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

10-1-1947 Volume 65, Number 10 (October 1947) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 65, Number 10 (October 1947)." , (1947). https://digitalcommons.gardner-webb.edu/etude/179

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• , PARTIAL CONTENTS ,s s Volume I: 75 Classic and Romantic compositions & r. *? t — by Bach, Beethoven, Chopin, Haydn, Liszt, Mendels- sohn, Mozart, Rubinstein, Schubert, Schumann, etc. owning a complete sheet music library Each Page Lies PERFECTLY FLAT! . MAGINE A _a! -A- —A Prd. i m tin Volume II: 61 Modern works by Brahms, Debussy, Co all bound in a beautiful nine-volume matching set! Grieg, Paderewski, Rachmaninoff, Strauss, I Musicians and teachers particularly appreciate the Dvorak, more lost pages. No more hard-to-find composi- Tschaikowsky, many others. The Crinoline Waltz No way the pages LIE PERFECTLY FLAT. For the tions. Every selection classified according to its type, Volume III: 67 light works by Chaminade, Drigo, No. 27606 By VERNON LANE Price, 40c in Scribner Music Library are espe- Golden Sunset Mexican Fiesta books The Radio Gounod, Massenet, Poidini, Thome, others. handily indexed. Each page lies perfectly FLAT! cially bound in such a way that they always stay open No. 27843 By MORGAN WEST Price, 35c No. 27634 By JOSEPH M. HOPKINS Price, 40c AllegretterJziM) Volume IV: 47 grand opera selections by Verdi', Whether your mood is for classic, at ivhatever page you turn to! Rossini, Saint-Saens, Rimsky-Korsakow, Moderately J.soi Wagner, romantic, modern, sacred or operatic Purchasers of the Library receive a others. Volume V: popular excerpts from light operas: music — The Scribner Radio Music WHAT OWNERS SAY: specially constructed book rack—en- 44 Delibes, Offenbach, Gilbert & Sullivan, others. Library includes the best-loved compo- “IT'S WONDERFUL to own a to- library like this. I’m getting a abling them to keep the whole set Volume VI: Dance Music: old standbys as well as sitions in each classification. The par- great deal out of it.”—Miss F. gether for easy, quick use and reference. A. Ellison, Hartford, Conn. modern. Waltzes, tangos, etc. tial table of contents on this page can “My whole family are thor- Each volume also includes a musical oughly enjoying it. It is a Volume VII: Vocal selections: 26 from grand opera, give you only a slight indication of its wonderful musical education; a WORLD OF ENJOYMENT guide that gives valuable biographical, 15 sacred songs, 15 Negro spirituals, 69 hymns. tremendous range of material. Nowhere packed into nine compact, neat historical, and critical information about volumes.”—Mrs. Glenn L. Tabb, Volume VIII: 148 favorite songs of every charac- OTHER “Piece of the Month” SELECTIONS else could you find 718 such famous Hayden, Col. the composers and their music. ter: concert, folk songs, light operas, college songs, Afternoon in Vienna Polka in the Parlor No. 27757 At the Firemen’s Carnival (Federer).. Pr. 40c selections in such a compact, con- ballads, etc. No. WHAT TEACHERS SAY: Volume IX contains a concise bio- No. 27712 By LEWIS BROWN Price, 50c 27902 Cynthia (finkf.) Pr. 40c No. 27831 By RALPH FEDERER Price, 40c veniently arranged form. ‘‘Never have I seen such a col- Volume IX: 65 supplementary compositions—in- No. 27729 Driftwood graphical dictionary of all the com- (Mh.es) Pr. 50c lection of good music, or good cluding some of the best and most representative No. in so many ways for teaching. Tempo di « ?ri 27857 Forgotten Melody (Federer) Pr. 40c posers in the Library; a dictionary of Andantino, ron mol to rohatuiJ«i»o«t an Polka DcLuxe Musical Library— Brilliant Concert numbers: tech- examples of contemporary popular dance music. No. 27799 A Fragrant Gardens (Hopkins) Pr. 35c nical studies (pieces), together musical expressions; and a with beautiful Nocturne and terms and No. 27789 Shirley (Overholt) Pr. 40c at a Lone Price r_-_ =< Romances. I’m sure there has cross-referenced, complete index of No. 27692 Spring Breezes (Hellard) Pr. 50c never been such a work pub- / r-p r.p lished.”— Mrs. M. Matth- No. 27878 Valse Viennoise (Tillery) Besides being the most comprehen- the 718 compositions and their com- Pr. 40c ews, Clarkston. Mich. CHARLES SCRIBNER S ' SONS i=4=| 4- - sive work of its kind ever assembled, ‘T’ve never found a library posers. -y-4-i -i -1 more beneficial for teaching. DEPT. E10, 597 Fifth All my pupils, and other Sis- Avenue The Scribner Radio Music Library is a This library makes a perfect Christ- (•trnett IMS St T1 ters teaching with me. enjoy A Thematic Catalog .” New York 17, N. Y. showing . Sister liberal por- it very much. , — beautiful lifetime collection, with sturdy mas gift—-one that will be treasured tions of Yves Rodolphe, Ecole Notre, 23 “Piece of the Month” Selections bindings Dame, Pittsfield, Mass. gold-stamped and superb throughout a lifetime of musical enjoy- Please send me, FREE, your illustrated 40-page of the Previous Several Years May Be Ob- printing. Down Lullaby Lane Spring Fancies ment. brochure giving complete details about the famous tained Without Charge from Your Dealer No. 9-volume Scribner 27730 By STANFORD KING Price, 40c No. 27782 By ROBERT A. HELLARD Price, You might naturally assume that such a large, at- Radio Music Library. This request 50c or from the Publishers. Send for FREE Book places tractive musical library would be almost prohibitive Space here does not permit an adequate description of this me under no obligation w hatsoever. Valnr langtiido • - h in cost. But this is not the case. In sheet music form remarkable Library. We will therefore be glad to send you, without obligation, an interesting booklet telling how you yj-— -.r j gf- it would cost you almost $400.00 to purchase this fine KT If under 21, - - can own all this music for just a fraction of its normal cost. Name age. please . collection. But here in this convenient form, you get p To obtain this 40-page illustrated free booklet simply mail irv the same full size 9" x 1 2^" sheet music at a cost — Theodore jPre55er the coupon to CHARLES SCRIBNER'S SONS, Dept. ElO, - EE== (do. Address.. averaging about nine cents per composition! 597 Fifth Avenue, New York 17, N. Y. 1712 CHESTNUT STREET Zone No. City. (if any) State. PHILADELPHIA 1, PA. Vfre Scribner Radio Music Library Please give name and address ofyour music teacher if you are taking lessons. OCTOBER, 1947 541 —t ,,

Editorial ANY PEOPLE think that Theodore Leschetizky fat, pudgy Phineas Taylor of publicity. — Christmas iBooks beautiful Barnum (1810-1891), and Leopold Auer did not attain M circus standing through Connecticut Yankee exhibitionist their high —Choral Instrumental tricks of press Rubanlc . . . for Piano — flashy by supreme, was the father of all parades or i through in d3ubble agents. They attained it PIANO mmqjMsflpts ballyhoo. Bless you, ballyhoo ^ephincj, the ®§(E the achievements of their all probability goes back to the amazing of easy-to-play A MERRY in Song, Verse, and Story-A beautiful collection Published monthly CHRISTMAS only listen sixteen most popular Christmas songs and Philadelphia 1, PA. pyramids ! One need pupils. piano solo arrangements (with words) of the By Theodore presser Co., by Leopold W. Rovenger. Also included are street really notoriety seek- carols, compiled, arranged, and edited to the mountebanks at the ... reputation seekers, who are illustrated in i The professed stories, poetry, and pictures appropriate to the festive season. Beautifully STAFF antiquity of the callir g. are EDITORIAL and ADV ISORY older countries to sense the hell fire to make certain they parents, and music lovers alike acclaim this col- fairs in the apparently will go through three colors, inside and out, teachers, COOKE, Editor -in -Chief to great ers, student, DR. JAMES FRANCIS apply his eloquence a They aie finest field. Excellent as an inexpensive gift to the young was the first to line exhibitionists. lection as the in its McKray, Assistant Ed,tort Probably Barnum They are the world’s front part Guy McCoy and Ethel M. noticed. be used with interest and enthusiasm as a come to A™e™a ’ it makes a practical present that can Music Editor induced Jenny Lind to the human flies who Dr. Rob Roy Peery, musical artist. When he who jump off bridges, the pole sitters, of the regular teaching repertoire Gehrkens Dr. Guy Maier late Ed\ a the bovs Harold Berkley Dr. Nicholas Douty KarlW. McCurdy success in Europe. The airplanes and automobiles Elizabetn wst Dr. Alexander she was already a tremendous the dare-devils in Ruth Evans Buhman Maurice Dumesml XT rilff/xerl Pa Of of scale skyscrapers, Edna Fort George C. Knot All Had Glamour, writes necessai. Pietro Deiro B Marks, in his entertaining “They of death and say, “Give me death, if CHORAL sang, the who make a circus prima donna: “In London, every time she would prefer to think of a the Swedish but don’t fail to see me do it.” We IN SONG—A new publication for chorus (S.A.T.B.) or community caroling BY THEODORE PRESSER sky-high, the CHRISTMAS — F O UNITED 1883 House bulged, prices were boosted jewel, a talisman of destmj This splendid collection makes walls of the Opera reputation as being a rare purposes, compiled and arranged by Theo. Preuss. several florist shops, musical used year after would have filled treasures. available in convenient volume all of the famous old favorites from admirers precious of one flowers to be preserved as one of the most numbers appropriate for school, church, and home of pleasure streamed year, and many of the lesser known applause shook the rafters, teal's reputation is often confounded with Christmas carol collection thunderous in the public mind, usage. Many fine compositions never before included in b October, 194 / presentation bou- Alas (Contents for the Queen’s I* come- in an illus- of ecstatic females, notoriety. A rench are featured in practical easy-to-sing arrangements. Attractively bound down the faces temporary lithography. Eighty pages; ninety songs, Royal Held, trated cover reproduced in full four-color quet lay at her feet, and the whole dienne of the late Nineties, Anna hymns, and carols VOLUME LXV, No. 10 • PRICE 25 CENTS Family attended.” Jenny Lind, then, known largely for her exophthalmic EDITORIAL already had a great reputation. Barnum grimaces, was introduced to Amei ica INSTRUMENTAL Seeking the Bubble merely exploited her with circus-like by her press agent with the story that EVERYONE—Compiled and arranged by E. DeLamater for CHRISTMAS MUSIC FOR ballyhoo, just as he did Jumbo, General \yj daily in a milk bath, which Baritone solo, Alto or MUSIC AND CULTURE she bathed Violin solo. Clarinet solo. Cornet or Trumpet solo, Trombone or Dr. Guy Maier 544 The Pianist's Page parade of story solo. Bassoon solo, or Xylophone and the long never did. Yet this solo. Oboe . . 545 Thumb, Tenor Saxophone solo, Flute solo. Cello The Violin Has Been My Life. Zmo Francescatti Tom of course she Piano (with words). The volume includes a special solo book Kenneth E. Crouch 546 his curious that or Marimba solo, all with Music and Philately freaks which appealed to was used so much in the press instruments, for solo or . . . .Rosalyn Tureck 549 divided into four different sections for the variously keyed Learning to Understand Bach genius. His interest was not in Jenny no question that this raised unison playing, with or without Piano accompaniment. Twenty-one favorite Christ- there can be this practical instrumental publication. Price in the dollar latei mas compositions are included in MUSIC IN THE HOME Lind or in music, but purely her box office receipts. A few years ® New and Distinctive Master Recordings Peter Hugh Reed 550 complete ® more valuable to Compare The Etude Music Lover’s Bookshelf B. Meredith Cadman 551 sign. Jenny Lind was she was literally unknown. or the Barnum than the Bearded Lady her career with that of the great Rachel Dealer MUSIC AND STUDY gate See Your Favorite Music Dumesnil 552 Dog-Faced Boy, only in that her the brilliant French trage- The Teacher's Round Table Maurice (1821-1858) , Or Direct From the Publisherl Techniques of Damper-Pedaling George MacNabb 553 receipts were larger. He was a mer- whose position in dramatic his- My Hall of Memories Andres de Seyuroia 554 dienne Walsh 555 Booth, CHICAGO Speech and Singing Gertrude cenary virtuoso. tory is still honored, or with Without Teacher Norman Mehr 556 Studying a to Amer- Heniy New, Progressive Material for Organists Dr. Alexander McCurdy 557 When Jenny Lind did come Forrest, Macready, Garrick, or

The Choral Director’s Dilemma : Bach or Boogie Maynard Klein 558 ica, Barnum actually got a little known all long since dead but abun- Drill and Formation Routine for the Football Band Harold Ferguson 559 Irving, A Well-Developed Vibrato Harold Berkley 561 singer, Ossian E. Dodge, dramatic his- Boston amateur | dantly acclaimed by the Christmas or New Year Greetings Questions and Answers Dr. Karl W. Gehrkens 562 the I For Tales of Isidor Philipp Maurice Dumesnil 563 to purchase at auction for $625.00, torians of their day. The Romance of John Howard Payne and His Immortal Song, "Home. Sweet first admission' ticket to Jenny Lind’s reputations made? Home" S. J. Woolf 564 How are musical culture of first concert in the center of This depends very largely upon what “CHERISHED MELODIES” MUSIC the New World, Boston, the Athens of reputation. Some al- Classic and Contemporary Selections g you consider a on the Mountain Top (Presser *27805) actually induced Moonlight Ralph Federer 565 America. Barnum leged reputations in music are not for 1948 Rondino (Presser 18896) Ludwig Van Beethoven 566 CALENDAR pose for a photograph Nocturne, from "Midsummer Night's Dream" (Presser) Felix Mendelssohn Jenny Lind to reputations at all, but rather a structure (From “Themes from the Orchestral Repertoire") Arr. by Henry Levine 568 with himself and the said Dodge. Dodge - furbished by some of The 1948 Calendar . . . Afternoon in Vienna (Presser *27712) Lewis Brown 570 of fabrications of the Leprechauns (Ditson) in immense Dance Walter O’Donnell 572 then circulated this picture of scribblers who have for- The com- will be produced in the same general Clowns on Parade (Presser *27808) | the tribe Robert A. Hellard 573 popularity. acclaimed “Songs Polka Parisienne (Presser *27806) numbers, to increase his | or even de- plete calen- style as the widely Stanford King 575 saken honesty, integrity, Softly Now the Light of Day (Presser) (From "Twenty Carl M. Von Weber big-souled, whole- Beloved” 1947 Calendar which ran up Jenny Lind was a ADMISSION $625.00 circulate fictitious reports, ex- Piano Duet Transcriptions of Favorite Hymns") . . .Arr. by Clarence Kohlmann 576 cency to a phenomenal sales record. Pictures, (Piano Duet) dar includes hearted woman. No wonder she became ticket to the Bos- ridiculously Ossian E. Dodge paid $625.00 for a aggerated rumors, and illustrative or symbolic of each fa- Vocal and Instrumental Compositions Barnum Barnum’s ballyhoo and of Jenny Lind, managed by P. T. 41 ” 8” Jesus, Priceless Treasure (Organ) (From “Eighteen Johann Sebastian Bach disgusted with ton concert about their duped a /2 * mous melody, and portraits of the false statements Choral Preludes") (Presser) Edited by Edwin Arthur Kraft 578 paid him $32,000.00 in order to get out the aii, writers are included, along with a I Do Not Walk Alone (John Church *30905) (Sacred Song Voice) to be, “Get it in print or on leaf for each —Medium of clients. Their motto seems artistic dignity ! Her conception little information on each melody or Roy Newman 579 of her contract and save her creed apparently is, (Presser 27841) (Violin Piano) whether it is true or not. Their Poeme and George J. Heckman 580 while was that which no matter month, lith- its creator or source. Each complete Pieces Young Players reputation was, that the only kind worth Delightful for to publish even a lie than nothing at all. Spooky Tale (Presser *27743) William Scher 582 which was “It is far better calendar, in its own envelope, makes was earned through merit, and not the reputation spapei ographed in Little Bobolink (Presser 27740) J. J. Thomas 582 who haunt the new an ideal greeting or advertising me- These cheap professional tricksters Dark Shadows (Presser *27795) Bruce Carleton 583 blown up by ballyhoo. shock even a teacher or professional Trunk in the Attic (Presser of pseudology* that would 2 colors. dium for a Old 27619) Anita C. Tibbitts 584 You Like It” offices with a “line” William Shakespeare reserved for Jacques in “As who will musician. Baron Munchausen, hoping to find sensational editors THE WORLD OF MUSIC 594 thoughts, and in the powerful soliloquy, some of his most notable wholly different from the (including envelope) print their spurious stuff, are of course PRICE, 10c EACH, $1.00 A DOZ. “All the world’s a stage,” when he describes the soldier as “seek- JUNIOR ETUDE Elizabeth A. Gest 59S and more especially the public relation mouth,” he gave legitimate publicity men THE MELODIES ILLUSTRATED ARE: ing the bubble reputation even in the cannon’s truth- r object is to see that their clients are MISCELLANEOUS associated with repu- counsels, w hose main Answered the word a connotation which always will be Melody in F (Rubinstein), Tr'aumerei (Schumann), Band Questions William D. Revelli 560 honestly represented through statements based upon Voice Questions Answered Dr. Nicholas Douty 587 in music know, if reputation is fully and the Waters of Minnetonka (Lieurance), A Dream tation. However, as all engaged public By Organ and Choir Questions Answered Frederick Phillips 589 latter go to the greatest possible pains to form Like a bubble, it may vanish facts. The (Bartlett), Auld Lang Syne, My Old Kentucky Violin Questions Answered Harold Berkley 591 a bubble, it is an indispensable one. merely for the opinions which are favorable to their clients, not Home (Foster), At Dawning (Cadman), Forgotten with a pin prick, and many of the finest reputations of yesterday Entered as second-class matter January 16, 1884 at the P. 0. at Phila., Pa., to come. This form of publicity is structural, (Cowles), Sweetest Flower That Blows (Hawley), under Act in present, but for years the of March 3, 1879. Copyright, 1947, by Theodore Presser Co., have evaporated because of some stupid blunder in artistic or for U. S. A. and Great Britain. of the client as a public Last Rose of Summer, Lullaby (Brahms), and The in that it becomes a part of the career personal behavior. There is no question that to the musician a Lost Chord (Sullivan). figure. well cultivated, legitimate reputation is of priceless importance. $2.50 a year in U. S. A. and Possessions; also in Costa Rica, Cuba, Dominican that reputation is so Haiti, young people seem to think Republic, Guatemala, Mexico, Nicaragua, Panama, Republic of Hon- fame brings him patronage and influences his However, many 1712 Chestnut Street duras, Salvador, Spain and all South American countries except the Guianas. His hard-earned PRESSER CO. $2.75 a year in Canada and Newfoundland. $3.50 a year in all other countries. real worth and the proper kind dandy sixty-four dollar word for an ordinary liar! THEODORE PHILADELPHIA 1, PA. income. This must be based upon * Pseudologist ! My, what a i Single copy, Price 25 cents. (Continued on Page 548) • 543 342 "MUSIC STUDY EXALTS LIFE" THE ETUDE OCTOBER, 194 7 / Music and Culture the mend any of these “Gem” books. Let compiler his precious Music and Culture be more specific. Why can’t he call tomes, “Rubies from Rubinstein," “Garnets from Gounod,” “Pearls from Puccini,” or “Moonstones from Meyer- name some others! . . . Line in beer”? . . . Now you a local newspaper concerning the playing of a young American pianist: “Often during the program we

notes for the music” . . . Think Violin Has Been Life The Pianist’s Page couldn’t hear the The My of the finest tributes that one over! . . . It’s one a

critic could pay to any artist. . . . How about your own teaching and playing? Does your preoccupation An Interview with with the notes obscure the music? . . . aier m Eurythmics ^^ino ^jJ~rancedcatti several correspondents who Noted Pianist and In response to write for study concerning materials home and use in Sensationally Successful Virtuoso Music Educator Eurythmics, I am relaying to you a brief list compiled by Martha Baker, the well-known Minneapolis author- ity on Dalcroze Eurythmics: SECURED EXPRESSLY FOR THE ETUDE BY HAROLD BERKLEY

Books on Eurythmics Frances-Scotty), the most celebrated of contemporary French violinists, “The Importance of Being Rhythmic,” Jo Pennington Zino Francescatti (pronounced August 1905. His father, who played the 'cello in the Opera and the "Con- "Music Movement,” Ann Driver was born in Marseilles, 9, and Italian birth. Francescatti pire triads. Classiques" at Marseilles was a naturalized Frenchman of had keys. . . . Then combine thirds and fifths in certs “Stepping Stones to Music,” Florence E. Orange Sivori, who in turn had been the only direct pupil of melodic notation studied the violin under the great Italian virtuoso, In the “flashes" don’t forget to use “Rhythm, Education," Music and The master virtuoso wrote six sonatas and a concertino for Sivori, who soon became second as well as chordal: Paganini. Emile Jaques-Dalcroze only to Paganini himself in his fabulous technique. Chart of Eurythmic Exercises and Games, Young Zino made his first public appearance when he was five, and his debut with the local orchestra, Ex. 4 Leontine Plonk playing the Beethoven Concerto, at the age of ten. The elder Francescatti did not want his son to be a professional musician. The career was too precarious financially, and he wanted him to be a like many generations of his Italian ancestors. Zino's mother agreed to the plan but saw to it Some Music to Use. for Eurythmics lawyer, that he was also given every opportunity to develop his talent. his fiddle “Come and Caper,” Whitlock During the first World War Zino attended school on week days and played for wounded of Marseilles on Sunday. He was in the midst of his legal studies when his and remember that it would be quite okay to play “The Children’s Own Book,” Newman BEFORE THE ATTACK soldiers in the hospitals A, or father died suddenly. The family needed money badly and their most salable asset was Zino's talent. -the above (for instance) as G-sharp, C-sharp “Peter and the Wolf," Prokofieff Mr. Francescatti as thousands have Accordingly, he abandoned the study of law and went to Paris to moke a musical career for himself. E-flat, G, B-flat—just so long as black, white, black “Piano Rhythms,” Lema Davis seen him on the concert platform. Francescatti was twenty-two when he arrived in Paris. Almost at once he won an audition with Jacques are played. “Rhythms and Dances for Pre-School and Thibaud. The some year he made his debut with France's most distinguished orchestra, the Societe Now proceed to sevenths; same process, by way of Kindergarten,” ALKING with Mr. Francescatti for five minutes Sister Ann Harvey des Concerts du Conservatoire, in a concert at the Opera under Philippe Goubert. During the next three thirds: convince anyone that the making of good These books may be procured through the publishers would several years Francescatti appeared as soloist with the leading orchestras and conductors of Paris. is reason for existence, that, Gabriel Pierne; the Concerts Pasdeloup under of The Etude. T music for him the These were, in order: the Concerts Colonne under Ex. 5 Ex. 6 indeed, it is life itself. Rhene-Baton, and the Concerts Lomoureux under Albert Wolff. was chosen Maurice Ravel to accompany him on an On Staccato “The violin has been my life,” he said, with the During his second year in Paris, Francescatti by works Ravel, among them the Tzigane, which requires unusual technical mastery More Help in Reading volatile charm so natural to the natives of southern English tour, playing by Staccato compositions or of the violin. Since then he has played with practically all of the great orchestras of the world. problem is another that passages become easier (1) father were both excellent The reading headache we France. “My mother and - Editor's Note. if they are practiced, — never seem to cure. For years I have offered pills and both slowly and rapidly, almost violinists, and I heard violin music almost from the Up until now the pupil has been trained to read legato with a sort of “fat," even portamento panaceas in these columns . . . (See especially the touch. day I was born. When I was three I could recognize This also influences? There are so of them! The teacher, space, space, or line, line, and so forth. . . . Now work should be done with only understands children but who can many last one on the Round Table page, December, 1945) flashing fingers and with parts of different concertos and sonatas—Tchaikovsky, who not very for the of course, is the most important, for he can guide as with seconds. Again, make no distinction between slight rotary forearm help. (2) if train them correctly and encourage their love . . . But the entreating “Reading” letters still arrive! groups of two, Mozart, Beethoven, Lalo. And I had a toy violin! With major and minor. Then tackle fourths always read- four, six or eight rapid for what a pupil learns in the first two or well as teach. And if he is wise he will interest his tal- Always remember that reading must begin with notes are thought of as a it I tried to imitate the things I heard my mother and instrument, ing from the bottom, and explaining that line, space, handful of staccato; for life. They do not often be- ented students in many things besides violin playing. the very first lesson; and you must never for a mo- that is, as one rotative gesture, father play. My ear must have been good, because three years he learns or space, line intervals are seconds, fourths, sixths, or an armful of notes to these teachers who can train beginners In paintings, for example. There is much the musician ment cease to drill on it. One of the most important be shaken out as individual when I was five my father gave me a real vioUn—and come famous, and octaves. finger staccato tones. and with imagination, but they deserve honor, can learn from the painter. And he will try to interest follow . soundly paths to is the interval “feel" road. . . Show how surprised he was when he found I could play up The objective of these drills—which must be done These practice for they are the most important influ- his pupils in good literature, ( Continued on Page 548) the beginner the notation of any simple third; routines will result not only in cleaner, to the fifth position! And in tune! much honor, daily over a period of many weeks for a few minutes freer staccato but in much improved rhythm and “At that time, playing the violin did not seem to me ence in the development at lessons and in home practice—is to enable the endurance. artist.” Ei.l a special accompUshment—it was a natural part of of the young hand to grasp the keyboard space and stretch of each life, like eating or walking. I thought everyone played Mr. Francescatti interval the moment it is seen—always without look- Group a ciga- Piano Lessons the violin, and it was a shock to me to find out that paused, lighted ing. Gradually the correct notes must be read, found then went on: A fascinating project which has most people didn’t play and that some even disliked rette, and played by the student the instant the card is been unaccountably course, . “There are, of . . then without looking at the keyboard let him neglected by aspiring the instrument. It made me unhappy. About this time flashed. Confidence and speed are thus facilitated by teachers: carefully planned play any white-note third with any fingers anywhere piano instruction an event occurred which showed me my path in Ufe. many other influences, first the frightening for small groups of reducing reading complications four to six stu- inside on the piano. At first it doesn’t matter where or what dents, not only Ysaye came to MarseiUes to give a recital, and I was some from the to its lowest denominator, namely beginners, but intermediate interval space and ad- the out- the notes are so long as he looks at the third on vanced pupils as well. taken to hear him. Before the concert was over I knew and some from recognition and keyboard feel. ... Is it any wonder Teachers everywhere are finding the card, and then plays a third on the white keys such experiments I had to stand on that stage and play. Young as I side. The student must that without such a process of simplification few extraordinarily rewarding both eco- without looking at the keyboard. It is of no con- nomically and was, my determination was set. Marseilles was my have confidence, confi- students stand the chance of becoming fluent readers? musically. Once over the initial hurdle, sequence whether he plays a major or minor third students world; I knew no larger world, from that time dence that he is travel- and teacher prefer such group lessons. and or third The a above or below . . . “flash" various thirds, students the center of the world was the stage ing along the right path, progress more rapidly because their enthusi- where Ysaye and if treble clef is shown, he uses right hand; bass Sense and Nonsense asm is constantly had played. and he must have in rekindled by their contact with their clef, left hand. (You remind him of course that a During extensive travels over the fellows. Self “I was lucky, I know. the willingness to my country flashes consciousness falls away, listening be- My parents understood my him third is always line-line or space-space.) . . . Follow of and wisdom keep comes acute, fight hard, for humour popping up all along concentration never lags, musicianship ambition and did nothing to check it; instead, they fight, and this up with thirds which contain any black key plus the way. ... sign in a music store develops apace did everything encourage ideals. Difficulties, A admonishes: with technic. Such a group quickly to me. I think perhaps many his a white key, like: “Music is the Food of Love . . . Why starve yourself?” learns the parents do not realize obstacles, arise for all of incomparable joy of sharing the music what a deep ambition a small freely Ex. 2 • . . Good sense, I call that! ... A classified advertise- with others. child can have. He cannot express it, and they think us, but one must fight ment in our home-town paper pompously offers: And, mirabile dictu, teachers it is a little fancy, a feather that will blow away with through them. Not have not found it al- “Piano lessons; new psychopedagogical approach to ways necessary to assemble the next wind. And yet what an advantage it is to the around them, through students of similar levels rhythm and improvisation" . . . Ugh! ... A news- of advancement. young musician to have his early ambition If you run around The sole, requisite for such music- approved them! In this case insist that the sharp or flat (black key) paper review of one of my youth concerts reports: making seems to be a uniform and encouraged! It gives him a natural confidence a difficulty, it comes up be age-group but even played as it appears in the notation (top or bottom “Mr. Maier also played Improvisions this need This on Morse Code not be strictly adhered to in that nothing can destroy. So I always say: If your again to haunt you. note) but do not require the the case of actual notes. Drill thor- . . patterns.” . Huh? How’s that again? ... adults . . ‘fight,’ A pupil’s . grown-ups flourish on a three-year-old child wants to play the violin, en- confidence, this oughly all these, heap of mixing! on and add black-key thirds also: recital program lists “Murmuring Hephyrs” by Jensen. Why not organize one or two such courage him, get him a real little violin (not a toy), these are the influences Ex. “Music-For- 3 . . . Usually sounds just like that, doesn’t it? . Leisure” classes this have music in your home, let him hear all the music that a student must season? ... And when you’ve Sign in the lobby of a hotel; “National Convention taught the groups for it is possible for him to hear. And get him a good have within him. If he several months, don’t forget to — of Milk Breeders.” . . Goat . Nearest I ever came to tell us about them! teacher. is easily discouraged, if that was some years ago I into when ran the “National “So many people think that any teacher is good he says to himself, ‘Oh, If you require a definite fingering you will of course Convention of Hair Net Manufacturers." ... So many enough for a child. This is a big mistake! Many a fine I cannot do it!’ he will dictate it. music collections arrive called “Gems from the "When I hear music talent has been ruined, or at least badly handicapped, arrive he will I fear no danger, I am invulnei never — Next, proceed to fifths in the same way. Under no Operas,” “Gems from Beethoven,” “Gems” from this able. I see no foe, I am related by poor teaching in the early years. No, if a small never be heard of. IN POSITION circumstances permit the student to the earliest time A STUDY ever to look at the or that . . . From now on I refuse to play or recom- and to the latest.”— child violin Thoreau. wants to study the he must have a teacher “The other, outside, Mr. Francescatti illustrates his fluent bow arm .5 44 "MUSIC STUDY EXALTS LIFE" THE ETUDE OCTOBER, 1947 "MUSIC STUDY EXALTS LIFE" 545 -

and Culture sooty-brown Music bird’s plumage is ling green stamp. The the tall are arranged Post Horn Depicted long graoaM feathers of and the musical in instrument of music resembling a lyre—an ancient second evident that no other in a form rather than down to it. The Music and Culture It is These loud musical voice which is leads up to the G often than the post horn. strument. The bird has a eighth note. The little has been depicted more the second bar should be an postmn. bird calls. B in five the early days when the used to mimic other is missing on all ware used in at the end of the stem Sot, a post horn call. hook HE FIELDS of music and philately are indeed to be a bugler and had was required hornontheirstamp stamps in the set. two fields which are different, yet they have be- that have used this The countries Hungary, new issue) , T come united through the efforts of stamp col- have been Germany, Italy (in a best views is offered lectors or philatelists in several countries. They are France Swede“ ank one of the forty cent brown value today coming to be known more widely, as music be- Philately Brazil issue of last year. A Music and by a of the comes one of the greatest arts. Through correspon- the Postal Congress the stamp is in honor of dence with philatelic other countries, we come across Americas. items pertaining in one way or another to music. To begin a story on music and postage stamps, one could not help but start with the United States, al- though regretfully, this country, it appears, has never recognized its music artists as highly as other coun- tries—even on postage stamps. In its entire postal history, the United States has issued only five stamps pertaining to music or mu- the Bucharest 1942 (during sheets from Rumania honoring sicians these American series on May 1940 and May On the — being the Famous Sometime between background is a first Netherland East Indies is- Philharmonic orchestra, the music issued in i940 in five values. Japanese occupation), the Rhapsody.^ Javanese dancei. of Enesco’s Second Roumanian Stephen C. Foster (1826-1864) one of America’s most red stamp depicting a violin part , sued a two cent staff have been omi Some of the leger lines below the loved song writers and folklorists, is honored on the or theme o completely altering the melodic line one cent green stamp. This stamp was first issued at ted, written composition. The bottom line Ls wrrecUy Bardstown, Kentucky, on May 3, 1940, with a total sale VI*T the are badly placed on the staff and of 651,146. The two cent red stamp honors John Philip but some of the notes

difficult to read. . Sousa (1854-1932), band leader and composer. This it is . from Bohemia-Moravia depicts an stamp was issued at Washington, D. C., on May 3, The Mozart issue opera. These stamps, is- 1940, with sales being 326,130. On the three cent purple error in his “Don Giovanni" this hundred and fiftieth an- stamp Victor Herbert (1859-1924) composer and con- four value set depicting sued to commemorate the one , Uruguay issued a in 1943 Mozart in 1791, have two de- ductor is honored. This stamp was first issued in New Institute of Geograp y niversary of the death of honor in honor of the , Prague five cent values. two a picture of the Old York City on May 13, 1940, with sales reaching 1,234,128. cent, five mills, two cent and picting Mozart and tor? in one tabs, two of whic Edward A. MacDowell (1861-1908) pianist and com- The set was issued with , Theatre. illustrate the two opening poser, is honored with the five cent blue stamp. This Musicians Are Depicted show his piano and two that Giovanni.” There ave^ythree first placed issue was; hon- opera “Don stamp was on at Peterborough, New greatest pianists of the world bars of his One of the first bar, which can be Hampshire, on May 13, 1940, and sales were 210,208. because of hi or three beats in the on its stamps not quarters ored bv Poland a set honoring famed French Ethelbert Nevin (1862-1901), composer, was honored on but as a Polish In 1946 France issued clearly seen. achievements in that field and included in this set the ten cent brown stamp. The stamp was first issued Paderewski (1860-1941), leaders of the twelfth century This man was Ignace Jan poet Francois Villon (1431-1485) , at Pittsburgh, Pennsylvania, on June 10, 1940, with and was a stamp honoring Earned Polish composer two francs plus one franc, total sales being 189,140. 1919, to Decembe lyricist. The value is premier of Poland from January 16, and blue-green in color. ^J^ennetL £1. 9, 1919.

Kenneth E. Crouch, newspaperman, authority on folk music, and historian, is a member of the American Philatelic Society, Virginia Historical Society, Southern Historical Association, Sons of Confederate Veterans, and honorary member, United Daughters of the Confederacy. —Editor's Note.

Home Town of Composer Honored commemoratives to posed fn 1882 by Jose Reyes but was not officially Other countries to issue stamps honoring their na- Finland has issued a set of two (Parvoo) . The adopted until 1934. tional anthems have been France, Brazil, Norway, honor the sixth century village of Borga year, Italy issued a set of two stamps eight mk carmine Last for use Costa Rica, and Czechoslovakia in its fine issue for its two values are five mk black and of Polish refugees at Trani and Baretta, the values national of J. L. Runeberg, com- anthem "Kde Domov Muj.” lake. Borga was the birthplace being one lire blue and fifteen centow brown. Finland, Vart Land. These poser of the national anthem of opening bars public through two stamps portray the of Jeszcze Polska, Living Men Honored With other countries bringing to the Peter I. Tchai- the Polish national anthem. Russia issued a set honoring national anthems, it is time the United Two of the In 1940, postal use their greatest musicians of today have been quotations from ns the sacred memory kovsky (1840-1893), portraying States began a movement to honor honored in recent years by postal authorities of their “Eugene Onegin. anthem. Fourth Symphony and from his opera composers of our beloved national respective countries. In five mk of the 1945, Finland issued a Are we afraid to hold high the green stamp Star Spangled Banner. honoring Jean Sibelius (1865-), composer, has been shed and Musical Errors Made banner for which so much blood noted for his Finlandia and other works. war? The honoring either its written in the great sufferings of It would appear that any country which was should see that must begin it. national anthem or a favorite song task is ahead and we when they ap- these are reproduced correctly in music been noted from Honored pear on stamps. However, errors have Christmas Hymn of Christmas hymns. Good time to time. , the most loved German forces occupied , One of During the period that stamp honor of the late set of stamps issued were Finland, in 1941, issued a m Wenceslas, is honored by a in World War II, postage stamps reviewing a King Czechoslovakia Kvosti Kallio depicting him honoring its patron saint, Vaclav, of and depicted some of the President by Czechoslovakia issued for Bohemia-Moravia opening bars of the celebrated Frederick Smetana military band. Two greatest musicians of that area. are illustrated on other Swedish march, The Bjomeborgarnes, Vaclav, who was assassinated by his bi Bohemian composer, is honored on two o prince (1824-1884), The march was played by the Kmg Czech King to attain sainthood (1813-1883), German com- the stamp. in 929, was the only National Anthems Honored stamps; Richard Wagner Thirty Years War (1618 ' 1648) an altar dedicated to and ’Wolf- Sweden during the and the only king-saint to have honored in a set of three stamps; of Sweden. A poser, is Finland was still a part in Rome, Italy. States not honored either our four which time at St. Peter's . So far the United has (1756-1791) is honored in a set of is him , gang A. Mozart , second measure where a dot anniversary of the^ death its composers. The words of the error occurs in the Commemorating the 1000th national anthem or about these stamps honoring the Aus- stamps. More after the first eighth note. (Wenceslas) a series of five stamps was is- Star-Spangled Banner were written by Francis Scott Germany has omitted of Vaclav , trian composer Mozart will follow later. very serious music error Vaclav on a (1780-1843) and the music by Dr. Samuel Arnold, In 1936, Brazil issued a set of stamps honoring the On the Argentina issue is a were in three designs: (1) St. Key , They honoring Mozart. measures are sued. centenary of the birth of Carlos Gomes, famous also issued two stamps the composition into the church of St. Vit; an Englishman. Bra- —the lines dividing horse; (2) St. Vaclav founding the rhythmic Several countries have issued stamps to honor or zilian composer. Two of these depict the opening bars placed. This necessarily places Vaclav. These stamps were is- Music Recognition in Other Ways wrongly and (3) the death of St. commemorate their national anthems or the composers of his famous opera “II Guarany.” Last year, wrong beat. Rumania issued a set honoring the twenty- or songs accents on the sued on May 6, 1929. through the honoring of musicians Republic last year thereof. Argentina is reported to be the first American Six stamps issued in 1945 by Bolivia in honor of its fifth anniversary Not only from the Dominican Wenceslas was first published of the founding of the Bucharest philately. In In the set The carol Good King national anthem were issued in the following post horn is music included in music students country to adopt a national anthem. This was Marcha values: Philharmonic orchestra. or the the Himno Nacional, some of “Piae Cantiones in 1582 One stamp pictures the Opera for the Queen honoring as one of Luther’s collection bs., five, ten, fifteen, thirty ninety cts., issued a set of six stamps prove it This Partriotica by Bias Perera, which was officially adopt- two and with House in Bucharest, three 1940, Belgium while other versions do not with the author- depict a wreath with the Three stamps depict a note an error and the Rev. John M. Neale is credited ed on May 11, 1813. In 1946, the Dominican Republic each depicting opening bars of the Himno Nacional bais of Second Elizabeth Musical Foundation. where there is a slight differ- Roumanian Rhapsody by Bnesco and is in the opening phrase, portraits of music center. ship of the words. issued a set of stamps portraying opening bars of its with Benedetto Vincenti and J. Jgh. de one depicts Georges Enesco child and three depict the an octave lower on the staff and (1882-) , famed Roumanian This is placed Sanjines, composers. bird with a one shil- ence. national anthem, Himno Nacional. The song was com- the composer and conductor. Australia has honored the lyre 547 "MUSIC STUDY EXALTS LIFE" 546 "MUSIC STUDY EXALTS LIFE" THE ETUDE OCTOBER, 1947 a

almost every concert—this, and expression. He must the ANYONE says that Bach is dry, mathematical, Music and Culture Music rors of taste and Kreutzer, very “yF and Culture plajmg Seventh of rapidly, f learn how to criticize the 0k I or dull, you may be sure that the person giving also bow arm. And, of course, the constructively. the Son really of other violinists, but X the opinion has never heard Bach. He may an artist file, the Spun Tone—every artist must Too many students listen to have listened to Bach’s music; he may even have tried Seeking the Bubble practice this regularly. fellow-student with the intention to play it—but he has not truly heard it. An under- or a were talking they notice. “But we about modern requires understanding of the of counting up the mistakes standing of Bach an ( Continued from Page 543) There is much fine is petty fault- music. music being contrapuntal movement of his lines. Now, a perception That is not criticism; that violin, but anybody. written for the not all of it to listeners and it does no good to of the lines in Bach has become obscured to Understand Bach finding, Learning much a matter of fancy, empty, adjec- say is good violin music. Some of it is writ- back to Coaltown, to carry out her dying Criticism here is selection. He must through a habit of listening to music of harmonic tives violin, or faked up press notices that we request to be buried beside her father. that is not so ten against the not for it. Modern tradition, in which a melodic line moving horizontally to himself: ‘This is good, Conference with want to take this opportunity to assure There re- composers, too many of them, do set accom- A he finds a very depressing good; this I will try to absorb into my not (in the right hand) is above a harmonic them that reputations idiom of the founded upon ligious, social, situation, by consider the violin vertically (in the left hand) . This and economic that I will forget. And when . paniment moving anything own playing, but real worth cannot fail to and through a series of amazing devices his per- they compose for it. They should take is pattern of songs, of most ‘tuneful’ music this means, too, he will develop a the — become the most fragile of bubbles. (one of which is the ringing of all the leaf from Ravel’s book. When melody and ‘less important’ sonality, his individual way of expressing I was pattern of important Numerous readers of The Etude doubt- church bells of tiny city for several touring with him in 1927, he It is beautiful pattern as far as it the himself. told me accompaniment. a less have read Russell Janney’s best days) he brings about a series of inci- not that he had taken two years to goes but it does not apply to Bach! Our Bach prob- “But what is personality? I do compose — Distinguished American Pianist and Bach Specialist seller, “The Miracle of the Bells,’’ a dents, miraculous in character, which indefinable: but his Tzigane. Ravel did not play the lem, then, results from trying to force such an appli- masterful know. It is like beauty, and absorbing piece of .fiction result in the reformation of the entire mental habit of expecting it. The a player has it. It is violin, but he wanted to write this piece; cation through the of one knows when its type. In it the author, a well community. Dramatic, highly emotion- bought the Kreutzer average student sitting down to his first encounter the force, the ether, that carries an in- so he ‘Caprices,’ SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT known Broadway press agent and thea- alized, with many humorous and moving Invention, invariably tries to read it as terpretation convincingly to an audience. the Paganini ‘Caprices,’ the Zigeuner- with a Bach trical producer, tells the story of incidents, a the book is of course destined merely tone. iceisen of Sarasate, and concertos pathetic It is not technique, it is not by and beautiful girl, born in the for the movies. It is of the apotheosis bricks and mortar. Wieniawski and Vieuxtemps, and studied specialists our time, comes to her work coal These things are just Rosalyn Tureclc, one of the foremost Bach of from a dis- mining district in Pennsylvania the press agent and will have a vast violinist has a grand technique them. With the violin on his shoulder tinguished background. Music has been in her family for centuries. On her mother's side, Miss Tureck where her father, Many a the town drunkard, appeal. for nearly two hundred years; on her father's and a beautiful tone, yet he does not and his elbow resting on a table, he traces her descent from a line of cantors side, for dies and leaves her alone. She escapes However, from Turkey we must again plead with alive worked out combinations of five hundred years. The paternal branch of her family came and, on entering Russia, to convince. Perhaps the music is not fingering. New York, where she gets a job as a young readers of The Etude, called "Turk,” from which her name derives. Born in Chicago, young Rosalyn began to play at aspiring cannot make The result? He produced a was chorus girl within him; if that is so, he marvelous in a burlesque show through to a public career, to remember that the age of four, started her studies at eight, and gave her first public concert at nine. Her first teacher it alive to the public. Or perhaps he virtuoso piece that makes use of all the influence the Brilliant-Liven, at one time pupil and assistanf to Anton Rubinstein, under whose of Bill (White Spats) in “music, more than in any other art, was the late Sophia lacks, developed, that vital familiar violin technique Dunnigan. Dunnigan or has never and. in addi- care the child received an unusually solid background in the classics. At twelve, she hod studied most is a Broadway press there is no substitute for real worth in agent of force that gives out to the audience when tion, some new effects that he himself of the works of Scarlatti, Hummel, the early sonatas of Haydn, and Beethoven, all of Bach’s "Two and the rough and tumble type, with the erection of an enduring reputation. It is invented. Inventions," his Suites. Her early training did not exclude romantic music, but lay a human streak. He has a he plays. may be that personality a Thus an artist prepares him- Three Part and most of penetration of The miracle of success in music is based sort of inner radio-activity. Whatever it self for what he must do. chiefly in the early classics. By fourteen, she was already giving all-Bach recitals. When she was thirteen, difficult situations, combined with the upon natural receptivity, careful train- teacher, Jan Chiapusso, a noted Bach scholar, whom the girl astounded is, one have it if one is “There she came to her second by courage to meet them, that must to succeed are some students, I am afraid, makes the ing, and then everlasting work, work, memorizing a Prelude and Fugue from "The Well-Tempered Clavichord," in three days. Under Chia- as a concert artist. who think reader his friend from the start. that the modern style of Later, work. Finally, when great ability is pusso she also studied Bach transcribing. At fifteen, Miss Tureck won the first of her scholarships at he is influential “And, of course, one must have tech- composition is a thing apart. There are, in introducing her to achieved, the right kind of a the Juilliard School, where she studied with Olga Samaroff-Stokowski. Juilliard entrance requirements de- publicity nique. Hollywood, where she is Technique is clarity, equality, of course, many modern styles, but Prelude Fugue of Bach: Miss offered blown by the man may perform wonders in finding most mand, among other works, a and Tureck sixteen, together with a control; winds of destiny especially control. One must young violinists think of them all knowledge harpsichord, clavichord, and organ. After a most distinguished graduation from Juilliard, to stardom. As her first the best artistic market for the young as of picture is finished, have absolute control of one’s fingers and ‘modem music,’ And they the girl won the $1000 Prize of the National Federation of Music Clubs, and the orchestral debut of the she dies. Dunnigan, artist—a market which should become think that who has become devoted of the bow. In this country, I am afraid, the only way they can prepare . Schubert Memorial Award, in which she gave three performances of the Brahms B-flat Concerto with to her in a an ever expanding opportunity as the to per- lofty, there is not enough attention given form The Philadelphia Orchestra under Eugene Ormandy. For two years, she gave concerts of general piano platonic manner, takes her body years pass by. to such music Is to practice it and it the technique repertory and, in 1937 began her now famous series of all-Bach programs. As a result of the first of of the bow. Yet without alone. They forget that the greatest these, she won the first Town Hall Award, offered to the young artist to have given the most eminent it, what is there? If a violinist has a poor modern composers were thoroughly Town Hall recital of the year. Miss Tureck has fortified her instinctive sympathy with Bach by profound bow arm, what can he express of his grounded in the classics, and could write research. Despite the unusually heavy schedule of her tours (not only is Miss Tureck in wide demand, but feelings or of the meaning of the well music? in the older styles before they de- her Bach series require several recitals in each town), she has always managed to reserve some time The Violin Has Been My Life He can give a hint, but he cannot give a veloped the idiom which best expressed for teaching, both privately and as a member of the Juilliard School faculty. In the following confer- complete realization. And the basis of their relationship with the world around ence, Rosalyn Tureck outlines her approach to Bach study. — Editor's Note ( Continued from Page 545) a sound technique is still—after all these them. The ambitious student must do years!—to be found in Kreutzer, Fiorillo, the same, no matter how great may be especially poetry. The violinist, if and Rode. If a student can play portance in learning to understand Bach. making the various lines speak independently and he music live, but he can, and must, learn these his sympathy with the modem styles. would be a success, must have imagina- studies accurately and clearly at “When the student has learned the individual lines fit together. He finds that, so far from being ‘dull,’ what the orchestra is doing. For if a the If he can play Mozart well, he will play tion, indicated this and great poetry is a wonderful violinist tempi, he is a fine violinist, (or voices) separately and in combination, I ask him many-voiced Bach is absorbingly exciting. He expects to play a concerto with he Stravinsky or Bloch the better for it. stimulant of it.” is a young artist. And of all to transpose them into all keys. This may be done finds that he has, not a ‘strong’ right hand and a orchestra, he must know everything the these studies, "Some people think the that the trend of Asked what he thought of gramophone most difficult, I think, is the first either chromatically, or in the circle of fifths. Again, ‘weak’ left, but two independent hands, each occupied orchestra will do. If he does not, he will of modem composition means that the records as a formative Kreutzer. What control, each voice is learned separately and then the two are with fulfilling its own fine of expression. And he finds influence, Mr. be bewildered and thrown off at the what steadiness violin as a solo of bowing Instrument has passed Francescatti said quickly, “To make rehearsal and lose his it must have! It deserves the ROSALYN TURECK combined. that he is able to think not in terms of hands, but of confidence at the hey-day of its popularity. I do not them or to months of practice. music. hear them? They are very concert.” believe “The next step is to turn the lines upside-down. The “These this. As long as Bach and Mozart valuable in both ways, you know. Every Mr. etudes, Kreutzer, Fiorillo, development of the Invention itself reverses the sub- “All these are great gains but the student is not yet Francescatti looked thoughtfully Rode, and Beethoven are right hand melody plus left hand accompaniment. — are still appreciated, so long student who has acquired a fair degree at his cigarette for essential to the training of ject; what I mean is to play the lines taking the bass equipped to play Bach! He must still learn to project a few moments, then the will the violin be loved. After the first hour, he may give it up as tuneless and of self-criticism young artist, but they And television should make a record said quietly, “It is strange, should be re- is in the right hand, and the soprano in the left (play- these lines, to make them sound. Again we go back isn’t it, how coming. This means that violin music dull. Naturally! The work was never meant to be of his playing every month or edited to conform to the ing the bass voice in the treble register of the piano, to the text, two. He things that can be a great help can also modern style can be taken that studying each line in terms of its own of technique. brought into homes where the way! will be surprised! He will find that some be a danger? Today we use the and the soprano voice in the bass register). Again, frame, its own register, its own rhythm. examine Records are like that. second simpler styles of “The ultimate goal of Bach study is to recognize We of the and fourth music will be preferred. effects that most please him do Listened to in the right positions much more than For each voice is learned separately and in combination, the shape of the individual lines in order to deter- spirit, they can the well-trained, imaginative violin- the several lines and to treat them simultaneously as not .come out at all; he will notice they were formerly used-yet and again the upside-down voices are transposed into mine the phrasing. for help so much, but if they are heard too who could ist there both independent The student sees each line as- ever have is a future in television. Of melodies and closely-interwoven the first time that some notes are out of often they played the E-flat all keys. suming its own shape. The clarity of these shapes can undermine the listener’s Concerto of course, it will parts of a unified whole. In other Mozart well be a great help to him if words, the lines tune; and he will hear himself doing individuality. if he was not “This is an excellent drill in applied polyphony, must be understood and projected the I have heard many ad- comfortable he is handsome!” must ‘sound’ in their own right, and also as the com- by performer, things that he m these positions? would criticize severely in vanced students since I have And, in modern and also an excellent preparation for Bach, whose own and readily heard by the listener. And the lively been com- The contagious enthusiasm which ponent elements of the whole piece. That, I repeat, is another violinist. And there will be music, we often have to play with times ing to America, and I could tell in two or Mr. development of his subjects uses all kinds of ‘turnings variety of these several lines that move simultane- that Francescatti had discussed these the goal. A long path of study precedes it. And the when he finds that he is playing even three positions at the better many of them had studied their same time ' around.’ Indeed, the many reversals and inversions in ously, keeps both performer and listener vitally in- records ailed topics r first step along that path is development sure, than But in Paganini, show ed no sign of abating: the of a he thought he could. To hear one- too closely. After we meet this, too Bach are the root of much of the ‘difficulty’ in under- terested. they had played five Take' indeed, it clean-cut, disciplined polyphonic sense. self for example, seemed to redouble when play is a great lesson! lines I the first five the knew that they had learned and measures of American “In my own teaching, I begin to build standing him! Thus, student who learns to put “An important part of Bach playing lies in an un- the Sixth Caprice: violinists were mentioned. this polyphonic “As for listening to artists’ records, memorized line into voice, at time, familiarizes every portamento, every trick American sense by asking the student to learn, by memory, the any any any him- derstanding of his use of ornaments. Any really ade- this, too, violin talent? It is marvelous, is most valuable, particularly of fingering, self with Bach’s idiom. learns to think contra- every little accent and ^ remendous! first of the ‘Two-Part Inventions,’ exactly as it is He quate understanding involves years of research into tf I have Last for the student who is not able to attend staccato been amazed. dot of their r puntally. favorite artist. And Jear I w as written. In memorizing it, he is asked to learn the entire subject of ornamentation—still, that, too, many concerts. one of the judges for the each From records- he can the result? A misfit just — as if they were Jacques Thibaud line separately, so that it can be played independently can be approached in a practical way. My owm be- learn the tempi, the style, ‘Grand Prix du Violon’ the—how do wearing Heifetz’ or Kreisler’s Further lief is clothes! A m Paris. There were and without the aid of the other line. Analysis that, in teaching, as few ‘orders’ as possible you say?—the ‘feeling’ of the pieces he student must contestants from never ape the manner- a over Europe “Now, this might seem to mean the familiar prac- “More ambitious students may well be encouraged should be given. I do not tell a student to play an is studying and of the masterworks —and one from America. it isms of an artist he admires; he e ornament this way or that. Instead, analyze must American won the ticing of each hand separately—and at this point, the to go on with this kind of work, separating and trans- we the is his ambition to play later. For the never copy prize. The others anyone, not even his own had technique, student must learn to change his posing the lines of other Two Part Inventions. I do treatment from the text. I explain the various laws tone, style, as mental approach. In advanced student, the concerto albums teacher. From the but he had records he can learn uch studying Bach, he must learn to think, in not advocate it with three part works. When they have (and exceptions) governing the particular ornament are very technique or more, a better tone, not terms helpful. If he does not live in the outline, the skeleton, of a sound as c ean a style of hands, but of lines and voices—soprano, alto, tenor, done so, they will find that thinking independently of in question, establishing what may apply and rul- a large city is —and he had personality he lucky if he hears the interpretation; but the con espress. details, the liv- an ln£hviduality bass. In the First Invention (as in most two-part each line has become a habit—that Bach’s idiom is ing out what may not. Often enough there is more Mendelssohn Concerto, or the , that expressed itself Beethoven ing flesh and blood, he must bring , to Here in one measure, ee 5 w-ithin the works) it happens that the right hand carries the getting to be their own. than one way of playing the ornament. I explain or the Brahms, played once with or- the music we are playing frame of the music. from within himself. If he can He soprano, the left this to the student: ask to chestra in three positions without was outstanding. and hand, the bass. But it is always “And now a second analysis becomes necessary. We him go home and mull during his student days; but if do this, his shifting playing will have personality far So the lines of development not it over, making his own decision as to what to play. as fingering is concerned, heard and the hands that are begin to find the independent lines crossing each other he has the records he can hear a great and individuality. verv little many other Americans K1 * e talen of prime consideration By the time he returns, he has accomplished m°bern music is ts were big ... a fact that is clearly and blending harmonically. We analyze the work har- a great performance any time he wishes to. Then, more complicated enough to make too, he must learn to criticize. The demonstrated in the more deal more than the merely imitative business intervals? amous - advanced works where the monically and see how the lines fit. Once the student of What an opportunity! Not only Ah, that is another If they have character, can he He must criticize himself severely for thing But what a study aSe, anc* voices do not ‘happen’ to fall into any familiar division arrives at this point, a number of interesting things doing what his teacher told him to do. He has exerted learn what the soloist does this is, this mucl1 Patience, they will to make the faults of technique or tone and for Sixth of nvt.;, T, er- Paganini! e ' of right and left hands. This I use it to But Pel'haps is of the utmost im- happen. He finds himself intellectually stimulated by personal thought on the ( Continued on Page 586) warm up before L these qualities are more rare than 548 "MUSIC talent. Who knows?” STUDY EXALTS LIFE" OCTOBER. 1947 "MUSIC STUDY EXALTS LIFE" 549 THE ETUDE — ——

Music in the Home Key to Key Music in the Home Charles “Complete Treatise on Transposition.” By octavo size.) Lagourgue. Pages, 68. (Paper bound, Publishing Company. Price, $1.50. Publisher, H. C. L. Bookshelf transposition along the lines Music Lover’s A short manual of The Etude but little known in taught in many continental schools is introduced to English. At the very start the student Clef) F Clef (Bass the various clefs-G Clef (Treble Recordings Alto Ciei, Master Clef, Mezzo-Soprano Clef, Clef) Soprano and Distinctive piano music, New Clef. Since, in Tenor Clef, and Baritone system re- Any book here these clefs are employed, this manner.” Walter plays this work even more only two of reviewed may subjective additional clefs be learned at the stait. be secured from did in an earlier recording, quires that five MUSIC Handel: Twelve Concerti Grossi, Op. 6; Busch admirably than he his that the student who has THE ETUDE smoother There can be no question MAGAZINE at the Chamber Players, conducted by Adolf Busch. Columbia treatment of rhythmic patterns is and more difficulties with mastered these clefs will find his price given on recording is superb . . . The Schumann of set 685. cogent, and the reduced. Your reviewer, while receipt transposition much cash or check. Bach: Brandenburg Concertos, Nos. 2 and 5; The Fourth, despite its less distinctive thematic material conservatory, was studying at a famous European Boston Symphony Orchestra, conducted by Serge Kous- when compared to his other symphonies, seems to us different clefs before obliged to learn to play in four sevitzky. Victor set 1118. more logical and more closely integrated work. Once he began a he could enter a class in score reading. Bach: Suites Nos. 2 and 3; The Boston Symphony Goossens’ performance is admirable for its vitality, and found the training very to study transposition, he Orchestra, conducted by Serge Koussevitzky. Victor recording is better contrived than previous issues many useful hints the helpful. Mr. Lagourgue’s book has set 1123. really . . Tchaikovsky’s “Little Russian” Sym- student who of the score . will prove most helpful to the not that man The orchestra of Handel’s and Bach’s time was is a friendly and likeable work, more Iflfjereditli Cad phony (No. 2) wants to learn transposition. ip B. the same as today—it was more intimate and far less classical in style and less concerned with dramatiza- Concerti Grossi spectacular. We often hear the Handel tion of personal emotions than his last three sym- modern Musical Medicine and the Bach Brandenburg Concerti played by phonies. Although Mitropoulos’ performance is one of the sense of teste; even orchestras but their suppleness of pace and fluidity musical attainments, the recording hardly Willem van de Wall. Pages, the agreeable stimulation of sustaining “Music in Hospitals.” By with. Color in of expression are best served by the chamber orchestra Founda- Round and Round substances are played does it justice. Our preference leans towards the earlier Publisher, the Russell Sage The Animals Go bitter and sour 86. Price, $1.00. ornaments is v for which the composers wrote these works. In the in pictures, in dress, and in set by Goossens . . . Two new versions of the Pages, nature, tion. . ,, W. Heinsheimer. literature, Adolf Busch’s per- , “Menagerie in F Sharp.” By H. life; so also is form, bo annals of phonograph “Pathetique” reveal widely divergent interpretative engaged so continuously in the of the enjoyment of Few men have been Publisher, Doubleday & Co. sculpture, and archi- formances of the Bach Brandenburg Concertos and the noted Dutch 275. Price, $2.75. and in drawing, painting, viewpoints. Coates gives the work a straightforward subject of musical therapeutics as a widely ex- objects the is an exceedingly clever book by become work but Suites are unchallenged, in our estimation, since he de Wall is not a This The music lesson may reading, admirable for its dramatic restraint, while specialist, Dr. Van de Wall. Dr. Van with many of tecture. duplicate the intentions of the composer, perienced man who has had connections reaches his highest mastery has sought to Doc. His musical woik artist in music ‘plays’ and Stokowski indulges in retards, accelerations, and dra- physician. His degree is Mus. musicians and publishing houses. music a and has played these works with taste and consum- several of the famous modern racial development of excesses which are far from cogent. If one and he has played with to through play. The matic owns started as a harpist by war conditions, he set out of play, when mate musicianship. Indeed, Mr. Busch captures the abroad. He Driven to America largely the spontaneous result a machine of wide range the Coates set will surpass great symphony orchestras here and noetry is facile qualities eighteenth-century mu- the career in a new world. of impulse, art evei elegant and of with social and health make a new genuine and a true expression the latter, but on the ordinary machine the fine Victor pioneered in music in connection with the famous Universal sic in a wholly admirable manner. His latest work colleges Associated for years of play. has been spent in carries the quality _ . recording will be most satisfactory. work, and most of his life Mr. Heinsheimer came undei the of play- the Handel Concerti Grossi—calls for the greatest prisons have Verlag in Vienna, exercise of memory is a variety Of the three modern symphonies, the Stravinsky is universities. Mental hospitals and figures in the “The cavil over and one of the most influential the charms of life. praise; only a hypercritical person would he was Head of influence of of reminiscence is one of musically the most rewarding, yet its appeal is not for his laboratories. After the War Hertzka, who as power It is the spirit of the been field in Europe, Dr. Emil memorize a great minor blemishes in the playing. Division Office of publishing Primitive man was a story-teller. We every man. Blitzstein’s Airborne is not really a sym- the Adult Education Section in the was the moving performances, the substantiation of the qualities of director of the Universal Edition, pleasure of memorizing. Recognition Government for Germany. the deal for the mere rhythmic charm, phony—it is a combination of dramatic cantata, opera, Military the great musical undertakings in possession, as in the the works—their melodic appeal, their with him in ob- force in most of feeling of warmth and symphonic Its is theatrical reviewer has been engaged privilege to gives a their nobility of expression which count and and poem. appeal and not Your time. It was your reviewer’s or the interpretation of and — clinical work which Europe of his fppreciation of the drama enduring, all many experiments in his he which Busch and his able players happily sustain. In and like works in which a narrator holds serving Hertzka at his home in Vienna and when the imagination is a the supervision of know Dr. historical events. The exercise of forth, the musical portion is apt to be devitalized. The always have been done under picking out and our estimation, this is one of the most important record Philadelphia. His astuteness in novelist lives with have made as im- visited of mental play. The effective performance is a — excel- physicians of standing. Few men little drama in form sets released in a long time. capable one the recording developing young composers makes a play illusion that makes the to musical therapeutics, and his characters. It is the . . . a contribution skill and Koussevitzky’s Bach is more luxuriant in tone than lent Shostakovich's Ninth owns a certain gaiety portant recounts this with be a standard itself. Mr. Heinsheimer and exhilaration, “Music in Hospitals” cannot fail to tor Busch’s, and more modern in spirit. Some of his but is musically trite. Most reviewers understanding. Nothing was quite too “modern” give the palm to Koussevitzky, the reference book. was suffi- tempos are jerky and he employs far more retards than but to our ears Dr. Hertzka, provided the public curiosity Kurtz performance has qualities smart enough to we like. His performances will appeal to those who like praiseworthy he cient to bring him a profit. He was achieves more exuberance, broader humor, condemned an opera a more opulent orchestral quality; they are excellently a touch of American Folk Songs know that if the critics violently and a carefreeness that is not as evident in the more dissonances, that opera recorded. arranged because it was a flood of of America.” Folk Tunes collected and see Bartok: Piano Concerto No. 3; Gyorgy Sandor and carefully polished performance of Koussevitzky, and “Sing might become a sensation and people would run to Scott with Text by Joy Scott and Wood En- ana The Philadelphia Orchestra, conducted by Eugene Schumann: Symphony No. 4 in D minor, Op. 120; the Columbia recording has an edge over the other. by Tom run to a fire. Once the fire is out 83. Price, $4.00. it, just as they The gravings by B. Brussel-Smith. Pages, to see it Ormandy. Columbia set 674. The Cincinnati Symphony Orchestra, conducted by fact that the Koussevitzky set takes only three the embers lay smoking, they have no desire Y. Crowell Company. Bartok; Violin Concerto (1941); Yehudi Menuhin Eugene Goossens. Victor set 1124. records to the four in the Kurtz set (the latter makes Publisher, Thomas inconceivable to many people how a pub- folk songs, has again. It was an unnecessary Mr. Scott, a well known singer of carnival of noisy and the Dallas Symphony Orchestra, conducted by Tchaikovsky: Symphony No. 2 in C minor, Op. 17; repeat in the first movement and ends lisher could afford to issue such a and arranged a representative group of ditties Antal Dorati. Victor set 1120. The Minneapolis Symphony Orchestra, conducted by up with only an inch of music on one disc face) may collected as Alban Berg’s “Wozzeck.” We learn from has set them to the excrescences be about as long a step influence most from various parts of America and financial suc- From Bach to Bartok may Dimitri Mitropoulos. Columbia set 673. in the Koussevitzky’s favor . . . The that "Wozzeck” was a they are available Mr Heinsheimer worth appeal of this Stravinsky simplest possible harmonies, so that these days, when as music can show, yet the and Tchaikovsky: Symphony in B minor, Op. 74 symphony, closely akin to his “Sacre du But where is “Wozzeck” given in song is preceded by cess. that the music lover need not fear the Printemps” in spirit, to a very large audience. Each wake of ugli- music is such (“Pathetique”); The National Symphony Orchestra, is a neo-classical work in which world is surfeited with the post-war spirit and background of the composers of all time, Bartok there is annotations suggesting the step. One of the greatest conducted by Albert Coates. Decca set EDA-21. Also “a lean muscularity of movement and an in- ness? reflect the folk spirit of our pioneers m in much of his music is so intensely subjective that the by the Hollywood Bowl Symphony Orchestra, con- stinctive agility in the execution of a precisely medi- the text. They in his lively American explorations There are thirty- Mr Heinsheimer, listener cannot grasp his import. But in these tated maneuver.” very direct and enjoyable manner. and grasps average ducted by Leopold Stokowski. Victor set 1105. The work has three movements the in music, finds an exciting field in music find the composer objective and imme- first of five songs in all. perspicacity. late works, we Blitzstein: Symphony—The Airborne; The New York which, a sort of Symphony Overture, is most the American picture with surprising accessible. The piano concerto is an exhibition- impressive price of the diately City Symphony Orchestra, RCA-Victor Chorale, Charles in its autogenous expansion; the second, an His report on Hollywood is well worth the istic work, whose outer movements have a rhythmic intermezzo, SEASHORE Holland (tenor), Walter Scheff (baritone), Robert has a delicacy of mood sans sentiment; book. DR. CARL E. suggestive of swing, while the middle movement is a Shaw (narrator), conducted by Leonard Bernstein. while the finale, the least successful of the three, is nature scene with a beautiful inner section. The violin Victor set 1117. disjointed and unrelenting in and Aesthetics transferred to its mechanistic drive More Musical writing artistic; and the same spirit is concerto is also a virtuoso score, wherein the com- Shostakovich: Symphony No. 9, Op. 70; The Phil- far too abstruse for its theater is by own good. The dramatic con- reading of fiction and poetry. The expressivity transcends his craftsmanship. The Beauty in Music.” By Dr. Carl E. Sea- the poser’s harmonic-Symphony Orchestra, conducted by Efrem tent and instrumentation of the score are in keeping “In Search of a playhouse. The imagina- Publisher, Ronald nature as well as by name blend of beauty and subtle rhythmic patterns in the Kurtz. Columbia set 688. Also by the Boston Symphony with the esthetic economy work shore. Pages, 389. Price, $4.50. the grotesque. of its composer. The tion invites play, even the shocking and slow movement make it of enduring appeal; the style is Orchestra, conducted by Serge Koussevitzky. Victor is clearly and Press Company. cn set realistically revealed in a splendid re- Imaginative play constitutes the charm of reverie, appropriately masterful in the long opening movement, for thirty-six yearn one of the leading 1134. cording. Dr. Seashore, musings and idlings. The child West, where he lo- mental romance, of and the finale is in the manner of a moto perpetuo. Stravinsky: Symphony in Three Movements; Ravel: Daphnis educational figures of the Middle in The and Chloe Suites I and II; The toys; the adult plays more — of the most plays with sticks and It would be hard to imagine a better performance of Philharmonic-Symphony Orchestra of New York, con- Paris Conservatory cated at Iowa State University, is one Orchestra, conducted by Charles score of men engage in action on the foot- than Stindor, a Bartok pupil, gives. of psychologists. He certainly images. A the piano concerto ducted by the composer. Columbia set 680. Munch. Decca set EDA-29. original and inventive replay the game in the vernal) ball field, while thousands has the technical equipment and, in the softer is goodly selection of degree of V.V. (venerable and He Here a symphonies. The Schu- Stravinsky: The Fire Bird Suite; Philhar- deserves the London of a pundit, grandstand. passages, the sensitivity of touch to make everything bert C major of the “heavenly length” is a work monic while he writes with the authority which Orchestra, conducted by Ernest Ansermet. Decca because, the most distinctive mental process, If you doubt this “The exercise of seem just right, and Ormandy gives him a smoothly “conveys on a grandiose scale,” as one writer (Mosco EDA-30. touch is as fresh as a teen-ager. his also be play or its close paiallel, a accompaniment. Menuhin plays the violin chapter “Music as Play,” in his reasoning, may integrated Camer) , has said, “and in a more objective way what Thomson: should read the The Plough That Broke the Plains— you guessing of riddles, the flash of wit, the art concerto very well indeed, and the Dallas Orchestra in the psychological importance game. The the lyrical miniatures (the songs of Die Schoene Muel- Suite; The Hollywood Bowl new book. He believes plays of thought. The Symphony Orchestra, con- crowning of conversation, and chess are all and Mr. Dorati give him fine support, but here one lerin and Die Winterreise) express in an intimate and ducted by play, all the way from childhood to the Leopold Stokowski. Victor set 1116. of enter distinctively into mental play, in that finds the solo instrument favored a bit too much. If deriving pleasure from music. Life emotions There is a volatility in Ravel years of life, of enjoyment of the play Munch’s playing of the THE ERIE CANAL writes: their very presence reflects the the reader has not heard these sets, we recommend ballet play is meaningless to Dr. Seashore. He music which is welcome. high-fidelity ma- without despondent misanthrope plays with interest and appeal. On a Song, source of play. impulse. Even the that he do so; they both own great chine, this An Illustration to a Folk “The stimulation of the senses is a recording brings out more color, nuance craving for bad news, tragedy, and misfor- in major; The Philharmonic- play. Sweetmeats a morbid Schubert: Symphony C and detail for Basking in the sun is a temperature of the score than other by B. Brussel-Smith ( Continued on Page 586) York, conducted by Bruno RECORDS will be heard from value but for tune. Indeed, we enjoy or Symphony Orchestra of New recorded versions are frequently eaten not for their food . . . The Fire Bird set also mag- 679. is "Sing of America" Walter. Columbia set nificently recorded, but on ( Continued on Page 600) 551 "MUSIC STUDY EXALTS LIFE" 1947 "MUSIC STUDY EXALTS LIFE" OCTOBER , 550 THE ETUDE — ”

Music and Study NE of the most common conveniences of the Music and Study damper pedal is that of sustaining arpeggiated O chords, thereby producing flowing harp-like effects. Frequently, in wide-spread rolled chords made up of many notes, the top notes are taken with the Short Cuts left hand coming over the right hand. In order for the left hand to return quickly to the lowest bass note of My daughter, age fourteen, has played the next chord these top notes may have to be released of Damper Pedaling the piano for five years. I Techniques started her, Table as soon as played. However, due to the sustaining and now she is studying Round with the best The Teacher's appear will not teacher in town. She is wonderfully gifted quality of the pedal these top notes and loves her piano; but she is bored by staccato or detached. It is important that the lowest the exercises, scales, and so forth, which sufficient high speed is reached, the count bass note of such rolled chords be caught by the pedal her teacher gives her, and I cannot get Conducted by is omitted.” and that none of the sound of the preceding chord her to practice them. I have two ques- WaMM tions to ask you. 1. Do you think that remains. one with her exceptional talent could do Faculty, University of Rochester Well . . . Well . . . My sincere con- Example: Chorale from Prelude, Chorale and Fugue,” Member of the without all that tedious work? 2. Is there ^bumeAnu Tfjaurice and thanks to H. some substitute, some special material gratulations j. K. for by Cesar Franck. which would be a short cut to technical his thorough, and perfectly accurate French-American perfection?— (Mrs.) E. D. S., Ohio. Eminent demonstration of that three-against-four article, "The Pedals The Soul of the Piano- Conductor, Lecturer never-ending bugaboo stirred up by Readers are referred to Mr. MacNabb's — 1. No. 2. None. Pianist, Chopin’s I’m Always Chasing Rainbows; prin- forte," in The Etude for September 1947, giving opinions upon the fundamental and Teacher excuse me, Fantasie-Impromptu. It is mathematically sound, and absolutely to Wants Dehussy Etudes ciples of pedaling. —Editor's Note. the point. But there is a fly in the oint- I am an advanced piano student, and ment, and here It is: speed. In the March have studied a number of years with Etude, issue of The after suggesting a by a brilliant, moving pathetic vibrations are strong enough to overpower master teachers. I love Debussy, but on’y When a melody is supported similar process for the rhythm of two Miniatures, the vibrations of the unrelated tones. until recently have I developed great ad- devise a program which would prove (Example: Reminiscence, from Three miration fcr his “Etudes.” I have your against three, I said: "This method, how- Example: Choral from Prelude and Fugue, Op. 35, valuable for both progress and entertain- Hanson.) book on “How to play and teach Debussy” ever, cannot apply to three against four, Brilliant powerful chords, widely spaced, which often will ask and No. 1, Mendelssohn. and it has helped me a great deal; how- ment. Friends and visitors for the placement of notes is too frac- must be played with a sharp staccato in rapid tempo ever, as the “Etudes” are so entirely dif- a child to “play something,” when they ferent from other piano compositions that tional." All goes well and smoothly, of are made to appear legato by. the use of the damper call. This is an issue well worth consider- he has written, I would appreciate, from course, as long as the student proceeds at pedal. Examples may be found in the fclosing measures preparation ought to be you, a little more detailed advice on the ing, for which a snail's pace. But at this stage the mind of Etude en Forme de Valse, Op. 52, No. 6, Saint- correct approach as to the pedaling, phras- made. If you have a complaint to make, ing, playing is too deeply absorbed in counting and Saens, and in the opening measures of Tchaikovsky’s and tonal colors when these Correspondents with this Depart- or a request to present for more coop- difficult works. : G. D., Ohio. ment are requested to limit letters following the arrows to permit any bene- Concerto in B-flat minor. eration, by all means avoid the tele- to One Hundred Fifty Words. and fit to the fingers themselves. Then if one When you call the Debussy “Etudes” phone. The tone of a voice may sound so tries to gradually increase the speed of In pedaling a melodic passage, consideration must differently that way, and a smile can- difficult, you're putting it mildly! Why . . . the count, it becomes something of an be given to both the harmonic changes in the accom- they are more than difficult, and I can not be transmitted over the wire. A inextricable tongue and finger twister paniment and the interval relationships of the melody hardly find adjectives to describe their But you will be on the right path if you proper personal approach may well from which little, or nothing at all can itself. Chromatic and adjacent notes may demand accompaniment, or when the melody is intermingled unbelievable resistance to the best de- follow, amplified and carried further, the eliminate most of your trouble. Of course be expected. In conclusion: this particu- individual or no pedaling, according to the tempo; with an arpeggiated accompaniment the pedal is indis- principles used in Debussy’s great works it is not advisable to “let the pupils do as when chords of identical veloped technic, their perilous, slippery accompani- There are times a prolonged lar difficulty is tricky in more ways than (Examples: Sonate, Opus 27, No. 1, Adagio con espres- pensable in sustaining both melody and ( pianistic realization which causes one to of the second period Images , Estampes, they please and say nothing,” but when harmony demand consideration for a change of pedal one, for I have seen mediocre students sione, Beethoven.) ment and in giving the hands freedom to execute both. feel insecure, as if “sitting on the edge and Preludes ) . Tonal research, careful you do say something, try to use your because the intensity of their sympathetic vibrations deal with it easily and without any Example: Polichinelle, Op. 3, No. 4, Rachmaninoff. of the chair,” their tremendous pedaling adjustment of sonorities, and sensitive most convincing manner, bearing in interferes with clarity. An example of this may be trouble, while others, far better gifted problems, their awkwardness of hand pedaling are in order, with the discreet mind that a little touch of humor, used noted in the opening measures of the Tchaikovsky by nature, could never get their fingers and finger positions, to mention only a flexibility, the “discipline within liberty” properly here and there, can perform Concerto in B-flat minor. to overcome it. Let’s not be pessimistic few characteristics. And to think that it recommended by the master himself. miracles; and that, above all, “a soft as regards the latter: A Song to Remem- was all planned by Debussy, carefully, answer tumeth away wrath.” The damper pedal gives great brilliancy to runs, ber will soon be a thing of the past, the purposely, and wilfully! “I am going to Parent-Teacher Relationship Finally, and for a complete survey of cadenzas, and rapid passages. In rapid fortissimo Fantasie-Impromptu will regain its nor- make trouble for the pianists,” he de- Is it possible for you to explain why relationship between teachers, parents, passages (the pedal should never be used in slow scale most parents fail to understand mal place, and they can well afford to clared with a twinkle in his eyes. “The a music and pupils, may I refer you to the excel- passages, for obvious reasons) a terrific din or flourish teacher? They want their children to learn leave it alone, for the pianistic litera- Etudes will be an excellent ground for lent book by William Krevit: “Music for thoroughly and play well, yet, when the of sound is created. Whenever the blur is too unbear- establishing new interesting pianistic Your Child.” ture—Chopin himself—is rich in master- teacher appeals to the parents for coopera- Details concerning it can able (unless this disagreeable detonation is specifi- records.” To this I will only pieces which will bring as much, or add two tion with regard to better practice, they be found on Page 191, April, 1947 issue cally desired), changes of pedal more, will be necessary. In words: “And how!” Nevertheless, let’s become hostile and usually stop the child’s of The Etude, satisfaction and reward. where it was reviewed and pianissimo scale passages the result is like a delicate lessons. The teacher is condemned mention quickly that all efforts spent on with- highly recommended out a hearing: she is wrong, and the pupil by B. Meredith (Example: Etude, Op. 25, No. II, Chopin.) these complex, unusual compositions will is right. Would it be advisable to let the Cadman. 1 ircd not be wasted, for I know of nothing else pupils do as they please, and say nothing? Hands Ex. 9 that can bring such extraordinary re- Cannot parents understand that their help I am a normally is needed at times, and that the teacher Afore on developed girl of twen- sults in all aspects of technic. They be- Three-Four Trick cannot perform miracles? ty-two. My piano lessons started when I was long to what might be called Debussy’s — (Mrs.) F. E. M., Oregon. Rhythms eight. When I was twelve our family third period, entirely different from his moved to another town where no piano “In teacher was available, and then on previous elusive, delicate style. Here we a recent issue of The Etude,” writes from H. J. such lessons as I had and far I K. of Wisconsin, “you explained were few whereas melodies of a chordal character may need find everything : tragedy, humor, bravura, Frankly, do not think that your gen- a between. At present I regular method of procedure in learning the am having pedal. pedal is abso- eralization is in keeping real condi- three lessons, fewer changes of The damper an exquisite effect be obtained in pianissimo dissonance, polytonaiity. Let me quote with against four but here is trouble: in playing An may rhythm which is found in my tions, or does justice the Chopin's long octave or lute necessity if a melody with staccato chords for its of adjacent notes by changing the Debussy himself: “I have put much love to parents. Fantasie-Impromptu. This method tremolo passages, the mus- melodies made up should be cles in my forearms harmonic background is to be sustained. and faith in the future of the ‘Etudes’,” Those whom you describe are the excep- effective in most cases. How- tire very quickly, pedal only as the harmonic background changes. Such ever, if the difficulty causing loss of power in the fingers. My Example: Scherzo “It it tion, rather than the rule. should persist with Trio from from Sonata, Op. 5 in insignificant if pedal were he wrote. my conviction that it is Many parents unusual teacher melodies would sound the stubbornness the following method says it is lack of strength and feels minor, Brahms. unnecessary to bring additional gloom to are cooperative and understanding. There that it F changed on every adjacent note, or were omitted en- may be used as a last resort: may be overcome by practice, but technic in order to appear serious-mind- are, in particular, many mothers who are all my efforts fail to produce satisfactory tirely. In similar melodies played fortissimo, the pedal results. ed: a little charm has never harmed musically inclined, who took lessons in How should I go about acquiring should be changed more frequently than even the that badly needed strength? May I also anything, as Chopin has already demon- the past and continue to play the piano harmony dictates. have your opinion on two other questions: strated. Truthfully, this music hovers in the present. Many fathers 1. likewise Does typing harm my hands for the Example: Nocturne, Op. 9, No. 1, Chopin. above the summits of pianism.” Then love music, even if their tastes lean more piano. What specific activities should a pianist Debussy continues: “When I play the toward popular tunes than toward the avoid? 2. Is it true that washing one s. hands when (after ‘Etudes’ my fingers sometimes balk in classics. But in most cases, both father they are tired practicing) is injurious? The doctors sound. Generally speaking, volume and front of certain passages, and I must and mother are proud of their children, breath of whom I have consulted have conflicting ... „ ...... „, IU Lue velocity are considerations for pedal changes in scale catch my breath as if climbing a moun- and eager for a constant betterment of ume rei opinions.— (Miss) K. A. M.. California. for one note of the triplet tain. beyond their their is one-th and running passages. Obviously, slow speed and great But mechanical ad- accomplishments. Consequently, a beat. If one-twelfth of a beat is u vantages, I can say without boasting progressive piano teachers the common It seems to comes volume will require more pedal changes than great should make interval of time thi me that your trouble ttiese intervals are not velocity and little volume. that I am happy to have created a work it a point to analyze the parents’ psy- counted for eacl so much from a lack of strength, as teenth note and four intervals which will occupy a special place, for the chology little are cc from a lack In ascending scale passages with a changing har- a more closely. It differs each note of relaxation and flexibility! Of the triplets, as ind ‘Etudes’ will also enable the pianists to greatly from one home to another, above.J Perhaps in your monic background of chords the pedal must be changed of The student counts one-two- practice, and your efforts better understand that one must not course, and four-and so forth, to acquire Related tones are those which vibrate sympathetic- to coincide with the harmonic changes. Without any each situation should be up to twelve. I strength, you stiffen up; and count of one, he enter the kingdom of music equipped handled accordingly. Why not become plays C with the this goes directly against your aim. In ally with tones and overtones of one harmony. Tones pedal the scale passages would sound dry and the Wlth th ' eft only with fearless hands.” more acquainted with hand - sim« your place, unrelated to a certain harmony will not vibrate sym- chords would be disconnected; without the correct the families of ouslv^tously. At ^hthe count? I would study alternately of four, he Dl It is impossible, of course, to give you your young students? with the plain, pathetically with it. However, related and unrelated pedal changes the chords would be submerged Then you would right hand. At the counto and broken octaves, in all keys, in he plays detailed advice on the approach to an feel exactly what musical diet to use in D with the left hand, without looking In such instances the pedal is depressed just after tones may often be pedaled together advantageously, muddiness. as and for volume of tone, or indicated by the arrows. adequate performance of the “Etudes.” each case, and it would be up to you to The sn< much speed. each staccato chord has been sounded and released. particularly when the related tones and then- sym- Caution must be exercised (Continued on Page 588) the count is gradually The value of scales in broken increased. \v ( Continued on Page 585) 552 "MUSIC STUDY EXALTS LIFE" OCTOBER, 1947 "MUSIC STUDY EXALTS LIFE 553 THE ETUDE Music and Study HY DO WE not understand the diction of Music and Study singers? Is it not possible to ennunciate dis- W tinctly without sacrificing the vocal quality? These questions are being asked over and over by the music critics as well as the laymen. For years many have been of the opinion that the Memories English language is difficult to sing. Today that idea Speech and Singing My Hall of is being challenged by some of the ablest educators in the field of song. We kno\V that English, well spoken, results in beauty of sounds and melody. If one is able to effect such good results when speaking English, why I Have Known Famous Singers is not the same medium, correctly used, effective for singing, which is enhanced speaking. Since the majority singing teachers believe that singing and speaking of Author of "Sing Your Way to Better Speech" are closely related; since many in the field of speech advocate singing lessons for the speech pupils; and since these ideas are being accepted more and more, is it not timely to consider the correlation of these two Eminent Operatic Basso and Teacher Miss Walsh has been an instructor of speech at many colleges, including Ladyclift, subjects in our schools? The idea of correlating singing of the Metropolitan Opera Company Mount Saint Vincent, and Hunter, and is well known as a lecturer upon her subject. Former Member and speaking is not new. Centuries ago Cicero said that —Editor's Note. the way to fine tone production is by way of correct pronunciation. Today we do not acclaim any one a true artist in either speech or song unless he communicates and ab- agility or lack of response in the muscles, the variety his message in a manner that can be understood. An larger intercostal and those of the diaphragm Part Two elasticity it will of tones, emphasis, and projection. These factors can indistinct speaker annoys us. But somehow we have domen are free to respond. With such breath. To be carried over readily to speech. The development of taken for granted the indistinct diction of the singer. not be necessary to force a deep intake of breath against the dia- range, flexibility, volume, and resonance in the singing How often do we sit an entire evening listening to songs tell the pupils to pack the to push or hold the muscles of the abdomen, classes would prepare the pupil to respond vocally REETINGS! Greetings! It is very gratifying to cati and fioratura passages were always delivered with without words. phragm, results in constriction of the when speaking or reading, or when interpreting lit- see you all back with some newcomers. Let us dashing technique, it was practically impossible for In the age in which we are living, it is of the utmost or to hold the breath, only parts pushed or held. It needs no discussion to con- erature. In this basic voice building, singing lessons G continue our visit of this Gallery of Fame, and her to sing competently any andante so frequent and importance that we transmit our thoughts clearly and distortions cause hyper- would be of supreme benefit to the pupils in the speech by the way, these words make me call your attention so remarkably beautiful in the great majority of the distinctly if we wish to effect better understanding and vince anyone that such may delicate muscles involved in voice classes. It is a vision now but let us hope that in the to the fact that a person can be famous without being coloratura operas, particularly in those by Bellini and cooperation among world groups. For this reason, tensions of the more not-too-far-distant-future, speech and song will be "great.” Please keep this in mind during this excur- Donizetti. speech training is taking a paramount place in the production. used for the singer taught in the same department in our schools. sion of ours. Which at this point brings us in front Contrary to what happened to her colleague Melba, well organized curriculum. Song has always been recog- Up to this point the techniques similar. at no time does the What can the speech teacher contribute to the sing- of a famous cantatrice: Luisa Tetrazzini. Luisa Tetrazzini never enjoyed the admiration of her nized as a universal means for communication of feel- and speaker are However, speaker ever attain the heights of pitch levels required ing teacher? Nothing will give the pupil such an exact I do not understand why the character of Rosina own countrymen, the Italians. Here is an example: ing. But the singer rarely communicates his ideas. The intervals of pitch are never so wide. picture of the forty sounds of our language as the from the “Barber of Seville” was chosen for this paint- In the fall of 1913 the popular and distinguished con- poor diction of singers and the inadequate voices of of the singer. The is quantity of the vowel or the continuant study of the International Phonetic Alphabet. This ing of her, because Rosina was certainly not one of ductor, Maestro Campanini, brother-in-law of Luisa speakers are convincing leaders in education that these Nor the long in speech as in song. The scientific approach to the language sounds is a most Tetrazzini’s best operatic presentations. Her stage and well known in New York and Chicago, arranged subjects should be more closely related in both the ele- consonant sustained so musical instrument helps the pupil of song to attain efficient method for training the ear and for teaching mannerisms and her stocky figure were certainly not a series of operatic performances for the special pur- mentary and high schools. characteristic these elements. It is the recognition of these elements the accurate placement of the speech patterns. The of the sparkling, gracious, aristocratic pose of introducing that kin of his to the public of Rosina. And I well it, for Similarity in Speech and Singing Techniques that the speech pupil needs. Roman alphabet is totally inadequate. It has only know in 1908 I made my Parma his native town, which by the way, boasts the very first appearance is completely unaware of the physical twenty-six letters to represent forty or more sounds before a New York public, singing privilege of having one of the most exacting and bold When the modern singing teacher tells us that good Because he the role of Don Basilio in that Rossini preparation for speaking, his tones are often throaty in our language. Spelling does not always indicate masterpiece operatic audiences in Italy. On that occasion the role singing and good diction are synonymous; that good opposite her. and thin. This lack of volume is no aid for distinct how words should be pronounced. The following words of Don Basilio was entrusted to me once more. diction results in correct tone placement ... is it not will not are spelled differently yet all the Tetrazzini’s vocal instrument was a very peculiar timely that the singing and speech teachers become speech. He may think logically but his voice have same vowel one. range. Rarely does sound: euchre, Lou, Sue, few, through, too, two, do. Wonderful highlights next to deplorable short- An Unjust Appraisal aware of the close relation of their subjects and the respond as he has little or no vocal comings. High and superhigh change pitch levels. The result is monotony in both The next group is spelled alike and the vowel sound tones of exceptional bril- The evening of the opening performance, on entering contributions they can make to each other. he liancy and outstanding size for reading and speaking. Because he has had no ear is different in each word: through, would, thought, a coloratura, next to the beautiful and historic royal theatre of that city Place the fundamental needs of the pupils side by a gamut of low and middle tones of training he thinks of emphasis as mere exaggeration. though, rough. The foreigners are helpless. The sing- white, lifeless, of Parma, aligned on both sides of the corridor to the side. Are not their problems identical and their be- and childish production. There were An exercise which is illuminating to the speech pupil ing and speech pupils are confused because the letters two distinct con- dressing rooms was an array of splendid baskets of ginning techniques similar? The astonishing thing is trasting voices in one. Furthermore, while her stac- is the sustaining of the vowel or the continuant con- do not give the exact sounds as heard in the correct ' flowers of all shapes and ( Continued on Page 592) that the singing and speech teachers have not worked 0S"‘ M resonance pronunciation of the word. Nor do letters « ME together long ago. When a normal pupil (one who has sonant to a music note until he hears the the of the Roman alphabet tell OWM* no physiological or structural deficiencies) begins to of the sound. Another ear training exercise, in which him what to do with his tongue is set to music, and lips in order to make the desired sound. study speech, what is discovered? Usually he has no the drill on the sound to be learned CLEOFONTE CAMPANINI idea of basic conditions for tone production. His mus- helps to establish basic conditions for tone. A response Former singing the drill which never could be Study Phonetics Director and Manager of the cles may be flabby from lack of use or tense from mis- results from Chicago Opera Company, as sketched use. He has no conception of breathing in relation to attained by the mere repetition of the sound on a The phonetic alphabet gives one letter and one by Enrico Caruso, peerless tenor. tone. He uses only the area from the mouth to the top speaking pitch level. For instance the singing of any only for every sound. Each letter is a symbol for the of the larynx when speaking. Many pupils are not one of the following sounds p-b-w-f-v, combined with organic placement that will bring the desired auditory aware even of those parts. That speech is a function the sound a as in ah, up and down the scale or to result. So accurately has it been worked out that a of the total organism is an entirely new concept. The some familiar melody, will not only train the ear to departure from a rounded position of the lips as, for first step is to awaken the pupil to an awareness of hear and discriminate between the various sounds but instance when producing the sound of oo as in loom, how he is using his vocal instrument. He is taught to will free the muscles around the mouth and jaw in- results in a flat tone. If the front of the tongue is low relax, to free the muscles from constrictions and to volved in the production of sounds. The same approach instead of high, lat and gat are heard instead of let become aware of the responsiveness of the entire being. can be used for the tongue and teeth sound th or the and get. If the back of the tongue is depressed, when This release of tension helps him to realize that breath- tip of tongue sounds t-d-l-n. Any of the sounds of the saying love, the word is distorted into lahve. And you ing is a total functioning and to recognize the feeling language may be repeated in a simple jingle and set to are all familiar with the halind that should be hand. that accompanies freedom from strain in the region a melody. In the following example the chorus of Such distortions make it evident that the singer is of the throat muscles. Such an approach is of para- Jingle Bells is used. straining to open his throat at the expense of losing mount importance in the beginning for both speaker Peter picked the pepper's sweet. the vowel value. and singer. Put them on a plate; A study of phonetics gives exact directions for clean- In the November, 1945 issue of “Voice,” Alfred Lukin Bobby baked the bread and beans cut and distinct consonants. It classifies them, telling where says; “There are two prime problems in the mechanics But it was getting late; and how they are articulated, whether they are of voiced or voiceless, learning to sing. One is breathing and the other is Papa peeled the peaches bright, stop-plosive or continuant. Exact di- rections the vowel.” And he adds that the learning of the sim- Put them out of sight; are given for raising or lowering the back or ple technique of vowel formation makes it possible to Bob was grumbling, Pete was mumbling front of the tongue when making the vowel sound. Such control the cavity, and these perfectly formed cavities We have appetites.* suggestions as placing the tone in the front of the face, or vowel patterns result in better resonance. singing the vowel in the head, or focusing The only While singing they observe the need for breath, the the tone on muscles that we are able to control and shape are those the lips may be good kinesthesia but leaves the pupil with in the pharyngeal and mouth area. This will be dis- no accurate notion of what he is doing. The coordinat- *By permission of publisher E. P. Dutton and Co., Inc. cussed more in detail later. ing and functioning of the muscles to produce vowels From “Sing Your Way to Better Speech.” ALDA I should like to add to these two, another prime fac- and consonants, the agile transfer from sound to sound, tor . . . release of tension of the muscles. As said before, and the auditory discrimination must be automatic. when they are free from constriction, they will respond It wall take hours of practice. Because of this, the readily to the vowel moulds, and transfer from sound to correlated singing and speaking should be present- sound with agility. But more important than all, VOICE ed in the elementary grades during the formative breathing will find its proper level only when the years in order to train the (.Continued on Page 586) ''MUSIC STUDY EXALTS LIFE '

THE ETUDE OCTOBER. 1947 "MUSIC STUDY EXALTS LIFE’ 355 Music and Study Music and Study level of achievement. This should not be interpreted to mean that 'N A CERTAIN sense it is idly we sit by and wait for the something of a liberation to insight. Much hard work is nec- r stop formal piano lessons essary to help bring about and to continue practice on our the insight and to be able to take own without benefit of a teacher. advantage of it Teacher when it does New, Progressive Material for Organists Essential as a teacher is, there Studying. Without a come. are many things in the teacher- (3) . Because of orientation pupil relationship which keep we have another reason for trying us from realizing for ourselves progressive article re- to get the feel of the Dr. McCurdy, in the following very the true values of music. Under teacher we whole a are composition garding organ materials, notes many new works of signal before trying to cramped in many ways. As a rule our assignments are The Etude has stepped aside momentarily from its Inj iljehi difficulties. Only in this way interest. definitely fUnan master its we come to see laid out for us. We are told what to practice historic policy of not mentioning proprietary publications, Inj client nder 1 1jcC^nrJt the relationship between the parts. Only in this way and how to practice. The genuine aim of practicing Dr. McCurdy has a definite principle he desires to state. ourselves with as of can we provide a background to which unending debate in musical for its own sake is complicated by extraneous ends. Of the Piano Faculty There always has been an Editor of the Organ Department can relate the parts. favor strictly formal education We can now see music for what it is a we education between those who — new world College Fresno State Finally, it is better that our efforts the informal. We knew a Gypsy vio- full of rich treasures which are ours to explore and (4). to learn a and those who prefer fabulous given bit of material be separated by a period of linist in Budapest who had a glorious tone and a acquire. We are now free to explore them as we will. time. of unconscious techric, but had never had any formal musical education. We have experienced a musical awakening. But with This is true because learning and men- fact, he could read music only with considerable difficulty. clear. could take this quick begin- played clumsily by a discriminating novice, can arouse this freedom tal fatigue. In so The student who comes an obligation—the obligation to who has not had a formal training In general, the student ning course may regret it some day and no doubt the a joyful enthusiasm in the player. This is good peda- choose for ourselves an intelligent of practicing. way very likely to find himself at a definite disadvantage late Analysis of a New Composition is teacher will regret it even more. When we teach, we gogy, and is sufficient reason for including a few The old methods of practice are no longer suited to career. Old Father Stainer states this very clearly in in his must take into consideration the average student, and favorite tunes.” Mr. Jennings has a very interesting the new attitudes and purposes which we have. There Let us now show these principles in action by ana- his method, "The Organ": "There are two ways in which the teacher must use good judgment as to the proper approach to the two systems of pedal playing. His is something in us which makes us want to find a lyzing the learning of a new composition. This falls time may be devoted to the practice of a musical instru- is which too is, difficulties should select for the student in mind. We pedaling of the scales something upon more suitable way of practicing, one more consistent naturally into six stages as follows: (1) Exploration ment. The first and most common to avoid the method he present themselves, and to be content with mastering have real responsibilities as teachers, teachers of any little emphasis has been placed. He makes excellent with our new viewpoint. stage; (2) Whole-feeling stage; (3) Moderate tempo which Just so much of the art of playing as will afford a little instrument or subject. Many times we take teaching suggestions about the playing of hymns, chants, and In the hope that it may help some of us in this playing stage; (4) First wave of memorizing; (5) Sec- amusement; the other is, to face at once the special difficul- teachers we per- chorales. I like his suggestions on registration for the search, I would like to present a few ideas that ond wave of memorizing; (6) Polishing and much too lightly. I fear that as organ have perfecting. the instrument and persevere until they are sur- ties of haps have more responsibility than others. beginner. come to me as I have tried old . Exploration Stage to revamp my methods. (1) —The aim of this stage is to mounted. By the former, a player cannot possibly rise I have found that The study of the organ is a tremendous thing. We the learning of a new composition see what the composition is all about. The procedure above a very mediocre standard, and his performance will Handicaps in Organ Study who teach the organ need good ideas as to teaching. I falls into six stages, and that if I am conscious of is to go through the composition, practicing enough on never receive higher praise than that of being called are constantly have an idea that many teachers do too little research. these stages as I practice, my efficiency in learning the problems presented to get acquainted with them, tolerable; but by the latter, the highest excellence will be The difficulties in studying the organ and joy in practicing the student will only be limited in its places to practice, the lack of stand- don’t study the methods that we do use; we can- are increased manyfold. Before but not lingering over them. There will have to be within reach, and before us, such as, We presenting these stages, attainment by the amount of natural talents with which instrument, and many others. Some- not do the things that we expect our students to do. however, let us discuss as a some concentrated practice on many parts to play ardization of the background, a few principles he may be endowed. once when he sees It would be good for us to take refresher courses, even of learning which repre- them at all, but there is no attempt to join the times the good student gives up at parts. instrument offers such a temptation to triflers sent the laws "Perhaps no if we give ourselves the course. of the mind as it operates in learning It is not to be understood that the the difficulties he must encounter. One w'onders how composition must as the Organ, for the obvious reason that an immense any material. be we get as many good organists as we do. There is no gone through in one sitting. But one should take up variety of tone can be produced on it by merely mechanical One basic assumption underlies all that follows. It doubt that it is easier today than it was when I was a Recommended Material where he left off each day so that the whole composi- means. Hence it is of the utmost importance that the student is, that learning to play the organ for a new composition on the tion will be gone through in several days. This pro- should take his first steps in the right direction." boy, and had to hire someone to pump I wonder how many have read "The Contemporary piano is a mental process, just Editor’s Note as any other act of cedure provides the frame of reference and orientation — practice. Organ” by Barnes, Schweitzer’s books on Bach, or learning. It has the same characteristics; the same so necessary to effective learning. It also cuts out wasted The need for preparatory work in connection with Wallace Goodrich’s book on “The Organ in France”? laws apply to it as to learning a poem, solving a prob- importance. It list effort due to mental fatigue, since it follows our natural the study of the organ is of the utmost Other books which should be on our must as organ lem, or mastering a school lesson. Applied to learning one should even study teachers Audsley’s books, Caspar Koch’s interest and curiosity to know what is ahead of us. is quite generally agreed that no are G. A. "The a difficult passage on the piano, this would mean that (2) HERE are teachers of organ who say that we do the organ without a good background on the piano, as Organist’s Gradus ad Parnassum,” Ernest M. Skin- . Whole-feeling Stage—Here the aim is to get the the passage is mastered as the mind absorbs it; a formal method for teaching feeling of playing through the composition without not even need we have mentioned in these columns before. To have ner’s “Organ Stops.” The following methods, in addi- absorbs it so completely that there is control over thoto by Chidtutff titudia of the students who study the organ. We Inventions are certainly worthy of our stumbling, at a moderate speed, with notes. This will T most at least studied the Two and Three Part tion to those mentioned, every movement involved. Only when such mental there are many students who NORMAN MEHR necessitate more practice on the technical problems, know perfectly well that by Bach, and to be able to read at sight, reasonably study: Marcel Dupre’s “Organ Method,” Edward Ship- control is acquired can we have confidence that we teacher or anything but still no attempt to master study the organ that no method* well, is a prerequisite. One has a “mill stone” around pen Barnes’ “School of Organ Playing,” Clarence have tr*ly mastered them even at a moderate a passage. this is largely a mental of them. However, there process. In learning a piano tempo. Just enough practice should be done so that the else will ever make organists his neck, if he cannot be relieved of technical difficul- Dickinson’s “The Technic and Art of Organ Playing;” composition, for example, the more one perceives of composition will go through are many, who can be good organists, but who need ties in the manuals when he is studying the organ. “The Liturgical Year” (Forty-five Organ Chorals) by Apply Principles of Learning to Practice ; enough to get the feeling the form of the composition and the more clearly one of formal methods. At any rate, I have heard some fine should keep his edited the whole composition and realize some of its musi- And, as we have said before, he up Johann Sebastian Bach, by Albert Riemen- Perception is the mental process which sees the relationship illustrates of the passage he is trying to cal possibilities. players who have never seen Stainer or any other work on the piano. If this isn’t true, one will not know schneider; “Six Organ Chorals” by Schubler, also the workings of the mind in relation to learning, learn to the whole composition, the more readily and (3) . book of instructions. which hand is which, and which foot is which, when edited by Riemenschneider; “Eighteen Compositions Moderate Tempo Playing Stage—Here the aim better than any other process, since it is so clearly and accurately wfll he learn it. is There are a good many teachers of organ now who he puts his hands and feet together in his first trio for the by Robert Elmore; “Eighteen Choral to gain accuracy at a moderate tempo, still with Organ” easily observed. It is the act of understanding Motives and aims or are important to the learning claim that if the student hasn’t had a complete “go- for Sebastian Bach, edited notes. It seems necessary to include this in a sepa- the organ. Preludes” by Johann by Edwin grasping the meaning of any object presented to our process. Learning is efficient most when the material rate over” of Stainer, there is no use trying to advance of Early year compila- stage because it represents aim. In the Harold Gleason, head of the Organ Department Arthur Kraft. next a noteworthy senses. When a person looks out the window is directly related to a new and one’s motives and interests. As further. That may or may not be right. As I under- tion, second stage our aim is to composition the Eastman School of Music in Rochester published entitled “The Church Organist’s Golden Treas- recognizes a moving object to be an auto, for aims, efficient learning get through the he has demands definite and im- stand it from friends use no formal method, in spite of technical inaccuracies. over them my who a “Method of Organ Playing” which is altogether com- ury,” edited and annotated by Dr. Archibald Davidson perceived the auto. His mind takes the mass of sensa- mediate aims. Remote generalized aims To linger must be broken too the system used generally is to give the smart student plete. It is best. Pfatteicher, will be published in three tions presented long in the second stage would Interfere with the one of the very If a teacher uses this and Dr. Carl to his visual senses and organizes up into definite and immediate ones which are tangible purpose. It would a little outline of the pedal board, a good posture, book carefully, and watches his student diligently, he volumes. Some excellent studies for pedal have been them into a meaningful pattern. The automobile and capable of being not be in line with our natural in- realized. explain toe heel, and start terest which is not yet about the use of the and will certainly have a complete understanding of his written recently by H. William Hawke and by Flor stops. Our subject looks at it again and sees that is Unconscious ready to concentrate on tech- it learning is the final factor to be noted. nical problems. him on a hymn or two. The teacher marks rather instrument. I commend it most heartily to teachers Peeters. All of the material mentioned may be pro- black. As he continues to look at the car, The With the second stage completed, we he perceives mind continues to work on a problem after we are ready and carefully, for the first, every toe and heel. The student who do not know about it. cured through the publishers of The Etude. its other qualities. He notices that it is have interested in trying to patch up some a sedan and consciously ceased to work on it. Many times we of is expected to practice at least two hours a day. About that its the difficult passages. some The course in organ playing given last summer in body is streamlined. He may then notice the have awakened in the morning with the There will still be solution to a passages that the third week, these teachers start the students on A Beginner's Book Methuen, Massachusetts, must have been an inspira- make of the car and the color of its tires. Thus, problem which will not yield even at moderate tempo, we see we could not solve the night before.' a but we must some of tlie less difficult Bach Chorale Preludes and is a book published this past tion. forty organists, from all over the that perception does not take place step by step, add- leave these for the following stages. There new summer There were before it, student creditably, ing various (4) . First one knows the has done called "First Elements of Organ Technic” by Arthur United States, to study a week with Ernest White, a details together to form a whole. Rather Summary of These Applied Principles Wave of Memorizing—By this time much of the the Eight Short Preludes and Fugues. As we see it, Jennings, Associate Professor the whole is perceived first as a unit and then the these composition probably will memorized. B. of Music, University week with Carl Weinrich, the same amount of time From principles we can derive the have been various following Perhaps although carefully watched by the teacher, it is not of Minnesota. is a book for the beginner details usually in descending order. rules of practicing: some of us may have memorized the entire It and has with Arthur Howes and E. Power Biggs. There were according to the best accepted standards of teaching Insight is another process composition. But is the enthusiastic praise of such successful teachers as church organists, University organists, and many seri- which has great signifi- . even so, memorizing (1) Because the mind naturally learns conscious cance for in wholes necessary the organ. Lillian Carpenter, Bassett Hough, and students. outlook, learning. This is a sudden glimpsing of the as we saw in the to reinforce the composition in the memory, Ernest White. ous young The for the young student, process of perception, we should solution to a problem after a time trv to make it more It seems to me that the whole approach is a good one. must have been “too wonderful;” the help that the of apparently futile to get an idea of the composition, definite, and to give the learner con- as a whole before Many Important Details effort. For example, we are working on algebra dence and assurance. Although many of us have been using the Stainer University organist must have gotten from observation an trying to get its details. Instead of It is only after a composition problem. After trying to master as been working some time with apparently no the composition thoroughly memorized conscious effort When one thinks of the detailed work that- is done Method in the editions by Kraft, Harker, Rogers, in teaching, and the thrill of the church organist, must from beginning to end, perfecting with results, the solution each that it there comes to us like a flash. The same step as we go, can be played at its by great teachers, with beginners at the organ, it is and others, is so much of the material that is have been immense. Imagine, for example, studying we should rather plunge into best. thing happens in our piano practice. the whole The truly usable. teacher We find ourselves composition, gradually digging first wave of to the amazing. With all of the detailed work that not even The must leave out a great some works for the organ with these four men, getting deeper and deeDer memorizing corresponds suddenly able to play a difficult passage when 8e of Gaston Dethier does, that Lynnwood Farnam did, that part of it. their ideas which were undoubtedly all different. we mastering the grosser and more obvious learnlnS the composition. new part We have aspects first h i?t A almost given up. and the finer should be taken Harold Gleason and other teachers do, it is no wonder In Mr. Jennings’ book the real fundamentals are hope that this course can be given each year to in- and more subtle details later. every practice session until the entire Orientation also is a very important composnion their students can play magnificently. Yet my ears there and the student, if he has any ability at all, creasingly large numbers. It should be principle of (2) . We should has been to one of the im- remember that a higher gone over, without regard learning. According to this principle, a background level of whether what pricked right up when I heard the playing of other reaches the point where he can enjoy his work and portant steps in developing good organ playing in achievement is the result of insight is practiced in is remem- this which is due one session 'should be provided for the material to be learned. to a bered in the students who had never done the ground work that learn. How important it is to enjoy oneself in study, country. This change of viewpoint in the individual. next. is because things Therefore wp are learned and (5) . these had done. I if, and there is no enjoyment greater studying the remembered best by should not persist too long in the Second Wave the wonder for the most part, we than Look up some of the new works by Carl Parrish. He seeing practice of a passage of Memorizing—In this stage relationships between them, and by seeing them If aim is don’t waste a lot of time with the beginning at the organ. Mr. Jennings uses a number of familiar melo- is we try to force ourselves too much to get the composition memorized. a composer we should watch. The compositions are in relation to the background we amonlv thoroughly of which they are a wasting time, since there vanous organ. There are students, we admit, who will be good dies in his book. His psychology is good and to quote Chorale Preludes on Welsh tunes. has not yet occurred parts are given as much practice as needed part. The same applies to the acquisition of skills tS organists, since change of viewpoint which 6 1 directe who never could get along with this sort of his foreword, “The use of familiar melodies is a Do you listen to E. Power Biggs on CBS on Sunday will bring us to ^ toward joining the parts. a highS (6) p . • Polishing^ training; everything must be done for them and made stimulus to the beginner. Even a threadbare tune, mornings? His recitals are an inspiration. 556 and Perfect- (Continued on Page 586) "MUSIC STUDY EXALTS LIFE" OCTOBER, THE ETUDE 1947 "MUSIC STUDY EXALTS LIFE" 557 — .

Music and Study football games that t IB FREQUENTLY said of as important as the team. Cer- the band is almost Music and Study program adds greatly to the I tainly the half-time this all-American sport tremendous popularity of of color, a fact w+hnnt there is a decided lack recently by the professional football attested to' most aside considerable portions of their Clubs Who have set important part of the game. Boutines budgets for this extremely and Formation him, should make the Drill B^ing so closely related to borrow a page from ^nrinctor of the band feel free to The one most likely to help Z™ football coach's book. “Fundamentals” and contains in profusion is headed Band work. Football the words drill and For the exists a coach who would prepare I wonder if there telling his eleven players their for a game simply by the field? Football teams with respective positions on are those well drilled in fundamentals, vanning1 records ^stertjudon continued throughout the season.. J^larolclfarold and* this work is by big game no bruising scrimmage The day before the University of Michigan Bands plenty of time spent m drilling Assistant Conductor, called but there is is plays which re- fundamentals and in the running of execution split-second precision and automatic ciuire first and second strain and a thirty- are lost because one t measure repeated skills. How many games be on the watch. Don of basic things you must always trio. With black ink for the first of a Play. How other two measure repeated a team loses the rhythm in drilling makes for a member of relax! Attention to detail repeated strain and red ink to indicate the machine-like smoot time through a many are won because of performance. follows: in laying clean-cut, snappy second time through, mark the parts as through diligent hours spent plan the first program, the CAMP HIGH SCHOOL CHOIR ness acquired And now before we actually signal, the band will start NATIONAL MUSIC marches you 1 At the drum major’s solid foundation? done about music? The the four meas- a what have you playing but will stand fast throughout should be well within the ability should have chosen to use introduction. So, all the parts of the march The Purpose in Drills grade lower than you ure the entire band. Music a discussed the funda- of safe be marked "Stand Fast.” preceding article we group were seated is generally a In the marching would use if the to the development of the have solidity in mentals necessary' choice. First of all, it must and well band. These are: rhythm. The melody should be broad Dilemma: good, strong countcrmelody Director’s 8. Halt within range. A Choral 1. Attention The sure it is desirable. Be 9. To the right flank in the lower brasses is 2. At ease the left flank key for your band. Take a,s much rest 10. To in a playable 3. At for the field 11. To the rear in preparation of the music 4, Right face care Military countermarch concert. Hundreds of people Left face 12. as you do for a or Boogie 5. right (minstrel) football game who will Bach About face 13. Column hear your band at a 6. (minstrel) 14. Column left hear it indoors! 7. Mark time never that your band is five files wide organiza- Let us assume to develop an outstanding performance will If it is your goal and ten ranks deep and the must work constantly to perfect the execution bleachers or a tion you take place on a field having your daily drill periods so of each of the above. Flan side only. The band will fail- Tulane Photo Service t stadium on one unat,/ J(Leui is devoted to this end Don MAYNARD KLEIN that some time each day outside line, across the field from through the mo- in’’ on the the mistake of merely going Plan to use a spirited make than and facing the bleachers. will be no more enthusiastic the audience tions. Your band fanfare for the purpose of inviting with rhythm and vigor. you, so give your commands interest was most has every living room and breakfast nook the recognized as one of Amer- tion. We will also recall that our made first beat of Maynard Klein is universally 2. The entire band will step off on the that pressure In molding the He is professor always guided by the attitude of an adult group point of focus for large scale ica's outstanding college choral conductors. strain. Mark the first measure in all the force can be the first Newcomb College and Tulane University, was doing its best to understand our adolescent point thinking of people. This tremendous of choral music, parts “F.M.” (Forward March) For the past several summers, Mr. Klein has view. may be fortunate enough to look back the greatest boon to our American cultural life if used New Orleans. of One of the first strain, second time National Music Camp, 3. On the first beat served as choral conductor at the on a wise adult counsel, either in the form of a person to that end, but it can prove to be the work of Satan band will execute a right minstrel turn. Michigan. During the summer of 1947, Mr. Klein appraisal. through, the I nterlochen, or a group of persons. It was mainly this influence of himself, if permitted to run without wise of “R.M.T.” using red ink to taught at Northwestern University and the University Mark the first measure also affecting the urges of adolescence either to follow or This modern method of oral communication has done Missouri. He also has a penchant for conducting little indicate second time through the strain. attitude toward any given in- lazy-minded Bruckners Psalm revolt that molded our much to bring enjoyment to millions of strain, execute the known compositions, such as Anton J50,. 4. On the first beat of the second English under his di- terest. Happy indeed are those adults who can look Americans, while at the same time attempting to which received its first performance in military countermarch, so mark the measure “M.C.M.” fea- the teachers of their childhood like rection last March. Easy-to-do compositions are rarely back and respect satisfy the demands of a minority who would time 5. On the first beat of the second strain, second Mr. Klein. Instead, the had convictions as to the real values of tured on the programs conceived by teachers who better fare. The presence of large commercial interests execute “to the rear.” Mark school, through, files one and five works of Paul Hindemith, Zolt&n Kodaly, of the modern life, and the courage of those convictions in leading sat- has in many cases focused their presentation to these two files “T.R.” Handel, Praetorius, ana the parts for the bandsmen in and the classic works of Berlioz, their charges through the constant maze of popular group. Note isfy the immediate demands of an adolescent of the third measure files two and Palestrina are performed. Editor s On the first beat appeal. Happier still can those individuals be who They work on intelligence the theory that the average four will execute “to the rear,” so mark the parts for were taught by teachers who were sensitive to beauty of fourteen which they «/-|-\HE BOBBY-SOXERS have gone boogie mad; years should be the limit over these two files “T.R.” On the first beat of measure and who made the beauty of externals a part of their redeeming the should not go in their musical fare. the rear.” Mark the I there is no possible chance of the production of five, the third file will execute “to lives so that children would live in this reflection and to With this as it is easily X children from the vicious giant that comes an axiom for musical creation, third file parts “T.R.” inevitably absorb it for their own use. and by way of the radio, the juke box, and the dance understood why the serious teacher is alarmed will now look like this from the stands: them this bygone day The band In the influence on any given child is hall. The whole teen age group is ‘hep’ to a degree why he might shudder at the responsibility that was confined to a small area of living. In the main, that makes the serious musician’s job next to hope- his in maintaining a higher level of cultural under- Direction his attitudes were affected by forces hear ut- near him such as million less.” These are common statements that we standing. One might as well say that fifty of +- parents, church, or the immediate school faculty. In tered by many teachers who claim to be interested in teen-agers can't be wrong. One might further make March other words, the “pressure group” interested in mold- music with a capital “M”; but in many cases, these the preposterous assumption that the bobby-soxer feels ing his tastes and behavior was well confined to the teachers have divorced from their thinking the fact the pulse of the times boogie-woogie is best order to get back into band formation, files immediate neighborhood unit. This and that 6. In responsible for the environment may BAN:D IN THE that they themselves are mainly suited for that expression. UNIVERSITY OF MICHIGAN MARCHING five will execute “to the rear” on the first beat have proved totally inadequate for certain THE GAME. 1946 one and should be offered future de- of THE ARMY-MICHIGAN situation as it exists. Our prayers It has been intimated interests STADIUM AT ANN ARBOR DURING of measure nine. Mark the parts “T.R.” velopments in the lives of these children, but above that the director who believes in the value of this lack will execute for that choral youths and adults alike are guided in at least a two- On measure eleven, files two and four was most often offset by the absence of “pressure” performance. Now we will mark the doing only the best, but who feels that he must do fold the to watch a good the parts “T.R.” manner: by their own present tastes and by is not a request! “to the rear.” Mark from larger organizations interested mainly in the Remember, a command our marches so that each bandsman the more “popular” so that his choir will make a “hit.” “Pressure hetero- parts of one of thirteen, file three will execute “to the exploitation of children, dictation of individuals or groups. The drills is to convert a firs On measure under the false guise of edu- The purpose in your what to do. We will keep the We should pray for him, for he is sure to suffer the Group” a reacts will know exactly the parts “T.R.” cation. of mass musical degeneracy is holding group of individuals into a unit which will gam confidence rear.” Mark the damned in leading such a dual life geneous simple so that the band tortures of strong lead. at all times be on program are now in regular band formation. The picture has totally changed for our as one person. Therefore, you must maneuvers as the season pro- We molding the lives of children. children for more complicated while Why should some- attention? Heels to- 7. On the first measure of the third strain, the band today. The rocket development of oral communication we want to give our youngsters the alert. Is everyone really at follow this pattern exactly, use Let us first think of the child—we must not blame eyes gresses. If you wish to minstrel turn.” Mark the parts thing better than the popular con- Shoulders square? Head and a sixteen will execute a “right look back at our own days of fare purveyed for gether? Body erect? a four measure introduction, the youngsters. Let us sumption? mind unit snap to the a march having “R.M.T.” As was stated above, the adolescent straight to the front? Does the entire adolescence and try to recall those things that inter- third strain, the is very flexible influence talking? Do the heels click as one, 8. On the eleventh measure of the that in- and will respond to any given “at ease”? Is anyone ested us most. Try to remember the music on the “to the rear.” Mark the parts in a fearfully receptive and par- facings? Is someone losing his balance entire band will execute subjects demanded the greater part BAND, ORCHESTRA manner. As educators on the terested us; what ents equally on the “mark (and in the best sense, teachers are foster “about face”? Are all feet raised “T.R.” of our day-dreaming time? I am sure that our tastes and ORCHESTRA strain, entire band parents) with of the body still at attention as BAND 9. On Measure 15 of the third , we want our contact Is the carriage attitudes have changed a great deal since those and CHORUS children to be in time”? William D. Revelli and the any talking or movement Edited again executes “to the rear.” Mark the parts “TJt.” higher idealisms of man’s creative mind rather drill progresses? Is there far away days, and in many cases we may look with Edited by William D. Revelli the than with the base and Art are said revolt to the type of thing that demanded our atten- banal. Music and to be A Mirror of Page 560) LIFE” 559 Man’s ( Continued on "MUSIC STUDY EXALTS 194 7 558 "MUSIC STUDY EXALTS LIFE” OCTOBER, THE ETUDE —

been played, the lights because they deepen my love and feeling LAST ENCORES have Music and Study market R is pieces fQr HE big run on the the same time, enrich my Kreisler has taken his final bow, seems to be having a music, and at overall outlook are dimmed, Music and Study public stand up against the y “The Messiah,” and the audience is pouring from the concert not easy to and education. Vaughan-Willi . and mark ams T ex- who feel that the Music,” which I have sung street. What has brought so rapt an 10. On the seventeenth measure, execute “right of large concerns ~ ••Serenade to and heard hall into the guide for its real va u of these thousands of music 4.” a piece of music is the and over are examples of this. Brahms, pression to the faces four.” Mark the parts “R the final over Bach evaluation must be these that will fire their imaginations for 11. On measure “military theless, this individual Handel, Benjamin Britten— composers and lovers? What is it twenty-five execute the • their expects his presentation to The virtuosity, musicianship, check if a teacher stand out in my memory as being rich in vs and weeks to come? countermarch.” Mark the parts “M.C.M,” or o music har- da the personal an>“ and worth of Kreisler’s interpretations? Yes. But 12. Proceed into the letter representing the opposing He may be considered i“ mony, deep in feeling, remembering because and imagination their combined glowing magic of the Kreisler school or into and composer in bringing did something to me inside and left a above all, it is tone; the the usual type of formation based on a Without tms they touch of within the understanding of his chorus. me always. Well-Developed Vibrato current event beauty with tone. . or . well-known song, and so forth. o their ... , , , A utteiance his work will be as the thrill us with their technical wiz- Using the suggested routine as a pattern, conclude understanding, “A person's high school years should be years Other artists, too, of and subtlety sounds. . well as our admiration by the sweep hollow . as mental and excite your program with another developed in a , , spiritual physical; ardry, march to follow growth, and young choral director it is the beauty and indi- similar manner, remaining It is not easy for the come in future years is the of their interpretations; but Soul of Violin Tone but making use of the popular (but whatever may reflection The line of action. He will be much more his tone that sets each player apart in our fundamental maneuvers and - ending in the letter this of that development of an adult personality begun viduality of apes the mood of the day and in nationality, temperament, formation in a shallow way) if he is no better way to minds. Many elements — representative of your own school. some- the ‘teens.’ There give that per- “groove.” This philosophy may be contribute to the inherent per- The diagram is illustrative of the factors necessary stays in the real depth and character than to schooling, and so on— in a rather sonality sing and appealing when looking at the future of the artist; but, we ask ourselves, by what to clarity in charting formations. The bandsman looks what play the very finest in music.” sonality higher idealism of educating find expression in the at a diagram and immediately several questions perfunctory way, but the means does this personality asks teachers ly, ^J^larolcl $erhley. should never permit the itself is not the main factor, for a which you must anticipate. What is it? Arrow and our “bobby soxers” tone? The violin their better musical judgment. tone no matter what Pish. (In this case the band was already in the arrow- themselves to pervert player retains his characteristic submit the remarks of a high answer, to a very head formation and was going to fish indicated The writer wishes to instrument he may be using. The the as such National Music Camp. It is It is almost entirely by the arrows). is it yard lines school girl from the large degree, is—the vibrato. Harold Berkley’s article, first printed in Where formed? The Band Questions Answered requests have been received for copies of Mr. of teen-agers that give him great individuality So many must be clearly marked. side of the field I attitudes on the part the vibrato that a player’s inner Editors Note. Which do through presented here for the second time. and help him continually violin finds release July 1944, that it is face? This is indicated by the box containing the word respect for their intelligence, merges with the tone of the and tastes for their sake. is insurmountable Michigan. Where is my new position in relation to to better his own Lj UJilL.n 2). KeJfi and expression. As a poor vibrato an are dozens and ac- that in which I am standing? Clearly indicated by Lillias Wagner says: “Although there obstacle to the attainment of an eloquent tone, the cherish from my in- the arrows. dozens of memories I shall always of an expressive vibrato is of immediate if it can be acquired quiring naturally to him— less, it is always worth while to see believe any one experience the vibrato—if it does not come We find the most satisfactory way of numbering is high school years, I don’t Advice on Purchase of Instruments terest of every violinist. it will be part of the pupil’s results are often obtained in the earlier stages. If so, that of being able to play and regarded as a natural than by anything else. Good by combination of file number and rank number; the affected me more than a subscriber to The Etude, I take the liberty of ask- Until very recent years it was twelve months sooner; if not, noth- As it for the first two equipment six to orchestras and choirs in matter of purchasing happily, that idea by spending only a few minutes on right pivot being No. 11, because he is number one in sing truly great music in ing your advice in the an oboe or gift that could not be taught; now, been lost—and perhaps a seed has been pupil meanwhile being encouiaged ing has National Music Camp. I have loved to (lute. I play the piano and the organ and own both in- students are or three lessons, the the first rank and also number one in the first file. school and at has been discarded, and today most planted. struments. I wish to start a little ensemble of piano, home. If the results are not sing the time I was a very small girl—and for Let us look into the to experiment with it at Don't be misled into believing that fine charts make from taught S- nething about the vibrato. of approach is the same in the third organ, and oboe or flute. Can you give me some informa- instruction is in order. But The method years I tried to satisfy myself by learning the words of view of the teacher. satisfactory, then detailed a fine band. The same painstaking attention to detail tion as to the more Important points I should look for subject here, from the point first—with one important difference: given gently, almost casually. position as in the of every popular song, but somehow that was hardly such instruments? Please also give your teach, if certain essen- the explanations must be is as essential to precise formations work as it is to when buying me It is, indeed, not very hard to wrist be rested against the shoulder of the be allowed to feel a sense of the can precision enough. When I came to Interloehen, however, I dis- opinion wheUier there are more possibilities for a flute first of these is relaxa- The pupil should never in drill work. tials are well understood. The violin, thus anchoring the forearm and enabling the doesn't than for an oboe and which Instrument is most difficult or that he is being asked to do something Here is a question asked frequently at marching covered what real singing is like. This mean ideal vibrato is the result of combined compulsion, confined to learn.— G. W., New York. tion. As the hand to rock more easily. Exercises should be sessions on the spot; of he cannot do. clinics, “What is the secret of having a fine marching that I gave up dancing and jam movements in the elbow, the wrist, and the joints fingers, on all four strings, the to the second and third are fun, but they aren't lasting or satisfying, nor is usually best to start vibrato exercises with band?” My answer invariably is the same as my clos- they The first point to consider In the purchase of an the fingers, it stands to reason that there must not be It can be made smoothly, if slowly. these fingers until the hand motion ing remark to you, “You too, can have a fine marching do they contribute much of anything except passing will affect the second or third finger on the A string; instrument is its quality. It must be in perfect mech- any tension in the arm or the hand that first and fourth fingers should be brought flexible, and the Then the band. Stop trying to find an easy way out and Go to recreation. For example, are naturally the strongest and most anical condition; it should be modern in its construc- free coordination of these movements. use. Ail violinists have difficulty with the fourth- ' easily. Teachers into work!" “After my first summers at Interloehen, I joined the push his left shoulder hand is therefore able to swing more tion; it should be in tune and responsive. I believe the pupil cannot be allowed to up finger vibrato, and it can be acquired only by giving school between the two choirs, differ on the question of whether it is better a cappella choir at —and that the flute would be more practical for you, since in order to hold the violin, for this inevitably produces are apt to difficulty with the first finger, our opin- it continual attention; one during the year, the other in the summer—I sang essential is to start with the wrist or the arm vibrato. In it is less difficult to control and Is better adapted to stiffness in some part of the arm. Another caused by allowing the knuckle of former. The however, is usually a great variety of pieces. I can name several which it is much better to begin with the is difficult to and the that the study of it be started early enough—actually, ion, this can be your uses. The oboe more master and the finger to press against the neck, and I thought were perfectly wonderful the first few times, majority of students stiffen the entire hand arm in itself, requires attention and study. I in the first year or two. The vibrato will then more students who bend The Choral Director’s Dilemma reed muoh whereas the easily eliminated. There are some but which I tired of shortly; while others, about which pupil’s musical ex- when they try to vibrate from the elbow; suggest that you secure the assistance of a competent easily become a natural part of the the first finger too lightly when trying to vibrate with practiced, tends to relax both 0Continued 558) I was sometimes lukewarm at first, have grown more had been given to it until wrist vibrato, properly from Page flutist, should you decide to purchase such an instru- pression than if no attention it; this, too, is a simple matter to correct, provided beautiful every time I sing or hear them. They are arm and hand. ment. the fourth or fifth year. that the student realizes the necessity for a relaxed sn mnr.h mnrp imnortant. to me than other t.vnes nf teacher, then, should have the pupil place the World”; it is also startlingly true that the world of The finger. An Early Start finger on the string and explain to him that, the adolescent mind is a mirror of surrounding con- second Warning 1 Flute finger must not move from the note, it A ditions and attitudes. He may be cloistered either with he Meyer System If possible, an effort should be made to awaken the although the its the embryonic crooning of popular star or I flute. It is in need of roll gently backwards and forwards over this stage, the part played by the finger joints a with the own an old ebony Meyer system student’s interest in it as soon as he has a good hand must At broader vistas of cultural some repairs. Can you recommend a reliable firm which tip, the motion being imparted to it by a ignored, mention of it generally tending the past and present. This position and good intonation in the first position. Many rounded can safely be GIFT SUSCRIPTIONS could do this work for me? Mrs. L. B.. Florida. heritage will not fall on deaf ears, rather the MAKE CHRISTMAS — movement of the hand in the wrist joint. He confuse the pupil. Usually it is sufficient to warn but on pupils begin to vibrate spontaneously in emulation of rocking to enthusiastic receptors of youth. The noble thoughts also explain clearly that the knuckle of the first stiffening his fingers. The so-called "finger TO THE ETUDE NOW! I assume you are aware of the fact that the Meyer their teacher. For this reason, the teacher, when he should him against recorded on the pages of the masters will be received must never press against the neck of the violin; vibrato” is really nothing more than flexibility in the system flute is quite obsolete, as the Boehm system judges that the time is ripe, should take care to use a finger as quickly (after the initial barrier is the parts of the hand in contact with the something that nearly always down) as Many thousands of people give The Etude as flute replaced the Meyer system some years ago. As relaxed and expressive vibrato whenever he demon- that the only joints of the finger, more trivial utterances that take quickly and die I neck should be the finger tip and the thumb. Telling comes naturally when an easy wrist-and-arm motion a Christmas gift. Unfortunately, a large number to firms which are equipped to repair your flute, strates for the pupil—which should be frequently. shortly because of sterility. Street, the pupil to relax everything except the pressure of has been attained. Some students produce a kind of of orders for gift subscriptions to friends and recommend The Brown Music Store, 8 John R. Often he will see a keen and interested eye fastened on One might counter again by saying that the picture the string, he should take the child's alternately pressing and relaxing the Detroit, Michigan, or L. Kaspar and Company, this is the case, he can the finger on quasi-vibrato by relatives come in too late to be promptly Frank the motions of his hand. When is not nearly so bad as the writer would lead one to in his left hand, and with his right, roll string. This mannerism tends to produce 506 South Wabash Avenue. Chicago, Illinois. Both of afford to be patient, waiting for the pupil to start on forearm gently fingers on the believe. It might be said further that music teachers serviced by our Subscription Department, in slowly backwards and forwards a number of a vibrato! these firms are reliable and will do excellent work. his own initiative. the hand a “bleat” rather than the country over are trying to give the children the order that we may send the always attractive still holding the forearm, he should have pupil can vibrate evenly from the wrist in If this happens, and the vibrato is made correctly, it times. Then, When the very best that they know; festivals are being held, Christmas card announcing your remembrance. pupil try to make the rocking motion himself. position, he should try it again in the first. is well to delay further instruction until the student is the the third school assembly programs are being organized with Therefore, we are opening, Embouchure for Saxophone teacher has his favorite method of deal- days’ practice he is likely to find that it on October 15, our accomplishment, lest he become Nearly every After a few prac- accustomed to his new much more thought as to content, parents are spending Q I am a clarinet player, and have recently been ing with this phase of vibrato training, so it is not comes as easily in the lower as in the higher position. self-conscious of it. But the teacher must be on the ticing on the saxophone. I have had considerable trouble more for music lessons and phonograph recordings SPECIAL HOLIDAY necessary, nor have we space, to go into all the possi- the time has come to introduce the arm vibrato. OFFER securing a good embou- watch for one of the most common of student faults: Then before, tone. Will you advise the correct than ever and symphony orchestras the country that One thing may be said: the student should chure for saxophone? I have read In your column vibrating the string instead of along its length. bilities here. $2.50 each for 1 or 2 subscriptions. across over have the children in mind by presenting children’s bassoon reeds should be bassoon player him- to quicken the rocking of his hand—the The Arm Vibrato made by the If acquired, this habit is extremely difficult to break, not be urged concerts. It gives one a good feeling see these $2.25 each for 3 or 4 subscriptions, self. Is this to things if sent also true of the clarinet and saxophone? rolling should continue until it can be done with with this, the student should Ohio and much trouble will be saved if it is corrected at slow In his first experiments taking place. When surveying the situation in at the same time. R. W.. Youngstown, from a — evenness. Then, and only then, it can be sug- his mind; that his arm is once. If no interest is shown in the vibrato, or if, show- perfect keep one idea clearly in distance we are heartened, and realize that we have $2.00 each for 5 or more subscriptions, if from try for a little more speed. shoulder the finger A. The saxophone embouchure is quite different ing interest, the pupil makes no effort to try it for him- gested that he hanging loosely between the and surely come a long way. sent in at the same time. stiffening the clarinet, although the changes are not difficult self, then the teacher must consider how best to begin tip. There must be no tension anywhere—no To this writer the whole crux of the problem lies In the Third Position This advance ordering is made imperative to make. With the, we place explaining of the shoulder muscles and no rigidity in the upper in the responsibility and capability of each individual by saxophone embouchure, it to this particular pupil. the world paper shortage. While the lower lip slightly over Place about If, after several weeks, little noticeable progress has arm. The teacher must be sharply on the look-out for teacher or director of music. It is he who must decide the paper the lower teeth. At this point he must remember that many young the violinists situation is not as three-fourths in made, or if the pupil cannot rid himself of the any tendency in this direction. Many fine what music will be presented to the singing groups. acute as it was a few years to one inch of the mouthpiece students are very self-conscious of attempting the been mouth. (This the type habit of bending his wrist in and out without moving vibrate from the shoulder, and if the pupil begins to For this reason, a strong conviction toward doing only ago (when, for instance, we had thousands will vary in accordance with vibrato, more so than of anything else they study. The of unless of mouthpiece, strength whether it is an child’s first attempts, therefore, need to be guided with his hand, then the whole subject had better be dropped, do this naturally, there is no need to check him the works of high quality should guide his choice of paid-up subscriptions from patrons who had of reed, and alto, tenor, Experiment quietly and without comment, to be resumed only after vibrates too widely. The important thing is relaxa- literature. to wait months and baritone or bass saxophone. great tact and sensitiveness. The subject should be he months for their first until you upper the student is at home in the third position. For it is tion; once this is acquired, the rest will follow in due And now the big question: is have found the proper position.) The brought up quite casually, as if it were not particularly What good music? copy), it is still troublesome to all publishers. teeth rest and undeniable fact that the vibrato is much easier to course. T. P. Giddings tells a story of an lightly upon the mouthpiece. Keep jaw difficult nor of major importance. One day the teacher an Englishman who Prompt ordering at this time, when you are not chin relaxed. the learn in the third position than in the first. Neverthe- is developing the arm vibrato, the student once stated; “Good Music is the Music that I like.” Draw comers of the mouth toward should say, “Tell me, can you vibrate? You know While he crowded with the Christmas rush, will insure center. should all means continue to work on the wrist That seems to be a rather adequate definition, but it Do not use the clarinet “smile" embouchure. like this,” and play a short phrase with an expressive by satisfaction and save last-minute The relaxed. if does not, he may lose it. Later, he should immediately places upon each and every teacher the confusion saxophone embouchure must be firm but vibrato. Then, still treating the matter as if it were vibrato; he The Etude warmly Do pinch alternately a few notes with the arm, task of constant study so that tastes and power of appreciates the magnificent not press on the reed as this will tend to more or less incidental, he should get the pupil to try practice them — cooperation of our friends in and close the of reeds, the first at- then a few with the wrist, and so on. A little later still, discrimination will constantly change for the better. making our Christ- tone. In regard to the problem it. No matter how clumsy or ineffectual VIOLIN mas offer each year the commercial are ex- he should use the arm and the hand on alternate The director must evaluate a work according to his a notable success. saxophone and clarinet reeds tempts may be, they should meet with encouragement, Harold Berkley cellent per* edited by notes; in this way he will ( Continued on Page 588) own judgment, even though that particular number and there is no need for the individual for the average student is more easily discouraged by former reeds. of these instruments to make his own ” 560 "MUSIC STUDY EXALTS OCTOBER, 1947 "MUSIC STUDY EXALTS LIFE 561 LIFE" the etude «

Music and Study legato makes Isidor Philipp demonstrate and other details, „ f the traits which Bn world will learn them outstanding personality in the that Mary naturally and f,ch an Music and Study and without theorizing. astonishing versatility. His memory easily— I n other of Arts is his unfathomable, his sense of words, she will learn music just as his knowledge she nmadng pedagogic prob- to make doll clothes—partly He can veer from learns by 0b humorAmor ever Ppresent. largely by actual matterSj from musical history to Is Four Too Young servation, experience' lemS ’ philosophical considera- but only slightly by intellectual analysis ffio discussions from Philipp for Piano Lessons? scientific interesting side- Isidor this girl that if she disclosing Tales of Answers 2. Tell wants to g anecdotes Q. 1. I have been teaching piano all my and be During a recent visit I Questions singer she must learn to play f the Great. life, and now I have two problems on a the piano hehte Tn the hves" llgh tell the readers , i his promise to which I need help. First, X have a little well enough to accompany herself, and ! H „ master of girl aged four who was brought to my ”• tb, that if she will take lessons and Kw tales about 0— Anecdotes practice Recounts studio by her parents. She can play songs T™ in his eyes, and an French Master regularly you will also work in some Paris. With a twinkle The on the piano with her right hand, and in- National de summoning up sometimes she adds some thirds to the Conducted by in transposing. I his lips, he started struction assume that An sh smile on melody. Occasionally she puts in a chord Philipp take over: Musical Notables you know how to teach transposition, memories Here I will let Isidor Conservatoire and with her left hand. She was taken to see so m Conservatoire everyone is Df the Naughty I will merely remind you that the thinking of the Marietta, and the next day she first ®When there was playing the that nothing can happen song with good legato and step is to learn at least the first nine key inclined to believe fair hand position. This child seems to be the highest form of seriousness signatures. I will remark also that it deviates from gifted, and I want to know if she should 2w. is which human, QJu-Lu, nu petit, this institution is W. better to w-ork on transposing But, mon begin lessons now, and. if so, whether JCJ a simple, dignity d musicians associ- 2)umednif there are some special materials and the famous 'lljaurice methods or short melody into each one of several keys Uke everything else, ly ij for such cases. their little weaknesses, than it is to start with the far more with its activities have 2. Second, I have a pupil who took about com- AA tar- Professor Emeritus Occasionally, they become the Concert Pianist and Author a year of piano and then stopped and be- plex process of transposing harmony. But their idiosyncrasies. Eminent French-American part of their colleagues^ And m gan vocal lessons. Now she has come back College of course melodic transposition of good jokes on the Oberlin should get juries to me with the request that I give her professors,- members of the lead early into the transposition of har- fhis respect director, lessons in transposition. I feel that what contestants Editor, Webster’s New level with students or she needs is more work in piano—what do Music mony. find themselves on a the girl’s father. you think? Let me tell you * few -W ^ and author face with pupils today Creole International Dictionary 3. As to of not being seri- »e. Thome, the friendly “ find you at home, he said. Al 3. It seems to me that children nowa- table Francis ‘How glad I am to ous, that is where the really fine teacher Aveu and Sous la feuillee, personally days are not serious—they want to practice St played still popular Simple already wrote it to you I come class a mediocre girl who A the though I only solos, and no scales or studies. Can has a great advantage over the I had in my corner. * so kindly mere “Once for ad- mnrip his wav toward my for the leave which you you give Napoli at an examination he to thank you me any idea of what to do? They drill master. A wise teacher who under- Liszt’s Venezia and I take great interest that she is a girl in whom daughter. I must tell you bring me pieces that they have themselves contest. Up to her appearance Acre both granted to my stands the psychology of teaching does ASon to the public into my ear She is even your reproaches. selected and demand that I teach them and Andre Messager, who whispered confidentially really adores you. She loves these pieces; scorn the pupil who has low Faure. the director, me a favor and vote youi and they want to do every- not ideals. SfiS much rou- and charming. Please do marvelous profit she is deriving from thing by the been terribly bored by talented yet,, What short-cut method. Please help Instead, he makes good music so glamor- At on the jury, had Of course she is not up to it me—and soon!—E. P. smoked cigarettes, and „ first m-ize for her. lessons!’ colorless playing. They two, and in this , The plan of teaching transposition sug- ous that he gradually leads his pupil to tine, joined to mine will make which I still held in my elsewhere. Suddenly Messager but your vote “I handed him the letter to some the point where he actually enjoys the let their thoughts wander a ‘’mention’’ for hen’ put the gested above will naturally lead girl, who be able to obtain pale, realizing that he had A. This child is obviously more talented the platform and saw the tovX will confidence hand. He turned discussion of keys and scales, and at the better music more. "But,” you are saying, looked up to honored with Thomas next day the girl than the average, so she will probably her piece, but whose To have been in toe wrong envelope. The be laboriously through 's recom- letter it seems natural to do so you “just how can I do all this?” To which I ploughed that I forgot Rety able to take longer steps point where a glamorous flattered me so much, transferred to another class. than most chil- beauty was enhanced by girl. When was the key in which reply that I do not know you so I cannot natural brunette first prize for the dren of that age would be able will of course introduce on his face mendations and voted a foreign musicians who often acted as to manage. scarlet gown. The expression votes for a first “Among the song is written, writing out the promise that you will succeed, but I will flamboyant carried eight Moszkowski However, she will still some were counted she Conservatoire contests, have to begin with abruptly as he exclaimed aloud: ballots adjudicators in scale for her, directing her attention to give you a few general suggestions: (1) chanced outside ol because the first steps, and it will be just give her a big tLt is. unanimity occupied a special place as “ this is great art! We must a stoim and Moriz Rosenthal music with great care— But Consternation . . . and sharps flats (having previously choose the both . enter- the and Scandal . . spirit of repartie. Many necessary for her to learn the elements the highest possible grade. Faure Thomas of their famous wit and the names of the lines and the pieces and the studies, searching for twenty.’ That was the awards were announced. of fingering, taught her he catcalls when ( Continued on Page 585) notation, key signatures, and nor listened to her playing, but of bAs and same taining stories about them, spaces) showing her how the sharps and material that is genuinely attractive; (a had neither heard Thome had requested toe the like it , happened? as is for any other child. But joined in: What had children's books is so looked up too, and she will probably go much faster, and flats in the scale are gathered together lot of the music in from all toe jurors. my “ quite right. It is truly magnificent. favor in a group called the key signature. But dull that I blame them for not en- ‘You’re play of advice is that she begin lessons at once. don't myself no longer. What “Strange enough, this “At this point I could contain ing her attention to the fact that the do not stress the notation nor any theo- joying it.) (2) be sure that you have exercised by X cannot of course provide you with de- ‘This girl is the least inter- influence is at times is the matter?’ I protested. tailed directions, but I will give a signature now has one sharp in it rather retical matters too much. The singing and plenty of variety in your material, with ones whose duty it should you few pupils.’ the very playing of a number of songs while look- esting of all my intei- general suggestions concerning procedure. than one flat. Now let her transpose it to some music of the “song” type and some ‘we know to watch against their “ dear,’ Messager said patronizingly, be A or E-flat, singing it first, then ing at the notation is the most important (3) each ‘My human In the first place you might well teach or E— of the “dance” type; teach the part of the ference. Oh, the frailty of little lacks of appreciation on playing it ear, finally observing activity at this very early stage, those asked her some very short, simple songs such as by and and you pupil some of the elements of musician- students talent nature. Once Gabriel Faure teachers. Let me assure you that your are found in school song books used in the notation that you write out for her. need not worry too much about scales ship, especially transposition; (4) provide accept in my class the caliber.’ me to will and key signatures is of the highest the first and second grades. Sing one of Choose keys that so far as possible until later. And any- phonograph records, and have your pupils public con- of some friends of his. I girl was admitted to the daughter be right for the range of her voice, which way, such activities wiU probably work in “Naturally the No. the songs to her, ask her to sing it back sometimes compare the artist’s version of her if she had talent. she still basked in the glory inquired is probably from about to about F or C. more naturally with the test. But although at to you. Now let her play it, using both D second type of with their own; (If you are a good per- be a listen to her. Just look she played miserably and proved to Don’t hands, dividing the melody Please note that the songs I am recom- study which I suggest in the next para- play for big twenty, pretty,’ between the former—and you ought to be!— voted against her. She is exquisitely graph. dismal failure. Even Faure and Messager hands. Do this with perhaps a half dozen mending are very short—probably not them yourself sometimes.) (5) put on a recognize her in the plain, dark, Faure replied. songs, more than eight measures in length; In the second place, I suggest her for they did not and after it becomes “easy” show that you student’s recital once a month or so, thus selected “Thanks to the intervention of outfit which she had unwisely her how to play the entire melody with they have words that represent ideas and have the child’s mother purchase for her per- inconspicuous girl stimulating your pupils to strive for the omnipotent director, the the right hand and then with the activities that are within the range of some beginners’ book—one which intro- for the occasion! left fection; (6) make certain that your pupils passed her examination success- hand. If all this is still “easy” have her the child’s interests at this age; they are duces both staffs at once. Follow this page scales out that know why they have to practice fully. But I soon found try both simple in rhythmic structure, having by page, playing the Embarrassing Situation hands together, an octave apart. material for your and other pupil brings a An at all. Worse technic; (7) if a anecdote she knew nothing This will be much harder, and only an mostly quarter, half, dotted-half, and pupil, asking her to look at the of another hilarious notes as piece of his own selection that is at all “This reminds me she showed no inclination to whole notes; and they are written in you play, and Charles Gounod. Once still, unusually bright child will be able to do then playing it back to you tell involving Ambroise Thomas and were suitable, make a bargain with him: Ambroise work. Coaxing, threatening it at this stage. correct compass for the child’s voice. The so it will sound as it did when you author of ‘Faust’ came to played him he may study it if in turn he will a letter from the avail. Once she came and singing, which should always light it— listen with of no After she has learned several songs by be and always looking at the notes of course. your directorial desk, asking him to . also study a piece or an etude of Thomas’ for a ten days’ leave of pure, always comes first, it would try for asked ear, show her the notation of one of but does not She will at first learn almost entirely by attention to a girl singer who selection; (8) take time to talk with the particular absence. ‘Ten months if you wish. them, asking her to sing it as she looks stop when playing begins. In fact, the two ear, but gradually she contended, was perfectly won- will be getting parents make clear to admission and who, he In fact, the best should alternate throughout occasionally and but had Mademoiselle. at and perhaps points to the notes—two this period. more and more from the notes, until the way, had not heard her one them the great of providing derful. Gounod, by for you to leave the It is easier learn Importance would be “points” to a half note, three to a dotted- to something by singing day you will suddenly say, “Now, one of his friends. Mary, their children with a quiet place in which taken the word of Conservatoire altogether.’ A few it, therefore new items are almost always here is Thomas half, and so forth. Now suggest that she a little piece that I have never “ so seldom at our examinations, to practice, a well-tuned piano, and free- ‘We see you later I received the follow- play it, introduced through the voice. Clapping played for and come days looking closely at the notes as she you, and I believe you will be don't you make an effort dom from Interruption; (9) adopt a wrote back. ‘Why plays. the pulse or the note values is highly able to learn help your ing letter: (You will remember that she has it by just looking at the Thus you will be able to friendly attitude, welcome each pupil with to this one? “ -My dear sister-in-law: Our already played this song by ear.) Treat educational too—and it is good fun. The notes and doing what they tell you to do.” tell protegee.’ leave Dalcroze a smile—even if he is not doing well, adorable child is going to all the songs in this way. At first she will plan of swinging (or clapping) This piece, by the way, should listened to all contestants be in a key “Gounod did turn up, and r the pulse him firmly but don’t nag Paris for a few days, and if you play them entirely by ear, but gradually and stepping the note values which she has used before; what is wrong, did on such occasions. and you may most attentively, as he always will stay is pretty for small or scold— very often; have no objection she the notation will come to mean more and complex so a girl, but have to help her a bit with at least don’t scold frightfully deficient. He the fingering One of the applicants was rest. if not you for a much needed more. When she has arrived at a fair she has extra-good coordination she and other details. But (10) make sure that you yourself are with don’t be alarmed turned to the other adjudicators: driver in of may be able to manage it. This is highly if she in a rut, you are, The uncouth slaVe understanding the broad meaning of makes a mistake or and if you suspect that •• girl sings like a cow!’ Shes two the first ‘How terrible . . . This educational too it exciting, as class Faure placed her the notation, ask her to go back to the —and is espe- time through. Praise her, go away for a term of study as soon whose tell her to do your protegee,’ said Thomas. ridicu- cially if the pupil sings the melody while it submits her constantly to first song, playing it in a different key, agam-and she will herself possible; or lot of pieces the Conservatoire, discover at at least get a new “Before I became a professor at humiliating not looking at the notes. She does not of clapping the pulse and stepping the note least some lous criticism and of her mistakes. Now and studies. times on such juries. The first time was for All once I sat many does not even ap- course know the key signatures, but if she values. these things constitute true more, and still sarcasms. He more errors will I admit frankly children since it happened only a few months music education, be cor- that modem me a great honor, superior intelligence is musical she will be able to determine and even though this rected. Now the teacher contest. I le- preciate her plays it perfectly with their greater freedom in both school after my graduation and it was a public girl’s mother would probably ravishing beauty. A ty- which black keys to use by the sound have her and beautifully; the secretary general, and her child is thrilled and home are not as docile as children ceived a few words of warning from produced. In other words, her ear will darling child learn to play some show- exclaiming, “Now rant, plainly. Being with you will let me do it again!”’ used whole Emile Rety: piece, nevertheless you must persuade to be, but I believe that on the child’s peace of mind.’ teach her. If the song was originally in What fun we are having— “ for you are quite restore our both pupil and they are must ‘You will have to be most careful, F, you might choose G as the key to her that music education for her child teacher. And better off, and we teachers “As I finished reading this yet we are working. as fair as possible. Beware of little leam to type young. Try to be which to transpose it. After she has is far more important at this stage than I adjust ourselves to the new letter the bell rang. I opened the assume of course that let anyone influence you. you will teach of neces- intrigues and above all, don’t played the song correctly by ear, write is her own pride in “showing off” her correct hand pupil just as we have found it green door and found myself face to position and “As the jury took its place around the large posture from sary to sorts of out the notation in the new key, direct- prodigy. the very beginning, adjust ourselves to all and that you will other changes in world of today. "MUSIC STUDY EXALTS LIFE" the OCTOBER, 1947 562 "MUSIC STUDY EXALTS LIFE" THE ETUDE Music and Study MOONLIGHT ON THE MOUNTAIN TOP The Howard Payne and His While designed as an effective piano piece, the alluring melodies in this composition might well have been the theme songs for a metropolitan Romance of John musical show. As the composer suggests, the theme should be introduced softly like the moon shining between the tall pines, should rise to a cli- max later, but should never be too loud. Grade 4. Immortal Somj, “Home, Sweet Home

t, S. J. Woof/

In the September issue the noted artist, author, and war correspondent, Samuel Johnson Woolf, told of

the earlier years of John Howord Payne. In this installment we find Payne moving from London to Paris,

hoping to recoup his losses in the British capital. — Editoh's Note

a shilling to buy myself the next meal or a place to In Georgia he heard of trouble between the Cherokee lay my head. The world literally Indians and has sung my song the government as to the amount they until every heart is familiar with the melody, yet I were to receive in return for their leaving the state. have been a wanderer from my boyhood and have to Here was a ready made drama going on under his submit to humiliation for my bread.” very nose. He had to play a part in it. He went to Payne’s song crossed the ocean. So too had his plays. live in a hut with John Ross, the chief of the tribe, But he had never received a cent in royalty. His fz'iends and acted as his advisor. thought that a visit home might cheer him up and Payne was incensed by what he considered the un- bring in some returns. With their help he sailed for fair treatment accorded the Indians and wrote articles New York. His sense of the dramatic was hurt for when papers and magazines espousing their cause. The S. I. WOOLF there was no committee on hand to meet him. That government agents resented what he was doing and A self portrait the cholera was raging in the city was no excuse in one night a company ~~ of soldiers was sent to arrest him. his mind. As they were riding along in the darkness on the It was not until a benefit performance and AYNE'S failure as a manager did not stand in public way to Jail, he heard one of the guards singing Home the dinners were arranged that his feelings were way of his being engaged to return to Paris soothed. Sweet Home. For a pat on the back P once more as a theatrical scout. meant more to him than a "I wrote that," he exclaimed. When Wash- pocketful ington Irving, one of of gold. But he had to live and the amounts his life-long friends, visited him, “Like hell you wrote it,” the soldier growled. “That he he received from the benefits were found him living in style in an apartment near soon spent. song comes out of the ’Western Accordingly Song Book'." the Palais Royal. His tame he planned another magazine, and set canary birds flew in the There was no evidence that would hold in court out on a trip through the and palace gardens and returned when he whistled country to get subscribers. Payne was for soon released. He t Continued on Page 593) them. But, as usual, creditors were sitting on his steps. Necessity rather than opportunity was knocking at the door. Irving rented a part of his apartment and the two of them worked together on several dramas in- cluding “Richelieu” and “Charles II.” Although Irving probably helped him financially he nevertheless needed more money. Having three plays on hand he sent them to Charles Kemble, the man- ager of the Covent Garden Theater. He offered the three of them for two hundred and fifty pounds, add- ing that for fifty pounds cash he would turn one of the plays, “Angioletta,” into fTn opera and get Sir Henry Bishop, a well known musician of the day, to write the score. Payne waited anxiously to hear from Kemble He needed the money. At last he was told to go ahead and "Angioletta” became “Clari, The Maid of Milan.” Its plot was typical of the time. A conniving duke induces a young inflocent girl to elope. Surrounded by luxury, but with no wedding ring on her finger she longs for the humble home she has left. According to Payne, when he sent the libretto to the composer he accompanied it with the “hint” of a melody which he had heard a Sicilian girl humming in Italy. This he suggested should be adapted to the plaintive words which Clari sings, “mid pleasures and palaces,” when she realizes her plight. The song as sung by Anna Maria Tree quickly be- came popular. In a short time one hundred thousand copies were sold a remarkable recoz’d considering there were no phonographs, radios or song pluggers. The publisher netted two thousand guineas, but Payne was not even credited on the title page with the authorship of the lyric. For the next ten years he wrote plays, started papers, and did literary hack work while he wandered about Europe. “How often,” he wrote, “have I been in Paris, Berlin or London or some other city and have heard a person singing Home Siveet Home, without having JOHN HOWARD PAYNE’S HOME 564 ON LONG TST.avn "MUSIC STUDY EXALTS Lm» Copyright 1946 by Theodore Presser Co. British Copyright secured OCTOBER 1947 505 THE ETUDE m— — i — i —

RONDINO Do not look upon this as a musical trifle. It should be studied with greatest accuracy. The time should be maintained with the precision of a chro- nometer. All notes should “mesh” perfectly; that is, the notes that are intended to be Sounded together should leave no doubts in the students ear. At first play very slowly (not stiffly) until the pattern is “set” and then introduce “expression” changes. Grade 3.

j"' ~ D.C.al Fine 9- £ - J) 1 t—— i H : i / -Jr P 1 TT k r n r I J tL - i "i l J* l ft-S* ff L—iJ £ — 1— ?j — J— — -in [ iJ 1 — -4- V ^ ^ r vf — 0 i. u I - — t it it ft * ^ r ft ft ..ft ]f 1 n——rrp-p- -ar~ • ) Ci r t 1 m - ' *- q= 0 h= _ 0-0— - 0 & » t-f- % r — - 1 r - - F— » V S—V U — i — r # j ^ ci0* CJ- c> Copyright 1923 by Theodore Presser Co. % From here go back to the beginning and play to then go to A. 566 OCTOBER THE ETUDE 1947 567 NOCTURNE This, one of the masterpiece, the Overture to “A Midsummer loveliest of Mendelssohn’s themes, like the other sections of the composer’s early Night’s Dream,’ astonished all in 1826 (the year of "Webers death'. This Europe when it first was heard. The Overture, however^, was written Nocturne did notk wppourappear untilU U HI 18 rd, .... s play. The sonorous hymn -like seventeenTUUWOUU JVUiUyears later whenT* *iv.* Mendelssohn wrote incidental music for Shakespeare theme intro- duced with French horns in contrast to the tairy-like sections. Grade the orchestra produced an atmosphere of tranquility in splendidi 5. FELIX MENDELSSOHN

THE ETUDE OCTOBER 194 7 509 ;

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SOFTLY NOW THE LIGHT OF DAY OF DAY CARL M. von WEBER SOFTLY NOW THE LIGHT PRIMO Arr. Clarence Kohlmann SECONDO CARL M. von WEBER by Arr. by Clarence Kohlmann Andante

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in a small theater of the Champs-Elysees cousin of mine. Let n! Isidor Philipp which belongs to a Tales him play a nice program of entertaining music.’ from Page 563) the great day came the weather ( continued “When was atrocious. Several inches of snow covered Paris, and there was a sub-zero are still being circu- toid by them, which I cold wave. Impossible to find a fiacre, as However, here are two unpublished: horse cabs were then called. So my remain heretofore Sieve parents, my young sisters, and I started b there sat near Mosz- , iury ^ L on a on our long walk to the Champs-Elysees. young pianist who tried to lowski a With that heavy snow it took us a whole attention and make everyone onooobze hour to reach our destination. The con- m wonderful he was. He soon Tze how and the janitor were there, by his conceit gressman He himself unbearable waited ma for but the theater was empty. We receive countless requests nd ego ‘I and waited, to see if any public would >' concertizing pre- . he said. ‘My turn up. No one came. accepting most of them, sents me from “ are going fee is one ‘Never mind, my boy. You I take a pupil my wh® play for me alone,’ our good friend lesson. to hundred francs a platform: h my young colleague,’ said. I looked around the wonderful, “ piano?’ . . . Where is the -S who had listened pa- ‘But Moszkowski one said sleeve. “They had forgotten to have smiling ironically up his tently, remarkable brought in!” . That's francs . . A hundred the bell rang and a stu- than I, for all I At this point are much greater You was ushered in. As I said good-bye francs.’ dent can get is fifty years had remained it occurred to me that sixty young upstart, stunned, •The elapsed since the last anecdote had taken Then Moszkowski spoke again: Silent place. But the passing of years means ’ I also give lessons at Oh Of course has been, nobody takes very little to one whose life hundred francs, but . . one and remains so filled with helpful en- * them ! deavors and rare devotion to his art. wit was often biting and “Rosenthal's Once more we must repeat: there is his boutades were so clever caustic but only one Philipp. offense. Once he that no one could take the Conservatoire m and I came out of the company with Bernard Stavenhagen, Liszt pupil who had brilliant pianist and in Paris. scored a sensational success just was The Teacher’s Round Table Stavenhagen’s repertoire, however, small. A as being exceedingly known Page 552) and asked (,Continued from young lady came up to him album. 'Some- for an autograph in her of com- octaves cannot be overemphasized; still thing short,’ she specified, out form part of the technical mendable discretion. Stavenhagen turned they seldom They should be per- us and whispered: ‘She said diet of students. toward wrist can I write formed with a completely supple “something short” . . . What repertoire,’ said an easy, effortless motion of rotation. that is short?’ ‘Your and must be the rule. COURSE Rosenthal. Constant elasticity MICHAEL AARON PIANO three of Dr. William “On another occasion Rosenthal Read pages two and Berlin “Touch and Technic,” Volume landed in Paris directly from Mason’s in FOUR GRADES contains a clear explanation where he had given three extremely IV, which MODERN PIANO INSTRUCTION performances of octaves. The NEW NOTE in successful recitals. During an intermis- of the proper they Uninterrupted Sequence his your ether two questions, Perfect , sion of the contest he told us of As to £ interest, and too many Natural Progression having called on an important German are of general pianists actually form a student and teacher T had been highly students and The course that combines official to w hom he and conversa- complex regarding certain activities, or appeal. Devised to sustain students' interest recommended. The following advancement, com- wrong this is. Let’s take enthusiasm. Smooth step-by-step tion had taken place: sports. How with melody. piano bining the elements of piano technic “ are typing, for instance: it really helps ‘So, my dear Mr. Rosenthal, you is, if the if done properly; that the stu- going play in Berlin. It will be a real technic, GRADE ONE. in the very first lesson to belong in ^ are used. If you play. Simple, direct, joy for me to be there. When will it be? five fingers dent actually begins to “two finger piano “ Hofrath, exactly on that class and are not a stiff, modern approach to a solid foundation in ‘Next week, Herr Material have nothing to fear. Some playing. Descriptive Original Teaching December tenth.’ typist, you for the arms Major Scales and Chords “ that eve- sports, likewise, are helpful —Visual Transposition— 'Oh, how unfortunate. On and Games. hands. Tennis, with its graceful mo- — Note Reading Tests ning there is a big dinner at the Court. and in Paris, one of them. Years ago Classics Original Melodic Ma But you will likely give more concerts?” tions, is GRADE TWO. Easy Arrangements of the “ enthusiasts were Alfred Coi- Minor and Chromatic Scales. ‘Yes, I will give three. The second will three tennis Pedal Studies—Construction of Music— Pablo Casals. Jacques Thibaud, and keeping be on the twelfth.’ tot, which "sound difficuit" but are in ill Descriptive Pieces _ “ heard them complain of any GRADE THREE. Original Reading. ‘More bad luck. That night I give a I never Etudes-Studies by Heller, Czerny, etc.-Sight had a long game on a with the third grade—Original large dinner party at my own home. I effects. Once I played a concerto Special Study of the So "° ta when will Sunday morning, and GRADE FOUR. Many Forms of Composition. ^°™T intended to invite you. But and Arpeggios-Rectal Material.M orchestra in the after- Seventh and Dominant Seventh Chords the third concert take place?’ with the Colonne Diminished noticeable sign for the Price $1.00 each book. “ ‘On December eighteenth.’ noon. The only face after that • - 60 “ of the public was my rubicond PIANO PRIMER ; ‘Good Heavens . . . The date MICHAEL AARON sunshine. Football, fine exercise in the Chancellor’s banquet!’ also “ should be discarded, and ‘Then, Herr Hofrath, the only thing however, too violent or skiing, for they are melodies plus Large Notes. Illustrations. left for me to do is to wish you ... a good boxing careful with skating, uu leave. and dangerous. Be ADULT COURSE '• appetite!’ And Rosenthal took MMirHAFI AARON principles rapidly and confidently, through basic “Since we are on the subject of recitals, t0 The adult approach to the piano, I think hand manner. to the last question: material in logical, step-wise let me tell of one which I have never Now to melodic you habit at all times. is an excellent each .35 forgotten. That was my own debut in washing PIANO PIECES by MICHAEL AARON playing, with warm water, ELEMENTARY accurately, Done before • INDIA . TATTLETALE Paris, or should I say more . CLOWNING • ICE CARNIVAL softening, limbering up effect. ALL ABOARD what ought been debut. Dur- it has a Elementary Pian o Pieces booklet. to have my find it very Michael Aaron Thematic and Mill s after playing, well, I Wriie far FREE ing the winter of 1876-77 a friend of ours, And besides for key- Los Angeles 14, Cal. soothing. It is sanitary, U member of the Cliambre des Deputes Chicago 4, III. SI. free from dust or. sedi- INC. ‘«T411 W. 7!h are never Blvd. MILLS MUSIC, (House of Representatives) said to my boards 64 E. Jackson they occupy a prominent thirteen ments, and N. Y. father: ‘Your boy may be only varieties of germ Broadway, New York 19, place among the many 1619 years old, but he ought to get accustomed carriers. to public playing. I will arrange a recital 5*5 "MUSIC STUDY EXALTS LIFE’’ OCTOBER, 1947 . . . , . . . . " ? M — I

according to our stages X V V X V 'HxV'Vv'xV X X y > 4 In practicing In The Etude Music Lover’s we apply the principle of orientation. ourselves a frame GULBRANSEN TEACHERS’ our first stage we give Readiness Program relate all the Music of reference upon which to Mus.M. Voice Ouestiojvs Bookshelf of M. Xaveria, O.S.F., problems which we will meet. In each LOOK By Sister I ^PERENNIAL give ourselves PROGRAM, intended to (Ulcteiwe’zfrUazTZtM ( Continued from Page 551) our successive stages we RIUUJLNRFADINESS TO The MUSIC t0 torm fundamental understanding of the composition. ^bits, is designed to develop new "i SiliTand leading appreciate most the tragedy that is the angles w vnoon readinesses: FAVORITES We see various passages from new CENTURY SI following truest picture of great misery. If it were Readiness DR. NICHOLAS D0UTY backgrounds. S n ffv 1) Keyboard JlnMvcrJ Lj and in different Rhythm Readiness not printed on the program that the cru- for ?) Readiness 3) Playing' cifixion scene in ‘Passion Play’ S'nging Readiness TRANSCRIPTIONS are a feature of Century the at 4) ESSENTIAL Visual Readiness Oberammergau is a trick illusion, many 5) Readiness Edition. Whenever you are looking for a well 6) Aural Is She too Old at Twenty-five? in the audience would be overwhelmed and Coordination Some Questions From a Confused Student . like to know how my voice TECHNICAL MATERIAL 3 Q. 1. How can a voice student sing High-B Q — would at the sight of it; yet people travel far to Understand vocal cords. would be classified. Its range is from G be- first . . Learning without forcing and injuring her . you'll very likely find it there at 20f for the emotional play which this spec- producing low Middle-C to G above High-C. That includes aI maybe considered ••pre-schoolers’ In What is the most essential factor in a copy. 7 S rears* instrumental music. is known as the false voice. I am told tacle represents.” especially this note without causing cracked tones or what the stSdy of mulic. Bach more impor- this is an unusually long range, but I do not 3653 Alla Turca, Am-2... Dr. Seashore, We thought that everybody knew Book S faulty breath control? Is breath in his latest book, gives about Cen- • My Music Picture professional singers have. 1 3213 tury's excellent Book no tant than placement, and by placement I mean know the range Amaryllis, C-2 . technical material but Music Color many practical hints upon the paths that Page 549) Just the . My piano, I have never had a sing- 3382 ( Continued from other Letter Book it be sung in falsetto first? Do the “at- play the but Andante Cant., 5th Sjrmpfc., F-2. .Tschalkowsky day a teacher was surprised to learn . My Music should lead to beauty in the interpretation that Note Book. ascends the scale? My ing lesson. 2593 Anitra’s Dance, Am-3 of we had such a line—that it was . My Music tack" tones vary as one really fine and Book LOn old. that problem; he has exercised an independent . Music and Guide tones have resonance and 2.—I am twenty-five years Would 3667 Barcarolle, June, Am-2...:... .Tschalkowsky music. We feel that this is one of the progressive. So just in case there lower and middles is another Postage extra singing lessons? 1 have 3384 Cortege his thinking. His produced without any difficulty but when be too late to take du Sardar, C-2 Ippolltov- Ivanov best and decision based on own piano teacher somewhere who doesn't are most useful works in the field of know scared plenty talent and I love music.—H. M. 3385 Dance of the is a list of I sing either B-flat or B-natural 1 am of Hours, . here . . . technical C-2. . Ponchielli in question material aesthetics, field playing of the ornament may that is neces- 3216 Elegie, a which unfortunately is Circular on request Sometimes unconsciously 1 sing High-C Em-2 sary to every teacher . . prices stiff. . vary but all is deter- obscured be different from mine—but if it fits accompanist, but I A.—The natural range of a voice 2594 Evening Star, Tannhauser, G-2 Wagner by nebulous theories costumed are reasonable. PRESS when vocalizing with my by THE SERAPHIC the number of good tones that it con- and expert crafts- 3388 Finlandia, G-3 in a jargon into the line of the music and if it grows Published cannot linger on the tone as written in the mined by Superior tone which the public finds diffi- Milwaukee 4, Wls. pinched, throaty, Abrams, Seales in Double Notes (Thirds),. Layton Blvd. I hate to give up tains. Those that are squeezed, 3656 General Grant's Grand March, F-2 Mack out of a correct application of the laws, Vo .1637 20r 1501 So. score. I am a musician and manship have for over fifty years cult to understand. Abrams. Scales In Double Notes (Sixths). So. unpleasant should not be con- 3360 3G3H2(\l life’s ambition due to a false impression of or otherwise the playing of it Abrams," Arpeggios. Triads and Seventh my if their it will be right. And Chords singing. voice sidered to be within the natural range, and given Gulbransen Company 2262 Hungarian Dance No. .So. 8788 ' the fundamentals of correct My 5, Gm-2... Brahms 20r will will be an intelligent, glowing thing, Abrams. Staccato A Technical Schumann-Heink they are used before an audience they manufac- 2590 Idiiio, F-3 Lack — Discussion resembles that of the late famed leadership in the .No. 3728 . rather than charm it. If all the tones 1820 Invitation to the Dance, and active per- 20e the living Gladys Swarthout and I want to repel C-2 based on understanding Buromueller. Opus 100. Twenty-five and pianos. The new Gulbran- Easy Studies 50c you specify in your note are good quality, com- ture of 2595 Kammenoi Ostrow, C rny ’ e the “Met.” F-3... Rubinstein sonal thought and conviction. Slud, ‘- Especially selected from make *n , capable of being molded beauti- 3392 Largo, World, Opus 299 in progressive order ra- accompanist thinks that moving the fortably produced, and sen spinet pianos are more New C-2. . Dvorak tones 2. My “Thus far, I have spoken in terms of Czerny, Opus 299. Books I and high have indeed a very long range 2510 Menuet, F-2 2 Combined. 50c abdominal muscles would produce a better into words, you and Studying Without a Czerny, Scales and ful than ever, smartly designed Chords, A«. 38 ’ them should be glad. The ranges of both 2160 Minute Waltz, Eb-2. the young student—or of the student of 20c how to sing tone. He stresses breath quite a and you Duvernoy. Opus 120. Fifteen brilliant and well balanced studies 50e singers are very • • superb in- 2194 Orientale, Hanon-Burdick, articles by Lily Pons the professional and amateur improved in tone • Bb-3 any age who is beginning to break down Virtuoso Pianist. Part I. 2379 20c bit, but after reading Hanon- Burdick. Virtuoso Pianist. beginning to individual. 3369 Rustic Dance, C-2 Teacher Part 2. So. 20e Frederic Freemantel and John Charles Thomas I am struments. A worthy investment the wall that' separates him from a fuller Heller's Necessity Studies. From By in good health there is no rea- 2196 Serenade, Dm-3 Op. 46 and 47. news for every singer, skeptical as they say breathing must 2,—If you are ... Schubert Selected studies in progressive order Here’s good become understanding of there- jpe ner- son why you should not study singing at in musical beauty. 3191 Skaters’ Waltz, Bach—and have Heller, 47. those with any Perhaps my accompanist meant C-2 ( Continued from Page 556) Opus Twenty-flve studies lor development particularly be natural. sing- ot rhythm and expression tones. In this that he twenty-five. You still have at least twenty 2466 Song of India, G-2 Rimsky-Korsakoff fore purposely limited myself to prob- 50c vousness over high better control of the diaphragm; by Kohler's Method. get busy right away. Write for FREE BOOKLET shoe- 2158 Spring Song, Op. 249. Part I. Practical Method practical book, just off the back as well as ing years before you, so . in the G-2. . . Mendelssohn ing lems new, means breathing out —In this the final stage involving fewer lines or voices. The tor Piano ... more cer- Piano 3398 (which by the 50c Mr. Freemantel tells you in simultane- If we could hear you we would be ing “America’s Smartest Tales from the Vienna Woods, G-2 Strauss Kohler. Scales and Chords. .Vo. l.l/j press, the diaphragm which must be done way never ends) the basic principle is the same, however, for 20c language, how the classification of your voice. 2464 Traumerei, F-2 technical problems Martin's Elementary Rudiments for clear understandable tain about Fashions.” . Piano, . .Schumann ously.—G. K. tones so local singing that remain the works of four Book No. I 755 have the thrilling top Have an audition with your 3192 Two Guitars, F-2 .arr. Armour are given serious and con- and even five lines. to Martin’s Major and Minor Seales and Principal He says, “Nothing 3671 Valse Lente, Coppclla, F-2 centrated vital to success. a voice student can sing teacher. practice. Some of this kind The goal is always the treatment of the Chords 75c A.—Whether or not COMPANY of can stop you from singing them GULBRANSEN 2143 Waves of the Danube, Schmitt, Five Finger Exercises, Part I, v<». injuring her vocal . or Am-2 . . 1207 cracking Ivanovicl practice lines 20c cor- High-B without III. has already gone on, but both as independent melodies and Schmitt, with joyful enthusiasm when you understand the Dept. E, 816 N. Kedzie, Chicago 51, not with Five Finger Exercises. Part 2. So. 1208. 20c upon whether or not Question for of cords depends entirely A Very Curious Century's Manual of Harmony by Walter Rolfe rect rules.” Send S3 today your copy HIGH Ask your dealer for Century Edition. If he can- perfection as an immediate as interwoven parts of a whole. And the 25c of her vocal lessons for nine . taking aim, and it tone is within the natural range —I have been Century’s 64 page Musical Dictionary 15c tones and how to sing them. this q has not first step towards the goal is range it will be always and stomach has been bothering COMPLETE TREATISE ON not supply you, send your order direct to us. been so concentrated and inten- to clear the voice. If it is beyond her months my AT LAST! A Ask your dealer to that your start to stomach with air sive as it mind of the habit of thinking show you this material. If FREEMANTEL VOICE INSTITUTE ugly, perilous, and a strain. You say me. When I fill my TRANSPOSITION Our complete catalogue listing should be now. Maybe an hour in terms over 3800 num- he cannot supply Schumann- noise, and it hurts a lit- of transposition. you, send your order direct to 10 Steinway Hall, 113 West 57th Street resembles that of the late it makes a growling covering ALL problems will be devoted of important melody set above ‘less Dept. E- voice to two passages occupy- im- us. won’t fill up; it Send for folder to the author bers is FREE on request. Our complete catalogue listing over 3800 York 19, New York the living Gladys Swarthout. How tle. Sometimes my stomach New Heink and W. 57th St.. New York 19 ing perhaps not portant’ accompaniment. Once tightened up, won’t move, Charles Lagourgue. 35 more than a page. you get numbers is FREE on request. that can be literally true is beyond our com- feels as if it were beau- break the tightness it hurts CENTURY MUSIC PUBLISHING CO. But there is a limit here. Work should behind the intricate structural element prehension, for although they were both and when I try to a contralto stomach. I don’t know exactly what to do LEARN be prolonged of Bach’s music once CENTURY tiful singers, Schumann-Heink was my 49 Wes* 63rd Street on a passage only when — you arrive at a MUSIC PUBLISHING CO. make singing New York 23, N. Y. while Miss Swarthout is classified as mezzo and I would very much like to progress is being felt. This clear understanding of his form—his vital 49 West 63rd Street New York 23. N. Y. appreciate your ad- shows that soprano. Before you go any farther forward my life’s career. I would the expression PIANO TUNING passage is ready for such practice, of every shade of human with your vocal studies have a thorough ex- vice.—F. D. emotion comes the best vocal teacher you can AT HOME. For Perfect Control of Rhythm and that the various elements in the skill pouring through to you.” amination by BjpwFsrt of positively for you air in- relative to the asNjaa find. Have him determine A.—It is physically impossible that COMPLETE COURSE passage are marshalling Cherts enables years or '1 the correct anu pianists what is the natural range and spired through the mouth and nose into the BY themselves. Work should be continued to Then study care- Exact- to master all modern chordr^li^ddC classification of your voice. lungs should penetrate in any appreciable william braid white establish, range, singing dr. on a firm ground, the high de- fully all the tones within that quantity into the stomach. There is no canal Unvarying— pi# mi I ^ocujithout music. and (WfFs color of your voice, The noise, pain, gree of control which the new insight CmpfebTuiinialSitwia ATA them with the natural connecting these two organs. Electrically GLANCE, names, symbols. You ask if you brings. Speech and Singing never with an artificial one. discomfort, and tightness in and about the Controlled I fMftngs <5 types of chords = should sing the high tones at first in falsetto. stomach must be the result of some digestive Of course there is much overlapping in Choose your piano technician as care- B mail keys. Play you have confused the two words fal- disturbance. Consult an experienced physician, 0Continued from Page 648 treble posi- = Perhaps 555) fully as you choose your professor. teacher to clarify these stages and it is not to be under- setto and head voice. Get a detail your symptoms to him, ask him to ex- Positions. SAVE this, well stood pupils in correct Members of the American Society of I = your ideas upon this subject for in as amine you, and suggest a cure. that they represent any element in habits while their mus- Piano Technicians are master crafts STUDY! ONLY $12-0 ~ technical things, your mind is practically nothing about cles are I as in many other 2.—You tell us time or correspond to successive repeti- pliable. men who have passed a mosttrigid what “attack I SATISFACTION = quite twisted. We do not know yourself, neither your age, the range and qual- examination OK tions. basis The value of exposing as to their ability aad \J*UAKAnrTg£D Money RgFUMDtD this part of The for classification is the the youth to tones" are. and so cannot answer ity of your voice, your musicianship, your these integrity. and unscien- aim practiced for and the rich techniques cannot be vour question. It is a most unusual looks, or your personality. Therefore we have manner of over- The extra skill is your as- they offer tone in the scale is made practicing. estimated. An understanding surance CAROL MUS/C CHART Ctf" — tific expression. Every no data upon which to form a judgement upon There of satisfaction. may be alternation be- of the close N.Y. vocal cords P.O.BOX 21 oMlEFFERTS STA.. BROOKLYN 25, accurately approximating the present capabilities as a singer, or to tween relationship between See your members, by your the various stages. For example, speaking and sing- phone book for produce the pitch desired an audition with or write to so that they may delve into your future. Have one may feel that ing will furnish him they are activated by the Concert artists—teachers— students — all he is through with the with equipment (and no other) when the best singing teacher or the most famous need many good say the sensational FRANZ Electric fourth stage and begin memorizing which will enable him in his advanced HARMONY BY CORRESPONDENCE expired breath. You certainly conductor in your neighborhood and put the i3 at Metronome a great improvement over used for if you wish to succeed. the fifth stage. classes to illuminate his A greatly simplified Course successfully singing lessons matter up to him. any other Metronome — no winding — But he finds the com- problems and to of Temple breathes naturally a number of years by the School of Music 2. Every human being 3.—Buy a book which deals with the anatomy never runs down, no tubes to burn out. position woik with sharply difficult to memorize and after defined direction. University, Philadelphia. moment after birth until he seem to have Clear, distinct clicks mark any tempo, from the very first of the chest about which you From these many OF PIANO TECHNICIANS For particulars write to the Author: awake, this process from 40 to 208 beats per minute. To change reasonable effort the various parts still groups, will come ar- dies Sick or well, asleep or the vaguest possible notion. 1022 W. Garfield Are.. Milwaukee 5, Wis. he tempo, all you do is adjust the pointer. tists EMIL F. ULRICH. M.B. times each minute or In do not “soak in.” He does not wait for of the future whose singing continues several a rich, handsome plastic cabinet 5" wide, and 233 Roberts Ave. Glenside, Montg. Co., Pa. Every normal man and speaking will t must be asphyxiated. Detailing 4" high, deep, sealed and dust proof. this to happen but goes on with be art concealing art Former Assoociate Dean of the School of Music of Are There any Charts 3H" the in its knows this and though they may not truest Temple University. woman Muscles in Singing? Accuracy guaranteed. Built to last a lifetime. composition. He continues in the sense with no appearance LEARN MUSIC ease, control, and freedom fourth of strain "SWING" do it with the same like to where I can ob- Quick course to players make your Q.—I should know Order from your Music Dealer or mail coupon today stage although or exposure of technique. of all Instruments— great singers whom you exemplify he started out with the arrangements of ••hot" breaks, choruses, obbligatos, as the two tain charts showing all the necessary organs embellishments, figurations, blue notes, whole tones, etc. TRAIN best of their natural abili- HERE IS EVIDENCE! $13.25-110 volt 50 cycle aim of the fifth. vet they do it to the in producing the voice. I would prefer Only MODERN DANCE ARRANGING fortunate in- used 250 not one of those letters in our files: 5] Duets, trios, quartettes and —special choruses ties If you are and back views of all these or- The following ere quotations from $16.00 — 220 volt EO cycle ensembles well, but to have front modulating to other anticipations breathe naturally and 5 year written keys— suspensions— dividuals who — L. B. On gans. Gratefully. A. course I have made a guarantee. Oper- $16.75—220 volt 50 cycle Value of Analysis NOW PUBLISHED— —organ points—color effects— swingy backgrounds— of the muscles in- "Since taking the write must be taught the names ates only on 110 today. expiration, buy a good living tuning and repairing pianos. volt, 60 cycle A. C. 10 DAY TRIAL The value of analyzing ELMER B. FUCHS volved in inspiration and anything is „ r „ Frantz von Proschowski’s book, "The Ohio. 335 of the chest and A.—In Myers, 1 1 1 W. High St., Ashley, East 19th St. Brooklyn 26, N. Y. book, treating of the anatomy A. F. Send No Money that it makes the various parts of DEBUSSY - CLAIR We build, strengthen the vocal ° rKan ®"", dia- School,” Pages 193 to 205. there are that DE LUNE by sound, sc Stiffening and pumping the Singing Franz Mfg. Co., Inc., Dept. not with singing lessons—but study it hard. E-10/47. which entlflcally vocal dorsal quite a few illustrations showing details of many of equal temper- we analyze more definite and . correct silent and the intercostal and "Dr. White's explanation 53 Wallace St., New Haven 11, Conn. and absolutely guarantee complete satisfaction phragm, holding includ- with Sent to no outer abdominal of the organs associated with phonation, simpler and makes us more conscious of these SIMPLIFIED 300Printed ^vite for Voice Book. FREE. muscles rigid, and fixing the ament and its mastery was Send the FRANZ ELECTRIC METRONOME parts EDITION NameP"/lf r 17 ye« r8 old unless signed by parent. cartilaginous and the muscular nrnrJ™. . position, will only ing both the PERFECT 4. III. immovable than I could have wished." —and I'll pav $12,50 on delivery, plus shipping so that we can exercise the control VOICE STUOIOS, Studio 5587 Kimball Hall Bldg., Chicago muscles in one de- more concise over fuller of effort and parts of the larynx. There are also some charge. If, after 10 days’ trial, I am not com- & Address your singing much O. Buss, P. O. Box 525, Herington, them which we desire. In for piano solo, Labels mSe and scriptions of the actions of these parts during W. pletely satisfied, I may return it for refund. our case, we in key of tone very painful to yourself C the resulting breathing, with Kansas. become conscious of well. You have strayed singing, a short chapter upon the various stages to your listeners as Name WM. S. find illustrations, another upon vocal registers and Student List Includes 41 States, Alaska, Canal our mind goes Price HAYNES COMPANY from the way of nature, so try to (Please Print Plainly; through as we learn a new 1.00 very far vowel and consonant formation Zone, Canada, Hawaii, and Burma. back again. a fourth upon musical composition. Knowing this we Flutes of Distinction your way This book may be obtained For Full Details Write Address not mentioned vowel and con- (articulation). 3 You have If you can be on our guard against doing any- you even alluded through the publishers of The Etude. w°ndcrtul GUMMED Labels nicely printed with STIRLING SILVER - PLATINUM sonant formation, nor have KARL BARTENBACH - GOLD want still more anatomical details about the City Zone State thing to interfere with the ELKAN-VOGEL CO., ame nXmas gift! Massachusetts Avenue, Boston 15, Mass. the singing art. a medical school. both these branches of _ - ANNUAL PRESS. Bor 591-flZ. Lynn, Mass. 586 587 "MUSIC STUDY EXALTS LIFE "MUSIC STUDY EXALTS LIFE” THE ETUDE OCTOBER, 1947 1 — — T

It is customary to pedal glissando dry A Well-Developed scales unless a effect is desired Chromatic scales must be pedaled with care. As a general rule, PIANO TEACHERS' Vibrato great the pedal Choir Questions should be applied very lightly and briefly Organ and Page 561) runs. A special (iContinued, from to chromatic effect of shimmering delicacy may be obtained by unconscious merging of the come to an applying the pedal to pianissimo SPEED DRILLS will be chro- C) an expressive vibrato two_and matic runs of short duration, or a terrific within sight. dynamic effect by applying it to fortis- FREDERICK PHILLIPS for exercises should be nswerJ Teaching Beginners All these suggested J h simo chromatic runs. This is because with the bow, except perhaps of practiced the blur created by the compact ear is a rela- Sight the very earliest ones, for the beginners on a three Flute, Viol d'Orchestre, Viol Celeste and Or- Reading of the sequential , nr nro n arouv of eye can tionship half-steps in Q- I, We a e chestra Flute are sufficient for most, purposes. surer guide to evenness than the I n„ r reaular church pianist is chromatic scales. manual or9“" - for softer effects either of the 8' stops sounds produced . usic going until we can and possibly be. At first the to keeP quality Complete Set of 32 Cards, Finder pedal is invaluable in trying are using could be dropped, according to the tone Keyboard and embar- The assisting the ine oraany *properly. We dismal, but any to use , should be of may be rather learn ,, and arenro havinghatAna preferred, and the orchestra flute Book Instructions — Only 50^ release of the last note of runs or phrases, ‘Organ Method,’ on the part of the pupil can be used only in conjunction with any two of the rassment m regarding . some both in a slow or an abrupt release' 8' stops mentioned. The Oboe horn should sel- Drill No. 1 laughed off by the teacher with 1 for accompanying the choir or a SIGHT-PLAYING easily depending upon the type desired. In dom be used and quickly learned by tiny tots, For stressing visual as, “Never mind; we’ve all such — S’SZC. 55.2 such remark 4' 16' usually accuracy soloist, and and couplers are not or beginners of any age, with these Speed Drill Cards. at times. instances the pedal punctuates the music had to make sounds like that and our been taught suitable. For Communion hymns and other Makes teaching easier quicker for class individual ttCVeet We have and or ST by creating a rising inflection, emphasis, marks for j the Dulciana on They soon improve.” actly other, except very soft playing you have instruction. cross our feet J makes an excellent back- or nuance. to do t f,is it is the Great, which Some students develop a smooth and sharp j using • DiaDia- Example: Golliivogg’s Cake when heel on the ground accompaniment,accomnaniment, with the Stopped EASY TO USE—Speed Drills consist of 32 cards with vibrato which, however, is too slow Walk, De- ^ even without getting pason, Viol Celeste on the Swell as solo stops, complete and easy-to-follow instructions bussy. of Exercise 85 for their use. On to be musically acceptable. The best rem- tZTme^e wiggltn^around. with the manuals not coupled, and the Lieb- out position, “nd each card is a picture of the note on the staff which cor- slow our body of lich in the Pedal, coupled to the Great in this edy for this is to practice scales in forbidden. Unless we are per- responds with the key on the piano keyboard. Thus, This again, is case. The Orchestra Flute also makes a good with a heavily accented cross our feet the student learns quarter notes, mitted to ennereither cross course your Vox Humana through his eyes, rather than the written solo stop , and of each note as rapid a or spoken word, the location martele, giving comes in" very useful for these purposes, hut and position of each note. Drill No. 2 ZZVl^inpo^ZZ vibrato as possible. The concentration of ZXre^t it is a stop that can be easily overworked; the For instant recognition What we want to know is, would it be AN ADVANCED STEP—Speed Drills are an advanced of keyboard positions. the still. over the Vox Humana is not a solo stop, but the full nervous energy necessary to make to use the toe or cross step in aiding the student permissible harmonies are used for best results. The to quickly identify the note on accents reacts sharply on the left hand, the staff en- Chimes without any accompaniment and closed | with the key on the piano. cards the These handy with considerably The stops on our organ are on causing it to vibrate out the swell are most effective for these purposes, but stress visual accuracy, recognition of the keyboard posi- Please tell me how to bring this connection it may closed list. should be used sparingly. The Choir Organ tions, producing rapid visual, greater speed. In pedals without increasing the mental and muscular foot tones on the stop the Harp, and the pupil use a when one really has only one active — coordination. be recommended that volume on the Swell or Great in- this is used wherever your judgment suggests in all the earlier tone on them. The teacher fairly rapid bow stroke The sustaining quality of the pedal uiants a quiet suitability. THE LARGE louder pedal tone. She teaches NOTES make vivid mental pictures. This exercises. A slow, wobbly bow has a detri- sists on a little would obviously nullify the detached instrument in another feature is important, but best of all ... children like Speed and plays a different mental effect on the vibrato, while a characteristic of staccato able to try out this Q. Following is a list of the stops on our Drills. They should be used at the first lesson, and the tones. However, church, and has not been Drill No. 3 the church organ. I am not satisfied with the com- faster, firmer stroke encourages it. A bow its possibilities; me are usi«0 pupil should have a set for daily home practice. For stressing staccato passages may require the pedal organ for rapidity more beautiful tones binations I am using for church, choir, and playing stroke of three seconds’ duration is quite "hunt” system, but feel the keys to sustain a supporting harmonic back- special music. I used to play a small pipe or- SIGHT-PLAYING is becoming more and more of a re- slow enough. could be produced. 771 ground. In such cases the resultant bell- combinations for general gan, and perhaps that accounts for my dis- quirement of pianists, and students at the 3. Please suggest very start, should The use of the vibrato in artistic mu- seating satisfaction. Please indicate best stops for like quality of delicate staccato passages congregationaligreganunut singing, in a church - be trained to attain it. Speed Drills will lay the foundation y « nhnut th TQP postludes. sical expression is quite a separate sub- congregations averaging about three church hymns, choir, preludes, and for proficient is called a “singing staccato"—the op- 1200 and sight playing. the choir, mostly These. stops are usually not the same as those ject, and a discussion of it must be hundred with fifteen in posite of a “dry staccato." combine- suggested in my organ books. Stops listed— women’s voices. Also suggest solo GET YOURS TODAY — Speed Drills may be obtained reserved for a later date. One point, how- the sing- G. A. K. Example: LaCampanella, Paganini-Liszt. tions, and very soft combination for from your local music dealer, or send direct to us, the pub- ever, may be mentioned here: a violinist and playing dur- ing of a communion hymn, lishers. Complete set of 32 cards with instructions, only 50c. B. cannot attain to more than a moderate ing the communion service—A. E. A. Instead of thinking of stop combinations degree of artistry with only vibrato. in terms of hymns, choir, preludes, and so instrument Drill No. 4 one vie is exceedingly forth, it would be better to think of volume For stressing rapid vis- Although it must be a subconscious part A. 1. The Exercise mentioned JENKINS MUSIC COMPANY, Kansas City 6, Mo. soft, medium, and loud, depending on the ual, mentaland muscu- awkward, as given by Stainer, and we feel you of his tone production, it must at the occasion. Generally speaking con- lar coordination would be quite justified in both crossing over needs of the toploy same time be under control; so that. the particular exercise gregational singing requires rather full sup- inspiresyou / and also using the toe. This that other port, choir numbers - might vary from very player can make it wider or narrower, has been omitted entirely in at least one is just soft to fairly loud, depending on the type of faster or slower, at will; a vibrato, in edition of the Stainer Method, and it the reason. Far be anthem or sections of anthems; and usually short, possible its awkwardness is that can give true and fitting ex- service preludes should be rather subdued, but preference in music issue with such an authority - notes whatever your it from us to take ou play . . . and the pression to each and every style of music, natural under certain circumstances full volume is de- as Stainer, but we do believe the more you can play each piece in such sirable. In reverse, the postlude during which come clear. — and to the temperament and imagina- pedaling is always better Y seems just most organists are inclined to “pull all the a vast variety of ways that you 11 be tion of the artist. ^“The pedaYsectio’n of your organ murmuring of a stops," does not necessarily have to be loud, Singing strings — a little weak as vou have only the choice encouraged to go on for hours at a almost- and sometimes a quiet, subdued postlude could — brasses add rather heavy’ sub-bass, which would be woodwinds brilliant vast resources a very effective close to an impressive time, exploring the too much for very soft manuals, and the much be suggest therefore the rich, new beauty to all your music. Lieblich Gedeckt, which of itself would service of worship. We of this remarkable instrument. This introduction was taken from a Robert Whitford Break Sheet for Piano. softer There are softest manual following combinations ranging from “soft,” Techniques of Damper- be too soft for anything but the is the magnificent voice of 22 complete Break Sheets in the ROBERT WHITFORD BREAK SHEET BOOK. Price $1.00. “loud." This Here is the complete musical ex- combinations. The pedal should be coupled to to “medium," to At your favorite music counter or direct from the ROBERT WHITFORD the Dulciana; Swell, Melodia; Voix Organ, with a range a mag- PUBLICATIONS, one of the manuals—whichever is using Soft—Great, the Hammond pression you seek. Here is Dept. 5E, 18 North Perry Square, Erie. Penna. Ask for catalog and copy of The supplying Pedal, Gedect. PIANIST Pedaling softer combination, or to the manual Celeste; of tone that stirs the imagination you’ll be proud magazine, 4'; nificent instrument both free. State if teacher. an accompanying background to a solo stop, Medium—Add Great Diapason, Flute wealth of color that inspires is almost endless ( Continued from Page 553) but any increase in the volume of that manual, Swell, Oboe, Violino 4'; Pedal, Bourdon. and a to own. Here background beneath progressions of or by adding Great Trumpet; Pedal, Bass in the either by the use of the swell Loud—Add you to play. musical enjoyment . . . here in pedaling staccato increased vol- 8'. descending scale passages, passing notes in the upper stops, would be reflected in the Flute Hammond Organ. America's of pedal. 8' Flute or ’Cello in the couplers would be Swell to Greav And no matter what your skill New -PIPE ORGANS -Used Popular Text Book particularly those descending into the register of the piano, the vibrations of ume the An The normal pedal would help considerably, but since you 8' and Swell to Pedal. Builders of pipe organs for church and studio. Ef- SCIENTIFIC bass clef. Great the PIANO TUNING brilliance and power, nonessential notes create a most the best you increase ficient, up-to-date used instruments on hand at all do not have it, you can only do The 4' couplers may be added to times, priced very reasonably. AND SERVICING however, are achieved by pleasing been used and We also rebuild and pedaling such music-box effect. When the can with what is available. volume, or to give added brilliance, and the Organ has been moved. It has long modernize tracker and tubular organs, additions of The Hammond passages throughout 3. congregational hymns the general effect, world’s ‘‘most stops, couplers and chimes installed Yearly care 267 pp., 47 Chapters, 61 Illustrations their entire dura- pedal is used on progressions of legato. For accompanying couplers give depth to enjoyment to the homes acclaimed by the f 11- _ i i i . _ — . _ lira tVlO _ . • . bringing of organs. We solicit inquiries. of the more solid type, you could use the sparingly. would Post Paid $6.00 tion. (Example: La Campanella, Paganini- but should be used of music lovers for eminent musicians. If you Tuba, coupled to disconnects of thousands Great with all stops except The “Swell to Unison Off'’ stop information — if you Defosh Brothers — Organ Experts ALFRED H. HOWE Example: Rhapsodie Liszt) . all its like complete Hongroise, No. 14, to Swell. The many years. It produces 0-1 full Swell, and pedal coupled the 8' coupler effect. 391 08th Sheet Coiona, L. I., N. Y. City 116 Pinehurst Avenue New York 33, N. Y. to see, hear and play the Liszt. Tuba could be added, together with 4' and 16' tones electrically and it can’t get would like required, as larger Hammond Organ, without obli- couplers, where special volume is had installed out of tune. It is hardly Ex. 13 Q. Twenty-one years ago we v with a large congregation, enthusiastic sing- is easily gation, nlail the coupon today. Answering Etude Adver- \/ a two manual organ with the than a spinet piano, and L ft R * in our church . ing, and festive All of this, however, . hymns. g following stops: tisements always pays 1 should be reduced according to the character Swell: Stopped Diapason, Echo Salicional, LEARN PIANO of the hymn, the solemnity of service, and so TUNING AT HOME 16' Bourdon, 4‘ Flute. and delights the reader, v forth. In reducing, the 4' and 16' couplers Great: Melodia, Open Diapason, Dulciana. WITH OUR NEW PATENTED TONOMETER ben man iV the p a/o tema should come off first, then the Tuba on Pedal, Swell to (Moan Swell to Hammond Great to Pedal, A scientific Great, and the Gam- teaching-tuning instrument. Sqn- ^.4 « then the Open Diapason Coupler, Swell Tremolo. VOICE plifles learning, eliminates guesswork, * Great, Octave MUSICS MOST GLORIOUS and as- ba. After this the Swell should be reduced by addi- sures accuracy. Nothing has been added since. What taking off the Oboe, Horn and Bourdon. Only impor- -I tions would you suggest in order of We teach precision tuning, action regulating, r for special effects should the organ be reduced Great, probably one to l to Swell and voicing and fine repairing in practical, rs. tance one below “medium" volume for hymn accom- procured?—R. M. easy and complete correspondence course. A each. Where may same be panying, and it is sometimes effective by way Hammond Instrument Company great shortage of piano tuners exists today. of contrast to omit the pedal for one of the 4210 W. Diver^ey Ave., Chicago 39. 111. Here i^ a well-paying, uncrowded field. After to the Great a 4' Flute A We suggest adding obligation, send full details about the Hammond two or three months you can begin to earn verses, provided the hymn contains a verse Without Octave, and possibly an 8' trumpet. To the money. Our School established in 1898. Ap- suitable for For accompanying or Organ to: such a contrast. adding an 8' Violin Diapason, proved for veterans under G. I. Bill. Send for solo organ Swell we suggest voices, or the choir, the Great Pedal free booklet. or Cornopean. You do not list the should be used sparingly, although the Doppel Oboe but this part of the organ should be Flute makes an. excellent solo stop to take care stops, NILES BRYANT balance with the manuals, al- SCHOOL °f any counter melody which may be in the brought into a 16' Bourdon, 16 Gedeckt, and 8 P.O. Box 5565 Washington 16, D. C. accompaniment. The louder stops on the Great though be sufficient. We are sending you Diapason, Gamba and Tuba—should be used Flute should City addresses of firms able to supply organ only for very special louder effects in anthems the ©1947 of a pipes. festive nature. On the Swell, the Stopped , 588 "MUSIC STUDY EXALTS 589 LIFE" "MUSIC STUDY EXALTS LIFE" THE ETUDE OCTOBER, 1947 . J R

Techniques of Damper-Pedaling Page 588) (iContinued from Violin Questions PIANISTS suspended bush- high tones while retaining the low passing notes a lovely bass tones. But in syncopated is disagreeable 1 pedaling, like effect results. This where the piano unless clarity is desired, this characteristic the lower register of re- Improve your playing quires a delayed case a mis y , pedal-depression played pianissimo, in which in order HAROLD BERKLEY to avoid catching the low bass nMaJ L, obscure effect is created. tone of a Jf Chopin preceding chord. The pedal by Broadwell Technique Etude Op. 25, No. 2, indication unless accompanied by the full name Example: 11 /,» answered in THE ETUDE Etude to a for this would be_j instead or pseudonym given, will be published- (Schumann likened this |_ of_^_ of^lheinqutrer. Only initials, Learn how the Broadwell Principles of Mental-Muscular Coordination and ^address child.) greatly “hush” over a sleeping the Keyboard Patterns Method to gain proper keyboard habits can Tremolo-Pedaling improve your Accuracy, Technique, Memorizing, Sightreading and Playing. Tremolo-pedaling, really a trilling together with *Ex. 14 of Op. 123. The former can be used Prest 9 a 3 ilf m REDUCE PRACTICE EFFORT— 10 TO 1 » the pedal, is a constant, rapid, Fiorillo; the latter, which are regular Ac y passage at the top Kreutzer and Your piano practice can be scientifically applied to eliminate Waste Effort and Time. Learn how uruo should follow the Dont Studies, Op. series of half-pedalings. The operation s.r R-. * Concerto difficult, one practice repetition memorizing and sightreading are reduced to nf the Accolay can do the work of ten ; how I have never heard the second p g 35. (2) I must confess that PERFECTED logical practice principles. The Broadwell System makes memorizing automatic. Makes sight- is so swift the dampers barely touch of he Playedplayed in the middle P "’ the should be in viola playing known 3 in A of a technical device reading a natural, rapid and accurate process. molto of " ave term strings. This type pedaling ^ a may be as “shumming” the bow. This may be legato to- play it with the usual used to remove excess blurring cvery note. Just by one (particular person: it certainly has RESULTS f in ca- 2“Lrif ter to keep your used GAIN IMMEDIATE make sure 1 ^ ^ w but attained wide currency. not Value of the Broadwell Methods applied to your own playing is appreciated not only in the denzas and rapid passage work and SP 6 ’ on the legato to relaxed. (2) The accents improved quality of playing, but also the speed with which improvements in technique, accuracy, riS not be create shimmering effects. Its most effec- fourth page should sightreading and memorizing, etc. become noticed. Improved mastery of skills such as trills, Sets on the ’Cello Studies slightly more bow to Recommended first ten days. ooff.” Give certainly arpeggios, runs, octave passages, chord skips, is unmistakably evident after the tive use is to diminish sound to the “Phonnedchoppea pressure. Miss L. D. Z., New Jersey. You S music for quantity and speed of diminuendo de- 6 be held have had a varied experience in control— from field to finished marked should you should Rigid quality ADOPTED BY FAMOUS TEACHER-PIANISTS ThGThp notes the your age, and it is interesting that sired. It provides a more uniform di- than the other notes, Strings the finest! The Broadwell Methods are used by famous Concert Pianists, Professional Pianists, reputable ciirihtlv longer ’cello. For your next product — makes Armour made up over the have finally settled on the Teachers, Students and Organists the world-over. These methods may be applied by the student minuendo than half-pedaling. borrowed being II and 111 and pro- «me mS take year’s study I would suggest Books string quality is guarded who has had but 6 months of previous piano instruction as well as by advanced students. The These triplets must not Armour nS:t two notes. School of ’Cello, by Percy Such, process- methods are as valuable to the player of popular music as to. the classical pianist. The Broadwell triplets. of The New every step of the time than the other Studies by Cossmann. tected throughout Methods have been successfully used for over twenty years by thousands of pianists. a longer and the Violoncello will help gut into perfected Example: Concerto No. 1, Liszt. There are studies in the latter which ing that turns finest 0r al n position. (2) A strong Armour NO In been able to you with the thumb Strings. More musicians use Vermont. I have not as on any other Armour BROADWELL PIANO TECHNIQUE W G s. tone is produced on the ’cello, regarding a maker other brand . . • se- obtain any Information instrument, by bowing near the bridge, Music Strings than any a number of bowed K. E. Miller. There are and by maintain- line of strings Ma/7 Coupon — No obligation for Ex. 17 named but not with not too much pressure, lected from the most complete makers with that surname, finger grip. English your ing a strong and intense left-hand Additional resonance and emphasis Initials. The value of push- America! one with those the bow is pulling and in . its own Try to feel that FREE "TECHNIQUE" be given to staccato tones by the have to be determined by pressing it Strings, you BOOK- may violin would ing the string sideways instead of When you specify Armour pedal Is ***** merits. The ’cello vi- use of staccato pedaling. The pruimtr # nl individual down into the instrument. (3) are getting the best because no y forearm. Be careful know you BROADWELL STUDIOS, DEPT. 67-K depressed simultaneously with the pro- brato is made from the the Armour s tightly with your thumb. other manufacturer duplicates Covina, California Commercm! ””^ names Sto- that you do not grip duction of tone, so that the duration be- Carolina . The most beginners produce Fiedler (4) The rasping tone process of perfecting strings. Gentlemen: tween the pedal-depression and release Pollmannini. and Herman caused by their bow- rentina, I on the ’cello is generally Send me your FREE Book “Technique" showing how I may quickly improve my Technique, Accuracy, in the reference books, and equals the duration of the tone. ire not listed too near the fingerboard. Memorizing, Sightreading and Playing. I understand there is no obligation. anythmg about ing t/uteto have not been able to discover Example: Etudes Symphoniques, Op. 13, anybody. The opinion is that the NAME them from trade Schumann. any rate, are merely Value of a Schweitzer _ first two names, at genuine J- B- — proprietor Miss C. G., Pennsylvania. A ADDRESS ^ 3 p names invented by the instrument, his wares an Schweitzer violin is a very good dole* violin factory to give CITY STATE German were not from three hundred to six hundred. Ex. 15 v which they worth —0 aura of aristocracy to cheap, factory-made Martin was a commer But there are hundreds of otherwise entitled. E. Schweitzer label i-y- and his German fiddles bearing the maker in Saxony, Germany, one cial seventy-five not worth twenty-five dollars. No T’’^, |||p|ggr^ V r worth about fifty or that are ^§§p f Lrr f violins are a whether your violin is genuine or / ~s Georg Carl Kretzschmann was also could say dollars. examining it personally. m . good condition, ai viote not without lytt,,. - Saxon maker. In hundred and fifty dollars. hi his might be worth a Onlv a Trade Mark Piatta Solo* 7 stamp Ole SCntfiltfced, to Pay Miss D. A. A., Colorado. The Echo-Pedaling Tyrolean Makers; Necessary Prices does good is a trade mark, and Idaho. There were some Bull" in your violin of echo-pedaling is seldom L. E. A., Bull once possessed the CHILDREN’S EDITION The use including the various mem- not indicate that Ole Tyrolean makers, a German but it may be whose violins instrument. The violin is probably indicated by the composer bers of the Klotz family, some of Edited by Hugo Frey Half-Pedaling The Tyro Czechoslovakian instrument of little value. employed to create shadowy, illusory have sold for as much as $750.00. or makers. (2) Half-pedaling is a rapid, partial, hatched many quite inferior WITH BIG NOTES AND WORDS or effects. While the pedal sustains a low also rus Forster was a very good maker, Should Be Made half-release of the damper pedal fol- chord in William Rrnairs name fortissimo bass chord, another bit as good as a top- Nebraska. The makers you instruments are every F O J , lowed by an immediate complete depres- including luthiers and the middle register of the piano is de- grade Klotz. In fact, many people, are well-known contemporary sion. In this Forster in good con- esteemed. The cracks in DIANE SANTA CLAUS IS COMIN’ TO TOWN operation the pedal does not pressed silently. Releasing the low bass myself, would prefer a their work is highly As a rough guess should be repaired, otherwise they by ARMOUR CHARMAINE THREE O’CLOCK IN THE MORNING rise quite to the top. This sudden mo- re- dition to the best Klotz. (3) your violin Quality Controlled chord and the pedal simultaneously prices are about But have a competent I should say that violin are likely to spread. mentary damping of the strings reduces that were before M-O-T-H-E-R MARCHING ALONG TOGETHER moves the strong vibratory sound so twenty per cent higher than they man do the work. the intensity of the official pro- WHISPERING WEDDING OF JACK AND JILL fundamental and the still-depressed upper chord will sound the war, but don’t take this as an is difficult, Special Henning Violin lower tones and thins out, or even eradi- color. nouncement. (4) Your last question MY BLUE HEAVEN I’LL SEE IN forth with an intangible, unearthy violinist Studv Without a Teacher YOU MY DREAMS a professional a pity that - MELLOW - SOULFUL cates entirely, the undesired vibrations to say how much B. L., North Carolina. It is Son DEEP Example: Carnaval, Paganini-Schumann. which would Miss lOil/uvn JEewib- and limited time you can pur- ANCHORS AWEIGH GOOD NIGHT SWEETHEART would have to pay to get a violin living in a town where violin For a in the upper registers. In impressionistic know the you are now Chicago III. chase this high-grade violin, with one would first have to can. of course, 207 South Wabash Ave.— 4, price ALICE BLUE GOWN MOONLIGHT AND ROSES satisfy him, lessons are unobtainable. You the qualities of the finest, at a music it is especially for which he REPAIRS, etc. for such an useful in suppress- Press down violinist and the type of work progress by yourself if you SPECIALISTS IN VIOLINS, BOWS, far lower than ever asked Ex. 18 orchestra make 'considerable made possible by our PAGAN LOVE SONG M-l-S-S-l-S-S-l-P-P-l ing or silently For a dance but an FOR INFORMATION instrument; eliminating certain vibrations _ wanted the instrument. patient, and self-critical, WRITE in violin could are careful, VIOLINISTS" many years of experience /TV violin with a loud tone great help to you PUBLISHERS OF "VIOLINS and Satisfaction guaranteed. WHEN YOU WORE A TULIP PEG O’ MY HEART while partially retaining player, a lesson would be a _ st making. the harmonic symphony man occasional only journal devoted to the violin bought for $150 or even less: a a month to the nearest America's GUSTAV V. HENNING background. Could vou not go once 35(1—$2.50 per year. I’M ALWAYS CHASING RAINBOWS PEGGY O’NEIL least $ , Specimen Copy would need an instrument worth at teacher is located Information Box 405. Belfalr. Washington large town where a good Example: Reflets 1 approximate, of course, is at all WHEN I GROW TOO OLD TO DREAM DEEP PURPLE dans Veau, Debussy. These figures are only you to do so. if it hard y I strongly advise while a successful concert artist would will help you are: Prac- Collection Of Fine WHEN THE MOON COMES OVER THE MOUNTAIN $oOOU. possible. Books that A Large ACOUSTHEORIST satisfied a violin worth less than Frederick Hahn, Vio- be with tical Violin Study,” by violin Price Each new life to your 35 c Study,” by Eugene VIOLINS Investigate today lin Teaching and Violin Playing, by Old & New, With Concert Tone New and old violins Teaching Material . ’’Modem Violin Gruenberg; New York H. T. After the second book “Violin Playing as 40% 1391 6th Avenue 19, R. F. K.. Michigan. Son and Forsyth; and REDUCED TEL. CO. 5-4078 Kayser II, together Auer. None of these List. of Wohlfahrt should come Teach It,” by Leopold Send For New £a*y Piece* FOUR These com- I bowing tech- - 7^ with the last part of Laoureux H. books deal in great detail with BALLARD easy DRAKE given Kayser 111 that you get a copy of FRANCIS pleted, the student can be nique. and I suggest WITH TONE PIECES Mazas. Follow- Technique of Violin Collector-Dealer LESSER MASTERS FOR THE PIANO pp together with the first book of book, “The Modern Tuckahoe. N. V^ II ana my procured 50 Chippewa Rd. Legatissimo-Pedaling ing these, I would recommend Mazas All these books may be Bowing.” instruments. Lists tree. Kreutzer. . Antique musical the Dont Studies “Preparatory to publishers of The Exdde. and connoi sseursh i p 'JfoU from the Entt. ! Legaiissimo-pedaling, “super-legato & CO Co.. «New Bbidge St.. Newcistle-oh-Tthe. or Then Kreutzer, Fiorillo, the 20 Brilliant Stud- JOHN MARKERT Houchtob Music ILL Jr- II. N. Y. K AP the Concert 141 WEST I5TH ST., NEW YORK • pedaling” delays the damping of ies of Dancla, Dont Op. 35, and the 30 WITH BIG NOTES 9 the Anuraisal Should Be Made VIOI.I2TS OLD & ww WT strings. results Studies of De Beriot, in that order. In P Angeles, you This retarded damping McC., California. In Los Expert Repairing. Send*for_Cataloo__^MM February 1945 issue of The Exude there was, J. either to ETUDE Your Marketing Place in a very minute, effective, overlap- take your violin for appraisal Make THE but detailed dis- could Doors to Real PICKANINNY SHUFFLE HIKING ALONG >Cv a! a on the Violinist's Forum page, a Lachmann or to Mr. Fans Brown. Etude Advertisers Open the ping of the harmonies a subtle fusing teaching course, in Mr1 Erich — cussion of a recommended the addresses of *“e gentle- Opportunities LITTLE PRINCESS FLITTING BUTTERFLIES of really September and I do not have one chord into another. It is the Questions column of the hand, but you could undoubt- VIOLIN INVENTION Since the low bass strings of comments on men readily to NEW Price 30c Each a modem syncopated-pedaling release October 1946 issues there were telephone book. I think with the page m edly find them in the see—where fingers should grand piano will, if struck the subjects, and again on the Forum that file chances "You feel and with great action tell you, however, LABEL FACSIMILES AND BRANDMARKS delayed (rather than immediate) able^ to consult I should can now learn, at home, by 250 GENUINE VIOLIN force, continue to sound briefly February 1947. You should be being a genuine Stradivanus are be." Anyone after the and legatissimo Library- of your violin violinists. is comparable to the these back numbers at your Public are about six hun- mail. Endorsed by all great THE BIG THREE MUSTC CORPORATION hammers have completely damped, very small indeed. There half- touch of the and for every Bernard St., Chicago 47. III. • fingers. Strads in the world, Write to 2537 N. or , " s ’ 2 Sale* Agent for.- Robbins Music Corporation leo Feist, Inc. • Miller Music Corporation pedaling offers a convenience dred known for probably a hun- I c s^DTS ™7 the 57, An . & Device are Example: Andante moto, Op. Unknown Technical . . instrument there i&^i Irvington, N. ;J. con Beriot genuine SYSTEM Stuyvesant Ave. 52nd STREET • N, Y. diminuendo of a chord by greatly R. A. K., Connecticut. All the De generally of Wtle FINNEY VIOLIN KEYBOARD 643 152 WEST NEW YORK 19, weak- Beethoven. dred thousand imitations, ening and removing Studies are good, particularly the 12 Caprices, imitation Strad labels. the less vibratory value, but all with ( Continued on Page 600) Op. 109, and the First Thirty Concert Studies, 591 "MUSIC STUDY EXALTS LIFE" "MUSIC STUDY EXALTS LIFE” THE ETUDE OCTOBER, 1947 ,

rose to the pinnacle of this Scottish bom girl, fame as light of day in Gandla, especially to the Maestro who was at She distinguished herself more as a bel and you can take word for it. As such Really and truly one first saw the my greatest American nori Classical teachers ev. Hall of especially remem- of the sopranos. It province of Valencia, Spam. that time the General Musical Director canto singer than as the astonishing dis- TEACH My Memories she joined her famous name to those of lyric soprano will be is town in the erywhere are finding needless to tell you that this is voice, personality—vibrant, scin- a portrait the grand opera capital of of the Chicago Opera Company. The player of vocal pyrotechnics. Her the answer to the prob- {Continued from Page 554) other notable singers who have left to bered for her In Milan, PIANO singing was of her popular Madam Butterfly Lucrezia coloratura soprano rich quality, served her to MODERN lems of teaching popu- tillating, and alluring. Her her same day on which was in New York for of limpid and generations to come the secrets of their •Italy the lar music, in our mod- d’ouvre.” . . . >he sizes. While I of recitatives, very “chef the contract for her a few days en route to Europe from better and rarer advantage in the melodic by note stopped to admire them, I culinary inventions. So, in the bill-of-fare personal, her delivery Bori had signed ern, up-to-the-minute per- And now it seems apropos to point role of Micaela Havana where she had been the star of andantes of Bellini and Donizetti than method. Based on sound was approached by a stage attendant of the high class restaurants of an inter- personal, and her acting, extremely out in Rome with the debut CHRISTENSEN music, it who very particularly to you some parallel events in the told me at lunch she an opera season, but that presentation in the lengthy cadenzas & la Rossini. principles of solemnly told me, "Signor national cuisine, one may see, or could sonal. Mary Garden was careers “Carmen,” she not hinder Farrar in in- will help, Basso, tutti i and of Geraldine and Mary “Bori” because at Caruso’s table was spark which Brilliant examples of her honestly fiori sono per Donna Luisa, have seen, alas! mingling with such suc- remarkable in the French repertory, Garden. had changed her name to the WAY classical studies. Fran- la Stella” she Both made their stage debuts started the quick fire of singing were, among i chise contract will give (“Signor Bass, all these flowers culent dishes as: Caneloni a la Rossini, especially so in those operas that in Europe thought that her audiences never of her tremendous spired style she right to teach and advertise our are for Donna Carre, at the turn of the century. The first big success in the United States. others, the recitative and andante of the you exclusive Luisa, the star.”) Well my Eggs a. la Meyerbeer, Toast, Onion sang first in Paris under Albert came believed that such a name represented. Melba would have method in your community, if not friends, the Donna composer who to sing for the American public Good judgment Maestro Campanini, after private Mad Scene in “Lucia,” Qui la voce from complete details. En- never gained, during Soup a la Saint-Saens, Spaghetti a la the eminent director and at the was her legitimate one. a au- Our 43rd year. Write for of “Rigo- page^nstructioi^book^ the entire performance, the favor of the Caruso, imposing upon her a vocal Metropolitan of New York in 1906, in the early twenties! dition, engaged Amelita for the forth- “I Puritani” and Caro nome close $2 for complete, 91 the very tasty Maccheroni a la succeeded in and for a beginner frowning the listeners, who with their un- Tetrazzini. discipline and interpretative line that she the latter, at Hammerstein-Manhat- The analysis of the reasons for her coming season of 1916 in the Windy City. letto.” PLAY POPULAR PIANO broken silence did not give operas of her tan Opera of the same city in be a guid- until this big revolving door gives ac- the chance By the way, let me tell you that I too, seldom followed in other 1907, one great and real success should From that date 1930, when she Now, for the presentation of those floral trib- have year apart. Both were intrusted, by assuring stimulus to sang her farewell performance of opera cess to the Valhalla, as we may call it, LIKE A PROFESSIONAL my own concocted dish with the repertoire. great ing example and utes to her on the stage. privi- composefS, with the creation heroes of the past, but I It was a pity, name, Rice a la Segurola, especially rec- Her Mdlisande that she had the of several young singers in general. at the Metropolitan of New York, the of the operatic with our BREAK SHEET SERVICE and I wish to in suspense, say it was also somehow ommended for luncheons. I figuring lege of creating in Paris in 1902 at the of their operatic works. For instance, Bori ever a great beauty? Italian soprano reaped the harvest of have to keep your curiosity for playing extra am Was Lucrezia It brings you clever arrangements Gives unjust. The morning after, the star with to reveal my recipe in composer, Claude Farrar was the first one in the possessor of a riches laurels the states of I afraid, until our next meeting. Au choruses of eight popular “hit parade” tunes. the near future request of the great world to No. Was she ever the and across am an ingratiating you breaks, novel figures and tricky embellishments, gesture, sent all those thus not to be entirely and hastily for- Debussy, Thais, in which character the sing at the Metropolitan Opera House No. Had she ever been our America. revoir! My friends. of grandiose voice? ready to fill in. Single copies 25c, stamps or coin. beautiful flowers to adorn the altar of gotten by those who were one day painter fixed her on this canvas, Louise, New York, "Madame San-Gene” No. But what she Send $2 for ten consecutive issues. my by a great tragedienne? Parma’s most favorite Madonna. good live A admirers. You see the point? and Le Jongleur de Notre Dame will Umberto Giordano, “Koenigskinder” by possessed to an exceptional degree was diplomat, la Tetrazzini! However, in order to free forever in the memories of the opera Engelbert Humperdinck, balanced mind, a THE CHRISTENSEN METHOD my con- and “Suor An- a great heart, a ’well I don’t think that Luisa Suite 754, Kimball Hall, Chicago 4, Illinois Tetrazzini has science of the remorse of any wrong sug- goers of the first quarter of this century. gelica” by Giacomo Puccini. exacting spirit of observation, and The Romance of John Howard Payne left to posterity very a single recollection of gestion, I wish to tell young singers that Dear Geraldine Farrar comes now. And To the credit of Mary Garden a great sense go the all these tied together by Page 564) any consistent lyric creation ( Continued from in her rep- the frequent indulging in those tantaliz- I don’t know whether it was accidental “premieres” of “Pel Idas et factors made of Meli.sande” by of equilibrium. These ADS ertory, I CLASSIFIED am sorry to say. ing plates is of no help in the production or her next the house was soon intentional to have put to Claude Debussy, “Natoma” by Victor Her- her that harmonious, carefully conceived, forgot about his magazine and its sub- than his first, for However she had other talents, that of staccati, legati, and high C's. Mary Garden for both of them have re- bert, and “Le Jongleur de Notre Dame” and spiritual en- along put in repair and he splurged on what exchanged amiable vocal, interpretative, scribers and managed to scrape YOUR UNWANTED MUSIC Luisa, and an especially good Next is this singular personality furnishings, each: quality matched, of the markable points of professional resem- by Jules Massenet. for which she is well remembered. hack work. But his friends still he considered appropriate piece for piece, 5f one at that. semble doing Specialty Shoppe, Delton, Mich. She was a marvelous cook. operatic stage, Mary Garden. blance. Gerry Farrar, Massachusetts administration in Wash- Burpee's a Another point of resemblance, less for- A movement of her expressive hands, looked after him. Through their efforts. A change of Orchestration, tunate indeed, between the two famous studied accent on a note, the care- President Tyler made him a consul. His ington brought about his recall. But it HARMONY, Composition. a well Musical Theory. Private or Correspondence well took him a year to get back. In the ladies, was the error of including and ful modulation of a phrase and a castles in Spain became a mud-covered Instruction. Manuscripts revised and cor- again roaming through Music arranged. Frank S. Butler, featuring Carmen in their repertoires, placed “dramatic silence” were her un- house in Tunis. meantime he was rected. 32-46 107th St., Corona, N. Y. which part requires a voice of a range equalled characteristics. Bori's romantic The night that he heard of his ap- Europe. and color that neither different from her he sat staring at a full length By this time his lithe figure had be- PIANO PRACTICING ANNOYING of those two Mimi so contrastingly pointment Mayo’s Muting Device Easily The color of youth had OTHERS! friends of ours possessed. Furthermore tragic Fiora or her unsophisticated portrait of himself painted when he was come heavy. Attached or Detached by Anyone without and a scraggly mechanism. State upright, grand neither of them submitted to the neces- Norina, were precious works of art. playing the part of a follower of turned to a florid hue harming or spinet. Send $5.00 for mute, full instruc- covered his chin. Invariably dressed sary preparation for that intricate, in- With what fidelity the painter has re- Mahomet. Turning to a friend, he said beard tions. Money back guarantee. Richard along the streets of Technician. Dept. 003, 1120 sidious, and dangerous role. here in her role of Mimi! that he still had the costume and won- in brown he shuffled Mayo, Piano produced her Phila. Pa. old magnetism still Latona Street, 47, Fortunately for the opera goers Ger- She did well, my friend Lucrezia, in dered whether he should take it with him the capital. But the aldine There have been he presented his creden- survived, and when a new president was YOUR SONG Professionally Harmonized Farrar compensated them with changing her name. to wear when Publication. and out author’s friends and Arranged. Prepared for her master stroke portrayals of the pa- several famous Borgias in the history tials to the Grand Bey. elected, the down Write for Details. H. Saffran, 512 Urban efforts to have him reappointed to Ave„ Glenolden, Pa. thetic Butterfly, unhappy Mimi, and ill- of the world, but only one great Bori One episode on the trip did much to made his old post. JohnThomkons fated Tosca. in the history of art. cheer him up. His ship put in at a MUSIC TEACHERS — Extra Copies of Lind helped in bringing writings, low cost, Alusicopy Mooern Course As a companion she was exquisite. God Minorcan port and a sailor asked him Perhaps Jenny your musical Service, Box 181, Cincinnati 1, Ohio. aaiBE Piano night the Swedish Night- bless you, Geraldine! A Timely Meeting if he were John Howard Payne. When this about. One concert in Washington. SONGS, Professional What a complex and rare personality the last mem- the new consul said he was, the seaman ingale gave a PROMOTE YOUR And after her we reach Copies, low cost, Musicopy Service, Box StHWiOfl In Payne, sitting unobtrusively in one comer that of Frances Alda. But as rare as her ber of the dynasty of the famous female exclaimed: "May I grasp your hand? 181, Cincinnati 1, Ohio. hall pointed out to her. In character was her voice, gallery, day I too was an actor and manager. of the was lyric-soprano artists herein honored in this my SLIGHTLY USED CLASSIC'S (Vocal, In- tribute to him she sang his song. The outstanding for quality, range, and flexi- Amelita Galli-Curci. In both capacities I have made money strumental). Back Popular Music to 1850. eyes of the entire audience turned to- Lists Classics Exchanged For Old bility among those of her days at the Born in Italy of Spanish and Italian out of your brains. So too have many 10f. Cl Popular Music. Fore’s, E-3151 High, Den- Q wards him. Daniel Webster, who was Metropolitan. Young singers should study parentage, I have been tq]d, she came others.” ver 5, Colorado. State, is said to have wept. her recordings few years last Payne reached his post, one Secretary of fWjST of the Prison Scene in to the United States after a At —Simplified, au- SBABt Shortly after this happened, Payne’s ap- LEARN PIANO TUNING “Mefistofele” by Boito and her Desde- of rising career in Europe. I well re- hundred years almost to the day before thentic instruction $4.00—Literature free. pointment was announced. Ross, 456 Beecher St., Elmira, N. Y. mona in "Otello's” Fourth Act. They are member the day when, while having the American Army entered the city. Prof. the True to form, before he sailed, he good singing lessons. This painting re- luncheon at the former Hotel Knicker- The one blot on the landscape was MUSIC WRITTEN TO WORDS. Profes- this was bought books and pictures. When he sional Piano Arrangement — Guaranteed. produces her in that Shakespearean bocker of New York with Maestro deo- consular residence. He felt that reached Tunis he ordered new furniture. Thomas Raso, 90 Main St., Warren, R. I. characterization. fonte Campanini and my old friend En- beneath the dignity of his office. Dis- not destined to enjoy any of HOME. Tongue waggers the table that covering that the Bey was his landlord But he was LEARN PIANO TUNING AT often said that rico Caruso, at the famous Course by Dr. Wm. Braid White. Com- in his best these things for long. A visitor described fact of being the wife of Giulio Gatti- this great tenor kept reserved for himself he obtained an audience and plete with necessary tools, Lecture—Beat his years who Casazza, dramatic style demanded improvements him as a man old beyond recording, text book, etc. Total cost $50. General Director of the Metro- and his pals year after year, a mutual Write Karl Bartenbach, sat in an arm chair beside a red-hot Pav as vou learn. politan Opera Company, forced her posi- friend came from a nearby table where in the name of America. 1001A Wells St., Lafayette, Ind, looking sad. tion in repeated the ruler, annoyed stove, drinking brandy and PIANO that organization. But I. who had he was lunching with Amelita Galli- “America,” IDO PIECES of Various Piano Music for never April 9, 1852, he died in the con- Bolan, 34-47 90th the privilege of enjoying the Director’s Curci to introduce her to us, and most at the consular manner, “I have On sale, without restriction. JAODERN^OORSEJ^ sulate, leaving little but debts and a St., Jackson Heights, New York City. close friendship more than any other heard of such a country. Where is it?” THOMPSON^ grade song. second singer of his company, wish strongly to Payne’s second attempt was better VIOLINS FOR SALE: Sebastian Iiloz, 1749, „ the fine condition $600. Richard Duke smooth - 5 B< refute • third GRADE that assertion. Frances Alda at- THE MOST PRACTICAL & SCIENTIFIC mellow tone. $500. Eugene L. Wyman, 50 SPELLER • TTH e Center, Mass. EPSON'S NOTE 60 GRADE tained a brilliant reputation by her own Grafton Street. Newton THOn PLAY h6 FOURTH PIANO COURSES EVER PUBLISHED JOHN FINGERS TO t BC merits on the stage. MUSIC COMPOSED, orchestrated — songs LITTLE GRADE I E ’ E.FTH The new Felix De Cola cost. Zygmund Eondo- TEACHING • THE arranged at small PIANO .DO Personally, I always with preparatory ; remember Holke Rd., Independence, Mo. adult Self-Teaching piano courses rnanski, the pleasure the several duets that we so suc- MUSIC BOOK. How tochord How to harmoniie by PIANO GRADE your pieces NEW 107 ETUDES, Dec. 1903 to cessfully FOR SALE FIRST sang together multiple oc- note and ear. the PLEMENTARYJOO^ on How to fil up empty Oct. 1937. Good. 25r per copy. Edna Blum- casions, and spaces How to improvise berg. Valley Falls, Kails. with delight . . . her eloquent Series NAV How the experts do it How to play ballads, Composers IN THE eyes Contemporary E and her shimmering auburn hair. How to play in different tangos, waltzes, INEXPENSIVE, professional copies of ensemble ntroduction Hello, Alda! keys swings, boogie, etc. your compositions. Willard Photocopy WAC Service, Willard, Ohio. COVERED Felix De Cola has taught many famous people, Landis SCHNABEL THE A A Grand Artist stars like Shirley Temple, Carole Artur TOUR SONGS arranged, engraved, copy- ; JOIN and Ray Milland. 1 25 righted, printed, 100 copies $40. two songs pilgrim suiti And here is Lucrezia Admir- Piece in Seven Movements Bori, the $75, three songs $100. Send melody or re- ET able! irth grade The grand artist of the stage and FELIX DE COLA PIANO COURSES cording, $15 deposit brings proof cupv. TECI the Roger SESSIONS Felix De Cola, 736 N. Martel, Los Angeles GRADE grand lady of the world. Calif. H 736 North Martel Avenue, Los Angeles 46, 1.00 46, California. As you have Diary . . probably read in the in- Please send me by return mail: From My BOOKS, MUSIC ENCYCLOPEDIA. Con- Course $3.00 numerable writings about this actress- of Piano (for beginners) O tains all latest information, articles on the singer, Course of popular Piano and Improvising O $4.00 etc. $5.85. Address Remittance to she is a direct descendant of Lu- Leo SMIT Masters Both Piano Courses (save $2.00) Cl $5-00 Co., Georgia. crezia 75 David Nichols & Rockmart, Borgia, the historic tragic woman (Cash, Money Order, or Check) C.O.D. Five Pieces -for Young People Teachers of the fifteenth century, the daughter of 20% Cash Discount to FOR SALE: Violin, by owner. Beautiful Joannes Baptists Guadagnini. Turin 1772 Pope Alexander VI, Prince Name. sister of B. MARKS MUSIC CORPORATION with Hill Certificate. Glorious tone. Sacr'- Cesare Borgia of the Italian Renaissance EDWARD fice or will trade. Pictures and full infor- Street. on request. Write Theodore and wife Radio City New York mation Mar- of Alfonso, the reigning Duke RCA Building chetti, 472 E, 5th Ave., Columbus. Ohio, of City & Zone State Ferrara, As did all those Borgias, our MUSIC STUDY EXALTS 593 LIFE” "MUSIC STUDY EXALTS LIFE” THE ETUDE OCTOBER, 1947 f

department of the in October to audition the orchestral arrangers itself. The festival summer with other operas in their reper- United States alongside the orchestra Broadcasting Company. thirty-five singers selected by Erich National tenth year on August 10 with a toire. closed its material for the twelve thousand per- Leinsdorf as possible concert attended by CORINNE RIDER-KELSEY, concert and of Music Opera. • World and recalled Dr. Kous- Vienna WHERE SHALl l GO TO STUDY? The sons who called THE CANADIAN BROAD- oratorio singer, died July 10, in Toledo, stage at the conclusion of sevitzky to the CASTING CORPORATION Ohio, aged seventy. She had appeared in Tchaikovsky’s Sym- the closing number, is honoring thirteen Ca- opera in Covent Garden, but was noted The total attendance The Choir Invisible Private Teachers (Western) Private Teachers [New Yori city) nhonv in F minor. nadian composers in a especially as an oratorio singer. of the festival was 146,000, series broad- CHARLOTTE KLEIN, prominent church Everywhere'' at all events of weekly “Music News from over last season. Washington, D. FREDERICK DAVIS MARY BOXALL BOYD an increase of 21,000 casts featuring their and concert organist of Competitions CONDUCTOR-TEACHER (Leschetizky) works. Most of the com- C., who had won national recognition by Member Natl. Assn, of Teachers of Singing Pianist and Teacher ANNUAL Prize Song had fin- virtuoso performances, died July 4, THE ELEVENTH "Of all pianoforte teachers with whom I have LEMONADE OPERA COMPANY positions will be cham- her Sing- Classes in all branches of Boyd THE Competition sponsored by the Chicago to do, either as pupil or associate, Mary Boxall with the perform- ber music. The roster in the capital city. Dr. Klein was a former ; ." first season Kimball VOCAL and CHORAL ART s, in my opinion, the best — Leland Hall, Prof, of ished its ing Teachers Guild for the W. W. of Columbia Chapter 606 Templeton Building Salt Lake City I, Utah at on August 31. includes John Weinz- dean of the District has Picno Smith College. HALF, a new A COURSE on the development of “Don Giovanni” Company prize of one hundred dollars, Phone 3*0316 (or 4-5746) for appointment SYMPHONY FIVE AND' A of ance important Add. 113 W. 57th St., c/o Nola Studios, Steinway been a success is weig, Alexander Brott, of the A.G.O. and held various award, which also in- given its American piano music will be the venture has been announced. The Hall, New York City, N. Y. Summer classes for composition by Don Gillis, was offered That H A R O L D HUR L B U T fact that there was not an Dr. Healey Willan, Jean C. Adams, Claude church positions. cludes guarantee of publication of the win- teachers and students. August 31, during for the first time at the opening of the proved by the first performance on for the best setting for Paris—New York— Hollywood new season of the Juilliard School seat at any performance, and that Champagne, Robert Fleming, Barbara ning manuscript, is EDWIN HUGHES broadcast of the NBC Sym- of Mu- empty of a text Member Natl. Assn, of Teachers of Singing the regular J. Gagnier, George Emile S. GERSTLE, composer and ar- solo voice, with accompaniment, PIANISTS PREPARED It will be available the nineteen members of the co- Pentland, Dr. J. HENRY Developer of Singers of Metropolitan Opera. C5‘ FOR PUBLIC PERFORMANCE conducted by Arturo sic. to students in each of Manuscripts shall AND FOR UNIVERSITY, COLLEGE AND CON- phony Orchestra Tanguay, Hector Gratton, Maurice Black- ranger, who in recent years had been selected by the competitor. cago Opera Hollywood Bowl, Radio, etc. “VOICE Extension Division and will received about two hundred work, which has the sub- the be con- operative mailed not earlier than October 1, nor FUNDAMENTALS" (J. SERVATORY TEACHING POSITIONS Toscanini. The the United States be Fischer & Bro., N. Y. Pub.) Behrend, dollars in addition to his burn, Louis Applebaum, and Leonard secretary-treasurer of was endorsed by J. WINTER TEACHING SEASON: SEPTEMBER TO JUNE is in four ducted by Jeanne pianist-com- and twenty-five October 15, 1947, to George W. Henderson (N. Y . Sun), Amato, title, “Symphony for Fun,” Society for later than MONTHLY CLASSES’ IN WASHINGTON, D. C. twenty-five dol- Basham. Branch of the International B'sphcm, Journet, and others of that great era. poser. original investment of Graham, Chicago Musical College, 64 East 2150 Beachwood Dr. Hollywood, Calif. For full information address: movements. Music, died August 21 at will accept engagements Contemporary Street, Chicago Illinois. 338 West 89th Street New York 24, N. Y. lars The group Van Buren 5, the Hot Springs, Virginia, at the age of fifty- ISABEL Tel. SChuyler 4-0261 clubs and colleges during the win- DR. HERMAN JUCH, director of HUTCHESON ROBINHOOD COLORADO COLLEGE, at from head of the ( Continued on Page 600) THE Colorado Volksoper, will arrive in the six. From 1925 to 1938 he was Teacher for Piano Teachers CHARLES LAGOURGUE STUDIOS will return to New York next Vienna DELL concert season in Springs, conducted during the past sum- ter and Modern Piano Technic: Group work for Teachers: VOICE PRODUCTION—SINGING Phila- mer one of the Coaching concert pianists: Conducting “Piano COMPLETE MUSICAL EDUCATION Fairmount Park, most successful festivals Mr. Teachers Forum." Lagourgue is the author of "The Secret"—Daily delphia, last summer at- in its history. Josef Gingold, concert- Vocal Exercises—Complete Treatise Transposition BROOKS MAYS MUSIC STUDIOS on , etc. Classes held annually at tracted audiences which master of the Cleveland Symphony 1005*72 Elm Street, Dallas 2, Texas Phone C-6214 Or- The College International of CANNES, France totaled 179,000, and was a chestra: Frank Costanzo, first violinist of EVANGELINE LEHMAN: Mus. Doc. New York Address: 35 West 57th Street pronounced artistic suc- The Philadelphia Orchestra; Ferenc Mol- Vocal Studio EDITH SYRENE LISTER Creative, Individual training. cess. The orchestra, a nar, solo violist with the San Francisco Send for reprint from the Etude: AUTHENTIC VOICE PRODUCTION 405 summer edition of The Symphony Orchestra, and Luigi "Reflections on the Art of Singing" Carnegie Hall, New York City Silva, 16 Collaborator and Associate Teacher with W. Warren Eleanor ’cellist 7 Elmhurst Ave. Detroit 3, Michigan Philadelphia Orchestra, and chamber music coach at the Shaw A. M. Endorsed by Floyd'S. Muckey M. & Steber D. was under the general Eastman School of Music, LEONA NEBLETT C. M. Demonstration of correct action of vocal formed a chords shown at Columbia Univ., Cornell Medical direction of Dimitri Mitropoulos, who had string quartet of Concert Violinist, Teacher, major excellence, and Coach Clinic, Univ. of Vermont, Music Teachers Assoc., East- From Beginning to Concert Performance several guest conductors. The attendance individually coached ern Speech Conference, Hunter College— Physicians their students and Trained and Endorsed by Louis Persinger and & Artists— dropped 27,000 from 1946, . this developed Enesco but was a string sinfonia which gave Georges (Teachers of Yehudi Menuhin) Wednesday: Troups Music Studios, Lancaster, Pa. due to inclement Res. 801 S. Dunsmuir Ave. Thursday: 309 Presser weather. Even at that, a series of concerts conducted by Roy Bl dg., Philadelphia. Pa . Los Angeles 36, Cal. WYoming 8354 (FRANK) (ERNESTO) the average attendance was 6,000. The Harris, composer-in-residence at Colo- EDNA GUNNAR PETERSON LA FORGE-BERUMEN STUDIOS artists included Marian Anderson, Helen rado College. At the close of the season Voice Piano Traubel, Jan Peerce, Lauritz Melchior, four student concerts were given. Concert Pianist—Artist Teacher — Among those who have studied with Mr. La Forge are: Nan Merriman, Joseph Szigeti, Eleanor 229 So. Harvard Blvd. Los Angeles, Marian Anderson, Lawrence Tibbett, Richard Crooks, Calif. Steber, FE. 2597 and Mme. Matzenauer. Zino Francescatti, Marcel Hubert, VLADIMIR HOROWITZ, world famous MOO Park Ave., Corner 89rh St., New York and many others. The hit of the season pianist, will appear with The Philadel- THE SAMOILOFF Tel. Atwater 9-7470 Conservatory was Alec Templeton, who drew 16,000 phia University Extension BEL CANTO STUDIOS & OPERA ACADEMY Orchestra, conducted by Eugene The only place where you can learn RICHARD McCLANAHAN auditors. Melchior and Romberg drew the original Ormandy, on October 9. in a concert for — 1947 Samoiloff Bel Canto Method which developed such Representative TOBIAS MATTHAY OF MUSIC 12,000 each, while Francescatti, with his the benefit of the Rachmaninoff Fund’s LARGEST HOME STUDY CONSERVATORY outstanding voices as NELSON EDDY, Private lessons, class lessons in WORLD'S BIANCA Fundamentals enormous 1903 - THE SAROYA, DIMITRI ONOFRI and many others. Now Summer-class, Southwest Harbor, Me. virtuosity, brought out 11.003. Philadelphia Regional Committee. Horo- under the direction of ZeDha Scmoiloff. 301 Steinwoy Bldg, New York City A concert version MEMBER OF of “Madam Butterfly,” witz, who is of Write for Catalog, 3150 West Sixth St., Los Angeles 5 president the Rachmani- EDWARD E. with Eleanor Steber Phone FE 8294 No charge for Audition TREUMANN and other Metro- noff Fund, will play Rachmaninoff’s No entrance requirements except for Degree Concert Pianist politan opera stars, drew 14,000. noted teachers, leading ELIZABETH SIMPSON —Artist-Teacher Third Concerto. Ormandy is a member Extension Courses by Recommended by Emil Von Sauer, Moritz Moszkowskf Courses. Credits earned by using*' your spare Author of "Basic Pianoforte Technique" of the Fund’s Philadelphia artists’ ad- Music. and Joseph Hofmann. YOUNG to Diplomas, and Degree of Bachelor of Teacher Teachers. COMPOSERS from Argentina, visory of Coach of Young Artists. Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. committee. time for advancement. Pupils Prepared for Brazil, Concert Work. Class Courses Tel. Columbus 5-4357 New York' City and Uruguay will be given the in Technique, Pianistic Interpretation, Normal Summer position Master Class—June 15 to August 15. opportunity to win scholarships You can prepare yourself for a better Methods for Piano Teachers. at the THE YEARBOOK of Carnegie Music lessons sent without Berkshire Music Catalog and illustrated 79 McAllister St., Room I, San Francisco; MME. GIOVANNA 'VIOLA (HULL) Center next summer, Ex- Hall, Pittsburgh, Pennsylvania, issued in by studying at your convenience by the 2833 Webster St., Berkeley, Cal. Dramatic Soprano through a contest sponsored by the Em- obligation to you. Check coupon below. Teacher of Singing — August, gives interesting and revealing "Bel Canto" pire Experienced European Tractor Corporation of Method. DR. FRANCIS L. YORK trained Artist New York figures regarding series of organ re- tension Coaching Opera, the Advance Piano Interpretation and the Theory work Concert and Radio and Philadelphia. Aaron Copland, head Correct voice production, defective singing citals played by Dr. Marshall Bidwell on required for the degrees of Mus. Bach., and Mus. corrected of the ; nners Composition Department Mas. Special Chopin interpretation. Bea accepted at the Saturdays and the sea- Phone: Trafalgar 7-8230 Sundays during HIGHEST STANDARDS OF MUSIC INSTRUCTION DETROIT CONSERVATORY OF MUSIC Mon., Tues., Wed., Thurs. Berkshire Center, is chairman of the OF ARTIST TEACHERS — 608 West End Ave. New York son 1946-1947. gift of late Andrew A DISTINGUISHED FACULTY Detroit, Mich. “ City committee A the that will select the winners. Opportunity—Mail the Coupon Today! CRYSTAL WATERS Carnegie, the Music Hall, for a period YOU MAKING? EQUIP YOURSELF FOR A BETTER POSITION This is Your .P rivate Teachers (New Yorit city) of fifty-two years has been a stronghold WHAT PROGRESS ARE Concert Singer — Teacher THE PEABODY quality is important for one inter- CONSERVATORY of Mu- A proof of Dept. A-597 Voice Building, Breathing, of organ music. During the past season UNIVERSITY EXTENSION CONSERVATORY, HELEN ANDERSON sic, Baltimore, position and in- Our courses offer Diction, Expression, Style. Maryland, of which Reg- Your musical knowledge your ested in further musical training. a total of 914 organ solos were played — 765 Oakwood Blvd.. Chicago, Illinois. Concert Pianist In .preparation for inald Stewart is director, has circularized result of the training you the same high quality of preparation which information Radio, Screen, Stage, by Dr. Bidwell: 116 come today—are the you Please send me catalog, sample lessons and full Interesting course— piano, harmony other music schools and of this number, Concert, Opera. throughout the coun- train- and trained many successful musi- marked with an X below. Many Successful Pupils were works by American composers. The have given your natural ability. Additional has developed regarding course I have 405 E. 54 St. New York City try, suggesting that they send one or two teachers in the past. 166 W. 72nd St., N. Y. C. Tel. Sc 4-8385 Tel. Vo-5—!362 total number of listeners who attended ing will open up new fields, new opportunities, cians and Piano, Teacher's Normal Course Voice of their most brilliant students to per- these form at each recitals was 31,812. greater income and higher standing in the musi- HOME STUDY COUNCIL Piano, Student's Course Choral Conducting others’ concert halls and to NATIONAL Q mingle with which we are a Beginner's students on other campuses cal world. The Council is an Association of £] Public School Mus.— Clarinet Sell Etude Subscriptions to your students, thus helping them great- THE BERKSHIRE for three or four days. In FES- outstanding correspond- MUSIC TEACHERS! increasing your income. Write explaining the member. It includes the Public School Mus.—Advanced Dance Band Arranging for details. plan, TIVAL had a special Q Mr. Stewart said he was This valuable training, through our Extension States with headquar- hopeful it added ence schools in the United Advanced Composition Violin would offset the ” event on July 29 “certain insularity Courses, be taken at home with no interfer- C. Members are admitted when a may ters at Washington, D. Ear Training & Sight Singing Guitar which develops in pupils program entitled “whose study work just by devoting to of the training courses has “Music for All” was pre- ence with your regular only after rigid examination Mandolin been confined to one institution." History of Music sented. self-study the many minutes each day that ordi- usic The evening in- offered. Harmony Saxophone Printers musician, as cluded “Music in tht narily go to waste. The progressive giving instruction in COLORADO'S CENTRAL CITY We are the only school Cornet—Trumpet Reed Organ OPERA Movies,” in which scenes value of such HOUSE has busy as he may be, realizes the the Home-Study Method, which includes had its annual opera festival music by Cornet Banjo from various outstanding positions Advanced the second for it. Well paid necessary to ob- since the War, study and finds the time its curriculum all the courses and again films such Serge in as “Mayer- for them. Name -^9e drew capacity audiences at Koussevitzky are available to those who are ready Degree of Bachelor of Music. every per- ling,” “The Plainsman,” tain the formance. Beethoven’s “Fidelio” was given and “Henry concert Street No twelve times V” were shown. The A Diploma Is Your Key to Success! Engravers and Flotow’s to YOU! '• “Martha” thir- at 8.30 di- YOU can do it too! It's up City State teen. Frances was broadcast, with engineers, J AND Greer sang the title role in rector, and announcer operating in full have the latter work, while Regina Reznik Are you teaching now? If so, how many pupils Lithographers had view of the audience. The final part, en- the lead in “Fidelio.” Emil you? Do you hold a Teacher's Certificate? Write to us about anything Cooper con- titled Conservatory in this line “The March of Musical Fidelity,” ducted and Dr. Herbert Graf University Extension Harmony? Would you like to earn was the was a demonstration Victor of Have you studied SEND FOR ITEMIZED PRICE LIST stage director for both by RCA CHICAGO 15, ILL. productions which the record- 7 6 (DEPT. A-597) the Degree of Bachelor of Music? were in tremendous strides made in 5 O AKWOOD BLVD English. Frank St. Leger was in ing, the climax of which was the playing charge of the festival. of RCA’s first custom-made phonograph ’MUSIC STUDY EXALTS LIFE" 595 m "MUSIC STUDY EXALTS LIFE" OCTOBER, THE ETUDE 1947 ) ” ,

Haydn and the Esterhazy Palace Junior Elude Contest L, €. A. Q. The Junior Etude will award three at- you enter on upper left comer of your for the paper, upper tractive prizes each month neatest and put your address on biography one, two or three years. best stories or essays and for answers right corner of your paper. HEN we read any The books of and puzzles. Contest is open to all boys and Write on one side of paper only. Do of Haydn we always read words were printed. Special hours to under eighteen years of age. not use typewriters and do not have any- something about his living for and days were fixed for girls OBEHLIN W chamber to eighteen years of A, fifteen one copy your work for you. music and for Class many years in the Palace of Prince orchestral works. fifteen; Class C, The age; Class B, twelve to Essay must contain not over one hun- Esterhazy, where he was paid a good castle itself was fitted in exquisite under twelve years. dred and fifty words and must be re- taste and stored with salary to compose music and produce numerous and Names of prize winners will appear on ceived at the Junior Etude Office, 1712 concerts for the Prince. There was an costly collections of works of in a future issue of The Etude. Chestnut Street, Philadelphia Pa., by art this page (1) , orchestra there under his direction Royal and noble personages formed The thirty next best contributors will re- the 22nd of October. Results in January. mention. and singers for performing his a constant stream of guests, at whose ceive honorable Puzzle appears below. Put your name, age and class in which COLLEGE ELIZABETH A.GEST operas, also smaller groups of mu- disposal the Prince placed his beau- sicians to perform his chamber tiful carriages. Here Haydn composed music. Many of the longer biographies nearly all of his operas, most of his CONSERVATORY OF M U SIC of Haydn describe the Palace. songs, the music for the marionette Essay Contest: Instrument Puzzle Grove’s “Dictionary of Music” tells theatre—of which he was particularly Results of Hohby hobbies were men- by Stella M. Hadden Wreath of Music us “there was no place but Versailles fond—and the greater Some interesting part of his Insert a letter in each blank; then A professional music school in an attractive tioned in the Hobby Essays, includ- to compare with it for magnificence.” orchestra and chamber works. hj. He the central letters, reading down, will college town. (Member of the National tranced C°,•man twiner “Baseball,” the choice of Charles It was constructed by the Prince at a was satisfied with his position though ing: spell the name of an instrument. Music.) cost of Walls, Maryland; Margaret Christy, Association of Schools of eleven million gulden. Its he often expressed a wish to visit Children all around the world Miles Nebraska, “Flute Playing"; Florence and miles of girls and boys, canals and dykes were substantial Italy. His singers and * carefully selected In orchestra 1. Thorough instruction for an endless row, Pushing Snell, Kansas, and Rita Cleary, Que- out dull fears, improvements to the neighborhood. players loved him as a father. * * * Practicing 2 . students in all branches of music under artist teachers. so patiently, With a flood bec, “Pen-pals”; June Smith, New of melody, * * * * * Fingering just so, 3 Special training in band and choir direction. Stronger far than tears; York, “Music,” on which she spends Counting, phrasing 4 * * * * * * * carefully, Every nation on the globe from four to eight hours a day; Bev- ***** * * * * Write for catalogue describing Oherlin’s conservatory Working ’til they know Understands Hays, California, “Nature Study”; 5 and hears erly * * * Lovely things to q******* * courses and its superior equipment (200 practice sing and play, Music, language of the world, Fred B. Gueneman, California, “Com- By the lanjp Degrees: Bachelor of light’s glow. Singing down the years! posing Music”; Christine Miles, Ohio, rooms, 23 modern organs, etc.). consonant; a curved line “Collecting Phonograph Records”; 1, A 2, Music, Bachelor of School Music; Master of connecting two notes of the same Lindsey Jackson, Jr., Alabama, “Paint- Music, Master of Music Education. pitch; a conductor’s wand; 4, cus- ing and Modeling”; Lorenz Schrenk, 3, “Sailing”; Rita todian of money in a bank; 5, a flute- Quiz No. District of Columbia, Director, Box 5107, Oberlin, Ohio. 25 like instrument; accordion-like in- Frank H. Shaw, Blenker, Wisconsin, “Collecting Fic- 6, 1. What was the nationality of struments. Cesar cluded in a piano trio? tion and Lyric Poetry”; Burnie Bur- Franck? 6. What is a viola? ton, Missouri, “Collecting Pictures 2. What is meant by piu animato? 7. What melody is given with this and History of Pianos.” 3. How many thirty-second notes quiz? are equal to a dotted eighth-note? 8. What is the letter-name of a 4. In what major scale The Palace of Prince is C-flat the minor sixth from E-flat? Esterhazy My Hobby ATLANTIC CITY, NEW JERSEY ( Prize min tier in Class A) 9. Does the oboe play higher or The dense wood behind the Some time ago I read about playing lower than the English horn? castle In one of his letters Haydn wrote, Student residence of Mihich School of was turned into a delightful musical glasses. My curiosity and in- 10. Does the Morris Dance come from grove, “My Prince was always satisfied with Music. Piano, Voice, Violin, Cello; Paint- containing a deer park, flower gar- terest much aroused by the article, Bohemia, Switzerland, England, my works; I not only had the en- ing and Ceramics; also facilities for last flat dens, and in the signature? or Wales? hot-houses, elaborately couragement I tried it and found it so much fun of constant approval academic courses. Ages 14 years up. 5, What instruments usually are in- furnished summer-houses, and grot- that I made it my hobby. (Answers on this page but as conductor of orchestra I tos. an Supervised recreation. Excellent cuisine. Near the castle stood an The first step was to take several elegant could make experiments, observe theater for operas, dramas, drinking glasses and pour different Fall term September 15th. Write for and what produced an effect and what comedies, also a second theater bril- amounts of water into them. Next, I descriptive booklet. weakened it and was posi- liantly ornamented, thus in a and furnished tion took a small metal spoon and tapped for to improve, alter or make addi- Mrs. Wm. Henne, 3001 Pacific Avenue Wood Violins with large, artistic handle. marionettes, ex- tions or omissions the glasses lightly with the cellent scenery, and be as bold as I ID YOU ever stop to wonder and appliances. The The more water there is in the glass, tain kind of pine. The narrow pleased; I was cut off from world, how pur- orchestra was under the many kinds of wood, and flings that trim the Haydn’s direc- there was the lower the pitch. So I poured wa- edges of the body tion; the no one to confuse or tor- D where they come singers were, for the ter over and from, are are made of the most ment and tested the sounds Has Your Child Schools—Colleges wood of the plane- part Italian, me and I was forced to be used in making and were engaged advantage of piano study with good violins? Not tree, a tree of the sycamore for original.” over until I got a tinkle with the the family. Junior Pianists, Washington, D. C. a member of the just any old wood will do; it has to pitch of Then I built an SCHOOL The woods must be selected with Middle-C. OF be very special. CONVERSE COLLEGE MUSIC For instance, figured great care and then octave from that. Soon I was able Send all replies to letters IN CARE OF NATIONAL GUILD thoroughly dried, Gerschefski, Dean, Spartansburg, maple is Edwin S. C. one kind, and it must be which to play such tunes as Yankee Doodle ETUDE of PIANO TEACHERS may take several years. What TliEy Said About THE JUNIOR brought from the Carpathian Music and Inc. Department of Music Moun- And, Oh yes, the bow. Pop Goes the Weasel, but before KNOX Galesburg. Illinois Nobody could Junior Exude: for every student suitable tains Some of the Dear A goal of achievement Thomas W. Williams. Chairman between Northern Hungary and play great composers long I could difficult mel- advancement. a violin without a bow left play more I play piano, flute, and cello and also take to his age and COLLEGE Catalogue sent upon request. and the letters Mendelssohn said: a divine CONTEST) Transylvania, and other “What I the (NOT A or from the Alps. This better the player, writings in which odies. voice lessons. I don't know which enjoy the better the bow calling is music! Are Members CONSERVATORY they Even the smallest I have played in the High School Band The Better Teachers wood is used for the back. Then spe- desired. expressed their opinions This most. OF MUSIC There is not and task in hobby has given me and my School orchestra for Chapters in every large music center much wood in music is so absorbing, and for two years and in High Wade E. Miller, Prce. cial kinds of pine, grained thoughts about music, INFORMATION WRITE SHENANDOAH in certain a violin bow, and, since friends a great deal of pleasure and year, have accompanied the Girls’ Glee FOR Courses leading but what there is, is carries us so far one to ways, these musical away from town, and have had other minor B. Mus. Ed. degrees. are used in making the “belly” very geniuses knew so the only results broken glass Club for two years IRL ALLISON, M. A. the B. Mus., and Rates important. The wood for the much country, earth, bad —a heart of the about music, and all worldly things, accompanying jobs. I love to hear classical FOUNDER AND PRESIDENT reasonable. In the Shenandoah of the violin, and these pines come had so much Virginia. stick of the bow comes from music in that it now and then! hope to be a piano teacher when I Valley, Dayton. Brazil, their lives is truly a blessed gift of God.” music and 1113 AUSTIN, TEXAS from Switzerland, Germany, and and in their hearts, Box snakewood or lance-wood, with the their Dorothy Gunn (Age 17) grow up. Czechoslovakia. ideas are interesting. From your friend, earlier ones being Massachusetts 50TII made from Per- Haydn Janet Burkhahdt (Age 13), YEAR Some of the very fine old violins said: “it is the DON'T TAKE CHANCES! OF nambuco. Other woods have also been melody Answers to Quiz Nebraska — iene TKeatre which is the expires this makTng.”students seeking professional engagements were of curly charm of . If your Etude subscription Star made maple that came tried for music coached bv Stage. Screen. Radio and presented in pro- the bow but were not very 1, French; sure to renew promptly and avoid Beethoven 2, More spirited or ani- Prise month be ductions for showing to B’way-Hollywood Talent Scouts and from Dalmatia and Turkey. The said: “Music' Winners for Hobby running the risk of missing a copy. public. B’ wav also Summer Stork. Soring course opening. satisfactory. When the should mated; SHUBERT, 1780 BROADWAY. N. V. nut is made strike 3, six; 4, G-flat; violin, Honorable Mention for Hobby SEC* Y Turks used to send this fire from the heart 5, wood to of wood it is of ebony. of a man Essay in July: and violoncello, and piano; string Venice for other purposes, but bring tears from the 6, a Class A, Dorothy Gunn (Age 17), Essays: Strad- So you see, were it eyes of a instrument, also not for the woman.” similar to the violin in The naihes mentioned herewith, and ivarius procured some and used it. Massachusetts; “Musical Glasses.” Edward Hajian, Ann Mar- handsome trees that grow in the appearance Anna Mae Hame, (Dufiir Schumann said: and manner of playing, Class Kuritzky, Helen Hunt Dobson, QbfarlahbJnfititut* of The pegs are made of ebony or world’s great “We have learned B, Dorothea McClain (Age tin, Melwyn forests, nobody would but tuned a fifth Joanne Forman. Shirley Davi- rosewood; the “bridge” to express the finer shades lower than the 14), Oklahoma; Virginia Parter, of spotted be able to possess of feeling violin; “Music.” Mary Carol Smith, Betty Jean Petras, Bachelor of Music Degree, Master of Music Degree, Artist Diploma those great musical by 7, Fifth son. maple, and the penetrating more deeply Symphony, by Tchai- Class C, Marillyn Cox, Barbara Eubank. sound-post is a cer- treasures, fine violins. into the Mary Jo Miller (Age 11), Dean Wiler. Cleveland. kovsky; 8, C-flat; Mauney, Gail BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave„ O. mysteries of harmony.” 9, a fifth higher; California; “Reading About Burnie Burton. Marguerite !0, Stories Marianna Matthews, Edwina Butler, Charter Member of the National Association of Schools of Music 596 England. Rutherford. Composers.” Albertine Cross.

THE ETUDE OCTOBER, 1947 597 — — —— — — — —

SHORT CLASSICS YOUNG PEOPLE LIKE BASIC STUDIES FOR THE INSTRUMENTS EIGHTEEN ETUDES FOR STUDY AND THE COVER l'OR THIS MONTH—The boy for Piano, Compiled and Edited by Ell,,’ Traugott Rohner STYLE, Piano William OF THE ORCHESTRA, by for by Scher This /*• clarinetist portrayed on the cover of this Ketterer—This collection will embrace DUMESNIL —This forthcoming publication for use in is a new collection of second grade studies MAURICE issue is symbolic of the thousands and something like thirty-five better-known 1947-48 training is intended for stu- by a composer well known to readers of NATIONAL PIANO CLINICS thousands of school pupils throughout orchestral short classics most popular over a long dents with certain playing knowledge of The Etude. It will be a useful addition to for progressive teachers and ambitious students. the length and breadth of our land who period with Miss Ketterer's own pupils. It is not a method, the familiar Music Mastery Series. Each this Fall are entering their instruments. upon new experi- fact that the contents range in C. Keith School of Music. 2268 Ashland, Toledo, O. The grade expertly devised exercise is attractively titled is de- Lina ences in however, but a series of and Pittsburgh, Penna. music. two to four will make the The Fillion Studios, 5321 Fifth Ave., NOTES from book use- scales, intervals, arpeg- voted to a particular phase of piano Music activities Public, PUBLISHER’S studies covering Jonge, 1604 36th St. S. W„ Grand Rapids, Mich. in Parochial, ful with the average student for Mrs Willard De approxi- etc. Also, in technic, such as legato staccato, St. and private gios, rhythm, dynamics, ad- and Univ. College of Music, Dean Ernest Schuyten, 6317 schools today give children mately two years. V Loyola Music Lovers pieces, there double thirds, the trill, rhythmic pre- 15. La. greater musical experiences and broader A Monthly Bulletin of Interest to all dition to some attractive are Charles Ave., New Orleans Until this book Is ready, single copies “Time Teasers.” cision, alternating hands, syncopation, Federation of Music Clubs, 130 No. 35th, musical horizons than enjoyed by their some entertaining Mrs. R. H. Gleason, Pres. Nebraska may be ordered for delivery when pub- be published left-hand scale passages, arpeggios and parents or grandparents in their school Mr. Rohner’s work will special Ala.; Mrs. D. O. McClusky, 103 Glen- lished at the Advance of Publi- Violin, Viola, Cello, Bass, Flute- chords, rotary hand motion, cross hands, The Music Teachers Assn, of Birmingham, days years ago. While great credit is due for cation Cash Price, 35 cents, postpaid. and repeated notes. easier keys only wood Drive. .. Oboe, Clarinet-Trumpet, F. Horn, E-flat The , _ . „ school music educators, it must not be IN NATURE’S PATHS, Some Piano Solo De- Dean Robert Reuter, Red Springs, N. C. Saxophone, Trombone-Bas- are used, major and minor. Flora Macdonald College, forgotten that parents and private teach- lights Young Players Teachers keep Horn and Convention, Columbia. Michigan Music October, for — Guest artist: Missouri Music Teachers Assn. 1947 HEADS UP! A One-Act Operetta on Safety, and Conductor’s Score. Spe- Single copies, one to a customer, may Educators Con- ers also have been contributing to the putting the query, “Have you anything soon, Tuba, Teachers Assn. Convention, Grand Rapids. Louisiana Music Book and Lyrics by Robert Wayne Clark emphasis is placed upon the strings, be ordered now at the special Advance musical achievements of young people of new?” Some time early in 1948 it is hoped cial ference, Baton Rouge. and D. Willard Zalin, Music by Ralph and the Conductor’s Score contains some of Publication Cash Price, 25 cents, post- today. ADVANCE OF PUBLICATION to have this album, In nature's Paths, Others to be announced later. Federer—A clever operetta, whose instruc- hints. paid. In the last several decades the private on the market, an answer to requests for invaluable For information, address manager of Piano Clinics: tive features will place it in high copies of the various parts may piano teachers have perfected methods OFFERS a new collection of attractive pieces in favor Single with juvenile producing groups. Its story reserved now at the special Advance THE CHILD TSCHAIKOWSKY, Childhood of giving instruction to youngsters in grades one and two. The compilation is be and lyrics, by two authorities in Cash Price, 25 cents for Days of Famous Composers, by Lottie Ells- kindergarten and primary grade ages, being made through careful choosing safety of Publication All of the books in this list are in training, will prove instructive part, and 60 cents for the Conduc- worth Coit and Ruth Bampton The books and thousands of parents in having seen from a large variety of favorite numbers and di- each — preparation for publication . The to it that their children had piano les- verting to school and community audi- tor’s Score, postpaid. Mention parts de- of the winning Childhood Days of Fa- OSMOPOL1TAN low Advance Offer Cash Prices ap- with nature titles. DILLER-QUAILE sons from pre-school ences everywhere, while the especially sired when ordering. mous Composers series, which combine a age start have ply only to orders placed NOW. An order may be placed now for a SCHOOL OF' MUSIC life El DAM. President provided the finest kind of basis for many Delivery postpaid will engaging music will delight every lis- story Incidents from the childhood CLARENCE ( ) be made single copy at the Advance of Publica- School of Music ROSSETTER COLE. Dean EVERYDAY HYMN BOOK, for Piano, of the composers with easy-to-play, yet I of tener. the youngsters who work- so well un- when the books are published. tion Cash Price, 40 cents, postpaid. MY •14th year. Accredited. Offers courses der school music educators to Paragraphs describing each pub- The music was for Ada Richter—This book is similar in faithful-to-the-original piano arrange- Students and Teachers: En- in all branches of Music. Certificates, make designed singers of by To diplomas and degrees. Desirable board- lication appear pages. school bands and orchestras and school on these junior high and elementary school ages. plan to Ada Richter’s My Own Hymn ments (including a duet) of great works ing accommodations. Located in down- CEMS FROM GILBERT AND SULLIVAN, rollments now being made for fall town musical center. choruses the fine musical organizations There are six leading characters with Book, except for the addition of a new of the composer, lend themselves ideally Box E, 306 S. Wabash Ave.. Chieago4, III. Arranged for Piano by Franz Miltler—In term. Write for catalogue describ- which they are today. American Negro Songs For Mixed Voices solo parts, and a number of roles. group Hymns for Children. Designed for to the modern “Pupil’s Recital With reviewing the merits of this forthcoming minor Work .80 Yes, it is easy to realize that a school The sizes of the singing groups, the young pianists, primarily of second grade Story" innovation. They are a source of ing Normal and General Musi- publication there is as much to be said Basic Studies for of the pupils pupil now beginning on a clarinet or the Instruments Chorus, the Jury, and the Safety Drill ability, it contains new simplified versions great delight to young piano and Orchestra Traugott Rohner for the work of the arranger as there is cianship Courses. BALDWIN-WALLACE some other instrument with which he of approximately fifty religious favorites. to their parents and friends. Student's Books, each .25 for the selection of the sparkling rhythmic Patrol Unit can be governed by the re- CONSERVATORY OF MUSIC will participate in an ensemble with his Conductor’s Score .60 By eliminating octave stretches and sim- The mechanical publishing details of gems, here offered in grade three. The sources of each producing group. One 66 East 80th Street BEREA, OHIO (suburb of Cleveland) fellow pupils is able to take the in- Chapel Echoes progressions, the forthcoming latest addition to the up —An Album of Sacred and stage setting, with simple changes, will plifying difficult chord Mrs. with a first class Liberal Arts College. words are given with each of these New York 21, N. Y. Affiliated Meditative Music for Pianists Young and Four and five year courses leading to degrees. Faculty strument with greater confidence and suffice. Richter has produced playable and effec- series, The Child Tschaikowsky, are Old Peery .40 readily playable piano transcriptions of of Artist Teachers. Bend for catalogue or Informa- make rapid strides because he has had progressing steadily. The easy piano solos tion to: Prior to publication, orders for single tive arrangements. The Child Tschaikowsky Childhood Days of such numbers as A Wandering Minstrel; HAROLD W. BALTZ. Dean, Berea, Ohio private lessons on the piano, the instru- Famous Composers One copy of this valuable collection will be; Theme from the “Allegro” from Tit-Willow; The Flowers That Bloom in copies are being received at the special ment which carries the pupil into those Lottie Ellsworth Coit and Ruth Bampton .20 may be ordered now at the special Ad- the “Sixth Symphony;” Theme from Philadelphia Conservatory the Spring; I Am Called Little Butter- Advance of Publication Cash Price, 40 three music fundamentals—rhythm, melo- Eighteen Etudes for Study and Style— For vance of Publication Cash Price, 40 cents, “Marche Slave”; Theme from “June” Founded 1877 cup; We Sail the Ocean Blue; and others. cents, postpaid. of MUSIC dy, and harmony. Piano Scher .25 (Barcarolle) and Theme from the “Piano M1LL1KIN CONSERVATORY OF MUSIC In the postpaid. ; Maria Ezerman Drake, Managing Director Gems from Gilbert and United States and its posses- The photograph on this cover is from Sullivan Concerto No. 1”. The easy piano duet ar- ENZO SERAFINI-LUPO, Opera Coach DECATUR. ILLINOIS Arranged for Piano Mittler .40 sions a single copy of this album the library of Philip Gendreau, may be LITTLE RHYMES TO SING AND PLAY, for SAMAROFF, Special Lectures New York SOUSA’S MARCHES, Arranged for rangement is Troika. OLGA Offers thoro training in music. Courses leading to ordered now at the special FAMOUS City. Heads Up! A One-Act Operetta on Advance of Piano, by Mildred Hofslad—This book is Courses leading to Degrees Bachelor of Music Degree. Diploma and Certifi- Piano Stdo by Henry Levine Now, for the Single copies, one to a patron, may still Safety Federer .40 Publication Cash Price, 40 cents, — cate in Piano, Voice, Violin, Organ, Public School post- designed for pre-school musical training. of 216 So. 20th St. LO 7-1877 first time, because of the recent lifting of be ordered at the special Advance Music Methods and Music Kindergarten Methods In Nature's Paths Some Piano Solo De- paid. Made up of familiar nursery songs, its Price, 20 cents, post- MEETING THE PROBLEMS OF THE 1947- lights for Young Players 40 certain copyright restrictions, the famous Publication Cash Bulletin sent free upon request contents emphasize the melodies in single 1948 MUSIC SEASON—During the past marches King,” in easily paid. W. ST. CLARE, M INTURN, Director Keyboard Approach to Harmony. .. Lowry .75 of the “March LIGHTER notes only, and are so arranged as to THE MANNES month and in. current daily mail thou- MOODS AT THE ORGAN, With playable arrangements, soon will be Lighter Moods at the Organ—With Ham- new sands Hammond Registration—Organists every- lie within the five-finger position for Sacred and and thousands of communications mond Registration 90 found within the covers of a single book. CHAPEL ECHOES—An Album of MUSIC SCHOOL addressed to tire Theodore Presser where will welcome with enthusiasm this each hand. Meditative Music for Pianists Young and Old, Co., Little Rhymes to Sing and Play— For Piano The Stars and Stripes Forever; El Capi- Professionals • Amateurs • Children ROY CAMPBELL 1712 new collection in the The association of words with music Chestnut St., Philadelphia 1, Pa., Hofstad .30 popular cloth- tan; King Cotton; The Liberty Bell; Compiled and Arranged by Rob Roy Peery— Class and Individual Instruction Teacher of Successful Singers bound series, which leads to quick memorization. Also, when are from piano teachers, school music More Once-Upon-a-Time Stories of the includes The Organ Semper Fidelis; Washington Post; The The choral literature of Bach, Bortnian- Artist Instructors • Orchestral Instruments of Great Music Masters For Young Pian- Player, Organ sung children • • • educators, choirmasters, choral directors, — Repertoire, The Chapel by in the studio and home, Thunderer; High School Cadets; Man- sky, Franck, Gaul, Maunder, and Men- DAVID & CLARA MANNES, Directors Radio Theatre Pictures Concert Opera ists Robinson-Stairs .30 Organist, these simple will prove ex- 157 EAST 74th STREET NEW YORK 21, N. “STYLE- IZING” for Radio and the Theatre voice teachers, teachers of violin, organ, and Organ Vistas. Young organ arrangements hattan Beach, and three others will be delssohn supplies much of the material Music Made Easy—A Work Book Studio and other instruments, and others active students will find this book especially cellent for ear training and for bring- Seasonal music for the — Mara Ville included. All transcriptions are by the for this volume. .25 useful 607-8 Carnegie Hall New York City in various musical undertakings who are in preparing recital programs, for ing about an awareness of rhythm. Used expert church festivals is present in easy-to- My Everyday Hymn Book— For Piano arranger, Henry Levine. Telephone Cl 5-9244 seeking materials that will most of the selections in early keyboard work, they will serve THE DUNNING COURSE answer satis- Richter .40 are of easy to One copy to customer be ordered play arrangements, such as Adam’s O a may of Improved Music Study factorily some of the problems facing medium grade. Since copyrighted as diverting recreational material. Faure’s Palm Branches. Short Classics Young People Like—For pub- now at the special Advance of Publica- Holy Night and Gladys M. Glenn, B.Mus., M.A., Mus.D., Dean them as they look ahead Piano Ketterer lications of the Theododre and of Education Faculty and plan for .35 Presser Co. While Little Rhymes to Play tion Cash Price, 70 cents, postpaid. Humperdinck’s Evening Prayer and the Make THE ETUDE Your Marketing Place things this are used For information and class dates address in season of music activities. Sousa's Famous Marches—Arranged for only, the contents will not be Sing is being made ready for the market “Finlandia” Choral by Sibelius are in- Piano Solo Etude Advertisers Open the Doors to Real Theodore Presser Henry Levine .70 found in other Executive Headquarters Co., with its un- books. Registration for single copies may be reserved at the spe- KEYBOARD APPROACH HARMONY, by cluded in an extensive list of old favorites. TO 1710 Tyler St. Amarillo, Texas Opportunities equalled stock of music of all publishers, standard and Hammond organs is pro- cial Advance of Publication Cash Price, In the United States and its posses- Margaret Lowry—Here is a “singing and its fine staff of experts on music publica- MORE ONCE-UPON-A-TIME vided. 30 cents, postpaid. of this remarkable STORIES OF playing” approach to harmony. In this sions a single copy Single tions, its liberal examination privileges, THE CREAT MUSIC MASTERS, for Young copies may be reserved now at be ordered now at the special book harmony is introduced, chord by album may convenient Pianists the special charge accounts, and other , by Grace Elizabeth Robinson, Mu- Advance of Publication Cash Publication Cash Price, 40 AMERICAN NEGRO SONGS, For Mixed chord, in the familiar piano idiom in- Advance of features of its direct-mail service is able sical Arrangements Louise Price, 90 cents, postpaid. PIANO - EXCELLENCE - PRIZES by E. Stairs Voices, stead cents, postpaid. by John Vi . Work than two of by hymn-tunes with the usual to assist in these problems. —More The distinguishing feature of this book, four 1. ARTIST DIPLOMA WINNERS—to Each Of the FIVE MOST OUT- hundred Negro folk songs, both religious -part vocal writing. The book con- STANDING, (a) A $250.00 Cash Prize, and (b) Round-Trip Fare to New In order to get music for examination as of Miss Robinson’s popular international Once MUSIC MADE EASY, A Work Rook by Mara and secular, tains twenty-seven lessons presents ADVANCE OF PUBLICATION OFFER WITH- York City, and (c) An audition Before an Artist-Judge of are contained in this new and repute, and to the ONE Chosen as MOST OUTSTANDING, (d) Another to meet any special needs all that is Upon-A-Time Stories, is its correlation Ville This in these for — workbook for young musicians book by the distinguished authority on tonic-dominant patterns, non-harmonic DRAWN—The works carried $250 Cash Prize, and (e) A Debut Appearance in New York. 2. COLLEGIATE WINNERS—to Each of the TEN MOST necessary is to sit down and write a let- of biographical story and easy-to-play will provide novelty as Advance of Publi- DIPLOMA along with instruc- Negro Spirituals, John W. Work, of Fisk tones, subdominant and supertonic chords, Publisher’s Notes Guild OUTSTANDING from Coast to Coast a Cash Prize of $100.00. ter to the Theodore Presser Co. describ- music. Here the 3. HIGH to Each of the 20 OUT- attention is focused upon tion. Though it has been Offers may be ordered at the low SCHOOL DIPLOMA WINNERS— MOST planned as sup- University, Nashville, Term. In addition borrowed seventh or secondary chords, cation STANDING from Coast to Coast a Cash Prize of $50.00. ing those needs and asking that a selec- ten famous composers—Grieg, Liszt, plementary Cash Price speci- Diploma material to All in One, by to the spirituals which predominate, there diminished seventh chords, and exercises Advance of Publication RULES GOVERNING ENTRY tion of music publications, the type that Rubinstein, Strauss, Sibelius, Dvorak, Robert Nolan Kerr, case only during the pre- 1. A SUPERIOR RATING from the Judge as a High School, Collegiate, it will serve excel- are “blues”, “work”, “social" songs. in simple modulation. A major portion of fied in each will meet those needs, and Winners or Artist Diploma Winner in the 1948 National Piano Playing Auditions be sent to the Tschaikowsky. Gounod, Saint-Saens, and lently with any other status of the work. When the method. It will While some of these latter are given the book is devoted to examples from publication shall be required of each entrant. writer with the privilege of returning for Chaminade. Their 2. Submission for judging of One or Two 12-Inch Phonograph Records most famous composi- deal with such theoretical folk for delivery no further matters as with melody and text only, more than song sources and generous quota- work is ready in the of the Entrant's playing of from 2 to 4 compositions of contrasting style, full credit any music in the selection that tions are sources of Mrs. Composer. Choice Stairs’ skilful music symbols, note values, tions orders are accepted at the Advance of at least one of which must be by an American of time signa- one hundred of the spirituals are har- from Mozart, Haydn, Beethoven, numbers left Entrant. is not used. In general, our expert selec- simplifications, which will 1948 to bring great tures, scales, rhythm, price, which then auto- 3. EACH RECORD shall bear the name and address of the Entrant, accent, ties, slurs, monized for four-part choral use. In ad- Chopin, Verdi, Weber, Schumann, Men- Publication tionists usually send materials that cover pleasure to first and second grade pian- and the name and address of his teacher. and tetrachords. withdrawn. These conditions NATIONAL 4. shall accompany the Records of Each A matching test, true- dition to the songs there are five chap- delssohn, Schubert, and Liszt. matically is An ENTRY FEE of $2.00 just what is wanted. The customer is the ists. Childhood experiences Entrant. All Records shall become the property of the Guild and in no of these fa- or- false tests, and attractive on There Were Shepherds, PIANO-PLAYING illustrations ters of descriptive text matter devoted Designed for high school, college, or apply this month case be returned to the Entrant. judge, and no one is obligated to buy any mous masters are important post parts of the will be special features. The text private Christmas Cantata for Mixed Voices, AUDITIONS 5. THE RECORDS OF EACH ENTRANT shall be sent by parcel matter to the music of the Negro; and an ex- classes in harmony, the book has A (prepaid) to GRACE WHITE. 527 West 121st Street, New York, New York, of the material sent in a selection unless text. Each number is presented to fit includes some engaging poems, and there grown out Louise E. Stairs—a genuinely fine by NOVEMBER FIRST. 1948. tensive bibliography and index. The book of the practical teaching ex- by through December First, 1948, it is useful and satisfactory. Any or all of naturally into the story as it (Madeavailable 6. ALL P-E-P WINNERS shall be announced by progresses. will be much space provided composer’s full use of 1949 Guild Yearbook. for the stu- should prove of great value to schools perience of the author, a member of the example of this the cooperation of Busi- In the Musical Courier and published in the the material sent for examination be One copy to a customer 7. PIANO-EXCELLENCE-PRIZES shall be awarded the Winners as may may be ordered dent’s own written work. choir and each ness Patron Members of and libraries, music teachers, choruses, music faculty of Queens College, Flush- real talents. It gives the special Christmas presents by December 24th, 1948, except the Grand returned for full credit as long as it is now at the special Advance of Publica- At the the National Guild of Prize for the Most Outstanding Artist Winner, which will be presented special Advance of Publication ing, N. Y. the solo voices an excellent medium tion and choirs. of Piano Teachers.) publicly at the Debut Concert in New York City. unused. The customer, of course, is ex- Cash Price, 30 cents, postpaid. Sales Cash Price, 25 cents, postpaid, single cop- A single the A single copy the for presenting the Christmas story in a pected to bear the nominal transporta- are limited to the United States copy may be ordered at may be reserved at and its ies of this forthcoming book time will may be re- special Advance Cash special Advance of Publication Cash musical setting. Its rendition NATIONAL GUILD OF PIANO TEACHERS Austin, Texas tion expenses entailed. possessions. served now. of Publication Price, 80 cents, postpaid Price, 75 cents, postpaid. run about 50 minutes. (Price, 60 cents). 598 Advertisement 599 THE ETUDE OCTOBER, 1947 Advertisement ) I

hundred and Testament. The award is one publication by Carl The Techniques of fifty dollars and date for entries Fischer, Inc. The dosing CHOOSE YOUR PIANO TEACHING Jouquin Foster all details may be Pedaling is November 1, and Damper i United Temple secured by writing to the from the FAVORED member of the Artist Faculty the Piano 726, ( Continued from Page 590) MATERIALS WORKS WILLIAMS of Award, Box M. Bloch JOHN Chorus, the Ernest Department. Pupil oj Joaquin Turina Ricardo Hewlett, Long Island, New York. Vines (teacher oj Iturbi), and Emil Sauer OF THESE RENOWNED AUTHORS: (pupil of Liszt). Recitals in Madrid, Paris, THE PHILADELPHIA Art Alliance an- GRADE-BY-GRADE Euryd- Louise Mary Bacon Bernard Josephine Hovey Barcelona, Lisbon, Buenos Aires, Mexico City, nounces the twenty-third annual composition for and other music centers. Soloist with leading ice Chorus Award for a The prize is one hundred MASON WAGNESS PERRY orchestras, including U. S. National Symphony. women’s voices. ROBYN dollars. The closing date is October 1, Hailed by critics PIANO as “one Spain’s greatest of full details may be secured by Used and Endorsed by Leading Educational Author- 1947 ; and pianists.” Eurydice Chorus^ Award writing to The ities and Sold by Leading Music Dealers Everywhere Committee, Miss Katharine Wolff, chair- man, The Philadelphia Art Alliance, COURSE Instruction from eminent Artist Teachers is % 251 South 18th Street, Philadelphia 3, Pa. available to talented students at Sherwood, The Pedaling of Trills The works of from the beginning of their studies. Certificate, Diploma, Degree courses The resonance and reverberation re- LOUISE ROBYN in I iano, \oice, \iolin, Organ, Cello, Wind Instruments. sponse created by the pedal can prolong Public School Music, TECHNIC TALES Book 1 THE ROBYN-GURLITT Conducting, Theory, Composition, trill to total diminution, or to 15 essential 85 Etudes 75 Courses for Veterans under G.I. Bill of a the Introduces AND FOLLOW-UP GRADES principles in first year pi- THE ROBYN-HANON PREPARATORY Rights. Spring Semester opens quantity desired, long after the fingers February 9. For free catalog, write ano technic, coordinating 25 Exercises 75 Arthur Wildman, Musical Director, and Distinctive have been released from the keys. Pro- mind, eye, and hand. ROBYN ROTE CARDS Book with the staff 412 South Michigan Avenue, New 75 VERY FIRST PIANO BOOK — Original Blue Chicago Illinois. longing arpeggios with this same un- Illustrated For Pre-School Use 75 5, TEACHER’S MANUAL TO notation chart 75 effect HIGHWAYS IN ETUDE Recordings usually beautiful may be accom- 1 Master TECHNIC TALES—Book .75 The Child s Hanon .75 LAND— HAPPY HOUR BOOK — Designed for boys and girls who practice plished in the same manner. TECHNIC TALES—Book 2 BYWAYS IN ETUDE ( Continued from Page 550) Book 1, only a short time each day 1 .00 Example; Cadenza to first movement, Continuation of LAND — Follows Technic second with 15 lessons for Tales 1, 2 75 FIRST PIANO BOOK — The most celebrated piano method anything but a high-fidelity machine it Concerto Op. 37, No. 3, Beethoven. year study, including mar- KINDER CONCERTO GRADE MUSIC SCHOOL cato chords, triads, two- before the public today. Written throughout in five-finger posi- does not efface the recent Stravinsky set (Haydn) —For 2 Pianos.. .75 note slurs, etc 75 HARMONY KINDER CONCERTO ROBYN-HANKS tion in all keys 1.00 s In which we find more of the ballet’s MANUAL TO TEACHER’S (Mozart) —For 2 Pianos. .75 A Junior Course for Students of Piny silently TALES Book 2 .75 especially to bridge the music than Ansermet plays. The latter TECHNIC — SNOW QUEEN SUITE Any Age, in Written Harmony, ADVANCED FIRST GRADE — Designed Institutional Member of National Association of Schools of Music TALES Book 3 of Keyboord Harmony, and Ear is more expressive than the composer in TECHNIC Story Cycle Piano Pieces gap between the First and Second Grade Books 1 .00 (CHORD CRAFTERS) ... .75 (Tchaikovsky) 75 Training. the slow sections, but his conception of — Preparatory exercises of each ?-«•= THE CHILD CHRIST 1 75 PIANO BOOK ±:= > KEYBOARD TOWN Book SECOND GRADE the Infernal Dance is tame compared to 75 Little Melodies 75 Piano Suite 1.00 Book 2 75 study thoroughly worked out to demonstrate to the pupil the ^ motto dolcc Book 3 75 either Stokowski’s or Stravinsky’s . . AMERICAN CONSERVATORY . proper manner of study 1 .00 Virgil Thomson’s music for the documen- • to follow the second • THIRD GRADE PIANO BOOK — Designed OF MUSIC— film, r r-fJ CHICAGO tary “The Plough That Broke the explain in detail Offers courses in all branches of music and The of grade book. Numerous preparation exercises dramatic art Plains,” ranks among the best scores Works 61st year. Faculty of 135 artist teachers how to practice each piece of study so that it will be mastered Member of National Association written for the movies. Using a hymn like Folk Sonos aiii Famous Pictures MARY BACON MASON of Schools of Music with ease 1.00 Send ror a free catalog—Address: John R. Hattstaedt, President. Old * urr puma jn.ymnrtn 584 Kimball Building. Chicago Hundred and several cowboy songs, FOLKSONGS AND FAMOUS PICTURES 1.00 Designed to follow the Third he wisely did not treat his borrowed ma- First instruction in notation, rhythm, scales, etc. Cut- FOURTH GRADE PIANO BOOK. The Pedaling 'of Rests (Mar out pictures and flash cards add interest and value. Grade Book. Bach, Chopin, Mendelssohn, Schumann and terial conventionally but instead gave it Charts

FIRST CLASSICS FOUNDATION HARMONY . . . 1.00 Since rests do not always signify com- AND Schubert are among the composers drawn upon for the studies new significance and meaning. Second year material including simplified classics and laid and carefully edited volume 1 .00 CHICAGO MUSICAL COLLEGE Adam: Giselle— Ballet Suite; The plete silence, abruptness of single notes, elementary harmony. in this beautifully out jrFounded 1667 by Dr. F. Z.egfeld chords, and the ends of phrases and BOY MUSIC 75 RUDOLPH GANZ, President Royal Opera House Orchestra, conducted SLa Traviata; Adriana Guerrini applied correctly and freely. Research NAME 116 Boylston Street 1 OLIVER DITSON CO. THIRTEEN PRIZES, totaling $ 1 000.00 Violetta), Luigi Infantino | , THE UNITED TEMPLE CHORUS an- ( Alfredo and experience, guided by a highly are offered by Schulmerich Electronics, nounces the Fourth Paolo Silveri (baritone), and THEODORE PRESSER CO., DISTRIBUTORS STREET Boston 16, Mass. Annual Competition others with trained ear, will of the | Inc., Sellersville, Pennsylvania, in develop a mastery a con- of the Ernest Bloch Award for the best chorus and orchestra of the Rome Opera inexhaustible 1712 CHESTNUT STREET, PHILADELPHIA 1, PA. the I test just announced, open to American new work conveniences which CITY ZONE STATE for women’s chorus based on House, direction of Vincenzo Bellezza composers “to stimulate the creative im- pedals afford. In fine pedaling is found a text taken from or related to the Old Columbia set OP-25, the poetry of pianism. 600 "MUSIC STUDY EXALTS LIFE”

PRINTED THI CUNEO PRESS, INC. Organists and Composers! ENTER THIS CONTEST! *1,000. IN PRIZES!

$500°° 13 cash prizes 1st Prize. . . . Sch ulmerich offers ( $ 150°° to musicians and composers 2nd Prize . . . $ 100°<> submitting the best compositions 3rd Prize . . . ^25®® for bells with organ. 10 prizes of each \

sulist.ntial casl. Schulmericli, m.n.faclurer of CARILLONIC BELLS, offers tl.e.e before Dec. 15, 1947. awards for the thirteen most outstanding compositions submitted

Before tke perfection of CARIL- of this contest by Schulmerich LONIC BELLS— which permit a — tl^e sole maher of CARILLONIC most delightful combination of hell BELLS and the largest producer of and organ music — such music had hell instruments in the wor id. heen limited in scope and unsatis- The composition winning the first factory in performance. Conse- prize wi 11 h e p 1 ayed at recitals organ and quently, compositions for throughout the nation by Dr. Alex- hells were few — and restrained. ander McCurdy of Westminster Since CARILLONIC BELLS in Choir College. In addition, the win- range, tone, and expression are ner of the first prize will receive on a plane with a fine organ — or an all necessary traveling expenses orchestra— there arises a need for between his home and the pl*ce of compositions worthy of so beautiful the nearest recital. The names of and flexible an instrument. That all winners will he published in a need has inspired the launching subsequent issue of this magazine.

The Judges of the Contest 8. All compositions submitted become the property of Schulmerich Electronics, Inc. Dr. James Francis Cooke, Editor of Etude. 9. The decisions of the judges will be final. Dr. Harl McDonald, Manager of the Philadelphia Orchestra Association. 10. No member of the Schulmerich Electronics organization or its advertising agency participate in this Dr. John Finley Williamson, President of Westminster Choir College. may contest. Seth Bingham, Associate Professor of Music at Columbia University, 11. All entries should be addressed: Schulmerich Electronics, Inc., and Organist of the Madison Avenue Presbyterian Church, N. Y. Dept. PC, Sellersville, Pa. 12. Contestants must be residents of either the United States or Here are the simple contest rules: Canada. 1. All compositions submitted must be original. CARILLONIC BELLS 2. All compositions submitted must be for bells with organ or choir, and must not exceed five minutes in length. The sweetest bell music ever beard

3. Contestants should not put their names on compositions, but should CARILLONIC BELLS have a dynamic range so great, a tonal submit them in an accompanying letter. quality so superior, a volume so rich without distortion, that they written legibly, in ink, and on music 4. Compositions must be ate a distinguished asset to any organ. They are as effective in paper. composition chordal passages and arpeggios as they ate in single notes; 5. All entries must be postmarked before Dec. 15, 1947. diminished chords and arpeggios played with the organ are gorgeous. Their use is practically 6. Contestants may submit as many entries as they wish. unlimited.

7. No compositions will be returned. It is suggested that you If you should like to hear CARILLONIC BELLS, write us, and keep copies of your entries. we will send you the address of the installation nearest you.

SCHULMERICH ELECTRONICS, Inc., SELLERSVILLE, PA.

• • "CARILLONIC BELLS" TOWER MUSIC SYSTEMS ACOUSTIC CORRECTION UNITS • SOUND DISTRIBUTION SYSTEMS • CHURCH HEARING AIDS

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