November 1941) James Francis Cooke

Home , Blue Trombone, Franz Bendel, Karl Tausig, Town Hall Concert, Vivian Della Chiesa, Wot (instrument)

Gardner-Webb University Digital Commons @ Gardner-Webb University

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

11-1-1941 Volume 59, Number 11 (November 1941) James Francis Cooke

Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons

Recommended Citation Cooke, James Francis. "Volume 59, Number 11 (November 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/244

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]. —

m o * WOTId ofmusic y

PUB LIS BY THEODORE PKE'> EDITORIAL in •d Oil? tmERTIP! DR. JAMES FI THE WO^ ^ Guy McOr *nd Hct

Add the beautiful instrumental Kobcrt Brainc Dr. effects of the Solovox to Pietro Dciro Dr. NicboU* Douty music council has I the national YOUR OWN PIANO! performances of works tabulated the HERE. THERE AND EVERYWHERE MARTINEL- FO U N O composers, GIOVANNI by American-born written THE MUSIC AL WORLD LI, world-famous tenor, sixteen leading symphony or- il dayed by has accepted the ap- the United States during chestras in artistic there were pointment as season, and found that last director of the Chicago Those works written by nat- ft (n ninety-two. Company. The C^onlents or cm ber, 1941 Americans, oi aliens living in Opera uraiized UNIVERSITY OF DENVER has member of the aggregated one hundred and the musical life of our South American THE veteran rtlcj: Si rtxn America, music activi- of perform- neighbor. A group of eighty musicians broadened the scope of its Metropolitan Opera fourteen. The total number under the leadership of Armando Carva- ties by the merger with its music depart- Company will still be WORLD OF MUSIC works of composers of all na- Giovanni ances of School of Music, of organi- Martinelli works coining from jal and Domingo Santa Cruz has at- ment of the Lamont heard with this tions was 1413. Thus, YOUTH AND MUSIC as to win un- Denver. The new department will be zation; and he will also formed about eight per cent tained such proficiency Town Hall Hallmark this country Chicago Alaartr stinted praise from visiting conductors. known as the Lamont School of Music sing important roles with the EDITORIAL of the whole. Ballet, directed Much national music is presented on of the University of Denver. company. The Littlefield A Psalm of Thanksgiving Littlefield, has by its founder, Catherine PAULINE ALDERMAN of Port- their programs. MUSIC AND CULTURE MISS DR. FREDERICK STOCK, the venerable been retained as the official ballet group of the five The Revival land, Oregon, is the winner of Ihe Ancient Reorder conductor of the Chicago Symphony for the Chicago opera season. Music Versus Professionalism ... dollar prize in the competition ARTURO TOSCANINI has accepted an Jf«)r«o«4 tii hundred his thirty-seventh Music Teacher* Honor Memory of The Orchestra, entered sponsored by the American Society of invitation to conduct the Philadelphia Vocal Problems ami llresih Teeholt season with that organization when he VERNON DUKE, who wrote the score New Instrument < ipportunltle. Composers, Authors and Publishers Orchestra at two of the regular week-end for in. conducted the opening concert on Oc- completed Rome Things I Have “Cabin in the Sky”, has Is-arm.l from T. . for • . HonM Bwr (ASCAP), for the best amateur musical concerts on November 14 and 15, with the Russian Nationalist — t*om|H.serie -Part .H 4 mar4 BmrtiMfiMt M tober 16. a violin concerto which is his sixth work play of the year. The winning play Is that later in the season he possibility the MUSIC IN THE HOME Toscanini to be accepted for performance by called, “Come on Over,” The librettist, will conduct again. Maestro New Delights for SIR THOMAS BEECH- For his Your Record Libra ri Peter fftfk Itti Boston Symphony Orchestra. Miss Evelyn wins five hundred several seasons has been Mualenl Filins Widely* Ac. In Ime.i West, also for the past ./>*a,!4 M trlii AM, British conductor, music, the composer uses his Musleal Itn.llatloiis on tiie B. C. Symphony serious Ether . , .1 Itee4 /. ia4mj Mtrfii dollars. conductor of the N. The Etude Music Lover'* has been engaged to name, Vladimir Dukelsky. ItookshrU . B 1t'rrlitk CWm< Orchestra. real MUSIC conduct a number of per- AND STUDY THE YOUNG MEN’S SYMPHONY OR- Met- The Teacher's Round formances of the Table CHESTRA of New York, an organization Ihe Traditions of Flue Nlnetuc a DEBUT RECITAL in New York City, ropolitan Opera Com- The Chapel Royal for the training of advanced instrumen- appearances next sea- during January, (Competitions I Jfe with several other pany Bands of the I | ?;!'? n teid Slat.-. talists in orchestral repertoire and rou- young of Old \ lollns and Old Method. son, is the prize to be given a February, and March Questions tine, has just entered its fortieth year Now, with the amazing Hammond left-hand and Answers pianist by Columbia Concerts, the new season. An- piano accompaniment, its She Brazilian PRIZES OF $200, $100, and $50, as well Studied with I.lsjtf Cl of activities. fvBkHt gesture for the award is made also Solovox attached to your piano, you lovely solo voices'’ Lackstage with Great Singer. Inc., as a reciprocal nouncement as performance of first and second prize- give you music rechnlc of the Month—Four Part ls*gato On MW appearances of a young American of the addition to the winning works by the Philharmonic-Sym- can bring new depth . . . rich- of new that is beautiful and appealing *,<• Aeeordlou Tea.-hers Markan, be- ’ THE CENTENNIAL established this year Metropolitan roster of Maria of New York City under ihe Future of the ; pianist in Brazil, phony Society ness . . . new color to every F'retted lu.troiuents ’/ « melody yond description. the Philhar- of this who since 1932, has of Rudolph Ganz, are offered MUSIC SEASON of by Guiomar Novaes. The details Icelandic soprano, the direction you play! Easily attached, Mme. successful appearances in young composers between the ages of ten the Solovox does CiosUe and monic-Symphony Or- contest are also in the hands of been making Con l«.p.r^ idwtlsw Hamburg, and eighteen years by the Committee of And it’s EASY to play the Solovox not alfect chestra, which opened husband, Octavio Pinto. Stockholm, Oslo, Copenhagen, your " * piano’s normal *! • • • -Ge-orpe Frr 4rr%ek Novaes and her use Finn*!** fr *i"i" Jfamdrl— the Young People’s Concerts of the New . . . even for 1 Hu,,,rnrUn frtai Berlin. those untrained in music or . •'« * on October 9 with Leo- and tone . . operates from an electric IWI mum" *.-: York Philharmonic-Symphony Society. March -i’Tf of . . . even for small children. of the Huffoona Pin** pold Stokowski as guest director must reach Dr. Rudolph There are outlet. f I)R. ELMER A. TIDMARSH, Compositions Autumn Sunlight Vt*t AND SOLOISTS appear- ZL i / conductor, is high- Schenectady, CONDUCTORS Musical College, 64 East no chords to learn... no complicated See at Union College, Ganz, Chicago the Solovox . . . : i music Orchestra this play it . . . with the Philadelphia Chicago, Illinois, no today Little Drum Major". ". lighted by the presenta- in October, his five ing Van Buren Street, fingering. Simply touch the , red Tfflt N. Y., gave, early Solovox — at your nearest include, besides Eugene Ormandy, than December 1st. For details write piano dealer’s. tion of new works and organ recital in the Sunday season later keys one at a time with one hundredth conductor, Sir Ernest Mac- at the above address. finger For information, write: L..*ns Carlos performed. 1926, these the regular Dr. Ganz Hammond others rarely afternoon series. Begun in and your melody " H Chavez Sir Thomas Beecham, Saul Cas- pours out in any Instrument Co., f53E*5 In addition to Stokowski an important part Millan, 2929 N. Western Idiv-'r tSSitSLi recitals have become Rachmaninoff, Betty Humby, A FIRST PRIZE OF 2,000 ARGEN- one of a thrilling array of delightful nd the regular conductor, John Barbi- College. ton, Sergei Avenue, Chicago. of the musical life at the Rubinstein, TINE PESOS and a second prize of 1,000 'W, the Dorothy Maynor, Artur instrumental effects— as of violin, J-hnnn traprMf R* list of guest conductors includes awards in a contest spon- DrliKh,/u i wlnom Hssrlcr Arr. tf Zimbalist, and pesos are the Hmm ,or 'me Fritz Kreisler, Efrem That of the foremost personalities in FESTI- the organizing committee of the trumpet, French Music teachers I Turkey . e. sored by horn, oboe, trom- Write for interesting {mb,,”"* „ r PHILADELPHIA CHORAL Feuermann. FREE 16 orchestral THE Emanuel en- booklet. field. New works listed are presi- first Pan-American Games, for a song bone, cello, and many more. "Why Jimmy Quit," h, Henry S. Drinker, telling how r ,,n,, Thr,, P Copland, VAL SOCIETY, Sports. It is open to musi- = h ' b- trr- * Chavez, Diamond, musical titled Hymn of the Solovox has ShHuty i “,ir David Allen Dash, And when you play proved an remt m filliam dent, and James of Baltimore, in country in the Solovox important Toohntc < KERR, JR., cians and poets resident any aid of ho Monti Grant Still, and David Stanley annual Bach THOMAS J. in piano i-tude Min* announces the against the background teaching. (Four-part 1 director of the one hundred dol- the Americas; and full particulars may be of your own Leguto) Chrt Carag, Op.US,* the annual was the winner for May, 1942; and Forge- secured from the committee at Avenida THE junior etude Festival’ the lar prize offered in the La will be given by Aires, Argentina, TOUNg Brahms Festival composition contest, de Mayo 695, Buenos AMERICAN SINGERS are given Berumen piano miscellaneous in March, 1942. Authors South America. your piano Voiee opP°rtunity society sponsored by the Composers and Questions Answered (J. to gain experience and I HAMMOND lnmg of America. His prize-win- in Association fZl: for a FREE operatic performance by the Cincinnati THE AMERICAN ACADEMY IN to SIXTY-ONE YEAR OLD is called Retreat of the Lame Group of the Orchestral THE ning solo ROME announces that it will hold in 1942 National greatly broadened **lat Music has on of New York City, which College of Tin Soldier. a special competition for a cash prize of n i establish- "1 year by the its new its activities this $1,000 in musical composition; this to OIOVOXl’“^ r season early in October. which ...TONIGHT I B Association w • >nr of an Alumni OPERA COMPANY take the place of the fellowship for study laTlQt. ment ' THE PHILADELPHIA ..was.. many of its far g and travel which this year cannot be oci*te of will include "°^ will open its fourth season on November r* PHILHARMONIQUE hl ^ws world conditions. I I'ienty o'f J!!V of a mon awarded due to present "Hyacinthe, ates. The founding with a performance of “Faust.” In - Quebec, recently dedi- ^ J hi 18th Holding P„ Wed current achieve Applications must be filed with the Exec- plu Wlth Music ® to record the the policy of the company, CoU^toi ®eniorial plaque in honor of paper keeping with utive Secretary of the Academy not later * Ringuet, in this season’s reper- composer, conductor, or all of the operas than February first; full particulars and high light teacher. he toire will be sung in English. A application blank may be procured from v Entered » , For many years J premiere f. * ***** Stinguislle( season will he the world the Executive Secretary, American Acad- ***** of tSU. * tie O l Canada’s of the k A ? iti„,f member of a*d*<* GreatGtmi £**?”**<. 1941. TbrUmt Pmm O “Ramuntcho.” Sylvan in Rome, 101 Park Avenue, New \ 7 Britan,Btliin h world. Many Etude readers have of Deems Taylor’s emy director, hls Stucken an_dA.mn is musical and artistic York, N. Y. ' s A * delightful der wide Levin R*«. M d r>,r««»eos. Anrr-mu. B* O X Fe.rl. G-* compositions. Cuh^D," -,, , B t Dr. By the makers of the Hammond Organ, Hmia ^ C. David Hocker is manager. Hammond f^UKuay. EfwaAa.BMniar. G aiiflt and Novachord and (Continued on Page 7801 Hammo d El 8 foundland. ,'yvR,fav Sp ** Pen, |r*» Pn is stage director. ” .. , W °NV Santiago Hans Wolmuth « year' Al * ^' ORCHESTRA in «Ewr f. r *VM) a war u«k•rah off.«*»- wn v e is the newest development in 729

n r* r* | !^ ,

Editorial Youth and Music

N BUILDING TOWN HALL in New York City I the League for Political Education reached a cherished goal; for a long time it had wanted Town Hall ^4- \alni of iJ/ioiiLctnk^wurc^ its own offices and club rooms and auditorium. \ But the erection of a building in the heart of Manhattan Island requires an outlay of no small proportions. And when the doors of Town Hall Psalms of Thanksgiving inevitably triumphs over might. BLncL O MANY OF THE are dedi- in the long run, right ready to open, although there was great of the were & “the Chief Musician” that it seems especially give thanks that, even in the warring countries cated to We satisfaction in the League’s ranks, there was are millions of at this annual American festival of gratitude enemies of freedom and democracy, there little money in its bank account. S fitting for the blessings that The Etude give special oppressed, who look secretly, with hope and faith, Then, as if in answer to its needs, a tenant God for our thought to sponsor a yearly Series, which would to their lives, appeared at the business office; a musician would in music, the League decided link his name benefits in this overthrow of the cruel tyrants who have ruined m * thanks for our unnumbered hour of world series of fine concerts. They were—and still are- of world renown In other words to families of like to use the auditorium. League officials smiled it ,1??? demolished their businesses, and robbed their Series. And on mark him as a superior confusion. at this unexpected prospect of revenue, hesitated called the Town Hall Endowment performer whojjj' holiday. loved ones. only a moment, and promised the use of the Hall them appear each season a half dozen or more of onstrated his worth in a spot Thanksgiving is our most venerable American where com* continue their hap- most renowned musicians. Is keener than anywhere years old. The Pilgrims, in We give thanks that our children can for the next day. By that time carpenters could the world’s else In the three hundred and twenty 5 It is the would put on him a education without fear of murder from widen those stage doors sufficiently to permit a seal of approval of 1621, came together, not so fnuch for a harvest piness and their An Idea Develops ir^. the autumn grand piano to be rolled through. No one, while able to concert managers everywhere for a skies first feast, but the building was being erected, had thought of This first gesture of interest was followed by a The Award was made in 1938 culture is still burning and cto We give thanks that the torch of their ever needing to a large one, latter several year., later the recipient of prayer accommodate such second the made was not difficult, for day fire may her 2 brightly in the land of the free, that its sacred stage property. Meanwhile, for a long time, Town Hall, Incorpo ment was one not thanksgiv- matched nor likely and t, K illume the world. This fortuitous union between music and the rated, as the League had come to be known, had matched In many a concert be used to season. She it* ing for deliv- which en- League was effected in 1921; it was followed by been watching young musicians appear In the Rosalyn Tureck. and give thanks for the spirit of tolerance she played the tom* from We a steady succession of musical events in the audi- auditorium, had taken cognizance of their situa- preludes and erance appreciate the shortcomings fugues of Bach’s "Wei! faM ables us to understand and torium. For intimate perils of recitals it soon became the tion and asked what could be done to help. Clavichord" in a series the differences of opinion of six recitals, and to view well meant choice of of others— the famous, and, partly because celebri- Some of the young performers were £ first New mediocre, them in a manner that made criUcs the toss Taia] for holding them. ties appeared here, and, partly because without condemning others they some very good, and a few—a very few were al- hats into air. — the 8o far as the Judging England win- sanity, the “horse could not fill a larger auditorium, it mm for the spirit of became the ready artists who gave promise of being still We give thanks was abie to ascertain, this was a feat neter be- ter, for their peo- choice of a far larger group—the would-be greater ones. keeping the great body of American Watching the welter of talent that fore accomplished by a woman. sense” which is famous; debut after debut And this raa escape from was made here. In a passed in review each year, Town Hall, social balance, from running to Incorpo- who had the courage and the ability ple from losing their few years, Town Hall was celebrated near and rated, to put us and fell to wondering about such performers this colossal wild beasts economic extremes based far undertaking was Just twenty-ta destructive moral, political, and as a music center. and about that long, difficult route that must be years old! from Indian of a false ideology. As time went by the landlord began to be radicalism and a doctrine as traveled before an artist, even an exceptional upon interested in the tenant as arrows. This e g i v e the tenant was in the one, has a box office name. W Among young people The Fruits of Labor landlord. Music was no longer merely a source of was no hilari- thanks that under thirty, for instance, how many of revenue; it was them something of which the League even the ones Miss Tureck had been a prize winner ten ous festival. millions of who topped the rank and file’ was proud, something with which it early age. At thirteen would not could, without great difficulty, she was awarded tap They had been willingly dispense. As an bridge that run Americans indication of its interest between a New York In the Oreater Chicago Piano Playing Toth debut and the point where obliged to bury have a higher ment, then she won a fellowship in the Joint a performer Above Photo by John A. Armstrong is rated by their dead at understanding School of Music, and in 1935 she captured boil small city managers as night, the $1,000 Award of the National Federate: o' so that of the impor- a box office success? Music Clubs and the Schubert Memorial Ami the Indians 1621 1941 tance of music All of them could state The Town Hall prize, coming three years later, and in their publicity that might not know Thanksgiving dinners three hundred in life, espe- delighted her, of course. But to such s veteran apart. The 1621 picture is a they had made Town that the tiny twenty years cially at a time collector ban ~ performance given in recent Hall debuts. of blue ribbons It could not re-dramatized How. then, group was re- citizens of Plymouth, Massa- of crisis. “Mu- ried the shock of great surprise. years by the was an out - of - town chusetts. Did the Award do for her wha! Toe Si duced. Half of sic,” said an manager to know that believed who asst- the the ability It would? She assures anyone colony died important in- displayed by * about it that it letter last jar some unknown John did. In a during the first dustrialist re- wrote. "It came time when my career ns®5 re- Jones was at a winter, Carver. Yet those who “is the extraordi- 4 including Governor cently, a u> sp® nary? boost of that kind and it helped They mained steadfastly gave thanks for their blessings. best ‘blotout’ I To help news of success all over the country. since®* both man- had and defiance of Hall has doubt that® in them the same spirit of courage know. When I agers and the such prestige. I have no John matter - Britain to-day the Joneses, Award carried much weight in the danger which have made the people of go home at Town Hall in- engagements season—which ws a® stituted a plan whereby for that marvel of the world. night, I sit at it busy one.” a kind of would present Those who this hour make Thanksgiving hour, and the countless trouble- each Ca®' at the piano and play for an year a The second Award was made to Miss sauce and the Young Artist Falstaffian and cranberry completely. It is a lest, a Olenn, early * orgy of turkey problems of the day vanish Award to violinist, who was also an e some the one ‘ spiiit o under e • “trimmins” the true beneficial to thirty, sistent prize winner. Prior to claiming * are very remote from solace, a stimulant, and does something my who, in the the Hall feast, to revel m help to opinion of Award for her playing she held festival. As we meet at this harvest mind, 'which is hard to describe. It seems to me a committee ior- at both Musical Art a® homes, let us not of judges— the Institute of Plenty which comes to most American reconstitute and reorganize unconsciously my thinking ap- acting upon lw11 suggestions Juilliard School, and for maintaining the blessings. submitted get to give thanks for our still greater paratus, so that after these periods of music I can see things general four y the average over a period of in Amei ica, oi professional & We give thanks for the privilege of living more clearly and come to profitable decisions which would C won the Institute's Faculty Scholarship - UCS ° f privilege o ma New the the privilege for the with a disturbed mind. One cannot do much Y^ u Then, while still a student, she won of being Americans ; not be possible Miss Rosalyn °Uld Tureck. brilliant Bive way momen , , . this young 23-year oM , The ^ N. opened the lug are, at brain. Music brings a kind of d re the Naumburg Award, which sacrifices to help others who with a troubled, overworked 1"°" emblema,ic °f her winning Sen,ed with auditorium thi first . an the perfonnan AwardAwa d'Mior her "TownTaU nd° Town Hall concert. for her theii own. that, together with presentation in Wment most And appalling fault of . balance, and refreshment the 1938 season oi the Serie « outstanding distress through no blessed repose, Bach 48 pffd / , per- in a senes ° Young - of six recitals. She is the nd Fugues that debut recital she won the all countries first woman as far o ^l? °1 formance of We our friends m association with worth while friends, the joy attempted such a feat. the sea give thanks that many of family, the The ''Town Hall “ 0wn - who ever Award be my to .... Endowment 5? - plaque and the chance ° Series A " devastation o religion, lead to y Ung a iSt' man 9‘ Ven *°»M consist overseas worst and the inspiration of me -'- " woman - “Oder thirty “ each l, are still from the wide reading, . series of such ... spared of New YorkYorif music critics who^t'hh® afPlaque concerts that offered and the Town Hall opmion the giving Music Comm-.. th the,v daily for my blessings.” The speaker was the outstanding performance of the 63 date formers as Viroval, Enesco, Myra Hess. agony of hunger and plague. give thanks season at Town Hall. ^ most and nature nther andTowT'th^ of his ll0ns in Rethberg and others. We give together with ml one of the largest steel manufacturing plants accomplishment , 4»s thanks that, _ head of and in accoOP ^ u tri Her age when all of this was faith in e ( Continued on Page 792) “• ,!»* > i„h, s ™."j d”*d U rantee Americans, we have not lost our America. m errv^' ^ he « ? tha t Nineteen. honor & be Thus far she has the umph times comfums e included the of right. History many c—“- as aa^nni!?paid performer youngest artist to receive the on 55,08 rs.-s.'s the following The third winner was a singer of F “ent, Town ve-ir-e 730 Hall. ^wn Hail En^Cn! lative gifts that her fame from the 731 appeared on the Town (Continued o» W Member, 1941 \^1 —

Music and Culture Music and Culture corder in fourteenth century gain as: A singing bird. to the business of so exclusively devoted “It certainly expression of his inner s possesses, to a mar™,, that he lets the mingled duU maladlusted na^ qualities of our most Profes sionaRsm come atrophied, grows beauuL^ Versus a na struments." Miss [usic true of nations. When Lehrer hande7m row. The same is of self - ex.P r Revival as she spoke. "See,’’ little time to The she said tion gives too “how Now, music ®fis one of is. There are no slides, civilization is retarded. no intricati« ^ with because fis Interview of self-expression, small enough to tuck into An the finest means one's subjective and Personal. large shopping bag 1* is so entirely or overcoat ' appeal pocke™' be cultivated, why the According to some ram That is why it should Recorder charming J happily enough^ The Ancient do cultivate it, of people torical documents in Miss 11 {j DistinguishEd Journalist majority Lehrer* fZuonond look forward to the time not only musicians, regardless of ‘musts.’ I but the greater and CommEntator turn to a the average citizen will of all time, had marked 1 when respect for make a nam An Interview with foT®* he does to sports—not to Shakespeare As we get mor djj living, but to release himself. participate more By ROSE HEYLBUT and more civilized, we will hls creation, and m°st freely in artistic limns more 3 5 than that we want P' ? In Hi*. for no other reason h'mcjcird rJCelrer the nation when news that happens, is bno^ is credited with to. When Gram Swing of expres- 10 hero Rmond is formed of millions of ti* following of which h the nwst extensive crea- Proof attracting will show new of his He sive individuals nngi fifes cm»,e«t«tcr ,n the world. P, murder, it* vitality. instead tive of and was edu- . si- state, L in New York signs tnat tempting nm “There are encouraging to destroy and the Oberlin Oberlin College expressiveness is words Id at this higher state of the acute Swing began "Anon they movE in pErfEd phalanx to the m of Music. Mr generally sup- of Conservatory at hand than is mind suffered twenty. nearer by j before he was journalistic career is made in the Dorian mood of flutss and soft rEcorders” human his posed. More music being ai^, the most experienced for- thirty St ranks as one of than was the case Paradise Lost John Milton tortured beyond home to-day — meas- He served as Berlin instruments ma correspondents. ago. More musical ure, Shakespeare years has Chicago “Daily News’ correspondent of the being sold. Much more group the character are During the past cj mt: as ten years there has been Lehrer explained, is to the New York “Herald ; group music, make the and, later, of music is to be found; and a very “Come! Some i*®; definite movement in Europe and public acquainted with correspondent of the Philadelphia important the music London to my mind, is the most in America to revive the ancient recorder for Come! The rmtuf York them, most of which still Ledger’’ and of the New stimulates cooperative so “Public of all, since it frequently mentioned in history and lit- remains in Samuel Pepvs, ak York corres- pro- museum files. “Evening Post”; and as New and minimizes solo erature. The enjoyment instrument has a peculiar “Our use of in his noted diary, jm “News Chronicle.’ the word's ‘old pondent of the London fessionalism. appeal to children. —Editor’s Note. music,’ ” Miss us one of the most Tiiid editorial board of profes- Lehrer explained, He was a member of the “The popular attitude among “does not in any impressions of tie in- the vi- sense mean that “The Nation.” sional musicians is to question such music, or strument In hh de- to news in this the instruments Mr. Swing has devoted himself tality of personal participation on which it is scription of Masts:; News Com- records, and played, are musty broadcasting since 1935. He was day of radio, phonograph and uninteresting. The mystery play, lie t- of the Amer- superlative canned music. RMGARD LEHRER, FOUNDER AND word ‘old’ mentator on Foreign Affairs generally DIREC- is used, for lack gin Martyr." in which Broad- people are of a better ican School of the Air ( Columbia hold that the more TOR of The Center for Old Music, is one They bringing to describe the supernatural eta has hear fine I something worthy Mil* casting Company) in 1935-36. He encouraged to sit back and to the public a great deal of information on of Irmqard Lehrer la Elliabelhan co* preservation and turn*. of an angekhcirisac- American Af- free, the less they musical subjects that has hitherto transmission Photo reproduced by ptmluloa been Neics Commentator on performances cost been unavail- Ik regardless of oI Dr. William complished with Company the trouble of able. period. C. Carle. fairs for the British Broadcasting are inclined to take use of recorders, Pepys on Foreign perfect performances Miss Lehrer is a gifted since 1935; News Commentator working out less recorder player, a con- 1 0 °‘ ’ strummite d in words, always worthy of quotation, are delist® with this cert artist possesses ^.' Affairs Mutual Broadcasting Com- themselves. I quite disagree and teacher of established recognition ^he'ûality'of for The But that which did please me beyond c«?• Commentator on observations show that in America. She is assisted in her pany since 1936; and News view. My own work by Eva if vm Heinetz, and thing in the whole world, teas the Canadian Broad- sort of music people make them- other well-known artists, who con- beautlful American Affairs for the the fitting for 1 ant* mustquc angel comes dorrs, rttt is enormously. Little duct classes in the viola ‘moderns in'thei^s^ when the casting Company since 1938. Mr. Swing selves has grown da gamba and harosi-^ vironment as it is so sweet that it racished me. and including I can think of chord. was when first also the author of several books, cross-roads towns — "eXf"'" it in so thd marshaled their The prime purpose of a word, did wrap up my soul 'Forerunners American Fascism” and many of them—have the center is to revive an of o, ftare/rvs? . amateur interest in these early instruments. made me really sick, fust as I “How War Came.” His hobby is music Raymond Gram Swing music-minded citizens into And the first Its highly teijt: f® groups that and most necessary step in this functional been when in lore with my Editor’s Note. orchestras and chamber revival, as Miss ch.e, “mouth* neither then nor all the evening, poins good performances. Choruses and economic nec- give amazingly anjttw remember; that everywhere. School and at home, / iras able to think of as longlone as hen can clubs are to be found WORKS of as his turning to glee ,® 1 iMONG THE CONTEMPORARY reason for groups in their schools, but remained ail night, transported 6SSl y boys form chamber music distinguished presented by the Com- music; that he has wW merit iT™ Sther than to activities. gressive could not beliere that erer any ^ 1 elective secondary instruments York Public ar a n as ' in w* posers’ Forum, in the New his active P modern hath that real command over the soul o/ never' relinquished ^° “ categories rary was a composi- f Participation lire*® some months ago, there ^ Active 1 e as this did upon me: and makes merest 510 dy 3 for “Fantasia the ânk-and- Played - 1 violin and piano entitled thiThands offers reorder* myP! imtsi^lies^n professional means when he Misfr T° " practice scind musique and make in t™ f “What the isi una sonata.” The work was unusual music we 1= And thi* the like. his objection is that the fine canned esmuraT* °h 1 respects. than ordinarily h First, it was more from going to concerts as much been, “™ A few days later, we read, the migW do get deters people •ressive; and, nothing to 11 second, it had the concert plat- their carried went to ^ as they did in the days when possibilities, out his resolve, and h “Fantasia” was would hte1Ke n “professional music.” The the rasM only authoritative source of good to become 1 maker to buy recorder. has upon P outstand- form was the 1 ite again pw «U a work the eminent „ shoulci wr w ^ of Raymond Gram Swing, And, in this, he is quite cor- to 15 students , that a “non wide- music available. other I? Comparatively few casual ts analyses curious, ii fiTrument commentator, whose penetrating business is not falling off, cer- adaptable, 0 ’' realize as Ba de- rect. The concert either that such great composers ihe thought Mr Sain, foTSto foreign situation help shape the of mind which but it no longer ofen ' i® £?,S"atti.ude tainly I hope it never does— semble playing Handel had an imposing list of works listeners g d the ^ millions of listeners. Most of these in isolated splendor, as remarkab^ most the sons sires to refute. dominates the scene 0 f ‘if o recorder was featured. Four re appear as 85645 surprised that Mr. Swing should this is an excellent thing! In- really its were c® for Pleasure it once did. And beautiful . Z “Sonate da camera” by Handel : composer music. The Playing ^ of formal and excellent to professional concerts, for which contribution CWcable for oP else to- stead of going as recorder. And in most of se of the atti- „c. as anything an obhr ^ „ ^ take the surprise roots partly in as muchm_. and dress up, the aver- ;j we^need to spend money °r Italian Music. tW “What our minds t0 he had accompaniment cantatas, and “Water e °f Mr. attitude of s to the Swing and partly in the ^ is finding a new and two-fold ^ > ^ music-lover um says M age voice. an a day,” • necessary—to For this, , prominent part. e listeners. possible—even ^ that it is P closer at hand. First, he hears great Brander.hu t the idea rsuit without in stimulus, The “Second and Fourth Swing his music mak- tic pU the radio, he does not talk about ourselves t0 of music at no effort to himself. On certos" as ^ it; devote it The problem by Bach have recorders = He makes because he loves y byy phonograph, he She music solely way earning nd our hears vital performances; on the Played any , a a few ments. cantatas ms it, nor ag hat of labor notes on And many of his no thought of making money from quite as he wishes, whenever he wishes, recorder. êr own leisure is g full use of hears whatever Th^v corder obbligatos. .â earning musical activ- taught us the 3 hquid public acclaim for his hasn but as often as he wishes. plaintive, and es civilization y ‘time-killing,’ like Telemann been - He amateur, ^ the* also must have pa- describes himself as a “rank 1S thing is that the music Recorders with bird. leisure, which A man “But the important a primitive stringed More b* l!l tells .rpif-exoression. instrument * virtuoso on instrument, as . Prefers He throaty“’thtin th the the nrivarv of that status. « our ***** transverse fi«e merous works for the recorder, ££ brought out a different (Continued ? — ,

Music and Culture Music and Culture

What Is Breath Control? its stimulus doesn’t end with passive listening. Vocal Problems The next step in the passage of breath is vibration of Which introduces Point Two! The new flores- contact with the vocal cords, the the im- cence of amateur music throughout the land which produces tone. Here we approach This means means that the more music people take in, the portant problem of breath control. the rig t more encouragement they find for translating the budgeting of breath so that just their interest into active participation. To vocalization of tone. If my and Breath Technic amount is used for the mind, the sole cause for this new florescence is the sheer repetitive weight of the canned music people have been hearing with for the last ten years. A Conference While a good concert stands out as a stimulating treat, the repetitive cumulation of good music at home, day after day, year in year out, does more (Bohor than entertain; it invites personal and active Waryit participation. We have seen quite the same Distinguished Hungarian Soprano, thing happen in the field of sports. As a result of continued spectator interest, people have been Leading Soprano, San Francisco stimulated to take part themselves, sheerly for and Chicago Opera Companies the fun of it. It is precisely this element of taking part one’s self, for the fun of it, that is the core of self-expression. The accessibility of for The Etude by MYLES FELLDWES great Secured Expressly music is chiefly important for what it does after it has been heard. That is why I must f earned the acclaim of American concert Nm i Margit Bokor, who has disagree with the professional attitude which audiences, is a native of Budapest. She showed marked dwells upon the ‘harm’ that Fr kûomtuan jtt& and opera canned music can | trained as a concert do. and dramatic ability as a child, and was It does no harm at all. It does the musical enor- *ctUN.nA'TFO> .. prove exceptional. Ate*Sh. Not until she was seventeen did her voice mous good of familiarizing people with music : X pianist her pianistic debut, she returned they had little or no Although she was almost ready for chance of hearing thirty Budapest TE I: • her entire vocal training at the years ago, and of arousing AC H RS N \T I ON’A T to her studies, receiving them to take a hand years at She passed her examinations there four SteAjj music-making themselves because of this. Academy of Music. iff “It engaged for the Leipzig Opera. Thence, is this absence of professionalism later, and teas immediately that I Fritz Busch, anticipate in Opera, where she worked under the music of the future. I admire she went to the Dresden the professional AMA. appeared as guest artist at Covent class greatly. As a class, though, and later, to Vienna. She has it is too 'HE PHiLA and at the Salzburg Festivals. small, numerically, to dominate MC.SIC TEAC Garden, Paris, Brussels, Amsterdam, the in musical scene as it war, Mme. Bokor has sung has done. There have been Since the outbreak of the European simply performers States, winning recognition for her and listeners, with no stress MUSrC South America and in the United whatever on the STUDY EX Air: I ..... presence.—Editor’s Note. in-between group which is not vocal mastery and her charming stage content with listening alone, yet which is not at all professional in its purpose. And this group A precisely, MAN OF DESTINY he needs for singing! That is why has the most to bring to T IS DIFFICULT to select one problem as the music. Music acquire a belongs to the the young singer should people—in their own hands, their most important in vocal technic; the technic, I the art of breath own throats—not as a rare treat, firm grasp of not as a' r r or mechanics, of singing is like the founda- mark H L A . MUSrc of social superiority, TEACHERS ass n control before he allows himself but as a vital tion be there, force to of a house. That is to say, it must phases live with. golden to think of the interpretive .jubilee but it should not be conspicuous in any way. The We are all familiar with of vocal art. one reason, at least greatest technical mastery consists in giving the has been kept a art from rf P everyday impression of an absence of technical problems! Cannot be Taught life. Most children ‘take lessons’ Talent when they are That, of conceals art.” small. course, is “the art which are, to Then comes the time when other These interpretive aspects crowd interests Still, those problems are there, and the performin and formal lessons are mind, a matter of inborn tal- Margit Bokor halted Still er who who has my later, we best conceals them is the one one, find the average adult looking ent and temperament. No upon back spent most time and work upon their solution, that break between music study can “teach” a person how and everv if I the really tone is day living, were asked to select one problem as Barrio too little breath is used, the resulting and regretting it. That magnetize an audience. As Sir James in-between broad all other to is used, the tone becomes period needs careful Music basis of singing, upon which gift of charm, or he weak; if too much attention. It is certainly Teachers person either has the not Honor technics says a helpful con- must rest, breath technic. and colorless. The most »' «“ chin Memory of Theodore I should say technic is quite a different breathy that hi, lacks it! But vocal mSTort S The art great deal breath control was taught me at the general educational HHP miTr a of breath control involves a upon purely physical ception of methods are to P IA matter That depends blamp ' t SI more Every I told to think of a blame. Let7 me offer an M ° TEACHE mlJ. than the correct drawing of breath. serious student Budapest Academy. was example in the case ASsSSlAS RS tion, made the of acceptance. reactions and every of T of h h «ch tonal actions and the top of which there my own son. He is now w* development (in contrast to interpretive run, the singer single-column fountain, at a freshman at Harvard 6 5 followed by a m enable program msiie master them. And, in the long 1 development) or another can is a light, unattached ball; when the water is lamusic ’ and sented depends in one way has the longer, receiving full ^toNhe Presser by a short Isidor PhW vocal technic credit academic talk from M. upon who has mastered the edit ^for his work in breathing. In this, the singer’s sent up through the column, it pushes against harmony, --* — . ~i Fat®Fas . addition to music theory ^* twenty-se en years President of the vocal life. and similar d e personal surer it to dance up and down in a light, subjects. He ê^ ^ aT pa t? welfare is intimately singer ball, causing also t^John^^s^re (iq j upon the stage correctly, the ptays tht vfoion eU^° ! the Conservatory of Paris, an -address how to breathe cello which ^rn ^ "ound In learning water pressure, the he greatly enjoys; let dedicated bronze up with is stage fright think- free motion. The greater the but he receives to the tab- Olen Music Depar breath. That why attention on the diaphragm, a Cr no Haydon. Head of the should focus reaches. In singing, edlt hat6Ver f0r the occasion was F°Under be so devastating! Even under ordinary con- Breath originates higher the distance the ball hours of work Pounder’s^jav The the University Carolina, piano fA and wideness. he devotesdeTOtes tof T of North dons ing of depth represented by the column instrumental practice. biennially at 1S celebra ted of everyday living, we know how shocks, abdomen which the water column is The inevit the Home The p Mr. Harry Mayer, who made a splendid L nn the strong muscles of the that while event surprises, the the ball is the tone. The tone “sits” ’ his job one of made and expectancy affect the respira- of air, and consists in work the series of c thts sion upon composed largelye?^ moments of Tn passing through ing an audience jhythm Sve Support air, receives its strength a part of ratIons form- of our novelists wish diaphragm easily upon the column of and less time the Fiftieth /F fessional a verv tf-T breathing. When should expand the T°lversar musicians, and finally, tory tract! then, it freely and lightly (or founding of y of depict tension they use the easfly'acquaint of support from it, moves the P M T the nary of in some character, direction. One can portant as any a NA"h beaut a cappella chorus composed in an outward the breath power be- academic subject. designed and iful tablet ^ j®* Phrase; though she placing the hands the reverse) according to WtoSverîme executed and Olney High “Her breath came as this sensation by leading women from the ad s senself with is strong and jewelers Phllade been running.” func- oneone’s waist lme, hind it. If the breath pressure (the J E lPhla’s Philadelphia by , The entire respiratory a a ye the >, ably conducted ° the body^ If measures WCU n is against steady, the tone remains precise, firm. the three feet Com a ny). closely fluctua- mouth . C or- by three P Nitsche. Mr. Oarrigues. Presides bound up with emotional with closed Edwin B. f tablet WGt ’ S1X °ns, inhal S unsteady, the tone was lnch and ’ pressure is wavering or presented es. 1 because oxygen expand the breath school and Ever6 y at thn A The Home, audience * the system burns up more breathmg viml at once college * teenth, ®e on also addressed the drajm ' ball does atop an un- st^’^JR™ 8bt before a Juna seven! moments it by rectiy themselves being trembles, exactly as the to practice, be feaser large a ba®* of stress and needs to replace is under the !,• distinguished program the guests remained for so that thehanas^ „ to-day, after ten 3l ncluding *3reabb order body

incons P‘cious tilting., in the Solovox. tulture Music and Culture are called *«**£,- Music and entirely were new to my ears ous timbre. ndofte ^ 5%

Music Lovers Opportunities Without Numb, Things I Have Learned From Teaching New Instrument Meanwhile, the boy became Some more terested. and so w did l My entire musician, pianist, and teacher Conference with of had A which is just another way orthodox. It siasm for his work— ran the conventional ^ materially referring to his progress—can be usual beginner’s materials quite that affected by the nature of this relationship ••legitimate,’* through Kunz’s him. for Piano Teachers "Canor^^ as much as by the actual facts explained to “Inventions,” through Jdarofd d3tcuter that Czerny, Cramer u Sometimes, regrettably, the relationship is Clement!, and the usual atti- series of JS of tyrant and slave. Another questionable from Scarlatti and tIt! World-Renowned Pianist pupil Handel to DehnT tude results when the teacher assures his Oh, yea, sufficiently 1 a that all will go well if only he is my nose at anything better, but it that did not “inspired.” The pupil may like this ^Jciu (lin er *34 t PcuJ (j. the bounds of the holy found that the most circle I have I JF’ Secured Especially for The Etude by JOHN SHERWDOD does him no good. from my teachers. Those progress results when teacher and who seemed Jj satisfactory music out of 1 doctor and patient. my circle I looked upon a-™! pupil stand in the relation of ables.” I did not realize the teacher is made aware of all that I had beenS That is to say, myself from musical case history, the vast world of human PIANO STUDENT active participation in interpreting this work. the facts in the pupil’s beta- ACCEPTED MY FIRST he side T hesitation , then my circle who could never opinion, is more good and had alike, without enter mS apprehensions. Having had no piano Such a class system, in my performers 1 with facts and makes his diagnosis, as My conversion to the violinist and musical and more satisfying than indicating analyzes these posstfij 1 myself (I was a this instruction of which he offers advice. From this new musical territory came piano). I what a student must do “because I say so.” An the result UkeimteL myself whatever I know of the wus aught on, the pupil acts independently, applying one of the most profitable and of instruction alert teacher can readily see that no unmusical point enjonfcg hardly pass on a set system tould himself. Truly musical expression perlences of my life. I are encouraged to the advice for have not lost another teacher could speak slips occur, and the students um'i anyone. Where other basis. No my orthodox musical U for themselves can hardly be achieved on any training or my profa or that “method.” I could take the vital step of thinking authoritatively of this exactly how The Solovox keyboard and lone selectors. This one can tell another human being may be attached to any piano keyboard dignity, but I have added greatly it especially when they feel the responsibility of to my “This is what I have done, and has only say: musical effects. Directly a pupil is told and have stretched justifying their individual opinions by demon- to get his my hide-bound to me.” With the experience of mm proved helpful do, the effects cease to be his own. It is a until I am again in before the others. The goal of music what to tune with the larger first apprehension has strations vatii teaching, however, that student to music; and the better plan, I find, to encourage the from which I had kept aloof. that “methods” are study, after all, is the making of NE OF THE BEST subsided. I have learned be; to lie KNOWN VIOLINISTS, in in him, and he was good and such as do his best, whatever that best may canny. He said “I’m The proprietor gained the Interest the technical aids to fine music-making— a large symphony of the iot in terms of the help they give orchestra in the East, was with valuable only in wait, as it were, for the truly right and satisfy- you, Son. I play the trombone, too, but I and his mother. O retired because She bought a piano for taui absence of method of age. As far as he was think student. And if an musical expression the occasional glimpse that I play the trombone very much bottflute, ?ts~ Pom] ploying lb# SoIotox mfmber o suppose that emotional “Now see here, piccolo, vloIi n. Taubman ®ost satisfying, questions, beginners may be profound mistake to Ma,” he i, other S little said, oboe, asking each “there isn’t English a manner. Even use anv ^^ °rn> Kf inTike vanish on close analysis. (This is the buying me a Phone, alto so ra wk'* e pleasing in participa- beauties piano P no , as specially study because I just won’t saxophone saxo- piano to how some first taste of piano nraT SS terest. It is to the ® effp t TTir tice on it. I’m going trumpet, 0 0 6 an accessory «t was arbi- enthusias- theory of the “don’t-brush-the-bloom-from-the- in for football muted ^ " ' bassoon achieved. The teacher serves as inexperienced but and I horn.’ - thirty- their S can t Frenc^nch organ, and the electric organ. The pr, of thought, which fails utterly to make the team, I’ll go and organ. horn, ^ or and ted peach” school of in the band. Some of tv,’ ? violoncello moderator, of all discussions Now if you iature Dupont P“ peers. wanted me to play h keys are made from !eS tic realize that the bloom of the peach looks even the trombone ^ ’ keeping the talk and the playing or the saxo « ^.m-- white long str*? phone, it keys are only two Inches . to Help Himself lovelier examined under the microscope.) would be different.” m\V r w*thin spent Helps Pupil when 1 \ musical bounds. I have True Teacher My friend, with the ordinary white piano keys to,. The the contrary, the more penetratingly we the proprietor, had ln su ch ‘‘First Inven- relationship is bound to exist On a Scotch in discussion of Bach’s intimate streak fl ye and long. Yet iioP a certain nn the causes of emotional beauties, - - one-half inches and both derived A , numbs enthu- search into ts my students and I have 736 is * t board of only three octaves, there een est stimulation from our joint and (Continued on Page T?6> 737 Member, r/tf ^ 1941 — — ? T

on the concert platform to Music and Culture Tribute to depths of personal Music and Culture An Intimate and private them all with dignity anri „ the better shall understand their manage- we could not turn him from ment. Paderewski theSi % pose of his life, nor instance. could thTSS Take the question of piano tone, for his faith In and his love of mantjH Russian Nationalist Composers A truly beautiful tone is too personal and mys- many readers of THE At triethe requestrequest, ujof If ever there lived a . « » nt n man S, terious to be analyzed? Not a bit of it! Anyone address made at a t* ETUDE, we present an in abundance, it was effects at will which Paderewski can produce and vary beautiful ceieu/celebrationuuu/t v*/*on *July**£/ first, at memorialemonai in life personally, socially tone is _ n ni...* . Dr/>piWn»i / n f and provided he understands how piano Steinway -President of iviV.Mr. ±Theodoreneuaui e E. , for the benefit and instru- , « . . t „ 7 r-. r) rl hnproveme7J> & effected by the percussive noises of the Sotis, long a close friend of 01 Steinway and men. tii ment itself. The structure of the piano gives rise Ignace Jan Paderewski, paid the following could jhit “I tell you a to three percussive notes. The first—and this one master. This great mamt^ e eloquent tribute to the great am p.U him. personal things. ' is always present—is caused by the knocking of broadcast over Station WQXR remembrawT 3 ffmrtwq address was spent in his company, the hammer against its string. Even if we do not memories J ‘ in New York . Editor’s Note. Cdwa-r Professor of Musical History, I’ll stirring days ^ “ !'< hear this knocking as a separate sound, it is through which"hT , * 1 there, one incident will suffice. * Harvard University ;i| and it modifies the quality of the tone (as I was priv^w is readily proven is for a mo- resent a large group when the string plucked or “A bitter and ruthless world pauses of artists uamJ electrically vibrated. In second place, there is the its great ones New York who desired ‘4 ment to note the passing of one of to send him ^ PART III striking of the finger on the key; and, third, the can hardly realize that Paderewski is no birthday greeting on the 81 One occasion o! vf striking of the key against the bed of the piano tieth birthday. Borodin more. Just ten years ago for ? I when it is forced down the full way. If we under- ‘I am privileged to speak upon Paderewski, moment in Toronto giving (1834-1887) is perhaps the scarcely surprising a recital iaJ Alexander Borodin that lack of craftsmanship stand these accessory (though possibly indistin- perhaps because of the long and intimate friend- and was invited to dine with him figure of the Nationalistic group. was evident in the development section of the M S most human guishable) noises, the approach to tone becomes ship that existed between him and my family. car after the concert for many of first movement, that the slight So after thecon^ was particularly fitted by birth andante was too clarified. We see that the only possible He way to From 1890 on, when first he came to this country out to the railroad yards chose to clothe in music, since in texture for a symphony, or that the finale where the subjects he vary tone — apart from intentional dynamic at father’s invitation, there my has existed a parked We dined at one o'clock was a Prince of Imeretia, In Eastern was a close copy of Schumann’s style. (For Boro- info bt! his father Alexander Borodin gradations of loudness and softness—is to use close and precious association between him and after dinner I rose and with while his mother was a Russian lady. din was a great admirer of Schumann’s music.) these three factors in different hitow Russia, combinations. To and us. But it is still and much emotion tried to conwy the “Orientalism” in "Prince Igor” and On more astonishing for a first sym- eliminate the striking to fej Thus of the finger on the key, “It is unnecessary to speak of his field, shows a better command of greatness deep love and devotion that Steppes of Central Asia, in portions of his phony to show such freshness of invention, so orchestral one has only to press the key, and accompaakei the development, immediately as an artist and musician, and his eminence a.s birthday pieces, many original and effective modulations, such symphonic technic, more concise scroll. I had been told to symphonies, in certain songs and piano a very different, more lyrical tone results. a pianist. telihzv expression. Later, Borodin To All that is so well known and so thor much he meant his Eastern heritage. It vivacity in the scherzo (with its markedly Orien- more spontaneity of avoid the knock to us all here and bip. reflected spontaneously of the key into its bed, one oughly understood by a now returned to “Prince Igor,” at which he worked sorrowing world. his genius and musicianship Borodin’s misfortune to feel equally drawn tal trio) and such sparkling and brilliant treat- strokes it swiftly, and again a very had mfioeno:^ was until different tone His statesmanship, his devotion to the of the orchestra. Liszt, always eager with enthusiasm, though intermittently, cause of musical lives The master toward science and music. He was by profes- ment Franz results. It is neither inspiration nor genius listened in sWl forty-four. The which world peace, and, above all, his untiring to welcome the new, became ardent cham- his sudden death at the age of and then rose and delivered sion chemist, and lectured almost to the day an colors a pianist’s tone, but to me one of tea a a very straight, clear constant labor for the liberty first two acts of this opera, including the popular and security of his nifleent and stirring pion of Borodin and besought analysis of the materials at hand. beloved speeches for whkfcbe completed and orches- homeland, Poland, have Polovtsian Dances, were u* given him a rare him not to be intimidated by J In famous. He completely turned the taiga® similar fashion, rhythmic accuracy can be Borodin himself. Much of the remain- How much had academic strictures upon his trated by analyzed as to its essential factors, he meant to us fourth act, which are original style. der, as well as virtually the entire found to be physical How much had we here meant rather than musical. If a was completed or composed from Borodin’s pupil deeply finds persistent difficulty with rhythm— grateful was he to us while Rimsky-Korsakoff Igor" Is Begun sketches by Glazunoff, which is a different and appreciation "Prince matter from carelessness in for him, and made the orchestration. The overture was miss- keeping tempo let him back and tell that to New Yi Borodin was eager to com- — turn away from the ing, but Glazunoff, who had often heard the piaho and devote some time to the man. When I left him pose an opera on the subject marching, danc- composer play it, wrote it down from memory. ing, or doing precise calisthenics. I had a vision I never of “The Epic of the Army of I have hardly shall Borodin’s gifts are shown at their height in all ever found a truly rhythmical car of the master Igor,” relating a disastrous pun- person who is silently of the Oriental music, including several arias, awkward in his tlon expedition led by Prince gestures. An excellent musical In the softly falling itive the Polovtsian Dances—especially those with drill for rhythmic against a Tartar tribe, the accuracy is the playing of knows what future triumphs. Igor chorus and the march of the Polovtsi, which chamber music. Here, there is no conductor’s "His passing Is the end of contrast greatly with the Russian sections. While beat to lead the players. There is but In passing no “boss” at he has left with there is evidence of assimilation both from Glinka all, save the unseen spirit of good performance. neither time, nor distance, and Balakirew, the evidence in favor of Boro- To gratify this spirit, all the players must be on frailty, forgetfulness, can all din’s originality is so outstanding that this opera their mettle to do the most accurate work has left with us the precious be considered a monument of Nationalism possible. must In this much troubled world second only to “Boris Godunoff.” Another record mankind u - nationality is to be found in the Overcoming Opposing Rhythms still exists, and that of Borodin’s dual 5 and greatness In the human being ran-®;; Scene from Rimsky-Korsakoffs opera. "The Legend slight but charming sketch, In the Steppes of A useful occasion to insist upon energetic Therefore in the midst of our sorrow *? - of the Invisible City." first given in 1907. Central Asia, originally composed for some tab- analysis occurs when the pupil begins to find Poland hsit- difficulty because we have not lost him, leaux. with opposing rhythms. Many young students him, and the world has not lost him-” Borodin’s musical invention was essentially consider this a serious °f his musical problem. death at the School of Medicine for Wom- his songs rank Actually, lyric, so it is not surprising that it is no musical problem at “ which all. It is a he was instrumental in founding. Rim- second to those of Mussorgsky, the greatest Rus- matter of straight arithmetic, and anyone sxy-Korsakoff analysis has who has given a convincing sian composer of songs. While Borodin’s songs had the advantage °f of even a grade-school this endless between education conflict in Borodin’s life are far removed from the human depth and the finds here an excellent science chance of put- and music; his lectures, committee meet- keen observation of life which distinguish those ting his studies in fractions Is a Lady- to work for him “My Teacher and routine his sleepless they reveal refinement and orig- When you have correspondence; of Mussorgsky, a two-part rhythm ni ghts, in the left trying to relieve his wife’s asthma; the of harmony and a marked capacity for hand against a three-part Z'y CitLtr jbixo* inality rhythm in the right Paderewstfs ^ WATCH “opportune P h , visits of relatives; the numerous reflecting an atmosphere of individual distinc- “ot mt0 the J r 6 s tnal and error this remarkable n,ed becaus sae “ay getting method of watch" t with "My teacher is a lady, cats whom he harbored in his apartment. Rimsky-Korsakoff. tion. Such are The Sleeping Princess, The Sea, them of the A rrb 0 i Andreyevitch right. Take out your melody of Nikolai pencil instenri his lamoul part kind." This remark was overhearuJG ®e days he on others William Strasser. based The Dark Forest. A set of piano and find the least sen, ll ^ went without dinner; From an etching by Dissonance, and common a,ion of “ "Pr- 0 e denominator of the Piano w-ere yard. The t** ® ate two. famous oil painting by Serow. and three. two’ keyWi playing In the Rimsky-Korsakoff justly complains upon the pieces, though unpretentious, shows identical You will find ' ^ it is six. Now c *el1 15 - a all you these words holds true in life a much of the administrative qualities. Borodin’s string quartets, while not t0 d 1S t0 C0Unt six harassing ,° to each measure obtained (re- for best results always 6 Cou * suffer from a too constantly gardless,^rHi for the are d bave been carried on by someone thoroughness, Bo- without charm, moment, of +• h* wh ''ll characteristic the indicntpri a «» by of t» Pnlovtsi. With rti those The day n signature) letting zsrs&s who are kind. °f possess Borodin’s gift as a com- about the homophonic idiom. , world. find your left And people p0 book he could the **» sod' r ' every world the ioned, eccentric teacher is passed; ’ Indeed accom- mH in studied Borodin, an incomplete figure by reason of the counts . of two apart, and 2 , his musical work was But some of Borodin’s your right hand th6Se remembe r and fir® pli and traits. counts best teachers are kind, though W only >n the between his rotivtS S division of his energies between science and of three apart. rare intervals persuaded him that Notonly does tttLtaS well as his wife, you JhTsVm an tb sympathetic, always tifonned emic «i*****oduring friends as music, nevertheless remains a conspicuously tal- get the rhythm, but you remembered, 1 w°uld like and ^sagements,engagements, andana sometimes accord with the trend of understand him * not in why it as“ sh to be who friendsanHs and ™°ds of go thP sitbiect was of the Nationalistic group. great f emember treat their pupils as ^m healthh( when he was unable to his mind filled ented member soul, to 1 With it a true hirp -as L(J ., at the time. to be ceases friend / „ , raries, and give them an unv laboratory. Russian opera aX„u. through fife a man who — j. early Russia, the exploits Was clotheri’JTu whose walk Soon 5?th the chronicles of Rimsky-Korsakoff C leVe In lth sion of good breeding, gentility, * his ctictis.il ^ VY ***in the be- dependable his i UICCbUlgmeetin withWilli BalakirewJ3 bards, Borodin life ^Snity e . of memorization, the he went and be nit earlyar v g and the songs should*Z°m beu puDil ith r° thereby retaining the S13dies Borodin, of warriors Although perhaps less gifted as to specific Of USh winning ’ chivalric encouraged ( Continued human ta«ot and the latter insisted that replete with on Page expeHe «.e£ TP desDit symphony, 739 / nCe , .? 6 ‘ lis gan a second ?££ pupil, have a reat pedagogical inexperience, a symphony his best m the musical talent than any (Continued on Page 775) g Whipi. compose This work, perhaps 738 Possible sonal influence upon the student Squired It is atmosphere. personal triumph five years to complete. yond the bounc lanes of music. 739 n°VEMBFV m,. — — — l7

Music in the Home works are all well Music in the Home piay’ed bv 5 the Eastman School of CHUMANN—Symphony No. 3, in E-flat Beethoven—Concerto No 3 j. r Phil- 37; Joae (Rhenish), Op. 97; New York Iturbi, soloist anc N S harmonic-Symphony Orchestra, di- with the Rochester Delights PhuhJ> Musical Films Acclaimed New “"Hit Widely Set aik. rected by Bruno Walter. Columbia chestra.chestra Victor Album M w ft. M-464. While the recording here it „ FOR MID-AUTUMN RELEASE Schumann’s “Rhenish Symphony” has liant than in the SCHEDULED Schnabel full-length feature to be sent a fullness of romanticism that has en- Ut* the first formance by no means C is quasi- the Walt Disney studios since “Fan- deared it to many. Its solemn, Your earlier album. The 0 out of ona id War-tin for piano viewpoints of plot, human emo- a religious fourth movement is the high- From the too prominent, and is” the listener light. The work was written as a glorifi- pictorial ingenuity, and musical novelty, times that Iturbi found (£'' Hon cation of Rhenish scenes and life; and it features are welcome news, and the new facial expression. The “cast,” of course, consists Metro-Goldwyn-Mayer is releasing a new tech- achieve successfully Disney the role of* exception. action a tender the scherzo, which Walter plays as ef- is no The centers of animated cartoons; the voices are those of nicolor version of “Smilin’ Through,” conductor. Technically, “Dumbo" fectively as any conductor we know, has iturbi 7 ugly duckling success story of Dumbo, Cliff Edwards as the Black Crow, Ed Brophy as love-story with a rich musical background. An Record Library more impressive around the dance. than Schnabel whose oversize ears first Jeanette MacDonald, the character of a country The fen? baby elephant, Timothy, Verna Felton as the Matriarch Elephant, all-star cast is headed by latter achieves the more depth of Ian Hunter, jubilant finale also is said to portray a feefe" him the heartbreaking ridicule of all the Herman Bing as the Circus Master, and Sterling Brian Aherne, Gene Raymond and Alban Berg eamed Violin Concerto; ^ Frances Robinson, Rhenish festival. The somewhat over- Lo animals but which finally enabled him to Holloway as the Stork. and includes Patrick O’Moore, ner and circus resonant character of the recording here l the Cleveland Orche® seven-year-old Jackie Horner. The film 8y_straight to fame, happiness, and a Hollywood There is a delightful and elaborate musical and d rccted by Artur Rodzinski can be corrected by reducing the bass ColtiKtot The animated episodes combine non- score, reflecting the circus setting. Nine special marks Miss MacDonald’s first screen appearance M-465. contract. volume control. in typically Disney fashion. song numbers are scattered throughout the film, since her recent tour as concert soprano. It marks sense and sentiment Johann Strauss—Overtures and Waltzes. Alban Berg, the most still “first,” in that it teams Miss Mac- significant circus, and the picture opens with three of which, at least, bid fair to vie with older another The setting is a Victor Album M-805. Bruno Walter con- Schonbcrg’s pupils and Gene Raymond, in the peter Ifêetl followers. of storks, Disney tunes (like Donald with her husband, a rush ducting the Paris Conservatory, London romantic warmth first time they appear which his am bundles from Heigh-Ho, Who’s romantic leads. For the Symphony, and Vienna Philharmonic bringing atonal works do not possess. Tie together in the same picture, and also playing Heaven to the circus Afraid of the Big, Bad Orchestras; and Georg Szell conducting Concerto” was written Miss MacDonald is seen in as a Retfet, mothers. All Wolf? and When You opposite each other. the Vienna Philharmonic Orchestra. animal Manon Oropius. the daughter a dual characterization. She plays both the tragic 0! & gratified except Wish Upon a Star in The finesse and subtlety of Walter’s are marriage, and widow of Oustav Mahler It popular- Moonyean, killed on the eve of her s»bi; 5 Mrs. Jumbo, whose hit-quality playing is particularly apparent in the in love that few would fully penetrate also the young niece, Kathleen, who falls Begi bundle has been de- ity. These are Look two delightful Strauss overtures—Die her aunt. idiom on a first hearing, since a Stork, with the son of the man who murdered tags layed. When it finally Out for Mr. Fledermaus and Der Zigeunerbaron 1868 to 1919, familiarity with his style and fatm* When I See an El- The story, spanning the years from and in the Emperor Waltz, where arrives (the stork first the is required. shows Gene Raymond as the disappointed suitor Louis Krasner gives s u a ephant Fly, and the recording shows a clearer definition than stopping to consult Impressive Mine. and, in its later sequences, as the son, Kathleen’s performance, which is tette road map before lullabye, Baby in the Schumann symphony already Frances Robinson enhanced by Rodzinski's sjnpteis All but two of the lover. Twenty-three-year-old mentioned. The performance of the Blue following the circus the work of realizes the ambition of every young actress— handling of the orchestral part of the train, Casey Jr.) Mrs. songs are Danube, with Szell conducting, , emerges playing a character role. As Ellen, the score. Here is an Important coktM:: Frank Churchill, who that of as a routine reading after Walter’s finely Jumbo’s joy knows no the songs faithful maid, Miss Robinson fades out of the phrased playing. to modern music, one which deserresto bounds at the dainty composed picture as a woman in her mid-seventies. be Investigated by many musk kners. for “Snow White” and Berlioz The Judges of the Secret Court aspect of her baby. — Under the direction of Herbert Stothart, an Debuur Soring Quortct in C luur.M- “The Three Little Overture, Op. 3, and the King Lear Overture, — But then the baby SetH Pigs.” Of the Marl- elaborate musical score has been prepared for the Op. 4. B.B.C. Symphony Orchestra, di- pest String Quartet. Columbia sneezes, the impact borough family of film. The theme song, Smilin’ Through, inspired rected by Sir Adrian Boult. Victor Album The Budapest String Quartet ptesi unfurling a pair of from the new Walt Disney Churchills (which in- by the orginal stage play, is woven throughout the M-803. best performance of this work m k monstrously big ears. Baby Dumbo full-length musical ieature present sequences. The songs sung by Miss MacDonald ol cludes the Here we have some of the best Berlioz ords. even though the recording is From then on, the Prime Minister of mark a change from operatic arias to loved and playing on records, excellently repro- the over- resonant type which may mil baby becomes the butt for a med- familiar ballads, including Drink To Me Only duced. first satisfactorily e of young Frank was destined The overture The Judges of It difficult to clarify circus ridicule. He is called Dumbo instead of England) , studies, he With Thine Eyes, Kerry Dance, A Little Love, A the extraonfinanl? In order to finance his Secret Court—is the only surviving some machines. This Jumbo, and his life is hard. One day, his mother ical career. at night, in motion picture Little Kiss, There Are Smiles, The Long, Long excerpt from a youthful opera. Although gifted foursome makes more of the spanks a boy who plagues her baby, and she is played the piano, his love of music asserted itself, Trail, and Land of Hope and Glory. A number of an immature composition, already its sodic qualities of the work than W imprisoned as a wild elephant. Forlornly on his houses. In time, Fritz Reiner upon a musician’s career. His terms of endearment in the Gaelic tongue are orchestra texture shows the composer’s previous recording group own now, Dumbo comes under the kindly care of and he determined ability has been meager, he is used in the film, all of which are likely to set a in this sphere. The King 92; Ca Timothy, formal musical education Lear DvoVih J I Overture. Op a several —Gamer friendly mouse, who devises love-making. helpfully sup- Overture, although entirely self-taught, and has had but two new vogue in M-G-M inspired by the Philharmonic Orchestra, directed Mys of restoring the hapless baby elephant to almost Records His en- plies a glossary of romantic terms with an Irish Shakespearean play, is recommended in this the of theory and composition. not closely linked department represent Vaclav Tallch. Victor Disc 13710. good graces of the circus folk. All the schemes semesters COhS d red inion pro- accent, from which we advise those interested to it. As the late °P the b^s, ® musical world was as a Donald Tovey said: l experts in the ft; tail, into the “We field^ H and formf Ovorik Quintet in E-H*t «!« however, and Dumbo weeps so bitterly that trance a valuable guide for — from 1930, that “Agraw gal Machree” means “bright love of shall only misunderstand this the purchase be pianist. His composing dates work so of new recordings. No Prague Quartet with R® gets hiccups. Timothy offers a drink of fessional records unworthy of String him heart,” “Mavourneen deelish” means “my long as we try to connect it chase for pu? Walt Disney organization. my with Shakes- the record library Victor » wter, from when he joined the are included in this Kosderka, second viola. a pail into which champagne has ac- peare’s Lear at all. department. The only for his own amuse- faithful darling,” and “A cushla agus Asthore What Berlioz has editor will answer in cidentally To-day he plays piano questions The Etuê M-811. been spilled. Under the influence of achieved is exactly what regarding noteworthy tunesmiths, Churchill can Machree” means “O pulse and treasure of my he attempted: records when * c Unlike most questions are aptly said that cc bampagne, Dumbo lifts his ears and flies, ment of interest It has been . up a magnificent piece of orchestral ,0 record buyersTn first having the lyrics to heart.” Regrettably, a key to pronunciation has rhetoric ge^faT. cool® "jthout write his songs without poser is a more congenial realizing what he is doing. He and Tim- in tragic style.” tempo, rhythm, and tone. been omitted . Dome o» wake guide him as to setting, which fact is % up on top of tree and wonder how Schubert-— Die Wint-erreise; than DvofAk. a hit-song from an Jack Dawn, M-G-M make-up chief, has devised Lotte Leh- e out a complete Here*® y got there. the He can work mann these two compositions. A crow in the tree explains make-ups suitable for technicolor. (soprano) with Paul Ulanowsky or a hurried view of a sequence. In character 0 ! 0* situation, idea a scene, at the the most sensitive exposition and offers Dumbo a magic feather, piano. Columbia Set M-466. notable successes under the Disney Heretofore, sculpture alone has been relied upon <® * ich will addition to his The emotional and colorful Camera/ Overture give him the courage to fly at will. All illusion of old age in color films, warmth that Mme. Lehmann ® Big Bad Wolf Heigh-Ho, Whistle to give the with is i ems aegis (including brings to quintet, it about to be plunged into characteristic her lieder singing inevitably ords. As for the Mr. Churchill has a number of the result that skin tones have been in grayish enhances You Work ) , her panion “American mo frustration when feather is lost, but While contributions in this field. Last * piece to the composer's the credit, as well as the score luster or red hues. Advancing on the principle year, the by (obw » to his Wayne Barlow irioT!" ^ New and formal ballads soprano recorded Ssc f tet” and his from the administers a timely pep talk, pigmentation of skin eleven songs from the same (bassoon) ’ American Dance "Symphony Francisco World’s Fair of 1939. He is that the combined with by Burrill Phm and mho suddenly for the San cycle (Victor Set M-692), and It was composed in this country, ® finds within his own now matur- Disney’s forth- technicolor light results in natural tones, Dawn here she (clarinet) Ser lt on the score for adds by Horn"? âdc elepbantin at nresent at work seven more Gute Nacht, Dvorak's simulation of Negro and India e nature the courage to use his Felix Salten’s experimented with color mixtures. In Brian Wasserflut, Letzte best 18102 f *jn es? adaptation of Hof- works of this ’ The n{ “Bambi,” an fnug, Die seJ V than tha aS flying coming Wetterfahne, Auf dem Flusse, low S R^gerS dies. This is a far richer score The ensuing triumph of the spring. Aherne’s make-up, for example, five separate Rest and undeniably and Bar ' elpnv, be released in the possess --- an *" story to Fruhhngstraum. Although these songs an iS- ldUality^ quartet,suniiei, andana deservesaeserves to10 beoe equau..equally brin?s about the release of his mother, Parade, shades were used instead of one. These are painted were con- pose and feeling. of Pur- m include Pink Elephants on ceived for Keller’s o^ coil; sends the Other songs a masculine Its of the i.: mother, to voice, we are not lacking performance by a group , baby, and mouse on Again, Spread Your on the basic sculptured skin foundation which is among true ’ alth ° Ugh Circus Day those who feel that depth o5 feel ing er levels rnsev Jr. It’s a soprano, even one with tîlna own countrymen is most satisfactory. of success. the Roustabouts. built upon the star’s face and moulded into sag- the performance; but Pressive in Clown Song, and Song of warmly feminine qualities the Phi mL and 0 erneatb there is Wings that Lehmann Handel Concert! Cross i in C nonsense of the story, ging jaws, loose facial muscles, and wrinkled eye- pos- suggestion genii entertainment. • is capital sesses, should not sing der, vat his ne latbos “Dumbo” them. Her persuasive i„n Nos. I and 5; Herman Diener and an h suspense, notably in the scene lids. The production is under the direction of ar- KenT^t^ is ?.|, J tistry transcends 1Cl1 such precepts. Musicum. Timotfl engineers visit to Dumbo’s Frank Borzage, whose romantic screen successes Victor Album M-808. imnr y a American , Works for Solo Wind full 0i talk Instruments and Or- Handel's Concerti Grossi are mobber - Dumbo himself does not include “Seventh Heaven,” “Farewell to Arms,” chestra; , is Eastman-Rochester these m and Symphony Orchestra spirit and patrician thought, and ’ bis only sounds are hiccuping and “The Mortal Storm.” “Smilin’ Through” is pro- directed by ttyinl k* Howard Hanson. Victor » ’ bUt Album M-802! especially appealing. There is much every least reac tion of hopefulness, duced by Victor Saville, ( Continued on Page 782) oseii - - ensen)^ ness, his defense of the smaller chamber e fear, and joy is vividly recorded by 740 py(7> place on 741 of the modern {Continued ÔKF/Vfcrn .... THl & W ® ' C

conductor of Music in the Home Music in the Home the Toronto Svmnhm, ^ Ernest Sir MacMillan, will and be a 8eu Civilization Music for one of the radio Mst Our concerts. Associate Professor of Musi- Erno Rapee, jlenry Lang, conductor 1 of the I University, has made a pro- City Columbia Radio Music Hall programs jifj at rec valuable contribution to the musical . his fall and winter season and The Etude found <12:30 to i Radiations his day in his voluminous “Music in Musical i NBC-Blue oiof m network). Mr. literature Rapee The book is of course a to include symphonies Civilization.” and other Western amplified by careful ap- tions. Interspersed but a history with vocal tllstor) ’ select™^ significant music of each epoch, ferent soloists "{"’the Music Lover’s Bookshelf in his concerts. -(i chapters of the work range from on the Ether The Ford Sunday Evening twenty Hour (cbr f Greece, Byzantium, and Rome to “The -9 to 10 t P M, EST, began 1 ncien its eighth? Music Its of Nineteenth Century and season on September 28th. with i here Any book here LawrS* and “The Road to the Present.” It is reviewed may as soloist and Sir Thomas plctice” from Beechamar illustrated. be secured ^ and distinctively It is THE ETUDE MUSIC On November 2nd. the to hLdsomely ret rJdindscu^ ^ddor^an soloist will betw with parallel refer- MAGAZINE at the d finely documented ByJUf, uished violinist. ewise price given plus Joseph Szlgeti, with Germany is said has had many this season U 6t t0 and D), is concerned eminentermnpnf mi j — ^ over “ be heard" a- conductors. Theodore thellc Mutual “ Music” « “universality““‘'cioauvy ieeiingfeeling” in -a Russian to owe the typically racial German Waltz. The Thomas, who be- 2 30 V’~‘ "mruai networknei- \ pvt* and a "Haydn Program.” oiof came the _«0, EST. SeVeraI yS ^ tune orchestra’s conductor Several «Z£*sol°ists at Air" beg®* much more that in Ger- song was used in a ballet by Gardel, called ‘La in 1878 “Sid cvlt 5 I' arel™?™-to Innf When Columbia's "School of the intimate than more,” broadca in an f °lk according to the late sts; thc its music. masters in in 1793. James Huneker “far these includS season on October 6th. it inaugurated He credits the Russian the Dance by Degas Dansomanie,’ produced Paris From it orchestral E School cl music in North Bir j" ArtUr the those of and developed.” America ^ °’ Hilde year for . France, particularly Debussy the German Waltz The waltz did be- than any pre-pre simer as an “educational project” fendrend;d andand’ ’ Jcan viousU conductor.”” ’ a Jeannene UCt° Beh- 1 r FFour 0th6rSothers Wh ° f L new AmericanAmarine Beh- audiences w w*th making the orthodox “poetry of mo- a mania only a few decades later, as did contributed n?’ Western World. classroom if the change from disease than come the fnl to Thebom, alt°’ The nervous the fullest appreciationT who makes Blanche » “tonic like some of orchestral her deffiff in this be much music. Richard Strauss, to Copland, is has been one of the the polka. The intoxication of the dance break- music in Brahms’ b« season are expected to ” Dance, however, hlS ntry W6re Anton AUo Rhapso « ^ent." on The Seidl (1892-1898) ln « He master’s for cen- ing either endemically or epidemically is ! »T°u Gus- ^ Wor£ especially among the Latin-Americsn feels that the German of emotional expression out a av Mahier - R (19 10 1912 ) Willem and sym , Mengelberg ’(1927- For emphasi^ Ph°nics, Quixote, Domestic, and Alpine type of phenomenon often discussed by psychol- Pan -Americanism is to be leav^ 1930) , and Arturo Toscanini (1927-1936) - one with . Of these five series that make up the schools J-l a “bloated feeling as of something ogists. Mengelberg and Toscanini were the only conduct schedule. neU—eighbors estibie and somewhat monstrous.” The ballet, like Topsy, “just grew.” Judging Southern . ors who were able Among our g to promote the k - - 13 S appreciation — - pro? com- from ancient pictures, it of have shown great interest in these ^/. ^roceeds to size up each modem probably sprang up Poser books turn have ( Continued on Page 792) Mexico, purchase - works which ordered the ® be Principally those whose has ^ en If sets for on developed since of the last war. its classrooms i Continued the close 743 ^'OVEMbe, R, 1941 . ^ :

Music and Study Music and Study hoen-Rene, one of the most “re- IM, Sc teachers of our time, was singing a student at Coblenz. She was the or Not To Study To Study, Round Table Berlin. Later she studied The Teacher’s ^ ^Academy of I cannot help feeling sorry for teachers famous sister, Pauline Malibran’s The Traditions studies; n unable to continue their musical lclW came to America in Ughteru£iucr numbernumoer f.Qarcia. She but for those thousands—ages eighteen chosen f Not n* or pw heaUh shattered her ambition to eighty-one—who could and should Monthly m»! rbut ill Conducted singer. She then went take regular lessons, enroll for winter ?Lome an opera 0 classes or attend short summer courses, Second Piano continue her studies with Singing Lrfan to of Fine but fail to do so, X no patience have Second piano Garcia and later returned to the By parts to w Minuel whatsoever. And I do not consider age, not to be 4 teaching for some years confused vitTZ States. After , Zitei length of service, heavy teaching sched- originally An Interview with written or I she became a member of ules and all the usual “pat” excuses good Minneapolis, pianos—hare became fflaie' quit, the Juilliard School of Music reasons for not studying. There are, of L faculty of Note. course, cases of ill health, poverty, lim- York City-Eonon’s ay subject, in Jew ited vitality, remote location, back- Noted Pianist of such obbligato ene or second n»i ^ breaking domestic or business duties, or P W„«. £ ScUn-tl Q and Music Lducalor to solo numbers, snyi ^7.*' invalid care, in addition to teaching ac- training in PRODUCTION is readily ob- tivity all of which are valid reasons. playtng with ouJii3 ATA on TONE — Internationally Renowned Teacher— Faculty invaluable. 2. discovers that But alas, most teachers do not want to they dhttiuta!!' but the singer soon tained, York study; they worked young and old. to keep amounts to little un- Graduate School of Music, New thirty-five years ago w , technical instruction Member, Juilliard Correspondent a with tf* 1 * he part tdltr D with the famous Mr. So-and-So; fomu! If i luii acquiring they rnent are requested to Itmit l.rttrra fortified by purity of style. The dent knows to it is graduated in their youth from the Leip- to One Hundred and Fifty Words. that a sera* jL*® remains one of the chief traditional vocal style zig Conservatory; they are too old; or io be added to his of Expressly for The Etude by STEPHEN WEST piece. 1* J Secured w of vocal mastery. It is rare to encounter they know it all. Yet, I ask you, would greater pains to study problems ^ authoritative knowledge of tone you let a dentist “monkey” with •olo tight from person whose your “I love you so!" the 1^,3 a teeth, who had not studied second stems back directly to the founder of for twenty- piano parts to fimUirt production lutionary to hold that singing or later to develop as the founda- five years? Would you put your trust neyed pieces whose traditions of art reach in an creates nr» tf-, real science; throat, "Just curve around" singing,” says originated, not in the in an oculist who still uses the methods them. of Mozart. Such a per- tion of all good or unbroken line to the days of fifty years “Manuel, but in the breath which serves ago? Or consult an engi- May I Mme. Schoen-Rene. well, say that I do bos Schoen-Rene, one of the sudden “important” engagements, “Let's go to ira is Mme. Anna neer not C." son support be- thoroughly abreast of modern uie obbiigato son, did not like to hear as the connecting bad weather, lack of practice, no trans- Start with elbow close to part being p®- voice teachers, currently active the developments? body, finger jorld’s foremost . . . Yes, the the and the tone. members portation, others. dent who has already it called a ‘method’—methods, tween body and Teacher simply pads touching leaned tis of all professions keytops. As you play, move Vocal Department of the Juilliard Grad- study constantly— in the relied entirely arrives and the lesson is taken! This consumes too were patterns for The old Italians school teachers arm gently upward and outward, reach- much ate, of celebrated he said, and college professors, pate School, and private teacher 2. The instructor’s personal contact used in getting tcquslnted upon the ear to guide them in ing the top of the curve at with s m shoemakers to follow! He pre- doctors, lawyers—all of course except the C; then com- here and abroad. Mme. Schoen- with the family it Piece. In general, singers both tha makes more difficult plete elbow the teacher oajitj as tone production. Actually, music teachers. Musicians study? Perish circle back to body. ferred to think of his work to discontinue lessons play Rene was a pupil of, and for many years asso- when that fateful the added part. No other diagnosti- : i the thought! Here’s another; rrx a scientific education in vocal ear is still the best subject comes up for discussion. If the should be required rted with, Pauline Viardot-Garcia, one of the If to study ii oksbe in detecting tonal values you do not possess that self-starting art — which is exactly what cian teacher’s relation Is with the family has a quick reader or greatest authorities on the art of singing; and inner drive which compels technical Tearoer’-etdffi but the ear alone is not and been casual, Ex. 8 is. — as is often the case with do it painlessly. it musical growth she specialized in the teaching of male voices (all the best teachers studio enough! The singer must do instruction, the pupil finds it do!), how Also. I do not beliere in pnhbc jb-| can you fail to see that mod- v; with Manuel Garcia. The traditions she absorbed of much easier to drop his lessons. The "Italian Tone" more than judge the sound ern competitive formatter of solo musk via in cocii-i methods require the pro- 1 from further upholding the best 3. One teacher slyly remarked m them go than his tones after he has professional that in gain piano part. I object to tins time, I to be up on his toes every m itself) ac- “Even in Don Manuel’s home lessons it is easier to terminate standards in art (an achievement in ; duced them. He must under- minute in order to survive? the as to the- jazzing of dasscs-tesafe Of course lesson period. subsequently it was common knowledge it takes To put it bluntly, it is tually, they set the standards which stand the anatomical princi- sacrifice—any worth while This more liberty with the musk ffimatatlj proj- much simpler time the elbow’s highest curve is the old Italians sang ect to get rid of an ornery on toe guided the development of Bel Canto. that does—but the result more arranging or transcribing It b w| ples underlying their produc- than justi- parent or child E-flat which is slightly stressed. Avoid beautifully than any fies —you just clear out! (We The were first for- more the hardships involved. Is a pretentious attempt to gild tie t| principles of correct singing tion; he must put these prin- your class all know how accenting C, which 1s the world. dwindling? persistently pesky some of weakest tone other vocalists in the Are your lessons flat, stale even if it Such essays as the Grieg second pis mulated by Don Manuel Garcia (father of Man- ciples into practice, learning the fond parents can be at is the flrs-t beat. of Mme. Schoen-Rene and the studio!) »• tone and evenness unprofitable? Have dtsSte uel, Purity of you been using It is surprising parts to Mozart sonatas I Pauline, and Maria Malibran), the most the sensations they cause. the same how “alive" phrases their per- teaching material for played it it- line distinguished the last That Floating Elbow! mil emerge if they are treated tensely when they ate distinguished singer of the Romantic Epoch, who Garcia principles of singing—better, the five years (and note, in this and with the Italian de- “The I didn’t say twenty- affectionate dials These and others may be formances, five D E. (Oregon), manner. Try it on any short correct principles of singing as laid down years!) ? Has your own happily balancing aaat stringed instruments, only playing gone her singing phrase but be stimulate youngsters, and for velopment of completely to seed? Does featherweight arm over the — sure to decide by Garcia—begin with breath and breath con- that despairing keyboard just where practice and discipline-hot is i® this preeminence increased. Don Man- frustrated 5 Ch6erfUl the elbow curve is highest. feeling persist in getting vou PlCtUre °f a magnifi- trol. The breath must be full, deep, low-taken. rs ’ J ’ performance—nerer! not only a elbow—' M R - Arrangement-' through the entire respiratory tract, toward the of lessons and and oneorT u at her homo production consists of breathing, daily practice, to bring hour class -lesson how excellent or dedn tone produces tone. back elasticity to weekly with vocalization, and reso- vocal cords, the vibration of which your ailing breath support, mind, : muscles and spirit. Or everybody is prejudiced Tone is supported by the long column of breath; perhaps what Manuel, the son, perfected the you need is a drrn. adults, teachers. So . nance. short inten- r it ‘sits upon it.’ If the flow of breath is unsteady, U his father had indicated, !° SW6ep 0Ut those Yet to do it again! All those studies which cobwebs ' lf rth*? «>uld becomes unsteady. Next in andanri toin T see J greatest the resulting tone start some healthy m r-T,„ rnngements will have their became perhaps the new brain cnthusl«wtic class. and he grooves. they would hi. 1 importance to the control and support of breath Budget your Besides, I * world has ever income now. tempted dixes removed. . . . that the Pu/a signify * adopt a similar voice teacher little aside regularly “turning on' scheme is its resonance. Tone must be resonated entirely each week, and by the^swiLh’^kat out that they aren't easy! (In studying the scientific as- next summer you known. will be surprised at the nlQU the first to from the face—never in the throat, never in the size of e f0r h of singing, he was your study fund. e o e, ^ " Ne* pects siem^eciSs^hich u Books, Old and Around him nasal passages. Defective tone and loss of range P,,?„ ', >«> fashionable 6 *“ “ la ™ invent the laryngoscope.) "z n "iSf jr hoJl ^ ad result from incorrect resonance. The tone should ir^ ‘ Y.1,.1 Mme. Teaching turned on, erS lnV“< Through H. MacV. (N distinguished sister, the Teacher you don’t squeeze other mothers $ and his ltch (whS c^w which, be sent into the cavities bounded by the cheek do you? Well, ‘ course °f to love a book gathered a circle that ay 1 Pass along to you it is exactlv potential Viardot-Garcia, •J^ some helpful piano same in prospect' of™" JF* ' new bones, and allowed to vibrate freely there. Man- items which playing- one swiff temporary and con years ago, I had Sand, Chopin Heme, I gleaned last tant of friends included George summer from then your effort, performin Nathan's One More Spring- uel Garcia stressed this freedom of tonal vibra- Wh° att6nded elbow flo/tT dents to a hotel « «tu- Liszt, Meyerbeer, Lablache, my classes? Hem In i„n h Schumann, trefr/e playing slow, the recital dan should know it—sWA"rJJj|. were for- tion, warning emphatically against constriction curvine- nv, * ^ others. Those who teachers Phrases l e many ’ em (left) and and The must insist many as Sometimes as imagtnaUve, touching. inent dramatic soprano Lilli Lehmann or in the throat. subject of house-to-house on elbow two hnr.rf to study with the Gar- in the nose versus instead of Phasing give it to enough studio finger works 11 ten. Why not 5®^” E{i Mme. Schoen-Rene tunate teaching again came up artici^T out admirably work of keeping for dis- wor*. you 0tb “ Ior the inexpensive «®»® made a life cussion in the classes, v„° consider it mothers present? An cias have Importance of Vocalization with Jto part of »n t’ such a about teachers around” the your arm obll absorbed from evenly divided as phrase a , they and the **tions. available. the traditions to the merits is P ®"X youns his inviolate C of to play this ample are of first under “Extremely vital to tone quality is vocalization. 0Wn th6Se motive sl the project drilled. Here is a typical bit operatic performances ^ditionaTcredits 0Z 7 pa s for as you sing le9ato / 1 S r it is in Lthe column one of now *nd the are a 0Wn guidance. taught his it was considered revo- Tone cannot sound forth until fixed within V of the favorably hottI ’ . . . .“You Don Manuel day home lessons- UnesL ttugg /.. Garcia’s dispo^f / , nManuel glfl * dren °“i 1. All the ’ d to t» prin- the limits of some vowel or consonant. The most teachers should teacher have said Mr. Rosenberg > impressing those require twentv- give oU tipij. upon them four hours’ on the Pr08rams agr«o is notice for home hotel - Eratis, "Perhaps I am." ^gmg which through primitive cry formed on some vowel sound. lesson can- Ex. 1 premise/ iu . .. have come down k*111 Cc cellations; consequently n "But I am surprised to Complete singing requires the constant juxtaposi- children have h generations as Bel Canto. fewer excuses to tion her - skip lessons—those ?orTtudeTts *°lu are not.” grea their V tion of vowels and consonants, purely vocalized. miliar fa- who w* ant t teachers often told me how VOICE “alibis”—slight colds, selections 10 pla>’ two musician has as nn» “ not feeling instead of “A ^ ame 10 tone The singer should devote great care to the forma- one°Pe “tat ii/ formulate the knowledge of permitsPermits it ?} recitals. She be a sentimentalist," Action only which Garcia, was 744 short, PUpU pUys lion or » the son, Manuel serious Classicclassic ? » enberg. "as a 745 addiUon to the {Continued on 1941 the : |ck

the innumerable problems and Music and Study Prison are continually Music and Study From the Largest arising to helping them all to cooDeratp m, ^ the arts, and gigantic well and soundly instructed in Job. He has handled Because tion of pure vowel sounds. This is especially in the World in vocal and instrumental music. has produced a fine notably important to English-speaking singers, because musical Chapel Kingship has submerged The Royal their high calling to has molded it into a group the English language has no pure vowels. English whichTS individual attainments does not the latest plsj! their claims to “hit" tunes uuibut th. » trail off into In ordi- .. . me j.. ’ are either want- vowels tend to diphthongs. , _ moc that their personal talents lections from the mean nary English speech, an A becomes A-EE; an I works of om Nursery of English Music Queen Victoria and Prince Al- printed a very unusual posers. lS ing or neglected. becomes A-I-EE; an O becomes O-DD. This is In October, The Etude musicians, as were Superintendent The bert were both accomplished fatal to pure vocalization, and consequently to article by Major John A. Warner, Major’s every thought predecessors is j Victoria’s numerous an ama- or , and are Queen pure tone. the the New York State Police, and also ment of the band. He music as an The trailing of the vowel into of works and successors. Henry VIII regarded has been soloist with all that he diphthong causes a scooping, swooping approach teur virtuoso pianist who can to help those ,i duty; he played and who | absorbing his . . ier important and which famous orchestras. He stated that in interested in becoming 8 m. Coll; dili- mars clean, precise attack. Italian, many 3 tonal good with intelligent skill, and gave many never known a crim- Major sang German, and French contain pure vowels in ordi- wide experience he had of continues to conduct ' the composi- the bami gent and understanding hours to a real musical training. This certainly will nary speech, making pure vocalization easier for inal who had had do until he leaves ^ absurd to suppose that a San & the INNER EMPIRE CIRCLE Queen’s eldest daughter and the Crown Prince tion of scores. It is those who project their tones naturally in terms corresponds with our own extensive experience. a richly deserved iTTSIDE in the fuller life * ignore a grounding in the w people fully comprehend the of Germany. There, likewise, in 1893 Queen Mary monarch can afford to of only three. Sometime ago, we But. itself few those language-sounds. All English-speaking We have heard of when he goes, he will accurate and sympathetic long be of the British throne. The and King George V were wed. But in recent years arts. On the contrary, singers must cultivate pure vowels as part of printed a very dramatic letter from “Major" Hen- as the man significance obligatory who did so much for St. James appreciation of music has been an theSsri idea that it is a mere institution has been inadequate for the larger their vocal equipment. Purity of vocalizations is dricks who for some years was head of the ex- Band, who understood and silly reigning households in and helped pageantry is now suffer- functions of a growing Empire, although it still equipment of all the far more arrogance and than a matter of good diction; it is the cellent band of the San Quentin Prison. We have sincerity ,uncial and eagerness that accommodates the Chapel Royal Britain. made Z eclipse, when the interlocked deyo- and sponsors secret of pure singing. recently received a letter from T. P. Stanich, the spect and hysterical of court patron- admire him. blaze before the the rich heritage of England’s sweet harmony. Thus armed with the prestige “The exercises people and monarch prescribed by the Garcias (ob- Director of Music of the Prison, from which wc 1 of Royal progressed steadily into a indissoluble courage and vi- The growth and history of this sturdy nursery age, the Chapel tainable in their published a glory of manuals of vocalises, print a few extracts extolling the Major's ex w rid in that the English monarchy is notably ‘Une heure d’etude,’ by Pauline Viardot- cellent work. Do Not Spend Too The truth is Garcia) Long a concrete standard of Christian in- were always extremely simple and nat- Music in prisons has been found not only a dis- nation's progress. Consequently, the ural. They explored . and the voice with the long, sus- ciplinary means of real value, but also a channel on One Piece morals tained tones art, literature, music and per- of the grand scala, and perfected for the rehabilitation life blood of of men after they leave the /? n very evenness in passing from one register prison.— centers in the King; not by legal of range to Editor’s Note XJfrounitn sonal integrity another, kingship itself. preparing the way for coloratura tech- Life but by the very ideal of nic. The development Sell *ct one piece cradle of English of florid and flexible and study it until . Chapel Royal, the tech- •01 is the nic is advisable for every voice, maxu red it Is the usual established within courtly pre- high or low, male advice given, mac' has been or female; but important as good advice, since and has poured ; technical mastery is, In perfecting one tea; throughout the centuries, Some time ago, when I first | ducts’ it must always assumed my duties gains1 remain secondary to the produc- common a of principles commoi lifeblood of the race a steady, refreshing as into the tion of pure Director of Music at San Quentin, the thing tone itself. Fiorituri without a foun- thingts. But there always the melody from the mainspring of which struck me as except steam of pure dation of pure tone (like a roof the most outstanding feature ru without a house!) and so to th atXJ< distinguished creative musicians. of the musical its come crashing down to ruin. activities in the institution was nc itudy one Die f* nf Chapel Royal is rather an the colorful and magnetic Strange to say, the If g personality and cap Almost every edifice for sti d perhaps every pn organization of human beings than an A Phase of General Culture ability of the bandmaster. Major Hendricks So fessional pianist has encountered a vri va In other words, since the twelfth that others, too, royal worship. “One of the chief charms of the Garcias may know something of this as throughout the years, has resisted his isoststig institution has been a selected group teachers man who works to century this lay in the fact that their instruction help others, and who is al- was uous efforts to master it. It may be merely ss to promote musical by no most solely responsible of singers primarily intended means confined to voice problems. Their for the growth and suc- denza or . pbri.se that always elticcs tuts, present Chapel culture cess of music in i perfection in court circles. The was so wide that they did not San Quentin, I am going to take need to even this difficulty prevents from coals six gentlemen; specialize!’ you behind the scenes him Royal consists of ten children and Singing, to them, was simply one very of the musical life of San lng the entire part his repertoire. prescribed for important Quentin, so that work a of the former wear the ancient garb aspect of that general cultural educa- you can see what makes this What if seiecti tion without man so successful. one chose such a piece in their office: • which no one can hope to under- to master? He might spend a lifetime at it, is “one coate breeches Scarlet Cloth stand or project art. Major Hendricks is above and of Mme. Viardot examined all all a musician He never build same ft candidates who wished knows and understands a repertoire, while at the lined with taffeta, one vest of sky coloured to study with her, and the music. He is as capable examination of discussing Bach, hundreds of pieces that would afford him W Jaffin and gold lace, laced bands and cuffs, began before they had sung a tone' Beethoven, and Brahms as he hi- The moment ment would lie neglected. Because a person per/timed gloves, silke stockings, a Hatt, a candidate entered the room, Mme When the conversation Viardot tuinsurns to r not play one certain piece is no indication* oU a coate lined with noted his approach, his Jam, Jive, ^and Jeve.” of ordinary red cloath manners, his When condiiri',,,. # his he cannot There!® sky their attitude, thus judging his ‘Dance Orchestra,” he play any other piece. coloured shattone to come over bearing, his back- knows how to hit tlF‘ should a fair Hiai sbeths ground. And, in their groove” and where and give a number of pieces in case it should raine.” conversation, she judged his how to placeVis effe“ educational and expect to master only a percentage of them. As can be well imagined, they add beauty and esthetic equipment. Mme Viar- dot never refused %tity to the throne they parade from St. a gifted pupil because of lack when of culture or tales to that breeding, but those who revealed Buckingham each Sunday morning e were immediately Music Teachers Honor Men®! King is in residence. Windsor Castle __ trained in that re- Chapel Royal at spect. ex Mme. Viardot held *:ractlng the best for perhaps eight duty of deportment to be of vital from each. hundred years, the lrnnnrronoo i t— i ForHnr ^ Presser to importance in the building of the past nine of Theodore Chapel Royal has attendance on the advance- a complete artistic years his life k been story of firmly established cradle for all musical personality, de- music is a fascinating vigor- which, of course, it is! (Continued from Page 734) person wherever should go. Conse- of English earliest days of England the She exacted he productiveness. It existed ment. From the very obedience from her in band l*ntly, activity and high pupils and imposed rigorous ?„ the members of the Chapel Royal ac- ous are crowned Head made the Chapel his own personal that® Henry VIII as we discipline W fees ! “ centuries before upon them; many ®panied never in the sense of The site was for a great Henry VIII to the Field of the Cloth many concern. To it must be gathered the choicest doml adit eventful age. It came 0[ that g bUt m °rder t0 the home Theodore Presser * “ Gold; Henry par- now removed from ^“’ help them acquire of the late V to Agincourt; and were after William talent of the land. As a result, every parish t w self7 -discipline less than seven decades which is the foundation thus become a shrine for music lover.; ®Pants in countless other historic events. There into being church and cathedral, every parish priest, Canon art. of all England, lust when Ste- As part city ® settled in of our singing courses, a?-** accessible from the center of the tot one exception; attend His of Normandy spurred to emulate the we were re- never do they even before the barons and Bishop would be quired to read Th Street S’# the throne, the great classics e , Pennsylvania Upsal l° phen ascended to acquaint h“ me US, Railroad to tbe chapter of The Order of the heroic deeds of standards of the Chapel Royal. Cardinal Wolsey to " “ 1 k fiattF or the aM th“ mL" Tle,,d »o»l«lR or Street , victory over King John, in the ™! t ks Route 23 trolley on Eleventh of the at Hampton Court earned the rebuke of his sov- seums, to him better, X ne eets to was and is an appendage observe models of one is ever know a pe: erever Coeur de Lion. It acting in the This beautiful bronze tablet, the Chapel Royal has been housed, the human ereign when he garnered some of the best voices theatres The the spell closel to# i is in very truth goal of her tuition of his y under ute Philadelphia W at Person, and was not magnetic from music teachers of St ’ James White- Koval for his own ecclesiastical domain. After all, the ‘special- a i under the Tudors or equipped for the standing y and ~ kali Majesty is S “d but of men. under appropriate Under by which His °He , dore the means concrete image of the «“ tomaSon 01 is a naturalnT , Presser, is especially Stuarts, the coronation ceremonies King was merely the complete this, leader; ha, e“jTself-expression and added to experience • and be reg# neVer self-control all of his life he preferred to ^ taken Place there—which fact most people’s aspiration and will. Hence the Chapel I often bination. ' ttuiv think back to those He treats COm he spe”^^ y teachings to-dav all men educator, and during his last years emphasizes their status as a personal not Royal was the nation’s cultural fountain of music, when, regrettably, a wholly is always about yet there mistaken concept him that of his personal leisure time at the lonat °ne. most and every claim of pomp and place must give freedom tends o? which *ldeflpa ble Consequently, they are to undermine commands . quality Z our regard respect who 116 11 it. fully this preeminence felt for dis 1*6 1S company of his confreres, |ji at the state of the King way to So was that ciphne, yet tolera in Hallowing authority, respect, he stands nt, th' * itself. control. Perhaps for no fnniurv, and the work. Mr Abbey habit as the monarchy for hundreds of years impressment for service most the with He benefits of his life cZpt - And in “the old cheque Book of that tne soveresoveieigxignsb valuable precept we can everyone or?»^ the Ch remembered, too, give our anS grates mus-cal el Tt must be fully countenanced. And when Wolsey over- students is hS a „ unquestionably the greatest (5 R°yal ” every the crowning is always been was that freedom comes quietly making 8ift j? detail of their families have only as the result others his the Music and the bounds by his acquisitiveness, of self face time, as he also founded recorded, as well as the descriptions of of Sand stepped a control. Freedom is of CVen ln not a lack of overwhelming ’ th * Jf'Snnati discipline odds , National Association in 1876. and W® $ ions, worthy Dean thus admonished him: consists rather, in among the 5 Wel1 ^ baptisms and marriages of royalty. controlling one’s self men he liked inspira^0 so effec- supervise did initiative has come the James “The King hath plainly shown that your ively that throughout iS Chapel Royal the saintly martyr, discipline ( the ^ „srie Continued on Page institution known of Grace’s chapel is better than his, 778) ™Th other great musical organizations ” set forth execution in and proved In “ lnsu ^ v/hjtJ bravely to his i 746 “ ™ now believed to Include more than There Victoria the same by this reason, that if any manner - too, in 1840 Queen and Pri members. non Albert were married, and in 1850 the 747 TH£ ember, - . _ ; ' T1

world 2. The hand And the old and new touch. The or UNIVERSITY BAND DI- Study a thousand years. a«în , COLLEGE Music and Music and Study solace and comfort > wrist, which is assisted with the problem of formu- have drunk deeply of bv T irrTOR faced though un- floating elbow. a collegiate band will find Chapel Royal, which .Whole arm policies for reason of the t- nge heal- the direction fIa * on all phases of less potent in indicated • information band has been none the > This ^ of of new song should be brought into both the advertised 1 playing and 111*' iaiiivirather iiiUrUviiuorvvr,inadequate, emu running . nPrSOnl*'-^rsonnel aredie and said chapels to be sung ex improviso then ing ministrations. rpa. ges legato. ^.uip was with this fact in mind the said song should be better and more it 3. ------surely handled by your chapel than by His The College Bands of the elbow with Majesty’s.” fingers, wrist the In one piece.” Place o— -- — — That warning was promptly followed by fingers on [Mate entire weight of arm, circularized with a six-page question Dean’s order: bounce to,U ^ were This Is good -rWwwvarious Dhasesphases of instrumentainstrumental “The King hath spoken to me again about for light stacc overing Weight Piano , te c Some Hints on staccato d‘ effort was expended to make the child of your chapel. He is desirous to single notes. . and every The United States 4. accurate and practical. have it without the procuring of Cornish Full arm stroke. .,.. both Playing The fuU 1irvey amu, hundred ques- ( the action ^ out over seven Master of the Children) or others.” from the shoulder ^ L mailing letters, returns were re- And to show how effective was the Royal this touch results and follow-up A Survey by in a full , !Ires Of,re J!elr tlon guardianship of upon na- Bf “ hundred and eighty-six different Chapel Royal claims volume, and not . from one nowfe 5fl W,e schools, tional talent, the same Dean writes to Wolsey a universities, state normal and good results obtained with piano students few days after his first letter to express the The which replied in full or in part to use weight playing, persuade the writer that conservatories King’s gratitude “for the Child of the Chapel.” who orchestras, bands and instrumental lAJafter d£)uerhSen The last two tc survey con can the In the long ago, many and diverse were the it will improve the tone to a remarkable degree be used eU Questionnaire elicited one the two well known The Band But there is so to “Preludes in : Director of Bands, University of Wichita duties of these courtly singers. They took active much remember that the c.ei a band down and ?,n * field over which gifted t 3. Memorize the “feel" of the feveals the The wide Class D Privately Endowed Universities Sir cises following facts : Of the one a need — Arthur Sullivan and a to help US g00d exer* hatred spread clearly indicates whole aroun r.f v, get away fifth, get your sixth; talent must be brilliant from and from this you twenty-two institutions which re- of colê execu- and Colleges 51 English artists as “ done correctly, above faults ported on the part Sir Georae mL” they transf^ think extra note th^they revised policy of of as “a fifth plus an have bands eight tenths of one fora on a full Class E—Music Conservatories 45.9 J the - °h °0SS arm 016 181 cent positions ’ Pelham Humfrey, from one weight interval ° f More instrumental William finger 4 . In way. the tives Average Enrollment for All Bands v 50.4 Byrd,BVrdT*’ Johnt h Bull,R fernng to th* otherTk the same band directors possess a Doctor’s « Samuel the - Dejree - standards of Sebastian vo* i weight Trans- rega- Higher from , is gotten from octave: being ®ent basis. The above table pictures a fairly representative - the y-seven per a Master’s ™ Tally Th0m finger tip ' into ^ Degrgg! cent report “ results each I in all int* lrt f. tones octave minus note." (The ulii y'three higher average of band enrollment of the entire United bein one T ’,. in- ST?(famed forf :ie and five tenths per cent his B1 musical setting ate of ivrmtl third give very 1 well-qua ‘Masque of ltons and fourth, should they have a Degree, and the instrumental States. The figures are based upon returns from Comus”) Dr ^ thirty Bachelor’s scschool , John Bln® 1 -ei If the high ^ 5. tenth or an development of forty-six states with a total of one hundred and Gibbons, Captain Henry ° P Such intervals as the ^ seven tenths per cent possess no the director in our Cooke TholS “ th ' an %ee position of band and William °°d be measured by the octave route: Wlt the graduate. The twenty-two colleges. Included in this part of Boyce. Such °There'are who exception of a small number a gaTaxv nf U sn h’av o genius was musical ouohes~ a third,' ”anmi octaveutui»c »»and «a ***fifth,”— ^ tate Teac the the survey are some interesting figures on the nurtured in m Playing . or her’s Certificates. Of this eeniaf the piano- strokes, used ch degrees y f O' 6. Play all scales, arpeggios and d number of women participating. Of the total harmony that a coj ’ êe were obtained in foreign conTuS? ntri ^T music has sight of keyboard. Particularly cbo^ e Cuba aind ORCHESTRA of eleven thousand, nine hundred and twenty- been a the The oi ’ Germany Four characterlstie and England. BAND R e v e I I i “«»» these of the taueSTofnf;^, i rti i I a Island U from ngh I to, above Joins left hand, and scales with the band direct musical Edited b y w nine band members, nine hundred and sixty were dangers.) the hand. training ors obtained their 748 (See The Handel and n easier pieces of the United States Army and in the sight-reading practice. 749 ,f BER, 1941 : — ^»,t , — —

and Study Always Have Plenty Music Why I get higher Music and Study prices and teach SlT*! call it my contribution to of Pupils music r thing strongly to free lesson, and the 9fe of the left hand, I have one women. A further tabulation of figures is as price is the « recommend to you, which will suffice for all; and follows Violins and Old Old Violin part, either the ravei Methods that is, the taking of a Qrace C. Q> me in the following way: Table of Band Membership by Sexes: By all lesson* B. first or second of a concerto, sonata, or song by the month with no refunds Bands Men only Men and Women f or and playing it Classification Number of unless a whole month anything will serve the purpose— . , _ , •, nn an rrf 1 Q Of. is 13 missedmmoocu in’Y (1) Class A— (as above) 87 % % has failed dismally, upon the half-shift, that is, with the first finger Many a business man absence from town, in which .erne 23 77 % case t 3 constantly keep- Class B— (as above) % despite every- & on the first string, and training, despite capital, made for the missed upon G 25 % despite month. However? Class C— (as above) 75 % long run he did not have ing upon this shift, playing the whole piece thing, because in the student resumes his lessons Class D (as above) 53.9% 46.1% at the Lovely Young Lady of the Violin, this situation, — pleasing those patrons o.f his busi- without moving the hand from the faculty of month, the period is forfeited Class E— (as above) 40 % 60 % depend for Only Soloist with on the fourth string be wanted, or D ness upon whom he was obliged to are given each * Fred Waring’s Pleasure Time unless A month, so if a lei Totals of all bands indicate that fifty-five and largely in looking upon the first; but in that case, support. This consists very it is paid for in the only, month in which .S* return eight tenths per cent are composed of men interests of such it you should afterwards after the intimate personal but it is not made contain up until a five-iJr half-shift, without and forty-four and two tenths per cent not opposing them because of per- erhaps the most fas- again to the patrons and occurs. If there is no lesson both men and women members. Only three in- to be FACT about ever moving the hand down to sonal whims or because of neglect. Here is a letter cinating student gets a holiday on that stitutions reported bands with membership of day He the prin- the natural position. This prac- in an intensely competitive dis- J P the violin and from a teacher ward to this little vacation, women only. so tries be continued till in business con- to il! of violin instruction is tice should trict, who, regardless of changes T' ciples record clear by not having any facility That part of the survey devoted to an analysis lessons their zenith you can execute with surprising personal limita- that both reached ditions and in spite of made up. of the percentages of college students engaged in and eighty upon the half-shift any Violin all the pupils she can take care of. about one hundred tions, has I am convinced band activities showed that twenty-three and that nothing—acconai* part not intended as a solo, at supply their musical years ago, and neither has been not merely because she can interest, twenty-five hundredths per cent of the members price of lessons or anything sight. After this, advance the because she knows how to handle peo- & improved upon since! needs, but ever take the place were music majors and that the remaining seven- of thorough prepir* hand on the finger-board to . Editor’s Note. In spite of many opinions to ple. The writer uses a pen name 2 ty-six the ’ and seventy-five hundredths per cent were teacher for his profession; but the whole-shift/ with the first allofth the contrary, there seems to be from colleges or departments other than the things must be first added for real success finger upon A on the ina little question that the violins music school. Significant also are these per- LIVE NEAR A COMMUNITY where music highly competitive yourself field. 18th century re- string, and accustom teachers are as numerous as ants in an ant made in the centages: Thirty-eight and forty-eight hun- to this position till you can I main superior to the Instru- dredths per cent of the membership are fresh- hill, and the standard of music teaching 1s execute everything upon the ments made after those magic men, thirty-two and two tenths per cent sopho- unusually high. They tell me that many teachers whole - shift with as much ease in Italy. And any young mores, fifteen and thirteen are “crying for pupils.” is for 1700’s hundredths per cent My own problem Wrist Twist as when the hand is in its na- person interested in learning to are juniors, and fourteen and nineteen hun- more time in which to take more pupils, for I tural situation; and when cer- dredths per cent seniors. play the violin could do no bet- haven’t caught up with my waiting list In two By £stl tr <2Vio/i tain of this, advance to the ter than to follow the written Returns on enrollment could 13 be further broken years. Although my musical education is ex- double - shift, ’ with the first instructions of the great Gui- down and analyzed, but one cellent, observation more an occupational neurosis prevents my do- The best way to Indicate to the pop! tom finger upon B, on the first can be made: the basis seppi Tartini, one of the most On of size and number ing any public playing. Moreover, arpeggio is twist my home 1s in playing by “a simple i t string; and when sure of that of bands in Class C, made up of agricultural a rural celebrated violinists of all time. and community six miles from the city in wrist." The pianist should maintain a itghiiy c likewise, pass the fourth posi- technical institutions, this group rates On March 5th, 1760, Tartini second which I teach, where there is small chance of anced elbow, a curved third finger, so list tion of the hand, making C only to state universities in development wrote the following classic let- and in meeting new pupils except through one’s own thumb may pass under smoothly and east with the first finger upon the organizational standards. efforts. ter to a young lady who desired Also the duties of a housewife take their the next key. Of course, for the ordinary ti first string; and indeed this is a Throughout the computation of the above fig- daily toll to study by mail (they did it of hours. So when anyone thinks me arpeggio, the third or fourth finger may be os scale in which, when you are ures, the writer then, too!) and for the bene- was impressed with the extremes successful ; because of my advantages, I think that for the third note. With long fingers, it is e firm, you may be said to be mis- presented in the returns, ranging from the situ- I fit of any aspiring virtuoso, it have a right t to feel that I have also some dis- necessary to release the third finger until tress of the finger-board. This ation in which there are state universities main- advantages. should be pointed out that these thumb — which should be relaxed and study is so necessary, that I taining six organized bands under the leadership excerpts contain as sound coun- Two classes the nt of pupils come to me. First, those curved for arpeggios—is ready to sound most earnestly recommend it to of four full-time directors and possessing sel to-day as they did then: mam- who tUt Feme have been studying with the so-called note. By listening, the student may be your attention.” moth music libraries playing “high- “My the very ’ very much esteemed — highest powered teachers There you it! al- of the community, and who tell whether the arpeggio is played fithp® have That’s standard of music—to the situation in which Signora Maddalena: are not advancing be most too true to be good there are to their own or their parents' and smoothness. The wrist should # heard Waring’s Pennsylvanian’s on the —so institutions of more than average size 'Finding myself at length Thousands who have satisfaction; and, and k we’ll quickly go on while the and prestige second, those who might have higher than level In arpeggio playing, in the playing of Feme, “lovely with only an eleven-piece band tangaged from the air, have found great enjoyment un- gone to these glidiKSii weighty wisdom is flowing! teachers, but came to the thumb Is ready to pass under, pupil Continues der the direction of a student me instead. business young lady of the violin.” Feme is a serious student, a of leader. Before Accommodation which has so long pre- Tartini: band activities is one reason for my the surface of the keys, the V shape Curtis Institute of Music; and can be placed in the college cur- crowded vented me from performing Efrem Zimbalist, a graduate of the schedule, for the 1 my riculum on an accredited writer drives her car to and arm becomes a straight line, traps valuable advice from one of the master basis, much work will various the promise to you, a promise which she here presents very Importance of the Trill have homes to give lessons. wrist prominence. to be done toward the And busy mothers bone into . Editorial Note. establishment of a are delighted was made with too much sin- violinists “I now pass to the third higher correlation that the burden of of organization, getting the child cefity performance to and from for my want of punctu- essential part of a good per- and physical equipment. a studio is lifted from their shoulders ality not former on the Violin, which is By this method of to afflict me, I shall Another line of reaching the pupils 4 investigation was I have begin the making of a ’ that of the expensive no the instructions you wish by letter. simo, and increase the tone by slow degrees to its good shake/ and I would have financial status overhead such as studio from me of college bands. It rent and main Music Your you practice it slow, was found tenance. Most Holding Pupils With principal practice and study should, at fortissimo; and this study should be equally made moderately fast, and quick; that twenty-five and five mothers are willing to tenths per cent are be present Present, and down, in that is, with the two notes succeeding each under be confined to the use and power of the with the motion of the bow up other the direct supervision of the in these school ad- Collections w, in order you should spend at least an hour three degrees of adagio, andante, and ministration; forty unaJS to make yourself entirely mistress which exercise and five tenths n presto; per cent execution at different times, a little in and in practice you have great occasion f can though function under the directorship and expression of whatever every day, of the music e for these different kinds de- Played or sung, abil- and a little in the evening, having of shakes; for the same partment; seven By QUyS W. % ,, within the compass and the morning and five tenths per will cent are y of this is, of all others, the shake not serve with equal propriety for a under the supervision your instrument. Your first study, there- constantly in mind, that of the R. • O. T C and ore essential to playing slow movement as for a quick one; but to ac- twenty-six and Piano have often asied ' should be the true of holding, bal- most difficult and the most five tenths per cent are teachers manner quire both • at once governed t Cln with the same trouble, begin through old pupils to ?, and pressing steadily the violin. ...” other agencies of the college, ceeded in bringing my the bow lightly but well on including KSsSSSrit on with an open string, either the first or second, it the on little Mary, who wanted 1 ° f the so promptly each September. -c strings; in such a manner as it shall This will be tough band as a seParate depart- will be equally useful; sustain lit, - ® to after the first lesson. the note in a swell, ment,fTh™?the student Of I contact them early breathe the first it gives, which play Old Folks At Home council, a faculty board course. tone to and begin the shake very aca- s study ads say, “Learn to slow, increasing in demic activities board, associated but I really believe that the sped*! proceed from the friction of the string, and So many of the music student’s d ^ not quickness, by insensible or- " CVery fr effect, that degrees, till it becomes ganization, the under the sun sub i ec‘> give them » om percussion time”—or words to that athletic department, or One motbermotw music which I always play in no a com- recently Te rapid. . . bination help in , asked b^ when the pupil is told to of these agencies. deciding tnf my the last lesson In the late spring it’s all very confusing the k ^ Bow on It is going to be pretty hard for pupils to be- Forty-seven and in Lir “<*™ again^ •• Control, First Consideration a day just drawing the bow an five tenths per ^nw hom“r}°So°“", with their startling lessons . spend an hour cent of the h enjoy ^ remember that bow lieve the wisdom of the words just quoted, espe- college bands are opportunities, aU such book th 'S But he must financed by means but if I diti 7, I search until I find a firSt Contact and delicate manner of ooen string! of college n0tnf, begin cially if they have noticed appropriation; tinctly ’ 11 Would be technical requisites. To the ravishingly beau- three and four to my dis- strongly to a tone is one of the first tenths per advanL™ which will appeal so you sbou l d make yourself a per- control cent in f ect tiful tone Fritz Kreisler gets with no apparent through student the pupil’s an interest 75lstress council, eleven and nine family nfe Play it all during the summer; in every situation and part of the continue the letter. tenths 1S bow carriage effort, or the seeming ease with which Jascha per cent by the lncrea ’sed and. finger-board, or the Student Activity younger by comes, in practice WeU in regard to the Fee; members he will be , the extremities; “With one and of ^ middle as at the Heifetz executes the most difficult works. The stu- seven tenths per cent fot S f Win m° through • mood ving the R o T more important, in the h U as well as in drawing it down, will C T . P dent expect to two 0 p ( Continued on Page 782) and five tenths per ni e cent by the athletic r his music lessons. these into one de- Mi lejj laborious particulars partment; l/vate^ and the ( « to m adv (1) Half-shift—In modern phraseology, second Continued on Page It takes time and thought ’ ce is yourself position > VIOLIN 785) ip that you first exercise (2) Whole-shift—Third position. j J" pupil, ““ swell Double shift collections to please each , upon an for example, by Robert (3) —Fourth position. 750 open string— Trill. “Don the (4) well worth the effort second string; that you begin pianis- 751 Member 1941 * »

„ UNIVERSAL OUTLOOK of Franz Liszt Music and Study 7 caching Piano being revealed to a new gen- Music and Study !! constantly Q- I music lovers who, although not a pupil in mv - TWration of “hod. 1 have played the furor of the sorcerer-like show- evenutenu the ed by lotfor some infiuenc . years. gI eat Magyar pianist, see more been asked by the ^ schoolÛVIyl a uaiishiP and considerCOM.IHs. to, . . his position Chromatic? Questions teaching •—Liszt in as a “world What Is a piano £ moree u-t0f PupUa and Liszt deairing to She with study ** had an extraordinary and Studied _.ii m Jjiuusv*ic. —Liszt— - Q. 1. I have always been taught that 50 hind as 1 „ jn mus to guide me toW "U struggling chromatics are any semitone progressions practical tk(! ® to help young and art- method of starting «8! re desire major, and C to iilCe such as: B to C in C kind of work. The money and music. He identified professor here th both C-sharp in C major. My age from six An Interview with to Ioun« ^L""» i tells me that the first is not chromatic, n Grieg, Dvorak, MacDowell, Dr. Wil- thirty of them. ii( of I would si fiMlent and in order to have a chromatic pro- be .If" W Answers for any advice Borodin and Tschaikowsky and you may gression one must introduce an acci- •bout eLT***! Mason, classes. Individ^ relative measure, as he did his dental. This is quite contrary to what I rhythm them’ in bands, 1* 'Ted had previously understood. Which is and any othif?® tlon along son-in-law, Richard Wagner. So far as right? these llnesLc. '’mortal aSopliia CLariotte (jaebfer a complete list of 2. I am playing a student violin con- Information Service no one has made A Music A. This '“known certo written in D major by L. Mendels- Is rather a large late James G. Hune- veritable pupils. The sohn. The composer of the famous “Con- you ought to L’s List of the Pupils of Liszt do is to go ! Etude, in his book, Including an Authentic Alphabetical certo in E minor” is Felix Mendelssohn. “ Editor of The music school for three flrst Felix’s name is also Ludwig, but are or four Sh (Charles Scribner’s Sons) , made a both concertos written by the same com- Conducted By study piano, harmony, “Franz Lis^” court.™ following names. This Secured Expressly for The Etude by JOHN H. DUNN poser? If not, who is L. Mendelssohn? I form, history including the of music. and» partial list, wish to thank you sincerely in advance reference. the same time, take L valuable for for your trouble.—V. D. en some fij' is Abranyi, Leo k teacher s course which Abranyi, Vilma Barga ' would Cornel Richard h omJ schlag, Gower, Amalie Greipel - Golz, Margit Louis Messemaekers, Emma Mettler, A. 1. I believe most musicians would for giving d’Albert, C. B. both class and?* Isaac Albeniz, Eugen agree with your present teacher that the ii'Aeeni Griinberger, Metzdorff, Baron Meyendorff, Olga de Meyendorff Instruction. If Altschul, Anderwood, Groschmied, Emma Grossfurth, L. you cannot do Nikolaus Almasy, F. G' tefc Allan, Max Meyer-Olbers- Gortschakoff term “chromatic” is applied only to tones I advise Alfred Griinfeld, Ilona Grunn, Gugliemi, Luigi (nee Princesse ) , W you to write to the Ansorge. Kart pubton! Konrad not in the diatonic scale. Perhaps you are Baionne Angwez, Michalowich, Miekleser, Mihlberg, F. ™* KvtiDg. asking Gulli, Guricks, Emma Guttman von Hadeln. leben, E. Von them to sodT Walter Bache, Carl Baermann, Al- confusing this usage with the term “chro- Emil Bach, Sebastian Bach Package of material Hahn, Ludwig Hart- Von Milde, Henrietta Mildner, for teaching Bahnert, Julia Ban- Rudolph Hackert, Arthur matic scale,” which of course means a Morris Bagby, Josef classes, bert Mills, de Miramont. such as the “Oxford Adele Hastings, Harry Comtesse scale of half-steps. Conned Antonio Bazzini, Alice Bechtel, J. mann, Piroska Hary, other similar ker, Bartlett, Montgolfier, Marie Mosner, Professor of School Music, systems. Choose Magnus Heinze, Heiden- Ella Modritzky, De 2. Mendelssohn’s full name was Jacob s® K Franz Bendel, Otto Bendix, Ru- Hatch, J. Hatton, Sara of these and follow Von Beliczay, Morlz Moszkowski, J. Vianna da Motta, Felix Felix Mendelssohn -Bartholdy, the directions h (nee Princesse Schakov- Ludwig so Oberlin College tte Wilhelm Berger, Robertine Bersen- reich, Nadine von Helbig teachers’ book as well dolph Bensey, Eugenie Muller - Katalin, Franz Muller, it is a case of many names but the same u yM M m skoy) Hermann, Carl Hermann, Gertrud Herzer, Mottl, Arthur Bird, Adolf Blassmann, Ida , your pupils Into about three Gothenberg. Muller, Paul Muller, composer. gmc* jj Holtze, How- Miiller-Hartung, Johann Musical Editor, Webster’s New Blume-Ahrens, Anne Bock, Bod- Hippins, Hodoly, Richard Hoffman, most elementary ones being Bloch, Charlotte tcgttiai Huber, Aline Hundt, Augustus Hylle- Herminie de Musset. International Dictionary one class and the most Bernhard Boekelmann, Valerie Bois- ard, Josef advanced a* inghausen, Ida Nagy, Nikol Nelisoff, Otto Neitzel, Gizella similarly sted, Ivanow-Ippolitoff. In a class by themselves, sier-Gasparin, Alexander Borodin, Frederick Bos- m S. Jadassohn, Alfred Neumann, Arthur Nikisch, Iren Nobel, Ludwig About the Various Minor Scales a puptl from one group to anoths a covitz, Marianne Jaell, Marie Traut- Nohl. accordance with his progress; Q. 1. At what period of history did and. i Louis Bras- opening Brandt, Jaeil, Olga Ja- Adele Aus der Ohe, Sophie Olsen, John Orth, each form of the minor scale originate? measure of the last movement you have a pupil who is » skwthiia mann sin, Antonie Bregen- 2. Did the old composers, who used only of Bach’s “Concerto in A minor” for cannot keep up nina (Marquise Ce- Leu Ouscher. with even the most the harmonic minor, know of the zer, Marie Brieden- violin we find the melodic (or original) elementary Jeppe, Paramanoff, Paszthony-Voigt de Leitersberg, melodic? group, either drop in a zano), Jeapp, form employed for the violin teach stein, Elisabeth Bren- Perry, Dory Petersen, F. Pezzini, 3. I have studied with two famous melody, him by himself. On the other tart Julia Jerusalem, Clo- Edward Baxter teachers, one of whom says that the while the accompaniment is based If del - Trautmann, Pflughaupt-Stehepin, upon you have a pupil who is so tainted thilde Jeschke, Josef Robert Pflughaupt, Sophie melodic minor scale is the only form fit the harmonic form (possibly Franz Brendel, Emil melodic) : that he Is being kept back even in - Baldwin, William to use, and that the harmonic minor ; Joachim, Rafael Jos- Max Pinner, Jessie Pinney scale is used only exotic most advanced class, teach him prinld! Brodhag, Hans von by people and Ex. 1 effy, Aladar Jukasz, Piutti, Marie Pleyel-Mock, Richard Pohl, Pohl- barbarians. The other teacher refuses to Bronsart, Ingeborg Eyth, Karl Pohlig, Pollack, Heinrich Porges, Wil- acknowledge the natural form of the Louis Jungmann. Bronsart - Stark, minor scale because it has no leading tone. I rills and Turns Helen Kahler, Anna helm Posse, Silas G. Pratt, Dionys Priickner, Are these opinions correct? Emma Briickman, Graf Piickler. 4. I use the natural Kastner, Emerich minor as a scaffold- Q 1 . How U the turn piajed in Uns- ing scale Hans von Biilow, Theo- to show the exact signature ure Si of Beethoven', Fir FtUr! Kastner, Clemence Toni Raab, Joachim Raff, Lina Ramann, relationship of a relative minor to a 2 In first of Sian- Buonamici, Burgmein the movement - dor Ratzenbar, S. Ratzenberger, Katchen von major. Has it other uses? Kautz Kreutzer, No question will be answered tn "Sonata tn C mayor," to the C b (Ricordi) THF, FTUDF. , Richard Rappoldi-Kahrer, Kar- —MRS. F. L. M. tt ”‘ Kel- Ranuschewitsch, Laura e,s .‘,cc ‘”nfanied by the lull name left band on count one of Mari-tS Keler, Berthold and address Burmeister, Stefanie of the inquirer. Onl, run,ah tied with the C of Measure Til Kettwitz, oly Rausch, Duchesse de Rauzan, Ilonka von Ra- A. 1, The history of the development of or pseudonym given, will lermann, be published'. 3. How la the trill In the fes nasi Busch, Johann Butka. Remenyi, Ger- scales is Keudell, vaez, Alfred Reisenauer, Edward very long and complicated, and of Chopin's treli. Op. .v«. t jW! Baron Von «• Chop, Louis Coenen, trud Remmert, Martha Remmert, Alfonso Ren- it is impossible to find any exact date for A. 3. I am afraid that Are the other trill, sfcaMj Wilhelm Kienzl, Julia I cannot agree 1 the appearance 3trueted Louisa Cognetti, Her- Auguste Rennenbaum, Julius Reulke, Ed- of any given scale. About with either teacher, and I Rive - King, Edwin dano, doubt if they 4. In Sonata. Op. 49. SarbjBssS man all I can tell you here is that meant Cohen (“Puzzi”), Richter, Julius Richter, by approxi- their statements oven. the oa * Karl Klind- ward Reuss, Hermann to be taken And what wifi Measure 4. should Klahre, mately 1600 our present literally. your second teacher Peter Cornelius, scale forms were At the close of the Bach do played like this? Bern- Johanna Klin- Karl Riedel, F. W. Riesberg, Klara Riess, Anna in general “Violin with the large worth, use. It is, of course, possible to Concerto” mentioned amount of music—both hard Cossman. Rimsky-Korsakoff, above, we find a folk and Bi I kerfuss-Schulz, Julius Rigo, Anna Rilke, Hermann regard the Ionian mode as ear use composed—which is based * our major fl of the harmonic upon Leopold Damrosch, Karl Ritter, Theodore Ritter, Moriz Ros- scale _ minor scale. toe natural Kniese, Emma Koch, Ritter, and the Aeolian mode as our minor Would your first form of the minor scale? teacher regard Bach as Just William Humphries enthal, Rosenstock, Bertrand Roth, Louis Roth- scale. As such, these scales were exotic or because the seventh Roza Koderle, Louis used barbaric? tone of the Layas, constantly scale is a Descy, Ludwig feld, Joseph Rubinstein, Nikolaus Rubinstein. by the people of the Middle whole instead of a 5. In the same composition bo» Kohler, Manda Von half step Di Ages and rom the tonic • v* s ngeldey, D’ Carolyne de Saint- Renaissance (10th to 16th cen- Ex. a is no reason for refusing the trtlls In measures Ma Kontsky, Kovnatzka, M. von Sabinin, Comtesse to turies). I would suggest that acknowledge that played?—Miss U J. A. Sudda-Bey, WUhelm- (Liszt’s first love) Camille Saint- you read scale. It is Just that Ernestine Kramer, Criq d’Artigan , the discussion under the very peculiarity ln eD6ring, word mode in which gives such a Felix Drae- Krause, Martin Saens, Emil Sauer, Grafin Sauerma, Louise ‘“ A. 1. Klara the unabridged edition of “Webster’s ™ dy as *e New following from DvofAks , Victoria Drew- Scharnack, Xaver Scharwenka, Lina Scheuer, International N Bx. 8 ’Krause, Gustav Dictionary” and the ln article Symphony" its special ?, Von Dunkirky. Lina Sehmalhausen, Marie Schnobel, Agnes Scho- Scale in “Grove’s Dictionary cKn: Krausz, Louise Krausz of Music paul Eckhoff, Theo- Krautwald, ler, Hermann Scholtz, Adelheid von Schorn, Bru- and Musicians.” If you want still Josefine more e as uth information, Eisen hauer, Liszt Schrader, F. Schreiber, Karl Schroeder, Anna consult some fine text, such Z Imre Bela Kristinkovics, no something ®ber as 2. There must be t, Pauline Schulze, “A History of Musical Thought by ^ Endry, Natalie Kupisch Schuck, Max Schuler, Elly H. Schwarz, your for I have examine ax Isabella Kulissay, Donald A. Ferguson. question Efdsmannsdorfer, Erds- Franz Kroll Schwarz, Max Seifriz, Ida Seelmuyden, Ar- art Pauline Fichtner Mara (Lipsius) Irma the sonatas of Mozart that „ Marie La 2. I do not know wannsdorfer, Kart1 Von Lachmund, whom you mean by 6 r Hermine ° Siegfried ma Senkrah (Harkness), Alexander Seroff, Caro- 1 ** Esinger. . Lamond, ,Te 29th measure -r Frederick “the old composers * rent SCa ' P major and no La!albombert who used fonns - a only the Squentrusedên some Q'J - ®n Alexander (Serres), mUf of whTch your Falcke, Anna Mehlig-Falk, Amy Fay, (Duchesse de line Montigny-Remaury Franz Servais, harmonic minor.” In UeariyU 'your t h possibly be referred to by f ^narede the works of prac- And a Pie usable for troublesome ?“ binger, Fischer, L. A. Ed- Giovanni Sgambati, William H. Sherwood, Rudolf tically all composers their If you will copy the August Fischer, C. Rochefoucauld, since the time of composition, pSicX TtyL^styles of ^ ( Victmtise“eUa but I - Hubert Sieber, Siegenfeld, Alexander Siloti, Edmund Bach one can that is I ures and send them to me, j 5’ Fischof, Margarethe Fokke, San- Julie Laurier, find many examples of all f0r Waugh Lauder, denying the “fForray, rd ‘LassenLassen, W. three forms of the Ex.3 validityy or exlsexisten?^^ answer your question. Stefanie Hermine Frank, uard Otto Lessmann, Singer, Otto Singer, Antol Sipos, Bedrich Sme- minor scale. It is true, scales. tence of such Forster, Lenz, trm „ however, that the harmonic 3. The way you have this Freund Frieden- Ottllle Uchterfeld, tana, Goswin Sokeland, Paula Sockeland, Ella form (with Hew > Freymond, Vilma von Levinaon. the minor very d®** do Sze Eto IV chord and the major 111^ 1 is correct, but it Is Arthur W. Karlo Solomonson, Elsa Sonntag, Sothman, Spater, V) is perfectljTôod mlnor 80416 ^ ^tedheim, H. von Friedlander, Liehhng, Saul Uebllng, was used chiefly for But^f in I suggest you P*I Fritze OeoS the chords of COUrse that manner. ’ Wilhelm Speidel, Anna Spiering, F. Spiro, F. the ' the true ^ Stephanie S UoS Lomba, Lo„,s reason for , von Fryderyey. Liszt, Joseph accompaniment t hT exfs^;° all nf® von and the melodic form ° f way. The other trills are Anna Llool Stahr, Helene Stahr, Adolph Stange, a musical tWs scale Gall, Ferencz Sophia Charlotte HeS Stade, Anna used chiefly one not nen Gaal > s for the melodies. Only are doing them. laebler oc- 10* 1 ' - Stark, Carl Stasny, Ludwig also have Why not CiUa Hirschf lc s. M ag H. Stark, L. Stasny, casionally your Gaul> “/ah does one find the studem^*U Kathi Gau1 ’ i.rM major IV Play 50016 Ix.t - ? i ! rSo^r dies or me'o- ^tnerer Bernhard Stavenhagen, Eduard Stein, Margarethe composition* h ’ Paul Gierl, Gil- which results from using the melodic 2“ Geisler, Geyser, Josef Marle^ von of the sc thiS f "’ nus-Hemze, Stern-Herr, Neally Stevens, August Stradal, Frank form for chord construction. °™ Henri Gold- Thus in the UU , von Gobbi, Adalbert von compose a ’ have them h der Stucken, Von (Continued on Page 784) few? it u , Edward Merian Oenast, Van August Gollerich, Karl Gopfurt, Louis Mass, Emilie 752 “ h,ve lh' 4 Yes. ob7t 1 S°Ma“n° »«w Karl Gotze, Bela Gosztonyi, A. W. Gott- 5. Like the one in measu 753 T/\. THl 1 r *

with Mme. Sembrich was but four Music and Study days CLASSIC AND CONTEMPORARY SELECTIONS away; and when the time arrived I was • better but felt still no that I must ap- ven now, when on tour, peo- last pear. At the minute, I went directly ple still ask me why I play accom- GEORGE FREDERICK HANDEL to the hall without rehearsal Felton ARIOSO and played by William E paniments from memory, and Arranged r ° ice aS concert with a Ochs in an old HandeLmanuscript. It was then arranged I° v Backstage the temperature of one tpmarkable Arioso by Handel was discovered by Siegfried ^ ^ when I started the practice. They also T first ever made of one of Handels love hundred and five. After that I left !? in Handel’s oratorio, Moses in Egypt. This arrangement for piano is possibly the want to know about Sembrich, Schu- the qU introduced Orade 4. windows shut. is reminiscent in style of the famous Largo. It is a fine study for sustained melody playing and somewhat mann-Heink and others of the great t melodies. Among Mme. Sembrich’s qualities with whom I have worked. To relate only of greatness were her thorough a small part of my experiences with sing- musician- sostenuto m.m. J - 76 supreme artistry, Andante ers With ship, infallible memory would readily fill a book. I have room and capacity for hard work. here, however, for only a few incidents She studied a song inside out, keeping busy which seem particularly revealing. It is even on long train and boat trips. sometimes surprising how a chance re- Her whole life oentered in her art. When mark or happening will influence, even Great Singers walking in a make, a career. park, which was her favorite recreation My playing accompaniments without on tour, she always paused to listen to a music, for instance, goes back to the time bird song, trying to fathom the secret of when my sister, Mrs. Ruth La Forge Hall, its spontaneity. gave me my first piano lessons. She Miss Frieda, Mme. Sembrich’s personal taught me that anything worth playing maid, came to her through an interesting at all was worth committing coincidence. Miss 4 to memory. Frieda was first em- 4 _5 It became a habit which persisted even ployed as wardrobe mistress at the Co- u— 1 -a— • i -. m sm after I began to play ^v - J— —-ft | accompaniments. vent Garden Opera House when Mme. J 4 At first I hesitated to break a well worn Sembrich was singing there. Mme. Sem- J—=j} 1 tradition. I recall aC a concert I played for brich took a number of trunks with her r r~ frr ;f^ • • Ulanowsky, the T££l- Russian baritone, in on her trips and was impressed with the “f Vienna. He wanted to program some way Miss Frieda kept rs & them in perfect mf w songs by American composers, ./ so I sug- order. r i jrj. I —1—1 i -H9 • J A i r gested one by Arthur Foote and one - j- — — by In fact, when Mme. Sembrich left 1 £\* tir jj.xJ MacDowell. Unable to get the music, I ~~ London for another engagement she • — was -T n 1 It J wrote out the songs from memory for him V S £, s unable to locate some things she wanted 1 1 i 9 I i • • • ^ to learn. On the evening of the concert, • • • and, as a last resort, wired Miss Frieda I placed some sheet music on the piano inquiring where to find them. An answer rack for the sake of appearances, al- came immediately, directing her to look though I did not use it. in a certain compartment of trunk num- Shattering Tradition ber three. Mme. Sembrich found her things as directed. After that Miss Frieda Some time later, in this country, I had • became Mme. Sembrich’s personal maid been rehearsing prior to a concert in and was with her until her death, forty- Carnegie Hall. The singer noticed that I four years later. played from memory and asked me to do so at the concert. “It just isn’t done,” I A Triumph for Mme. Sembrich told her. But, on thinking it over, I de- Mme. cided to follow her suggestion—and have Sembrich never liked to be rushed. In Russia, been playing without music ever since. the police required concert Some amusing incidents have resulted singers to submit the words of all from this habit, one of which occurred their songs, including encores. This was a measure while playing for Mme. Sembrich at a rigidly enforced, and it caused concert in the Berlin Philharmonic. At Mme. Sembrich some irritation since she that time page turners were engaged for was not always ready in time. all such concerts. The evening of the con- On one occasion she had completed her cert, the man engaged announced him- program, except for one number, and self. When told that I used no music, he could not quite make up her mind on probably thought I was jesting, or else he that. Since the concert was drawing near, did not understand. Anyway, he followed her manager had been importuning her me onto the stage. When he saw an daily to name the song so that he could empty music rack, he almost ran back to report to the police; but still she hesi- the wings. Later, somewhat crestfallen, tated. One morning, exasperated at his he told me that he received three marks insistence, she exclaimed: “I’ll sing what for such services as he rendered. I please.” I gave Lily Pons, colorolura soprano and Frank La him that amount Forge, composer: and told him to take a pianist, pictured aboard the "Queen Mary." On the programs handed out at the holiday and enjoy himself for awhile. concert, What I Please, by Schumann, But memory sometimes serves the solo- was listed in one of the groups. We were ist as well as the accompanist. I was careful not to show program playing a ship, but it was entirely unforseen on the printed recital once for a well our part. to Mme. known violoncellist in the I toured with Sembrich until after the concert. Next day Mme. Sembrich for ten years, dur- large auditorium at Leland Stanford the music critic in University, ing which we visited some remote of the St. Petersburg Herald, Palo Alto, corners of the California. We had just begun a num- earth. reviewing the concert, said that the favorite Experience causes one to become one of ber which required over fifteen inured to numbers minutes to per- the changes of climate was the well known What I Please by form, that constant travel en- when suddenly all the lights went out. Schumann. The really A tails. I recall my first visit to St. number Mme. Sembrich quite audible gasp ran through Petersburg, now sang the house, the known as Leningrad, in was Schumann's The Sandman. audience the dead of winter. The probably thinking that the number hotel One of her unique in windows in my room were sealed, triumphs was made early would have to come to an abrupt and I was her career halt until the told they were never opened during a benefit performance at the lights could be at night Since I switched on again. But both of us Metropolitan to could not conceive of sleeping in Opera House. She was advertised knew the music thoroughly; a room without play we kept right on, fiesh air, a violin concerto by ex- against all advice, I opened the DeBeriot, and it was and the effect on the audience was quite little pected that magical. ventilator provided for this would be merely a prima donna’s Oddly enough, the usual morning airing just as we were concluding, the out and caprice, requiring went to bed. These openings were only the audience’s good hu- lights came on again as though we had planned only moied indulgence. about four inches square. Next She turned it into a peculiar it so. It morning I awoke seemed to be a good piece of showman- with triumph. a bad case of tonsilitis. My first concert After the violin number 786) 754 ( Cont . on Page Copyright 1940 by Theodore Presser Co. 755 THE ETUDE NOVEMBER I9il k ^ _

o V ' A No. 8 <3T • RHAPSODY 1 3 FINALE FROM HUNGARIAN i • finale to the Eighth - 3 i possibly next. However the fiery Rhapsody makes L * f. L il -hmbmtr, 1 2 the second is the most popular and the sixth is - .Af A* 9 0 09 1 ^ W Of all Liszt’s fifteen Rhapsodies, W y *r nr ttr z . m T1 • first indicate. It should not be played 1 iLTr U M T^f P r than the notation would at with rig, • a brilliant piece in itself. It is not for small hands, but it is far easier to learn 1—1 !=

idity, but rather with a virile suppleness. Grade 8. FRANZ LISZT Presto giocosa assai M.M.J=92 it 1 «• . £V- 9d , K 0 m m. % * . m m i 7 L ^ y if __^Lm • m \ — i—

s ZTS ! \

756 X THE ETUDE FASCINATION YALSE CAPRICE ERNEST HARRY ADAMS study. Grade o. A charming valse.in the fluent style of the. French Theodore Lack. It has decided value-as.a pianistie

Presto e leggiero

* From here go to A and play to B,' then D.C. to Fine NOVEMBER 19a 759 THE ETUDE MARCH OF THE BUFFOONS AUTUMN SUNLIGHT a circus.lt is full of jollity and is good enlivener fop A clowns’ dance, with a distinctive note which suggests the modern ‘'streamlined” Grade 4. DONALD L. MOORE Valse moderato m. m. d-~50

L JL J

DIANA LITTLE DRUM MAJOR Grade 3g.

r 4 — 1 1” LJ ' ^ ft * r . • - -—- 1.TBJ1 "yl 'B-i 0 | J1 • • — -# ^ 11? s a

1 1 Fine ^tjL* -j if — 5 if; # v 1 r f r "rh7 St- eTT!-flE — 1 1 1 V ± 3 P-i o — u-— p 3 f

j i 1 i 1 VOCAL AND INSTRUMENTAL COMPOSITIONS

G. Holland GOD GTYEMJS MEN! HARVEY J. GAUL

764 THE ETUDE 767 NOVEMBER 1941 =

Hammond Organ Registration & Flute, 8' (Sw. Strings IDYL OP THE FLOWERS @ 00 8400 000 @ 6*0 75^ 210 HAPPY HOLIDAY Gt. Melodia, Dulciana.Diap. Registration: 00 5055 210 (90 ^ 3,3 ,3*0 (ped. Bourdon 16 0 ® JULIUS KRANZ CLARENCE KOHLMANN Moderato Trem. fC VIOLIN & 3 £ i y 7)1,2f f

manuals- onrepeat{F} i fe. i ik 4 i i 1 — s> m 3 PIANO # 3 j *;r* tttt TTf? i I m — f Close f m? Open Swell shade Close -6 M 1 .. I ¥ * PEDAL

ALLEGRETTO SCHERZANDO ALLEGRETTO SCHERZANDO HASSLER SECONDO JOHANN WILHELM HASSLER PRIMO JOHANN WILHELM Arranged by Leopold J. Beer Arranged by Leopold J. Beer M. d - M. J= 100 Z-0 4 1 ^ M. M. J = 100 • • • • 1 V"~ - ‘ i L 5B-¥ i i 4y 4/ ( — 1 pg— -J— i y G_ —p-f-ff-r-r-r f^RI j- f’ * - s --- J - z -4 —<- — — ^rr H \F J> J J ^ *=^ fr- AM ^ J * f 1 1P ' W \ / y=t' ^ p z • i, s • a • =~ 1- - __ — — ] 1 • 4/ LL 1 * > ^ ff p— i— rj _ - _ M;- s % : gnu 7 rr * 1 g z FT! ~y , J *— TIM - - \ ^ 4. — =* y £== = fu d m J ^ f— —0—0— >: 7 y J p-ff-y— p- i 1 u_s : : ^ r 1^ r ' r 2 tJ 4> h M 5 3

3^* A » • • • v . — 3 3/^ • • • 3^ ' 4 t * 1 .4 #N ^ i :=ft /lu Pf j4 ff f P~ 0 y~ / i f f J4 J4 ^ — i i - ( 1 / n IT- L££J 7 — = L-L t— X —j 7 -Ue= £ FFT^ ¥ J 4 ? —IT ^ 7 gB— J-f W 3^ * P Cl%esc. - i?; y - • • • • • • • - g i 9AA fe- y P 7 J J d 0 0 0 0 - 4,- - ]-r r r J~] 1 i— m H A- ft , i 4 / # | p L B 7 j tr t r grfej 3 • fc=ti=Js ~T j +— ^ d— 3 3 4 4 5 -H~ 5 5 4 5

1 .4 -4: 2^7" • • • ——0 ..-A s n f . f =- 1 1 / 7 ft . = gj~ b - j— 1 7—P—=^L=~ r .f..- -X — - g~" ^ -^SJ > f j • ^ \ • • Jji -n ^ [ 1 1 !=*=«• 0m- i M 4f v -~T u~ a —^ G| ^ /f.£ — — k a 9 -r- * + 0 7 ^ nj ? u ? a ~r » r — i — # • — • —— —0 ^ • 7 m " n TT Lz r— • -j — • 4) y 5 1 3

4 1 4 3/ • • • z± , 1 -1 y— :r r 5 =b=j : 1 ^4^4lP= J — /5P v i |T -f-T-M -r rr am p= J ^ 1 a-A y-M "g—gj^q J 74 s 2* f 3 r ‘ f e ! / cresc. -M t=j / =£=- 1 7 H l — b = V L < V J — j—p M A * af j- - ~] : a j- < =db -^y H y : 3 -A — ^=r 'A J 1 ^ -1 0 . 0. - 11 —^ — . : IE ^ a

£ Adagio Tempo I. ± ¥ ¥f? m s=fc p m p cresc. gpi=^ i- i' =T^ A y £ a

4 5^— ^ —

#7 -|=| Lff-:,Ay ===: r r r M~^4 ‘ # — --.V- - 3. 4r ) cresc.

• • • • • • • • — » 1 f P —a* J * l» - fTTZ^l g-ZZTZ y— 1 f— ~ w m ^ i 1 r~ ^ L-T L-F3 Lr NOVEMBER 1941 771 0 — m =

SY' DELIGHTFUL PIECES FOR YOUNG PLAYERS Technic of the Month Grade 1±. The ; THAT TURKEY GOBBLER LOUISE E. STAIRS Conducted by (yutf lflf\aiev

Fniir-Part I.Rnatn

your legato than to it? “What a relief,” I hear you sigh, mash legato study for The study makes an excellent pre- “to be served a slow, all kinda fed up lude or voluntary for school or a change! We are ones.” Yes, church exercises. Learn to play it with those fast staccato shall avoid without looking at notes or keyboard, for a few months now we six- and without pedal. Often practice it studies with dizzy, bouncing if you were playing on an organ, teenths. December’s ‘‘Legato Chords” as in that you release all key- (Opus 335, No. 29) will be followed except must January by “Singing Octaves” (Opus bed pressure (in your mind as well not look them up, as your fingers) the moment each 335, No. 37) . Why learn them, and write your own chord sounds. Occasionally practice a lessons to see how they will compare few measures with overlapping tones; with mine? Not a bad idea! that is, melt one chord into another Have you noticed Czerny’s own line by holding the tones an instant after at the beginning of the study on the the new chord sounds. But watch opposite page? One word of it has out! This is dangerous. Under no been deleted. (I hope the old master, circumstances must you push or observing from his Olympian heights, squeeze; and never exert any more will not disapprove too much.) His active effort than it takes to produce words were “firm fingers resting on the amount of tone you require, or — "''T'L /i — i——H “Firm fingers” can’t rest! use more passive weight than it takes J r*i- — * — f r the keys.” 1 — 1 -Hm — d L— ~ — i 4W M m— - — m m Heaviness, squeezing, or pressure in- to keep the keys depressed afterward. mm " r “ 1 "k m M m — a : M m ^ - variably results. Try it and see for As an antidote to the excessive ex- /) WOIa - der \vh it t like to change the legato, practice the study with he ries to say. There’s a big fat tur - key strut - ting ’round the yard With his tail spread like a yourself. I would line to “finger-tips resting with aggerated release feel, by first catch- “syncopated” ^ -p. . re feather-lightness on the keys.” This ing each chord with a - — + - — P f gently the keys . letting 1 i it better. pedal, then = * £—\Lx- rd 1 seems to express 1 W-1 r i — : \ — f * -—a 1 1— 1 — fingers back to the key- — your By legato we mean connecting, push 5 binding, bridging; but is it necessary top. The legato binding is, of course, to bog ourselves down by pressing now effected by the damper pedal. fingers into keys which have already Be sure to touch each key-top before JSalitoin been sounded, and over which we you sound it. GREAT PIANO have only the release control? Isn’t This study is so simple and ap- HAROLD BAUER TODAY’S it better for the binding to be ac- pealing that most readers of The “Tlie Baldwin lias no Superior” complished by a light, sensitive fin- Etude will not need to make a chore Tke Baldwin is the favorite instrument of a ger tip, backed by a delicately poised of it. Just play it over several times growing list of famous musicians arm—all without strain or pressure? for recreation—but be sure to waft long and ever In other words, isn’t is better to waft your legato! to whom the hest is a vital necessity.

This glorious instrument will do for your own

music — for your child’ s music — what it does for the music of the great artists. And the Russian Nationalist Composers Baldwin is easy to own. Your Baldwin dealer wi11 gladly arrange terms to suit your budget. ( Continued from Page 739) “Aiagmficent Clarity Let us send you the new Baldwin Catalog. and Tonal Color’ of “The Mighty Handful” except Cui, where he received his commission Its absolutely free. jM.ail coupon today. he Rimsky-Korsakoff (1844-1908) pos- as ensign. Although in childhood as a Baldwin sessed a tremendous faculty for self- exhibited such musical gifts Also Built Ly ability PIANOS discipline united to an enormous ca- keen sense of rhythm and the HAMILTON, HOWARD AND ACROSONIC given pacity for hard work. These traits, to remember melodies, he was combined with a naturally strong only a desultory musical training. Naval constitution, enabled him to attain a Even through the years at the THE BALDWIN PIANO CO. music continuity of artistic development College, his attitude toward Cincinnati, Ohio denied amateur, to his shorter lived asso- was wholly that of an Please send me the new Baldwin Catalog. enthusi- ciates. The son of a retired govern- occasionally he was fired to Beeth- ISfam e ment official, Rimsky-Korsakoff had asm by works of Glinka and PAUL WHITEMAN the advantage he studied the piano in a of life in the country, oven, and “M.y Favorite Piano” ddress with A surrounded by peasants, their songs, casual fashion. But his meeting viewpoint de- games and semi-pagan rites. But he Balakirew changed his caused was destined for the Navy and ac- cisively. Balakirew’s ardor tually music completed the course at the Rimsky-Korsakoff to take Naval 776) College at St. Petersburg, ( Continued on Page 75 NOVEMBER, 1941 7 !

technic of the month -* i$r *- The Technic of the Month

With lesson by Dr. Guy Maier on opposite page. ' (FOU^^]^^|gATO) Conducted by 6W W‘faier Grade 3 £. the fingers resting on The legato in a four-part subject, with the hand very quiet, and CARL CZERNY, Op. Moderato m.m.J = 54-58 Four-Part Legato = 1) ^ f| ^ ~ (Czerny Opus 335, No. 5) ' 1 I* t F F I* F F r r c f ? I hear you sigh, your legato than to mash it? iramat a relief,” dolce legato study for The study makes an excellent pre- P served a slow, »to be We are all kinda fed up lude or voluntary for school or 1 change! church exercises. fast staccato ones.” Yes Learn to play it with those months now we shall avoid without looking at notes or keyboard, (.j j few six- and without pedal. with dizzy, bouncing Often practice it studies “Legato Chords” as if you were playing on an organ, tenths December’s 29i will be followed in except that you must release all key- iopus 335, No. “Singing Octaves” (Opus bed pressure (in your mind as well January by 37). Why not look them up. as your fingers) the moment each J35 No. write your own chord sounds. Occasionally practice a learn them, and will compare few measures with overlapping tones; lessons to see how they idea that is, melt one chord into another Kith mine? Not a bad holding the tones an instant after Have you noticed Czerny’s own line by the study on the the new chord sounds. But watch at the beginning of it has out! This is dangerous. Under no opposite page? One word of or ~ - (I hope the old master, circumstances must you push g- - « * m been deleted. »- squeeze; and never exert any more uf r f i observing from his Olympian heights, fr- U- produce 4 15 a- too much.) His active effort than it takes to f will not disapprove of tone you require, or words were “firm fingers resting on the amount passive weight than it takes the keys." "Firm fingers” can’t rest! use more afterward. Heaviness, squeezing, or pressure in- to keep the keys depressed to the excessive variably results. Try it and see for As an antidote the study with ex- yourself. I would like to change the legato, practice release feel, by first catch- J J rj7ji'i line to “finger-tips resting with aggerated J »J ^ §4 “syncopated” feather-lightness on the keys.” This ing each chord with a H2Z the keys gently seems to express it better. pedal, then letting to the key- By legato we mean connecting, push your fingers back 13 binding is, of course, 14 iding, bridging but is it necessary top. The legato ; damper pedal. bog ourselves down by pressing now effected by the h£ key-top before 4 igers into Be sure to touch each , if m keys which have already en sounded, and over which we you sound it. simple and ap- ve only the release control? Isn’t This study is so readers of The better for the binding to be ac- pealing that most to make a chore complished by a light, sensitive fln- Etude will not need it over several times ?or tip, backed by a delicately poised of it. Just play 6 be sure to waft «i ®i—all without for recreation—but -sT H al rs» strain or pressure? In other words, isn’t is better to waft your legato! ii H V >i J i *«*,#*. —I J _ m ibm 0 j 15 ^ jfJ J ^ J SEFEES===*=*: Russian Nationalist Composers

739) ( Continued from Page commission The he received his Mighty Handful” except Cui, where he Although in childhood fosky-Korsakoff (1844-1908) pos- as ensign. musmai gifts as a ted a tremendous exhibited such faculty for self- and the ability cipiine united keen sense of rhythm to an enormous ca- he was given for hard to remember melodies, JJ work. These traits, musical training. >th a desultory , w a naturally strong only at the Naval ltuti through the years J. °n. enabled him to attain a Even 2% artistic development 10 --f nss ^*s shorter lived asso- srs-K ciat he son of a retired govern- aien? I 1 official, (l Rimsky-Korsakoff had V ntage °f life in the country, stirrn ^ ed by Peasants, their songs, de- Same changed his viewpomt ^ semi "Pagan rites. But he Balakirew caused was h Balakirew s ardor estined f°r the Navy and ac- cisively. tfiallv to take c°mpleted Rimsky-Korsakoff i*' the course at the ^ ^ r $ Nav«] College at St. Petersburg, Member, mi 10 “ — r -

may be than the average radio and Russian Nationalist Fomposers ever nec- New Instrument repaired at slight expense if repair man. Teacher s Round Table essary, by any good radio The discover Opportunities For My first inquiry was to (Continued from regu- Page 775) (Conducted hj ^I jaier whether ®r not I could take a pupil Piano Teachers lar piano pupil and teach that (Continued from Page 744) upon the piano, along the conven- ( Continued from Page 736) seriously. Although the latter and counterpoint educator will more at the tional lines which any St. from produced a few piano burg Conservatory remarked, “is curacy and speed There is had so far only and musician.” he right from the first. concede are most necessary. also be a insisted that he be- ^reeSchoolof T for your life.” Then try skipping with addition of pieces, Balakirew Music nit every day, hands together absolutely nothing in the musician’s in Ex. 1 symphony. And in spite or hia by Balakirew and hotter agreed that a parallel and contrary movement; also keyboardxeyooara thatuia interferes in gin a Lomakin.,., methe extra Totl and difficulty. "It use other interval leaps; at the Naval Academy, he successfully, he of Pain then play double the usual manner studies was r rffTOS the slightest with '’filled with the notes, thirds, fourths, three movements the % he added, — fifths and sixths; Indeed, I found actually completed fundamentals of f of teaching piano. consolations, and with the triads, diminished sevenths and other this work, interrupted by his grad- -which Balakirew IS made the best pos- of had It is true that chords; also play that the Solovox glorious rewards. simple tunes in the ’way to octaves his voyage on the cruiser and, to clarify lost up two above of training a pupil in uation and his not as a rule occur various octaves of the piano sible means result Z rewards do —always his ship was laid up text book ; that difficult of all piano touches, “Almaz.” When on harmony. time after death. without looking. Even the first tone must most until some Ex. 3 England (he managed later, Rosenberg production for repairs in he became life,’’ said Mr. be found blindly. All the above need not the legato. You see, the r interested «It is a andante, of a musi- take to complete the missing slan folk songs, ‘ toil. The work more than five minutes. of tone in the Solovox is generated of which sdoomily, of W he which he forthwith dispatched to piled an never finished; every day 3. Now read some "baby” music slowly, from radio tubes. One note, and only Important coOedw, cian is again, from the be- never letting yourself look at for criticism. When he was third outlet start all over the key- one, can be sounded at a time. That Balakirew for his energfctJ must in the end what has he board. Use short, eight or sixteen meas- ginning. And or six is only twenty-one, this symphony, the growing ' octaves. This effected by the is, you cannot press down two keys ambition to conduct,!) few notices which say: ’Mr. ure, first grade pieces. little Nationalist composer ot? A brown tilting stops or tone se- and sound two notes. No chords can first by a and began at The Free School ofUmir was adequate’.’’ 4. Take a hymn or a page of a piece lectors. These provide four preceded in Russia only by one of continued Rosenberg sections be played upon the Solovox, any more at the St. PetEtfHtn. Mr. Otkar, stoop- III, it “Give it up," urged no harder than- Grade and read bass, tenor, alto, and soprano—which than you can play chords upon a Anton Rubinstein’s, was given public servatory. and ultimately to the fire; "go Into at to add a twig in these ways: in ing turn may be raised to octaves pre- flute, a trumpet, or a clarinet. The performance. After this. Rimaky- sian Symphony business.’’ (a) count aloud strictly and Concerts, fonodai Die apple As you senting a selection of tone qualities Solovox is therefore solo in- Korsakoff maintained only a nomi- Betiaiev, him," cried Mr. Rosen- slowly, play only the first beats of purely a Leas frequently h Listen to each from the bass horn to high string is nal connection Navy, “there it ls again—the measure. Count through the measure, strument. The solo played with the with the from ducted in Parts and Brusekb berg bitterly; quality. I a great career soon found it a most in- right hand, and the accompaniment which he ultimately resigned. For apple business. I have and as you do so look ahead, over the bar of these concerts, he mtr±-' triguing ahead of me. . . . But, as I line and prepare your fingers on the next new world of tonal develop- is played with the left hand upon the years, however, he served as Inspec- in music works by the Nationalist conpcr ment. The instrument was saying, it is only because I am first beat. If you miss it, don’t stop or is in no sense regular piano keyboard. Thus, in order tor of Naval Bands. This post was As a young composer, kit I a part not a sentimentalist, and because slow up. Always count inexorably—time, of the piano, but an adjunct. to play the Solovox effectively, a helpful in enlarging his knowledge Korsakoff at once manifeasl s moment what I am doing." playing wait for no one to It cannot possibly injure or affect know every tide and sight the legato touch must be mastered. One of wind and brass Instruments, and nationalist sympathies. The in right. The musical pro- take ’em when they piano, any more than could Rosenberg was catch up! Either you a radio in tone must be immediately displaced even led him to compose for these symphony was an apprentice rei fession has no place for dreaming, im- come or you lose ’em. the same room with the piano. The by the succeeding tone, without any groups. sound in workmanship practical sentimentalists. If your counted beats are not slow amplifying box containing but tact; the radio “gaps.” This same training, applied space are and and, two, Rimsky-Korsakoff 's life now began individuality. A somewhat iaa Heavens! Time and up— enough divide them into “one, tubes, from which the sound is gen- to the regular piano keyboard, I’ve barely started to tell how I prof- pro- to assume a three - fold activity. qucnlial Serbian Fantasia, you and", and so on. erated, is attractive in appearance. Op. I,k duces a superior legato. While ited from last summer's classes. ... I (b) Read it again at the same slow continuing his work as a com- followed by a Sinfonietta m The Solovox costs less to operate h ( Continued on Page 788) poser, he only hope those intelligent teachers from tempo, this time playing first beats as be- A STEINWAY began to teach harmony < Continued on Page 711 thirty-seven states learned half as much fore, and also the entire bass (left hand) as I did. And be sure to start your own of each measure. Don’t try to put in any next summer’s “Study Fund” now ! of the right hand except the first beats. If you are not sure of counting steadily, IN THE FIRST PLACE use metronome; and again, if the beat Sight Reading ticks are too fast, let the metronome tick I have always been In business and half or even quarter beats. And never am not young, so that when em- my look at the keyboard, no matter how ployer died three years ago. it was im- forced to play. possible for me to get any other posi- slowly you are stretch, tion. I find myself with much more walk around the room, (c) Now slightly time, Parents sometimes wonder whether to pay and want to put some of it at yawn, look out of the window, or gossip least Into music. a friend over the telephone (the now and get a Steinway—or wait till the child I learned to play as a child, without with more a Then come back, teacher; then In the late 30’s I stud- friend will love it!?). is proficient. Why handicap latent talent with ied in for two years under a very good and read the whole piece, putting teacher who corrected of faults or another piano now and many my everything "as is”, but still counting “any piano”? If you buy and taught me to enjoy good music. same speed as before. My trouble always has been that I ticking at the exchange it for a Steinway later, the two purchases could easy piece, and not read music and execute It (d) Now take another while point more than the purchase of a Steinway reading; I have always had to looking (close those eyes!) will cost memorize without everything I played, and now open your blindly to any measure. Now originally. Your son or daughter may never be a WHAT memory is not as good as it used PROGRESS ARE t° seconds (without YOU MAKING? EQUIP be. I have no ambition to play for eyes look at it a few YOURSELF FOR A BETTER play great pianist, but a Steinway will speed learning, Your POSITION anyone but myself, and long to be able close your eyes and musical knowledge playing) , then your position and in- This is Yomr Opportunity—Mail the Cwfo* to read — more and better. Is there any- the measure as you can. Do develop a better sense of tone, inspire finer work! come today— tjjtrg as much of are the result of the you can suggest to help me do training you times, all with measures have given UNIVERSITY EXTENSION CONSERVATORY, ON*- A. H„ New Jersey. this several Is a Steinway expensive—this, the only piano with your natural ability. Additional dare to cheat. training 1525 C. 53 rd Street. CJik«fo. IlSnon. chosen blindly. Don’t you will open up if you are Accelerated Action? new fields, new opportunities, willing to spend an hour it? Diaphragmatic Soundboard and l stunt, isn’t greater Plc«e & it#*oc sjmt c lessons J Quite a U ' musicians Wry day income and higher standing and teachers in regular concentrated work put yourself through in the the past. regarding X I all this, start at as little as $525. Grands begin at musical world. course I have marked •- m * ie) After Verticals your reading, I am sure you will make another hymn or ' (c) with This NATiONAL Piaao. Teacfcer t Nermal Court* Vok* (a) (b) , and valuable training, through HOME STUDY 8»d progress. next $1045. And you need pay only 1 0% down. our Extension COUNCIL Note that I say every day, then stop, until your Piano, Student ; Omitt** piece, and Courses, may ^ich includes be taken at Sundays, busy days, lazy day. ( Prices are N. Y. C. and are home with no * "*** ' later in the f.o.b. interfer- - are a Public School ClanM* half-hour period ence with your Mm ®ys, ’n’ everything. regular work just by Dwi M subject to change without notice) devoting to O Public School Mn —Advanced Kan self-study the many v»w« two half-hour sight reading minutes each ; day that ordi- Washington^ c" Advanced Composition PWods each narily MemT^ c»i» day, and let nothing inter go to waste. ; this reg a The progressive musician I] far Training 6 Sight Singing e with repeat, you must do “i as Mul l*1 them. Find a good teacher to I busy as a courses period if you^ he may be, History a long realizes the value offered, - of Musk 6 conscientiously, over of such study We are th„ . Sj.orN* y°ur work and to help you get ovl®* Don t try m and finds the time Harmony Sou* lots progress. for it. Well music by 8 S,rUCtion Kjm Of music. want to make paid positions are the Home-StudyMeTh^ Spend the half-hour available D Comet Trumpet MfOrfM TOods as to those who are m its v^h ' ch — follows: ready for them. curriculum all mclud« the course D Advanced Comet li Start «»r £ *>y Playing *e Degree of * °b,a '" , one of your memo- YOU Bach rv STEINWAY & SONS can do it too! It's of Name pieces up Z Music""^ . to Adult or Ji slowly YOU! , . and relaxedly without A |. r nng s Diploma Is at the Piano Makers Yooo K.v t„ Street No keyboard. Play fair! Don’t a Socc.,,1 .ourself .» peek even one teeny bit. Crty THE *Se blind flying” exercises for UnIVEHSITY Are Jours u you teaching now? |f so.Hc For one week •rssfl way Hall 109 West 57th St. Ex TENSION Pfay all the Cs ’ Stein C-slJ ! s you 1 5 2 5 EAST Cn... . I ? or any other tones in octave PW lonoS inis 53RD STREET ie '’vatoni Do you hold a Teacher's Ce leg. nlmo New York, N. Y. ( accompai • dept A-268)a 2 fli 5 hands separately, using third „„g t„ Nave you studied Wc fitter k CHICAr.n Hamony? each tone by touching the ILL. &oum f 776 W'* 0 tw °®er«* of Bachetar . ° and three black keys along of Musk? t'5e y. Don't look! Aim develop ac- to 777

^VEMBER. it)#} : T I p

Of this work he manding figure. Voice composed three versions, an indica- Problems Tradition of Fine Singing will-power, The tion of his extraordinary Voice Duestidns mastery of his musical and V/URUIZER (Continued from Page 746) his objective Breath years material, and his zeal for perfection. — o name famous in music for over 200 followed two more operas, "A HOME, vitality in our Then Technic . . TO HELP YOU SELECT THE BEST PIANO FOR YOUR less we should find new from the outside world becomes in May” (after Gogol) and WURLITZER WILL MAIL YOU, ON REQUEST, A NEW BOOKLET— "FACTS material.” Night JnumJ tg DR. NICHOLAS DDUTY Self-discipline makes a modern .song which was PURCHASER SHOULD KNOW"- AND necessary. ar- “The Snow Maiden,” (Continued WHICH EVERY PROSPECTIVE PIANO Mme. Schoen-Rene is currently from Peon, FULL COLOR. great career for the individual the drama by Ostrovsky. In A PORTFOLIO OF ROOM INTERIORS. REPRODUCED IN for the publication of her based on singer! ranging Rimsky-Korsakoff both these works will be answeredin THE ETUDE unless accompanied by the full which begin with her stu- Wd mition name memoirs, ? " inquirer. Only initials, or Nationalist tenets closely in One of the most of the pseudonym given, will be published. Voice Culture for Composers dent years in the late 1880’s and con- followed serious use of dance chor- that results from activities as a making frequent defective her ' is valuable for tinue through • “Voice study as . in utilizing rites technic is the * ,\S - and America, uses (Khorovods) , ‘‘spitting’ unsur- teacher in Europe 4 Sin i,, i/i a break. If forget -9'. - composers as for singers. The Piling IU™ * K / about the support, li Russia as well as folk often encountered at Trombone of the of prehistoric theta,! Does I feet tense in my throat and melodic line of Bach and where she has prepared many again my voice passed low Vooiceice used to breaks. either in actual quotations or extremities of v. sm all town where I When I sang in the High School Glee of the Metropoli- songs range. J I" fhe their familiarity younger members 0 . Mozart results from no rocal teacher But. now Club I sang all the high notes in a falsetto their style. “The caused by r « there was in imitations of unsteadiness in ,,- tan Opera. After passing her state thees to a city. I Mi, that voice. I know this was wrong. with the possibilities of the human T, Tm morcd particular gave of breath that in not too late 2. I Snow Maiden” in gives in " nmewherc if it am considering stopping choir work voice. Many modern songs, alas, re- examinations at the Royal Academy support net tone. too late to think about until / can sing without this disappointing granted a ample proof of the composer’s indi- Strict diaphragmatic i 'SJ. Iitteotyoxf veal that their composers lack such of Music, in Berlin, she was break. Would this benefit me as I could of his plus stric vidual musical invention and i in the trombone or any win, practice more and sing without knowledge. Their skipping, shifting royal fellowship to study voice and a Im/p'oS « forcing or ? voice? Any ml- straining? A. ~r:N air i to the —S. S. in colorful or- sent the It be Itarmjul with Mme. Viardot- continued advance I, iirmc, intervals cannot be encompassed in a vocal pedagogy cortiti) J. It. be greatly appreciated.-W. Paris. Later, she came to chestration. rectify it XZSl pure vocal line; and consequently Garca, in A. There are at least three things neces- the United States to become a mem- In 1881, the death of Mussorgsky is rather late to start sary to the production of good tones, name- they remain worthless as practical A Twenty-one The True career. However, ly: control of the breath forcible already Legato tor a professional (not emis- music. The composer who would ber of the Metropolitan Opera Com- added to Rimsky-Korsakoff's training trombone has helped your mu- sion of the breath), control of the vocal The acquisition laving the write for the voice must understand pany. However, the excessive work of heavy duties, as leader and conduc- of an ere: do not really start muscles, and lastly a practical understanding 'irUnship. so that you advice would be to study of resonance. Without a very clear its scope, its uses, its limitations. preparing for her own career, while tor, the task of revising and orches- is another result of correct scratch. Our under- WMMinH**11** In order to make up for lost standing of the processes of inspiration and si the harder Liszt once sent highly interesting mastering the pedagogical aspects of trating his friend's music. This labor tng. In the case of legato a i expiration, you seem to have concentrated time. young man to Mme. Viariot for her singing, led to a severe breakdown. included the completion and orches- however, breath technic the trombone la very good to upon breathing and neglected the other two. is i 2 Playing to in- It has been pointed very and out often - breathing muscles, in .. .. advice. Liszt believed the youth to be To win back her health, Mme. tration of “Khovanstchlna,” the vir- whole story. The singer (-.yelop the mas resili- Bajgjy the size of the chest and the these columns that the vocal cords must be ‘full crease of music,’ but was undecided Schoen-Rene went to visit her sister, tual re-composition of “A Night on clear conception of vhat legu It is a very good physical firmly approximated during singing so as ence of the lungs. tends to make a man vigorous to produce the required pitch and the solid, whether to encourage him in a pian- then Exchange Professor of Lan- Bald Mountain,” the songs, and the ing really is! It should never exercise and Please remember that the unwavering tone desired. Several times, in ist’s career. Mme. Viariot de- guages the and healthy. was at University of Minne- piano pieces, “Pictures at an Exhibi- fused with portamento fttt use as much past Issues of The Etude we have mentioned singer must be careful not to lighted with the young gifts, player, for the names of the muscles that perform this man’s sota. While residing there, Mme. tion.” Still later, he revised and singing involves the merrint breath force as the trombone Injuring his vocal cords. Ust* only necessary function. Please get these back and employed him as fear of an accompan- Schoen-Rene undertook to organize orchestrated “Boris Godunoff," re- tone with the next, in a pressure of breath as your vocal numbers and read them carefully. We think ist and later as much as a coach to her pupils, the Department of Music resist, whole the fact sang falsetto in your at that touching several scenes only shortly scoop—which 1 disagrees! cords can comfortably or the that you pro*- great deal in Baden-Baden. In this way, she University, structure of the larynx will shake and High School Chorus has had a founding glee clubs, giv- before his death. The arguments for dicative of def active tech very ugly trembling tone. Lips, to do with the flabby and uncontrolled pro- came to hear some of his own coming lectures, and inviting notable duce a and against the esthetic morality In passages wl icre it is tongue and throat muscles, both Internal duction of your high tones, and their ten- positions. His name never sing was Johannes artists to visit. Also, she founded and external, must not be stiffened during dency to break. You can learn to the involved in so wholesale a revision indicated in the score.scoi In i singing. with- properly by increasing the breath pres- Brahms! Undoubtedly, this early ac- first symphony If you can play the trombone them orchesta in the have been briefly summarized in singing, the succe see First learn to approximate quaintance a out doing any of these things, we can sure. you must with the principles of American cords. Mr. Albert Ruff’s excellent WURLITZER COMPANY, DE KALB, ILL. Northwest. She has con- preceding article. To these may be clearly separated, wi no reason why you should not continue to the vocal THE RUDOLPH vocal technic 1939 helped shape the ex- tributed do so. But watch yourself carefully. articles in the November and December much to American musical added the fact that it quisite was Rimsky- scooping, but closel; Issues of The Etude explain this process line of Brahms’ songs. Our life, and believes American students Korsakoff’s edition of “Boris Ood- other. In my own a clearly and give pictures of the cords and TRAIN YOUR VOICE WITH FREEMANTEL own young composers would do well The Art of Whittling rest and in action. IMPORTS to be among the most highly gifted unoff,” the muscles, both at “At Shanghai, China, I attended a concert given Brond new, English aided by the incomparable speak solely In ter 0. Recently / heard, il a church ra -itni. wife to follow his example. Then, perhaps, Study these articles and the plates very, very by Mary Stewart Toussaint, an Ambassador’s POLYDOR-SERIES in the world. Ave Maria of Frederic Freemantel 1 was RECORD impersonation of given by a whistler, with organ of resonance to Siam, and a pupil the unhappy Tsar sensations and not carefully. For an understanding impressed by her fine singing that I decided to records—never before sold at these Jow prices. Sur- wcompan intent. The rendition trim beautiful so by the late read Fillebrown’s book, “Resonance in study with that same teacher, and I have traveled faces superior to domestic records. Finest artists and Feodor Chaliapin, which others I approach legate 'Hd so impressed to Shanghaito NewYorkCity for the — me that I determined which may be ob- 10 ,000 miles from orchestras in outstanding classics. 10" records only Speaking and Singing,” studying with Frederic Freemantel. has W out to tchat extent the art or science privilege of for FREE catalogue containing kept this opera alive to the pres- with the idea that I am singtogB tained through the publishers of Ttie Etude. (Signed) Priscilla Pote-Hunt 75/*. Send today new. °l whistling has been developed and used, should temporarily dis- hundreds of selections. Exclusive with ent day. The composer’s the xakli Whether or not you freemantel studio editing of same note throughout h Marching for information the library gave continue singing, we would hesitate to ad- 205 W. 57th Street New York City The GRAMOPHONE SHOP, Dept. E Russian Nationalist Glinka’s operas and feelings 11 wscreral books on bird rails but these have Composers orchestral works is to say, as far as my , vise without hearing you. Ask your teacher. 18 East 48th Street, New York lot been much - during this period 1 of use. since they are ot con gave him fresh in- there can be no xoqtt Wifd cemed, vith the actual practice. .4 music ( Continued DENISON’S- Musical Readings from Page 776) sight into the ,fochcr Singing For Three-Quarters Juvenile Songs, secrets of that mas- merging. Retaining this $ensa®i told me that the principles were di- Should She Slop YOUR VOICE! i STRENGTHEN { t Musical Comedies, Operettas Mtly. - 1 ter s opposite to those used in singing, and Of A Year? III ; ^ LAYSL A Y S transparent 1 orchestral I project my W jg Delightfully amusing. Denison's plays manner. sameness, then, ot whistling permanent harm to re- I FOR ALL Complete would not be good for the Q. Can it do any It Commanding Power! W OCCASIONSnrcAcmMC are produced everywhere. sian During r Give minstrel material. Free Catalog. Themes in A minor, the last thee- ft Under Op. 31. The ties eighteen-eighties technically, to if done too much. Could you enlighten frain from singing for nine months ? voice.End faults for musical treatment mentally and Build up yourspeakingor singing T.S. Denison & Co., 203 N. Wabash, Dept. 73, Chicago inherent »po» not sung lessons latter was based this subject peculiar circumstances , I have Not with ordinary but Fwf F Rimsky-Korsakoff and tell I eery to weakness. on models by Glinka attained indicated. me where due vocal exercises m Baron the pin- levels silent and special . Brameous’ tale, ferent pitch 'oli get the not sing for three hv scientifically correct “Antar,” information ? six months and may great speakers and singer*.. Gam and Balakirew. Here nacle of —R. G. S. for perfected by famous teacher of many Rimsky-Korsa- a brilliant, is its full volume; how to control it. Etude Advertisements are for iodiomatically tone hW* if it will injure my 'in your own voice; know which he and “Whiteness" of months longer. However, faith Voic? Book. koff Dargomyzhsky fur- Write today ..now. .for our interesting, inspiring displayed at once conceived steps to change the cir- rnrri a powerful, convincing Bulletins of Splendid Buy- harmonic de- orchestral style, is a voice , I shall take FREE! one may actually possess nished the following resonance. It e Learn WHY literature Arabian melodies matter of ^ «Jk °* Voice Questions An- are under 17 have parent si?n request for - - vices, which became upon Glinka s cumstances.—D. W. voice. If you f ing Opportunities 1 a feature in principles, Lake St., CHICAGO his which the in such works as insufficient cover regrets he knows little or noth- PERFECT VOICE INSTITUTE, Studio 5589, 64 E. work is largely caused by Lag w later style, as well con- The about whistling as a specific gift Russian Easter rtdifi® as a fine art. Like every structed. overture, the can be readily wr cannot see how a pause of the for tone and man he has whistled life: but A. We orchestral treatment. A Spamsh. Caprice, ’ all his specify could perma- sym- After the and the A stofl* kas not length of time you death of symphonic providing such cover. been either artistic or of this phonic poem, Sadko (the first Dargomyzhsky suite injure your voice. At the end in this Scheherezade.” the® Just Pleasant to the whistler, but nently Rimsky-Korsakoff was These works to Is to lift, or arch oainf.fi* yourself very much out Masterpieces of Piano Music form by a Russian chosen to or-’ do this hearer. period, you will find composer, the are known and wer? Please read our an- time to chestrate the applauded are! of practice. It will take you some music former’s through- palate. Imagine that y tr0m^°ne player 111 lssue has been termed the library of Piano of which masterpiece °i control was utilized twenty- out the civilized he Etf both your technic and your the opera ‘The musical DE get Music in one volume. The more than eight Stone Guest,” world. With to bite into a large. advise it unless you find years later in an when the °ffer and we would not opera on the Cui death of the following information: 200 selections by great composers con- had completed Borodin in 1887 biting necessary. same subject), was based the composition. Make this motion of School, Agnes Woodward. Director, It absolutely on a na This Rimsky-Korsakoff 1020 tained in its 536 pages, comprise 53 was the first ln added to ani W*. Building. Angeles. C.11- tional legend, and instancestance in his al- thing large and round, fif*®** Los Classic, 75 Modern, 38 Light, 25 Sacred showed his faculty which ready * re are Rimskv-Korsn^ff , weighty also some professional S«*1f Training. Is it Possible?. responsibilities of , ttlsti.r. Operatic Compositions. This vol- the happens at the back N® ameIy: eighteen years of age, five and 29 task Fa>' Epperson. 400 Fine q. / am a girl ,bS£- of orchestrating s ;,H? soprano ?«?> a o, says I am a lyric ume is truly a source of constant enjoy- descriptive music, along large part of At once you are conscious nB ' chl“SO- HI.; Leslie Groff. feet tall. My teacher with some the *lS to D above service of his opera, “Prince j*- from A below Middle C ment and entertainment to the pianist colleagues. Igor,” this < Chicago. 111.; Marie D. for I sing unconscious Later as well Precisely SCS*tt soprano, reminiscences of Bala- hi the as ing. a lifting. 1640 think I am a dramatic f who delights in good music. PalOma - I labored along revision of Iltt St " Pasadena - Cal High C. kirew’s similar lines his friend’s the Ms aUo ‘ voice and Tamar. A “Symphony in orchestrS this sensation, is what a treatlse hare mud, power o] favorite music counter No. 2, of behalf toent nf“Tv,i upon the develop- r For sale at your or sent Borodin and this lost joh Op. 9” (“Antar”), Mussorgsky tones auc ^ im., accomplishment, entitled ayrec with me. I have mv POSTPAID upon receipt of price. Money re- and in reality as well needs to cover his tell me how JI a an lessons. Could you funded if volume does not meet with your ap- W‘‘h ‘ Art.” by Agnes Woodward. no money for suite, followed Glinka’s h T. proval (NOT SOLD IN CANADA). Illustrated example in <*«. “Chris,- “whiteness.” th prlce of *2.25. The Pub- teach myself t—J. A. mas'te ^ ? ‘“"MS Of T„„ r? can cheerfully sent mn 8 folder with contents upon using 1894, the P- Et, Arabian melodies 40 hls of for |>e wll l obtain this book for themes death in actual conduct you, request. lqns The ltf if you imme- and was * so desire. your singing teacher marked Rimsky-Korsakoff’s ceaselesslyeleSS,y and sequen A. Return to you a ad- with hour, the nature oct to chart out for MUMIL PUBLISHING CO., INC. vance in the ?omcomposition her technical control P^ of 1140 Broadway, New York, N. Y. and in at- koff works, operatic ercises. Is too individual * taining toward the field some of ^ Prov* High Tones bv Jncreas- a characteristically of opera which DianlI?P Enclosed find $ for which send post- Eastern are little the accredited Uc Pre** knownsnown anyone but Q. / Sm^* ur«? paid Masterpieces of Piano Music. atmosphere, outside of te,l0r as well as a Russia Edging ’ twenty-three years old, Paper growing skill CSe are For •rjft ( ) ( ) Cloth Mlada” offer advice upon. 1 in manipulating (the first?!?' prominent teacher, who says orchestral ^ eve Wteori-it color. his vocalises thc orchestral at scales and Tr,)n ri{,ht Un€ *- range Name Balakirew had influence most > V *maU \nHHy suggested to him the a Russian °ofr “l* is; Sadko,” Wagner), I find that progress "*'«/ C "> 0 fir,t ,pace above subject “Mrwn rf my ^ C Rt.rppt. of Sadko, 0r *f' I hesitate either while Maid <® (? to call Borodin of work i in the poem ,on flted when I begin m rnnffe called b^ > because I frequently his attention , no r, n JI to the possibili- Pushkim ‘ matter ho Bride,” ™* Tsar s sound my success. No and more “Tsar Salta£’ w lable OO. An OO upon '*« allm- - !°e extra support for and Kni...SSO fe* r l, w— 778 (Continued it in good place, • 1 Become w tense which results 2 Pagel^^ (Continued on 779 'ER, I94i —. »j.“* . — : — —

planer Dhvt;» Voice Problems and the next, he Your gave tS l ^ New Delights far The audience reaction Sheet Music n^mymoreiyn,, flLES Orgaim md Choir Questions Breath Technic Specially designed to save you Library liked quite ^ time searching for mis- Record as well wasted as to laid music and protect the dramatic fraying, one. After sheets from tearing, or loss. TONKabinets are richly Page 778) lowed to built by Page 740) ( Continued from sing Leonora styled, expertly skilled (Continued, from craftsmen. tore," Amalia furniture in “Simon WHITE FOR free illustrated showing styles and sixes ^Answered Ly. and other big folder HENRY S. FRY, MuS. DoC. — La Folia; “dran2> schools, homes, bands. orchestra) in music of this kind; Corelli (arr. Leonard) EE, as a means of for gives it resonance. Then, when I ^ MFG. CO. (Dept. 212) (violin) and Andor went to \w, TONK Ex-Dean of the Pennsylvania tonal purity and fluid expression are Joseph Szigeti Magnolia Ave., Chicago Chapter of the A. G. O. tends to become sharp, IS80 N. Set X-202. “warming up,” the more traditional . Columbia better attained, and the spirit of the Farkas (piano) into the while AH may slip the tone vailed, I was violin classic given a used chiefly music is more gracious. Here is a never be! throat—where it should and for lyric JKalfinets « per- and i Tschaikowsky—Fourth Symphony (in suave and technically finished soubretiST; i wi voice is warmed to pliancy, \ —for shed music No questions will be answered violin- When the all. I have sung in THE ETUDE unless accompanied by the lull F minor, Op. 36;) Minneapolis Sym- formance by one of the best sixty-fc. should be sung. L nhonosrapti records aJd'tss .°< the tnqunet. Only initials, The tune, all the vowel sounds rbles in my ten -hr “H or pseudonym given, will be pub- phony Orchestra, directed by Dmitri ists before the public. yean on is ed. Naturally, tn fairness to all Once, when I had the pleasure of ft,! friends and advertisers, we can express no opinions Folia, which Corelli and the variety of the as to the relative qualities Mitropoulos. Columbia Set M-468. called La upon *ork»7 of various instruments . the singing Susanna in “The Marriage of to me FOR HOME, There is fine clarity and bright- based his variations, dates from has helped me eW ..PIPE ORGANS— Used Festival, (j melody which Figaro” during the Salzburg only in ness to the reproduction here. Mitro- 15th century; it is a "learning rtta/L Br*j&rss sj&s. tf a. STUDIO -or under the direction of Bruno Walter, rnionablj. W. alto rabulld and poulos, the technical one encounters in other composers achieving a greater 15 wir'd “ery from stand- tubular OTMOI, addlllnna of the opera house before the penpeeHn., ”jEafi tracker and CIIURCII... point, gives one of the best defined Vivaldi, Scarlatti, Bach (in his I went to the an of opera " «toT and chine, lnalallad. Y.arl, car. as a whole Q. I rend the article nppcnrinp In The 8' tt, Violoncello . 32 Pipes Liszt (in his rehearsal was due to begin, and sang Etude concerning electrical 4' readings of this score on records, but “Peasant Cantata”) , could ever be amplifying of Flute (Choir) 32 Notes achieved br w Brothers -Organ Experts If you are considering ” Delosh church argane and transmitting of organ some scales on OO, to warm up. Sud- Corona, 1. N. 1. Cltv Contra Posaune one questions his insight into the Spanish Rhapsody) , and Rachman- ization IOStti Shaal 1., the purchase of an organ, JSOI tones to the choir. Would he pleased if you 16' denly, out of the dark of the theatre, (Swell) . 32 Notes emotional qualities of the music. Re- inoff, to name but a few. would advise me name company 16' a Wicks Organ will give of manufac- Trumpet (Choir) .. . (Extension) 12 Pipes turing such amplifier. NV.C.B. 8' turning to Koussevitzky’s earlier set, Beethoven Quartet No. 7, in F ma- a man’s voice called: "What are you — Trumpet (Choir) .. . 32 Notes you that sublime, warm — Clarion (Choir doing there?” It was Bruno Walter. richness of tone so nece9* we realize how much more Tschai- jor (“Rasoumovsky” No. 1), Op. 59, No. A. We are sending you. by mall. Informa- 4' Trumpet) . . 32 Notes tion as to amplification.' sary to the complete satis* kowsky’s Slavic outbursts mean to 1 ; Coolidge Quartet. Victor Album I said I was just warming up on my All to be enclosed in expression boxes, except independent pedal stops. Usual cou- the noted Russian conductor than to M-804. favorite vowel and he replied that it faction of organists. All Wicks V. )'/i use glre a specification for an organ plers and accessories. Including Master Swell World of Musk TO SPEED YOUR Organs are sturdily built, require a minimum of space Mitropoulos. Technically, the playing here is was the best thing one could do! On for a church suiting about liOO to 1450, to control. be found exceptionally economical to operate. cost about 1 10,000 . Will the organ at that and will Enesco—Roumanian Rhapsody No. 1 (3 above approach, but emotionally it Walter’s endorsement, if not on my cost, be large enough t Enclosed find a rough Q. Should the tremolo be used for the (Continued from Pape PROGRESS sides) ; and Reznicek’s Donna Diana leaves much to desired. own, I suggest this a the tremolo Over two thousand of these magnificent pipe organs are Over- be The fail- to others. sketch of the church . F.D. playing of hymns? In onr church, seems to without ture (I side); Chicago Symphony Or- ure of the players to plumb the full make the Swell laud enough in operation today throughout the country. The Wicks A. Your sketch Indicates quite a large the use of the Open Diapason. Somehow or chestra, directed Art in Interpretation price range will enable you to stay within your budget. by Frederick Stock. emotional depths here returns us to an am imho committee at; church, and we have drawn specifications other the tremolo seems to throw the tone Columbia out. Don’t you think it is possible to play Set X-203. the older Roth Quartet, which, al- The interpretive aspects of singing, has been appointed and agm?. accordingly. The price ol the Instrument will too loudly congregational singing f Should depend on the builder selected, location of for A demonstration will gladly be arranged on request, The tonal though not President Roosevelt to "Kina it resonance here is over the fullest realization of as I have already said, ; all the bass notes in hymns be played on the depend upon Instrument. If It Is to be divided, number of with no obligation. full; the partmcnt ol Stale, through the pedals? Do you think the registration should but the definition is, on the work, still remains emotionally the individual talent and taste of De expression boxes (we suggest three—Swell. I the change on different verses? Please give me whole, good. This set is the most satisfying of Cultural Relations, regardanter: Choir and Great), amount of case work and welcome if to date. singer. Both these can be greatly the names of collections by the great masters, ulauon so forth. We suggest that you submit the for no other reason than for the Rossini To a Doctor of of musical mterthingt a: attractive to the small town people who have in- — My Importance broadened by musicianly studies and specification with the necessary Information the American republics md the #e. no musical background. What would you ad- clusion of the delightfully gay over- from The Barber of Seville; and to the builders whom you wish to consider. Mozart by experience. The singer’s vocal life vise a beginner to do with his best works ture by nation of activities in this country vt: asking for price. Our suggestion Reznicek, which might be La Vendetta from the Marriage of Figaro; is not as long as that after he has had them corrected with the of the instru- concern Inter-American muse.' specification Is as follows WICHS teacher? Will called a companion piece to Sme- Salvatore Baccolini (basso-buffo) mentalist. help of a very good theory pub- Cultivation of the voice lishers give constructive criticism?—J.E.F. tana’s Overture to the “Bartered Columbia GREAT ORGAN Disc 71193-D. cannot begin so early as Instrumental silt coocert riob 16' 85 Pipes Bride.” Baccolini has been OSCAR USkY. Contra Gemshorn. . A. We do not advise the use of the most successful studies and the voice 8' 61 Pipes ORGANS usually . tune playing, and would Wagner Prelude does former member of the Prams £ Open Diapason tremolo for hymn — to Die Meistersinger; in his portrayal of 8' 61 Pipes HIGHLAND • ILLINOIS the part of Dr. not last Flute . prefer the use of the Open Diapason you so long in prime condition. appointed tob! 1lie art Harmonic the Pittsburgh Quartet, has been 8- 61 Notes tremolo, seems to Symphony Orchestra, Bartolo in both these operas, It Gemshorn . mention to the which and is not uncommon to Coosentari 61 Pipes directed by Fritz Reiner. here attend con- ulty of the Peabody Flute Harmonlque. . 4 “throw the tone out" in your case. It Is, of Columbia his unusual gifts for character- certs 4' 61 Notes by pianists or more He made his debat it 'ft e Gemshorn . course, possible to play too loudly for con- Disc 11580-D. violinists who UNDERWOOD 4’ 61 Pipes ization are fully projected. Octave . gregational singing. As a rule, if bass notes have reached the age seven with the Philidelpfcu Orisj 2%' 61 Pipes Here we have impressive recording Bizet of seventy. Twelfth . are being played on the pedals, they should —Carmen, Habanera; and aw 2' Pipes Thomas cancer, . 61 of Because of this time element, and has had a notable Fifteenth all be played—unless omitted for some effect, a performance that lacks con- —Mignon, then, Gltantsprtfut 183 Pipes Connais-tu le pays?; Mixture . Ill Banks such as a unison passage. The registration tinuity, Rise many singers tend to for Reiner is more concerned Stevens (mezzo-soprano). concentrate on Trumpet (from might be slightly varied for different verses, Columbia vocal work VIRGINIA r- 8' 73 Notes with to the exclusion V II. I.| AM*>RI RC, •Homework, Choir) . marked changes might dampen the ardor detail than with flow of line. Disc 71192-D. of general social correspondence, but musicianship of the desired congregational singing. We Bach, W. F. and general business writing —Sonata in C minor; Wil- A singularly gifted art culture. . . . whatever the writ- suggest your examination of the following American sing- is music during the week of Sorest- SWELL ORGAN liam ’ my mind ‘ug of organ music: “A Collection of Primrose (viola) > a job collections and Yella Pessl er makes her profound mis- . . . an Underwood Portable 16' 73 Pipes record debut to 15th. Directed by Riipt H#- Bourdon Arrangements.” Parker; “A Book of here take. The 8’ Pipes Organ (harpsichord). Victor professional singer vill help 73 Album M-807. showing she has a dares Yak you complete it faster and Gelgen Principal. Classical Airs,” Barnes; ‘‘17 Slow Movements feeling for poetic not of the music faculty of 8' 73 Pipes Miss Pessl discovered this lines confine his work to Gedeckt from the Pianoforte Sonatas of Beethoven” sonata as well as for tones alone- the Be? “ner... and ' 73 Pipes music. he the festival will feature leave you more time for Saliclonal 8 volumes), Thatcher. TOP VIEW in the Library of Congress. interprets art. 61 Pipes (2 1025 It is not Smoky Mountain Therefore, the other Celeste 8' PAT. MAY 10. Ballads; more Quartet and < valuable activities. Volx If, after correction of your compositions, 17. 1931 a great performed of art he ' 73 Pipes APR. work, although it is undenia- by musicians can encompass, the Flute 4 you wish to have them published, you might of the locality richer Be sure to 73 Pipes bly a grateful one for Victor his performance. see the popular Under- Octave 4' submit them to publishers for consideration. the violist, af- Set P-79. A I am grateful to-day 2%' 61 Pipes famous folk authority, F.FRF.M KURTZ, well toon Wod Champion. Nazard Flute If not accepted you might request definite, fording him for my ..i. complete writing ' 61 Pipes ample opportunities for John preliminary studies 83* 2 since the compositions, Lomax, collected as a pian- of the orchestra of the Ba3e> Piccolo Pipes frank criticism; but. technical display. these folk ist machine that V Banks 305 mailed before Master-Key Miss Pessl proves songs Not only can I embodies the essential Mixture If returned, would probably be for Victor. This is learn my own Carlo, will be gws 16- 73 Pipes herself one of the Monte eatures Contra Posaune .... receipt of request for the information It a brilliant partner in the en- most r a d lay of the big Underwood busi- 73 Pipes PITCH masting bits of my own accompanl- with the Cleveland Sytnphotff Oboe ®' might be difficult to secure the criticism. THE SUPREME semble. Americana uuss 73 Pipes h t ? 5 o rnat menL the se* ® typewriter. Cornopean (Bright) alternative would be to submit the has come concert of ' The to records at Us opening 8 61 Pipes INSTRUMENTS Bach, J. S. Italian Vox Humanna compositions for constructive criticism, in- — Concerto in F ma- December. ’ 73 Pipes Recommended: Two first week in AskyourlocalUnderwood Clarion 4 publishing. Of course if the pub- jor; Artur Schnabel Sixteenth Cen. Portable stead of The Master-Key pitch pipes have fast become (piano) . Victor ury Dutch favorably of their being pub- Tunes ( arr ea lishers thought an almost inseparable accessory in Music . Kindler) kr to show Album M-806. ; Na- you the complete line might suggest accordingly to the tional Brahms for my TEYt? CHOIR ORGAN lished, they Education. Symphony own enrichment. OF “ Although Orchestra, directed Also THF IMVFJtSm 16' 97 Pipes composer. the purists decry I was lucky » nderwoodPerrowd/Typewriters. Dulclana ... the by Hans Kindler. enough has ordered Contra 73 Pipes The Master-Key pitch instruments are out- Victor oisc to have had a OF FINE ARTS r, mail 8' performance of Bach’s clavier 18071 rather the coupon for full Violin Diapason.... explain how the “Forty-four standing for their music Music of strength versatile dollar four-®*®* informa- 73 Notes Q. Will you and training rirec thousand tion. ® on the piano, nobility ef- At CJ Dulclana 73 Pipes Studies for the Organ’’ by Schneider are the music loving pub- -Skinner Pi is, of course, anos in Dulcet 4 in much to be said in C ma dollar 4' 73 Pipes read in the treble clef, why is the bass clef, (2) Ease operation. All notes are arranged de- lor Op 73; Ethel hundred thousand or Gemshorn fense Bartlett p Wrfor Dmtroti Octave 61 Notes sign indicated? Enclosed is an example . in rotation following one another in chromatic of both instruments. Many and RaY construction D7 Twelfth... 2%' will now under j,. Dulclana RW0OD 61 Notes H.R.B. order. contend, 1 -re:s fiUOTT FISHER Fifteenth. 2' and not unjustly too, at the ur 0 COMPANY Dulclana that 3 ph vsics professor >ji p ° 73 Pipes rk Av'nue, (3) Perfection in design. They are at- the harpsichord allows “vSLTsarSi o" N«w York, N. Y. Clarinet 73 Pipes Read the exercises according to which- neat, Landowska ssas the r sponsible for several tan 8 A. score tractive in appearance. ol "Don p| Trumpet Is Indicated—treble or bass—either to attain a greater flexibility cj " acoustics ever clef in the or"^ principles of mC the left hand part. ample, Busch PorrsU^T ioformation on Underwood of which may be used for THE MASTER-KEY PITCH PIPES outer S^L-r.-jS discovered‘^covered * org*2- < ORGAN movements of this work that»h specifications for the ^'Typewriters. PEDAL in your example—the left hand than — role of the Pipes As indicated ARE CLEAN AND SANITARY be set 32' 12 number, play the part in Schnabel achieves aui sole to " . • should, in this on the piano. h uxmary v, Contra Bourdon 44 Pipes For vocal use—Chromatic—Full Scale—13 keys; But 47 Niuj few will deny terrace the University M -* Bourdon 16 bass clef. Diatonic—Natural Scale—8 keys. that Schnabel on the of ^ Dolce Bourdon 32 Notes Ask your dealer for piano brings more tonal a block away. Electrical Please send me the name and address Master-Key Pitch Instru- nuance and C 1S Address., (Swell) ••••• Q. close to the 32 Notes ments. If he cannot supply feeling composer's faJL the auxiliary console ... 16J®, the firm selling second-hand organ parts you write us. to the slow movement Dulclana (Choir) 44 Pipes of than quintets. in a recent number of It is cleanly pipes organ loft Diapason J0 as given to J. S. D. Landowska does in the ' Ci Open on the harpsichord. the playedYereT » 7 The Etl'DE.—W.D.S. Sanromas will be carried back to the Flute (Pedal 32 Notes WM. (husbaSd^nd “ KRATT CO. wfleh Bourdon) 32 Notes 780 public address system. State. (Swell) 8 A. We are sending you the information , Dolce Flute 988 Johnson Place, UNION, N. J. tW mail. < Continued on M 32 Notes by

781 K 1941 e — - :

completely music results from the expression. Old Recorder Personal quality of their Violin The Hevival of the Ancient that the finest music I have a theory VlDLUV amateur in the and Did QflESTI'dBS Page 732) has always been Method, ( Continued from inner it represents the sense that 1 Continued something, rat er from Po? much interested compulsion to say e ^ “I•- am also very characteristic. Earlier Michael Prae- ... i. need to get f _ he a professional finding new composit than torius tells us of twenty-one re- in is a vast dif- sound like A Definite -Angered ROBERT BRAINE something" said There Mr Kreisler r, u recorder taste : ’ ond Pfoctkol Sy'#em corders belonging to one between the two. The pro- etz much too soon axere very few ference and, Piano Students and Charles Burney even found rex said. But there a * which ALL band, public for say ' writes for a My violi> Investigate have fessional md Teachers Should “'S S , he composers who ' q w “ a ”swered n ,™E ETUDE unless thirty to forty re- contemporary ™L . accompanied by the full name cases which held amateur remember • and addressAJiZ the< A nurDOse The tha" of inquirer. Only initials, or pseudonym given, will be published.

KMisAT among wrote^ in the amateur sense;sense, artist But to go on with“^» are bert aaRsriSs were accustomed to march well and Paul Hindemith struments 1 write for a public "You must Ahout Hand “Developers” Can He Become a Virtuoso? compositions are certainly he didn’t attentively *1.00 their local merchants to the exchange these few whose and iJ Vol. 3—Advanced Students M W. I have always that ously — believed that It is a R. G. C.—It would be difficult, If not Im- surprising that didn’t have one! The fact persevere In good Idea daily, to the music of their recorders! well known. It is —he the to “fight shy" of all kinds of gadgets possible, to answer your question, “Could a with musical gen- this like “hand-grips”, “wrist developers”, boy, hours are so few, since the spirit we he was endowed embellishment, and ui. SHEFTE piano improvising “finger who Is willing to devote three Pilgrims, wherever they journeyed, there stretchers”, does not first and other devices, designed to daily to violin study, become a virtuoso, if create in our new jus and melodic facility with an open string, entertained themselves and their are striving to strengthen the fingers and wrists. My experi- he were to begin his violin studies at the reality a purpose of his writing. That if you are once ence Is that such age of sixteen?” audiences playing on recorders that schools and camps is in alter the able to Dialed Piano teacher« appliances do more harm himself; not to ex- shake thould write ue than good, unless they are used with the In the first place the age of sixteen is a were fashioned like walking canes. similar one to that which prevailed Was to express dth the first fim fOIS; for epecial adver- greatest care. Their purpose is, of course, to little late to begin, with the hope of becom- spontaneous and then await with tf ( These were called “Pilgrims’ Staves,’’ in all such simple or piore market needs greater facility^ tising plan. strengthen the fingers and to develop their ing a virtuoso. Most of the great violinists began between six and ten, and very, very city’s environments as those which gave the result in terms of critical cvalua- with U e second, the elasticity, and speed, but they must be used and may be seen in New York third, aj MUSIC m so wmasm m with caution. I think that constant practice few as late as sixteen, although I have that fourth, ruitiSNii inc • CHICAGO Metropolitan Museum in the Crosby birth to the recorder.” tion and public acclaim. And or little finger, FORSTER known of students became excellent with \ on the violin, using first rate technical exer- who lec- of players, after beginning at this age. Brown Collection of musical instru- Miss Lehrer gave a series of goal 0f self-expression, regardless you m st practice In cises. of which there is a vast number, is all » pa^ You must remember, however, that so ture recitals during the past season, attained by anyone manneir. as that Is necessary for the proper development ments. result, can be more feeble than much “depends on the boy”— ins physical p’*““ the PIANO TUNING TAUGHT of the fingers and wrists. SiS All of Miss Lehrer’s instruments These took place at the Center for ho cares enough about mu of it brethren. make-up, his talent, or you might call it, I w I shall, at pianists and sthsr musicians I once had a brilliant violin pupil, who had pn to “genius," whether he has the faculty of ab- "* are hand made. She designs them Old Music, and in them she intro- devote himself to it. That sort of prop, t no other a melancholy experience with stretching exer- studies to im HOME-STUDY COURSES ARRANCED solute pitch, whether he has the gift of cises. I taught him for several years, and he then herself, and has the design reproduced many of the manuscripts for plica > for information short amateurism is going to do more n; what I have alreadrc Write musical memory in a high degree—in White, Principal moved to another city, where he studied under arranged, as well as Dr. William Braid whether he has the God-given talent to be- duced by a highly skilled craftsman. which she has music than one hundred extra con- more a well known teacher In a prominent con- Pianoforte Technolost come a great violinist. Recently she has designed two vary- some of the best examples of modern School of servatory. I lost track of him for a year or two, America’s Smartest Piano Fashions certs. Men, and the nations they °ryo A boy who seeks a reliable answer to this 5149 ACATITE AVE„ CHICAGO the street one, is composition. and then happened to meet him on himself under the tute- special proposition ing types of recorders; which build, need to say they think ment. I question should put Music Teachers: write for what hope In the city where he was studying. I asked who inexpensive enough to come within Visitors to the recent New York lage of a great violinist, preferably one and feel simply for the Joy of saying form me whe him how he was getting along, and was sur- has turned out eminent pupils, and who can reach of everyone’s pocketbook, has World’s Fair, who were fortunate prised to hear that he had had to give up VIOLINISTS— EXPERT ADVICE — APPRAISALS it. is judge the growing ability of a pupil as he That why the widespread growth myself clearly Consult a Recognized Authority violin playing for about nine months. He In- progresses. Such a teacher can judge whether found its way into many modern enough to witness the charming SWING PIANO! Evanston, III. of personal participation In music is accept that his teacher had put him to E. N. DORINC, 1322 Hinman Ave., of my * peels, which lib Learn to play real Swing Piano. Send for free Home formed me a pupil will grow “into greatness” or whether homes; and the other, more highly Shakespearian productions directed exercises, on tenths, and Send 25c for copy America’s only Violin journal Study Folder. TEACHERS, write for buxines* offer work on stretching the “hill is too steep to climb.” Our corre- one of the most encouraging things wise beg i of j to present to th “VIOLINS and VIOLINISTS” sensitized, is delicately and carefully by Margaret Webster at the Globe CHRISTENSEN STUDIOS. 52 Kimball Hail. Chieego even greater Intervals, two hours a day. He spondent must understand that his question we can find in these stressful times, Prioress, Si for to lora Teresa. aM & said that this work had been too much Is which cannot be answered off-hand. constructed to fit the needs of con- Theatre there, will recall Miss Leh- one when man needs to bulwark himself him. as his fingers had become cramped and An eminent teacher can give him the an- Signora Chian for all whom I to cert artists in every detail. This one, rer’s delightful recorder numbers that It had ruined will study with with truths stiffened to such a degree swer, If he is in earnest and and beauties that are re regard; and believe ne i she explained to me, is the only one which were such valuable additions his technic. His teacher then advised him to the utmost diligence. eternal.” rest from his violin playing, in the of this type on the market compar- to the programs. i great affection, take a long hope that the rest would bring back the To be a Symphony Orchestra Player "Yo r obedient and most kjiL did able to the well known Dolmetsch For the past six years, Miss Lehrer elasticity of the muscles of the fingers. I G. M. L.—A good symphony violinist must years later, technic, wide musical instruments. has been associated with the Green- servant, not see this pupil until several have an advanced when he told me that he had become dis- knowledge, great experience in the realm of One of this young musician’s most wich “Giuseppi Taitai' It will House Music School, as director couraged. and had given up violin playing music, and talent of a high order. “absolute pitch” valuable contributions, however, is of the department of old instru- Well, there you have it! Thesis altogether. be well for him if he has World of of practice on stretch and the peculiar faculty of following the the editing and arranging of the words can be read in about tire A certain amount ments. And she has also been en- but It director’s baton. I would advise exercises Is necessary In violin study, beat of the lovely music already composed for for minutes, but they cover practnl; extremes. good conservatory of music, gaged the Juilliard School of Music can easily be overdone If pushed to you to enter a two hours a which has a student’s orchestra class the recorder, for the use of her pu- Music summer session for everything that the young rafca A certain amount is good, but one two con- and Is like y In which you can play, and study with a Is too much of a “stretch", pils and also the music-loving public, ( Continued, from several jbe day secutive seasons. Page 780) dent has to know for good private violin teacher. As you progress, m to spell disaster, your teacher will advise you whether you can L > SPECIAL NOTICES “make the grade," and give you many hints MICIIEI. CHEIINI.W SKY, ' '* symphony remembered In The KlovI family, with Its many to further your progress in your 192 Pages this country ns *a" "b 0 the publishers the violoncellist of the of the most note< work. Also procure through FOR SALE: A collection of liter- branches, was one ? 9 x 12 Regular Cherniavsky Trio, musical Although of The Etude a work which gives passages is in England, devoting ate (several rare books) of about 200 violin making families of Germany greatest violin from the great symphonies. This will give his talents to the olumes; also, books of music sheet Is considered the British troops as well and Stainer practice in preparing for sym- Sheet Music Piano, violin, organ, vocal and a the Klotz fatnily made you excellent as civilians. few maker of Germany, performances of sym- Music Versus Professionalism He has been living in e ma ny quite olu. bl°^raP‘11 '= a phony work. Listen to Ox- T,®f 5; Write to Arnold excellent Instruments. In L| some radio, ford since losing Iris Mount Kisco, Westc Co., the name phonies by the great orchestras on the London home and Musical Films _ hester N. Y. German makers, under works on kinds of the best music of every ( Continued from repertoire of following: K Klotz, G. also all Page 734) music in air raids Accord- VA '™n: Klotz. I find the good music. J A Good location for piano J. Klotz, far., class, so long as it is ing to an x Klotz; J. Klotz, Oxford newspaper, pe r 1 n c and ’ back songs, records, violin, violoncello, double bass, “lrough Ooodbve Mr »ehe!tran«? , r like the eficial. It is a profound art. F° re S Frank ' No. 200 Album of Favorite Songs. mistake to cratic pannage » may have been tn.r ' “ n clarinet, bassoon, oboe, viola, tympanl and Book — nni adel." lii!hi^ver,' Colo (Contains 127 complete songs and words. make a youngster use his ward to g that they Klotz flute were unionized, but now it seems that precious the day when w?!, "anted only the ones the^ Arranged for all instruments. music wifi1 be endowe gh ter ?type RKO R io Pictures’ perhaps the lest madefy everything with which one can make a noise play time to work d of music, c»«ical hh Euphonium—couturier at the drudgery of by but I have Cr other in- No. 201 Album of Favorite Piano and forI amateurs played f°ur valve, is becoming unionized. Very soon, Book — mat urs - A1 a great deal nedy opus is W* ten, oerffi satin finish, gold lights of _ this elementary music ice ?. «ady we are of classical! musico-cor of the brightest into the Solos (Contains 62 most popular piano music mart, "LJti °f„? ' be taken practice, l #- - - Klotzf one will clamor to without shaping | nopuiar case - n s struments 1 *“ >*'» featurir Kay Ky«>r 8 legitimacy, such as the jews-harp, solos.) any reward except the knowledge n°m* prices some fold of ward greaterSLSSr John we/e. fsThol^by t^ mouth-harmonica, the musi- Book No. 202—Album of Favorite Strauss leLsure^andC > T ftmments banjo, the the that it IS p-mnor in x_ _ r - leader and co (Contains 25 complete Strauss *° d 1 1 fttee*anl? 1690, Wurlltzer guar- glasses, and so on. Waltzes .° ““.S'” *n H Rob* ? 0nJ°y^’ cal saw, musical STLIDENTS 11 ' «,e richer1C r alf ‘^° l0 orchestra. Waltzes.) Itr.Li?seems to us" opera more, Lupe Ve.^-, S valup i?' or me that the larger ™ J, V, company»-»»mpan — ‘ ^ pur- sure 4 ;f PhUadeinbio ’* I look formal ™ by Etude. “Cremona, % The Book No. 203—Album of Famous Waltzes e ' directed Violins 6 ‘ of Vuillaume ed Cati0n W0Uld be better meWhen continue d rf < :or wlU and produced and ^ Value (Contains 63 most popular waltzes.) gainful to‘ 2’ afraid that your supposed =e°r employment °cai provide Kyser? g_ p. X.—I am served by afiowingu be6 ccom - eVmfiU< Ilce story b Book No. 204 Album of Favorite Piano Ac- as much academic plished Pre-professional ,hrou*h Butler. The Vuillaume violin is only an imitation, of — in five hours H f p.-rfortl. Klotz markedhis cordion Solos (Contains 70 complete Piano credit for music practice and leavin ing for «>'»- Ing himself, while Ba zme^ys tbit Sebastian which there are thousands scattered all over music more time for & °Pera singers ~| ®- P ® makers, Accordion Solos.) nersoLI“a llvingr^’ 0 ^ANNOUNCEMENTS violins with his Initial®. “ the world. Among French violin lessons is - "’ ' r ' as given for the solution Then Neuger, ' Ko: id m t> where Book No. 205—Album of Favorite Children of men will the Metrooolit I** position on th ranks first, and Vuillaume second. certain , Lupot problems EgBla, Kl°tKlotz, son Piano Solos (Contains 139 finest piano solos in arithmetic. If , child ™ ** ** aecll rho trie to set cannot be readily seen genuine label reads as follows Jote and a“a”Le°”d c It The for children.) could charge up his enough "SK&fT'l °RRECTKn and pre- Jean Baptiste Vuillaume a Paris daily hour of y tr.ii . Write for Complete Catalogue to re-create tlve radio con j bll Arran Ke ments made Petits Champs f 5 _ Kjs] meiSaies qL?"; . Rue Croix des 1 _ ° i Books practice to school by slnging W1LHEL !0“r Original music composed arssvsMsisj!- of 21 Assorted work, instead M .• lar ^ wnJsf- this you could write of playing > kif.nzl, the currently j If you wish to verify comnoshm no . , a«n. Work crltl- taking it Ussorgsky strian Hanv for tree violin dealers, Chicago, from his limited period ^° and conductor storm ler to Lyon and Healy, ****** of the "ashbur ?° ' B Music, 14846 RimskylKora* ivuI i>dKon:akoff l pUn1 I1List however, and n11 five dollars for an fun he mnnlH he to, „ , . eXDressoH u, critic, riiorf i„ <41mncio Ave-. Mittenw rs firm charges usic Detroit, words In Illinois This 1 Mich. the vlolins . Some * fict.ii lies in the In tbdr you have to send your violin M. M. COLE VA-IO on which they placed Iser opinion, and lessons - -indeed, ®ngaged He was W, at pit# label, the expressage both ways. there distinctly in a friend whiclh the Grfil added “an der Iser t not to them, and pay non-muSK?USlCal a ruses by 1 ny while in con- PUBLISHING CO. be •» , . prof PS.Qlrxr-* Rntr cat* rlver class Vuillaume violins, good A7' z like "lance and being a famous violins, First " refasten IUS r Hayerg n?,i ^. i“ h Cremona catalogs of leading Chicago, 111 “Der fid vised to tree ck ,nail course. Informa- fame are listed in the 2611 Indiana Ave. P? plS.'J eaualling the j .4- ogityip noble dition, S«eay 8k n $1,000 up. ~~ e Studio, Dept. B, 2228 American dealers, at rr W’s York ffiVOr. Kay K Ave A t, s Oakland, Calif. 783 flL Member, the p 1941 . 1

he forgot eleven pended Bands of the United per cent have no pre-requi- please.”’ upon his ne College States Studied with Liszt concert 2*' sites. She was usually full of ances. Never When youjihif “Liszt, it seems, have ‘ I snaejj It is almost impossible to evaluate PIANO little witticisms. His lessons so responsive such or I the standard of performance through 753) bit tedious, thra ( Continued from Page 750) ( Continued from Page became the least by a never performw ft's- the medium of a questionnaire. How- sometimes lasting over four citing to see although everyone ever, an estimate of the quality of hours. entered, an through the influence of close honor uaJJ’H band work in our colleges may be Stvicowich, Arpad Szendy. Only one occasion I was to be “I recall that on Dub per cent lowing table: received, it possible thirty-three made from the information j Ladislas Tarnowski, Karl Tausig, friends of Liszt was • playing Bach’s ‘Chromatique Fan- ns; to the select group. Miiller- reffl of other agencies C. Table of Performances indicating that forty-seven per cent Hilda Tegernstrom, E. Telbicz, Ste- admitted *chthe medium apparently my treatment “He ,, influence, and it tasie,’ and eniovpfi self-support, Number of play grade A compositions, twenty- phen Thoman, Otto Tiersch, Vera von Hartung had that ^ ‘TaSools of music, was not serious enough. ’Ah!’ he ex- amerentdifferent gownscrrm-n* , Timanoff, Anton Urspruch, Iwanka was Miss Gaebler’s plan to convince at each meeT* or a combina- Per Cent Appearances three per cent grade B, eleven and play that with so ^. organizations, she sought claimed, ‘You must we varied our agencies, 9.8 l three tenths four and , and Valeska, Baron Vegh, Vial, Pauline him of her ability. Finally dress as » W JL more of these to 10 grade C, like school- , or more academic dignity, a di- 29.3 one classi- Viardot-Garcia, Rudolf Viole, Vital, his recommendation. per cent of the band 10 to 20 tenth per cent grade D, as “sixfy-two ITS SIMPIF AS iVB'C Jean Voigt, Hortense Voigt, Ida “I was surprised at his casualness. master.' their respective 23.8 20 to 30 fied in the National Music Educators’ Es reported that ‘Yes, not? There “Another member of the group was 16.8 Handbook contest materials. Volkmann, Pauline von Voros, Voss, He merely said, why "^winns were equipped with 30 to 40 on Band with a Beethoven 1 cm Henry Waller, Lisztianer (denoting Liszt doing wonderfully disagreeable odor 20.3 to 3)euffle are which t thirty- affecting Josephine Ware, Rosa many rehearsal room and Over 40 The most vital problem afternoon, but his touch discover H S“wn Wappenhaus, Ella Wassemer, Felix pupils) who do not play as well as sonata one until alre^aay with When the amount of rehearsal college bands and their development cent shared rooms delicate. The master lng. per Weingartner, Olga Wein-Vaszilievitz, you do.’ These words made possible was a little too M< Wt of the group £ Eighty per time averages only four hours and is that of scholastic credit and its the 7/la iim6o of tfc campus activities. over to the piano and put his er Weishemer, Weissheimer, Johanna the greatest period of my life—that came suddenly Liszt thirty-five minutes per week, the inclusion in the college curriculum. bean indicated that it amaz- istf. the answers of the piano, s „t of With your knowledge Wenzel-Zarembska, Westphalen, period with Franz Liszt. ear to the keyboard, saying to the lng the air. that Jos- He then outfitted in either above median of 23.8% playing from The questionnaire blanks show the marimba—and with :! bands are ingly easy to master eph Wieniawski, to player, ‘But, you know, one must be the roon of Margarethe Wild, “Miiller-Hartung took me the uniforms. twenty to thirty times during the the number of credit hours permitted such mastery comes an entirely new world C. or school-owned Etelka Willheim-Illoffsky, able to hear it.’ lng 5 0 T. Winslow, masters’ home, a beautiful structure odor and. offering bands rehears- school year would show that the col- range from none to a maximum of musical pleasure. • the number of Alexander Of it with you Winterberger, Theador de overlooking a park and given to Liszt We had to play by memory the he led me to a to four for the duration of the partici- The marimba is portable—take chair »t regular school time, re- lege band is required appear too Witt, Janka Wohl, assigned us, •m during anywhere. The marimba is fascinating Peter Wolf, Jules by the Grand Duke of Weimar. The numbers but we CO uld of the room a often, considering the insufficient pation. A comment may be made at indicated that forty-six per and old. The ma- Zarembski, turns makes a hit with young Van Zeyl, Geza Zichy introduction was a pleasant one. place the music on the piano. Li szt you sit matter down' amount of rehearsal time available. this point that it is in the gives new life and color come under this arrangement, rimba is versatile— (the famous one-armed Liszt eent Hungarian was so charming and amiable would beat time on the piano. OCI But these institu- of credit and its place in the music. And the marimba, as cent rehearse at times Perhaps, in too many of our band to any type of pianist) thirty-six per , Hermann Zopff and Jo- that it was not difficult to under- sionally so vigorously musical instruments, provides that the mu sic many memor Miss tions, the band Is regarded purely as curriculurh that serious research and the "livest" of Ga regular school hours, and school or- hannes Zsehocher. stand other than golden opportunity to "make why he was pictured as music’s would dance up and down. He would Weimar and exploitation and adver- attention is greatly needed. The a cent of them rehearse a means of bands, play club, lodge and Some of the names mentioned most romantic figure. eighteen per chestras and sometimes take the mus:1c in hU pianist. Hu appraised in the true various standards of rehearsal time, even become a above under each classification. tising and not radio engagements, perhaps were not pianists. “I was saved art time The others the ordeal of playing hands, watching clo;sely every ncite. ? directors’ quali- her now knoll i yet perfectly the philosophies of music public performance, professional. • were fia;’* sense of composers, later celebrated, ‘on trial,’ so great was his faith in a v» o sin niui y iUilt U, nngen Performances fications, rehearsal facilities, and lies the chance you've been conductors, College Band education. In the marimba violinists Remenyi and friend’s judgment. satisfaction and — At last I was a he would point at him and saji music library all need to be evaluated seeking to multiply musical Joachim the number Seventy-eight per cent of directors — and Van Der Stucken, member of the circle. Never rather The data governing gain the popularity your talents deserve. has severely ‘There Is your stum- on the basis of and correlated in standards for the musical critics school performances admit band members today for interesting bulletin^ who went to him for there been a greater of public and Write _ _ _ _ _ thrill than that bling block.’ Occasionally Liszt was Russian Nationalist cent on a pre- various classifications of colleges, " musical counsel. No college bands through- try-outs, eleven per Ask for the Deagan money was ever realization. angry, but these presented by accrediting "piANO TEACHERS: received occasions were rare. standard of previous training and from this a uniform teachers' earnings. for his lessons. If the “The Liszt school year of nine months scribed Plan of stepping up reader circle was not confined The only real Composers out the This, more will anger I can recall was and the remaining system should evolve. look over this huge list of pupils to pianists, portrayed through the fol- and experience, however. Well-known brought forth by a is best factor, would permit and somewhat doubt (Continued from Page 77*' than any other estimate how many hours of his artists of the harp, j.C.DEAGAN.Tnc. violoncello, and ful playing of development of college 1770 Berteau Ave _CHICAGO life Liszt gave to them, Beethoven’s ’SonatA, more rapid Dept. 5157, i; and then will violin also assembled there for the multiply Opus 57, in F minor’ CAppassionata') through bands on accepted philosophies for- this by the priceless value of three afternoons an orchestral suite*. Is- weekly. One could He paced up university his lessons, an idea and down the room and chei the Immortal.’' "PanVoysna mulated by college and may be gained of scarcely think of the gathering CUo'IMA and mombors of Bond SING these Beautiful Rebuilt Band & Liszt’s as forced himself to listen jldAM iJOii/ philanthropy in until it be- “ServlUa” 1 these last two on » administrators. this one di- anything but a reception for music’s jj Instruments rection. came absolutely Compositions with Band Accompaniment. types of recognition for Orchestra unbearable He Russian subjects), “The Tale of tin Various notables. frowned, A list of those bent his head, and participation were listed in the FULLY GUARANTEED who claimed to be “From the standpoint his long Invisible City of Kitezb,” and tt band ‘hOnTsTLY REBUILT— of teaching white Smm Please specify instrument you are in- pupils of Liszt is as hair fell over his face Fifty-one per cent of those indeterminate as one might consider He then last and in some respects cost# returns. terested in and we will quote prices. his lessons some- Instruments. a list of those proceeded to scold the give recognition in the Distributors King Band who claim descent what unorthodox. student thor- nal opera. "The Golden Cota! BAND reporting D E , From a table ?“»! from the cov- oughly and sweaters, and WEYMAN N C0. S?reet philLd=U! a. Mayflower’s Pilgrims. gravely to fe of medals, keys, As ered with music he criticize the The freshness of Invention in form Liszt would select a conservatories MEETINGS. BOOK died in 1886, there are which hr PEP and PATRIOTIC Paul Janet rewards; nine and eight relatively piece. Then, turning produced such latter and Its dazzling coloristic or- by John similar to his pupils Etc. and he fc School few of his pupils living products. But, like FOOTBALL. BASKETBALL. # Wall— mown give part or full reat this time. would a storm, Collate Choruses aloof uifh tenths per cent ask if his anger chestration astounding. .Mod Imtrmtiag < MnUom any of them are TV pieces with The most played that soon vanished, mist Original key WM. S. HAYNES COMPANY outstanding is of and foe VU1 HnruU Erne Offer** catchy words. of tuition to certain course particular number. shortly he was Through the use of fantastic c mission Moiiz Rosenthal, whose smiling with an per cent give rebates Flutes of Distinction contributions 1 three “One learned the apologetic air. national which s® members; to The wisdom of bring- subjects—of Bonds Etude during many years have ing the Occasionally Liszt For Junior or Senior Sehool activity tickets; two and SILVER—GOLD—PLATINUM pieces he liked best. would strike a are taken from stories by on student STERLING been valuable I sup- n note re- additions to the ’ ^t he per cent pay cash in mu- pose that ™, fc CONTENTS tenths it was a certain managed to con! the employment of folk songs, three Catalog on request sical pedagogical literature modesty ceal thisfh so CARRY ON, AMERICA, CARRY ON forms of of the in Liszt ingeniously PEP (/oca) March) for services. Other which made that it was rites of f® — By a O’REILLY CUNT turn Avenue, Boston, Mass. time. him refuse to Khorovods. games and KAKON BOOZE ,lh W 108 Massachusetts Possibly hardly 1 .V. P-t. tot* melody the only other noticed. »]j. A thrilling Uith three and eight Liszt listen to Perhaps nus ti to uJ£ totaled his own the best maitwn* band arrangement is in the correct key for £ ^ recognition compositions. ex- antiquity, these works with h <»r chorus T. pupil in America is Per- ample of chorus arrangement*. I'nuon, S A and T. T B. Sophie Charlotte haps the only this occurred - ; T grUSAWlA. per cent, and thirty and one during Woirt by J. A Ms Co. York. Nab tenths Gaebler of exceptions to the rule a Sun max of R imskv-Korsakoffs (N® Milwaukee. As any recol- day musicale rrtrt Uc m Cows patriot collegiate insti- were his three for a march “ per cent of all BINDER ‘Liebestraume.’ host of compose ****- Rcd* tenth [SHEET MUSIC lection datin' ment as a Nat talist “Yankee Doodle.” “ America.” D _ of Liszt’s work as guished HIGH SCHOOL CHEER SONG every program a teacher is “During guests. Bine." For use on almost of the above recog- THE “POCKET” WAY lessons, Liszt ALICE LAMY WOOOCOCK and give none Liszt was rolling as a h tutions to keep your sheet of interest, her usually up must be admit! that, STICKS I It*s the better way remarks the -•u band arrangement is key for t SWINGING are very walked piano in a A the- comet music Handy Convenient. Practical. about the room, grand style. does ® ’‘ah the unison chorus nition. pertinent. smoked and When he Rimsky-Korsakoff’s music Made with an expanding pocket to ac- Now seventy-eight, struck a JuMahed by Thao Miss made brie, criticisms. semi-tone short bmn Co. fhdodutpkta. Pa. interesting fact gained from re- commodate regular sheet music 9" by 12". lie of the u« Pvt An Gaebler, a member of the a?wa„ en- high possess the profundity 01 cm In W or 1" thicknesses. Imitation leather Wisconsin couraged music libraries. $5.00 Morocco $10.00. the utmost freedom qusM boosting the high school blue trombone plies concerns the $1.25—Genuine leather — College of Music, of con- sky’s even the epic old a pocket— •/»" thickness—Imitation leather continues her nor , _ Without ac- ception and *r VINCENT ENGLEDINCES in the larger $9.75. Send for sought to a few exceptions $1 00—Genuine leather $4.75—Morocco tivities develop “Prince ¥ for ' With daily in origi- s imngemenl is in the correct key COMPANY, carrying on the portions of Borodin Mth descriptive circular EUCLIDE tradi- nality and t ctwm. SAT B arrangement. - developed real is seated. having well Nassau Avc Dept. E Brooklyn. N. Y. tions creative , ' 0! If the band institutions 100 of her great thinking conserve! by Pari. Neta master, whose por- was a He > ihls But as an ardent I A Co. Tort maj- master in knowing SV„e LZu^”.' rmt iv pet copy THREE TRUMPETERS departments, the trait with how 1 instrumental best , the inscription, “To my inspire to Jn tionalist traditions, wn^. the young football S h d libraries contain a dearest artist. pP song The ,hr" , P 5l2fh?w “SC of band Sophia,” looks Ws *y edww vaile bl cncS‘ vS ority down upon “When a turn, passed on to McIntyre X marches than LEARN MODERN SWING PIANO her passage failed kej ,or percentage of from the wall above her to satisfv stands ato**® Lore) larger piano him he sat rolling deliberately Rimsky- Korsakoff MATER (School We of music THIS MODERN WAY! down and ‘T W'Jh. ALMA college classification She up J Kane Co . Cuximnaft. Ohio or other was twenty-two demonstrated m fantastic lor u-cuse bjror anya„, school any and ^ secondJ SuiUblcSuitable music and records ! • Prtt* With already the desired grand sween special vein was the r~, u,IV ^Ptf C.„Copy next interpretation, P ’ thlSthtc works were well grounded in piano and time be fejj® BOOK listed. Symphonic Easy! Speedy! Effective! Enjoyable! technic when often true. struck the imaginative. In these •Other in "SING-O-PEP BAND Attractive Compositions Contained in the scale of per- Representative teachers wanted in every she went to Weimar in 1885. to the lowest Although When was unrivalled. As composer-^ tOLCON TO VICTORY town. Territory going fast. Write at once. °n one he plaved a . JfiSflSSISiY have librar- Wisconsin born, she occasion, a m h KWN PAUL JONES Some, however, was thoroughly youne- dinary CXtraor- of 1°^ FIGHT, FIGHT centages. FLYING FINGERS SYSTEM, Box 22, Scotchman was variety conductor, collector ; ,, FIGHT, in music familiar attacking of eXJ? down THAT LINE JOHN PAUL JONES exceptional scope EVERETT, MASS. with the German language the instrn fl0nS ot By ies of ment with such over his came editor and orchestrator Pr JOHN PAUL JONES and customs, by virtue vehemence ^ featured SWING ALONG literature. of heritage ng - " of ~ TRIUMPHANT such frowning witching, b( friend’s music, author TEAM *y LUAP SENOJ Breaking intensity sh^dowyV SriMrsEuo; instrumentation of the into the Liszt circle that LLis t viTd 0 on pre- decided Playing Wa* “Principe T Returns to administer that —one of which. INSTHrMESTATIOV 3rd Tfomh*"* of the - •»*»• sented difficulties, however, his LLCnt Jr 2? #»htca4 BO show the standard and her ‘“”> his C. college bands m the form with spirits alive chestratior - finished by e »w*t Baaitana T and •• C. ill 2!"^ h! high. success aarltana was not C 6 o«,. to be relatively Pianists for free booklet show- I immediate. There- °Uld is Trar»h«»t C- instrumentation —Send You forth caU Steinberg, 'R* •* 2<>f final know,’ • at will them law. Maximilian ing how you may greatly improve your snirf „ Cntwa* - fore, she he with lot »k | ,4 Tnaikww •• c with _ closely spent some time £L H Qahaat correlate technic, accuracy, memorizing, sight- under the ’ c n standards there was P°.tr» " fb im4 The once a filfed cially valuable -and .* (a Hwc. - r C. reading and playing thru mental- tutelage of Miiller-Hartung, 1.. Pi.ua returns, with state director became h BESS'SP wit :y-Korsi the balance of the muscular co-ordination. Quick results. Practice efTort a dentist. derness, or - ten- orchestral style. Rimsky- famous pianists, teachers and of the Orchestral School in When a nL power. ranking highest in in-— minimized. Used by Weimar came in “But comp* FBra - . pou universities students. No obligation. moaning with Liszt assuredly the most ~ < a toothaih? never ni«. omplefp Cornel (Continued on Page 793) Broadwell Studios, Dept. 61-K Covina, California 784 'or us, only lomp,™ personality among Russian * ist composers. 78.5

THE ^ c /

Schumann-Heink de- some misunderstanding City. Mme. «. the size of post- thought it spised handkerchiefs was to be ^ Backstage with Great Singers at thT terest in ensemble playing by the and carried one of quite hall. We were ready age stamps for ^ introduction Page 754) of a group of sonatinas (OmPETEDT... BECAUSE (Continued, from proportions. She had no soon- kst. only to discover Piano ample SjSl The Accurdion which appealed to their students. was in the house. tucked one of these into her hand- been sent the wrong drew twelve curtain calls—she sat when an audience er The benefits to be derived from sona- HE'S CDRFIDEIIT! the con- the table, tunately I But one evening, just before bag on getting up from had extra tina playing down at the piano and played a , —whether they be played occasion to go back stage waiter accused her of making right ones, but ^ Chopin Nocturne. The audience was cert, he had when a they as a solo, duet, trio or quartet—are office. Not wanting to napkin. Such an up- vaUse at the To Accordion clamorous. She gave it another sur- from the box off with the station Teachers too well known to be enumerated outside, the alterna- waiter got. I have had to be sent prise; sweeping to a climax in a tri- brave the snow braiding as that for then here. Suffice it to say that they form the center tive was to walk down heard before or since. It did reach the hall partite performance, unparalleled in never Pietro 2)eiro a very essential part of the musical to the stage and New York, she sang. Ah non giungi aisle, up the stairs seemed that he visibly shrank in size run do»n and training for instruments such as the ‘ - the wings. place on from “La Sonnambula.” out to at each fresh outburst. the stage in violin and piano and no competent hesitation, he decided As Told to ElVera Collins After some Among other singers with whom I the audience teacher of these instruments would this hastened up to the stage to do > associated are: Matzen- bled. Through X CHOICE OF MATERIAL for year; and, if one think Schumann-Heink, Mother have been it all OUR were to judge the of omitting them from his cur- at Miss h'' TN Also part of this an^ almost ran to the wings. Just mained Department, we are riculum. a fabulous age of auer. Pons, Crooks and'T'ibbett, but calm and unruffled the Accordion improvement in their playing, he They are equally important this moment, Mme. Schumann-Heink it*?' I crowned heads in Europe and com- I have room here for only a few more ,lke 1 influenced in the selection of sub- would think that several years had to accordionists. mand performances was Schumann- was stepping forth for her first num- r;i extent by the ques- elapsed To incidents. In my association with to a great instead of one. Accordionists illustrate our point we present r audience jects Students turn in a bet- Heink. I toured with her during the ber. They met head on. The noyed at * teachers and students. are advancing in herewith two excerpts from accor- singers, I have witnessed many of such a mix-up tions asked by grand style, so ter all-’round perform- latter part of her career and on her did not know whether to be shocked their triumphs and thftlls, and I re- *'I never like to recent mail shows that teachers again we say that accordion teachers dion arrangements of sonatinas by ance on any instru- lo: “Item Our visits to the war cantonments. or amused until Mme. Schumann- . the ment, once they master How in particular. fore ert their fall classes well organized throughout the country, in famous violinist, I. Plevel. The member one The scene because, if have both good it is to remember Heink confided that if she could have i do,!;... the secret of playing in the exact tempo the way she ell advice and sugges- small beauty of these lovely violin pieces was a restaurant across the street Mng What a and now ask our towns and large cities, are do- wonderful the score calls for . produced best by warmed and cheered the boys by her run into a handsome young soldier tuifi, has . from the Metropolitan Opera House ever; on new teaching ideas for the ing a fine job—and we are proud of been brought out and enhanced singing, the way she mothered them! instead, she would have thought tions Sii them! in their accordion arrangement. ELECTRONOME in New York, the time around I began winter season. mid- tour rttha In addition tu i 111 (Trad* Mark Res. U.S. Pat. Oft.) wuu to heract voicevuicc andctiiu artistry.ixi usury, muchnmcu betteructtci ofUf it. .rnAftertci that, in mak-mcixv- They enable the accordion to ap- night. A few of us had gathered there great changes har Before giving this advice we would And now let us get into the subject it was her great heart and love for ing her entrance, she would peer in c cwt m. ** congratulate all accordion of suggestions for winter proach very closely the effect of ELECTRIC METRONOME o 11 , 3 _ 1 _ .... „ n z* 11 after a performance of ••Falstaff Singers have become like to teaching. all mankind that made her a su- all directions, then advance cau- mort stringed chamber music. The fact It gives them confidence, which leads to Everyone was talking at once about lined for one thing, teachers on the very excellent prog- We would like to see as great an ad- preme artist. tiously, to the further amusement of and tie jg competence, when they know they are during the that they may be used as solo, duet, the sensational success of carries their voices ress their students made vancement made in ensemble playing Two incidents come to mind that the audience. Always ready for the a young to the mi, absolutely correct in timing. first trio or quartet enables teachers to are singer; everyone but the singer settlement. While no past year. This is the opportu- as has been made in solo work, but “The Metronome That Operates Elec- typical of Mme. Schumann- unexpected, she thought it better for him- two stugeaff adapt them either for large or for trically** is a masterpiece of precision. self, who alike, there nity we have had to do so, since the lor some reason it seems to be lag- Heink. One happened in Pocatello, an audience to laugh with her was present. He was are several chan® than small groups. When played in quartet Simply plug in, flip the switch, and it Idaho, strangely preoccupied. istics which Music Dealers’ Convention in New ging behind. Perhaps this may be the and involved her treasurer, a at her. He was unable ail great singeu h. begins beating out the time with supreme select form, it is advisable for the first and rather shy man to grasp the fact These are York City. At that time we heard fault of teachers who do not per minute. who ordinarily would Another time we were eating din- that the goal of a zest for life ajifis accuracy from 40 to 208 beats for their groups. second accordions to omit the bass not think of stepping on the stage ner which he had dreamed, for which for their art accordionists from every part of the interesting material Change tempo as desired right while it*s in a railroad station in Kansas he and an intangible sste accompaniment, thus enabling the running with one hand. No matter what had labored, struggled thing country compete for trophies for solo, Naturally, students lose enthusiasm and sacrificed, difficult to describe. Tie r the same few four melodic lines to sing forth and your instrument, your practice will be was within his grasp. for duet, trio, quartet and band playing. when asked to rehearse The thing had life ls partly due to thtirpefe the beauty of the sonatina doubly valuable, and your performance over and over again. show come about so unexpectedly, health The artistry, technic and musician- numbers doubly effective when ELECTRONOME it took which they must mainai form. him by surprise. Many constantly. To ship displayed by some of these sets the tempo. Peabody Conservatory young singers any other pens The Importance of Ensemble in his shoes young accordionists surprised old would have called common cold, 8. PRICE $12.50 REGINALD it the although annoys Playing Excerpt from Sonatina, No. 5, Op. STEWART, Director occasion for timers, like ourselves, who have been Deiro GUARANTEED FOR 5 YEARS a celebration, for break- not the calamity it is to the age By I. Pleyel Arranged by listening to have written us that Examine It at Your Local Music Store BALTIMORE, MD. ing the rules of training It contests for many years. Some teachers Andante with plenty may mean cancelled engages® D7 in- G C Six-day trial at our risk. Recognized as the leading endowed musical to eat and drink. Many of these players competed last they have been able to stimulate G FREE conservatory of the country But not this young and the loss of thousands of dobs Send for details of money-back offer. man. He ate his 1st usual corn flakes and So the singer roust keep healthy anc milk, just as he had surcha.'gei FRED.GRETSCH mfg co Winter 1st always done aft- as a result, is usually p Session J^t. er a performance. Makers of Musical Instruments Since 1883 ^ Lawrence Tibbett with vitality. SMusic Suggestions 31st was just for 2nd 4U 60 BROADWAY, BROOKLYN, NEW YORK Musical Education in All Branches beginning to realize that The other is a quality you soato now he ^ Tuition According to belonged to ft p Grade & Study the public and feel by means of a sixth sense, See THE SUPER A that overnight his Thanksgiving Services all bra? Staff of eminent European and American Masters responsibility to cause of her lcve for including-' that public Aids Special Programs ACME had fo Organists and Choirmasters in Arranging 3rd increased greatly It you felt It when Mme. Schra Sole New York and Philadelphia a bering Single Copies of Any of These Numbers Sent for Exantination p Agents thought, a her later j® PIETRu DEIRO ACCORDION OSCAR f°, challenge Helnk sang, even in SHUMSKY and not for HEADQUARTERS him the the internationally occasion for let- when her voice was not shat it® Con't 46 Greenwich Ave., N.Y.C. known concert violinist ting •ANTHEMS SOLOS— Write for Free Catalog and teacher down the bars. Price was. It is something that bans® Title. Cat. No., and Composer 4th For Mixed Voices -1 -J-]*'1 Acme Accordion Co., Inc. Praise (Low) 43 W. 16th ST., N. Y. C. Enrollments ** Title, God, Immortal Now In Progress race, creed, conditions of Ml Cat. No., and Composer Price Praise to (Bet. 5th & 6th Aves.) (15029) Lerman .60 Advice from All Thy Works p Circulars a Prima Donna thing that makes all people ok® Praise Thee (21086) Song of Praise (High) (2854^.^ M M M M on Request r M , M 7 I would like Vaughan $0.15 k k 7 to relate real? ^ 1 h an experl- after all. It can't te described And Now . JCearn to play the on This Our Festal Day B f nk8KiVinK A {Hi | .50 ) 6 rGCent |D14i : . . AlLen ACCORDION BY MAIL! datc great Sfi >«) Aldridge .15 °U8?52F“ 1* ** A Revealing which <*' It must be felt, and iMe f jtBU New Book in Two Parts cSrre^wh^ Cherubic Hymn, S'’' hank8KiV inK A ° n tOUr yon W? The (21200) AUitsen .60 With LU V make . ;. paragon - po»w. have the ability to ( fg ^7 of rhythmic counting In all111 her Cretchaninoff .12 w concerts f ank5sHvinfI ' A iL0 A7 ELLISON-WHITE D Miss great fw*., WC Thanks So "8° ™ .50 Ytoifo ... FOR ALL RHYTHMS Pons uses a Most singers have Unto the Lord (20624) lllitsen G C D7 G especially written two—tried Conservatory USUally 5 A0 „ u and tested—Correspondence _ Bairns .12 . .Pease PARAGON of Music °ne ls always » Thanksgiving (L^wi (17009) courses that em 1 guarantee results. OF HARMONIZING Ployed at God. Mme. Sembrich fFr-r-— -fl — each in WiUGiTe Thanks Write for FREE information applied to Ariel Rubstein, Director n nd a sv (21164). ...Marks .15 tarsal is ar- Just before stepping onto the ThM PIETRO DE1R0 ACCORDION HEADQUARTERS I I FOUR KINDS OF SSL 7 V t - 0 Cod (with Sop. CANTATAS "f 46 Greenwich Ave., New York City HARMONIZATIONS JUS ^ Solo), before the U**f (D10.951) Spence .15 of Mixed Voices 1237 W. Girard Ave., Phila., Pa. Send for explanatory thiQ concert On “In the name of God." For Choirs 1^' circular Artists Diplomas 11 1- ‘Good Thing to Give Thanks FFA ELLIS PERFIELD always aWi0A Harvest Home r . !. 1539 Schumann-Heink Jr 103ina East, o N. E. 10THAVE., hearse Mme. > Stair .10 86th St. (Park Ave.) New PORTLAND, at the VI Baines York City OREGON hotel, By William . but Thank We 3o minutes through a prayer her lips. All Our God (20414) ’’q taking about on j H#»rp a cantata — Huertcr .10 presented by the average MUSICAL COL p . to Mng It mav be 1V1PIIPFIK US,C raise quartet of SLIDE RULE Be Thine (20501) .30 choir and the usual COMBS -f|. ?M5- Alviene . . .Matthews volunteer Complete- reeve musical Academy and raise Our Lord soloists. HARMONY & ARRANGING AT SIGHT — muMiau euucation.education.ion. PreoaratnrvPreparatorypreparatory r- . U Theatre1 "tdlTe and Maker (D14608) . . . E,t. deDartmpnt.nent f«vr0r m 1 , Opera, Drama 1894iao, children - Teachers’ Danro M Scales, Chords, Keys, Transposition, Instrumentation training . Whitehead .10 ^nr/iicourses i ^ 5 or a career. Stare. p leading to degrees and diplomas Thia Aral - Hymn of Praise Rit. ° -- PRICE (with 2290 (Phone) Hrlt^hlfnl nr« flrflmal P,,ee' 6 $1.00 instructions) 1925 Chestnut St., Phila.. Frederick Wick v" y^^Maaader .13 By l*fbrd lo ihr- punoK At dealer - « . , a your or SOLOVOX -,,u •* At thirl lomSrr*. %rr»*i4rr>»< VOICE TRAINING .12 Clef Music Co., 152 West 42 St., New York, N. Y. M.k. THE ETUDE opera melodirw. rlaw*ir grm*. ^^''^'^..Stult. for Serious Students and Teachers Marketing n,« „ W ( Folk son? of pfifitm Elude Advertiser, p»«rw arr inrlmlrd *mon# Netherlands) LOUISE WEICESTER Open the Deers t„ (D12606) 160 WEST V>A CTOtrw-r Re .| •prrial rrfi«ir»lion throo|rfK»®« choir. . 73d STREET Mr-,., • p . Arr. Krcmser .10 ° M M k M rmphawige I varied I«mI ,Ce 7 “ M hr ’ the Lord la King (35039) 1*' ^ N ALBUM Caravans 1 P CHRISTMAS imlramrnl. Adams J2Q Harvest MPSIC c Miles P, c ’ * Compiled the *nd Harvest Russell Hancock , and Among the content* of ; (21055) .Harris .12 By . Arranged ^ Tjij, find* the Invrlw Lrensmg "rT Bc 10 God chorus cantata for th (DM140) . .15 e by JOHN Taj* . .Spence A ffi^u^by ACCORDION! FINKE, ‘* C****'.^ -hanksgiving difficult to s,n *- J r . Humperdinck id Song, not w.dl-trained high A (D1441M or community® nuidf’a grarioa* Amtwmmi the .15 choirs, Fa u months or Toth — Barnes choruses. reason why we think that SEND FOR OUR hhy Ravel: and other school The text is by Another (10095) Our Hearts We Raise season of l y : at any minutes. 4 PACE DESCRIPTIVE Published A nlhon* *• the C*bn ?J* “boutaoour 35 will appeal to accordionists hy .Sofnte Rertcald .15 Charles Cooper. Time,T sonatinas matin'* Wefody o tt CIRCULAR E. THEODORE Tke )' SweetsmeUin* Tree. for ensemble playing is that each ( 20J22 PR lljinwk* : Rent* ESSER ( o. Hone on ikr .12 CO. O. PACANI & BRO. 1-12 rtr. PRESSER individual part is essential to form Chestnut THEODORE Ditson Co. St., (nr Oliver whole. In most other 289 BLEECKER ST. pa Prior $l.t> S0L“ the perfect NEW YORK, N. Y. ^ ( U 19651) (Continued on Page 790) Prolhcroe .60 787 £ > — — — ee

New Instrument Opportunities iown Hall Hallmark STUDY? for Piano Teachers ( Continued from Page 730) WHERE SHALL 1 GO TO E CURTIS J H J ( Continued from Page 776) Hall stage spread with the speed of a all institute of music other concert scenes. Why he left cross-continent plane : xxxxxxxxxxxxxxxxixxiixxxxxz Dorothy May- the stage and went into retirement legato, took nor, the young Negro (Western) (Eastern) addition to the me only a short soprano whom was a mystery 3 Private Teachers Private Teachers ; However, in tin* not solved until he to w tor the how to play School Year Koussevitzky, conductor of the have one other advantage the Solovoj Eighteenth Bos- returned. Then, after he won the we ton the special At first. I Symphony Orchestra, hailed ROSE OUGH FREDERIC FREEMANTEL » piano student. That is had a^.'S as Town Hall Award, he gave to inter- jj “an American Flagstad.” left hand, which, be- music lor It. That viewers a reason that in part ex- VOICE Voice Instruction * training of the Former Assistant to Lazar S. Samoiloff the right cause I Miss Maynor was nearly thirty home study lessons, the dominance of know how to plains why Robert Goldsand was Hollywood Author of 24 # N cause of go L. in "The Fundamental Principals of Voice when she received the Award, Reopened Her Voice Studios at N piano pieces, does not However, the is a proa given enables the pupil to start the study of the piano with * piano technique prize. performances that have been ' The Musical Horizon had not previously won a He very little financial outlay. This modern work is based "The Riddle of the Pianists' Fingers" 3 Broadened FRANTZ PROSCHOWSKI i of Laurens Han on the middle approacnapproach andaim is so corclear wuand step-stvy- N in this twelve-month period. Early C published by the University of Chicago Press differed in all respects from his three little tunes almost at Vocal Teacher Now what wise that the pupil)il is playing 622 FINE ARTS BLDG. JJ has this done to me as world the Ha! is going the outset. Profuse!sely illustrated. Teachers, be sure J CHICAGO, ILL. next year some John Jones 200 W. 57th St. predecessors by being Robert Gold- to see this work. New York m piano teacher outstandnding Tel: with many years i n. with whi for Part I—Learning Letters on the Keyboard COlumbus 5-2136 twenty-nine-year-old Viennese to be thankful that the League successful sand, 3197 Part II—Notes. Bars, Time Signatures 3 RAYMOND ALLYN SMITH, Ph.B., A.A.G.O., experience? Well. I ha' liar at this Political Education built a building, 3198 Part III —Five Finger Exercises pianist, a young man who had never 3199 Part IV—The 2/4, Time Signature x Dean THE RIZZI STUDIOS $ not changed my opinion in the lea said be ac enwooJ of that music asked for admittance and 3200 Part V—Introducing the 8th Note N competition Central Y.M.C.A. College Voice (Bel before entered into Canto Method) Piano-Coach m about the piano, * School of Music with its enormoi of the carpenters enlarged those stage CENTURY PIANO SOLOS, ea. Mme. Gemma Rizzi—Operatic Dramatic * any sort nor won any manner 15c Complete courses leading to degrees. Coeduca- Soprano possibilities, its (Capital letter indicates key-number the grade) JJ Prof " great MUSIC could Augusta R.zz.-Organist-Choirmaster-Composer sensitivity I n lan CONSERVATORY OF doors so that a grand piano tional. Fully accredited. Day or Evening. Low tuition. 3178 A Wish (Symp. No. 3), F—2 . Beethoven-Rolf JJ President—Young America N award. Grand Opera Co Inc tonal effects, [Hritionof UndemtoodCoMeo*' 3180 A Prayer (Symp. 2), G—2, Beethoven-Rolfe Kimball Hall, 306 S. Wabash Ave., and its vast literature vi vc musical in For this strange com- * Chicago, Illinois Both Graduates of the to America pass through. 3171 A Little Ballad, G—2 .Chopin-Rolfe Royal Conservatory of Naples for Women. Thorough prepara- He was not unknown F H 3 of masterpieces, has 3143 A May Day Dance, C— —2.. Crosby 278—ith Avenue, written expressly placed sal pianos tion for carecra In muiic under of events led to a recogni- Brooklyn, N. Y. STerling 8-0743 for The in Town Hall bination 3165 An Airplane Ride (Arpeggio) 2—D. Richter a distinguished faculty. B.M. for he made his debut the instrument. gifts 3187 Andante Cantabile, Em—5.. . .Tschaikowsky DR. FRANCIS L. The fact that for well creased in five over six!*' degree, certificate and diploma tion of his exceptional musical YORK y when he was sixteen, and many per- 3185 Ave Maria, F—4 Schubert Advance Piano Interpretation and the Theory work nigh two centuries In piano, voice, violin, organ, 3189 Barberini’s Minuet, C—2.... Hasse JJ EDWARD E. it has public lx® in his being hallmarked TREUMANN 3 enthralled per cent: and. a e harp, other instruments, pub- country and resulted 3166 Bounce the Ball, C 2 Richter required for the degrees of Mus. Bach., Mus. Mas., sons heard him play in this — Concert Pianist— " millions in recitals, lic school music, theory, har- 3168 Busy Little Bee (Valse Capr), Am—2, ltichter and Ph. D. in music. Artist-Teacher and that it Ls the better acquaint! ith the Sd- and as a product outstandingly fine. n b mony, history and appreciation disappeared from this 3179 Chicades (Symp. 8), F— 2, Beethoven-Rolfe DETROIT INSTITUTE OF MUSICAL ART V Emil ^ M ° rit2 before he Moszkowslci 3155 Darting In and Out. 1 Armour an“f Hofm a n„ I accompanying instrument of music. Weil-equipped atu- C— Detroit, Mich. for other I am sure even 3175 Dark Eyes (Easy), D Mi 3 Armour ^ dioi, beautiful buildings on — — Studio, Carnegie Hall, Suite 3170 Dancing the Minuet, G 2 Chopin-Rolfe 837, 57th St. at 7th Ave 3 instruments at all iucedintek- 138 — Tel. Columbus * recitals, makes its pianos will be ir acres near St. Louis with First Waltz, 5-4357 New York r-:** 3190 C— 2 Durand-Rolfe Summer position its frequent concerts, operas, 3184 Flight of Bumble Bee, C Rimsky- Korsakoff Master Class-June to Sept supreme. There be 4® ^ —5, Private Teachers (Eastern) -App°y ££ 3 is no substi- where there mig ot other musical attractions. For 3188 Garland of Roses (Waltz), C—2 Streabbog tute catalog and view book, 3154 In Rose Time (Waltz), F Bb—1.... Armour for the piano, found write I Have and there never in music at pres I Some Things 3134 In Gay Costume (Minuetto), G C 2. Crosby Private teachers in Harry Morehouse Gage. Pres. — — the larger cities can be. 3162 Jumping Rope (March Tempo), 2.. Richter will find 3 But there is C— this column a big tonal world of the flute, the I**# Box 1241. St. Charles. Mo. 3137 Jolly Little Sambo, F lib—2 Crosby 3 KATE S. CHITTENDEN quite effective in advertising tation their 3 outside 3173 Laces and Frills, Am 2 Chopin-Rolfe courses to the of the field tM — Pianoforte — Repertory — Appreciation thousands of Etude readers " encompassed by violoncello, the French boro. Learned from Teaching 3176 March Militaire, C—3 Schubert- Rolf JJ + the piano. 3182 March of the Sardar, E 5—6 —m, Iwanow THE WYOMING, 853 7th AVE., * pu sue advan The piano, the E — 3 «d study with of course and 3156 Moonlight Waltz, 1 established,° u- k" j °i u an 3 is a ophone. the oboe, G— Armour m NEW YORK teacher away percussion \ 3164 Mr. Third Takes a Walk, C 2 Richter from home. 3 instrument, Ota — naniiiixiiniirixinimm: and its tone horn astonishingly lifelike. from Page 738) 3051 My Little Pet (Valse), C—2 Hopkins (,Continued begins to \ 3150 Nannette Poco Animato), F—1 Armour die out the no.-j moment a kev strument Imitations are 3117 Out on the Ocean (Waltz), C—2 Hopkins s struck. 3169 Pussy Willow (Valse), 2 Richter No single tone ma£ - C— Tell your can be made not exact. However, the \ slips never occur (normally 3151 Roaming Up and Down(Mar.), C—1, Armour Music Loving Friends about THE language. memory 3054 Robin Red Breast (Waltz), ETUDE and , 1 , louder or softer music as a F—2.... Hopkins *° ' V< after ® nderstand per- 3161 Sail on Little Boat you the privilege of sending in their 8 the key Is de- is in a sustained, \ speaking, of course) when the (Bare.), F— 2, . Richter subscript becomes mechan- 3139 Scouts on Parade (March). G—C—2 .. Crosby Ask /or Catalog of Rewards 3 of tlf 1 »rwise memory for subscriptions you send * pecul,arly ‘"div- fact, the potentialities former is as sure of his music as he 3135 Shadow Waltz (Valse), G—C—2 Crosby iduafand \ hazardous because, 3131 Skaters Waltz, C—2 Waldeufel-Rolfe THE ETUDE 1712 Chestnut Street T™ays remains n -which is of “How do Philadelphia, a piano mond Solovox have down is of the word-sequence Pa . tone it lets one k;.' \ Lng foundation, touched For Instance, Speak music you do?” Solovox Toth nexpected moments. - however, played b anniversary YEAR \ It is my firm belief that musical a tone ould easily be C tongue, y be f,C c^ 00 native expanded °7j .* ^ music, dramatic would your or reduced ar| a gem so called, can generally be bv i er plaj in *- C°a r»es problems, by- two c . . lead to degrees. relations, n , , \ interval ° TV* P ial Undents may your ptratetl Instrui enter at any time. erstand reduced through analysis to very selves to the able to recognize Ztme? 3 ViOHn » SECOND \ e yourself reasonable fundamentals. ROLFE - a ‘"impel, the melody semester simple and UURLTER orlhe hu„S can ernDhasixe the means of process V°ice ma nno Opens January ulation as only to exert thought upon A pocket sized simplified method of the elements * bc affected ones l 26 \ a One has of harmony, little , embracing the scales and by Tresce^ played by r another. When their con- r key to struction, the intervals, the triads ninu the s® i one The first duty of a good in both major and of *»*os. Scores fascinated by mechanical them. minor keys up to and including different tn ren are ow , \ of the dominant 7th, t °nal evidence his and its inversions. Qualities 1 gives teacher, then, is to encourage may be in the midst of Everything is quoted in achieved by The tubes used him in the the simplest terms pos- alteration in * lor I stop not to play brilliant pieces, sible so that even a child with a year or so of piano 0 * 7 used y is students, study can levers ^7 the same as those where he easily “follow thru” with it. Be sure to or tone ask him selectors issage and put forth the sort of enthu- see it. PRICE, 25c. tL of the to play but to nary radio. One means The Century Catalogue contains ^ notes he thought that over 3.000 compo- w e what siastic and penetrating sitions consisting of PIANO I told me that between SOLOS— DUOS and consulted exists TR S l L ,N and P,AN0 what relation them to solve their own J°n ..TBX ilo - DUOS - TRIOS exhibition Un- will help and QUARTETS — SAXAPHONE and r,APIANO" U — “the ment, used for just played. MANDOLIN and am.TclrZ the notes But, as I said before, I do GUITAR and VOCAL. £7"on * • a‘ and problems. Ask your dealer for Century & for o«r hi music, and if he can't thing some- and used daily for announce supply which "performer can to offer this as a set you, send your order direct to us. Our com- not presume plete catalogue will almost no repaid as he plays be mailed you FREE on request. - required fluently system. It is simply my been pedagogic CENTURY MUSIC PUBLISHING CO. The Solovox has 254 ^ own way of working things out. West 40 St., New York. N. Y a radio pensable In ST. PHILAD 1 rs“,t •££££ 789 rUf.fl ' h

of course, Radiations main purpose of tne recital, Musical on the Ether an opportunity To Accordion ISis to give theLHC students . _ audience. This is a beforeumwi. an . ( Continued from Page 742) toLO pplayLay . .. x frcnnins'.training, ana Teachers very vital part of their custom of one or two the present many Mexican enson and give stu- in order to permit Prank Mutin (Continued Page 787) concerts a year does not (*. from broadcasts. Pil to ac- children to hear all the and the -Columbia dents sufficient opportunity workZ programs for penmen ' public appearances. The Tuesday musical tal musical 9 arrangements, the quire poise in and 2 SAMOILOFF accordion band they will present interesting productions. 'ki RECORDINGS There is no question but what November principal part is carried by the first concerned with practice harder material, for they are On Monday evenings accordionist and the other parts are concentrate and th,„ Three ten inch records, vocally explaining the Samoiloff their playing folk music and art music of North, highlights would ^ subordinated. when they know that seem J South America, and the Telephone Bel Canto Method of singing will be put to a test before an au- Central, and Hw and also clarifying the to our work and Melton dience. They feel that they are work- relation of music and Prancia Wbl Excerpt from sonatina. No. 3, Op. 8. ? Handbook for singers and teachers soon to be published objective and their play. The times of the broadcast* Red,; 7o,„ Aevho, By I. Pleyel Arranged by Deiro ing toward an » 9:45 AM., EST; 2:30 to American Allegro ambition is stimulated. are 9:15 to tenor e Iretted Michigan; Geh- hundred players of the fretted in- ifterafiy m,nd ^rp3t musicians and We note of only city where Banjo Band, Detroit, noon recitals on the move up and Si"? i th°o, a ban)° band nearDy taking in this color- first Sunday in down the keyboard teachers, ° f works for w sixtvft flourishing, m Orchestra, Lans- struments part is so th^ created their players ments are man-Hunsberger each month? It a straight line who huTtH** » ' a forty-five piece ying is a fine' idea, and from the tin of m 60 stnj ^ tomcT Bellson is car „° McMichael’s ful spectacle. Excitement and enthu- 1 along Rlln restricted f**- Pennsylvania; those to the knuckles with old P R not for a _ $ m orcbestra electric Paul Albert ^ dale teachers who tried it of the convem? , and an the many high, as one band after last year han d A might eth<>ds Haws as attestedl hy Band, Newark, Ohio; siasm ran raised as high increase ’ Is changing mightly k successfully Plectro-Phonic on our as you ™ (T;: ensemble of twenty-five recommendation describe their claim that wiu1 ?n ° u- Plavcr^p , St. Joseph, Mis- another made its appearance. In the cramped muscles aUse ably if mes n°l - the teacher rv accomplished Dyer’s String Band, the results were which nrortur. they would to u wide-awake Vidently thls teacher is con- P'^f^^Talented very gratifying. The fatigue. Produce quick tdem nT from thi Plectro-Phonic Or- evening of the same day, the Guild “ a bttle mUSiC on the alert for human ” at ceived instruction souri; Weiser’s broader tbe (nandolin, banjo and (Continued 793) waj T",Sur Siitar mandolin, Pennsylvania; on Page 790 ministry of ely. the for service. He may do very l™„ent of the chestra, Johnstown, good musicL ’’'W much alive; and re- must not artist* be any sacrifice of his °w that he has succeeded in

ER, 1941 f ) 6

Etude Music Lover’s of teachers, concert tours could be The Book Shelf Future of arranged to give three or more reci- ( Continued from Page The 743 ) tals per week, if only during a period blossom forth The Fretted of three or four months each year. first in the Orient, to volume just the publife This would not only stimulate the in Greece, Rome, Italy, and £rgm to appear again ambition of every 3 be the Instruments concert artist, but f~ûlfidhed! other European countries. case, since f the JtN also arouse greater interest among surprising facts in Miss Ar- turai center of The the jj!* the younger players, documented America. from Page 791) and thereby vey’s book are the well The Preside™*^ continued benefit the teachers to quite an ex- references to countless pieces of Convention, Warren D tent. The American Guild is the log- their exist- opening took place before an really owe address • i rnneert music which concl«£3 ical FdlVa than filled the authority to undertake such a ence to the dance. Music, therefore, statement, ‘The i which more auditorium; the venture, and we hope to see it take ECHOES as great a debt to dancing as 1787 has become school owes a cullmijjj ?Thighh action in the near future to put this ’ classic and mod- does to music. Danrtng day. Germany insisted of dancing has csr suggestion on a practical excellently played basis. OF A without music is not uncommon phrus. who led - ’compositions her to prn orchestras, to- reviewer remembers standing for Mars outstanding Your which : has t e solo numbers by beside the late King Alfonso of Spain, disaster. V- with many artists on the watching his absorption in The seventy the greatest The College Bands in Seville, odd pap^ j of dresses instruments. The morning a dance performed by two small boys pr-sented, many Strum and last day was de- who needed no more music than Hit- outstanding musical he fourth of the JOURNEY ' ®e business meeting fingers in fascinat- lea, are a Guild snapping of their an especially fly tcd to afternoon occurred one of —- i t e o r ing rhythm. of our musical life in the United States Su f-î a n o In the s„d j events of the Miss Arvey concludes her work American educators most important nORTH PARK COLLEGE nay t* Y the SSMOPOLITAN the broadcast of the with a lengthy list of chorvo -rapine proud of this long series convention, (Continued from Page 785) E. Clifford of Cnepai. SCHOOL OF Mllalto By and soloists over the music. tfoglcal combined bands Toren, 50th SHIRLEY GANDELL. M.A., Oxford musical essays. jn ^ evening Director University, England, President. Network. The same Year courses ‘‘Choreographic Music" years. Dr Karl Mutual strumental balance as a whole, fol- 38th year. Accredited. Offers Gehrkerj edita* Certificates, to the in all branches of Music. awarding of trophies board- Author: Verna Arvey senes with splendid saw the lowed by agricultural and technical diplomas and degrees. Desirable schoUnhipitj Located in down- I contests, active musica1 careers in ing accommodations. Robert 5 t z Pages: in the many colleges, and priv- Trains students for o tinners center. 523 year. Theodore Finney schools, teachers’ Conserv- town musical of theUtatt;. their chosen field. Progressive faculty. Ave.. Chicago. of which Box E, 306 S. Wabash Price: $3.75 tee Guild conventions, ately endowed schools third, with atory occupies own building. Piano, voice, sity of Pittsburgh has taken church aefe together, violin, cello, reed and brass instruments, Op. 713 Publisher: was the fortieth, bring similar standards of instru- education and E. P. Dutton it Co., Inc. task and made a notable rota" to almost and choral music, theory, music hundreds of expression. Fall semester begins September 16. CONSERVATORY OF MUSIC once each year, many music conservatories MILLIKIN "Proceedings of the Music mentation, and Tofe Dir. ILLINOIS It is with distinct pride that artists, bands and orches- Write E. CLIFFORD TOREN, DECATUR, we announce this delightful new suite by a dis- A Hfemora hie Series National teachers, last in order. Association" 3201 Foster Avenue. Chicago. Illinois. tinguished Viennese composer. Richly endowed and doubt that the Offers thoro training in music. Course* leading to thoroughly pianistic it For thirty-five tras, and there is no tabulation of years of its fifty- Pages: 601 It is realized that Music Degree. Diploma and Certifi- promises to achieve a notable and lasting Bachelor of success. These ingratiating pieces is felt Organ, Public School five years’ existence, influence of such a gathering is at best a cate in Piano. Voice. Violin, which are in no way difficult to play, evoke the Music Price. $350 replies to questionnaires INSTITUTE OF Methods ecstatic recollections of a moon-’ re- nFTDAIT Music Methods and Music Kindergarten lit Arabian village Beneath an Teachers National throughout the land as visitors with which ( Arabian Moon); the gaiety Association has Copies somewhat crude yardstick MUSICAL ART Bulletin sent free upon request of a Norwegian may be obtained dlnctlyte UL 1 Kill I Feasant Wedding; the sparkling iridescence issued cities, filled with of the Fountains annually a turn to their home activities of college bands L. YORK, Chairman W. ST. CLARE MINTURN. Director of Versailles' remarkable volunu- Oscar W. Dcmmler. 217 DsWto to measure DR. FRANCIS and the light-hearted scenes of a Carnival in Vienna. The is of inspiration that will President book attrac- papers presented at Its enthusiasm and But the compilation EDWARD B. MANVILLE, tively bound, charmingly illustrated meetings. Ben Avon. Pa. of our country. DR. in black and white, and of Music Schools. each number benefit to themselves and Member of the National Association is prefaced with suitable be of great of figures presented Dramatic Art. OBERLIN Conservatory lines. of the type Founded 1897. All branches of Music and Faculty of 70 artists. Accredited A Division of Oberlin College. Thorough instruction in all their pupils. rough- School of Sacred Music. is both interesting and and Degrees. branches of music. 46 specialist teachers, excellent equipment ert t0 COntemporar herein Teachers' Certificates. Diplomas of Lehar, Romberg, rooms, 23 modern organs, etc.) Degrees : Mus.B., y and Oscar Straus, has This Guild con- (200 practice tf ' won reference to the an idea of Business college Internationa^bn b1 A Psalm It gives H B. MANVILLE, A.B. with music major. Delightful tame with of informative. , School Mus. B.. such stage successes as Thanksgiving ly Detroit. Mlth White Horse Inn and Beloved Catalog. Frank H. Shaw, Dir., Box 5111, Oberli n, Ohio. Rogue. He also ration would be incomplete without food for town. has thrilled the world with such film the status quo, and gives delights as Two < • Three-Quarter Hearts w Continued from Page 731 Time; The Song Is Over; a review of the artists participat- interested in My Heart Is Catling (starring Ian thought to all who are Kiepura); and Spring Parade, in which Deanna Durbin reached We of The Etude ing in the various programs. Judg- United ARTS new peaks. give thanks "Make a fa. ful me ikU college band of the BALDWIN-WALLACE RIVERDRIVE SCHOOL OF MUSIC & for the the splendid ing from the programs before me, OF MUSIC 84 Riverside Drive enthusiasm and sup- all yv land*. States. CONSERVATORY port of (suburb of Cleveland) York City Price, our readers everywhere the different fretted instruments were more thorough BEREA, OHIO New $1.50 Naturally, a much Liberal Arts College. •Vffiliated with a first class FREDERICK G. KOEHLER, Director especially those “Serve the lx>rd vilh never better represented than in the be leading to degrees. Faculty who have written us comprehensive survey would Four and five year courses Dormitories and Send for catalogue or informa- TThe four that, of Artist Teachers. numbers in this Suite also realizing the before hi, prrwnrr ailh «*p*L hands of these top ranking players. of sta- Students may enter at any time. are published! peculiar helpful- with a greater group tion to: „ needed, Dean, Berea, Ohio L separately in ness of The Here well ALBERT RIEMENSCHNEIDER, catalogue and information address Secretary sheet form. Etude at this time. In we see Carlo De Filippis, returns to make any reason- For : tistical working “Know it ibal the Udk«^ to sustain public known mandolinist; Rey de la Torre, analysis on which to morale asidM* ably accurate through music, it i* be ibal hath made i newcomer pupil of they have been re- from Cuba and sort of premises. Generally, we “i ^ make any doubling their nonehn ; are b» pafk Miguel Llobet, classic guitar; William a better efforts to introduce there seems to be a need for n0lttut]e uair this work into sbeep of hi« paUurr. h Bowen exponent of the five string music as QUbrUmi>X Have You more and more homes acceptance of instrumental ^)bp (D Heard . where it is needed. No; Peter Vournas, mandolinist; education. Degree, Artist Diploma “Enter into hi, **le» vital part of advanced Bachelor of Music Degree, Master of Music Anthony a Confers P*' Militello, tenor banjoist; of our colleges have Nationally Known Musicians Despite the black Si, in*, and into bi, eoart* viA In places, bands Faculty of cloud, ,h-l ro .„v Ne Alkire, Hawaiian guitarist; recognition seem «„ be thankful unto him. He* unprecedented RUBINSTEIN, Director, 3411 Euclid Avenue, Cleveland, Ohio floitafqia. think are smother!.,* Sarry reached BERYL ci*ili, B . Volpe, American swing guitar- as irreplace- t.on, we wish name. and dignity, functioning Etude reader, j„ in „j Y and Nick American US lh Lucas, the cultural and educational in repeal, ‘ units of By ROBERT n* „„e of the aP troubadour. able COLLEGE OF STOLZ uplift- “For the l.ocd i. good: hfe future develop- CONSERVATORY BOSTON UNIV. >ng of all but room for PHILADELPHIA son*, > life, The „f pr.j^ endar?u When we preparation for careers wistful yet gracious quality of „|r „ rvrrlaalin*: and hh iralh add to these names those widespread ac- MUSIC Thorough Iwl II I this waltz fantasv e , more OF w § C described. Hundredth Psalm. ment and for a in music. B.Mus., M. Mus. Ed. and As perfume quickens a “Giuseppe by the A.M. degrees, and diplomas. Voice, Piano, Organ, treasured memory dl *enrralion*. Pettine, mandolinist; exists. r. Chartered lovely music so does Ihthis certainly Pennsylvania Violin, Cello, Brass, Wind and Percussion instru- stir thoughts of gallant , ceptance Commonwealth of h™™, Wham Place, ments. Public School Music, Theory, History of a dream that L,ke mandolinist; Anthony oj! lingers F liMDEO 216 South 20th Street Music. Musicology, Composition, Church Music. 0^4^ ntone, i f 9 ] mg melody more msSon^T ^ tenor banjoist; Frank C. Marketing Place Distinguished faculty, including many Boston and Your Drake more into one’s consciousness Make THE ETUDE ijj Maria Ezerman Symphony Orchestra members. Cultural opportu- wadbury, Real Published for Piano banjoist; Jorge Oeller, gui- the Doors to Managing Director nities of Boston. Attractive dormitories. Catalog. Solo Advertiser, Open Alfred H. Meyer, Dean, 53 Blagden St., Boston, ®st; EU.de Degrees Voice and Piano. 60 Vicente Al- Courses leading to Mass^ . . Gomez, guitarist; Opportunities Violin (or Cello) ^0 to ert Sellson, and Piano.’ a ^J Jew J-îano? mandolinist; and Wil- MUSIC- Orchestra ®n -JUILLIARD SCHOOL OF Foden, guitarist, we have here a Recorded by Benny Goodman’s Orchestra wxy of President (Columbia P ‘ an° stars in instru- ERNEST HUTCHESON, Record.35594 upon which thYa^rmoo eV#nr ^ and *° the fretted Colleges^ can mu*,c,an **.* ct world Schools— get the most *> A*”?* m of which we might well ior h?.° ° an interesting THE CTUDE has Md to betp by P"**** e proud. 9 and"d nnbgbtenujg OF MUSICAL ART 1ml. booklet .oUUed What INSTITUTE is sorely needed is a concert GEORGE A. WEDGE, Dean *» conversecollege "HOW TO BUT A NEW PlAJKT Under American Guild aus- OLIVER It . gives , he S| so Classes in Theory, DITSON that recitals ar- vocal and instrumental instruction. Com- CO. °f ,act® *° *>• , could be OF MUSIC Individual a piano in considered to king a satutodory t DEPARTMENT Theodore Presser e Ior any COLLEGE, and all branches of music education. Co., specific ,andab, of these artists in 1 position, Distributors makes. [* • »anaer. free baa, cy ordpt Chairman, Ym?V Weddell . ° chs5* MscC Address y ÔT* wiioot ° let upon request and B. S. and M. S. degrees in instru- 1712 Chestnut your letter ° C0V7 upon taguast the general public be- KNOX sent free leading to diploma Street, Philadelphia, to com! Courses P a . “tainted and public school music departments. with the artistic CONSERVATORY mental, singing, ties of the fretted instru- OF MUSIC w. WadeE. MiUer. Pres. Catalog on request. the 160 etude music magazine *n the hands of a true SHENANDOAH Courses lead ct L ’pfltes 122, 120 Claremont Avenue, New York 1712 CE *** And What Room nu l Street Philadelphia. Pu. a w°nd erful oppor- Ntv a “ artist would have, if, tht0uL Dayton, Mrgmia- sn the Valley, cooperation of a number 793 m V' ' — I ^' :

Chain Game Orchestras Endhs Which Do I Prefer, Davidson g,, Arthur or Bands? your musical winner in Class A) 'same to test (Prize play with For me this question has but one very stood with his nose pressed which you can The boy r ?e definite answer. I believe that the symphony fence. music?" musi- between the pickets of the high Signor °Barea orchestra can be equalled by no other ^^ person listen- and rain fell. The child names a composer; cal organization in any way. A The night was chilly, blushed "SSayer gets every type -f? Th ing to a symphony orchestra notice With spinet a takes the last letter strongest, But the child did not little. Pour ««£' vr nlaver of emotional feeing from the very chord from the listened to week, the just mentioned and 'ou not name begins ORCHESTRA, Alliance, Ohio the orchestra tones play fa tose lP‘ u», the strings added. Therefore composer. And The oldest member of this orchestra is nine the hand with the music went on — The boy the second stopped, but approach* E of the symphony orchestra can produce the ** When some- years of age, the youngest only three. can not rippling notes, like fairy sounds. slowly, and pressed game continues. effects of the band, but the band soft, his i the a produce the effects of the orchestra. the keys. he beconaes an R . “What now, my little man? What Then he at misses, orchestra is of a varia- sac an R-E, a The music of the want here?” a kind voice *«d began mis makes him Miss Gepner’s ble type; and, whether you care for modern do you to play. second Colored Pencils He # . him an R-E-S compositions or the symphonies of Bee- asked. irried away miss makes withhUpl^ thoven, you can hear either from the sym- miss makes him an At first, the child thought he would his last phony orchestra. There were no bands as we ..i-4 -id QU W. St. aSj r Beethoven, after which he is out have them now in the time of run away. But the voice was so kind, S-E-S-T,” music written for bands is of Rosalind noticed a sharp-pointed it with this red pencil. If that same so all the and the touch on his torn wet sleeve up ptayeo upon dthe game. rather recent origin. suchaiafc week, of composers or their red pencil lying on the studio piano, fault is still in your lesson next I have never heard a symphony orchestra tender, that stammered, ful instrument First names so he “I— Of course he record- in- I shall it again with the green except over the radio and through or names of their famous as she placed her music on the mark came to listen, sir.” errors. But he was so oirthplaces, this way it produces for nucha®, pupil can ings, but even in be included if de- strument before starting her lesson. pencil. In this way each greatest of musical enjoyment. Junior Club Outline “Very well. Come In, and nest, and put compositions may me the very my *„ch feting MtsS (Age the game a little “I hope," she thought, “that Teach- see exactly how long he or she has Dorothy Ann Zimmerman 15), ared, to make daughter will play for you." And music, that Barezn was delighted Kansas er isn’t going to mark up my pieces been making the same old mistakes.” Assignment for November Signor Barezzi took the boy's hand “Splendid! Splendid!” the n “Well,” declared Rosalind, “I don’t and led with that pencil.” him up the steps and into cried. "Why, boy. you are traly tai “I’m trying out a new idea,” said like to have my music marked up, so the warm, softly lighted room. ented! And now, Graia, yv. 3 she I’m going to be very careful and not (a) Another of the world’s great (i) The triad on the fourth de- Miss Gepner, the teacher, when “Here is the child, Grazia,” he said for him. while I think ihat Vital composers was born nu Rosalind looking at the pencil. give you any reason to mark it.” the same year gree of the scale is called the sub- to the young saw lady at the piano. "He done about this lithe mnsm’ worry, dear,” laughed as Bach, Georg Friedrich Handel. dominant; that on the fifth degree “Each week I’m going to mark the “Don’t my comes to listen to your music.” And from that time on, Give Biss teacher. “If I do have to mark a short account of Handel’s is called the dominant. What is the mistakes in the pupils’ lessons with the “We have noticed you outside tw*Cj|fnc | guiding to tfccciil life, as found in your history the pencil. This week your music, I’ll make the marks very of triad on the first degree called? fence, many a different colored music. nights,” the girl said who was Giuseppe Verdi Eeaart and light; and then, just as Books for reference: “Standard it will be red, next week green, and small kindly to Bar Junior Etude: (b) the boy. “We wondered it that the boy had tiuuMtaiilii have erased the mistakes What was his purpose in History of lam sending a picture of our little rhythm week blue. For in- soon as you Music”; “Keyboard Har- why you came.” the following so rapidly did be profits thaiat orchestra. We had an operetta and we sold shall erase the writing the “Water Music?” mony for Juniors”; “What Every stance,” she explained, “if you use a from your playing, we tickets at fifty cents. Our teacher, who Is (c) What is an oratorio? the age of twelve, he was crpiiai will mark colored pencilings from your music!” Junior Should Know About Music.” my mother, gave each of us an envelope with wrong fingering to-day, I the church at Busselo, the littklM- tickets, (d) Handel is buried in West- tome tickets in It. If we sold all of our village home it could Invite & child for our special guest. minster Abbey. Where and what is lan that was his JUNIOR MOZART CLUB Besides the play, we had some poems, dances. Class fifteen to eight- Westminster Abbey? Verdi lived to be an old on, a also A, Fort Dodge, Iowa • \niortca s »(s, and two orchestra numbers. We had The Junior Etude will litcssiiiffs of age Class nu pieces played on the saw. We got nfty een years ; B>- Mr*. award three worth while Junior Etude Paul dollars from the are using to fifteen Class Opera Rhode* performance. We B, twelve ; Answers to Diagonal l erms month for the ite money to buy books for the school library. prizes each Verse C, under twelve years. ,1,ln * *n blank* with From your friend. interesting and Square Puzzle: (ej Give in your own words defi- , *ZJ most the prize ** rhyD d Roberts, Names of all of Keyboard ”“ “ «» Thomas Glenn stories or essays Ethio- nitions for MELODY Harmony Pattern original Contest and their con- 1, librettos; 2, Donizetti; 3, and HAR- Bo* 1311, winners given subject, and MONY. Trujillo City, on a tributions will appear on pian; 4, Offenbach; 5, “Robin Hood”; Musical We love the to (f) Program grand old Dominican Republic. for correct answers of Overtures; Holy Choose one of the best defini- USA boys and this page in _ future issue The 6, Norwegian; 7, 8, Any of Where peace is open to all Handel’s compositions and freedom — <1)_ puzzles. Contest next best contributors “Lo- tions presented for for tor Etude. The thirty Grail; 9, Beethoven; Diagonal; each term and full Junior Etude: years of age. whether piano, or arrangements of sway. girls under eighteen honorable men- write them in your notebook. his vocal »t have received The Etude for only a short Contestants will be given a rating of hengrin.” or W 2 Club member or not. orchestral compositions. WUh pride hut 1 must tell you how much I enjoy a Junior (g) What is the meaning of poco Also if and With age as follows: tion. winners for June Opera Square lA) !r~ ‘‘.specially the Junior Page. grouped according to Prize a possible, borrow some recordings are poco? I im a sophomore In high school. For the Puzzle such as the Hallelujah TheSe l0Vely Chorus from "^y W5 three years I have taken piano lessons. Brown (Age .. can you SUBJECT FOR THIS MONTH Class A, Larry 16), his see "--ve Keyboard oratorio, “The Messiah”- the ? been drum-major for our Junior Georgia Harmony >*» School Band for enjoy Water Music Suite”; the two years. I also Class' B, Barbara Dye (Age 14), fh) song Where 2**- 1 ™ at present xylophone Play the following pattern of Eer taking _Amlition California You WnZfc. His from our If!/]uiical tonic Harmonious StarS school director, l^lly and subdominant triads in and ~ (5) “ a " Class C, Betty Litschert (Age 8), all Blacksmith has - whi <* 1 flni1 nuslc and things related Philadelphia, Pa., not been recorded till Offiee, 1712 Chestnut Street, major keys, on the ê;^ t'ery predominating , u 1 nlor Etude Pennsylvania without stumbling. in my life; perhaps issue. harpsichord as entries must Winners will appear in the February well as on the Th en All 13. piano 6 ' ~ the ^ 0y a S°°d music magazine homeland of the ‘b The*Eti J CONTEST RULES Which Do I Prefer, Orchestras brave. From four friend. OT«r one Bundro* a T Ba must rontoin not e£t corner and your address in or Bands? ’ “ Veryne Kangas (age 15). Contributions J|j| J nd Whlte 1 paper, be The Hungry Bunny ' *"< »•»« will aec .nd ynu need more than one sheet of (Game) M.M Minnesota. 2 ! Name, ^êi-Vy.^ papIr H (Prize winner in Class B) By P Joanne Betla (Age 8) As *ore“to do this on typewriter. In the contest, “Which do I prefer, orches- freedom’s (7) anll do not u9 e a without ri tras or bands?”, I prefer bands. I have end. Diagonal Composer submit not m.ro than Lot° hare' anyone <-»P> preliminary contest and to in both bands and orchestras, but 1: D„ requested’T" to““holdlHorn played (All the Clubs or school, are favorite words in Italics can be In Puzzle S eac h for prises. bands have always been a slight and beg. countries entries (l«» for will not be eligible . Upon a tree-top filled six . Venuirements spelled on the swaying within creoHr do not meet tlmseêqn because of the snappy music played as they keyboard. The first one gain, 8 ced and 6. Entries which he saw a birdie’s nest; Br E. Mendes march down the street. I like to hear the to write them on the staff quoth he “I wins the think I’ll There is e dia roll of the snare drum. Cornets blazing tarry, • and sit no — (8) j . ?onal reading from game.) me down to an down Honorable Mention for J line away send a thrill through me that I do rest. The Where 1 crosE»w WW J bird was singing war clouds' ,.' will give the name of a Mention for June not get from orchestras. Another reason I There was a little bunny, gaily and JS" theth* —E?* iiu—1*1 Honorable Essays who ropped with Poser like bands best is because I do not like the him down strife - Answers hopped from some seed, 0> must give words Puzzle: orchestra - Square dull gowns worn by performers, place to place, to find and No of oP Opera Hennlnger; Paul Hammer; Ruth B tnanked man can lead a v, as a compos ss Laura I. himself h3r kind l7 for mad a happy won fame composer’s name. SchevelgeriÎHsôr- Williams; Virginia and I do not like the slow, dull music they some cabbage to fill his fû her u fe _ Elaine Dorothy little most thoughtful acquainted * * Doris Kauff; Valderrama; often play. So, on the whole, these reasons face. The deed. And We are all ^hrenfreund. Janice GUligan; Arlene Woods; Carroll bunny met a boy, whose then h* man: Laura Buth W al- Kerr- Elizabeth make me prefer bands to orchestras. winked his blinkers But in operas: “L* Maulla ^ chipman; Barbara Dye; Mary name w&s and on this land famous Mary Theresa I°’ Leonor Carl Curry (Age 12), Thomas Ed, who threw Ss wav so fair Bettytt Morrison;Mor Jane Fries; Charlotte Weimer; did gad, for We «cs„ — -**•*»and ireefree ”Fs Gloria Canter. ^ Eiea _ Tone- Shirley Pennsylvania hopping ’round — (loi' “Alda.” “Rigoletto." * __ ker; Gae Caldren; Ellis B. away a radish, and on it Bunny the conn \xr~ oweet ia: Rita aapo t Natflle Topkins; fed. try Mooney: J' ’ ttit; Dwight Iris Coleen was now his We guard "beny~; in his fame and _ * Ann p e Jr.; Betty Mae Smith; A hen latest our spite of ' ak: a Cooper he met when hungry, and fad Z shores with nor Matus ,“ John Boehme; Royal; Patricia Ann America’s Blessings reached his care W. Duval Annie Ruth begged hole by night greatest never forgot that mg! Reneker: Martha w Long; Boy curtey’ Norma Jane her for an egg. “If I were fail llzabeth wonfter- Peggy7 Tomlinson; tumbled into And — b* Don R U Duke; Carter; Wini- Answers: 1, hold; 2, swell; 3, glee; bed, a (11) outsidede the softly 14 - Fay Leafys Gilliam; Irene you,” k , Lookrldge; she told him, “I would not wearv the“ c blessintuiessl t |fo renc“ Lannlng’; Mor- sit Bunny, ngs Helen Farrow^ Guy Learning; Anna Mae lines; bars; 6, grace; keynote; but felt he’d share. which we stenine to a itirl h Ellen Johnson fred Bowles; 4, 5, 7, been ting ; Florence Matthews, Flor- well * bird; 3 - a cit in ^ Laurence /ej y Ethel Amson; opened » ia ri! 8, rest; 9, air; 10, sing; 11, count. (Answers ki who r,’ 4 - i John Beilis. on next man a day in the week; 5. a ence Barbour; page) n335*' dc world of 1 5t s of the °ne; 6. a shellfish. 794 ; — . *

This she has done are tions as importance. Now we to which nf anthems FOR THIS MONTH—Down in p^L the available to those choirs which, THE COVER „,mce this addition to U>e '' for convenience Virginia, there is a man by the el0d) as well as for the needs Salem, ma < are certain, will of^^ £ we JOHN of meeting a name of James Malley, who in addition ;tS, The gen- McCORMACK limited budget, prefer an- History of Kj notable success. thems m The Great teacher is an expert on in collection form. Every one of to being a music of about forty The Story of a Singer made up the Geibel the care and conditioning of pianos. As r ents anthems to be included in both original works by L. A. G. STRONG Music for the .IS includes this collection is a useful number of the a hobby and an avocation he enjoys ® “ tJnW*, well known melodies. photography. The Etude Music Magazine 0f One of the most fascinating type that congregations like to hear and throughout are for biographies Modern Reader has secured the rights for magazine iJJsVJiIve* Symphony No^Tto" we have which the average volunteer choir can 8^5 voices have ever published. It is a fairy tale $ f)( and young sing excellent pho- torus effectively. This means that the cover use on several of his come true the considered as to range, — story of the unknown lad tographs, and the hands of the church 4. Symphony No. Refute church choir obtaining and using this 1 to C ' works are: The from Athlone “ - ini, original who rose to world fame reproduced on the cover of this No. 1 the collection will get special value. organist 5, te>y to B Mho, iik The Glorious Giver S3. 00 issue is one of these fine photographs. l&hed) ^SieLord; Upon publication it will bear a nomi- hubert ; and So. ( Mercy; The MUSIC Lamp of His nal in G Minor Moza mi ne price and while it is in course of — •Price sJ f etc. The The Beatitudes, preparation choirmasters may obtain for MUSIC—The Christmas sea- indicates a ml Lmer; CHRISTMAS m'kb, from the works of WESTERN their libraries IN are own personal reference a among radio I Hens son is here! At least it is here for music listeners, ream OUR SINGING COUNTRY nj! Mendelssohn, Tschai- single copy at the advance of publication publishers and individuals who take part and concert goers-tnspimi W flriej, few Beethoven, Sibelius, and b, JOHN A. LOMAX cash price of 35 cents, delivery of this in planning the musical portions of the addition. Lite each mJ, CIVILIZATION and ALAN LOMAX copy to be made as soon as the book is numerous pro- 1 single copy of INTEREST '—t stage '« to order a published. Lcing grams that are A MONTHLY BULLETIN OF acorr wui include wishing By Paul Henry analysis A second volume of American ballads g «, at the advance of to be presented. illendid collection lymphooic Ions. and folk songs collected price of 25 cents, post- by the Lomaxes. C onsiderable TO ALL MUSIC LOVERS While Symphonic Son cash THE SINGER’S HANDROOK, by Lazar S. Skdetn . this Music transcribed place their orders at by Ruth Crawford HeretoforeHere musical history has : should SamoiloR internationally-known au- Is* new Yuletide —Symphony No. 4 to —An F Miser bjT^ be made when the Seeger. Probably $5.00 been treated as an isolated do- Delivery will of music in the va- kowskyû in f thority on voice, and teacher famous In this prtpmtioo » press. The sale. main of human activity. rious classifica- comes from the Chicago may be ordered 1 All bookstores singers of the Metropolitan and new book it receives its rightful to the United - will be confined of tions already has , .-er, Opera Companies, Dr. Samoiloff has for place in the general stream of 25 cenu. : e postpaid. Delivery rj and each is text list of recordings of Mozart's music j Possessions. spirit of each rolled off the preceded by explanatory and Its years been active as a vocal civilization. The made as soon as jjtes The Macmillan Company many matter. will added published. age finds its expression in music; presses and it is Technic phases treated are ex- which youngsters enjoy. An teacher in New York City and, since tension 60 Fifth Ave., New York all aspects of life have been in- highly gratifying of the fingers over a one-octave feature is a dramatization of the child- TRANSCRIPTIONS OF FAVOR- Angeles. has held Master CONCERT 1929, in Los He I fluenced by music, and now, at to learn that the “early-bird” buyers are passage, running scales divided between hood story of Mozart with complete dia- t llll tl’H OWN Hook OF Cluing Piano, by Cl«r<-iirr Knhl- |K BTMNS, for Classes in various sections of the coun- last, this dramatic and exciting waxing the hands, keyboard leaps, staccato directions staging in t-l AN*- JOHN P1IIUP incessant first enthusiastic about these new and grams and for SOlSAtjH* an-There is an endless and try, particularly in Chicago, San Diego, story is told in full for the Christmas offerings. legato phrasing, “thumb under” pas- miniature. Te^pre— Enthusiasm lor in good time. Beautifully illustrated. As usual, the quality jatoa for the favorite hymns bers, include an overture, four and Denver. Now he is ready to extend anand which $5.00 and appeal are sages, and use of the jjedal. Toothpick lng new publication 1100 Pages. undeniable. In advance of publication a single a tt ta 23 useful piano arrange- solos, three duets, a quartet, and a num- the benefits of his rich experience by Indicative of the or matchstick type drawings i I splendid issues illustrate copy of pitch, for ft CO./ 70 FIFTH AVE., N.Y, recent this first book in a fascinating high jatogin ments. Opportunities ber of choruses, are very melodious and offering to the musical world this “Sing- W.W.N6RT0N L.I are That Wondrous Christmas the characteristic titles, such as Stretch Night, new series may now be ordered at the the numerous 'atas their use come up every quite in keeping with the tenor of the er’s Handbook.” Portuguese Carol, arranged for mixed Yourself, Relay Race, Broad Jump, special price of 20 cents, postpaid. day, particularly in the book. Eleven principles are required, in- Dr. Samoiloff’s writing is logical and voices by H. P. Hopkins (21466—10c) Climbing a Pole, Running on Tiptoes, rece tk fc field of religious activity. uses straight-forward, clear cluding five tenors (one light) , three sound; he Father Christmas, Russian and Pole Vaulting. Carol, ar- There are eighteen THE BEST III Kost- in of form CHRISTMAS GIFT III! KTt Also in the home and baritones, and two basses (one heavy). English, and has a keen sense Wine, Woman and Song, and others. ranged for mixed voices studies in all, one by H. P. Hop- being a duet for MUSIC is student who is MAGAZINE—You cannot buy a the studio there a ready Send for a copy now at our special ad- and climax. Any serious At the special advance of publication kins (21467 8c) Good Christian teacher and pupil. — ; Men, more acceptable basic principles he gift for any music loving place for this music we vance of publication cash price of 40 willing to follow the price, 40 cents, postpaid, this book is Rejoice, 14th Century Melody, A single copy of this new harmon- book may be friend than a count, the njonsii specified length of time year's subscription to Tut Of love. For these reasons we cents, postpaid. advocates for the indeed a rare bargain and the publishers ized by J. S. Bach, arranged for assured by placing your order mixed now at the Etude Sc help being improved in Music Magazine. Coming as it orders hire oik have arranged with Mr. demanded cannot suggest the immediate placing of your voices, a cappella, by Harvey Gaul special advance of publication cash price, almost does each month. The Etude la a per- toir.rrs who know whit to optai Clarence Kohlmann for his singing. He touches upon while this special offer is in effect. (OD 15089 15c) The Holly 25 cents, postpaid. BOOK, Part Two, by A Chenette A collection that is novel in the Whitehead, for mixed voices (OD tures, and your subscriptions. rtenoe that Is thoroughly three and four. grace notes, chro- 1 — music that will If the hands, 15095 10c) The friend is now on enlightening for the io®®* the contents one will find such sense that it contains the type of num- — ; Shepherds and the have a real our list, the new and C*? appeal to gift Inn, Mexican Carol, subscription may miniature “totes as: Sun of Soul; Saviour, ALBUM OF WALTZES Although bers associated with college sports to- adapted by Harvey young music students. begin at the ex- these ingenious My ktelnd^rpe^roTis coni STRAUSS Gaul, piration of the Date®* 1 Shepherd gether with some welcome surprises. Fa- arranged for treble voices, S. S. A., How present one. may be used as class project 0* Lead Us; Onward, . Mozart demon- by “difian tinned in Part Two miliar tunes that may be sung by the Ruth E. Bailey (OD 15090—15c) S V °f taking advantage of the Soldiers; Sweet Hour of comPo“ family, ; A While >' presenUUonôf new onl three is given to the _ in- Good Christmas Cheer, yeamyears of ^PHONIC the ~0t-W *;Day is tion mecca Qf pleasure seeking band or bleacherites are featured, by William age,aae howh T™he started SKELETON SCORES. A U.tm. possibilities afforded by Dying in the West; My Special holidays longer îs ^the lessons on * ,Ut Values and rhythms. Baines, for e ! 1 ^ note interest in Camptown Races, The Ma- treble voices, S. A. (21465 the harpsichord f°r and Concert, pictures, “art-style' me Thee; The Promised Land; music lovers, cluding De and began composing ff bjy > inlet the ,’f appropriate pieces Katzner. ’5 observed, with Gloaming, 6c); The Infant Holy, by soon after 5 ® ‘“'tee to are also the music of these mas- rine Hymn, John Peel, In the Louise E. makes fascinating reading ment. and the “story-ta-mH* TeU the Story. Day, and Eastei. Stairs, Cantata No. 7, for Valentine’s Day, May the so- Harlech, Yankee Doodle, and for mixed voices (60c) youngsters. Added Symphony No. tois book is ters, especially Men of ; to this will 4 in F section at the end. to™ being made ready, and be piefures Minor ^ are several teacher and Overture for organ (from o- Mozart : J®* ma Also included “younger Strauss,” many others. On the whole it may be “For Us a as a child, ’ fro® y P'ace called and six of . 11 Tschnlkowsky The American composer an order for a single few simpli- his i a Child Is Born) com ToT w»t duets, one trio, and ever on the as group of attractive new , by J. S. Bach, positions in make it ago the pupil Johann Jr., is summarized a arranged special, simplified possible for the true was started several months advance of publication cash - by Harvey piano ir lover music of old favorites. the prac- Gaul (40c). rangements five among radio, St *** ,° 40 cots, fied arrangements increase. Little did numbers especially written and solos record opportunity ... postpaid. Copies will All and one duet' and con^rt lutes an excellent with instruction of these are superior Two of Ud vered scale studies re- of his day tically arranged for this book. It is not works that these were foll°w yet used upon portant “Waltz King” written by Mozart ~ the melodic thread m who have not as publication. Copyright at each lesso warrant your before off Presentation collection to be rele- consideration, so why not his eighth great symphonies however, garding their imagine that the tunes he just a haphazard birthday. Sugges«onq as performed bv Oira Book. What with the iB**® will limit its sale of he k examine single copies of as to the a found at the back gated to a dark corner in the music any or all of use of rCh;8t raS these . alcare touo beox _ dancers of the Vienna the book with - Mi~ Ka,zner ™« phards on things American, States and Its Possessions. - the^ mate-^ wrote for the gay them cMd°en lv testt onn now while you still have ample of varying ages fhe6 i H° ^ ^; The book ends with a t be programmed by library, but one to be kept in constant will be included pupil" biographies„.aphies of yacDc«-iUcDcv-^', wQuld one day time. “On Approval” w th a ^ ^ full requests for the com ' g ^ use. Instrumentation for band. these c ered A pplete^scorescore of are UNn-4n rial °y symphony orchestras^ as well as any ?f each symphony. Foster, and now Sousa, S'* Operetta for Men', vance o0 f publication leading other seasonal program ordered at our adadvance to fine recordingsrecord: of th'e In advance of publication copies of the b' y to the materials extremely useful. . J L’ F“ Ycaman.—The postpaid. Listening will be cheerfully honored by j, price of 25 cents, frequent broad- various parts may be ordered at the spe- booklets e future cash waltzes, and the the Theodore Presser -.JJ, The price on the . with its almost me- Strauss Co. Furthermore dance on the better radio pro- cial introductory price, 20 cents each; our. of PuUiicat cents, but in inhabitants presents an excel- casting of them experienced clerks will be ion sued is 20 BOOK—The to Piano-Conductor book at 30 cents. most ^ IUn ANTHEM public has come the of ^ Jor GEIBEL the American ® , grams bappy to assist you in making NOVEMBER lication. a single copy act*°n of this ADAM Geibel, prices, the books an appro- """« one f Adam their beauties, These are postpaid and 19 4 1 7etta blind composer, appreciation of priate ordered to* ^ i,i which was famous a better selection if you so desire. booklet may be -g 4t conceived by songs, when published. e many gospel rhythmic charm. The will be delivered + 1 wrote - t! ' distinctive Preparation sped® E - Ye notnoi onlyumjr their u VdtncToffZ r* the amans, , tneu — . for Pub, , time delivery at tauljjr -/'.f formerly a Vlovp hpcome Delivery 1’' m The Great (postplZ) "> postpaid. the faculty of Oberlin *" d Zjl orderûfP ^J of 10 cents, toy.,™2' the 'Evangelical life ADVANCE OF PUBLICATION OFFERS STUNTS FOR ’ in the PIANO, A Very First Exercize Barographs describing the ''’-"to Tl'r:, n portraying incidents£& each ^ book, arc A Music. The action deals Waltz, Book, by Vt.Publication t l li °f popu- WITHDRAWN—Piano teachers will be Ada Richter—This novel Adam Gelbel Mutation a car iaioR ® composer, also did much to book Anthem Book Pp nn anif°ld tribulations nf the Lawrence keatwc** ^ tosH-an of two the new works now ready serves to “sugar coat” the lesson Childhood Days .35 L*»'« _ . _ .. of his delightful composi- pleased with period of Famnt.ecamous r* Ch..r-Bond ^ increa^*. fl:ers w-ho larize some Composers— Book rapidly i . and Mozart ... BOOK—With a # find themselves for publication that are being placed on maintain pupil interest by making Coit-Bampton - .20 9 'an

lishing new works that have been described in these notes, this will serve from as a notice that the special advance of Letters publication cash price on the following L|* Ihere shall 1 GO TO STUDY? works is now withdrawn. Copies may be Etude Friends SKI A New Approach to had from your local music dealer, or may lext T fill I ITTI II T XTTTYTT TTTT n be obtained for examination from the A A AAA A publishers on our usual liberal terms. (Western) Mastery jS^J^jEACHERS Private Teachers (Eastern) $ Piano Little Players, A Piano Book for Very H Young Beginners, by Robert Nolan Kerr, She, Too, W ent Built to fi- immediately will attract the youngster fe i MACDONALD HOPE CORYELL I-TERE is a collection of master- the Piano fd or KATE S. CHinENDEN K in whose hands a copy is placed as a first Wtonlk If, "MAY pieces of piano literature de- * Teocher , . «tH| Pionist Artist Pianoforte — Repertory Appreciation piano book. Issued in the convenient To The Etide : Cored — signed to bring to the music lover came Ktcrila, .. THE WYOMING. 853 7)h AVE. : My Etude ond Leopold Godo~-. oblong style, size about 9 'A x 6%", its , Co % tel Ceireno EDUCATION, INSPIRATION and ** • mill , ami,and,* nsas iiHiim,usual, 1i sat down lu tb»* ,0 Vw* 3 NEW YORK r , 1 k •T. * L.A.S. S«0 attractive illustrations will at once cap moriiiiJK work, opfgcilopeu^l ItIt, a Berkeiey. Collf. RECREATION. Descriptive texts Saturday 1 ir„, US o Ave.. ^ the first article 1 saw was the * fjpt have been added to foster a more tivate the child. The presentation of the for tj CHRISTMAS ISSUE OF to the Piano,” by Mrs. M. M. l>n »!•**. FREDERIC FREEMANTEL pleasurable acquaintance with the first things that must be learned about A that If I « ' J 1 felt, after reading It, “ 01b 0UGH *• ROSE compositions, to inspire within the SURPRISES her or write to her, I 'd lo\ to t*-ll Voice Instruction music and piano playing is by rote and J much good It did me to know there %%. VOICE performer a keener appreciation of •ootml Author ot 24 home study lessons, * note, all made as simple as possible. the best" is what our Editors Somo ' ,oH Better than i ti ’ s one else who thought M do iboii , 0 r K3f AK, t The Fundamental Principals the tonal message, and to supply , i '”«' of Voice n told us when we asked them about the Christ- ping of our music Just he. hum,. He are i Texts and illustrations bring out familiar rH» ; Production and Singing." h Continuing, they added: "It's just the ambitious with a simple pian- mas Etude. old (in .years, not in ambition to make , experiences M in the average child’s day There is interest and profit and charm f ...... I I ...... vi... pm >«> H It m rl I. I« Studios: 205 West 57th Street 'tops'. 1 recall some years ago on AuK>,N,A istic means for overcoming tech- York on every page." Livr^ ' <> > New City Phone Circle 7-5420T and explicit directions are given for de- for Tub Etipe by Harold Hauc ll Telephone ;®r? nical problems. Pictures and bio- whl« h he ur 3 veloping, from the very beginning, a spelled correctly) In graphical sketches are introduced to keep up tlielr music. If f*»r n«» sense of rhythm. Price, 50 cents. than the plcustirc It gave to on* ALBERTO JONAS develop a more intimate acquaint- PETERSON l Nutcracker also the many opportu ill Ilea to help EDNA GUNNAR ance between the music lover and Suite (Tschaikowsky) , A coni m unity. Ml (iNS-m Celebrated Spanish Piano Virtuoso Story with Music for the Piano, arranged Pionilt—Artlet Teacher J the composer. This volume was Airs. Davie* believes Ilk a bobbj > ltd YW,, Concert Teocher of many famous pianists oUlrf planned the teach- by Richter lately right. 1 look at so lo. Angel.., C«HL 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-8920 to complement Ada brings within the play- many Honor* ll«i. [J a- S,S0 . women of to-day, who are fritter gffi H er’s efforts, to the end that guidance ing capabilities of FE ^ Or lhuridays in Philadelphia, 132 South 18th Street. piano students below but c best part of their lives with no < inspired in the studio have a years Yel. Victor 1577 or Locust 9409 may 10 of age, who are in grades 2, 214 or constructive interest. Like ) * 9" 12" are not had a feoilf Not connected with any Conservatory. continuing effect. Usual by or 3, some of mine has been ni lisle. Not mo turn the most fascinating music • • the •rhool sons, hut years of practice and i< LAZAR S. SAMOILOFF size. Price $1.50 ever written for the younger oar Mas II lui generation. at seventy-! wo—which 1 w ill l*e i » ; sad ibrrr fomoue eingere am not quitting. Voice teacher of EDITH SYRENE LISTER j In the playing of the orchestral arrange- They won't ' r<| PbuUch for ib t... i plai ««i in chart u Mu- mk lug a OttMifc AUTHENTIC VOICE PRODUCTION " rudiment, to prole,tlonol engagement, ments or the original piano transcrip- front to help in t be Easter mush * «ner, accepted. Special teacher, court., 405 Carnegie Hall, New York City tions of the pieces that Tschaikowsky As she says, a person's Ctn do li5 Collaborator ond Associate Teacher with the late W. H but I have noticed, tor 1 Net, A»e.. lo» Angel.,, Col. Eisenberg wrote to describe musically the .10 So. Von — By Jacob incidents you ployed well lu' your tu \TfvAl Warren Shaw and Endorsed by Dr. Floyd S. Muckey m THE PIANIST of this now familiar Russian fairy tale, somehowieii come back nml sound «jum reditable Wednesday: Troup Music Studio, Lancaster, Pa. H with a little prai the. lit 'lit * children heretofore could only listen. And Thursday: 309 Presser Bldg., Philadelphia, Pa. CONTENTS In this day of radio I wonder ho ELIZABETH SIMPSON many do - how they did listen and look as I N when they do—play with the radio It « u at fun— Orientale Amam ’ Borodin and Instructive, Author ol Boiic Pionoforfe Technique" " Au Convent... were privileged to witness Walt Disney’s too. Fortunately, »y piano (Frank) (Ernestg). Scarlatti is in tune Ilyinsky Pastorale with almost nil the on li ira», and Arti»tt. Berceuse epic, “Fantasia." leccher of Tecc^efv Coocfc ol Young S Ada Richter’s arrange- whenever o fa in 11 hi r LaFORGE-BERUMEN STUDIOS Prelude Handel selection Is pi et|, | pit Course* Bourree ...... Handel down Pusiis Prepared for Concert Work Clou ments of Tschaikowsky ’s melodies and her and play with them. M> gr« h hlldfen Prelude, Op. 28, No. 15 ir. Piano Technique, Pioni«tic Interpretot'O'i Normal Voice— L Triste . . Tschaikov/sky think It’s wonderful when Grandma Chanson Chopin telling of the story, all in a 24-page book, Methods tor Piooo Teodiert. Frank LoForg. t.ach.r of Lawrence Tibbeft lince 1922 „ Beethoven (Raindrop) a radio orchestra* Dream Waltz. . St., York x make an attractive A few days UOO Pork Ave., Corner 8»th New Prelude, Op. 28, No. 20. . . .Chopin gift ago the great Svtter . Beethoven volume for young organ In if Taber- S*.. San Francisco. Elise . . . SERGEI Tel. Atwater 9-7470 m Fur RACHMANINOFF naole in Salt laike City was pour! ur* IV. 2133 Webittr St.. Berkeiey, Col. in Q- Minor folk, as well as a most valuable collec- forth a M Flight of the Bumble Bee Prelude grand old ntiml»er and. of tbf 1 ns I knew It »n» nirm -Korsakov/ Rachmaninoff tion of supplementary material for ory, 1 sat down and idav.-d too an of T« Rimsky my Interpretation Reverie Debussy juvenile pianists. Price, 60 cents. SERCEI RACHMANINOFF coincided with RICHARD McCLANAHAN Meditation Moussoigsky ist’s. This is not always his knew I Private |M;d.w*,t) MATTHAY Handel the rn»e | Teachers Representative TOBIAS l’Antique .. Paderewski Saraband The world quite puffed n Menuet a dominance of the great Rach- up alMiut It. The plan f the ova lessons, class lessons in Fundamentois .Haydn man in off Private Beethoven Theme with Variations. IJO YOU in the world of the piano is organ were exactly T*«ald pul teachers Minuet in G HAVE A COMPLETE CATALOG In tune. 1 don t V Lecture-demof.strations for 4 widely Art 1. . Bach recognized. It is many years since people who f fb (1st Movement) Two Part Invention, No. OF do this, but they wuiih ! York City Moonlight Sonata VICTOR RECORDS? This 1 u :ed Art® ARNOLD SCHULTZ Steinway Bldg., New amazing " Rachmaninoff r tbf 806 J i to speak for great pleasure. It .* I*!:*. Flat, op. 39, No. 15 The Etude,£? s Interesting to Beethoven Waltz in A catalog is virtually but he has given us a wonder- different Teocher of Piano a volume giving a list interpretations or select io K Brahms fere, e entitled 2. . .Chopin «„„„£°? “Music Should as many Autho' J :he revolutionary f'eoli*e cr Mazurka, Op. 68, No. of }£ as there are || the things which have become Speak from the Heart” which players ..r . PROSCHOWSKI the everv music I '‘ FRANTZ J have n sister * 5 or'° lover, teacher and student who gave a progi «. established favorites should read. fhe with music lovers a few weeks ago H Riddle of th# Pianists' Fingers that would mi II Vocal Teacher of the young Ovbushea by ttte Ur,ivc'scian Through misfortune notes into logical units of in classical, operatic, pianist.uianist w!, t n and she has to c out JjfAYMOND ALLYN E. TREUMANN for separation of sacred, standard, He tells m exceedingly J “Who’s Who” of jj ( outstanding artists and 15XS?by ami finger action. musical "avi'^ sound groups. organizations. These things oJit.°"*' [ ^ ’*iaiiniixzziizir^zxtxixxrxxxxizzxxxA.i^-LAA-.- For separation of tones into component make this great YES, WE HAVE < > '° catalog worth a lot to MUSIC IN P P, pl ‘' "' HAWAII pianos* L” s'n"!Co' e »« th. For punctuation. any lover of music, n. but most wc can. **" “* ,ol>e 1,11 *8k thcm effects. important deve —M„ s . x. .l'"\v and in creating illusory distinctfve'and'highly'^rig'inal >°>’?'* a .'.“"•"iVs loot Made Frien.ls «Ih.uI THE ETL DE To assist of all it serves as rn Doing a splendid guide book which is described Cal fe the.r P in livid 'l. .'on Ih. pri'il.g. of sendinic in in securing Peggy Hickok in S records for your musical the y you send en- Christmas Etude" Ad. ,„rLm„l„Zoj Rewards lor subscriptions joyment. Send 25 cents C Aboul Fhilarfelph.a. Pa. (U. S. postage Rlind Tom T® stamps toio Tu?riiE 7Editor ETI DE 1712 ( hes.nu. S.rce. Series are accepted) op . COMPOSER to Theodore Presser ERNEST HUTCHESON Tup v T i THF WHOLE WORLD AND MASTER Co. for a copy of this r4^% ^ - There are volumes for piano, violin, vocal, 612-page catalog t rl al for “Gifts”. d ^;n.' 1 hist de t of ( it|i||L Summer's • of Victor records. «w*JuUHard s?hoo^o?MuS? August i Kti of varying character that have become, both “Presser’s” b , ' etc all carries a ’^hoh ^ of ,:i i van »i,e s,aV:.n"!n," tor V.:;. economic value, almost necessities very v:, ll , !r merit and comprehensive stock of Victor rec- 5 through musical ng train - hour. Send for the free ords and ships should be "unifild” to't^ »f n’ZV/'u,', 4 fullest enioyment of the musical ordered records to any vantage of hlBher atJ - 5^°b5 US* for the piano students unde. onifln t' >"v part of 1S worth e art General £,K m..thrr World” catalogue. the United States or its the value of the t'nTu-L >cle near "" “Whole Posses- scription aarssub - Columbus. Go. P'»»tati. sions. to any student n^2 re T’ priceless advice from UC^ a *grea t authority. h auction block Wns **••• will CHRISTMAS withb T . through local music stores or be CHORUS AND CHOIR DIRECTORS MUSIC account sav s m b" art Available THROUCH hV' J°, ra Send for Place an.l °" ' a. lo upon receipt of price stated. FREE thematic catalogs of ootstand- the ages gives8 he r J? supplied direct choruses for musical r of ”>" iron’s Voices. Treble Voices ability It -I. T ' 01ces~ C «e.o° 0t nttncessrui anthems for Mired k 6 forgotten hl* moth, Voices ways‘ to 'b^!ng 1I usuaI by- her I mu new kno° ! i had gone n n .*• before t..i the glorious old e about Address: carols which forfn™ Parade * *° "> COMPANY, Inc. THEODORE PRESSER beautiful part m suc h a w here s he° l!"' APPLETON-CENTURY CO. of the rhriatS, , in 8 s festi Playing, and "“"'err O 1712 Chestnut Street', thousands of home? vities Mother wr".' Philadelphia, Pa. 35* 32nd STREET NEW YORK H." o"w»° ^^bG’-VoTh'er^ WEST Uaura BoggosJ,, r „ oJ^r"rW f .igp 798 JearS , , y ‘e'-eU . Au „ t ^- ^- A;nc I