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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
7-1-1941 Volume 59, Number 07 (July 1941) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 59, Number 07 (July 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/248
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PIANO SOLO-Cont'd Cat. No. Title Composer Gr. Price 9 15344 Star ^ Spangled Banner, The (With Featu America) An. Stults 3 $0.25 11872 Taps! Military March Engelmann 3 .35 22574 Theodore Roosevelt—The Spanish-Amer- ican War Blake 2 Vi .30 25081 To the Front. Military March Clark 3 .40 26009 Valley Forge March. Vocal Refrain Goldman 4 .40 11878 Volunteers March. With Words Krogmann 1 .30 11824 Washington's Birthday. March Spaulding 2 .25 14783 Washington's March 3 .20 OD Co. Yankee Doodle. Brilliant Variations An. Grobe 3-4 .40 OD Co. Yankee Doodle An. Kern .30 OD Co. Yankee Doodle Arr. Mack .30 13529 Yankee Doodle. Colonial Arr. Greenwald .25 2348 Yankee Doodle (With Six Other Well- Known Melodies) An. Rickaby .50 16675 Young American's Patrol Lawson .40
PIANO, FOUR HANDS 2517 America j .25
17388 America First. ' Marche Militaire 2 .25 OD Co. American Line March Baker 3 .60 16354 Color Guard, The. March Felton 3 .60 9749 Comrades in Arms. Two-step. .. .Hayes 3 Vi .75 15077 Hail! Columbia. President's March .25 30442 Liberty Bell, The. March f"’.SousKt 3 .75 30407 New Colonial, The. March Hall 3 .70 23451 Marine Corps Reserves. March Geibel 3 .70 PIANO SOLO PIANO SOLO-Cont'd 25243 Military March \ .50 Compoier Gr. Price Title Compoier Gr. 14510 National Patrol Cat. No. Title Cal. No. Snauldinn 3 .50 Klohr 3 SO. 50 Sulre»d«- March Lincoln—The Civil War . Blake 2 Vi $0.30 Co. Men of Valor ..Morrison 2573 Abraham JC ODCo. 3 .50 .25 Hall 3 .50 Our Gallant Officers. Polka 13533 America Arr. Greenwald 2 30150 New Colonial, The. March 14569 Militaire Morrison 3 .40 Bnllante 2348 America (With Six Other Well-Known 8952 No Surrender. March Engelmann 3-4 .90 Bilbro 3 .25 D°y Melodies) An. Rickaby 1 .50 19153 Off to the Camp Crammond 2 .50 17947 Patriotic Rolfe 2 Vi .30 Song America (With The Star Spangled Ban- 15215 On the Old Camp Ground.. An. K,onke 1-3 .30 15344 24339 Pride Kern 3 .50 of the Regiment. March ner) An. Stults 3 .25 8235 Our Army and Navy. March Militaire Crammond 16840 America Grand Triumphal March OD Co. Our Gallant Officers. Polka 2 .40 — 2571 Return of the Heroes. Rolfe 5 .60 Brillante Engelmann 4 .50 March Militaire Engelmann 15262 America. Polonaise Moter 4 .60 2534 Our Glorious Union Forever. Medley of 3 .40 15976 Salute the Colors. March .Schelling 4 .60 National Melodies Howard 3 Warren 3 .50 15374 America Aroused. March . . . 18105 Salute to the Colors. March .25 Flag. With Words Anthony 3 .60 . . . Rolte 2 Vi 11896 Ours Is a Grand Old 14739 America First. Marche Militaire Stand By Spaulding the Flag! Patriotic March 16861 America Victorious. March ... Strickland 3 Vi .40 1 Spenser 2 Stults 3 .50 Folk Melodies .. An. Rickaby 1 .50 14070 Patriotic America 5561 American 30112 Stars and Stripes Forever, The. March Massa's 15101 Patriotic Day Crammond 2 Old Black Joe; Lily Dale; Sousa .Boscovitz 2 4 .75 Cold, Cold Ground; Dixie 2303 Present Arms. Scene Militaire. in the 13068 Taps! Military March Engelmann 3 Land, The. National 4-H .50 Land; Ben Bolt; The Mocking Bird 26003 Pride o’ the Club March. Vocal Refrain. Goldman 4 OD Co. American Line March Baker 3-4 14568 The. March.. Grey 3 SIX HANDS 15344 American National Anthems. An. Stults 3 25485 Pride of the Nation, ONE PIANO, Pride of the Regiment. March Crammond 2Vi The Star Spangled Banner and 19637 OD Co. American Line March Baker 3 .60 2570 Return of the Heroes. March Militaire America 23389 Return of the Heroes. March Militaire Engelmann 3 19112 American Patriotic Medley March Engelmann 3 Vi .85 3 19043 Return of the Volunteers. March Martin OD Co. Star Spangled Banner, The Smith 3 .40 Engelmann 3 22853 American Scouts. March Oehmler 2 16919 Taps! Military March Engelmann 2 Vi .60 3 15963 Salute the Colors. March Warren 3 19556 American Supremacy. March .... Phelps 3011314570 Stars and Stripes Forever, The. March 17720 Salute to the Colors. March ... Anthony 2Vz 22572 Andrew Jackson—The War of 1812 Sousa 3 1.00 Blake 2 Vi 6969 Soldier Boy. With Words Bugbee 2 Krentzlin 14870 Color Guard, The. March Felton 3 22874 Soldier's Song 2 Sonatina Boothroyd 3 ONE PIANO, EIGHT HANDS 5677 Comrades in Arms. Two-Step .... Hayes 3 Vi 15294 Americana By the Flag! Patriotic March 17064 .75 26230 Crash On! Artillery. Coast Artillery Stand Taps! Military March Engelmann 3 Marching Song .... Hewitt-Osborne 4 Stults 3 Stripes March 11365 First March Kelly 3 Vi 30111 Stars and Forever, The. Regiment TWO PIANOS, EIGHT HANDS 11827 Flag Day Spaulding 2 Sousa 4 JC Co. Glory of the Yankee Navy. March. Sousa 3 30552 Stars and Stripes Forever, The. March OD Co. American Line March Baker 3 1.50 JCCo. Hail to the Spirit of Liberty. March Sousa-Schaum 2 Vi 6882 Comrades in Arms. Two-step Hayes 4 1.25 Sousa 3 2348 Star Spangled Banner, The (With Six 13053 No Surrender. March Morrison 3 .80 16501 Hats OH to the Flag. March .. Spaulding 3 Other Well-Known Melodies) 18245 Salute to the Colors. March Anthony 3 .90 6818 Independence Day. Military March An. Rickaby 1 Stand By the Flag! Patriotic March. Stults 3 .90 Cadman 2 Vi 11825 Independence Day Spaulding 2 JC Co. Invincible Eagle. March Sousa 3 22571 John Paul JoneB—The Revolutionary THEODORE PRESSER CO. War Blake 2 Vi Everything in Music Publications 22575 John Pershing—The World War. .Blake 2 Vi Distributors for 30044 Oliver D it son Co. and The John Liberty Bell, The. March Sousa 3 Vi Church Co 30761 Liberty 1712 CHESTNUT STREET, PHILADELPHIA, PA. Bell, The. March ... Sousa-Peery 3 23403 Marine Corps Reserves. March . . .Geibel 3 — :
THE NATIONAL FEDERATION OF MUSIC I N THE AMERICAN MUSICAL ARTS FOUN- HERE, THERE AND EVERYWHERE CLUBS’ twenty-third Biennial Conven- Committee June, was DATION, through its Award THE MUSIC A L WORLD tion, held in Los Angeles in which includes Raymond Paige, Deems the most widely attended in the existence Taylor, Lawrence Tibbett and Charles of this outstanding organization. “Loy- Wakefield Cadman, recently announced alty through Music” was the slogan, and annual awards for contributions French pi- usual American Music was stressed its first YEHUDI MENUHIN will appear at ISIDOR PHILIPP, famous as music. The State Teachers recently arrived the meeting, together with to American Robin Hood Dell on July 15th, having anist and teacher, who throughout Indiana, Pennsylvania, Smith from France, is a several Latin-American programs fea- College of curtailed his South American tour to do in New York City of Massachusetts, and Wesleyan of the faculty of the Juiiiiard turing Elsie Houston, Brazilian soprano, College so. Jose Iturbi will act as soloist and con- member first of Connecticut receive School. • and other well known South American University ductor on July 8th, the date previously Summer decisions were based “en- artists. Aside from such world famous honors. The reserved for Fritz Kreisler whose unfor- the actual interest of the DOROTHY MAYNOR, musicians as Josef Hofmann, Charles tirely upon tunate accident—from which he is hap- music departments in American music.” noted negro soprano, is Kullman, Helen Jepson, Rosalyn Turek, pily recovering—prevents his appearance. Many other well known colleges received a person of many ac- Beryl Rubinstein and Arthur Loesser, not only Dirman, Eudice Shapiro, many honorable mention. THE MUSIC EDUCATORS NATIONAL complishments; Rose does she sing beautifully, choral and instrumental groups from CONFERENCE, a Department of the Na- DR. AND MRS. GUY but she plays the Eng- twenty-four States took part in the pro- tional Education Association, is holding MAIER—to music lovers, lish horn, the oboe and grams. Charles Wakefield Cadman led its Summer Session in Boston, Massachu- Guy and Lois Maier the flute, as well as be- the American Composers Forum, in setts, from June 30th to July 2nd, in con- left their Santa Monica ing able to orchestrate a which Louis Gruenberg, Richard Hage- nection with the N.E.A. Convention. The home in May for a busy song, conduct an orches- man and Harvey Gaul participated, Organization also announces its 1942 Bi- summer season; appear- tra score and transpose Fifteen-year-old David Smith, a student ennial Meeting to be held in Milwaukee, ing in Portland, Oregon, accompaniment at sight. at the Cincinnati Conservatory of Music Wisconsin, from March 28th to April a difficult on the 17th and in San and winner of the Edgar Stillman-Kelley 2nd. Francisco on the 23rd, as THE PIANOFORTE TEACHERS’ SOCIETY junior Scholarship of the Federation, soloists with orchestra. presented the last Pupils’ Pi- was the featured soloist on Junior Day. BRUCE SIMONDS, professor in the Yale of Boston After completing a series of the season in May, Chairman of the anoforte Recital repertoire in School of Music and of lectures on style and Los Steinert Hall in Boston. Students DR. F. MELIUS CHRISTIANSEN, dean of of Department of Music in Yale College, has at Dr. Maier conducted a similar teachers appeared on the pro- choir directors and famous for Angeles, of School, be- various American been appointed Dean the so- course in Chicago during June; and he gram, assisted by Miss Aniceta Shea, his St. Olaf’s College Choir of Minnesota, ginning July 1st. Mr. Simonds will also give private lessons, classes in reper- prano. will conduct classes at Chambersburg, will continue his courses in piano and the and two -piano work, as well as con- Pennsylvania, from August 3rd to 15th, toire history of music. duct a “Teachers Round Table” at the A PRIZE OF ONE HUNDRED DOLLARS after having directed similar courses at School in New York juiiiiard Summer will be awarded to an American Com- perry Hall, Lake Forest, Illinois, during August 15th. From City from July 7th to poser for a composition for Symphony june and July. Maiers will be in (Competitions August 18th to 22nd, the ^oinj Orchestra, by the Washington Heights Maier has Asheville, North Carolina, Dr. “Y" Symphony Orchestra of New York EDMON MORRIS, pi- features in project for his PRIZE OF ONE HUNDRED dol- be sub- musical interesting new A City. All scores and parts must anist and edu- Etude. lars and publication is offered by the department in The mitted by July 15th. Address all com- cator, bom in Frankford, Chicago Singing Teachers Guild for the munications to Bertha E. Nagen, Secre- Philadelphia, Pennsyl- best setting for solo voice of The Mesa GUILD OF PIANO & H. A. of Washington vania, in 1865, died at the NATIONAL Trail by Arthur Owen Peterson. Manu- tary Y. M. W. the Twelfth Annual New Washington Avenue and the Presser Home for TEACHERS held scripts must be mailed not earlier than Heights, Ft. on June, 5th, 6th, and October York City. Retired Music Teachers York Auditions October 1st and not later than 178th Street, New Biltmore, New York information write in Germantown, on May 7th in the Hotel 15th. For complete the MacDowell Club, Walter Allen Stults, P. O. 694, Evanston, MAC- 16th. Mr. Morris studied City and also at A PUBLIC APPEARANCE IN THE such queries must contain of the unusually large registra- Illinois. All CLUB AUDITORIUM, New York with noted American because self-addressed envelope, or DOWELL director of the National stamped and of the annual teachers and finally with tion Hans Barth, City, is offered the winner served as they will be ignored. in Vienna. In America he School for Musical Culture, Young Artists Contest sponsored by The Leschetizky many years at the head of the general chairman. MacDowell Club. Only students who have was for of Converse College at not appeared in public recital in New music department pianist, JAMES’ ar- North Carolina, and di- BETTY HUMBY, noted English PHILIP York City may enter. Applications must Spartanburg, Delius “Piano rangement of The Marsh important music festivals held nnneared as soloist in the be filed before September 30th. Applica- rected the with the Columbia of Rhuddlan was given writing there. His distinguished career was concerto in C minor” tion blanks may be procured by Orchestra con- its first performance by Artists marked by many other undertakings in broadcasting Symphony to The MacDowell Club Young Beecham, on June the Welsh Women’s York the East and the far West. by sir Thomas Contest, 166 East 73rd Street, New ducted of New York in Chorus City. 22nd. their annual concert, at THE CLEVELAND SUMMER MUSIC SO- SYMPHONIC Town Hall, New York its third season of NORTH CAROLINA SERGE KOUSSEVITZKY is directing the CIETY is presenting the on May 12th. the direction of Lewis City, Festival and Music summer popular concerts this month at ,, iioI r under Berkshire Symphonic weeks Philip James Auditorium in Cleveland, have set forth on a five School in Tanglewood, Massachusetts, the Public Sock, the sponsorship of the Music West Coast. The forty mem- Leopold Stokowski is on tour with the Ohio, under four to the HONEGGER’S musical setting group come from ARTHUR Youth Orchestra. Bruno Arts Association. The Cleveland Summer of this delightful “Nicholas de All-American hpts for Denis de Rougement’s composed of members of the high schools of four small Walter is conducting concerts in Holly- Symphony, farms and its American premieie me Sun- Flue” was given Werner Cleveland Orchestra, is giving the pro- Carolina hamlets; and, since choral organi- wood and Berkeley, California. North bv a group of well known grams under the direction of Rudolph one day they are free to re- Janssen has been conducting concerts by day is the and the orchestra of The New their music and zations Brazilian Symphony Orchestra in Rio Ringwall. individuals study at Carnegie Hall in the hearse, Friends of Music ( Continued on Page 504 ) during the week, to be De Janeiro. words at home York City early in May. perfect on the Sabbath. New letter and note 433
JULY, 1941 . . ’ ‘
Introductory 0 ttihie irirroi I m majgjcBndmcs ^ 8 Published. Monthly By Theodore Presser Co.. Philadelphia, Pa. Offer.r: % EDITORIAL AND ADVISORY STAFF DR. JAMES ERANCIS COOKE. Editor Guy McCoy and Helen MacVichic, Assistant Editors ,se»s William M. Felton, Music Editor I Robert Brainc Dr. Henry S. Fry Blandic Lemmon Peter Hugh Reed £bJ*.mh Pietro Deiro Karl W. Gehrkcns Dr. Guy Maier William D. Revclli ||£ Dr. Nicholas Douty Elizabedi Gest N. Clifford Page Henry S. Sawyer George C. Krick Dr. Rob Roy Peery tot J FOUNDED 1883 BY THEODORE PRESSER 1 Issued /lug“ sl R Y.i .?oVf 0 R C 0°'VvOOt C^on lcnli ; 0 * joe 1941
© Here is an easy, inexpensive VOLUME LIX, No. 7 PRICE 25 CENTS way to introduce THE ETUDE in its new WORLD OF MUSIC "dress." with its many delightful new features, to your pupils and musical friends. For only EDITORIAL .Music and Hie World's Groat 35c we will enter a 3 months trial subscription Hour. National Defense Demands Music. 430 and send the current June, July and August YOUTH AND issues to anyone not already a regular reader. MUSIC New England Idyl Clip this ad if you wish or simply send us 35c .Blanche Lemmon 440 (U. S. stamps acceptable) with each name and MUSIC AND CULTURE Trial subscriptions may Music the Navy Needs be converted later into address. Don't delay! This offer is good for the The Boy The Piano .Lieut. Charles Benter, U.S.X. regular subscriptions — —The Spirit 7>f the Dr. Summer months only and will not be made Modest Moussorgsky’s Thomas Ta/ipi r Last Hours. . with credit allowance Serge Bertensson Finding Opportunity_. rt vuon the ... . 441 for the 35C originally again this year! Concert Stage^ Army Song Book Makes" Its" Bow.'VY. .*????! 7 44.", paid. !!!.“. Cedric Larson 444 MUSIC IN THE HOME Film Music That Musicians I.ike ETUDE Radio Rules the Air with Music. Donald Martin MUSIC ’ THE MAGAZINE 1712 CHESTNUT ST., PHILA., PA. ' .Alfred Lindsay The Etude Music Lover's Bookshelf ...... Martian Master Records of Masterpieces. . It. Meredith Vadman .... . Peter Hugh Reed MUSIC AND STUDY Music in Britain's War „ The Teacher's Round Table Betty Hamby • Vocal Presentation ,'••• -Guy Maier Registration Isidore Luekstone Order '. ; Now You Can Your The Bugle and Its (’alls /-.'.L' Questions and Answers ' ?•„!!}'£• Hemming Will the Orchestra lie Modernized? S' "* Frnn 't ‘i The Paradox of the Violin. liman YU Part II. . Musical Advance in Uruguay and Brazil 7. \ RECORDS 1 he Technic of the Month Thirds in '•"••‘snil — Five Fineer,lfcOP '
Price, $1.25 v Entered a second-class mailer January 1884 ' 16, at the P O at Phil , n i Published by ,m Z&2SS!’' ***** -*«• hrdZZ&l'gifB'-fz THEODORE PRESSER CO. THEODORE Direct Mail Record Service Everywhere PRESSER CO. 1712 CHESTNUT STREET, PHILA., PA. 1712 Chestnut St., Pliila., Pa. :
Editorial
religious persecution as well as infinitely inferior living conditions. The battle between democracy and totalitarianism has already made a shambles of a large part of Europe. It will take decades to repair this monstrous damage. Yet every- one knows that ultimately peace will come again. Let us hope that music will take a significant part in the preserva- tion of that peace. Thousands of educators and music workers are asking themselves these questions I. What will be the influence of this war upon music? II. What value has music at this time? To the first question we must state emphatically that, as we have said before, very little of the great music of the world can be attributed to war. True, Beethoven did write his fabricated symphony, “Battle of Vittorio,” for Maei- zel’s Panharmonican. But this is not Beethoven of the Olympian Heights who wrote his “Third Symphony, the Eroica” (“Sinfonia Grande Napoleon Bonaparte”) wlien he looked upon the little Corsican as a democratic cham- pion of “liberty, equality and fraternity.” When Napo- leon put the imperial crown upon his own head, Beethoven tore up the title page and called his immortal work “Sin-
fonia erocia composta per festeggiare il sovvenire d’un grand ’uomo.” (“Heroic symphony composed to celebrate the memory of a great man.”) If we know our Beethoven, and we have been studying his life for years, we cannot imagine his writing a symphony for Adolph Hitler. Why? Well, go back to your histories, and you will find that Beethoven was the first great musician to stand for the essence of democracy. The musical masterpieces dealing with war are relatively rare. Every nation has its Mar- seillaise. The German hymns of hate are built upon Stuka and Panzer lines. They even have a war song for sailors to sing in submarines going forth to sink battleships. But this is not great music in any sense of the word, but a perversion of the art to which Germany has made in peace Thomas Jefferson times so many valuable contributions. True, all countries have military marches galore. Tschai- kowsky’s 1812 Overture, Opus 49 is very realistic. Lest we EFORE THE REVOLUTIONARY WAR, Thomas forget, The Battle of Prague, a pianistic rumpus as inno- the Jefferson wrote, “The God, who gave us life, gave us cent of any military significance as pan peddler’s B liberty at the same time.” During this month we wagon bumping along a country road, was the artistic war celebrate our one hundred and sixty-fifth national birth- horse of the girls’ boarding schools of the mid-nineteenth day, which is also the one hundred and fifteenth anniver- century. No, on the whole, creative music and war do not sary of Thomas Jefferson’s death on July 4th, 1826. It is mix. now a day of vast significance to the entire world, in a Since the end of the first World War in 1918, now over contest between the liberty of democracies and the tyranny twenty-two years, relatively few new works of real sig- been produced. this period with of totalitarian governments. As a democracy, there was nificance have Compare of the previous twenty-two years. Debussy died in only one stand we could take. A civilization ruled by ty- that 1918. But Sibelius, Strauss, Puccini, Ravel, Respighi, and rants is unthinkable to any one invested with the real spirit Stravinsky were still living. Strauss, since 1918, has pro- of Americanism, whether that person can point to three duced nothing really comparable to his earlier works. centuries of American background or whether he is a citi- heart- Even his “Alpensymphonie,” written in 1915, and his “Die zen who has just taken the oath of allegiance, with of America. must al- Frau ohne Schatten,” written in 1916, were eclipsed by felt gratitude for the blessings We his earlier symphonic poems and operas. Sibelius produced ways remember that for the most part our population is his “Sixth and Seventh Symphonies” in 1923 and 1924, composed of the descendants of refugees who in many in- the victims of respectively. Puccini’s “Turandot,” produced in 1926, and stances came from lands where they were (Continued on Page 492)
435 JULY, 1941 X
National Defense lemamsfe Music
Dhe state of National Emergency, declared by the President of the United States of America, is of especial significance to all teachers and students and lovers of music.
support of strong public morale in all the fJhe Americas, at this time, is the maintenance of all defense as vital as measures, ft is our first line of Fifth Column, protection against the sabotage and all subversive activi- ties.
^l^I j usic in England has had a magnificent part in fortifying a historic morale Its practical value is considered priceless.
—^/merican music teachers, private, public and institutional, are enjoined to intensify their efforts to this end, in quiet, orderly, unceasing manner
pL to work harder than ever before to increase your activities and your classes many fold. Organize new musical enterprises, new clubs, new concerts for everyday people. Do everything in your field to build a determined, fear- less resolve to sustain national defense.
£ forth, even from house to house, to train these people, young and old, in music of all kinds, to meet the strain of the unusual —to enable them conditions facing the world. —to give them real American patriotic inspiration, grit and courage return cheerfully to their —to inspire them to daily work, refreshed and fortified.
-~to make strong their faith in the ultimate triumph of right. to foster their loyalty to American ideals, consecrated — by God and our forefathers.
I' „ J4al to the Spirit of Sin erica Siorever
l s ‘ ! "‘guested that icacbm this statement in mnwbert bm, as natty important "‘Pies of places a> possible.
436
THE ETUDb Music and Culture
Music the Navy Needs
A Conference with
csCieut. d-harfeA (Center, us.n
Conductor of the United States Navy Band
Secured Expressly for The Etude by WILLIAM ROBERTS TILFORD
ON BOARD U.S.S. TEXAS York Philharmonic Orchestra the band, it was deemed desir- Typical twenty piece band in and the Chicago Symphony able to discard the nautical parade formation. First Musi- Orchestra. seagoing uniform. In its place, cian, H. B. Longaker, in Charge. The great war produced huge the regulation Petty Officer’s bands which were largely used jaunty uniform was adopted. HEN I JOINED THE NAVY, over forty for propaganda purposes. These The band commenced to give years ago, it was quite usual for an Amer- included the seven hundred and open air summer concerts, W ican warship to put in at an Italian port fifty piece Great Lakes Band which were splendidly attended, and recruit a band of Italian musicians who could conducted by the late Lieuten- in the esplanade of the beauti- not read, write, or speak English. And, as often ant Commander John Philip ful Pan American Union Build- as not, they returned to their native land as com- Sousa. The large band that had ing in Washington. In 1925 the pletely Italian as when they left the shores of been maintained at the Wash- organization was permitted to their sunny, music-loving country. Some of them ington Navy Yard dwindled leave Washington on concert “stuck,” however, and drifted into American after the Great War to eighteen tours, given in response to in- bands, thereby making their contribution to our musicians. The Navy Depart- sistent demands. At the present complex American musical life. Even so, the situ- ment, however, had by this time LIEUT. CHARLES BENTER time the Navy Band and the ation was rather irritating; and I determined been impressed with the prac- Marine Band are, I believe, the upon a campaign to make the bands of the United tical usefulness of bands, and only two large touring bands in States Navy one hundred per cent American born was interested in their value and development. the United States. Our tour lasts about eight sixty and American trained. To-day American citizens As Bandmaster on the U. S. S. Connecticut, I weeks, in the course of which some concerts given, large audiences. should rejoice in knowing that every member of was given the honor of organizing the United are always to In fact, over every Navy Band—in other words, every musi- States Navy Band. President Harding, who in his a million people hear the Navy Band in this way. concerts is cian in the Navy Service—is an American citizen, youth had been a bandsman, was very much in- The interest taken in our invariably conductor. and ninety-five per cent are American born. How terested in the new band; but it was President a thrill to our men and to their It has that there are two hundred this change has been brought about is an inter- Coolidge who signed the Act of Congress making been estimated thou- esting story which requires a glance into the his- the United States Navy Band a permanent or- sand bands of all description in the United States. high schools, and colleges have tory of music in the Navy. ganization. The schools, of enormously to this number. No one knows when United States naval vessels course added Now a Permanent Organization entrance into the Navy was far from ro- first established any definite musical organiza- My mantic. I joined as an apprentice boy when I tions. There is a record, however, that in 1827 the In order to add dignity to the appearance of grand old frigate. Constitution, shipped a band of twenty pieces—more than the average battle- ship carries to-day. It is unlikely that other ships carried such a number. In 1830 we find the first record of a musician rated as a First Class Musician in the Navy. This was probably more of a naval promotion than an artistic one. The members of the bands were usu- ally recruited from the crews, but in 1830 we find a William Raymond of Norfolk enlisting in the Navy as a musician. And the first recognized band on the official pay table of the Navy was recorded in 1838. It was a pitifully small affair, consisting of a bandmaster, four first class musi- class musician. Probably cians, and one second most of these bands had many foreign born play- Certainly, the most distinguished of these ers Thomas who was no less than the great Theodore musician in 1849, when enlisted as a second class Later he became a he was fourteen years old. unlikely that he virtuoso violinist, but it is not with brass in- gained his intimate acquaintance band of the struments through his service in a helped United States Navy. This unquestionably THE UNITED STATES NAVY BAND of the New The band is standing in front of the Pan American Building in Washington. him later when he became Conductor 437 JULY, 1941 of eighteen musicians there was Music and Culture only times representatives of these sister with such a small organization. The one who could speak, read, or write countries have told us that they ap- bands naturally play religious music, English. preciate this musical diplomatic ges- folk songs and shanties. If he wants was thirteen and a half years old. I At the present time, everybody who ture of international amity. These a “jam session” of jazz, have been deck real he can get it a hand, a "gob”, is recruited for a United States Navy beauty loving citizens of the south- from one of the "Fu-Fu” bands that a "tar”, or whatever you wish to call Band must be American born. Fifty ern continent are justly proud of the the boys get up as impromptu organi- a sailor or an ordinary seaman. I am per cent of the Navy bandsmen are music of their land and naturally feel zations to entertain themselves. mighty proud of it. Whatever I have college graduates, seeking special pleased to have it given a place of There can be achieved no question of the I owe to the Navy. This in drill experience, every honor and and mem- on the programs of our nation. influence of the band upon the turn has been of great aid tfo me, be- ber is a high school graduate. The I am frequently asked what hap- morale of the men. cause the Any experienced men, when they see me officers of the fleet are all delighted pens to a Navy band if a ship is en- naval officer will attest to that. holding a baton, know that I have He with this high standard of the band gaged in action. Well, in the old days, has learned to respect the new band been "through the mill.” As a regular personnel. the wox-k of carrying ammunition was players. They are no longer "wind- seaman, they know, as they say in In 1935, as I have mentioned, after usually assigned to the musicians. jammers.” The men brag, sometimes diplomacy, that I am a "career man.” patient much persistence, I was suc- Later they also became stretcher even fight about their bands, just as In doing my duty aboard ship, I cessful in promoting the United bearers. With the admission of play- they used to boast of their boat crews made it a. point to hear all existing States Navy Band School in Wash- ers who were college and high school or ball teams. This is not confined to bands in every port. At that time the ington, D. C. There are now four graduates, the significance of their the men alone; the officers are age at which one was admitted to hundred students. These students trained skill, especially in mathemat- equally proud of the ship’s band. the band was twenty-one. first My must be not less than eighteen years ics, has been recognized when needed Vice Admiral musical Adolphus Andrews, opportunity, however, came old or over thirty-one, at the time of and they are often called upon to when he came back from an Asiatic when I was younger. It was on a enlistment. They must be of good help in the difficult work of range cruise, greeted small me with "Benter, I gunboat, called the Paducah, character, with adequate mental finding and other similar branches had the best band in the entire of which the captain (later Admiral Navy, qualifications, not less than sixty- With their disciplined minds and thanks to you,” and Winterhalter of the Asiatic Fleet) he was not in a three inches in height and of propor- quick nerve responses, I have always mood to have was this disputed. a great music lover. The ship was tionate weight. Only unmarried men felt that musicians might well make Music is valuable because it puts one of only eight hundred tons, with are accepted. A rigid physical exami- a surprising and memorable showing courage into the hearts of innumer- a crew of one hundred and twenty. nation is required. Those under twen- under fire, if the occasion should able men. It is often a very slight The captain, having heard me mon- ty-one years of must secure the arise. age mental and emotional twist keying around with a mandolin, which consent of a parent or a guardian. can get a man "down” called Opportunity lor Advancement when his me to his cabin and asked me No student is accepted whose record thoughts go out over thousands to organize what was then known as of is marred by a police or juvenile court What is the pay of Navy bands- miles of stormy "Fu-Fu” sea to the spot that a band. This was the Navy record, or by a term in reform school man? In the first place, is he always he calls home. He also name for a kind of scrub needs whole- band which or prison. The applicant is required supplied with clothes, board, and some entertainment, which the band included almost anything that could to pass the U. S. Navy School of medicaL attendance. When the stu- is always ready to provide. make an acceptable noise. Finally, we Music examinations on the following dent enters the school, he gets twen- got together a group of eight pieces. subjects: (a) Sight reading, (b) ty-one dollars a month. After four You have no idea what even such a Technic, (c) Tone, Attack, (e) months his pay is raised (d) to thirty-six The U. s. Navy Band little band means to the sailor thou- School of Rhythm, (f) Phrasing, (g) Memory. dollars. After eight months it is Music and the headquarters of the sands of miles from home, with little All assignments are made as in the fifty-four dollars. At one year he be- S ' Navy Band are . located in entertainment of any kind. The books build- case of general service in the Navy. comes a First Class Musician, with a ings that are and far from romantic. They magazines have all been read The length of the course is approxi- salary of seventy-two dollars. In are in ancient edifices built many times over; the playing cards mately eighteen months. gradua- three years he can become for the On what Is manufacture of are almost arms. In one is the worn out, and the boys tion the student is transferred, as a known as a “First Musician” at famous sail-loft, which has get tired of looking at each other. twenty-piece organiza- eighty-four dollars. a senti- member of a His next jump is nmntal place Even in the hearts of in the Caribbean, in the old tion, to a ship in the United States to that of Bandmaster, at one hun- Navy officers because the great days when revolutions seemed to fleet. The subjects taught in the dred and twenty-five balls of the dollars; while vy Yard are come with held there. In this clock-like precision, the school are solfege (ear training), the next is more or less of a leap to bare room the U. S. Navy boys in the intense tropic heat expe- harmony, theory, ensemble, private the position of Lieutenant, which Band re- I heal ses and performs. rienced a homesickness which is hard instruction on major and minor in- hold. It should be Despite its remembered that 3 1S ’ the aflalrs to describe. When things get down to struments, and band, orchestra, and the value of the bandsman’s become very mainte- “ T accessoriaa - Adjacent a low level of nostalgia, the band dance orchestra training. Every nance is probably worth forty per to the * the extremely strikes up and immediately new life player must also play a string instru- cent of his pay. At the end of “ valuable twenty music library, surges required, be containing thousands through the entire ship. ment and may, when years he receives a pension for life or numbers. The captain of the Paducah was obliged to become part of an orches- of one hundred and three dollars a The bands aboard ship delighted with the results of my tral group. There are twenty-seven month, which is about five per cent have of many dUUes in "Fu-Fu” band and suggested that I instructors in the U. S. Navy School. on a capital of twenty-five thousand offlcial rout - ineThTh®y are continually return to the United States and enter In the U. S. Navy Band there are now dollars. How many young . at the serv- men start- ice of the commanders to a school at Norfolk, Virginia, which fourteen graduates from the school; ing life at the age of eighteen are play the national air, to honor was called a Navy School of Music. and as enlistments expire and vacan- able to accumulate twenty-five important vis- thou- iting personages. This proved a great disappointment cies occur, they will be filled with sand dollars at the age of forty? They must take part, when required, to me, as I found that I could learn graduates. Applications to enter the The music most needed in all religious in the Navy services and little or nothing at such a school. U. S. Navy School of Music may be is first of all the music participate in parades men like and and ceremonies. Frankly, a school of that type did not secured by writing to the Navy Yard can whistle. There can be no non- There are over five thousand musi- amount to the well known “hill of at Washington, D. C. sense about this. The average seaman cians engaged in the military service beans.” I had picked up more practi- The U. S. Navy and U. S. Marine is not in a mood for the type of sym- of the United States Two thousand cal knowledge than most of the Bands always have the complement phonic program heard in Carnegie of these are in the Navy; all have teachers possessed. Ridiculous as it cf extraordinarily fine symphony or- Hall or at our Pan American Union excellent musical equipment The im may seem, I was graduated with chestras. These bands, turned into concerts in Washington. Much that provement in musical of three months. orchestras, are often heard during he instruments honors after a term might hear on these programs he during the last forty years has the season in the now famous Pan simply could not appreciate, with his been A Career Begins American concerts given at the beau- lack of previous musical training or At of nineteen I found my- tiful hall of the Pan American Union. the age opportunity to hear the finer music. self with a small band on the battle- These are the concerts that millions " Good ice,m^ popular music of the day (no :« { ship, Rhode Island; and at twenty- of people hear over the air. uments m One series swing or jazz) is ruse were what helps and relatives one became the youngest bandmaster is devoted to the music of Latin stimulates comparabietothe him. Of course, a twenty- Mode, in the United States Navy. The bands America and is broadcast by short piece band does not get still alien. On the U. S. wave much further were largely to our sister republics. It would than light concert music. battleship, Mississippi, in the band be difficult for Anything ^mentation of me to state how many more ambitious bands wiftfte may sound ridiculous ( Continued 438 on Page 492) — i :
Music and Culture The Boy-The Piano-Xhe Spirit of the Game
NATIONAL MAGAZINE recently ran a car- toon of great educational significance, and A one which you can readily visualize. In the ii 2>„ n omciiS U,upper background stands an imposing house. The front t door is hospitably open. In the foreground four
hardy men are lifting a baby grand piano from a tation. This is it. it Set down thus and sign it: ster, eager, perhaps a bit defiant, certainly truck. Between the door and the truck stands a “I am in business with an immortal soul func- neither abashed nor ashamed, alert and alive and, boy, ten or twelve years old, who addresses the four tioning in a young human being: (1) of many with it all, a little amused. There are, of course! huskies with these words: “Fellows, if you can active interests; (2) of restless energy; (3) who countless varieties of him. But the streets are full manage to drop it, so as to put it out of business, is ceaselessly trying, experimenting, failing and of this particular type. Let us agree not to ask there is a dollar in it for you.” succeeding in his schemes; (4) attaining many him any questions, but to address a few impor- About the time I encountered this pictorial and varied skills; (5) and, finally, who has an tant ones to his teacher, remembering that this representation of a widespread desire, I also en- enormous capacity for being engrossed in things boy is a success in many and varied enterprises: countered a request.. A woman remarked that and actions. is job enlist It my to these assets 1. Are you making the most effective approach she was seeking information in the preparation to my purpose because they will give this boy: to interest him in what you want address, him to do for of an to be given before a parent-teacher interests, skills, knowledge and satisfaction that you? group, on the subject, Why will a boy do anything will yield him lifelong pleasure and some culture.” 2. Are you competing with his repertoire of short of committing a major crime to sidestep In what follows there are references to games. interests on their own terms? his piano lesson? What they suggest is most valuable to the in- , 3. Have you assembled every factor of interest, “I mean, of course, some boys,” she added. And structor. They reveal a spirit of initiative and every efficiency of action, every method to make I was delighted to note, as she went on, that a attack as factors highly centralized in a record him work for you as he does for the captain of the of humor showed in the aura of sense her expec- of play; that is, of score-making. One needs that nine? tation. spirit of emulation alone in music study but not Don’t hurry to say, “Yes.” Let us glance at what A boy is impelled to pass up a whole dollar to in all education. It will make possible this re- attracts him, count all interests as assets and see wreck a piano because, while he sits before it, markable comparatively low result: from ore of what use we can make of them for our game. contending with a problem called a recreation, quality enough pure metal can be extracted to his mind is wholly alive to another recreation capitalize, for a boy or a girl, a lifelong cultural Why Boys Dislike Piano Lessons one of his own choice which outdoes the one in benefit. Give heed to the following inventories. They are the book in all directions. This is not viciousness. So we begin. Then something goes amiss. Comes from life. They have been assembled with the It is a heritage plus a preference. a day when the teachers meet to discuss the boy’s object of securing boys’ reactions on two activi- preferences. (And that gathering, if you look at it Analyze the Boy's Interests ties, games and music. They clearly suggest this: in the light of its objective, is a clinic of wonder- if you are doing something by a traditional meth- To get restlessness and preference out of his fully good will come fine purpose, out of which od that does not give you the result their you want, you system and, in stead, to arouse an enthusi- if does act as Chairman of the confusion not must change your method. Going into the wishing astic eagerness to do what you want him to do Board. business is not enough. If a boy seeks to sidestep at the piano is a mighty task. But it can be done. Place the boy upon the stage for all and sundry his piano lesson, salesmanship is failing in his And the successful doing begins in our own orien- to scrutinize. What have we? A clear-eyed young- case. Therefore, we must find something in what he likes to do that we can adopt in matters that he may not like to do. I have consulted a good many youngsters as to why so many boys dislike piano lessons, piano practice and the reputation that hangs thereby. Here are some reasons, in most cases in the words of the boys themselves. (Number 7 comes from an adult) 1. Only sissies take piano lessons. 2. If I practice the piano, the other boys make fun of me and won’t have me around. 3. Ball playing puts the hands out of shape for piano practice. 4. I would rather play in a band and have a uniform. 5. None of my gang is interested in what I play on the piano. We all like the saxophone. You can carry it around. 6. My teacher makes me do everything alone; I take my lesson alone, and I practice alone. I have to try to understand it alone. (From a boy of sixteen.) 7. When I was very young (this from an adult) I learned to hate piano lessons, because my teacher insisted on seating me on his lap and talking baby talk to me. 8. I would rather study singing. Our football coach is a wonderful singer. 9. Why don’t I like to play the piano? It isn’t exciting enough. 10. Girls can play better than boys. They don’t have so many sports to attend to. Along with these offerings are the following from a group of somewhat older boys. You will My, What a Foursome! observe that they (Continued on Page 488)
JULY, 1941 439 Associa- Music poration of the Seacoast Musical Festival Youth and tion, under the laws of the State of New Hamp- shire, as a non-profit organization. Its stated object was “to promote, cultivate, foster, en- courage and stimulate musical entertainment and festivals of every kind and description—with New England Idyl especial emphasis on providing facilities and opportunities for young musicians, singers and composers to demonstrate their talent and for all young people to advance their interest and education in good music.” For a brief time after this business arrange- (j3ij. (Blanche cjCtemmon ment was made, there was every indication that the festivals would continue along established lines; then Mr. Sevitzky accepted an appointment to the conductorship of the Indianapolis Sym- a perma- phony Orchestra. NE OF THE BUSIEST and happiest spots in which was to grow and take its place as nent yearly event on the eastern seaboard. New England just now is Durham, New The New Hampshire Youth Orchestra is Founded A second summer entertainment was planned, O Hampshire, site of the state university. stage was built on the green where His going brought a parting of familiar and Two weeks ago trains and buses and private cars for which a picnic had been held; the green was greatly enjoyed ways and turned out to be the brought dozens of young people to this campus the musical Opera Field, and one of Mrs. Hobson’s first of a series of circumstances that led to the from towns in New Hampshire, Maine, Massa- named was fulfilled chusetts and Connecticut, until eighty of them cherished desires “Cavalleria Rusticana” were assembled to form the second New Hamp- when presented here in costumes shire Youth Orchestra. Tests administered by was with scenery. Mr. Sevitzky’s audition boards were behind the boys and girls and musicians again took when they arrived, and now almost two weeks young part, this time as accompanists of strenuous rehearsals have also been pushed to the singers; and the whole into the background; they are primed and ready performance was directed by and eager for their appearances at the Seacoast The audience that Music Festival. Mr. Sevitzky. gathered for the occasion was As is the case with almost everything in New with this presenta- England, this orchestra and the festival in which so delighted tion and its outdoor setting it will participate have an interesting history. To Hobson immediately obtain a true picture of what will take place when that Mrs. decided to give another opera in the festival is held on July 4th and 6th, we must spot, on approxi- go back to the summer of 1933. this idyllic mately the same date the fol- It was in that year that Mrs. Arthur L. Hobson lowing year. This was done, al- invited Fabien Sevitzky and his group of young under slightly different musicians, known as the Sevitzky Ensembles, to though circumstances and before a give a concert on one of the spacious rolling lawns larger audience. The of her estate which adjoins the ocean at Little much time “Aida”—was Boar’s Head, New Hampshire. In her opinion, opera—this Mrs. Hobson, but music could nowhere be better enjoyed than in sponsored by the climactic en- such a setting—surrounded by trees, flowers, it was given as of a three-day fes- grass, sun, sky and sea—and she planned the tertainment tival on by the combined WOODWINDS AND entire affair as a musical picnic to be enjoyed by put STRINGS Hampshire Garden Clubs. the musicians, herself, and some of her neighbors New In 1936, the pattern of this summer entertain- founding of the New and friends. In the opinion of the weather, how- Hampshire Youth Orchestra. bap- ment was again changed, or perhaps we should Two events that followed ever, it was an infant project that needed were totally unrelated, extended. Where previously only one day had but one brought the tism by the sprinkling method, which sent the say. festivals to a temporary close been given to music, two days were now allotted and the other gave assembled listeners and performers scurrying be- them a new direction. They weather was to the celebration in Opera Field, and where one were the sinking of the submarine fore it smiled on them again. The Squalus not far project entertainment had been given there were now from Little Boar’s Head, entirely correct; it was an infant musical and Dr. Leopold Stokow- Mr. Sevitzky presided as ski’s four. plan to organize an orchestra composed en- usual, and this year his activi- tirely of young people. ties took place on a permanent The Squalus disaster occurred in the spring of stage which had been erected 1939, and its proximity made any festival plans the green and which includ- seem on forced and out of keeping with the mood an orchestra pit to accom- that ed naturally prevails after a tragedy. Money eighty to one hundred modate was needed for those touched by the disaster, musicians. With these increased and so a benefit concert was given on the green. his facilities he and young mu- The yearly festival was not held. Before the year sicians, together with large closed, Dr. Stokowski announced his intention to numbers of singers, gave four train a Youth Orchestra which would be chosen diversified programs: a choral through auditions. To Mrs. Hobson, as to many concert, an opera, a “serenade” others in the country, his plan seemed a stimu- concert with brass ensemble lating one that should be imitated with similar and, last of all, a performance movements throughout the country, and it by combined symphonic and seemed also in her case to suggest festival talent choral groups. for 1940. She realized the extensive task of form- This pattern was so well liked ing such an orchestra; and she knew, too, that that it was used again the fol- just the right person must be found to undertake lowing summer. Different solo- it, a leader whose ability in training ists were chosen, of course, youth wa' and as marked as his ability in music. Where was SUCsucb new selections were program- a leader to be found? med. but the general plan re- Inquiry led her to mained the Bjornar Bergethon wh< same. The only eC COn e *r°m the AND BRASS change of note was the incor- Middle West “ HORNS teach at theth ! p ( Continued 0 n Page 498' 440 THE ETUDE Music and Culture
Modest Moussorgsky’s Last Hours
(Short Pages from Family Memoirs)
concerts at is, 1941 has marked a which she was to appear as arch , memorable anniversary in the soloist. Moussorgsky went M world of music. On that date, sixty directly to the piano and began years ago, one of the greatest Russian to play, while my mother composers passed away—Modest Mous- sang, the songs he so deeply loved. The warmth and sincerity of his sorgsky. Since then his compositions, praise for her rendition has always remained which during his lifetime found little one of her recognition even in his native land, have treasured memories. Being still a very young singer, won the plaudits of the world and crept she was highly thrilled by the great into people’s hearts without one note of master’s approval took opportunity contradiction. Yet, with all the literature and the to ask him for that has been written about Moussorgsky suggestions on how to improve her per- formance. But this was and his sparkling genius, that glitters so not the only time that the two brightly among the musical talents of the of them met. A few years later Mussorgsky and his friend, world, it remains a fact not only that the the poet Count Golenistcheff-Koutou- last word has not been said but also that soff, became frequent visitors in our his biographies suffer from distortion of home, and it was here on many occa- truth—especially when describing the last sions that she had the privilege of sing- days of his life. ing While looking through my family to his masterful accompaniment in the intimacy of her own salon. memoirs, I came across some notes I had of what late father once told made my A Difficult Situation me of his association with Moussorgsky. When Moussorgsky gave up his job I realized immediately that these eagerly as a minor governmental written phrases might well be of value clerk, his com- positions were bringing in very little to some future author who might, one money, and he was living in the poorest day, write a book worthy of the great surroundings. It was then that he fell composer, and for whom every authentic seriously ill, the result of heavy drinking detail would be important. To that end, for many years. His most intimate therefore, I set down those sketches as friends, Stassoff, Rimsky-Korsakoff, Cui follows: and Borodin, turned to my father for My father, Dr. Leo Bertensson, was one help. They well knew his whole hearted of the most outstanding physicians of old interest and affection for all musicians Russia. Favorable circumstances due to and artists. They asked him if he would his profession, together with an inborn find some way to place Moussorgsky in love of the artistic, brought my father a hospital where he would get the best into intimate and friendly association possible care. But there was no money to with the greatest musicians of his time, pay for such attention. My father was and especially with the progressive, tal- both worried and alarmed at this re- ented group of Balakireff, Rimsky-Kor- quest, because he could see no means of sakoff, Borodin, Moussorgsky and Cui. Of IN 1876 MOUSSORGSKY carrying it out. At that time he was con- all this group— which was known as “The From a rare lithograph by Alexandrovsky nected with two hospitals, the Christ- Five” or “The Mighty Coterie” and whose mas City Hospital for laborers, with no ideals were heralded in the press by Cui private rooms, and the Nikolai Military and the art critic, Stassoff—Moussorgsky Hospital for army officers and soldiers. the greatest favorite. was At both institutions my father was then During the last years of Moussorgsky’s merely one of the staff doctors—in other life, father gave freely of his pro- my words, a man of little importance and fessional services; and it was he who without executive power. He could act cared for the composer with infinite only in the capacity of a humble peti- tenderness and devotion up until the mo- tenAAon tioner. ment of his passing away. For many years At the City Hospital nothing could be he was Moussorgsky’s personal friend, done, even if His Honor the Mayor and he admired greatly the master’s of St. Petersburg himself were to intervene. compositions when he heard them prior leading soprano. Soon But the Nikolai Hospital bore a little either at the home of some Imperial Opera House as a hope be- to their publication after her successful debut at this famed institu- cause, in his earlier years, Moussorgsky had been mutual friend, such as Glinka’s sister, L. I. tion in 1875, the composer presented himself at an officer of the Imperial Guard. Encouraged by Shestakova, or at our home where the composer the apartment where she was living with her this thought, my father hastened to the super- was always a welcome guest. mother. Without hesitation he introduced him- intendent, Dr. N. A. Viltchkovsky. The first attack Praise from the Master self, engaged my mother in a brief conversation on this eminent personage not only was unsuc- current social interests, then asked if she would cessful but also provoked an irritated remark to My mother, too, likes to tell a little story about on transpired sing some of the songs of Dargomijsky for him. the effect that Dr. Bertensson requested the im- her first meeting with Moussorgsky. It Dargomijsky was a very fine Russian composer possible. As my father, deeply grieved, was about during the years before her marriage, when she name famous for his vocal works but unfortunately to leave, Viltchkovsky suddenly offered a most was a well known singer under her maiden a very beautiful quite unknown in this country. At the time, my unusual suggestion: to admit Moussorgsky to the of Olga Skalkovsky. She had Peters- mother was preparing a special program of his hospital as the “orderly of Dr. Bertensson,” pro- voice and, upon graduating from the St. by the compositions for one of the current symphony viding of course that (Continued on Page 494) burg Conservatory of Music, was engaged 441 JULY, 1941 —
Music and Culture 1894—Dr. Hugh A. Clarke; 1895—Miss M. Vir- Dowell, Mr. Percy Grainger, Mrs. Edward Bok, ginia Peck; 1899—Enoch W. Pearson; 1900 Dr. Eugene Ormandy. Thomas a’Becket; 1900—Dr. Hugh A. Clarke; Our country is and should be a country of Golden Jubilee Banquet 1901—Mrs. Mary Gregory Murray; 1903—Daniel realists. We are a practical people. The “show Batchellor; 1906—-Richard Zeckwer; 1908—Thom- me” spirit is in every corpuscle of Yankee blood, 1911 Cooke; it is right that it should What is probably the oldest and largest munici- as a’Becket; —Dr. James Francis and be that way. pal music teachers’ association in the world, cele- 1919—Dr. Frances Elliott Clark; 1921—Dr. James The officers of the Association for 1941 are: brated its Fiftieth Anniversary at a banquet in Francis Cooke; 1927—Stanley Muschamp; 1932 James Francis Cooke Honorary President the Ritz-Carlton Hotel in Philadelphia on Thurs- Dr. Edward E. Hipsher. Lewis James Howell President day evening, May eighth. The Etude feels a par- The work of the Association has been extremely Mrs. Edward Philip Linch 1st Vice-President ticularly close bond with this organization be- constructive, and many important movements in Mr. Arthur C. Hice 2nd Vice-President cause its founder was none other than the late Philadelphia’s musical educational life have been Mrs. Margaret Mae Metzger, Recording Secretary Theodore Presser. Dr. James Francis Cooke, Edi- inaugurated by the P.M.T.A. Its annual banquets, Mrs. Mary E. Dickinson Treasurer tor of The Etude, was President for fifteen years; at leading Philadelphia hotels, have presented as Mrs. Elsie Kratz Dominick Cor. Secretary and Dr. Edward guests of honor many of the foremost public men Miss Adele Sutor Librarian Ellsworth Hip- and women in America in other callings, who Miss F. L. T. Seabury, Hon. Secretary and Historian sher, former As- have come forward to testify as to the great bene- The speakers at the Golden Jubilee Banquet sistant Editor of fits of music study in their lives. This has been were Mrs. Olga Samaroff Stokowski; Mrs. Vincent The Etude, was followed by widespread publicity which has been Hilles Ober; Dr. James Francis Cooke; Dr. President for of inestimable value in convincing the general Frances Elliott Clark; and Dr. George L. Lindsay. eight years. public that music study is of immense practical The artists for the occasion were Miss Mona The present value in the daily life of the average individual. Paulee, mezzo soprano, the winner of the Metro- President of the A record of a few of the eminent public men with noted musicians, Mr. Association is and women who, together Alvin Rudnitsky, violinist, who played a com- the well known have taken part in the banquets of the P. M. T. A. position of his noted teacher, Dr. Frederick Hahn, as: Mme. Olga Samaroff, long baritone and includes such names a member of the Association. A quartet com- Harold Randolph, Con- posed teacher, Lewis Mr. Ernest Hutcheson, Dr. of Emily Stokes Hagar, soprano; Rebekah Dr. Chevalier Jackson, van B. James Howell, stantin von Sternberg, Conway, alto; Albert Munson, tenor; and Bauer, Mr. E. T. Stotesbury, Lt. Comm. Stephen who has brought Harold Conway, bass, sang a prize contest Bishop P. M. Rhinelander, Grace. a new and fine John Philip Sousa, This prize setting of Anita Gray Chand- Wister, Monsignor H. T. Henry, Leopold ler s poem spirit to this Owen was won by Dr. Nicholas Douty. Josef Lhevinne, Hon. Henry van Dyke, n order splendid group. Auer, to signalize the recent Golden Anni- of past Florence E. Coates, Philip Goepp, David Bispham, versary the The list Association presented to the Presser Presidents con- Mr. Edward Bok, Rudolf Ganz, Hans Kindler, Home for Retired Music Teachers, in German- Dr. Felix E. Schelling, Dr. Adam Geibel, Hon. tains the names ,°™’ a magnificent bronze 40") , tablet (36" x of many well James M. Beck, Mme. Yvonne de Treville, Cyrus dedicated to the memory of the Founder, Theo- musi- H. K. Curtis, Thurlow Lieurance, Dr. Waldo Sel- known 6SSe ThiS wiU be Koven, Mrs. described in a later cians, as here given: 1891 William Wolsieffer; den Pratt, Reginald de Edward Mac- issuefssul Shwhen Lthe — unveiling will be reported.
Golden Jubilee Banquet of the Philadelphia Music Teachers
•Carlton l’lmto by The Photo III 111,1 Music and Culture
In 1932, I attended one of the then-popular International Revues, in New York. At the very Finding Opportunity end of the program, when everyone was tired, there appeared a Spanish girl who danced and sang. At once I saw that she was a first-rank artist, with a sure personal message and a sure way of stating it. Neither press nor public was on the Concert Stage enthusiastic about her, though, and when the revue closed, she went back to Spain—unsuccess- ful. I kept her in mind, however. I had faith in her work, and felt that her lack of success was due to faulty presentation. In time, I got in touch A Conference with . with her, but her American experience had been such that she preferred not to make a second attempt. Then the Spanish civil war broke out. What was a misfortune for humanity turned out to be good fortune for the world of art. Again I got in touch with the Spanish dancer and, after Noted Impresario-Manager of discussing programs and methods of presenta- Chaliapin, Ysaye, Elman and Marian AndErson tion, I induced her to come back to America. She is La Argentinita, recognized to-day as the world’s greatest Spanish dancer, and acclaimed by press Secured Expressly for The Etude by ALLISDN PAGET and public alike. Discovering Genius A similar experience began in Paris. Strolling veryone who is conversant with his- should be so, but the things that come too easily along the Champs Elysees one day, I chanced tory, literature, and world opinion knows never last. Fate seems to want us to pay for suc- to see a poster advertising a recital, in the Salle E that this great country of ours is the Land cess in the coin of hardship and struggle. Per- Gaveau, by an American Negro contralto, named of Opportunity. From that point on, unanimity haps one of the causes of unrest to-day is that Marian Anderson. I had never heard the name of opinion ceases. There are different ways of so many splendid things are made so easy for us! before. Later, I was to learn that she had been looking at what opportunity should be. Some seem We do not have to struggle for books, as Lincoln under an American management which sold her to think that it means sitting restfully in the did; we go to a public library. We do not have services, at about seventy-five dollars a concert, sunshine, and waiting for good luck, big “breaks”, to walk miles to hear great music, as Bach did; to groups who wanted Negro spirituals. I went and the better things of life to creep up unawares w*e just switch on the radio. The more we get to that Paris recital alone; I sat in an upper box and fasten themselves upon the sitter. Those are out of the habit of grubbing for opportunity, the and looked over a definitely un-crowded house. appeared, before the of the ones who fail to get what they want. Then scarcer we find it. Miss Anderson and end ( on Page they complain that Opportunity has gone. It has There are four maxims that I suggest to young her first group, I knew Continued 488) not. Opportunity is with us, just as it always was; people who want to get ahead in their work. Believe in what and it needs to be cultivated, just as it always has. Opportunity isn’t a job, or an offer, or a you do. Love what you do. Put bundle of bank notes; it is the freedom to think, your whole heart and your perfecting to act, to initiate, to work as we please. It is the whole time into sum total of those democratic ideals which have what you do. And work harder can made it possible for young people to come here, than you imagine you penniless and without knowledge of the language, work. That is the only way to and work their own way up to the station in life make progress, to give happi- they wish to occupy. I know, because I was such ness to yourself and those a boy. about you. That, in short, is At fifteen, I ran away from my native Russia. what success means. I had several hundred rubles, with which to be- But, you ask, what has all come apprenticed in a hardware store. I spent this to do with achieving a most of it on a ticket to America, and arrived public career, the sort that a here with three rubles in my pocket. I went to manager ought to know about? Philadelphia, because that is the city of Benjamin Everything! What the pub- Franklin. I peddled needles, worked on a street lic wants is not a special kind car, washed out bottles, and bundled newspapers of voice, a special kind of tech- for the midnight edition of the Philadelphia nic, a special trick of inter- pi-ess. After the paper was out, one of the young pretation or program-making. reporters used to let me come to his flat, where The public wants quality from he played Wagner for me, at three in the morn- a performer—that certain ing. That made me determined to seek my work human, personal quality that among the richer, lovelier things in life. I came makes other people feel warm- eventually, and at eighteen I began er, surer, freer, more convinced to New York organizing concerts of fine music for working- that life is good. The power men’s clubs. I bothered Zimbalist until he con- to project such a human lift only sented to appear for one of my clubs at a greatly across footlights comes reduced fee. From then on, I was an impresario, from an intensified degree of and other young people came to me, to look for believing, loving, perfecting, and working. We call it great an opportunity! art. The artists who can fur- Opportunities Work for nish it are sought after by Nobody can make opportunities for you. You managers and public alike. comes easily Even if they struggle for have to work for them. Nothing that and nothing makes you happy recognition at the start, it is appreciated— cannot explain why it cannot fail to come. unless it is appreciated. I
JULY, 1941 443 \ , °
Music and Culture
Army Song Book Makes Its Bow
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o — unoiuoi-i iuo uuuuiumj bu barber-shop harmony, and are characterized by a rhythm and swing which adapt them to im- promptu gatherings around the piano, accom- panied by banjo or harmonica, or to marching songs. The Army Song Book" Is Reserved for the Army Once the contents of the book had been chosen, the long and complicated task of getting copy- right permissions had to be hurdled. With the un- derstanding that the book was not to be sold, and USe restncted to A™iy !A, . personnel, copyright ns Were secured from If‘k most of the song nl a jew of the ~, son£s were in the pub- lie dome' 1 ’ 6 Libl al'y of Congress Music Divi- sinn renf“'edIf- I™ '“valuable technical aid in editing mrn a " the A™y Song Book.” Finaiw'f pwT®bluary . the new 1941 “Army Song Book” riAH ed S1 Primarily for leaders and instrument ? song Players It ’ was ready for distribution. is a nmln P age song manual with an amus- ine rartnlf* , bU' e of cove1'’ showinS a 8roup Americans inkvAthe nmform of all joining i„ “n- wI our wars 6 h°VerS - mUS<5 Ft. Belvoir soldiers enjoy piano song fest in a cuPid like the wielding a baton recreation hall of 30th Engineers. U. S. Army at donated a piano by a Washington, Ft. Belvoir, Virginia was D. C. usa,ld “Pies of the songs and house, April 1941. A Private plays the piano while musTcffthlf f?° music three edltl°n were included Lieutenants and a group of soldiers burst into song. music Published; it in' £l ° and bass clef, ukulele and banin m- as well as
1 ements - Assuming equal distn- bution can he aa" ! hleved of its will be a ratio of „„ 7 book, there b ' April camp song leader.” Which tells °ok to every men oldiers have always sung, on the story! Presentlv tn torty °r hfty e W issue 6th, 1917, music went to war as well as one- During the World War an “Army Song Book” a " Department plans to smaller L.tn S hundred million Americans. The training was issued, which contained about ninety songs ° t,le “Army Song Book” which will fit into n A million copies were distributed, °ld er ' ob»‘ camps were soon ringing with the so-called and its pages the S coat »><**• It will musTc to thf i “Kaiser Karols,” marching songs, sentimental were filled with folk songs, war hits, sentimental ' seven songs and wiU tain only - “‘I, ballads, patriotic songs, and the the an favorites, and patriotic song hits of the day. anthems of one Probab ly as many as one France, Belgium and Great half million A The value of song was progressively appre- Britain. f n be Printed the pocket editi° by. When the Morale Division A°ain°6 *bw ciated as the war months of 1917-18 slipped of the ’ the Adjutant Gen- available smaller book will not eral’s Office was General J. Franklin Bell remarked at Plattsburg, activated last July—it S eial was made Of the distribution. The tltle-paS the Morale Branch of the “Armv f Army." General '' in 1917: “A singing Army is a fighting Staff in March Book reads, below the Wa group of 1941—one of its first duties Departmem L The power of song" is illustrated by a was to compile a his erty sons the ’ book is the book for use in training United stnt If ProP three hundred draft evaders and deserters who camps. Qove content,% may be rnment, and its were in military custody, in an eastern camp, in In order to ascertain the most popular used sone-s 11 '" the military service^ 1918. defiant, and had to be the Morale Division tried out The sixty-seven They were sullen and the “straw son 1 vote Song Songs which are in this A kept under heavy guard. Then the commanding technic and distributed to hundreds Book” mi of regular “ T° r thelne lyric virtu®*!virtu inspiration. For two soldiers a list of about everyeverv regionre,!.. Wo habits of officer of the post had an one hundred iiiiat and ten 0" and itS over to a competent which would most appeal Possessions some of evenings, he turned them to the men. Blanks w , Timf ounfl,! f3 thne hist sing, they also left on these Songs 177c the nation’s songleader and, after they began to “ballots” for write-ins of ™ ,oJ, of ne! 1“ 1917-18. 1939-40 mental attitude sonal favorites. included . and their whole When the , were transformed; results were a ei £ tabula! aie d'tties ' a cooperation. it was found that the the wteat o„,., fromft om the cott0lcotton changed to one of Star Spangled Wheat flelds Banner trIrom !,31 regimental commanders of the by far the most popular, eamps,camps, om railroadrai h’oad construct‘dconstrue In France, the and the - and halite’ f ' nmAr l song as a “pepper - order were: Re far 01 the cattle and A. E. F. found the value of America, God Bless America S West. There If. country Singing doughboys °» the Range, mce songs infant", upper” amply demonstrated. I am an Arr^ri artillery, air of the caTl In,el * lighter heart, a quickened Caisson Song, The the engineers marines < swung along with a La'st Round-up navy. - the YoJre There xv' a corps. One morale ‘ S°ngs cadence, and a higher esprit de Army Now, and Carry Me Back Irish origin ot EnShsh, Scottish to Old and a ‘ asked to epitomize his The soldier’s ViZJVirginnV negro a“ officer of the A. E. F. was best “gal” was still nh a melodies spirituals, and HaW evaluation of song and music as a morale-builder whom the plainsmen, 01 d ° for the troops, and he promptly replied: “If I emigrants sang as early Westerr n as the i850's spngiedTj ° Starts with division, let me be the nn e cannot be the general of a With some exceptions, ur l^ eP°Tds Wltftwith v e the You’re ," a genteeigenteel ’ majority f in thothe / Ws 0 th, f Trniym , , , J favorites ,? N°w. Some World 444 ’ whiob‘Ch the ( Continued on Page
rjfll HE vote returns in The Etude’s Musical Music in the Home Motion Picture Contest are bringing to T light interesting reactions. In straight musical or dramatic enterprises, a wide differ- ence in taste can exist between what is welcomed in metropolitan and suburban communities. Mo- tion pictures, like radio, aim at a single national audience. Towns that are large enough to have Film Music a motion picture theater at all see the same films as New York, generally at the same time, and their citizens are asked to form their own opinion about them, regardless of the dicta of Broadway. We believe this to be a sound and democratic That Musicians Like policy. Do you? How do your opinions compare with those of the metropolitan critics? The Etude would like to know. Write, on a postal card, the name of the musical movie you have most en- joyed, and mail it to The Etude’s Musical Motion Picture Award Contest, 1712 Chestnut Street, r^t^onalcl Wartin Philadelphia, Pennsylvania. Thus, you may have a share in determining the best musical movie for the first six months of 1941. Your vote may help to determine the kind of musical movies this nation is to see. scores of genuine audition candidates, Musical tends to write a sequel to his best-seller, “A Director Arthur Franklin selected the twelve best Smattering of Ignorance,” this summer, and his Paramount's New Musical Play voices among Hollywood’s best-looking girls, and experiences on the Paramount lot are expected Paramount’s forthcoming production of “Kiss added the two best singers in Paramount’s regu- to furnish material for at least one chapter. He The Boys Goodbye,” adapted from Clare Boothe’s lar stock group, Eleanor Stewart and Ella Neal, will begin work on the book at the conclusion of Broadway comedy hit of the same name, prom- as the “singing secretaries.” They are heard in his current concert tour. ises unusual visual and aural entertainment. Cer- the title number as well as in Sand in My Shoes, tain changes have been made in the film version with Connie Boswell, who canceled a scheduled The Origin of Boogie-Woogie of the play. In an introduction to the published appearance at the New Orleans Mardi Gras in Don Raye and Hughie Prince, composers of play, Miss Boothe states that “this play was order to appear in the film. Boogie-Woogie Bugle Boy of Company B, as well meant to be a political allegory about Fascism The plot involves the up-and-down (but finally as of the boogie-woogie bits in the Universal pro- in America. But everywhere it has been taken for up) fortunes of a Broadway vocalist (Mary Mar- ductions which incline to that novel medium, of Hollywood’s search for Scarlett tin) who tries for a part, a parody , out O’Hara.” The picture is played entirely for com- fails to obtain it, learns that the edy, entertainment, and musical charm, with no show’s producer (Don Ameche) regard for political allegory, intended or imag- and composer (Oscar Levant) ined. The best lines and situations of the origi- are about to make a tour of the nal version have been retained; but, because the South to discover a typical “Scarlett” search has long since lost its topical belle for the role, and makes a value, ttye film now deals with a theatrical pro- hasty trip southwards herself ducer’s quest for a genuine Southern heroine, to to greet the questing pair on play the lead in a Broadway play about the their arrival. The manor house, South. The cast includes Mary Martin, Don to which she induces them to Ameche, and Oscar Levant, who plays a reason- come, contains a harpsichord, ably accurate facsimile of Oscar Levant as the which property is the posses- sharp-tongued young composer. The Levant dia- sion of Jose Iturbi and was in- logue, incidentally, is largely his own “ad lib” sured by the studio for ten invention, interpolated into the script as non- thousand dollars for use in the chalantly as the two Chopin Etudes which he film. Iturbi granted permission works into his piano rendition of the title mel- for its use when he learned ody, Kiss the Boys Goodbye. Directing the film that Oscar Levant would be the is Victor Schertzinger, whose ablest film accom- one to play upon it. What he plishments always seem to be mentioned second did not learn was that Levant to the fact that he once composed Marcheta. had never played a harpsichord Schertzinger, whose works rank seventh in the before in his life. list of ASCAP tunes played most frequently on One of the most difficult song the air, and who furnished the scores for such numbers ever attempted for a hits as “The Love Parade” and “One Night of motion picture was recorded by Love,” plans henceforth to direct at least one Miss Martin. In the final chorus picture a year for which he will also compose of Kiss the Boys Goodbye, she the music. That is good news. The current pro- takes off in a high dive from duction contains five potential hit songs, all from a springboard, sings the final Schertzinger’s pen, with lyrics by Frank Loesser: high note as she emerges from Kiss the Boys Goodbye, Find Yourself a Melody, the water, and then swims to Once 1 Met, I Never Let a Day Pass By, and Sand the edge of the pool. Inasmuch Mary Martin and Don Ameche in "Kiss the Boys Goodbye" in My Shoes. The singing of Mary Martin and the as Miss Martin records her playing of Oscar Levant combine to extract the songs directly, instead of sing- maximum of musical value from Schertzinger’s ing them to playbacks of the film, she not only have interesting things to say about the origin melodies. had to hold her breath while under water but and significance of boogie-woogie. It is a musical Comedy is heightened, in the sequence where also have enough to carry the high note for sev- form of African influences, which sprang up in audition candidates are expected to try out a eral beats as she reappeared. Oscar Levant in- the deep South, as a result of poverty and lack new song, by the introduction of a midget who of formal education. During the days of Recon- executes a “staged” try-out of the song at a piano struction, the recently liberated Negroes had very little man is not seen and the little money and even less so placed that the MUSICAL FILMS book learning. They piano seems to play itself. The voice heard in could not buy pianos and they could not read Schertzinger. words, less ( this scene is that of Director From much Continued on Page 486)
JULY, 1941 445 ;
Music in the Home
Radio Rules the Air With Music A
s^ffrecl rjlP.nclsciijj. Wo, cpcin
WO summer symphony series began this The Dorian String Quartet, past month: the Lewisohn Stadium con- which has been heard during T certs, featuring the New York Philharmonic- the past two summers in a Symphony Orchestra (Tuesdays from 9:30 to series of broadcasts featuring 10:00 P.M., EDST, Columbia network), and the chamber music by American Toronto Promenade Concerts, featuring the Tor- composers, has returned to onto Philharmonic Orchestra (Thursdays from the air again this year. This 10:00 to 10:30 P.M., EDST, NBC-Blue network). group is heard on Saturdays The Toronto Promenade series again will be from 3:00 to 3:30 P.M., EDST, under the direction of the talented conductor- over the Columbia network. As pianist, Reginald Stewart, who originally founded in the past, the accent will be these concerts eight years ago. Mr. Stewart in placed on American works, recent years has made a name for himself in the and undoubtedly many quar- United States as well as in Canada. Radio listen- tets that found favor with ers will recall his successful series of four con- past radio audiences will be certs with the NBC-Summer Symphony Orches- repeated in performance this tra during the latter part of April and in May. year. Previously, he appeared as guest conductor with Following the Dorian String the National Symphony Orchestra in Washing- Quartet program, Vera Brod- ton, D. C., and with the “Famous Conductor sky returns to the airways Series” of the New York City Symphony Orches- again this summer for short tra. He is scheduled to conduct a series of con- piano recitals. Miss Brodsky certs during the summer at the Lewisohn Stadium will be recalled by many lis- in New York, and will appear as guest conductor teners for her splendid recitals in several mid-western cities. • of all the Brahms piano Stewart, born in Edinburgh, was brought to works over the Columbia net- Canada by his family in his thirteenth year. He work last year. To date, her studied music first in Toronto, and then in Lon- programs have not been an- Reginald Slewed. don and Paris. His piano teachers were Isidor nounced; but, knowing the We„ Known Sco.ch-An.edcon Conduct., Philipp, Mark Hambourg and Arthur Friedheim. artist’s extensive repertoire He also studied composition with Nadia Boulan- and ability as a program maker, we can safely attention as predict that the recitals will be interesting and 1611068 WiU be rec uested t( ger. In Canada, he first attracted send i^omettersA^k l °‘ the conductor of the Canadian Operatic Society. worth while. She will be heard from 3:30 to 3:55 may her documents the possess, : regardhm n t Later, he became director of music at Hart House, P.M., EDST. Such S dramatlzeC Americana as is fhn pianist of the Ham- Kostelanetz’s popular show, “The Pause That ^ obtamed will becom University of Toronto, and Part of the historic, the Air,” has ‘ 1 collection bourg Trio. He made his debut as a pianist in Refreshes on changed its time from of Congress. of the Librar; London in 1925, appearing in solo recital and with 4:30 on Sunday afternoons to 8:00 P.M. on Sun- appeared as guest day nights. Throughout the summer, Kostelanetz August orchestra. Five years later he from 3:00 t^-^ on Sunday Orchestra and his smooth orchestra will be AnAM” conductor with the London Symphony heard playing EDST ( NB °-B1U network), the AtA ™ during the Celebrity Series, being the first Cana- familiar classics and popular selections, with the nal Youtl1 Administrate orchestras in lpart- that organi- regular assistance of Albert cities dian musician invited to appear with Spalding and fre- Will be of the United State guest artists. heard m A zation. Greatly impressed with Sir Henry Wood’s quent It looks as though Kostelanetz °Slams resen familia and time honorpri P ting Queen’s Hall Promenade Concerts in picked himself a winner in his new famous show and concert Slti°nS ° f the regula years ago founded the that folks do not want him to repertoire asTen° London, Mr. Stewart eight take a vacation. composers. as works hy America Concerts modeled on the Those who like organ music Broadcasts^', . Toronto Promenade will enjoy the Cincinnati, onglnate from Bostoi largest attend- Columbia program, “From Chicasrn Ht A hold the the ° ’ former. These concerts Organ Loft,” Ij0u ^ s heard other > San Francisco an Canada. Sunday mornings from cities. ance record of any concert series in 9:15 to 9:45 EDST The presents an hour’s performer is Radio City Music Hall, which Julius Mattfeld, who is also librarian York ed Statl0n W0R in Ne musical show throughout the year on Sundays, at Columbia’s Station WABC in New York iMutua^networkf n in the history What was the flrst QU has recently inaugurated a summer series of The Library ol Congress and of hr’A NBC have ‘ ar- quiz crowded 18 ’ In these dayS music concerts by the Radio City Music ranged to present a summer kilocycleAnM" chamber series of fifteen the )thers first same maY well be ask® Hall String Quartet, with Jacques Gassslin as minute dramatic sketches based on question Ww™° controversial f0 >- Rsays that Hall String Symphony, or mysterious the historical one contend. violinist, and the Music events in American history Titled Events UnCtlon is Currei the direction of Maurice Baron (Sundays, “Hidden History,” the Bee, conductn,f the under program made its 1:30 initial iyn Daily year by Bl °o1 NBC-Blue network from 12:30 to PM. broadcast on May 18th. It Eagle. the is to be heard each The AAA concerts will feature lesser known Sunday from 2:00 in 1924, with S ^uiz first took pla< EDST) . These to 2:15 P.M., H. B TCcit EDST NBC B1 including a group Eagle, f B works for chamber ensembles, as the interrogate’?™’ theu eclitor °
composers, In 1 by contemporary gram has lts caree1'. pi' of new compositions been on sever ?A the Latin-American dlt both of the United States and nous, but for terent New York sti the last , eW various vocalists will be heaid in elusive years has e: countries. Also feature of Wcm 0 been an songs. the sa lesser known art broadcast of the May 2 5th, lyn A Daily Eagle ^teenth Annual Brool Currentr 4 446 i Continued on Page 49: The Musical Ginger Jar Music in the Home Who, as a child, can forget a visit to an old farm and letting his curiosity lead him to the old ginger jar in the cupboard in which many of the family treasures were stored for security? Here is a musical ginger jar—“Traditional Music of Amer- The Etude ica,” written by Ira W. Ford, a Missouri farm boy who became a mineralogist. While digging and prospecting in all parts of the country, he set down some six hundred tunes “a large percentage Music Lover’s Bookshelf of which have never before been printed.” The book at once becomes a most valuable and inspir- ing record of the history of our country told in tunes rather than words. This, of course, is our folklore treasure from which many composers of the future may construct great works. It contains interesting descriptions of the origin and re- discovery of these fascinating American melodies. The present public desire for more information upon American tunes and ballads is very great. “Traditional Music of America” By: Ira W. Ford Pages: 480 Price: $5.00 Publisher: E. P. Dutton and Co., Inc.
sistent desire to express himself in sound began “The History of Musical Instruments’* The Stoky of Musical Instruments with man himself. One of the earliest instruments By: Dr. Curt Sachs now, with Pages: 503 The publishing firm of W. W. Norton & Com- was unquestionably the rattle. Even seem to start Price: $5.00 pany, Inc., of New York, has the excellent slogan aboriginal races, the most primitive rattle. these early Publishers: W. Norton “Books that Will Live.” What is the use of pub- with some form of the With W. and Company gradually moved lishing a book, if it is to pass into early anaemia manifestations of rhythm, man of and death in a year or so? The Norton Company on to some form of melody, then to counterpoint The Complexion Chopin has brought out a voluminous “History of Musical and harmony. A shrewd British critic, Gerald Abraham, has Instruments” by the European savant, Curt However, it is a huge step from the rattle to appraised Chopin’s Musical Style. The book is Sachs, for many years Curator of the Berlin State the modern symphony orchestra. The Sumerian most helpful to one who has become inoculated Museum, where he was in charge of the remark- drums and harps depicted on stone slabs, in the with the contagious charm of the great Polish- able collection of instruments in that institution. University Museum in Philadelphia and in the French composer. There is very little that one can write about such a book as this. It must be read to be assimilated. You may not agree with the writer, but his opinions are provocative and stimulating. For instance, you will find the para- graphs noting the debt of Chopin to the Irish John Field very interesting. Yet Chopin’s advance upon the style of Field is instantly evident. The size of the book, naturally, does not permit more than passing mention upon some of the representative works. “Chopin’s Musical Style” Author: Gerald Abraham Pages: 116 Price: $2.00 Publisher: Oxford University Press Boom! Boom! Boom! Boom! At last a fine, practical book appears for the bass drums, tenor drums, and cymbals, by Sam C. Rowland. First of all, it has a splendid intro- duction by Edwin Franko Goldman, which stamps it with authority. The volume is finely illustrated, with numerous action photographs. There is an excellent section illustrating Scotch Bass Drum- ming, with its aerial work and twirls, in which the kilted performers amaze the onlookers. playing the harp- The Concert at the Spanish Court by Jacob van Loo (Eremitage, Leningrad): the king listening, the queen The History of author tells us that Scotch Bass Drumming may sichord, the musicians accompanying on violins and a violoncello. An illustration from Curt Sachs Musical Instruments." easily be learned in four to six weeks if the drummer is willing to practice fifteen minutes a Chicago, Dr. Sachs is now a Professor at the New York Uni- Oriental Institute of the University of day. This style of drumming has become very old. Dr. versity. The great collections of musical instru- are probably about thirty centuries popular with American Legion Corps. Therefore, ments, in Paris, London, Berlin, Copenhagen, Sachs’ description of Nebuchadrezzar’s orchestra if you want to know the difference between a centuries be- Rome and other European cities, are visited by of the last Babylonian Empire, six Triple Ratamacue, a Double Drag, and a Flam Diddle tourists who roam idly around the cases as they fore Christ, is very fascinating. Paradiddle we know of nothing more prac- ‘‘must’’ book for do in the Steinert, Crosby Brown and Stearns This book is unquestionably a tical than Mr. Rowland’s work. collections in America, only to come out with little the musical library. “Percussion Technique” more information than they might have after a By Sam C. Rowland Pages: 42 (sheet stroll through a department store. The origin and music size) the development of the instruments are matters BOOKS Price: $1.00 Publisher: O. Bro. of great human and romantic interest. Man’s in- Pagani &
JULY. 1941 447 n ? V
Music in the Home
SCHAIKOWSKY’S Francesca da Rimini has never been so popular as his Romeo and T Juliet. Dante’s “Inferno” (which supplies Master Records of the program) being less read than Shakespeare’s “Romeo and Juliet,” it is not surprising to find most people unfamiliar with Francesca’s tragic story. Since it is a melodramatic one, Tschai- kowsky wrote melodramatic music to depict it. Masterpieces The score is intended to suggest, at the begin- ning, Dante’s descent into hell and the sights he sees there. “Among the tortured ones he recog- nizes Francesca da Rimini, who tells her story.” The clarinet conveys her voice. ii l^eecl score (f3 f-^eter Some of us might not willingly turn to a of this type, but it can honestly be said that it becomes a privilege to hear it under the sensitive for double string mento, and, as such, it is music of entertainment. orchestra, is played by Boult and expressive treatment of Sir Thomas Beecham with fine This is the sort of composition that belongs in precision and sensitivity. Both the per- conducting the London Philharmonic Orchestra everyone’s record collection. formance and recording show a marked advance (Columbia Album M-MM-447). One understands over an earlier Eighty minutes of a symphony is a gargantuan recording by an amateur en- better why some critics have claimed this work indigestible to semble. music that repast. And indeed it may prove to be the finest piece of program Some listeners some listeners who do not admire Bruckner, may ask, on hearing the re- Tschaikowsky wrote. Moreover, the recording, corded whose “Symphony No. 5 in B-Flat major” played orchestral version of Bach’s “Toccata and England, is of an unusual quality, being made in Fugue ’ by the Saxonian State Orchestra, under the di- in C (played by the Minneapolis Sym- brilliant and full in tone as well as clear in detail. phony rection of Karl Bohm (Victor Albums M-770 and Orchestra in Columbia Set X-195), how It is best orchestral recording that Columbia the much of the music is M-771) takes fully this long to play. As in most Bach, how much is Weiner year, of a quality , has given us in the past and the arranger, works of Bruckner, there are and how much is Mitropoulos the that the company’s domestic conductor? some truly poetic passages Weiner shows skill in modern engineers might do well to orches- as well as the usual Bruck- tration, but he inflates the material, imitate. This is the first time while Mi- nerian long-windedness. A tropoulos demonstrates virtuosity that the music has been re- in his conduct- great admirer of Wagner, ing but plays the music corded in an uncut version. with an unyielding, Bruckner did not, however, metronomic drive. Perhaps Hard on the heels of Co- the recording has have the former’s passion something to do with lumbia’s issue of a perform- it, for it is singularly lack- and fervor; for he was con- ing in bieadth and tonal ance of Brahms’ “Symphony vitality. Although the tinually beset with a relig- ° d f 1S n0t No. 3 in F major” by the destl’°yed, it is not ex- ious feeling that entirely actly*lv confirmed.nmfi° Chicago Symphony Orches- removed any sensuous qual- Stokowski in the recording tra, under Stock, came a re- of the Love Music ity from his music. This is from Tristan and lease by Hans Kindler and Isolde”— — (Columbia"--uiuiiiuia, Setocii M- Tv/nv/r i -i m- apparent in the opening a o>7 the National Symphony Or- Wlth the "‘-American Youth Or- which, although ? , movement dwsta Rn a £° chestra (Victor Album M- rmula he has Pursued in two strongly impregnated with nreviou; o, stand- ™ 762) . Purely from a ctor the spirit of Wagner, con- with tha point of reproduction, this is S;ZoTZT, leSentR arrangement tains hymnlike passages includes the music the best recorded version of of' thtm Love Duet the that have a pious tinge. The words “o siniTuf, I from this work. As a performance, U long adagio is the best Anal trended he P ° int ° £ however, it is less convincing outbum 'of th * movement. Its mood of VerS or ro- entrance of ing than either the Walter K mrl ° ' mantic rhapsody creates a ski RmM°S p01nt StokoW the Weingartner versions. skips to the LiebTstot TL greater sense of spaciousness The music 6 Cnd ° £ the opera ’ True, it more forceful is played is and assurance than Conn™ Wlth Some highly either individual ’ reading (particularly in the feeling for nh r the lengthy opening move- phlasin g and tempo. two outer movements) than Stokowski’* vi .J- ment or the protracted on 01 Mussorgsky’s Night the Stock version, and, on Bare MountaijMvw IS finale. The scherzo, based sion 7900) ‘ S the the whole, a more desirable he made for °- \ HANS KINDLER upon a bass figure thl DisnR ^ used in y Plctur e, “Fantasia”, exposition of the score; but, The score is arhitlo •. Conductor of the National Symphony the adagio, is suggestive of With at the same time, there is ward the ap aye Orchestra, Washington, D. C. merry-making peasantry. d nor In recording although this is a better not the breadth of spirit it i s n'ot such a day and age as ours, nCing the lyricism which makes for as the earlier ‘p‘ a Performance Our an enjoyment of Bruckner requires patience and one by’pa'Jd an enduring performance of this symphony. The album y ' most happily a type of musical stamina that does not always of “Svmnh choice goes to Walter, who seems bussy’s Le mc Augments from De- the repay the effort. Perhaps the best way to Martv/rtyr rf mated to this score. And, as a recording, enjoy fe, Saint-sebastian”, played symphonies satisfactory job. Theie Bruckner’s is to play one or two " Walter set still remains a chestra Conservat°ry °r a touch of nos- movements at a time. (VlctorAbum ^*787)^~ is a warmth of humanity and M 767) is written for • incidental music Brahms’ “Third Sym- Vaughan Williams’ Fantasia on a Theme the mJ, ly talgia in the music of of by play of name lover. And Tallis (played by the B.B.C. d’Annunzio Tho f same endear it to the music Symphony Orchestra, phony” which )' colorfully evokes and is it seems with Sir Adrian Boult directing, conceived moods to its lovely slow movement, Victor set M-769 as we listen well, 1 does together all the slow is an unpretentious work one should uot hold the tenderest and most appealing of of great beauty; in hlnn ‘ba play lamui story this composer. which serenity, one of the most valued in orl, « with the movements by qualities which Serenade No. 2 of all great art, is truly achieved. ranks l>nJoy tul music, An early work of Brahms, the i Here we among ‘y the have a n , ’ unrecorded, has translation, as one writer has works. ebussy s orchestral in A major, Op. 16 previously said, of the Performance best feeline- Piano an recor performed by Richard Korn and of four centuries ago into the idiom students ding are good. been delightfully of our own and to Orchestra of the National Orchestral day, made flexible and given a force Behrend’s achers Jeanne the Alumni undreamt album of «p may find writers of by Tallis Comp . 1&n . Some Thomas ., Album M-774) (1529-1585) . osel ° Association (Victor The work scoJed s a valuahio Muslc by American Brahms as sketches of aSS6t dismiss the serenades of heplayih^i“ (Vict°r Album seemed to us very and R bmh s symphonies, which has always the recording Psltive intelligent. isrear ? and work is assuredly gracious aamd tlC present on ’ uniust The the conservative The music is varied music of youthful lyricism, RECORDS are: Slde and refreshing; it is “Two Preludes” ’ Th e works recorded 18th-century diverti- the style of an Gershwin) ba written in (Disc fns) . “Three Preludes” (Mason), ,, March ’ The Whippoorwill wtna^nd 448 (Continued on Page 494) OWADAYS, THE CHIEF SURGEON of Lon- Music and Study don’s great Children’s Hospital does not N get to know his small patients so well. They stay so short a time. After three days, they are sent to the country, even the badly wounded ones; their beds are needed for new casualties. Music in Britain's The chief surgeon examines them daily, however, War in rooms in the center wing where bombs have not yet fallen. One day he came upon a wee girl An Interview with who seemed listless. “She isn’t getting enough nourishment,” the doctor explained, after examining the child. “Ah, but she is,” said the mother. “I see to that, special. Twice a week she has meat, and twice a week she has meat broth. Reg’lar.” Distinguished English Pianist, “Doesn’t that take extra food tickets?” the doctor asked kindly. Director of The London Mozart Concerts “No, sir; it’s the way we manage. The neigh- bors and me, we have a sort of friendly arrange- ment. When I get my bit of meat, I lend it to Secured Expressly for The Etude By MYLES FELLDWES Mrs. Richards, and she boils it half an hour to make broth for her children. Then she takes it ’round to Mrs. Small, and she boils it half an hour. Then I the telephone may be broken down. To meet a get it back, and we have the friend for tea is the greatest sort of lark. For meat to eat. We all do it that the most part, one sees no one, gets no news, way.” hears nothing. And the many evacuees in the The doctor’s sister told that suburban towns do not have even the comfort of story. She is Betty Humby, watching out for familiar faces when they go pianist, Professor in the Mat- shopping. They know no one at all and feel des- thay Pianoforte School, Direc- perately lonely and strange. Something had to tor of the London Mozart be done to give people some sort of lift in their Concerts, and one of the most daily lives, and the Government kindly granted distinguished of Britain’s me its cooperation in trying to carry on the younger artists. When her spirit of the Mozart Concerts we had been giving own small son was evacuated in London. The Mozart Concerts are a permanent to the United States, Betty organization, headed by Sir Thomas Beecham, Humby determined not to put and devoted to giving first-rate orchestral and the ocean between them and chamber concerts, at fees that are much lower came along. Within a few than the average concert admission price. Many weeks after her arrival, she of the best-known musicians join with us in our made her American debut un- desire to bring the best in music before the der the baton of Erno Rapee, people* on the Radio City Music Hall “And so we took our concerts into the prov- of the Air program. Later in inces. Since most of the halls are commandeered, the year, she will play as solo- I got permission to give the concerts in the ist under the direction of Sir cathedrals. The acoustics were admirable, and Thomas Beecham and of Eu- the full view of the altar emphasized the note gene Goossens. But her own of spiritual lift which we wanted so much to career, she tells you, is of sec- convey. We gave over eighty concerts in all, with ondary importance. Her chief more than three hundred musicians participat- interests in life are British ing. The audience was charged from three-and- music and British children, six to a shilling, to cover the necessary expenses and she is here to do whatever of getting us from place to place; surplus intake she can for both. went to the Musicians’ Benevolent Fund. Miss Humby has already “The travel conditions were our worst hazard. done much for these causes. We piled as many as we could into an old private Asked by the British Govern- car; each of us contributed a ration ticket to get ment to take chamber music the petrol to run the car. We packed our instru- concerts to the provinces, as ments along, somehow, and set out for one of our morale builders in war time, key cities—Portsmouth, Bath, Brighton, Bognor, Betty Humby. Celebrated British Pianist she has spent the better part Birmingham, Gloucester, Worthing, and ever so of a year organizing pro- many more. Working outward from these cities, grams, getting artists together, taking them on managed to get through, their instruments might then, we gave more concerts in all the little towns tours without knowing whether the next air be held up. In the case of fine grand pianos, this in the immediate neighborhood, contriving raid would wipe out the road, the travelers along was rather a problem! And, of course, it was to be on the road as little as possible, and cover- ing the territory stops in tiny with it, the town at its end, or all three; but just the wrong time to allow anything to put a between snatches. Even so, the carrying on with the program of morale-through- stop to concerts. The people needed spiritual road that had looked inviting last music, regardless. stimulus more than ever; not as a bulwark night might be a great crater hole by morning. against dangers, but, curiously enough, as a cure Often some of our performers just did not arrive. The War Plays Havoc with Public Concerts for boredom! Then what had been planned as a chamber music or choral “The war put an end to much of Britain’s pub- “The British public is showing magnificent program might have to be refashioned into lic music,” says Miss Humby, “for want of sub- courage in danger, but the small day-by-day an impromptu piano recital, on whatever sidies, and because of evacuation, conscription, monotonies of war-time emergencies need a sort of piano happened to be handy. And the and uncertain travel conditions. Trains and lor- counteracting lift. Despite the excitement of people enjoyed it! The coming of the concerts ries were taken into use for the troops, and even war, everyday life has become entirely quiet. Be- brought back the fragrance of old times, when gasoline became more and more difficult to get. cause of the air raid menace, nobody ventures to the Fair was the great event of the year, and Nobody could be sure of arriving anywhere on go out for amusement at night. Women do their people came there to meet each other and to hear and schedule. And even when the artists themselves marketing early then stay at home. Possibly the news. People came ( Continued on Page 490)
JULY, 1941 449
j Music and Study
Connecting Tones (1) When playing notes under a slur, The Teacher’s Round Table I always try to connect the notes with the fingers—that is, I do not lift between the notes—even when I use pedal. Some players lift the hand immediately after chord is struck, depending on the note or humiliated. the pedal to connect the notes. What is Conducted Month!) The student, hearing himself, the correct way? receives an active incentive toward Im- (2) I do not insist on playing recital provement; making discs becomes an pieces from memory, since most pupils event, the process his do not play with the same confidence as By itself stimulating to when they have their music, and they concentration. Recordings made earlier often forget expression. After all, it is not in the season usually show to marked an exhibition of memory, but rather ier disadvantage compared with later ones. playing a piece with ease, bringing out fjU A record of the season’s progress becomes a good Interpretation and skill in read- ing the notes. Please give me your a valuable graph for both teacher and opinion.—M. K., Pennsylvania. Noted Pianist pupil. c and Music Educator For must professional pianists who (1) Yours is, of course, the correct way work without coaching or guidance, a to play slurs. In isolated tones or chords, recording machine gives the ideal check- however, it is sometimes permissible to up. Correspondents Indeed, I sometimes think it of more take hands away, using the pedal for with this Depart- ment are requested to limit Letters value than the casual, unconstructive legato. to One Hundred and Fifty Words. criticism of some pianistic “authority.” (2) Righto! As you say, it’s the music Then there is always satisfaction, that counts—not parrot-like repetition of the after you succeed in making a good a few set pieces. If students (amateurs and record, of calmly sitting whenever young people) will work carefully and down you feel low kick You know as well as I that and getting a pleasant conscientiously with their notes, so much the quickest out way to poison a recital of your own playing. Such records the better. In this way more material is series is by one or two deadly make you actually gloat your pianis- reading facility dues, concerts. Such “flops” over covered, technical and so on, large managerial cuts, union often tic finish them off for good and prowess! better developed, and true musical enjoy- all must be taken out of their fee? Well, all. So let-'* not kill the goose! Don’t forget, too, that with such a ment more easily fostered. where does the rest go? Nowhere but to machine, you can private the central managerial bureaus with their make your own ^dings over organizational and overhead A Recording Machine of favorite artists coming topheavy the Better Artist Concerts I want air. Also, can im- expenses. to ask your advice about with practice you ting a nut' prove I am a successful piano teacher In a recording machine in your own the quality I know some artists who, in order to mvTh?rt , speech and small city and am anxious to have my My students are fine at and to list/nin^l timbre of your voice. can make students hear as many of the best artists secure respectable bookings, consent everybody but themselves! You Of comL Permanent larger as possible. Unfortunately, we cannot work for a small weekly salary. This ar- know that the tone 1 discs with only slightly quality woUm V cost afford many artist concerts, and are rangement makes an even larger discrep- 6 per record. limited in our choice to those offered by “n SSJ* Now, if practical ancy between the fee paid by the local — w-a'fVif £ only we could have a the local concert organization. We must actually home instrument combine choose from the list submitted to us by manager and the net amount which would sound track photog- the New York representative; and it received by the artist. Yes, unhappiness with motion picture seems that most of the artists we want raphy, it would among the artists is as rife as discontent For several months I have would be ideal. We then are either too expensive or not available. been exnerl nave a Most in local circles. mentmg with such complete record of our work. As a result, we have had some mediocre a machine- and 7 °t us visual performers and singers—several of whom What can we do about it? First, for assure you, it has already would be shocked by the paid aspect, to I have never heard of. The sad part of it most of the concerts accept only artists than its original cost. of it. We would learn what not To perfecTs,!SU is that we have had to pay very high whose attainments and desirability are device, to simplify h a o when playing we woul prices its mechp^i the piano, and for these “flops.” ‘ discover by a committee of your best operation, to build ““ it i way-: I am on the artists committee and well known it in small n the best possible if musicians. Such a group, appointed form (combined hiough our But would like to know there are any sug- local with radio for homeTsef own horrible example. gestions you can make or any advice you in an advisory capacity, should be con- is a triumph of C w°uld certainly modern craftsm , be worth it! might be able to give to help ris secure sulted frequently. which none of us thought P better performers.—L. W., Washington. ^possib”1Dle a If a lesser known artist is engaged, in- years ago. Tffew small fee. “Dicker” with the The cost Are Pieces Enough? Round Tablers have a habit of putting sist on a of upkeep is ex- negligible- +, 6 Ch a She he is terrific manager; he is accustomed to it and operation easy. Blrl o:f ten years. me in tight spots; this one a Impermanent takp« ^ e see bm ns for the ast four yearS pects it. You will be surprised to how records for nevp? ii !f° P squeeze! But, being immune to brickbats experimental ad anothe the ve purposes „ beclnr!i r teacher. From ques- often you can get bargains! If you must surprisingly low are 1112 hf and bouquets alike, I’ll tackle your in price ' 1 with I a7, „ . spfpriv Was Impressed an unknown or inexpensive artist, with you that 60 p take it engage Bress - tion boldly. It’s a subject about which the tone qualify normal r° What it would he’s your best bet, If 1“re,®®?5f Ior Ch ld week, s an American; you secure - to learn in one . is high time to clear the air. choose a good learnpri < “mike •' re f ln °ne pr that, being an day - Now here my land complaints for you may as well know of time to find the P ™ty lenv t* ^ ?n From every part of the best refol ding * cannot anythin American, he just' must be good in order m your room, 1 on but’ Set her to play have been coming in these many years and P CeSandeS and £sfc regulate thRf likes onlyonlV those which Wp 4.v. artists and to be accepted by the booking agency in carefully, you Volume ^°£r the h£h‘ an the subject of mediocre will get faithful^ taucht; DastDast. fewfQTO months,mraiths. I Managerial bureaus the first place! tions of your tone. dUC ~ only PP^cesiec es such as GondohGondol gxorbitant prices. Home by* Nptf”«evin,Npv, as much as possible with inde- uiT recoi' arranarrnniTDrfsed «... Hodson. W<> have taken unfair advantage of the local Deal do not sound tinny ds you Srii' by or !?,?a°v advIse course intrepid souls pendent managers, who feel personal thought is hnny " use* aS me what concert organizers—those given to these « 0l her ° matt' S e right by B lvlng often responsibility to your community, and to buy ' Be piece*? who have done the marvelous (and a machine sure Vnri if£ so me with a seiw,v' to - kindly advise are anxious to give one hundred per tee WhatSp'nat Vc heartbreaking) work of developing con- who for it will need gUaran ' pieces to use.—E. B., New adjustment1 f, cities of this cent satisfaction. Within reason, insist on to time in £ m cert series in a thousand order to get best f 7° ttale or- having the artists you xvant. You will get Your be u country. But, may I ask, why do pupils, actua^heR^- avSfTr stumPed by y° third- them if you hang on long and tenaciously nble how t0 tecllnic, ganizers continue to accept the they sound, will ter - I woulcTinvenl be cSf B,J“ f nonentities enough. This goes for all but perhaps a that your 6d at tecllnical exercises (v rate artists and expensive criticisms are last noteVi . of most popular artists. worth unscrupu- dozen the Don’t “deration! ° Would : constantly foisted on them by Without your*i £ con - gence challenge her substitutes. If possible, do not tie t'm nd ski11 meekly put up accept comment, you °" ' 1 hei lous managers? Do they they will learn toe s vm l, would give suf- up with any one central bureau exclu- for ded UnBly they haven’t you res ' asking with this racket because as a teacher P ec f a fewre her to devo' However, if you cannot avoid No m? knowledge, spunk or authority to sively. this, haul out those they daiIy tt ficient maddened you do Practice to insist on getting the artist of your choice, Oh, 01(1 S ' their rights? Im sure refl‘ains, era ly "'ill gr. assert I was tasVu°a ' Mb thought where the ex- even if he is under another management. together,” y t R Tdesire you ever or “? < Have «i m ma hands fence rev. for technical If are sufficiently poker ^ ' go, which the racketeers you faced and of “Why, Utard orbitant sums of course there,” : that S aU need the fm isn't itv you Certainly not to the artists stony hearted, booker will eventually time!” that Also' T demand? No , you in Uld iust Presenting ,° be yery cann: often surpris- come across with him. And don’t worry; , whose fees are and they wilt *2“ rec °Vqa themselves, to, “Gee r me °rd cmatlne' leces 4 losing money ’ 1 numbers P they expect a worth he is not on the deal. was so dldn ’t T,h- t ingly slim. How can awful!” know it all fain would invariab! all such expenses as I hope Round Tablers who sincerely some re while return when d d a Th Cal bookings, want to bring the best possible music U night nut t0 craC inconsiderate to shock try To „ H‘, traveling (with when you heIx ^ Same 3 a°“ Ct their towns will clip this article, your or d. Bentley; living, pianos, en- and send Don t ow Lutlabu jumps) , be Playin r and appalling persuaded S ? lni!0; Midnight l national advertising or read it to their local concerts com- ^makeT* Liebestreuri -7 tertaining. clothes, Jhen your students y reo°rds Sler‘ mittee. It is our only hope now of are » Mesa, Maier ! Son9 tens of thousands of improv- don't Un
Music amid Study
Vocal
Presentation
From a Conference with
ore csCucLaLone
Secured Expressly lor The Etude by ELISE LATHROP
Isidore Luckstone, one of America's foremost accompanists and voice teachers, died recently at the age of eighty.—Editor’s Note.
discourages many hope- two or more of these. It is rare indeed for one ful students, who lack person to have all of them. Many of these qualifi- necessary patience, but cations can be acquired with time and patience. who would welcome sug- Innate musicianship may be lacking, yet practical ISIDORE LUCKSTONE gestions toward some- musical knowledge can be obtained. Voice, appear- thing more attractive. ance, poise, affability, refinement, and authority HERE IS ONE BRANCH of the singing art, These foundations are necessary, but the ad- must be shown. Above all, the singer should possess seemingly small, but very important, that vantages of good taste and expression should also charm. Many vocalists with various faults succeed T usually receives insufficient consideration. be brought to his attention. because of charm, while others with excellent We refer to vocal presentation. A few hints on technic fail because they lack it. Then, too, a very Technic Through Song this subject may be profitable, even when printed. Appeal necessary adjunct for the would-be artist is tone To obtain valuable knowledge of this presenta- If the student can be led to think of exercises color. The most beautiful quality of voice, with tion, one should study and imitate certain fea- as phrases of a song, with some thought of pre- impeccable intonation, will not charm if there is tures found in great artists; but to-day it seems sumed expressive meaning, he will be more likely no variety of color, no warmth. expression either that talent for such imitation is lacking or to interest himself in their study. The time does The questions of good taste and are to the attention that individuals fail to realize what great artists come when the pupil should be allowed to have not, I think, brought sufficiently are to think only convey. What singers of the present are able to a song, although the technic may still be lacking. of students, who presumed from duplicate to any great degree the art of Sembrich, The song adds to his progress and interest and, the physiological angle, which seems to me to be mistake. not bring to his mind, even in Jean De Reszke, or Plangon? Is there any tenor if selected with good judgment, may serve as an a Why beginning, the various subtleties that must who can approach the perfection of that greatest excellent exercise. Otherwise, he is apt to discon- the be obtained and displayed later? After all, artistic of all operatic tenors, Jean De Reszke (du tinue his studies before he has accomplished presentation must be a part of the singer, or resh'-ka) ? His presence was regal, his art was much. If to become a singer, one must look upon legitimate use of the voice does not impress. supreme. He showed nobility of style, dignity, development as a laborious concentration, the joy strength, musicianship; he was master of every is taken away, and interest lost. The Student Singer Must Win His Public shade of expression and subtlety. His influence It is much more inspiring to strive for ideals, should have been pronounced, for he overpowered rather than mechanical perfection alone. Such When the time comes for a student to appear everybody and everything, yet we have never procedure need not interfere in any way with the before the public, he must present himself as an the stu- individual. noticed his influence upon any singer of to-day. practical angle of singing, but will lead outstanding He endeavors to show toward mastery of his art, together with Then one cannot forget Plangon (plan-son) dent who is ready for song presentation intelligence, demands strength, and expression. He must He could sing roulades as well as any woman. the much pleasanter but never-ending be authorita- tive, as though assuring His phrasing also was delightfully musical, and that the art requires. the audience that his special conception of selection is correct, he had a glorious voice. Those were great artists. No successful singer exists without some a and the out- voice or individuality; come of good taste and long, serious Voice is one thing; presentation is another; both line of talent. It may be study. His must be mastered and revered, but the art that dramatic strength or charm of manner; attrac- poise and manner must be of unquestionable dig- magnetism; unusual musician- nity. lies beyond mere vocalization must be shown. tive personality or Correct vocal technic must be obtained by all ship or soulful appeal; fiery temperament, He should approach his audience with a smile, combination vocal students, even as technic is required in any mastery of declamation, or a of impressing his hearers with his delight in appear- art, but voice emission will not suffice unless ing before such a notable gathering. By immedi- accompanied by proper knowledge of artistic ately securing the sympathies of his hearers, he presentation. A beginner is usually required to will already have taken the first steps toward devote his attention for a lengthy period to voice VOICE success. foundation and exercises, which system often It follows that the artist should portray with
JULY, 1941 451 — U
Music and Study sincerity of purpose and confidence the expres- Immediate Action, Please! sive and emotional demands of the selections Read the following and if you agree with us, and in the education of our children, who are to chosen. Sometimes, with American pupils, one send immediately to your Representative in Con- be the supporters of our country in the days encounters odd prejudices. I was teaching a love gress (your Postmaster will tell you who he is) ahead, when we hope present uncertainties and song to such a pupil, a young lady from an ex- a vigorous but courteous protest against the des- fears will be only shadows in the background of cellent family. sang it very coldly, and I tried She ignation of musical instruments as luxuries, when a glorious history. Musical instruments are essen- to make her put more feeling into it; but, al- all experience in all countries has shown that tial implements in education and tools of our though she understood what I wanted, her reply music in times of great crisis is of paramount professional musicians. The 60,000 school children was: value in .promoting patriotism and maintaining who have assembled in the National School Music “I understand, Mr. Luckstone, but what y’ou morale. To curb music in this way would be like Competition-Festivals held in ten regions this suggest is like asking to disrobe.” me classifying munitions as luxuries. After you have spring represent more than three quarters of a asking “But, Miss Blank,” I persisted, “I am not written your letter, explain this serious situation million students in the bands, orchestras, and emotions, just you to show your own innermost to your friends and pupils and request them to choirs of our schools who have participated in a copy of those of Mary Brown or Bessie Smith, write to their Congressmen. district and state preliminary festivals this or anyone who you may imagine is feeling the ***** spring. And these thousands are only a fraction sentiment of the words and music.” of the total number of boys and girls to whom But no, she neither could nor would try to ex- Statement Presented to the Ways and Means music in school affords a vital daily experience. it would not be “nice.” press the emotion, for Committee, House of Representatives, Wash- The 45.000 music educators employed by our Naturally, anyone feeling as she did could not ington, on May 7, and Now a Part of the Official schools and colleges, in cooperation with fellow possibly become an artist. Records of the Hearings on the Proposed New teachers, pupils and their parents in every city While a certain coldness is often found in Tax Bill and town in rural schools, are now in the midst American students, those of foreign or mixed of a great nation-wide movement to utilize music races have their own special defects; such as Music educators of the United States feel that in every way to stimulate and enhance the spirit over-sentimentality, lack of restraint, exaggera- inclusion of musical instruments in category of of American Unity, to strengthen morale and to tions of kinds. help many luxuries for taxation or for any other purpose is build that solidarity which is essential to overheard a woman at an opera per- our I actually wholly inconsistent with the American faith in well being. In the light of all this, we would to friend: “I do not like Caruso.” formance say a education. be untrue to our convictions and to our obliga- The friend was amazed to hear such a state- desire tions as public We believe all American citizens to share servants if we failed to direct ment about the highly popular tenor, and asked attention equitably the costs which must be incurred for to the inconsistency of imposing a lux- why. Caruso was on this occasion singing one of defense of the American Way of Life and for our uiy tax on the implements of music education his impassioned interpretations of a great role. It is not our preroga- and of music present and future security. making. In building for the defense “Because,” the lady calmly replied, “Caruso in- tive advise how the necessary funds shall be of our Democracy, to all such tools are essential, just sults me when he sings such things. It is like a raised, whether by taxation or otherwise, but with as are text books, tractors, war planes,’ or tor- slap in the face.” all our fellow citizens we shall tighten our belts pedoes. Although oddly expressed, there was perhaps and do our best to support our government and more in this feeling than even the lady realized. aid the common cause. Our plea is that one hun- I firmly believe that music may stir unsuspected dred years of progress which has resulted in the Fowler Smith, President emotions within a listener. recognition of the fine arts and especially music A. R. McAllister It stands to reason that all singers must respect as among the fundamentals in the education es- 40” 111 SCh °°l Association the composer, whose impressions and intentions sential to the citizens of a true democracy be not AdamT Les^sky must be adhered to. As the great conductor, Tos- tossed into discard by a tax law which classifies National School Orchestra Asso- canini, says: “The most important idea is to bring music education with cigarette smoking and card ciation out the composer’s meaning,” for great composers playing. Mabelle Glenn write their music in absolute harmony with the Music is an accepted, factor in our national life President, National text, and according to their ideas of what best School Vocal Association expresses that text. Each interpreter must sense what the composer has thought, and how such ideas can best be revealed to the audience. Only Three Against Four-s, ). cl,.„ after careful analysis of such demands, may the c.j. performer add his own individual interpretation. (Unceasing requests for explanation of this com- He must not put himself first. He must let per- paratively simple technical difficulty warrants the sonal feelings appear only after having tried fully presentation of this solution.) The ability to play this peculiar rhythm is to sense the composer’s wishes. not of ’ ai ine the right hand foil \T to be achieved by scrambling over the keys Great Artists Not Always Infallible in a hit or miss fashion; nor does practicing each Great artists cannot always be copied too ex- hand separately help to any great extent. Three actly by the student. One forgives in the artist against four is a purely mathematical proposi- c°ur student. For in- what is unpardonable in the tion, and if it is to be executed correctly it should stance, one artist whom I heard repeatedly had be worked out in the same manner as a problem to sing the word, Liebster, with the first syllable in arithmetic. speed.. ’ graduaUy shrill effect Cease rminn increasing- on a high note. Fearing the possibly To begin, we must reduce the three and four such Wllen the speed bec< it. Unfortunately, as to render of the vowel ee, she modified to their common denominator, which is twelve. ? try to retain tlnB ^Practicable, she overdid the modification, and the word always Now if we take the following passage earafctZt#°?£ discovered relat*onship that sounded suspiciously like lobster. in the ^ lately ' Jean De Reszke usually sang abour instead of . ... \ }vt amour, but one scarcely noticed the difference. you permitted have bi'* the less, a student would not be can accusto « None readily be net med to hear, b change. to make such a the My correct Liberties can be taken by artists, when in good John good reasons. In the older Italian whose taste and for musical cohImi 14531, English com: cadenzas were written for individual sing- was also ns operas, much “ wei'e highly la show the best qualities of each. so ght ers designed to U * “ aStroIoger b to sing- 0f hls since that period, one is supposed Emu daV. Ever Waldt f music, since the composer, ( only the written 10 d ' * a deVll) was 1 would find it G®™ana a E exactly what he wants, heaYeard H°i° waltz, knowing every . V The Skaters singer to make changes. If whei unwarrantable for a Popularity USe of on Page 486) of ice ‘he presen made, it ( Continued sw?„ such a change is yeaiS old g is now - over sev bep n Waldtenf i’ court Pianist^-- hr 183 452 the Empress Euger — —
OOD TASTE in the use of tone color Music and Study should be one of the outstanding G characteristics of all organists. Instead we all too frequently find registration that is more fundamental processes have been ac- indifferent, inept, unimaginative and some- complished. This, however, by no means im- times positively bad; in other words, a failure Registration plies that registration is incidental, or that to appreciate the values that lie in one of it can be left to the inspiration of the the principal attributes of the instrument. moment in public performance. Quite the Why is this? Is it because organists spend contrary; registration may well be rated as so much time in the church that their music at least a good fifty percent of success in takes on the drabness of a dim interior? Is & performance. The old bromide, “last but by it because they never make an effort to hear no means least”, fits the case admirably. But piano, violin or voice recitals of a high grade, the temptation to indulge in coloring to the where variations of shading are the indispen- neglect of other essentials is, to many, some- sables of success? Above all, do they miss the Pciimer (^Lridlicin thing too great to be held in check, and this significance of the greatest of all organists’ often results in a performance that seems to color guides—the symphony orchestra? be better than it actually is: a performance A totally comprehensive answer to “Why full of holes. (A most convincing way of dis- Is This?” cannot of course be given, but there covering this for yourself is to make some would seem to be one general lack apparent records of your playing.) in most cases, and that is a lack of imagina- What about Bach? tion. At once we are faced with the question, Probably the greatest stumbling block for “What is imagination?” As concerns the the organist of lesser experience is registra- interpretation of music, a fair definition tion of the Bach and pre-Bach literature. might be: the ability to sense and to present The Edition Peters, for instance, offers nine books with practically no registrational the spirit of the music—that something sug- gestion, except the two edited in recent years which lies beyond the printed page. There are innumerable interpretative artists who by Dr. Karl Straube. We are faced with in- can play the notes with meticulous exacti- numerable black notes, but what to do with tude, but who fail completely in giving sig- them is a poser—unless we really study. Too give nificance to those notes. We come away from many up at this point; if there is no a performance by such a player with admira- teacher or colleague at hand to do the mark- tion for his technical facility, but with keen ing, the matter is dropped. And by dropping regret that this facility is an end in itself it one misses a chance for self-development rather than the means of revealing the real and a great deal of satisfaction. importance of music; in other words, the In these days we are fortunate in having emotional content. other editions available for comparison: the Widor-Schweitzer, the Dupre, the Novello through Mechanical Means Musical Effects (especially of the “Orgelbiichlein”) , the Organists are frequent offenders in this Glynn (Schirmer) for certain of the “Choral matter. They may play the notes, but they Preludes” and other similar works. And then which do not “play the music.” Other musicians there are some recordings will give may immediately say that the organ is such the various ideas of certain contemporary a mechanical instrument that no “music” can players. As many of these aids as possible should be investigated, and subsequently come out of it, but only those of extreme our own minds prejudice will insist that organ playing, in its used to help us make up as to what “sounds” on our own instruments. best exemplification, gives solely a “mechan- PALMER CHRISTIAN great agitation in ical” effect. Much depends upon the player. At the moment there is the profession over the matter of “Baroque Granted that the organ is an imposing playing) array of mechanism, nevertheless that mechan- not be at all applicable to the instrument at the versus Romantic” registration (and of disposal of the organists composi- the classic literature. The extremists among the ism is a means to an end—exactly as is the me- studying the Bach, Brahms, Reubke, Hinde- chanism of the piano. The subtlety with which tion. “baroqueists” play et al, with great clarity and this mechanism is used toward the presentation It is at this point that the organist has two mith, Sowerby, with great stiffness and in- of musical effect marks the artistry, or lack of courses open to him: he can follow the printed precision—as well as flexibility. By the same token, the ardent ro- it, of the player. To indulge in a play on words, indications no matter how they sound, or he can diet full of sweetness, we may truthfully remark that registration must experiment until he finds the most satisfactory manticists still enjoy a And the fight rages on. “register” as a part (and a big one) of fine play- effect. If he is a stickler for the printed page, thickness and heaviness. one. “We have maturity”, ing. he will do what the printed page tells him to “We have youth”, says That the organist has a more uncomfortable do—and nothing more. If he has imagination says another. Must the result be “and never the task in the preparation of his literature than in other words, if he is a true artist—he will twain shall meet”? sense and almost any other instrumentalist is well known follow the plan of experiment until, by the By the use of common balance the will produce a to all organists; but this fact is only faintly process of trial and error, he works out a registra- virtues of both viewpoints musical realized by the profession at large. For the re- tion effectively disclosing the spirit, if not the whole. This, naturally, demands taste and in- telligence. If you feel that you lack these two citalist on tour this condition is acutely uncom- letter, of the piece. gen- attributes, the obvious thing is to consult a good fortable due to the fact that no two organs are In the preparation of a new work, after a That the same program may be played one night eral survey, first attention must be paid to archi- teacher and secure help. a great deal of alike ; breadth of melodic line, the classic literature sounds most satisfactory one way, and the very next night it will demand tectural proportion, to After this the played with pure baroque approach familiarity with a console totally different in the to phrasing, to harmonic coloring. when is not technical passages should be open to question; but this by no means allocation of the mechanical controls. perfection of any implies will that nothing has been that much of it does not sound better when But the initial difficulty goes back even further; undertaken. You note some effects of a new com- said about registration; it is usually better to degree of romanticism is shown by the inter- it arises when registration postpone this part of the preparation until the preter. Can anything sound worse than some position are first planned. The composer in his of the Bach “Chorale Preludes” of the cantabile, indications is compelled to make known his de- which introspective type—such, for instance, as Ich sires in the light of the instrument with ruf acquaintance zu dir and Schviiike dich, O Hebe Seele when he is familiar, unless he has wide — played with uncompromising rigidity? The with the color possibilities of several comprehen- ORGAN only thing that sounds worse is a super amount sive organs. Unfortunately, his indications may of
JULY, 1941 453 —
rhythmic flexibilities. Yet tion. instruments two-manu- Music and Study organs in this country that are cut- finitesimal Small — ting, scratchy and thoroughly irritat- a good many years of concert at- als, with twenty or twenty-five tendance in several large cities, New registers present surprising range cheap and mawkish sentimentality! ing. — a change of York included, have impressed me of color combinations; surprising, in- By the same token, is there more Sometimes a complete advantageous; in with the fact that woefully few or- deed, in effect surprising in mul- inept playing of certain other items indicated color is and the it be the one thing needed ganists were to be found in the audi- tiplicity. Naturally, the smaller of this literature—such as In dir ist fact, may ' They should attend that Freude and HeuV trium-phiret Gottes to make the piece possible. The In- ences. frequently, organ the greater the task, but symphony and apply to themselves what they is opportun- Sohn—when treated molto rubato? termezzo from the same no excuse for neglecting point. The composer asks hear if they have ears to hear. For ity. a large If Bach were alive to-day, there is is a case in — As for choosing between et cor- those who do not live in small no more certainty that he would not for Gt., Sw., and Ch. Anches communities organ of ordinary voicing and a finest French offering concert courses, the take advantage of our more flexible nets de 4 et de 8. On the many organ of superior finish and scheme, contemporary instruments than that organs, this color is most enticing; broadcast programs are not to be any artist would far prefer the latter. organs, including neglected. too he would stick to the inflexible, tra- on most American So—be sure you are not spending recent date, it would Most of all, organists and ditional attitude. It does seem highly even some of need the much time in “wishful thinking” this piece. That, how- great stimulation of symphony you probable that a man who could write be horrible for con- not enough in ascertaining what reason for laying the thing certs, where clarity, subtlety, vitality such significant music—music with a ever, is no might do with what you have. utterly impossible—even and color are at their best. must vitality lasting some two hundred aside as Organ Any interpretative artist Trio in the middle of the playing, as a rule, needs far years, with no sign of cessation though the more learn something more "than notes, because a de- of what may be termed would not be so hidebound as to say, movement might be— “orchestral and this something surely includes color scheme can be worked flexibility” than is apparent. “It shall not be,” if an interpretative lightful This by coloring whether we are singers, 8’, 4’ and 2’ flue-work, no means signifies “imitating artist in 1941 intelligently and musi- out with bright the or- violinists pianists or organists. through all the literature chestra”—which was foolishly cally colors and shades some of this To go at- Organ color range i far richer than “edited” by the organist tempted over a period literature with a view to disclosing that must be of too many that of any other medium with the be the work of a lifetime; the years. Orchestra is one medium, the inherent beauties that lie beyond would and single exception of the orchestra; romanti- Widor examples are enough of a organ is another; keep them the printed page. Drooling that comprehension of its possibilities Fortunately, there are many way The mechanics of cism does not belong in the classic guide. the organ must be developed bv reading about neither does icy editions of contemporary works must be kept in the background, interpretation; but so the characteristics of Diapason, where color has been as much of a that freedom and elasticity and then frigidity. con- Flute, String and Reed tone, and in challenge as the notes themselves; viction are apparent to the There is somewhat less difficulty listener- by listening to the.r various mani- examples we need only mention not the manipulation the consideration of contemporary as of innumerable testations does not S ' lf th organls d Karg-Elert, and, in this country, Ed- gadgets. After all, the literature, “contemporary” including instrumenta rtevoi* . !, der Even if tion in ‘° the period when Vierne, Guilmant, mundson, Sowerby, Bingham. an orchestra is mechamcal condltlsrT will rem “ desired, at if the ® ™s, he Widor, and others were at the height one has not the resources conductor and the players let cow lmparsonal dry-as-dust P » varied > brilliant careers. Composers least there is a definite and it sound that way. The ' of their organ also 8-tti ’ m3-rici teacher.--- t, „ published,„,,hi!oiiari andonH ournnr procedurenrnr’.priurF* wit.viinwithin itsitc ownmtt»i r The detached been, on the whole, scheme range of nossihiiit-ioc’ • and editors have ios , erhwViaTlS proportionately easier. can and nght for the musicologist, P rather more exact in trying to state is made must be 'lust, ns c „k+i,. , bUt if play »*-* accomplished. We sometimes find a composition y0U "going” to° what effects are to be pect search breath “registration is left to the and public ou t and present the of this indication is where the appeal. A good deal life that discretion of the player.” This, for makes it music! stereotyped, doubtless more often due ient case (in effect, though t° piay * instrunw to the publisher, who wants to make instance, is the e1 « and the with works as on organs -that is the task things seem simple in order to sell stated differently) o, super-colosXtifict the Hindemith “Sonatas. more copies. We hasten to add that recent as golden opportunities for real we know of few composers who are Here are wonderful opportunities to not equally interested in selling study— Wisdom we have any “dis- Nuggets copies!” Naturally, in the find out whether for the “more ” Vocal Student louder passages, this stereotyped cretion ! recognize the acceptable for Registration must Qeo'qc registration is quite QiaJw c of contrast, of blend, the k Stock organs of average size. But in the virtues character of the melodic line (frag- 1. If you can, take quieter, more transparent passages, the lessons. If you eat varlet jom as extended) , cannot, course find color mentary as well then be thor* F y and of there is every challenge to ou gh m of the piece as a whole, following these words - Good speech utterance exactly right rather than proportions instructing in that will be and to practicing hus * the resources of the all begun - songs, that acoustics, and exercises : When singing sticking to a printed indication The t0 instrument at hand. Close attention imitative faculty put int0 your voice what the W® may offer only indifferent results on will nr™,. individuality of a fll'st aid, particularly 1 to should be paid to for you - Use Vour taiagi the instrument at hand. thewif ST . simplification rather than ‘aught student. Make your whate’ color, to a Make good use voice express that faculty. Listen emotlon 3® the Indications to too much mixing. The organist intently s have been aroused; Study g0° d v° to ever can learn enormously from listening Ice you hear in n’ow, despair, gloom, enthusiast Sometimes merely a slight addition both sneeen !? work of his colleagues, either song. Try to U may resp°»* accomplish the to the reproduce invm,™ V° not..... getgei, complete - ~ or subtraction will °wn your at' * ner service or in recital. This V01ce the — - once to P refer to the good qualities these demands, but end. As an example, we may ^ear, you » listening should, of course, be done m such time “Symphony T effort. In due the Adagio from Widor’s 3 n°t oice ear, but it should not - with a critical P° over-practice stow u will become fairly kaleidosc°P 5.” initial color indicated is fore No. The with criticism as the sole becoming 1°P P as far be done physically nr producing color, shading. gambes et voix celestes and, aim—unless we turn the criticism ™ce and l*°. goes, this of expressional values. t * any other statement tice with a fresh . Prac- as None of us is so per- fresh, ' uponup ourselves. alive emotionalizing ^ - to all manuals, _ and ZT your song- apply e“ ea1, color is to that he can fail to learn from ™ mmd than ten Would on all feet hours of aimi make your singing V effective this string color is mechanical, vocal artifld others, and often from others of exercisin' ™ ‘ al, use it; on some u and inartistic. nf manuals, by all means in al* 0 all 6 ’ lesser prominence and experience. song practice I£ y0U succe ’ well as on many 01 lln _ ed in training ,.y French organs, as individual who criticizes best Possible vnt(1 The type of - as strict adher- T „ quality nf i ® ab °ve outlined, two English and American, n aP effort to 1Ce ne all and sundry with reckless abandon , develop *ly ^ But, unless quanHf° and lallgU be observed. a SUre to y °‘ win important mil- ence may by his very attitude is cut off from retain h 1° that will quality been the <, effect is something 4 Moderate developed; the an important element in professional : yawning " guLe ear, it is far eral p f' WOrds reaching the eat j please any sensitive from times daily, sev” lllflv growth: learning others. develop u t0 introduce some light 8 on able openness 6Pend ' tbe understandin& up better to of thr0 °t the Ian? picture Cer- 5. . * gUage of vitalized flute quality into the Learning by Observation Study and emotin tone, have preferred soon songs that heart- Widor would as possible’ • a reach the j,<> tainly M. also can learn Most h!f » Tit V as this to strict Organists enormous- dents ing everla that. some treatment such have sung soif stu- sii^g s«ngly true ^ if ly by observing what fine instru- ss if“V ‘•Gambes’’—especially If you blld Peaks best attains f adherence to have done this hood. end who Gambas on mentalists and singers do with sing Wifn had heard Great suitable song's and expenditure,. he melodic line, with nuance, with not-so-old) in- Songs - old (and provide °nce PUt lt; anothel * some of the ' ^ ln c interval strive val PracticenraV e alalwways in poJ for power through 454 — i
Music and Study
The Bugle and Its Calls
marine 2b. JJ*emmmg
N THIS FATEFUL YEAR of 1941, with its un- Bugle calls apparently have lost none I precedented military activity, one recognizes of their importance in barrack or camp the needs which music must fulfill. Armies life of the modern army. There even both military and civilian—are welded by comes the report that, where buglers patriotic airs; they move to marching songs. As- are at a premium, recorded bugle calls sociated most directly with the movements of the broadcast through speakers have been army, both in camp life and on the battlefield is effectively used in large encampments. the music of commands. Many men who never It is further stated that where the before have heard “Taps” are now hearkening to their messages and obeying their commands. “Taps” are so called from the fact that from time immemorial, drums have been uni- versally used in giving army direc- tions; although now superseded by bugles whose calls are still spoken of as “Taps.” To most people these calls yj-iuvvc/ i ieiu.ii ^uuaaian ougier oi me znd uanadian Division. (Left) Bugler of the British Army. have been associated with the activi- ties of the Boy Scouts, and have had exceptions to this general rule the hectic Fire an inspirational lure for many thou- — Alarm and the General Alarm, both of which, sands—recognizable in the popular ap- of course, concern everybody. peal of instrumental bands which have Here is the Fire Alarm and its words: paraded in the streets of the old world the new. Ex. I and M. M. J = 108 The simpler military bands had two groups of instruments—the fife and drums. When the rolling of drums had been negotiated easily and fife players had found themselves short of breath, these elementary bands were jokingly “There’s a fire! There’s a fire! There’s a called “The Drum And Foof Bands.” fire! Run and get the engine and put the blighter out!’’ Because of their relative simplicity and For General Alarm, the words go: mobility, fife, drum, and bugle have “Alarm is sounding, and the sound become integral parts of the music Fills the air for miles around; equipment of military and other or- Jump to arms and stand your ground!” ganized bodies of men. One can easily To “Pioneer,” both words and music are ex- trace these three instruments back to pressive : their beginnings, finding in the tin Ex. 2 whistle, which is so much of a joy to the small boy, the rudimentary fife; in the beating of sticks on fence and rail- ing, the drum; and, more complicated but just as primitive, in the blowing across a dependability of the bugler’s arising in the morn- bottle top or into a shell, a forerunner of the ing might be subject to the vagaries of an alarm bugle. Many a fine musician received his first joy clock, a timing apparatus has automatically set “Come along, pioneer, you are wanted here out of music in the childhood manipulation of a recorded “Reveille” going with a regularity dear To try and clear the way. some such instrument. to army principles of exactness. Pioneer, Pioneer, ivork loithout fear; But importantly coming to our attention is the The spirited, rhythmic music of all Taps is ex- We can’t stop here all day.” bugle. In song and story, and in poetry, this in- pressive of the various messages which they bring. The Pioneer is reminiscent of the days when strument has stalked across the pages of history. To most of these calls British Tommies and bearded pioneers marched ahead of the Battalion, “bugle” is derived The word from the Latin American Doughboys (and no doubt every soldier wearing white leather aprons and gauntlet gloves, “buculus,” or horn of a young bullock. Bugles who has had to respond to a familiar strain on carrying over their shoulders a highly polished used in the British Army by Sir Were first John the bugle) have set apt and facetious words. axe, pick, or shovel. They were the last men in Moore of Corunna, who when introducing his the i‘egilflelital Among Tommies each Ulllt has a the Army to Wear beards. The Welsh Fusiliers is famous Light Infantry Method used a hunting- special call that precedes all Taps, and when the one regiment that still continues the custom horn. As a result, badges of all British light in- sounded it calls to attention the unit for which of having Pioneers leading the Battalion. The fantry and rifle regiments include a hunting horn the message to follow is intended. There are two modern Pioneers of this regiment are smooth- design. Although now rarely used outside in the shaven, but there is the mascot, he is a goat, and the routine of barracks and camps, in earlier he alone has the beard! methods of warfare trumpets and bugles were ex- All army recruits soon and learn to obey these calls: tremely valuable in conveying orders on the field BAND ORCHESTRA Warning for Parade Parade Edited by W , for Guard and Long battle. Dress. of One can hear them i Continued on Page 4931
JULY, 1941 45 5 — ,
Music and Study How to Play a Whole Note and a Quarter Note at the Same Time School Credit for Music Under Questions I like and Q. would to question about ask a Private Teachers a piece by Robert Schumann named 'I'ruumcrei. My question is on what count Q. Would you be kind enough to give to play the whole note in the first me a bit of information? I am chairman measure, that is after the quarter note. of the junior piano faculty of our school —Mrs. R. K. and have long had the idea that children A. Play it studying in such a conservatory should Answers on the first beat. The quar- be given credit in the public schools. Will ter note and the whole note are sounded you tell me what you think?—A. R. simultaneously, the quarter note moving A. There are hundreds of places all up to the chord on the second beat but over the country in which high school A Music Information Service the whole note being sustained through students are allowed to take lessons the entire measure and then tied to the under outside teachers and have their note in the next measure. work accredited by the school toward graduation. Often the high school issues Conducted By a list of teachers whose pupils may earn How Is Time Measured? credit. In many instances an examina- tion is given at the end of each semes- Q. I shall appreciate your aid In set- tling ter, the examiner being appointed by a controversy which has sprung up among a group which the high school. In all cases reports in- of musicians in I am one of the participants. The point dicating the number of lessons taken, the w in controversy is the correct measure- amount of practice, and the quality of jU ment of time in where the music and the work, are sent to the high school performers should start the first tone. The principal. writer thinks that measuring time with the baton could be compared to Professor of School Music, measuring something with the rule, the beginning of the conductor’s down beat Oberlin College What Does Philharmonic Mean? representing "O” of the rule. As the baton moves down it spells o-n-e, arriv- Q. What does Philharmonic mean? ing at the Musical Editor, Webster’s New the end of one or position of B. H. C. first inch, or beat as it were. The A. It means literally “music loving,” International Dictionary writer also thinks that if four-four is being compounded of the two Greek beaten down, left, right, up; each ges* ture will represent the meas- words philos, meaning “loving,” and a quarter of ure, and if four quarter notes were played harmonie, meaning “harmony.” The word in & e the measure, the last note would in of philharmonic is often used names finished at the end of the fourth gesture, Mountains and From the Carnival. You beat, organizations and occurs in the United or inch, if compared the rule. satis- to will find these three numbers very T‘le view this is early 1799 when the Phil- .. which differs from States as as that fying when played as a group. the conductor’s first beat following harmonic Society of Boston was organ- the This composition does not picture a cue is not a part of the measure, ized. The term is not confined to instru- and that couple marching to the altar. If you all notes (unless a pick-up) mental organizations but is used in nam- S£°uld be started at and measured from notice the title is Norwegian Bridal Pro- the down ing choirs and choruses as well. end of the conductor’s first By. Much is made of at - to cession Passing „® WiU you Please inform me as weddings by the peasants of Norway. Which view is correct? Emphasize whether or not of They generally mean a feast of eating the measure begins at the start Signs! the end of h68 ’" Mysterious usually lasts several the conductor's down and drinking that —K. B. S. lines such as Q. I find, in some music, days. Everybody for miles around is in- shown in this example—in some in- vited and the journey to the church is •” Aiicuu, uuii i a,**1 — stances it seems to direct the melody to you are Before miles. This composition is going to lose bet! the bass, then again it is used for left often several your ' 1 g/ren, will the re or right hand playing. At times, how- supposed to picture such a party on the conductor beats one he makes a P real reason for them. liminary staff ever, I can find no way to the church. The music should be gesture which serves to —Mrs. E. N. M. the very pianissimo as you hear them coming rhythm flowing even though growing tones are oin in the distance, and it keeps How sounding as yet. The P approach, finally ending Can One which actually be- louder as they Recognize the marks one is at the lung th in a pianissimo as they disappear. Minor p“\ of the pulse rather than at Mode ? end or as you think, players Q. I would appreciate and the it ve™ w, geis you could tell y much if perform tones throUS Flats on the Guitar me how i A,® (or rests) Sharps and whether a piece of c °Bniza the beat. music is fn Af The beat is moX® Bass key or th meanwhile Q. Will you kindly give answers in The minor key.—e. maJor a fl ee m. c and vai’ying direction towa early as convenient to the fol- - is often used to indi- Etude as A. In the Poin A. The first sign first place hu *' lowing questions? tm marks the beginning cate that a melody is passing from one minor mode 4 ' The °’ and so 1. How do you play sharps and flats on produces a dlffera"? on through the measure. tory ^ ™‘ hand to the other in piano music. It may the guitar? effect from the a» major h go from the right hand to the left, or 2. How can one mend a check on tenmg closely by 1S ~ you WU1 sounding board of guitar? soon ftndo vice versa, the intention being to clarify which is which. If out 3. At what pitch would you advise one you fail ta XV, will have then you "> - h'<> the structure so that the performer tune a piano? Isn’t the international to get help. will ihe Moled Conducted to I™ Z,' musici continuous even mellow and less strain on the play or sing 1 make the melodic flow pitch more for you ™ to 0 '1 E,l6ase list of®! several1 ' se nd me a piano than any other pitch and isn't it noted"? J though the melody goes from one hand in minor. If possible ““Positions '?'5 of symphony orchestr" used considerably now’’ Would appreciate plavay h t!e iSltM c the other. The second sign looks like yourself. Bind » ® »S them States? HOW many fU to out mew.?fc , reply. Mrs. W. K. *1 an early — as are there present tlx an arpeggio sign, this indicating that the sound as contrasted ScaJes —H. T at the A. 1. The pitches produced by a guitar with » “rolled,” that is, the tones Learn to sing 3 °r ones chord is to be a minor - string are changed by pressing the string scale if time in regular order Now look at P°SSMe dnswer depends on what played one at a the notation - meaiAh? against the various frets. These frets are oFou?te o4ed ’’ many from bottom to top. her of compositions. num ' ? There are A,, that the pitches are changed You „ orchestra so placed that the U dlsc° “ the United States and same key signatn™ yer not hi, j by half-steps. Thus, on the E string, :' stands for S°*“ 1)ace to all the a major ttmes ductnre r, name e string against first kef al s Bridal pressing the the fret tmes for However arc Is a Norwegian a minor °ther of > the following What produce E-sharp (or F) pressing one. Thus thee besti will ; it th ture of one sharp e S1 &na- (L“ known: Serge Koussi®?. Procession? against the second fret will produce F- mav indu? * Piece is in ‘hat Predert (Chica^ G maj“H0 the * Stock thirteen years of age and at sharp (or G-flat), etc. u Q. I am minor. If *S ln ' the first E <01eveland : e studying Grieg’s A orwnjUin 2. Better take it to a man who and lasAh GoossemAchA' S,io» present am repairs based on hords ta cd' tell some- G-B-D are lnnati) Franco Bridal Procession. Can you me then the I- (Detroit). ? : violins and other stringed instruments. major. 2 about the piece or about a Nor- But if the ‘S “ ° 1 Kn>eger (Kansas « thing ; If you tried to do it yourself you would first anffA Dimitri bridal procession that will make are composed last ch fc wegian of E-G .« « ords 011108 (Minneapohjit* composition more interesting?—Miss probably ruin the tone of the instrument. Eugene n the IS m E minor. the Biec Orm 3. The pitch that is most There e Reiner ° (Philadelphia); B. A. commonly winch a ° £ piece in the ases m drghl; Jose the second of three pieces used today is A-440, often called “Phil- with mlnm (Rochester) IV' A This is a major chord 0"6 oloses Vladimirvf Golschmann “Aus dem Volks- harmonic.” This is slightly higher than but tL” Louis) - r,i from Grieg's Op. 19, concern you at leed ncU this stag" n°* Monteux < Norwegian Life ). “International” but not so high as “Con- Hans San ™ if»r- of is WhV Wh , leben” (“Sketches intelligent 4 y°u Kind™® l cert Pitch.” experieSo„ heed ^Washington) Jol® are On the birolli ; „ The other two numbers playing, and m ^tening, ( N w singing. Yolk . Phony Philharmonic-®, Orehest ra> di 1 PaMen Sevitalcy 456 anapolIsh —
*T THE SALLE PLEYEL in Paris I once met Music and Study the Hungarian composer, Emanuel Moor. -* After long delays the double keyboard piano, bearing his name, had been realized and built by M. Gustave Lyon, director of the well known firm. With almost childish joy, the inventor never Will the Orchestra missed an opportunity to talk about it and to demonstrate its far-reaching possibilities. But on that occasion his extremely versatile brain was already nursing another subject. Be- here that fore exploring it, it may be recorded Be Modernized? Emanuel Moor had received from nature an astonishing array of gifts. As a composer, he was a classic for whom the intricacies of form, coun- late terpoint and fugue held no secrets. He liked to Introducing a Conference with the Emanuel Moor, write for unusual combinations, violoncello en- sembles, for in- Inventor of the Double Keyboard Piano stance, such as his quartet and double concer- to; his tran- 1 1 cj efine cjCeli,man. 5bo scriptions of a clua Bach “in the spirit of the American Author-Composer organ” are the best ever made, for they take into considera- trying to devise a new type with tion, apart altered size, form and mechanism, in from the regis- order to give due scope for more and tration itself, more powerful orchestral playing. the limited “The old shape ought to be re- possibilities of placed by a new one,” Moor went on. the mechanical “The new instrument should be of action as it ex- ample size, easier to play, suppressing isted at that time. A talented the painfully crooked position of the excellent painter, he did some left hand. All fingers should be used, oil canvases as well as etch- instead of calling chiefly on the with ings. Finally, he is credited weakest and least deft. The power model having devised a new of vibration can be increased.” of axle for automobile wheels. Moor was extremely sincere and meeting, On the day of our earnest in his opinions, and he obvi- however, he was concerned ously suffered from the fact that in especially with one problem: many respects his generation was it in the the orchestra as stood still in the grip of ancient routine. past, as it stands to-day, and Who could re- as it should be modified in the fuse to agree future, according to his con- with him ception. when he Those who knew Moor, per- claimed that sonally, remember how tre- even in some mendously impulsive, fiery works of the and temperamental he was, (Center) Keyboard (Upper Left Inset) The late Emanuel Moor. great classics (Lower Right Inset) jumping perpetually from one of the Moor Double Keyboard Piano. the present composer and author. subject to another and pass- Evangeline Lehman, gifted American instruments ing without any apparent rea- are obviously son from a brooding spell into such a insufficient to one of joyous laughter, and vice-versa. But this all, of the piano, which underwent when fulfill their orchestral idea must have exercised a strong hold revolution in Beethoven’s days action. role? Who has on his thoughts, for during our conversation he hammers replaced the former continued, not noticed never deviated from it in the least. “Isn’t it extraordinary,” he and this is a “that while such progress was being made striking ex- Modern Music Requires Modern Instruments in all directions, the violin, and with it stringed instru- ample — the Moor began by pointing out the needs of mod- the whole quartet of remained stationary? A whole lack of crisp- ern music, which become more and more urgent ments, has fiddlers must be mobilized to ness of the and far outstrip what the possibilities of per- army of against the brasses of the double-bass can supply. hold its own formance passage have orchestra, and even so the strings, how- in the “Why is it,” he asked, "that the strings ever numerous, are drowned by the pow- Scherzo of remained the same since the days of Stradivarius erful roar of a few trumpets and trom- Beethoven’s and Guarnerius? Yet the other instruments bones running riot!” “Fifth Symphony,” where these basses, playing which have been added to the orchestra, or sub- Evidently the little violin, admirable as it is in solo, succeed only in producing a confused, rum- stituted for those out-of-date, have marked great its small size and delicacy of tone, is and will re- bling and dragging sound most unsatisfactory to progress.” main unfit to produce more effect than it actu- the ear. This passage almost makes one wish for Immediately, one thought of the logic of this for ally does, because the volume of its tone is limited the addition of a percussion instrument, the piano claim and of the clarinet with thirteen keys, system; of by the standardized size of its sounding board. perhaps, to give it a much needed clarity. instance, now replaced by the Boehm pistons have been True, it would be impossible to perfect the violin trumpets and horns, to which Need for New Type of Stringed Instruments adjusted to as it is, but one may wonder what extreme con- added; of kettle-drums, which can be above servatism has heretofore prevented makers from Moor continued with growing enthusiasm: any pitch with a few turns of a screw; and, 457 JULY- 1941 ^ f
Music and easily Study these vibrations are carried. in two separate groups, realizing the pected to say, ‘It isn’t true’, or ‘It A music box was placed in a cellar whole compass of sounds from the isn’t new,’ or, with a shrug of their and connected by a simple wooden lowest to the highest. Or both hands shoulders, “All this inconvenience would dis- rod with ‘What does it matter?’ a violin on a high upper could play on the strings, the bow appear if This already happened about my a new variety of stringed story. At that comparatively long dis- being worked by a pedal. The sound- double keyboard instruments was constructed. While tance, the tune of the piano. But I don’t music box was board could also be doubled or tripled in nature everything progresses, we heard worry. Let it be so. I leave the idea distinctly, without any percep- by superimposing one board upon an- mark time and we don’t advance. The to the consideration of those musi- tible loss of sound. What magnitude other and joining them together tonal possibilities are by cians who know my name and my exhausted, as of tone could then have been ob- wooden sound-posts. Can far as one not ex- works.” the old models are concerned. tained, if those vibrations within the pect modern engineering to accom- Why stick to them, instead of build- violin Ten years have passed, and Eman- had been amplified by elec- plish wonders, and to enlarge ing new ones?” upon uel tricity, ten, fifty, or a hundred times! a primitive idea? Moor is no longer here to further Here I objected that perhaps there “As to my trials, they were conclu- “My instrument, his dream. But, in the meantime, the were as it stands to- technical difficulties; perhaps sive from the first,” Moor asserted. double day,” Moore concluded, “is keyboard piano has aroused his idea, attractive mounted in theory, pre- “With the assistance of a village car- on four legs attention, and,- thanks to its hori- awakened discussions, sented serious obstacles when it came penter and with help only of the sim- gained zontal position, a large bow can be enthusiastic endorsements, to a practical application. plest means, I constructed on the used, thus giving more force and and achieved a gratifying measure “Quite to the contrary!” he coun- principle of the violin an elementary sweetness to the strings. Every of success. This should an incen- tered. “It grada- be is the simplest thing to do. instrument of horizontal form. The tion of tone can be obtained, every tive for the furtherance of the ex- First of all the sound-board should sound-board measures a yard and a intensity, ’ every ‘timbre PVon nPl’impntc. mkinU i »Innr'l be enlarged; for all experiments quarter in length; the breadth is in the deepest to the highest untimely made during the last century, in con- harmonics death, have remained frac- proportion and curved for the con- and in every range. nection In the face of a tional and mak- with instruments which have venience of the bowing. On this board new idea, rudimentary. Epoch naturally, and especially ing sound-boards, go to prove that this are laid six strings which have if results often have sprung from the it seemingly upsets old and is the only respected very manner in which progress whole range of the violin and the traditions, the modest beginnings. public may be ex- can be made. May I repeat that the violoncello. In this way, I eliminate Will the orchestra be modernized? violin is an antique instrument which the gulf existing between the low through the centuries has remained and high regions of sound; thus the unmodified?” same instruments not only will play Army Song Book “What, according to you, is the rea- in the bass with many times the pres- Makes Its Bow son for this?” I asked. ent power and resonance, but also ( Continued from Page 444) “Probably a mere question of sen- will rise to the treble and there rein- older sergeants ol to-day's timent, forbidding all change for fear force the whole volume of sound by Army will are in all the “buck are of spoiling its aesthetic form. Perhaps taking part in the grand and broad recall the books: IPs a Long privates” who Way to Tipperary, anded aprons and to K.P- also a matter of tradition; the beauty progress of the musical narration. K-K-KATY Pack sentenced up Your Troubles duty: of the instrument must remain un- “The sonority of this new instru- in Your old Kit Bag, There’s a Long, touched! Don’t forget that the violin ment equals that of eight or ten vio- Long Trail a Where Do We Go K-K-K-K-P, is often called the ‘king of instru- lins, without impairing any of the From^T^ songs were all dead Dirty old K-P. ments,’ and it would be considered other qualities. The finer and more ringers tor ponu lanty m 1917-18 That’s the 1 sacrilegious to apply to it such con- delicate shades are preserved. The and refreshed „ only Army job that a battle- jaded spirit abhor, trivances, for instance, as those ap- sound of the A and D strings is in the Over There has S When the es plied to the guitar or the mandolin greatly increased. The artist, comfor- been omitted m-m-moon shin > haps out of Zf in order to facilitate the tuning of tably deference to over the seated before his instrument, the viewsWs ofol guardhouse, the isolationists). / 1 « their strings. Superstitions persist, loses none of his energy and can with Neither be mopping up the k-k-k- And Mademoiselle °ne and they reach even further. Are ease develop all his virtuosity and ex- from Arm,L°®f. kitchen floor. even in expurgated ' there not many who maintain that pression. The bow is held quite form com- Tun 011 The Colombo is 1 Army Song Grows the two openings in the form of an fortably, and the left hand works in included-minusnnus Program risque verses. it?s /, on the body of the violin, are indis- a natural position and freely—as on Slowly The Caissons pensable to the formation the vi- Go a 7 of the piano. The sound-board is almost Rollivn the Army song program B ' The v. S. Field Artillery 0 brations? Still my experiments show flat, a little stretched by the sound- Song i Wa a the ex- streamlined new ppii ^ Pproaches as yet me that it makes no difference post which is of a size correspond- parody !! n G eW versknf reached in 1918, a f mg the sono- ? ' whether these openings are placed on ing to the proportions of the instru- mechanization of °W leiy, in the" a'?!'tU ‘ are ‘“tang UP- H the body, the sides, or at any other ment. The strings are attached keeping with ever f on to a the times* leie is a number o “hnt’» A growing place.” horizontal, curved bar made in an my eS ' If our bands and soldier orch engines tras „ t It is true that prejudice is tena- “S” shape, which allows the strings go dead, won’t h0 a [does „W are rehearsing nightly cious in things musical; through long to be stretched according to their an get red! the in With camPs and are luring standing it often length the degree Caissons bashfilf®! habit becomes and of their ten- andli hossh ™ all baritones tenors dogma. Did not one of the best and sion.” gone. from h and timid For the e barracks hours oldest piano houses in Paris refuse, “Do you use any varnish?” I asked. foemen forae a in leisure of course ° br 01 veil ” ’ 10111 rousing for many years, to discard parallel “Some people claim that the varnish at us: Get 5 h The song. Motor sl°n of Son? strings in its grands for the univer- has an influence on the quality of trucks Stth Bookn the “Army hooked Pieces “S t0 serve in' sally accepted improvement of cross- an instrument.” on. spirati n as a guide and Wa wise disposition? And while ultra- “Misconception!” was his reply. “It eords^of ™ aP «“ 1°°! effects has nothing do (Chorus) £ soldiei book > modernist composers seek new to with the tone and designed J? 's. The The7l tt maril by writing startling innovations, M. Caressa, the French luthier, has : Hi°h! High! ment ?“ y tor the entertain F 2 See! 0 f he instruments to the admitted to me that he often Field Artillery, The men contents which strain the thought should Ln ' an
AS IN VALUE, so also in sound, violins have three classifications. Some have a very -* sweet, responsive quality, but are so soft and delicate in volume of sound that they are “parlor” violins; they cannot be heard well at a distance. Then there is the so-called “dance” violin, which must be loud and responsive but not necessarily mellow in tone. Finally, we have the “concert” violin—loud, clear, mellow, and responsive. The sound from a violin is caused by vibrating strings. This vibration is carried through the bridge and down the two legs of the bridge. The violin body is then vibrated; and these sound vibrations, both from the top and back of the body, are amplified there and thrown out through the “F” holes to the audience. Again we find a curious condition. If the violin is not responsive, the sound will be held too long in the box and will appear quite loud to the player, who is close to it. It will, however, become muffled at a short distance. If the violin is well constructed, the sound vibrations will be thrown out clearly and distinctly to the distant audience, but will not seem so loud to the player. Thus it is apparent that the tonal qualities of a violin cannot be fairly judged by the one playing it. In this connection, a peculiar situation arose here some years ago. A very good teacher had a child prodigy who was to give a recital in the auditorium the city. The teacher ar- largest in Violin by Nicolo Gagliano, Naples, 1780 ranged with a well known dealer to borrow a violin for the occasion. Several instruments were selected to be heard by competent judges seated at the rear of the auditorium. The boy played on the various violins, and all the judges made the same choice. They were appalled when they found that they had selected a very cheap “factory” The Paradox of the Violin violin. It was decided, however, that this violin violin would be used. The recital commenced. The PART II could scarcely be heard. An embarrassing pause followed, while a good Italian violin was quickly substituted. It rang out sweetly throughout the entire hall. The judges had not considered the CLcunleJccun in Ey O. S. fact that they had first listened to the violins an empty hall, while the recital was given before a large audience. ments. While we find cases where the well known the violin. In spite of all this, thousands of mak- The Importance of Varnish makers have experimented with different shapes ers have not been able to improve upon the work Stradivari, over two hundred years ago. The skilled expert can usually classify a violin and styles, these experiments were never success- done by its varnish. A poor varnish will deaden ful. It is usually the amateur maker who hopes at once by Repaired Violins the tone. Definite characteristics are found in to make some wonderful discovery to revolution- even art condition of a violin affects its value con- the varnishes used in each country, and ize the of violin making. Eventually, famous The This statement also brings up many these characteristics are noticeable in the works makers as well as amateurs discover that the siderably. varnishes were standard set over three hundred years is still apparent contradictions. What may appear to be of individual makers. The finest ago irreparable damage may be only minor in extent. those used by the earlier Italian makers. This the best. trivial may render the violin value- varnish brought out the tone quality in their in- Whatever variations may be found in standard What seems violins usually are in the thickness of the body. less. Perhaps the greatest peculiarity in this con- struments to the best advantage, but the grace Another peculiarity exists here. In practically nection is that a violin, while an article of com- and perfection of line and the skill in workman- every case, the thicker the violin the smaller the mon use, is never spoken of as being “second- ship also were there. Violins poorly made at that violin that is comparatively thin through hand.” Such a violin would be called either “used” time, but varnished with the same varnish, did tone. A body has a much louder and fuller tone than or “old.” Violin makers and dealers are always not possess the same excellent quality. It is be- the the one with a thicker body. This is also the case glad to have responsible musicians play on their lieved that certain gums used in the manufacture with strings. While it is possible to get a violin new instruments, as much playing makes the of this varnish were obtained from trees that are too shallow and with strings of too fine instrument more mellow in tone and more re- now extinct. There are, however, many other vio- that is usually the thinner the body and the sponsive in playing. Even an old violin, as was with different varnish that have a a gauge, lins made instrument strings, the louder the tone. There seems to be a the case with the mentioned pre- quality of tone and a value much higher than in practically all points of con- viously, should be used often to keep it from be- of the Italian violins of that early period. happy medium some less stiff unresponsive. struction. The bass-bar can be too tight or too coming more or and low. too is used great deal in Shape and Size loose. The bridge may be too high or too Glue a making repairs. Even climatic changes affect This glue offers another odd fact. It must be suffi- standard violins are made practically to the thin or too thick. All ciently strong to hold wood together tightly under dimensions. There are various fractional same heavy strain, yet it must permit this glued wood sizes for children and smaller players, but all full- to be separated when desired. Occasions often sized violins vary only a little. Each master maker VIOLIN arise when it becomes necessary to take off the had his own slight peculiarities, but basically his Edited by Robert Braine violin or ( Continued 490) instru- top of a on Page work is identical with all other standard 459 JULY. 1941 — 1 T
Music and Study Musical Advance in Uruguay and Brazil
TRAVELOGUE No. 4 nately, I noticed at each rehearsal about one half new faces among the orchestra, and the same happened at the concert itself when even the solo violist and double-bassoonist were substitutes who knew not one note of the capital parts b,, ciunce rsLJumednitm ein 1 allotted m to them in Dukas’ Sorcerer’s Apprentice. Luckily, the public and, French Pianist and Conductor knew these shortcomings besides, was not educated and discriminating as it is to-day.
HEN THE FIRST SPANISH navigators chorus and a ballet remain to be added; the new Uruguay s Excellent Symphony Orchestra entered the estuary of what seemed to law passed in Chile providing funds for a future These souvenirs came to my mind as I recently be a mighty river, the sailor on watch “Institute of Musical Extension” combining these assumed W leadership of the S. O. D. R. E. orchestra, with a national in the foremast turned back and shouted: three elements radio; and the which is now a beautiful, all professional body “Monte vidi!” (“I saw a mount!”) The name re- much lamented absence of a similar organization of one hundred members, ranking in quality in Buenos Aires, outside of the Colon Theater. mained. somewhere near the Detroit, Cincin- Uruguay’s good luck that, Cleveland, Montevideo, delightful capital of Uruguay, It was seven years nati or Minneapolis already Symphony Orchestras. Its nestles in the shadow of the “Cerro,” the hill ago, the powers powerful guarding the entrance of the River Plate. Despite realized what a cultural in- the bustling activity of its central districts, instrument of institution of reminiscent of a northern city, the citizens are fluence an would represent. by no means overcome by the modern complex this kind Until then, conditions in of “hurry.” Quite to the contrary: one finds here, were hectic as among other affinities with France, the custom Montevideo orchestra. I of closing down all business at lunch time and regards the perform- for two hours. Everything then dies down, and remember six given years ago by a great tranquility descends upon everyone ances Duncan, at which until people come out again and occasionally Isadora in I conducted some seventy stop to express the “friendship of the heart” musicians picked at ran- greeting a friend, or to sip a cafe and a cordial dom from miscellaneous in an open air restaurant. city sources, professionals Starting at Pocitos, which is part of the and beaches com- mixed with conservatory itself, is a succession of resorts centers in the students or soldiers from paring favorably with any bathing with its pine military bands. To per- world. Carrasco, neat and sparkling trees, its shady ave- nues lined with cozy chalets, and its golf and tennis clubs, re- minds one strongly of the elegant French (Above) THF irr 18 de Julio. (Left) NTEVIDEO—Avenido resort, Cabourg, in thf°<;S '°'r^? D,R - Montevideo— hicu E - orchestra in Normandy. There is rehearsal Ph°!°9rapl1 of Dr F»n was taken at the also a “theater of na- °Ily successful me ^®an's internation- evnTPt of Therese de " nic and choral legend ture” in a clearing Lisieux under? dur- the direction of Maurice the forest, which u umesnil. ing the summer months becomes the scene of many musical Stl' Present ict; th e musicians m Thousands ten li!L activities. five GS allead of minutes , time, and flock there to hear hpfo which Ur ot tbe reh per- start concerts, operatic ished punctuaiA^A°ally- first Failure to comply i formances, and ballets witll if it occurs 16, and Permanent ex given by the person- l-eneatorf! 01 eighty The mixed chorus c E. voices J*'- nel of the S. O. D. R. lS hearsals. Moreover submitted to regu These initials stand 1 ?! singing • “ere exists of de where a school for “Servicio Oficial who ltl0n in time are is given to as Difusion Radio Elec- cailend upo front rank form Tschaikowsky’s department “ “ t° fill vacaneif organization which occupies “Pathetique”, Beethoven’s is in triea,” the and 01 capital. Since at the “Seventh”, Schubert’s “Unfinished” expert the exc ellent m in the artistic life of the and Cesar choir diiUt Franck’s “D minor” the ballet Domi unique of its kind m all South with such an heterogeneous school ngo Dente. 1 present time it is n proves*': 0 description of its structure band was no easy job. S by the he very populai America, a detailed great t, by the government the Conditions had hardly improved is in order. Supported several year* security and an mdepend later. On one occasion Artur S O D R E. enjoys a Rubinstein was 6 artistic soloist, playing in his ernment 116 achieve notable inimitable S ' °- - - 6 ence which enable it to fashion the purchased ?!? D R E ” South “Concerto in minor” 1 60 realized, in fact what other G by Saint-Saens largest Urqulza “eater, results. It has and that it ? . ren?od?L striving for. It will most Spanish of all Spanish ? home. 1 d 14 American countries are still works ‘'Nights ? The main adequately an preceding articles I mentioned, the gardens of Spain” by Manuel sand and U itorlum he recalled that in de Falla a- has an upM 5 seats tw rehearsals ought , excellent National Symphony to have proved sufficient astieai date for instance, the to « equipment tu b'atfonn as which however a cure a reasonably decent performance- S“0lai, Orchestra of Lima, Peru, to unfort y Kurt^ge “**"* or recor, nd bigge asU st in custodian, is tli Southn lcA 460 °ntinued on Pm CLASSIC AND CONTEMPORARY SELECTIONS
PRELUDE FR. CHOPIN, Op. 28, No. 5 The Preludes of the great Polish master, while miniature in form, range from the lyric to the bravura in style. This prelude calls for a light and flexible right and left hand technic to bring out the quaint and chime-like effects of the piece. Arranged by William M. Felton VALSE EAFTAXSXE JULY 1941 463 MEATJET AAOXEN Grade 3. Tempo di minuetto M.M. J=126 STANFORD KING DRIFTING BLOSSOMS A.R. OVERLADE
British Copyright secured Copyright 1941 by Theodore Presser Co. JULY 19*1 445 SUMMER CLOUDS Grade 3. Andante tranquillo con moto M. M. J - 153 FJeecy masses fJoat across the sky MYRA ADLER
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Grade 3. JOHN PHILIP SOUSA f —
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TEACH ME TO LIVE Thomas Ken CLARENCE KOHLMANN Andante espressivo mp VOICE
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Et Alto Sax. or Eb Clar. (upper notes) DREAM OF LOVE FRANZ LISZT El) Horn or Alto (lower notes) Arr. by Carl Webber Moderate*
PIANO
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QUEEN’S ROMANCE
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Copyright 1936 by Theodore Presser Co. 478 British Copyright secured THIS ETUDB QUEEN’S ROMANCE B!> CLARINET FRANZ JOSEPH HAYDN
QUEEN’S ROMANCE Bl> TENOR SAXOPHONE FRANZ JOSEPH HAYDN
TROMBONE 9 : or CELLO QUEEN’S ROMANCE FRANZ JOSEPH HAYDN
JULY 1941 479 BOXJRREE SCORE From the Overture No. 3 in D major JOHANN SEBASTIAN BACH Quintet for Flute, Oboe, Clarinet in'Bb, Horn in F, and Bassoon Arr. by Preston Ware Orem
DELIGHTFUL PIECES FOR YOUNG PLAYERS OUR FLAG
Grade 2. TROPICAL BREEZES Grade 2d. LEWELLYN LLOYD TECHNIC OF THE MONTH ETUDE IN THIRDS Allegro risoluto m.m. J = 88-104 With lesson by Dr. Guy Maier on opposite page. Grade 4. ? CARL CZERNY
Copyright 1906 by Theodore Presser Co. Selected from Czerny Stadies (Liebling) Book III 484 .
IKE OCTAVES, “DOUBLE NOTES” know for five finger thirds; it is also are neglected step-children of an excellent study for sharp, brilliant I the pianist’s family. This is un- up-chords. Note the fingering of the fortunate, for they play such an im- The Technic of the Month thirds: 1-3, 2-4, 3-5; always avoid portant part in our technical life. 1-2, followed by 1-3 in legato thirds, Every time we play two tones simul- scales as well as shorter groups. taneously with one hand—thirds, Conducted by c„ cuer Practice the study in the following n ways: fifths, sixths, octaves—we are playing double notes. There wouldn’t be 1. Memorize; play slowly and much left to piano playing, would quietly without looking at keyboard. tip there, if each hand played only one A helpful on memorization is to that the top voice first note at a time? So, what is more im- know of each portant than a good double note Thirds in Five Finger Groups ascending third (Measures 1-8) al- technic? ways begins on the third of the chord; The secret of good double thirds top voice of descending thirds (Measures 9-16) begins lies in (1) the rotational balance of do not play it. The accent shows the on the fifth. 2. Still playing slowly, count aloud arm and hand; (2) fingers kept close rotational direction. by “ands”; play chords very to keys (never play thirds with stiff, sharply Ex. „ 2 a „ s 3 B staccato high fingers) and ^ and thirds softly legato. ; (3) quiet hand p-f p-.,. arm. You are now ready for the prepara- 3. Play chords alone; think of both tory exercises to this month’s study. chords to be played as Try this. First, play a soft third you count the trill combina- Practice these very slowly and very rests, thus: with 1-3, holding the keys down Then, make various fast, short and long groups, thus: afterward by the weight of the arm tions: Ex.7 balanced lightly over the finger tips. Ex.3 Ex.6 1 » L 3 L ^ ^ Then (hand held rather high) rock the arm several times, slowly, from etc. the third finger to the first—just like 6 JL 4. Play in four-four rhythm. Count balancing your body from one foot f .— ^ it! This is to give ample time to play to the other. This is rotary balance. etc. both chords solidly. Now play this exercise softly with month’s octave exer- Ex.8 forearm rotating toward a lightly ac- Now, as in last grace Now omit the holds (^) also work sharply in ; cented thumb: cises, rotate more left hand alone; and hands to- notes: at Ex.l gether, parallel and contrary; finally, Ex. 4 . „ 4 .. in C-sharp major. This month’s study (Czerny-Lieb- (left hand omitted because PP np pp of space) ling, Vol. Ill, No. 1) is one of the 5. Practice, pausing thus: Also use 2-4 and 3-5, still rotating “regular” thirds: most useful, concentrated etudes I ( Continued on Page 499) toward the thumb, even though you Finally, play as
TA Teacher's Diploma TIT \j
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City. . State The Increased Requirement for DEGREES has Resulted in Larger offered by Demands for the ADVANCED COURSES Are you teaching now? If so, how many pupils have you? Do you Ohe UNIVERSITY EXTENSION CONSERVATORY hold a Teacher’s Certificate? Have you studied Harmony? ILL. Would you like to earn the Degree of Bachelor of Music? (Address De t-254) 1 525 E. 53rd ST., CHICAGO,
JULY, 1941 485
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pression to an audience, comprehen- have been told that I have a Vocal Presentation beauti- There is no voice whose bad quality sion of the text is every bit as impor- ful voice.” cannot be improved through thought tant as appreciation of the beauty of “That is a matter of opinion. ( Continued My and cultivation, from Page 452) the music. and one should not opinion is that it is a good voice, neglect what should be considered should be done only with the Too many singers make effects that but you have certain com- faults,” and I one of the greatest are inartistic, essentials. poser’s consent; or, if this is impossi- or cheap, and seek ap- was about to enumerate some of Our schools can be most important ble to obtain, the singer should con- plause through freak offerings, the them when she again interrupted: factors in cultivating musical taste; sult an authority. display of exaggerated efforts, and “I have also been told that I am and, without question, improvement even vulgarities, in their desire to artist, Interpretation is an important part an and quite ready for public in this respect is shown in a great of presentation, because the singer in appear different and be talked about. appearances.” number of schools. This will continue emitting beautiful tones, and reveal- Applause must be obtained, if neces- “That is not my opinion.” to prove more and more beneficial ing personality, soul, and atmospheric sary, through great offerings, not “Well, if a prominent concert man- so that, in the by the use of exaggerated effects. ager is future, music may coloring, is doing so merely to portray willing to introduce me to become a major factor with all edu- the character of the composition. But With many other teachers, I dep- the public noio, it would seem that cators, and the recate the desire, on the part if is United States be- not every singer interprets well. He of he satisfied with my singing, I come a truly musical nation. Could may lack experience, young, unprepared students, to rush must be good.” musical back- anything be into public appearances. more ideal? ground, good taste, sense of poetic “Yes, it would seem so, but who Can any other art surpass music phrasing, dramatic concept, The innate rush of the American is this manager?” And, when she and had for the great similar is responsible for these premature named a sufficiently pleasure that it gives? attributes. I have always felt well known After more than fifty of musi- that it is appearances. The late W. J. Hender- agent, “You say he is years a good idea for a teacher, ready to man- cal son, life, I can answer: “No.” when giving a new song to a pupil, distinguished music critic, often age you?” deplored this mistake, declaring that “Yes,” to ask him to study it carefully and haughtily. try to render his own interpretation. urgency and speed seemed instilled “Are you paying him anything?” at birth. Film Music That If it is a good one, the teacher should The would-be prima donna I asked. not attempt desires the glaring footlights and “Certainly I am. to change it, even though Five thousand Musicians popular applause. Like it may be an entirely different con- Often the unde- dollars. He has to get out circulars, veloped singer seeks thrill advertise ( Continued from Page 445) ception from his own. In this way, the of a me, get my name known the public concert, only to find that his all over the country— talented student is encouraged musical notations. But they had a towards creative single appearance results in no "Does he guarantee you love of work rather than a a certain fun and a natural gift for mechanical copy worthy accomplishment. In fact, it number of concerts?” music. of his teacher’s ver- Thus, when they had parties, sion. usually brings much discouragement. “No, of course not. The after money is work, they would pool their to Your particular way of A pupil once came to me and an- introduce me to the slim resources expressing public, to hire an old, broken- yourself nounced that she had the opportun- through the newspapers, is individual. It is not ex- circulars' down piano for the The ity and that festivities. actly the same as that of any to appear in a leading role at the sort of thing.” seit-taught other pianists who sat down to being. If hundreds Metropolitan Opera House. (This was “Well,” I said, “it seems to ay of singers should me he ’ reveaIe d might P, rhythmic patterns have precisely the same ideas many years ago, but have there been better take the entire a of in- amount in t heir blood or which, at terpreting any song, the tempi no similar cases since?) She was not of fees obtainable for concerts hoest,t theyL same , in had picked old ready for a debut, but I could do which you take up on some accent, effects of any kind, the indi- part, rather than 01 urn or tom-tom pay at home. This in- vidual interpretation nothing to dissuade her. She did ap- such a sum to him with no sstent, of a great artist guar- repetitive bass, liked say, antee of or drum would never give the pear but, as someone to appearances.” hm same result. It 01 elght-to-the-bar, consti- “Only for consecutive appear- Her answer t ; is because one was: “Well, if nF 4 k of this individuality that those 6 basis of boogie-woogie ance.” same thing happened to terms are satisfactory . one’s own qualifications can be The to me!” PlayingplavinD to-day.! made Unlike the spirituals, another ambitious but unprepared What more could one distinctive. say? I have WOrk songs student. She was able to arrange for no doubt that which are the In order to secure and hold the she paid the founrik 10nS money °* Jazz bo is an appearance at a Sunday night and equally no doubt entirelv ’ °B'ie-woogie full attention of an audience, and that she was y &n lnstru concert, also at the Metropolitan. She never heard mental develop- to create the interest needed, the of. She had a good but ment not artist never sang there again, nor do I beautiful voice, must make each auditor sense and various le s opbist i cated elements know at became of her after her defects which . the proper mood. No emotion stirs probably could in our r^!°, 1 have . . ,.4. filSt . , .. . . onennp ill-tnt.Pfl^fated appearance.annppranpp Shesnp andnnn beennppn overcomenvprpnmo withv,,; +u study.a. woogie heard boogie- within the listener if it is lacking Of course S1C the ambitious opera debutante she was not from the traveling in ready for appearan minstrpi t the artist. No happiness is present ces S- simply dropped out of musical circles. in public. Christy- Primrose with the singer looking mournful. and West n°T No others composed of Out of many such experiences, I Not uncommon among our white mJ — sadness touches the soul without Ameri 1 n blackfa will mention one which may interest can singers is ce make-up, pathos another strange occur who eanfp i in the performer. d theil musical young aspirants for distinction in the rence. Let us say that one materials Neeroid who pos- at tih61r musical field. young woman came sesses Source and made A a lovely singing voice has those earlv The Importance of Good Diction just V 1BS and " to my studio, and wished to sing for finished a most artistic mental tlleir instnl recital pro ‘counte! ' The singer should always consider me. As she never had been my pupil, gram, and an admirer alar, “ extremely pop is one of the all over the the fact that the audience seeks to I asked her for what reason she first to go behind new countr y- To-day, a the stage to vogue L ? know the story of the song. This can came. She made the usual reply: “I gratulate her, only has 0®16 to be” thanked sP™ng Up lareT'^ Skfe be realized only atmosphere, color, want you to tell me what you think in a most efforts y ‘hrough by unattractive speaking °f CauckmT “I meaning, and clear diction. Nothing of my voice.” voice. Americans have Perf°rmers and good singing ““Posers, like n is more annoying to those who wish “Wait a moment,” I told her. “Do voices; some that aye are naturally eonri ^°wevpr to understand the words than in- you mean that you wish my candid instruments, others this eme exponents of that are well mediumuin. !T' . . are- stni tn distinct enunciation. In large concert opinion of your voice, your method of trained But there are be Afrn T*' ' conceded to also quantifies °:*mericans halls, with the hearers at a distance, singing, everything?” of most atrocious speaking Smith.£ i ike Pinetop voices Is “Crippled” it is “Yes.” there anything Roll” ^arence,Clarence, "Jen*“Jelly necessary to exaggerate the ar- more unattractive Marti ’ M ade L and ticulation and of con- “Then I will give it. But do not than the nasal, others. f ux Lewis, both of vowels rasping speech This CUri so 0us corn- look for flattery. I may tell you that noticeable ing ,. . medium is sonants, and especially the latter. among us? With to be Pfl care 8ni ed as an authentic Sometimes poor diction is due to the I am an optimist. I do not look for any child could be trained form of folk_? ^ to correct 810 This fault "Do , . Hugues Panassie do not try to find something this has *. singer’s desire to show volume and faults, fault. Parents and school explored i? t6achh ~ scie his power. I believe that such to criticize, but if you are sure that ers neglect doing brochure “t ntifically in In general, so, either bGCause p t in ZZ H°t,” published a fault has become so prevalent that you really wish it, I will tell you just they give it no attention,attention u 1936. Elliryff or because paul accustomed what I think.” they and ’ noted novelist the average audience is themselves have the same musieni u is de- erver t to it and, therefore, expects to hear “That exactly what I want,” she fect. In the case of himself - has taugh an adult, because boogie °w„ . persisted; arfd then she sang for me. has gle v “’tuosity and only the music. Such a handicap of ong habit, it is much written — more m,m“r°us really detracts from the value of the “You have a good voice ” I began cult to overcome. Yet this new articles about a good speaking- form composition and the effects of its truthfully. organ is always most Arthur, Amen,. - Edwin Mac- impressive and im- But she interrupted me: “Good? I is conduc tor and ac- rendition. To convey the proper socially an inestimable companist for U asset Mme ' Pla stad, is an entliusiastic hr, B 486 “gie-woogian. the etude ?
Voice Questions SAMOIIIFF l DR. NICHOLAS DDUTY jbiwJi f Teacher of World Famous Singers and Teachers
accompanied by the full name No question will be answeredin THE ETUDE unless will hold will be published. and address of the inquirer. Only initials, or pseudonym given,
“Tod und Verklaerung.” Summer Master Classes Tempo Rubato, Swells and Diminuendos in Richard Strauss’s passages which portray Choral Music After the terrifying the victim’s death, short sections of the Singers, Teachers and • < and vibrato are If you will implicitly follow his directions, A The words tremolo by writers on vocal you cannot go far wrong. ften carelessly used in the voice is so pro- 1. This latter effect, when done too often, abjects. If the shake the pitch soon becomes an unpleasant mannerism ounced and so rapid as to make should call it a which leads to monotony. Ifficult to determine, we it. If the shake 2. Employing the tempo rubato too often is •emolo. Be careful to avoid pitch well deter- another unpleasant mannerism, especially in less pronounced and the called a vibrato It choral music. Occasionally its use brings sur- ,ined It might be prise the voice as steady and delight, but beware of making a ould be better to keep habit of it. all depends upon the boy. Masterpieces of Piano Music * nossible. 2. It 3. than others. Why should one pause upon a high note boys mature more quickly has been termed the library of Piano written ome be- upon a weak beat, unless the com- voice seldom completely matures poser bov’s Music in one volume. The more than indicates it? It is apt distort the twenty-one. Use your voice with to >re he is selections by great phrase, Just to physical action requires 200 composers con- show off a high tone. ’eat care. 3. Every 0f course you must indicate, at re- followed by a release, tained in its 536 pages, comprise 53 . JL , muscular contraction arsai, the number of beats given to each walking, ball playing, Classic, 75 Modern, 38 Light, 25 Sacred his is quite true of pause when you both be- eating. Singing 29 Operatic Compositions. This play and conduct, routing, laughing, and even and vol- “™, you are not visible to singers, requirlng coordl- of . all the complex process ume is truly a source constant enjoy- y ° u polnt ° a very ut - When the pitch , you direct alone and muscles, entertainment to ihe A , ation of the breathing ment and pianist “° fc as well, the motions your speech producing hot 'nY of roducing muscles and the who delights in good music. batoii will Indicate the length control of the pause. of these are under the I m0t e musIc mscles. Some For snle at your favorite music counter or i^Hri L HL the composer usually some are not. None of them sent L whether f the will and POSTPAID upon receipt of price. Money re- °r not he wants a ritard all follow the !leading held stiffly, but they funded if volume does not meet with your to a pause. In the older music you [ustYe and ap- alternately contracting proval SOLD IN CANADA). Illustrated will have to trust to meral rule of (NOT your own judgment° and 1939. issue of with contents cheerfully sent musicianship. ‘leasing. In the November. folder upon article by request. Etude there is a splendid ls used to indicate two he and things, first, explaining these things the end of a grammatical clause lbert Ruff, MUMIL PUBLISHING CO.. INC. and, second, pictures of the vocal cords and some a short pause or difference in rowing 1140 Broadway. New York. N. Y. cartilages to which they the sense of the words. F the muscles and In the first case you care- Enclosed find $ for which send post- not it. read it, study it need breathe; in the second a short re attached. Get paid Masterpieces of Piano Music. is it. To be able to name breath usually in order. illy. and learn from ( ) Paper ( ) Cloth It is impossible and cartilages correctly for us to suggest to you the [1 these muscles number of beats pass an examination m Name to a fermata. It all depends light enable you to or not it upon the mood of the composition, period re anatomy of the larynx. Whether its determined Street in the-Tiistory of music and your own com- ould help you to sing would be mon sense understood. To sing Trust yourself to make the right y the amount of it you decision. logical nrixrd. City & State Anent the fermata. and the sign ell one must have a clear and <~- , one > recalls the marvelous coda to = wpl l nc n crnnrl voice. JULY, 1941 487 — —
popularity through compromise. The only danger to progress is the at- Finding Opportunity from group activity carried on in on However the tour shapes up, the titude of mind which expects “Op- some degree. the Concert Stage artist must always be left free to portunity” to hand you something. 1. Interest is developed because it is work according to his own ideals. Make sure you have something per- shared in ( Continued from Page 443) Compromise competition. suggests the hypotheti- sonal to say, and then say it—believe that here was an artist who pos- 2. In a group, all members taken cal Debussy case, where advanced in it, love it, perfect it, work at it, together sessed, beside outstanding voice, are a helpful influence to an views may be asked to come down to suffer for it, respect it, treat it with the individual. That is, one is the personality, the dignity, the in- more earthly levels. But it does not integrity. each Then, suddenly, you will tegrity that should command atten- benefited by the spirit of the “gang.” always work that way. Sometimes an convince people that this mysterious 3. Few tion. artist becomes people, particularly the identified with a “it” which you have is a whole-souled young, are During the intermission, I went popular (or even hackneyed) work, distinguished deeply moved and inspired art. And equally sud- on backstage and said I would like to and wonders, presently, receiving information as a pri- if it is wise denly, you will find that opportunity talk business to her. Miss Anderson vately operated for him to continue playing it. The has come. It always comes, benefit. Because when you 4. When knew my name and seemed pleased. answer is plain: if the work corre- call it into being. information comes from Then you, too, will the But—and here you have a character- sponds to his personal group effort, and it may be faith, he have stories to tell of how some when istic man- translated picture of Marian Anderson should go on with it. In this way, ager “discovered” into group action, the en- you. thusiasm she made one condition: although many great performers have become of the learner runs high. He is no she was no longer under contract to identified with certain pieces—Elman longer doing a stunt as a dry her The task. He is recent American managers, she with the “Mendelssohn Concerto”, Boy-The Piano-The doing it enthusiastically as felt it would be courteous to cable Anderson with Ave Maria, Chaliapin an experiment. Spirit of I them before committing herself to with the Volga Boat Song, Ysaye with the Game have never seen the report of the anyone else; ( Continued proceedings until their reply was re- the “Kreutzer Sonata”—and in such from Page 439) of the Parent Teachers roup ceived, she would talk no terms cases, “specialties” are valuable, as emphasized an activity referred to in the opening of making for , even though she wanted to. Within an added bond between performer satisfactory score. is article. But here are some memo- These boys sub- ran a few days, the cable came from New and public. But a made-to-order scribe to what a which, in activates them as my words, give the York, giving her full permission to ° f specialty, as, indeed, any form of doing technic. tbG meeting and it is good sense — act as she pleased, and wishing her compromise or favor-seeking, can 11. Games improve your plav SQ ! good luck. Well, she has had it and only harm. The public is wary of that sometimes Boys are — you can win a not the only sinners to game e ca led so have I! quick sensations, and success-for- by your own quick action to repentance. Many boys e success’ sake. Real artistic worth 12. Team work is great enthusiastic piano students, and Work and fun. You all More Work builds long period fight together me girls itself slowly, over a for a score are not. Each is a problem, The important matter 13 b of present- of time. Actually, it is the time ele- ' : games there °y is proba greater ", is always a nrnhi bly the ing an artist means more than hiring ment which permits the artist to as- S ri keePS e m because ^ he is involved in a hall, selling tickets, and letting the sert himself. an the«me. e st . renuous activities. Competi- tionHn„ performance begin. The success of For that very reason, it is much 14 You can for his start down the skill is strong. any artist line on depends largely on the way harder to work with a successful a ball team and work Veiy private your way to the class of pupils he is presented and the way of pre- artist than with a failure. Why? Be- top, if you shmiiH f — can play the game Uncti0n as a group, do it a p t . and senting him depends on an assiduous cause the failure has nothing to lose. 15. You don't a Ga1 play just ' There are valuable tech- owe in a njpo t K study of those very qualities of indi- He is already at the bottom, and any- season; you play G every day learned from group activi- lip-? h° <- vidual personality that make success! thing that happens to him must be 16. The adult No. at can 7 said this abmit be learned in no other Although the presentation of artists a step toward improvement. The suc- his own children: I ty notice that games is my business, I have never under- cessful performer, on the other hand, develop not skill GVe alone but initiaSve y gathering, make a boy ( nrnivii 5 taken the management of anyone in is constantly confronted with the and ingenuity. These act surprisingly b°y Purred) the im- whom I have not had ardent personal difficult to himself. upon the Wesa in" task of living up memory for mas t details o cnethe er of ceremonies. For faith. Sometimes my faith has Nothing he does, ever, may fall a action involved. examni e ’ bG sh°uld Play a selection yielded if hp i he should announce dollars and cents, but I have always of eminence. It is comparatively sim- better boost by being m b advertise* ,, hthename ° f had the satisfaction of working with impression once; way baseball is. Perform“ ple to make a fine (The boy T;TT s4and people that explained and on his two feet in whom I could believe, of but it takes a life-work of effort to he meant by this do thisS the 18 a stunt effort. giving of even pSblMtyy 4 worth his the public something in which maintain it. a scrub game Whp 1 of ball is J-°U giVe a boy something I could than challenge to do believe. The alert manager In my belief, America is more and that the game in a* r°Up ’ making him respon- must make a careful study of every ever destined as a land of opportu- S CienCy thr sible nin ? °Ugh Publicity )' the 8 0n him ' 14 is facet of with frightful destruction that ‘toteNote thetb® symbo? every temperament nity. The inspiration of No of aUauthothority/ 4
Organ and Choir Questions
Jlmwerccl Lj HENRY S. FRY, Mus. Ddc.
Ex-Dean of the Pennsylvania Chapter of the A. G. O.
No questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be pub- advertisers, can express no opinions lished. Naturally, in fairness to all friends and we as to the relative qualities of various instruments.
country church. plices) which rendered the entire musical 0 I mu an organist of a young service. The feasibility of boys’ voices for The choir is composed of about fifteen soprano. A choir use thus having been demonstrated, it girls and two men. .Yearly all sing sing their gaits. was not long before other churches, in which fete are altos, bat never oetarc lotcti. special attention was paid to liturgical mat- They sing the soprano part an music, they ao ters. adopted the vested choir. Among the When l tlirc them four-part INVEST YOUR MUSIC MONEY WISELY follow. Tl ill you first to do so was the Church of the Advent not cent know which line to use, Boston. In 1856 full choir of men and WHY IS the Bible the dieapest book In the a type of music for their in a world please suggest oriel?i Whyu can you purchase the complete works of should do to solic this boys was installed under the direction of Shakespeaunakespeare or advise me what I at... less than,,, the cost of the latest novels? Dr. Henry Stephen Cutler, who had made a The answer is simple—mass production; no royal- problem — /•’. K. K. ties; constant demand. special study of the subject in the English Allhough we hove By the same Beethoven's Mr. Arthur token you can buy your using unison numbers Cathedrals.” We also find that M rime and time Moonlight Sonata” 15 paces or the world's best A We suggest — Investigate W. Howes, now of Haverford, Pennsylvania, fact mu le—for on|y 1 in the CENTURY EDITION. group—anti you might again stressed the £ for your choir of St. Clement's Beautifully printed, carefully edited, the best of collections: "Unison Anthem sang in the boy that Wicks orgons, Paper, and workmanship the following of throuchout. ”20 Unison Anthems for Church, Philadelphia (where the editor regardless of size, Tlilnk of It! Over 2. POO selections to choose Book." Barnes; and Inter- this column is organist and choirmaster) in the same out- from and none of them cost more than 15c. a copy. Choirs." Barnes; Junior contain Junior choir at St. lle,, t Music is truly dollar Talue for 15c. Unison 1879. Mr. Howes thinks the boy ingredients ?. Book." Harper (for standing TEACHEItS who pupils’ mediate Anthem are today supplying their Clement’s was introduced about 1865. of perfection, we felt n«ds from the Century catalocuc are making It 0I tV possible circum- the comparison, as for many parents to continue their children’s advisable, under the musical 'lf 'mi;p'. I be department Titb Etude, / education, and its low cost is likewise aiding to give the group some Lange distinctly large organs of ome Guard. March, of St. Joseph A The two should a church committee go ORGANS * rn? H F-2..Sr. Convention Hall A ant c Q. How B u r in m°reske. . Dvorak Op. 101, No. 7. Gh—4 or'ld are those about selecting a new organ? Xonc of as • 1 Philadel- ILLINOIS nfno Trovatore. Fantasie, Eh—4. .Verdi-Dorn Wanamaker Store in HIGHLAND " ity and the have had any experience in such work, and 11,8 Roso Garden, Melody, F— 3. . . Lange designer of the oroZ68 Joyous hin Fmerson L. Richards, what Farmer, F—2 Schumann following we would like to understand fully we La Golondrina, Tho Swallow. 3 Serradell organ, furnishes tbs . G— ?lanUc City arc getting and what we are not getting. La Paloma (The Dove). G—2 Yradier the No. 1 console, the New-- PIPE ORGANS-- Used a iformation: “On to seventeen ranks Bet,y . Smith an organ of fifteen ? y . 0Id English Dance, G—4 speaking stops Would F dy Morel the number of Builders of pipo nrgnns for church and studio. Ef- Pompadour (Dance), Eh—3 irae console, -I enough an auditorium i no , of 7 pipes be large for ficient. up-to-dnlo used instruments on hand nt Largo (New World), 0 Dvorak of stop tablets, including all Dh— 933- the number seating hundred? What arc unified times, priced very reasonably. We also rebuild and rj“le Fairy, Waltz, 2 Strcabbog number of about nine tin* G— so on, is 1.477; modernize traeker and tubular organs, additions of JJary's Pet Waltz. 1 Mack Duplers and anil duplexed organs? Do you recommend 7o1832 G— of pipes in stops, couplers and chimes Installed. Yearly care Mazurka. No. 2, 4 Godard J Dines is 450; number Bh— X organs built up that way, or do you prefer a of organs. Wo solicit inquiries. Wclody in -2 Rubinstein pipes^ The f, (Simp) F — 3 . . 61 to 121 3 varies from dollars it,' Moonlight on 4— Wilson ach rank ‘straight” organ? Will ten thousand the Hudson, Dh— 5 pipes in each stop VA, ies Delosh Brothers — Organ Experts 1 Moss-Covered Church. An. 0-1 Hopkins of ranks of fairly good organ, and do you recom- 83Ui-n X" umber of pipes buy a 3508-1 05th Street Corona, L. I„ Y. Orange Blossoms Waltz, 3 Ludovlc correct number N. City F— -nm 1 to 11. The mend a small organ company or a large one? i-h gy8r,‘he Waves. Easy, C—2 Rosas * Pizzicato Polka, C—3 Strauss —J7. J. C. 107? Romanc , e, Op. 2-1, No. 9. Dh—5- -Sibelius Boso.Fay, Mazurka, 3 Heins o | n? F— Us sl Son Smith A. We suggest that you communicate ?,'! 9- Op. 31. Gin—1 1PE fnnn o . ORGANS SS2 Sack Waltz, The, G—2 Metcalf with builders, stating your needs and asking al a Pcs,h Kowalski I If you are interested in a small organ 5?? l V‘ - Dh-G It P for specifications, prices and so forth. le nd Ghords, 2 Czerny i for your church, inquire about our 190? c ? ?.?, submit these speci- Flue Fi " DOr • • Schmitt might be wise for you to pipe organ. 97an Ex - Part 1 substitute. We suggest ARTONE Tone Restoration 100 1 Pictures, 1 Hopkins “ effect but as a oisS l? . C— fications to some person with experience, for and Rebuilding also additions to your present cnl Night. Holy Gruber builder of your 9r7? I Night. Bh-3-4. . inquiry of organ. lv8r Threads OS advice. The effectiveness of an instrument |' Am. Gold. . . Banks mS o • and Bh-3-4 b ^r Waltzes, a p A-4 . . .Waldteufel i of fifteen to seventeen ranks, in an audi- 22?9 SolfeggiRnli 'i otto, ri:be THE DAVID MARK COMPANY * Bach rra 9 ul Cm—3 iev^Hu de- 0, ndia r.?rF bo torium of the size you mention, would J ’ A. Eh— 4. Klmsky-Korsakoff Humana might ORGAN BUILDERS 4SS to?? ^ practical, a Vox on D Fund the specifications. Unified organs .' °»- 39 - A— 4 Mendelssohn pend on Warsaw IR4? Itm °M- . Qulntadena. N'cw York 01 H0ly place of the * ,*.’ Nidht ' 0-8 Krug istalled in are instruments where one set of pipes is 1438498 ThrowingThriwin' Kisses, Mazurka, Eh—4 Heins two or more stops of differ- rcli wa used to produce VIOLIN in quality. For instance, AND PIANO DUETS, 15 of about ten, with such a wistful She is also arranging a number of Music in Britain’s War that it will not reopen soon. Usually, look in her eyes. She was an evacuee talks and programs on behalf of it is better to discard ( Continued from Page 449) and dreadfully lonely; her a violin thus hosts Britain’s children, so that vitamins cracked. were kind people, but out of their shells; somehow they may be sent them to build up the strangers in the If you value your violin, never had not been able to reach through deficiencies in trust villages made friends and began to diets of loaned-out it to an unskilled to her. And they didn’t know why. and boiled-out repair man, but feel that they belonged. Living as we meat. Her work for you will be I was playing agreeably surprised at the that morning, and as this cause is done through the did in the homes of the towns where “Save extraordinary repairs I played, I was caught by the and improve- we played, expres- the Children” Fund, 1 Madison we had a splendid oppor- Ave- ment that a skilled sion on that little girl’s face. Some- nue, New York workman can tunity of seeing just how welcome City, which was make on your thing came alive in her face. After- violin. the concerts were, everywhere!” organized in 1917 and has cared for ward, I asked further her to come to the countless thousands of children Violins A problem grew out of the from Are Difficult to Copy platform, and we talked. It seems all countries. large numbers of children sent from It would she was the child of professionals appear that, outside of London and other large cities, into ie varnish and had a marked talent for music, The perhaps, it would be com- country areas, where the local Paradox of the Violin paratiyeiy herself. In her new surroundings, easy for the skilled artist schools were quite unequipped for ( Continued from Page 459) to nobody talked music, there duplicate an inanimate the was no object that sudden increase in attendance. separate parts. This can piano. ‘No one even asked me if I must be done take apart and carefully Immediate provision was made by without causing asuie. could sing!’ she protested. She was damage to the deli- Indeed, in a few very rare dividing the school day into two cate and valuable wood ases, such homesick for music, and could not and varnish artists have been able to part-time sessions, one in the morn- Let us return to the e be herself without it. We left some subject of ma-’ an imitation , of an old master ing and one in the afternoon, and , simple jor or minor repairs. Large f° pieces with her and asked her cracks in 0led €Ven the best of eX " accommodating half the scholars in the top of perts to learn them; and a violin can be repaired ‘ TbeseThp each. That when we passed at cases, however, are the arrangement, however, a nominal charge by S through that town a few days later, the skilled work ° f excePtion. left half the children idle and un- man. v1oli Each master’s on our way back, that child These repairs can be ® aie supervised was a done in as distinctive of their during half the day. such a way that the different person! cracks are al S i Something needed to be done nd ividual handwrit- here, most unnoticeable and the inp- ov t. “We found many such cases. The tone is PhyS1Cal characteristics hu- too, to keep the youngsters off the little affected. mfr, of local musicians The top may be V in the towns had en In fact 14 is streets and out of danger; and again tirely loosened from ZTJ , acknowl- lost much through the enforced cut- the sides or that not the Educational ribs even the finest artists authorities asked In fact, the top should be rnnirf ting down of lesson programs, per taken off Xactly reproduce canvas Betty Humby to do it. h-, d -f f, on * c the violin the formances at social gatherings’, "and >fan thor- *»U chafa teristicsensues mui ‘‘We found a way to combine our oagifiy- To replaceIGplacc ofanTdof an the like; and the music we took them the bass-bar, viduaviduall violin.vimm regular concerts , with children’s con- * lc s ould^ 1,6 done In came as a godsend in helping them about every sPite of the certs,” Miss Humby tells. ‘‘We were y difficulty of making to get a grip on themselves. Special ‘be removal “Pjes, due to play in the different towns ^ top of thousands of imitations Per rn anCe violins ,"e °h the market. anyway, so we simply .. have had The old adage. stayed the j . .\ . . f their tops organized for factory workers, too. taken nff a whole day through and gave an extra times. This ® ny ^fowledge is a Dangerous does not affect , Thing “If you happen to love music, you the 6 1 performance in the morning. Our or tone of the violin applies to a violin. The take its advantages quite for in the slighf'T^West. authoraath °r cinema theaters are all closed during The work, of course m spite of the fact that he granted. It is heartening, therefore, should the morning hours, and we secured only^ by the Vi °“nS d h“ the counts on which the skilled repair “ to find ' man. ‘DoU instructed™uctecl permission to give our concerts there. not be alarmed if ° by*vTone' of the leading a chanee nf nr . exnprf*PYnBrte , The Government considers music a vital S has councils allowed us threepence should loosen the too .' learned only that he and essential part of war-time emer- a k?"‘ per child, to enable us to hire the of the proper glue 11 little atrout the true value gency measures. Music is recom- wilf soon^re^^ of^arf theatres, and we had one this condition. r " adult on Pegs, lin ' The ma mended for children as a means of bridg™ of ^ ™ i° v“ h hand for every twelve children, in tailpieces, finger % 5 aie so ual " self-expression; for boards, Ity lnferior in 9 case of education and and eve?’ that theGy panic from alarms or fires. necks, must be can be easily appraised, adults, it brings encouragement, pro- renewed from If such \ We had exactly time. tlmetim toT the same artists and DamageDamnee t„to thesem, inferiority is ap- strain, does ? • not *eareadily vides relief from shock and not1 aff , Parent-parei n- programs as for our evening con- the value of the ffect SaIer you and serves as a means of binding- violin. are to Tealize that certs, and the The nrnh hf youngsters loved it! major damages n0t 0ne of very feW people together in spiritual unity. are usuallv « experts = the Some adjustments, of course, had to least noticeable. ' For all groups, music is held vital in We have ment ?° WiU n0t pass iUd8 be handled promptly! ahead®uy on th P lair _ . . lnstrun giving people something to live for. Even >ent in question. “Many of these little evacuees were ti finally even though the official b eatest experts have hearing And — °en fooled music for the first time in 0favioIi a fS° phl_ governmental attitude does not con- me tlme - The their losopher I - lives. They found themselves in S ents k of itself with this point the gov- ^er^-^may ’ in his “Critique cern — appear to a theater, and they expected to have inmenL*good condition,e lT? be Knowledgf” ernment concerts that are sent but are really ™Uld wel1 have be® fun there; aged to dam! thinking*^ when the music began, such an vi at throughout the country to-day bid extentlhat thev Ins ' He end eavors, they went on laughing and talking, be considered ™ay eonsiderahL ? fair to help de-centralize music in valueless. Care length, to show the as though they were be taken, ^^st leader thnt listening to a • England. That, of course, is an ex- however in 110 abso- radio program whether lutely knowledge is at home. We stopped or not a top nosifi 6 cellent thing. The tendency now is has He ends his biloso and explained that this was a differ- thinned. In bee? Pliy, P : for the capital to have everything the case of however h ent older of eivmg l,s some ray sort of fun; that violins, hope • that we needed their practically noth- have had the ton « He'-- and the provinces Q , main tains we can cooperation as part of the concert; times, the removal merous never hp ou* that ing. In normal times, London has as naturSlv ? 0l tely anything that they gave as much by listening thin the violin tends to in this sure of many as eighty orchestral concerts a at the edlj wn,-i?id l! dges ’ bllt decides that what as we did by the toDtop joinsloins th„ i. . wher knowledge playing. They liked the outlying the ribs. month, while the towns A good 6 do for idea of ‘taking part’, of course, and man can repair aU have is sufficient have comparatively few. These emer- re-line the PracH? 1T quieted in such 6 Proses, soon down. Then we gave people a way as top ifct gency concerts are making notto^arT? ° Vei sure them bits of lm, but to the vio- that be absolutely explanations, simple “ . just as much put it i „ an ni.i realize that music is n 8 00d c V10li 3 little illustrations again. °ndition eertain n is the work of —it was all so new as possible for them, mot for them, just 1, Howe of to many of them showing them A big crack, the ver, if several — as for the Londoners. Music is help- or even n,n leading S expei’ts in what the voice did, differ- from the body, ™ issin 8' their are unanimous what the maintain her morale to can k? oninf ing Britain often rep 1 tllat ent instruments look like, and so on. quite satisfactorily aire ment a certain instru- ,-, d i s win the war; and, when peace comes 0 „ a qj ' Then we began riu adiVarlus arne our playing all over ma s, then tT or * Gu again, music will occupy a firmer y be foinui n that be again, and this time it was quiet. small crack a vei cons ... instrument“lstruma can in the back ’y id ered nt There place than ever before, not just in S tn hi06 of was never the least difficulty occursS slightly cra 01le the work to crack°k of .. genuine halls, but throughout all onele Sldeside TTnniTu these'Tthe— the concert t I, „ , of* in getting the children to come, and tre. It is a the cen-- as masters. time “sound cen expert . Until such England.” post” T " many of them told us, later, that appears laCk Pmion is 0 exactly ' and hn, given, your w In addition to her professional where the I — althm, they wanted to go to concerts always! rests on the S°™" d 8b you valua- back of Post: ble oonside^ it is preparing the and , “I remember one case in particu- work, Miss Humby a very heavy °Un abiy e ' the som pressure is ,1 As olh ntaster° work of lar. In a very small town on the book that will deal with music and his spot, P‘ °ed it is usually “Pon Sti11 vioim- South musical conditions in time of war. V v Valuable only—a coast, there was a little girl to repair such a 0r ‘T break and Of a group “ is yet a mewb guarantee that°-’ f 490 est and are among the strang st unique of all articles' — "Open Sesame ” to SWusical Enjoyment THE _y4ndivered lij Listener's Book ROBERT BRAINE By LAWRENCE ABBOTT (Author of " The Approach to Music”) pegs, tailpiece, and other of tones and The finger board, Here is the outstanding book on “music as a language Musicians and the Draft The rl s fittings are made of ebony. illustrations, it lays army of ^bass-bar of chords.” By means of able discussion and thematic H. P.—The draft for the defense maple, the sound post and excuses of ^Vio- for the fuller grasp of music’s meaning. the United States now In progress and the neck and scroll of maple. firm and logical foundations except in pine, experimented no one who- is found to be eligible, have at ; be it symphonic, lin-makers occasionally Be it in the concert hall or by the radio home the case of eminent artists who are excused of wood, but those men- with other kinds string quartet, band music, or the latest “hot jazz” arrangement, occasionally for special reasons. Yehudi found to give the best.re- tioned have been perception of the composer’s Menuhin, violinist, who made of woods Mr. Abbott's book leads to a direct the famous young sults. The violoncello is has was drawn for violin making. won world-wide fame, similar to those employed in message. the draft time ago. He was excused a short author on a three months leave (already contracted Beginning with a chapter on Tones and Related Tones, the Obscure Maker for) however, in order to enable him to fill Another information.„f„rm0 Hnn through lucid discussions of the terms and phrases E W.—Sorry I can get no takes his reader an extended concert engagement in South F Helneke (in- discourages about violins made by Mathias by which the composer speaks. He, in the meantime, America. Menuhin who is not yet twenty- hun- C. A. Herold). In the last two of music in favor of five the greatest solo scription the listener’s “mental picture” interpretations years of age, is one of thousands of violin makers have will take up his dred years, violinists now living. He their trade, producing more absolute understanding. is worked diligently at war duties as soon as his concert work of these number of violins. Many serious thinker. As completed. a vast information Lawrence Abbott is a practical musician and a makers are now obscure, and no and works to Dr. Walter Damrosch he has participated in the ar- available concerning their life assistant S Healy violin Hours and has, Perspiring Hands YoS might write to Lyon and rangement of the notable NBC Music Appreciation in the (Wabash Avenue at Jack- T. Y. N.—One of the greatest “lions dealers L Chicago through this association alone, contributed immeasurably to the ... They have had vast expert- path” of the violinist, especially one who Rnuievard) Tne His experience and his rational . countless thousands. in violins ef thi.s class, pleasure of does much playing in public, is perspiration roeTSln’s ony. Wurlitzer Co., New York approach to his subject qualify him pre-eminently to prepare such of the hand, and fingers of the left hand. Rudolph of have the information. This is especially annoying in the case might also a work as is here announced. playing public. The difficult selections in Cloth Bound—Price, #3.50 fingers and hand stick to the neck and fin- gerboard of the violin. Instead of gliding smoothly. Many correspondents write to The THEODORE PRESSER CO., Publishers Etude to inquire the cause for this excessive playing STREET, PHILADELPHIA, PA. perspiration, which is worse when 1712 CHESTNUT in in public. You say that when you play your own room, your fingers and hands re- ESsSSHS per- main dry, and there is not a trace of spiration, and able to do full justice you are ADVICE APPRAISALS to the composition you are playing. VIOLINISTS — EXPERT — medical a S Consult a Recognized Authority It is pretty well agreed among reacWnfculwS SWING PIANO! pSduc“e fa? 1322 Hinman Ave., Evanston, III. authorities that this perspiration comes from t0 E. N. DORINC, Learn to play real Swing Piano. Send for free Home r“ America’s only Violin Journal nervousness. The drug stores offer many Send 25c for copy Study Folder. TEACHERS: write for business offer. and VIOLINISTS" STUDIOS, 52 Kimball Hall, Chicago preparations, such as rubbing alcohol, which, “VIOLINS CHRISTENSEN when rubbed on the hand and fingers stop the perspiration. I know a number of emi- nent violinists carry with them a little who S tthieve bottle of preparation, which they ? th. in- FIVE SPECIALS some such C ’Se music of rub on the fingers just before they go on Z\1n"rJ°c Constructive Music Book $1.00 MUSIC ENGRAVING very reatly- .75 Band, Orchestra Octavo work. the stage to play. ture & interviewer, “In my Play Myself Books, 1 and 2, each Piano, and We said to a A correspondent wrote to Dr. Logan Clen- Kreisler have turned more Creek Modes and Church Modes. 1.00 specialize in book work; also engraved titles. per- sixty-fifth ^ dening that he suffered from a constant present 7 and orchestration Lesson on How to Conduct ... . 2.00 your mss. for estimate. in- ever to compo Send spiration of the palms of his hand. He than j do no t con- All five for 3.00 mind off th . OTTO A. C. NULSEN quired whether the trouble came from ‘to get my get plan of com k P. O. Box 774 severe was afflicted. template em ‘5 work but EFFA ELLIS PERFIELD headaches with which he tentious major 124 Government Place Cincinnati. Ohio instances, or ^any p™*" 86th St. New York City position East The physician answered: “In most whatever comes into my 103 this is of nervous- only compose r simply a manifestation ness or instability of the circulation. It may mind.’ ” the fact that „ , ie gr|eerrieved over occur that it is The violinist is ° with in thyroid disease. The fact t ln touch indicate not been able such connected with headaches would he has d coUeagues MILL1K1N CONSERVATORY OF MUSIC less mualcal frie and that it is mostly nervous in origin. The his close violinist, LAWRENCE COLLEGE DECATUR, ILLINOIS it Ue you think about it, better, because as Jfl master, for many the n the GermGerman has no serious Carl Flesch,^ toe engage- CONSERVATORY OF MUSIC Offers thoro training in music. Courses leading to significance." ^ many Diploma months. Kreisier appearances with WISCONSIN Bachelor of Music Degree. and Certifi- and aPP APPLETON, Voice. Violin. Organ, Public School ments-violin recitals Notwlth _ cate in Piano. Excessive Violin the s ear> Carl J. Waterman. Dean Music Methods and Music Kindergarten Methods Prices within P *. orchestra, techn ic is as violin, ’cello, organ, theory, S. T. H. pub- advanced g h Courses tn piano, voice, Bulletin sent Jrcc upon request —There are many weird yarns his , directing leading to standing his present public school music anil choir lished in the and a ^ degrees. W. ST. CLARE MINTURN. Director present day newspapers brilliant asav people to an bachelor ami Masior magazines, detailing the supposed prices ,f'th e American the favorite vio- which have been paid for the greatest violins gSSSShS degree. He is made by the masters read an of people. of Cremona. I linist of millions 'e ln a dally paper a few weeks ago, INSTITUTE OF f i, lUTDAIT ^t a Stradlvarius violin had been SOd Dcnf?” pupil OF MUSIC & ARTS iltIKUII MUSICAL ART 0r Nothing seems to be im- Is He “Tone young RIVERDRIVE SCHOOL i^, L. YORK, Chnirmnn possible in this world, to Drive DR. FRANCIS but I should want .that.is, 84 Riverside see the deaf , scale, money actually paid, case, is "tone the m„sipal DR. EDWARD B. MANVILLE, President in this tlie ton s or New York City before I would recognizing lie, of believe it. A number actually of should Member of the Rational Association Music Schools. wholei and W Music and where the , have Director Founded 1897. All brandies of Dramatic Art. 525 ’°°0- this price being «x ^d,. FREDERICK G. KOEHLER, Swell authenticated; and the proper intervals hearlng School of Sacred Music. Faculty of 70 artists. Accredited another, one of the and lcal Dormitories Teachers’ Certificates. Diplomas and Degrees. greatest violins of pupils with a this Stradlvarius, for $50,000, had outgrew request Specie! Summer Session the latter also describe,c r ““someo Catalogue on being well authenticated, but such as you , Js very n or actually knows others did not. * two °. t? but the man who fault, onIy 1 £e violin, years) and ' and the man who bought young (nine » ln a year ff ™ : It. Be p^ Fabulous prices mw for violins should be years Instruction. scale practice, taken with the traditional Have him do mu simple Established 1857 grain of salt. or two. na Blng above everything in a and . singing Violin Wood melodies, and also pr give ne w have to CONSERVATORY L. S. T.— 1. be that Grenadilla wood is a heavy, hard chorus. It may up the v wood found in the tropical forests of South up the study of the instrument BALTIMORE, MD. _ siunu»ru America. It is piano. or PEABODY peculiarly fitted making the study of the hJs for the J OTTO ORTMANN, Director oboe, and strikes - other members of the wood -wind where, if he no ls in family used in be in the orchestra. 2 Many differ- playing will ^fminen^vlo^ln teacher of the Oldest and Most Noted Music Schools in America. ent kinds of is an eminent One wood enter into the making of tune. If there th(j boy to the best you migh violins. The top is of fine, in your vicinity, opinion, made and get hisj op straight-grained pine, and the back of maple. him for an examination, 491 JULY, 1941 : music in the world, if he wants to only reply that their works Music the Navy Needs ne=,. «, have Novello writes, hear it. Many men, coming ,from re- and Company, Ltd., been before the public for years and ‘‘May I venture to state ( Continued mote districts, have already been in- have to ask you from Page 438) attracted much fine attention fluenced very emphatically in your columns by radio concerts they have but they have not manifested the' that we One Flute, Five Clarinets, Four heard; but they often hear their first great any rumours implying that Cornets, Two human appeal which has French Horns, One “living” concerts from the U. S. Navy have in any degree reduced our Baritone, Three Trombones, Two marked the works of the masters we business activities I am Tubas, Two Drums. Band. In traveling the seven seas, have named. Perhaps are false? .. , . , time they , . mav sending herewith a set of our news- have a wonderful opportunity change our opinion The type of instrumentation is to hear native orchestras and bands. — letters and special catalogues which The World War, however, changing, was of all and by the time this arti- The Service, therefore, offers pro- vast refer to business developed since value to America. It cle is printed it may include served to the assure other nounced cultural advantages to the isolate us from outbreak of war. I can European musical instruments. The U. S. Navy Band, enlisted men and has a broadening centres you that not only have we been able and, at the same time, which I conduct, has the following influence upon them in proportion some drove to maintain our pre-war scope and of the greatest talents instrumentation to their inclinations and their re- to these standards increased shores. These refugees but have greatly from Euro! the ceptivity. pean oppression field of our activities. Our fac- Two Solo Cornets, One 1st have made a Cornet, valu- tory is working we can Two 2nd able contribution to normally and Cornets, Two 3rd Cornets, American musi- cope One 4th Cornet, cal life, and with all orders in the publish- One 1st Fliigel Horn, Music and the World’s fortunately this One 2nd Fliigel Horn, came ing line One 1st Trum- at a time when we were that are received.” pet, One 2nd Trumpet, One E-flat sufficients Great Hour individualized to retain Cornet, One 1st Oboe, One 2nd Oboe, our nation^dl character and \ One English Horn, One 1st E-flat ( Continued from Page 435) at th^ Clarinet, profit time Radio Air One 2nd E-flat Clarinet, from their gifts Rules the One 1st Flute, One 2nd Flute, One his “Trittico,” including the power- We have Piccolo, always contended Three Solo Clarinets, Three ful “II Tabarra” and the highly comic that With Music 1st Clarinets, Four 2nd Clarinets, “Gianni Schicchi” first given in 1918 ( Continued from Page 446) Four 3rd Clarinets, One 4th Clarinet, One Alto in New York City, are not up to the was Clarinet, One Harp, One Events Bee (back in 1924, a quiz Bass earlier Clarinet, Three Drums, One standard of his operas Ravel’s a bee) was a. . This year’s contest Tympanys, One Xylophones and his La Valse Bolero (1928) and Charles Wakefield sequel to elimination Bells, One Solo Horn, One 1st Horn, 6adman a series of (1920) rank with his best works. H. A. Beach, Mm ' Hh’' rounds and One 2nd Horn, One 3rd Horn, One David Guinn Hvr held in various junior 4th Horn, Respighi wrote his Pines of Rome Hanson, William ^ L °wardu senior New Two Alto Saxophones (1st Grant qHn""r high schools in greater & 2nd), Two Tenor but he had already done Leo Saxophones (1st in 1924, Sowerby, James H n York City. covering & 2nd), One Baritone Saxophone, The questions, most of the works for which he will Burleigh E?g? Cecil poR" One Bass Saxophone, One Soprano r stm^’ national, international and state best be known by posterity. Even Walter Ke ‘ Iy Saxophone, Piston® - tlcs an One Sarrusophone, One Cha^sT ’ sports, drama, religion, art 1st Stravinsky’s “Le Sacre du Prin- George GnfEesp Bassoon, One 2nd Bassoon. ' One Gershwin and other other current showed b°w 1st Trombone. One 2nd Trombone. temps” was first given in 1914, and topics, distinctive and highly well informed American One 3rd Trombone, One Baritone his “Les Noces” in 1917, and who ized individ^T- the average (Bass), Americans ale nigh school One Baritone (Treble), Six works near,er to student is to-day. Basses, will say that any of his since bone and sinew ~ the One Tenor, One Bass of Am„,. Recently, the network be- (String) that time has equaled these or his those who eUCa than Mutual have Boose-!t* gan a series Renato, splendid “Fire Bird” suite? Even De European e PPed after featuring Jose models Spanish 2:0° It is a virtuoso band in every sense Spain, completed his “Som- guitarist (Sundays, from Falla, in ha leflonly to scant 2 : 15 P.M., plays not of the EDST) . word. The players rehearse in brero de Tres Picos” in 1891. His answerlL our!f,- PaCe to Renato second only Flam' the orchestra every morning, from great works, “La Vida Breva” and quesHn Spanish folk music and what value is Of e music at- nco music Spanish nine to twelve. In the afternoon they El Amore Brujo,” date from 1904 Perhaps we thlS time? (music of the might let gypsies) works, play in the park for three or four and 1915 respectively. pressed sorely , but also classical English friends written th e hours. That is, they rehearse twice In America many composers of for or transcribed for guitar. &e as much as the ordinary band and significance have done works of high Especially fond of Bach, s naturally attain a very high degree virtuosity and great beauty, and laliZes in of Bach v ^l Performances of efficiency. from these men great things have 1 " Renato Segovia* < studied under The capability of this is Russia, eu ' -’rjanish band been expected. In France, the music Us that p_ master of the guitar. busYness^T* £ v proudly indicated in the following Germany and Italy, composers of better England * Ford (Columbia than it has h Summer Hour queer, exotic erotic twists *>ni been programs characteristic of the regu- and even Following is y6ars from 10:00 a quotation “ - ed-vAW 9:00 to lar concerts the U. S. Navy Band have produced works, but they are f r Tl be 18®’ by ter your editor “ a Iet ' ® San its series on May has i ust . w Symphony Orchestra. not outstanding. The youthful Shos- from one of raceived Meredith Willson conducting the greatest „ thd takovich, whose works are distinc- publishers f Br f' lcbea, specia Mr. *tish . Ta, chorus a Leslie . and r? r!n t SYMPHONIC CONCERT 56y 11 oi tive and original, is the most prom- such a modest wh ° orchestra. Jane Pickens 1. Ernst Toch, Pinoeehio, A Merry Overture glnUem k thlf” Europe in ° 2. Leo Weiner, Suite of Hungarian Folic Songs, ising young man in the know that he that we m us Pickens Sisters was solo- Op. 18 would oh" 1st , opinion of many critics. Korngold tlle r a 3. Jaromir Weinberger, Under the Spreading publication Without “s hythm numbers; and thene briu {/ 4 Chestnut Tree, Variations and Fugue on an and Schoenberg, men of precious have made: deletlons youn G^' old English we & baritone, Gordon tune force of circum- ford 4. Johann Strauss, Voices of Spring, Valse de genius, have by I have not heard in eratI Concert much fn arias songs and °P stances been in Hollywood, writing last letters. t0 Thh popularJ 5. Niccolo Paganini (1782-1840), Mot.o Perpetuo Boosey my accent will on and Ha ! musip 7 ? be (Perpetual Motion), Allegro de Concert for the movies. There are certain vived ' last year's 1sur this new group 6. Maurice Ravel. Rhapsodic Espagnolc blit? of sei'ies, and a Latin Ameri- ta’S’"!y thekhe ' crmY composers of our sister of God.God, with ... - duct ar 7. Paul Hindemith, Symphony, Mathis the Painter With flying GramGl ac e °rs and soloists who After the coln„ well k Colmar altar picture of Mathias can republics who show immense an excellent 6 Wn heard Grunewald business did in tha field will be promise of recognition as masters lith',^the on tw The National Anthem music sales for bes* r era manv S - Judging fr0n by posterity. Among them are 6ars quality “POP” CONCERT Regent Street - Our Of t°h 6 f andH,ts preS J enthusiast-** fiIst Pr°Sram 1. Ambroise Thomas, “The Carnival of Venice,” Chavez and Villa-Lobos. very lucky Were 6 Overture had nothing deception, the summer Yes, we must reflect upon the last a m°re Show 2. Maurice Ravel, Bolero basement door • than be These blow a huge success. 3. (a) Giacomo Puccini, Love and Music, war as a disaster to musical creative RavrrmlH Opera, "Tosca windows broken. a tew u Mutu Have I Lived For from the Our netwmw“ Gram Swing, Muw (h) Giacomo Puccini, One Fine Day from the art, and by this we mean music that tetworkArt-ks , premises were hit Street dls wn nnews opera, “Madame Butterfly" bv a n anan?a ^ , «nguishedSuished foreign a halystQa xxtan - ut> has a rich and wide human appeal, fortunately komb yst w “11‘the Genevieve Logan, ( Soprano ^Soloist. it j J but S recen " ' Varia- and tly acclaimed ! the Weasel, commentof 4. Lucien Cailliet, Pop! as does the music of Bach, Mozart, a ' and exploded there girdei a or best inter- tions on the theme at ests serving the 5. Gabriel Pierne, “Cydalise” Beethoven, Brahms, Gounod, Verdi, age the ri ' was almost dam- 1 Indcs entir i acy " Women® I. Ballet de la Sultanc dcs National b the Tschaikowsky, Rimsky-Korsakoff, the top ^ Confined w°e y II. Danse dc Styrax floor which to won dio c°mmittee. swin 6. Johann Strauss. Wiener Blut, Valse Grieg, Debussy, Elgar, De Falla Un° distin ?- f from and at the time. It CcuPied 7. Ermanno Wolf-Ferrari, Two Intermezzi has bp^en ne over NBC’s veteran let us - a . ws "Jewels of the Madonna” say MacDowell. Of course, quieter here g00d deal 4 for ’ W "theX.f H ' 8. Alexis Emmanuel Chabrier, Danse Slave eleven B - Kaltenborn, Rhapsody there are those who will contend so. No 0nth vot^ 0. Georges Enesco, First Roumanian doubt the weather ”i °r that such composers as Hindemith been pretty severe at timef has By the time a sailor has served his and Bartok and Kodaly, Milhaud something ^has “There to do ’„ had with it success, e straig enlistment, really had extraor- and Allan Berg should be ranked andth he has Another letter ' ' haT coming fr„' wh° : is merit. dinary opportunities to hear the best with the foregoing writers. We can Littleton, 1 is head Mr - W. SSfUl of the L™?si M is the eat fir useful Ca„ m 0 f y never 492 tUnity“~cunyll lw M 1 n And water your horses, and give ’em FILE your sheet The Bugle and Its Calls some corn. LIBRANIZE your MUSIC music and FIND IT! They are beginning to wish that ( Continued from Page 455) they’d never been born, and READI-TAPE TONKablncts arc specially designed with MUSIKASE cabinet Hies that save the annoyance Come to the stable as fast as you’re Prevent your sheet music from becoming dog- of mixed- singing to these meaningful words: of looking through piles eared and frayed by LIBRANIZING, an inexpen- music. They protect against up sheet able sive method of protecting your valuable musical torn pages, frayed edges. Long Dress loss collection, with hinged READI-TAPE reinforce- Smartly styled, expertly made; water your horses, and give ’em hour to do the whole And ment and loose-leaf binding. worthy of finest music rooms. “Just half an TONKablncts in lovely furniture some corn.” periods and sizes for schools, bands affair; in free folder. Most impressive of all calls is the and homes shown Wash your face and brush your hair, WRITE FOR IT. Retreat, not only with the usual Then heels together we will stand TONK MFG. CO. (Dept. 212) military meaning “to retire in ac- 1980 N. Magnolia Ave., Chicago upon parade, but also in the mere action of No Sergeant Major’s eye will make us tion,” going to. rest at the end of the day. TONK^inets afraid; C music music seems to suggest the giv- > —for sheet ^ your face and brush up your The Wash up —for phonograph records — ing thanks for seeing another sun- hair” of In most places the Retreat is Parade for Guard set. quite a ceremonial affair. Guards “Come and do your picket, boys, Schools Colleges turn out and present arms while the — Come and do your guard, Music Lies Flat—Does Not Buckle or Bend flag is being lowered for the night. ra You will amazed easy, boys, be how simply and SCHOOL • Tisn’t very effectively you can build a “Modern Library last notes of the bugles die OF As the r-1 of. Music,” fully classified and indexed in MUSIC ’Tisn’t very hard.” your spare moments CONVERSE COLLEGE the drum and fife band strikes at home. Spartansburg, 8. C. call: away MUSIKASE is a specially designed multiple Ernst Bacon. Dean, Then there is the Defaulters - a lively tune, to which all men ring binder of fine construction with a brown up _ fabrikoid cover, beautifully embossed, which OF MU! the square before re- will delight you. It opens flat and stays open COLLEGE, DEPARTMENT march around flat on music stand or piano. Galesburg. 111. to the Barracks. 0 KNOX James MacC. Weddell, Chairman. turning Q FREE SAMPLE and Literature Catalogue sent free upod requeBt Tattoo and First and Last Post C3 Let us send you a descriptive circular and a long as without words. Their origin, how- free sample of hinged READI-TAPE, a gummed “You can be a defaulter as are ra cloth tape perforated to fit the MUSIKASE. Take advantage of Special Introductory Offer ever, is interesting. In early days, have name gold stamped free. SHENANDOAH you like, p-i c~i and your f> “* Music us; Write tor Agency Plan Courses loading to answer your name. prior to housing troops in barracks, Teach Kates So long as you pi VV. G. MATTHEWS & ASSOC., Inc. the 11. Mus., and 15. Mus. Ed. degrees. u as its title they were quartered in billets around " 510 N. DEARBORN ST.. CHICAGO reasonable. In the heart of the Shenandoah The “Defaulters” call, Valley, Dayton, Virginia. to a defaulter town. At First Post drummers paraded explains, refers only Special Low Cost Introductory Offer! room the market place, beating a has to parade at the guard about Gentlemen: Enclosed find S2.50 for which please send who 111 Standard MUSIKASE @ 31.SO, and <1) Package READ!- sounds, and answer to tattoo that lasted half an hour, dur- TAPE or 30 twelve-inch strips @ SI. OO. Name stamped in when the call gold free wlUi this Special Offer. Print or typewrite name. is not out ing which men hastened to their 1VE YOUR PLAYING his name as proof that he NAME be there in quarters. When the Tattoo (or Taps Pianists Send f~ barracks. He also has to — your of ADDRESS ing how you may greatly improve “first signi- should he fail to too, from the fact that when technic, accuracy, memorizing, double time, and CITY STATE. reading and playing thru will be “crimed post” was sounded all bars were muscular co-ordination. Quick results. Practice effort his taps” he anu “answer minimized. Used by famous pianists, teachers known that a closed) ceased, any man found students. No obligation. afresh.” It has been Broadwell 61 Covina. Calilornia_ C.B. reason was Studios. Dept. -G man who started with seven days’ abroad without legitimate finished the picket. .First and (confinement to barracks) taken up by such lapse, with Last Post are now sounded only in- up, through some days. side the barracks, when in the dusk four times that number of the evening the trumpeter cere- SPECIAL NOTICES The ever welcome Come to of the Men’s moniously comes out, takes his posi- Cook Bouse Door, Boys fits the the present tion in the square and plays both AND Meal. First Call. Before the orderly calls, attracting passersby as the buffet system of feeding, to float out over the air: man attended at the cook house tones ANNOUNCEMENTS when the meal collect the food and, got the First Post was ready to serve, they Ex. 4 Men’s Meal, Second Call. SPECIAL NOTICES “O pick em up, pick em up, : ho!" Hot potatoes, hot potatoes, and the inter- „ FOR SALE—Fifty piano pupils my be expected, in five Price As might room home. Large Ohio City. is the $o500.00. balance some calls there IMPORTS Terms $2500.00 cash pretation of Brand new, monthly hour lessons at auperio English payments. Half for a sly dig at RECORD POLYDOR-SERIES $1.00. Box—MN—Etude. opportunity at call, what records—never before sold these low prices. Sur- What better domestic records. Finest FOR SALE: Unusual opportunity. Re- authority. faces superior to artists and than Officers’ orchestras in outstanding classics. 10" records only tiring Musicians will sell music school eagerly seized equipment. after more 75b. Send today for new, FREE catalogue containing Student bodv and name hundreds of selections. Exclusive with li years’ work. De Captis, c/o The Etude. you’re catted; The GRAMOPHONE SHOP. Dept.E "Officers, come when and bawled 18 East 48th Street, New York The Adjutants shouted announcements that you I 1 The Colonel will swear E crawled. fn®?. hundred important POINTS } al Students. Essential. Come!!!’’ P&'/'d °? Absolutely Come! Come! Ua '' to Box Three mm ' ,red Parade, anfla p?«vA T°K Dismiss or No ltt *» Thompson Falls, Montana. And again in 75 SHEETS M applied paraphrase is usually, OF FINE, TWO PAGE IVS CORRECTED and pre- whose x 19 Pared W^T^bllca today, 12 STAVE-12" lon - made parade ft-oxn mii?,h i Arrangements “ There’s no MANUS CRIPT PAPER There’s no parade today; Sond Stamp for Sample ache, got the tummy MAIL ORDER MUSIC SERVICE The Adjutant’s 1619 BROADWAY, N. Y. C- gone And the Colonel’s 1 1 ” f? e d for my treatise there is explain!ng *h ^ call for which 1 ;’ the vast r Stables is a of violins are maJ ? l}£ faultau yvTin tone. IT successfully it is correct nil tA , , use, although nal defc; 30 now a diminishing years’ exnerilT, cts. Have had days 6 xceIlent to necl old and Veterans of the " new vIoHns . still extant. at ™ a H,n.h Cobs, ruled will recall with when Cavalry inHBSur Temperameter anticipa- P makes it easy to whinny of earn precision tuning. chuckle the deep The piano is horses when Feed having a phenomenal come-back. Our tion from the ’> )) graduates are earning $5.00 to ''' $15 00 Rosedale 1 B ' words set to dependence Ave„ Qaklgndfc’aliL Away was sounded; the You can 'do I re the same. ' s a fie d ,hat r D >s not Europe's the call are as follows: over-crowdc rree Booklet. Kt-f^atest Secrets of re rs in ‘ as you Detail? for Sil Singing Made Easy:" «come to the stable as fast BRYANT SCHOOL S2B - AUGUSTA, amp ' MICHIGAN bersburjfpf Baste™ Studio, Cham- (Continued on Page 494) able JULY, lg41 493 . :,, “Music and Bugling for Boy Scouts”? filled with sunshine. Here the famous The Bugle and Its Calls Ex. 7' spicy and sarcastic attacks on his artist, Riepin, drew his well known own miserable compositions. These ( Continued from Page 493) TOE SCOUTS’ INTERNATIONAL CHORUS portrait of the composer which was works of Ivanov completed in four were performed only days, March 2nd on very 3rd, rare occasions and then 4th and 5th, 1881, while the Bepre-pared Zin^-a.-zm| Bom- Bom! in-’ mostly by those valid had strength enough who wanted to win to sit in his favors an armchair. as a newspaper critic. Therefore m To the many the statements quoted friends who visited Een-^on-yarna. Goryama. Tn-voo above, -Boo him at the hospital regarding the death of Mous- Moussorgsky kept sorgsky, saying that he had were dictated by purely per- never felt better sonal in his life. and spiteful feelings with in- Unfortunately, this condi- Yah-Boh! Yah-Boh! Ih-voo-fcoo! tion did not tent to create unfavorable public last long. His illness took a feeling for There are grave and unexpected the composer’s closest many people—a great turn and friends despite all the efforts by making it appear that number of whom may never have of the doctors they to save him, he passed had neglected their god during been Boy Scouts—who find trumpet- away the followin darkest hours of his life. ing and bugling a fascinating study. g the death of Modest Moussorgsky Unfortunately, biog- Boys girls, there some of the and men and women all appeared laphers one of the popular of Moussorgsky continue to over the land have joined in form- St. Petersburg newspapers, epeat these “Novoye-Vremva” . statements of Ivanov ing many colorful, smartly dressed, iMp,S ^ , These calls Times) an which are are selected from the , article so distant truth. precision-marching, bugle corps. Be- written by a well from the “Book of Trumpet and Bugle known critic but And in Sounds” ginners on band instruments may very bad composer connection with the sixtieth under the protection of the Comp- M M. Ivanov, in which anniversary of have started with a mastery of the he made thetne Moussorgsky’s death, troller of H. M. Stationery following statement: know I Office, Lon- bugle. Accomplished musicians cannot help but experience don. find a warm the bugle interesting, and great com- affection for this friend of The bugle calls of the American the y parents posers of many lands have intro- vriva-te room whose music has so Boy Scouts are many and varied, al- H0SPital ea y enriched duced My heart . , our lives. I only hope the melodies of these clarion Tailedjailed meme. r\ though they follow a pattern set by The environment details calls into their classic compositions. which in and incidents here Moussorgsky 1 1 the Army but in simpler ^ ’ a somewhat Bugles recall vivid scenes of military was doomed and which I know to be the to die, the setting f-rntv? form. in • The series of notes employed is, which this may serve to refute the re- glory, of melancholy suffering and genius was rJ + of course, the same as in all brass extinguished ®;®d and defeat—things noble and things ce- me made 5 erroneous story of his instruments. shudder. You could and lestial. Perhaps with mighty advance see at ^row a new and kindlier The bugle used a true Bohemi lip-Vif °n for signaling in the in army mechanization, in aviation “» Sad end a &reat man’s ZlTTZl life United States Army is pitched half the bugle call will be less and less a note lower than regular B-flat. — associated with army or military life, The instrument used in the ordinary but it is fully sure of marching countrymen! °* °Ur bugle corps is in G, and can be low- —that n n through the centuries as a symbol of ™ Mussorgsky, Master Records ered to F by using the tuning slide. possessed of esprit de corps and the musical soul the qualities oTall To play marches with the band, a that fitted him T of every soldier in every cause. scale the highest Masterpieces special low pitch slide is necessary. heights of lit° should die in a hospital ( Continued For long range, piston bugles are used amono from Page 448) strangers, without as their brighter tone travels farther one hand to f™°ZJ Modest Moussorgsky’s close his eyes " * °° than is true ( ’ Dlversion (Carpenter) with the ordinary bugle. Co ttn Ui ° Following are among the most fa- Last n) ' DiSC 179U) Hours Needless • to say the Son3 after\, iu miliar of the scout calls: ’ 'R. Thompson) this article filled 0f ^arcTt (jrfLjl ( Continued from Page 441) my father terness and Wt ' The Piano Accordion WHERE SHALL 1 GO §T0 STUDY? r Teachers (Westeml Teachers (Western) . Hints on Accordion Playing Private Private : DR. L. YORK ROSE OUGH FRANCIS ; Advance Piano Interpretation and the Theory work « fc VOICE Pietro eivo required for the degrees of Mus. Bach., Mus. Mas., „ Kj L Former Assistant to Lazar S. Samoiloff and Ph. D. in music. x L in Hollywood DETROIT INSTITUTE OF MUSICAL ART , L Reopened Her Voice Studios at Collins Detrcit, Mich. > As Told to ElVera L OAKLAND, CALIFORNIA 1931—8TH AVENUE f L Telephone Glencourt 6115 Private Teachers lEastern) ! chord. This would make a smoother ertain questions about E PETERSON the entire hand EDNA GUNNAR " ACCORDION playing seem to change than moving Artist Teacher KATE S. CHITTENDEN other position, which , Concert Pianist— C arise and down to the at regular intervals, M Repertory — Appreciation Pianoforte — « as a 229 So. Harvard Blvd. Los Angeles, Calif. require playing the E * their continued repetition suggests would FE. 2597 THE WYOMING, 853 7th AVE., x NEW YORK x that we devote space to them al- counter-bass. of using the “ though dis- Another example LAZAR S. SAMOILOFF the subjects have been ALBERTO JONAS [ counter-bass oc- finger on a " Voice teacher of famous singers cussed frequently. fourth Celebrated Spanish Piano Virtuoso chord with A „ when an A-minor x From rudiments to professional engagements Teacher of many famous pianists A number of accordionists are con- curs , x Special teachers’ courses Tel. the next Beginners accepted. 19 WEST 85TH ST., N. Y. C. Endicott 2-8920 H bass has been played and fused about the correct manipulation “ bass. The 610 So. Van Ness Ave., Los Angeles, Cal. On Thursdays in Philadelphia, 132 South 18th Street. a D-minor with B x “ of the bellows and have asked us to' chord is Tel. Victor 1577 or Locust 9409 reaches out to play the Not connected with any Conservatory. advise them. that many fourth finger We believe are many ELIZABETH SIMPSON as a counter-bass. There of these questions come from musi- B (Frank) (Ernesto) N it is expedient " Author of "Basic Pianoforte Technique" cians other instances where LaFORGE-BERUMEN STUDIOS who have recently taken up the ; on chords, Teacher of Teachers. Coach of Young Artists. fourth finger m » to use the Class Voice—Piano accordion and who are applying their n Pupils Prepared for Concert Work. Courses playing; the of Lawrence Tibbett since 1922 " are in passage in Technique, Pianistic Interpretation, Normal Frank LaForge teacher but these m " musical knowledge to learn it, so we Teachers. Park Ave., Corner 89th St., New York on bass and sec- h Methods for Piano 1100 rule of third finger Tel. Atwater 9-7470 are very glad to assist them. For * Francisco; for all times 609 Sutter St., San chords remains Webster St., Berkeley, Cal. their benefit we state that both the ond on 2833 straight accompaniments. EDITH SYRENE LISTER outward and closing action of the on AUTHENTIC VOICE PRODUCTION , * bellows must always be from the top. Arm and the Trill Private Teachers (Mid-West) 405 Carnegie Hall, New York City « The Rotative " The bottom Collaborator and Associate Teacher with the late W. remains almost closed causing diffi- * The trill seems to be Warren Shaw and Endorsed by Dr. Floyd S. Muckey most of the time; exception - Doc. the only again, so we EVANGELINE LEHMAN, Mus. Wednesday: Troup Music Studio, Lancaster, Pa. » culty for accordionists to this is long Thursday: 309 Prosser Bldg., Philadelphia, Pa. x when a particularly believe - COMPOSER and VOCAL COACH shall try to help them. We phrase the " requires extra air and they are haying Dr. Lehman has coached some of the most famous that the reason " singers of the Paris Grond Opera. Terms on RICHARD McCLANAHAN J bellows cannot be reversed until the is executing a smooth trill " application. Representative TOBIAS MATTHAY trouble in * phrase is Elmhurst Ave., (Highland Park), Detroit, Mich. Private lessons, class lessons in Fundamentals completed. The bottom may the two al- „ 167 depend upon for feachers because they Lecture-demonstrations ^ then be secure the " opened slightly to the work for New York City ternate fingers to do all 806 Steinway Bldg., extra air. The opening and closing of the notes. This na- ARNOLD SCHULTZ action rapid playing of a lady’s folding fan provides Teacher of Piano tiresome aftei many m FRANTZ PROSCHOWSKI I becomes treatise a good turally x Author of the revolutionary on example of correct bellows fingers often be- Vocal Teacher repetitions, and the M piano technique " manipulation. k Riddle of the Pianists’ Fingers" 200 W. 57th St., New York Accordionists who is a ruined "The the result University of Chicago Press Tel: COlumbus 5-2136 come tense; x published by the „ have difficulty learning to play with of like a group " FINE ARTS BLDG. CHICAGO, ILL. trill which sounds 622 the bottom of the bellows closed will accordionists ask I be blurred notes. We THE RIZZI STUDIOS wise to practice time with it - SMITH. Ph.B., A.A.G.O., for a to see if RAYMOND ALLYN Voice (Bel Canto Method) Piano-Coach our system, J the lower to try out Dean strap fastened. J Mme. Gemma Rizzi—Operatic Dramatic Soprano “ solve their problem. Central Y.M.C.A. College does not m Prof. Augusto Rizzi—Organist-Choirmaster-Composei x produced School of Music trill can be „ President—Young America Grand Opera Co., Inc. x Fingering for the Bass A distinct leading degrees. Coeduca- - Complete courses to Both Graduates of the Royal Conservatory of Naples " work is divided tuition. effectively if the x tional. Fully accredited. Day or Evening. Low * The next question which appears most 278—6th Avenue, Brooklyn, N. Y. STerling 8-0763 wrist hand and " Hall, 306 S. Wabash Ave., Chicago, Illinois with among the fingers, Kimball regularity concerns the finger accomplished by a mg forearm This is EDWARD E. TREUMANN for the accor- ~ ; bass section of the of the forearm. RUSSELL A. WOOD dion. Ught rolling motion Concert Pianist—Artist-Teacher « Here is the rule: straight M for action m the in- Teacher of Voice Recommended by Emil Von Sauer, Moritz Moszkowski very little M bass and chord the There is ind Josef Hofmann. accompaniments meiely m School of Music M Angers as they Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. third, or dividual Y.M.C.A. College " middle, finger of the left he Central Tel. Columbus 5-4357 New York City position> over relaxed June to Sept. N hand is main in a Chicago. III. Summer Master Class— —Apply now. reserved for the playing of all as the x 1234 Kimball Hall be us*i, and basses, both alternate keys to YTTWW1 * fundamental and coun- back and foith TmTTTTTTTTTTmTTtTl - ter-basses. rolls slightly The second, or index, fin- forearm fingers ger the wrist, hand and plays all chords major, minor, it carries by — only effort required seventh and diminished. with it. The 3or This finger- depressing of the JILt mg is recommended the fingers is the because it assists care of the Qjf* ayer to the arm takes -y^ccordionid td nnn^ produ ce a light, distinct keys, since Pa there is less tendency lment and Prohibits the rest. Naturally Special Simiiiier fl ‘i n? v^ ' tense by g a dl a fingers to become nvrlJh ssy bass which would for the overshadow the when the fingers melody. this method than trill. The ru e above instruc- produce the PK illi'- New Yorker rSTKlSSK alone ' to " gradually in- V ’J (Room 70-1) mu/ur says: y strai6ht bass and first, with chord slow practice Instructions given acc°mpaniment.” important m tem at REDUCED RATES. under ? There are, creased tempo, is most artist professionals. Course includes 10 private numerous lessons under the supervision of Pietro and other bass and features. Send today for free de- ch^ri n f trill practice. additional P°sltl°hs which 10V scriptive literature and rates. i, call lor the have been asked to P a f°urth We PIETRO DEIRO ACCORDION HEADQUARTERS .. finger and occa- the turn sionally musical examples of Summer Course Division the fifth. For some 1237 West Girard Avo., Phila., Ponna. . instance, if we or mor- C O - , 1 N C shake 1 ACME ACCORDION 46 GREENWICH AVE., Now York, N. Y. had played also the passing W. 16th St.. N., Y. C. (Bot. 5 til & 6th Aves.) an and || 43 E-minor chord with Example E bass These are grouped in and had seen that the next dent. chord was taken from “Technical “Thus we see that, in the minds of industrial leaders, music a C-major with E bass, 1 and were an should prac- the industrial processes systematically and regu- we would play the Passages.” Accordionists introduced into same E bass with are entirely the second embellishments, larly is largely ‘good business/ and in this they right” finger and reach out with tice carefully all them can —James J. Davis. our fourth finger to play the C-major for a clumsy playing of 4.95 JULY, 1941 ruin an otherwise perfect rendition. way, we have been asked what we recommend for students who play time correctly, as far as the individ- ual notes are concerned, but who never finish a selection at the same tempo at which they began it. Many students pick up the tempo all FALL TERM through a selection, so that when they finish they are playing consid- STARTS SEPTEMBER 8 erably faster than when they began. PROFESSIONAL ARTIST COURSES This is particularly common when, students are learning to play in pub- For those desiring special coaching in any lic, because branch of Music or Dramatic Art. of nervousness. Unfortu- nately, increased tempo often spells a TEACHER TRAINING COURSES breakdown in public playing be- cause an Leading to the Bachelor and Master degrees. accordionist may be capable °f playing a selection very well at the of tempo Faculty Nationally Known Artists at which he begins, but his echnic We would appreciate the opportunity of may not be sufficiently de- giving you complete information about any veloped to play that same selection at of our courses in which you are interested. a greatly increased tempo. Write today to Jeanne E. Howard, Registrar The use of a metronome during practice MEMBER OF THE NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC periods will help a student develop an inner sense of rhythm 25 E. JACKSON BLVD., CHICAGO. ILLINOIS w ich is an aid in keeping an even enipo. Another suggestion is for the student to play duets with another accordionist in about the same grade music. enwooJ Participation in accordion ands also helps one to master the CONSERVATORY OF MUSIC mpo OBERLIN problem. Those who have dis- Divisional Lindcntcood College covered CONSERVATORY OF MUSIC lor Women. Thorough prepara- this fault early in their tion for careers in music under ni distinguished sjealhaining A Division of Oborlin College a faculty. B.M. are lucky> for it en- degree, certificate and diploma oies them Thorough instruction in nil branches in piano, voice, violin, organ, to master it before they of music ... 46 specialist teachers harp, oilier Use instruments, pub- the Metronome Pr°fessional . . . excellent equipment . . . concerts lic school music, theory, har- Playing. Accor- by world-famous musicians and organ- n mony, history and appreciation The problem *h° have habit izations . . . weekly student recitals of music. Well-equipped stu- of time formed the ... Oberlin often bother f 1 !f* for these reasons attracts dios, beautiful buildings on ythhiic serious and talented students. De- students when playing bellows action seldom 138 aeres near St. Louis witli passages h grees: Mus.B., School Mils. B., A.B. ass its frequent concerts, operas, shown in ifRculty in even with music major. Write for catalog. Example 2 Notes keeping an other musical attractions. For iJ tempo Frank H. Shaw, Director catalog and view book, write '»«>> sh Box 571 Oberlin, Ohio ow «mt he President, required rto play ume ***** Box 1241, St. Charles, Mo. the small group”, e tl0 notes must be taken Deiro wiR answer questions from the time ahn!. , value of the note ccordion Letters which nrL ? should ^ Playing. them. We ask accordionists 6 addressed to in care to of S. him these examples studyy rm E, uDE carefully . W12 Street, ? , Chestnut @4? Qlrfaplanbjnfititutr nf (J)usir and r„ Philadelphia,Philfrf y serve just how the timers dWdeV Pennsylvania. Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma Faculty Musicians of Nationally Known (M. M. J = loo) BERYL RUBINSTEIN, Director, 3411 Euclid Avenue, Cleveland, Ohio Accordion ^SMOPOLITAN BALDWIN-WALLACE Questions V SCHOOL OF CONSERVATORY OF MUSIC MUSIC BEREA, OHIO (suburb of Cleveland) SHIRLEY GANDELL, M.A., Oxford Arts College. University, England, President. Affiliated with a first class Liberal ) mVP Four and five year courses leading to degrees. Faculty Send for catalogue or info. illa- / in all branches of Music. Ccrtlllcales, of Artist Teachers. J dlplunms and degrees. Desirable board- tion lo: \ m 1 Berea, Ohio Jk / ins accommodations. Located in down- ALBERT R1EMENSCHNEIDER, Doan, Pietro Deiro P Se Wiene theatre ™ red ' me ““ TRAIN CHILDREN’S VOICES tagerino , “a Pro^tu8 ’3 Schools—DRAM A, DANCE, OPERA—For ^Acting, Tench- bass mai™ chords an A GROWING FIELD ^ notes. 8In Z ?“ 0llld the first and sec- Teacher's Summer Course. Aug. 4— 16 a C C 10 ond fln„e LOUISE W El G ESTER, 160 West 73rd St., New York ig. Ziply S^y 'Schubort, 66"'wcst 85th"'st . N. Y. be Used or second 1 tlle and third ) L. G. N. Z. JUILLIARD SCHOOL OF MUSIC= —— ^ b f the left hand iS HUTCHESON, President usualty'conskto „° ERNEST the deied number one; with Other nge ingly- s numbered accord- “ay INSTITUTE OF MUSICAL ART number S the little flnger k AUAn GEORGE A. WEDGE, Dean fundamental basses, whether 01 c are Played ,. °unter-basses instrumental instruction. Classes in Theory, Com- hv Individual vocal and 6 third Al1 chords, whetbo flnSer - position, and all branches of music education. .‘major, enth or dim? minor, sev- Courses leading to diploma and B. S. and M. S. degrees in instru- the ' "e played W mental, singing, and public school music departments. secondZger Catalog on request. To steer "TT" toward an ideal Claremont Avenue, York standard is Room 122, 120 New 6 - vancing onlV means of ad i speaking of time in in a > e different > as in music.” 4 % —Ferdinand Hiller Tun vrnnF. AMERICAN Guitar Duos CONSERVATORY Cjeorge C. JC•icl “Duets.” neg- Valse and in two volumes of °f MU SIC uitarists have sadly consists of ten original lected one phase of guitar The first book CHICAGO 56th SEASON medium difficulty, and in the G performance which not only duets of pieces second we find seven original • gives but also helps to today The American Conserva- much pleasure Bach, and also Founded in 1886 by John J. Hattstaedt, in the style of institutions for music education m furnish considerable variety to con- written tory of Music is outstanding among for three guitars. found occupying positions ot honor play- a short overture this country. Its graduates are to be cert programs; and that is the of composed a series and responsibility in every department ot' music. ing Modern Heinrich Albert of duos for two guitars. worth while. “Duets” that are well Association Schools of Music composers of guitar music may also Member of the National of are rather easy, The first and second and Teaching Engagements be held responsible for this neglect The Faculty—One hundred and thirty Professional of medium diffi- Although the management does not the third and fourth artist teachers, many of national and in- — since, in comparison with the numer- guarantee positions, it has been most sixth, seventh ternational reputation. recent culty, while the fifth, successful in assisting students to find ous guitar solos published in colleges, acad- require advanced technic. remunerative situations in for two and eighth Courses are olTered in Piano, emies, music schools and in concert, years, the output of music guitars by Accredited Romanza for two Vocal. Violin. Organ, Orchestra and Band opera, radio, orchestra, lyceum and choir guitars The Music. Chil- is almost nil. quite interest- Instruments. Public School work. we Daniel Fortea also is dren’s Piano Work. Class Piano. Musical When we speak of guitar duos Dramatic Art and Dancing. the celebrated Theory. Tuition is reasonable in keeping with the ing. Emilio Pujol, do not refer simple melodies times and may be paid in convenient in- to to his credit Spanish guitarist, has stallments. Complete particulars given in played guitar while the so- Degrees—Bachelor of Music. Bacheloj on one guitars, Music catalog which will be mailed on request. arrangements for two of Music Education. Master of accom- three con- called second plays a chord from the opera, and Master of Music Education are namely: Intermezzo ferred by authority of the State of Illi- Students’ Self Help—The management paniment using the three common of Granados and Tango nois and recognized ns a gua makes every endeavor to assist needy “Goyescas”, by students part-time employment. chords with an occasional bass run. by Al- accomplishment to find Esvanol and Cordoba, both Many find work as teachers, accom- We are suggesting a composition panists or part-time positions working beautiful numbers and board- beniz These three Dormitories—Desirable living for commercial houses, etc. wherein all the resources of both in- accommodations can be secured at difficult, and their perform- ing com- are quite the Conservatory Dormitories at moder- struments are used to present a highest Students i inroll at i f tini ance requires technic of the ate rates. Particulars on request. plete musical picture. order. We admit that there is a certain For free catalog address John R. Hattstaedt, Pres. amount of glamour attached to the Classic Composers title, “Guitar Soloist”, and some may of the classic CONSERVATORY OF MUSIC Among the composers AMERICAN not be willing to share public ap- mention Leonhard period we must 576 Kimball Hall, Chicago, 111. plause with others. ws must con- 24 But whose “Opus 20”, “Opus cede done on DeCall, that much more can be 39” are gems in the 1 tex- two a and “Opus guitars than on one, and from guitars. Ferdinand ture for two purely musical standpoint a high fond of evidently was quite Carulli TI1E and ask them to give class duo played by two competent °f these Tell your Music Loving Friends about ETUDE for two guitars, an artists should prove more satisfying writing ^ you the privilege of sending in their subscriptions. compositions Ask Catalog of Rewards for subscriptions you send to the listener than a guitar solo. for .^J^U^Noc- 1712 Chestnut Street Philadelphia, Pa. This, of not refer to 34— THE ETUDE course, does “Opus 48—Duo”; “Opus the of a turnes”' superlative performances and “Opus 227-Nocturne Segovia s” Duos” or Oyanguren. interesting. Ferdinand To duo are the most become successful as “Opus 38 , \| his “Opus 34”, guitarists have sor in both players should 53” and Opus 63 , “Opus 41”, “Opus adequate technic, be good readers, be suprem IN displayed the same willing joint has" to devote many hours to composition for guitar practice mastery of ,\ and never forget that other works. 'Paul that we find in his “teamwork” is most essential. When prohfi UNIVERSITY ‘ Giuliano, a most \ we examine the music available for Maurn CHICAGO two guitars, we cannot overlook the \ THE SCHOOL OF fact that the only numbers worth while are those written by composers J\ “^ri^azioni Concertante’^are Music who were practical guitarists and 35”*and Established 1867 \ who were offers accredited courses in Piano, Voice, thoroughly aware of the of toe “Terz require the'use Oldest Independent Violin, Organ, Public School Music. possibilities of the instrument as well topen was also America's instrument that Exclusively to \ Harmony, and Orchestral Instruments. as its Guitar” an / School Devoted limitations. A composer of Degrees of B. M., A. B., and music Music and Allied Arts Confers for piano or violin cannot suc- \ M. M. cessfully / write for guitar unless he A complete school of Music, Distinguished faculty including as made an \ exhaustive study of the / Dramatic Art and Dancing. ARTHUR C. BECKER instrument, learning all positions in Courses lead to degrees. SERGEI TARNOWSKY 6 \ ° obtain the proper tonal MME. MARIA KURENKO °fF f , effects and to Registration: become aware of its together tn y \ RICHARD CZERWONKY technical intricacies musicians, and September 4, 5, 6 vated principal WALTER KNUPFER recitals in the Begin: September 8 gave guitar Classes \ SAMUEL A. LIEBERSON Modern Composers For this purpose / of Duos cities ^o^ Europe. Enter at Special Students May Dept, of Drama offers a 3-year Guitarists "14 Duos that com The Course who contemplate joining Darr composed Any Time. \ any that had / Address Registrar for Bulletin others to play duos pare favorably with will find both the since that Write for catalog classic and modern written before or \ DePAUL UNIVERSITY compositions that been manuscrip / we have were m Street, selected most time. These duos 2650 Highland Ave. Room 401, 64 E. Lake Chicago, 111, interesting for hut were \ mutual enjoyment time of his death, / Cincinnati, Ohio and concert per- at the Grntar formance. William published by the German Foden has done later 498 some excellent Continued on Page work in his Ballerina Society, i 497 JULY, 1941 ‘ pheric “Llanuras” (Plains) and much subtitle Musical Advance in “War.” This is hyper-roman- descriptive piano music; and Alfonso and musical interests of the fretted tic and hauntingly descriptive Uruguay Broqua, long a resident music, instruments, in their and Brazil of Paris, stu- with a deep philosophical literature, music dent of Vincent signifi- and trade. To ( Continued from Page 460) d’lndy and author cance in the background. encourage a high stand- One senses ard of of a piano quintet based on popular the anguish, excellence in all literature America. There is also an extensive the tear, the ominous themes. pertaining to these instruments, in musical library atmosphere of pre-war days; which includes most Here then thsir history again tuition is given on comes the epic and pedagogy. To strive of the current symphonic works. of a fierce battle European principles to increase the and carried out crowned by victory. average of ability and Of course, the S. O. D. R. E. is pri- This symphony in a number of privately owned competency in teachers marily a radio con- calls for a powerful and students organization with display 0 f servatories. That their pedagogy brasses; and to give annual concerts dem- policies centered on that aim; there- it is of great dramatic to ranks high is demonstrated by the onstrate the merits fore, if visiting recitalists, wealth, served by a realistic of the banjo, lecturers number of accomplished Uruguayan instru- mandolin or singers wish mentation calling to and guitar.” Since then the to rent it, they can concert mind the exu- pianists, among whom Nybia berance of American Guild” has held annual do so only on condition that their native “selvas" with here Marino Bellini, Hugo Balzo, and Vic- and there conventions in programs shall be broadcast. reflections of most of the large toria Schenini the “Sym- cities are prominent. phonie Fantastique” ” throughout the country; and, The big weekly event is the sym- and “1812 Since my itinerary this time did in the concerts phony concert “The symphonic form and recitals given in given on Saturday not has always include Brazil, this would mark been a favorite connection therewith, the from six thirty-three in Brazil,” Villa some of until about the end of these Lobos greatest musical travelogues, continued. “There artists on the fretted instru- eight-thirty P. M. Ample leeway is are interesting were it not for a rare opportunity ones, signed ments have given in respect to the closing hour, by the late demonstrated their artis- which presented itself; at the invi- Alberto tic worth. as is done in New York W and Henri for Toscanini, tation of the Uruguayan government, W Oswald Today but only The“The latter s especially the Guild has classes for Toscanini. This sensible is notable for three decidedly mindful of artistic diplo- its construction o members measure brings more freedom to the and local color" —Professional, Trade and macy, Brazil presented itself in Ura- And what Associate— directors who do not have to “play have you to say and is steadily growing in guay in the form of a mission headed younger, of the against time” contemporary Its activities have con- and constantly watch by Hector Villa school". Lobos and formed by First, I must ted largely the clock. render , to the present popu- several instrumentalists tribute to the .^ and singers. memory of Qlauco 1 y of tbe In order to afford Velasquez, rp, fretted instruments. variety, foreign Villa Lobos, who lived for a number whose untimely death deprived ms year’s the conductors are frequently called our country convention will be of years in Paris at a time when the of a rare lortieth musical value; ; and it in upon. Sometimes “cycles” i n this is to be held are given, “Six” and other ultramodernists other an* ga as respects, he */* ra ^lls, New 7th, was the case last year when compared with n York, on July reigned supreme, is now a man in his Jean Hure, «th, 9th Beethoven’s nine Gabriel Dupont, and loth. Aside from the symphonies were middle fifties and in the full maturity and DS0 dat de Severac in ln SS session performed France > the events under the direction of of his powers. As J ,r^i ? scheduled He has lost none of his present generation, ^ U Erich Kleiber, it is an artists ’ grand a conscientious time tremendous vitality, rising WOn-w recital and a and his person- derfully. Please fPQf i beater, but note the , COncert lacking in elegance, in- ality remains as intensely tin solo!!? where outstanding romantic of Radames s sight and sensitivity. Gnattali and ’ mandolin On the other as it ever was. Villa Lobos, indeed, aaraaT* , orchestras, banjo is Ouarnieri, both h- S hand, Albert Wolf, conductor young men in and Hawaiian groups of the not only the outstanding musical early theirA win guitar thirties; they , Concerts have ppear - Severa will Pasdeloup in Paris, was figure of his native Brazil; he is a sort l afternoons written much, and bp ‘JVoted unanimously praised it will not to contests soloists, for his exquisite of hero, a Berlioz of the New World! until they beT^ dnpt „ for are heard ’ interpretations of in Qjmrtets and orchestras; and of Gabriel Faure, De- I questioned him regarding his ar- national mtei- way.” ^ 136 bussy, awar Ravel, Dukas and other French tistic lineage. ded to the winners, It was with regret A G modern masters. thnf t , parade of bands “I have always been and remain of and ff marching dear little ° a S American music occupied a place UruVua^maut is ann°unced for the first of completely independent,” he an- ‘ory .but great tt? dav- i honor in spiritual nd as ^ and scored a distinct triumph swered. Paris was the cross- vah.es ^ut n°t least, the trade “When cordial and ’ S° exhi’hu L^ recently, hospitable- sho 'vin when Evangeline and S' the improve- Lehman’s road of the world’s music, I was there Montevideo, and of ments . latest impressive that cinitai4 lr instl oratorio, “Therese de and I listened attentively, but never Wlth °Ut *ument construction, slums or visible poverty snm-ic-rt ! Lisieux” (St. ' ofte the Therese of the Child allowed myself to be influenced by the City tol caI1 ed * manufac- Jesus) of Roses was featured by the orchestra, any of the novelties I heard. I claim ""of banJos, mandolins and As I write these guitar.; the lines we ' chorus, and three distinguished to be all by myself, and I conceive are SeS *° be more compre on tropical seas, ?”E hensive Uruguayan unde. mdllMI than*an ever vocal soloists. my music in complete independence eo blue - Advance reserva- skies. tions i If things at the S O. D. R. and isolation.” Cate a record at' E. keep Soon it will tendance! breakin® moving be winter hii- in most satisfactory fashion, “You use much Brazilian folklore S and, when the festivities it is due chiefly to the in your compositions.” o’f the l”, ~ action of two days are over, a U men: recital and le*! member of the board, Carlos “Certainly; because our rhythms tour of the United States, Correa Luna, and have an extraordinary fascination; for which administrator, Vic- I have gleaned many New England Idyl tor Guaglianone. the matchicha, the zamba, the a noven The former is a among the colorful lty °ntmued violin products? from Page 440) graduate of the Paris Con- rhumba, for instance, and those im- these attractive " Southern f servatory and now director ported from Africa, with their fan- land^ N she of the found’ W Hampshire - Associacion ’that°h f Coral de Montevideo; the tastic dynamism.” Uonal had served aS latter qualifies equally Among other works which I heard director01 for, as a violon- high sohne. sevel'al national cellist, Guitar l executive, and expert account- Villa Lobos direct, “Momo precoce,” Duos cbestr as, had spent two summers a ,° ant. Both ( a C are indefatigable promot- a fantasy for piano and orchestra, Continued from Page Uonal °Unselor at the Na_ 497) Music r. ers who spare neither effort especially retained my attention. I Camp in time nor In all of the duos Mchiaan „ J Interlochen. toward had listened to its first performance mentioned bntu t a constant betterment of ar- guitar parts are ^ in at durin B his years of equal the West”* |! tistic in Paris twelve years ago, but this imnnrVo ad conditions. and of almost equal called upon ’? fre tra players will pack their instru- hundreds of letters, set dates ; organ- sad ized ten audition boards in ten New ments, bid one another not a 1867 — 74th Anniversary Year — 1941 Hampshire and Massachusetts towns farewell but a cheerful “Good-by till for it is planned to and cities; he wrote publicity and next summer;” Hampshire Youth directions for applicants, made plans make the New CHICAGO MUSICAL COLLEGE Orchestra a permanent feature of the whereby the successful applicants Member of the North Central Association of Colleges and Secondary Schools Seacoast Music Festival. could receive the festival music and RUDOLPH GANZ, President learn it before they assembled, and made arrangements with the Univer- sity and dining- to open dormitories Thirds in Five Finger SUMMER MASTER SCHOOL rooms and campus facilities to the FIRST SIX WEEKS SECOND. SESSION—FIVE WEEKS orchestra members. When, in July, SESSION— Groups June 23rd to August 2nd August 4th to September 6th his months of planning and activity brought one hundred successful can- 485) Study at a school of the highest professional and academic ( Continued from Page didates to Durham and the ther- accreditment where courses of instruction have been arranged mometer tried to match its degrees especially for musicians and teachers seeking advanced to their number, Mr. Bergethon knew summer study. he had only begun to work on this Selected Faculty of Nationally Recognized Master Teachers project. In five days of rehearsal he must turn this young army of orches- 6. And pausing thus: GANZ, SAMETINI, Daniel ERICOURT, REED, GARDINI, Karl W. tral rookies into a crack symphonic GEHRKENS (Music Education), SORANTIN (Orchestra), Max outfit. WALD (Composition), Hans H. ROSENWALD (Musicology), Helen CURTIS (Class Piano), Eleanor H. BURGESS (Dalcroze Even Soloists Young Are Eurythmics), Mollie MARGOLIES (Piano), Reinhold SCHMIDT Soloists chosen for both festival rhythm, so (Voice), Mary S. VERNON (Music Education), HESS ('Cello), 7. Now, in five-eight performances were also young; Glenn (Theory), Mark (Voice), Naomi will not be neglect- DUNKELBERGER LOVE COOK Darwin, the the fourth fingers baritone, appeared with five-eight (Voice), Don TUTTLE (Radio), DEMOREST and WEDERTZ (Organ), ed (good also for that orchestra the first day, Jean Tenny- Oscar ANDERSON, SUMMERHILL, KNOPINSKI, SCHIAVONE, son, rhythm ! soprano, the second. And at both LAYFIELD and SLUSSER (Band Clinic), and many others. concerts American music figured Write for Illustrated Summer Catalog—For further information prominently on the program. On the address the Registrar. second one there appeared a work of particular significance, for it was written by had after- CHICAGO MUSICAL COLLEGE an American who Chords fast with a (o ) loved 8. the New Hampshire woods and hold. R. A. Elmquist, Business Manager 'ard. Rest at the had lived and worked in them. Young 62 EAST VAN BUREN STREET CHICAGO, ILLINOIS hands were reverent as they placed the music on the racks, for it had been loaned to them by the com- poser’s widow as a token of her in- terest in their newly formed orches- nORTH PARK COLLEGE tra. She was Mrs. Edward MacDowell, E. Clifford and this music from her private col- Toren, 50th lection was her husband’s “Indian Director Year Suite.” careers This year the five-day rehearsal Trains students for active musical in their chosen field. Progressive faculty. Conserv- period voice, was extended to two weeks; atory occupies own building. Piano, vioiin, cello, reed and brass instruments, church and ’ as this goes to press, the 1941 and choral music, theory, music education and ew Hampshire Youth Orchestra has CLIFFORD TOREN, Dir. finished this of Write E. strenuous fortnight Avenue, Chicago, Illinois. w°rk 01 3201 Foster and is filling a series of en- not forget to practice ‘[ And do gagements. The took brilliantly first of these tudv is”—lightly, Place on June s 4 can beat 26th and was a gala legato; and if you occasion ,eato] Diplomas, Certificates of Awards, Medals and for which the orchestra mark, so much the o you take advantage of the many combined metronome Other Requisites for Awarding Pupils forces with the New Hamp- D excellent merchandising oppor- Completing Courses in Music fi’e adult with Advertising chorus of three hundred day's work tunities which ETUDE PRESSER CO. oices dten begin the THEODORE in presenting 9-16) left Columns offer you? 1712-14 Chestnut St. Phila., Pa. Haydn’s “Crea- half (Measures 10n for second the , seventy-fifth anniver- practiced in examples id alone, elebrati°n of the founding oi tbl T^ 11 _ne University 7 and piano of New Hampshire happy surprises in U y 2nd me of the ’ the Orchestra will ap- when, aftei a long npir i tf0 tinic comes * e the conference of the third practice, Nati l centrated period of BECAUSE Education Association ir note technic, CHOOSE SHERWOOD Bostorv return to single U y 4th and WiH gC seem to 6th ’ passages, Little ! r scales, °Bna er groups, lead to certifi- Head to the twc “Golly! I Sherwood training is thorough, professional Courses Seacoasf give all. You say 9 problem at cates, diplomas, and de- tiVal C ° preparation for careers in music. ncerts ' For th( good. lasUwo I was so grees in piano, violin, en?fl n't know be internationally- gagements it will, as Iasi They 9 Your instructors will year take responsible cello, voice, organ, wind -he thirds are known musicians who are also inspiring lubricators instruments, theory, composition,spublic best technical teachers. ming the school music, conducting, microphone tech- miles ?° (it is ‘went; toast to the w from 1W Here’s a Sherwood your course will be planned dramatic art. Dormitory accommoda- “ ca mpusl rehearsi tacMe hrs 9 At niciue. there al . , to musical talent Write for catalog. fre mst who knows how to develop your tions at moderate cost. aTC uncheon ant persists Chicago, 111. after a rest and who SEPTEMBER 15 412 S. Michigan Avenue, pe ;in l note technic, NEW TERM BEGINS tor a swlm a e adjacent Rye : National Association of Schools of Music h ' At flve each aft Institutional Member of the ernoon it will,? a seven have concert and a and, I r loved music P ' °n July 4th fire r have always works will be ? ' O’eatdead W ln the mid not give away fora and evenin * at wiTl be joim° a know. I am not MUSIC SCHOOL the Beach by dancing a e little that I Club'* AEter those who ha »<* ® the the concert 01 y ease with sixth the „,'., Jeffei SHERWOOD .” Joseph majority of the orches- mpt for music — 499 JULY, 1941 5 T WUer About a dozen young people were “Or green for operas,” suggested gathered on the front porch of Doris Bertie. Brown’s house, waiting for Betty to “Or pink join them. for chamber music,” sug- gested Doris. “Betty is late,” said Doris; “I won- “Yes, der what but then what?” asked she’s up to now.” Georgia “Something again. new, I’ll warrant,” said You listen to good music on the Marjorie. “I never saw any one have radio, in school, on records, even at so many good ideas as she has.” the movies, if it then “What about her ” is good, and popcorn idea 9 you put teased Dick. “That a colored star on the name certainly was a of the flop!” piece and put the composer’s picture with “Yes, that was.” Helen it.” nodded But suppose “But you must admit that the composer’s pic- GEST most of ture is her ideas work. You not in your package?” asked know she made Helen. a fine president of our club.” Oh, but I’m it Just then the trim figure sure it would be, if of Betty is good appeared, hurrying toward music, because the package Patriotic Ideals in Music the group has nearly “What have you got all the good composers’ this time?” pictures— called Tom, whose voice dozens of them,” explained & 3L'ence oC. (Curtis certainly had Betty. a carrying quality. el1, 1 declare! ” “My, we had an interesting meet- France was thought to be inevitable. After everybody said “Hello” teased Tom. “All Bettv that* announced that trouble just to rather ing to-day. As it is so near July the The author wished to arouse a patri- she had a new hobbv listen. I’d “You’ll listen and be Fourth, Miss Wells arranged a patri- otic spirit stressing unity. The song agree with me," she done with it.” sal£ think otic program and everybody was in caused a great sensation and his that it is good.” Betty has something “What there ” said just the right mood for it,” said Ruth purpose was achieved.” is it?" they all asked Dick, “and since I’m once. at presideHt 0 when she came home from her mu- “You know The National Hymn f the Music Club, I think e “WeH, discuss it sic club. beginning, ‘God of our fathers whose you know, last week was my at the next meeting.” splen- birthday, and Mother “Did you know that America was almighty hand leads forth in gave me a scrapbook for first sung on July the Fourth, by dor all the starry band’? It was music listening, it j s children?” questioned Ruth. written for a Fourth of July celebra- something new and different ” Brandon, “A scrapbook for “No, I didn’t,” replied her mother tion which was held at listening! I don't in surprise. Vermont, in 1876, in honor of the get you,” exclaimed Tom. “Well, Opening her notebook Ruth read, adoption of the Declaration of In- if you wait a minute Smartie, I'll “America was written in February, dependence. The words were com- explain," she interrupted 1832 by the Reverend Samuel Francis the Reverend Daniel Rob- Yes, it is a scrapbook posed by for listen’ Smith, D.D. His friend, Dr. Lowell erts, D.D., a famous Civil War mg, and with it Mother got me a Mason, suggests God’s majesty, box of gummed who introduced singing in the Veteran. It stamps of different \_BeTty-S Boston public schools, had acknowledges God’s power, places colors or labels, or just re- whatever you ceived importance on religion in national want to call them, some song books written in and also a pack trust in God as age of a foreign language. He asked Dr. life and emphasizes small pictures of ” ha composers d0 W“h C ' Ub surest national defense. It merits She drew the »»g^ ^ Smith to select something suitable the book from aske its we dHeL°n popularity,” con- for it, or, its ever increasing envelope. children and to translate 6 ’” “What ‘hat “ haS anything if he preferred, to compose some- tinued Ruth. do you do with themw said Georgia m ‘ little asked Marjorie. thing. He wrote a patriotic hymn to “You have learned some " 13 Dick ' - We u have every fit the tune now known as America. known facts that are very interest- “Here’s what,” member” if began Bettv "v„„ 6eP a belong to the select a b00k like and In a half hour he wrote on a scrap ing. I am glad that you color for each thing, wh“ev/r haSK blue for the best record at the of paper the words as they now club,” said Ruth’s mother happily. symphonies, for instance; end of tn yellow for season, carefully arranged stand. He gave it to Dr. Mason and For further information about piano music, and so on.” in the k ' Etude, ' WiU e et a prize, or some- thought no more of it. He was sur- these patriotic songs see The “Then what?” asked thing - Georgia t S ’ geteP ~ prised to hear it rendered with fervor March, 1941, page 216. ting interested. "°dy eiapped by children at a Fourth of July cele- “pfne for Dick’s idea. ld Betty Boston. ’ so that bration held that year in hel' Pleased scr’anhnBb°0ki, ldea Thus children had the privilege of “Let's n was a success. a the being the first to sing our national ‘ at my house next Sunday afte, anthem.” radio ‘° listen t0 tW was written LncerlTs “And Hail Columbia b°°fe," she ^ Hopkinson, son of added by Judge Joseph Count me Francis Hopkinson, a signer of the i n ," said Tom “And ’ added me Declaration of Independence,” dded Mar rie then one by i° i one”’tho ’ Ruth. “He wrote it for a friend, a impromptu CCePted B6tty S for theater singer who wanted a song C invftaUon. to fit The Presi- ‘ Independence Day O cal C llect °Ur mUSi dent’s March, a tune which had been tty ? M “At niy * said Marjorie, lessnn’ 1 written to honor President Washing- ast E ’ week Smith said > Miss words, largely a tribute to that tv. ,! ton. The are 1 collect President George 'Washington, were memories01 8 I"* memonhs '^^ hardest of all written in 1798, when war with ;: nold memories.” are our musical 500 B - I I I Musical Alphabet As usual the Junior Etude contest will be omitted during the months Frank Decides to Try of July and August. It will be resumed in September, when the re- Psychology By Stella m Madden sults of the April contest will be announced. A—was a maker of violins, fine; By JLnrletta Iddicliaelis number- Dear Junior Etude : wrote great .symphonies, Etude : B— Dear Junior . in- , think I belong to a musical fam- “That certainly must be an Recentiv a group of us organized a girl s Don’t you ing ‘ mother plays the piano; my brother nine; music club and took for our motto Music ily? My teresting book,” remarked Frank. and also plays the drums ; my sister Study Exalts Life.” Our dues are twenty-five sings C—was a gypsy, a famous coquette; pla vs the piano, and I play the piano. We take your head buried in it cents for six months. The next program of our “You’ve had American In- The Etude and like it very much, especially D—in an opera wrote one fine sex- Mclodv Club is to be a study of for over an hour.” one of our members is to The Junior Etude. dian music, when friend. tette; of the Indian Reserva- From your “It is,” his big brother George told give a talk about some Dorothy Hamrick (Age 12). tions she visited, and a former teacher in one E—is where Handel spent lots of his us North Carolina. him. “It’s about psychology, and tells of the government schools will also talk to days; on Indian music and art. We will have a num- how students can get the most re- name ber of piano solos and songs, all pertaining to F—wrote our folk songs, his the Indians and their music. sults from their studying.” From your friend. do we praise; Mary Michel, “Maybe it would tell me how to G—wrote the tune of our sweet Illinois. learn to play the piano without prac- Silent Night; ticing,v Frank suggested hopefully. H—wrote of “Joyland”, an opera Answers lo Musical Alphabet: “No, I’m afraid it wouldn’t,” quite light; Amati; Beethoven; Carmen; Donizetti; George laughed. “But I did read in England; Foster; Gruber; Herbert: Isolde; I—in an opera with Tristan appears; Nor- one chapter that the studying or Jocelyn; Key; Lohengrin; Mendelssohn; Rubinstein; student J—is by Godard, and lives through way; Offenbach: Paine; Quaver; practicing which a does in Vienna; the years; Sibelius; Toscanini; United States; the early morning is worth almost Xavier; Ysaye; Zwickau. K—called our country “the Home of Wagner; twice as much as the same amount the Brave”; done late in the day when the stu- Special Honorable Mention F-CLEF MUSIC CLUB L—was sent forth, Princess Elsa to dent is tired.” Check-Up St. Thomas, North Dakota save; for Junior Etude “My piano teacher must have been Dear Junior Etude : Vera M—wrote a Spinning Song, so full Mary Elizabeth Long; We have organized a music club and call it reading that same book,” mused Bonelli. Kathryn Club. We elect new officers Ann Came vale; Louis the F Clef Music Frank, “because she urged me at my of glee; Rose Mary Pierce; Hlhja Arulerson. every three months and meet every two weeks Meadows; for punctuality, and tin over Matthews; Doris Heml I received a prize last lesson to get up an hour earlier N—was where Grieg lived, far May Belle °?f Etude, and I am taking soim Douglas; Cathryn O Donn^l. prize was The Struman; Mary from it now. and I very much enjo; in the mornings, and to do my prac- the sea; Shipton, Agnes pieces Louise Wood; Mary Jo being in the club. I am enclosing our kodak Philip McMwrtrfe: ticing before going to school. She 0—for his fine “Tales of Hoffmann” terson; Margaret Gamlin: picture Sydney Blain. your friend. was Lois Hood; Anita Roberts; Fr said that I’d progress faster than I known; Anna Marie Johnson; George M.IUGARET McPhail (Age 12) Robert Bassler: North Dakota. am doing now.” P—wrote the words of our song Frankfurt; Geraldine Kahn. Home, Sioeet Home; “According to this book, that would thing to do,” said Q,—in Great Britain, an eighth note be the correct is named; George. “Why don’t you try it?” Moments “I believe I will,” declared Frank. R—a composer-pianist is famed; Musical more time to play S—wrote Finlandia, tragic fate; “It would give me such ly rani; 7 /jorlon T) after school.” T—a conductor of orchestras, great; & U—is the land where the “March Mez- tempo rubato, you know, as in The other day my old friend King” was born; subito to Chopin.” zoForte dropped in quite Sousa V—is the town where the “Waltz me con amore “Ah, Chopin! But be careful and see me, and greeted King” saw morn; play- avoid una tempo extravaganza or “How is your piano W and asked, espressione —wrote an opera about stolen gold; tempo erratico. Play con John Philip Sousa, the great band- ing coming along?” X is Scharwenka’s first name, I am sempre; pianissimo and forte, multo hotel “Allegro vivace,” I replied. master, was sitting in a dining- told; crescendo and diminuendo, ossia ac- ma are you sempre careful room, his back near the children’s Y was a “Good, celerando e ritardando.” Belgian violinist of fame; espressione?” dining-room, the door of which ^ to to Play con the birthplace of Schumann him. And so saying he rose to go. “Must someone had left open. Suddenly, “Sempre, sempre,” I told my lays claim. always you leave so soon?” I asked. your tempi, are they “And “All, yes. I must go, senza ritar- dando .” sempre," I said again ’"“Sempra, come back encore, encore.” A when it “Well, Barnyard Broadcast ‘tempo giusto, except By MUa W. Bonner Lambkins bleat and donkeys bray, igs will grunt and horses neigh; Tnfp r of Your Musical Instrument! Quickens arE cackle, cows will moo, 6yS gobble By Vellie Q. -Alfred th! > pigeons coo a11 do MnkM tbeir best, you see, Makmg forget your musical in- farmyard harmony. think that Then do not you ever stop and Did whatever mu- strument. Keep it clean. And above violin or piano or your all, don’t neglect it. Don’t let your John Philip Sousa piano stand unused in the corner, two little children, a boy and a girl, or your violin lay quietly in its case both set up a terrific howl of distress. musical for days. scseiiyour m to his feet, vour net. For into Your musical instrument needs to Sousa leaped waving his all your you breathe as your pet does. And napkin frantically toward a waiter, strument your ae^re be fed, just whisper all who came on the run. Sousa said ings. To it you its food is your practice. So practice something to him; whereupon the upon it daily. Just as your puppy or wants you to talk to it and the waiter closed the dining-room you have kitten world what door. I asked him what ft tt tells the play with it every day, so your mu- When Sousa living thing waiter replied told it. It is a sical instrument wants you to talk had said, the apolo- own personahty. getically, “Sousa said he would part of your to it, through your practice. It wants not mistreat y You would not you to express yourself upon it—to have minded so much, if the chil- you £orge * would ’ Don’t neglect it. dren had howled in the same key.” Neither water.t r create. The,o8a lte it food and Di9m . to give , , Aqe 4) S(m Ftanc sco neglect 501 JULY, 194, — — — TtHE COVER FOR THIS MONTH—The leisure and carrying it over into next sea- Etude is indebted to Lieutenant Charles son with no need for making any returns T. Benter, Director of the United States of unused music nor settlement for any Naval Band in Washington, for the pic- kept until the end of the end ture utilized on this issue’s front cover of year or the of next season’s teaching. The Etude. This is a picture of the ship’s band on board the U. S. S. Texas. THE ETUDE’S ANNUAL BARGAIN The decorative base accompanying this SUMMER OFFER—To introduce those picture was rendered especially for The The Etude to not familiar with Etude by the Philadephia artist Verna our fine, new, stream- lined music Evelyn Shaffer. magazine, we are offering three summer numbers—June, July and August—for LITTLE PLAYERS, A Piano Method for Very only 35 with a class in music. Third, the story Brahms, Beethoven, Sibelius, and Han- to the preparation of such a book as this, est patriotic march ever written—THE FOREVER— dramatized in pantomime with the Nar- del. The compiler’s original works in- and we predict its outstanding success. STARS AND STRIPES marches rator for descriptive parts. Fourth, a clude: The Sunlight of the Lord; The Glancing down the contents list one and numerous other stirring in coun- series of tableaux made from cardboard Glorious Giver We Praise; The Lamp of finds such familiar and favorite hymns which in the United States and be more or wood, to be shown from an impromptu His Mercy; When I Survey the Won- as Sun of My Soul; Onward, Christian tries across the seas are felt to the music of any stage with a curtain raised and lowered drous Cross; Lift Up Your Heads, O Ye Soldiers; Stand Up, Stand Up for Jesus; typically American than bore or who bears after each number is played by the pu- Gates!; The Beatitudes; The Garden of I Need Thee Every Hour; Day Is Dying other composer who United States of pils. God; To Bethlehem; and Chimes of in the West; All Hail the Power of Jesus’ citizenship in the An order for a single copy of this work Easter Day. Name, etc. America. whose may now' be placed at the advance of Lawrence Keating’s success in the field publication, a It is the story of such a man Until the time of its cash, post- church music well established, that young music publication price of 25 cents of is as single copy of CONCERT TRANSCRIP- marches they love paid. those familiar with Iris Christmas and be pupils will have the opportunity to read TIONS OP FAVORITE HYMNS may Easter cantatas will agree. In going publication in this forthcoming Child’s Own Book, ordered at the advance of THE through this book one again notes story will be the ONCE-UPON-A-TIME STORIES OF the cash price of 40 cents postpaid. Copyright and along with that cut- GREAT MUSIC MASTERS, For Young Pian- skillful arrangements so characteristic of book to usual Child’s Own Book feature of restrictions limit the sale of this Robinson This this gentleman's work. pasted in provided ists, by Grace Elizabeth — the U. S. A. and Its Possessions. out pictures to be and. compilation of easily arranged works of You may order a single copy of this spaces in the pages of the booklet masters at the of publication Child s the great music book now advance of course, the other feature of the LET’S STAY WELL!—Songs of Good Health stimulates the interest of cash price of 25 cents postpaid, delivery the needle and silk for School and Home, by Lysbeth Boyd Borie Oion Book series is book the young pianist in the to be made upon publication. The sale of cord enabling the child to bind the and Ada Richter—Much has been written compositions and lives of this collection, however, due to copyright make it his very own. of the singing method of learning. Its and these classic composers. restrictions, is limited to the U. S. A. and Books previously issued in Tapper’s value has been recognized and approved Its purpose is to teach, Its Possessions. Book of Great Musicians by educators for many years. How lucky Child’s Own from an appreciative basis 20 on as many different our mothers and the members of their series number something of the follow- ADVANCE OF PUBLICATION OFFER WITH- and are priced at 20 cents generation who learned the names of the composers, ing compositions: Beeth- DRAWN—This month our Publishing De- forthcoming Child’s Own Book states and their capitals in rhyme and each. The oven — Pastoral, Turkish partment plans to present a work that bears an advance of pub- can sing them to this day without hesi- on Sousa now a short ex- readers have ordered in advance of cents, at March, and many tation. lication postpaid price of 10 The familiar musical jingle set to cerpt of Moonlight Sonata; Handel publication. Since the Skeleton Scores of price before publication anyone the letters of the alphabet has no doubt which Water Music, Intermezzo, and The Jolly the four symphonies first published in an order for a single copy, de- helped many a struggling youngster to may place Blacksmith; Bach—My Heart Ever Faith- this series were released—Symphony No. as soon as the book is remember livery to be made Polonaise: Mozart— 5 in Minor (Beethoven) Symphony his ABC's. ful, Minuet, and C ; Children give published. Minuet, and Alle- No. 6 in Minor (Tschaikowsky) Sym- remember the tilings that Theme from a Sonata, B ; them the “Sur- phony in Minor (Franck) and the greatest pleasure. Invariably Haydn—Andante from D ; Sym- SUITE by Tscliaikowsky, A luia; they but JTCRACKER Theme from a phony No. 1 in Minor (Brahms) there forget to put on their rubbers Arranged by prise" Symphony and C — with Music for Piano, never, by any chance, do they forget the try “String Quartet": Schubert—Hark! Hark! has been a general demand for the addi- great Russian master, Promised meals. a Richter—The Roses, Marche Militaire, tion of other standard smphonies to the piece of candy after the in- the Lark!, Hedge chaikowsky, is best loved -for Singing is one of these fundamental and Intermezzo from “Rosamunde”; series. Of course, those ordering copies of spirational flow of melody pleasures that children thoroughly enjoy. Mendelssohn—Nocturne, Consolation, and this new work, and the Symphony in G which characterizes all of Recognizing fundamental truths, rfss* . Piece; Chopin—Valse Bril- Minor (Mozart) now being offered in ad- these from the chil- Children’s the authors easy his works, Wish, Theme from vance of publication, have known from of this book present, in the im- lante, The Maiden’s form, dren’s pieces, to “ songs that will create strong and the "Minute” Waltz, and Butterfly the previously published Symphonic mortal symphonies. lasting health habits. various phases Schumann—Soldiers' March, The Skeleton Scores what to expect in these The in popular- Etude: °f Increasing Song; mentioned health instruction all come in for Farmer, and Hunting new works. The following the time of pub- Happy their ity since Song, Favorite Waltz Symphonic Skeleton Score is now ready share of attention, as is indicated made more Brahms—Cradle by —- lication and 1"; the titles of some of the songs: Sun- Theme from “Symphony No. for delivery to advance subscribers and, musical circle by the and shine Line; iliar to a wider Wedding March from “Lohen- in accordance with our customary policy, Thank You, Mrs. Cow!; Disney's Wagner— portrayed in Walt Sleep-a-lot Land; Tooth Brush Drill; tbevs grin” and Pilgrims’ Chorus from “Tann- the special advance of publication price “Fantasia," the music of Chew Chew Train; and en success, Verdi Minuetto, Anvil Chorus is hereby withdrawn. Copies for immedi- Hey! Back Up!; truly regaided hauser”; so Suite is delivery forth. Most of the fourteen songs are Nutcracker from “Trovatore” and Triumphal March ate now may be ordered from Tschaikowsky’s most lmagma- short, with extra verses under the same me of from “Aida.” Pictures of the composers your local dealer or from the publisher. spontaneous musical efforts Qielody line. the and accompany the interesting, though sim- Symphony in B Minor ( Unfinished ) by The vocal range suits intrigued with the juvenile was so them or their com- Franz Schubert is Number 5 in the series voice, while all of the piano ac- schaikowsky ply told stories about of companiments tale, The Nutcracker and the melodies have been of Symphonic Skeleton Scores edited and are very simple. Distinc- y musical setting positions decided to make a the pianistic abilities annotated by Violet Katzner. It drawings add r he arranged to meet shows Xf illustrating the text characters from tins stantially form of the grades 1 to l 1 *. The book in- the melodic line of the entire symphony to the appeal of the book, aflet adventures of pupils in depicts the compositions. with the designation of each ace your order copy The story cludes approximately 36 instrument now for a single f Nutcracker, a puppet order and the still time during the current or instrument family where that instru- to avail yourself of the low ad- Lrv ^Mer^th There is ance to life and an order for a single ment or group participates. A mere ac- of publication cash price of 50 *has come month to place Cen Forest of Chustmas ts, postpaid. v through the copy of this publication at the special quaintance with the rudiments of music to see iWj" on Christmas Eve, advance of publication price of 40 cents is all that is needed with one of these es also have and dolls who scores to follow the entire performance S 0WN BOOK of great MUSI- :n by toys a copy, postpaid. " intelligently and with enhanced enjoy- S0USA » by The CS Thomas Tapper—' this work as 0wn iteRichter has conceived LAWRENCE KEATING S JUNIOR CHOIR ment. A novel and helpful guide for radio Book °f Great Musicians a desenp- sprios arrangement with busy times when so listeners, concert goers, for use with the ’ which solo In these is well established with ano journey of the BOOK— this fascinating responsibility in the church serv- home playing of recordings, and for mu- many teachers of music as Of the di much synchronized with the junior choir, there is a sic students. Price, 35 cents. a fine incentive for child racters ice falls upon numbers of growing demand for collections music pupils, has reached musical steadily numbers of the especially adapted to such ETUDE FRIENDS BEWARE OF FRAUD beyond the old master original of music With this in mind, Mr. Keating MAGAZINE AGENTS—In nearly every mail composers and in the last needs. compiled, composed, and arranged comes a complaint from one of our musi- -jV year or so there have been has 1 new collection. The num- cal friends who has paid good money for added composers this excellent some to The Etude all in easy two-part form, have a subscription and has whose lives extended into ?ssr.or^r^H bers, failed receive any copies. The reason the been prepared with special consideration to present era. collected by voice ranges, rhythms, etc., and have the money was a swindler A composer in this for chmacters w chosen for their excellent musical and the order never reached this office. SSiflcation soon he various been wiU be covered who will contracts until you carefully h musical nmnBei , About forty numbers are included, Sign no read & new , the worth. series is Edition to the eai y permitted the l t second to the which are adaptations from the them. Agents are not to change bel philip re from the many of Sousa, who ved John contracts. in hivS ? A large number, however, are the wording of Take no the lfetime was hailed as rade of difficulty. smquite classics. “March r, use, toU compositions. Through- stranger’s word for anything. Beware of King ’ to individual Keating’s own honors ' Who received many 1 addition ^ Mr. from gov book, in addition to some lovely cut rates, so-called college boys working abroad, einrneut out the who heads here and scholarships, ex-service men with S r by Elsie Duncan Yale, there for Lieutenant accorded the rank of new texts Cnrr> a number of familiar sob-sister stories and seemingly plausible der will be found serving - - at the U S N - when schemes to influence the public to sub- mg S? LakesT ; verses. Station Naval Train- yourself of the durw Lthe speaking parts Among the composers represented in scribe. Convince responsi- hrought World War, who matized s or in perKr\r5+ t KEATING’S JUNIOR bility of the canvasser before paying any he perhaps °. the American pub- LAWRENCE more m BOOK are: Schubert, Tschai- money and if in doubt, take his name any other 08,1 enjoyment than .“.rrs-ssrs-- CHOIR one ninn Mendelssohn, Dvorak, Gluck, and address, send the full amount of the time and Who gave kowsky. to posterity?^! to Ms y following combine a class m — the tunity to — great- mstmm 503 JULY, lyjj . . subscription to us and we will see that THE CURTIS INSTITUTE OF MUSIC, at the man is given credit for the subscrip- The World of Music its eighth annual commencement in May, tion if he is entitled to it. Help us to ( Continued from Page 433) gave the Curtis Award of one hundred protect you. dollars to Robert THE WORKMEN’S CIRCLE MANDOLIN Grooters, baritone, a pupil of Emilio de Gogorza. ORCHESTRA, under the CHANGE OF ADDRESS—When changing direction of Luigi Paparello, gave its first concert in Town your address, we should have at least MANFRED MALKIN, concert pianist, Hall, New York City, early in May. As- four weeks advance notice so that any and Marion Bergman, soprano, were fea- sisting artists were Rosemarie Brancato, change can be recorded and made effec- tured artists at soprano, and Homo Freierman, mando- the sixteenth annual tive with the next issue. Always give your Concert Dinner of the Asso- linist, and concert master of the New York old address as well as the new. We are organi- ciated Music Wc.ll, zation. Teachers League held at here to give you good service and will ap- the King Edward Hotel in New York City, preciate prompt advice of any address Q FREDERICK this spring. change. E. HAHN, Director of the Zeckwer-Hahn Philadelphia Musical ETUDE HIGH LIGHTS THE “OLDEST AMER- AUCUST Academy and well known American vio- BOY CHOIR IN ICA” is SECURE FINE MERCHANDISE WITH VERY linist, received the degree reported to be that of St. James Midsummer features, light and serious, of Doctor of LITTLE EFFORT Church in Philadelphia, throughout AND NO CASH OUTLAY— Music from the Curtis Institute at the and delight all interested in music. the The Etude offers to years it has and many useful, as well as Commencement of that institute on given inspiration ornamental enjoyment to no pieces of merchandise in re- May 3rd. Dr. Hahn was born in New York thousands of people in turn for securing orders for City, way connected with The Etude March 23rd, 1869. He studied violin the church. Music Magazine. The following are a few with his father and later attended the THE LEAGUE selected items from our catalog: Leipzig Conservatory of Music, OF COMPOSERS, for its from nineteenth Flashlight: Here is a Flashlight that which he was graduated in season in 1941-42, announces 1890, winning the will give good service for a long time. It first prize for violin playing. He commissioning of three chamber became operas, is all metal, has a chromium finish and a first violinist with the Boston Sym- the presentation of two evenings comes complete with bulb battery. phony Orchestra of film music and and was head of the by leading contemporary A surprise American and gift for boys—a practical pres- Hahn String Quartet for twenty-five European composers, and ent the establishment for grown-ups. Awarded for securing years. In 1902 he founded the Hahn Con- of branches in key cities throughout two subscriptions. servatory of Music, and in 1917 the country to develop he be- oca Casserole: This smart Casserole will came president and director programs of contemporary music, of the over add to the attractiveness of any table, Zeckwer-Hahn Philadelphia Musical fifteen universities and music schools are make its contents more appealing and Academy, one of the oldest conserva- to be outlets for the com- appetizing. The footed frame and heavy tories in America. missioned works. MERLE EVANS He is the author of metal handles are finished in easy-to- “Practical Violin Study” and many com- keep-clean-and-bright chromium. The positions for violin. removable lining is genuine heat-resist- A SYMPHONY IN SAWDUST ing 8" Merle Evans started life with a great Ideal. UUIQ, Pyrex, in diameter, as is the cover STANLEY CIIAPPLE has recently “Massachusetts, on 21st, at the He wanted to bring great music master- been May which is attractively etched. Capacity 3 came appointed age of seventy pieces to the millions. His “break" to the faculty of the Peabodv -nine. Mr. Surette was; at when he was made conductor of the Bar- pints. Your reward for securing four sub- Conservatory of Music, in e director Cleve- num and Bailey-Ringling Brothers circus Baltimore To of music at the ’ land T? scriptions. band and insisted upon playing overtures Maryland, as conductor of the Museum of Art and Mawr by Beethoven. Mozart. Rossini, and Wag- Con at Bryn Comb and Brush Kit: A compact ar- greatest audi- servatory Orchestra and ee ' Pormerl staff ner. face to face with the Chorus and as wt,! y he had been a rangement including brush, comb and ences ever reached. You will revel in this teacher of the Conducting “ “ at Oxford Classes colorful article by the “Will Rogers of The University. Later/W nail 'Ringling unded file in a black leather case. Your circusdom, who tells how the many friends of the Peabody the Summer School Music in Company” grew into Institute of reward for securing one subscription Brothers Concert will be happy to know that Concord, "The Greatest Show on Earth. $116 350 was Massachusetts. ( Not your own) raised by public subscription in the re- Chopper: A very practical kitchen SCHNABEL ON cent campaign for a n:P1,EN ARTUR five-year sustaining ,„; SUMNER TOWNSEND, FrO' utensil. Chopper will grind les.sor of This Keystone “THE QUALITIES A PIANIST Voice at the Boston University any all kind of meat, raw or cooked; POSSESS” ° f Music for at MUST his ten years, died kinds of vegetables coarse or fine. It is r in — In direct contrast to the picturesque Merle Boston on April 29th. Mr. easy to operate; easy to clean. Complete Evans article is the serious and instructive ablest of American T-J”' of virtuosi. educators, celebrate conducted the Friends of article by the great teacher Mudeoh with three cutting plates. Your reward Artur Schnabel, who gives every student his 80th birthday in Detroit in Chorus in for think about. May New York city, also for securing two subscriptions. of the piano something to the Detroit Institute of ten y Musical Art wii Correspondence Case: This handy Cor- a luncheon attended by THE FATHER OF VIENNESE several sco respondence Case has a sturdy leather- leading Detroit musicians. OPERA Eighty yea '* GLAUSSEN, former cun- COMIC traltn .. . j ette binding and includes a pad of writ- find Dr. York an amazingly " Strauss but Franz young ma mezzo s oprano of the Metro- No. It was not Johann Politan r? ing paper, calendar, envelope pocket and best known of all Dalmatian taking an active daily part von Suppe, the in ail tl ,°"'a Company, died in Stock- composers. His life was a gay and happy affairs of his Eoto pencil or pen holder. Closed, it measures Conservatory, with den ' had a move- ' eal and he contributed in starting a hai ' ly in ay. She one and * been te»Th M 6" x 8 Awarded for securing one sub- ment which has brought romance piness and blitheness of spirit taB ». com- that muslc anc! appealing merriment to all nations with such operaopeia in v, scription ( Not your own ) Peas- extraordinary. After graduating m her positions as “Fatinitza. Poet and from tl native land. works. University of "Bullet” Camera: This new molded ant" and other Michigan in 1882 l G construction, compact Eastman “Bullet” studied with Calvin B. Cady and 0 MINK and “HOW DO THEY EVER LEARN lati teacher °WSKI, composer Camera requires no focusing, is easy to with Guilmant in Paris, appearing o,°f mUSlc as ' Bretton - dletl at SING THESE THINGS?” recital organist Hall Hntei the load, has an eye-level finder, takes pic- TO at the Expositions 6th. matron ask at i 6W York c on May Thus we heard a bejeweled Buffalo and St. He “y tures 1%" x 2V±" on Kodak Roll Film se Learn Louis. He is the wSIStvty ' ? Opera ?° u - auth. nme many the Metropolitan , years of For businessc and0'^l of many important years ho age. No. 127. Have more fun taking your own an opera role is a “ticklish educational works dUCteti worth all he costs a sn^gcr. classes in voice train- a good coach is ingta his f? pictures with this simplified, candid-type of the cues, the instantane- Carnegie The "timing” the Hall studio. three ous attack, the tradition, the gestures RICHARD FRANKO camera. Awarded for securing sub- that it GOLDMAN, expression, all worked to a point so son of scriptions. natural and not contjived. Great Dr. Edwin Franko Goldman, E seems Metropolitan only re * " f 0| !NS0N, and guns what a job! The famous writer ? composer Send post for complete list of pre- etter cently completed another of card Op^ra House conductor. Wilfred Po composition for age ° how all this fifty at ^ miums for subscrip- tells, in the August Etude, band, A Sentimental Journey, three offered in exchange which re the^Park Hospital, is done. New West tions the full price of ceived its premiere at the first York r-n to The Etude at concert of y, earIy in Ms best May - Among only $2.50 a year. JEFFERSON the famous Goldman Band in New knowi? f . WHY THOMAS York are When the M°°"j City's Central Park on June Comes ovfr 'n?™, LOVED MUSIC 19th Rov Mountain Irela1ld Harris' first Must Be and leaders work for band, Heaven REPRESENTATIVES WANTED: Fill your colonial and revolutionary Cimarron Our apprecia- also given were often men of keen artistic was Its first New York purse by obtaining subscriptions for followed the career per.! tion Those who have formance by the l President of same organization < Etude. looking for re- of Thomas Jefferson, third L Be The We are always Vir- Sian RD ’ wel1 known the United States, from WUliamsburg, v?olonce 'l sponsible with musical Washington, and lh^ n. aga men and women ginia, to Philadelphia. of sixty-six recentIy at the beautiful home at Monticello, \jl in e friends to represent us. You can add sub- finally to his me jiirnec *glUm it announced father of Anierican democ- through > was know'that "the ana Williams School of Music in thp “w stantially to your earnings if you prefer racy” was a man of exquisite taste Brooklv 166 Bel service of his the in London Sian” news one of the most cultured gentlemen and Summer Music Camp cash instead of merchandise assistant at Sauger commissions time. Arthur S. Garbett, formerly Jefferson ties, New York, has announced above mentioned. Hundreds take sub- editor of The Etude, tells why the an frequently turned aside from statecraft pointment of Albert Edmund scriptions for The Etude with very little Browr to music. Mus.D. well known American effort and receive profitable cash returns. music edu zest cator first August music is just the kind to put and president of By spreading Etude influence for the The and the Easten and interest into the midsummer season remark- Music Educators conference good of music in your community, you make our readers look forward to a as Direci-n ably active fall. of Public Eelations for the will be doing a real public service. Send school an Xi tenCe> camp. was considered Mr ‘ ; post card for full information. d theth lkey ing musical man in scores for motion 504 THE j Notable PIPE ORGAN COLLECTIONS SACRED SOLOS *0 FOR GENERAL USE IN THE CHURCH SERVICE Which Every Organist ^p Will Enjoy Owning 5 Distinguished Contributions to the Sacred © Literature by Eminently Successful Composers THE LITURGICAL YEAR By Johann Sebastian Bach jltle Composer Title Composer Price Forty-five Organ Chorals Awake! Arise! Clara Edwards O Come to My Heart, Lord Jesus Paul Ambrose .50 B-flat in Edited by Albert Riemenschneider High in D-flat Med. in High G Low in E-flat Ballad of Trees and the Master, A. George W . Chadwick Oh, For a Closer Walk with God Myles B^Foster .50 This is without question the finest collection Med. in D Minor High in D-flat Low in B-flat of the ureat Bach Organ Chorals available. With High in E Minor in Minor Jesus, scholarly annotations by that Bach authority, Low C O Every Thought of Thee. . .William G. Hammond .50 Albert re- Howell Itiemenschnelder. It holds a high and By the Waters of Babylon Charles T. High in B-flat Med. in G spected place with interpreters of the Master Low in E-flat everywhere. High in G Med. in F O Lord, Our Lord John Hyatt Brewer .60 Alfred The Liturgical Year contains forty-five of the Consider and Hear Me Wooler High in F Med. in E-flat Low in C ravorite chorals. Each is preceded by the arrange- High in F Med. in D Low mC ment for voices of the same work, and each is ayl Buscb accompanied by the editor's suggestions for the Crossing the Bar , • P Low ln D most effective interpretation. High in F LIFE’S WEAVING This album is aptly named, for It amply pro- J C. Bartlett ’ - (With Violin) By Alfred Wooler Price, 50 cents vides music intended by the Master * Day Is Ended Low in E-flat the .Veto Year. Passiontulc. Easter. T High in G Med. in F Tl>an ‘ Father of Love Samuel Richards Gaines mas"™'' Low !n D Hiah in F Price, $2.25 Co/e bty Ufa is but a Freedom Rossetfer G. T CHOOSE NOW FOR FALL PRODUCTIONS—ANY OF THE WORKS HERE LISTED MAY BE HAD FOR EXAMINATION IN YOUR HOME AT YOUR LEISURE THIS SUMMER. WHEN THE MOON RISES Book and Lyrics by Juanita Austin Music by Clarence Kohlmann Vocal Phlllp Score, $1.00 Music by Augustus A Hutchins An operetta which has had special success with amateur C \ $1- BETTY LOU (The Dream Girl) groups Augustus C. Knight Vocal Score with Libretto, There are solo parts for two sopranos, one mezzo-soprano, one alto, three comnn«r , the„ here contributes a successful The Duke of Volendan Book and Lyrics by Lida Larrimore Turner tenors, and two baritones. The catchy, tuneful choruses are for roiislM^™^r mixed libretto Is tla wlth Mexico as a background. TL is also opportunity for a bright and pntowof f Music by R. M. Stults Vocal Score, $1.00 voices, and there mixed quartet. Three speak- 1* 1 s. of whom have soloparts^The 8 ' and lhere are eight characters, Here is one of the for amateur society and ing parts and several silent parts, all for men, complete the list e choru^ s voice most popular operettas of The music is in s are. mainly, for mixed thesDlriV nf , , , high school groups. characters. Only one stage set. the grounds of a summer hotel 1 n l ‘ The lively book has been matched with some gay, Is re- the kind an audience I lBhbors to the southwest and is catchy tunes. A large or small mixed chorus can be used, as conditions quired for the two acts and three scenes. goes out whi }f, r an 1 n dictate, and the solo parts require two sopranos, two mezzo-sopranos, The amusing plot involves the guests at Cedarglades. a New England conspi eP Carlo r°es i n debt to his landlord. two altos, two resort. Among them Is Jon Tarko, a gypsy, who has deserted his s tead to marri® tenors, two baritones, and one bass. There is also one people gentleman. hlh? attractive Felipa, to thi for a musical career. It so happens that his tribe Is The girl hhwA?. ? daughter. male part which requires no singing, and but one stage set is needed encamped near the ' tt lovely Pepita. will no vln S well that Carlos adores for the three acts. hotel, and when Carla, his gypsy sweetheart, discovers him, complica- have none K 1 arrival ' the course of events of a rich But the situation Is saved with Betty Lou, of the Impoverished Pendletons, is constantly forced to tions naturally arise. In there are four affaires du Ameren IS v sudden arty - Complications arise with « evade her designing other- coeur and a kidnapping. Mrs. Austin has. however, solved the abduction of Jane ill* step-mother's suggestions of a wealthy but several R ^ the& ls heW Amerlcan Blrls difficult situations to everyone's satisfaction. Time of Bler ' who wise empty marriage. However, finances do persist, and something must Performance, Two ' Hours. Arriving be done. A member of the family evolves a plan whereby much publicity is » e America Guide stunned to anBe ,erras of release, the will be centered on some antiques lately a neighboring Stage Manager's and Orchestration on Rental flndKJar^an'd6 »h? ?,Fi’, , acquired from More h law ir love to mruT estate. imposter, she. troubles are the and determined An feigning interest in Betty Lou, arrives. But effects result 0f«f thisthi trying! ? libretti. a final happy rr. sttuatton, but the suspecting his motives, disguises herself as a child and manages to foil solution “»«»• his attempts at burglary. By so doing, she manages to recoup the family PAGEANT OF FLOWERS O fortune. At the time a real blooms for Betty Lou. the same romance and Text and Lyrics by Elsie C. Baker operetta ends amid general celebration. Time of Performance. Two Hours. Music by Richard Kountz Vocal Score, 60 cents Y BEF Orchestrafion may be Procured on Rental An easy, short, and effective operetta for Juveniles. While unison Bvc,„thioDo ORE YESTERDAY choral work prevails In this little play, there are one or two choruses “f two which can be effectively sung in parts. The characters can all be (boys be substituted in HEARTS AND BLOSSOMS taken by girls can some parts), and it can be successfully given Indoors or outdoors. Several attractive dance numbers Book and Lyrics by Lida Larrimore Turner are Introduced. lncluded h ac tlons- suggestions a Music R. Sfults Score, $1.00 - The and costume by M. Vocal $1.00; Stage Guide. group of children are happy over the recovery mod action rpnn?>? . A of their plavmatp made up of twelve characters, the choru A constant best-seller, this comic operetta continues a staunch favorite. are giving a reception for her. Knowing any number and Genevieve, and her fondness for tans nW< ?ren chlldre ' Ind lncludes Grecian Performances in of their friend's lan boys ' early everywhere bring the unvarying report "Success!" flowers, they have compared lovable qualities each rRndh civil w«l 1 , to a e f W 8 r s boys ' The eight solo parts are for one soprano, two mezzo-sopranos, one con- and have arranged to decorate Mcdle ^aI ' Colonlal girls and special flower, a throne for her with The sto ry^ times. tralto, one tenor, and three baritones. There are also parts for two various blooms. Choruses of Lilies, Daisies, Ralnclouds. Violets 0 Dew- t an,dan a goinglnS &teas - lhehe Mary - upon females and two males which require speaking only. A mixed chorus is drops, Sunbeams, and Roses add color to the proceedings. Jr 'curtain*curtain rises^thiv^rises thiv . LouLou. BenlBent g9