ ‘Bhe ‘Majesty of Liszt HUNGARY has had no king whose influence in great wealth of Hungarian folk themes in his works. and out of the land of the Magyars has equalled Liszt’s prodigal benevolence, his greatness of heart, the regal rule of Franz; Liszt. The dominion of his breadth of vision, his princely courtesy, his pride, Liszt was that of a great humanist and a great human, his wit, and his keen penetration, all were traits quite as much as that of the master pianist and com¬ characteristic of the finest in Hungarian life. Like poser. His magic influence extended far beyond the most Hungarians, he was a splendid linguist. The borders of his native land; and, even today, forty-four Hungarian language is one of the most difficult of all to years after his death, there is no figure in the history learn. Because their native tongue bears little of no. of the piano that equals in prestige that of Liszt. resemblance to that of any other European nation, Hun¬ Born in Raiding (near garians are forced to learn Odenburg, in 1811), his long other languages, which they life terminated at the shrine usually acquire exceedingly of his great son-in-law, Rich¬ ard Wagner, in 1886. His Liszt could not rise to his father was a man of culture, great heights without in¬ who played the piano ex¬ curring jealousies. His vari¬ ceedingly well and who gave ous love affairs have been the son his first lessons. In magnified, perhaps because 1821 the little Franz was he was the victim of a small taken to Czerny at Vienna; army of adventuresses and and the greater part of his because of his prominence. life thereafter was spent, not He was little different from in Hungary, but at Paris, Weimar and Rome. True, ated as he was, except that he did go back to Budapest perhaps he was a little more some eleven years before his open. death, to take the presidency As for Liszt’s human ap¬ of the magnificent Hungarian peal, few men of the last Academy of Music; but, all century equalled him. It in all, he was a “citizen of has been our pleasure to the world.” The great know intimately many of his school at Budapest is now disciples. In fact we studied known as the “Franz Liszt for some time with two of College of Music”. his best known pupils. The Liszt was always a Hun¬ tales of his goodness, his garian at heart and was in¬ kindness and his tolerance, tensely interested in the cul¬ are unending. He was an tural development of his inspiration to all who knew native land, not merely in The brilliance of his music but also in all other playing. g wasw mesmeric. When fields. His very name is in he playedplayed, he and the piano this day so greatly revered in became one. Liszt was the Hungary that the eyes of first to carry the piano to every Hungarian shine with orchestral dimensions. t the m It Finally, when all is said __wonder that his and done, perhaps Liszt’s patriots have erected a „ greatest achievement was statue of the master seated in a huge chair, which one the creation of the Symphonic Poem. The old-fashioned sees in front of the Budapest music school. symphonic barriers were detestable to such a genius. Liszt is credited with being the great exponent of His symphonic poems have influenced all musical com¬ Hungarian music; but a search of his voluminous com¬ position from that time on. There is a majesty about positions reveals that less than thirty of his works can the Liszt symphonic poems that has compelled all be classed as strictly Hungarian. Among these are, of musicians to^ recognize the master as one of the great course, the fifteen Hungarian Rhapsodies. Added to these are five other rhapsodies, known as: Rhapsodie The “Majesty of Liszt” was perhaps best manifested Espagnole; A Mun\acsy; Tire de L'Album de Figaro; by the homage that was instinctively paid to him, by Pour VAlbum de I'Exposition de Budapest; and D'apr'es everyone from potentate to peasant. Wherever he les “Czardas Nobles” de C. Abranyi. It seems re¬ was, he held court. He traveled with a retinue of grettable that Liszt did not embody far more of the worshippers that any monarch might have envied. OCTOBER, 1930 fife ETUDE MUSIC MAGAZINE VOL.XLVI1I,No.10 THE ETUDE OCTOBER 1930 Page The Spirit of Hungarian Music From An Interview with the Distinguished Hungarian Pianist Yolanda Mero THE ETUDE OCTOBER 1930 Page 691 Auditions for the Sound Films TI1E ETUDE OCTOBER 198 Page 698 TEE ETUDE OCTOBER 19S0 Page 695 T5he Hungarian Rational Instrument The Czimbalom* A Musical Relic Whose Ancestry May ‘Be ‘Graced <Bac\ to J<[ineveh By Helen Freyer A=e^sn: i—™- ——gffl S'sIStsl. THE ETUDE OCTOBER ]\[otdble Hungarian tMusicians of Past and Present A List Compiled by Edgar Alden Barrell .. ! ' r-jivts & ^sssr&s & i .isa ixrs&sk Ribjsy- PS £ 2 EM* rSWi iSfiSStSiil «« £&"£ OCTOBER 1930 THE ETUVE TEE ETUDE OCTOBER 1980 Page T5his (Chromatic -Age! Exercises that ‘Prepare the Piano Student for a Tfew Era in which the Qhromatic Scale will be Used More than at any Other Time in Musical History ‘By W. A. Hansen iJiiii Page 700 OCTOBER 1930 cDo You Li\e This Kind of VYCusical (flub? By Marcus A. Hackney OCTOBER 1930 Page 701 OCTOBER DEPARTMENT OF BANDS AND ORCHESTRAS Conducted Monthly by cPractical cRehearsal ‘Routine for the High School cBand and Orchestra Page 101t OCTOBER 193G SCHOOL MUSIC DEPARTMENT Conducted Monthly by GEORGE L. LINDSAY High School ‘Music Festivals in a Great Qity ‘Gheir Organization, ‘Preparation and ‘Production By F. Edna Davis Page 7 C OCTOBEli Musical Jargon of the ddptdio Qlarifted A Popular Interpretation of technical 'Germs Which Are Heard <Daily Over the Padio <By Edward Ellsworth Hipsher Part IV THE ETUDE OCTOBER 1930 Page 707 FASCINATING PIECES FOR THE MUSICAL HOME British Copyright secured Copyright Page 708 OCTOBER 1930 TEE ETUDE TUMBLE -WEED PAUL BLISS ery characteristic.
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