March 1943) James Francis Cooke

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

3-1-1943 Volume 61, Number 03 (March 1943) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 61, Number 03 (March 1943)." , (1943). https://digitalcommons.gardner-webb.edu/etude/230

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 1 BOB JONES COLLEGE OFFERS VOICE, PIANO, VIOLIN, PIPE ORGAN, SPEECH, AND ART WITHOUT COST ABOVE REGULAR ACADEMIC TUITION. Young men and ADDITIONAL women may prepare for radio careers in music or speech. Bob Jones College professional, teaching, or also offers young men and women an unusual opportunity to prepare for part time or full time Christian service in the ministry of music and speech.

If you can attend college for only one or two years If you are still in high school we advise you to before entering the service of your country, we come to the Bob Jones College Academy (a four strongly advise your coming to Bob Jones College year, fully accredited high school) for educational for this year or two of character preparation and and Christian training before you enter upon your intellectual and spiritual training so essential now. military service.

Bob Jones College offers a wide variety of courses leading to Bachelor of Arts and Bachelor of Science degrees, and in the Graduate School of Religion co urses leading to the Master of Arts degree Be ^ 'ng with the school year 1943-44, courses leading to the Doctor of Philosophy degree will also be offered in the field of religion. Bob Jones College has high scholastic standards. It also stands without apolo for the "old-time religion" and for the absolute authority of the Bible. FOR DETAILED INFORMATION WRITE

. DR. BOB JONES, JR. BOB JONES COLLEGE ’ ;

THE ANNUAL SPRING TOUR of the Metropolitan Opera Company has been curtailed drastically, due to the difficulties and uncertainties of wartime transportation. Boston, which for ten years has enjoyed the annual visits of this company, and Baltimore, where for sixteen years the Metropolitan has played a spring season, definitely are cancelled, with perhaps other cities to follow. It is possible that this condition will cause the management to lengthen the regular season of the opera company in New York City.

THE BBC SYMPHONY ORCHESTRA, under the HERE. THERE, AND EVERYWHERE direction of Sir Adrian Boult, has been giving a IN THE MUSICAL WORLD series of concerts in the Corn Exchange in Lon- don, which has drawn SIR HARRY LAUDER, large audiences from a hale and hearty despite public which, after three his seventy-two years, is Sir Adrian years of war, has shown Boult actively engaged in en- a steady increase in its tertaining the soldiers interest in good music. The Com Ex- triumphed over the WINNERS OF THE SACRED SONG CON- world that she had in the various camps change concerts are divided into two struck her in the spring TEST conducted by The Harmony Music illness which had throughout his beloved groups, one series of six being given on the height of her career. Publishers of Chicago have been an- of 1941, just at Scotland. He gave his Wednesday evenings and the other six, According to reports, at the close of the nounced. The first prize of $100 was first concert of World called “Lunch Hour Concerts,” at 1.15 on chorus of “Bravo’s!” roared awarded to Mrs. Grace Jebe, of Wausau- first act a War II in Glasgow on Friday afternoons. song. Holy from the audience, "and in the galleries kee, Wisconsin, for her Thy October 23, 1939, and excited patrons stamped until the cur- Hill; and the second prize of $50 was since then there is scarcely a camp TIIE INTEREST in the revival of the won by Mark Owen Spencer of New York tains fell.” throughout Scotland that has not been recorder is so pronounced that a seasonal City, with his song, Love Not the World. entertained by this “grand old minstrel,” GALLICO, pianist, composer, magazine known as the American Re- PAOLO as he was described recently by Winston recital in New York’s corder Review; entirely devoted to this MARJORIE LAWRENCE was the recipi- and teacher gave a Churchill. He scorns the use of a micro- flute, on January 19, which marked old English style of is now pub- ent of a thrilling and heart-moving Town Hall phone and has no difficulty in making anniversary of his first ap- lished in New York. The spring issue ovation on the occasion of her return to the fiftieth his voice carry, even in the large audi- a composition, "Maria’s Evening operatic stage when, on January 22, pearance in that city. Among his best contains the toriums. On November 1, in St. Andrew’s is an oratorio, “The Apoca- Service, by Billington, for recorders, pub- she sang the role of Venus in the Metro- known works Hall, Glasgow, he “had the audience a $5,000 prize of the lished for the first time since 1801. politan Opera production of “Tannhau- lypse,” which won singing the choruses of his songs, as Federation of Music Clubs. ser,” and demonstrated to the musical National they have done for fifty years.” BELA BARTOK’S violin concerto received its American premiere recently, - PHILIP MITTELL, widely known violin- when it was on the program of the Cleve- Competitions ist and teacher, who as a youth played land Orchestra, conducted by Artur Rod- the “Fourth Symphony” of Brahms un- THE ANNUAL COMPETITION for zinski, with the orchestra’s concertmas- THE ED" W. LEVENTRITT der the personal direction of the master, orchestral compositions FOUNDAT.. N has announced that its the publication of ter, Tossy Spivakosky, as the soloist, died January 27 in New York City. He by American composers also is announced fourth annua competition will be open in Germany by the Julliard School of Music. The win- was born on March 26, 1865, to both pianists and violinists between the national symphony orches- ning composition will be published by the and after a successful concert career in ages of 17 and instead of players tra of Washington, D. C., Hans Kin- the 25, School, with the composer controlling the Europe came to the United States, where of only one of these instruments, as for- all royalties and dler, conductor, held a Beethoven Festi- copyright and receiving he soon became established in New York merly. The winners will have appearances fees. This contest also closes on March 1 concert artist highly val > uring the week of January 17, in City as a and suc- next season with the New York Philhar- and full details may be secured from Os- •vhich the concerts on Wednesday and cessful teacher. Among his early pupils monic-Symphony Orchestra. car Wagner, dean of the School. rhursday evenings were given over to Applications were Miss Nellie Grant, daughter of for- will be received until May 15, and full the “Ninth Symphony” of Beethoven, mer President Grant. details may be secured by addressing juanita Carter, soprano, Jean Handzlik, the THE FIRST STUDENT COMPOSI- Foundation at 30 Broad Street, New spirit alto, John Hamill, tenor, and Howard TION CONTEST, sponsored by the AS AN INSTANCE of the of "carry- York City. Van'denburg, bass; all members of the National Federation of Music Clubs, ing on" in war time, it is interesting to Philadelphia Opera Company, were the open to native born composers between note that the Curtis Institute of Music THE NATIONAL BOARD of Delta the ages of eighteen and twenty-five, is soloists. in Philadelphia has reinstated the courses Omicron, National Music Sorority, the president of the Fed- an- announced by in Woodwind, French Horn, and Double nounces a National Composition Contest eration, Mrs. Guy Patterson Gannett. SAMUEL LINE LACIAR, Bass, with virtuoso teachers, including open to women composers. The award There are two classifications with prizes music critic, twenty-five dollars in each Marcel Tabuteau and Carl Torello. Audi- composer, be one hundred dollar of fifty and will a War Bond. for scholarships will editor, who since classification. The national chairman of tions be in April. and Unpublished manuscripts in solo voice, 1918 had been active as the Student Composition Contest is the string, woodwind, brass, piano, organ, and Amercan composer and au- a newspaper music critic distinguished TWO SCHOLARSHIPS small instrumental ensembles will be ac- thor. Miss Marion Bauer, 115 West Sev- in Philadelphia, died in and three supplementary cepted. The closing date is March 15 and enty-third Street, New York City, from ; were given as that city on January 14, awards a full details may be secured from the chair- whom all details may be procured. result of the first com- at the age of seventy- man, Mrs. L. Bruce Grannis, 219 Lake of the Annual two. He was born in petition Shore Drive, Chicago, Illinois. FOUR AWARDS OF $1,000 are an- Samuel Chunk, Pennsyl- Marian Anderson Music Mauch nounced by the National Federation of Line Laciar Award conducted re- vania, and following his THE JUILLIARD SCHOOL OF MUSIC Music Clubs for the outstanding violinist, cently in Philadelphia. graduation from the public schools in announces a third contest for an opera by pianist, man and woman singer, to be citizen. The opera must of nationally known The scholarship winners Wilkes’ Barre, went abroad to study music an American be selected by a group Conservatory. Following suitable for performance in a small theater, judges during the business session of the who tied for the first Marian at the Leipzig andhrson country he was for a and the winning work will be presented Federation which will take the place of award of $1000 were his return to this Sym- next season by the opera department of the Biennial Convention, cancelled be- Camilla Williams, soprano of Philadel- time violinist in the Pittsburgh the school. Librettos should be in English; cause of transportation difficulties, in May, phia, William baritone of Orchestra, then directed by Vic- and Brown, phony the operas may be full length or in one 1943. Full details of the young artists’ and becoming music critic Akron, Ohio. To the original amount of tor Herbert. Before act and they should be scored for an or- student musicians’ contests may be secured Ledger in 1918, he had the first award, Miss Anderson added of The Evening chestra of between thirty and fifty players. from Miss Ruth M. Ferry, 24 Edgewood Ladies’ Home $500, enabling each winner to be awarded been associate editor of The All scores should be sent to Oscar Wagner, Avenue, New Haven, Connecticut, and of The Public school, York City. The Mrs. Fred Gillette, 2109 Austin $750. Also, three prizes of $400 each were Journal and City Editor dean of the New Street, various chamber contest closes March 1. Houston. Texas. awarded to Mildred Hill and Fay Drazin. Ledger. His works for consider- sopranos, and William Smith, bass- music ensembles have attracted baritone; all from Philadelphia. able attention.

'• FORWARD MARCH WITH MUSIC” 145 MARCH , 1943 . . .

Winning Favor. Because it ITIEEE IETIU®® Results! mwsticB mcijqjain&mcs Produces Published Monthly By Theodore Presser Co., Philadelphia, pa. EDITORIAL AND ADVISORY STAFF DR. JAMES FRANCIS COOKE, Editor Guy ! Y PIANO BOOK McCoy and Priscilla Brown, Assistant Editors Robert Bra.nc Dr. Henry S. Fry George C. Krick Dr. Rob Roy Peery Pietro Demi Karl \V. Gehrkens A Simplified Method Blanche Lemmc Peter Hugh Reed Dr. Nicholas Doutv Elizabeth Gest Dr. Guy Maier William D. Revelli Paul Koepke N. Clifford for 6 to 8 Year Old Beginners Page FOUNDED 1883 BY THEODORE PRESSER By aida richter I IN TWO PARTS Contents j^or FlfjarcL, 1943

VOLUME LXI, No. 3 PRICE 23 CENTS WORLD OF MUSIC . EDITORIAL ADA RICHTER The Declaration of Intcrdepcndei Talented composer, teacher, and YOUTH AND creator of many very successful MUSIC books and pieces for young piano Democracy in Music beginners. .Blanche Lemmon 14S MUSIC AND CULTURE A Priina Donna's Atmiz *" n™ ,lh HIS attractive method reflects ,Priori, 149 Foundation Principles in Octave Playing H - U- A. Bench 151 Mrs. Richter’s notable success as ea °f Accompanying Alfred a uni?’ J /? Calsin 152 A Lasts for Good1 binging Stuart Rosa 153 a teacher. Designed for the very 154 MUSIC IN THE HOME young child so as to follow any Records to Meet War Usage. .

.Radios .'. • • Most Important • • - Peter ' kindergarten age book, or as first Challenge. ; Hugh Reed Ihe Etude Music Lover’s Bookshelf •Alfred Lin dung ' Morgan : B. Meredith material for the student of six to Cud man : MUSIC AND STUDY eight years, it lays solid founda- The Teacher’s Round Table. -Lite bport of Music PRICE, 50c Each Part tions for future advancement. The clarity with which their subject is

presented and their tuneful contents make these books a delightful and instructive experience. Attractive illustrations are used throughout.

Part One takes up the important phases of the beginner’s work at the Training the Hands for Piniio Playing.' .. .. The piano. From the identification of the keys it proceeds through to the mastery Bugle CaU of Polish Liberty. Edward Podolski Technic of the v"n Month—Tcchnistories for A " n,, “ 1{ of small exercises and pieces in the easier keys. There are twenty lessons, Boys' and 'Girls’ glahdaruiws Mexican Priscilla. Musical Folklore Brown and r,... ^r each of which introduces a new point, and there is a page of test questions W hen Is One Too Old to Learn to i>iuy tlxe* AccortiiW-t Plc "'° at the end of the book. vlUSIC Ueln Classic and Contemporary Selections Part Two takes up the work with the first running passages and scales. Along Toward Evenin’. . Throughout are imaginative pieces for the advancing young pianist, and oncerto l;1 MSiehM™ ViSSS,L' Sth-er Spangles— ! first ensemble is introduced March. there are several familiar tunes. The training ( Feh* Or autilene . Cola : Adagio Cantabile, from "••'sinnnV./i,'.'.;. : :V with a duet and a trio, and again there is a page of test questions. In e| iipie' Candlelight Beethoven, On /.{ i Vocal and Instrumental Cam Prank Grey : •£*“,;, l ,, d God ) — Medium —Sacred Interesting Piano Books for Young Players O Flattery—Low Voice ' • Carnival ’ <>' ' Dancers—Four Yi>ViwiL.‘ Y, ; 1S3 Eight O'clock ° i„ the Morning—Vio n^' “U—Art 184 By Largo from S if Ianford Ring ADA RICHTER ‘'Xerxes'’—Due? for Or “a'n •B 186 <1 I’ii in i j red Forbes 188 C- l'\ Handel Delightful —k, l KINDERGARTEN CLASS BOOK 1.00 STUNTS FOR PIANO 60 Pieces for Young Plavc, " R' epmusint 11 Hi ouiil.ton 1 ' Wind's Song A’ . —piano with A Piano Approach for Little Tots A Very First Exercise Booh Bobwhite W —Piano with ' WunU ' The Little ' • -Ado Tiek-Toek. RichterRichty : Walking ' Burton CINDERELLA 60 MY FIRST SONG BOOK 75 Snowdrop. . Arunt : • • • hletinur Technic Kriens ' of the Month 1 I A Story With Music for Piano Songs in Easy Arrangements for Piano etersun Talbert Rotary Raindrop. : . . . JACK AND THE BEANSTALK 60 PLAY AND SING 75 THE JUNIOR ETUDE Eay Maier 194 A Story With Music for Piano Songs in Easy Arrangements for Piano MISCELLANEOUS Elizabeth Gcst 212 NUTCRACKER SUITE (Tschaikowsky). .60 MY OWN HYMN BOOK 75

• E. A Story With Music for Piano Hymns in Easy Arrangements for Piano Music an Industrial Asset' Lehman Taylor 150 oice Questions ) Answered. i«o 75 Organ Questions Answered. CHILD'S JOURNEY SONGS OF STEPHEN FOSTER 75 . A A lolin Questions Answered s Eout School Activities F'/oF'n,'' it 197 for Primary In Easy Arrangements for Piano l\'. ,s Rote Songs - Erg 19!) Entered as second-class n Robert Braiiie 201 PUBLISHES BY THEODORE PRESSER CO. J f00nd‘“ d 1712 CHESTNUT STREET, PHILADELPHIA, PA. .00 ' «•”***'• 3^^®' 146 THE ETUDE :

Editorial

) <2 declaration oj$ Jlnterdependtence

O Thomas Jefferson has written the Declaration of nize their interdependence upon others. They may have had N Interdependence but most of the world has been the advantage of the finest training, they may have excep- recognizing it for some time. Because three totali- tional advantages in the way of personal appearance, they tarian nations did not, and set forth their mediaeval aims may have adequate means to make an impressive start, of conquest through murder, but if they cannot appreciate no matter what the cost in how much they depend upon blood to themselves or to their others, they can fail dismally. victims, has resulted in the Coupled with this recogni- crudest war in history. tion must be an understanding In this age, the human indi- of human nature, a means of vidual’s success in life must appraising the tastes, the in- depend very largely upon that clinations, the real needs and principle of interdependence, the various personal, tempera- whether the individual is a mental quirks of others with great industrialist, a politician, whom he must deal. Of course a scientist, a preacher, or a this applies not merely to music teacher receiving fifty music teachers but to every- cents a lesson and wondering one rendering service, who whence her next pupils might desires to be successful. come. Not until the teacher real- We are learning that the in- izes that he cannot progress terrelationship of nations is very far unless he breaks not so different from that of down his reserve and identi- man himself. If someone steps fies himself with the human on your sore toe, the toe does needs of the patrons he seeks not exclaim, but your mouth to please, can he expect a wide does. A man with a strepto- appreciation. Friedrich Kalk- coccic throat infection is not brenner (1788-1849) was a man of unquestionable ability merely sick in his throat ; he is sick “all over.” A famine in who had such a cyclopean his China or in Patagonia is no conceit in importance as FRIEDRICH KALKBRENNER longer a local affair, since it a teacher, that he wasted his He offered to show Chopin how to play more artistically. affects in some measure the talents in self- admiration. economy of the entire world. True, he was “the father of In similar manner great crops modern octave playing” and in Argentina, Australia, and Russia have a bearing upon wrote some fine etudes, but now this comet literally has the income of the American farmer. We are all marvelously vanished from the musical sky. Yet Kalkbrenner actually interdependent. This does not affect our personal freedom, invited Chopin to study with him, in order that he might artistically.” Fortunately, Chopin did but it does indicate that much of our life success depends, play “more not accept, therefore, upon how we cooperate with others. because the process would have been like shaping an orchid The symphonic conductor formerly received the applause with a sledge hammer. aspiring teacher, first of the public and marched off the stage to come back for If you are an music feel yourself more and more. Now he invariably waves to his players in tune with the broad, divine nature in mind. Heed those magic words in the beautiful poem of Edwin Gosse, “Lying to arise and share his kudos with him. The general formerly he speaks of the victory of his in the Grass” spoke of his victories ; now “I do not hunger to a well-stored mind, army his valiant men. Somehow the invisible “other man” I only wish to live my life and find is gradually being discovered. heart in unison with all mankind.” Thousands of music teachers have written us, asking for My is We know scores of music teachers who seem to think the magic formula of success. Of course there no one which that if the individual make-up of a patron is not to their formula, but there is a whole museum of formulas that after long liking, they should not make an effort to please the patron. contribute to success. We can state frankly for Such teachers should live upon the planet Utopia, because and widespread observation, one of the chief reasons teachers is that they do not recog- they will be miserable here on earth. If an animal is a the failure of many, many (Continued on Page 196)

147 MARCH, 1943 Youth and Music he is an excellent and thoroughly trained mus- cian and his schooling, both musical and academic, is of the best and indicative of a mind in the same category. He holds degrees from the Juilliard School of Music and Columbia Uni- versity, and will soon complete work for his doctorate at the latter institution. But it held Democracy Music an element of the m spectacular, and it was democratic. It was the sort of success story that has ever roused us in the United States to cheers, for it symbolizes this country’s willingness to let any person rise as high as his abilities can EL i. lane,L emm on take him. X The matter went to Dean Dixon’s head, but not, as might be expected, to generate in it the pressure of egotism. Instead it provoked a genuine desire to make a reciprocal beneficial gesture, and one as democratic as the opportunity E EVER HAVE BEEN democratic in this or Carnegie Hall concert or debut with newspaper that had been extended to him. country in welcoming to our concert criticisms. The wheel of chance had spun in his favor. The question halls and classrooms musical artists and Auditions are held for singers, pianists, violin- raised by W that turn of fortune was: How could teachers from all over the world. But it is well- ists, violists, violoncellists, and flutists, and the he best deserve and best dedicate known that in past years our own young people following conditions must be met. the results of that Singers must favor? had a difficult time in wedging their way into be ready to perform a selection from an ora- our top-ranking musical organizations; well- torio of Handel, Haydn, Mendelssohn or Bach; An Experiment in Art known, too that our attitude toward them was a selection from the Italian anthology (in Ital- In 1939 he and some ol the finest one of noninterference: they had to learn to ian), or a selection from Beethoven young mus- or Mozart; mans in New York, members, else sink. many of them, swim somewhere —or They had to learn a German lied; an operatic aria in French, of the city’s leading orchestras, had banded to- elsewhere because we had no facilities here to German or Italian; and a selection in English. gether to form a chamber orchestra, because train them to be members or conductors of And each of the instrumentalists must be able such an organization would permit instrumental and vocal ensembles; and we had to perform a concerto written for his particular them to play a type of music in which no organizations could risk prestige by instrument one every one of which by of the recognized masters in ' gre ly intel esteNew York Philharmonic-Symphony—in first and withWs native abilities as might bear the slight rough- in repeat performances. “Discovered” leading a it would be well to ness of amateurism. neighborhood orches- But we could expect equal opportunity here tra that laid no outstanding musical in a land that purported to give such oppor- pretensions to profes- merit who had al- tunity; and the time has come at last when we sionalism, this young ready made the debut rung can point to its existence. To watch the steady man, who is still in of the ladder increase of our training school and debut facil- his twenties, was giv- but needed extra public ities is to be conscious of a vast awakening to en these difficult as- appearances in order the needs of our young musicians and a vast signments — the first to climb to the determination to give them musical justice. And being the crucial test enviable status of being there is more than the growth of these long- of directing the or- known as box- needed organizations to justify a resurgence of chestra which was office attractions. On faith in genuine, democratic process, and that selected for Toscani- this basis of combin- ing is the way in which this new development is ni’s leadership! —and these ideas, the being carried on. It permits no lowering of the brought acclaim upon democratic scheme high standard that has won the banner of world’s himself as well as the outlined above was greatest for our premiere musical organizations. professional admira- formulated. And the It is not a swing to narrow nationalism. It is tion of the experi- New York Chamber representative of the idealism that is inherent in enced men who played Orchestra added its true democracy: to allow merit to win a place under him. Exemplifi- name to the list of for itself, regardless of race, creed, or “influence.” cation of the unknown superlatively equipped To stress our point, we reprint here the qual- artist who is ready for organizations that are ifications of one of the projects whose ideals are opportunity when it serving the needs of representative of what true democracy means. reaches out to him, he niusical youth. Its scope is hemispheric, as it necessarily must and his experiences A rush of letters be at the present time; the prize is a public are also an example from applicants fol- performance or debut with an orchestra of of what a “break,” as lowed announcement quality before a metropolitan audience. Selection we call it colloquially, °f the auditions for of an apphcant extends no favors, for it is made can do for a musician. the Dean Dixon New Specifically introduc- Talent by audition. the requirements are Prior to this Contest, as the tion to the public the project was named, DEAN DIXON appli cant must be a citizen of the name of Dean Dixon and the ^j^Each Notable Negro conductor Canada, or Central or South to the Orchestral Conductor soon United States, Amer- meant nothing found his ears musical world at large. ringing with 10 music must be under twenty-six years After this highly publicized test of ppiicants his powers B ' 2 A When all aspirants Ch to Bax there were few who had not heard of him. had been Mh tdJ ’ two d®buts of a were awarded; one «!! must not have had a Town Hall His success was not an accident, of to course; Wilk ’ ^pplicants the ’ violinist 3 other to Viig8 niania “ ( Continued on Page 204) "FORWARD MARCH WITH A\USIC’ 148 THE ETUDE — Music and Culture

A Prima Donna’s Amazing Fight

Back to Health and Success

Faith and Music Can Work Miracles

A Conference with

?ncuyone Xct wrenee Distinguished Australian Soprano of the Metropolitan Dpera Company

SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT

“While I attribute much of my cure to Marjorie N THE SPRING OF 1941, thorough and excellent treatments,” Miss Lawrence, gifted and beautiful Austral- Lawrence states, “I feel certain that it I ian soprano, was approaching the very was made possible at all by two things her powers. She had taken the peak of faith and music. On that dreadful morn- musical public of three continents by ing when I awoke unable to move, my storm; she was recognized as among the first conscious act was to try out my voice. foremost interpreters of Wagnerian opera; And when I found that it was sound, I vivid performances at the Metropolitan her knew that there was hope for me. That opera ranked among the highlights of the belief never left me, and music—which, in and she had won an enormous fol- season; my opinion is the form of expression which on the concert stage. Since Miss lowing comes closest to God—gave me strength. Lawrence was very young, her abilities were still expanding; and new develop- An Amazing Story to the United ment and new contracts beckoned to her. “I returned States as soon One contractual offer came from Mexico. as possible, and sought the aid of my The Mexican government was sponsor- distinguished countrywoman, Sister Eliz- abeth Kenny, the wonderful Australian ing a new opera company, and it paid nurse who, unaided, hit Miss Lawrence the unusual compliment upon the only cure for infantile paralysis yet to be dis- of inviting her to sing any roles she chose. She chose Brunnhilde, Salome, and Car- covered. However, Sister Kenny’s treatments are most beneficial men, and began her preparations for the when applied within the first two weeks of the illness Mexican ' trip. One of these preparations and it was some two months had nothing to do with music. As a citizen — before I was able to be moved to Minneapolis, un- of Australia, Miss Lawrence was required der her care. That made the treatments to submit to a smallpox vaccination be- problematic, of course, and even fore she could obtain a visa. She took the Sister Kenny herself preferred not vaccination, got her visa, and left for to predict their results. Just because my case Mexico. Rehearsals began at once and in looked doubtful, Sister Kenny allowed me the midst of them, Miss Lawrence, usually to the hospital sooner superlative good health, felt herself leave than the other in whose recovery seemed growing strangely tired and lethargic. patients sure. Ac- cordingly, I took an apartment Friends attributed the sensations to in the MARJORIE LAWRENCE same house where she lived, to go on change of climate and advised her not to with Her valiant spirit has triumphed over incredible difficulties. the treatments privately. The first thing worry. And, truly enough, she soon seemed I asked for when I was once again in well enough to accept an invitation to a surroundings of my own was a piano. I social evening of dancing. She returned artist felt, somehow, that if only I could frame of mind—and turned to the world of music as guest on express my to her hotel in a happy and a radio hour, and three months later, gave a faith through the medium that is most natural to awoke the next m rning in great pain began one of the New York recital which was hailed by the critics me, I should be better. utterly unable to move. Thus The vac- as the most outstanding demonstration of vocal “The doctors said it was impossible for me to st unusual eases in medical history. mo years. do anything at a piano, since sit had had a singularly injurious effect excellence to be heard in New York in I could not up. cination However, health. Though entirely dif- She is able to stand, to walk, to move freely, I made them strap me up in a chair on Miss Lawrence’s produced the same laming and she is busy preparing herself—between ap- before the instrument, and set my hands on the ferent in cause, it paralysis. Medical experts pearances for war charities—to resume her tax- keys. Fortunately I could move my fingers—and results of infantile that she would never walk ing operatic performances. What is the story so the beginning was made. First of all, I sang told Miss Lawrence career of two days before of the miracle cure that transformed a helpless Isolde. I went through the part, in gradual stages, again. The brilliant invalid into a vital, vibrant prima donna? It is of course, and after a few weeks of daily singing, seemed ended forever. Marjorie Lawrence re- to music that Miss Lawrence gives much credit. I found that my back had grown much stronger. In September of 1942, " r, FORW/ARD MARCH WITH MUSIC 149 MARCH, mi — °

Music and Culture makes for beauty in playing of anything, no mat- Don't Neglect the Hymns ! ter whether it be hymn-tune or sonata. Also, and very important, full I was able to sit up unstrapped and not fall over. organ should not be used when playing hymns, Every day, then, the physical activity of singing Itj. O. oLehman 'Uaylor excepting with hymns of martial nature, and the spiritual stimulus of pouring my heart and when there is a large congregation heartily and soul out in song, gave me back a little more joining in the singing. A good N HIS EARLIEST DESIRES and cravings for rule to learn is “Always strength. In singing, I forgot myself and my own leave a little more FF to God, manifested through articulate worship, be used.” The organ should cares; I managed to let my deepest thoughts react I lead and guide the man has sung praises to his Creator. Ancient way, but the congregation to the beauty of music, and I rode over my dif- does want to hear itself men of antiquity sang in unison to their pagan sing. There is much of the ficulties. organ to be used before gods. But the earliest known records of concerted “Full Organ” is reached, “Because of the extreme cold of the Minnesota so therefore, use “Full singing to God, Jehovah, are found in the Old Organ” discreetly! Take climate, then, I asked leave to travel to Florida. time off to practice hymn Testament, where many instances are given. Jesus playing. Select eight or ten favorites, There, I sat in the sunshine and sang every day, and practice and his disciples sang hymns, and the Apostle them in every way imaginable; keeping up my technic, building back my endur- as a solo, on a solo Paul admonishes his followers to “Sing praises stop, to acquaint yourself thoroughly ance, and washing my spirit in the joy of activity with the and hymns and spiritual songs.” beauty of the melody. Arrange a pleasing and of music. When Christmas came, I was well accom- So it would seem that the singing of hymns, due paniment which will add nice balance, enough to go to church to sing at the services. I and in that to the fact that it has always existed in the way study the harmonies. Then have always loved singing in church, because one play the hymn Christian church, would be that part of worship as written, starting on medium feels so much stronger there; and this particular organ, gradually which logically is the most successfully rendered, increasing until full organ is Christmas service gave me new powers of body reached. Study the and would not necessitate any serious thought. In. moving voices, and never be and mind. I remained in Miami all that winter content with neg- that viewpoint we do err, and most seriously, as lected voice work. Good and sang in church again at the Easter services. hymn playing .is so es- hymn singing which fundamentally occupies such sential and such a recognized part of the true a large place in public worship is not given its organist’s diet that there is no reason for neglect- The Power of Prayer rightful consideration. Perhaps the commonness ing it. of the occurrences of the hymns as an integral “By this time, nearly a year after my illness part of worship has bred contempt for them, but Hymn Rehearsal began, a definite pattern of thought had formed at the same time, this commonness marks their in my mind. I saw that there is no such thing as It is unfortunate importance, and the hymn deserves more thought; that many ministers are mu- a hopeless case. All griefs can be cured by the sically ignorant and so those vitally concerned in the proper rendition seem to have little apprecia- power of prayer and the power to work to be tion for the beauty of of this feature should be made more aware of it. good hymn singing, not to worthy of Divine mercy. And so it seemed to me Horatio Parker once said, “An individual’s con- mention the other musical features resolved usually given that I had work to do. For one thing, I PU 1 C Wt,rshlp ception of God is dependent upon the type of - There should be genuine to get rid of the role of an invalid. I began to take whole-heaitedWhole h (. t rt cooperation hymn the worshipper has been trained to sing.” between minister and my place in the household once more, getting up - Whether that is absolutely true or not, it does re- ° 0lr direct0r - aild “y minister who and dressing in time to enjoy breakfast with my would strive fo mind one of the importance the hymn holds in strive for unanimity of thought responsibilities in the and pur- husband and assuming worship. day’s work. Also, I wanted to sing again, for the men of our armed forces, and for the many Mutual Understanding rehearsal, so that Te cS^Vd m°ay people to whom my own experience might bring e "^t y S - a measure of help. In September of 1942, I was Complete cooperation between minister and or- cSpe«tive thatT ^ ™ be so 1686111 a -nested offered a place on the Coca-Cola program ganist, and choir and congregation is absolutely Tange o, hymn shomd an audition! This essential. Such a broad statement naturally provided I would submit to em- prove too tedious for ^coepZle^^ request was a slight blow to my pride, but it braces all those who participate in worship, but was a logical one, since all sorts of odd stories let us consider the organist’s part in this worship whet££££ *°°k fmSa*T The ' age had been* circulated about me, some going so feature. Alas, so many organists scorn hymn- hymnal affords more f aV61 thin I t' far as to suggest that my singing powers had playing, and a large number who are excellent on any subject, 6 hymn and a poollhlice 1 f been harmed by my illness. I went to the audition soloists act as if it is beneath them to study hymn a poor rendition aUy meanS by thee cnoirchoir ? KT and sang Strauss’ Zueignung. Then I asked the playing. Can it be that the playing of hymns ap- the conerppnHrm ** > which reflects on B 01 that it needs ganlSt5 CMrS gentlemen in charge what they would like to pears so simple no study? Is it, after ^adZ XeToop^tfon ^ of f thee clergy and they assured me that the one all, so simple, and unworthy notice? Let us see. yet so ’ hear next^and often it is not fort hrn the development of 161' StU1 song had convinced them that I really could In watching embryo-organ- some ministers 6 are - who rese?vPTlf®' T' s ' the sing! Since that memorable ‘come back’ by way ists, one rule often repeated and drummed into hymns until lectln8 of about fifteen f pupil by this m®' of radio, I have had the great pleasure of sing- the ears of the writer has been, service. But, too, b6f°re there do e^8 often various soldiers’ and sailors’ canteens, “Watch the inner and moving voices,” and again, many “blisters ing at who both cooperate with inner and moving voices!” qX ph and at Madison Square Garden, in New York, “Watch the Many a island are also for the Armistice Day celebration. Then came pupil who has successfully completed fifth or sixth SE my first recital in over eighteen months, and grade at piano, when asked to play a hymn tune, walking and neglect to move the tenor or alto voices. now I am gaining endurance in will That port ofthe mhiisterj ^ standing, the full resumption condition is as deplorable as it is stupid, 0 glegatl°n will respond and building toward and as generously to the hvmn of my career which, I know, will come. stupid as it is careless. helped, because 14 cannot be past has an organist is guilty of just 1“ “The hard experience of those months Many such a fault, the hymn is COntagious! When unknown a taught me much, and in that sense, perhaps, but he would be grossly insulted were he accused. be congreSation there will half-hearted, if anv it has been worth enduring. It has shown me And then, that left foot on the pedals! We agree a service S',"hiCh devWalizes and interrupts the the wonderful capacity for kindliness and com- that the right foot is very busy managing ? ' ehng the ous worship. The cons-J? of spontane- passion that lies hearts. More than expression pedals and the upper register J in human on the to feel unconsciously 8h °Uld be made that ?h anything else, it has taught me the value of foot pedals, but the organist must not overdo the hymns h® smgln of the is a definite part nf\n g and prayer, expressed through a will to expression pedals ! It would be well occasionally the faith to it can participate worshiP in which and t hi , be worthy. I should like to tell others, in words forget them, and let the right foot help out the overstress ughly en Do we that? We think' i°y. as well as in song, that nothing is hopeless if left foot. Oh, the horror of hearing an “f” when tag aS the sing " before the minister’s^ hymn come close to God. However, mental it should be a “c” or an “a,” even though one seeks to “f” be congregation and Can bU °y up th® can minister ml" attitude alone is not enough. One must also do in the chord! How the bass singers be ex- thus l6aVe both flat and so much is ’ lost that i part, building up a reserve of courage pected to “sing by note” when the organist e sential one’s own does This - writer has at ? person who undergoes difficulties not observe the bass outline! Of ™®8 and work. The course this con- gation ' “1Vlted th e congre- to a rehearse? Jh should get rid of self-pity, and try to root out dition does not exist everywhere, fortunately, but night ymns 111 the church some after prayer . „ attitude from those who surround him. many organists should do better. So, sei vi a pitying let us watch that suited the designated 16 good if he rises “little thirds” which conveniencTolYv does himself most above his the appear between the alto it * *’ He was always a majorlty ' And and goes ahead with such activities and soprano, alto and tenor, and so on, success h. difficulties and ob- like to learn new ause church people perform. (Continued on Page 204) serve the inner voices. Such attention hymns he is able to to detail who have 48 a n°velty to those as never tried“ it n “ can be a help. "FORWARD MARCH WITH " great 150 MUSIC THE ETUDE — ” .

Music and Culture

there. However, I did get out my manuscript paper and tumbled it upon my worktable, to be ready for writing the next day. In moving the paper, I saw something fall from between the sheets. To my surprise, I found it to be the text The “How” that Dr. Duffield had given me so long before. I took it up and read it over—and the only way I can describe what happened is that it jumped at me and struck me, most forcibly! The text called Composition melodies to my mind. I went out at once under a of Creative tree, and the text took complete possession of me. As if from dictation, I jotted down the notes, of my “Canticle.” In less than five days, the entire A Conference with work was done. I put it aside, to let it “cool,” and the demands of the work I had planned to do crowded it from my mind a second time. Then, some years later, I was asked for a sacred 7 /7,, JJ.JJ.M. Bead work the requirements of which, as to length and fitness, exactly suited the work I had dashed Distinguished and Beloved American Composer off and forgotten. I got out my “Canticle,” did no more work on it than copy it out in neat and legible fashion (my rough notes are intelligible

BROOKS only to myself ! and there was the work, as it is SECURED EXPRESSLY FOR THE ETUDE BY BENJAMIN ) , known to-day. It has happened more than once that a composition comes to me, ready made as it were, between the demands of other work. The that a Year’s At The Mrs. Beach is so well-known to readers of The Etude Spring was “born” biographical note is superfluous. With Foster, Sousa, and Mac- the same way. The is one the distinctive American composers icho first Dowell she of Browning . Boston claimed the serious interest of European musicians Editor’s Note. Society had asked me to set that poem, for their annual celebration of HE PROCESS of musical composition can- his mind and soul Browning’s birth- not be reduced to any single formula, “work,” his back- day. I agreed to do T because each type of music sets its own ground, and his it, but put it off be- creative pattern, according to its own demands. training. No one tell exactly cause of pressing Critics tell us that the creation of poetry follows can you work. Shortly be- number of given steps; first, the poet becomes how you must set a fore the celebra- stirred by a vigorous emotional impulse which, about creating a tion, I went to New pure, abstract emotion, would be unable to musical compo- as York, for the pre- reach the understanding of others; in second sition—indeed, one' . miere of my “Violin he reflects more calmly upon this emotion of the chief charms place, Sonata.” On the and seeks to find a graphic thought symbol with of composing is the sense of wonder train going back, it which to convey it; and in third place, then, he occurred to me that to clothe the combination of emotions plus and mystery sur- seeks the time was get- thought with the most beautiful and suitable rounding its ting short for my words, meters, and rhymes. That, in the most sources. What Browning song. I general way, approximates the stages in musical causes one person did nothing what- creation, as well. In other words, the composer to seek to express MRS. H. H. A. BEACH ever in a conscious have emotional and spiritual feeling to put himself tonally? must way; I simply sat into his work; he must achieve a comprehensible What causes the from still in the train, thinking of Browning’s poem, translation of his feeling through form; and he form and color of his utterance to differ know! and allowing it and the rhythm of the wheels to must have at his disposal a tremendous back- those of anyone else? Simply, we do not take possession of me. By the time I reached Bos- ground of technical, musical craftsmanship in How New Works Are Born ton, the song was ready. order to express his feelings and his thoughts. is, serves Let me tell you a story to illustrate my own Thus, the craftsmanship, vital though it No Formal Studies personal creative process. I first returned from chiefly as the means toward the end of When the late Dr. How- From my own experience, I should say that expression. Europe, back in 1915, a friend, Presbyterian the first requisite of composition is, of course, a for the generalities of the process of ard Duffield, then pastor of the First So much nature that needs in York, asked me if I had ever thoroughly musical to express composition. In actual practice, each form brings Church New compo- thought of making a setting of Saint Francis of itself in terms of tone. I am told that I began requisites of its own. Purely contrapuntal inventing little tunes before I emotional in- Assisi’s Canticle of the Sun. I never had thought playing and was sition, for example, demands less four. Evidently, memory goes back no further, In vocal of it, and Dr. Duffield kindly gave me the text, my spiration and more mathematical skill. together with vigorous assurances that I must try because I cannot remember the time of my life the initial impulse grows out of the poem writing, I seeking personal expression at its to set it. I was very busy then, playing piano when was not it is the poem which gives the song to be set; training and Spir- concerts all over the country, and I forgot all the piano and through notes. As to its mood, its rhythm, its very being. shape, study methods, I am afraid my advice must seem requires an even deeper about the matter. itual or sacred music to the wonder- very unorthodox. I believe in the power of per- me, all music is sacred; Ten years later, in 1925, I went emotional impulse. (To than merely ful MacDowell Colony, in Peterboro, New Hamp- sonal work, individual trial and error, more using the term in its limited sense, I am in write a suite for two pianos (subse- in theoretic, abstract studies. My own training the convention of language.) The steps shire, to accepting completely Except for one year developing any of these quently published by the John Church Company) was unorthodox. the composer follows in had no thought of working at anything on the of harmony, I have had no formal studies; nor depend, naturally, upon his own inborn I tvpes rejoiced in being I studied Continued on Page 208) his creative urge, the way day of my arrival; I simply have ever ( abilities, the force of "FORWARD MARCH WITH MUSIC MARCH. 1943 — ” ^ ° .

Music and Culture u vv uvxinv/ UIIU lilllul black keys generally) . The palm of the hand in this position will assume a “hollowed out” shape. In the case of very large hands, the second (and perhaps the third) finger will have to be drawn in slightly to obtain “clean-cut” octaves. While giving exercises for the wrist, the thumb Foundation Principles should receive special training. For example, holding the fifth finger on two-lined C, let the thumb, with a lateral motion of the hand, play a series of five notes (from Middle C and back) Playing The fifth finger must be retained on Upper C like in Octave a pivot. Various other exercises such as this should be invented. For the training of the fourth and fifth fingers, Theodore Kullak in his “Pre- liminary School of Octave Playing” (which I consider the most valuable book on this branch of bu C alzin technic) gives many practical suggestions, such as, for instance, holding the thumb on one key within the octave, while passing the fourth ‘Brilliant octaves vitalize 'piano playing and fifth fingers over and under each other. This is Liszt —Franz preparation for playing legato octaves For striking white keys, the thumb bends its tip joint somewhat inward, and uses for the a id more This is the third in a series of independent articles upon "The Foundation of vigorous stroke the entire lower edge of this Modern Piano Technic,” by Alfred Calzin. The fourth and concluding article will joint, employing for lighter strokes only the part next appear next month. Mr. Calzin, in introducing the series, wrote: “The writer does to the tip. For striking black keys, it bends its tip not presume in the belief that any such suggestions as follow can do more than joint outward and strikes the key with the whole give an outline of the infinite number of things which go together to make a edge, the latter crossing tne key. fine piano technic. He does know, however, that many teachers sometimes neglect these principles, to the disadvantage of their pupils. It is also not assumed that this is the one and only way in which a fine piano technic can be acquired. As an VeS Irish philosopher remarked, ‘ There are more ways of killing a cat than kissing it is advisa ’ -kle to use the first and fifth fi it to death/ However, the fundamentals presented have been followed consistently fingers throughout, whether the /* Editor’s Note. keys to be struck are for years by thousands of successful piano teachers black or whiS? However! there are cases where the legato fingering (fourth finger on black keys, fifth finger on white) more effective; £ for instance in long Aromatic red with the OME YEARS AGO a well-known Teutonic ner: Place the hand upon the lap, near the knee, an^r::rr pianist toured America and in his an- and by means of an arm impulse, throw it upward luPins Hallade line, a few inches, the forearm moving somewhat, but in G minor S nouncements he always inserted the is more effectiveeffeetivo if ™ f fingered in this “The world’s most famous octave player.” He the hand more. The wrist is entirely loose and The legato wav octaves on white kpvc ma . treated the piano very much as a blacksmith the hand falls back limply upon the lap. with the thumb be played and fifth ger 7 treats an anvil. The octaves were hammered out smoothly as “ ( *lldln* “ The Correct Hand Touch possible from ™. , which a * an°ther) ' with great precision and a lack of beauty or by passing the fourth the touch in the same manner, flfth flngers or soon palled upon the most indulgent audience. Repeat except under each other. over hand is to be struck Octaves, properly played, may be exceedingly that now the downward by An W an impulse from the arm, the hand swinging dvanced beautiful. Too many students play them so that ln touch° One o?\he f elements loosely upon the wrist like the free end of a flail. mZ ™portant muscles the tone is extremely strident and the effect of that should be mad» correct hand touch usToff is badly marred. Paderewski This is the for producing the triceps piano playin£ 1S many compositions muscle It if 1 l Pachmann played legato octaves with a tones by means of a down-stroke. It is more arm part o( d “P°n the °Uter and De tL“ a a No one can be said than strictly hand, but the motion differs from than m S1 nearer the elboW fluency that is unforgettable. the shoulder itVo *- octaves have the arm touches proper in being more active in C may be by to play octaves well until legato Placing the left hand traced at the wrist, and less so in Unon?dthe the hand the arm. Upper - Then ’ been mastered. resting the points of thf « arm insure ng principles of octave playing should be im- This method will greater freedom and lightly °f the rlght hand The upon a tabfe or w unable to stretch relaxation in the hand and arm (an indispen- r parted quite early. Small hands, push with a finger giVe SUgM than is possible or flngers°the - " octave, may begin with exercises on white sable requisite) with the older mg from th lmpulse/ com an the upper arm Tf It clasping the methods of instruction. thlS 1S keys, the thumb and fifth finger the properl done ’ contraction of the trine y hand touch, the As a practical exercise, let the right hand be Ceps muscle felt interval of a sixth. In the free distinctly under the ief/i will be with extreme pliancy, extended over the octave above Middle C (about hand moves upon the wrist left hand upon the retaining . ^ inches or more) Now let the gSt ' the keys. Con- three impulse tmn ’ f! the finger delivering the force to from the keyboard by means produce a tone on elementary books of the upper arm throw the hand upwards, and UShlng trary to the teaching of kind. Observe that t0Uch of thiS go,” the hand falls, the imnn£ technic, the impulse which comes to expression “letting grasping the octave muscular mUSt be quick the contraction ’ motion has its origin further like a clamp, but remaining practically limp. instantnUy through the hand ing everything elastic vanishing, leav- correctly or With this touch, play a group of five back in the arm and never can be octaves, C tones in Finally roduce the same way ’ P motion entirely local- to C, with one impulse, then several series, and try effectively expressed by a al- traction of the trices™ to realize the con- lowing rests between to insure absolute PS muscle ized in the hand. relaxa- sense alone. by the muscular laid in the lap, tion before the next attack. Next, If, for example, the hand be play longer forearm remains entirely quiet, groupings in this manner; for instance, and’ while the the triceps muscle the proper use of the scale, for one octave and then renders^ thp> be moved upward and downward, we two octaves. The “ the hand guide, for its caPa<=lty of a hand touch which is often motion may be compared to a flat influence have the type of stone skip- whole lump” Quickly “leavens the the smooth of the of as the correct method of playing oc- ping across surface of the water by Ular " thought trates, system ifc pene pervades, and ’ and chords. This peculiar touch doubtless a single impulse, or like a ball, thrown upon a ^it^ taves and accomplishes entire action ’ to facile wrist motion, floor, bouncing along through the more tributes in some degree rest of the the ** bulk and in development of in detail in accordance with the mechanism series. a h t it is not is possible in mperamental touch than chords and octaves. The To acquire a good octave touch, anv ntiL f in playing the hand Way * 01f artists the feeling of Under its influence, its origin further back in should be arched, the second, third, and restrain* fmirh which has fourth at ’ common true to a certain stage to most players * in the following man- fingers, when not in use, being held iq W1U obtained high enough kly count and the arm, overcome, and a sense eracted nse ofn? Continued "FORWARD MARCH WITH MUSIC” on Page 202) 152 THE ETUDE Music and Culture

Twenty Years of Accompanying

An Interview with Stuart &055 Accompanist, Coach, Teacher

SECURED EXPRESSLY FOR THE ETUDE BY ANNABEL COMFORT

One should know languages, but legato, not too heavy, dynamically speaking. as it was not possible to go abroad Flute passages, which are found in many songs to acquire a thorough knowledge of the for coloratura soprano, should be played with as languages, I studied German and little pedal as possible. In a song such as Lo! ROSS French for two years at school. During Here the Gentle Lark, and all songs with that the summers my time was improved by type of florid passage work, no pedal at all should attending language schools, and Italian be used. The woodwind sections are generally was learned with the aid of a private written in the inner voices of aria, and concerti cannot speak fluently accompaniments, and many times in the form of HE ART OF ACCOMPANYING is the ability tutor. Although even now I correct pronunci- a melodic line. These counter melodies should be to create an ensemble with another instru- in these tongues, I do know the and can understand the meaning of the given an emphasis in the manner that Rach- T ment or a voice. It is not following, or lead- ations various singers. The maninoff brings out the super-beautiful inner ing, or giving a solo performance, which, alas, songs and arias used by important if the voices of nearly everything that he plays. one hears too often. An .accompanist must phrase, knowledge of languages is most coach. breathe, pulsate, and play in complete accord accompanist wishes to become a singer’s of every song Accompanists on Tour with the soloist, and this can be accomplished A coach has to explain the meaning deliver its mes- only by many rehearsals together, which in turn so that the singer may learn to Many questions have been asked relating to singer realize develop mutual understanding and a high stand- sage, and he must also make the the duties of an accompanist who goes on a con- singing than ard of artistry. that there is a great deal more to cert tour with a famous soloist or prima donna. learning how to produce a beautiful tone. It is a real awakening to the uninitiated to find Preparing To Be an Accompanist When one intends to accompany operatic, or that sitting at the piano as accompanist three with a well- The education of anyone desiring to become an oratorio arias, it is best to study times a week for concerts, is a mere drop in the experience accompanist must encompass a broad field. First, known coach of long and successful bucket—in an ocean of activities that may be interpretation. one should master a fine, clean technic in piano in order to learn the traditions of placed in various categories. lessons, to playing. This study should begin early, preferably A metronome should be taken to the Great artists have so much study to do daily, song, and before the age of ten, so that the hands and get the approximate tempo of each so much rest is needed, and so many roles have played over fingers will be firmly molded into pianistic form then the songs and arias should be to be kept fresh in the mind, that the business over until set themselves tour is invariably taken over entirely while the bones are still supple. The student and at home, they have end of a should strive for repertoire, musicianship, and well in the mind. by the accompanist. lieder, a artistry in playing the piano, as if he were en- If the student wishes to accompany Train schedules have to be rechecked, espe- best deavoring to become a piano virtuoso. If he ful- really serious field of beautiful music, it is cially when the social obligations of an artist on to study with a coach who specializes in this field. tour necessitate last minute changes. Baggage fills his desire and becomes a professional given a accompanist, he must play with great virtuosity This type of vocal composition cannot be must be checked, taxis procured, publicity pho- haphazard interpretation as it is thoroughly tra- tographers scheduled, and local newspaper in order to conquer the piano parts of the sonatas pub- ditional and requires study in minute detail as licity handled through interviews and for violin, viola, or violoncello, by the master stories. composers. Many of the modern songs have ac- to color, tempi, and interpretative possibilities. Prior to engaging hotel quarters, they must be Schumann, companiments of such difficulty that they vie Bach, Beethoven, Brahms, Schubert, examined as to comfort, and most important of Wolf, of song literature. The concert hall with piano compositions of solo proportions. and constitute the Bible all—quietness. must be ex- Every single lieder composition has its message, for its lighting, artist-room As sight reading at the piano is most important, amined conveniences, age. its picture, its musical psychology; and it cannot piano tuning, and the correct stage setting. all kinds of music should be read at an early Run- numbers, be emphasized too strongly that success in the ners must be laid on the stage to preserve the I tried to read all of the easier piano playing of lieder can be found only in exhaustive flowing trains of expensive gowns, and songs, hymns, and even dance music, during my thick study. stage curtains removed so that the acoustics early years. For three years I played the piano will During the not be dull. All of this must be handled prior to in the grammar school orchestra. Instrumentation in Accompaniments each concert. summers, from the age of sixteen to twenty-one, hotel orchestra, performing In playing an aria, opera score, or the orchestral Most artists require the accompanist to play a I was the pianist in a nights part of a concerto on the piano, the successful solo group in the middle of the program, so that the classics at noon and dance music three position as accompanist should know what parts of the the detail of obtaining a practice piano has to a week. When eighteen, I secured the brass accompanist in the studios of three different sing- orchestration are represented. If it is the be arranged. For an accompanist to accomplish town. I played twenty section of the composition, he must imitate that any kind of success in a solo group, he must ing teachers in my home hun- instrument on the piano with a marcato type of practice at least two hours daily while on tour. hours a week in these studios, and learned their styles, touch. In trumpet passages, the keys should be This practice cannot be done at the concert hall, dreds of songs—classic and modern— their interpretations. All struck with great emphasis, emulating the pro- because any piano can become out of tune with their correct tempi, and experiences were a boon to sight reading, jection of this quality of tone from the instru- a couple of hours of heavy technic and solo prac- of these grateful for these early ment. tice. It must be arranged either in a music store, and I shall always be String passages are played with a caressing or a private home, both ( on Page 202) opportunities. Continued "FORWARD MARCH WITH MUSIC" MARCH, 1943 153 ’ '

Music and Culture

A Basis for Good Singing

A Conference with

Jennie ^Jouref

Distinguished French Mezzosoprano

Formerly of the Opera Comique of Paris

SECURED EXPRESSLY FOR THE ETUDE BY ALLISON PAGET

F THE GRIM WAR SITUATION can be said years she was the “only” Mignon and virtually to have any of the “brighter side” which the only Carmen in Paris. I proverbially is thought to balance the darkest Born in Canada, Miss Tourel was taken at the JENNIE TOUREL AS CARMEN conditions, some of the brightness derives from age of one year to France, where she received the musical riches brought to America by artists her education. She sang before she could speak, who have fled the scene of oppression and agres- and had a repertoire of songs before she was sion. Among the eminent artists to have returned two. Her mother, herself a musician of distinction, centratmg upon nature methods of of the child’s early training, vocal pro- to America during the past months is Jennie took charge stressing ductioti, she schooled herself by listening to the Tourel, leading mezzosoprano of the Parisian the piano as the special instrument but build- best singers and observing what they did Before Opera Comique. Although Miss Towel's rep- ing a firm foundation of thorough musicianship. she was twenty, Jennie Tourel secured comprises the full complement of mezzo At eight, the child was well on the way to a tion an auc- ertoire at the Opera Comique. Because La Cener- pianist’s career. Six years later, her voice was of her lack roles (including operas like Rossini’s of stage experience, the management discovered. Her mother recognized the voice as certain was un- entola, which are seldom heard here) , her name what sort of contract to of great range offer her but is particularly associated with Mignon and Car- a true mezzo, and scope, but allowed her to sing one performance of “Carmen ” men. She has sung some two hundred perform- wisely allowed the child no formal vocal train- as guest without any sort of binrtlnl - ances of each at the Comique alone; for five ing until she was sixteen. After a brief time of to see what she T™ could “j do The Dfi S' interest; the aCt aroused second act called f °Vatl°n: the third act resulted “ in the manl appear~ ing at Miss Tourel's dressml™ contract d Wlth a for leading - °°£ b roleslufes at toeto* o'Opera Comique. Finding a New World 3 n °tabIe career MtasTourefcontiiue'^he? ' ind' ri observation and lvlciual method of experiment f. ' self on 1 ” 1 her the stage, inContact J™ ”? whh ' and hei audiencas ' gradually winning compete work and enthusiastic h“ acclaim fJ her perform ' ances. With the occupation TJ left her Paris MiSS T°U home with tw^ poodle, made suitcasesA and her her way t o T of Sweden gave up a tour in order to bA,™’ Book Passage the Clipper, was obliged t„ e on d ‘ as SCard °ne of h«' valises excess baggage aA “' scarcely more*Than * " Y k W ‘ th he Tth1 thes resume her career she wore, to Amen a have heard her “dien°es already as solniT”Wlth the New York Philharmn Toscanini and tra, as Symphon Orches- guest artist with the’w y and as N w °pera Company, soloist with HowardRm ? Columbia network Barlow over—the tery of breath n a c°mplete mas- support >,„!Ca, tinguished Pr°klems (as dis- from mn • i° classified in a may be production Way into th05e of and those of a have flexibility. to do with the The former with 0 tone; latter the technical eM„!i “5 the ' tone that the to obey the wish TT enab!es indispensable sin S'er. are to o . Both THE GOLDEN HORSESHOE ° ond singing- must come first' —but production What the stars of the Metropolitan see from the stage. “The young singer must < "FORWARD MARCH WITH MUSIC Continued on Page 207, 154 the etude . —

the EVERAL READERS have written in- Music in Home quiring about the issuance of rec- S ords for the coming year. Ever since tent with the principles of good business the W. P. B. found it necessary in May, to believe, however, that the major record to curtail the use of shellac by the 1942, companies deliberately issued defective recording companies, all sorts of false recordings. When the working capacity rumors have been circulated. Most of of any big business is strained beyond ca- these rumors have not been founded on Records to Meet pacity, as the record business has been fact. And since there are specific facts in the past few years, it is understand- developments in the record industry and able that a number of defective products those who are interested in of concern to might get by the inspectors. we believe that our readers recordings, We are reliably informed, that unless would welcome some of that information. War Usage the Government finds it essential to make is a critical material, as we pre- Shellac even more drastic cuts, there will be new pointed out, because conditions viously records issued during the coming year in the Far East do not permit its ship- and most, if not all, of the popular favor- in sufficient quantities to meet the ment ites previously issued will be repressed. demands of the record companies and h One factor which has held up the pro- others. There have been persistent rumors duction of new recordings in the past six record companies have developed that the months has been the ban imposed by the substitute for shellac, and only recently, a Musicians’ Union on transcriptions and in the Record Department of The New Indeed recordings. It is not in our province to York Times, the product, vinylite, was f-^eter ^Jdugh criticize or uphold this quarrel between mentioned in a somewhat misleading the Union and the broadcasters. Fortu- manner. Although vinylite records have nately, there is every reason to believe been made for several years, they never that this situation may be settled amica- have been regarded as commercially prac- bly in a short time (it may well be settled tical. A vinylite record is too light to be by the time these lines are read) handled by most automatic record chang- One other point, record manufacturers ers in existence and it wears much more would be very glad to use a substitute for quickly than shellac records. Further, it shellac if this were possible. There are cannot honestly be said that vinylite those who claim that the plastics indus- makes a record superior to shellac, despite try has a substitute which is regarded any claims to the contrary. True, it has as better than shellac, but unfortunately less surface noise, but in our experience, this too is on a priority list since it is the vinylite records which we have ex- used in vital war work. Whether a substi- amined do not own the realistic dynamic tute will be found during the war or not qualities of a good shellac record. It might is a question; it would seem logical to be noted in passing that vinylite cannot those who know the nature of shellac in be manufactured at this time in suffi- record manufacture (it is the chief bind- cient quantities to take the place of shel- ing ingredient of the record dough) that lac. (The reader interested in an authori- any substitute which might be found at tative statement of facts on shellac and this time would have to be foregone for shellac substitutes is recommended to the the duration. It is of interest to know May, 1942, issue of “The American Music that many in the record industry are of Lover,” which contains an article by Frank the belief that after the war we will have B. Walker, Executive Vice-President in finer, smoother and more durable records charge of recording at RCA Victor.) than ever before. But to wait for the war In January of this year both major re- to end to buy records, thus depriving cording companies omitted their classical ourselves of good music, which in these music lists. This was occasioned by the times is more beneficial than ever, would fact that both companies found it neces- seem a foolish procedure. What the late to catch up on the production of re- sary President Woodrow Wilson said in 1917 of previously issued. Manufacturing cordings good music can be well repeated to-day facilities of both the Victor and Columbia “Music now, more than ever before is a concerns have been severely taxed in the national need. There is no better way to nine months; they have been handi- past express patriotism than through music.” not only by a shortage of essen- capped for good music in of The need the camps has tial material but also by a shortage increased; never before in the history of labor and the necessary cutting down of PRIVATE FRIML an army has there been the need and re- certain plants. The difficulties arising Here he is, "Bill" Friml, son of the famous Czech composer, is play- quest for good music as there is in our own from new workers taking the places of Rudolf Friml, at Camp Roberts, California. Perhaps he ing The Indian Love Call from his father's "Rose Marie." army at this time. And the call for music experienced men can be surmised. At first on records has come from every military the use of new shellac was cut by W. P. B. center in this country. Those who are di- 30% °f the former amount used; later to persistent evi- recting the recreational activities in the different to and more recently it was or more ago. There are, in fact, it was cut down 5%, hand to show that the quality of most branches of the service all agree on this point. down to none. This has made it necessary dences at rut been better Those who would like to contribute records resort to reclaimed shellac records in the past six months has of 0r the companies to f on the whole than in normal times. The fact that good music to the boys in the camp may be inter- old records. from production has been cut down undoubtedly con- ested to know that there is an organization which Correcting a False Idea tributes in part to this; in normal times the strain assembles record-libraries and ships them on to production was enormous, and despite careful various military centers and hospitals. This rumor which needs to be corrected on or- A persistent flaws got ganization, the us believe that re- inspection recordings possessing certain Armed Forces Master Records, that which would have make a good record. into the open market. It would hardly be consis- Inc., Room 215, 9 Rockefeller Center, New York, claimed shellac does not we have N. Y., is a non-profit organization. It solicits con- to the most reliable sources According tributions and turns over library units of reclaimed shellac is practically as good thirty- contacted, six or one hundred records doubtful that the majority will to the service officer new It is very ^ the RECORDS in various military and naval centers, who is notice any material difference m be able to willing to from those issued a year provide a ( Continued on Page 216) records issued to-day "FORWARD MARCH WITH MUSIC" 155 MARCH, 1943 .

Maasac in the Home

Radio’s Most Important Challenge

iij oCincllciif 1/Yjorg.cLn

OOKING BACK on the work of American radio tra was the first American performance during the past year, one is in complete of Miaskovsky’s “Twenty-first Sym- L“^agreement with the Columbia Broadcasting phony.” official who stated in 1942, “the radio industry Chamber music enthusiasts were met its most important challenge.” It has been highly gratified by two series of con- the job of American radio to keep a militant certs heard over CBS, stemming from people aroused, inspirited and informed on a the Library of Congress—the concerts global war, conducted on land and sea and in the of the Budapest String Quartet and the air. As the CBS official has said, “Radio’s war of Coolidge Quartet. words became an increasingly vital factor in the Nowhere else in the world has there battle for the loyalties of conquered and bewil- been such a rich harvest of musical pro- dered nations. For us it was a new technique in grams as have been heard via American warfare.” All the major radio companies met the radio. challenge auspiciously, operating round the clock The turn of the year has seen several and each in turn taking a leading part during new programs started which have met 1942 “in forging weapons of words for the home with wide public approval. On Satur- and foreign fronts.” Radio’s war work on the days, from 2:00 to 2:45 P. M., EWT, home front included not only information and there' is Frank Black’s Musical Matinee, stimulation, as our CBS informant pointed out, which presents instrumental and or- but also essential programs for reassurance, re- chestral selections from familiar operas. IEAN laxation and entertainment. The need for enter- Sometimes the broadcast is all orches- TENNYSON. Soprano tainment during such trying and difficult times tral, and again it is interspersed with a has been valiantly met by the sponsors of Ameri- soloist. operas “Otello" and “Falstaff," wrote6 thetne Teverserse radio. for music, played In January, Jennie Tourel (mezzosoprano) and for this work. can And the need good In times such . 6 pre ept by leading artists and orchestras, also has been James Pease (bass-baritone) began a series of composition like the ? “Hymn o' Nation , a recitals on Monday afternoons from 3:30 more * auspiciously and generously met. joint for its political sSniflca (CBS). These nct if This past year has found more sustaining to 4:00 P. M. EWT artists were 6611 broadcasts of the country’s symphony orchestras chosen as the most gifted of the young singers b“ TteflnSre" ! telling! each week than ever before. Four of the country’s heard on Columbia’s Songs of the Centuries pro- Engl^dl Franc? t0 CTalRwr ' York Philharmonic- grams in the past year. Both of these singers written Vei di haS leading orchestras—the New a contrapuntal cochin < Indianapolis, have unusual careers. Of French and Rus- the 10" 0f God SaW Symphony, the Cleveland, the and had King (Queen in VerriiTt I Miss Tourel was brought up near ) - LaMarseillaise the Columbia Broadcasting Symphony have been sian extraction, and the Inno di Mamfu of perf°rmance heard on regular program series over CBS; while Paris. She began the study voice at fifteen, Toscanini added to the Verdi C01e over NBC, we have had the NBC Symphony Or- renouncing earlier ambitions to be a pianist. own National Anthem. part of our chestra, under the distinguished guidance of Several years later she successfully auditioned Carmen at the Opera Arturo Toscanini and Leopold Stokowski. Over for the role of Comique. A Political Figure network, there has been added re- Miss Tourel caught the last train from Paris be- The Verdi the Blue attack dirt-ntr.™ • on ‘ orchestral roster of the air the fore the entry of the Germans into the city. day, in tlmeIy t0 cently to the the opinion of tern first public performances in haV noted Boston Symphony Orchestra, under the One of her this heard this work, as Wh° it was n ^ direction of Serge Koussevitzky. And over Mutual, country was with the New York Philharmonic- pressure was When political used to keen H I the Friday afternoon broadcasts of Symphony Orchestra under Toscanini’s direction tion. 1 m pilblic rend> we have had Toscanini, one of the I ? under the guidance in a performance of Berlioz’s “Romeo and Juliet.” 631615 * muslcians oI the Philadelphia Orchestra, our times, is, according tel, James Pease was born in Indiana, and after 110ted columnist of Eugene Ormandy. and commentator, Doroth? the Cleve- studying for the law was admitted to t? Celebrating its twenty-fifth season, the bar cant political figure 3 SigI as well as' T offered this past year an extensive in his native state. Persuaded to take an audition IT™'8reat musician, land Orchestra Says Miss Thompson “He • Saturday afternoons. at the Philadelphia Academy of Vocal Arts, Pease poUtlcal series of programs on although he is flgure ’ in . no sense a ,lr f highlights was a performance of won a scholarship. Following this he spent two “'tacian. His politi- Among the cal career consists in a sins-T General years of extensive study and then Kodaly’s “Te Deum,” dedicated to Mac- made his pro- refusal to recognize 16 aCt ° f t0tal fessional as Mephistopheles ricfs'm T* Arthur and his men, and sent to them by short- debut in Gounod’s it, or to have to cond uct for any truck , Shostakovich’s “Seventh” or “Leningrad “Faust,” with the Philadelphia Opera Company. canini whatsoever." Tos- wave. has never played the w Toscanini presented for the Behind Toscanini’s performance on Sunday af- 6 Pascist h Symphony,” which in public or in private ymn either in the Western Hemisphere over NBC, ternoon, January 31, of Verdi’s “Inno della Nazi- When first time Toscanini deoidp^ + (“Hymn of the Nations”) is played by the Clevelanders, and Wag- oni” a timely and “Hymn of the 1°. per£orm Ve«H's was also Nations ' the Britannia Overture was presented at interesting story. This work, written by Verdi in tag Company Natlonal Broadcast- ner’s Rule launched a ? with the composer’s young grand- 1862 as a direct political attack on oppressors parts, arcb for the score and one concert but the only corn Friedelind Wagner, to introduce it. within Italy, had never been previously performed be ° ™ c to daughter, found in this count,-,, °mposition to best of WaS in America the the knowledge of all exchange a piano Part. An Premiere of overseas radii , A World concerned. Arrigo Boito, librettist of Verdi’s that disclosed fact the British BroadlStfng' the the Columbia Broadcasting P ?< orporat Howard Barlow and don owned a complete ioninLon- premiere of Randall lei f, J Orchestra gave the world Arrangements were score and parts ' immed • T ~ “Solomon and Balkis,” com- 6 Thompson’s opera, graph the pages on Y de to photo League of Composers; RADIO microfilm andT missioned by CBS and the to New York. In “ to fl y the reel by this orches- select!,-? other novelties played Westminster Choir sei'yices of the and among anaand , r? . t Continued on Page 209) "FORWARD MARCH WITH MUSIC" 156 THE ETUDE ’

Music in the Listening Children Home Women’s Club organizations in all parts of our country properly have been concerned about the types of music which children hear on broadcast programs. We continually hear tirades against the extremely bad music that one now and then The Etude hears, but relatively little about the marvelous musical opportunities that the children of to-day have lavished upon their musical consciousness. Respect for the arbitrary powers of the Federal Radio Commission has led the broadcasting com- Music Lover’s Bookshelf panies to hedge their pi-ograms with restrictions that are almost puritanical. This is a fortunate happening, as the very nature of the penetration radio every kind of home could make Any book here of the to reviewed moy promiscuous programs a real danger to the be secured from THE ETUDE MUSIC country. MAGAZINE at the situation in music price given plus An excellent review of the postage. is to be found in a small but excellent book by Dorothy Gordon, known as “All Children Listen.” It covers in fine fashion the obviously sincere and worthy efforts of the National Broadcasting Company and the Columbia Broadcasting System to provide music for children and young people *Yf]erechtli Cdadtman that will be beneficial rather than harmful. These companies deliberately have killed thrillers because parents and parent groups declared that thus to be equipped to appreciate and apply the aginative quality.” they have found the music and the text harmful. parent’s practical point of view no less than to These are unqualifiedly the finest photographs We cannot help feeling that the musical cen- reflect studied scientific judgment." of musical instruments, both fi*om a practical sorship is not upon as high a basis as are the “All Children Listen” and an artistic standpoint, we ever have seen. regulations affecting other programs. In order By Dorothy Gordon The volume is eight by eleven inches in size, so to show how strict these are, we quote from Miss Pages: 128 that all necessary details can be shown. Miss Gordon’s book the statement of policy issued by Price: $1.50 the Columbia Broadcasting System. Publisher: George W. Stewart, Inc. “The Columbia Broadcasting System has no thought of setting itself up as an arbiter of what Songs of the Folks is proper for children to hear; but it does have All Americans have been tacitly aware that we an editorial responsibility to the community, in have had for a century or more a folk song lit- the interpretation of public wish and sentiment, erature ’way back in “them thar’ hills.” Grad- which cannot be waived. ually these lodes of musical gold have been mined. “In accordance with this responsibility we list The latest collection of native tunes and words some specific themes and dramatic treatments is called “Songs of American Folks,” and em- which are not to be permitted in broadcasts for braces forty-seven such ditties and hymns of the children. country, as sung by white and black folks who “The exalting, as modern heroes, of gangsters, loved this necessary form of primitive- expi-ession. criminals, and racketeers will not be allowed. All these songs have a definite historical and “Disrespect for either parental or other proper ethnological value because they portray what the authority must not be glorified or encouraged. real people had in mind and wanted to tell the- “Cruelty, greed, and selfishness must not be world. The so-called “culture” of a country is presented as worthy motivations. usually a veneer of onion-skin thickness. What “Programs that arouse harmful nervous reac- the great mass of the population had in mind tions in the child must not be presented. and was thinking about ai-e perhaps best re- “Conceit, smugness, or an unwarranted sense vealed in such songs. of superiority over others less fortunate may not “Songs of American Folks” be presented as laudable. Compiled by Satis N. Coleman and “Recklessness and abandon must not be falsely Adolph Bregman identified with a healthy spirit of adventure. Pages: 128 “Unfair exploitation of others for personal gain Pi-ice: $2.25 must not be made praiseworthy. Publisher: The John Day Company, New York “Dishonesty and deceit are not to be made appealing or attractive to the child. The Instruments of the Orchestra “A program for children of elementary school and Their Players age should offer entertainment of a moral char- Ernest La Prade, for years Assistant Conductor acter in the widest social sense. It should not of the Walter Damrosch NBC Concerts, says in The Piccolo obtain its entertainment value at the cost of dis- his introduction to Harriet E. Huntington’s “Tune torting ethical and social relationships in a man- Up”: “In this book Miss Huntington does some- Huntington starts in with percussion instru- ner prejudicial to sound character development thing more than reproduce the visible character- ments, followed by woodwind and brass, after which the string instruments, the and emotional welfare. istics of the orchestral instruments. She shows the piano, and organ “It is our hope and purpose to stimulate the them, most fittingly, in the hands of attractive are shown. The text tells the musical po- creation of a better standard in children’s pro- young performers—where they are so often found tentialities of the instrument but does not at- grams than has yet been achieved. in this era of school orchestras—and she takes tempt to give historical details or the technical “To be of assistance in reaching this goal, advantage of their decorative possibilities to limitations of the instruments. It is a “dandy" gift for a child ac- Columbia is engaging the services of an eminent make pictures of intrinsic artistic value and irn- book who is just getting child-psychologist who will have the benefit of quainted with the wonders of the orchestra. members, with the “Tune Up” an advisory board of qualified toward pro- By Harriet E. special purpose of pointing the way Huntington grams designed to meet the approval of parents, BOOKS Price: $2.00 Columbia hopes Publishers: Doubleday, Co., Inc. children and educators alike. Doran & MARCH, 1943 "FORWARD MARCH WITH MUSIC . ' —

Music and Study Two Boys I have been teaching piano for eight The Teacher’s Hound years, principally for pleasure. I find that Table I secure best results when I treat each pupil as a distinct personality, giving them material according to their respec- tive needs. At present, I am especially in- meled, pages so totally free terested in my two sons, one twelve, the of commer- ai or bias other seven years old. The elder son has Conducted Monthly - as m this magazine? What; otherTi been studying piano for three years. Al- music journal would publish though he does not intend to make music the frank, straight-from-the-shoulder an avocation, he enjoys it and makes fair By articles you read on the progress. He wants to play marches, pop- Round Table page, the columns for ular music, and a few light classics. I mM . instance denounc- ing find a stiffness in the muscles of his laier incompetence, favoritism and unfair hands. Do you think it is due to rough competition in our profession? What games, such as football, or too little stress other magazine would go so on technic? I give my beginners Schmitt 2v. “all out” for the recognition of our Technic. When should I use “Czerny- Noted Pianist own native young Book 1?” The younger boy seems artists and teachers? Liebling and None, I am sure especially talented, having been playing Music Educator but The Etude. since he was four. Should I require the So as you wrote same amount of technic from both? The in your letter, I would y also “ younger intends to study music for a long ' more power to YOU time, and I hope he may make a musician. and all 7other Intelligent Round Tablers —Mrs. J. D. McM., Texas. have fom,ci 0U1' The Policy of The Etude The magazine gives stimulating musical It always me a thrill when I It was with a great journal deal of pride that published in any language, hear from a mother who has the temerity I read that The Etude has been and who will included read to teach her own children especially in the top class A list of cultural “1° ils inspiring pages, — maga- sift zines; a sense its articles, use the progeny are boys! of pride because I have a or discard its when The quaint great helps agree number of Etudes in file, although With old-fashioned notion that a parent I at and have been teaching only for about z alouTm he p twelve yt B d itS Uberal should npt teach piano to his (or her) Correspondents with this Depart- years. And, of course, I place “ in to ” ment arc requested to limit Letters your department in class A of all come “ child has long ago been proven false. A the reg- to One Hundred and Fifty Words. ular departments carried by The well-trained teacher-mother is often the Etude When you “revived” the interview best instructor for her son or daughter. with Horowitz in the March Etude I Various went Problems Of course it is a difficult situation, es- searching through the files for that some teachers affect. I’m all for rich, 1932 issue. It was as if pecially when the parent, exhausted after I had read that studied a ’JOy wh° has article only for’five^veîqiit’ vital downness, as well as positive, yesterday; and strangely lug play‘ a long day of teaching other parents’ enough hands together much of it was just a recalling ‘“.““L**‘ children, dynamic upness. Every act we perform What do you ban61ng ' must face her own “darling.” process, for many of those ideas were sugerst? in life is an “upness,” throwing a ball, second nature. 0 1Py Don’t do it! Teach your child early in the However, since that time rou^y^frs ’ Pl pils who have studied dancing, singing, laughing, playing the many other fine interviews have come c n ; cond day when you are fresh; but make his music at Sight “ srade piano. can these be negative? And out in The Etude which I am proud to ™ ^ lesson inflexible How he that soems to time as as the law of say are second nature. But, they inSL when you move your elbow up, how also, I have keys, and Io °king at the so , , the Medes and Persians, and you will had to do much “clarifying and classify- lose t?' lr sic. place ‘h ‘he can that be anything but active and ing in the language i have ?rled tl mu- be a successful parent-teacher. we ordinary folk flylng” a,Ie hcm a° “»«>« forceful? speak.” In so doing I have been but they i?„7e very ^ Mrs. J. D. McM. seems to have solved forced In this ârd to interest to do wav nf Lo t Well, there you have the definition of a lot of original thinking all on the problem well—except that item of my own. <“ 1 mate outward up touch—an upward and Just what technic. I’m sure the stiffness comes I am trying to say is this; h sweep of the elbow tip, throwing the take for above g00d book. if example, the matter of technic— averag7m^ntelligpn‘lBence from that awful Schmitt Oh, reader, * and a fluent arm and body into the keys. It is the I read in one article that “technic should has dntT- Ty only we could have one of those bon- past year careles s work this easiest, most natural movement anyone never be dissociated with music”; in an- She nr>^ not that there se*m to realize fire orgies to burn these vicious technical other I read, “a pupil should have the 1 n can make at the piano, and gets the beyond > piano playing tomes! What a wonderful conflagration necessary technic before he attempts to note reSS? |h? best tonal results I Please read 1 spend complains that know. make music.” So, you see, the teacher too much it would be! I would certainly use those even on e oa °ae piece or those “up” directions again, in the July who reads The Etude regularly is forced a fe w Schmitt books for the torch to light the did very P°r tw° years she Etude. If follow them faithfully you to think, clarify and classify and to make good WhrT a you her How can 1 Induce fire. How can anyone expect to be any- his own application. I have found to try to mak?> won’t go wrong. it r ie CeS “ necessary to keep a very open slcal without m°re mU thing but tighter than a drum who prac- mind. SlfnVh P^Merest, ?-Sister When a pupil can take discipline, M. j., Minnesota. tices such rubbish? And there are hun- it should be administered; when he can’t which should The Solar Plexus dreds of books just as bad, take it, be moderate; if necessary, do be consigned to the bonfire at once. What significance do you attach to away with it altogether and make the ap- g c°mes from two causes the functioning of the solar plexus in (A) Strikfnff1 big chords proach through enjoyment. It depends r ° Give both boys plenty of piano playing? ex- a n the connection with My entirely on the pupil. distance (B°) (slow-fast), scales and arpeggios, and of perience seems to indicate that it is Here’s more power to The Etude and Pushing down ™yieldinB sane, interesting, challenging finger ex- vital importance; and without it there is you! I’ve seen you work on the^keys out many diffi- eradicate ’ You C™ no real playing. both the a ercises. Avoid studies or exercises which cult problems before, but be honest, banemg and the Why do music teachers fail to stress doesn't this one stump hands . inner fingers while the others you?—V. W lnslstin hold down the importance of the solar plexus in Virginia. Angers B (A) that the S achieve “freedom” and “inde- playing? Is it be- UCh the try to connection with piano playing- key tops before lazy, (Bf h° pendence.” That’s all “old hat.” cause they do not know, are too US ‘ng - Ugh! Stumped? Not at all. You have, as a slvel” Up touch exclu or wish to keep their knowledge a pro- i'e hv t Discard it forever. Go easy on the etudes, matter of fact, stated the S a m' lng fessional secret?—E. R., California. ideals of The then key contact, and use Czerny with moderation. Give Etude perfectly. producingg tonef You have said, “Hurrah ward and by a swift out- good light music filled knock- that nm ai d CUl the boys much There’s a one-round, one blow, for one, free, democratic musical ve °f ‘be elbow tip. 2 The?eT, with passage work—Haydn, Mozart, out for you! To E. R. may I say that I'm forum, The Etude!” Since its founding sight Player bM°me a fluent and early Beethoven. Also feed would be glad by the late Bach sure that music teachers Theodore Presser and feel” °f the kel" music, its board Is them some more contemporary to disseminate their pianistic solar plexus astonishing growth under SitTaT“utolnatic. its present known a I have never with rich chordal masses, like MacDowell, secrets if they had any. The only one I illustrious editor, the policy of The Etude not take °r °ld who d‘d Rachmaninoff. I’d like sometime seasick, and to to "blhfd^T® Chopin, recall is that unpleasant, has been open its pages to all d flying to persons water, if hke a duck to hear how the boys are developing. not at all secret feeling in the solar great and small who the „, have something in- and P Sent t4o“ were stalple luck to you and them! plexus region which starts on the morn- teresting, provocative convinotae m 5 Good or intelligent 1 '° “' t"v° ten - 5 lmg Ch ing of a concert, creeps up all day, and write on the ser£ musical subjects—biograph of™?™=hnistories” n°w unbearably acute at concert running in Up Chords Again becomes teaching helps, teaching problems 1Et e tech’ valuable ™ contains many Month” in the time. Can anyone tell us how to manage nic, interpretation, and , In the “Technic of the so on B i~ £01 b'‘nd flyinS- ™ of Tub Etiu»b, you speak of that one? dered readers often : Tnlv number write the editor m-o" h01 lntere exer- of chords.” Do you refer else (but sting thp ‘‘uD variety I wonder if E. R. is referring to the testing that on one NO morel 'v via elbow tip ap- page some musical playinB the negative touch without ek in physical seat of all piano playing, which authority has aired his looking t B. S„ Oregon. views on techni ” *the°khe keyboardT will give pmachJ-A. is located of the spine where only remarkable at the base to be contradicted by a ,eaults1 second wlmU ~ time Kevh„ within one month's sorry the is held together and • oh dear! I’m terribly body-framework known personage (in the n] , dear, same Contro1 sight the torso ) Pteyinf ’ accuracy, the whole "up” pnn- from which the hips swing whose approach is diametrically and „ misunderstand onn?^pp0s 1?''" 1 wiU a11 make y0 I thought I had freely over the keyboard. For fuller ex- I confess astonishing ™ just when that for a lone . spun?' ciple.ê AAnd J t'1 16 thiS of Progress. No one But Heavens! What planation I refer her to the Horowitz troubled too, can ever dlear! me until the edit ^ f becomp l y Set me g°°d sight reader wh° made "negative touch “interview” in the April 1942 issue. . . . right. must that Where else can vou look at hlh?=S t ? mean by mUslcal hands or the keyboard. 3. - And don't forget; if E.R. or anyone else articles of Your rm f the scope, varietv , uestten of s bjec^“ neglected the most negative, ex- has any confidential solar plexus secrets matter, or editorialseditnviniT H important S ^"“-“PSfever so helpful, Bow °ld I’U downness which to divulge, let’s all share them! sions pro and discus Mger she * the girl? ^b con so open and IT’s f°ui teen ee^T/dX unSl ... to sixteen, just the (Continued on Page "FORWARD MARCH WITH MUSIC” 196 ) THE ETUDE stocked for that. One must ap- Music and Study pear well-groomed, and our cos- metic and beauty departments cater to one’s needs here. The just because they are following some noble mo- public has little idea of the im- tive. They find in music a means of having a mensity of the business of the good time, which they cannot find in anything manufacturers who make aids else. And music, like few sports, enables the for beauty. I went East recently player to play ‘solitaire.’ Like some games, he and spent a sleepless night on may enjoy it with others, or he may follow it the Pullman. Every now and entirely alone. then I would peer out of the win- “There is no limit to the enthusiasm of a real dow in some little jerkwater town ‘music fan,’ ” he continued. “He may buy a sec- and I noted that there were al- ond or third class instrument at first, just like ways at least two neon signs in the fellow who starts golf with a cheap set of each town. One was marked clubs. When he gets the ‘bug,’ however, nothing ‘Beauty Parlor’ and the other is too good for him. He may spend a small for- ‘Wines and Liquors.’ In addition tune on tricky clubs and togs. Likewise the music to looking well, one has a nat- fan wants the best grand piano, the latest im- ural inclination toward sweet proved organ, the finest collections of master smelling odors, and the depart- records, or the rarest violin his means will per- ment store business in perfumes mit. The worst of all are the violin boys—they runs into several millions of go in for collecting, and I know of several who, dollars. lured by the romance of the instrument, go on “After the needs of the physical buying violin after violin. They don’t seem to man are provided for, the de- care so much about playing them. They want partment store does a huge busi- to own them. ness in caring for his artistic, “You know,” he continued speculatively, “I mental, and spiritual welfare. have an idea that a great many teachers are One must be educated, and our making a serious mistake in not capitalizing on book and music departments this ‘game’ or ‘sports’ element in music. I try to take care of that. One must be see all sides of things, and I have talked with entertained, and therefore our lots of music teachers. I studied music a few toy and sports departments take years and once thought I would like to become care of that. There still remains a teacher. As a kid, I had to get a job, so I lost that large part of the public out on that deal. Teachers look upon music as which makes a very profitable some awesome thing that must be taught only sport of reading and music.” in one way, or not at all. Nonsense! Watch the FUN AT THE KEYBOARD

Mort Walton of Birmingham. Michigan, with Mrs. Walton and Nancy (not forgetting Pussy), enjoying their Hammond Organ.

N A PULLMAN, eastward bound, the writer met a highly efficient, middle-aged man- O ager of one of the very large midwestern department stores. He was genial and communi- The Sport of Music cative and after the customary club car greeting and the inevitable discussion of the war situa- said: “My job is principally to know what tion, Millions of People Look Upon Music people want, where it can best be bought, and how to get it into our store and move it out to the public as quickly as possible. This is of course as the Greatest Game in the World most a matter of organization and selecting the intelligent and active people to help me.” Realizing the magnitude of this task and his coordination with the scores of buyers of literally asked, Lj Jlrnoid WiLn thousands of pieces of merchandise, we W. Q. “How do you go about it?” •‘Most people,” he replied, “seem to think that store is to the real purpose of a department everything supply every known human demand— As we had given this subject much thought, fellow who goes in for golf. He may take a few from an anchor to a coffin. I suppose that if any- we asked him what proportion of his music lessons from a ‘pro’ but what he wants is to get called up and wanted to buy an elephant, one business, including musical instruments, radios, out on the links and play around with his friends. would call up the Zoo. We actually do sell we phonographs, and sheet music, was influenced If his scores run 120 for a time, he gets mad at rattlesnake meat in our food department, canned by the or sport element in music, and he himself and gets the pro to show him call for a stuffed skunk, from game how to and I once had a said, “Of course no one really knows, but taken bring them down to the eighties, if he can do it. man who probably wanted to pay a subtle a all in all, I should say about seventy-five per But—get this—he doesn’t fuss around for years to one of his foes. But the fundamen- rompliment a customer taking golf lessons before itself. One cent go in for music for fun. When he begins to play. problem of life is that of living tal becomes a music fan there is no limit to what the best food one’s money can buy. must have himself. He wants the best Music Wins over Golf our food store. One he will do to indulge is taken care of by That music library, the best record library, the best “The head of one of my departments is a golf as good a home as one can afford, n-mst have think of the fanatic but he decorations, house instruments he can find. When I confessed to me a while ago, be- furniture, bedding, carpet, nnr of dollars that have been spent on fore he went into military the gadget, and garden fur- millions service, that on , things, hardware, irni pianos, violins, Hammond organs, radios, phono- whole he got more fun from his music than from departments look out for that. The home ling de- graphs, and fine records, I realize that these golf. However, he is really a trained musician sanitary. Our drug and sanitation be music lovers are moved by something which and has some published compositions to his help the housekeeper to provide for partments have a gives them much the same kind of thrill and credit—one, the class song of his Alma Mater. One must be properly clothed. We that One must joy that others get from golf, skiing, card play- ‘The teacher who has an idea of bringing to departments to look out for that dozen and other sports. They don’t go in for it his fellow man the music must and luggage departments are ing, most joy out of travel-0” trunk "FORWARD MARCI-I WITH MUSIC 1 159 MARCH, 1943 t 7

Music and Study

learn that there are more ways of killing a cat than by kissing it to death. But some teachers hold on like a leech to the idea that if the student does not learn by this or that method, the world is coming to an end. I quite agree that with the ideal musical child, the most careful and precise training should always be given. I A *50,000 Word have a gifted daughter, and I am seeing to it that she has the most responsible and able teacher obtainable, and he has my request that A TIMELY MESSAGE FOR READERS OF The Etvde every step in her progress be made as thorough and secure as though he were a builder and had carte blanche to create a fine edifice. “I am not making a plea for sloppiness at any time. What I am getting at is, that it is the GREAT American industrial corporation employed one of the teacher’s obligation, in a vast number of in- noted Philadelphia lawyers to give it an opinion in a com- stances, to see that the pupil gets as much fun A plicated legal matter which would decide for or against a out of his music as possible. certain policy. The lawyer stated that his fee “We have all sorts of teachers dropping into would be $50,000. our music department. I can tell a successful After weeks of study, employing a large staff, he presented the teacher from an unsuccessful one in a few min- decision in one word; “No.” This one word, it is estimated, saved utes, by the way in which he or she accepts new the corporation millions of dollars. ideas. In the old days the great bugbear of un- You are familiar with the progressive teachers used to be ‘canned music’ report of government regulations in and how they did fight it! Perhaps at that time the matter of the limitation of paper supply for all kinds of printed there was some reason, because many of the material, newspapers, periodicals, everything. The Etude early recordings could be considered good only is anxious and glad to comply with this additional by a stretch of thq imagination. They squawked move toward Victory. We and scratched in spots. Now, teachers actually are sure that you also welcome the opportunity to help. come to the store and help their pupils pick out Our problem is to give our readers as much as possible within fine records. They tell us that records are an im- the necessary restrictions. War conditions already mense source of inspiration to the pupil. It was have reduced general the same with the electric organs, when advertising in art and professional home much magazines many pages they came along. Will you believe it, after we This means that the reading text and the music of The had sold a number of Hammond organs and Etude will not be reduced seriously, although the magazine, they were giving huge delight to their owners, of course, will be when played intelligently, we had teachers who, slightly smaller in pages and lighter in weight. instead of looking upon their advent as a normal up for this, To make an even more active effort will and desirable musical business opportunity, held be made at this time to have the quality and appeal of the editorial back and let more enterprising teachers benefit contents of by them? Now, of course, these teachers are tak- The Etude raised as much as possible. ing up the Hammond, but they missed a big We will want as many $50,000 ideas as feasible opportunity at the start. and as few tw cent ideas as thinkable. An Etude reader in “There is a great new cult growing up in music. Winnipeg wrote “Th" The music teacher who knows his business and Etude seems just full of golden nuggets.” This reminds us of Mr* is not too ‘snooty’ to earn a finer legitimate liv- Thomas A. Edison’s reply when he was asked where he got ing, and at the same time help his fellow man his id It was “An idea is like a gold nugget. The reason in getting more fun out of life, has all sorts of the miners find patronage. That patron- gold nuggets is that they never stop looking chances for continuous until they find them ” ' age is stronger among those whose interest is Time and again our readers have told us that one article enormously in ’ keenest. The Etude has helped paragraph, one idea, or one piece found in The Etude keeping up this interest. People want to know has infl„ “A an entire career. The office music. They get some of of our Editor has ‘ more and more about for yea fe "“d from their teachers, some from unending letters and personal visits this information from such readers visit of The Etude, for * books, but the regular monthly we are most grateful. Therefore with intensified effort which is admittedly the only magazine in its new w edge and new staff experts we can promise our ’ class, keeps thousands of these players on readers that even paper shortages 1 with th for new and delightful experiences. The Etude will come up to the mark’ more ever in the sixty successful years. than An Inexhaustible Fount The restorative and inspirational It is in- value of “There is another thing about music. music and Tim pt a are needed now more one never tires of it, and there are than ever and we exhaustible; unite with our ft A“ S like f endless paths for new investigations. It is the duration to make music of ever ° r increasing value to exploring a lovely garden and continually find- Not every word in The Etude for the blossoms. There is noth- duration will ing new and beautiful be “a word by any means, but Aonot’ in life. From a practical de- you can count ing exactly like it upon an Et .H centrated con ‘ store business attitude, this, and this and unusual interest, irrespective rtment of lapernon . why the stores have earned mil- limitations. nly explains dollars through music. lions of began, the interest in music “Since the war is ever-increasing. Alas, we are • the home some instruments, Hcmnered presently in getting hamP could get them right «p nf Priorities. If we beC times what we can w1 could sell many now, (Continued on Page 200) as tiIne flies obtain. ^ * ,r FORWARD MARCH WITH MUSIC- 160 THE ETUDE ’ —

Study SHORT TIME AGO the writer was consulted Music and by a radio announcer who complained that A the quality of his voice was affected, but he also reasoned that the fault might rest with the technical engineer in the studio. An examination of his throat, together with a brief history of his habits, revealed that he had a penchant for hearty meals, and the technical engineer Spare the Calories was blameless for the faulty transmission of his voice. The human voice is a priceless gift of the Creator bestowed upon mankind, and it is a dis- the Voice tinguishing feature from the lower forms of and Save the life. Artists who depend for a livelihood upon proper use of the voice mechanism, know of the common sense care the singing or the speaking voice requires. Many causes operate to keep this mechanism out of alignment, of which the most fjleon Ut'l.i.ennan , mib. frequent offender is injudicious eating. Disraeli was not alone in the opinion that the true index of a man’s character could be found "The voice so sweet, the words so fair, in his voice. The quality and quantity of food which one consumes can add to or detract from As some soft chime had stroked the air.” the quality of the voice, and the vast majority a of singers and speakers recognize this to be -Ben Jonson fact. It is food that can change a pleasant, vibrant voice into a harsh, rasping tone, resem- Apart from this, over- bling that of a huckster. require. is at first may be rigid, but once the proper food more food than bodily needs There eating and faulty digestion of food can cause any habits are established, it becomes a part of his a story about a contemporary artist who had number of diseases, sinus disorders and other routine. We have known singers who paid high a role with the Metropolitan Opera Company bodily discomforts. The radio artist with epi- prices for lessons, and who practiced long and in New York, who confessed his fondness for curean leanings may injure his vocal cords to hard, only to sacrifice by dining well but not popcorn and peanuts which always robbed him the extent that his voice may sound as though wisely. of the “velvet” in his voice. had been put through a wash wringer. Only it The intake of food depends upon bodily re- There exists an interlocking directorate among through proper and intelligent understanding of quirements. This poses a question of how much the vitamins, so the allergies to one group draw food consumption can the physical properties an individual requires to carry on his daily duties. their sustenance from other food divisions. The of voice be kept in true relationship. The inten- Age, height, and the activity of an individual anti-scorbutic vitamin—or Vitamin C—has in- sity, pitch, color, timbre, and resonance com- are the determining factors which govern the gredients which will reward the habitual user. prise but a few of the physical properties of quantity of food required. The modern tendency Among the chief sources are orange, lemon, voice dynamics. has shown that the underweight artist can tomato, pineapple, grapefruit, and raw cabbage fellow juices; watercress, fresh fruits and vegetables. The Evil of Over-Eating sustain a note much longer than the who breathes heavily and belabors his notes. No The Committee on Food and Nutrition, National Experiments have shown that birds sing better longer do we select singers for Wagnerian opera Research Council, recommends of this vitamin a coo better on an empty stomach, and their and roles who are over-weight. minimum of thirty milligrams per day for in- notes are clearer when they are hungry. call The other day a singer came before a local fants; older children and adults in proportion, a good artist has ruined a career by falling Many Draft Board pleading that he was allergic to up to two hundred milligrams per day, depend- the temptation of a few extra calories. Public to certain foods, which would find a vulnerable spot ing on the existing deficiency. A sufficient amount speakers, singers, and radio announcers who in his voice, and ruin his career. The members of juice in our daily diet will prevent such un- devote a great deal of time to studying and of the Board listened sympathetically, but there pleasant conditions as scurvy, pyorrhea, bleeding improving their voices may give way to tempta- was nothing in the rules and regulations to defer gums and similar infections. Vitamin C can be by gorging themselves with good food, with tion him. And so we find that some people have an depended upon to improve and maintain the disastrous effects. Enrico Caruso, a trencherman allergy to certain classes of food. In these cases, normal tone of the lining of the upper air pas- habit, learned early in his career that too by the individual furnishes the yardstick of what sages and digestive tract. food had a tendency to congest the upper much he can eat with impunity and what he cannot. passages and muffle tonal quality. Word The "Sunshine" Vitamin air The writer knows an attorney whose limpid Caruso when he was dining in a Naples reached quality of voice was a feature of his court plead- With scientific investigation about the vita- restaurant that he was to take the role of ings. One evening he dined out and became an mins being unremittingly pursued, it is admitted Pagliacci, replacing a tenor who was suddenly allergic casualty. Some of the food of which he that each one of them plays a vital role in the Here was a golden opportunity, but taken ill. partook ruined his voice to the extent that he was biological scale of nutrition. Vitamin D has been had just finished a gargantuan meal. Caruso forced to ask for a postponement of his case called the “sunshine” vitamin, and its scarcity next day the critics dealt harshly with him, The rather than risk the unfavorable effects of a in the food of children is evidenced by rickets, remarked that his voice sounded more like and foghorn voice. bone deformities; and it is responsible for frac- an auctioneer than a true artist. Caruso that of tured bones healing slowly. While Vitamin D can to his sorrow, that by over- learned, much The Unbalanced Diet hardly be individualized in foods, ten forms his stomach he had detracted from the feeding Too many of us indulge in starchy foods, have been already submitted to the National of his voice. Most of the present day richness known as carbohydrates. Potato and bread eaters Research Council, of which two are recognized such as Marian Anderson, Lily Pons, artists, are always hungry because the diet is unbal- activated ergosterol and activated 7-dehydro- Eddy, Lawrence Tibbett, and many others Nelson anced, and they are referred to as sub-standard cholesterol. There are many trade names for from food many hours before a perform- refrain feeders. It is true starchy foods create heat and Vitamin D products, and the housewife will do quality, that elusive, intangible some- ance Voice energy, but must be taken in conjunction with well to familiarize herself with the labels and makes one a success and another a thing which protein foods, such as meats. Spicy foods, rely less on the claims of her well-intended upon the precise amount of failure, depends peppers, vinegars, mustards very often create friends and neighbors. one ingests. ralories spurious appetites, which lead one to consume In the family of D vitamins, fish oils comprise that one must be born with a good The theory the largest source of supply. Our grandmothers longer tenable. It is now admitted voice is no were guided by the swollen wrists, knees or an- physical and mental application, hat through kles, or the beading of the ribs (rachitic rosary) proper living habits are entoiced, in which the of the fullest VOICE to detect in children early signs of softening easant voice can be achieved to ie p the bony framework. ( Continued on Page 198) must observe a regime which extent. The artist "FORWARD MARCH WITH MUSIC 161 MARCH. 1943 Music and Study must show mercy to the tortured body and mind haunted by untold sorrow. This greatest of all musicians found himself punished by Providence as no other mortal. Creator of the greatest music, he was stricken with incurable deafness so that he could not hear his own music or direct it. Nazi Perversion of the Ideals Beethoven composed for mankind, but had to remain outside of the circle of those who could listen to the living tones of his own creation. And yet in the face of this misfortune he was able to write to his pupil, the Archduke Rudolph, in of the Great German Masters 1817: “God will surely hear my prayer and free me once again from so much discomfort, since from childhood on I have served him trustingly and done good where I could. And so I trust alone in Him and hope the All-Highest will not let me perish in all Paul Uut my woes.” At another time, in 1818, he wrote in his diary, “God, my Refuge, Rock, my my Everything, Thou seest what is within me and knowest how it pains me to hurt anyone. . . . O hear, Thou eternally unspeakable .” One, hear me. . . Paul Nettl, Faculty the Westminster Choir College, The “Missa Dr. now a member of the of Solemnis” is the highest musical at Princeton, Jersey, is noted Czechoslovak, musicologist and the author expression of these New a thoughts. Here is the cry to Nettl gives conclusive evidence the God, increased of many widely recognized books. Dr. of a thousand-fold in the Miserere. ridiculous attitudes Hitler government in trying to convince the world that It is as if Beethoven of the was struggling with his God the great idealists yesteryear supported in anticipation the Nazi as did Jacob with German of the Angel. As the choir sings theories in spirit in their works. Nothing could be further from the real facts alarm in Excelsis the heavenly host itself seems —Editorial Note. to be singing along with it. The Credo in Unum Deum is not servile, but proud and confident a ringing confession. In the Dona Nobis Pacem he states that he knows that he, too, is saved- God will give him peace, God the All-wise and All- f C P 1S HiS - ThiS iS the music 01 a real CtottChristian.ian Such|u h music could TOTALITARIAN STATE, particularly of the German spirit which the Hitlerites rep- only express Chris- N THE tian ideas. The National resent, fail dismally. Recently, when Socialists hi at a time of total war, art is important only must the 6 clatatag I youth leader Baldur von Schirach presented Certainly eannot in that it furthers the purposes of the state, Nazi fhatnat, were believl heheNMY™alive to-dav llel-»p ,, • Y ’ W Mozart the youth of Germany as an ideal, it . °Uld dlSOWIl this output of great writers and to . and a part of the unristianityPhricf inniHr asoc effete, or the relio-irm 4-u musicians who are considered politically ac- was incomprehensible to us. Mozart, the herald H ted ne ceptable to the Third Reich must, like an of love, happiness, this singer of humanity and be * °rd- to fit classLfmurtctat th° atheist’s interpretation of the Bible, be re- brotherhood—he a model for the Nazis? This To-day in deeply religious musician who in his “Requiem” ‘“emoiogist btege interpreted to the German people. ’ who makes of the “Ernie,, » understood how to picture to the terrestrial sin- Germany Goethe’s “Faust” is expurgated, the symphony. In h one of his essays dramas of Schiller, “The Robbers” and ners so vividly the punishments of hell—he an he 6Xplams°'f tha ‘ great the hero whom Beethoven “Don Carlos” and “Wallenstein” are neglected in intellectual ancestor of the Nazis? wished to re resent in his symphony was none P theater. The great German Mu n the leader the repertoire of the Mozart's Creed of the German people Ado Goethe, Schiller, nhM^161 tWS poets and musicians such as in spite of the fact " and at When one examines the works of Mozart there that B^eteM Lessing, Haydn, Mozart and Beethoven, lived symphony originally wrote are few compositions which could possibly be for S”™ D leaders of the Ger- ‘e ’ a time when the intellectual but tore the dedication Bonapar the ideals suitable for the purposes of a Nazi educator. In sheet to n? man lands were strongly influenced by learned that Napoleon when Revolution. the first place, all of Mozart’s sacred music would had hid v,® f of English liberalism and the French emperor. In other 36” declared there was en- have to go by the board, for no real National worM Beeth™ At that time in Germany, too, just the opposite exPressed listen to of that whi ° for the ideals of the western world Socialist could words and notes praising he Nazis claim thusiasm did. Beethoven hated tvm a God of love and fraternal feeling, a God em- ‘ " and freedom, equality, fraternity and humanity cized his ideal 7 a ld even criti the highest form of humanity. Goethe loj he™ the highest goals of German intellectual bodying A Gestapo ‘‘ ttle t0° were servile to the politically .1 bit quotations of the official who had just condemned an innocent great Thus in a book of World ' heroes. Brotherhood and human, following sentence hostage to death would be inconsistent if ' tl N aging, deaf Beethoven, the of the classical y tha leit moti,s com». 0 ? part of the conversation with the he paid any attention to the words of Mozart’s nd they was found as foundations of Germmi m are the poet Grillparzer: “One must go to North “Requiem”: “Quid sum miser turn dicturus, quern al music Mozart Austrian is a good example - rogaturus” (“What The vfsmf° America to give free rein to one’s ideas.” Democ- patronem shall I say at the way 6 xpressi°n of his of thinking was ? and freedom as conceived by America, were great judgment seat and who will be my advo- hie entlance racy Masonic lodge “Zur Wnu,. -.. into the . The vision of the last the ideals of Beethoven, and it is not surprising, cate?”) judgment which fact which eit " “ Vienna, a experienced few National S o c his thoughts were there, that he used the Mozart a hours before his death, to ^fMusicologists like since pass over or to • expression of humility utiii^ lr opportunity he found to get in contact with this tragic and weakness 0l'der to the first Masonic lodge into Hi N bring He found this opportunity in a expressed in the cosmic strains of the “Dies North America. Ludendorff, wife ThUS Mathilde Handel and Haydn Irae” what a contrast to the philosophical of GenerllMd commission by the Boston — con- enemy Lpdencior£f and 311 of Freemasonry . write oratorio. When the news of cepts of a Nazi, who preaches the superiority of did 1 Society to an her books to * esitate in one oI falsify one l, victory in Spain reached Vienna in his own race and the annihilation or enslave- of Mo Wellington’s to make the world 5 letters in order “Battle Symphony," ment of all other peoples! Surely all believe th a? set to work on his these basic cuted by a* Mozartm perse- L1830 he his lodge brothers was ’ characteristic tenets of mercy and forgiveness s diary he noted with and purification, 3 flnally n<1 , j,j by them before his WaS show the world that ‘God Save all found in Christian teaching, as reflected talents hid ? r “I must by fruition. The d leached their full blessings.” Mozart in his religious music, above same fate brought us all in his '’ the^King’ has Lessing and Schubert nbed to Scllille1 “Requiem,” are not suitable for Nazi ears. evm ts* not a hougl1 the latter was Claim Freemason. ButMoll I A Strange And now Beethoven—this most tragic figure Zart ber of the lodge, Was a zealous mem- and of Beethoven in all musical history. His religious and am single note of Mozart convictions most Some of and Ky® y any narrowness. faithful friends »«!T. his best from the spirit of German idealism, were free of For him there was 6 yery Do 1 There was, for lotise brothers, was National Socialists to in- only a God and Creator, who showed examm 6 if of the mercy to ’ hls a whom he regularlv frlend Puchberg, Every music as that expression even the lowest of Christians, and add, their classical therefore “Lieber 11 in hls letters as: OrdensbruderueI ’’ - e®, ( Continued “FORWARD MARCH WITH MUSIC" on Page 200) 162 the etude ) .

Music and Study

“Messiah” According to Handel

L y j. Olar^reavei ^Ashworth

last 13th. Handel’s “Messiah” celebrated its tioo hundredth birthday April claims that The folloioing excellent article by an English writer during these two hundred years the icork has been so rearranged that it is now Editorial Note. only a “patchwork disguise” of the original.

its system of accompaniment, HEN WE REFER to the “Messiah” more the precisely as Handel’s “Messiah” we are allocation of solos, and the com- W subconsciously reminding ourselves that poser’s directions as to expression. work The manuscript was carefully the work was originally Handel’s. For the hearing dated at each stage of its prog- as Handel conceived it has been lost to what ress. It is headed “Messiah. An for over one hundred-and-fifty years; and mis- Oratorio. Part the we know as “Messiah” is an accumulation of First,” and the conception, corrupt tradition, vulgar emendation at bottom of the front page and unthinking repetition, lying like rubble over the composer's monogram at- A RARE PORTRAIT OF HANDEL mis- tests the statement that it was the original music. Handel was as grossly as Shake- taken in hand ( angefangen ) on represented in the nineteenth century A wonderful portrait of Handel, which was discovered partly buried the August 22nd, 1741. The chorus it been hidden in dust for more speare was in the eighteenth; equally at under lumber in an old stable, where had headed “His hundred years. The picture was brought to light by Mr. Sydney of any pendant or impresario who was Yoke is Ease” (sic) than a mercy Grafton 'Street. .London, West, England, in whose possession it as re- is dated at the close of August Hand of to go one better than another; and the Scottish artist. Allan Ram- out now is. The portrait was done in 1740 by nineteenth 22nd, the next page announcing musician in existence. gards public music, we still live in the say, and is believed to be the best picture of the edition the second part, which concludes represented five times in the British National Portrait century. Even Prout’s reasonably accurate Although Handel is best of them all in aesthetic value, work, now accepted in England as the with the “Hallelujah,” dated Sep- Gallery, this discovered painting is the of the represents Handel at the height of his power. truth tembr. 1741. since it authorized version, is a compromise between 6, And below the usage. But thanks to the publication, some “Amen Chorus” is inscribed “Fine and 1741,” sometimes corroborate, but sometimes denote ago, of the German Handel Society’s dell’ Oratorio. G. F. Handel. Septembr. 12, fifty years altered intentions. The number and sequence facsimile of Handel’s autograph with a further entry stating it was filled in photographic of items in the original score is substantially at least see the music as it issued < ausgefiillt on the 14th. score, we may the same as in the version now in general use. composer’s pen; and by collating this from' the Handel's Notations The first impression derived from the perusal with certain facts as to the perform- experience of Handel’s score is the simplicity of the texture; Handel himself, we may arrive The dates in the score show that “Messiah” ances directed by its within a rationally part the second, variety organ- truth about “Messiah.” was written in twenty-four days: the first at the ized scheme, a variety which, to my mind, is in in a week, the second in nine days, and the — the long run less conducive to monotony than From the Autograph Score third in six days, leaving two days for filling in the more elaborate colour scheme of Bach’s score reproduced by the Handel- the spaces between melody and bass, whose im- The autograph “Passion according to St. Matthew.” possession of plications were not invariably specified by figures. o-oQPllschaft, which came into the “ contains the entire work Hasty concentration is indicated in the slope re III about 1780, Unusual Scoring re Dublin, for the first performance in of the note stems, frequent smudges, and pas- = written The early recitatives, we find, are accompanied later additions or alterations. sages of part-writing filled in with note heads oinnP- with three (presumably by strings, the unmentioned oboes there is through the score library of Buckingham Palace but no stems. Let us look t the they and bassoons being reserved for choral numbers) of manuscript containing mis- again, taking note of significant points as a volume “But who may abide” is the first of a number — afterthoughts. Further arise. Slaneous movements of solos with a figured bass alone, the first alto in some separate leaves in The overture is laid out on four staves, two ^formation is found recitative (“Behold, a virgin") being another case and there is a_con- in the treble clef, one in the alto, one in the Fitzwilham Museum; in point. In the succeeding air (“O, thou that Ihp inserted a are named until the into which Handel bass, and no instruments , tine score, tellest”) the score grows to three staves, includ- dU mostly transpositions of first chorus, where we find the staves labelled of movements, ing a line of obbligato labelled “V. unis.” The mher viol, s.a.t.b., and a bass for singers in subsequent as follows: V. 1, V. 2, original pieces bass recitative, “For behold, darkness,” is ac- the^ one time belonged to line which remains unspecified. The allocation enrmances which at companied and has figured bass; the subsequent pe Parts for oboes and of solos is reduced from the clefs used, the C clef Gore Ouseley. air (“The people that walked”) slightly S fderick the varied positions doing duty for soprano, having a sir bequeathed by the composer to in its pencilled in, stronger obbligato line of “V. unis, e viola.” We baS were used by Prout m pre- alto or tenor. Names of singers, ndhng Hospital, note in passing that Handel was careful to stip- F0U and accounts for a later per- fhfs1 edition ; ulate forte or piano where he felt he wanted panng Hospital mention horns, though J at the no P them; and to do so fairly frequently, on the top formance discovered there. foeen line of the score. artS inform our- ORGAN no P / score we may 198) tl p faSile The little interlude ( Continued on Page conception of the work, the original 'FORWARD MARCH WITH MUSIC MARCH, 1943 — — o

Maasic and Study

HEN THE MUSIC SCHOOL administrator examines existing policies and practices W in music education he is apt to despair of finding much unanimity. If he is fired with a zeal to coordinate the planning and content of Present Trends in the Training curricula in teacher training he perhaps will conclude prematurely that he can only bring “organized chaos out of regimented confusion.” Conditions are not uniform in all parts of the general over-all pol- of School Music Teachers country; emergencies and icies weight decisions. Our field, as well as others, must be constantly alert to the changing educational scene and provide accordingly if music Music educators, is to survive in our schools. Ilj dddauid ern at least are not static, nor are they afraid to pioneer. Investigation reveals the following as a fair survey of current policies and course content, David Mattern, Professor of Music Education at the University of Michigan, is together with the opinions of our leading music recognized as one of the nation’s outstanding music educators. For two years education administrators. Chairman Professor Mattern was of the Teachers Training Committee of the Course of Study—General Supervision: No National Conference. Music Educators Professor Mattern’s survey is of unusual agreement is reached as to the required non- interest and is timely. Due to -present conditions, the music teachers training music courses, or the ratio of music education programs as conducted in the various educational institutions of the five-year course lead- country to other music courses. A are certain to undergo numerous changes. master’s degree is preferred to the ing to the This article is intended to acquaint our readers with the-results there of the poll as five-year undergraduate course, although Professor Mattern, and to conducted by present some viewpoints for the program is definite pressure for the latter from some of the future . Editor’s Note. sources. As to subjects requiring the most emphasis supervision, administration and musicianship students who receive instruction of a or parallel rate highest. Tests and measurements, compo- school supervised teaching. All unite in re- nature without charge. quiting practice sition, counterpoint and psychology of music are clinical teachers to study the individual Directed Teaching: differences and placed among the elec- physical characteristics of their All urge that definitely puptls through tives for undergradu- histories and testing. More in- high standards must be tentlon ates. should be given the “forgotten met before a student childt the one Graduate Courses: A with superior talent. Close as- is admitted to directed sociation is large majority believe encouraged through frequent round- teaching. The observa- table discussions in flexible requirements led by the students themselves, tion period recom- Ue expert for graduates, to meet teachei's Of non-music sub- mended varies from ieots h Wm°fbe observ individual needs. Many ed as often as possible. A four weeks to one and supenor couise in hold that musicianship educational psychology is an one-half years. Weekly US CeSSlt too often is sacrificed A period of internship after or bi-weekly individual erId°uatinn J' of an overload and before r because - recommendation f° conferences supplement certification Ven of general education S a ^llfled voice of approval. supervision by the critic ThisT d m i r ! requirements. There is ‘° administer persistently teacher. A wide vari- Ittemnte^n . but is no agreement as to mstltutions. check- ation of from A planned forty mgtag bybv visitationvT t of whether graduate stu- graduates teaching in the minutes to five hours Pted dents should be held by S° me state institutions. per week per semester So™ "oT strictly to the making m°St learned music educators hour’s credit for di- recomiL the Tln up of all undergradu- reasing importance non- rected teaching courses music minn, u of the ate deficiences without JeCtS “ gettin in tM is reported. The major- teaching nrnf g Started is 011 credit, though there ' bUt holcl that prospective ity require six semes- teacher! should I' a tendency toward le- CP their eyes u the ultimate ter hours. goal of ftal P°n niency in the case of 810 teachin not dilute Student teaching is their nroTam I'fn S. and students with marked assigned to both juniors ability. and seniors in many are not satis- Many schools, and to seniors with the thesis fied only in others. Many requirement, and are are in favor of requir- inclined toward the E ing that a student con- most SUSh to heId *° be of the necessary c0UlSe elimination !uSe - Speechs , ad-T tinue his student vocates Aa mure . has many thesis in favor of extra 001 Ministration teaching until fully i« highly applied music. None recommended satisfactory results are more than one e h d S mUSiC favor obtained, though methods sh d be C°‘-' they cun ent° with ™l year for the master’s DAVID MATTERN ‘ohs “ recognize the obvious generally conced^Ho" ^ demonstration ' to degree. difficulties in However attempt adminis- give an inten stand . the Annlied Music: The course schedule. Opinion is in one semester, which questioned are m favor tering such a again divided correlates mpfh d hulk of the institutions S ana all One year as to whether methods courses should precede directed teaching at fee for all applied music. gmdeTevelTt d C d uniform edly °n the defensive. Some violoncello, clarinet, and cornet s!ho!ls 1!ie nion h nf violin, 8 in thiS will ea“ general music super- diction, but required for the Sy tac“‘thethe ld be coulse of study from one S amounts of instruction m all BAND, ORCHESTRA semester to varying year - that visor,r Pnluslu super- Many schools confess ® nts Ior the instrumental most method « contain nu,ch etmon ° ther in voice, piano, string and CHORUS ™ courses ^oJSSSW" f ' peazepedagogy 1 ' SeV61 °Ub ‘ Visor, are favored by several book reports al d ents are worth ITthe ‘Toto by selected high them emphasis given Tstitutions, implemented feadinT^ ( Continued on Page 202) "FORWARD MARCH WITH MUSIC’ ETUDE 164 THE — ’

Music and Study

In the February issue of The Etude Dr. Andersen presented an article on the subject of arranging music for the school band. In this issue Dr. Ander- sen’s article deals chiefly with the problems of writing for the instru- Arranging Music ments of the percussion section. The importance of this section is frequently underestimated and in many band compositions and arrangements the percussion parts are poorly conceived for the School Band and edited. This article should prove to be especially interesting to the arranger ivho has had limited experience in dealing htj _y4rfliiir Olaj?S^lnclerAen with the percussion section of the Mus. Ed:. band . Editor’s Note.

they lose the intended desired effects. bar being very effective in light music. Constant of the overdone, N A FORMER ARTICLE the grouping 1 The Chinese Drum and Tabor (a tambourine use of the triangle is tiresome, but an occasional various choirs of the band ensemble was taken without jingles) are played with the fingers un- short trill may be pleasant in the right spot. This I consideration. this discussion atten- into In is done by stroking across the upper angle with less otherwise indicated, the tambourine with the tion is given to the percussion group which is or a fingers and by shaking the instrument. The music the metallic beater, scored on one line on important in band music, especially in vitally scored on a single staff. music, for these instruments may be marches, and arrangements of popular are virtually indispensable in line or upon a regular staff. Being high pitched, The cymbals wherein rhythmic strength and variety are essen- band marches. They emphasize the rhythmic im- the G clef may be used. By rubbing the thumb tial to the spirit of the music. pulses zest to the tonal body. When around the vellum of the tambourine, a thumb and add percussions are the stimulators of the The produced by shaking possible, they should be played by holding one in the roll is produced. The trill is band, sharply marking and emphasizing one stroke. If the instrument, thus causing the jingles to rattle. each hand using one up and down rhythmic pulsations and adding zest and vigor cymbals, Regular strokes are produced by the knuckles the bass drum player doubles in one to the ensemble. to of drum and striking the batter head. cymbal is attached the top the first consideration membranous Our is the the other is held in the left hand, the right hand group, the drums without definite pitch: Tuned Percussions being used for the bass drum strokes. This may be Side drum or snare drum tuned drums are the timpani or scored on a single line or staff or indicated on the Bass drum The only drums. These are two in number for the bass drum staff, thus: Indian drum kettle concert band and usually are tuned tonic and Ex.4 Chinese drum!-, ~ . SpeciaI. , eflects dominant. The timpani used in most bands, called Tabor l the small and large drums, have a range which Tambourine ) includes the scope of the bass clef. If the key is The Side Drum or Snare Drum is the mainstay F major, the drums would be tuned C and F, of the group and its almost constant companion, Bass Drum the large drum tuned to C and the small one to Bass Drum, is a close second in importance. the played when The tam-tam, or gong, is the most awkward one F. These two notes should never be These two members usually are written on of the metallic family of percussions. they are extraneous to the harmony used. That member although, occasionally find them notated staff, we It is used very rarely and then only for a few is, if these two tones are not found in the chords each on a single line. strokes. This large inverted being played, the timpani should not be used. blatant brass or is suspended from the left Ex.l These drums are especially effective in cadences bronze pan hand and Side Drum stroked with a felt stick. The single stroke is where the roll or trill may be used for a sonorous most often used, but a terrific din may be climax. Otherwise, it follows the regular pulsa- produced through the roll, the vibrations overlapping tions of the music. The tuning is indicated at the with each stroke and causing a bedlam of sound. Bass Drum beginning of the piece by the use of capital letters This instrument is used only for music of a weird or by writing a small clef showing the tones to or bizarre nature. It is scored on a single line be used, thus: or on a regular staff with full instructions as to what Ex. 3 is expected.

follow the Other Percussions In scoring for the drums be sure to different key, the rhythmic pattern of the music, especially in In retuning the drums for a The Castanets an ample time to change. In marches where these instruments play such performer must have The Bells a least eight or ten measures are important part. The drum roll is indicated by quick tempo at The Celesta stringed in- necessary for each note to be retuned, and the tremolo sign such as is used for Tubular Bells changes should be indicated in the score by instruments: The Xylophone notes are to be forming the drummer which The real Spanish castanets are not easy to B-flat, if to a nearby key; or if changed: C to play, requiring a special technical proficiency on require retuning, F to E-flat—D to B-flat. both the part of the player, and are more suited for the be accurate and well- Dynamic indications must dancer than the instrumentalist. The castanets in order to obtain the best results. studied used in band or orchestra are mechanical clap- attached handle The Metallic Percussions pers to a and shaken by the rarely used to indicate a roll 'Thp trill (tr.) is performer. These clappers are used to mark the music. Trills in the band The triangle the drum in band rhythm in such compositions as the bolero, fan- fJ tambourine or the triangle. The cymbals ,Ad only for the dago, jota, or seguidilla, notated on one line in that the WOTd “ SeCC°” IS USe The tam-tam, or gong nwill be noted n ? the exact rhythm required. This indicates a very short, The triangle only occasionally is used in band "“eve example. The bells are being used quite frequently by the “J usually following a roll. music, a few soft strokes against the horizontal drum stroke, marching band. This type of instrument of steel ALdvP dynamic indications for be sparing in bars is in the shape a stick- no not this aid of a lyre mounted on He will greatly appreciate with the performer. and ORCHESTRA support held in the left hand and is played e i BAND a hard rubber mallet in the right hand. The t should be em- William D. Revelli effect instruments Edited by 203) special chromatic bells are ( Continued on Page °The as when discretive imagination, ployed with "FORWARD MARCH WITH MUSIC 165 MARCH, 1943 ® .

Music and Study Answer: “Yes.” Question: Have you any suggestion to make as to what VHEt NUMBER OF MU- method of teaching gives best sSICIANS coming from uni- results in reading music? conservatories T versitiesV or Answer: “No, direct any an- yearly, equipped with degrees, swer would be controversial.” who yet are unable to read Question: Are natural endow- moderately This Question fluently a page of ments, such as rapid eyes, mo- difficult music, is a matter of bile fingers, good coordination, common caustic comment. They more important than correct have gone through the strenuous teaching in establishing facility studies and gruelling examina- of in reading music? tions required for their master Answer: “They are helpful and of music degrees, but they have important to any student.” not been taught to read music. Dr. Willem van de Wall, Di- They have memorized Bach, Bee- rector of Music, Louisiana State thoven, Brahms, and Stravinsky; Sight Heading Music University, formerly of Teach- they have been taught to com- ers College, Columbia University, pose, and harmonize, and or- gives his answers to these ques-

chestrate; but they have not tions : been taught to read music. In Question: Do you think music their turn these men and women ane JUeecj. sight reading necessary? teachers go out as music and h d' Answer: “Necessary for pro- neglect the immeasurable impor- fessionals; desirable for ama- tance of the ability to read music. teurs, but not essential, depend- We do not memorize all we ing upon the case.” read of Emerson and the other Question: Why? great writers. read the works of these mas- than the student’s technical ability. Both hands Answer: T ' We ° afIoi d °PP ort™ity to a very . make ters of literature for the pleasure of it, and ab- must be used simultaneously at the be- Wlth music without hav- sorb their vital messages through this reading. ginning, at a sufficiently slow tempo to enable inginftnMto go Tthiough the time-devouring ordeal of which please us the pupil’s eye to see at least two notes ahead. extended We memorize only those words practice in order coto obtainnhtaiv, o fingering of <3irm of an impres- most. We cannot expect to memorize the entire Prepare the fingers and both hands, sion of the music at hand. Secondly to0 Iacufacili- music literature; therefore we must read much and only when all is set, play both hands, and tate ensemble work.” the of it, as we read a new novel, a new poem, or a then proceed to look at next two notes. When Question: Can facility in reading music be new history. this has become simple to the pupil, use the same taught? Let us not forget that the ability to read music procedure with four notes ahead, then with a Answer: “Yes.” line; is that magic key which opens the enchanted measure, two measures, a whole each time eS for the eye to assimilate the music before S ^' ^°n t0 world of ensemble playing; which is, without waiting asTTwhat method ^of! te^chinpng best results doubt, the greatest joy of musicians, professional playing. in reading music? pupil has become so proficient as to and amateur. Were this not true, why else would “When a Answer: “As far as mv o«, my 0Wn ex erience goes, hard-worked orchestra players, or tired business read a whole line, by the method of ‘pause—look one of the mptho^c. t P men, or nerve-worn scientists gather, after a —play,’ then, for the first time he tastes the playing: four hands at the piano day’s toil, to read music together? joy of ensemble pupil, or with another instrument, n; a With a view to promoting wider activity in with another STTofm^rtST “° to a singer. T 11 an training in sight reading, we solicited the opin- or as accompanist opportunity to ® Wm practice it T ions of many famous musicians. They kindly “At this stage he must cease being a soloist extended to the ire “y upper ra~?TT ! quote their replies, and become conscious of another musical voice. ability, but 1S techmcal consented to permit us to should not go ho. b yondf l4 is permitted to ‘stop look play’; ’ so that he which are sufficiently diverse to make delightful He no longer — — will not resort to ‘faking „ to blend his rhythm with another’s reading. he now learns Question: Are natural whose unique place rhythm, and he plays as many notes as he can rapid eyes, SUC aS First, Dr. Walter Damrosch, mobile fingers * the rest go by the board, without in the world of music needs no word of explana- see, and lets more important than correct ' stopping; always listening to the other instru- lishing facility “ ®Stab tion, states: in reading musfc ® of music ment. He feels the count inwardly and also hears ? “Sight reading is a necessary part 1 the other voice is doing with the rhythm. ° J habitS ° £ education because it enables the student to ob- what accurate' concenteation^ literature. “At first all this, like the elementary work, is tnf™xpressi°n of the tain a wider acquaintance with music musical text as inculcated simple and slow music. Little by little b taught, done with PreCise teachtoB ’ The rudiments for sight reading can be endowments such as ramd ® difficulties and tempi increase, until there y S ' but facility will come only through constant ap- the — a good coordination mobile Angers, reader.” mavM 1® Natural endowments are, of course, is a music again lead to detriments and plication. 'faking • and ’ rnein” by a competent musician Mr. Louis Compinsky (Papa Compinsky) was endowment,pnrfnmmQni- 4.1, _ more the natural helpful, but supervision the m°re first teacher of all three members of the precise is desirable at first, in order to insure correct the Trio. count.’ teaching will He says: “One must read music as fluently as Mrs. reading.” Fanny Ross Henbest pianist of the inter- words.” I asked his advice on how to teach sight “a piano teacher of Miss Sara Compinsky, Washington, D. C., has thioT’ Compinsky Trio, gives the fol- reading, and his answer is so simple as to be "It is Say 011 the sub ect: nationally known not possible lorn! ! i her teaching of sight almost amusing. He persists that it requires Concede lowing detailed account of reading can be taught tt™ that sight “reading, then reading, and more reading” W Ver " because her pupils all are of necessity to proved ' 14 can be im reading, according to ihT f Trio itself has done breath- make a reader: “Nothing else will do!” the atl al ec ui ment o£ readers, and the individual, this ecmmm f l P readings of some “unbelievable” modern Here are the replies of Mr. George Gartlan, to £ referr£ng chiefly taking coordination and tactf,? least one-third of each Superintendent of Music in the High Schools of A “' works. She remarks: “At good coordination— quick eye to questions anaTondT®'. practicing should be devoted to reading.” New York City, on this subject: a good tactlle sense spell Qdav’s reader. A defect tl 5 “each day’s practicing,” not les- Question: Do you think music sight reading 1 any one of re- Note please, quires much help.” these evidently, she intends to supply her necessary? and so, On the subject of “ S n ston i , for Answer: “Yes—for all musicians.” 1 reading material homework as Henbest k lay” Mrs ' °1 with* expresses this ~ P with the teacher. Question: Why? view- as for lessons Having to stop SW Answer: “Because without ability ruins the, check reading, to read, Sense ’ lesson I by a • “At every a and music should of anything, handicapped in be vpch student is adopting the correct pro- musician is whatever direction th dUe regard *° seeTf' my punctuation, just as T- to he turns.” literate, ' stop goal in mind S read; but a non Ce U1 facility in usuallv ! ! stresses an important point: “All Question: Can reading music be its tes tension. urge A Jhpre she abandonment in I taught? favm- /f, must be several grades easier one has in the same viewpoint reading material reading“ Continued(n on Page 211 ) "FORWARD MARCH WITH MUSIC" 166 THE ETUDE —

Music and Study

When his violin and music arrive, the army violinist should let it be known, in as many circles as possible, that he plays and is anxious to do so—and that he would like to meet a The Violinist in Army Life pianist who would enjoy playing with him. The next step is to find a place to practice—a matter in which the assistance of his sergeant or lieu- tenant must be obtained. There is no need to are not immediately the Most of His Talent feel discouraged if results How He Can Make forthcoming; suitable quarters will surely be found, although at first it may be necessary to

(vj ^Mar-old dderhley

play- camp; therefore it must be se- & t HOULD I TRY to keep up my violin with the greatest care. Ten ing while I am in the Army, and, if I lected or a dozen short pieces should do, will it be an asset to me?” This ques- violin- be set aside for use in camp con- tion is being asked by many hundreds of more who certs or in church. Violinists al- ists now in service, and by as many an ready in the Army have found are awaiting induction. And the answer is that such pieces as the Serenade emphatic “Yes.” and Ave Maria of Schubert, the the violinist considers the possibilities open If Liebes- as well as Nigun of Ernest Bloch, the to him as a musician in the Army, be freud and La Gitana of Kreisler, the means whereby technical facility may his the Gipsy Dances of Nachez and retained, he will readily understand why the the Zigeunerweisen of Sarasate question can be answered so strongly in are always enthusiastically re- affirmative. is a ceived. In choosing a list of pieces, In all camps and training centers there the violinist should also bear in constant demand for good music, and the violin- audi- mind that the things he most en- ist of ability will always find an interested ar- joys playing will probably give the ence. He will be asked to play at concerts on most enjoyment to his listeners. ranged by the camp Recreational Director, often One concerto should be included the radio, and at church services. If, as is to be learned, no matter how case, the camp is located near a large town, — . the welcome long it may take, for the player’s he will find the local musicians eager to own personal satisfaction. him for chamber music or benefit performances Finally, four or five volumes of even for professional engagements. These ex- technical material must be on periences can be invaluable to the ambitious hand. The Rode “Caprices” should student who was on the threshold of professional Several of the certainly be among these, as no life before he entered the Army. have better studies exist for developing writer’s advanced pupils, now in training, they and maintaining coordination be- become so popular in nearby towns that professional tween the right and left hands. are actually planning to begin their OSCAR SHUMSKY The “Etudes” of Jakob Dont, after the war, with good ex- of the life in these towns Mr. Shumsky, Philadelphia-born pupil late Leopold joins Op. 35, also are an inexhaustible pectations of success. Before the violinist Auer, recently appeared in his naval uniform as soloist should think carefully store of essential practice material. with the Philadelphia Orchestra, attracting wide attention. the Army, however, he which his musical talents can Many violinists have found the of the means by third and fourth parts of Sevcik’s best be put to use. with considerable inconvenience. Op. 1 invaluable to them when their practice time put up meantime, schedule of practicing A Healthy Outlook was limited, and these books may well be added In the a should be carefully planned. Knowing that spare important thing to be de- to the list. The Paganini “Caprices” should cer- The first and most violinist goes tainly included violinists technically ad- time will be limited, the must plan how the player’s state of mind. If he be by cided is music to arrange his practice periods to the best ad- harboring feeling of resentment, vanced enough to study them. This list of into service a to out a schedule dreaming will take very little space, and may be looked vantage. It is a good idea map hack to his civilian life and up looking which the player can of work for a two-weeks period, adhering to it he might be doing, the opportunity to upon as a minimum, to n f what selections. closely; then, at the end of that time to plan something of his music will be limited. add a few other favorite make player should see for the next two weeks a schedule that has tech- interest is taken in all that Before leaving home, the however, a keen different If are in first-class shape by a nical demands somewhat from the first training, and all assignments that his violin is put nertains to his one. For example, if the eighth and twenty-third it that his bows are newly spirit and alacrity-whether good repair man, and out with Caprices of are chosen for carried should also be supplied with extra Rode the first two- airplane engine or peeling pota- rehaired. He servicing an weeks period, it would be well, for the next two S mil strings and a spare bridge. The violin and the musician will find that Army life AJ the carefully packed, weeks, to work on the thirteenth Caprice of horizon and improve his music should then be well and his mental Rode and the seventeenth Etude of Dont (the ba naTen improvement so that they may be shipped to his permanent o health—with a consequent two center upon his arrival there during arpeggio shifting study) . When selecting Furthermore, if he mahes training — etudes which are to be studied simultaneously, 1 gen- his basic training he will almost certainly have his superior officers will ««as a soldier, practice! the player should always see that they are quite time nor energy for violin smooth his musical path by neither be ready to different in their technical requirements. practice and by putting ® a place to The plan of important, fflnd trainees, each day’s practice is other music-minded fo touch with if the utmost value is to be obtained from the that must be decided is what VIOLIN second thing time available. The violinist in the Army can T want to have available. by Robert e the player wiU usually count on having on Page 200) with him to i Continued he can take very little Obviously " "FORWARD MARCH WITH MUSIC MARCH, 1943 — „

Miasic and Study them what kind of information and material you want; and (3) that you read an article by Lazare Saminsky on Questions Canadian and Music in the 1941 Can a Woman Conduct an Answers November issue of the magazine, “Modern Music.” Orchestra? I also wrote to the Canadian Bureau for A Music Information Service the Advancement of Music would like for you to answer a in Toronto, Q. I but question that has been on my mind have had no reply as yet. since I was eight years old (I am four- 2. Any of the Canadian music selected is it that nobody has teen now). Why can no doubt be secured from the pub- an orchestra leader Conducted by ever seen or heard of lishers of The Exude. that is a woman? Is it because no woman has courage enough or talent to lead an orchestra, or is it because an or- The Tempo a chestra will not be led by a woman? Uen> of Mozart Sonata C. K. Q. At the present time I am studying the Mozart ui "Sonata Number 7, in to is i/j F A. The answer your question G° Major." In the edition which I Mus.i. Doc, am using partly historical and partly psychological. Em the suggested tempo is M.M. J = 96 (96 crotchets From time immemorial man has been to the minute) for the last movement, which is Professor Emeritus marked Allegro assui. the leader and woman the follower. Of I think that this time is a little draggy course women have always known how and I would berlin College suggest M.M. — ios’. private, WiU you J to “get around” men in but so you mean this one: please give me your opinion? I have taken The far as public life is concerned it has Music Editor, Webster's New Etude Magazine for one year now, and even in usually been the man who held office, so short a time International Dictionary it has proven invaluable to and the popular assumption has been me.—W. M. V. A. You that “woman’s place is in the home.” would be entirely within your rights in Musicians have usually been men too, playing this movement at a somewhat and if you will think over your music faster tempo. As a matter of fact many history you will find that practically all quick movements composed by Mozart the great names in music are the names If you have had trouble with this you are now taken at a faster tempo. of men. Even in the case of public per- probably did not give the bass octave formers—especially in the field of instru- its full count. If this is not the meas- mental music—you will find many more ure you mean, kindly write out the one About Turns men than women. In other words, in the that troubles you and send it to me, and y U please exPlain how one case of music as in politics, medicine, I will gladly answer your question. When determine ? SualUr moJ V'ere to Pla y a turn? I law, finance, and all other professional asking questions of this department n Se them so but* do ?!A t they sound well the measure that you kn W how to types, men have, in past* centuries at please number pSoils explain to my ww6re ?t0 play page number is of no them - 1 always least, taken the lead; therefore it is not have in mind. The thoughte tv> e played one Whole step ' help to me unless you give the publisher’s up a strange that there have been but few nd ?Z Step down Breitkopf and analyzing > but upon women conductors. name, too. I have the ® tPrns in in R SSf „ Schubert's Scherzo Hartel edition. d Mozart ’ s But there is something else too, and that som!> Romansa, I find BO Up a whole ste others it is this something else that I have re- so i,n ™, P While signature steP- I suppose the ferred to as the psychological reason why Soldier t e plece Advice to a do wfth ? has something to more. the first 3 but would women do not conduct In years old. thing vm!* appreciate any- Q. I am a man twenty-seven Ca tel1 place symphony orchestra players violin ? me about turns.- most When I was about twelve I took W A s are men, and men don’t like to play un- lessons from a school that furnished the and after Th n tes der a woman conductor—just as men in instrument with the lessons, nA„ \ .° ot the turn depend on so many lessons the violin became yours. No question will be answered in of tbe an office don’t like to work under a wom- THE ETUDE I? composition. Thus a turn lessons were given in classes twice tsnless accompanied' by the full name The ' 4 ® second place, ana address of the inquirer. G in the k would an executive. And in the a week. I took about twenty-five les- Only initials, Involve ' .“i <=y of G or pseudonym given, will be people generally don’t have as much sons, and then the company went out published. but a turn over C in the ki. ( of business. Now, I have played off and on y of p would faith in a woman conductor as in a man. . consist of D-C-Bi-C. time, but everything I play is H (Are you sure you yourself do?) since that latter case the progres- by ear. I have also organized small string sion play each tone exactly as it should be— 'V0UW probab I believe that a change is coming and orchestras and played in different states. wdl 'y sound and with good tone quality and perfect so the oom that in another generation there will be People tell me that I have good tone Poser would place a intonation. If naturfi .. e quality in my playing. Some think that you get stuck on any de- nde ‘ the tUrn more women players in orchestras and ing siEn “ indicat- I have studied for years. I have tried to tail of the notation ask someone that probably more women conductors. But I about t0 ‘ MtUiaI music but do not understand all instead ^ B read it. There are plenty of men around camp of B- fl at. feel that there will always be more men the different markings and sharps and few who know how to read music and who tlle in both fields because to a man his work flats. Although I can play quite a tum si gn is placed over will the°notAhl\ , I can’t read them. be glad to help you. (3) a little his permanent life whereas to a wom- classics by ear Spend tb the right, and is ; in ,h What I would like to know is. as I am another half-hour each day practicing C Le th ninety-nine cases out of a hun- *?ayer sounds prin- an, in it would do me any cipal the this old do you think the more difficult pieces that you note fi f dred, her professional life is a temporary again with a private have thls being followed by good if I studied learned by the regular I love to play ear, but look at the notes as f notes thing, and she is thinking in terms of teacher. I love music, and will ° s the turn. You never expect to be you play and try to figure out find » hTUGf eventually becoming a wife and mother. the violin. Although I more and explanation and sev- violinist or master I eral examnla an accomplished more about the notation. If you will fol- P 811 Like alcohol and driving, home-making read and play “Music * Ws in my b°°^ would like to be able to low this three-point Notatio°n not go to- violin. program you will and and leading an orchestra do well, also, the fine classics for the which Ta™ihology," give probably be able in a year’s time to you mav “hr ' gether very well, and I myself am “old I will appreciate any advice you mas- Irom tlle puWish W. ter music notation. era of The ” fashioned” enough to feel that this is me in regard to this.—Pvt. R. SLe all right. In other words I think of home- A. My advice is that you learn to read thing for fun but A Di ereut making as the most important music. Playing by ear is good Canadian Composers ff Form of Plagal women to do, and although I believe in playing correctly from notes is still bet- Q. 1. Please suggest piano solos for a Cadence of sexes as basic philosophy, will be that you equality a ter. The only difficulty study club program on Canada, talks and don’t feel that this means that either to begin with very simple music piano solos to be given by another which 2 tl e foll °wing chords I have music occu^at'thr at the ? teacher and myself. 2. close of an anthem: sex should be expected to do all the and learn exactly what each musical Suggest also something in the form of a pianoperetta things that the other does. Perhaps the symbol means. This will irk you but words spoken and solos played by pupils. your life when same time time will come during there is no reason why at the I have used all the pianoperettas I have seen listed.— there will be more women, conductors for you should not go right on playing the Mrs. W. D. W. that you have our orchestras. more difficult pieces A. 1. Material on Canadian music so it will not be too bad. learned by ear, seems to be very scarce. I wrote to Dun- things: (1) Go to a good I suggest three can McKenzie, formerly director of music Elusive Passage a “violin method An music store and buy in Toronto, for information and he for the explanation —Mrs. T, please write out me one that has an suggests (1) that A rre . H. _ wiji you book.” Get you look up the fol- play the second measure conecc„n:Let wway to of music notation at the beginning and lowing prominent Canadian * bottom of Page 23 of musicians ^ at pieces or exercises in some of that has very simple the newest American refer- day at first. (2) Spend a half-hour every ence books: Sir Ernest MacMillan SErt'K.'r*. a. E. p. in working at the material in this book. Healey Willan, Leo Smith, Alfred White- play the ex- head; (2) over this concerto very Read the explanations and that you write to the music . , have gone under- fin 6611 against-flve and thene HftS ^ ufth lowered (Cb). "FORWARD MARCH WITH MUSIC1 168 THE ETUDE Music and Study

Needs of the Fingers Whatever type of hand the player has, he must develop a free movement of the fingers in the knuckles, a movement without constraint, with- Training the Hands out undue muscular exertion. He must also make sure that the fingers “stand” securely, without breaking at any joint, so that they transmit power to the keys; he must also develop his Playing span, but with care, lest he overstrain the for Piano muscles. This is most important, for it is easy to injure the muscles of the fingers.

Florence cjCeonctrd

and with tension (which is often HAT IS MY HAND LIKE? Has it any par- hand, or arm, extreme) 3. playing with a more singing tone, ticular faults or weaknesses? Any ad- ; more sonority, the type which results from a W vantages? How can I correct the faults? relaxed condition of the arm (and often the Further, what type of technic is natural to it? more fingers are in contact technic, hand) , whether or not the Can I develop the two preferable kinds of with the keys. The action of the fingers, if not and in what way? with in contact, is not a lift and stroke, in a tightly Any student, who is keen in observing curved position, but a loose, free fling, sometimes ear and eye the famous pianists, associates cer- FIGURE 3 very close to the keys, sometimes from a tain effects of tone with the way the hands made higher position. are used. He studies also the build and the con- inexperienced observer cannot always de- struction of the hand, which, in many cases, The the conditions the last type, for some determine the type of technic, the way of pro- tect of more relaxation at one moment, and ducing tone. players use even over-tension at another. But the ear should Technic Three Types of assist the listener. For if the tone is wiry, per- There are, generally speaking, three types of cussive, forced, then extreme tension is surely technic which are displayed by the prominent present. chiefly artists. Some artists confine themselves com- Hands of Prominent Artists or wholly to one type; others use varying binations. The latter are the colorists. It is easy to recall at once several types of where public. There The three types are: 1. pressure playing, hands of players often before the the prefers the fingers are in contact with the key as is one slender but muscular hand which in which slender and muscular FIGURE 4 tone is made; 2. percussion playing, pressure playing; another finger, striking or per- the tone is made by striking the key with one which goes to extremes in cussive technic; a third, less slender but not of a massive type, which uses much relaxation alternating with tension. There is a broad and long, well-cushioned hand, which can use either pressure or more relaxed technic, but which, of late, has inclined toward percussion; another, smaller hand of similar build, which always prefers the colder tone of percussive playing. Among the women pianists is one in particular whose hand, though not large, has a wide stretch, and with its well-padded fingers and well-considered relaxation, achieves tones both loud and sonorous, but never harsh. FIGURE 5

Different Kinds of Hands Arm Training The student will realize that the proportions of the hand are important for him. If the hand While this development proceeds, or even be- and fingers are extremely long and narrow, and fore it begins, the arm must be taught to relax tightly bound in muscles or by the skin, that and assist. To say “relax” is not sufficient. To hand is not “a piano hand.” A thumb or fifth learn and feel the conditions in wrist, elbow, finger can cause difficulties by being too long in shoulder and in the muscles which control them, proportion to the other fingers. The slender, and to know how to apply these conditions is delicate hand needs one kind of treatment; the another matter and requires time and mental solid, muscular one, another. The loose-jointed effort. Many players talk of relaxation but use hand has its own difficulties, but the tightly it little. Too much relaxation, however, is as bound, stocky hand will often seem to its owner faulty as too little. hopeless. A generally well-proportioned hand, Conditions to Study where fingers are not too long in relation to the middle-hand (metacarpus) is much to be de- These arm conditions, so important to the sired. The long hand, however, and the short- hand—relaxed arm or controlled arm, which do I fingered, broad hand, when well-proportioned are need and why? And with the fingers—relaxed, both good piano hands. Each has its own par- free movement or controlled movement, which do ticular preferences and style. The student may I need and why? What are they? well make a study of various hands. To study finger movements, try the following

"FORWARD MARCH WITH MUSIC” 169 MARCH, 1943 : T

Music and Study Music an Industrial AssEt exercises IME MAGAZINE, in November 1942 printed Ideal factory formula, Lay the arm along the arm of an easy-chair in according to Burris- an excellent digest of the research upon Meyer, must take into account such a way that the end of the chair-arm fills such factors as T the practical use of music in industrial nationality, age, character of work, the palm of the hand and the fingers fall loosely time of day. plants to help make working conditions for the Foreign-born workers respond best to over the end of it. (Fig. 1.) As the palm lies quiet- opera. knuckles. Then employee more congenial and profitable, and at Oldsters are best stimulated by such old stand- ly, swing the fingers lightly in the the same time, increase the output of the in- bys as Bicycle Built for Two\ play an imaginary exercise without changing East Side, West dustry. The Editor of The Etude has long believed Side. Youth prefers juke-box favorites. position and as if with the section of the. fingeis Most ef- that the possibilities of music in this field in fective dose was found nearest the knuckle. (Play 1 3 2 4 3 5 2 4.) The to be ten to 15 minutes the future are limitless. We are on the threshold of music each half hour, flat, lower side of the fingers plays against the administered softly. of a huge industrial musical expansion that will To eliminate brassy passages, end’ of the chair-arm, at right angles to it. The change of key, too have to do with post-war reconstruction. ornate orchestrations, action in these tests must be very light and loose, much about 75% of the music Time Magazine has kindly permitted us to on a “planned” factory the hand soft. (Exercise one.) program is specially reprint the following, and R. M. Chapin, Jr. and arranged. Next, curve the fingers a little and play the L. Cardinell likewise have permitted the use Sample Burris-Meyer same exercise with light, easy movement, but R. programs: accompanying chart. Readers of The First hour with the cushions at the tip of the finger. Do not of the (when workers need strong rhythm Etude will find this a valuable guide for future to get them into the groove) try to play on the tip, as that would require too : One Dozen Roses, reference. Radio City March. sharp a curve of the finger. (Fig. 2.) (Exercise 500 U. S. factories, arsenals and ship- Second hour two.) Some (in order to maintain peak pro- now treat their workers to music to increase duction) : If these tests are made correctly the first two yards Embraceable You, I’ve Got a Gal in But what kind of music, and in what Kalamazoo. will illustrate the most relaxation that is prac- production. doses, gets maximum results? Toward lunch ticable, the third will show less relaxation be- hour and quitting time, when Last week one expert offered an answer. Pro- the need is to cause of the curved fingers. combat fatigue, hunger and bore- Harold Burris-Meyer, director of research dom, the fessor programs call for such soothing num- Free Movement

Next, draw back the arm till the fingertips come to the edge of the chair—and play the same exercises. At first the fingers will be long and loose, playing on the first joint. (Exercise three.) In the following one they will play on the cushions at the tips. (Fig. 3.) (Exercise four.)

Controlled Movement

For the next test, keep the position as in the preceding one, but instead of flinging the fingers lightly, put each finger carefully down, that is, control its action. (Exercise five.) These exercises, four and five, are examples of free and of controlled finger-movement.

Percussive Movement

Still another type of action which we often see and hear, is a sharp stroke from the knuckle and finger which is usually combined with a curved style. and high lift. This is the percussive

in at Stevens Institute of Technology, re- Added Weight sound > rr leased results of elaborate tests with factory Girl the wrist has been lying Is Lite a So far, in these tests, * Ufe 1 V”*!Forever music from Bach to boogie-woogie. Once, in a Blowing Bubbles ’ m on the arm of the chair. Finger-weight only has big Philadelphia laundry, his experiments were used. If now the wrist be raised, while the been shattering that one worker burst into tears to produ weight of the so elbow remains on the chair, the r" and ran home. But his overall findings show merits as the 6 establlsh will be added to the power already used; Lockheed olano A™*? forearm scientifically planned music increases fac- weight of the that hattan’s National City and if the elbow also be raised, the sink tory production by 1.3 to 11.1% (in factories rooms In "th 5.) (Let the of the Reader's whole arm will be added. (Figs. 4 and Digest editor "f r a already employing music, up to 6.8%) .* with twelve e treated arm hang in the shoulder.) to 20 minutesmutes of f Early in his studies Soundman Burris-Meyer every hour. planned harmony few essential don’ts. For example: Pressure Tests discovered a With correct musical treatment . ' 1) slow production almost to the stop- aims Burrls hymns Meyer, slumps ’ When the foregoing conditions and movements in the norm^ ? ping point; 2) Deep in the Heart of Texas can be “0n °UrVe thoroughly understood, the next test may be straightened so thaT wo u° are prompts workers to clap their hands and let pro- g on at an pressure. With the arm almost uniform speed * made, and this is for < see CJ °f duction go hang; 3) vocal refrains tend to dis- go much flndings back, fingers at the end of the chair-arm, further than that S' drawn tract rather than to stimulate; 4) music during number that in a wrist, and play the imaginary exercise of experiments hu'm raise the 20 minutes of the working finger only the last day is likely ness on Monday hy pressing with each finger. Lift the morning to be taken as a signal to pack up and go home. presumably frZ^r5 to 2.75%2 release each key after the pressure is because it “imirooakes enough to Burris-Meyer did not even attempt to play Strip workers enjoy their piano you should have the sensa- work more made. (At the fear of provoking not Polka, for a complete break- the key is pushing up the finger, tion that down of production. *U.S. chicken farmers have six.) Next raise hens, rpnori.nd lifting.) (Exercise subjected to symphonic Xp iments in which vou are musicSlc i

remained at Oxford, taking his M.A. and later his M.D. But his love for music was already manifested in many ways. While at Oxford he joined an amateur musical society, established by Dr. W. Hayes to which were admitted only those who The Doctor as Musician were able to play and sing. When he left Oxford, Harington entered medical practice at Bath. All his leisure time was devoted to music and composition. He was, in 111. 2. time, appointed “composer and physician” to the i Po'JoUy, Harmonic Society of Bath, on its foundation in f 1784, by Sir John Davies. Two books in folio of Dr. Harington’s glees were issued in 1785. Later other glees followed. In 1800 famous of the early English he published Eloi! Eloi! Or the Death of Christ, a POLLO WAS THE GOD of both medicine and Probably the most Harington. His a sacred dirge for passion week. music. The priest doctors of ancient Egypt doctor-musicians was Henry Pleasure is one of the Harington was also much interested in civic and the medicine men of the Indian tribes round, How Great Is the compositions, and it has affairs. He was first alderman of Bath and later were also musicians. They used both music and most popular of musical of the globe. mayor of that city. His compositions were dis- medicine to heal the sick of mind and body. been played and sung in all quarters Kelston, Somerset, England, on tinguished for originality, correct harmony, and All the ancient peoples knew of the healing He was born in entered Queen’s tenderness. power of music. They had a musical healing September 29, 1727. In 1745, he Oxford, of taking holy Another famous doctor-composer of the eight- treasury of great worth. Now, after thousands of College, with the intention with his eenth century was William Kitchiner. He was years, the names of Sarpander, Arion, and Zenoc- orders. He used to pass his vacations uncle, William Williams, vicar of Kingston, Wilts, born in London in 1775, the son of a coal mer- rates are still known as men who made good from whom he inherited a taste for music. In chant from whom he inherited a comfortable use of music in healing disease. there- fortune. He was educated at Eton and Glasgow There has always been a sympathetic relation- 1748, he took his B.A. degree, and shortly after gave up his intentions of taking holy orders. where he received his M.D. But his interests were ship between music and medicine and between Harington thought that medicine offered a mainly in music. He composed an operetta, “Love doctors and musicians. Many medical men have attractive career, reason he Among the Roses.” He was also the author of contributed as much to the development of music more and for that a musical drama, “Ivanhoe.” as of medicine. Among the earliest of noted Eng- Dr. Kitchiner was also the author of “Obser- lish composers was George Ethridge who lived vations on Vocal Music” and the editor of “Loyal during the sixteenth century and was one of the and National Songs of England,” “The Sea Song most famous vocal and instrumental musicians of England,” and “A Collection of Vocal Music of his day. He was a graduate of Oxford and a in Shakespeare’s Plays.” physician of great ability. Towards the end of the Literature was another field in which Dr. sixteenth century Sir Thomas Gresham estab- Kitchiner distinguished himself. He was the au- lished a Professorship of Music at Oxford. Curi- chair thor of some rather unusual literary works, ously enough, the first five men to hold this among them, “The Cook’s Oracle,” “The Art of were all physicians. They were masters of both Invigorating and Prolonging Life,” “The House- arts. keeper’s Ledger,” “The Economy of the Eyes” Among the earliest compositions extant by and “The Traveler’s Oracle.” His medical views medical men are those of Thomas Campion who were rather eccentric, but his music was whole- was born in London, on February 12, 1567. His some and pleasing. early interests were in medicine, and he took his he By no means were the doctor-musicians all M.D. at Cambridge. Following his graduation, landed English. Florient Corneille Kist was among the took part in Lord Essex’s expedition which Rouen. As a most famous of Dutch musicians. He was born at at Dieppe, in 1591, and laid seige to Arnheim, Holland, on January 28, 1796. He took physician he gained admission to the London his M.D. at the University of Leyden, and from to visit his friend, Sir Thomas Manson, Tower 1818 to 1825 he practiced medicine at the Hague. was accused in the complicity of the murder who He was a flutist and cornetist of great ability, Sir Thomas Overbury. of and among the greatest compositions written for his military adventures, Campion be- After these two musical instruments are to be found very much interested in music. The first of came many by Kist. musical compositions was “A Book of Ayres Set his and Base Dr. Kist was a founder of the Diligentia Society to Be Sung to the Lute Orpherian Forth at the Hague and later of the Cicilia which is ” This appeared in 1601. Three more books of Violl still the most important musical society in Hol- followed within the next sixteen years, irs land. He was also the founder of the Cholar also wrote several masques, both nr Campion Union and Collegium Musicu, at Delft. and music, for special occasions. Among wrnrd's Whitehall on In 1814 he settled at Utrecht where he became was a masque performed at tinpse Hay. the director of the Netherlands Musical Times 1607, in honor of Sir James DR. JOHN HARVEY KELLOGG Twelve Night, which he edited for more than three years. performed in 1613, at the Dr. masque was Dr. Kellogg, now over ninety, hale and hearty, Another marriage •Kist wrote many cantatas and vocal compositions in Whitehall at the is the best testimonial of the value of his methods. hanaueting house which were extremely popular in b life their day. His Balantine with the Princess Eliza- He has been an active musician all his and f 11derick influence on music is the music. plays the piano excellently. In The Etude for July Dutch profound. He was song of which he wrote °Th for one 1931 he made the following statement in which our one of the most important of all Dutch musicians wrote a masque for an en- t the same year he readers will be interested, in connection with Dr. and composers. Anne, wife of in honor of Queen Podolsky's article: tertainmTrtainment Perhaps the greatest of all doctor-musicians mas(lue by him was per- "Music must certainly take high rank as a psy- another Alexander Porfirievitch the chic remedy, because of its power to inspire cheer- was Borodin. He was the J occasion of the marriage of erl on the ful and hence healthful trains of thought. It thereby natural son of a in fOTI Howard. Russian prince and was born and Lady Francis counteracts worry, apprehension, fear, and other f of Somerset St. Petersburg on November 12, 1834. He was ed- E musical theorist of emotions which create disease by pro- Campion was also a depressing ucated nr secretions and so interfere with in medicine and, in 1862, was appointed D Way of Making Foure Parts m ducing poisonous hiT'-New recuperative and remedial processes whereby assistant professor of chemistry at the St. Peters- n0t Most Familiar and Infallible the Counterpartiroart by a the body combats disease and restores the sick burg Academy of Medicine. the author of % y before his death, went He was man to health." great 1619, several works on chemistry which attained He died on March 1, The picture is that of Dr. Kellogg taken just a few rnan^editions. popularity. Page 210) through years ago. ( Continued on in St. Dunstan's. and was buried "FORWARD MARCH WITH MUSIC" 171 MARCH. 1943 — ”

Music and Study

The Bugle Call of Polish Liberty

Chopins Military Polonaise

r W‘ 4

fiSSSI teas*.-

if A a k-ip b

Frederic Francois Chopin

Guardian of Polish Nationalism

lij ^I Jormct (and (graves

N THOSE HARROWING September days not there he frequently in- his fa- so long ago, when the world watched with dulged in one of I sickening realization the imminent fall of vorite amusements: that Warsaw, one voice alone refused to be silenced. of wandering out in the the peas- It was the Warsaw radio, broadcasting between fields to watch terse announcements the music of Chopin. ants. After their day’s Over and over again, in the midst of tragic hard work, they would desolation such as the world has seldom wit- gather in groups to dance nessed, the Poles heard the clarion call of their their favorite mazurkas beloved compatriot. Above the rattle of machine and polonaises. guns, the whine of shrapnel, Chopin’s Polonaise Before leaving school, been working was the bugle call, urging them to action. Words Chopin had the might falter—orders be confused—but to the on several sketches of needed thousands of listeners, Chopin’s music carried polonaise. It but crystallize one easily understood message. Resist. Resist to this visit to half-formed ideas into the the last. . . . Although the Nazis since that time have suc- determination to use such FREDERIC blotting out most of the old Poland, a medium as a means of CHOPIN ceeded in From a painting Chopin individual expression. made by a contemporary yet they cannot destroy the nation’s Polish artist know, I thought try as they may. To the majority of his country- “Do you Chopin men, Chopin is the symbol of their national it remarkable,” part of themselves as life commented to a few of his close friends in liberty—as much a War- Not long afterward, saw following his return, “that those peasants, Witwipiri le.• . , of itself. these words in a Peated some as they were almost letter wh LV Over a hundred years ago, Chopin lived his poverty-stricken to the point musician. Chopin w™te the young little life. Even before his birth in 1810 at of starvation, and better than serfs yet arsaw November, all too brief — 1830, to ' further his musical jf Wola, a village scarcely thirty miles could find enough happiness to give out such * 6S 111 Berlin alld Zeiazowa Vienna, and it seemed marvel at the beauty ar from Warsaw, shadows of the present conflict real music. I and majesty press tlme t0 these thoughts on “ casting their ominous shape. of their polonaises, their mazurkas. Maybe some ? young com os were “Keep always P “; .” in view Chopin was of French descent day I . . & °f nationality Although Witwicki wrote in \ invariably spoke and Here his brown eyes flashed significantly, his wefu through his father, he flood- that means y ' 11 i5 a W with crimson. little for an ord °N of himself as a Pole. Hailed as a second ing his pale cheeks He drew in his for artiSt but n0t thought a talent like yours 7 ' before he was seventeen, breath sharply. “Pray excuse me, Stefen,” There he left school he just as & “ational mel°dy ’ Mozart there is a national time to music. turned apologetically to their old family ‘ all of his friend, ™ate ' In the moun to devote tains, forests, waters following his withdrawal from Witwicki. “Sometimes in my enthusiasm I h summer forget that ' den underneath so In the not every soul rio' . incident took place—the signifi- myself.” 1 ™3 an be 4 ' ' ' You mUSt the Lyeee the first to imbibe^t cannot be overlooked in evaluat- “Excuse you? For what, Francie?” questioned hm Vast/ rance of which melody. But treasures of Slav other indulgently, using the remember ? effects of nationalism upon the young the nickname his ' dear that the you leit us to W mend ' ing sometimes bestowed on friends the fair-haired become Ulself in y°ur art and to ( S the consolaHr^ C0 modest. ' an invitation to spend some time lad. ‘You are too We all know that you n and glOTy o£ family S? ^fppoted and your comttay . ^ur a guest of the Starbeks. While will be a great composer one of these days.” in^he country as ow little Witwicki ( Continued on Page 209) "FORWARD MARCH WITH MUSIC THE ETUDE ALONG TOWARD EVENIN’ number is not only a fine sight-readingtest fertile pupil, Occasionally music is more easily played at sight when written upon three staves. This as soon as possible. but a very attractive piece of its type. The. pedal is important. Memorize the composition

British Copyrig-ht secured. Presser Co. Copyright 1943 by Theodore 173 MARCH IMS THEME FROM PIANO CONCERTO IN D .MINOR Of Mozart’s twenty-six piano concertos, many pianists consider this the most distinguished. This sprightly and graceful Allegro must be played with a light and subtle touch (not hushed, but distinct). Note that there are noforte marks in the entire movement. Watch carefully the staccato in thelast eight

174 THE ETUDE 175 MARCH i943 MIDNIGHT IN VIENNA “At midnight in Wien the day begins" runs a local adage, despite the fact that the night owls in the old Austrian capital had to tip the porter to open the big front door for them after midnight. Mr. De Cola again catches the dreamy, infectious swing of the old city on the Danube in this melodi- ous waltz. Don’t fail to note that this is a value rubato, as rubato means everything in its interpretation. Yalse rubato M.M.J = 120 a a t FELIX DE COLA

by Theodore Presser Co. British Copyright secured Copyright 2'HA' ETUDE 176 MARCH CANTILENE E.S.HOSMER Arr. by Rob Roy Peery I NEEDED GOD Lillian Robertson Beck FLORENCE SIDENBENDER O’FLATTERY William Coxe Wright THE FICKLE GOSSOON Allegretto giocoso GUSTAV KLEMM

Prefer Co. 1940 by Theodore copyright British Copyright secured 184 THE ETUDE 1S5 MARCH 1943 CARNIVAL DANCERS

1st time Last time

THE ETUDE CARNIVAL DANCERS RUTH G. CHAUNCEY

187 MARCH 1943 BIGHT O’CLOCK IN THE MORNING Modcrato WINIFRED FORBES Left hand pizz. iUU 0. 1 i VIOLIN m

PIANO

Theodore Presser Co. Copyright 1942 by British Copyright secured 188 THE ETUDE Hammond Organ Registration LARGO FROM “XERXES” 10 6431 OOO DUET FOR ORGAN AND PIANO ® 00 2451 420 20 8645 101 0 00 7825 100 G. F. HANDEL Arranged by R. Spaulding Stoughton 190 THE ETUDE motto maestoso

pin allargando

MARCH 1943 191 THE WIND’S SONG ADA Moderato m.m . J-= 58 RICHTER 4

fl | —- 1 f "1 1 1 1 */ —/ ~ 1 J- J y 3T S' 'O' n- fi= ^-8 P- - P t= —-- y s r — - - 1 r-t ~ I 3 3 1 5 1 3 i Ta =?=r»i^a!^3

192 TEE ETUDE THE LITTLE TICK-TOCK Lively M. M. J 108-116 ELEANOR KRIENS

193 ROTARY RAINDROP See Technistory- and application on opposite page

HOW DRY I AM GUY MAIER

ROTARY AND HER FRIENDS DROP DOWN Cheerfully

Cool drops of rain have come a - gain. See how they bounce the win-dow pane! Play also with left right hand the single and 1 hand playing the tune, and G C “drops !

BIG DROPS AND LITTLE DROPS

MOCKING RAINDROPS

THE ETUDE The Technic of the Month Wliere iuf m j\merica

cuer could you find a scene like tkis ? Concluded by c;„ v m i Technistories for Boys and Girls

Lj Pri,JL B•own

With Application and Music by GUY MAIER

Williams ( lUustrationa by LaVay ) ROTARY RAINDROP

it was otary raindrop was a sky ran after them too because child, and she talked to her- important. Sun sat on a high bench in R self by singing. Rotary Rain- The Fleecy the court of the Eastern Horizon. In drop lived in the Village of when Cloud with the other sky children. his hand he held a gavel and lightning Sometimes she played “hide and he banged on the table the gavel. seek” with the sunbeam children. flashed zigzag from all the other Sometimes, at night, she listened to Rotary Raindrop and the Thundercloud Par- the ghost story of the moonbeam raindrops and court room where children about “The Mist that Floats ents ran into the holding the gavel. Across the Stars.” Judge Sun sat Sun,” said Each day Rotary Raindrop sang “Your Honor, Judge Raindrop, “the Earth is very to herself. On hot summer nights she Rotary stretch over the low sang herself to sleep rocking in the dry. Its shadows lakes and rivers. Its crest of the moon. waters of the have no shadows One hot morning Rotary Raindrop gray dusty prairies the long slanting grew tired talking to herself by sing- at all. Even are dry. Please, Your Honor, ing and she decided to see the shadows must be done.” world. So she ran and ran to the something never rained upon the edge of the Village of Fleecy Cloud “It has said the Judge Sun. “I have where fleecy cloud banks rose like Earth,” you raindrop children snow-capped mountains against the never sent you are not strong enough sky. She climbed to the peak of the because see the world. You highest cloud bank and peeped away and old enough to Earth too fast.” over the edge—down—down—down would fall to the strong enough to fall to to the Earth below. Rotary Rain- “Make us fast,” begged Ro- drop’s eyes grew wide and round. the Earth not too “Please send us.” The Earth looked so strange! tary Raindrop. rumbled the Thunder- “How dry I am,” softly sang the “No! No!” Parents. “Our children are not sad Earth to itself. “My trees spread cloud longer shadows across the waters strong enough.” low Free America offers us better things . . . and one of them is of the rivers. My mountains stretch the Hammond Organ. Eveiy day in thousands of homes its glorious music their shadows farther into the low happiness and contentment to those who play and hear it. And waters of the lakes. My gray dusty brings to make it a part of your home life. prairies have no shadows at all.” you can plan now Each long slanting shadow of the Today, busy with war work, we are not making Hammond Organs. Earth echoed softly to itself, “How But when peace comes, this marvelous home musical instrument again dry I am.” be available to American families “Something must be done,” sang will Another Hammond Instrument most Hammond Rotary Raindrop to herself. everywhere. Meanwhile, Rotary Raindrop ran and ran dealers have set aside one Hammond through the streets of the Village of Organ so you can hear it and try it ... so Fleecy Cloud. All the other raindrop you can learn how much more it offers in children ran out and shouted, “Where music-making enjoyment than any instru- going in such are you a run?” The Solovox attaches to your Quiet!” ordered Judge Sun. ment you’ve ever played. “To the court of the Eastern Hori- “Quiet! piano. Played with the right hand, flashed zigzag from his zon to see Judge Sun about some- Lightning Those War Bonds you’re buying for a it produces thrilling instrumental “I will gavel. Then his face beamed. effects— violin, flute, trumpet, thing must be done,” said Rotary better tomorrow—they will pay for your enough to fall to cello, trombone and many more Raindrop. And all the other rain- make you strong to your accompaniment. not too fast.” Hammond Organ. — piano drops ran too because it was impor- the Earth pocket he took a bottle tant. From his “This ray is made from FREE—Write for your subscription to Tfommotid Jfmes, monthly magazine about organ The Thundercloud Parents of the of golden ray. the earth children,” music for the home. Hammond Instrument Co., 2929 N. Western Ave., Chicago sky children ran out and called after the laughter of Raindrop will be the raindrops, “Where are you going he said. “Rotary take one drop and she in such a run?” the first to drop to each of the “To the court of the Eastern Hori- will give one HAMMOMD This golden drop ORGAN zon to see Judge Sun about some- other raindrops. strong enough to fall thing must be done,” the raindrops will make you than 1000 ( Continued on Page 196) More Hammond Organs are doing war duty with the Marine Corps said. And the Thundercloud Parents Army, Navy and "FORWARD MARCH WITH MUSIC MARCH. 1943 193 I 6 .

dropped to the earth and bounced. Rotary Raindrop Don’t forget to bounce, will you? Always wait and say very slowly, ThE Declaration of Interdependence ( Continued from Page 195) “Wait and touch”; then play suddenly as you say, very fast, “Flash, Bounce!” to the Earth not too fast but slant- ( Continued from Page 147) Also try wise like slanting moving fingers.” your left hand second The Thundercloud Parents thun- finger; kangaroo, don’t expect it to turn into dered and rumbled because they were \JX tu U J. Ex. 2 a humming bird because you like no "society" glad their children would be strong background. The first humming birds and don’t like kan- task presented enough to visit the Earth. to him, before he was garoos. accepted Every sky child in the Village of as a pupil, was to read a We know a man who might have selected list Fleecy Cloud heard the glad news. of books, to broaden his then other fingers; and now try ro- been one of the most successful excellent Each raindrop child took just one mind and his junior high tating toward the fifth finger, like teachers in a great eastern city. As a school drop of the golden ray made from training. Care of his calloused this young man he was so handsome that hands, including the laughter of the earth children dietary regulation he had scores of admirers. After and daily itself strong enough to fall treatment involving soak- to make Ex. 3 being graduated from a university he ing his hands alternately to the Earth slantwise like slanting Right hand in hot and went abroad to study with an illus- then cold moving fingers. m water, to soften the skin trious master. His father had ade- and to improve Rotary Raindrop was the first to circulation, was the quate means and his family connec- next step. He was fall. Down—down—down, she lit and encouraged to cul- tions gave him an entree to the tivate companions bounced on a rhubarb leaf. Rotary Left hand with more cultural so-called “best society.” He became a and Raindrop laughed with laughter as intellectual inclinations and very fine, but by no means startling, ™°.re rcfined social she sat softly looking everywhere. . surroundings. performer. His position entitled him This had Then she looked up—skyward. Other always been the boy’s cher- to become a social lion and this he ished ambition. He raindrop children were falling and Don’t worry if some of the other worked enor- did, stalking up and down his society mously and joyously. bouncing all around. fingers swing up or down with the His father co- cage, exhilarated by his own im- operated and ‘‘Slantwise like slanting moving one that plays—they just want to provided time for portance and thrilled by the adula- practice. He never fingers,” sang Rotary Raindrop to help Let it. spent less than him! them do tion of pretty girl pupils. He excori- thiee hours a day in herself. In the pieces you play it is easy developing his ated or snubbed all those whose technic and at to decide which direction the rain least three hours in musical opinions differed from his. slowly and surely is coming from, by noticing where exploring the After about one year his classes standard repertory the music is going—up or down. If of great master- began to “drop off” in a mysterious H S flrst One of the surest ways to be un- the music goes up like this: goal was t0 master manner. Pupils went to other teach- nle v,', I . comfortable at the piano is to play 1 led outstanding composi- ers who were not everlastingly think- tionstinnq of great with what is called “pure” finger Ex.4 masters. ing of themselves, but who were He was action—that is, holding your curved cooperative, modest pro- devoted to the pupil’s progress. His P high in the air above the UnSelflSh fingers ’ and tactful H(J own little circle was “worn out” and hadbed Titcultivated keys and snapping them straight the art of getting he had snubbed and ignored those h down like claw hammers. Try it 516 - He madeVseM you think of going up on the piano outside of it until they had no desire contaptT‘ I™ yourself and see how awful it is. and gradually, (left to right) if the for his services. felt that with his untfi he from the bass ; He ad built Fingers are such lightweights that ,. up a teaching music is going down like this: appearance, position, and European W they need some heavier weight like Was the envy 01 many prestige, he was self-sufficient. He of ht e t play easily the arm to help them POraries - He Ex. 5 thought that he did not have to de- became the m-es de 7 ' and well. And the only way your Ta lal Be pend upon others in the great gen- music teacher’s arm can really help the fingers is meani^- °“ and eral public or even be reasonably achieved high with a kind of gentle sideways move- standing among civil to them. his colleagues in one ment from the elbow socket. This is 084 music piano Now aging, discouraged, anti-so- centers of the called forearm rotation, and rolls the you think of going down the woild.world SrHe never cial, and conspicuously unsuccessful, ceased to from the treble (right to left) strivp to hand either toward the thumb side r S iS abiUty to remember is he rails at the ingratitude of the and to broaden or fifth finger side. If you rotate The easiest finger Ss culture ’ and at which always rotates world. He simply did not understand the Same time t0 your arm and hand gently and lift the thumb make newr, the the principle of the declaration of contacts with his fellow time, you toward itself—no matter whether your fingers at the same interdependence. U f rtunate or down. accident termi- will the fingers strike the music goes up mted h n .? see that Another case was that of a young ant Career - Most of all, keys a little “slantwise” as Rotary Hfis tee h man who for many years studied ValUed his Raindrop said just like those pic- Ex. Cmlvle Iellow man. — Right hand thumb with your editor. He was the son of a ln Writing falling to the ot the great tures you see of rain mechanic and worked in Coethp* ,i his father’s 01 a earth. truth men are shop, doing hard manual labor, at mvstfcauf^D"ydnited; tones with a mysterious bond Now try playing some the age of fourteen. He had little or of biotherhoodbroth the Rotary Raindrop touch. Use the makes all men one.” In all the pieces be sure you know second finger of your right hand; which direction the rain falls. . . . touch with gently curved the key top Practice Big Drops and Little Drops tip. all at once lift it in the Then single handed first; later hands to- down slantwise air and swing it gether and in many keys because it toward the thumb. When we swing exercises is one of the best finger The Teacher's Round and play it, we say “flash”—because Table of all. lightning it all must be done with And always remember, won’t you, aftei ( Continued from Page 158) speed. to let your finger bounce a little bounce it flashes to the key? The Ex. keeps the rain children from hurt- age when many young people see no Wait reason for attention to detail, and when and ing themselves. 1 your Touch: Flash! (bounce) they are exasperated by any adult prod- and undpixrcMvri- watchfi A s ^ ^ dmg 8uid! ^ * * * ding toward perfection. As I have ®ce. otherwis ^ said (as you Sv, y0U W111 ™ her interest, many times before, be thankful that she The m T art seriously, 1 ever “He who pursues is musical, intelligent, and capable of good with early “hard boiled or profession- 1 ge students are xohether as an amateur work. Let her ride along easily for the ceptional ^ in ex that llen youn persons after ally, will not shun any difficulty next year or two, capitalize on her sight sessing outsitf 6 pos sure to play softly; and you ^ Be to the goal.” playing, cover much musical your finger bounce a little leads more rapidly ground, let play let her exercise her raindrops when they —EHRLICH. superficial facility to the lazy, in such cas^T' just like the ^ "FORWARD MARCH WITH MUSIC” 196 THE ETUDE f — —

Voice Ouestidms To American Music Lovers A Mo si Important Announcement

TIE EDWARD B. MARKS MUSIC C0RP01ATI0N .Answered Lg DR. NICHOLAS DOUTY Proudly Announces The Acquisition oi the Distinguished HAMPTON CATALOG

No question will be answered in THE ETUDE unless accompanied by the full name (Formerly Published by Hampton Publications, Inc., 402 Madison Ave„ New York) and address of the inquirer Only initials, or pseudonym given, will be published. HAMPTON MINIATURE MUSIC FOR TWO ARROW SCORES PIANOS The works of the greatest composers Four Hands in a series of seven highly prac- A noteworthy collection of 27 classic

(Four volumes); tical volumes. . . . Each comprising and modern compositions. . . . With The Bass Singer Asks Several Eight Measure Vocalises” “Metodo Pratlco.” overtures, suites, concertos, rhap- works never before arranged Pointed Questions and Vaccai’s many are very many good books upon the fantasies and symphonic . . singing There sodies, for two-piano (four hands). . Q. Is it possible to have a lower production. Perhaps theory of voice Behnke . Unbelievably cost. voice pupil poems. . . low in Handsomely printed and bound. voice than a speaking T When my “Voice Training for Soprano”; and and Pearce, Send for complete descriptive catalog Price $2.50 for both piano parts sings the bass notes they have a deep Proschowsky, “Beginner’s Voice Book"; and rich quality which he loses on the high notes. Root, “Technic and Art of Singing” might 2. What causes too much breath in the voice help you. Any of these books may be procured and is there a remedy it? S. When the for from the publishers of Tub Etude. melody is played in the treble clef, and he is STANDARD ORCHESTRA WORKS to sing in the bass clef he becomes confused Authentic, unabridged, full-size scores the parts great A contralto asks three pertinent questions and complete of the he cannot understand it. !,. ago and Sometime classics. . . . Acclaimed as the last word in practical standard orchestral Q. What range does a contralto cover? the septum, of his nose was removed. Would editions. complete library What is meant by a coloratura soprano? ... A of 21 master compositions. ... At this have anything to do with his breathing 2. 3. Should a person with a fairly loto speak- amazingly low prices. 5. Would a violon cello be good ear training? voice sing soprano in a small church He cannot alicays hear himself when he ing FREE catalog containing full details, critical notes and choir? Is it more comfortable than singing sings.—A. N. price list sent upon request. alto . —M. W. j A. Your pupil sings the high tones with a A. The range of any type of voice is an of bass quality because he not know loss does individual thing. If you have a range of THE HAMPTON LIBRARY how to produce them. The larynx seems to good tones from G below Middle C to G, rise too high in his upper IS NOW CONTROLLED BY throat and his space above treble staff, you may con- resonances seem to disappear. he learns first If sider yourself very lucky Indeed. Some con- how to produce these high notes properly traltos have a few tones more, some a few they should be equally strong and rich with EDWARD B. MARKS MUSIC CORPORATION tones less. Whether or not a voice is valuable the lower ones. depends on tone quality even more than range. 2. Your bass singer’s voice is breathy, be- R. C. A. Building Radio City New York 2. A coloratura passage is one that con- cause he does not approximate the vocal sists largely of scales, trills, fioriturl and well and comes cords unvibrated breath cadenzas. Therefore a coloratura soprano is through them. He should learn to control a woman with a high voice who can sing the cords so that all the breath should used these passages effectively. Mme. Lily Pons be turned into tone. is an outstanding example. Saturday Night 3. Your bass singer when becomes confused 3. It is almost impossible for us to classify he tries to sing a bass part against a melody your voice without a personal audition. You Serenade in the treble because he is a poor musician. would be wise to consult the most famous EVERY SATURDAY NIGHT Anything that tends to improve his musician- in your neighborhood and singing teacher 9:45 P. M. EWT ship. whether it be playing, singing in a ask his opinion and advice. It is often quite choir or a Columbia Network chorus, or studying the piano or bad for the voice to sing alto and soprano. organ the will help improve this fault also. Make your choice and stick to it. Broadcast 4. It is quite unlikely that the entire sep- See tum of his nose was removed, but only a spur A large bagful of difficult questions When in N. or two was taken off with the express purpose conducting a school for 4. How can I train my voice so that it America’s Beloved Soprano stringed instruments. I eighteen have had will become higher and clearer? years experience as a : professional musician 5. What was the highest note ever sung I can arrange, transpose, and I sing baritone and by whom was it reached ?—E. G. in the church choir. My voice has a good tone impossible for Bonds for but lacks volume, and I have a good sense of A. It is quite us to classify Buy More War and Stamps Victory without personal intonation. I have been thinking seriously of a voice accurately a audi- depends upon the tone quality starting to teach voice in this small city, as tion. So much the range. Please sing for an ex- there is no one else doing it. Do you think I as well as singing teacher in your neighbor- could teach elementary voice? I would appre- perienced Masterpieces of Piano Music ciate your suggestion as good beginner's hood and ask his opinion. to a has been termed the library method and any literature explaining the Art 2. Try one or two of these songs: of Piano Mozart Voi die sapete. Gluck Wennevol- Music in one volume. The of Singing and how to teach it.—R. L. — more than ler Mai. Handel—0 sleep why dost thou leave 200 selections by great Composers con- A. Your question is very an- difficult to me. tained in its 536 pages, comprise 53 swer because it chiefly concerns your own 3. Practice about forty-five minutes a day Classic, 75 Modern, 38 Light, 25 Sacred attitude toward singing. You are an excellent in three periods of fifteen minutes each. — and 29 Operatic Compositions. This musician with a good natural voice. You have Sieber “Eight Measure Vocalises";—Vaccai vol- had much experience in teaching stringed in- “Practical Methods”; Nellie Melba “Method ume is truly a source of constant enjoy- struments, transposing and arranging music. of Singing” might help you. We could answer ment and entertainment to the pianist Also, you live in a small community where your question with more certainty if we were who delights in good music. voice, those who desire to sing have no opportunity better acquainted with your and your For sale at your favorite music counter or sent to study the art. They must either work with physique. The book mentioned may be pro- POSTPAID upon receipt of price. Money re- publishers of Etude. you or not at all. So much for the plus side cured from the The funded if volume does not meet with your ap- about the art of singing, proval (NOT SOLD IN CANADA). Illustrated of the ledger. On the minus side is the un- 4. Learn more folder with contents cheerfully sent upon controvertible fact the art of singing is how to control your breath so that it is all that request. a special study, which requires a considerable turned into tone, how to form vowel and get sounds, how to produce a scale, period of time to master. Could you not consonant MUMIL PUBLISHING CO., INC. to the bottom. away to one of the great cities during the smooth from the top When 1140 Broadway, New York, N. Y. course you acquire these things it is likely that summer months and take an intensive Enclosed find $ for which send post- will be extended also. of lessons, from the best known singing your range paid Masterpieces of Piano Music. 5. It would seem to be quite impossible to teacher resident there? With your exceptional ( ) Paper ) Cloth was the highest note ever ( knowledge of music and your naturally good say either what sang it. You may be assured, Name voice, you could learn much in a short time sung or who steam whistle can produce and you would be better able to teach others. however, that a higher and louder tones than any soprano, 2. We recommend Shaw & Lindsay's “Edu- but that most normal human beings would City & State. cational Vocal Technique” (2 Vols.); Con- Paper Edition—$2.00 Cloth Edition $3.00 E3-43 prefer to listen to the tones of a woman. — cone’s "Vocalises"; Sleber’s “Twenty-four

MARCH, 1943 'FORWARD MARCH WITH MUSIC- 197 —;

on many other factors, such as a are also introduced in the “Hallelu- ond section, but no da capo was Spare the Calories and good brain, acute hearing, and lung jah,” “Worthy is the Lamb,” and the stipulated. power for accurate sound projection. “Amen.” The manuscript score gives no hint Save the Voice All of us have experienced the The violin unison obbligato, found as to the use of solo quartet or semi- somnolent effect of a heavy meal. in previous solos and later in “Thou quartet in “Since by man” and “For This is because excessive food intake shalt break also ( Continued from Page 161) them,” accompanies as in Adam;” but these are scored requires greater energy to digest, the air “Rejoice,” which in its first without accompaniment in contrast and thus the appropriation of blood version was an air in 12-8 time; more with the alternating numbers: and the pre- from the brain flowing, To-day the X-ray reveals makes one drowsy but less energetic than the for Handel (we may assume) the bone abnormalities and slow of comprehension. Users later version it otherwise cise nature of resembles. contrast was sufficiently marked by without loss of time. Experimental of the microphone must learn the “He shall feed His flock” was orig- the rarity of unaccompanied voices diets were used in the production of principles of wholesome and ade- inally a continuous solo, with no in his scheme. rickets in dogs, and it was found quate diet in relation to voice pro- change of key in the second strain, In only one solo item is the use of that a deficiency of calcium and duction. The free use of citrus fruits, all in B-flat and the soprano clef. a wind instrument specified, this be- phosphorous caused rickets in the and pineapple and tomato juices be- That the accompaniment of the ing, naturally, “The trumpet shall animals. The presence of bone de- tween meals, has a soothing effect on chorus was no rule of thumb con- sound.” The monotonous effect of formities mentioned is due to lack the instrument of speech and singing trivance is seen in “His yoke is easy,” this brilliant obbligato was intended of the principal bone salts calcium mechanism. The control of gustatory which opens with only the continuo to be relieved — in a middle section and phosphorous. The inference over-indulgence, which checks ab- for support. The violins come in with ( For this corruptible must put on drawn was that what food is good for normal tastes, will not only lower the the choral basses, piano, playing incorruption”) accompanied only by the dog is good for man. Fish, such blood pressure, but also pay higher forte with the soprano entry, and the continuo. as salmon, sardines and herring are dividends in this keenly competitive suddenly switching back to piano At this point, the essential con- the richest natural sources of Vita- field of voice production. and even pianiss. as the sopranos are tinuity of Handel’s conception is min D, with eggs, milkfat and meat left to carry on alone. “Pianiss.” and severely strained in performance by as second best. Infants fed on human “forte” alternate, making this a bril- our habitual sins of omission. These milk receive more Vitamin D than liant conclusion to Part the First, include the only concerted solo music those who are fed on cows’ milk. not by dint of noise, but by more m the work, the duet, "O death where Milk from cows kept outdoors in the than usually marked dynamic con- jitty rtme.” which leads to a chorus. June sunshine is richer in Vitamin “Messiah” According to trasts. It is contrasts of this kind But thanks be to God" and a so- D than milk from cows kept indoors. that make for poignancy in the piano solo “It God be tor us.” Until The Eskimos consume quantities of Handel ritornello to “He was despised,” not we hear this sequence, we shall never Vitamin D in their natural diet, the harmony as such, which has perceive the connection between “The since they from necessity eat a large ( Continued from Page 163) nothing like the poignancy of the tiumpet shall sound" and “Worthy amount of fish and fatty flesh from passion recitatives. The middle sec- tb L mb “ an , ? y more than it we fish-eating animals. As soon as our tion of the following air, “He gave decidedh f to run on from “The people food is substituted for theirs, rickets entitled “Pifa” by the composer is His back,” was intended to lead back ked in darkness " *> makes its appearance. scored unusually for “V.l, V.2, V.3, to the opening. to ood“' 3, viola, bass”; the third violins playing If there is one number which we The Larynx and Vitamins with the first, and third violas with hear more or less as Handel imagined The First Performance The larynx, being a sensitive in- the second, in the octave below, it, it is the fugue, “And with His “Messiah” was not composed for a strument, often shows the effects of thickening the three-part texture of stripes,” in which the orchestra was musical festival i„ the now accepted lack of Vitamins C and D. Vocal contemporary Italian usage. The sec- designed to double the voices, only sense nor even for an existing choral artists should exercise precaution ond strain, it is interesting to dis- the bass being independent. 3 °ffered by separate Hande > when supplementing their daily diets cover, was interpolated on a Some doubt exists as to the in- thettecuUL?culmination of an extended series with vitamin products. The indis- piece of paper, with a da ca-po,—but tended allocation of soloists in the C C he Was invited to criminate of indication of any intended change passion recitatives. “Thy rebuke,” a d of a, give in purchasing vitamin no n " harlties - For tablets or solutions over the counter of tone colour in the recapitulation. though written in the tenor clef, performance^ the first can often lead to neglect of a true On the back of this interpolated bears the pencilled name of Signora the two of Ss3 m iTpatri C disorder affecting the voice. Wise is sheet a crossed-out draft shows that Avolio, the soprano of the Dublin dralandChr t°c?umr^bL the artist who will look to his physi- Handel was dissatisfied with a first premiere. There is no other singer only two star wiS soloists and enough cian for diagnosis and treatment of idea, as being too square and sequen- cited for “Behold and see:” but at strumental m- performers to tial, and modulating to the subdomi- “He was cut off,” we find Mr. Low’s —under consume this condition. This assures the a leader of . ’ a Vely artists of proper care and avoids the nant at the cadence instead of stay- name. The tenor clef is used in all respectable orchestra th* mposer use of misbranded proprietary vita- ing in the dominant. these recitatives. Playing the “ organ i’ mins which may do harm and seldom The first draft of the recitative Whatever has happened to Han- performance, conducted by “But lo, the angel” a very untidy del’s instrumentation, his choral at the Handed 1 good. — Foundling Hosnitoi th Foods should be adjusted to the page of alterations—is quite unlike scoring has survived intact, with numbered twenty s!?a id\hd the orches- temperature of the environment. In the one we now know. The word “Lift up your heads” as a striking tra thirty-three dispose “glory” is set in a florid pattern of example of his resource as a colour- Leavlng cold weather, the body can aside the costly notes, phrases are repeated, and ist. The chorus is divided S.l, S.2, disguise patchwork“ * of far more food than in warm m which “Messiah" there is chromatic touch at the A., T. and B., that is, two antiphonal ls now weather. A singer who lives in the a — presented to • us it lb last “sore afraid.” The simpler and semi-choruses, one of higher and one knowledge ama to- ac- northern climate may have to con- the isoin t P H , PtS ade heavier foods who more magical version familiar to us of lower voices, the altos belonging at one time “ sume than one and anoth e, f was an afterthought. The next rec- to either in turn. The sopranos sing to Handel's to 80 back lives in a southern, balmy climate. orchest^ratlon itative stands as we know it. as one when the music gathers up which —attempts To have a good voice, one must be have amnlf 1341®6 ' ' “Glory to God” brings two trumpets to a climax. selves by 1 them in good condition and exercise recapturing in, with the injunction “da lontan.” So far, evidences of indecision have knowledge of his own limitations. A thefresLeSt^d^Sr^the The call for piano follows “peace on been few (the improvised extension radio announcer may learn instinc- earth,” in the accompaniment. The to the “Pastoral” Symphony, and the '117 the essential foodstuffs and obs^tâXetft^thVr tively second statement of “Glory to God recitative rejected as too elaborate) a voice energy balance, thus establish in the highest” begins forte, and ap- but with “How beautiful are the feet,” necessarily need count nis and not parently continues so through “and we discover one afterthought upon eighteenth-century " ' of more units than oboes t s calories. Ingestion peace on earth.” It is obviously one another. There are actually four a modern balance chon- th e , expends clutters versions tnZ the bodily energy strong affirmation, and to break it of this item, some with must inevitably suteât'ste” alimentary tract, which un- in two with a sudden piano is sen- chorus. We have retained the first excess of Lne sneei up the sound a , reacts on the vocal tract. sational nonsense. The sign picmo solo version, but its original middle favorably uncomfortably 'like users of the voice must recurs after the chorus have finished; section (“Their sound is gone out”) one’s theliuisaiicVofsance or Professional neighbour’^to luuiu s ladio,. Q h- / that the voice and the trumpets play only in the survives as a choral number. “Why musical to haaveVP lealrpnl into consideration value ann take do the depends for its function loud passages. Trumpets and drums nations” had originally a sec- del would mechanism haveYound Uîntoiemble" "FORWARD MARCH WITH MUSIC” 198 the etude "

5/rv iThi Challenge HENRY S. FRY, Mus. Doc. #FtCSTENING\\ ^Answered ly Pennsylvania Chapter of the A. G. O. * Ex-Dean of the Howard d. McKinneym

#a*£\N. R. ANDERSON, ] J in THE ETUDE unless accompanied by the full A totally different book on No questions will be answered inquirer. Only initials, or pseudonym given, will be pub- in- name and address of the music . . . lively, witty, express no opinions lished. Naturally, in fairness to all friends and advertisers, we can formative. Music from be- as to the relative qualities of various instruments. hind the scenes, a simple, non-teclinical explanation of what to listen for. Required OF AMERICAN FOLKS is carried out throughout the full range, reading wherever music Enclosed is flic specification of our two not Q. and Melodia. Lieblich By Satis N. Coleman heard. $2.75 manual organ. What additional stops would such as Dulciana 318 pp. is probably the pedal stop. The and Adolph Bregman you suggest that might be useful in a church Gedacht mention include a wind in- of twenty of the seating approximately two hundred people? opening you may The words and music person pump the organ What manual and combination of stops would dicator. Have some folk songs in this rich and varied col- see whether the knob you mention lection are available nowhere else in you use for hymns? For tenor solos? For and moves. It may be out of order or discon- print. All were collected by Adolph buss solos? For soprano solos ? For violin nected. The Bellows Signal is intended for Bregman in thirty years of journeying solos? Hoic would you suggest going from use to give the signal for the person pump- around our country. The accompani- soft to loud and vice versa? I do not make ing the organ to do so. It may also be dis- ments written by Satis N. Coleman, much use of the crescendo pedal as it seems connected or out of order. Your specification the well-known music educator, cap- to act too abruptly. Please advise me whether the organ. What does not indicate the presence of a tremolo ture the natural tunes and rhythms of it is my fault or that of stop. cowboy songs, hill songs, Negro songs combinations should I use for soft volun- spirituals, reels and hoe-downs, $ offertories? Do you think and short taries and organist many of Q. The church of which I am has outlaw songs, nonsense songs, etc. The a postludc should begin ff as so a two manual organ purchased in 1.022. I am book is made to open flat on the piano. them arc written? Our tremolo is very no- won- haring trouble with dead notes. One diagnosis Illustrated. §2.25 ticeable when in use, and I have been jT From your is that the trouble is due to the fact that wc whether it should vibrate so much. ^****-' bookseller or dering need a new generator (larger). The argument T. —E. is that the notes go dead when the motor runs RIITRERS and becomes hot. With this I cannot A. You might add (If practical, mechan- a while Trumpet; an Oboe agree because I have had the same trouble on UNIVERSITY PRESS ically) a small but bright 16' pedal stop Sunday morning. I hare attempted to cheek 1(51 to the Swell organ and a soft NEW BRUNSWICK N. J. using the present 16' Bourdon for a heavier on this theory by letting the motor run a long pedal stop. For hymn singing, use as much period and trying the stops at different in- singing. tervals. I enclosing a copy of my findings. organ as Is necessary to support such am you might use your Several times the keys came on if they were If the singing Is hearty Swell organ (ex- depressed rapidly or the tab was moved up full Great organ with full 2 Forthcoming Books Every and down. The other diagnosis is that we cept Vox Celeste and Aeoline) coupled to place motor generator, Great (Swell to Great coupler). Use Pedal need a rectifier in of Music Lover Will Wont Bourdon with Swell to Pedal and Great to which would take the load off the generator Is and give it to the blower. This wc need be- Pedal couplers. If additional brilliance de- Swell 4' cause the organ “goes sour” when full organ sired you might try adding to Great used. This theory insists that the dead coupler. The manual and registration for the is notes are due to the crystallizing of the other uses you mention will depend on the BEETHOVEN the contacts, switches or relay. For character of the passage being played, solder in results the party says the Babbit amount of support required and so forth. certain conquers be renewed also. Can you tell me which of a The “abrupt” effect you mention in connec- should life diagnosis is most likely to be correct? Would tion with the use of the crescendo pedal Is BIOGRAPHY it be possible to write direct to the ( which I A due to the limited size of the organ, and you — 22^2. is the only concern in the United understand cannot very well avoid the “gap” when the Ludwig States that makes generators and verify the Emil Great Open Diapason is added, except that ) ° r y motor generator? "N»Pot»"" years you can have on as many stops as possible cost of the Author ot swell box 'open when you add this stop. advised an organ mechanic D * * and A. We are by ||H I G H 1 A N To go from soft to loud add stops in the that the trouble might be dirty contacts, The master reversing the procedure . ILLINOIS order of their power, which can be cleaned. You might also have into the J the pul- begins ,„j for a diminuendo. If the postlude with the brushes of the generator examined, in- achievcme: 1 lofty tumsehimself- I( is marking it should be so played, but if metal brushes if necessary. If these man the ff stalling ale of the ed such beginning is not appropriate to the matters do not seem to cause the trouble we P richly o f Beet- PIANO! it can be introduced by a soft im- take your troubles with SWING service suggest that you up ^Xckground Learn to play real Swing Piano. Send for free Home provisation and the use of the heavier organ builders of the organ and have them ad- Coming in Study Folder. TEACHERS: write for business Qffer the tSue. postlude composition ac- is the Sen’s CHRISTENSEN STUDIOS. 52 Kimball Hall. Chicago deferred until the vise you. The firm you mention not tually begins. The tremolo stop may be too only one of its kind in the United States. violent and may need adjustment.

Q. I have been asked to play a small one manual pipe organ in a church. I am enclosing “SPECIAL notices & THOMAS kindly list of stops and so forth. Will you sug- SIR gest combinations that could be used for con- ANNOUNCEMENTS gregational singing, and also for accompany- BEECHAM small ing' the choir which happens to be very time? You will notice that revealing, challenging in number at this writes Ins includes a sort of bar, which is to SPECIAL NOTICES the diagram | | autobiography represent an opening, haring a small board back Visuolas. Electric light Key with a knob that can be moved and FOR SALE: Chime do not know the board lor teaching children. Box IC c/o Mingled forth. Is this a coupler? I A Signal.” Is this on ETUI >!•:. correct use. of the “Bellows of^stnal tremolo stop P—R. W. FOR SAFE: Slightly used classics. Rec- the greatest the same order us a One of ords, Back Songs. Lists lOo. Pore’s (Dept. tells e Colorado. conductors “must you specify is evi- 3151 High, Denver, ' n A The instrument E.) varied We to give you full and To bc dently a very old one. We will try FOR SALE: New and rebuilt violins. foreVe that is a l°y information of a general character, which Tonal masterpieces. Violins rebuilt for book S3.50 infallible. April 5U. useful to you? 8' stops are of normal tone improvement. My method is published may be repaired. Prices very reasonable. as piano), 4' stops speak one Violins note from pitch (same Coss, Harvard, Illinois. books 2' two octaves higher. Ralph these octave higher and stops Order octave lower than normal bookseller 16' stops speak one your Open Diapason pitch Dulciana is a soft tone. ANNOUNCEMENTS music dealer treble indicating the upper is a louder tone— Trumpet treble part and bass the lower part. PIANIST OFFERS her serv- part of a reed stop— CONCERT indicates the upper ices as visiting accompanist to instrumen- the lower part of the same Trumpet bass talists, vocalists, choirs, etc., for $ 1 . r» 0 per G. P. PUTNAMS SONS Melodla is an 8' stop approximating hour for practice purposes. New York City stop probably 2 West 45th Street, N. Y. the Flute family. Unison Bass only. Invaluable help to students. ETUDE are supplies the Bass part for stops that Box EB

"FORW'ARD MARCH WITH MUSIC 199 MARCH, 1943 a

fact, Beethoven always wanted to movement of the finger as well as the depict the emotions and ideals of last, the pressure movement. Austria. “Tamino is of mankind. by, the war will be over and the him more than a prince, he is a man,” “Froh wie seine Sonnen fliegen famous makers will again begin to About two -thirds of this time says the “speaker,” and “in these holy Laufet Briider Eure Bahn” produce. With this in view, many of should be devoted to technical prob- fly, them are continuing ‘institutional le S halls we know no vengeance,” sings (“Joyous as his suns ™s- th he may keep up the the high priest Sarastro, the poetic Brothers, go your course.”) advertising,’ to be ready with new standaid°u offyhis playing. The first embodiment of the Viennese Masonic sings the Beethoven melody. It is the products when peace comes. few minutes should be 8given over to leader Ignaz von Born, who corre- same thought as in the philosophy “Business men everywhere realize slow three-octave scales and arpeg- com- that the coming of peace will pro- gios, sponded regularly with Benjamin of Kant, particularly as the eight notes to the bow 1820: duce problems of rehabilitation of in the Franklin. This opera, which praises poser stated it in his diary in scales and nine in the „ : love and friendship, humanity and “The inner law in us and the star- civil life quite as serious and signifi- to maintain the vitality of the^eli This cant as those of war. A large part hand equality, may be presented in mod- studded heaven above us.” finger-grip and ihe of the rebuilding of the world will viteancv ern Germany only in mutilated mighty law comes from above, from of the tone. A like period of t me almighty and ever kind fall to America, and people will rush should then form. It takes as much explaining an eternal be spent on fundamental National Socialist as do God. to music as never before.” bowing exercises for the — especially the 1 other great operas, “Don music for the Nazis, who 51' Mozart’s Is that a m°ti0n ln the lower of Figaro,” deliberately a distorted ver- thudthird’ofof ' thetifTbow Giovanni,” “The Marriage preach and the whole bow and “Cosi Fan Tutti,” whose librettos sion of Nietzsche in order to justify martele in order to develop and to were written by a Jew, namely Lo- the right of the strong over the weak, e th Xlbillty and ^Ztion renzo Ponte, and in addition and through this right to destroy the of L r,ght Da — — After ‘his should helpless? It is interest- come the L T"' Jew who emigrated to the United weak and the S ' 1£ practi“ time Columbia Uni- ing that the leader of modern music- forfo the d%dc.j Is States and taught at Training the Hands unusually limited no York. wonder how ology in Germany, Arnold Schering, e 0 d versity in New We be to Berlin, eHh ^ Baldur von Schirach explains that professor at the University of erTudv i'n t for Piano Playing all away. recently set up a theory accord- instru- three of the Beethoven, from the very begin- ing to which Beethoven’s more difHcul™ asTag” symphonies, his ( Continued from Page 170) e ning, possessed the same humani- mental works, his n “nta his cur?edTn ideas. Already in his early piano and violin sonatas and ehb Ude tarian ' a few disguised Should be He f minutes years in Bonn he was an ardent ex- chamber music really are ‘° S° ales experiments above, in thirds, freedom. music, that they all origi- finger as in the fast In th ponent of the philosophy of program PraCti e period should of definite and of the assisting arm as well, he come the sL ? The death of the emperor, Joseph II, nated under the influence one example, should try them at the keyboard, quality, shading whose government had distinguished poetic pictures. To give 'and varied "cofr the musi- with level wrist, and study them as e by tolerance and liberalism, in- his “Sonata Pathetique” is itself to ease and endurance, and listen for ~ --“l write a memorial cal embodiment of Schiller’s ballad aL^r duced Beethoven to the effects, not forgetting the arm The He designates religious in- “Hero and Leander.” It would take foregoing scheme cantata. cooperation. Then he should be ready of practice “a raging monster,” too much time to consider here all has been consistently tolerance here as used by a num- this complicated prob- to consider the types of technic with ter heroic prince had de- aspects of S Pl' which the reference Pils apd friends, but one thing must to his own hand. The ones and bvby otheioth!P ; And when we examine the lematical theory, violinists to praved point which he will wish cultivate whom they cantata of the be said: Even according to the to are have passed on these music of this imperial ideas In this perceive view of Schering, who, voluntarily those of the first, free exercises and way the standard Beethoven, we already of of their' playing young admit the also the "controlled,” putting-down C great humanitarian’s or involuntarily, had to Continued on traces of that Page 2111 'FORWARD MARCH WITH MUSIC 200 the etude — O

Violin Questions AN ACHIEVEMENT IN PIANO STUDY The 1 jhiwrd U ROBERT BRA1NE Pianist’s Ilfgest of 250 Excerpts No ,«»«<« will h, answered in THE ETUDE '£/ A Collection initials, or pseudonym given, willf/, be published. and address of the inquirer. Only From the Great Classic and Contemporary Masterworks If the pegs stick tight in the peg-holes, or The Violin Played by Heifetz bit of great- turn with little jerks, put a minute H. L. K.—Jascha Heifetz, one of the the the Piano several vaseline on the thumb and forefinger of For est violinists of the present day, has left hand and twirl the peg between them. violins made by the great masters of Cre- the pegs still will not hold rub some mona. In his solo performances over the If MAURICE ARONSON blackboard chalk on the part of the peg to Compiled by radio and in concert performances he usually which the vaseline was applied. After a few plays a Guarnerius violin, one of the finest experiments the violinist will readily learn ever made by that great maker of Cremona. ceaseless search for amount of vaseline and chalk to apply. PIANIST'S DIGEST Includes 20 Q The student's class Is valued at $25,000 the @ THE A Guarnerius of this the in pianoforte playing has been for- When the peg is pressed lightly into conveniently classified chapters of 250 perfection to $35,000. The Guarnerius he uses was hole it should slip easily and stay at with valuable ex- rewarded at last . . . merly in the possession of Pablo de Sarasate, peg representative selections which it is turned. Too much a the point to . Spanish violin virtuoso. The violin has planatory text . . vaseline will cause it to slip too easily in the This new 184 page volume of excerpts wonderful tone, rich, massive, and of beau- peg hole, and too much chalk will cause it countless references from the piano masters not only provides tiful quality. I recently heard him play the In addition, there are put rosin on the pegs. of technical art, but violin over the radio, to clog. Never hundreds of auxiliary study pieces care- the perfect examples Zigeuncrwcisen on this while the strings are sounded to full, as In tuning, entire library of serves to arouse greater appreciation and every note came out as clear and bow. some violinists fully chosen from the 2 simultaneously with the in music. If he was playing in an adjoining room. literature. and a finer sense the head of their violin on a table or piano Concerning the greatest living violinist, rest against their thigh, while they press the there is, no doubt, a difference of opinion, pegs in. Others hold the peg with the thumb but I have an Idea that if a vote were taken, hand, famous and one of the fingers of the left study medium far superior to the standard exercises which Heifetz would be the winner. This during the tuning. The A at pressing on the peg Exceptionally artist made his d6but as a concert artist usual, plagued piano students for generations. violin during the operation is held, as have age of seven, and began his concert ap- masterworks. the under the chin, in a horizontal position. valuable to every pianist already familiar with the pearances at the age of twelve. He plays fre- Concert violinists, if they have to tune on quently over the radio, and every violin the stage, often employ this method, and it especially lose opportunity Canada) student should no it. Any first-rate Price $2.00 Net (except is a neat trick if you can do of hearing him. violinist can explain the principle of this tuning in a single lesson, and the pupil can At Your Music Dealer or Direct From About Abraham Prescott work it out with practice. L. T. O.—In regard to your request for information concerning Abraham Prescott, pio- CORPORATION neer musical instrument maker in the United EDWARD B. MARKS MUSIC a States, I have received the following from wise to give up your idea of going to Europe quotes from City New York descendant of Mr. Prescott. He at the present time to study the violin. R. C. A. Building Radio in 1870. to "The Prescott Memorial,” published There is no better place in the world Deer- ‘‘Abraham Prescott was born In 1789, at study the violin than right here in America. field, New Hampshire. About 1812 he moved farming to to Concord, N. H., and gave up Berlioz on the Violin LEARN PIANO TUNING AT HOME was ftrflrra New and old violins, Dr. Braid White begin making musical instruments. He P t.— ne of the most striking and Complete course by Wm. this violas and accessories at a Write today for full details! the first to make string instruments in beautiful tributes to the violin was written surprisingly low price, This course written for and distributed by country. At first his principal business was Berlioz, famous French composer, by Hector xpert repairing our specialty. KARL BARTENBACH viols, importing and tender melodies, 1 Lafayette. Indiana the making of double bass as follows: "Slow E.J.&J.VIR 71 r.ORP.. 503 Fifth Ave.. New York 1001 Wells Street the strings from Europe. One of these viols confided too often nowadays to the wind in- in made in 1826 may still be seen in Concord, struments, are, nevertheless, never better a good state of preservation. Having seen rendered than by a mass of violins. Nothing succeeded, un- touching sweetness of a score SCHOOLS-COLLEGES only one violin, Mr. Prescott can equal the devices remark- has been reached thru the use of electrical aided by any model, in producing a of first strings, made to sing by twenty well- not age nor analyzing sound. It is not varnish, ably fine instrument class. His viol business skilled bows. This is, in fact, the true female for Physical Laws service—-but in obeying Natural m * prospered, it necessary to move orchestra a voice at once pas- instrument is and he found voice of the — construction (musicallaws) . Every Concord. chaste, heart rending, yet soft, Violas and Cellos. CONVERSE COLLEGE twice to larger quarters in sionate and musical gem. Violins, Bacon, Dean, first a Ernst Spartansburg, S. C. “In 1837, he brought to Concord the which can weep, sigh and lament, pray and Attractive introductory prices. improve into joyous accents, as melodeon, bought in Boston, to muse, or burst forth V. L. Schwenk, Maker for making do. An imperceptible move- Milwaukee, VF.s, upon it and use it as a pattern none other can 922—No. 17th St. Galesburg. HI. new ones. It was called an ‘elbow melodeon, ment of the arm, an almost unconscious James MacC. Weddell, Chairman. KNOX Catalogue Bent free upon request with three octaves only, and with round sentiment on the part of him who experi- reed scarcely HIPSHER, ‘stopple’ keys. He made both string and ences it, producing any apparent EDWARD ELLSWORTH instruments until 1850, when he discon- effect when executed by a single violin, shall, MUS. DOC., A.R.A.M. Editor The Elude making and his four sons multiplied by a number of violins in Twenty Years Associate tinued strings. He when Correspondence carried on his business until about 1870.” give forth enchanting gradation, Instruction by unison, Counterpoint, Musical Form, SHENANDOAH “HI of Harmony, His greatest success was in the making irresistible impulse and accents which pene- Composition Courses leading to the . B. Mus., and B. Mus. Ed. degrees. double basses, and violoncellos. He was trate to the very heart’s core.” Literary Manuscripts Criticised the Rates Musical and reasonable. In the heart of the Shenandoah of interesting at least one hundred composer of music for the orchestra and Prepared for Publication means Every Valley, Dayton, Virginia. men in New England who became makers of should commit the above passage to memory, Club Papers Written musical instruments. His own business was and try to write in a similar manner. He will 218 N. State St., Marion, Ohio discontinued about 1922. find many such passages in the orchestral works of the great composers.

Hints on Tuning .. if P. H. R.—I often ask my violin pupils thing they know what is the most important BE YOUR OWN VIOLIN TEACHER which they should learn in the early stages invention, highly endorsed by Kreisler, Auer, of violin playing. Some say, straight bowing; New old to learn. Easy now for others, good intonation; others a perfect Ysoye, etc. None too vibrato, or good harmonics, or a ringing pizzi- parents to teach their children. Proven success. fingers should cato. The fact is, however, the most impor- "You feel and see—where be" violins tant thing is to learn to tune their as* FINNEY VIOLIN KEYBOARD SYSTEM perfectly. They readily agree when I 433E, 2537 Bernard St., Chicago, III. them how a pupil can expect to make real Dept. violin progress, playing constantly on a direc- which is out of tune. There are a few which wi i tions on the proper way to tune Bonds and Stamps be useful to the violin student. Buy More War G-D-A-E. The violin is tuned in fifths, the The A is tuned first. When playing with ox Information Read orchestra the violin A is tuned to the A For Authentic VIOLIN . a the oboe (or to the A of the clarinet in and VIOLINISTS small orchestra). The A and E of the violin VIOLINS next tuned together, the two strings An American Publication Devoted to the are Instrument Players being sounded together with the bow. Next Interests of String single copy 25o the A and D are tuned, and finally the D and Subscription $2.50 for 12; to G. Some players, especially beginners, try WILLIAM LEWIS & SON, 207 S. Wabasti Ave, Chitago Cataloouo ol tune by sounding the strings pizzicato, but Send lor Unique and Instructive Free on request a perfect tuning is best secured by tuning Violins— two strings at once, with the bow. WITH MUSIC” ' FORWARD MARCH 201 MARCH, 1943 variation holds as regards the teachers, as num- teaching is a splendid ture. In doing this, a catalog of two Present Trends ber of rehearsals per week and credit profession. thousand songs has been made as it allocated for ensembles. Very little The young pianist should not feel was felt that such a listing was restriction is placed upon depressed if in the Training of the number he cannot become a con- necessary for program building. of organizations which a student cert accompanist. Only a certain Many of the fine American songs may elect. Most number students are held can possibly be used, and if will live long, as they are comparable School Music Teachers to participating year one’s talent brings insufficient each of resi- re- to some of the classics, but unfortu- dence in the various turn in New York after organizations, two years’ nately the number of good American though this is protested by those time, perhaps he will do much better songs to date is dreadfully in the that insist the elsewhere. There certainly is plenty ( Continued from Page 164) school should serve minority. the student, and not the reverse. of work to be found—outside of New ultra Our modern composers are Voice: Few schools demand courses York trying to write something different, “Rote before Note,” a well-estab- in Italian and German for school unmelodic, unharmonic, My Own Career unrhythm- lished procedure in elementary vocal music students. Voice class work is ical. These dissonant songs will have class-room teaching, is widely used accepted by the vocal department for In the beginning, I decided to no fife at all because singers are un- in the teaching of instrumental undergraduate but not for spend two years in New York. Instead able graduate to use them on their concert music as well. There is a universal credit. All I stayed five years without doing any programs. recognize the primary im Nature is harmonic, melod- business of consequence. To attempt to interrelate the develop- portance of equipping voice students answer ic, and strictly rhythmical. that, Look at ment of technical skill with the de- with the knowledge and skill neces- it is necessary to explain that the harmonized color scheme of there has been a vast change in the any velopment of musical insight and sary in dealing with the distinctive country vista, hear the musical consonant feeling. The majority state that they problems of soprano, alto, tenor, and New York world in the past melody of a bird’s song, or listen to do not believe that foot tapping is bass voices; repertoire, as in piano, twenty years. the strict rhythm of a trotting horse, When I first fundamental or necessary to the must take second place. came here there was observe the exact rhythm a mere or time of teaching of rhythm. Both homogen- In view of these observations it handful of famous accom- the solar system. They will all go on eous and heterogeneous groupings of would seem panists. Frank La Forge, Isidor Luck- eternally. that the school music Take away these funda- instruments are favored. teachers’ training stone, Coenraad V. Bos, Richard mentais and program will place all would be destroyed. Hageman, and Richard Epstein, were Thus, A large number agree that instru- due emphasis upon a high standard the dissonant musical the names that appeared on concert crea- mental supervisors should be re- of musicianship, plus improvement tions of to-day, are of no Programs that use. quired to elect elementary, junior of the student’s teaching techniques took place in Carnegie The successful American Hal1 and Aeolian Hal1 they composers ' and had and senior high vocal methods to and a general broadening of his cul- ’ he paia-wrackea Practically the whole field to them- i meet present day conditions—the tural and academic background. JZSbluibs, andnf their “ success will selves. Now the recital list accom- grow converse is true in the case of general of the same as any great peace finally panists shows sixty or seventy differ- develops, supervisors. By what means all of by the eradication ent names in one season. This is why oi an- these electives can be included in a archistic revolutionists, the fight play whose sole four-year program is not stated. to accompaniments is aim seems to be to destroy all ! so keen in New York. Music is com- tional trad Class piano is recommended, with beauty and saneness. parable to everything else in business emphasis on the piano as a func- I bow to such composers to-day. Over production! Thus the as Hage- tional tool in the school music class. Twenty Years man, Gnffes, Carpenter, musicians must spread over greater Cadmfn This implies insistence on sight-read- Gmon and many others areas to make a good livelihood. whose songs ing and some transposition rather of Accompanying may.be compared with After struggling to stay in New some than on repertoire and memoriza- York five years (and it was in truth tion. Although most agree that class ( Continued from Page 153) a sacrifice, for I had even played in piano has not been successful, they a moving picture theater in the heart maintain that when properly taught of which are awkward. of New York’s East Side) I finally , class piano can be a very efficient question; Foundation Here is a most serious succeeded after many visits to the Principles means of carrying out the above and an adequate answer must be New York concert managers in being mentioned program. in Dctave found. Between the countless private hired for two coast to coast tours Playing Theory: All have subscribed the to teachers and the many great music with a very famous need singer and Can- for the integration of sight- ( Continued schools of to-day, the number of tor, the late Josef Rosenblatt. Then from Page reading, ear-training, and harmony; 152) students who are graduated every came a tour with May Peterson. theory also should be taught from year, or become professional musi- But now my real “break” was to P ei e ' “* rep°se the whole to the specialized part. very great. e If cians, is now arrive at last—an engagement to Z pTavr es Several to be a labor deplore the fact that theory It seems that most graduates have play for Rosa Ponselle and becomes ? who had then UrCe °f dominates the music education pro- ioy - The their eyes on a New York career, but reached stardom and was considered laxed and li h° gram, COndition of taking no account of the mul- if musical population muscles the only from a the great soprano of the age. It took mScles anoZaffords a sense titudinous demands, or the doubtful of exhilara- standpoint, this is impossible. eight years of struggle to get this tion and the whole ultimate usefulness advanced muscular move of The only advice to offer accom first big tour which continued for ment is characterized bvJ , LT theory courses; however, many vote panying aspirants who come to New years, of fleedom many until she retired from action which is si. T for harmony suggestive of and counterpoint. All York (many of whom have asked my tremendously active work. flight of a bhd the believe that there is a place for at opinion), may be summed up in At the present time I coach a least one S professionalized theory these words. If the idea of earning a great deal and teach piano in two usSS wheT a“J course for music education students is firmly em- mmonly tIle livelihood in New York splendid schools of music. I accom- case, the touch draws chiefly on the which deals with the arrang- bedded in the mind of the individual, pany Charles Kullman, and Kathryn for the elastic arm qualitv- ? . vocal music, ” ln ing of piano transposi- to York for two Meisle their tance ' let him come New on tours in the East, and for all sustained ? 1,.ort* the s, whether tion, and improvising of accom- years, if it is financially possible; let I play for two vocal quartets, whose heavv or lioiTf , ' ’ P ayed paniments. With a few exceptions, him play for as many singers, student members are all from the Metro- the pressure ”!• with touch down_armd all teach sight-singing in the F and or professional, as possible. If at the politan Opera Company. This is touch; in a all forms of m, touch - G clefs only—some add the Alto Clef. end of two years he is finding a fair proof that my years of “hard times” es; and generaUv T T, ™ Both syllables and numbers are amount of work, he should stay on have brought excellent reward, passages, cantaWe where the tone is taught in the majority of schools. and keep fighting the big battle. If, without American Music preliminary Conducting: There is evidently in- however, at the end of such a period Versus the Classics raMnf'of’the sufficient opportunity provided in he has not found sufficient work, it Each year the publishers bring students to acquire would some smaller forth a lot of new 8 most schools for be well to go to music that is technic developed solZ^lffi ^ conducting actual per- city, or a college town, and advertise harmonically rich, experience in and from some of falls so dry, inoperative Unsatls forming organizations. In most in- himself as having come from New these songs flow beautiful melodies factory as concerns Indus' oiZ, acterA. one course serves for both York. In most cases the psychological As it is my duty to select programs desirable ' It; is stances, that the rm i vocal and instrumental effect of having come from a big city for a great many singers who are too beginning come familiar w t.TtTTs “re- cities busy “ent students. will bring pupils. The smaller to look for new song material, I touch very early ln y “hi the coursee Ensembles: The widest possible and towns can always use good piano go through a myriad of song liter a- struction. f-

"FORWARD MARCH WITH MUSIC ” THE ETUDE Arranging Music MUSIC OF NEBGHBOKS For the School Band GUi GOOD Latin American Art Music for the Piano

( Continued from Page 165) 17 Compositions by Twelve Contemporary Composers. Selected, and provided with a preface and biographical data

by steel bars which are played by hand changeable with second flute, if FRANCISCO CURT LANGE with hard rubber or wooden mallets necessary, one or two staves) A distinguished album, the first of its kind to be published or mounted under a keyboard. Use Oboes I-II (one staff) in the United States, representing important composers of is es- Clarinet in E-flat (one staff) the treble clef with signature. It Argentina, Brazil, Chile, Mexico, Peru, Uruguay and Venezuela. in B-flat I-II-III pecially useful for single melodies Clarinets (two Price S2.00 and on occasion for trills on sustained staves) 'ti «{» tl tones. Alto clarinet in E-flat (one staff) The celesta has a sweet, light tone Bass clarinet in B-flat (one staff) and should be used with the upper Alto saxophone in E-flat (one staff) A New IF end in Folk Musk saxophone in B-flat (one woodwinds and in soft passage work. Tenor SONGS FROM THE VELD The steel bars of the instrument are staff) supplied with resonators which help Baritone saxophone in E-flat (one by to sustain the tones. This percussion staff) JOSEF MARAIS staves) is not as appropriate for band use Bassoons, I-II (two in B-flat, I-II-III (two as it is for orchestral music. It is no- Cornets » Voice itli Piano Accompaniment tated on one or two treble clefs with staves) These authentic and colorful folk-song; ell-known to radio and in B-flat I-II (one staff) key signature and has a regular piaino Trumpets record enthusiasts, are now published for the first time, with in B-flat (one staff) delightful notes on the songs and Afrikaans as well as English texts. keyboard, and thus permits of chord- Fluegelhorn in or E-flat horns ing. French horns F Excellent material for programs featuring the cultural achieve- staves) ments of the United Nations. The tubular bells are tuned hollow (two Baritones (one staff) Price 75 cents brass rods of various lengths and are I-II-III (one or two suspended from a frame and played Trombones 3 EAST 43rd ST. with a beater. They are used to imi- staves) Tubas (one staff) NEW YORK, N. Y. tate a bell tone and must not be used and Bass Drums (one staff) for melody carrying purposes. They Side I-II (one staff) are effective in descriptive band Tympani (one staff) music in such compositions as those Bells -Prove To Yourself You Can Play This New, Easy Way!— Other percussions (one line or PLAY A DEAGAN MARIMBA depicting the monastery bells, the PICTURED PIANO PLAYING cathedral chimes, or other simple staff) Easy to master . . . expect Utterly New—Sensational in Results The conductor will this or- popular . . . bell strokes. Their range is from always of the instruments in the score Send 7 Op for illustrative sample sheet Middle-C to F on the treble clef. der richly satisfying. facilitate his reading. Beautifully printed in five colors. Blue keys! Yel- as it will Once Write Dept. E. The xylophone, with resonators, low keysl Red guide keys! Transparent hands! Full, caution the student to edit modern arrangements. Even those again, we INC., CHICAGO unsuccessful with has a very pleasing tonal quality; the J. C. DEAGAN, “methods'' play immediately. his music carefully, even in minute wooden bars are tuned chromatically Group of four chosen selections—(Tschaikowsky's detail. If possible, melodic passages “lonely Heart", "Western Skies", etc.), $1.35. as are the steel bars of the bells. phrased by slurs over the MOTHERS: Four attractive children's pieces, $0.75. These instruments have received should be WM. S. HAYNES COMPANY notes to be played in one breath, as TEACHERS—PICTURED PIANO PLAYING OFFERS much attention of late, and many Flutes of Distinction UNUSUALLY FINE MATERIAL FOR THOSE LACK- a guide to interpretation by the per- ING TIME FOR REGULAR proficient players have developed a STERLING SILVER—GOLD—PLATINUM LESSONS—WRITE. The notation should be care- Order marvelous technic performance. formers. today We'// Rush Music in Catalog on request fully and cleanly marked with espe- The range varies in scale length, PICTURE PIANO WALLACE, IDAHO care given to the centering of 108 Massachusetts Avenue, Boston, Mass. some instruments having a three-oc- cial notes on the exact lines and spaces. tave chromatic scale from F below The student arranger should watch the treble clef to F above it. If neces- ENCYCLOPEDIA of RECORDED LEARN "SWING" MUSIC the rests and not take anything for players sary, both bass and treble clefs may Quick course to of all instruments—make your signatures — just oft the press! own arrangements of ••hot” breaks, choruses, obblivatni granted, especially for the MUSIC embellishments, figurations, blue notes, whole tones, etc' be employed in notating. Also the key serious composers Lists every worthwhile recording of MODERN DANCE ARRANCINC transposing instruments. The inter- releases—over 25,000 records listed signature is used. including mid- 1942 Duets, trios, quartettes and ensembles—special choruses inclusiveness accuracy locking of the French horn or E-flat —cloth bound. It is unique in —modulating to other keys—suspensions— anticipations The use of percussions in writing and usability. No lover of great music performed by —organ points—color effects— swlngy backgrounds Write today. horn parts must be considered. great artists will be without it. Send ONLY $3.95 to for the band must be carefully con- ELMER B. FUCHS young SHOP, Dept. E 335 East 19th St. or Furthermore, the band en- The GRAMOPHONE Brooklyn, N. Y. sidered by the young arranger 48th Street, New York thusiast should spend much of his 18 East composer. The character of the com- spare time examining band scores position must be carefully studied. and figuring out the doublings of the For marching pieces, it will be neces- wind groups. He should pay particu- IS BLAMED sary to use the side or snare drums THE TEACHER attention to the use of the percus- (at least two in number), the bass lar if the student’s progress is slow. But more likely the piano instruments in order not to drum and the cymbals. The use of sion is at fault—sadly out of tune, action sluggish, keys sticking overdo, for a good arrangement eas- indifferent the portable lyre bells is optional; —small wonder if the pupil is and discouraged. be spoiled by the over-en- they are used principally for rather ily may Reconditioning a piano costs so little, yet means so much. thusiastic display of these rhythm sustained melodies. For your own protection consult a member of the Above all, he should read other stimulators. ® For concert use, any of the AMERICAN SOCIETY of PIANO-TUNER TECHNICIANS all the books on the subject of band percussions which appear to fit the band music available in the Have your piano tuned four times a year character of the music, may be and public ’library. brought into service. It is not an easy task to write cor- In notation it is important to have and with good instrumental for clarinets, saxophones, the instrumentation come in proper rectly we have attempted to trumpets, accordions, and order, and we give herewith a cor- balance. What these two articles is simply other instruments. rect placement of the various groups convey in for the band in the as they should appear in scoring: how to arrange giving the proper ELKHART, IND. Piccolo in D-flat (one staff) ordinary manner, Whiter on Page 209) Now York Branch: 251 Fourth Avo. Flutes I-II-III (piccolo inter- {Continued CASH MARCH, 1943 "FORWARD MARCH WITH MUSIC’ A Prima Donna’s Amazing Fight Prepare liB F®i Tomorrow! Back to Health and Strength

( Continued from Page 150)

I was particularly fortunate, perhaps, critical period of my life, I should in that my own best activity lies in like to point out those phases of a medium that the nature of my ill- singing which, to my mind, are most ness did not close to me. Most defi- important, I have great faith in nitely, my singing helped me to get scales and vocalises. I worked at them strengthened me, while I © well. Physically, it was gaining back my health, through correct breathing and the and I heartily recommend them to spir- all vocal building up of my muscles. And students. Since I sang all Uncle makes it possible for you to take practical music Sam itually and morally, it gave me the my early ‘come back’ performances are thousands of while lessons by correspondence, even though you greatest possible support. seated on a settee, I needed be miles away from your teacher. “I find it most gratifying to extra resistance to sing sitting, and experiences in the faithful able to tell of my work at scales gave it to that Definite, concise, comprehensive lessons (prepared by able, pages of The Etude, because me. The greatest necessity for any fine magazine was one of the earliest singer, however, recognized teachers) illustrated and clearly explained—always is perfect freedom and most beneficial factors in my for the entire vocal tract. before you to study and refer to over and over again. musical education. When I was little, we lived in a tiny, rural town in of all convince himself, through Nothing is left to guess work. Australia which was virtually cut off counsel and advice from those who great world are in a from the activities of the position to judge, that he An examination paper accompanies every lesson. If there is any- of music. My parents were musical, has a naturally fine vocal instrument. thing you don't understand it is explained to you in detail by our and I adored playing When he and my brother has ascertained this, he either of us should seek experienced teachers. and singing as long as diligently until he finds really can remember. It was rather difficult, a fine teacher to guide him and sing without m its use. though, to play There are so many fine PADEREWSKI said of our Piano course— inspire us and natural some new music to voices in America that the without some musical guidance to need for truly "It is one of the most important additions to pedagog- competent instruction help us. And then, into that small becomes almost ical literature on pianoforte playing published for years. a national responsi- sequestered Australian town there bility Finally the "As an excellent guide for students and solid reliable , study of languages came The Etude! A friend of ours and foreign dictions advice for teachers it is bound to become very popular is of great im- in Melbourne subscribed to the portance. These and more so as it bears the stamp of a real pianist and languages should be journal, and, as soon as he had read studied as spoken accomplished musician and experienced musician." tongues, and not the successive new issues, he would merely as limited words for use in to us. I shall never a limited send them on number of songs. Also. eagerness with which we English-speaking forget the singers should give DEGREE OF BACHELOR OF MUSIC brought attention watched for the post that to the clearest and most diploma when you have completed a course it to us. avidly we pored over perfect You are awarded a How enunciation of their own the contents! The articles gave us language to the satisfaction of the Instruction Department and the Board of America is now the music advice and encouragement, and best centei of the world, and Directors. We are also authorized to issue the Degree of Bachelor it is to be of all, the center pages contained hoped that more and These more of our of Music upon those who comply with our requirements. all sorts of wonderful new music. music — especially opera — may be and an The Etude brought us new joy and sung m the are Harmony, History of Music, Advanced Composition language of the people. I feel certain that our musical prog- That, perhaps, is advanced practice course. The latter may be voice or instru- the best means ress would have been greatly delayed of bringing the great hours. mass of the mental. Each subject carries 30 semester without it. lntimate Personal con- “In concluding an account of how Unt'wiAtact with music. Other countries have splendid opportunities in the music helped me during the most accomplished Remember there are this; surely we can" income. music field to make a very comfortable today. Let us show you how. Mail the coupon

SSSiSiESSSlIY EXTENSION CflNSiRMflTiiV 1525 East 53rd Street, Chicago, Illinois Demucracy in Dept. A-327 Music

( Continued from Page UNIVERSITY EXTENSION CONSERVATORY, Dept. A-327 148) Illinois. 1525 E. 53rd Street, Chicago,

I have marked sample lessons and full informatio regarding course Please send me catalog, Lewis, mezzosoprano. The two artists with an X below. successful Harmony Violin who already had made Teacher’s Normal Course Piano, Cornet Trumpet Cuitar Course — debuts and had gained at least a . — - =i Piano, Student's Mandolin — uixon Beginners f Advanced Cornet and his i H Public -School Mus.— " * Voice Saxophone first claim on the public’s attention will have selected School I Advanced talents Public Choral Conducting Piano Accordion whfcf Composition j were presented in the same their belief Advanced Clarinet Reed Organ and who are ready & Sight Singing ! for an Ear Training Dance Band Arranging Banjo concert that introduced the two un- teoduction History of Music to a discriminating knowns were Emanuel Vardi, the York audience. 1 Adult or Juvenile. Those who com Name. New York violist who was the subject may have come from Alaska to C of last month’s Youth and Music Horn, but Street No. whatever their conn article, and Vivian Rivkin, young they will have the satisfaction City Do you Canton, Ohio, pianist. Almost simul- receiving a now? If so, how many pupils have you? democratic hear a , , teaching ng V Harmony? taneously with the appearance of what is Certificate? Have you studied becoming a hTd a Teacher's true mu! the U-->- ^ ^ ' this article victors in another Dean democracy. Would you like to earn WITH "FORWARD MARCH MUSK THE ETUDE “

The Piaivd Accordion WHERE SHALL I GO TO STUDY?

(Western When Is One Tod Old to Learn to Play I EACHERS Private Teachers (New York city) ROSE OUGH MME. FLORANCE LEE HOLTZMAN| The Accordion? VOICE Former Assistant to Lazar S. Samoiloff Teacher and Coach in Hollywood VOICE—OPERA—RADIO— Reopened Her Voice Studios at CONCERT 1931—8TH AVENUE CALIFORNIA Internationally known eiro ] OAKLAND, Telephone Glencourt 6115 |58 W. St. 57th New York Cityie- Tel. Ci. 6-9323 As told to ElVera Collins EDNA GUNNAR PETERSON ALBERTO JONAS reason Concert Pianist—Artist Teacher ANY ADULTS are turning to rapid technic. We see no why Celebrated Spanish Piano Virtuoso 229 So. Harvard Blvd. Los Angeles, course of study should 3 Calif. Teacher of many famous pianists music at this time, and in a systematic FE. 2597 19 WEST 85TH ST.. N. Y. C. Tel. Endicott 2-8920 Q most instances we find that not make this possible, and in fact M On Thursdays in Philadelphia, 132 South 18th Street. T the war is either directly or indi- we have known of instances where LAZAR S. SAMOILOFF Tel. Victor 1577 or Locust 9409 Not connected with any Conservatory. rectly responsible. The parents, wives, adults have accomplished remark- Voice teacher of famous singers able results. We admit, however, that From rudiments to professional engagements sweethearts, as well as brothers and Beginners accepted. Special teachers' courses sisters of the boys in the service find most adults do not specialize in Dr. Samoiloff will teach all summer at his Studios. EDITH SYRENE LISTER Write for catalogue—Special rates for the AUTHENTIC VOICE PRODUCTION that they worry less and have a building up technic, and the general duration. 405 Carnegie Hall, New York City greater of if they keep lack of it may be attributed as much 610 So. Van Ness Ave., Los Angeles, Cal. peace mind Collaborator and Associate Teacher with the lateW. Warren 1CJ busy. Government regulations limit- to the fact that they do not practice Shaw and Endorsed by Dr. Floyd S. Muckey H ELIZABETH SIMPSON Wednesday: Troup Music — ing will cur- technical exercises as to the accepted Studio, Lancaster, Pa. the use of automobiles Thursday: 309 Presser Bldg., of Author of "Basic Pianoforte Technique" Philadelphia, Pa. — tail much social activity this year, opinion that the muscles their Teacher of Teachers. Coach of Young Artists. fingers and hands are not supple Pupils Prepared for Concert Work. Class thus making it necessary for all of Courses (Frank) (Ernesto) enough. in Technique, Pianistic Interpretation, Normal us to seek and find more entertain- Methods for Piano Teachers. LaFORGE-BERUMEN STUDIOS There is much more to interpre- 609 Sutter St., San ment in our own homes. Francisco; Voice—Piano § 2833 Webster St., Berkeley, Cal. Our recent correspondence reveals tative playing than mere technic. Frank LaForge teacher of Lawrence Tibbett since 1922® libraries 1100 Park Ave., Corner 89th St., New York E quite a few letters from adults who Accordion music contain Private Teachers (Mid-Wost! Tel. Atwater 9-7470 believe that music will help them hundreds of fine arrangements of compositions so the solution through the duration. Some are try- famous RAYMOND ALLYN SMITH, Ph.B., A.A.G.O. ing to decide which musical instru- for an adult would be to develop his 3 Dean Central Y.M.C.A. RICHARD McCLANAHAN technical skill as much as possible, 3 College ment to study and ask for further 3 School of Music Representative TOBIAS MATTHAY information about the accordion. The and then select his repertoire so that 3 Complete courses leading to degrees. Coeduca- vote lessons, class lessons in Fundamentals 3 Lecture-demonstrations for teachers taxed his tional. Fully accredited. Day or Evening. Low tuition. first question usually asked is, “Am no selection technical = Kimball Hall, 306 S. Wabash Ave., Chicago, Illinois 806 Steinway Bldg., New York City I too old to learn to play the accor- ability. reason why the dion?” This is a question which can- Another accordion to adults is DR. FRANCIS L. YORK not be answered with a brief yes or should appeal because EDWARD E. TREUMANN 5] Advance Piano Interpretation and the Theory work necessary for (required for the no. We shall, instead, tell about the it is not them to devote degrees of Mus. Bach., and Mus. Concert Pianist—Artist-Teacher accordion, a long period to learning how to Recommended by Emil Von Sauer, Moritz Moszkowskm and the requirements to DETROIT INSTITUTE OF MUSICAL ART and Josef Hofmann. k tone such as is Detroit, Mich. play it, and then let each inquirer produce a good neces- 5tudio, Carnegie Hall, Suite 837, 57th St. at 7th Ave.kr on the violin. The quality and New York Citybr answer the question for himself. sary to Sept.—Apply now.Q Private (New York We realize that many individuals workmanship of the accordion reeds Teachers City) want this music study program govern their tone. SUSAN S. BOICE CRYSTAL merely as a filler. WATERS temporary time Teacher The Adult Pupil of the ART OF SINGING and SPEAKING Teacher of Voice We wish this were not the case, but Study for Cultural Values experience CARNEGIE HALL Radio, Screen, Concert when conditions return to normal Our teaching has proven 154 West 57th St. 121 Opera, Pedagogy adults excel over younger stu- SStudio New York Cityl the daily routine of these folks will that Tel. Co. 5-4629 1405 E. 54th St. in the reading of Tel. Vo. 5-1362 probably return to normal and dents both notes interpretation. Those crowd out such studies. For that rea- and in with FREDERIC FREEMANTEL also excel m son we believe that the accordion is trained minds in memo- Voice Instruction Private teachers in the larger cities will findjl rizing. the logical instrument to learn be- Author of 24 home study lessons, this column quite effective in advertising their" "The Fundamental Principals of Voice cause progress will be rapid, and it We advise those who are seriously Production andl courses to the thousands of Etude readers gjSinging"; also "High Tones and How to Sing Th- the accordion who plan to pursue advanced study with an will not be necessary to devote considering to pur- Studios: 205 West 57th Street established teacher away from home. months to tedious practice before chase a fairly good instrument upon IjNew York City Phone Circle 7-5420| the beginner can enjoy his playing. which to begin. If funds are limited A single tone a we recommend a good used instru- melody played upon Jpearn to play the piano sounds rather elementary but ment in preference to a cheaper type ACCORDION BY MAIL! DO YOU FLRY when this of new instrument. Inferior instru- same melody is played THE RCCOBDION? upon are apt to discourage an adult an accordion there are four in- ments SEND FOR OUR 1942 CATALOG dividual reeds in octaves which re- who is naturally more tone conscious CONTAINING 1000 SOLOS AND spond child. 125 METHODS each time a single key is than a 9 PIETRO OEIRO ACCORDION HEADQUARTERS AND FOLIOS ' 4G Greenwich Avo.. York City advice is to select a New ! Free to Etude Subscribers played upon the piano keyboard. Our next com- 1237 W. Girard Ave., Phila., Pa. This should Considerable study is necessary be- petent instructor. not DEPT. E fore a difficult as there are many fine piano student can play a be BUY WAR BONDS AND . PAGANS & BRO. selection with complete bass and full accordion teachers now. Much of 289 Bleecker St. New York, N. Y. chord accompaniment. The mechani- the success of the progress for an STAMPS FOR VICTORY cal combination within the accordion adult will depend upon having a makes is not only a good mu- it possible to produce a full teacher who PIANO TUNING PAYS chord by depressing a single button, sician and instructor but one who learn so the accordion realizes that a different teaching precision tuning. Our i, c student can play a Pianists— Send for tree booklet showing how you may greatly improve your *"Uo for complete accompaniment system must be used with adults Home“ Study!" CUmUiates gltess^work after the technic, accuracy, memorizing, sight- first few lessons. than with children. Adults are super- reading and playing thru mental - muscular co-ordination. Quick results. Bo Independent! Practice offort Make The question arises sensitive and most of them are easily mlnlmlzod. Used L. famous pianists, teachers and Money Quickly and Easily! as to whether Btudonts. ^ Modern No obligation. )) far! lilies for oral students. 10th y or not 209) Diploma granted. Write for Free an adult can ever develop (Continued on Page Broadwcll Studios, Dept. 63-C Covina, California lioolilr BRYANT SCHOOL. 7II-B. Augusta. Micl MARCH, 1943 "FORWARD MARCH WITH MUSIC 20‘S I '

Logical • Practical ° For Private or Class Instruction J Weagnedd

interests ...rywk.r., o„d a position to be reckoned PREPARATORY BOOK Biiaagwaii with in the field of pedagogy. ' No one who heard Mr. • • Wagness lectures mn , .l and stimulating effects. WSp,nna Hence it is with iurt Provides the Type of First Lessons ,I-ill prid? th T"we r en S his teaching materials, which so ' ff * P 1 A N 0 tftltS clearlv refl^ri j 5 "« .owid logic .. dicroCri.tic ‘ Beginners of Pre-School Age Require L

Its new, logical, and prac- EXCELLENT TEACHING PIECES WAGNESS tical procedures lead to Supplementary BERNARD real achievements with very ESPECIALLY SELECTED AND HIGHLY Plano young beginners. The tac- RECOMMENDED FOR THEIR TUNE- tile, aural, mental, visual, Instruction Material and rhythmic faculties are FUL AND APPEALING QUALITIES co-ordinated in synchro- By Bernard nous use through phrase- Wagness Composer Price wise reading. A most help- Title Grade Key ful preliminary book to any THE ENSEMBLE At the Barn Dance (2) (G) Wagness .30 BOOK piano course or method, .35 This book provides Duet and Second At the Derby (2) (A minor) Nort/mp Piano pa„ s for pieces it will serve the veriest .Langlow .30 m Book One of the Bernard Wagness Band Concert at the Fair (114) (G) Pkmo Course It was beginning needs in private or class piano instruction. pub rshed in response to an insistent Beautiful Dreamer (2) (D) Wagness .30 demand from many Price, 50 cents teachers regularly using this course Castillian Dance (2) (F) Navarro .40 ,n first prano instruction. Supplied Free Request Wagness .30 These Secondo and Second Piano parrs Teacher's Manual On Cello. The (114) (D) can be played by tire .30 teacher, parent, or a slightly more advanced Dark Eyes (2) (D minor) Wagness pupil. and the Pirates Price. Davey lones • , , 75 cents Franklin .30 (2) (G minor) Wagnels .30 Elfin Frolic (2) (F) SECOND YEAR (C) Hastings .35 ETUDES BOOK ONE Flying on the Clipper Ship (2 14 ) Hail King and the Snow Queen. The Musical studies to supplement the pupil's f Oblong Shape work in Book Two minor) Adler .35 in any second grade method (2) (A or Designed to bring out Wagness .35 special A First Grade Book for Beginners Hobgoblin. The (1) (A minor) points, it introduces some of Mr. Wagness' mn

erly supported, two separate sensa- A Basis for tions result: first, the entire body (other than the region around the Good Singing diaphragm) must feel easy, relaxed, natural, untense; second, the diaphragm itself must be tense, not muscular rigidity but (Continued from Page 154; through through natural expansion. In this sense, then, it is a sort of relaxed and natural tension—never a mat- learn how to breathe for singing. ter of muscular contraction or force. breath We are told that the singing When the upper body is relaxed, is merely a ‘natural breath.’ In the then, the neck, throat, and mouth case of women,- this is not quite are perfectly free and natural. This, true. Because of anatomical structure in turn, eliminates ‘mouthing’ syl- and functions, women do not natu- lables, or distorting the lips. And rally have the perfect singing breath. this undistorted, natural position of The singing breath is always sup- mouth, in its turn, clears the way IGjt EE3IPY the A |§U ported by the diaphragm; the ex- for clear, natural diction. Thus, the labD 0.0^ in Canada tJ CEL) pansion and contraction of that great support of the tone actually pre- TEACHERS:—You can encourage parents to keep up and powerful muscle form the base the for the fenunciation children's music lessons if you don't discourage pares way them with the cost of music. CENTURY EDITION which the column of breath and consonants. —at only 15c—keeps the cost of pieces at a minimum upon of vowels —yet, doesn’t restrict your teaching in any way. rests. Women breathe naturally from “Again, the correctly supported Remember, this standardized price has not been therefore learn Soldiers know the value of perfect tim- achieved by printing an inferior Edition. If you aro the chest and must tone is firm and well placed; it ‘stays ing; so do musicians. It is what lends at all skeptical regarding this, we would urge you the diaphragmatic most earnestly, for your own sake and for the benefit the art of making in place’ when it is sent into the spirit to the men under arms; gives of your students, that you secure a copy of Century second nature. and compare it with any other existing edition which breath a sort of masque — the resonance chambers character to the musical Composition. you may have or may bo familiar with, and we aro breath- certain that Century will prove positively and con- “The test of diaphragmatic back of the nose and under the clusively that it has no superior. ELECTRONOME is in the action of the ribs, which eyes (the only place, incidentally, All the suitable classics and a multitude of Stand- ing (Trade Mark Reg. U.S. Pat. Oft.) ard modern compositions are available in "CEN- may easily be felt. If you place the in which tone should be resonated) TURY” at this standardized 15c price, irrespective ELECTRIC METRONOME as to whether the Edition contains two or twenty hands on either side of the body We have all had the experience of pages. dependable, ac- the waist and . . . not only the most Here are a selected at our a little above hearing and seeing singers do queer few random from just curate and convenient tempo recorder catalogue: pushing out when you feel the ribs things when they enunciate the ever offered to serious musicians, but drawing a correct CENTURY PIANO SOLOS, 15c ea. breathe, you are sound of AH. Sometimes the tone in beauty of design and finish a real singing breath. At first, this sort of seems to drop into the throat with addition to the modern music-room. (Capital letter indicates key—number the grade.) de- “THE METRONOME THAT OPERATES Amarylllj will feel novel and will resulting unpleasantness and un- •3| (Air of Louis XIII). E—4... Gbys breath a ELECTRICALLY” 740 Avalanche. Am— 3 liellcr 1321 Barcarolle active concentration. With evenness of sound. Sometimes the (Tales of ilulfni'n). F 3 . Offenbach mand 5-year service guarantee in writing 514 Beautiful Blue Oanube. D— Strauss natural. 1606 Betty's Waltz. C—l Martin practice, however, it becomes singer tightens chin and mouth—in 2750 Big Bass Fiddle. The. C— 1 Hopkins from the following PRICE *12.50 147 Black Hawk Waltz. Kb—2 Walsh I have benefited an effort to keep the tone from 2416 Blue 1» See rt at your Music Store or Butterflies. Valse Cap.. 4 . Lena Here 516 Bridal -Wagner in breath management. the breath support Chorus ( Lohengrin). Ub— 3. . exercise slipping. When trial offer 1963 Bunch write to us for 6-day of Daisies. A. Valse. (>— 1 Martin against the ribs, to 999 Butterfly. The. Etude. Em— 5 l.avalle Hold the hands is correct, however, the tone remains Butterfly. 1704 Op 81. No. i. D— 3 Merkel action, and inhale while not slip, 968 Crimson Blushes. Caprice. G—4 Tester check their resonated naturally; it does FRED.GRETSCH mfg co 2973 Dance of Goldenrods. 1—3 Fitzpatrick mental one-two-three "At Makers ot Musical Inslruments Since 1883 * 2671 Dark Eyes. Dm- 3 ..Grooms you count a and no muscular tension is necessary 2541 Deep River (Transcription). C -3. ...Grooms 60 BROADWAY, BROOKLYN. NEW YORK 1385 Edelweiss Vanderberk slowly; then hold the breath slipping. Thus, breath Glide. Waltz. Eh— 1 . . very to keep it from 2738 El Choclo (Tango Argentine). Dm -3 Vfiloldo period of time; then 1018 Elegle (Melody). Op. 18. Em— i... Massenet during an equal support is again responsible for keep- 1614 Elizabeth Waltz. ('— Martin the mouth during 1225 Fairy Wedding. Waltz. C— 2 Turner exhale through ing the tone in place on any syllable, '304 Falling Waters. Truax Certificates of Awards, Medals and Reverie. Eh— i of time. Watch (or Diplomas, 209 Filth Nocturne. .'. 2 — Levbaeh equal period the need of facial Op . Ah an for eliminating 1959 Floral Parade. ..Martin Other Requisites for Awarding Pupils The. Valse C— I. . 217 Flower Song. Op. 30 |—:t I.ango feel!) the push of your ribs for making possible , rather, contortions, and Completing Courses in Music 1070 Flowers and Forns. Tone I’oem. G 4. Reiser 1109 General Grant's March. 3 Mack try to keep the time counts clear, undistorted I' and firm tone plus THEODORE PRESSER CO. 238 Gypsy Encampment. Am— 2 Bchr gradually 628 Gypsy Hondo. G—3 Haydn absolutely equal. Then diction 1712-14 Chestnut St. Phila., Pa. 2379 Hanon Virtuoso. Burdick PlanGf Par! I counts adding 2233 Hungarian Dance. No 5 A— 5 Brahms lengthen the time by “Once tone production is mastered 1645 Hungarian Bendel Rhapsody No. Cm— 5 . . 2, on to the pe- 1013 In Rank and File, C—2 1 -angc four, five, six, and so through correct support, the voice 1015 Kamennol Ostrow. Ftt— Rubinstein 2097 La Golondrlna. The Swallow. G 3 ..Serrndcll riod' of inhaling, holding, and exhal- must be made flexible. This is en- 2694 Let 'Er Go! (March) F—3 Wood 1319 Love Aldrich you have practiced mechanical drill and Flowers. Em—3 ing. By the time tirely a matter of TONKa hinets 2117 0V B Dreams (Licbcstraum). Ab— Elszt t-. . of 313 Melody in F. F— Rubinstein the exercise through the count in scales and exercises, and such 1891 Menuet in G. No. 2. G—2 Beethoven 1813 Minuet (Don Mozart each of its three sections) through colora- Juan). G—2 twelve (in drill is best acquired for Sheet Music 1175 Minute Waltz. Op. 04, No. 1, Db—3.. Chopin 2972 Moonbeams on the Lake. C—3 Fitzpatrick you will have taken a long step upon tura technic. To-day, we often make 1186 Moonlight Sonata. Cftm— Beethoven 328 Morning Prayer. Melodle. F—2... StrenbboK the road of good breath support. the mistake of associating the word 1226 Mountain Belle. Sehottischc. F—2 Kinkel 352 Over the Waves. Waltzes. G—3 Rosas ‘coloratura’ with the highest reaches 361 Poet and Peasant, Overture.. D—4 .Suppo How the Breath Serves of soprano range. Actually, it refers VIOLIN AND PIANO DUETS, J5 e ea. “The average young singer, I be- not to range of any kind, but to the flexibility of runs, leaps, Each number has separate parts for Violin & Piano lieve, inclines to think of the breath extreme arpeggios, and the like. In the A—1 to A—3 Very easy to medium merely as the means of letting the trills, B— to B—3 Easy to difficult days of Italian opera, C — 1 to C—3 Medium to concert solos tone come out. Actually, the well- early great regardless of its natural 2178 Beautiful Blue Danube. A— 3 StTaus* controlled, well-supported breath every voice, 1272 Boat Vent Song. A 1 . . ,lT underwent training in colora- 1144 Crimson Blushes. Caprice. B 2 Lc' serves the singer in many more ways, timbre, 2657 Dark Eyes. It— Grooms .Labitzky technic. Indeed, the great color- 1835 Dream of the Shepherdess. C— 1 proper diaphragmatic support is the tura 1275 Dream Waltz. A -I Vogl Dance. Brahms instance, roles, like Rosina in Rossini’s 2408 Hungarian No. 5. B—3 basis of phrasing, for be- atura 1457 La Poloma. A—3 or B—2 Yradlcr di Siviglia,’ which are 1745 Love and Flowers. A- 3 nr B -2 Mdrlch the more firmly the column ‘II Barbiere Bflithnvcn cause 1890 Menuet In G. A — 3 or B 1 . . . It i-:- generally sung by high sopranos, 1460 Over the Waves. Waltz. A— 3 . of air is supported, the less breath now 2129 Poet and Peasant, overture. B- 3... Suppe written for mezzo- 1151 Star of Hope. Itovorte. B-l Kennedy a phrase. Breath were originally a is needed to sustain 500 Traumercl and Romance. It — Schumann Grooms voice. It is my firm belief 2666 Two Guitars. It 2 is also the basis for good soprano Offenbach support 1744 Valse Barcarolle. A— 2 every voice should have train- diction. that your sheet music The Century Catalogue contains over 3.000 compo- TONKabinets file and such coloratura fiorituri. Voice designed file-trays: sitions consisting of PIANO SOLOS—DUOS “The matter of diction brings up ing in handily In specially TRIOS — VIOLIN and PIANO — DUOS — TRIOS it in place, clean. Beauti- PIANO — element in timbre is inborn — but there is no keep sorted, and QUARTETS — SAXOPHONE and the second important crafted styles for schools, studios, MANDOLIN and GUITAR and VOCAL. fully breath support. Thus far, we have such thing as inborn flexibility; that and homes. Capacities: 450 to 16U0 Ask your dealer for Contury music, and if he can’t sheets. Rich cabinet woods. Moderate com- nature and ac- is .always a matter of study, practice, supply you. send your order direct to us. (Jur considered only the prices. Your dealer has or can get them plete catnloguo will be mailed you FREE on reuuest. Chicago tion of the breath. Let us consider and effort. for you. Tonk Mfg. Co., CENTURY MUSIC PUBLISHING CO. singing “Every singer needs daily practice how it must feel. When a AT LEADING STORES 254 West St.. New York. 40 N. Y. breath is properly drawn and prop- ( Continued on Page 210) MARCH WITH MUSIC’ 207 MARCH, 1943 "FORWARD —

The “Haw" of Creative Composition OIERLIN (Continued Irom Page 151)

composition with anyone. Of course, I had the tremendous not merely to listen to them inside advantage of a thoroughly musical one’s mind. Often the mere imper- background and home. The kindest, sonal scrutiny of notes on staves can COLLEGE most helpful, and 'most merciless help one determine the ultimate critics I ever had were my mother form the theme is to take. It may and my husband. How often they happen, for instance, that one has CONSERVATORY OF MUSIC would make me work over a phrase a “perfect” theme for a song. Very over and over and over! —until the fine! Set it down! When one sees flow of the melody and the harmo- how it looks, it is quite possible that nization sounded right! My husband the melodic line may not A professional music school in an attractive seem at all refused to allow me to study formally suitable for the voice. Its appearance college town. (Member of the National —which, in my earlier days, I some- (not its character) may suggest the Association of Schools of Music.) violoncello times wanted to do—in the belief —the combination of vio- instruction might rob my lin and harp Thorough instruction for carefully selected that set —and lo! the original work of some of its freedom and theme may develop into something students in all branches of music under artist teachers. originality. But that doesn’t mean quite different from the song that Special training in band and choir direction. that I did not work! I taught myself was first planned. own The ambitious Write for catalogue describing Oberlin’s conservatory —and learned through my composer should hear all the efforts. good music he can—not courses and its superior equipment (200 practice puiely as I learned the fugue form by writ- pleasure” but as the most rooms, 23 modern organs, etc.). Degrees: Bachelor of fruitful ing out much of the Well Tempered source of helpful analysis. Tiy Music, Bachelor of School Music; Master of Clavichord, from memory, voice for to go backstage” in every work you hear. Music, Master of Music Education. voice. Then I compared what I had Ask yourself why the com- writ- poser shaped set down with what Bach had his line this way in- Frank II. Shaw, Director, Box 533, Oberlin, Ohio. stead of ten. The points where my voices that; what could his reasons have been. crossed differently from Bach’s, in- Familiarize yourself with orchestral dicated valuable lessons! In the same colors and memorize them, orchestration. so that you can way, I taught myself take an oboe, a flute, concert hall an English I have never gone to a horn out of your head at enjoyment or any moment, simply and solely for and set it to work for study you. Practice pastime; I have always tried to writing themes you structure as well have heaid from OSMOPOLITAN the works, in their memory, and later DETROITINSTITUTE their interpretation, and to bring comparing your work JCHOOLOF as with the score. OF MUSICAL ART MUSIC home with me something I did not The young composer Since 1914 has prepared ambitious young SHIRLEY GANDELL. M.A.. Oxford must, of President. course, people for careers in music, dancing, dra- University, England, before. In listening to sym- provide himself Offers courses know with the tools All instruments, voice, theory, 39th year. Accredited. matic art. Certificates, thor- of his craft. conducting, cam- in all branches of Music. phonies, I acquainted myself Whether he composition, sacred music, diplomas and decrees. Desirable hoard- studies wTth panology, radio technique. Accredited. Di- teacher, ing accommodations. Located in down- oughly with the individual tone and a or works by plomas and degrees. Faculty of 70. Catalog. town musical center. himself, he Ave,, Detroit. Mich. - should learn , Manville, Bus. Mar,, 52 Putnam R. Wabash Ave.. Chicago. possibilities of each instrument; the color piano (not only for its vast with the effect of these different literature of masterpieces themes. When but also for its colors on the various value as a single sym- I got back home, then, I would sit phonic instrument) , harmony, coun- write out the themes I te/P^mt. double down and counterpoint, or- with their proper chestration. Not could remember, only must he learn Then I compared hese, he must instrumentation. be as familiar with work with the score. he my is the letters I do not recommend my system of of the alphabet. SbavTf He should hesitate study to the average student. It re- ett B d0wn his musical quires determination and intensive thoughtsthouihtVththan T he does in forming concentration work alone, and the written to letters of his name That those who are not equipped for it h n d S ° W“h "inspiration would go seriously afield. I have the bu™thut it providesn r t oeAe" the only means of greatest respect for formal educa- enabling him to fee project his "insplra- tional guidance in music, even ° he mlnds hearts of though I have been able to assert ot°hers

s ' myself it. The average stu- cafe ' without y°Ung d clWg needs 11?“ ^ ®oV dent needs guidance, and to him I ne^dftortatato train his ear and enrich his say, “If you have a good teacher, let musical taste I have naVe no quarrel with your first step be to follow instruc- jazz—1377 as an ort accompaniment for mod- and do as you are told!” tions the Sclent “ho ““irlistens to it too much Valuable Pointers for its own th® sensitivity of his There are a number of individual testetaste. Certainly,CeS “good music” need pointers, however, that might be not be confined to the serious helpful to any serious student of classics! There are quantfties o ex- composition. The first is—to write cellent music that are as light as write all you can! If you have a anyone could wish w t i theme buzzing around in your head, Strauss, Victor Heihert,^^^ set it down on paper as quickly as must not censure the violet for not you can. Then look at it. It is ex- being a peony! There is a place for "FORWARD MARCH WITH MUSIC" the etude , ’

light, even sentimental music, provided it is good. Each piece has its Radio’s Most Important own character—we must demand only that it be a character of in- Challenge tegrity. Trashy music is not only • ( Continued from Page 156) valueless in its own right; it may do AMERICAN a permanent injury to the forming Jan Peerce (the Metropolitan tenor) standards and tastes. Toscanini was assured of a brilliant Above all, work! Probe your musi- CONSERVATORY and telling performance of Verdi’s cal ideas thoroughly for their worth, cantata. Such words as these, which and work at them, over and over it is hard to believe Boito wrote all again. Let nothing distract you. And of eighty-one years ago, will live on e^MUSIC always bear in mind that music is in the memory of many who heard not merely a means of entertain- CHICAGO 57th SEASON the broadcast of the “Hymn of Na- ment. It is—and must be—a source tions” on January 31: Accredited courses in piano, vocal, violin, organ and all other branches of of spiritual value. If it is not, it falls “Oh, Italy, my country, my be- Music and Dramatic Art leading to short of its function as music. loved fatherland DEGREE—BACHELOR OF MUSIC Heaven watch over May merciful DEGREE—MASTER OF MUSIC you. When is One Too Old to Until the day when free again. Under Authority State of Illinois You stand upright in the sun. Unsurpassed faculty of 130 artist instructors, many of national Hail, England, Mistress of the and Learn to Play the international reputation. Seas, Accordion? Hail emblem of Liberty. Thorough preparation for concert, radio, opera and teaching posi- Oh, France, who shed your blood tions. Weekly recitals, lectures, school of opera, training in students’ ( Continued from Page 205) symphony orchestra, bureau for securing positions. for a land enslaved, Hail!” It is significant that the free voice discouraged so corrections and criti- of American radio should have broad- cism should be blended with a few SUMMER MASTER SCHOOL cast this composition to the four words of encouragement. corners of the earth for all men to Three Summer Sessions—May 13 to June 23, Lessons should be kept interesting hear, and that a noted patriot of June 24 to August 4 and August 5 to September 15 and a careful choice of selections anti-Fascisti beliefs, like Maestro made so that many of them contain Special Summer Courses in Public School Music, School of Acting, should have conducted it. Toscanini, Children’s Musical Training passages which will provide practice (Robyn System), Oxford Piano Course material for developing technic. Member of the National Association of Schools of Music These will be beneficial for those who The Bugle Call of Send for free catalog. Address are merely studying for the fun of John R. Hattstaedt , President it and refuse to devote much time Polish Liberty to purely technical exercises. AMERICAN CONSERVATORY OF MUSIC

( Continued from Page 172) The Rote of Progress 572 Kimball Hall, Chicago, 111. We have found that the average realized as he penned these words adult who has never studied music that they would be prophetic of before and who has from one to three events more than a hundred years hours a day to practice for his one distant. “The consolation and glory weekly lesson, has been able to of your country.” ... As thousands of progress in six months to a point Ifffyp QUbHan&Infltitttt? of(Quair Poles went to their deaths in the Nazi where he can play medium grade blood bath, the last sound that filled Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma selections and even popular songs their ears was the martial strains of WARD LEWIS, Dean of the Faculty quite well. Rubinstein, Director (on leave of absence) 3411 Euclid Chopin’s music. Beryl Ave., Cleveland, O. Now that we have given the foregoing information about the accor- conservatory of music dion we believe that those who are millikin BALDWIN-WALLACE Music for the DECATUR, ILLINOIS interested will be able to decide Arranging CONSERVATORY OF MUSIC Offers thoro training in music. Courses leading to whether or not the instrument is for Bachelor of Music Degree. Diploma and Certifi- BEREA, OHIO (suburb of Cleveland) cate in piano, Voice, Violin, Organ, Public School Affiliated with a first class them. To those who still us to School Band Liberal Arts College want Music Methods and Music Kindergarten Methods Four and five year courses leading to degrees. Faculty of Artist Teachers. Send for catalogue or Informa- answer the question about age we Bulletin sent free upon request {Continued from Page 203) tion to: give this answer. It is not a case of W. ST. CLARE, M INTURN, Director ALBERT RIEMENSCHNEIDER. Dean, Berea, Ohio age or even of the suppleness of balances through proper doublings. muscles. The only time one is too = rjuilliard school OF MUSIC— = The student should study the solo old to learn is when he has lost faith possibilities and their accompanying Ernest Hutcheson, President in his own ability. Study perpetually instruments. The band does not and renews the mind and keeps it youth- should not be expected to play “full ful. The answer, then, is that one is JUILLIARD SUMMER SCHOOL blast” at all times. There must be a never too old to learn to play the George A. shifting of the choirs, the woodwinds Wedge, Director accordion if his desire is strong work while the others enough. doing group July 5 to August 13, 1943 rest or the brasses take the lead for These are the days when we must a time. Even the percussion group all keep up our courage and good announces may display its “wares” on occasion spirits. Music in the homes will help as a novelty. These are the points Its regular program in all branches of music us do it. An hour given to thinking that he will gain through listening and worry leaves us Special intensive courses applicable to the war effort exhausted while and imaginative writing, hearing- an hour devoted One-week "refresher” to music study through the ear as well as the eye. courses in repertoire and teaching aids buoys our spirit and refreshes us so $ * * Program for high school students that we are ready to assume any extra love for literature, paint- nuties which may be given to us. “Let the Catalog on request architecture and, We hope that the study of the ac- ing, sculpture, cordion enter into your 120 Claremont Avenue Room 122 York, N. Y. will solve the problems of above all, music, New many —Theodore Roosevelt. who have written to us. lives.”

MARCH, 1943 "FORWARD MARCH WITH MUSIC 20 9 A Basis far Goad Singing MUSIC SUGGESTIONS ( Continued from Page 207)

in technic as such. The experienced have a natural mezzo, never try to -5of Spring. (Concerts professional artist, of course, need force it up into the soprano register no longer strive to acquire such of range. And if you have a natural FEATURING technic—but she still needs to prac- contralto, let it come out naturally, tice it. The young singer must adapt without forcing in either direction. her practicing to her individual de- Never attempt to ‘color’ tone by Treble Voices gree of vocal proficiency. Beginners means of forcing or muscular effort. should work at technical passages If natural voice timbre is not dark, every day, but not for too long a forcing will never make it so. If it CMIOMUJSES period. Scales, arpeggios, intervals is dark, the lighter and more nat- Amoroso (2 Part) (35190) Boex .12 should be taken slowly at first, but urally you sing, the more the natural, At Eventide (3 Part) (35380) Spross .15 not too slowly for too long. With dark values will assert themselves Boat Song Part) (35001) Ware-Spross .15 (3 flexibility as the goal of technical without any effort other Come Down. Laughing Streamlet (4 Part) (35108) Spross .20 than the practice, speed should early be ac- effort to sing Fickle (3 Part) (35340) Cadrnan .12 naturally, with proper quired. Exercises should be sung on Green Cathedral, The (2 Part) (35399) Hahn .12 support and proper relaxation. When Green Cathedral, The (3 Part) (35038) Hahn .15 all the vowels, and on vowels in com- you have mastered the correct pro- Guitarre, The (2 Part) (35157) Hammond .10 bination with consonants. It is not duction of individual I Love Life (3 Part) (35212) Mana-Zncca Spross .12 tones, try to — wise to leave out the consonants for In May-Time (4 Part) (35326) Speak.* .10 bind those tones in an even scale, too long a time. and are, of In the Deeps o' the Daisies (3 Part) (35061) Hawley-Spross .15 M N each with tone matched to the ones Invocation to Life (3 Part) (35077) Spross .15 course, the easiest consonants to that precede and follow Let All My Life Be Music (3 Part) (35101) (Organ Accompaniment ad sing, because these sounds naturally it, and without any break between lib.) Spross .18 send the voice up into the resonance the registers Mammy's Song (3 Part) (35063) Ware-Spross .20 of range. Always keep Difficult consonants — K, a reserve of May Time Part) (35036) chambers. (3 Ricci .15 breath in sending out the tones— Mighty Lak' a Rose (2 Part) (35054) Nevin .10 for instance—require special care. never sing out the Mighty Lak' a Rose (3 Part) (35193) Nevin .10 “Avoid any unnatural treatment of whole breath; and never allow Mighty Lak' a Rose (4 Part) (35145) Nevin .12 the voice. If you have a natural so- unsung breath to escape, Minor and Major (3 Part) (35100) Spross .12 at the end prano, do not try to push it down of a tone, in unpleasant Morning (3 Part) (35092) Harris .12 ‘dark’ effects. ‘breathiness.’ Most of Now Sleeps the Crimson Petal (4 Part) (35133) Dunn .15 in order to accomplish all, concen- trate on Rose Garden, A (4 Part) (35237) Spross .12 As a matter of fact, pushing or forc- breath support—all errors Silent, Starlit Night (3 Part) (35325) Hahn .15 of production ing will never achieve any effect but can be rectified by the Sweetest Flower That Blows, The (4 Part) (35135) Hawley .12 one of unpleasant artificiality. If you fundamental correctness There's a Lark in My Heart (3 Part) (35109) Spross .15 of support.” Through a Primrose Dell (3 Part) (35204) Spross .12 Trees (3 Part) (35096) Hahn .12 Trees (4 Part) (35150) Ware .15 Venetian Love Song (3 Part) (35121) Nevin-Spross .15 The Doctor as Musician Voice of the Chimes (3 Part) (35251). Hahn .15 ( Continued from Page 171) When Love Came into Bloom (3 Part) (35355) Steinel .10 Will-o'-the-Wisp (3 Part) (35105) Spross .12 Will-o'-the-Wisp (4 Part) (35002) Spross .15 Dr. was also very much Woodland Magic (3 Part) (35253) Wick -20 Borodin Yesterday and Today Part) .15 interested in medical education, and couple of quartets, (3 (35048) Spross and many del ght- he took a leading part in advocating ful songs. Dl Borodl“’ CANTATAS medical education for women. He s total musical ._ ; output helped found the school of medicine * large A BALLAD OF LORRAINE—By William G. Hammond ’ but it represents Cantata tor Four-Part Women's Voices with Baritone or Contralto Solo for women, and he lectured there greatest musical work of Here is a fine choral work for treble voices. Mr. Hammond’s superior setting of this tale of from 1872 until his death. all time. He is at this war-torn France recommends it for the uses of experienced groups. Time of performance, date one of the Price, 50 it musician that Dr. most popular twelve minutes. Orchestration available on rental 1 But was as a of Russian composers, Borodin is now most widely known. and he is heard THE LAND OF HEART'S DESIRE—By Ethelbert Nevin almost as frequently His interest in music was stimulated asRimsky-Korsakoff Cantata for Three-Part Women's Voices with Baritone Solo and Tschaikow- from Nevin’s cantata sky. This is a composition of ingratiating musical quality. Derived Mr. in 1862 by his friendship with the Taylor. Time of The Quest, this splendid arrangement for treble voices is by Mr. Deems ipl.uu great Russian musician, Balakireff. Alexander Borodin performance, twenty minutes died in 1887, at Borodin’s wife was also very much the early age A MIDSUMMER NIGHT—By Paul Bliss of fifty-three. Had he interested in music, and she helped h* th ei Cantata for Three-Part Women's Voices e “ 110 11011116 Mezzo-Soprano, and Contralto that With Solos for Soprano. keep this interest alive in her husi- he' would' . i tak6U ‘ S ’ Fireflies, Sunbeams, Birds, etc., lend their songs h P aCe among A rhonl fantasv to which the Stars. the Silence of the Night, The Spirit of Storm and band. Dr. Borodin was encouraged greatest™‘ C0 The solo parts am assigned to the Spirit of “P°sers of all time. of performance, tmnty.fi™ mmoles. Orcheslralmo evul.ble He if the Th , Splfi °t Dang.r! Time greatly by Franz Liszt, with whom eatest 1 doctor-composer, on rental he kept up a long correspondence. f eteriit f ? . W. F. See great Professions, NEAR TO NATURE'S HEART—By Borodin’s first symphony was writ- The kA° f Two-Part Women's Voices ^ doctor-musicians Cantata for 1862-1867, and this won favor- is as vet^fiff simple to sing. Entirely novel from a creative point of view, ten in an ort unately, Here is a cantata tuneful and a rather ‘ composers as Costa, Hammond, Hawley, Mendelssohn, fmaii one’ f ‘ a comoSsitccomposite of works by such able notice at once. His greatest mu- Ut ^ „„i„' duets of medium range. Time of performance, thirty the and others. There are_ solos , nci “dividual con- Price, 60j! sical composition was the opera tributionstrihntinA ’ of^ each man are of the in ’ “Prince Igor,” which he began 1 ““ A SPRING SYMPHONY—By Florence Golson 01 ther B re atest im- Women's Voices with Soprano Solo 1869, but left unfinished at his death. nOTtenee”'?S° Cantata for Three-Part m doctor-musicians at- its interesting solo passages is founded on a strik- taintein vh-tn n This delightful and musical work, with It was completed by Rimsky-Korsa- vutuoso Allegro. con moto, distinction, i ne Burr The three sections are called as has Dr. hie love 'pbcm by"Amelia Joseph 1889. Jeiome ScLzo-Fhude, Presto. Time of performance, ten minutes. koff and Glazounoff in This at- Grass, Andante passioneda, and* surgeon-violinist of ^ tained great popularity in Russia Cleveland, Ohio. He Frederick Stevenson has been a solo^ VIENNESE SERENADE—By while its brilliant Polovtsienne dances ist with the Four-Part Chorus of Women's Voices Cleveland For Baritone Solo and Symphony Or- services experienced baritone as well as those of became famous throughout Europe mt.cirianlv work requires the of an a at Tb' s are obbligato parts throughout for violin and cello, and the c il0ral singers. There as a consequence of the performance s;:;:: ™ pianos or for piano and organ. Time of P^f^mance, is arranged for two accompaniment of the Diaghilev Ballet. In more recent fifteen minutes times doctor-mu- In the field of symphonic music n ave attracted much favor- Borodin’s symphonic sketch “In the fwe attentlona^ . - Several municipal Steppes of Central Asia” is well- orchestras John Church Company composed entirely of doc- The tors have Philadelphia, Pa. known. His “Second Symphony in B existed Presser Co., Distributors, 1712 Chestnut St., from time to time. Theodore minor” is of the first rank. He also Not so long ago in Milan, a city well- 'FORWARD MARCH WITH MUSIC THE ETUDE 210 known as a musical center, a very talented symphony orchestra com- The Violinist in posed entirely of physicians delight- ed the public for many years. Army Life In New York City there are several EASTMAN SCHOOL OF MUSIC orchestras composed entirely of phy- ( Continued from Page 200) sicians and surgeons who give recitals at regular intervals. of In Boston a Physicians’ Symphony has been not only maintained, but Orchestra, conducted by the able improved. The University of Rochester Nicolas Slonimsky was founded in When his period of training is 1939. The “Doctors’ Orchestral So- over, the soldier-violinist must face Howard Hanson, Director ciety” of New York has a member - the probability that in the immediate Raymond IVilson, Assistant Director ship of over fifty, under the direction future his chances of doing much Undergraduate of Professor Ignatz Waghalter, for- practice are not very good. Even if, and Graduate Departments merly director of the Berlin Chariot- however, he is not able to take his tenburg Opera House. violin overseas, violins are to be SUMMER SESSION - One of Brahms’ closest cronies was found in the most unlikely places JUNE 28 AUGUST 6, 1943 Dr. Theodore Billroth, whom he met —though often minus strings and in Zurich in 1886. Dr. Billroth was an bridges! It would be well, therefore, FALL SESSION SEPTEMBER - able pianist and indefatigable musi- if these accessories were taken along 14, 1943 MAY 27, 1944 cal amateur as well as one of the among his personal belongings, outstanding surgeons of his day. He Whatever the future may hold for Eastman School of Music in Coast to Coast CBS Broadcasts also played the viola in excellent the player, he can look with satis- Each Friday 3:30—4:00 P.M. ElVT manner. He composed a one act opera faction on the fact that he has which was never published. shortened by nine months or a year For further information address: In America there has been many the break that must exist in the noted physicians who have been normal course of his musical career, ARTHUR H. LARSON, Secretary-Registrar gifted musicians. One of the best If his practice has been intelligent Eastman School of Music known is Dr. John Harvey Kellogg, and systematic, his playing has, at of Battle Creek, Michigan, and now the very least, been kept up to par, Rochester, New York of Miami, Florida. Dr. Kellogg is a and the rigors of Army training have surprise to his own profession. He is been softened. Above all, he has, past ninety, walks several miles a by his talent, given enjoyment and day and hasn’t a wrinkle. All during entertainment to hundreds of ap- BOSTON UNIVERSITY his intensely busy life Dr. Kellogg has preciative fellow soldiers—which in enwooc been an enthusiastic amateur pianist, itself is sufficient incentive for re- COLLEGE OF MUSIC maining violinist • Thorough preparation Dr. Stanley Reimann of Philadel- a while training to for careers in CONSERVATORY OF MUSIC music. B.Mus. or Diploma phia, be a soldier, in Voice, Plano one of America’s outstanding Organ. Violin, Cello, Brass. Wood-wind Division of Llndenwood College tor IVomen. Thorough prepara- cancer specialists, and Percussion Instruments. B.Mus. In is a pianist of pro- Composition, tion for careers in music under Church Music, Musicology. a distinguished fessional ability. B.Mus. faculty. B.M. In recent years he and M.Mus.Ed. in Public School degree, certificate and diploma Music. has taken an interest in two-piano A.M. through Graduate Bchool. in piano, voice, violin, organ, Chorus, Glee Club, Orchestra, Band. harp, other instruments, pub- Fac- I playing and has large repertoire ulty of distinguished musicians lic school music, theory, har- a Includ- mony, ing many Boston Symphony Orchestra history and appreciation which he has developed his of music. Well-eQulpped stu- with mu- members and the Stradivarlus String , dios, beautiful buildings sical This Question Quartet. Cultural on professional artist friends who of opportunities of Bos- 138 acres near St. Louis with ton. Attractive its resort dormitories. Catalog. frequent concerts, operas, to his home for special prac- "other musical Alfred H. Meyer, attractions. For Dean catalog and view tice Sight | book, write upon his two fine grand pianos. Heading Music 53 Blagden Street Boston, Mass. Harry Morehouse Gage. Pres. There are also physicians who have Box 1242, St. Charles. Mo. organized trios of stringed instru- ( Continued from Page 166) ments which they use for a very Philadelphia Conservatory worthy cause. For instance, in the of Music poetry. state hospital at Eloise, Michigan, 216 South 20th Street College of Fine Arts Maria Ezerman Drake members of the staff, trained psy- Dr. Leonhard Deutch, whose nor- Syracuse Managing Director University chiatrists mal piano classes in Vienna were play for their patients Faculty headed by Decrees * Bachelor of Music ® ’ reputedly with most remarkable sought eagerly by teachers, holds to Olga Samaroff, Mus. D. Master of Music Piano, Piano Teacher Training, curative effects. At Bellevue Hospital this thought: Courses leading to Degrees Voice, Violin, Organ, Cello, Harp, Composition, in New York, “Sight reading certainly can be music and medicine are Public School Music being taught by using a very large and All the advantages of a large used by doctor-musicians with OF MUSIC Un- ersity. Special RIVERDRIVE SCHOOL & ARTS dormitory, with 35 practice pianos wonderful results rich study material, which should for women among psycho- 84 Riverside Drive music students, 5 pipe organs. pathic be difficult enough that the patients. student New York City Summer Semester—May 17 to Aug. 28 Summer Session June The doctor has always tended has to struggle for it, but not so dif- FREDERICK G. KOEHLER, Director — 2 8 to Tulv7 31 For bulletin address toward music. He has been interested ficult that he will be defeated. He Dormitories DISTINGUISHED FACULTY Dean H. L. BUTLER in music wil1 overcome the difficulties if in an art as such, but lately he Students may enter at any time. Room 3 5, College of Fine Arts catalogue and information address Secretary he has also become interested in plays with accuracy, relaxing physi- or Syracuse, N. Y. music as a curative agent. cally and mentally, never forcing speed. = JUILLIARD SCHOOL OF TifTrir “For establishing facility in sight A Revealing New Book in Two Parts ERNEST HUTCHESON, President instruction PARAGON OF RHYTHMIC COUNTING reading, correct is much FOR ALL RHYTHMS more important than any natural INSTITUTE OF 1 MUSICAL PARAGON OF HARMONIZING endowment. Rapidity of eyes and ART 1 applied to mobility of fingers are improved GEORGE A. WEDGE, Dean FOUR KINDS OF HARMONIZATIONS J steadily by training in coordination.” Send for explanatory circular Individual vocal and instrumental instruction. Classes in Theory, Com- teachers, who are among the EFFA ELLIS PERFIELD Many position, and all branches w p of music education. »03 East 86th St. (Park Ave.l New York City most active Etude enthusiasts, con- Courses leading to diploma and B. S. and sistently have employed each month M. S. degrees in instrumental, singing, and public school music COLL G s,c with their pupils the Music Section departments. C O id B i^. °,«.5-" S of The Etude, as a precious source of Catalog on request. Complete musical education. Preparatory or eblldren. J, Teachers' training new musical materials especially tf> diplomas degrees. Room 122, 120 Claremont nor . and Avenue, New York 1045 Chestnut St.. Phibidelphia, Pa. suited for sight reading.

MARCH. 1943 "FORWARD MARCH WITH MUSIC- 211 Junior Club Outline

No. 18, von Weber

Biography dominant and tonic in any four r a Carl Maria von Weber was born in major keys. (Refer to “Keyboard 1786 and died in 1826. He was re- Hai’mony for Juniors” for further lated by marriage to Mozart and practice with this triad.) studied composition under Haydn’s brother. For what form of com- Terms What is position is he particulai’ly well- g a libretto? known? h Give a term meaning very slow, One his is b of best known operas Program “Obei'on.” Name another of his Many of the lovely melodies operas. found in von Weber’s operas and orchestral c What is the difference between compositions have been arranged opera and oratorio? in simple form for piano, though most d He wrote his first opera when only of his own piano compositions are fourteen years old. Read more in the higher grades. There about him in your “Standard His- is a wide choice of grades, however, tory Music” similar in the fol- of or some book. lowing arrangements: Invitation to Keyboard Harmony the Danc e (procurable in many e The triad on the third degree of grades) Melody , from “Oberon ” ar- the scale is called the mediant. ranged The Importance of the for left hand alone; Prayer Play this triad on the third degree from Der Freischiitz," aswellasmany of the C major scale and listen to other numbers for solo; Sonatina Orchestra Conductor it. Is it a minor or a major triad? and Hunter s Chorus from “Der Frei- f Play the pattern given here of the ’’ lyPaJJ, fcz tm four hands; ' mediant, followed by the sub- . and Album Leaf and Invitationr obby and Uncle John were enough to carry his ideas to the to the Dance arran leaving the concert hall after players. 5?™*“ Sod for six hands. t0 soma B having heard a most thrilling “The conductor understands every °f the von Weber compositions on orchestral performance. Bobby had instrument in the orchestra and recordings, if pos- m * sib e. You will find never been to a symphony concert knows just what it is capable of his music very S Bay and before, and he was terribly excited. doing. The best conductoi's know the 2L ato“«ve, and IT many of h’ peras But one thing bothered him. scores of the music by heart, which Were hrfluenced bv fairv ta1e°3168 asked, “Why is is a great feat of memorizing. Their and °ther “Uncle John,” he stories ™m“tic an orchestra conductor so important? hearing is very sensitive, and con- I’m sure those musicians were good ductors like Toscanini and Stokow- enough to play without anyone keep- ski can detect the omission of even ing time for them.” the fewest notes during a perform- Uncle John was amused at Bobby’s ance.” Sonnet on the Death of JVJozart first orchestra con- question. “I agree with you, Bobby,” “Who was the by Billy Pace (Age 17) he answered his nephew, “I don’t ductor, Uncle John?” Bobby asked. that an excellent Uncle John smiled. “That’s a The autumn’s falling leaves have For death waits doubt but such not for him nor kings group of players could keep time rather difficult question, Bobby. Ever cause to fall, to bid. are their brief life’s perfectly. But, young man, you do since musicians began playing in For they dead; not understand just what a good groups, and that was a long' time ago, work is done. Through summer they have bent to conductor means to an orchestral one of them has always acted as summer’s performance.” leader, keeping time for the others. call of a In their unfolding to the golden sun. “Tell me something about con- That was the original duty ductors, Uncle John. I’d really like conductor, to keep the players to- harpsi- The life of him is briefer still to call, to know what they have to do.” gether. For many years the occasion- But like the autumn leaves, the end “Bobby, I’ve taken you to hear chord player conducted by of one great musicians like Heifetz and ally waving his hand in the air. We Is near; and work that’s finished Rachmaninoff, and you know what do not know who first used a baton makes all they can create in conducting, but we do know that for T °b death marvelous effects ' has him next page) The grave at last; the weary ones fJZm on their instruments. Well, the or- ( Continued on have won. This viie, vain, chestra conductor, too, plays an in- mortal life to Heaven's strument, the greatest one of all, a His work is o’er and done, His requiem symphony orchestra! Yes, Bobby, the Cans Had fondly called him to eternal rest, ‘™e-the conductor actually plays the orches- “hUr tra! Just think how wonderful that really is! Can you understand that, Bobby?” how All Alphabet of Operas “I think I can, Uncle John. But what the do the musicians know by Aletha M. Bonner conductor wants them to do?” Fill in the blank with names of N (Victor you see, every motion the Herbert) o “Why (Verdi) B (Weber) operas. ; P A ; G— makes conveys a definite (Wagner) • q conductor (Gounod) (Balfe) ; C (Bizet) ; D G— S— the players. Most of ; R (Verdi instruction to (Mozart) ;E (Verdi) F Bee- (Wagner); •’ ; t work is done during the ‘Puccini) Tj- he real thoven) (Wagner); (use the ; G H Italian the conductor ex- spelling- MeverhoP,-. • when ' vLorsals I (Massenet) ; T— (Verdi) ; J V B— (DeFalla) how%e wants the music ; W- V_n? nlafns (Godard); K (Humperdinck); sini) ; X actual concert (Handel) - so, at the y f 16 Clayed ; (Delibes) (Sullivan) L ; M (Flotow) ; G— gesture is ; z performance, the slightest (Herold)°

THE ETUDE : ,,

Puzzle in Spelling Importance of Conductor by Stella M. Hadden

Continued ) ( Take the central letter of Mendels- the eighteenth century French com- sohn’s birthplace, plus the second poser, Lully, used a baton, and a letter of MacDowell’s birthplace, plus the last letter of Beethoven’s birth- very heavy one it must have been, place, plus last letter of because at one rehearsal he dropped the Brahms’ birthplace, plus the central letter of it on his foot and was fatally in- jured! Gounod’s birthplace, plus the first “As symphonic music grew more letter of Bach’s birthplace. Rearrange serious in character, requiring special JUNIORS of RIDLEY PARK, Pennsylvania these letters and get the name of interpretation, a trained conductor in costume recital Grieg’s birthplace. Answers must give became necessary, one possessing ex- all places. Blankets ceptional musical talent and the Junior Elude Red Cross Gene Middleton; Joan Darrell; Anne M. Hoar. highest artistic judgment.” Knitted squares for the Junior Etude Red Answers to Christmas of the above Carol Cross blanket have recently been received Many thanks, knitters. Many “Were composers addi- any of the great from Jean Millspaugh; Sumner Junior Music sent several squares each, and some Puzzle squares were received without names. ever conductors, Uncle John?” Club- Ida R. Feitelberg; Chaminade Junior tional for the sixth Music Club; Addle Mary Winnerlund; Rose Squares are now being received Come, All Ye Faithful; The First “Beethoven used to conduct his those of you who have been too Mary Irwin; Ellen Beth McAdam; Joyce Ken- blanket, and Noel; O Little Town of Bethlehem; with other activities to send In the four- own symphonies until his increasing edy; Peggie Weppler; Gloria Dean; LeClaire busy Bacon; Joan Young; and-a-half inch knitted squares may send Good King Wenceslas ; Joy to the deafness caused him to lose track Heidenrich; Bobbie Joe Carolyn McDowell; Harriet McGehee; Billie them in at any time. World. of the music, and he confused the players by giving them wrong directions. Prize Winners for December “Mendelssohn was considered a Christmas Carol Puzzle: very fine conductor, and he did much Class A, Doris E. Wall (Age 16) to bring Bach’s music into the con- Indiana cert hall. You see, for many years Class B, Rose Ann Urycki (Age 12) Junior Etude : the great music of Bach was not D Dear New York Etude. I belong to I have been taking piano lessons for eight played in Mv sister and I take The public and was known only Club and also to a years and I also play the accordion and saxo- Eileen Patton (Age the Junior High Girl's Glee Class C 8) interested phone. Since I know quite a bit about music to serious musicians. small music club for those who are on the piano and now I very much enjoj making out the puzzles Pennsylvania In music. I take lessons “Franz Liszt was well-known as in the Junior Etude. I have just worked one chinnet-iid . (>i ye mail from anyone out and am sending it to you on another piece a conductor and arranged perform- „ke to ret who might be interested in this -etter. of paper. Honorable Mention for ances of Wagner’s music. Wagner From your friend, From your friend. Joa.v Craft (Age 12), ItLTil Fritsciie (Age 14), owed much of his later success to Kansas Ohio December Puzzle: the efforts of Liszt, who was his Arleen Tomczak; George Peters; to answer any let ters champion at a time when Wagner’s T5. Renders wishing Alfreda Pietak; McKenzie; Ann- X columns at any Ann appearing in the Junior Elude music was thought In care of to be harsh and time may address their envelopes olyn Howick; Dorothy Okoniewski; Chestnut Street, Phila- strange.” the Junior Etude, 1712 Anna Marie Conners; Merle White- they will be for- delphia, Pennsylvania, and “Uncle John, address. well; Doris Franklin; Bertha Madis; you’ve certainly made warded to the complete me see how important an orchestra Florence Konniton; Patsy Hillman. conductor really Etude : is. How I hope that Dear Junior , ,, , . some Mv mother used to have to read the .Tumor day I may be able to play an was before I could read, Ffn.ie to me as that Honorable Mention for read it all myself. I am six and instrument as hut now I can wonderful as a sym- mother started to teach a half vears old. My December phony I Essays: orchestra!” me to play the piano when was only three duets with my mother, and “Well, Bobby, rears old I play Jean Cunningham; Bob Hough- to be a conductor she has saved all of her Etches, and every together out of The Etude. would be a splendid achievement. (lav we play a duet land; Dick Smith; Roy Gene Molter; lie able to play just But Some day 1 expect to as never forget this: With the well as she does. Last year I played in the Hilda Detwiler; Marian Higgenson; assembly. greatest school . Troyer; conductors in the world it From your friend, Reno Ethel Toms; Adeline Estelle Gubins (Age six), is the composer’s music that comes Adelaide EDDIE PERRY, Yuba City. California, Kurtz; Molly Tipton; Nina Fitz- (Adelaide forgot to include her State in her first, not at his music lesson gerald, Anna personal glory. And a con- address). McDade. ductor is great only by making music great!” r HE Junior Etude will Class A, fifteen to eight- age Class Animals een years of ; and iward three worth while Junior Etude Music to fifteen Class month for the B, twelve ; irizes each ( Prize Winner in Class C nior under twelve years. ) Etpde : nost interesting and C, 1 he Triad Club I believe animals are somewhat like of San ta Ann, California. Names of all of the prize us a b iriginal stories or essays children about music; if they V'? UP of ^ty students between Contest do not like it, n Jr” .P winners and their con- a, ,<1 twelve. At the monthly in a given subject, and it is because they are not used to it. neetine«t . A dog lrSt of will ^'e-president has charge : tributions will appear on sometimes howl when he es('nHn^ i, correct answers to unexpectedly program. Sometimes, so there or hears singing, will heno f*. but let him hear it often 8'" Contest is open to all boys and this page in a future issue of The and Khown f,,r desired places xizzles. he will sit and wag his tail on the i as though he momTn Ml p '."'-'"'hers numbers; really s-oi draw eighteen years of age, whether Etude. The thirty next best contributors it. i.enest,, , jirls under liked It has been said a cow will give “ W J " St to 8,,e who will open more the Drueninr tan 8 lno,lt1 member or not. Contestants will he given a rating of honorable men- milk when hearing music, and ' Club » slip of paper with i Junior my mother name"“me orof „ i . a composer -written !«„ it says her cow gives more milk if was according to age as follows : tion. she sings to t? f;«rh ire grouped member, and the vice-president it, but if she speaks cross the ailed each membei cow tries to to take his place kick her. It seems, also, if program by tie SUBJECT FOR THIS MONTH you are riding name of the composer lie had drawn. This rnvad horseback and sing a marching song the horse j to be educational and entertaining. ” steps right along in rhythm. Did you every From your friend, try it? Animals really do seem to like music; (Mrs.) J. Ori•ando Smith. “WendeLoL and anyway, it can be taught to them, as is California proved by the animals in the circus doing Philadelphia, ct. Pa., not their tricks to certain tunes played by the band. Answers to Alphabet of Operas -CONTEST RULES - Lillian Peterson (age 10) Missouri N. B. of A—Yda; B-ohemian contain not over one In ndred and fifty Some the latest researches in mu- Girl; C—armen; D—on 1. Contributions must Giovanni; (A, B or C) must np sical science have proved that cows (as men- E—rnanl; F—Idelio; G—otterdiim- 2. Name, age and class merung; the upper right corner of your paper, tioned in the above essay) really do give more H—erodiade; I—1 Trovatore; J—oce- lyn; K—onigskinder; sure to do this on each sheet. milk when milked under the influence of L—akme; M—artha; of paper only do not N—atoma; 3 Write on one side and soothing music, and that spirited, restless O—beron; P—arsifal; Q—ueen of anyone copy your work for y< faiieba; 4. Do not have music makes R—igoletto; iegfried; osca; to a pi -liminary contest and to not tlia them restless. It has also been s— T— 5. Clubs or schools are requested hold submit more u—gonotti said by researchers if which (Huguenots); V—ida Breve; six entries (two for each class). that the music to W illiam ts will not be eligible animals have been Tell; x—erxes; Y—eomen of the 6. Entries which do not meet these requiremci for prizes. trained to act is changed, Guards; Z—ampa. the animals will not go through their acts.

MARCH, 1943 213 THE COVER FOR THIS MONTH-Back in sicai riayieis ior young People” by J. F. 1863 a song was published called “When Cooke; “The Nutcracker Suite” by Johnny Comes Marching Home.” The Tschaikowsky, arranged as a story with music of this was introduced in the “Sol- music book by Ada Richter; “Once Upon dier’s Return March” played by Gilmore’s a Time Stories of the Great Music Mas- Band, the famous band led by Patrick ters” by G. E. Robinson; “Priscilla’s Sarsfield Gilmore (born in Dublin, De- Week” by Matilde Bilbro; “Music of the cember 26, 1829 and died September 24, Flowers” piano album; and “Childhood bandmaster Days of the Great 1892 in St. Louis) . He was a Composers—Mozart” in the Federal Army at New Orleans dur- by Coit and Bampton. The little Etude ing the Civil War, and in 1869 and in Musical Booklet, “Making a Success of 1872 there was given in Boston under the the Pupils’ Recital,” by Jervis (price 10 inspiration of this master and director cents) gives some helpful suggestions. two great Peace Jubilees with huge or- Through the “On Approval” service chestras and immense choruses. Mr. Gil- offered by the Theodore Presser Co. more identified himself as the Louis teachers may obtain for examination piano Lambert always given as the composer solos, violin solos, piano duets, of the Civil War song favorite, “When piano trios, two-piano four-hand numbers, Johnny Comes Marching Home.” two-piano eight-hand selections, or any The characters in the photograph on other type of musical numbers de- the cover of this issue represent an ex- sired may be requested for examination. Simply write cellent piece of photography made avail- asking that a selection of the able to The Etude by Underwood and classification or classifications desired be sent Underwood, New York, and the adapta- “On Approval.” Of course, it would be tion of this photograph, representing a well to give the grades of grandfather and two of his grandchil- the playing abilities whom of the pupils for dren, to the cover as presented, has been the music is desired. On music /)/]/! / collection of the better-known move- which is sent done by the Philadelphia artist, Miss for examination there is Clt'Clx ments from the classic and romantic 1V ege ° Verna Shaffer, whose work on numerous VI' I 1 943 P f returning for full credit symphonic repertoire. any ofl the^ covers in the past has made her well- music which you do not wish G> Mr. Levine, in his foreword, says: “In to purchase known to Etude readers. and has not been used. reducing the orchestral scores to the The nominal Many children throughout the United A T\\l h RlfC miDlirATimi transportation charges, of ADVANCt Ur KUdLILAIIUN piano medium we are but reversing the course, are Nations are proud of their fathers who billed to you, and any mu- procedure of those composers who elabo- sic leturned are serving in the armed forces of the UiTlKjHFFFR^ for credit must be returned ra te their orchestrations from an original postpaid United Nations, and grandfather can °r express prepaid, whichever All of the books in this list arc in piano version. There is thus a mutual e C aPer well paraphrase the old song, “When method of making re- preparation for publication. The relationship between an orchestral score tnr^ A ?J Johnny Comes Marching Home” to yOUr today ’s Cash Prices ap- re£Juest for low Advance offer and jts arrangement for the piano. The ™atenalsf “When Daddy Comes Marching Home.” “°n Approval” to Theo- ply only to orders placed NOW. pianist, more than any other instrumen- Grandfather, like thousands of others on Delivery (postfeid) will be made 1712 Chestnut St., talfet ^ therefore favored with the op- Philadelphia, the home front, and this includes pa . Portunity of extracting the essence of a mothers, grandmothers, spiritual lead- ZZJ&’&Sm l“: pages. symphonic work. ers, college professors, school teachers, lication appear on these The special advance of publication VS OF FAM music instructors and many others, mSras °US COM- t is POSERS-—T"E CHILD Album of Favorite First Position Pieces- cash price on this Splendid Volume BACH, by Louie Ells- through many things they are doing to uorU. Co,, For Vida and Piano only 35 cents postpaid. Due to copyright and Buth r( Arnold > Bampton—This book uphold the morale on the home front, is the ' limited to the second in a Childhood Days' of Famous Composers— restrictions, the sale is series ot delightful bi- a real contribution toward are making Bach Coit-Bampton .20 31 rkS f0r United States and its possessions. y0Ung musicians, all ultimate victory of the United Na- Favorite Hymns— Piano Duet Richter .35 the nf whi'ch T,° aI Favorite Movements from the Great Wlth the youthful days tions over dictatorships which endanger of Thi m t Symphonies Levine .35 1116 sub -Monger i ect matter, In the four great freedoms enunciated by First Ensemble Album SPRING CONCERTS AND RECITALS-The thlsra 16 .15 °yhooci f Parts, Each . o ‘hat the President of these United States of cotossus ft, musical Piano Conductor .35 music teacher is making a good mvest- colossus Johann Sebastian America. The Hammond Organ—A Method Bach ment when he or she gives time and The Child Bach lito !.„ , thought to careful preparation of an m- The Child Portraits of the World’s Best-Known Moan, will combiSTthe' Musicians hlp- In teresting spring-time pupils’ recital, and ‘rUe St0,' MUSIC FOR THE EASTER PROGRAM— . y and music. The shor^Hud^s '.lemon? .25 all the work put forth to make the recital bioeranhic^l n read these days when long hours in war in- Sixteei? WiU hoW tha interest Songs of My Country— For Piano, . R|chter .40 a happy occasion for young pupils, their o every chim work one or more of the Richter .25 ' dustries or in . Threeinree LimeLittle Piqs—rigs rorFor nunuPiano f , „ ...... 5 01 1 1 parents, and friends,,brings rich divi- facts on the ‘“P ™ many praiseworthy volunteer groups al- ckSood™ ‘a' dends. It is also well worth remembering lows less time for making plans and that two, three, or four short, interesting of which • holding rehearsals, it is important that catalog of Easter Music, a copy The musical content, find recitals are far better than one recital rarefullvcTch° the choirmaster, organist, and soloist give will be supplied on request. Many s“ h'om Bach's most popu- have which, because of a long program, be- ™L serious thought at the earliest possible it simpler and more convenient to ef ly interwoven with experienced music clerks send comes to pupils and audience alike little the storv nuf 5 ^ moment to the selection of music for his our staff of included because of suited more than a tiresome procession of too snecial aDneoi t or her portion of the Easter program. a selection of material especially 31 t0 yoimg musicians. There described needs, many pieces and too many performers will be four For the director seeking “something new” for their individually “ easy appealing for one sitting. for consideration the fol- From this material the most nations, we recommend from tVio „ picturing scenes and the rest returned for Wise indeed is the teacher who gives er lowing works just added to the catalogs can be selected P youth wil1 be used have not tried “Presser special little touches to a pupils’ recital anTa list S n n of Theodore Presser Co. and Oliver Dit- full credit. If you -table do so now. And program and so arranges the program fo/cUren^iifht ^ son Co.; The Risen Christ, a beautiful Service” w'e suggest you as to interest if you are interested in standard ora- hold with variety. It gives B H new cantata of about forty-five minutes P S n0Vel or anthems, you’ll find young pupils a chance to demonstrate c duration be presented with torios, cantatas, an be dramad™m t which can .- tized without request “Presser Edition.” their musical accomplishments, and it Hiffioultv 4 ° little rehearsing by the average volun- it pays to nS ale deluded) with v . lays a foundation for acquiring poise for theth? music totoTbe teer choir (60^); He is Risen, a unique used at its designated ' them to appear in pupils’ recitals. Some work for mixed voices and organ, by ^ al °“ by FROM THE of those not able to play numbers posses- teacher a°s°' a stoiy Grace Kenny Floering which is best de- FAVORITE MOVEMENTS T while the students Piano, Compiled sing audience-holding interest can par- nlavthpvar- lasting SYMPHONIES, For US e°eS - scribed as a miniature cantata GREAT P D*reoU°™ are also ticipate in easy ensemble numbers or in Sven ter th , , i This is by Henry Levine—Interest in symphonic 5 ° f a to fifteen minutes (15p) ; miniature stage ten special pupil recital playlets such as and seSimsetting chil- has shown a notable increase in may to"f"depict Easter Day, a carol for mixed and music a scene from the numerous orches- be evolved out of material to be found composer's life. This, voices by Ralph E. Marryott; O recent years. Through in itself, makes an dren’s in some of the Ada Richter books such Morning, a fine tral performances and through the me- m or Message of “ ambittoas s Marvelous “' the radio and recordings, the as: Ada Richter’s “Kindergarten Class !S“h mixed voices by Lawrence dium of C0it ls anthem for Book”; Chhdreivs Director of of symphonic literature “Jack in the Beanstalk,” story craSSeS and Sibelius’ O Morn of Beauty, masterpieces m lntl'°duction to Mll- Treating' with music book; or “Cinderella,” story Sc a he f (S.A.B.) by have found a progressively larger audi- East Arranged for mixed voices man School of inevitable that each listener with music book. Then there are Mildred McMusic illi , Rochester,b TT Alexander Matthews. These new pub- ence. It is and Miss HamptonBamntnn H from Adair’s little playlets, “In a Candy Shop,” is Associate be had for examination should have his favorite movements Professor01 nff Mxxsicu • at Beaver may , lications “request” pro- and “From Many Lands.” Other books Oollegerniipo-p in t along with any other can- favorite symphonies. The Jenkintown, Pa Both are ex- “On Approval” which suggest perts in or organ grams of symphony orchestras attest to types of programs, give their fields anthems, carols, solos, and form an ideal tatas expressing its ideas, or provide specific materials for combine for the which you may be interested the public’s interest in preparation of these numbers in the pianist a programs or program features are: "MU- select from our special choices. This volume offers or which you may ADVERTISEMENT the etude 214 4

During the pre-publication period, recitals by making use of the staging to meet average requirements of organ while the mechanical details, etc., are suggestions offered in the back of the playing. Suggestions for combinations NEW being cared for, a single copy of this book. Too, the clear cut line drawings approximating all the instruments of the book may be ordered at the special ad- serve as a guide for staging, or may be orchestra, with a section devoted to spe- vance of publication cash price of 20 colored as a reward or for class work. cial percussion effects, combine to make REFERENCE BOOKS cents, postpaid. Copies will be mailed out During the period of publication, a this method invaluable to every Ham- as soon as they are released from the single copy of this attractive new chil- mond player. Dictionary of World Literature press. dren’s book may be ordered at the special The music of the book is taken from Criticism—Forms—Technique the familiar Stainer nearly cash price of 25 cents postpaid, delivery work and all $7.50 edited by J. T. Shipley with to be made as soon as the book comes of the exercises are included. The pedal Henry S. Canby, Andre Maurois, SONGS OF MY COUNTRY Arranged for — from the press. studies embrace exercises for the free Lewis Mumford, Allen Tate, G. A. Richter’s deft- Piano by Ada Richter—Mrs. use of the ankle joint, scale passages for Borgese a.o. ness and skill in making easy, pianistic alternate toes, and heel and toe exer- Dictionary of Philosophy arrangements of favorite tunes will again FAVORITE HYMNS IN EASY ARRANGE- cises. Then there are studies for manual $6.00 edited by Dagobert D. Runes of this be noted with the publication MENTS FOR PIANO DUET, Compiled and touch without pedal, duets for one hand with the collaboration of numerous for book. And certainly no compilation Arranged by Ada Richter-The outstanding and the feet, easy trios for producing scholars. young Americans could be more timely success of Mrs. Richter’s My Own Hymn independence of hands and feet, and From Copernicus to Einstein in these days of world disorder, for no Book for Piano Solo clearly indicates special exercises in legato playing. An $2.00 by Hans Reichenbach. Scien- expression of more fervent and genuine that children derive immense enjoyment important chapter is devoted to hymn tific history of the ideas and dis- patriotism can be made than through from being able to play the hymns they playing, with the favorite hymn. Fairest coveries that have led to the formu- lation of the theory the playing and singing of national songs sing in church and Sunday School. Lord Jesus, used in illustration. of relativity. and airs. Double pleasure will be had from this The high point of the book is reached Who’s Who in Philosophy The compiler of this excellent collec- new book, Favorite Hymns, because of in the concluding pages where are pre- $4.50 edited by Dagobert D. Runes. The first complete tion has sectioned the contents into four added thrill of ensemble playing. Neither sented special arrangements of such biographical and bibliographical directory parts, the headings for which are: “Earli- part goes beyond the second grade and famous compositions as the Theme from of all liv- est ing Anglo-American philosophers. Patriotic Songs”; “Famous War Songs although one. part is occasionally slightly Tschaikowsky’s “Concerto in B-flat Mi- J of the Early Years”; “Songs Our Fighting more difficult than the other, the two nor,” Barcarolle from “The Tales of Encyclopedia of Modern Education Men Like to Sing”; and “Famous War parts are written so they may be played Hoffman,” Brahms’ Cradle Song, Melody $8.50 edited by H. N. Rivlin. Ad- visory Board: Francis Songs and Patriotic Tunes ©f Later by pupils of equal ability. of Love by Engelmann, Lemare’s An- V. Crowley, I. L. Kandel, W. H. Kilpatrick, Years.” The book will contain forty-six Written in the singing register these dantino in D-Flat, Menuet in G by Bee- Paul Klapper, Edward L. Thorndike. In- familiar airs, will be attractively illus- duets may be used to accompany Sunday thoven, and others. All of these com- terpretation of all basic issues and trated, and will con- and as one be published in the School or assembly singing, positions are of course prepared with problems in modern education. venient oblong format so' popular in the verse of each hymn is given in both the registrations to make most effective use Young Americans Dictionary books for children. Primo and the Secondo parts it is easy of the resources of the Hammond Organ. $3.00 by S. Johnson. A different By placing your cash order now for a accompanists to follow the words Copies of this book, at a list price of for the dictionary, designed to develop the copy of Soncs of Country, you will singing. Among the more $1.50, are expected for release during My and join in the “dictionary habit” in boys and girls. receive in this the advantage of the low advance than twenty hymns included March. Etude readers, however, are given Simple and clear in its interpreta- of publication cash price of 40 cents, album are: Abide with Me; Come, Thou a chance to secure a single copy at our tions. postpaid. The sale, will lim- Jesus, Lover of My Soul; special introductory price of however, be Almighty King; cash $1.00, Correct English ited to the United pos- Light; Nearer God to is States and its Lead Kindly My postpaid. The sale limited to the United $3.00 Largest and oldest monthly Thee; Onward Christian Soldiers; Praise States and its possessions. magazine on current English usage. God, ' from Whom All Blessings Flow; Practical and interesting instruction. Hour of Prayer. TIIE CHILD’S CZERNY—Selected Studies for Rock of Ages; and Sweet arrangements SIXTEEN SHORT ETUDES for Technic and the Piano Beginner—Compiled by Hugh While final publishing PHILOSOPHICAL LIBRARY made, a single copy of this Phrasing, by Cedric W. Lcinonl—Outstand- Arnold—The development of good basic are being book may be ordered at ing in the field of piano teaching mate- PUBLISHERS technic to many teachers immediately splendid duet postpaid cash price of 35 rial, and a worthy addition to the ever- suggests the use of Czerny studies. Since the special, 15 E. 40th St., New York, N. Y. to be made as soon as popular “Music Mastery Series," is this the easier Czerny studies however were cents, delivery comes from the press. Copyright new album of piano studies by Cedric written for both hands in the treble clef the book Lemont. It deals, in the main, with both of the past and present, will be in- and restrictions confine the sale of this book W. modern teaching procedures advo- cluded. The material, with twenty photo- the United States and its possessions. the development of technic of the later cate both clefs from the start, something to will third and early fourth grade level. This graphs to a page, have alphabetical had to be done. For this forthcoming includes legato thirds and sixths, arpeg- succession and, in the cases of Ameri- book Hugh Arnold has taken forty of ORGAN, A Method by gios for left and right hand (and divided cans, the states of birth or adoption will the simpler Czerny has THE HAMMOND exercises and Recognizing the impor- be mentioned. While of necessity brief, transposed Staincr-Hnlleit — between the two hands), chord studies, and rearranged them for the the information on each personality will tant place of the Hammond Organ in phrasing, rapidly repeated notes, left treble and bass clefs. Common rhythmic of today, not only in right hand octaves, rapid scale pas- cover important facts, dates, etc., for figures the music world and predominate with the keys lim- quick reference. Due to the all churches and homes but also in service sages for left and right hands, and em- inclusive ited, for the most part, to C, F, and G. of book, throughout the country, and real- bellishments, all written in easy keys. nature the it will be useful in Imaginative titles camps and clever illustrations adequate excellent reputa- preparing notes for history classes, lec- izing that there has been no Mr. Lemont has an also have been added so that the book instruction for Hammond tion as a composer of successful piano tures, music appreciation projects, etc. will appeal method of to young students. A single Under the direction of Mr. Guy players, it is with particular pleasure that music and already has to his ci'edit sev- McCoy, copy of The Child's Czerny, which will photographs and the publication during the eral published books of technical exer- data covering musicians be issued in we announce the convenient oblong size, of all countries and all times are current month of this important book. cises which have been very well received. being may now be ordered in advance of pub- for this material is adapted from This album of short etudes will prove, assembled book, which, inciden- lication The teaching at the special cash price of 25 tally, will be 7 9 all methods for the pipe upon acquaintance, to be an indispen- by inches in size. While cents, that greatest of postpaid. these details and others are being organ, The Organ, by Sir John Stainer, sable addition to the libraries of teachers cared for, a single copy of Portraits with special application to the Hammond and students alike, and will serve as elo- of the A. Hallett. With quent evidence of the ability and under- World’s Best-Known Musicians can THREE LITTLE PIGS-^ Music, Organ by Kenneth be Story xcith ordered at the special advance by Ada Richter— many years of experience both as a standing of its composer. of pub- Since time immemorial lication cash organist and teacher, Mr. Hal- A single copy of this fine book may be price of $1.00. The order stories have appealed to and fascinated church in the Hammond Organ ordered now at our special advance of will be filled immediately after publi- children of all ages. Lessons and studies lett's interest first appearance well qualifies publication cash price of 25 cents, post- have been made more intelligible and since its of the book. He paid. Delivery will be made as soon easier to remember him for the preparation as because of stories SINGING CHILDREN OF only has been actively engaged in the work is released for distribution. THE SUN— Book interspersed throughout. Music also has not and playing the Ham- of Indian Songs for0 Unison Singing, by been made more interesting through cor- demonstrating Organ for a number of years, but Thurlow Lieurance—The name of Thurlow relation with familiar tales. The delight- mond specialized in the PORTRAITS OF THE WORLD’S BEST- Lieurance is traditionally associated ful story a teacher he has with of the “The Three Little Pigs" as KNOWN MUSICIANS, With Thumb-Nail and has a large Mowing of Bio- the melodies and chants of the American has been chosen by Mrs. Richter to fol- subject graphical Sketches—111 this resourceful Indians. And rightly so, for certainly no low “Cinderella,” “Jack and the Bean- Pl of the book presents new book we will present a most interest- other composer of our country has devoted stalk,” and The front matter “The Nutcracker Suite” in addition to the “Introduction to the Hammond Or- ing available reference more time, thought, and energy to the her Stories with Music Series. teacher an The material on musicians. In fact it will ” with clear illustrations of the be popularization of the tribal songs of these or an older pupil may read the story, gan controls of this interesting in- unique in its field, since its special fea- sturdy American citizens. His harmoniza- while the younger children play or sing various Concise explanations of the ture will be its array of 4500 photographs tions and adaptations of their melodies the attractive, tuneful music which is so strument. drawbars, pre-set keys, chorus of musicians, supplemented by brief bio- to modern uses have him the grati- vividly descriptive of pigs, harmonic won the three little graphical notes of those the control, tremulant, and expression pedal represented. tude of the American people and a unique big bad wolf, and all adven- their Composers, artists, teachers, tures. given, with complete directions as and person- place in the annals American music. These “not too difficult” numbers are of ready-mixed tone colors designed alities in all fields of musical activity, In this way be used for recreational purposes or to the new book of Indian songs, Dr.

Advertisbmknt MARCH, 1943 223 - - .

Lieurance has provided a kind of song publication. The value of ensemble play- matie uiieimgs book not usually available for home and ing as training material is unquestion- music programs presented at these sea- community uses, for it will contain only able, and in many small schools the only sons. Price, $1.00. native Indian melodies. Arranged through- opportunity for group participation is Symphony No. 3 in F Major by Johan- nes out for unison singing, it will find wide given by duets, trios, and quartets. Brahms (Symphonic Skeleton Score, No. 8) Arranged appeal in gatherings of all kinds, for This book has been compiled and ar- fist by Violet Katzner, adds another home musical parties, and in the school ranged so that it may be used with to a series that music lovers have learned room. Not only will its contents appeal practically all instruments. The majority to look forward to as in- comparable through their own musical qualities, but of the parts have been arranged in score aids in increasing then' enjoyment of also because of their own educational with three others making four harmony performances of master works values. The format will be that of the parts designated as A, B, C, and D. These in the concert hall, over the air; nut, or on recordings. regular community song book, easy to parts correspond in all books so that Each of these convenient handle and light to carry. any two or more instruments may per- and reasonably-priced symphonic The arranger has included some favor- form together by each selecting a differ- © “librettos” presents on a single, continuous staff the ite Indian melodies in his book, along ent harmony part in his own book. There melodic line of the work indicating with less familiar ones. A glance at the will be books containing four harmony where each instrument or instrument-family group contents list will reveal such titles as; parts in score form for Flutes, B-flat ~)lie (Stacie Greets carries the mel- By Singing Waters; Wi-um; Chant of the Clarinets (Bass Clarinet ad lib.), B-flat ody. A discussion of symphonic form and- Corn Grinders; Where the Blue Heron Trumpets (Cornets), E-flat Alto Saxo- copious analytical notes on the particular- symphony are Nests; Love SoJig; Ski-bi-bi-la; and the phones (E-flat Baritone Saxophone ad given as a preface. These- the Gomincj, SprL Symphonic ever engaging By the Waters of Minne- lib.), Trombones or Baritones, F Horns Skeleton Scores are used in tonka. Also there will be such new ones (English Horn), E-flat Horns (Alto or many music appreciation projects and "Tales of a Violins, Violas Cellos. Longfellow, in his lovely study groups. Price, 35 as: Leaf Bird; Spring Along the Yellow- Mellophones) , and cents. sings: "Then comes the Chancel stone; Indian Love Song; and It is Books with two harmony parts will be Wayside Inn," Echoes, An Organ Collection with Spring. provided for D-flat Piccolos, Oboes, Bas- lovely Spring with blossoms and music. Hammond Registration, compiled and arranged Until, this book is made ready, a single soons, B-flat Saxophones and E-flat Flooding the earth and the air with by William M. Felton, is the book that copy may be ordered at the special ad- Clarinets. In one book there will be the melodies vernal." You will find the has been offered for. or months in these vance of publication cash price of 20 bass part for String Bass, Tubas, April Etude as fresh, stimulating, and notes under the title Basses; and in another, a percussion Cathedral Echoes. The cents postpaid. Delivery will be made practical as the new-born world demands. similarity of this iatter title to shortly after the book is released. book, parts for Timpani, Drums and Bell that of other published works has inspired Lyra. The Conductor’s Score (Piano) the change. This volume will bring book gives suggestions for effective en- to thousands of organists a lich lepertoire ALBUM OF FAVORITE FIRST POSITION sembles that may be made up from the of fine music for church or home PIECES FOR VIOLA AND PIANO—The parts above mentioned, ranging from the playing. Suggested registration for performance ever-mounting interest in instrumental small combination all the way up to Full of the pieces on pipe organs also music which has brought about the Orchestra or Band. is given as in the author’s popular formation of many orchestral groups in A single copy of any one or all of the collection At the Console. Among 4 our country has thus increased the de- 17 Instrument Books and of the Con- mP itl0ns included are some thattw appearf™° r mand for suitable material for certain ductor’s Score (Piano) may be obtained, for the first time as organ instruments. Our young people who have when published, by ordering now at the nUmbei' S that are fief ^eat favor- taken up the study of certain of these special advance of publication cash prices Tf; SOl° S ’ or orchestral com-. nnSffnnf er instruments find, in some cases, that a —15 cents for each Instrument Book and 1S° are some favorite good studies solo material E! t ,n and? paucity of and 35 cents for the Conductor’s Score Spirituals in effective organ arrangements, exists. This is particularly true in the (Piano) book. Because of copyright re- as well as some tuneful case of the viola, which has not received strictions the sale of this collection is original compositions. Price, $1.00. a fair share of the attention due it, de- limited to the United States and its pos- spite its flexibility and warmth of tone color. With this thought in mind we discov- ADVANCE OF PUBLICATION OFFERS ered that our popular Album of Favorite The three interesting new WITHDRAWN— RUSSELL BENNETT Records First Position Pieces for Violin and books presented this month by our Pub- to Meot Piano was quite suitable and readily lishing Department have enjoyed ex- ORCHESTRAL WIZARDRY adaptable as viola material. con- records while being good In ceptionally fine sales Bussell Bennett, whose astonishing. In- War Usage sequence, we enlisted the services of Mr. offered in advance of publication to genious, and beautiful orchestrations for years have added zest to Broadway's snap- August Molzer, a well-known Denver mu- teachers, students and performers, read- of the brightest ( Continued piest shows and to many from Page 155 ) sician, did the necessary editing, Publisher's Notes. Copies radio programs, is a man of notable orig- who ers of these In an advance inality and serious musical bent. transposing, etc. The result of his efforts should be ready for delivery to unusual article he tells of the “tricks" place for the boys which make life so much more interesting to hear music unis a superior collection of easy viola pieces subscribers early this month. As is the to all of us. disturbed. The AFMR whose educational and recreational value procedure when works that have does not want usual BOOM! BOOM! BOOM! old or worn-out will be quickly recognized by students as been in preparation are completed the recordings, because foundation of the orchestra these introductory pur- Drums are the would not give well as teachers. The album is made up special price offer for and no one knows this better tlian the pleasure to the are drums has a boys; it solicits of twenty-two pieces by such composers poses is now withdrawn and copies conductor. The man at the only good recordings. great responsibility. The brilliant and long- from your music dealer or the If one has as Haesche, Greenwald, Papini, Zimmer obtainable experienced tympanist, Karl Glassman, of a duplicate set or two, or mann, Kern, Franklin, Quiros, and publishers at the price indicated after the NBC Symphony Orchestra gives you a number will surprise you. of single some ideas on drums which discs of good . Tourneur. the accompanying description of each music which have MENUHIN’S ROAD TO TRIUMPH not been played too i While this book is in the process of volume. much the Piano, One of Auer's most practical pedagog pu- AFMR wlil be glad re--:: publication, a single copy (complete with Album of Duets for Organ and to pils, Samuel Applebaum, in a detailed ceive these. But don’t our arranged by Clarence Kohlmann, with study of the great success of Yehudi Menu- send any rec- . piano part) may be ordered now at ords Organ Registration by Ken- hin's spectacular career, after a personal that you wouldn’t special advance of publication cash price Hammond conference with the violinist, has furnished care to listen most to yourself. Again, of 50 cents, postpaid. Delivery will be neth Hallett, is a book for which a The Etude with a peculiarly practical if one wishes to • been created. article which violin students will "eat up.” purchase made immediately after printing. The astonishing demand has new records on their own, installation of electronic organs in SOME SECRETS OF BEAUTIFUL as their sale is limited to the United States and The particular contribution to the many homes has greatly increased the PIANO PLAYING boys its possessions. m the camps of our in organ mu- Once, at his home in Paris, we asked Pro- country, number of those interested be fessor I. Philipp how he continually found most welc °me to the compactness of these instru- f ENSEMBLE y.HI M, For All Band sic and the new and inte-esting maUirr.l r his many AFMR. More FIRST Etude articles. He replied, "Why not? than eighty-five by ments makes it possible, both in the noted Orchestra Instruments, Arranged Every day I am meeting the greatest pian- musicians, and (many of including such Mongcr-The increasing de- home and in the churches ists of our time and we are striving in- celebrities Howard S. t find finer conceptions as Arturo installed electronic or- cessantly new and Toscanini, Leopold ensembles for which also have of the art.” All piano lovers will find his Stokow- for instrumental ski, mand piano and organ. latest article full of interesting ideas. Artur Rodzinski, players, due to the re- gans) to have both a Lawrence Tib- small groups of master bett and enrollments brought The combination of these two PROBLEMS OF THE YOUNG Frank Black, have duction in school given instruments is most effective and Mr. whole libraries ot war, may now be answered SINGER one hundred rec- about by the arrangements of Ensemble Album which is Kohlmann’s practical Fritz Busch, one of the most engaging ords. hv the First conductors of to-day, was born in Ger- orchestra in- immortal themes from the great com- The worthiness for all band and many but has long been one of the most of the work being aan-anged prove popular with players. vehement "Aryan" anti-Nazis. His suc- Monger is a successful posers will carried on by the ' cess with the New Opera Company in New AFMR St, U n addition to a baker’s dozen of sacred cannot be educator of Chicago In York is sensational. He has been interested over-estimated. ”eer and mu“c If you desire a ’ secular selections the .author has in helping young singers. more in- understands the needs and formation on what h thorouglS made, especially for this book, fantasies to send, we will and the limits of each be glad olavers and Easter carols that will to be of assistance. shown by this practical on Christmas instrmnentjas is THE ETUDE What did you do today

... for Freedom?

you do? . . . what did Today, at the front, he died Today, wounded, ask yourself: Next time you see a list of dead and “What have I done today for freedom? that will save the lives of What can I do tomorrow men like this and help them win the war?”

the Citizens Service Corps as a part of local _ , , uovci.Government has organized lo help you to do your share, tne and child. task or responsibility for every man, woman Probably such a Defense Councils with some war community. If not, help to start one. A free booklet available through this Corps is already at work in your action today, and get the rio anaand hownuw to do it. Go into satisfaction of doing6 a magazine will tell you what to do A FIGHTER needed war job well! EVERY CIVILIAN

CONTRIBUTED BY THE MAGAZINE PUBLISHERS OF AMERICA. — :;

A central theme In a cltal will add color and heighten the Interest listener and participant, The books described be h suggest a theme, and material around tovel pupils' recitals can contain I be built. Additionalal numbers for piano ensemble or for 'ay &LJay violin or voice can,', ofi course, be Introduced. A selection

' of such pieces, followln the thii erne of your choice, or any of the publications ed, cheerfully sent "On AROUND THE Approval.” CINDERELLA By ADA RICHTER MAYPOLE This unusual book, which By WILLIAM BAINES is based on the familiar tale of Cindtrella, may be This is essentially a publication put to many uses. Detailed to be of assistance to those who suggestions for recital programs utilizing the story av. L,„o purpose it gives are outlined. Interwoven complete Instructions for 8 f-^lauletslaylets with the story are piano dances together with 8 May Pole solos of about second dance tunes for piano accom- grade. Some of them are panying of the dances. It also with words which may be gives some historical notes on FROM MANY LANDS the May Pole and some general cents directions with regard By MILDRED ADAIR Price, 60 to dances A Musical Sketch and costuming. For a real gala occasion, Here is fine material for use in an "International Recital.” string orchestra parts Those taking part can be dressed as Indians. Norwegians JACK AND THE BEANSTALK for the musical accompaniments Russians, Hollanders. Gypsies, and so on. All will have a may be rented Price. 60c grand time, some playing, some singing, and some dancing BY ADA RICHTER the 14 numbers in this sketch. The music is all simple to This telling of the favorite childhood story is enhanced by play or sing, yet is effective Price, 50c clever little piano pieces, used as a descriptive background, which can be played by the youngsters, too, as none exceeds grade two. Like its predecessor, Cinderella, this work may IN THE CANDY SHOP be presented as a playlet, or as a tableau, in connection with a piano pupils' recital. The line drawing illustrations A Musical Sketch By MILDRED ADAIR may be colored Price, 60c This delightful little musical sketch takes about 20 minutes to present and provides opportunity for 9 or more pupils to participate. There is a third grade piano solo, a second grade THE NUTCRACKER SUITE (Choice -Selections j^tor piano duet, a musical recitation, a little dance and a short (Tschaikowsky) Arr. by ADA RICHTER closing chorus for all to sing in unison. An interesting recital novelty Price, 50c The bright qualities of Tschaikowsky's ever engaging music are fully retained in this adaptation, and Juvenile pianists will revel in learning the suite as a whole. The entertaining BIRDS OF ALL FEATHERS story that inspired Tschaikowsky's ballet music from which the suite was taken, runs along with the pieces in this book f^iuno Sndembleed including the Overture; March ol the Toy Soldiers; Dance ot A Musical Sketch the Candy Fairy; Russian Dance; Arabian Dance; Dance ol the licid Pipes; Chinese Dance; and Waltz ol the Floiecrs. One By MILDRED ADAIR Price, 75c Piano—Four Hands Cat. .V Title and Composer 27264 n r is the material for Here a com- 26496 interesting program CHILDHOOD DAYS OF ins lete and to 25247 ss«2Ur- % Ee presented by first, second, and 23910 : : third grade piano pupils. Its FAMOUS COMPOSERS: Mozart 26238 .' 2 musical numbers include vocal Flight of the Bumblebee The By LOTTIE ELLSWORTH COIT end RUTH BAMPTON Rlmsky-Korsakow-Felton solos, piano solos and ensembles, 30266 , first compositions of the he a musical reading, a solo dance From the early life and “child won- Arno * c* • i i 25509 1 214 a violin solo, Mozart, the authors of this unique book have produced G?psks— Ketterer' and a group dance, der" 7404 combination of stories, ' all with piano accompaniment, an intensely Interesting pictures, 30865 plus a toy symphony number. and music. The story element concerns Mozart’s early devo- Invincible 30627 [ „ variety of music, his first lessons on the harpsichord, and his With such a numbers tion to 18714 Oaynor the teacher can work many earliest composing efforts, illustrated with charming scenes Messoge° of Sprl^g-RoUe. Favorite pieces in easy arrangements— 26056 Mr. Ming. Chinese 2 pupils into the program. The from his childhood. 27037 Dance- Baines i' arranged. solos and one duet selected from both early and late Rope Sw ing The costuming is easily five — 26258 Swaying -Copeland Mozart compositions, are included. Listings of available re- DafTod ls--Overlinie i 2 directions for a presentation of the 26102 Price, 60e cordings and full story as a musical playlet are included Price, 35c Malt* of the Flowers -Tschaikowsky- Feilon 4 MUSICAL PLAYLETS FOR ONCE-UPON-A-TIME STORIES One Piano—Six Hands 26107 YOUNG FOLKS of the GREAT MUSIC MASTERS 30751 By GRACE ELIZABETH ROBINSON 30409 By JAMES FRANCIS COOKE 24064 these stories is of a great master, related in language book has brought much enjoyment to young Each of 24805 This little a child, Favorite pieces by the hero of each story Mm, Andrew. Morel, their presentations of its clever playlets clear to "thespians." and introduced in easy form as the tale is unfolded, and suit- parents, relatives and friends. For Junior are have entertained illustrations are generously placed throughout the book. piano pupils' recital programs these play- able music clubs and composers thus introduced are: Bach, Beethoven, One Piano—Eight appropriate as In them the youngsters partici- The twelve Hands lets are most Handel. Haydn, Mendelssohn. Mozart, 26497 scenes Incidents in the lives of some of the great Brahms, Chopin, pate in and Schumann, Verdi, and Wagner Price, 26873 composers Price, 60c Schubert, SI. 00 ft' 26485 Son, ol Ihe n».^-Mlldred Mr " J* Two Pianos—Four Hands 25328 At the Dance— Ella Ketterm- ' 30502 Bridal Song A. Terhune V 2 27053 By the " Waters of Minn e"onka_"” Lieurance-Stoughton Guitar 5 Serenade—Jessie T.’ March of the Wee 0 2 dliaracteriitic j-^iano Solo Sillumd Folk-Jes^te V ^Gaynor 30862 Stars and Stripes Forever? - 2 Sousa-Zadora The-' . 27237 Theme. From 5 Plano" Concerto-ll1 MUSIC OF THE FLOWERS „ Tschaikowsky-Stoughton THE BIRDS 26488 Tommy s New AMONG ." Drum-M. L." piston *y ." f ; ; 2 and beauty, the color and delicateness of flowers, music, the calls of our "feathered The fragrance Here, indeed, is Nature's own nature's gorgeous gift to mankind, have been the inspiration of many learn how composers of music Two Pianos— songsters." In this book you will this album of a dozen and a half pieces there have Eight music;' in their a composer. For Hands have" endeavored to Introduce and use "bird com- of the most charming flower pieces ever com- At Cinderella’s been selected some Ball—Ketterer , „ dozen examples of bird calls show n have been favorites with Dolly's .Birthday — e 2 positions. The story and the posed. "Flower Recitals" always piano Walter Rolf J' but even more interesting are the 21 fine pieces Tommy, Non- Drnn,_ £' are fascinating, M . year of study will find “pSiifo'i ; ; ; ; ; ; with bird titles. Pupils in their- second many interesting numbers to play in this book Price, 5Uc Two Pianos—Twelve Hands THE SIA ALBUM Bella Bocca. Polka—Waldtenfni - the vast expanses and vary- POT There are so many things to awe one In MELTING those travel it. those THE ing moods of the mighty ocean. And who and it, most always have been whose sustenance is derived from pic- Solo Arrangements of Folk Songs and turesque characters. from the explorers and pirates of old to the Piano scenes, and nsnermenfKhprmpn andana jonyiollv sailors3U11M of today. These moods, and eveollent second third iinH fourth Characteristic Melodies from All Nations people are the su6jects of the excellent and fourth of this album. grade pieces that make up the contents . Price, 50c Compiled by WM. M. FELTON

American today is taught in school to be BIG TOP _ pat^oiriotlc young of UNDER THE The ability to assimilate people of all races and proudi oi hie country's m united nation. There is a fascination for young What young American doesn’t get a thrill at the circus? The parade, crceasr C . THEODORE aboutn Kn«,F theIhp habitshnhits andfind customsnistnms of the peopleneonle of the clowns— all come in for their PRESSED J i tf in learning the animals, the acrobats, funny 00. f k book of 33 piano pieces, about grades gathering together the pieces for this book ?LJ^nndalan Here is a 2',i share of appreciation. In other Bn d dances of 20 different nationalities, compilers selected music for young children pieces that most Everything jo]ksongn the in Music Publications races. most interesting and colorful piano students can play. These characteristic numbers will oil of the A second year including supply hours of plensant pastime at the keyboard and provide the teacher with material for a very novel recital Price, 60c 1712 CHESTNUT STREET, PHILADELPHIA, PA, ) n n n