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

6-1-1929 Volume 47, Number 06 (June 1929) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 47, Number 06 (June 1929)." , (1929). https://digitalcommons.gardner-webb.edu/etude/768

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Conducted hy MUSICAL Margaret Wheeler Ross Mozart's Musical Portrait of a Lady

Though Mozart was a master of form “He was himself thoroughly D|_, 64,h Year COLLEGE and therefore of absolute music as op¬ with the result, for he said: ‘She is a posed to program music which tells a actly like the Andante.’ What she vT story apart from its musical structure, like we may see still more clearly fro! nevertheless he painted at least one musi- the following words of the composer HERBERT WITHERSPOON, President ‘She has a staid manner and a great deal Teaching Young Children for seven years it is not surprising that you of sense for her age; she does not speak have lost your skill, no matter how well F. J. M., Burlington. Iowa: You evi¬ LEON SAMETINI, Vice-President “We have at least one instance of un¬ much, but what she says is said with grace dently labor under the same false impres¬ you may have played previously. But you questionable program music in Mozart’s and sweetness.’ RUDOLPH GANZ, Vice-President sion that many have, that with only a limit¬ should not be discouraged. Twenty-five instrumental works,” says Frederick Niecks “The sonata is supposed to be that in C ed knowledge of the subject you are able to years is not old, and, since you had the in “Program Music.” “And,’ lie adds, “an major with a Rondo as its last movemenl teach music to children. We would not training in your youth, the season of life extremely interesting and significant one, (Kochel, 309).’’ To this Niecks adds a discourage your laudable ambition nor in which the mind and muscles are plastic a case of portraiture. footnote: “The sonata in question to quench your enthusiasm for developing the and flexible, you can very soon regain your FIRST SEMESTER OPENS SEPTEMBER 9 “In the latter part of 1777 he. writes composed in the first half of November, art in your family circle and your immedi¬ lost facility by careful and painstaking from Mannheim to his father that he had 1777, but we cannot he sure which one it ate community, but we would urge that you composed a sonata for Cannabich’s daugh¬ is. For the C major sonata speak excellent practice. prepare yourself sufficiently before you ter Rosa, a beautiful and amiable girl of authorities; J. S. Shedlock, on the other Try to plan two or three short practice practice music-teaching upon your own periods a day, instead of trying to use all BRAMBACH More than teachers of world-wide reputation. Private fifteen; and that on being asked by some¬ hand, mentions the A minor sonata 125 children or those of any one else. “It takes one, after finishing the first movement, (Kochel, 310). The only and insufficient the time you can spare for the work in one lessons only or courses leading to Teachers’ Certificates, knowledge to teach music to adults, but it how he would write the Andante, he had hints we get from Mozart arc that the period. You should avoid overtiring or takes wisdom to teach it to little children,” Graduation and Degrees in Piano, Voice, Violin, Cello, replied: ‘I shall compose it after the carac- Andante is full of expo ion, and that the straining and stiffening your muscles, a BABY GRAND said a distinguished musical educator. tcre of Mile. Rosa. last movement is a rondo." habit you will acquire if you are too Church Organ, Movie Organ, Theory, Public School While it is true that one does not need zealous and ambitious in your practice THE GREATEST WEDDING GIFT OF ALL the same demonstrable equipment in the Music, Dramatic Art and Expression. Toe, Ballet, Inter¬ after so long a period away from the in¬ subject to teach the fundamentals to tiny strument. In’ this respect you confront pretative and Classical Dancing, School of Opera, all children and could well dispense with a A Solo Hate (Campaign almost the same dangers as does the be¬ A WEDDING GIFT of the most popular brilliant and extensively prepared reper¬ Orchestral Instruments, Chautauqua, Lyceum, Concert ginning student. Apportion your practice toire, one does need especial training in .small grand made—the piano for be¬ time into three equal periods, applying it and Languages. J. P. Sousa’s book, “Marching Along," him to leave the stage. When we resumed presenting the rudiments and should have first to finger technic and scales, then ginner or finished musician. A lifetime of en¬ tells us of some of his brilliant successes the concert, the two remaining Wagner journeyed over the long musical highway studies, and then to a definite repertoire in Europe before the war, including a numbers were just as vigorously hissed from the Valley of Fundamentals to the of pieces. Do not get a smattering of one joyment and durability. curious episode of a concert given in Leip¬ by the same individual. As I left the Hilltop of Technical Proficiency in order to exercise and then another, as too many zig. once the headquarters of the anti- platform I encountered the local manager have the wisdom to instruct the young child. students do. As you find your skill return¬ Wagnerians. and asked him, ’Do you know that man The two requirements for teaching music Notable achievements and exclusive features ing reduce the technic and use more time “At Leipzig, my program was largely in the duster and the straw hat?’ to children are, aside from a general in making a repertoire. distinguish the celebrated Brambach. Its tonal Wagner and Sousa,” says Sousa. “We “He replied that he did not but he knowledge of the subject, an awareness of The chief joy in playing the piano is in opened with the Tannhauser Overture and, would bring him to my dressing-room. the danger of stiffening and straining the volume equalling far larger instruments, is having some compositions well learned for just as the applause began to die down He jumped down from the stage and soon delicate, muscles of fingers, hand, wrists demonstration. It would be wise also to 85 and I started to give an encore, a man and arms, and an understanding of how to the contribution of the Brambach Tone Ex¬ had the man confronting me. give a few minutes daily to sight-reading. seated in the first row emitted a vicious keep alive the interest of the child. “ 'May I ask why you hissed ever) Begin with simple compositions that you pander. The impressive richness of its tone¬ hiss. I glared at him and played my en¬ The fact that you love children and the Wagner number wc played this evening?' can read up to tempo, without stumbling, FREE core. With the rendition of the next I said coldly. fact that you have been a school teacher coloring is imparted by the Super-Sounding using more difficult selections as your abil¬ VV agner piece the same vicious hissing was are distinctly to your advantage. The "The man’s face distorted with anger ity to “keep going” increases. Good sight¬ Board... greater in area and in string length heard. At the intermission one of my former will give you patience and sym¬ and bitterness as he blurted out. ‘I hissed reading ability is a valuable asset for any bandsmen stirred to anger, volunteered to pathy with the child mind, and the latter Wagner music because I hate the Wagner pianist, adding to one’s usefulness and popu¬ than in any other small grand. So vital for go out and thrash the hisser, but I forbade will furnish the necessary pedagogical family.’ ” larity in all sorts of social gatherings. FELLOWSHIPS training. Your age is not against you—in tone, it is guaranteed unconditionally for life. You will find Czerny your best friend for fact you are at the prime for the work, restoring keyboard skill. Get the selected to be awarded the first week of September to deserving students, who providing you have a good, practical “Czerny Studies," edited by Emil Liebling after an open competitive examination, are found to possess the method as a guide for your teaching of Sousd Got the Qash! (Presser), Books II and III. Bach’s In Brambach Period and Art Models, greatest gift for playing or singing. beginners. "Two-part Inventions” you will also find there is a style to harmonize with every Your children are too yoimg for actual useful. Also get the book “Mastering the ‘Rut the teller looked at me coldly and lessons at the keyboard. The eldest might scheme of home decoration. Terms are un¬ Scales and Arpeggios,” by James Francis handed lwck the check. begin in another year. In the meantime Philadelphia bank, where he presenter Cooke. For pieces, two graceful and usually liberal through Brambach dealers. "’‘You'll have to be identified.’ he said- they should have a well-planned course in charming numbers are Love Walts, Mosz- STUDENT DORMITORIES SLS? '“™s <* ««• “Turning my hack to the teller’s win¬ rhythmics and ear-training, and you will Artistic and comfortable dormitory* accommodation.!““-“nunoaaaons fortor men andj women in dow, I raised my arms as if preparing <° get the knowledge to impart this to them kowski, Peters Edition, and Valse Triste, “At the end of the week,” savs Sou Sibelius. You will find the Woodland college building. Piano furnished with each room. Prices reasonable. start off my hand and began to whistle while they are still young enough to profit Sketches, by MacDowell interesting and Make reservations now. check for^r’ my,, mana8er, received The Stars and Strides I-or ever, bring111' from it, if you take up the study of one of playable. As your skill returns use the my arms up and down in the manner these well-proved methods for tiny children. several thousand Chopin Waltzes, and the Beethoven So¬ familiar to those who attend my concers- In almost any one of these methods you g°“‘Athebatt0identif^m natas for practice material. Brief extracts COMPLETE CATALOG ON REQUEST The clerks in the room broke out in lat® will be instructed in the organization and from these standards with which to work of Mr Ba°rU„ef • ^ 35ked the ter and applause, and one ran over J conducting of a “rhythm band,” and that is Requires no more space up your technic may always be employed, whisper in the cashier’s ear: he beckpn<* what your children need now. With time than an upright piano and you will have something worth while Souia.’’’ 1 in‘errUpted- Tm John Phi for the check and cashed it without you should have a fine family and neighbor¬ in the end. When you have again reached Word 1” hood orchestra with your three boys as a Address CARL D. KINSEY, Manager the point of ease and comfort at the key¬ beginning unit. Let them work for two or board you may omit much of the purely 60 E. Van Buren St. Chicag0 three years on the piano for the foundation The Brambach Piano Co., Mr. Mark P. Campbell, Pres., technical practice. A few minutes daily of of musicianship. Then they might each 623 West 51st St., New York City. Bach and Czerny will keep you up, while A UNIVERSITY OF MUSIC select a different instrument and perfect it. size of Bra (Nationally Accredited) you make a companion of Beethoven and Chopin and an acquaintance of some of the The Second Start Name--- Established 1867 well known moderns. , M. T., Manteca, California: The piano I am sending you a list of good books Address__City_ book’. “A Musicwt Narrative”15^- ? fref>«ently in W* con is a fascinating friend and a cheerful com¬ on musical subjects from which you can contains interesting reminiscences Jr»’ch Came familiar with his firml panion, but it is also an exacting task¬ make selections for your library. bmstein who visited Edinburgh ^U' uP"’'°ns and s,i" rejnicp « lI Please mention THE EXUDE when addressing our advertisers Alexander was a young man e ?,r he was invariably amiable and master. If you have not touched a piano (Continued on page 479) “ that (Continued on page 4 THE EThrj JUNE 1929 Page 41J /‘(ii/e JflJt ■JUNE 1939 THE ETUDE WRITE US TO-DAY FOR THIS NEW FREE 1929 “WHOLE WORLD” CATALOG

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P I A. N o Copyright 1926 by Theodore Presser Co. Other Music Sections in this issue on pages 439, 447, 473. International Copyright secured JUNE 1929 Page 419 TS^PTVls THE ETUDE Page 418 JUNE 1929 prairie rose WALTZ fields and aleng the in *re* ftotaUm, a beautiful iu,,,^ The Prairie Rose or Wild Rose of North Dakota grows everywhere in the

International Copyright secured

geenred British Copyright EDITORIALS ^

When ^Mussolini Plays

/QENITO MUSSOLINI—blessed of the stars— Charles G. Dawes, former Vice-President, tells of the dynamic mind of modern Italy—giant of destiny arrival of the first American troops in England, -—the most powerful and celebrated man in preparatory to their training for the battlefields of Europe—finds daily recourse to his violin, as a means France. The boat docked at 11 P. M. on a dark, cold, of resting and refreshing his soul. In this he shows rainy, dismal night. All the men had had to eat was that wisdom which has been responsible for so much a sandwich at noon. Tired, worried, excited and of his extraordinary success. He realizes that high nervous, they disembarked in a strange land, on a power men must have safety valves. He rides his grave mission. No prospect could be more gloomy. horse like a cavalryman. He engages in sports. He Then one of the miracle works of music occurred. reads enormously. But, most of all, he insists upon The British authorities had sent a band to lead the the exalting influence of the higher class of music. troops to camp. It started to play an American The Italian love for beauty in tone is a natural instinct March—1The Stars and Stripes Forever. Instantly the whole nature of with this famous man. the men was changed We confidently be- and they seemed to lieve that music is be fed by some one among the potent strange power. The factors that make gloom was dis¬ Mussolini possible. pelled and the boys Without its regener- struck out with new ating, restorative in' life and new spirit. fluence, the mentality Here follows a of such a man might list of just a few of collapse long before the men who have his mission on earth found regular re¬ was accomplished. It has been our course to music help- ful, reconstructive unusual privilege to and profitable. They know many of the are world leaders,men foremost leaders of of giant accomplish¬ the world in Indus¬ try, Commerce, ments, men who have Science and Litera¬ said that music study ture. It is astonish¬ in their youth has been of priceless value ing to note the num¬ PREMIER BENITO MUSSOLINI ber of intensive to them in later years. workers who actually depend upon music as a part STATESMEN Lord Balfour, former Prime Minister of England; Benito Mussolini, Premier of Italy; Paul Painleve, of their daily life routine, as they depend upon air, former Premier of France; General Charles G. Dawes, former sunshine and water. Vice President of the United States; Ignace Jan Paderewski, There is something about the training which former Premier of Poland; and many others. comes with playing the piano, for instance, that SCIENTISTS: Alfred Einstein, eminent scientist; Ralph develops, intensifies and accelerates mental action as Modjeski (famous bridge builder); Vladimir Karapetoff (eminent can no other study. More than this, it provides the electrical engineer); Dr. J. H. Kellogg, of Battle Creek; and individual with priceless recreative opportunities, in many others. this age of ever-expanding leisure. BUSINESS MEN Charles M. Schwab (once a professional Dollar for dollar there is probably no other expendi¬ musician); Cyrus H. K. Curtis; Dr. Herbert J. Tily (President ture the parent can make for a child that yields a Retail Dry Goods Merchants Association); John Alden Carpenter bigger return than a good practical training in the (America’s most discussed composer, also a prominent business man of Chicago); and many others. study of an instrument. Music is actually food for the tired spirit. There WRITERS: Rupert Hughes; Owen Wister; Upton Sin¬ is nothing like music to revive the soul. General clair; John Erskine; and many others.

june. 1929 ETUDE MUSIC MAGAZINE Vol. XLV1I, No. 6

British Copyright Page 421 JUNE 1929 Page 428 THE ETUDE

going after business BETTER PIANOS T-N URING the past twenty years the Editor of The Etude rT'HE ETUDE has been conducting a "Better Pianos" cam- D Music Magazine has been consulted by thousands of A paign. The need was great. Many of the pianos in Ameri¬ teachers who have been anxious to increase their sphcies of can homes have been there far too Jong. They should be sup¬ usefulness and thereby their material welfare. planted with new and, when possible, better pianos. The beauti Many have complained of the lack of success. In almost ful old rosewood square that was Grandma’s "joy was a fine every instance this is traceable to the teacher s failure to "go instrument in its day, but it is not the thing upon which we can after business.” The young teacher seems to take it for granted expect little Allan or little Winifred to flourish musically. that given the proper musical training and the reflected reputa¬ Worse than this may he the worn-out upright, a graveyard tion that comes from having studies with a teacher with a big of thumping, bony felts. A fine new piano in the home is an name, business will walk right up to his door and introduce inspiration to the student and to the teacher. More work will be accomplished in a shorter time, due to increased enthusiasm. As a matter of fact, business does no such thing. The music- There are a number of really fine, reasonably priced pianos teacher must go after business with just the same regularity and upon the market. Buying a piano is in some ways like buying persistence as the man engaged in any other calling. an automobile. There is the Locomobile, Pierce-Arrow, Cadil¬ This often means educating one’s public to understand what lac, Lincoln, Chrysler 80 class. Then there are various other one has to give. Call it advertising, if you will, but understand classes down to the class that might be represented by the Ford that nothing succeeds without advertising. The great surgeon car. Fortunately for the automobile, great industrial produc¬ proudly disclaims advertising, but he does advertise neverthek tion has controlled the price so that no manufacturer has dared He may not use printer’s ink; but he can not create and hold a put out a cheaper car than the very safe and trustworthy Ford. large patronage without a well established record for a large A cheaper machine made with less resources than those of the number of successful operations. colossal Ford plant would fall to pieces in a short time. The American people, especially, judge by results and In- With pianos, however, it is possible for some unscrupulous results only. The teacher’s best advertisement is a serk- f makers to put together instruments that in many ways present a highly accomplished and carefully trained pupils. Then tin lair superficial appearance and to sell them at a price far below teacher must provide every possible opportunity for the work m what a conscientious maker could venture. these pupils to become known. The pupil is the teacher's six >\v The very cheap piano is one of the most expensive things in window. By them his art is judged. the world. Nothing will disintegrate as. quickly. After a few Our public is so well educated in these days that it is not to months its defects are discoverable. In fact, before the install¬ be “taken in” by the success of one or two brilliant talent- ments are paid on many instruments they are exposed in their They judge the readier by the general excellence of a numlv real worthlessness. of pupils. In Paris, your Editor attended the class of Prof. i In response to an insistent and increasing demand, The I. Philipp, at the Conservatoire. He was astonished at the hu i Etude Music. Magazine has added to its Department of Edu¬ average performance of all of the pupils. It was difficult to cational Service a piano expert who will be glad to give in¬ decide which was best. This accounts in large measure for the formation to those about to purchase instruments. It must be great success and popularity of this famous teacher. distinctly understood that The Etude does not sell pianos. It is not interested in promoting any particular instrument. It TAKING TIME BY THE FORELOCK must not be asked to make comparisons between instruments as | '’HE Greeks painted Father Time with a bald pate and .1 to their relative merit. Tin's would be unfair. It will not state A long forelock. which is the best American piano, because that is largely a That forelock is one of the most elusive things in the world matter of artistic judgment and individual opinion. When a „ Taking Time by the Forelock" has been synonymous v. n : piano is entirely unknown to us, or when we have no reliable opportunity,” for over twenty centuries. information about a given make, we shall not report. Prac¬ Few people, however, know what this really means tically all of the established makes of pianos are recorded in files Ihe art of .planning one’s work for months ahead is usually M. HENRI RABAUD at this office, and we can merely report from these files. The one of the mysterious secrets of successful people. The Eminent Composer; also Director of the Paris Conservatoire service is conducted entirely in the interest of the Etude reader. The music-workers who get ahead leave little to chan,, In writing, state the size, style and type of the piano, as well as the price .asked for the instrument you contemplate buyiiw arSh^Ttha,tth,-;hands of clock go relentlessly forward Address your letter to Piano Expert, Etude Educational Serv¬ life is tn the “I f C ?'ay t0,live thdr busil1^ and profession 1 ' reason ^ at [eaSt Six months ahead, what, in ,!! ice Department, The Etude Music Magazine, Philadelphia reason they will be doing when that time arrives T3he Music of ‘Parts the Inimitable Pennsylvania. we wmddUhWerK1t0.C°mue “to the officc of The Etude to-day, MARKS OF PROSPERITY XstariL^lf H hHW y°U Cdit0rials’ Pi'-vcs, articles and Seventh in a Series of Musical Travelogues—Intimate Visits to European Musical Shrines “I HAVE so many pupils that I do not know how to handle The Ft, nv dy Up ln tyPe- that you will read in them. What shall I do with my waiting list?” So writes ' us to W TheFt?1- fr0m,now- k is absolutely necessary for an active teacher in New England. We wrote her to cultivate (By James Francis Cooke assistant teachers, for the time being. Part II As we predicted, the teachers who have taken advantage of the most extraordinary condition in the history of music and it to your certainIdSa^to^pCyo^faTlS^ Y Centuries of Art leap from the Musee Cluny to the Grand first conductor was Sarrette who had pre¬ The history of the Conservatoire since are amplifying the pupil’s musical life by means of all of the A T THE OPERA COMIQUE one Salon is a long one but at every step it is viously directed the band school. that time lias been the history of musical modern conduits for fine music, mechanical and otherwise, are ^ feels very near to the artistic tradi¬ utterly French. The Opera Comique pre¬ France. Napoleon, who in may ways was now enjoying an unprecedented year of prosperity. know will come just as certain StUd;’ °f thc work that they tions and the spirit of the true France sents works of composers of all nations, Conservatoire de Musique a poor politician and in others a marvelous and have all their literature n!)*! a* sun,W'H r'-se tomorrow , .£tIle.r teachers, who have spent their time nursing pessimism a’nd at the same time quite distant from but one has the conviction that most of PEEP into French history of the one, saw the state importance of the in¬ for the beginning of their :i tbc,r music ordered, and hard luck” stories, are naturally suffering. How much of that superficial and alien type of entertain¬ these might not have flowered so beauti¬ period will reveal that the foundation stitution and encouraged it enthusiastically. prosperity is due to thinking it and acting it, no one will ever for the right kind of a vacation*^"' THuS *hey makc way ment which was described at the beginning fully if it had not been for the Opera and early activities of this remarkable From 1822 to 1842 Cherubini was the direc¬ know; but the wise music teacher is the one who has no time with worries and uncertainties Vacat,on not encumbered of this visit to “the City of Light.”. The Comique. school of music were more surprising than tor. He was followed by Auber who re¬ to look upon the black side of life, when it is so simple to look It means everythin? in average intelligent Frenchman is a very It was a horn player named Rodolphe might at first seem. Although sired by mained in charge until 1871. Auber at the other side upon which the sun is shining brightly. now, so that then/cannot poSvT^ C° °rdcr your-suPPlics fine personality, indeed. He is idealistic, who first thought of creating a national aristocracy, it was really the child of the died at the age of eighty-nine and Am- the rush of the fall season arrive/ ^ lnconvenience when inclined to be serious rather than frivolous, school of music in France. In 1784 Baron French Revolution. In 1795 we are only briose Thomas was appointed to his post. hard-working, slightly conservative in many Breteuil, one-of the vast number of petty two years away from the beheading of When Thomas died, in 1896, at the age w e can name a score of weaklings and cribbles whn h things, but always seeking ways of making noblemen of’ the court of Louis XVI, Louis XVI and Marie Antoinette. There of eighty-five, his successor was Theodore world's master wor\,. Don't permit your shortcomings toh7J-0^.lfed *»« of the the world a more beautiful and delightful was placed at the head of a school of sing¬ were still riots for bread and it was a Dubois who retired from the position in place in which to live. Since the war he ing—the ficole Royale de Chant. Gossec n allU tor lack of success. very bloody Paris, indeed, that awaited 1905, when the directorship fell to Gabriel 8 may have an understandable tinge of pessi¬ was the musical director. In 1792 Paris this new art venture. Yet two years later we Faure, who died in 1924, when he was mism, which, with some, is translated into created a band and with it. the Free School find a school with one hundred and twenty- succeeded by the present director, M. a skepticism as to the future of society; of Music of the Parisian National Guard. seven professors and some six hundred pu¬ Henri Rabaud. It will be seen that in but on the whole Monsieur and Madame This came to be known as the National pils. Printing offices were established and every instance except that of Sarrette the are splendid, fine appearing folks doing an Institute of Music in 1793. Both schools the Conservatoire went enthusiastically into director has been an eminent composer; important part in the world’s work. Be¬ were merged into the Conservatoire de the publishing business, issuing Methods and, with the exception of Cherubini, all hind all are centuries of art tradition. The Musique when it was formed in 1795. The by Rode, Kreutzer, Catel and Mehul. have been French bom. THE ETUDft JUNE 1929 Page 1/25 Page VM JUNE 1929 THE ETUDE Tohe Story of Strings and Keys or From ‘Monochord to Pianoforte

P>y William Braid White

The illustrations are presented by the courtesy of the Metropolitan Museum of Art of 7s(ew Yor\ City.

IIE PIANOFORTE, or piano, as it as the 14th and probably still earlier. The known during the Middle Ages, but very Now, when we compare this with the T spinet or harpsichord action, wc note at is now more usually called, has for mechanism is simplicity itself. It is com¬ few specimens have come down to us. once the difference of principle. so long been a feature of civilized prised in an open shallow box containing There is one in the Metropolitan Museum, home life that it is hard to realize what the (in the present case) twenty-two pairs of but it is of comparatively modern date. world must have been without it. Never¬ strings struck by forty-five keys. The very What, however, is most important about the theless, this universal musical instrument light strings are made of thin brass wire psaltery is that it formed the foundation on was unknown two hundred years ago, drawn by hand. Each pair of strings which was built the most famous of all whilst its independent existence in the stands alx>ve two adjacent keys, and the old keyed instruments, the long popular United States dates back just one century. brass vertical strip of tangent on each key and justly celebrated harpsichord, with its This short account of the ancestry and is so placed that when the contact is made smaller but similarly derived sister, the development of what has become the with the wire the requisite length, of string spinet or virginals. THE TROCADERO; FAMOUS AUDITORIUM OF PARIS A ROOM IN THE PALACE AT FONTAINEBLEAU world’s universal instrument of music, on is stopped off to give the corresponding For the day came when some ingenious which'rests virtually the whole of musical musical note, just as the violinist stops off artificer, probably an ecclesiastic, took the performance and musical composition, is his strings with his left hand. The other old psaltery, borrowed keys from the clavi¬ A Coveted Honor A TSfational System servatoire in 1896, Widor succeeded him as agility of a man of thirty -live popped upon prepared for the purpose of making music portion of the length of wire is damped by chord and adapted them to pluck rather Illustration II professor of counterpoint, fugue, and com¬ the bench and played faultlessly from than strike at the strings. The mechanism 'T' HE PRIX HE ROME, which was es- HpHE CONSERVATOIRE has a num- lovers better acquainted with what is in the cloth which may be seen woven in position. In 1910 he became a member of memory the Rondo in A of Mozart, thus evolved was very simple but very PLUCKING MECHANISM OF SPINET OR tablished in 1803, has been of great ber of affiliated schools in French reality a most fascinating romance of between the wires. cleverly thought out. The illustrations advantage to the Conservatory. After the cities so that its system and methods are the Institute. while the Editor of Tiif. Etude paid human aspiration, skill and success. Noth-' This little instrument had of course a HARPSICHORD show the exact difference between it and student has completed his course and mani¬ widely disseminated. The present building tribute by pumping the organ. This ancient ing in the history of invention, not even very feeble tone, and the touch of the fested his ability through keenly compet¬ of the school, although far more commodi¬ A Modem Master instrument, the keys of which the little the story of the printing press or of the musician had to be extremely light. Musi¬ the striking device of the clavichord. itive examinations, he is given the privilege ous than the previous buildings, is not S A COMPOSER Widor ranks among lingers of the child Mozart had touched steam engine, surpasses it for wonder and cians used to talk of “breathing” on the In the harpsichord it will be seen that of going to Rome to develop his art by particularly attractive on the exterior, as the greatest in French musical history. over a century and a half ago, gives an interest. keys. Yet the great essential was there, the rise of the key moves a little quill hard work under enviable surrounding are so many of the imposing French His eight symphonies for organ have been excellent account of itself. namely, the immediate control of loudness past the wire, plucking or twanging it in conditions and also is subventioned so that by the touch. In its own gentle way the edifices. given more consideration in their field than The present director of the Conserva¬ Two Thousand Years Ago passing. The quill is mounted in the he can travel in other countries. This is Just as we arrived M. Charles Marie any works for the instrument written toire, M. Henri Rabaud. i- a pupil of clavichord spoke with the sweetest of wooden jack upon a pivoted piece of wood. done at the expense of the government. As HE ORIGINS of stringed musical Widor was entering the building. This during the last fifty years. It, therefore, Massenet. He won the tirand Prix dc voices and for centuries, because of its When the quill has plucked the string, a is well-known, many of the foremost com¬ instruments are lost in the mists of renowned composer is most remarkable as was with keen delight that we accompanied Rome in 1894. His opera "Marouf" was intimate beauty, remained the favorite com¬ little spring throws it back out of the way posers of France have benefited by this the past. Harps have been known for a man as well as a musician. He was born him to the choir loft of St. Sulpice and received with great favor in America. His panion of the composer and executant. and the wire is then damped as the cloth prize. On the other hand, many who have at Lyons on February 22, 184S. His father listened to his amazing performance of something like four thousand years and damper falls on it. won the prize arc still unknown in the style, while modern, is not revolutionary. was an Alsatian of Hungarian descent, two of these great works. Rudolf Ganz perhaps longer. Two thousand years have Now, the harpsichord was simply a great musical world at large. It is marked by a rich harmonic back¬ Sac\but and Psaltery who was also an organist. As a boy and I. Philipp were in the party; and while elapsed since Pythagoras first devised the spinet more highly developed, just as the The Conservatoire possesses one of the ground and distinctively original melodics. MEANWHILE, however, another ap¬ Vidor studied under Lemmens (organ) we were walking back along the Seine Monochord, primary ancestor of the piano¬ Illustration I spinet was a smaller harpsichord. The finest musical libraries in the world. This proach to the solution of the key¬ and Fetis (composition) in Brussels. At the great genius of the French master forte, by stretching a string of gut between spinet was usually triangular in shape or is accessible to all of the students, and to Classes and Students board instrument problem was being under¬ the age of fifteen he became organist at sufficed for continuous eulogies. two pegs at the extreme ends of a narrow TANGENT AND STRINGS OF THE else oblong, and the illustration three others on application. There is in this taken. From very early times an instrument St. Francois in Lyons (succeeding his board, and placing under it a wooden bridge shows a very lovely specimen dating from After hearing the big organ, we went CEVEN HUNDRED AND THIRTY- known to the Greeks as Psaltcrion (the CLAVICHORD collection a priceless group of manuscripts father). In 1869 he was appointed organ¬ which could be slid up and down at will. the 16th century which is now in the by great masters, which makes a visit to down to a little chapel near the entrance ^ THREE students «.-•<• registered at word is the same as the “psaltery” used in ist at St. Sulpice of Paris, a position which With this rude but correct instrument the Metropolitan Museum. This was made in the institution well worth while. Here the where Widor showed us with great pride the Conservatoire in 191",. These are the Bible) had been in common use. It he still holds. As a concert organist he Greek philosopher discovered the laws Italy by Domenico di Pesaro, during the privileged may see the original manuscripts one of the excelling curiosities of musical taught in eighty-nine classe The impor¬ was simply a board with strings stretched As will he seen, the clavichord action gained world renown. which govern the pitch of musical sounds. year 1561. As in all spinets, there is only of the “Don Giovanni” of Mozart, the history. It was a little organ which is tance given to solfegc (solfeggio, sight¬ over it, which were played by a plectrum simply pushes up at the wires, touche i Probably this renowned master, in addi¬ Greek civilization came, flowered and one wire to each note. This beautiful “Appassionata Sonata” of Beethoven, “The shown in one of the illustrations accom¬ singing by syllables) is indicated by the or little hook curled over one finger. The them lightly and sets into vibration that tion to all of his other distinctions, holds decayed. Rome took the place of Athens. piece of craftsmanship is 4 feet, 8 inches Damnation of Faust” by Berlioz, and many panying this article. This organ was fact that there are far more classes in this player usually carried it (for it was small) part of them which lies between the tan¬ the “Marathon” record as an organist. Greek slaves, often companions rather than long and 1 foot, 7 inches wide. It has a priceless originals from Gluck, Haydn, thrown out of Versailles when Napoleon branch than in any other—fifteen in all. hung around his neck and stopped the gent and the unclothed end. The other Imagine playing in one church for sixty servants, were the philosophers, the physi¬ compass of four octaves. The instrument Schumann, Chopin, Saint-Saens and Bizet. decided to renovate the palace for his own Next in interest camcs the art of singing, strings with one hand while he plucked or cloth-wound end of the string is years! He became the successor of Cesar cians, the architects, the musicians, of the itself can be taken quite out of its ex¬ ■In addition to this there is a museum of use. Its interest to musicians is that it was with eleven classes. Violin, viola, ’cello, them with the plectrum in the other. damped by the cloth. The fretting ar¬ Franck as professor of organ playing at Roman world. It was an ingenious Greek ternal case. The spinet in this form was musical instruments which is distinctly the very organ which the ten-year-old and double bass arc represented by eleven The psaltery, in fact, was in its rude way rangement whereby one pair of wires does the Paris Conservatoire in 1890. When who first applied the principles of hydro¬ the favorite domestic instrument of cul¬ interesting. Mozart played upon when he visited the classes divided among the- instruments. a sort of ancestor of the modern gujtars for two keys, each striking at a calculated Dubois became the director of the Con¬ statics, discovered by Archimedes of Syra¬ tured families in a day when every man, French Court in 1766. Widor with the and mandolins. This instrument was well point, can also be seen. (Continued on page 467) cuse, to the task of maintaining wind woman and child was expected to be able pressure in a chest, thus bringing forth the either to play, to sing or to do both. Queen first pipe-organ. This Hydraulikon, as it Elizabeth was a skilled performer upon was'called, was in due time fitted with keys the spinet, especially upon the oblong to admit wind to the pipes, that is, to .spinet known as the Virginals. All who “unlock the sounds,” whence came the name have read Pepys’ “Diary” will remember how that arch gossiper writing his adven¬ The Roman Empire drooped and fell; tures during the great fire of London the Dark Ages came. After its long night (1666) set it down that scarcely a boat¬ passed away, the sun of the thirteenth load of refugees fleeing across the river century burst full upon the eyes of men but had among their household goods “a long blinded by ignorance, superstition and paire of virginalls.” terror. Now, in the new dawn, music again begins to come into her own. Monkish musicians take the monochord of Pythag¬ “Ladies’ Fingers Fair upon the Ting¬ oras, fit keys to it borrowed from the water ling Harpsichord'’ organ still surviving from Roman times, add more strings, build a soundboard; and THE SUPREME development of lo, the clavichord! plucked-string instruments, however, came only with the harpsichord. Two and even three, strings to a note became com¬ The Founder of the Family mon ; octave strings were added; two and HPHE CLAVICHORD is the veritable three sets of jacks, each set carrying quills great-grandfather of the grand piano or leather tips of varying stiffness, were which decorates the modern living room. put under the control of the player by It is worthy of more than a passing glance. means of pedals or draw-knobs. The finest This particular specimen may be seen still skill of the builder was called on to design standing in the Metropolitan Museum at beautiful case-work, and the best painters New York, among the treasures of ancient gladly lent their art to decorating what musical workmanship which the good taste the artisans had so skillfully fashioned. and munificence of Mrs. Crosby Brown From among the many beautiful speci¬ have preserved for future generations. This mens still preserved in the Metropolitan Museum at New York, in the Steinert M. ISIDOR PHILIPP'S CLASS IN PIANO PLAYING AT-THE PARIS one dates only from the 17th century, but collection at Yale University, in the South CONSERVATOIRE the species was known and popular as early THE Page 426 JUNE 1929 JUNE 1929 Page W THE ETUDE Kensington Museum at London and else- Hebenstreit and His Chopping Board where throughout the world, there is „ _.TTr the singularly splendid example of the A DULCIMER of comparat.vely modern harpischord made by the' celebrated Jacob 7 make’ tbough tbe make,rS na™ 1S T3he Fundamentals of ‘Beautiful Piano Playing j *t i / . T , J A known, stands in the Metropolitan Mu- and Abraham K.rkman in London just seum ;t New York in the Crosby-Brown at the very close of the long age durmg coliection, and its nativity is unquestion¬ Edwin Hughes ed! this instrument had reigned su- ably American. Here may be seen the 43y preme‘ strings, the bridges over which they pass, hands of a master violinist, or by the The date, 1781, marks a day when the soundboard beneath them and the hand- [Mr. Edwin Hughes was bom at Washington, D. C., in 1884. He studied F A YOUNG tree is planted straight vibrant, pulsating sound of a single note a I ready the pianoforte was well known held hammers with which they are struck, I with Joseffy in Hew York and Leschetiz\y in Vienna, and became an assistant and the doom of the harpsichord was Now it happens that at the beginning of it will go on growing and developing from a “God-given” voice. One might to Leschetizky in 1909. He has toured extensively as a pianist, both at home sounded. Yet what a magnificent piece the eighteenth century one Pantaleon He- in the same manner. Give it a wrong listen in a neighboring room to middle C, of work this is, with its lines that the mod- benstreit, of Dresden, had made himself start in life and only the best efforts of and abroad. Since his return to America he has been located in Hew Torl{ as a played alternatively by a master pianist and ern piano maker would give so much to temporarily famous by building one of the most skillful tree-surgeon will be able teacher and concert pianist.] a totally unmusical person, and be, totally be able to copy, with its grace, light-footed thjeee instruments upon an extraordinarily to make a good tree out of it. Just how unable to distinguish between the playing aptly these observations apply to piano beauty and quiet charm which irresistibly IarEe scale- we are told that this vast of the two. study only the experienced teacher knows. There is no need, then, to concern our¬ and, with riper students, be happy if catch and hold the artistic eye! The di- production had two hundred strings of It is the way piano tones of varying dy¬ In fact a great part of his effort is di¬ selves further with the futile attempt to months, and not weeks, mark actual mile¬ mensions of this most interesting instru- s'lver wire and heavY Sut. which were namics are put together, horizontally in rected constantly toward straightening out produce “good” tones on single notes of stones of accomplishment. ment are worth recording. It is 7 feet 3 struck by heavy- felt-covered mallets. At the kinks and supplying the deficiencies of the piano, outside of avoiding, in the more the melodic lines, and vertically in the inches long and 3 feet wide at the key- a,,y ratc Hebenstreit took his Hackbrett chords and chord formations, that makes former study carried on along misdirected mellow forms of expression, those touch Firm Hands, Flexible Arms board end. The longest string has a vi- (or phoPP'"g .board" as hi* .Ger,_man lines and toward inadequate ends. qualities which tend to produce unwelcome (or unmakes) tonal beauty and loveliness brating length of 5 feet, 4 inches, and the ne‘fh**)rs caIled on account of its shape THE ACQUISITION of such tonal of Klang effect. ci„,r • i, T, • e and the manner of playing) on a tour More and more does one become a firm and disagreeable mechanism noises, such as striking the keys with rigid whacks of range is based, first, on the cultiva¬ octaves There are three C°mpafSS 'S. VC throughout France, Germany and Italy. He believer in the fundamentals, in a thorough octaves. There are three sets of strings, „,ayed before Kin„ Loujs xrv at Ver_ and intimate knowledge of the ground¬ the fingers or the arm in lyric passages. tion of a hand whose firmness is Under complete control from the knuckles' to the Playing the Simple Melody two unison and one octave, with three sailles and was complimented by that mon- work of the art of piano playing as the We shall see as we proceed that the finger tips and of an arm that is flexible se s o jacks, one or any two of which arch. He later passed through Italy, un¬ only door leading finally to genuine artis¬ poetry and beauty of piano playing have THAT PREREQUISITE of all beau¬ at its joints to any desired degree of elas¬ can be played at a time through the same til one day during the year 1705 he 'found tic achievement. Whether one has to do in no way been menaced by modern scien¬ tiful music making, the ability to play ticity ; and, second, on the ability to apply set of keys. There are four knobs above himself in the city of Florence billed to with the larger masterworks of Chopin, tific investigation; what has happened is a melody with expressiveness, may be ac¬ the weight and muscular power of the the keys and a single pedal below them, give a, concert before the nobility and gen- the last Sonatas of Beethoven or merely merely that our eyes have been opened, quired in its fundamental dynamic aspects Illustration VI arm in any desired degree to the keyboard, These give the player command over the try of the town. He played and made a with a simple Czerny Etude, the beauty and we are now in a position to see just by mastering the few simple principles through the medium of an elastic wrist various sets of strings and jacks, as well great hit, for this Hebenstreit was without of the performance rests on the same what are the fundamentals in piano tone- EARLY AMERICAN PIANO BY BENJAMIN CREHORE ABOUT 1 and sensitively firm fingers, held close to that follow- To the composer the natural as over the muting or buff-stop arrange- doubt a true virtuoso of his amazing in- fundamental principles. production. The way has been cleared of metrical accents of the measure are the ment. strument. Still, we should have no reason Before we come to look into these, fun¬ fallacious “methods,” with their mislead¬ the keys. When this control of tonal range and places where he has imagined and placed An instrument like this used to sell for to care about a fact in itself trifling, if damental principles, let us examine briefly ing, quasi-scientific terminologies and their fore he had seen in the workshop of Cris- The illustration shows how much progress sensitiveness has been established, we are his strongest notes, except when he has from fifty guineas (two hundred and there were no more to it than this, the sort of instrument which we pianists mistaken and time-wasting procedures. tofori a new type of harpsichord having the master had made in this vital feature, in a position to proceed to the second es¬ deliberately changed the beat by synco¬ sixty-five dollars) up, according to the But in truth, though the worthy German have at our disposal for music making. The first essential in the study of the hammer action. The inventor, he said, although unhappily the work of a modern sential, the ability to produce variety in pating it. As a corollary, the weaker beats elaboration of the mechanism, the style of knew it not, among his listeners It is a box of wood with an iron frame art of piano playing is the development of _ already at work on another and bet- restorcr lias distorted the original ham¬ and the end notes of groups have always decoration and the maker’s repute. over which are stretched a hundred wires the widest possible range of tone, extend¬ dynamics from tone to tone. Here must - - -_ musician-mechanic, harpsichordist and ter device. He called it, said Mallei, mers and some of the arrangements used come a recognition of the fact that, on represented to the composer points of sidering the purchasing power of money harpsichord maker, by name Bartolommeo “Clavicembalo col piano e forte” or of various sizes, spanning the frame under ing from the softest pianissimo to the to mount them. account of the peculiar nature of the pi¬ lesser melodic stress. If we fail to feel illn those Havedays ™ might estimate the sell- Cristofori, who had charge of the collec- “keyed cembal with soft and loud effects.” terrific tension. There is nothing very loudest fortissimo, with the capability of Here we see the perfected back check ano as a musical instrument, we can make ing price of a good, plainly-cased harp¬ tion of musical instruments housed in the Here, then, pliable about it, when one compares it with elastic application throughout this entire the necessity of conforming to these prin¬ the germ of the piano- for catching the hammer, the improved our musical expression only from tone to sichord during the middle eighteenth cen¬ Grand Ducal Palace where the Duke Cos- forte, such a music-making apparatus as the range. This must be a rftgtter of constant, ciples in our melody playing, we shall be jack with its spring, the improved damper tone. Single tones on the piano are quite tury at about the equivalent of five hun¬ mo de Medici reigned and his son, Prince human larynx, or even the bow of the unremitting study and of gradual acquisi¬ guilty of the same sort of error as that mechanism, the very modern mounting of meaningless from a standpoint of expres¬ dred dollars in present-day money. Ferdinand, played divinely (so they said) violinist. The tones are made by the blows tion. It can be begun with even the young¬ committed by the actor who declaimed the key. It is evident that this pianoforte siveness. One could never be moved by But the harpsichord could not hold the on clavichord, spinet and harpsichord. on the strings of little, rigid hammers, est pupil, if the matter is approached prop¬ Shakespeare’s plays with the metrical ac¬ does what it is intended to do. a single note played on the piano as one stage forever. Despite its beauty and its Cristofori was there that night. He list- these being covered at the point of con¬ erly. Let the teacher be cautioned to look cents of the lines misplaced. In other might be moved by a single long, lovely often very good tone, its fatal defect lay ened and looked; until in that fertile brain tact with felt, to soften the force of the ahead, not months, but years, for its final words, a mistake has been made in the tone drawn from a Stradivarius in the in the plucking mechanism. The player of his was conceived an idea. Recently was 1 ‘ 1726: Completion impact. achievement in the case of youthful talents, fundamentals of diction. Musical diction had no control over the power of the celebrated the two hundredth anniversary CIX MORE . I now the mas* After the tone-producing blow has been is, of course, as important to the pianist as sound evoked, save indirectly and imper- of the perfecting of that idea which came ° lcr has produced an thcr, probably his struck the sound grows softer and softer is spoken diction to the actor. fectly by means of octave strings, swells eleven years later, all the finer for its long L_,ast great effort, for lie died in 1731. until it gradually disappears. To produce Melodies usually (though not always, of and other devices. The weak little clavi- period of gestation. For it was on that There stands to-day in the Musikhisto- a long-sustained melody tone on the piano, course) grow louder as the phrase ascends chord was in this vital respect far supe- night that Bartolommeo Cristofori Con¬ Illustration IV risches Museum at Cologne the final per- a tone that is under sensitive control every in pitch, softer as it descends. Longer nor and it is, therefore, no matter for sur- ceived the idea of applying Hebenstreit’s , fected pianoforte of Cristofori. It is this instant it is sounding, as is the violin tone, notes, in playing melodies on the piano, prise to learn that many experiments had felt-covered mallets to the keys of the CRISTOFORI S FIRST HAMMER ACTION last-named instrument which most appro¬ is utterly impossible. We cannot alter the must be given extra stress, or they will not been tried during the hundred years pre- harpsichord, tone in the least after the key has been ceding the Kirkman masterpiece, to the priately gave cause for a commemorative sing through to the end of their required ... celebration in 1926, since it is Cristofori’s struck, no matter how much expression duration. Accents of any notes which it is end of improving the harpsichord in its we would like to put into it. mechanical design. the Thing is Done We have only the rough sketch of Maf- matured and final work unrestored and un- important to stress will achieve double their effect, and more, if a slight wait is The first hint in the right direction prob- CIX YEARS pass, and then in 1711 an wa TUW-i7hf t-h‘S ‘?rst thouSht em- spoiled- The late A. J. Hipkins, greatest Dynamic Variation made before they are taken. ably came from the dulcimer which was ° article appears in the “Journal of Ital- , • le ; T. ,l’ustrat>on shows a reproduc- of modern historians in the field of musi- . e.tch- 7 1S rough and crude, cal instruments, played it thirty years ago ANY NOTE on the piano may be In regard to the vertical alignment of simply a much larger psaltery, with heavier ian Literature,” written by the Maronis played, however, in all degrees of strings, played by hammers held in the Maffei, who tells, with much detail and IS there'. The hammer is when it was still in the Kraus Museum in the dynamics, the pianist has before him tone, from the softest pianissimo to the the constant problem of perspective, of hands, instead of by plectra. even a rough sketch, how two years be- Th^kev rtriv ?’VOted 0n a bIock' its nat've city of Florence, and he found loudest fortissimo. Indeed, that is all that bv means 1 “P atPIV0‘ed upper-lev,r >'ie touch light, agreeable and mechanically balance of tone between the melody and by means of a pivoted jack. There is a correct. can be done with a single note on the pi¬ the accompaniment, and between the more ano in the way of dynamic expressiveness. [ c.rossed str'ng to “tch the ham- Cristofori, then, was one of those in- important and the less important voices in In the years gone by pianists used to al¬ polyphonic playing. In the playing of the kev i, re7Pera° dAnP the Strings when ventors wl,° do their work thoroughly low thfir imaginations to run away with every single chord or chord figuration the hammer ~-ed' A ,the principles °f He worked out the hammer principle their common sense when speculating oil there must be constant attention to the bouni rXr°nfe t!Te: Stroke> rc- wbicb "takes the pianoforte a practical all the multi-colored tonal varieties it was variety in tonal power of the different in¬ crude’but'die ideafs 14 ‘S Very I"USICal instrument- Hc had seen clearly possible to produce on a single note, No’other instrnm^ basic3!ily sound. from the start that the harpsichord would tervals, if we are to achieve tonal loveli¬ through various touch-qualities and differ¬ ness at the instrument. years nor a menJ 'S beard of for nine never be improved save by a complete ing conditions in the playing apparatus. Remember that, in piano playing, you first action *** mstrument with this change of principle, and this change he But since the appearance of Otto Ort- can produce your expression only from is eridem 40 Hght- Buti‘ "aS al)lc so thoroughly to make that all mann’s, “The Physical Basis of Piano tone to tone. Any other sort of dy¬ on, for in the vear 1RW ^kcd Steadily I’* succcssors during two hundred years Touch and Tone,” an epoch-making work namic expression is impossible on this in¬ covered unuse/ a u, there was dis- have succecdcd only in strengthening and on the subject, no intelligent musician can strument. In this lies the secret of what hour.nFTiTjt°h,en-d°Wn in a ^.without superseding, the mechan- speak any longer of a single tone on the we call “a beautiful touch.” Attention to the master himself t 6 pianoforte bY ',cal and acoustic basis on which he worked piano being in itself, “good,” “bad,” “rich,” these details and to the phrasing of the his own narL K ' v Was SIgned with from the start. “singing,” “hard,” “brittle,” “luscious,” melodic lines leads to that development of is seen in Illustration v 6 date 172°’ and ,II is a'together fitting that due honor “dry,” “wooden,” “dull,” “ringing” and esthetic sensibility which, with the requi¬ This superb piece of c'r f , • sl““ld ,)e Pa'd to this immortal gem® all the rest. Or, at least, if such tones site technical equipment, will eventually today the chief treasure nffSj?anshlp Sta"'ls ,hraM1 «avc birth to tbe i’>s,rUmne'e come forth from an instrument when a bring one to the full possession of the by-Brown collection in tt,the.?reat Cr°s- which has served every musician for m° single note is struck, we can attribute the power of dynamic expressiveness at the Museum. One glance t MetroP°litan tba" a century, which has been the hand; fact solely to the instrument itself, not to instrument. shows how much nrnare.!V-S s,ructure ma'den of Beethoven and Chopin, as «« any qualities inherent in the fingers, hands But to be in full possession of dynamic made in the theory anH n Gnstofori had as of the whole great dynasty of P'an's and arms of the player. For Ortmann has expressiveness at the piano is only to be art. The stringTar^heavhm'T °f.bis new r°m Tba"*'rg and Mendelssohn to £ demonstrated conclusively, by exhaustive, half master of the instrument. There is mers make greater demands o w! ® 'T' a'Ki Haro,d Bauer- and wl?ich/rf detailed, laboratory experiments, that, another and equally important considera¬ did the quills, The , 'bem than l,een the faithful servant and friend when the noise element in the pianoforte tion, that of agogic or rhythmic expres¬ work of the instrument ha", v frame' countless thousands of quiet home mus' mechanism is disregarded, one cannot pos¬ siveness, the expressiveness in the flow of CRISTOFORI S PIANOFORTE OF 1720, (SIDE VIEW) forced to carry the heavier J® been rein- !°V,erS- as well as the joyous companion sibly alter the quality of the sounds that the rhythmic line. while the action has been va,tl'n^S’ ^ean' lgbtbearted dancers and singers. come out of a piano. All one can do is (Continued on page 484) «!■ ,"prowd- tea on pogo 46!) to alter their loudness or softness. JUNE 1929 Pane 1,29 TBB STtfr Parje Jt2S JUNE 1929 THE ETUDE Ml MWill lllllllli ill MIHII T3he Qharm of Stephen Heller

yin Interesting Discussion of the Wor\ of a Man Who Strove to VYta\e Educational Studies ^Beautiful

ized by extreme elegance and refinement, Charles Halle, whom he seemed to like eller was one of the first of He Enters Professional Life H engaging rhythm, poetic melodies, and at very much, and a few others whose names the great educators who endeavored RETURNING to Budapesth he had a times singularly bold and vigorous treat¬ have escaped me.' to introduce the elements of artis¬ few lessons in harmony from an ment. There is nothing just like them in tic musicianship into practical pianoforte aged organist, Cehalka. This, together all the literature of music. While his Heller’s Preferences studies. He knew that phrasing in music, with a few lessons from Chilard and later general style is that of Mendelssohn, he 4 4 TT ELLER POSSESSED a special for instance, was what inflection is in lessons with Kalkbrenner, completed his has an individuality and a quality of veneration for Beethoven, Schu¬ speech. He could not imagine anyone con¬ musical training save for exhaustive stud¬ A J- French chic that is inimitable. bert, Weber and Mendelssohn. He seemed ducting a conversation in a monotone even ies of a self-help character. At Augsburg to admire the works of the last master for a very short time. Phrasing, to him, he was permitted to browse in the musical above all. Moreover, he composed some was the elixir -of life in interpretation. library of Count Fugger. There he rev¬ Compared with Chopin extremely remarkable pieces on motives Of course, every really musical person eled in the works of the masters and en¬ ELLER WROTE three Sonatas, Op¬ H from Mendelssohn, upon which he worked knew this, but up to the time of Heller countered Chopin’s compositions which us 9, Opus 65 and Opus 68. These with great enjoyment, as in his opus 69, there was very little educational material overwhelmed him with their beauty. Un¬ works and his Scherzos deserve far more for example, entitled, Fantasy in the Form designed especially to teach phrasing in fortunately the public at that time had not serious consideration than they ordinarily of a sonata, on a popular song Es ist bc- the modern sense. True, no one can play advanced sufficiently to appreciate them. receive today. His nocturnes do not have intelligently the compositions of the Bach’s Heller then came into possession of the the depth of feeling that characterizes stimmt in Gottes Rath. In taking the very without phrasing properly, but these works famous Neue Zeitschrift fiir'Musik, the those of Chopin. In fact, there are many simple subject of this lied, Heller has were looked upon as pieces and not studies. progressive journal of Robert Schumann. compositions of this master which his pu¬ written a work that is very interesting, very beautiful, in which he has departed Heller also demanded that studies be in¬ He ventured to send some of his composi¬ pil and disciple, M. Isidore Philipp, has re¬ dividual in character, that they be thought¬ tions to Schumann. That master with his stored to the consideration of the artistic from his own style in order to employ ful and that they possess the element of characteristic and prophetic understanding world. The impression held by some peo¬ that of his model. How delightful also are the two caprices in “The Midsummer charm. His works in smaller form, con¬ immediately set at work to find a publisher ple, that Heller wrote no more than a few fined largely to the piano, are really for Heller. He wrote Heller at that time, pieces of the “Songs without Words” Night’s Dream” and the “Fingal’s Cave” like little musical sonnets—many having a telling him of his success. The singular type, is an injustice to this composer. A overtures 1 The four Etudes on “Der poetic distinction which has made them a thing was that Heller did not even know study of a selection of his works is well Frcyschutz,” a work of the same style, permanent part of pianoforte literature. at the time that Schumann composed worth the consideration of the teacher of are . masterpieces of their kind. Master¬ pieces also are the variations on the theme Not all of the Heller studies are equally music. He thought of him only as a music today. interesting; but a selection of those studies critic. They became fast friends. It is Many years ago M. Philipp sketched his of Beethoven, Op. 130 and 133. may he made which will prove very com¬ to Robert Schumann that Heller owed experiences with Heller, for The Etude “In bis Op. 130 he has taken for a sub¬ prehensive in musicianship as well as prac¬ much of his inspiration to continue as a Music Magazine, and these are repro¬ ject the theme from the Thirty-two Vol¬ tical technic. When this is accomplished composer. Their letters, covering a period duced here by request: untaries of Beethoven; in his Op. 133 he in graded form, that is, in sequence ac¬ of many years, were unfortunately lost has written variations on the admirable cording to difficulty, the teacher has a subject of the Andante from Beethoven’s when Heller was moving in Paris. An Interview means of developing certain qualities in In 1837, when Heller was twenty-two, Op. 57. These two works, if they are to playing that are only too often absent in a great event occurred in his life. Fred- ttnpHE FIRST TIME I saw Stephen lie correctly interpreted, demand executive the work of the average pupil. erich William Michael Kalkbrenner (then Heller in his little apartments in the powers of the highest order. They are Heller was born at Budapesth, Hungary, forty-nine years of age) went to Augsburg town of Malesherbes, I was terribly dis¬ distinguished by a profound knowledge of May IS, 1815, and died in Paris, January and played a duet in concert with Heller tressed, because upon his judgment of the style and the works of Beethoven. 14,1888. His name is obviously German and (then twenty-two). The older pianist my musical faculties depended my musical “These were the only works of his not Hungarian. As a boy he was educated in persuaded Heller to move to Paris to study career. I had been recommended to him own composition, with the exception of the College of the Piarist Fathers. His with him. Kalkbrenner was- very proud by Mme. Szarvady (Wilhelmina Clauss) a few numbers from Les Nuits blanches first teacher in music was a bandsman in of his method of piano study and boasted who took a friendly interest in me, and and the Promenade (Fun solitaire, that he an artillery regiment. Later he studied much of the wonderful fluency of his left my father, a great admirer of Heller's made me play. When he illustrated any¬ with Franz Brauer. He was sent to hand and of his command of octaves. Hel¬ works, was content to abide by the opinion thing for me at the piano, I felt that he Vienna to study with Carl Czerny. ler consulted with Schumann who advo¬ of this master as to whether I was really was a real master. Without appearing to Czerny was then about thirty-six years of cated the move to the French capital. fitted for the vocation of a musician or labor, he knew how to extract from the age, and at the height of his teaching Kalkbrenner obliged his pupils to make was actuated merely by the desire for instrument a delicious sonority, and his fame. The demand for his services was so an advance payment of £20 a year, contract the life of an artist. fingers seemed to have marvelous equality. great that his charges were exorbitant. to remain with him for five years, pass His advice was exceedingly valuable. The monthly examinations and agree not to Heller at Home possession of a good technic and the Heller’s Early Education publish a composition without his consent. acquirement of absolute independence of UT CAN still see the master, dressed Heller could not meet these terms and the fingers he thought necessary before POOR LITTLE Heller’s means were very A in a velvet lounge coat, with his splen¬ therefore had to discontinue his lessons. everything else. A simple romance by limited, and he was obliged to cease did, melancholy head, a somewhat tired Gradually, without any press-agenting, his Mendelssohn demands, if it is to be prop¬ study after only a few lessons. Accord¬ look in his eyes and the inevitable cigar works became popular. Le Couppey, Halle erly performed, absolute mastery over the ingly he went to study with a good friend in his mouth. I can see also his little and other pianists of the time featured keyboard. Simplicity always, without this of Beethoven, M. Antoine Hahn. The salon with his antiquated furniture, the him in concerts. Many contemporary rubato—that is true art!’ And again, hoy developed unusual skill as a pianist, little Pleyel piaflo in the corner, and, above critics regarded him as the equal of ‘Never permit any nuances save those of and at the age of twelve and thirteen he all, the single really valuable thing in the Chopin. They found no Hungarian flavor the author. When you alter you deform commenced a long series of tours through modest dwelling—his own portrait by Germany and Austria, under the manage¬ in his music but rather a pure German and betray the thought of the artist-cre¬ Ricard, a masterpiece which is to-day in ment of his father. Musical prodigies were type. Modern critics would see decidedly ator. A virtuoso of genius may he per¬ London. legion at that time. It was the custom to French influences. mitted in public performance to follow the “After a sjiort conversation with my dictates of his own inspiration. One can end the programs with “Freie Fantasie” father, in which the two men quickly or improvizations. These were supposed excuse changes if the spirit of the work The Modest Musician found themselves in mutual literary sym¬ to indicate the talent of the youngster, far and the style do not suffer....but it is pathy, in an admiration for the works more than his performance of the works ELLER was very retiring. Chopin always necessary to work and to perform was unconsciously a showman. With¬ of Heinrich Heine, Heller asked me to in a spirit of loyalty to the composer.’ of other composers. Heller was especially play. 1 played some Mendelssohn first, gifted in this way, and, with his keyboard out any effort whatever he did those ro¬ followed by Schumann, and then two fluency and sparkling touch, made a con¬ mantic things which arouse public atten¬ The Folly of Memorizing tion and command the interest o'f fol¬ pieces from his own Nutts blanches. He siderable success. seemed satisfied with my playing and 11

anecdotes of the great masters, Mendels¬ “The hand touches the keys of the last sohn, Schumann and Berlioz whom he had chord without the notes being sounded, often visited, and by references to the and then the pedal is released to be re¬ different arts. I have only one regret: sumed immediately after playing the chord. that I have not more carefully retained Try the effect and see how accurate and ‘Master 'Discs the memory of all that occurred during musical in feeling it is. those valuable hours. In the works 1 “In the Fantaisic of Schumann he cor¬ A Department of Reproduced Music studied with Heller, he suggested a few rected the F which is found in the left- By Peter Hugh Reed remarkable ideas which I have transcribed hand part of one of the final measures of A department dealing with Maater Diw specialist- All Master Discs of educational imwrtance will be consiJe. ness or makers. Correspondence here because they are not only very in¬ the first piece: relating to this column should be addressed Th Dept, of Reproduced Music.” teresting but also very useful. Thus in the Op. 101 of Beethoven, he made me play: Ex.l HE MENGELBERG reading of ly expressive, more richly poetic,” sav A IJ-IM Tchaikovsky's “Fifth Symphony” Lawrence Gilman, the eminent critic, “th which Columbia recently issued, this exquisite theme for united and divid^ came as a happy response to many music- strings, which projects the mood of the t lovers’ requests for a vital interpretation of raptured lovers as they watch the com'" “ ‘That F is bad; it was an E that he this popular score. To many people this of the dawn in Juliet’s chamber. He/ meant,’ and he inscribed the E r symphony is the most attractive of all Tchaikovsky captured the very hue ^ gin. Tchaikovsky’s larger works, because of accent of Shakespearean loveliness ” F 1 “But I do not wish to multiply these ex¬ its brilliant contrasts and plenteous melo- lowing this section conics a resumption °f “ ‘It is very necessary to guard against amples, which are sufficient to show how dies. It is a work, however, which, in the conflict “against which the solem playing without clearness,’ he said. And fastidious he was. In general, he de¬ order to substantiate interest, “wants warning of_ _ Friar_ Lawrence sound handling in the grandiose manner.” “Bad vain.” After this in the margin I find in his handwriting, manded an absolute suppleness and free¬ llear again the love- Clair, pm de pedale (Clear, little of the dom of touch. He himself played seated playing is intolerable with such music,” -'with a new and more intense fer¬ pedal).’ a little low down, but he never asked me writes Sidney Grew, an English reviewer, vor and then the death of the lovers This “In the Carnival of Schumann, he indi¬ to imitate him in this. ‘Play plenty of “since there is nothing in it that can lift work can be found in Victor Album, No. cated to me a pedal effect which I have Bach,’ he advised, ‘and you will come to it above a bad presentation and exhibit a M46, on three records. always since employed: know your keyboard. Play still more of remote spiritual significance.” With this Mendelssohn and you will acquire from we heartily agree, although we believe these two masters a final classic technic Mr. Grew’s first adjective “bad” might in- Mozart's Symphony inm c,E riatFlat and a richness which will lend equality and deed read “prosaic.” But fortunately Co- A NOTHER symphonic work splendidlv rhythm to everything you play. Trans¬ lumbia can boast a vital recorded perform- recorded is Mozart' "Svmnfc • pose difficult passages into all keys. There ance from Mengdberg and his Holland or- E Flat,” which Columbia -'.ued wemly is no better way of working.’ chestra, although there are at times some as Album, No. 105. Here is a set^Wch Lik.oaap “With this I will close these few notes w/ea, TPI,aTger ql,est,tnabIe rUubat0' definitely belongs in every musical library hastily jotted down. It is not possible to When Tchaikovsky wrote this symphony not alone for its genuine musical worth :CM5AM£ give any better advice to ’prentice pian-

oi great importance.:Lo Vh d HenceU ,heen setanythmg ahout felicitouslytm* » conceived.i creating his fifth symphonic opus to prove MlaVo™ 7" t0,d °f 1,0W Maying Scales Interesting to himself as much as to the world that he artcrcaU''1 th,s sy»"I>I>* >'■> and its two still had something to say as aZltr At ' Minor” and By William Erlandson house, near Moscow. Being summer the were “ettined to become Ins most famous garden was redolent with blossoming ^mph°mes. Under most u.mvnrable con- Play the scales in four octaves ascend¬ rhythm, a dotted quarter note followed by ing and descending. a sixteenth and so on through four octaves. flowers, and it was there he took his rec- fhp'T,° p°verly an<1 men,al anxie‘7 for 6. Play three notes in the right hand reation, tending their bloom. “When I am /“‘“"j !et .abou‘ u' romP°*e these ascending descending PP against two in the left; in doing this hold quite old, and past composing” he wrote r and,’ m tI,e '“Creditably short period 2. Accent first of every two notes, (ex¬ the hands an octave apart, going up three to a friend, “I shall devote myself to °f s\x wecks- 3 1 ‘hree w. r, cinpleted.lt ample c d e f g a). Then reverse, ac¬ octaves in the right hand and two octaves growing flowers.” He did not know then ' « , tru,h'u!|y pointed out that he centing the second of every two notes (ex¬ in left. that he would not live to be “quite old” wrote,theseworks out of the profoundest In this recording the accustomary cut iTnw’T °f H'S artistic n'a"re-” 3 state- ample cdef ga). Then reverse, playing two notes in right hand against three in left hand, holding m the development section of the last 7 ! fu y attested by the freshness and 3. Accent the first of every three notes the hands two octaves apart and going up movement has been observed, but in ad «,I°vehness of ‘heir music, (example, cdefga). Then reverse, ac¬ two octaves in the right hand and three dition to this Mr. Mengelberg makes a • SUch music as tbi' > mphony is centing the third of every three notes octaves in the left. personally chosen excision of eighteen • interpreted, “an exquisite communion 7. Play four notes in the right hand measures from the beginning of the final 'i es!ab,isbed between the composer and (example, cdefga). Coda. Otherwise this work is complete the Iistener,” a communion which in the A NOTABLE PORTRAIT OF BEETHOVEN, BY CABANE 4. Accent the first of every four notes against three in the left hand. Hold the hands an octave apart and go up four oc¬ on seven discs in Columbia Album No CaSe of the Phonograph is unquestionably 1A4. ’ • attenuated by the rare privilege of hear- (example, cdefgabc). Then reverse, taves in the right hand and three in the left. accenting the fourth of every four notes Then reverse, playing three notes in the Romeo and Juliet Overture 'tS ullBddrnerl‘ 'n the privacy of one's (example, cdefgabc). right hand against four in the left. Hold How to ‘Play Peethoven Remember you must play the highest the hands two octaves apart; go up three note of the scale only once, considering octaves in the. right hand and four octaves in the left. it as part of both the ascending and de¬ Philadelphia Symphony” record'* ' ‘7 7 '‘,udc lo “Lohengrin” will surely prove in B Minor, written for flute major, and, further, the Rondo movement to anything else beyond the-performance of Vol. Ill (to the year 1816), Berlin, W. Lamond, who in many ways deserves his Balakirev gave him, TchaikoS ^ Strillgs- has been recorded by the from the. Sonata in A major. Op. 2, No. the correct notes at high speed, with vary¬ Weber, 1879. No later evidence is taken, reputation as a Beethoven player, is author¬ Having once been converted to the use process and decreases the speed, notch by ie new work with an ardent convict'C ,r Cag° Symphony Orchestra under the 2. He was thrilled by the grandeur and of the metronome every pupil realizes its ing samples of eccentricities that are of¬ for the reason that up to the year 1816, itatively “quiet and measured” in his notch, until he arrives at his first point tkat ftrU y g,owed with youthful na,= 7 d'rectlor' of its able leader, Frederick Stock, admired the vigor and brilliance of the value as an agent in acquiring velocity. fered as interpretative matter. It is as Beethoven had given very complete indica¬ playing. again. This relaxes any muscles which and tenderness. pass,on on two Victor records, Nos. 6914-6915. playing (Th., II, 29). well to take the trouble to look up and tions as to the performance of his piano- Many teachers advise starting with a very With Vigor and Brilliance Czerny was of course the provider of have been over-strained and also gives him relL;n„?enm? SeCtio:l of ‘his overture is , ,orchestral sui‘e in Bach's day was piece together the contemporary evidence, slow beat and increasing it gradually, notch 8 m character,a dLcer, a chorale-like no.nas cyc• .,cal composition consisting ofot a seis valuable evidence concerning the per¬ an opportunity to adjust the hand position including that of the composer himself, as After this date his increasing deafness AS A YOUNG man of twenty-one, by notch. However, it is possible to im¬ sage said tof ,suggestsuS8est the figure nfof jiff'7 Jf Ser,essenes of Pieces in various idealiz*idealized formance of Beethoven’s pianoforte com¬ to the different figures in the study. to how the Beethoven sonatas were in¬ not only led to a harsher style in his own Beethoven heard the playing of the prove on this method since sometimes the is7ohTe7thKe benefactor of ‘he lovers This dance'forms'" The origin of such suites, positions. The composer’s friend, Schind¬ The speed may then be increased again by tended to be played. An important reser¬ performances but also prevented him from Abbe Sterkel at the latter’s home at increased speed brings its attendant habits 7 *' by a sec‘ion of strife and Irv T® are.told’ began in the practice of town ler, said that “Czerny was the only one of carelessness. degrees. If the work has been carefully vation must be made in connection with fully appreciating the finer shades in the Aschaffenburg-on-Main and wag impressed Montalf the°ppos,ng houses of Caputo^S ^'7 dUn"g ,he later midd,e aSes- of at' with the. famous pianist's “elegant style” among the Viennese virtuosi who took the In learning a study the pianist follows done, the study will go with much greater the actual development of pianoforte con¬ playing of others. In brief, before 1816, which f After this comes ‘he love s7nd "g t0gether a succession of dance but was not satisfied with anything he pains to hear Beethoven often during his the usual method until he has reached the ease, smoothness and velocity. This method struction. Just how important this factor Beethoven had said all that we can un¬ hesitatingly accept concerning the playing heard. Referring to Mozart’s playing, he prime.” But evidence in favor of Czer¬ limit of speed which is, for him, consistant should be followed until the study is is will be noticed when we come to the of his pianoforte works. However, in told Czerny that it was delicate but choppy, ny’s interpretations is discounted by Bee¬ with accurate work. Then he reverses the thoroughly mastered. question of speed. later years he discussed with Schindler the without legato (Thayer, II, 409), and. thoven’s own remark that this pianist “has in modern music more justljland^eautifid! ^ It should be noted that all the references (Continued on page 479) JUNE 1929 Page 433 Page 432 JUNE 1929 ™ etude THE ETUDE distinctly finer when played a a more mod¬ forcible expression everywhere.” This no legato and accents wrongly.” Schind¬ Finger Bravura plains why there can never be a Ben' Cx' ler also qualities his praise by deploring erate speed than is usual with the av<*agc “PAX FASHIONABLE taste or dex- player in the style of Pachniann or \i'C" Czerny's “additions of modern virtuosity.” concert pianist. We are thus able to fol¬ '“4 terity (which often sinks to empty Hess, nor can any woman (except si, DEPARTMENT OF Here we come to some decided points low' the composer’s working and need not finger bravura) compensate, for the ab¬ be concerned with the dexterity of the unnaturally masculine) hope to sbo e “c against certain modern interpretations of sence of a Beethoven-like soul? . . . All, the real Beethoven, even though she ”S performer. Beethoven’s piano sonatas. Schindler my dear people, methought, pray take to understand him. But there is much jJe? ‘Bands and Orchestras rightly objected to the transportation of heart, at last, what our great Teacher cation for those pianists who make ti Finger and Keyboard Limitations the cantilena from the one and two-lined said so many hundred years ago: ‘The melodies sing. Schindler says further i Conducted ^Monthly ‘By octaves into the three and four-lined oc¬ Spirit giveth life.’” This is perhaps one T T IS sometimes argued that, considering his Master: "In the cantilena he n0i , taves. Few pianists, however, have the of the finest statements ever made on per¬ -I- the fact that the piano pieces of the to the method of educated singers if marching band and by their numbers make HILE MANY bandmasters insist Victor J. Grabel audacity to attempt this effect as a means formance, and it is not by a professional earlier period were written for five-octave do not go to extremes; he also aclvTseri W it more impressive. that the concert band should not be of personal popularity today; the fashion critic . . naturally. It is remarkable instruments, a player need not hesitate to the writing of suitable words under dj FAMOUS BAND TRAINER AND CONDUCTOR Our symphonic bands as constituted at required to do any marching, I has died out. Schindler’s second point was that the first class orchestral player, when employ the contra-octave or to double the puted passages and then singing them',!' present, usjng the maximum number of firmly believe, that every band should be the inclusion of extra trills and other lie cares to open his mouth, is often the lower bass notes in octave-passages -whose hearing such passages played by a trained brass instruments allowed, contain the trained as a marching band. I wish briefly graces; and there may be one or two pi¬ keenest and most informed critic of the downward tendency is abruptly checked violinist or player on some wind instru- brass and percussion we need for a good to outline a few of the many benefits de¬ anists today who are not above adding un¬ concert platform. But possibly this is be¬ by the lack of the tones below contra-F. marching band in addition to a large num¬ rived from the training secured in the wanted ornaments. The third point was cause he has that which the urge of the Any similar alterations in the treble, how-. Unfortunately, however, those pia„jst ber of reeds not needed but le.ft in for careful practice of the various marching the exaggerated use of the pedal; and printing press can never give—the instinct ever, demand extreme delicacy and cau¬ who make the melodies sing are usu j,S effect. Of course, one does not get the of the practical, cultured musician. • T5he Marching Band here we are coming very much to a fault tion. Also, such physical disabilities as incapable of giving the required avoidance evolutions. volume from a symphonic band of eighty Regarding metronomic indications, many 1. It teaches individual carriage and of our own time. The fourth point brings small hands may, when they do not dis¬ of “miniature-painting.” With regard to or ninety pieces as is obtained from a of these, particularly' in the earlier sonatas bearing, resulting in improved personal ap¬ us even more, or at least equally, down to turb the fundamental idea of the given phrasing, it is clear that with Beethoven aUf?1ve * necting link between the school and* the patriotic, says: I was told that Beethoven has not quite like any known before,,' Se he glanced rapidly, and lie took in t>,c to be used on the street. The Joliet Town¬ not being good enough for his style of civic and service clubs of the city. In addition to pupils in Vienna, who play his pieces bet¬ Classtcal music never attained to hi T*' main features of a poet’s scene as had ship High School Band has followed this music and playing) and confused exposi¬ fostering a fine cooperative spirit in the community ter than himself. I could not forbear smil¬ uo musician lieforc him. The meter or practice for several years. We have sev¬ tion (the latter due, no doubt, to the same it teaches the band member something of the respon¬ ing. As a player he is, to be sure, inferior musk ^toT" The ,Ht" r«c the shape of some key-phase in the text eral groups of three marches each which reason as the former and to the quickness sibilities as well as the privileges of citizenship in a com to many others in elegance and technical engendered the cell of a melody; and -< we designate as Series No'. 1, Series No. of playing in order to give brilliance). thd TtS T’ ScTuten^'waLriJ munity or a nation. accomplishments. . . . But one lost sight hint of landscape, of atmosphere, or of an 2 and so on. Three marches are enough to The modern pianoforte does not need 8. Tt facilitates the movement of the organization. of these defects when the master disclosed accompanying movement or gesture, struck use on a given parade, as you are playing to speed to give clarity to chords and single us take a couple of examples. A band not well drilled the depths of his soul.” his fancy and started him in picturesque a constantly changing audience. It is enough notes, and all of Beethoven’s sonatas sound marching approaches the gate of a football field. T University of Illinois Bands in Marching Formation was not a style of pnint-by- musical figures of a unique vividness.” Albert Austin Harding, Director (Continued on page 461) -Musical Times. leader says, "All right, go mi in." It then becomes eve TI,E En% Page J,SJ, JUNE 1020 JUNE 1929 Page the etude School Music Department T5he Teachers’ Round Table 5 DEPARTMENT I (Conducted by Conducted Monthly by Prof. Clarence G. Hamilton, M. A. GEORGE L. LINDSAY TECHNICAL PROBLEM8 PER' PROFESSOR OF PIANOFORTE PLAYING, WELLESLEY COLLEGE DIRECTOR OF MUSIC, PHILADELPHIA PUBLIC SCHOOLS THEORY, HISTORY, ETC., ALL

LONG TO THE “QUESTIONS

AT SHOLLD the chori purpose of all vocal drill with large groans VV mg period mean to the students ? should be identical with the drill for t{,e Is it something they look forward ‘Preliminary Vocal Prill for individual taking a private lesson. jt to, and, if so, why? Or do they consider should be to effect a correct use of the drawn from J. F. Cooke’ " an |,ollr '» which they can slump down each, by the signs: V V V V, and vocal tone in the act of singing. Tone Scales and Arpeggios.” m their scats and settle on the end of their Qhoral Units teach him to practice each of these phrases development in the abstract is a waste of With such technical material as back¬ spines for lazy relaxation and dull until he can play it without an error. time, and it is so simple a thing to associ- ground, I should prefer a book of etudes, measure of her piece, then proceeding to thoughts? Is it a respite from rigorous 5. You are wise in drilling this pupil ate tone development and vowel develop, this perspective over five years. I am wondering as leader, somejyhat modified, is what we iier some myself. She completed to just how to conduct my practice. The first exercise should produce a by the student. With the lips closed for one iota. In the change i vowel will be : with liands^ togett Tunes for Tiny Tots, by Williams, want as a basic principle. At least it is a in in mi the sound should he hummed long found the change of quid it u has i :tion.“ Would t besides several little pieces What My girl friends laugh at me for healthy outlook for the chorus leader to quiet motion of the throat through the > That is, each material would be suitable for her : working so long on five-finger exer- enough to be felt and then opened quickly has a characteristic sound, * An adult pupil of mine took consider and perhaps to cultivate The medium of a soft vowel sound and a tone In the syllable Her fingers collapse at tne first, into the vowel. The f in fa is a silent names of the scale these - ,,ns in childhood and advanced joint unless I keep calling attention I am willing to practice seven and Point is that if the leader can give energy- sung piano. For post-adolescent voices it -'muds are found about the fifth grade. She is to their position. What technical a half hours daily. Would you ad¬ s desirable t consonant. Therefore the contact of the in purest form. The fiximg of the char- taking up her music again since exercises would help this trouble? vise me to divide my time thus: eur- acteristic vowel sounds in is employed in a must- Very often she memorizes an ex¬ training, % hour; five-finger exer¬ to him, and thus both instructor and stu- a “ °1the .Scal,e’ w,tith' the very restful i i be ear of the •re she has to try piaipianos for ercise or piece before she can read cises, 'A hour; “tone exercises,” % should be continued long enough so that student is a difficult tit elective customers. She - hour; Schmidt exercises, % hour; cents are stimulated. The sinning from • VOCally stimulati"g' up and back ^ ^ ling to achieve, tbe notes. She seems to know the release will form a correct beginning of Great patience should be . a - showy" music. I have been names of the keys better than the scales und arpeggios, 1 hour ; stud¬ such an organized and definitely vitalized “ °n the first five “ of the major J^Vv! sorted in teach- ng her the usual technical ma¬ notes on the music. Is there some ies (such as Cramer and Bach), 1 scale (on a single breath) : ' sol should be ex¬ ing the pure sounds of Uir language so ils. also Hanon’s studies. She musical game for beginners to help hour; sonata, % hour; piece, hi chorus should easily be molded into some¬ tended into an audible hiss r S the wrist action in playing hour: sight-reading, hi hour; rep¬ thing of beauty as well as vigor. that a love of the languag:<• from a stand- ves very tiring. She reads rapld- w should they be played ? B. f to teach notes? I want to he care¬ ertoire, % hour; transposing and hard quality, and the final I should be ful not to kill her interest in music Let us look to the practical means of point of the beauty of it ■ \ ocal qualities ind her fingers are supple. What and at the same time keep her ad¬ writing music, 'k hour; studying will grow out of the use vou think of the prospects? vancing until the way seems clear such things as Tub Etude and biog¬ arousing enthusiasm, of stimulating the in¬ ■ nf the singing Since these notes form a melodic con¬ tn fjiko lessons again.— raphies, 1 hour? different students who feel that singing is T he / in la should be given special voice. This undoubtedly i- the happiest nection between two of the chief melody "Tone exercises” are done in this attention. It is as vocal as the m Prac¬ 1. The best possible discipline for a wav: raising the elbow till it is level a gentle art and not for them. approach to this very illu-: c and unpopular notes, they should be played just before with the shoulder and letting it fall tice sustaining the I. The t in ti should teacher is in solving just such knotty Two and Twenty Little Studies on Es¬ This exercise should be transposed up and susta“mf the '■ study. the second of these notes, in the rhythm: till tbe finger tips strike the key: problems. I should not “give up the letting the wrist fall till It is below Ti-.*, n,i r m • t , „ back in semi-tones to the kev nf *\ fw ue empnasized, and the action of the toneiif* It is very certain that i horus training, sential Points in. First Grade Piano Teach¬ ghost” until every expedient has failed. ing, by Helen L. Cramm, ought to prove the kevs and tbpn bounce up again. nee of Physical and Emotional The same exercise should follow with the ^xpIamef; The vowel sounds in do, rc, without the importance f vowel sounds This is done with all the fingers, I’m inclined to think that accent is the interesting and profitable for your daughter. just as a five-finger exercise. Stimuli long o. This advances the drill and off- t" ,S^°U C be Ital'anized. That is. the stressed, will retard the appreciation of key to the problem. Teach the pupil to In addition to some attractive solo pieces Do I spend too much, time on tech¬ "THE LETHARGY pervading in most SetS an-v tension that “light come from co“ to the En8Iish P™- beautiful use of the langtu ge and, further- nical work? My chief aims are to emphasize the first beat of each measure to 1 groups is frequently a result of start- lo° much 11 sc of the oo. sv S'T’ll d ? avoided- These more, disastrously set the this collection contains several duets which have perfect technic and to appreci¬ ■ idgar habit of such an extent that it dominates the situ¬ ate music. One of my conservatory mg the chorus to sing while the individuals , The sec0Ild cxercise is a natural fol- I !S .wlU make the students con- the street usage into the nsciousness of you can play with her. teachers said that my technic was ation. Anyone who can walk straight For her finger work, I suggest Technic “wonderful”: aud further work on ““are still weary from' ove‘r-much mental lofw;"P°f tlle first- extending the range chim'Ll **** art'cuIation a»d the me- every boy and girl until il I iccomes the ac- * — wx opcckii out or which must have a rhythmic sense concealed for Beginners, by Anna P. Risher, a series activity. They are physicallyllv “down.”“down,” de- °,f the five tones to the c to e calc o "! Cal procfes * *l*ech out of which cepted use of the peoples o i the future. pressed in all probability, and, quite natu¬ the s; iwels oo and o, thus: somewhere—and it is up to you to dis- An Adult Pupil of conventional exercises which, to be most ttrcTr-r^perfect ™™a- This warning should be ? • Minded at every Your program sounds pretty strenuous rally, their throats are the most affected Ex. 2 , “n 6 atamed- Beautiful singing opportunity. y pupil, i profitable, should be transposed into as part of their nervous and muscular con¬ diction is based upon simple rules of me- Have her count l’-2-3-4, F-2-3-4, speak¬ lie school teacher, whoo is Inin eear many keys as possible. Begin each lesson for the hot summer days, too strenuous, cnaiiical movements. ing each “1” loudly and nodding her head in her desire to learn. What t I think, for a girl of your age. Cut off dition since the voice is the natural ba¬ nical work would overcome the in this book by having her extend all the rometer of the emotional and physical For the extension of the vm'r« „ Uniformity of Resonance at the same time. Beat out the rhythm fingers out straight, thus: an hour or more, and spend it in outdoor being. sports—tennis, walking, boating, anything THE I-ONG SCALE ur arpeggio is- of each phrase in a similar manner before type of hand. She is working in tbe that will give y.ou plenty of fresh air. In moments of wild excitement the hu¬ This should he transposed up in semi-tones A undoubtedly the basic vocal drill for she plays it on the piano. Afterwards following books with me: Franz.. man screams to a higher pitch than the to the key of “F" for the oo and perhaps flexibility of the voice. In this the sweep make the accent the chief feature of her Etudes facile*; Clementi,.Sonatinas; Break up your music study into several Bach, Introductory work ; Leefson s periods, perhaps three, and alternate these lop mark of his most ecstatic thrills. It a tone or two higher for the o. This ex- “I’d compass of the musical pattern governs performance. Playing duets with her at little book; Concone, 20 Etudes to the lesson, with the measure accent periods with your outdoor exercise. is also true that certain emotional reactions . , . - important■ for.- the reason the voice. The suggestion should lx im¬ develop singing touch. Would you strongly stressed, ought further to help advise t.’zcrn.v studies to go with Ear-training is excellent, but how do " ill rot) the human of any vocal utterance .1 t le sm"cr should develop a scale aginative and never physical. The scale the above, and, if so, which opus -- He should be m lne you manage it? By having someone play should he heard to go up and return to matters. number ? What would be your criti- 2. Lemoine’s Fifty Juvenile Studies, tndy ? Would to you and writing from this audition? The desirable condition which we would subtle modification of the physical adjust- long rau«e of this arpeevin f„rK;a its starting point. If any degree.of body advlse something of’ a lighter create for members of our chorus units Op. 37 (Presser Collection Volume 21), Ordinarily it takes two to play this game. ment and the modification of his tone as it the transposition into many kev, T, u jioise exists this should he the imaginary added to it?—H. C. W. must not in any degree contain any ele¬ are especially, designed for small hands The “tone exercise” which you describe Passes from the low position to and be taken as high J thTkev Tp level for the entire scale and in imagination ments of great excitement or intense de¬ through the middle position, on up to ,flat’ for the high voices, and startJ E~ and are tuneful as well. Most important of all, in such a case, ought to help relaxation; but it seems to rest firmly but flexibly upon this level, and then draw them gradually toward the pression but- rather be on a plane of bal¬ the top. He should also train himself to ow as for low voices d HS 3. Pupils will always accomplish better is a relaxed wrist, the condition necessary me that you give it too much attention, i his is a suggestion of perspective that palm of the hand, till they assume this anced physical and emotional stimulation. listen to the continuity of the vowel’s pure T,lcse fe"’ suggestions cover the thr results by practicing pieces which appeal for any kind of technical facility. Start since many other such exercises (some of eliminates the reach for high tone and position: Wc therefore conclude that there must be and characteristic sound and guard against "roat essentials of vocal development to them; so I should cater to her wishes each lesson and have the pupil start each which have been described in the Round thereby develops a uniformity of resonance some “tuning up” of the students and that allowing it to change to another sound lcn,ratlon of tone, articulation of' t " to a considerable extent, especially since practice period by allowing her hands to Table) are equally effective and produce throughout the scale. It aiso makes the it must be physical plus vocal. "f a questionable classification. These ex- guage sounds and voices extensio , they show that she has good taste. At the dangle loosely from the wrists in free air. needed variety. «;c~. aid ,h. ,»,d« „ a l'«"" Tha pronunciation of words easy on any step Let her then lay the hands limply on the This* is a pcucuiyperfectly plausiblepmusime reason why . . . _ principles embodied* same time, however, you may cultivate While it is important to spend a cer¬ there should be vocal drill preceding the 1>leasmS tone quality. They are as nearly these e:exercises will also be found in Inv "f'bc scale from bottom to top. her sense of rhythm by such means as I keys, being sure that the wrists are per¬ tain proportion of your practice time on singing—:- ofr songs.—— Proof against vocal strain as we can pos- “‘her good and suitaKe drills ' • There should not Ik a too distinct line have suggested in the first part of this fectly relaxed before she begins playing. purely technical work, don’t forget that I urgently suggest that the classroom SlbIy find' many teachers. The iutelbv . iar to » division between the preliminary drill At the close of any exercise or piece she answer. You may thus gradually arouse This, exercise should help to give her con¬ your ultimate aim is to produce music and be properly ventilated and that the group few exercises is m RC f c of a and the singing nf the part songs. The should leave the keyboard by lifting the her interest in rhythmic expression. trol over the finger joints, especially if you that mere finger and arm motions are only should stand up for all vocal drills. They Neutral and Latin Syllables the aimless use of a are? effcctlve tban merging of the three basic ideas set forth, 4. This stammering habit is frequently v/rists, so that the hands again dangle from a means toward that end. Let most of is siirti = . 01 a ^reat many. Time tone development, articulation and flexI' them. Forearm rotation from side to side, afterward call her attention frequently to should he instructed to stand easily “at IT IS ADVISABLE in' evidence and doubtless proceeds rather your practice, therefore, be put upon ma¬ « against ;h„™V,eS<,lST’id““ «»' •“ mhty of voice, must be kept constantly >'» with the wrists continually uppermost and the correct position. attention.” Correct posture vitalizes the using too many exercises from a nervous attempt to play rapidly terials of real musical value in the form breath’. The hands easily folded in front 'be mmd of the student so that the actual the fingers on the keys, will still further One way to induce her to read the notes than from stiffness of the piano action. is to have her practice with one hand at a of pieces or interpretation studies, such of the body at the line of the sola’r-plexus f"icoR wiH be b,,f the application and provide for a relaxed condition. Get the pupil to practice very slowly, time, always counting aloud. A still more as those of Heller or Chopin. fulfillment of the vocal drill. especially when putting the hands together. For her principal technical material, as¬ Just as a suggestion I give a grouping 1 “ ,he>' *” Spa,., sign her each week certain scales, arpeggios effective way, however, is to teach her to (Continued on page 479) Also, mark off the study or piece into practice backtvard, beginning with the last (Continued on page 465) phrases of not more than four measures or finger exercises. This material may be L ■JUNE 1929 Page Jf37 Parjp. J,Hn jrxff 1929 THE the etude Footstool (Construction for legato, is produced by A Song Fest of the Seasons allowing one finger to rennain upon the key until the striking of the Proper Pedalling By Erma L. Commons eato or detached tone is produced by raising the hand from the wrist or by THE NEW ETUDE GALLERY OF MUSICAL CELEBRITIES^ By John F. Hayes snatching a finger away before the de¬ Thh stage setting is an out-of-door Heralds of Spring SHORT BIOGRAPHICAL SKETCHES TO ACCOMPANY THESE PORTRAITS ARE GIVEN ON REVERSE scent of its neighbor, rapidly toivard the garden scene with an old-fashioned lat- .In Open Secret (Soprano)....\VS, A vkhv dksirabi-k mechanical aid to en-* palm of the hand. The cantabile or sing¬ ce fence al the back. Each season is Acre Life (Soprano and Alto) r. 1 SUPPLEMENT TO THE ETUDE—JUNE 1929 courage correct position at tlu- instrument is ing touch is produced by varying pres¬ eiiresented bv a group of five— girls,.. The Steal!iSutdlmes (Soprano) "r.e"H!l a footstool. Adults themselves would he sure upon tlie keys rather than by stroke. plough fewer«i may be' used- ’ as long. as the Enter Spring..^ wry uncomfortable if they had to let their Modern pianoforte playing calls for the ■ • • harmony is kept balanced. Each group is jhe Spirit ’/ tyring (Soprano) p , feet dangle unsupported below the bench. action of the forearm as well as that of costumed to represent its particular sea- Entei I lie accompanying sketch explains the con¬ the wrist and lingers and often demands Sutnn,er Gr«ttP Singing . son, the Spring group, for instance, wear¬ Jane Song (or any other June ch0rus) struction of a footstool which not only en¬ simultaneous employment of, as well as ing white robes, garlands of Spring flow¬ courages correct posture in the beginner many modifications and refinements in, the ers and pale green drapery looped from but which, later, when his progress is suf¬ use of the e various touches. the shoulders and tied at the wrist to (When they have taken their plaf'"8 ficient, limits him to use the pedals al¬ give a butterfly effect when the arms are on the stage the Spring group n though his legs are still many inches short in the chorus.) ns raised, Costumes for the Summer group of reaching the floor. are the same, but with garlands of roses Dreamy June (Soprano). , In effect this stool is simply a cubical “T3he (fhild'ATusician’s (Code” and. rose-colored draperies. Autumn, with Rose in the Hud (Contralto) p‘ e box. about twelve inches on a side, open at ,, •••■torsfcr autumn leaves and gold-colored garments. Sing, Sing, Birds the II mg the side which faces the piano. Two pegs and Winter with bands of wt - oi three, depending upon the number of By Stella Whitson-Holmes (Soprano and Alto) ..Nut,i„„ sprinkled with snow powder, six pedals on the piano—run through holes ra,l"> '.Chamini liored in the top of the liox and rest upon Since music will help me: and pale blue draperies make these seasons Enter Autumn Group I'i«oem, so that a unity is established be¬ has been employed in keyboard instru¬ ^ Allegro L- Streabbog, Op, 63 tween music and words. Here the sys¬ ment terminology to denote the resistance | tem is just reversed, words being found to tiie stroke or pressure of the fingers I to fit the music. Then the words guide made by key or digital of the pianoforte | the pupil in performing the passage in or organ. 1 bus a piano is said to possess j proper rhythm. a "light” or "heavy” touch as the resist- p It is advisable, whenever possible, to ance of the key mechanism is slight or | choose words or phrases from children's considerable. games or nursery rhvthms because of hut the principal and more technically f their greater familiarity. • accurate meaning of the word “touch” in II this connection has to do with the action § of the linger, wrist and forearm in de¬ pressing the pianoforte or organ digitals. ■ Since almost all production, expression and CAMPAIGN doT^St°C3MIX-mox quality of tone in pianoforte playing de- ‘1 mentally what we i ,lon 1S that it does not slop with pends upon “touch,” the latter is a matter ' of the utmost importance, and stands to cify to make us feelih , '!

> H. Farnsworth. JUNE 1929 Page 439 Page J,ZS JUNE 1929 CLASSIC, MODERN AND CONTEMPORARY MASTER WORKS

PORTKAITS THE NEW ETUDE GALLERY OF MUSICAL CELEBRITIES .i. j—t-rMT thp binding of the issue). How to Use This Gallery:-!. Cut on dotted line at right of this page (which will not destroy From Blue Ridge Idyls. Grade 5 ON THE RIVER LILY STRICKLAND 2. Cut out pictures, closely following their outlines. 3. Use the pictures in class or club work. 4. P { th musical portrait and biography scrap books, by pasting them in the book by means of the hinge on left tigstotAh: e e Tempo di barcarole picture. 5. Paste the pictures, by means of the hinge! on the fly sheet of a piece of music by the composer represented.

NICCOLO PAGANINI- ROSA PONSELLE . FELIX MENDELSSOHN " Undisputed king of violinists, Paganini Ponskiae (Pon-sel) was born in New Mendelssohn (Men-del-sown), grand¬ (Pah-gah-nee-nce) was born in Genoa, England, in one of those small towns son of the noted philosopher, Moses Men¬ Italy, in 1782 and died in Nice in 1840. that seem to have the faculty of producing delssohn, was born in Hamburg in 1809 His teachers, famous then, but nearly for¬ figures whose importance is in inverse pro¬ and died in Leipzig in 1847. A compari¬ gotten today, were Servetto and Costa in portion to that of their place of origin. son of these dates will show' that his re¬ Genoa,- and Ghiretto and Allesandro Rolla After learning considerable about music markable achievements were crowded into in Parma. He quickly absorbed their in¬ from several competent and interested a really short life. Like his sister Fannie, struction and soon far surpassed them all in teachers, she finally went to study with Felix received his first instruction from technical and interpretative powers. When Romano Romani of New York. The lat¬ he was sixteen he undertook a tour on his his talented mother. His later teachers ter, who is a staunch advocate of bet own initiative. At Leghorn, one of the were Berger, Hennings, Zelter, Moscheles canto, has ever since been her sole teacher. towns on his itinerary, lie was forced to and, in Paris, a Madame Bigot. He was Her debut occurred in 1918 when she hand over his violin as payment for a widely known as both pianist and organist. sang the leading role in “La Forza del gambling debt, but fortunately a finp Guar- Destino,” at the Metropolitan Opera House, Mendelssohn’s career as composer dates nerius instrument was given him by an ad¬ fn the same cast was the great Enrico from his earliest teens. When he was mirer and he was enabled to "carry on.” Caruso. At once Ponselle became ap¬ but seventeen he wrote the overture to Paganini’s subsequent tours in Italy, plauded and known—and the passing years the “Midsummer Night’s Dream,” one of | u pocu animat O Austria, Germany. France and England have only served to increase her reputa¬ the most remarkable and original art cre¬ 1 Cl- were real triumphs, audiences everywhere tion. Her performances in “La Vestale” ations of any youth anywhere. In 1829, going into the wildest raptures over his occasioned outbursts of praise from audi¬ playing. It is said that his double-stopping through Mendelssohn’s influence, Bach’s ences and critics alike. In the revival of and his harmonics have been unparalleled, St. Matthew Passion was sung by the mf “Norma” in 1927 she outdid herself; fpocorit. ^ rit. ~ and his many tricks of virtuosity—such as Singakademie of Berlin. This revival hardened critics, rhapsodizing over her • 3 2 K 32 h playing a piece with only three strings of one of the greatest of choral Works i- M work, recalled Lilli Lehmann in the same when the fourth had suddenlv broken— important. In this same year he made his role. During the past season her singing . are famous. Many of the effects, such as initial visit to England, where his success in “Ernani” and “L’Amore dei Tre Re” ‘ thosc of the guitar, or combined area and as conductor and pianist was extreme. pizzicato runs were originated by Paga- Later lie won fame as conductor • i the ~T7. ? J J She is one of the few singers in Amer¬ Gewandhaus concerts in Leipzig. ica today who are actually carrying on the Of Paganini’s own compositions, the fol¬ In 1842 he organized the Leipzig Con¬ traditions of the bcl canto; and she unites lowing were published during his lifetime: servatory. the gifts of coloratura, lyric and dramatic Twenty-four Caprices for violin solo, Of Mendelssohn’s works the oratorios song as perhaps no other singer of our Twelve Sonatas for violin and guitar, and Elijah” and "St. Paul” arc of particular generation. The anniversary of Ponselle’s Three Quartets for violin, viola, guitar and note. Other important compositions arc debut is to be celebrated annually bv -the violoncello. Of his posthumous writings his four symphonies, his Violin Concerto National Federation of Music Clubs.' Her the Concerto in E and Lc Streghc (Witches' m E minor, his Songs Without Words ' Dance) are especially to be noted. name leads the Decade Honor Calendar m their Hall of Fame. for piano, and the overtures, “Ruy Bias" and The Hebrides” (Fingal s Cave

ALFRED HERTZ CARL CZERNY ' r Hertz (Hairts) was born in Frankfort- G. FRANCESCO MALI PIERO on-Mam, Germany, in 1872. He studied Czerny (Chair-nee) was born in Vi¬ One of the foremost of eontemp- music at the Raff Conservatory in Frank¬ enna in 1791 and died in the same city in Italian composers is Maliplero fMah-lee- fort, having as teachers Max Schwartz, 1857. He was unquestionably one of the peeay-ro) who was bofn in Venice in 1882. Anton Urspruch, and Fleisch (conduct¬ great piano teachers of all time, and a At the Liceo Musicale' in Bologna be ing). In 1891 he was appointed assistant very fertile composer as well. First taught conductor at the State Theatre in Halle. by his father, at ten he was able to play Placed himself under the inspiring guid¬ Halle, you will remember, was the birth¬ from memory most of the masterpieces ance of Enrico Bossi, who fiad succeeded place of Handel. After a season here he of piano literature. The year before, he Martucct as head of the school. Follow- conducted, successively, in Altenburg, El- had commenced his piano study with the .« exceedingly strict course of stud¬ berfeld, and Breslau. In 1899 Hertz made great Beethoven, with whom he was an ies here, Mahpiero went to Germany for his first appearance in London. He came extreme favorite. He worked with Bee¬ work with Max Bruch, famous German to New York in 1902, as conductor at the thoven during the years 1800-1803, study¬ composer. Since 1921 he has been a mem- Metropolitan Opera House. Under his ing especially the compositions of the tnr/Vo6 faCUlty 0f thc R°I'al Conserva- skillful baton many American operas have master himself. Czerny became acquaint¬ r y.at Rarma and director of the library had their premieres; among them may be ed at this time with Hummel and de¬ of the Editorial Institute at Milan. mentioned Walter Damrosch’s “Cyrano,” menti, and this acquaintanceship bred ex¬ rI A. rrj"°" of classicist and ieono- T. S. Converse’s “Pipe of Desire,” and cellent cultural results. j5 ever highly intellectual, In 1804 a projected tour of Europe was -Horatio Parker’s “Mona” and “Fairyland.” manv of T ‘ H’S Vi0lel,t discarding of iomertZ Was in London in the summer of abandoned on account of the troubled many 0f the conventions of composition, state of affairs on the continent at that 1910 engaged as conductor at the CoVent d,V, agJng’ haS made him one of the most Garden Opera House. He left the Met¬ moment. Virtually all his life he spent discussed composers of the day. ropolitan in 1915, going to San Francisco in his native city, among his few notable hasX"fInaath°rity °" olden music, Malipiero as leader of that City’s excellent symphony excursions being those to Paris and-Lon- the ■ iT,He Ftude Music Magazine orchestra. He has remained with this or¬ cion in 1837 and to Lombardy in 1846. ciallv fl?' h.°n°r of trailscribing espe- ganization ever since, and in his position Pupils flocked to Czerny, but he would ter-Li v , pages unpublished mas- as conductor has accomplished more than accept only those with evident talent intr th S ? d *tahan composers, copy- can be estimated toward the spread of Liszt, Thalbcrg and Dohler were three of veflowitm W°rks h-mSelf from ,he luded, worth while music in the Far West of this the virtuosi trained by him, and surely nr i! 8 ma,'uscripts. country. He has been decorated by the King they were an eloquent tribute to his skill esneeiat the following are of of Saxony with the medal of the order of as an instructor. His compositions include Art and Science. San Francisco has fre¬ music of all types, from symphonies to ”Pantea *'° e: Canossa>’ a oue-act opera; quently showed its appreciation of what this requiems’- but it is by his piano studies Chiozzolte” S-'mphonic drama; “Bantffe master conductor has achieved in its midst. hat he is best known today. Some of DnpresTti da, 7eT At the Metropolitan, among many Wagner these works are School of Legato and and Pause dCSiln-ioulTf 77°’ Staccato School of Finger Dexterity, and and tv,- . • '“l0 are for orchestra; productions, he led the first scenic perform- j British Copyright secured ance of “Parsifal” outside of Bayreuth. material Pl?^- Finer technical Copyright 1929 by Theodore Presser Co. material does not exist. Other Music Sections in this issue on pages 417, 447, 473 Page 440 JUNE 1929 *** snts JUNE 1929 Page 441 tee etude

tsTtmsr ^ THE MISSISSIPPI STEAMBOAT’S IN SIGHT From the Louisiana Suite; a masterly treatment of Southern themes. Grade 5. WALTER NIEMANN, Op. 97 No. 1 Moderato, ma molto marcato ed energico M. M. J=120 - > fl <> <> >>>»>>

, Maestoso iargamenteM^M.J^o^. n M J=104 1 - _ Thrall. -^ HolForLomm-a-na T\\k T ™ >T1 G ^ _ PC

International Copyright secured a) “The Glendy Burke” Stephen C. Foster Copyright 1924 by Atlantic-Musikverlag, Munchen THEPTUl)* JUNE 1929 Page 443 Page 442 JUNE 1929

MINUETTO SECOLA XVIII (from the 18th Century)

A rare Classical Revival made especial!v for The Etude by the Italian Master G. Francesco Malipiero- , , Picture yourself at twilight floating up to the portals of a gorgeous old palace in Venice and coming into the gt‘ i a glass chan. deliers shining down upon a group of players with harpischord, quinton, viol d’amour, and viol da gam a, p a\ g u i of music of bygone days. This MINUET is a portion of some Manuscripts which were found in an old Venetian palace and unfortunately bore “° a®tl,0« name. One can judge from their general character howit was :hat tne great and thousand-year-old Republic of Venice a reac e e th Century, and outwardly was recklessly heedless, but yet at heart had the presentiment of the approaching doom, for from the music of this Minuet etn. anates the melancholy perfume of autumn gloom. Piuttosto triste

M 3- fl-fL J J y—j ^ ^ - ~

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it P*_ LjTl i i rA i fA Tap yy r~_i

Copyright IVt ;29 by Theodore PresserCo. Page 444 JUNE 1929 ~ TEE ptuls JUNE 1929 Page 445 TEE ETUDE Twelve variations on the familiar AIR WITH VARIATION old folk-song. To save space four “ A Wf vrUTCJ FlTI? A T TF MAMAN” are omitted in the Etude. Grade si AH! VCJLl® IHKA1-J£/, “I’LL TELL YOU, MAMA’ W. A. MOZART JUNE 1929 Page 447 the etude OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES

A Melody Ballad by the composer of Lilacs, At Dawning andlhe Land of the Sky Blue Water. COMFORT CHARLES WAKEFIELD CADMAN ELSIE LONG

I VAR. XI

femphatico JL fc|| j yr

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np

—j r “r r ~ ^ ~ p**r ■ p p i r = S le . cret. gut each soul has its feH er bed;-- Where one mav wa - ter the ros - - es,Wth the a , . L__,_|_|-^—Js, J—J) „ h J--- Ji i „ d —Vi

m/p 1 Wt—ft f , p. g- 11

^ ^ ^ molto espressivo

one_may wa-ter the ros - es With the tears that the heart has sshed. tears that the heart has ished, Where ■ /7\

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k V t> »-■ a ~-— ” 5 ^ wpjiigui, wajtj ujr iJibuuuio i ivoox-* British Copyright secured Other Music Sections in this issue on pages 417,439,473 Page 449 THE MTVDt THE ETUDE JUNE 1929 dim.

SPRING GARDENING FRIEDA PEYCKE HARRY JAMES BEARDSLEY Musical Reading (alertly> With decided rhythm M. M. J = 80 1 Ma boughta pack of sweet-pea- seeds, AJ1 coJ-ors she could J 2 Ma made a list of friendsshe had T’ give th’ blos-soms

(read them with herj Pa built a fence of chick- en - wire Where they was Ma read t’ d’rections She said that in that way she could Some kind-ly Pa bought some lit - tie (keenly interested)

IPipp ^ fl : (delighted) through and through An’plant - ed ’em jW so. Then threw jus’heaps o’ water on, So’s they’d be sure an’ grow. Then An’ not pull down th’ fi Am- mm Ml m0g km ' (withpride) (knoiiringly) ten-der vines Like some sweet peas she’s seen. But now our house is filled with gloom Pa

(dk cl b -gHj-1-- .1 E ■ j=p= \fp-- % i# r r * -f d-f- wry legato

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says such work is “bosh”'! ’Cause all the seeds Ma plant- ed by the chicken - wire was squash^

Copyright 1927 by Theodore Presser Co. British Copyright secured RTntish Copyright secured Page 450 JUNE 1929 MARCHING TO PEACE SECONDO

^ From here go back to and play to Fin*, then play Trio THE ETUDE JUNE 1929 Page 453 THE ETUDu Pago 452 JUNE 1929

t r |Sw. Oboe & St. Diap THg SHEPHERD BOY !Gt. orCh- Melodia & Dulciana ±±±14 fD±±±JL14^ ± V Ped. Violoncello , INTERLUDE EUGENE E MARKS Tranquillo con espressione m.m. J.=54

Ch. or Gt^—- Manual ^ jT---^

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International Copyright secured Copyright 1926 by Theodore Presser Co. Copyright 1929 by Theodore Presser Co. British Copyright TEE ETUD$ JUNE 1929 Page 455 the ETUDE Page 454 JUNE 1929 ROYAL PAGEANT Educational Study Kotes on VyCusic Registration: PROCESSIONAL MARCH /Gt. 8 & 4' in T3his 6tude )Sw. 8 & 4' Oboe; coup, to Gt. By Edgar Alden Barrell JCh. St.Diap., Gamba, Flute, (more if necessary) EUGENE E MARKS VPed. 16'coup.to Sw.

Tempo di Marcia & f.M.J= 108

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Youth’s Brightest Promise YOUTH’S promise is brightest in the lives of those to whom melody and tempo have taught their inspiring message. “The richest child is poor without music.” This truth finds evidence in many a place and period—and nowhere more abundantly than in the record of the

p—i—u. , i KIMBALL . p 1. >3L—■ ■ir *~| PIANO V ef \\ ip —-for the story of music in the American home is in great — * 1 add Obo Gt. --- j- measure the story of the Kimball. Households by the hundred thousand bear witness to the brightening and enriching of daily life through the clear, 4* 14 « appealing tones and perfectly balanced action of this glo¬ Couplers off rious instrument. In the new models that we are now showing—classic-mod¬ 1* i ern and period grands, and our varied styles in uprights, you Coup to Gt. will find an exterior beauty in full keeping with the tonal eg quality always identified with the Kimball name. 7~r |Wf|UTT1% W. W. KIMBALL COMPANY ft/rflf f m m Mi THE MUSIC TEACHER’S PIANO-SIDE READY REFERENCE CHART

THE THEODORE PRESSER CO., 1712-1714 Chestnut St., PHILADELPHIA, PA. • . > ^

J k. *, * , ,1-rf-ri l Sqm*-"*! ^usicl el -X 1 1 Full Sw. Closed eres^ — , -4 * B \.m 1 r m fl l T T [Kl a Py Engravers Sw.only 4^ * r— y?S- Lithographers I U Write to us about anything in this line 1 ~ A « A - SEND FOR ITEMIZED PRICE LIST 1 Copyright 1929 by Theodore Presser Co. ipplement of this Magazine is Printed by Us |

advertisers ttie ET,:h JUNE 1929 Page 457 XllE ETUDE Pan’1-v throw a much needed light on the present- will keep us from entering the highways □ flection was the potent determining factor Rhythm is felt and recognized by all to established and that then processes fj»j day situation, with its much divided opin¬ and byways of prevalent falsities. in the melgdies of Handel. Take the “I a greater or less extent; but the full im¬ Releasing Energy filling the complete operation reveale ion among the controversialists as to cause We must be guided, so far as possible, know that My Redeemer Liveth.” Read portance of rhythmic sense is most felt T UC1EN GAI.E BARKER realized that and effect in the vocal phenomena. by fundamental and universal and com¬ that first line over a number of times. where made conspicuous by its absence or themselves in natural unfoldment. , thro.'f!] "wvement the sympathetic Florence Fleming Noyes states succinct j prehensive truth concerning things which | Address . Then read it aloud. Finally declaim it, when not well marked. Rhythm in its have to do with all vocal expression. r^asel1 L fgea-hed a',d cr«*«ve energy that “Vision which does not result in sef Divided Opinions keeping in mind to make it “carry'.” Now universal sense has had little or no consid¬ released; but having „o knowledge of the However this shall he attained, it must | City . eration. because in its broader significance vice perishes.” This we find to be true i TO UNDERSTAND the finish of take up your score and see how closely subconscious mind and its avenue the svm never do violence, to Nature’s processes. the melody confirms the inflection of the it has been little understood. all things which have to do with the vowel education as the facts of edu¬ | State . pathetic nervous system was unable tU , . tertainment of ideas followed by practice voice in the declamation. And so, many The laws of rhythm were disclosed in compHsh that for which she w* striving examples may be found in good songs some degree by Charles Wesley. Emer¬ application. . . | School . son showed that the subconscious mind rhvih,I -/’f the ^ school of Wolston Crocker Brown proclaims anywhere. rhythm, considering the findings of these I I teach privately'? I in public schools?? Is there not here a most effective lesson through the sympathetic nervous system the education of the past, as a process, “The 'vibrato’ should be nipped in the bud, for gradually the 'tremolo,' two investigators, represented, in fact, the (Continued on page 457) and later even worse is developed from if.”—Lilli Lehmann. JUNE 1929 THE ETUDE THE, ETUDE (Jhoirs and Qhoir 'Gaik JUNE 1929 By Eutoka Hellier Nickelsen 1. A vested choir adds dignity to .the nals and then insist that these be observed. service 6. If choir directors will mention the net- 2. “Carefully Phrased Hymns” should work of nerves across the shoulders ? ■5he ORGANIST’S ETUDE be a slogan. frequently singers will cease leaning back 3. The rhythm of a hymn written in 2/2 in their chairs too long at one period, ■ (jcorgianBay Edited for June by measure is destroyed by singing it in 4/4 thereby avoiding fatigue and over- axa- ^^^(30000 ISLANDS) ~J measure. tion of these nerves. • , A restful and exhil- this two inches at each side and in front arating 2000—"" mile trip.overovei Eminent Specialists (they will not be needed at the-back) for 4. It is best for rehearsals to be held 7. Those members whose devotional beautiful waterways withith al¬al- Time Ta\en for Performance at the church in order that the same in- spirit enters into their singing and luring scenery en. route. ■; hand-room, and we have a measurement from Drive around historic '.'a— MOST important factor in selecting IT IS THE AMBITION OF THE ETUDE TO MAKE THIS ORGAN DEPARTMENT of eighteen by twelve. But, though orig¬ strument may be used for both rehearsal can sing many of the favorite hyi Mackinac Island, see the Indians at Canadian ... A memory do much in helping to bring ‘the lageof Parry Sd. Take the sight-seeing bus at Detroit voluntaries or items for a recital is inally always in the wide pages, orgau "AN ORGANIST’S ETUDE, COMPLETE IN ITSELF message of God’s Word” to the people. and Chicago. Sec Cleveland —spendla f ull day« the length of time they take in perform¬ music has for many years been issued 5. The director should explain his sig- Buffalo and gaze in wonder at Niagara Falls, tne ance. The fifth column, one inch, may be also in high,, narrow sheets, like piano mu¬ world’s greatest cataract. The Big Oil-Burning White Liners devoted to this. A definite rule should be sic. Such music can be got onto oblong 'Ghe Volunteer (Jhurch Qhoir formulated and entered in the time col¬ shelves only by placing it edgewise, with North American , umn as to whether or not the time named the' sides to the back and front and the guilmant (Continued from page 458) W SOUtH American includes repeats and da capos. It is best 15he Organists Library: ends to the sides. to give the time both with and without ORGAN SCHOOL i- veloping and directing responsibilities; and offer you an experience .< support__a of_c ii,„the t'notifiifinivilinstitutional andonrl vavjutp—comfortable i> repeats, as this may make the piece avail¬ Confusing Tall and Short thusiasm will be quenched and he will be dr. william c. carl choir membership in the practice of that %S£%1*S£d2SZ able for two occasions instead of for only How to (Catalogue and Store It THE TITLE is not then easy to read. Director helpless to carry on the work. one (the latter time may be distinguished Every choir director of seasoned ex¬ f reedom. in? Entertainments, Games and a Social Hostess to If music of both shapes is placed on Students Aided in Securing Positions 4th. Understanding of the need for int(oduce you. A voyage of.mvigoration,recreation by brackets). the same shelf, the open edge of the tall perience knows these pictures are but manifestation of patience and impersonal andeducatio^mbm^ia^ffere Two and a half inches may well be de¬ ‘By Clement Antrobus Harris piece may easily be mistaken for the bound Free Church, Recital, mildly sketched. It would be absolutely voted to a “Remarks” column. In this love, much beyond the average usually end Buffalo end of a wide piece and as a result, in Scholarships Theatre Courses will be noted various observations, differ¬ untrue, however, to assume tha-t these found in ordinary human relationships. , kf Blue Book on the Blue Lakes at any attempting to take it from the shelves, the ing, perhaps, in each piece, and not other¬ New Prospectus Ready facts apply to all churches. They may 5th. Capacity to see in the objective the R*ilwI^»cywaCri?e,T°U'Ut wise provided for. Voluntaries cannot be piece may be badly torn. The two types, not apply to a great number at any par¬ efforts and results as a whole and purpose Chicago, Duluth & Georgian Bay therefore, in a cabinet of this size, should 17 E. Eleventh Street New York ticular time, but a change of personnel in overcome the two most subtle impedi- Transit Company divided into General and Special types as where each division begins. As the top ' " W. H. BLACK, Traffic Mtr W. E. BROWN, G. P. A. readily as can anthems. Nevertheless some space is reserved for this purpose, the Keverie ■ always he kept on different shelves. a church always seems to carry with it the ments 110W. AduniSt.,Chicvo> DL 13 S. DimionSt.,Bull«lo,N.Y. of them are particularly suitable for cer¬ ...... , ! I. i mil III . ■ In designing a new cabinet or shelves, possibility of benefiting or destroying the tering praise. however, it is a very go--d idea to give tain seasons—for instance, Christmas or in printed books, at the top of every left- geherao COURSE IN efforts of a capable musician in churcli Director’s Relation to the Choir: . The the shelves a depth, front back, of six¬ THEATRE ORGAN PLAYING j director of a church choir may practice Easter—and this should always be re¬ hand page. Also, sub-headings may be glow Movement Variations on Voluntary teen inches. Music, greater in height than Two and chive-manual theatre unit organs for lessons and corded. added, such as “Preludes : Original”; “Pre- Wedding Mari But ‘there is another frequent source many whk* might'relate'to'^he locafm^slc The location of each piece comes last. Soft Voluntary in width, can then be pin ! in its proper a VeTerencTto the‘volume ludes: Arrangements”; “Interludes (Com- Song Without Xble. WRITE FOR CATALOG “E" of failure,^ the choir director at^Sre Td available talent (or lack It will include a Words position with the bound side to the left, so which a piece is to be found (whethef munion)”; “Interludes (as Offertories) ; that by raising each piece a little the VERMCND KNAUSS SCHOOL OF THEATRE ,s very clear to one of experience and of them)> tQ the personnel of the institu- in an album or a bound book). This may “Interludes (as Introits). When the Design for Shelves titles can easily lie read. ORGAN PLAY,NGA„entown Pa understandmg that the choir director ot ^ or choir> or eyen t0 the director him- in mind There is another ad\ mtage. Music, the average church is chosen without even ^ gut moSt 0f the unfortunate inhar- tlie primary knowledge of the task to be mon;OUsness and failure might happily be ».««:sz i designing shelves, drawers or pi¬ both wide and high, is often issued in sets undertaken, let alone qualifications of the avojded jf the director practiced the fol¬ column of one inch will give the number to each title. . . geon-holes for the storage of music is that with the same color and u rn of cover to each. Two or three such sets may have Leading Organists Highly Praise candidate. Neither is there due under- lowing inflexible rules, as a governing of fe d,.™,, **-#»**;;; il’J'SSi.t't’ -*»> to be accommodated on the same shelf. This Ne-w Composition handing i to what should be the objec- principle, and insisted on the institutional the‘)olLwing™x«nple the dotted line'rep- each, of course, in its proper place, and number and legibly labelled ™e w^re- In this case they are much more easily possibilities in accomplishment ^ cj10;’r ||0(]y respect for the same resents the middle of the open book, t(ie with full details in the columns provided abouts of a piece of music can t e identified and handled if the sets are placed entree beneficial to the institution and 1st. No toleration of “pets” c ‘favor- u^t being Sages for that purpose-except the shelf number readily found even m the largest library unit being two pages. and the thinnest sheet withdrawn from its cross-wise, at right angles to each other. DU CORTEGE munity through the work of a properly A measurement of eighteen inches in width developed and efficiently directed church 2nd. Unswerving impartiality and fair¬ pile much more easily than if deep shelves FOR THE ORGAN Model of Page Heading by sixteen inches front m hack enables choir. Surely, therefore, these individual ness toward individual members, in judg- were adopted. Thereby much time will be By E. A. BARRELL, JR. 4 out of 5 this to be done. Also both wide and high subjects... relating to church music are fields ment of qualifications, in helpfulness, in saved. aloe No. 24390 Price, 50c ripe for analysis from the view-pomt of djstr;bution of deserved compliments^ and The determining factor as regards size music can be placed on the same shelf PRELUDES seasoned experience. affording opportunity for individual ex¬ on the horizontal plan is that full-size without any disadvantage. To this end the fallowing are set forth music is fourteen by ten inches. Add to (To be continued in July) pression, strictly on the basis of merit. Fine pedal part rue ER Truette? An8a O./Bos ton. governing principles having to do with 3rd. Selection and adjustment of the Forget n composition con- choir morale, relation with the preacher, varied talents offered, solely with a view d climi choir membership and other features of to their results as a whole. I'll.- f clev As the price of forgetfulness and neglect, 4th. Recognition of each individual as 'Jjhe 'ZJolunteer ^hurch ^hoir he manner ot ms afproacb^j^^ significance in choir work. 4 persons out of 5 after forty and thou¬ , the lovely* second theme. The an aspiring thought factor, lovingly con¬ sands younger sacrifice health to Pyorrhea The book needed should be fourteen which is to be added after the storing has diminished seventh chords are Definition: tributing his or her best talents for the been arranged. mil. effective—John Hermann Loud, —the disease that ignores white teeth and inches across when lying open. Of course By Pearle Applegate Volunteer Choir:—A choral organiza- best possible accomplishment. 9. If desired, make an Index. In find¬ l. G. O., Bos* — attacks the gums. there is no need to follow this recommen¬ j,m or group of singers whose members, 5th. Avoidance of all pleading or ing the alphabetical order, the following . The stai Keep your teeth clean, of course. But dation precisely, but the same relative if their own free will, faithfully devote laxing for any applicant or prospective draft may be helpful. As many blank when you brush your teeth brush gums measurements should be retained. N THE great majority of churches no rector or organist. They will fail to ap¬ their services, as may be required, without applicant to become member or to con- lines are to lx* left after each word as I vigorously with the dentifrice made for Having selected a suitable book, write more effective "and helpful vocal music preciate that, if it would make music an climav murk it as an unusually sti monetary consideration, for the benefit of tinue his membership, there are likely to be entries under it. cert Elmer A. Tidmars 6th. "Banning ^of ' diquishness, gossip, the purpose . . . Forhan’s for the Gums. can be provided for the services than important and helpful department of the G. 0., Schenectady, N. Y. others, for their own personal benefit and 1. Title on outside, if so desired. Andante will probably need the greatest that of the choir, when it is properly de¬ church, sufficient talent ior both organ •If-seeking among the choir and institu- The formula of R. J. Forhan, D. D. S., “Entree du Cortege” is certai pleasure, or for both. 2. Name and address. number. If it is intended to have a list veloped and directed with all the varied and choir direction are not to be found . ' It has a IZtenr Owin-A choral organization tional members. (If this is unfortunately this dentifrice helps to firm gums and 3. Title page. of pieces under each, composer’s name, effects and adjuncts featured. Then it is floating around in the 1 / membership effective whose members make their livelihood in encountered it may be recognized as a keep them sound. As you know, disease additional spaces must be left in the proper iddle s 4. Contents Table (minus page numbers more praiseworthy and renders more con¬ even though there are many anxiously I hai ,r _, _ than by singing. human weakness rising to the surface in seldom attacks healthy gums. In addition which are to be determined later). alphabetical positions. And, similarly, structive service in every way to partici¬ seeking every opportunity io shine in the ’ Directors Qualifications:—A good un- the process of. being eliminated for the it cleans teeth and protects them from gram 8' — ' Grisllda Davis ombaugh. 5. Number the pages, left-hand ones space must be given for music in sets if pants and auditors, to the institution and spotlight and eager to assume the respon¬ derstauding of the possibilities of the hu- good of all.) acids that cause decay. it is the plan to index them collectively, Marion, O. only, leaving at the end a sixth of the to the community, than is offered by any sibility which they are incapable of car¬ man voice its development and harmoniz- 7th. A high standard of accomplishment visit your dentist at least once every c. tj„ "Anglican Organist”; “Classical Or¬ I used the very ini eresting “Entree du total number vacant for the Index (that other form of vocal music. rying. Cortege"ickc ar„,mJ *--•“*>,uuuii it worked out very ins relations • a fine and quick sense of in rendition and in morale. gjx months. And start brushing teeth and is, if an index is considered desirable). ganist”; “Best’s Arrangements”; “Village —Willard I. Nevins, F. A. G. O., This being true, it might be pertinent to The Prying Pastor harmony and’tonal values; and ability to Note: If the director is a soloist, his gums with Forhan’s, every morning, 6. Rule the vertical columns, as given Organist.” New York3 impart knowledge of song interpretation solo capacity should be subjugated to the every njght. The results will delight you. inquire why so many church choir efforts Vf OR IS it uncommon to find a preacher in the Model of Page-Heading. The col¬ Outline of Index accomplish but mediocre results, or fail, i consider it c|mte aengnmu, and diction besides the following ; development of soloists from among the Get a tube from your druggist today, 35c 1 ^ not alone willing, but even aggres¬ verve, rhythm, melody, clever modulation, umn-headings, “Title, Key, Composer” Adoration Gavotte and fail ofttimes inharmoniously, to ac¬ 1st. Full’appreciation of the fact that choir membership, as talent may be found and 60c. Air amt Variations Giguc sively self-assertive in his desire to control and all the good features that an organ and so forth, are best repeated at the top Allegretto Grand Choeur complish anything at all. Lack of choral march should have. It attracted favorable ;c a rnmmon native gift to the hu* (unless solo work is a feature of the di- j n n c the church music, with no more basis for comments.—Harry M. Lanpher, Lowville, of each page, but, if not likely to be for¬ Allegro (Chorus) material cannot be given as the cause, for man family through which thought and rector’s contract). If solo expression is ormu a f Andante Hymn his confidence than his having been a N. Y. Forhan Company, New York gotten, they may be given only on the first any choral director possessed of the funda¬ emotion may be outwardly manifested. volunteered by the director at all it should page of each section. If a very full ref¬ member of the glee-club at the seminary. I like your march and included it, two mentals in voice development, harmo¬ weeks ago, in the first of my Lenten or¬ ■2nd A well-grounded conviction that, be used as instructive illustration for erence-system is desired, number each Herein lies the initial cause of discor Interlude nization and direction will find the material, gan recitals. I like the Boldness and orig¬ with due character and musical talent, a choir members, especially for aspiring space (every third line) and carry the and failure, and it is not always confine inality of its style—true to the organ. so long as interest is established and sin¬ The melody of the middle section is cer¬ director mav uncover the collective qualifi- soloists. numbering consecutively'through the vai-- Bridal March Introductory Volun- to the smaller churches. . ■ Forhan's/gums,,r cere support is provided. tainly beautiful. I . shall look forward to cations for' a choral success, even in a The foregoing rules simply apply the , ious divisions, up to the last page before Such a situation is further complicate using this number in my teaching also.— The direct and contributing causes for John K. Zorian, A. A. G. O.. New Bed¬ seeming desert of human unresponsiveness, principle of the Golden Rule, m a prac- the index. This will give an identification if, in the church membership, there are church choir failures are quite varied. ford, Mass. ' 3rd The firmness to insist on complete tical way, to the many-sided task of a number to every item in the collection, in¬ two or three individuals, more or less Their possible presence calls for the choir freedom in the exercise of selecting, de- choir director’s responsibilities. cluding those added in the future, as the director to exercise talents quite apart prominent, who, having done some Fres I used '‘‘Entree^ duCCortege”^°as^i^postlude spare spaces will be numbered as well as man music \york, desire to become Prom' yesterday. I like it^ very much. It^« the others. The number proper to it should from his music capacity, but talents which t Muslceau are nevertheless, intimately interwoven with nent in choral work, possibly with * ful.—'George M. Wald, IJtica, N. Y. “Beware of making compositions Joseph coats. The greatest of the be copied on to each piece. Noctu: his responsibilities. hope of being highly praised; then, 1 ^ organists rely upon time, rhythm, touch, clearness of melodic line and 7. Make an estimate of the amount of Out Voluntary few gossipy members without vocal c THEODORE PRESSER CO. Overture Not infrequently will the individuals proportion, rather than upon an ever-shifting color scheme and an annoying space required for each type of music Pastorale pacity, decide to sing with the choir, 1712-1714 Chestnut StreeL Philadelphia, Pa accordion-like use of swell and crescendo."—Harrison M. Wild. (Preludes, Interludes and so forth, as Festal March Postlude comprising the personnel of a music com¬ Finale Prayer director's cup is full. Be he as acc° ' r» always mention THE ETVDE. It Identities you as one in touch with given in Contents’ Table) and insert the Prelude mittee lack wholly or in part the under¬ plished in his task as the world’s grfat ' headings at the top of the left-hand page Prelude and Fugue standing necessary to choose a choir di¬ (Continued on page 4?9) JUNE 1929 Page 461 THE ETUDE ■Page 460 JUNE 1929 -HE ETUDE EASY Band and Orchestra Department

toPlay! (Continued from page 433) to take you through the maneuvers on the sidered part of the regular drill esKep WANTED , football field during the half, or the cere- possibly the home schools letter or name. |t.|—11 1- mony of Parade ami Retreat or Guard- Care of Instruments L" - 2r£

Direction: CHARLES H. DEMOREST and HENRY FRANCIS PARKS Famous Theatre Organists SUMMER MASTER SCHOOL June 24 to August 3 (Six Weeks) SCHEDULE OF LESSONS

Renew Your Repertoire and r.”\0<“.»»ois.r'.,0Tb Your Teaching Material In Summer Spare - Time

FREE FELLOWSHIPS entirely. In the first place, a young per¬ son may lack physical skill in playmg-.and

™.k.dTS«t'fa

completeFsummerSorNwinter ScatalogRon request gains in playing, the more keen vvill be SPRING TERM NOW OPEN FOR ORGAN STUDY ^n®ngjr STUDENT DORMITORIES * e J Artistic “ CO"'ge ELEGANT uC ™°give a child the ability ^ COMPLETION.'

CHICAGO t l Pianists or Angels !• ^ By Alice Horan McEneny MUSICAL *4 V n 4# . Fkom the continual flapping of elbows indulged in by careless or badly . COLLEGE o e ' 1 tAinkSesired goal to be fly- 60 East Van Buren St. (S^buhSS) Chicago, Ill. ■^In‘ ssjfsraas—place ot tnese ceic. .

1TIEODOKE PRESSEK <'■<>• Page 462 JUNE 1929 the ETUDE JUNE 1929 Page 463 the ETUDE THE NEW When You Play in Public ‘Lewis” Catalog By Robert C. Francis JUST OUT! . . . the sound Most complete exclusive line ol One of the commonest mistakes made ’round such difficulties or stop playing en¬ Violins, Violas Edited by 1 Cellos, Passes tirely until circumstances are favorable. by young violinists is attempting to play is marvelous with all strings and acces¬ Robert Braine too difficult music in public. After receiv¬ But in public one has to play when the sories for the Professional F THE two kinds of harmonics, build and the varieties of mechanical aids time comes, however one feels and what¬ Player and Teacher. Many O ing the invitation to play, we are apt to 1 grades added to our large natural and artificial, the natural employed in holding the violin. IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VIOLIN DEPARTMENT think immediately of the “new piece” that ever the circumstances. Consequently, Special proposition to harmonics are played by placing we are studying at the time. This is nat¬ music that can be played fairly well at rs and Violin and Cello Two Chin-Rests but one finger lightly on the string. The “A VIOLINIST’S MAGAZINE, COMPLETE IN ITSELF.” ural, of course, for we are most interested home very often proves too hard for public “I thank you very much to have artificial harmonics require two fingers, TV/fOST OF the shoulder-pads and in what we are working on, and we all performance—altogether too hard if the given me an opportunity to try these the one nearer the scroll being placed shoulder-rests on the market are open wish to show how far advanced we are. player is feeling nervous. Furthermore, strings. I did it very thoroughly, firmly on the strings, unless chromatic to the objection that they rest against the We want to make as big an impression as the student is probably concentrating so and can say that I found them abso¬ runs in octaves arc required, and the one back of the instrument and interfere with lutely perfect. They are true and the possible. on the technical difficulties of the new sound is marvelous. I certainly will New "Lewis" Catalog further from the scroll (usually the fourth its vibrations. A simple means of providing Here is where we make part of our piece that he is not able to get a true idea finger) being lightly pressed on the string. warmly recommend the Concert a good shoulder grip on the violin without mistake. The audience, most of whom of its musical content. On the other hand Master violin strings to all my pupils The hand must be held steadily. The interfering with the vibrations of the back probably know little or nothing about the if he goes back to a piece a year or two and colleagues, as I will use them fourth finger falls a little above the point Harmonics is to attach a second chin-rest, inverted a technic of violin playing, is not im¬ old, he will be able to begin directly to myself.” where it would naturally lie in playing few' inches to the left of the chin-rest on pressed by the difficulties that we have concentrate on the emotional and ex¬ Distinguished artists, among then1 fully stopped n SPARE TIME WORK veiriff.nt iiotp. blovcd solidly. JOHN UNN. It identifies 3 e in touch with the higher JUNE 1929 Page 1,65 THE ETUDE the etude Page 1,61, JUNE 1929 Finger Toipi ViouH Questions Answered k7t By Leonora E3 THIRTY-FOURTH ANNUAL By Robert Braine in THE ETUDE unless accompanied by the full name Ho question will be answered Only initials, or pseudonym given, will be published. and address of the inquirer. Summer$essum use of their fingers. WANTED! ject, clinging to it too violently or losing hold and dropping it altogether. Such a person is not “finger minded,” as Mr. Thomas Tapper once said. Though the MUSIC fingers are half conscious of the work which is given them to do, the intelligence SUPERVISORS he do.

3 Thinking of the finger tips as le mouth- ; student rannotbelittle the part they play inn musicalm performance. They are akin to0 the point For Public Schools Cp-'WE SUMMER of the sculptor’s chisel, the hairs of the (£) sessions of brush of an artist, the pen of the writer. the Sherwood Music They are the point of contact upon which School serve the inter¬ all the forces which make up a fine musical Positions paying salaries of $1,250 to $2,500 ests of the teacher or am¬ yearly are practically assured to capable musi¬ bitious student who wants to accomplish a great deal in cians through the Placement Bureau of the a short time, leading to pro¬ Teacher’s Round Table fessional advancement; Cata- College, when course is finished. loggladly mailed upon request. (Continued from page 437) Tuition rates very moderate. Outstanding features of the for three two-hour jietiods a day. It is Re\ lew pieces (repertory) .H 1929 “ §s§Sfl 2 hours W. 0TT0 M1ESSNER }4 hour Yi hour Eminent Composer and Authority on Class Piano and l/2 hour Public School Music now Director of 54 hour these Departments. 2 hours Total .. 2 1'0urs The last item should be carried on while i/j hour resting in a hammock. If you fall asleep 1 hour in the process, so much the better 1 Summer Master School

From Monochord to Piano JUNE 24 to AUGUST 3, 1929 gnus m (Continued from p e 426) Class Piano for celebration. SSgsSfcSjsSS Fall - Winter Session i tape and back check sible the modem home And Now at Home! of his work with his BEGINNING .SEPTEMBER 9, 1929 THE HISTORY of the piano si part of the Steinert time is a history of constant Complete Summer or Winter Catalog on Request „.„i During the ne> It is only when one tries to imagine life is slow, and it without the piano that one comes to realize how much civilization owes to the adven¬ Then a great line of turous and fearless thinkers and workers STUDENT DORMITORIES ip—Broadwood, Stein, who willingly braved ridicule and the force Hawkins, Erard—in Artistic and comfortable dormitory accommodations for men and women of prejudice in order to carry to fruition in college building. Piano furnished with each room. Prices London, Vienna and Paris. And following their revolutionary ideas. This brief ac¬ reasonable. Make reservations now. them began to come the Americans, with count of the origin and history of the piano is dedicated to the memory of Bartolommeo first instrument Cristofori of Padua and Florence in the in 177S. In 1798 Benjamin Crehore was confidence that if he now might but see making pianos in Boston. The Metropoli- for himself how American craftsmen have carried on the work he began he would CHICAGO feel neither disappointed nor displeased. instruments which is seen in Illustration VI. It is a square pianoforte, as first devel¬ oped fr»qm the oblong clavichord by Zumpe MUSICAL of London in 1760. The workmanship is the particular limitation of good and the design soundly carried out. Of the harpsichord? American genius took kindly from the the cli first to the pianoforte. The Steinert col¬ 2. What is the relationship between COLLEGE lection at Yale has a fine specimen by harpsichord and spinet? Smoiiii (DusicScliool Hisky of Baltimore, only a few years 3. In what way may Hebcnstreit be said {Pounded 1895 by Wm. H. Sherwood} r. Then came that remarkable genius, to have sugges•sted the invention of the 60 East Van Buren St. (col“£%uSd£g) Chicago, Ill. Hawl(kins, and later Alpheus Babcock, piano ? HERBERT WITHERSPOON, President invented the / > and what A UNIVERSITY OF MUSIC LEON SAMETINI, Vice-President FINE ARTS BUILDING se name stands out because in 1825-6 4. Who tnve (NATIONALLY ACCREDITED, RUDOLPH GANZ, Vice-President Established 1867 CARL D. KINSEY, Manager ^ 410 Sp. Michigan Avenue, CHICAGO, ILLINOIS nstruction, I d"s. Name ''two improvements in piano¬ an school ( forte making iwhich are of American ; and provic JUNE 1929 Page 467 THE etude TEE ETUDE Page 466 JUNE 1929 ‘Music in Paris (Continued from page 424)

Then follow theory, harmony, counter¬ first prize in pianoforte playing at the point and other branches, with ten classes; Conservatoire. He has toured Europe as [] M E R niano with nine; wind instruments, with a virtuoso with great success. His com¬ SUM eight' dramatic declamation, with six; positions and his special editions are nu¬ instrumental and vocal ensemble, with four; merous and have been widely praised for repetition des roles, with four; history of their refinement, breadth and scholarship. SCHOOL It is as a writer of pedagogical material MASTEI music, with two; harps, two; piano accom¬ paniment, one; organ one; conducting, one; that his great fame has come. Many Noted over Sixty Years for the Highest and so on. The number of students in each present-day virtuosos, including the fa¬ Standards of Attainment class except in the classes for solfeggio, mous Brazilian pianist, Guiomar Novaes, June 24th to August 3rd, 1929 (43rd Season) history, and similar studies, which may be are among his pupils. Since 1903 he has Certificates, Diplomas and Degrees Offers courses in Piano, Voice, String taught in large groups, is limited to ten been Professor of Pianoforte Playing at and Wind Instruments, Organ, Theory, Awarded. the Paris Conservatoire. Composition, Opera, Symphony Orchestra, Faculty of distinguished artists. or twelve French born students and two Dramatic Art, Languages and Dancing. Beautifully situated within a ten-acre students from other lands. The age limit Public School Music (Accredited). campus, all dormitories and buildings are differs in the various classes; but it is Historical Treasures JOSEF LHEVINNE owned and operated by this Conservatory. Teachers’ Training School. very strictly observed. Tuition in the TOGETHER with M. Widor and M. Master School for Artist Pupils. Conservatoire is the gift of the state. World Renowned Piano Virtuoso. Repertoire Teacher’s Classes. Member ot ■t. of Schools Philipp, we visited the museum. This Auditor Classes. Address Registrar for Catalogue and Information Therefore, the entrance examinations are is most interesting from the musician's Dept. E, Highland and Burnet Aves. at Oak St., Cincinnati very strict and the work very severe. standpoint. The collection of old violins is We had the pleasure of attending the especially fine and is beautifully displayed classes of the eminent French piano under glass, so arranged that the in¬ OSCAR SAENGER teacher, M. Isidor Philipp, and of witness¬ j struments may be turned for inspection ing the very earnest attitude of the stu¬ without opening the case. Here one also COLLEGE OF MUSIC OF CINCINNATI dents and the gravity with which all of may see the piano upon which Rouget de s£&-aJ2rcw" Qlrbelanii JitBlttirtP of (T)iiHtr the work is conducted. M. Isidor Philipp Lisle played for the first time his Mar¬ One of the Earliest Endowed Schools of Music in America was born at Pesth, Hungary, Sept. 2, seillaise. The Museum is open free to the June 24 ANNUAL SUMMER SCHOOL August 2 HENIOT LEVY 1863. He went to Paris at the age of public twice a week. ANNUAL SUMMER TERM Private lessons and class work in all departments three. He is a naturalized French citizen. In the compass of two articles it is ob¬ SCHOOL Master classes in Piano, Violin, Voice, Cello He is a pupil of Chopin’s famous disciple, SILVIO SCIONTI June 17 to July 31, 1929 MUSIC viously impossible to give more than a PIANO, VOICE, (Accredited) Public School Music Summer Normal Course Georges Mathias. Later he became the Brilliant pianists and eminent instructors. Repertory and Daily Opera and Repertory Classes Regular Faculty in attendance few of the high lights of musical achieve- VIOLIN, Cincinnati Offers a Full Summer Season pupil of Ritter, Stephen Heller, and Teacher’s Classes. ORGAN Write far catalogue gluing courses, fees and dormilori, rales of Grand Opera and Orchestra Concerts. Camille Saint-Saens. In 1883 he won the (Continued on page 484f Study and enjoy the musical atmosphere. MRS. FRANKLYN B. SANDERS, Director 2827 Euclid Av ue, Cleveland, Ohio KARLETON HACKETT FOR PARTICULARS ADDRESS Distinguished vocal instructor and critic. Repertory and Teacher’s Classes. COLLEGE OF MUSIC, Adolf Hahn, Director, Cincinnati, Ohio SUMMER SESSION - TEACHERS’ COURSE AT THE EDUOARD SACERDOTE Sirn (E. ifiitlrr Uluair ^tuifina Eminent Teacher of Voice. DANA’S MUSICAL INSTITUTE Professional and Teachers Courses on the Daily Lesson Plan. Degrees granted. C.roator St Tati!. (C01U|UlBltUlU, Elf. JACQUES GORDON Departments in Piano, Voice, String and Wind Instruments Pupils a- -ag positions as teachers a.m concert artists. Famous violin virtuoso and Concert Master, Supports its own Symphony Orchestra and Concert Band—Daily rehearsals. Honors Won During the Past Year by Pupils of Leo C. Miller Chicago Symphony Orchestra. Catalogue on application to Lynn B. Dana, Pres., Warren, Ohio, Desk E. uremer—acnois Blanche Morgan—Fh»i rme in Illinois HERBERT BUTLER WARM DAYS lure one to the Beulah Appelman—Ganz Scholarship, Chicago Musical College.'* Eminent Teacher of the Violin. cool breezes of NORTHERN MODERN METHODS—TUITION MODERATE. Euclid Bldg., Eucli ST. LOUIS Faculty of Over One Hundred Artist Teachers MICHIGAN Of course you want to study this summer! Special Summer Courses; But you also want to have a real vacation. Then send for a free catalog of the ILLINOIS WESLEYAN UNIVERSITY Public School Music—O. E. Robinson, Director BAY VIEW Dramatic Art, Expression (Michigan) SCHOOL OF MUSIC Children’s Musical Training—Louise Robyn, Director SUMMER MUSIC SCHOOL Four year courses leading to Bachelor of Music Degree. Instruction given School for.Theatre Organ PlayingFVanfe VanDusen, Director and learn about its distinguished faculty. by well trained and experienced teachers. For information address Class Piano Methods (Oxford)—GaH M. Haake and Assistants Drop postal card to ARTHURS. WESTBROOK, Dean, Bloomington, Illinois WILLIAM J. REDDICK, Dean Lectures by Eminent Educators, Recitals by Distinguished Artists 319 West 95th Street, New York City. After July 1st address Box 363, SUMMER NORMAL CLASSES UNIVERSITY _ Bay View, Mich. For Teachers of Pianoforte July 10 to 24,1929 FREE SCHOLARSHIPS mo™tlin°atmtUnhtyl A pri™te stu,lio >» Asheville’s inspiring To talented and deserving students awarded after competitive examin- Mr. and Mrs. Crosby Adams tions. Josef Lhevinne will award one scholarship for private and two TWENTY-SIXTH for-repertory class lessons. Oscar Saenger will award one scholarship ■S, I’.ulUH, ANNUAL SUMMER CLASS rEfo?der"th sueeessful studio'yearT Third studio normal for private lessons and five scholarships in Opera Class. Apply for ap¬ plication blanks. FOR TEACHERS OF PIANO Kate Morton Laxton Studio, Asheville, N. C. MILLIKIN CONSERVATORY OF MUSIC July 24th to August 8th, 1929 DECATUR, ILLINOIS MONTREAT, NORTH CAROL Atlanta Conservatory of Music Superior Dormitory Accommodations. Rates of Tuition Moderate Bachelor ol Music Degree. Diploma, and Certifi- rnrniTC will be given for summer courses taken toward Certificates, Di- :ate jn Piano, Voice, Violin, Organ, Public School THE FOREMOS^SCHOO^OF FINE ARTS Music Methods and Music Kindergarten Methods. Answering Etude Adver¬ rdaHH LKtUllj plomas, Degrees—granted by authority of the State of Illinois. lege dormitory advantages fo iTAtisementsl always pays 3 authorized degree. Summer Session prospectus, regular catalog and Public School Music W. ST. CLARE MINTURN, Director. circular mailed free on application. For detailed information address h,and delights the Reader. , Caul.!. 0E0. F. LINDNER, DirectX Peachtree and Broad Street., Atlanta, Georgia sports. Catalog: Box M, GAINESVILLE. GEORGIA. I ■CONSERVATORY” Teachers! AMERICAN

Let us send to you without cost Booklets and Lists giving information upon the CONSERVATORY MOST EXTENSIVELY USED TEACHING MATERIALS Every Teacher will find this information Valuable and Helpful OF MUSIC We also carry the World's largest stoc\ of music publications A SC“22L°E personal interest and our direct-bymail service is unequaled 571 KIMBALL HALL CHICAGO, ILLINOIS I Public School Music ,„d Art, """ JOHN J. HATTSTAEDT, President THEODORE PRESSER CO. I mental Vocal Courses. DegreeTcin^T ~ Dramatics “ Instru‘ Address-— 626 south o 8 Conferred. Dormitory. Catalog 1712-1714 Chestnut Street Philadelphia, Pa. 6 SOUTH BROOK ST- LOUISVILLE, KENTUCKY 1

the higher idc mil life. JUNE 1929 rage 469 Page 468 JUNE 1929 THE ETUDE the etude

SUMMER MASTER SUMMER SCHMITZ SESSION Classes in Technic, Interpretation and MASTER Ensemble with String Quartet June,24th to 933 Sherman Street SCHOOL August 3rd, 1929 Denver, Colorado in conjunction with June 24 to August 3 (Six Weeks) The RINQUEST SCHOOL OF MUSIC Address: RUDOLPH GANZ HERBERT WITHERSPOON Bogue-Laberge, 130 West 42nd St„ New York — Mason & Hamlin Pianos WORLD-RENOWNED PIANIST DISTINGUISHED TEACHER AND EDUCATOR COSMOPOLITAN BLOCK SCHOOL OF MUSIC LEON SAMETINI VICTOR KUZDO SC»?0L MUSIC4 DRaARrT,c STATE ACCREDITED FAMOUS VIOLINIST AND EMINENT VIOLIN PEDAGOG AND SHIRLEY GAN DELL—P resident Tbhe Understudy TEACHER ASSISTANT TO PROF. AUER Summer School, June 24 — July 27 Lyon and Healy Building ? ?? Ask Another ? ? ? Eminent faculty of 60 Artist.. Normal training lor Chicago, Illinois Susanne and Her "Music By Gertrude Greenhalgh Walker Teachers. Students’ Orchestra, Concerts, Lectures, symphonic poem? Diplomas, Degrees and Teachers’ Certificates. 1. What i Betty came racing home from school ALEXANDER RAAB EDWARD COLLINS Announces ie name of the well-known "."NT HUNGARIAN P- Departments—Plano, Voice. Violin, Musical By Marion Benson Matthews EMINENT HUNGARIAN PIANIST RENOWNED AMERICAN Theory. Composition, Violoncello, Orches¬ filled with enthusiasm and excitement. Miss (Mar. 1 to Sept. 1) PIANIST tral Instruments, Public School Music, opera by Saint-Saens ? Baldwin, the school teacher, had told them 3. When did Schubert die? Dramatic Art, etc. Students may enter at MR. MAX BENDIX was a little girl who liked to It w e of the latter which had spoken, next Monday morning she would have a 4. How many thirty-second notes equal e really enjoyed her hours at i tell you 1” spoke up a solemn, fat tryout for the class pianist. Betty did MOISSAYE BOGUSLAWSKI a double-dotted quarter note? FATHER FINN theII,C pianoj/iuiic and learned her scales, exercises- book of exercises. They- , are tucked want theuie positionpusuiuu and«uiu toldmm her»«-* mother FAMOUS RUSSIAN PIANIST NOTED AUTHORITY ON For particulars address—Edwin L. Stephen, Mgr. 5. What do the letters “D. C.” at the and pieces thoroughly. Her teacher and here among my leaves. I shall be glad to was „0;ng t0 be an applicant for LITURGICAL MUSIC COSMOPOLITAN SCHOOL OP MUSIC , .. • U.-L o.. —4..-.-. fUnm arp all verv well in _ . . . „ i Boz E, 16th Floor Kimball Hall Bldg., Chicago SUMMER SESSION end of a piece mean? her mother could not complain that Su- return them. They are all very well ^ 'I1 Esincerely hope you get it,” answered 6. What two great composers’ names June 24 to August 3 sarnie neglected her practicing. But there their proper place, but I must say that mother “but do be too disappointed if RICHARD HAGEMAN___ begin with “H?” was one thing that teacher and mother leaves from a gay, lively waltz like you do do not. It seems .to me that I have LEONARD LIEBUNG CLASSES IN ALL DEPARTMENTS 7. What is an accent? not belong with a sober fellow like n NOTED COACH AND ACCOM- FAMOUS CRITIC AND MUSICIANMUSICIAIS gterptt £>rljmil could—and did—complain about. That heard Miss Brown caution you many times 8. What is a polonaise? PANIST Special Course in the way Susanne treated her music. You to pay more attention to your rhythm.” CONSERVATORY of MUSIC 9. For what instrument did Chopin Franklin Stead, Director ORCHESTRAL CONDUCTING would think a girl who was so fond of her “Oh, mother, that was just in my exer¬ Renowned Faculty-Concerts, Recitals. chiefly write? music would be very careful of it, and keep cises. I am sure I shall manage the school Diplomas and Degrees conferred- 10. From what is this taken? ALFRED WALLENSTEIN MAURICE ARONSON Teachers’ Certificates it in good condition, wouldn’t you ? But songs all right.” AMERICA’S FAMOUS CELLIST WELL-KNOWN TEACHER OF Special Classes in Technique and Interpretation Susanne didn’t! She was always saying, At last Monday came. There were TEACHERS for Teachers and Advanced Studenta. Courses in Piano, Voice, Violin, Organ, Theory, Harmony, "Oh, I meant to go over my music books several girls and a few boys who would Composition, Cello, Opera Study—Dept, of Speech and Dramatic Art and Public School Music. Special and pieces to-day, and mend them with that like to be chosen as class pianist. They, MAX FISCHEL MME. AURELIA ARIMONDI Dept, for Children. All athletics. Horseback riding. new tape and put them in their proper were asked to play the Star Spangled Fireproof buildings with ample grounds. Two beauti- TV MendinJUNE 19-29 Huge 471

The Lure of New Music Junior Etude Contest is ever intriguing to the Progressive Music Teacher, Student, Director or Performer. The Junior Etude will award three before the tenth of June. Names of prize pretty prizes each month for the best and winners and their contributions will be This list covering a variety of music classifi¬ Little Biographies for Club Meetings Alice in Music'Land neatest original stories or essays and an¬ published in the issue for September. cations presents many excellent new publi¬ swers to puzzles. N[o. 19 By Annette M. Lingelbach Subject for story or essay this month— Put your name and age on upper left cations for “Modern Music.” Must contain not over hand corner of paper, and address on upper one hundred and fifty words. Any boy right hand comer of paper. If your con¬ Massenet- Chapter I. Down to the Little Garden heart-shaped elevator and was sliding PIANO VOICE- VIOLIN—ORGAN—CHOIR CHORUS or girl under fifteen years of age may tribution takes more than one piece of pa¬ Alice had played pretty tone-pictures rapidly down the pendulum. As she passed compete whether a subscriber or not. per do this on each piece. the dainties' and the sweetmeats in the Jules Massenet (pronounce Massaitay) drama, the rest of which has been forgotten. yesterday and the day before, but that was All contributions must bear name, age Do not use typewriters. Any Of These Publications Will Be Sent For Examination cupboards, she could see familiar names is another modern French composer. In The original arrangement was for voice, not today. Today she had done badly. and address of sender written plainly, and Competitors who do not comply with many ways he is like Saint-Saens (Junior violoncello and piano. She had played enough wrong notes to printed on them: Minuet, Scherzo, Go must be received at the Junior Etude ALL of the above conditions will not be PIANO SOLOS Etude for May). They both studied at Besides his serious operas Massenet make a second Rubinstein Etude of False Slow, Softer Here, Crescendo. As she Office, 1712 Chestnut St., Philadelphia, Pa., considered. changed slowly from traveling at whole- the Paris Conservatoire, where they both wrote several lighter stage pieces, such as Notes; and, if she had painted any tone- " ' " BECK-SLINN. E. note time to thirty-second-note time, she won several prizes for their work; they the fairy ballet, “Cendrillon.” But his fame pictures at all, they must have looked all 24431 March, Miniature .... 21 kept saying to herself : BOSSI, C. ADOLFO both wrote operas; both included Biblical comes from his melodious and popular blurred and pale; and finally, if the metro¬ Vhe Qare of the Violin Vhe Qare of the Violin “Well, well, this is indeed strange. It 24393 Gondoliera Veneziana . 4 subjects in their operas, a thing very few operas, among the best known of which are (Prize Winner) nome had a voice, otherwise than its (Prize Winner) DELIBES^ LEO r . DONATH. JENO composers have done; and both lived to “Thais” (pronounced Tah-ees), “Herodi- all comes of my being Alice. I do hope bothersome creak, it no doubt would have The violin, being a very sensitive instru¬ When the violin is not in use it should 24450 Caress (E-F sharp lc be quite old, Saint-Saens being eighty-six ade” (in which appear Biblical characters), they don’t ask me to play any of my pieces g sharp) . said, “Play? Why, of course not! She ment, must have excellent care. If great be kept'in a good case. It should be pro¬ GROTON. FREDERIC and Massenet, seventy. “Manon,” the most famous of all, in which in Music-Land. I haven’t reviewed my Chat can’t play evenly, with me helping her with pains are not taken with the instrument it tected from extreme heat or dampness so Massenet was born in 1842 and entered he tried to follow some of the theories of old ones for ages, and 1 know my new MUSICAL RECITATIONS every single note and rest!” will soon lie ruined. The rosin .which that the wood will not warp and the glue the Conservatoire at the age of eleven. Wagner. This opera has been given fre¬ ones wouldn’t please even a musical tur¬ BUSY FINGERS Which would have been all very true, comes off the bow onto the violin eats into will not loosen. Of course, it should never After several years of study he won the quently in every country where operas are tle.” By WALLACE A. JOHNSON FAMILY STATIC the wood and soon plays havoc if not wi|>ed be dropped nor knocked against anything. “Prix de Rome” which is the highest prize performed. “Le Cid,” “Werther” and “Le reflected Alice; and she struck another Suddenly Alice stopped traveling. Forte! Grade 1 Four Musical Recitations off often. The tone of -the instrument may When in use the violin should be handled attainable and gives the winner an oppor¬ Jongleur de Notre-Dame” are others. In false note. In Wonderland it was dif¬ 24425 - My First Dancing Les¬ or Encore Songs And down she landed in a little tunnel be entirely ruined by varnish. The sound- carefully. It should have its parts kept in tunity to travel and study in Italy. this last Massenet has used the ideas of the ferent; there you just sang with the Rab¬ son _■. ... .to? By HELEN WING which was dark as a quarter-note. Al¬ post must tie in the right position or the adjustment. The bridge should be of Dolly's Sleepy Time medieval miracle plays, in which the people bit, and the Duchess had her dear little Little Fail Gossip ..’. $0.50 ready she could see dear Mr. Metronome, lone will not be mellow. Cheap strings proper height, set upright, and at right 24422 TheThJ Mt_u., ... of the middle ages loved to act. These old baby. But here- 24423 The Parade ... looking very little and happy, opening the also spoil the tone. The keeping place of g Alan plays were partly religious and partly As Alice raised her eyes to see if the angles to the strings, and properly located 24424 Sunday A fterm piece really did have a theme after all, gate that led into a little garden of sun¬ the violin must lie carefully selected as the in regard to the sounding post. Use only legendary, and in this one the principal dryness and dampness affect it and are her eyes traveled further up to the metro¬ shine and flowers. Alice sat up abruptly. the best quality strings. Have the pegs in SACRED OCTAVO MUSIC character is a “jongleur,” one of those often the cause of broken strings. Dust roaming minstrels of medieval France. nome. And, ah me! how the metronone She must catch up with him! He had good condition so that they will not slip. GRANDMOTHER’S must be kept from the violin. The sensi¬ Use a flexible bow with plenty of hair of FLOWER GARDEN Mixed Voices Massenet died in 1912. had changed since Alice had played her really been such a help to her in her prac¬ last wrong note. It had positively stopped tive instrument must be handled with the a good quality. Keep the bow well By WALLACE A. JOHNSON HANDEL, G. F. As most of his compositions are for the tice-hours. being a metronome and, .instead, had utmost care and should never be neglected. rosined. When not in use, loosen the hair >0879 He Shall Feed His stage it is hard to give a program at your She ran breathlessly down the passage¬ A real lover of the violin will always take meetings. Perhaps you can borrow some turned into a ladder with cupboards where so that the bow-stick will not twist. Al¬ way. Mr. Metronome had already disap¬ care of the wonderful instrument. “records” of his operas, such as the beauti¬ the little figures for tempo had been. In¬ ways keep tile violin in tune and play it peared into the garden. Suddenly she Forest Hale (Age 14), frequently to give it a good tone. ful Aria from “Manon,” or the Meditation deed, it was even murmuring a faint in¬ 24417 FourO-Clocks stopped. Printed right on the gate itself Ohio. Schuyler Smith (Age 9), KINDER, RALPH from “Thais.” Some of his smaller things vitation to Alice to go down its ladder. 24418 Dainty Dewdrops 20877 (O) Perfect Love were these words; 24419 White and Yellow I) for piano are Aragonaise, from “The Cid,” “Alice! Come to Music-Land, Alice.” T3he Qare of the Violin New York. (Wedding Anthem) . .12 It was all very strange, so strange, in¬ “Only persons who practice one hour LUTKIN, PETER CHRISTIAN Longing, Op. 10, Black Butterfly Walts, (Prize Winner) Elegie. deed, that Alice did not know what to every day, count slowly, and keep their PRESTON, M. L. 30882 Splendors of Thy Glor Answer to March Puzzle Purple Pansies . 3 Lord, The .12 make of it. Still, in the flash of a six¬ hands in good position may enter this gar¬ The violin, called colloquially “fiddle,”' The Meditation from “Thais” might be O ROBERTS, GEORGE RUBINSTEIN, A. teenth note, she had climbed into a little den. No trespassing!” is the smallest and highest pitched of the played by one of your violinists if it is not ERR 20880 Vesper Bell too difficult. Some clubs, of course, could group of four-stringed musical instru¬ oi-Ostro (Arr ments. Like all other instruments, it re¬ OR GAN do these more difficult things though they RAT ufd jeMarvin Hanna) would be quite impossible for smaller quires care. The violin, when not in use, WAGNER, R. should be properly incased. This prevents N STOUGHTON, R. S. 1842—MASSENET—1912 it from getting dirty and being abused. ^ T.:A-...S.0.US.0f -- The violin should be handled carefully, Prize Winners for March Puzzle TOURJEE, HOMER !‘Driee.Me°s?eKrsiifigeFb Questions on Little Biographies never being allowed to be hanged on any¬ Shirley Fowke (Age 14), Ontario, Cana¬ On his return to Paris, one of his first da. Ruth Snell (Age 11), California. thing. The scroll, pegs, saddle, and all PIANO—FOUR HANDS operas was produced, and from that time 1. When did Massenet live? parts should he kept clean and in first-class Rotbert C. Blunt (Age 12), Virginia. Men’s Voices on he wrote incessantly, mostly for the 2. In what ways is he like Saint-Saens? order. Caution should be observed in tun¬ BERNARD, GEORGES TILY. HERBERT J. stage which he loved. The famous Elegy 4(.8 Sans Souci . 2'~ 20888 (O) Clap 3. Who was one of his famous pupils? ing and adjustment of pegs and bridge. Honorable Mention for March JOHNSON. WALLACE A. which so many know now as a short song 4. What type of composition did he The bow should also be bandied with the Essays 475 Our ^Conquering Hero ^ or as arranged for some instrument, was write almost exclusively ? Dear Junior Etude; utmost care, and the rosining of the bow Evelyn Dushahek, Mary I.ou Pierre, Marion PART SONGS originally written as incidental music to a Dear Junior Etude : KRENTZLIN, RICH. 5. Name some of his best-known operas. I have recently subscribed for The done carefully. Thus, when well cared 445 Grand Valse Brillante. 4 I’ve been wanting to write to you for Men’s Voices Etude and I think it is. a wonderful maga¬ for and kept in good condition, the violin such a long time. You may be sure I PIANO—SIX HANDS 0(ig_s BANKS, harry C„ JR. zine. I am fourteen years old and have is found to be a truly wonderful musical Steve Bella. Martin J. Cook. Rosa Harrison. enjoyed reading the letters of all your little instrument. Marcella Buser, Anthony Ruthauskas, Juan¬ BERNARD, GEORGES been taking piano lessons for about three friends. I am very fond of music and have ita Graham, Elizabeth Vail. Ruth Xintz. Wil¬ years. I have six pupils that I am teach¬ IIenri Cleveland (Age 13) liam Pascoe, Jr., Paul Ryan, Man- Catherine SCHOOL CHORUSES already done two music examinations. I Arkansas. Keiid. Eleanor C. White, Nettie Klimek. Er¬ VIOLIN AND PIANO ing piano to. I intend to make music got honors at the last examination which nest Thompson, Esther Palmer, Paul Dolan, LEMARE, EDWIN H. teaching my vocation, and so I thought I Letter Box List \II 11,1 Erickson. Beatrice M. Smith, Pallline 20836 Go, Lovely Flower (S. took place this month. I would like to get Kearns Madeline Euan, Joseph G. Smith. VACATION DAYS A. B.) . might as well start early and get experi¬ lowing. Charlotte White. Rosetta Whildeii, Irene Car¬ a letter from any of your little friends if Haro lin. Dorothy MeVicker. Lucille McIntyre. By ROB ROY PEERY LOHR, FREDERIC N. ence. My own teacher thought it a good mi Rut Siler. any one would care to write to me. 'IT, IIllZi' ndley Mail hi Marv Eileen'Cooney, Bettic Manchester, Zella idea, too. Last summer I had my first William; .. . Horst. Katherine Banflll. August Bnlbach. With best wishes, Angeline lM-ess. Marin Kireinnnn. Katherine Frank Barnes, Doris Slripiro. William J. recital and it turned out very successfully. From your friend. >Holi, Hay,|„ Roilwnv. Alicia Vellekamp. Quinn, Eric Hahn. I have organized a music club for my pu¬ viek'Vo"^- ("ileva Smith, Cyril Let- Joan Scott, (Age 10). pils who range from nine years to twelve Troindie. MHigaivi^'Ilmmii^i'llli^KlostermM, Garden of Ros* Presentation Convent, •v,vla »’<>(,k. Nell West Fleming. Jessie Mnthe- Answers to As\ Another by William years, and its name is the “Golden Hour Betty Mnxley, (iraee K. Pitt. Mildred on) (S. / Royapuram, Madras. 1. A composition for full orchestra SCHWARTZ, ISADORE of Music Club.” I composed a little song ' ussiewhite. Annette Mnrehlldon. Millie Mae , RISHER ANNA PRISCILLA for them to sing at the end of each meet¬ Mahan, Florence Turner Erdene Smith, Ruth written without a particular form but in¬ 208/0 Lullaby (Two-Pari> ... ,p> 'er»mlth Shinier, Mary Me«- tended to describe a poetic or romantic PIPE ORGAN SPOONER, D. ing, and we also have a constitution. We ‘Puzzle meet every two weeks at each other’s thought. TIMMINGS. WILLIAM T. PWniiam0nM M Honorable Mention for March (S. A. B.) . homes. The purpose of the club is to By Helen Oliphant Bates 2. Samson and Delilah. Puzzles 3. 1828. VOCAL SOLOS TALBERT, SARAH study about the great musicians and to A 11'r Schneider, Caroline McGee. Rath- 20832 Pickaninny Sandman study the history of the piano and piano The initial letters, reading down, will '■Une Ray till. Jm,c Hulleeu, Violet Fraser, 4. Fourteen. BARRELL, E. A. JR. (S. A. B.).. music. I would be glad to hear from any spell the name of a three-tone chord. Wo Wolpert. Marian Downs. Eva Ruth 5. Da Capo means “go back to the L The keynote of a scale. Dorothy Hyde, Shirley Heekel. Vii- of the Etude readers who perhaps have Flora Williams. Rose Vallely. beginning.” (S. .■ B.).. suggestions for our club. 2. The fundamental tone of a chord. Helen Shutter. Margaret Marv Travis. Betty 6. Handel and Haydn. Jane Auer, na Klasterman, Phyllis Kemp. Very truly yours, 3. The difference in pitch between two 7. A stress or heavier tone. tones. .'“Sima Erdman, Margaret MeCinty, Cather- SmHfcU?04** Sullivan. Floyd Itunt 8. A court dance of Poland. 1712-1714 Chestnut Street THE SUN'SHINE CHOIR” OF FULTON, MISSOURI, MADE UP OF GIRLS AND BOYS „ Fred McGowan, silVii!’ fr/HJK-es Sullivan. Juanita Graham. THEODORE PRESSER CO. 417 Zara St., Mt. Oliver Station 4- The introduction of a note previous 9. The piano. FROM 8 TO 12 YEARS OF AGE to the harmony to which it belongs. Music Publishers, Dealers and Importers Philadelphia, Pa. Pittsburgh, Pennsylvania. VS- 10. Elegy by Massenet. 5. The fifth degree of the scale. • M. Frank Gracious, Georgia .Tones. Page 473 TEE ETUDE TEN ntudn JUNN 1929 Page 1,72 JUNE 1929 DELIGHTFUL PIECES FOR JUNIOR ETUDE READERS

* Educational study notes on music IN THE JUNIOR ETUDE Ollmtrmasfrrs dmto MEMORIES ANNA PRISCILLA RISHER FOR THE MONTH OF AUGUST, 1929 By Edgar Aides Barreil Andante (,) in front “IhoeTb) ‘sffiis difficuI,y’

Date MORNING SERVICE EVENING SERVICE

My (Concert Hour Te Deum in C.Abeloff F ANTHEMS By Elvira Jones 8 (a) March On, ” e"oldiers True (b) O Praise the Lord...E. F. Ma^ks l The Kingdom Eternal^.Meredith Bend Low, Dear Lord..Ruebush

POSTLUDE POSTLUDE te«si?ri!Ha"!7””^±

0rg8n. Medi&UDE Hosmer

I make a bow so dignified Cal Breathe o"™,EBreath oMSpd^ (a) 0 For a Ctof^Walk with God As artists really do, (b) Walking with Thee.WoX (b) Lord of Life....!'.Barnby And then I rub my hands a bit 2 And play my scales all through. Open My Eyes, ^ Lord.Stubs T (Duet for S. and A.) H Organ: Grand^horu^ta 1-Flat Major “KSS1”'' Piano: Entry ol the E-ession^ I like to play them in the way My teacher says will please

E Jfc »W::: :: ::::££

|&€l!i?thev^ f l The soul. Longing..Protheroe God, Love ?sFAbR-I°tReYNight ? (S. solo) °Ur,ee H te

T w POTvioiin; with oVga™ KaToT™ &■/ (a) Pleasant Are™™Courts Above^ ANTHEMS T1 Y (b) The‘ Lord Taketh Joy.Bales' ((?ifra^ear::.-\::::» F When I Ca° RefdRM°yRTitle Clea.^ OFFERTORY ‘ (Duet for A, and T.) Me«,^-Oigan'orWann T POSTLUDE H

Anyone interested * DUNNING SYSTEM THE ETUDE Page 474 JUNE 1929 fHE ETUDE JUNE 1929 Page 475 THE TINY ELF LITTLE SOLDIER MARCH A very easiest piece. WALTER ROLFE Tempo di Marcia

8 8 1 8 3 * 0 ^8 -1 r r pz= o f t—r •r 4-1-7 J 7 ^

Copyright 1924 by Walter Rolfe Copyright transferred 1925 to Theo. Presser Co. International Copyright secured DADDY’S BIG BASS FIDDLE WALLACE A. JOHNSON, Op. 186, No. 3 Tempo diValse m.m.

SONG OP THE DRUM THE etude JUNE 1929 Page 477 THE ETUDE Page 476 JUNE 1929 MARCH OF THE BRIGANDS NEW YORK SCHOOLo/ MU SIC and ARTS College of Fine Arts For Rhythmic Orchestra PAUL VALDEMAR 310 West 92nd Street, New York City (At Riverside Drive) RALFE LEECH STERNER, Director SYRACUSE UNIVERSITY Special Summer Courses for Teachers SUMMER SESSION July 2 to August 9 Starting May 15th Students Can Enter Any Day, Six and Ten Weeks Courses. Regular Faculty of Celebrated American and European Artists in Attendance All MUSIC Summer. Dormitory in School Building, Beautiful Rooms, Private Baths, New Pianos. The following courses will be offered in 1929: Piano Voice Send for Catalogue, Summer Leaflet and Biographies of Teachers Organ Violin The Teaching of Piano Telephone Schuyler 4140 Advanced Theory Psychology of Music The Teaching of Singing Orchestration Conducting . . Problems of Procedure, Super¬ Teaching of Music Appreciation vision, Materials and Elementary Harmony Objectives Advanced Harmony INSTITUTE OF MUSICAL ART Elementary Sight Singing and Music Methods in the Primary and of the Ear Training Intermediate Grades Advanced Sight Singing and Music Methods in the Junior and JUILLIARD SCHOOL OF MUSIC Ear Training Senior High School 120 Claremont Ave. New York City * * FRANK DAMROSCH, Dean Points of view in music education A school for serious students. All branches. Moderate tuition fees. by several prominent public school music men SPECIAL ANNOUNCEMENT * A dvanced violin students will come under Evening Recitals observation and instruction of * * PROF. LEOPOLD AUER All the advantages of a large university # * The summers are cool VIRGIL SCHOOL OF MUSIC A « Founded by the late A. K. VIRGIL (Originator of the Virgil Method, Inventor of the Virgil Practic Bulletin sent on request n • 1 o . For Teachers, Players a DIRECTOR OF SUMMER SCHOOL, Room 11, Administration Building .Special Courses Students of All Grades Syracuse University, Syracuse, N. Y. For all particular, address: THE A. K. VIRGIL CLAVIER CO., or MRS. A. K. VIRGIL, Director Phone Trafalgar 9349 GRANBERRY PIANO SCHOOL 149 East 61st St., New York, N. Y. For PIANISTS, ACCOMPANISTS and TEACHERS

1)1 ic School Music ex- Macement and Contin- INTERNATIONAL caTi'onal'agency MRS. BABCOCK . ...d Four Year Courses, OFFERS Teaching Positions, Col- se leads to Mus. B. Degree. V/ leges. Conservatories, Schools. :al Courses. Sun Also Church and Concert Engagements CARNEGIE HALL, NEW YORK

Albert Edmund Br< ITHACA INSTITUTION MRS. A. M. VIRGIL OF Originator of the VIRGIL METHOD PUBLIC SCHOOL MUSIC VIRGIL PIANO CONSERVATORY , , _ , . 139 West 72nd St., New York City 301 DeWitt Park, Ithaca, N. Y. Send for Catalog

H. S. WILDER WILL CONDUCT TEACHERS’ NORMAL SUMMER CLASSES IN CLASS PIANO INSTRUCTION at PHILADELPHIA, PA., BOSTON, MASS., and PORTLAND,^M^,

lion Tor SchUdreSn'3 bu t'wuT show the financial oY°the Advantages an-5 Probably no one has ever made a moreprotouna y # his first expenment possibilities of Piano Class Teaching than ■ to its development, uni class of twenty in 1913 he has practtcally (tevotw m endorsement, to-day his classes of even fifty pupils receive unquaim From A. L. RAFTER, Asst. Supt., Boston Public Scho° * system, that -Mr. Wilder demonstrated that he is a ea Ic hat he has he is magnetic, sympathetic, and dead in earnest Wilder conduct a "At the meeting of the N, E. A., last year I sawmr. ^ ^ ^ ^ class with 55 pupils There were some excellent masma ^ ,eacher time and all were outspoken, unequivocally so. tn their pra i

Copyright 18*9 by Theodore Prewar Co. International Copyright secured In touch with the higher Ideals of art and life. the etude JUNE 1929 I'acje - THE ETUDE ly/e 478 JUNE 1929 Master Discs (Continued from page 430) Peabody Conservatory flutist deserves a word of praise for his are expressively performed by Madeleine, EASTMAN SCHOOL OF MUSIC excellent playing in this set. BALTIMORE, MD. de Valmalete, a young French artist. An¬ OF COMBS other Polydor record, No. 95113, contains OTTO ORTMANN, Director Kreisler'Rachmaninoff Recording a brilliant and convincing performance of THE UNIVERSITY OF ROCHESTER thex TWO great virtuosos unite to Recognized as the leading endowed musical conservatory of the country Balakirev’s oriental fantasy, “Islamey." Howard Hanson, Director CONSERVATORY interpret a popular work and give which Liszt once called the most difficult a performance, of perfect unity, tile result piano composition ever written. It is An Endowed School Offering Complete Education in All Branches of Music Gilbert Raynolds Combs, Founder and Director is an unforgettable achievement. Such a played by Claudio Arrau. Rudolph Gruen, Summer Session a"*;^ performance can be found in the Victor one of the younger American pianists, has FORTY-FOURTH YEAR PHILADELPHIA Collegiate Courses Lead to: Degree Master of Music Staff of eminent European and American Masters including: set of Grieg’s popular Sonata in C Minor played for a Roycroft recording the late Degree Bachelor of Music Institutional Member of National Association of Schools of Music for violin and piano, a> interpreted by Charles T. Grilles' third Roman sketch, Kreisler and Rachmaninoff. This melo¬ The Fountain of the Ac qua Paola. It is Courses Leading to Eastman School Certificate (Diploma) A School for the Beginner. Ambitious Amateur, ES” BSffisr dious work, the third sonata that Grieg coupled with a slight hut pleasing waltz CARLOTTA HELLER u VA " and the Professional composed for these two instruments, like iif Mr. Gruen’s own composition, called Preparatory Courses , Special Courses Tuition $20 to $35, according to study all of his music is instantly appealing with Beauty and the Beast. All four of these Student Symphony Orchestra—School Choruses its tranquil Northern harmonies, its al¬ No Entrance Requirements except for Certificate, piano records are realistic in their tonal Chamber Music Ensembles—Opera Department Practice Pianos and Organs Available most mystic sentiment and its short lyrical Diploma or Degree Courses qualities and reproduce with striking Course for Orchestral Conductors Circulars Mailed FREDERICK R. HUBER, Manager themes. The recording here presents a faithfulness the nuances of the individual Arrangements for classes now being made balance as nearly perfect as it is possible Courses for Motion Picture Theatre Organists to obtain today in the projected delineation The Etude wishes to recommend the of these instruments. This is Victor Al¬ following vocal discs: Griffes’ song, By a SUMMER SCHOOL bum' No. M 45, three records. Lonely Forest Pathway, coupled with There have been a number of imported FALL TERM OPENS SEPT. 16th PENN HALL—CONSERVATORY of MUSIC Densmore's A Spring Fancy, as sung by foreign piano recordings issued recently, July 1st to August 10th Elisabeth Rethberg for Brunswick (Disc The Eastman School Can Admit Only a Limited Number of Sti/dents Summer Session, June 17 to July 30 which will unquestionably engage the at¬ tention of both student and music-lover. No. 15146); Richard Bonelli’s singing of to its Entering Class. Therefore Regular Faculty of 95 Eminent Instructors Courses offered in First, there i- Ravel’s Jcu.y d’eau coupled Brogi’s “Visione Veneziana” and Tosti’s and PIANO, ORGAN, VOICE, HARP and THEORETICAL BRANCHES with De l alla’s Danse ilc Vamour sacre, “Luna d’Estate,” Brunswick disc No. Prompt Registration is Necessary 15198; and last, Sigrid Onegin’s record I listinguished Specialists Osbourne McConathy, Credits toward Degree may be secured by Summer Work which will Fe found on Polydor disc, No. of Mozart’s “Alleluja” from the motet to Secure Admission Public School Music Director Public School Musi 95176; then there is Debussy’s Feux F.xsultate Jubilate, which is coupled with Department fortifier c upled with Liszt's arrangement of Maine. l.e Kossit/nnl which can lie the Brindisi from Donizetti’s opera, “Lu- Fcr Catalogue and Information Address Arthur M. See, found on Polydor disc, No. 9U033. Both crezia Borgia,’’ Victor disc, No. 1367. Secretary, Eastman School of Music. Rochester. New York Courses are approved and accredited by Pennsylvania and - MARGARET MACY other State Boards of Education, and include all subjects required - RUBY HERITAGE J ulllard F of Supervisors in grades, junior and senior high schools, normal — ELISE SORELLE schools, and colleges and lead to degrees of Bachelor of Music Musical Education in the Home Education. ■ (Continued from page 413) The FLETCHER MUSIC METHOD PENN HALL, CHAMBERSBURG, PA. F. S. MAGILL, Headm Naming a Club Many music dubs chuose the name of the A beautiful art taught in a lovely way day of the week upon which they meet, the Orchestra and Band Conducting M. N„ Smyrna, N. Y. Concerning tile Tuesday Club of Akron, Ohio, and the Devoted to the ideal of happy musical education for children. selection uf a name for your dub—since Brass and Wood wind Instrumentation Tuesday Club of Pittsburgh, Pennsylvania, First to use objective apparatus and play in class piano instruction. 1 Harmony Book for Beginners the organization is of "mixed ages” .and Tested by thirty years of .teaching. | I an immediate 1 By PRESTON WARE OREM I admirable for I perhaps uf "mixed sexes" (if not, I hope being examples of this idea. On the other Applied Music hand, many clubs honor one of the great' Send for circular giving full information I | SUCCESS I Price $1.25 | SELF-HELP | you will make it so, because thus it will be Teachers’ Training Classes in Boston and Los Angeles a stronger and more useful community masters of music by using such names as | Brief, Simple, Vital, Practical, New and Distinctive Evelyn Fletcher-Copp, Originator 31 York Terrace, Brookline, Mass. Tn addition to the classes, private instruction : project) and therefore represents the town Beethoven, Mozart and Schubert. Mac- Dowell is especially popular in this respect. ottered in all branches. 1 u^er^nd^ea^Jntere^iag^imrinertha^UvnUpmvenivaluableitTtbecIm'Sor f-tt^t-'l i-lielpwork personnel, a distinctive ..ame would be The “Enharmonic,” the "Allegro” might | Theodore Presser Co. mumc.books Philadelphia, Pa. "The Smyrna Music Club.” This would Etude Advertisements are Bulletins of Splendid Buying Opportunities please some as a musical name, but it would DORMITORIES identify it with your town. If it grows and prospers it will always reflect glory upon seem to us that the name of your own the name n! tlu- locality, and the citizens town is decidedly the most desirable, es¬ IE rite for special Summer School Circular Westminster Choir School will have a certain pride in supporting it. pecially since it is a classic in itself. ADMINISTRATION BUILD]NG Ithaca Conservatory 1351 S. Broad Street, Philadelphia, Pa. John Finley Williamson, Mus.D., Dean School Music Department of Music Beginning September, 1929, this famous Choir School (formerly Dayton, (Continued from page 434) John Finley Williamson, Mus. U., Dean It-music with all the odds against the Ohio) will become one of the group which forms The Ithaca Conservatory The energy of the liody, the vitalization School of Music and Affiliated Schools. Three of the breath and the proper use of lan¬ ice is fatiguing and discouraging. Incorporated with collegiate standing and degree conferring privileges If the teacher will show the students the Philadelphia Polytechnic Institute guage, combined with a sense of a voice under the Board of Regents of the University of New York. .. . i, and four year courses prepar¬ iv to an understanding of the vocal iu- of The Y. M. C. A. of Philadelphia in itself flexible, can lie made into a re¬ ing students for responsible ument so that they can play upon it and Summer Master School of Piano under the" direction, of Oscar TEMPLE UNIVERSITY Nine -.nth S freshing and exhilarating experience. DIPLOMA COURSES—Piano, Organ, Voice, Violin. church positions as . . . ilize a genuine emotional reaction, we Ziegler, master pianist and pedagogue. * School of Music — THEORY. Also courses in Conducting, Teach¬ all discover voices and singing artists er's Training, Appreciation of Music, Band and 1521 LOCUST ST PHILADELPHIA, PA. Orchestral Instruments. r; J-JSHJg Tone, Text and Interpretation d the prophecy of the great American Ten-week Term, June 3-August 9. Thaddeus Rich, Mus.Doc., Dean^ MINISTERS of PHILA.’S FINEST THEATRE ORGAN SCHOOL 'T'HE STRESSING of tlie poetic value rd will come true. We shall “hear Six-week Term, July 1-August 9. Direction Irving Cahan, featured organist, Stan¬ nerica singing.” It will sing with sin- ley Company of America. Three organs including MUSIC 1 of the text should he a stimulation Concert, Chautauqua. Lyceum and Teachers’ Courses. Repertoire a new Kim foil Unit Organ and a modern projec- to the minds and voices of the students. rity, tenderness, intelligence and vigor, will sing the songs of all the nations of and Public performance classes. Graduates in this school have OPEN TO STUDENTS OF BOTH SEXES These thorough courses include The real appreciation of the vowel char¬ Send for Catalog E. e earth with understanding, for of all won honors abroad as well as in the United States and Canada. both private and class instruc¬ acteristic will make the singing with ex¬ BENJAMIN L. KNEEDLER, Director pression a simpler achievement. The e Nations is our country made. 1421 Arch Street, Phila., Pa. tion beside sixty credits of col¬ The preliminary vocal drill for chorus Westminster Choir School (formerly of Dayton, Ohio). Thor¬ DISTINGUISHED FACULTY- emotional v alue of words can be appreci¬ ough courses of instruction as preparation for Choir Conductors ■ 4: SUM lege cultural subjects. Degree ated only through the technical mastery of its should be used also to interest TRAINING FOR OPERA and Ministers of Music. SPECIAL TRAINING of Mus.B.—also possibility of the primal sounds which give to it its true idents in specific voice culture instruction, the Philadelphia Orchestra. FOR TEACHERS lere are hundreds of schools that have STUDENT RKOTAIiS—OPPORTUNITY FOR ORC HESTRA! emotional value. These might lie either p P going on tour with the inter¬ ,t yet adopted this “step-child” music All departments of the conservatory and affiliated schools will (LASSES IN HARMONY AND HISTORY OF MUSIC!. consonant or vowel or a combination of PUPILS MAY ENTER AT ANY Six Weeks Summer Term nationally known Westmin¬ bject. Its value is underestimated. In be in session during the above terms. All courses completed lead June 24th to August 3rd both. The vocal drill that will unharness TIME DURING THE YEAR ct, it is not believed to he practical. The to certificates, diplomas, degrees. Six large and handsome dormi¬ Student Dormitories. Branch Schools. Write for Catalog M M ster Choir now on tour of the power of the voice and free it for the eliminary drill can prove that it is practi- tories. Reservations for either summer or fall should be made now. three months in England and use that the poem and the music demand Hl-lSSBellefliild Ave. 1. and that it should be established for throughout Europe. 18 build¬ can be very simple and brief, but it should I I e students who have voices of some Fall Term begins September 19, 1929. always precede the singing period as the ZECKWER-HAHN ings: dormitories, gymnasium, omise or even for those who have the ; buying tuning of the orchestral instruments pre¬ Full details, year book and special catalogue sent on request. Philadelphia Musical Academy PIANISTS concert hall, infirmary. Fall term sire to sing without much promise. Then 59 years of continued success in training musicians VOCALISTS cedes the playing. Address, Registrar, .. Liberal .cal music will have a status as a regular Highest Standards of Musical Instruction VIOLINISTS tod Ex- opens September 19. The chorus units should not only stim¬ ORGANISTS prlvl- rt of our music education plan which it ulate interest in the literature of the chorus. CHORISTERS leges. entitled to and without the fulfillment 1 DeWitt Park, Ithaca, New York Address, 701- DeWitt Park, Ithaca, New York They should create as well an interest in THEODOREPRESS ” PHILA., PA. which the entire program will be top-. the study and culture of the voice. To Ion THE ETUDE. It 1 do an unlimited amount of singing of diffi- Please mention THE ETUDE when addressing our advertisers JUNE 1929 Page b81 the etude the etude Page J,80 JUNE 1929 Fiddlin’ for Fun, or Book of Trios New Piano Album for World of Music For Piano, Violin and ’Cello Playtime for the Young Young Players (.Continued from page 411) Tlie marvelous advancement of instru- UU1 Violinist Our albums published in the series THE ARMENIAN MUSICAL SOCHSTYjOF A Method for the YoungYoungest Beginner cental music in the public schools during prjnted the large plates have always Publisher’s Monthly Letter the past few years has brought into ex- ■ most~Successful°because they give, at NeVvork C§£“ ^February By Rob Roy Peery istence many youthful ensembles, among comparatively low price, a large c°Uec- 24th, with H. Mehrab as ■ A Bulletin of Interest for All Music Lovers 2 of tlie the most favored being the combination tion of excellent music, most of. which , ? st of all instruments to take up at the for which the numbers in this compilation never appears in any other compilation, MATHILDE WESENDONCK, winning lias now become one of the most have been arranged. Many are the works This enables many to effect an economy in f Wagner, is still living and rece !)e,fc... sting This is due to the fact that °f the masters for an ensemble of piano, music buying that is most welcome. A cr one hundredth birthday. instrument is approached from an en- violin and ’cello, but most of them were booklet, “Reasonably Priced Albums,” Hrelv different viewpoint. The violin is written with an experienced group of which we will gladly send free of charge rr ARKE who founded first and foremost a melody instrument, in players in mind. This makes their technic upon request, gives a list of these albums J™1 pwihSiOT ’ c Orchestra~ - hieh the singing tone should be cultivated requirements a hit too advanced, and so, and their contents. -— ~~-.-i-i.~fi Tom the beginning. In Mr. Peery’s new *° meet the demands of the day, this al- The latest addition to this series is to e sole guara: WHAT THE PEN CAN COMMAND Happy Days in Music Play !T t]ie melodic idea is stressed from hum has been compiled. Among the pieces be a collection of early grade piano com- Music Reading This sequel or second book to the sen¬ H° very outset, and everything is made as included we find Garden of Roses, Ritter; positions, most of them by modern and ry=> HIS is addressed particularly to piano teachers and violin teachers. sationally successful “Music Play for ntertaining as possible. At the same Melody in D, Williams; An Old Palace, contemporary writers. It should prove (Q It is to offer to piano teachers, without any charge whatsoever, a copy WILHELM FURTWANGLER will remain i Here we are in the month of June, and Every Day” is easily one of the most ™ ;s taken to set the hand prop- Cooke; Estrellita, Ponce, and many others. most beneficial as supplementary material ■rlin as the leader of the' Philharmonic O the season is upon us when xve love to in¬ of the new, fully revised, up-to-date edition of the Guide to New original and distinctive music books ever time,rlv’and , to, develop,—fir, correct finger™,, actionoIn In advance of publication. orders for the to- the regularo course of studies or as sight lestra, having declined the offered post i dulge in moments of relaxation. In such Teachers on Teaching the Piano,” and to offer violin teachers a copy o H intonation three Parts> which, of course, will be reading material for apt pupds. In a published. It is the answer to the plea municipality of B< s reported to have days the acme of comfort frequently seems the "Guide to New* Teachers on Teaching the Violin,” just issued. of the great number of teachers, “Where The sDecial introductory price in ad- bound separately when published, are be- vance of publication a copy of this volui ...idy^to the Philhar to'he in finding a cool and restful place It would be an impossibility to make a fair estimate of all that has can I get something which will not let “ nf rmhlRation is 40 cents per copy, mg booked at the low price of 75 cents, may be ordered at the very low price, where one can indulge in pleasurable read¬ gone into the making of the piano teaching guide, since, upon the part down the enthusiasm of my pupils after mnce ri 1 postpaid. 35 cents a copy, postpaid. ing. The teacher, student or lover of of the educational experts and successful practical teachers having a hand postpaid. in its making, it represents years of teaching experience, acquaintance •Music Play’?” The wonderful results that JOHANN SEBASTIAN BACH’S TOMB r music who will get the most out of musi¬ came from the first book may now be in¬ St. John’s Church, Leipzig, has passed to th with result-producing studies and pieces, and practical knowledge ot the Classic and Modern Band and Blue Ridge Idyls guardianship of the New Bach^ Society of^tlu cal interest in future years will be the one creased through the second book. Results! Easy Compositions for the who sees to it now that the reading done latest and, best ideas in, teaching procedures. Suite for the Pianoforte Results! Results! is the basis of this Development of Technic Orchestra Collection in the summer months is not only pleas¬ Thousands know that the Theodore Presser Co. has for years offered By Lily Strickland SSns^fThe grrat Cantortqast.0Thomas" Churd many such valuable service features to its patrons. Those who have new work. Fascinating pieces in abun¬ By Joseph E. Maddy and Wilfred Wilson urable but profitable. dance. Lavish pictorial illustrations. All and Tonality In tills set of characteristic piano pieces was declined by the authorities of St. John’s. This can be done through securing one never become acquainted with the direct mail service should write im- needful exercises. Interesting explana¬ For the Pianoforte This is a superb compilation for the the'eomposm^here^^^ of the South, or more of the many books on musical sub¬ mediately for full information as to the liberal examination privileges, tions. New ideas that will surprise you. Bn N. Louise Wright ambitious bands and orchestras that rep- cau„ht the spirit and the romance of jects and the lives of great musicians that convenient charge accounts, and other features of a service offered by the , . . resent so important a part in the develop- the mountain people of this section of the l Arbor, .Michigan, will.- be held from are available. Many have been surprised world’s largest music publishers and dealers. Most of all, this book has been built with the one new and strikingly original plan In this interestingling set of studiesstudies^ some ment „f music in the present day public country and infused them in her writing 22nd to 25th. Aside from interesting programs to find that such books are by no means These service features are amplified by the maintenance of the world's • '-.’•’■He work is introduced school work. The compilers and arrangers with /most interesting and satisfying re- R^ufem” by Brahms, heavy reading, but, on the other hand, are largest stock of music and an unequalled corps of experienced music clerks. of convincing the pupil and the parent that music is just as needful us bread and together w I h considerable variety in both 0f this collection need no introduction and, jt> This distinctive work by Lily Strick- “The New Life” by Wolf-Ferrari and “Samson entertaining, delightful and intensely in¬ the flat and sharp keys. In consequence, needless to say, in this, their latest con- land depicts the river> the pines, the old and Delila” by Samt-Saens. Thc Chicago Or. teresting. butter—one of the indispensable things of life. Imagine an instruction book for Hie book is S mill and mountain scenes. These pieces ^gra^xvm Trie" De lam™ter and Ear’ “ A copy of the “Descriptive Catalog of another triumph. piano that also gives portraits of Thomas s well worth addition to the early young folks at school, _not difficult to play, being in about the Moore v will be Musical Literature,” issued by the Theo¬ grades in any course of study. All of the Tlie_ arrangementsD_ full, effective and Sophie Braslatt, m Telva, dore Presser Co., will be sent cheerfully Advance of Publication Offers—-June, 1929 Jefferson, Francis Hopkinson, Benito fourth grade throughout. Edith A lard Bon- Mussolini, Lord Balfour, General Charles numbers arc musically interesting. .interesting to each player as well as to the The special introductory price in ad- £{" without charge to any seeking guidance as Paragraphs on These Forthcoming Publications will be found under These Notes. The special introductory price In ad¬ audience, and the compilation represents a vance of publication is 60 cents, postpaid. to music books for summer reading. These Works are in the course of Preparation and Ordered Copies will be G. Dawes, Charles Schwab, Alfred Ein¬ stein, Cyrus H. K. Curtis, and others, tell¬ vance of publication Is 25 cents per copy, choice selection of gems from the works of MILTON WELLINGS, < delivered when ready. postpaid. classic, modern and contemporary writers. ing why these great leaders studied music Studies in Musicianship Algerian Dances—Piano—R. S. Stoughton.60c How and why they look upon it as a life neces¬ With all the glorious qualities of selections ami whose ^“Some^ Day” Order Music Early for and arrangements, no excessive demands For the Pianoforte—In Four Books Blue Ridce Idyls—Piano—Lily Strickland.60c Hai sity. There are over one hundred illus¬ The Tempest ■’ ofsex Book of Trios for Piano, Violin and Cei.lo.75c Ljghi are made on any of the amateur perform- Book Four Summer or Fall Work trations especially made for the book, Suite for Organ Select Studies from Stephen Heller keyboard pictures, diagrams, pictures of By H. J. Stewart Edited by Isidor Philipp It is our policy to encourge teachers, not Classic and Mi composers, great music buildings, etc. It is a safe prediction to state that Collection—J »c Players. ...35 of the many supervisors will welcome these num- With___ the_ xpublication_ of the first three only to continue their regular work for Wilson—part: 'ousins—Lalla Like “Music Play for Every Day,” any Shakespeare’s "Tempest” is c at least a part of the summer, but to an¬ prising hers* for exhibition purposes, and that fre- books of this series, there remains only Piano Accomi .30 teacher or parent can take up “Happy most romantic of plays. It is Outward Bound,” is ticipate their fall activities by getting Easy Compositic Requiem Mass that more illustrative music has at been quently they will he selected by commit- Book Four on the Advance of Publication Days in Music Play” at once without a .. ..,.w Hnd tees making decisions for competitive fes- offer. This, too, will be ready very soon music supplies ready before the usual Sep¬ G. Fabrizi .... *”....H° “...35 special training course and teach it with written for it. In Mr. Stewart’ imball Building, Civ Six Study Piec e Left Hand tember rush. To make it worth while we delight. It will be a huge and joyful sur¬ •erv 7n t r n -1 i n u' S nit e for tiie organ, the tivals of school orchestras and bands. and then there will be available to the even go so far as to assume at least half contrasting characters Ariel and Caliban In ordering, be sure to state which band progressive piano teacher a set of studies gan-hV J."" prise when you get your first copy. The the transportation charges on orders of advance of publication price is 60 cents. are finelv depicted musically. The love of or which orchestra parts are desired since that we believe will rank with that other this kind received by August 1st, provided Ferdinand and Miranda affords oppor- the parts are not interchangable between master compilation of our catalog, the Se- the orders specify a date for delivery to tunitv for < charming Andante. The the band and the orchestra. Special m- lecte,d Czerny Studies, in Three Volumes, Society of the Friends of h the customer and are based upon the sea¬ Necessary Jingles Ship Wr. rk i, a splendid number for mod- troductory price in advance of publication by Emil Liebling. The regular price of emoranns The Enchanted Isle is a deli- for instrumental parts, either for band or each book of these Studies in Musicianship, son’s probable requirements. pianoforte by Cristofori some time be¬ Foa the Plano Every year at this season we make an Our Cover This Month By Blanche Fox Steenman cate studv'in registration and the Masque orchestra, is 25c each, postpaid The piano js $1.25, but while Book Four is still on intensive “Early Order” campaign in the tween 1687 and 1711. The strings of the The cover of this month’s issue of The clavichord were struck with a kind of Blanche Fox Steenman has a thorough of CWis " re , finale. accompaniment for the orchestra book is advance offer it may be ordered at the interest of the music-teaching profession. T , I nfroduc^T mice in ad- offered at 40c in advance ot publication, specially low price, 60 cents, postpaid. Etude is by John Whitcomb, of Delaware, hammer of brass, while the strings of the understanding of the most successful meth¬ The special introductory price Tlie advantages incidental to early order- Ohio, who won The Etude 1924 Cover Con¬ vance of publication is 60 cents per copy, jpg are so obvious that argument is scarce¬ virginals, spinets and harpsichords were set ods of giving the little beginner a success¬ test with the clever cover subject that was Algerian Dances Light Opera Production ly necessary. Yet many, many teachers in vibration by points of quills or hard ful start for real achievement in music postpaid. reproduced on the March, 1925, issue of rubber that twitched or plucked the in later youth, and in holding the interest Suite for Piano For School and Community who know better will postpone their sup¬ The Etude. Mr. Whitcomb was again rep¬ strings when the keys were depressed. In of the beginner while developing a founda¬ Requiem Mass By R. S. Stoughton Gwynne Burrows ply orders until the material is actually resented on Etude covers with his colorful ard* Copley, 10 East 43rd Street, New York needed to begin and carry on their fall each of the keyboard instruments prior to tion for the technical equipment later For Two-Part Chorus wedding scene on the June, 1926, issue. Cristofori’s pianoforte, there was no con¬ There are few who do not know of the There are many technical details i work. There is nothing like getting a task necessary to real progress. This book, for By Gere Mia M. Fabrizi His work is always brilliant and colorful, trol of tone effects insofar as the shadings ability of R. S. Stoughton to write effec- volVed in the production of any form of (even a disagreeable one) out of the way instance, solves the problem of gaining __ j_mimhprs for theuia.no- lio-ht rvnpra. Tn fact, the uninitiated are and rendered in the difficult medium of in volume were concerned. independence of the fingers, preparing the When the average Catholic organist tive^nd melodious numbers for the piano- light opera. In fact, the uninitiated are EURIDICE CHORUS AWARD of oi and off the mind. opaque water colors. 11 __ _ _a* a i—Dormps mnv nf FVi#» trpmpnnnns , , j _ If unfamiliar with our “On Sale” privi¬ The real student can have quite a pleas¬ thumb for scales, directing the proper The cover subject on this issue is Mr. ant time reading the interesting historical fingering of scales, triads and arpeggios, leges, please write for order blanks and Whitcomb’s conception of a scene in the information. data given in "Grove’s Dictionary of Mu¬ and of wrist work with interesting ma¬ salon of Stephen Keene, who, in the late sic and Musicians” upon each of the terial that the juvenile just wants to have. 1600’s and the early 1700’s, was an emi¬ above-named instruments. The little jingles are quite melodious, nent London maker of harpsichords, spi¬ and appropriate verses and pen drawings nets and virginals.. Some of his instru¬ i .he rrh,,,rSeS/7,JiV£= Sgagwra TJrsSS'JS, ttfSKSi S£ New Music for Summer help, to captivate the child. Altogether, DARTMOUTH COLLEGE, through ; ments are remaining to this day. Our Little American Cousins this is a work that many teachers are sure .tag, ,„,h,S'ta,,,, diJniM ,»a rtrku/m- b, ta,nj teachers ler .... w.tb «h |,h md .roeolhne« of 3*"^ Teaching One beautiful spinet made by him was to find an indispensable adjunct to the urgical. A single copy may be ordered in and 5th grade pupils. tamed only by the professional. Ihis in the possession of the late Sir George .ECThS “|Ur.SrPr-i, Indicated by the a^ffSSd w,ih To meet the needs of the large body of average beginner’s book for little tots. advance of publication at the low price Still an Grove, a reproduction of which is shown of 35 cents, postpaid. Place your order fact tb„t teachers whose work eoiitinufes through in “Grove’s Dictionary of Music and Mu¬ By Lalla Ryckoff The advance of publication cash price the greater part of the summer months, a is 30c per copy, postpaid. today before this offer expires.“ order “is ‘ls,r;.,sj”r1tel';™“?edw™ a^ru,: ssyii s®--1 ”•—* sicians” under the article on Virginals. This is a novel and very attractive recre¬ nnnent of aesthetic dancing, Ruth St. and staging of the performance. supply of fresh teaching material is avail¬ P° . The special introductory price l able in our monthly packages of New Mu¬ The instrument in the scene on our cover ation book to be used in first and second follows the general pattern of the spinet sic to be sent On Sale during June, July grade work. It may be introduced into Six Study Pieces for the Left Changes of Position iTadvance of publication orders may be vance of publication is 60 cents a and August. These small assortments in¬ that was in Sir George Grove’s collection. any course or method. The music is de¬ For the Violin placed for this book at the special price, postpaid. prizes and a Columns could be filled upon the Hand Alone clude well-selected easy and medium grade scriptive in character, although easy to By O. Sevcik—Op. 8 60 cents, postpaid. . connection3w*i thoughts brought up by this cover, tracing play. Young students will enjoy these By Francesco Beroer teaching pieces for piano or new vocal The student when playing these study One of tlie secrets of clear rapid passage Beware of Fraud Agents m June.. r> numbers of unusual worth. There is no the development of the piano from the pieces very much. clavichord of the fifteenth and sixteenth The special introductory price in ad¬ pieces will be interested to bear in mind work in violin playing is the ability to How to Master the Violin We wisj, to caution ail of our musical A'hmnTf ou obligation to buy any of this music that is that he is linking himself right up with shift properly. The pupil encounters this Bn Frederick E. Hahn friends to exercise the greatest care in not found useful. It is to our interest to centuries through the virginals, spinets vance of publication is 30 cents per copy and harpsichords to the invention of the postpaid. 1 the Golden Age of Music. This is through problem j ' -s lie attempts to is not a study book, it is a book piacjng subscriptions for Th? Etude Mu- PRIZES OF $500. AND $250., present only such works as are most likely the fact that Mr. Francesco Berger, who play out of the first position. It is neces- 'e^g. . , . . Mr.atm HahnUnlin fnrfor many SIC_ Magazine.M.o.oTMr PayPar nonr» mnnpvmoney tr>to st.ran-stran- by the New York Federation of Mus to find ready acceptance to the extent of 1 • * i with the Women’s Exposi is still actively engaged in teaching in the sary to practice very carefully in order to abou P ane 0f the most successful s uniess you are convinced of their re¬ each customer’s requirements. Pieces or develop a smooth, rapid shift. There are ^ teachers. In this work he liabmty. Enter into no contract until you songs not used are to be returned later Guildhall School of Music in London, was a pupil himself of the classic master, no better studies for developing this phase w incorporated all the fruits of his ripe carefuUy read the receipt. Every day ^ had from xt*a H. Moms, 16! for credit. Final settlement for Summer T5hou hast possibilities in thee for much; the of the pupil’s technic than the Sevcik Stu- » both as teacher and player. It compiaints are received from different sec- Heights, Brooklyn, New York. New Music kept may be made in Septem¬ Mosrheles, who in turn was one of the few possibility of writing on the eternal shies the record pupils of Beethoven. These studies, which dies. Op. 8. We are preparing a new edi- fXPer(!0 “ endium of all the things that tions of the country where money lias been * ODRAMMATICA ber or as a part of the 1929-30 On Sale tion of this valuable work to be added to !? aC0™P known about violin playing, a id to a stranger and that no copies have Ita\yfR^E MELQD^MMATICA, account. A post card request from a of a heroic life. are of intermediate grade, are well worth teacher or professional singer for “Sum¬ careful practice and they will add greatly the Presser Collection. It will be edited sh°"l“ 06 book that will he used during been received, due, of course, to the fact under the a„spiCes of the Minister by Mr. Otto Meyer, who is an authorized refer w career. that the order has never reached us. Be Instructmn. for: 0) an opera, mer New Piano Music” or “Summer New to left-hand facility. —Thomas Carlyle Vocal Music” will insure. the. arrival of The special introductory price in ad¬ representative of Prof. Sevcik in this ones ‘ introductory price in ad- on your guard. ““ (3) a lyric jtoem or cantata? these packages at regular intervals. vance of publication is 25 cents per copy, country. The special introductory pnoc ™ J publication is $LOO per py. (Continued on page 482) ■w he had from the journal mention, postpaid. 7IIF, ETUDE JUNE 1929 Page 48S THE ETUDE Page J,82 JUNE 1929 Musical Home Reading Table Advance of Publication Offers (Continued from page 412) Withdrawn -although a rough side couhMic shown “I can see his fork raised on high w

tare of the autograph-haters was neither solemn pronouncement: ‘DasTst die "hohe an unusual nor a blameworthy occurrence Pocstc von Goethe (That is Goethe's sub- t special originally ns incidental Free but the Henry VIII in 1892, Z’Sj&j ■ ■ inT Chfr^confl^ence*iCinti0the°^merits^of^^hese of examination privileges to teachers and the Prester Collection is a superior one small nose on a pa c. clean-shaven lacc, upon my taking him to the Waverley Mar¬ Fellowships in spite of the fact that

with peculiarly heavy lids, were already ing a cab, preferred to take my arm troubling him sorely. A long, rather ill- the whole length of Princes Street and WITH fitting black frock contend an absurd- back in the dark. I then realized how dim

picture" W,'P " "Kt ,C C°mPCC K lessh"aifd ‘ddhierateT'steppe^'into every •In conversation, the composer-pianist puddle that lay in his way. “After I Famous sm s&.’ss „r: izs&iz?. Three Splendid Summer Issues Educational Study Notes l p- of The Etude for only 35 cents pa'T To introduce our very fine n e US) Musicians will send the June, July and August is¬ - > u>ia, ueuo am,nans run* to Kmemble .,sues of, Tun--- Etude vfor only 85c. There is * , Method for Violin Cl,,** Tchchinq. by Os- »o better gift to make to a musical friend gSC, A’/ car J. I.ehrcr, arranged bv Will H. Bn- »"<* °ne "’Inch would cost so little as this ant. So successful has Mr.' Lehrer’s Meti,- thr(‘f «*«"«»’ subscription. Make a list l|f|; Imassag Od been that many teachers and school ‘»‘ those whom you wish to favor, sending SUMMER MASTER SCHOOL

the other parts of the string orchestra" m“’ical «*• Note anno Mr. Bryant’s arrangements of parts for of this issue, June 24 to August 3, 1929 ■the viola, ’celloMiiMiiHiP and bass to accompany D. MSI SEASON 1929-1930 teurs or by a well-trained high school musical friend a mighty -mod turn bv group. Musically, like all of Miss Bilbro’s bringing The Etude to his attention and work, it is delightful. The plot is highly incidentally the merchandise offered is well entertaining and the action may be en- worth the little time that it takes to secure ha need by the introduction of dancing it. Beginning September 9, 1929 (40 WEEKS) A Correction ■ The Publisher’s Monthly Letter in the April 1929 iss yaHM"r' a THE UNEXPECTED DISCORD Contestants are restricted to talented and deserving of limited means.

Application blanks for either Give the Little Folks Summer Fun in Learning the Piano Complete s Provide Play-like Class or Individual Lesson Periods with This Irresistible Very First Instructor

MUSIC PLAY FOR EVERY DAY THE GATEWAY TO 1 PIANO PLAYING An Examination of “Music Play for Every Day” Immediately Will Convince You That It Provides a Profit- able, Safe and Immensely Delightful Use of Some of the Wealth of Summer Playtime of 5 to 9 Year Olds. CHICAGO Act Today and Get T? ROM the very first page with .r„„l6u„u,u„-K,nQ,.ng "E interest-arousing imagination-kindling “Fairyland of PUBLISHED COMPT FTF the Parents of Your I t¥"sjft.,fcture rnaily coIo.rs t°thhe? very lalast*t page this very first P>anopiano book isis'a a joyin,, to IN ONE VOLUME^ Community to Start Pto” MUSICAL Most Desk k £ Individual Then Youngsters %SM tS’S^7^ Inst, i An Adventure enthused over this book stating that children hate to put the book awav once its pageT are made PUBLISHED IN FOUR in the Land of known to them There are exactly twenty “Playtimes” in “Music Plav” and thev eventuallv havc BOOKS Price, 40 c, COLLEGE the child proudly playing sonic cleverly simplified »«•««« of -i-, . .k- t-_ . - havt Music Under Your rf„ ccnls 60 East Van Buren St. (gS^S® Chicago, Ill. Leadership with Procurable at any Music Dealer or at the Publishers “Music Play” as PUBLISHED IN TWENTY PLAYTIMES the Guide Book. THEODORE PRESSER CO. PHILADELPHIA, PA THE ETUDE Page W JUNE 1929 Fundamentals of Piano Playing

(Continued from page 427) agogic accent, and to heighten its impor¬ Expression Through Rhythmic tance in the melodic line. Or one may Variations point out the intense dramatic value of A MORE subtle matter than dynamics, the pause, that momentary but com¬ rhythmic expressiveness eludes the plete cessation of sound used by Liszt in boundaries of hard and fast rules. Let us so masterly a manner. However, the mat¬ keep in mind, first of all, that it is rhythm ter of rhythmic expressiveness must be left that gives the pulse-beat of life to the largely to the tastes of the performer and music. Without that varying, expressive, cannot be defined by any sort of rule-mak¬ moving pulse-beat of life one may do ing. How, for example, is one to lay down what one will dynamically—one’s playing the law for the subtle swing of a Viennese will remain tiresome, dull, monotonous. waltz or the lilt of a Chopin mazurka? As far as rule-following may be ap¬ The best way for the teacher to foster Your Favorite Magazines plied at the beginning of the study of this rhythmic expressiveness is to call the stu¬ elusive subject, one may make mention of dent’s attention constantly to its impor¬ Including The Etude some of the more obvious considerations. tance, to illustrate it by practical examples In general, a ritardando is made in music at the keyboard and to urge that at every when some phrase or passage comes to an public performance the student should At Special Low Prices end and some new musical thought is to focus his attention on the manner in which be presented. It may occur at the end of the rhythmic line is handled by artists of Order your favorite magazines now at these special larger parts, at the end of the period, at ability. It is this quality in expressiveness, combination prices and not only save 10 to 25% the end of the phrase, even at the end of more than any other, that makes the final but insure hours of delightful entertainment this the measure, in pieces of slower gait. It difference between the artist and the ama¬ Summer. Subscriptions may be new or renewal, has its esthetic justification in the fact that Wh\ don t you, too, get new ideas to use in your teaching, teur, between the musically ripe performer may be entered at different addresses and may a slight slowing up in the tempo gives the begin when you desire. and the student. Where it is possible to at¬ hearer an opportunity, as it were, to digest make your work a real pleasure and increase your income at the same time? tend orchestral performances, a great deal what has gone before and to prepare his can be learned by watching the baton in mind for the reception of the musical idea Save Money! Order at These Reduced Rates! the hands of expert conductors. which is to follow. The development in piano playing of In order to preserve continuity in the Wtf2EMusi°Mr!ine.. clear tonal enunciation, intelligible diction, $2.35 flow of the rhythmic line, attention must a broad dynamic range and a keen sensi¬ 11 be given to the resumption of the tempo University Methods for Home Study bility for the expressiveness of the rhyth¬ THE ETUDE Music Magazine. .. . after the ritardando. A too long-drawn- mic line must go hand in hand with a Founded in 1903 and advertisers in the Etude columns since 1908 PICTORIAL REVIEW $2°.40 out ritardando followed by delay in tak¬ ::.l! Save 60c ing up the phrase following has the effect growth of the student’s ability to feel all these things in a constant, close connection THE ETUDE Music Magazine Both on the hearer of bringing the whole piece To Etude readers we have offered sample lessons from our courses—many are using them with success PATHFINDER with the music he interprets. He must de¬ s$2.3S to a stop, or of chopping it up into small, Tni., TPG ^csso"s» WIthout obligation, and see for yourself how great a help they would be to you in your teaching unrelated portions, with complete loss of velop a fine, alert sensitiveness to the in¬ ! Courses endorsed by the world’s greatest musicians—such as: you your xeacmng. unity and continuity. ner urge of the compositions he plays, so CHRISTIAN . that the schooling he has received in the -s$2.85s An accelerando has the effect of excite¬ I. J. Paderewski, eminent virtuoso. Theodore Leschetizky, Paderewski’s great teacher. Emil Sauer, of the Vienna Conservatory. I! ment, agitation, forward urge towards a matter of dynamics and agogics finally THE ETUDE Music Magazine. climax. When improperly used, particu¬ merges with his own ripening emotional iVw VVr,?rSv'memhnentnC0h thC Alexander Guilmant, the world-famous New York Symphony Orchestra.fOr °f French Organist. MODERN PRISCILLA s$B3V000 larly in melody playing of the more lyric concepts. 1! sort, it is fatal to the beauty and im¬ To achieve success on the concert stage Moritz Moskowski, famous Parisian composer and teacher. the pianist must possess a background of THE ETUDE Music Magazine $2.00> a THE ETU DE Music Magazine pressiveness of tile phrase, giving the BETTER HOMES AND GAR- | WOMAN’S HOME COMP Ah hearer the unpleasant impression of lack sterling musicianship. To this he must j- $2.25 of poise and of uncertainty. add the art of public performance, that Regular price Regular price.sYoof Save 25c >52.00, Both A most important rhythmic considera¬ difficult and subtle task of making an audi¬ THEETUDE Music Magazii DELINEATOR^. .^7??^”.* ence en rapport with the finest fancies of Spare Time and Spare Money OPEN ROAD FOR BOYS ! $2.35 $2.75 tion is the matter of the slight pause at Institutional Rating Regular price 1 Save 65c Regular price the end of the phrase, a counterpart of creative musical genius, of awakening a which is indicated in poetry by the comma sympathetic response to emotions and Invested in Personal Ad¬ P EOPLEVSDHO M E JO u'rN AL$2!50 * $3°.0b Twenty-six years success in teaching nationally and internationally. $4.00 5 Save $1.00 at the end of the line. How often one hears moods in infinite variety and of arousing f THE ETUDE Music Magazine the entire beauty of a melody destroyed by and maintaining enthusiasm among his vancement Pay the Greatest Pupils and graduates distributed over the entire North American Continent. THEETUDE Music Magazii CHI LD REN (The Magazine f hearers throughout a performance replete YOUTH’S COMPANION.. ”c *| 8S l $3.25 °Voo> $3.00 ill-considered hurrying from one phrase Instruction by the best master artists and teachers in America. Regular price jT^J to the next! This is one of the most with interest, vitality, beauty of tonal ef¬ Dividends. THEETUDE Music Magazii THEETUDE Music Magazine $2.00 ) Both frequent ear-marks of amateurish, un¬ fects and rhythmic charm of a high order. Graduates, who have stood the “acid test” for preparedness in whatever COLLIER'S NATL. WEEK“vliDoj JUNIOR HOME MAGAZINI - $3.50 $3.25 ripe piano playing. Excellent examples to manner called upon. Regular price Regular price $4.50 1 Save 51.25 hold up to the piano student in this mat¬ SELF-TEST QUESTIONS ON MR. Here’s the greatest proof of all! THEETUDE Music Magazii I?'on 1 HUGHES’ ARTICLE Specialists, teaching courses in music only. FASHIONABLE DRESS >■ $3.75# _j $3.50 ter are the singer’s intake of breath at the Regular price .,£SJ Regular price. appropriate points in the melodic line and 1. IF hat different '‘touches” arc possible Passed the experimental stage years ago. in playing a single note? For the past five years an accurate check has been made NATURE MAG AZ1 HEfT*™ the raising of the violinist’s arm to begin C H M~>T L l*FEM. USiC.MagaZi>'Ff. i0o°o l i|}s$4.00|o which shows that half of the registrations for study have been Pioneers in developing the present home study method now used by many s$3°.85 Regular price. a new phrase with the down bow. 2. Why are at least two tones accessary 15 001 to gain expressiveness? made by teachers who have completed other courses with us. leading universities. * J A ME RICANE MAGAzl NeI V? K $4.25 Rules for the Winds 3. Give two rules having to do with A great percentage comes from friends of these same teachers 3 s$4.00o who register on their recommendation. Same quality of instruction as offered by the best resident conservatory. THE ETUDE Music Magazine $2.00'v A|, T> EYOND THESE few hints it is diffi¬ musical diction. The only conservatory that offers regular conservatory courses in all PEOPLE’S HOME JOU RNAL .50 f $2.80 cult to go. One may call attention 4. In what way must dynamic variety The intense sincerity which guides our activities has built BETTER HOMES AND GA to the fact that a slight pause on a melody DENS . > $2.90 be concerned with "vertical alignment”? up a record of service to our students and graduates outstand¬ branches, by home study method. THE ETUDE Music Magazine note, prolonging it past its actual time 5. IVhat is the effect of a loo-long- Regular price 53 60 J1 Sa,e70c YOUTH'S COMPANION *1.00) AM ing in mu|ic school history. THE ETUDE Music Magazii. BETTER HOMES AND GAR- value in the measure, serves to give it an drawn-out ‘‘ritardando” ? 60 > $3.90 PATHFINDER $3.25 . . The scope of the service includes personal attention to each Regular price. 54760 ) Sa,e7°C UNIVERSITY EXTENSION CONSERVATORY, Dept. B-34 individual member while studying—all done under expert super¬ MOD 1R N °P rI SCI L‘LA^"C ‘Music \ n Paris Langley Avenue and 41st Street, Chicago, Illinois. PICTORIAL REVIEW. vision; keeping in touch with our students after graduation, WOMAN’S HOMEC’PANION l!oO ' I'-ool $4.00 > $3.35 $5.001 Save $1.00 (Continued fr om page 467) helping place them in better positions. Indeed, nothing has Please send me catalog, sample lessons, and full information regarding course I have marked with an X below. s THE ETUDE Music Magazine merits in such a great center as Paris, with contributed more to the success of our Conservatory than the MODERN PRISCILLA. group of leading French, idealists supple¬ CHRISTIAN HERALD. its centuries of tradition. We would like □ Piano, Normal Course □ Trumpet □ Violin YOUTFPS* CO M PAN 1 ON mented by the Government, of the Ameri¬ nowledge and experience gained by graduates, proving the $4.00 to spend at least another article upon the for Teachers □ Cornet □ Guitar can School of Music at Fontainebleau— great service to teachers, which is our chief desire. wonderful French Orchestras with their THEETUDE Music Magazii WOMAN'S HOMEcWpAN -*2'00) All one of the most beautiful unofficial dip¬ especially superb wind sections; we would To you, we extend an invitation to join the ranks of DPi*ISaSr' o?E DE“sKf* *"d s*k* CHRISTIAN HERALD . / AMERICAN MAGAZINE lomatic actions in the history of nations; $4.10 like to dwell upon the chamber music con¬ □ Public School Music □ History of Music □ Mandolin Save 90e but these matters cannot be encompassed teachers now enrolled for our extension courses, working certs in which there is a growing interest; □ Harmony □ Choral Conducting DAdv. Composition m our present journalistic limitations. toward higher positions. WHAT AN OPPORTUNITY! and we would like to discuss at length the | T—^ PRICES DO NOT INCLUDE CANADIAN OR FOREIGN POSTAGE V-T The City of Light” is coming to shine Name ... Age. splendid manifestation of appreciation more brilliantly than ever in art and in Send Orders With Payment Direct to represented in the establishment, by a You will be interested in seeing Street No. the samples that we will gladly The Etude Music Magazine send you on receipt of the coupon. City . State. - Theodore Presser Co., Publishers - How long have you taught Piano?...*. How many pupils have you 1712-14 CHESTNUT STREET - PHILADELPHIA, PA. music as beauty and inrbimt, ■ . d e c°’>cerncd with what now?. Do you hold a Teachers’ Certificate?. Have you University extension conservatory what we can make mS'brZto * ?"9 **te "lC WOrld’ rather tban with studied Harmony?. Would you like to earn the Degree of Bachelor not.”—J. Lawrence Erb. ° ** °f M0"*' or positi™ " fame, or what LANGLEY AVENUE AND 41st STREET DEPT. B-34 of Music?... CHICAGO, ILL. What is the (Renter of Attraction in Tohis ^Picture?

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