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

1-1-1945 Volume 63, Number 01 (January 1945) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 63, Number 01 (January 1945)." , (1945). https://digitalcommons.gardner-webb.edu/etude/210

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iiiNAit© WASNESS NAMES BERNARD WAGNESS PIANO COURSE Preparatory Book eft Introduces new. logical procedures which lead 'to Veal’ achievements with ‘pre-school*v age'8 be Denote Practical gmners. For private or class instruction. Oblong shape. That Book One « «« Practical as a very first instructor for the average-age piano beginner or as V f’oil’ow-uV to the Preparatory Book. Reading cards covering three octaves, rhythmic drills, harmonyy fundamentals'“naamcntais. and interesting pieces to play arc featured. Oblong shape. Book Two _ ; qq Achieves progress as rapidly as is logically consistent with' proper technical* suVoorV pood cir nt ’ a " d baS ' C mus,ciansh, Supplementary P' pieces provide the pupil witf a firft recital MODERN TEACHING reportohre. Book Three - Presents all major and tonic minor scales and revolutionary methods* of* chord ana'lvsis’ Tnclndpc r0m f VOr,te folk tuncs classics - * etudes, and other interesting compositions. iflustrated[ ^ Copiously THE ENSEMBLE BOOK 75 0V i CS l d S nd P an P rtS f0r pieces .° fn Book One of the’ Bernard Wa’gness Piano Course.r»i, , ,p Partsp?r'Jc canr^ beK Tplayedi i. u S MATERIALS by teacher, parent, or more advanced pupil SECOND YEAR ETUDES 75 0 su PPlem nt Book Two of the Bernard Wagn'ess . Piano'cYurse’ or any’ second ^r'mirh^d'wilyear method. Helpfulf annotationsf throughout. 1 actona THIRD YEAR ETUDES „ for PIANO '™'ki LoSlh'hum” ^ Bu’,S’m„’,l.,. TECHNIC FUNDAMENTALS The most useful and successful work of its kind produced in recent vears’ :ii’ »* j V ’ CCnYYYu.°p,0usly 'Hustrated with photographs of the author’s hand "in action" EIGHT CHORDAL ATTACKS An illuminating work on chord playing in which each phase is individuallyY discussedscusscd and photographically illustrated. Practice material and recital pieces are a feature.

louise ROBYN MARY BACON MASON TECHNIC TALES FOLK SONGS AND FAMOUS PICTURES 7.00 A method book for beginners 7 to 11 years of age which cleverly presents notation, rhythm Book One .•••••• *75 scales, keyboard harmony, transposition, etc., from material based on folk songs and well- known art pictures. Over 75 pictures, cards, and charts are In story form, this book presents 15 essential principles in first year piano technic, building up provided to be cut nut and pasted in the book. the child’s hand so that his finger dexterity equals his music-reading ability, thus aiding his interpretative powers. TEACHER'S MANUAL available, 75c. FIRST CLASSICS AND FOUNDATION HARMONY 1.00 Book Two 75 A second year book to follow "Folk Songs and Famous Pictures", which correlates classical ’ and poems. A continuation of Book One presenting 15 additional technical principles indispensable in music, literature, pictures, The second half of the book is devoted to elementary correlating the musicianship studies of the modern second year instruction book with the harmony presented with games and cut-out cards. technical development so essential to satisfactory playing. TEACHER’S MANUAL available. 75c. BOY MUSIC Chord Crofters (Book Three) 75 for real boys 8 to 16 A first method boqk Everything—music, titles, texts and directions— books. introduces the 12 fundamental has Continuing the work of the two preceding Book Three been designed to interest and appeal to the boy pupil. Encouragement to Kplay1 as desired and chord attacks which may be given to students ready for grade 4. May be used in conjuncion with progress to sustain interest are features. almost any course of study. FLASH CARDS HIGHWAYS IN ETUDE LAND (The Child's Honon) 75 7 00 ,ts " dl's‘ ,h ' !1 “d ®$"*' » P«'=“=d. can use thele ts'oYas’h’cltih to, Includes 12 exercises with applied etudes necessary in the fundamental technical training of the ills3 child begun in Technic Tates, Books One and Two. Each exercise has been "brought to life" explanatory notes and photographic illustrations. APPROACH TO THE PIANO with a descriptive story element. Helpful ADULT 7 00 KEYBOARD TOWN 75 SWA* Town, Miss morc Into a delightful story of that friendly community, Keyboard Robyn has deftly woven "“•'“t- AM captivating the important basic facts about the keyboard and staff. A introduction to sight SZSt&V&S? K reading. Four octaves are covered and more than 75 little melodies are included. ROBYN ROTE CARDS 75 funny-pictures Especially designed for pre-school use, this book of musical explains notation sight-reading principles, aids coordination, and leads to organized habits. ROBYN-HANKS HARMONY JOSEPHINE HOVEY PERRY Book One •••••••• 75 THE HOUSE THAT JACK BUILT students of any age in written harmony, keyboard harmony, aqd car * * A Junior Course, for of note, key, and finger charts * By means this splendid *»,*, *1 .* with any method. Includes a Master Key for the teacher. book helps n’rimar’v V training. Can be used music notation and to play that which afie be ln ners read they read. . K to Charminir8 ilh«i«»-Wustrations Book Two 75 little pieces are featured. and attractive harmonic Continues work begun in Book One, introducing the and melodic minor scales, TO notes and intervals up to and including the octave. Includes oral drills, A PLEASURE PATH THE PIANO enharmonic changing of * teacher. illustrated story form, this study * ,* written keyboard work and a Master Key for the In book for pre-school beginners ,*« * *00 and ’st’arV rotV and progresses gradually until reading and playing are e-playing book •• welded into one Book Three , .75 ear, keyboard. Continues the fundamentals of harmony for eye. and Carries the student up to BUSY WORK FOR BEGINNERS four-part writing and may be used in conjunction with any method. Through entertaining, constructive "busy work" -60 with yme teach the relationship between the fingers, piano ’ th,s book a 'ms .75 F keysys and their notenn« to ROBYN-GURLITT grand staff. representations on the arranged to develop sight reading, Includes 85 etudes especially selected and pedal technique, BUSY WORK FOR BEGINNERS rhythm. MORE and * Gives carefully prepared "busy work" for pupils who* hay* *-J 75 .75 music. May be used with any modern instruction advanced to the ROBYN-HANON book First Grade in From Hanon’s "Virtuoso Pianist". Miss Robvn here presents 25 exercises, all on white keys, MUSICAL MOTHER GOOSE young pupils in fundamental finger technic. A FOR TWO. especially adapted to training and Profusely attractively illustrated, this book presents’ 12 v .75 (Two Pianos—Four Hands) juvenrte pianists, each set to a Mother Goose ">' “‘V font-hand KINDER CONCERTO—-HAYDN test. numbers for in a most playable adaptation for The spirited "Concerto in D" is here presented two pianos. the original orchestral score. Two copies of The second piano part is a reduction from the book arc needed for performance. KINDER CONCERTO—MOZART (Two Pianos—Four Hands) in B-Flat" arranged for two pianos. The An adaptation from the great "Concerto second piano from the oriRtnal orchestral score. Two copies are needed for performance. part is also a reduction Oliver THE SNOW QUEEN—TCHAIKOVSKY Ditson Co dcl.ishtful music of Tchaikovsky's This adaptation of Andersen's fair, tale to the "Music for principles taught in Chord Craftcrs . the Young” illustrates in story and music the 17.2 Chestnut WlfeV THE METROPOLITAN OPERA ASSOCIA- TION opened its fourth wartime season in New York on November 27 with a bril- liant performance of Gounod’s “Faust,” the same opera which had inaugurated the very first season at the Metropolitan Opera House in 1883. The leading roles were in the hands of Licia Albanese, Ezio Pinza, Raoul Jobin, and Martha Lipton, the latter making her debut. The honor of conducting the opening night was giv- en to Wilfred Pelletier, who this year is celebrating his twenty-fifth anniversary with the Metropolitan.

CARL FLESCH, distin- guished Hungarian vio- linist and pedag.og, died on November 15 at Lau- sanne, Switzerland, at the age of 71. He was in- ternationally known as TIIE MUSIC TEACHERS NATIONAL AS- Oscar G. Sonneck, when he takes up his soloist, ensemble player, Publications hold its annual conven- new duties as Director of teacher, and author. He SOCIATION will at the Hotel of the House of G. Schirmer, Inc. Mr. was born in Moson, tion in Detroit, Michigan, Flesch 15. 1945. A Schuman is a graduate of Columbia Uni- Hungary, and studied in Statler on February 13, 14, program has been announced versity and the winner of many prizes. Vienna and Paris. Prom 1924-28 Profes- tentative which gives promise of containing much sor Flesch was head of the violin depart- for those at- GABRIEL GROVLEZ, composer and con- in of value and entertainment ment of the Curtis Institute of Music ductor, who in 1921-22 and again in are Jean Berger, Louis Gesensway, Wal- tending. Philadelphia. He was also first violinist 1925-26 conducted opera in Chicago, died ingford Riegger, Jose Ardevol, Juan A. of the Curtis Quartet. Following this, for 24 in Paris, aged 64. He was Santoro. violin- on October years on the faculty Garcia Estrada, and Claudio ANGEL REYES, Cuba’s foremost a number of he was a native of Lille, France, and studied at ist, was the recipient, in October, of a of the Berlin Academy of Music. the Paris Conservatoire under Lavignac, BELA BARTOK’S Sonata No. 3 for violin unique honor when he was presented when Stradivarius Gedalge, and Fame. ROBERT DOELLNER of Hartford, Con- alone was given its world premiere with the famous Wilhelmj Yehudi Menuhin on violin to be used by him throughout his necticut, and Camargo Guarnieri of Bra- it was played by MARCEL DUPRE, in- his New York recital. professional career. The violin had been zil are announced as the winners in the November 26 at ternationally famed con- purchased recently by Thomas L. Fawick, first All-Western Hemispheric Composi- cert organist, has been RICHMOND EBERHART, an industrial engineer of Cleveland, who tion Contest sponsored by the Washing- MRS. NELLE found alive and well at known writer, who attained spe- took this means of making the rare in- ton Chamber Music Guild and the RCA- widely his home in the Parisian as the author of the lyrics of strument a symbol of the growing mu- Victor Division of the Radio Corporation cial fame suburb of Meudon, to Charles Wakefield Cadman’s sical association between Latin America of America. The two awards of $1,000 most of which he had retired including At Dawning and From and the United States. each were contributed by RCA. Both win- songs when the Nazis invaded of the Sky-Blue Water, died ning compositions will be performed by the Land homeland. Cut off conductor-husband, his Music Guild String Quar- November 16, at Kansas City, Nebraska. LILY PONS and her the Chamber entirely from the out- Dupre years she had collaborated Andre Kostelanetz, have cancelled all of tet in Washington and in New York City. For many side world, he was for- with Dr. Cadman in all of his important their opera, concert, and radio engage- Six other quartets were given honorable tunately permitted to carry on his work ments, to embark on another overseas mention. The composers of these works works. in spite of the Nazi regime. He completed tour to entertain service men—this time the editing and publishing of a twelve- in the European and the China-Burma- volume series of the complete works of India theaters of war. They plan to leave Bach, a project on which he has been some time in December, to be gone fifteen (Competitions working throughout his career. weeks. DR. ALVIN KRANICII, pianist, composer, Conn. THE LYRIC THEATRE, in Baltimore, AWARD of one hundred dollars Edgewood Avenue, New Haven 11, and teacher, son of Helmuth Kranich, AN Maryland, known as the “Music Hall,” setting of the Forty-eighth Psalm, founder of the piano firm of Kranich for a OF A $1,000 WAR BOND for A PRIZE celebrated, on October 31, its golden an- October 28 in to be written in four-part harmony nation-wide com- and Bach, died on New will be the award in a niversary. on October 1894, congregational singing, is offered by Mon- It was 30, York City. He studied with Anton Rubin- petition conducted by the Cincinnati College. The contest, open to all that the opening concert was given by of Grieg, Brahms, mouth Svmphony Orchestra, for the writing of a stein and was a friend composers, will run until February 28, the Boston Symphony Orchestra and six “jubilee Overture” to celebrate the fiftieth and Richard Strauss. and full particulars may be secured vocalists, of Nellie Melba 1945, anniversary of the orchestra, which takes two whom were addressing Thomas H. Hamilton, Mon- by place during the coming season. The com- and Pol Plangon. Many famous artists THE BALDWIN -WALLACE CONSERVA- mouth College, Monmouth, Illinois. American citizens petition is open to all and organizations have appeared in this TORY of Music at Berea, Ohio, will pre- between ten and works submitted must be auditorium, whose superior acoustical 15-17 its fifth for the selection of an sent on December mid- A CONTEST in length and written and fifteen minutes properties have brought it world-wide music festival, consisting this year American student song, intended to pro- celebration. year especially for this anniversary mote the ideal of solidarity among the distinction. of four concerts devoted to works by student body of the Western Hemisphere, AN AWARD OF $1,000 to encourage French composers. American Union. in gen- is announced by the Pan “the writing of American operas DR. PAUL CRAENER, will divided is The competition, which be eral, and of short operas in particular,” well-known German THE LOS ANGELES MUSICIANS MUTUAL first national and the into two stages, the announced by the Alice M. Ditson Fund composer, conductor, PROTECTIVE ASSOCIATION, Local No. 47, in scope, will be con- the Metro- second international of Columbia University and and teacher, died re- American Federation of Musicians, cele- with the cooperation of the Min- Opera Association. The opera must ducted politan cently in his native brated its fiftieth anniversary on October Education of ister and Commissioners of be not over seventy-five minutes in length country, according to a 30. Among, those taking part in the very the American Republics. The closing and by a native or naturalized American all the Ger- extensive musical program were and full details September 1, report given on Rudy date is February 28, 1945, citizen. The closing date is Pan man radio. He was sev- Vallee, former Coast Guard band leader; may be secured by writing to the 1945 and full details may be secured from Asso- of age Baker; Erskine Hawkins; American Union, Washington 6, D. C. Eric T. Clarke, Metropolitan Opera enty-two years Kenny Jack ciation, Inc., New York, 18, New York. and was a former pro- Riley; Xavier Cugat; and the Peter THE SIXTEENTH BIENNIAL fessor of composition at Meremblum Symphony Orchestra. A con- the THE TWENTY-FIRST ANNUAL YOUNG ARTISTS AUDITIONS of the Leipzig, Conservatory. From 1896 to cert was given by the combined Los Music Clubs, CONTESTS for Young Artists, sponsored National Federation of 1908 he lived in London, conducting at Angeles County Band and the municipal Society of American Musicians, is carry awards of $1000 each in by the at which 1944-45. The the Haymarket Theatre and teaching bands of Long Beach and Santa Monica. and voice classifications, will announced for the season i no, violin, D a voice, violin, the Royal Academy of Music. City in the spring classifications include piano, be held in New York THE STONEWALL BRIGADE around violoncello, and organ, with various ages BAND of 1945. State auditions will begin of contests will begin has been Staunton, Virginia, will celebrate district auditions, for each group. The WILLIAM SCHUMAN, who in March 1, 1945, with about February 1, 1945, and all entries Lawrence CoUege 1945 the one hundredth anniversary the Stale winners are eligible teaching at Sarah of for which details the Nationa must be in by January 15. Full succeeds to a post that has its continuous organization. following. The exact date of since 1935, Originally All with entrance blank may be secured from in the as the Mountain will be announced later. been held by such eminent figures formed Saxhorn Band Auditions Mr. Edwin Gemmer, Sec.-Treas., 501 from the National J. Carl Engel and l Continued on Page 55)' rlH-iils may be secured musical world as the late Ferry, 24 Kimball Building, Chicago, Illinois. Chailman Miss Rath M. "FORWARD MARCH WITH MUSIC’ JANUARY, 1945 . -

Bernard lAJc,ci^ness .TP ID) If f-^uilicciliond HBWSStiCB ®g7®Sfl£0©

«A«MSS ADULT PIANO COURSE Vols. I and II Published Monthly I A first instruction By Theodore presser book for Adult, Iligli School, and College Students 1 Co., Philadelphia, pa. \ featuring the highly effective Chord Approach. Designed throughout to appeal to the older beginners, the course progresses in an easy, logical EDITORIAL and and precise manner with ample foundation material at each advisory staff phase, to provide substantial progress. DR. The musical content includes JAMES FRANCIS COOKE, Ediior a choice selection of Classical and Operatic melodics as well as favorite Guy McCoy, Assistant Editor folk songs and extracts from standard piano literature, all of which Dr. Rob Roy Peery, are especially arranged and edited. Price, One Dollar per hook. Editor, Music Section Harold Berkley Edna Fort a bCt C CSt ei ro Dr. N - Clifford Page ... Henry S. Fry Georger io r ^ t , ONE, Dr.1 Nicholas| , C- Knck Peter H h £? FOUR, FIVE PIANO ROOK Douty Karl W. Gehrkens Dr. Guy R d Mater William D. Revelli By Bernard Wngnrss and William B. Coburn. A practical approach to liar- -Founded 1883 by monv study for the advancing student. Theodore Presser- An indispensable aid in developing and furthering student proficiency in fluent chord performance. The procedure of this hook is unique, in that as soon as a principle is stated, it is used as aSecondo to the melody played by the teacher. C onlenls j^or ^cinucuTj, 1945 I PLEDGE ALLEGIANCE VOLUME LX11I, No. 1 A patriotic album for all Americans. PRICE 25 CENTS Contains easy piano solo arrangements (with words) of eight famous national THE WORLD OF MUSIC . songs. Fingered and phrased especially for leaching purposes. Beautifully illus- EDITORIAL trated in Red, White and Blue through- out, this folio makes a delightful, inter- Dawn on the Horizon esting and appropriate gift for every 3 young student. Price, 35 cents. MUSIC AND CULTURE Fresh Will Winds Blow Again , Dr ’ Wnl Teachers—send a aLaemar S for complimen- The Ladder to Virtuosity chweisheimer 4 c ,y ."’ now to teach the How to Mischa ADVLT Rehearse Elman 5 BEGINNER. An Informal Music as a Living, Human Donald. Voorhees Discussion by Element 7 Bernard Wagness. J “ lius Ma MUSIC IN THE HOME “feW 9 Master Performances Recorded for the New Year " 738 So. ' ’ Peter Campbell Ave. The Etude Music Lover's Bookshelf Hugh Reed 10 Meredith Chicago 12, Illinois. MUSIC AND STUDY Cadman li The Teacher’s Round Table ' Dr. New York’s First Opera Guy Maier 12 Harry Van What Nazism Has Done to German Song...... Demark 13 The Value of Vocal Marshall Technique Bartholomew 14 Make Yourself a Better Sight Francis Reader Rogers 15 Are Organists Musicians? Marguerite R Ullman 16 First Steps in Building a School Orchestra oioland W. Dunham Dr 17 The Piccolo - Clyde Vroman 18 Repertoire Maintenance Laurence Taylor 19 Questions and Answers Hate Merrell Wells 21 WANTED./ Voice Training Through Emotions Karl W. Gehrkens The Immortal "Pat” Seam ••...!!! an Gams 23 MUSIC Doron K. Antrim vMmm INSTRUMENTS Classic and Contemporary Selecti Struttin’ Along We will buy and pay you highest cash prices for the following instru- Valse Charmante •• •.••Ralph condition or age: Federer ments regardless of Serenade Bresilienne Louise Godfrey ogle CORNET TENOR SAX MELLOPHQNE In the Garden TRUMPET BOEHM FLUTE FRENCH HORN Waltz, from "Faust” PICCOLO TROMBONE DRUMS Turkish Rondo, from Sonata No. 11 in A Major' ALTO SAX BARITONE MARIMBAS Taps! Military March. . • • W. A. Mozart CLAR8NET (Boehm or Bb) At Prayer En p aelmann No string instruments, pianos, organs or C melody saxophones wanted. ^ Enylish Arr - by Fill in (print) and mail at once coupon below. Attach letter giving Vocal and Instrumental Compositions N. CUfford^ZPage 3G further details if you wish ... or if you so desire, ship us your instru- Thoughts of a Sentry While Walking express collect for our best offer. If our offer is not acceptable to Post (High Voir^t ment Sabbath Mood (Organ) '• you, we will return instrument promptly at our expense. Harvey Gaul We rank high in the band instrument field having operated over Sleepy Time (Violin) S<“ 15 years. Have many thousands of satisfied customers and can furnish .Leopold J. Mte Delightful Pieces for Young Play BeI!i“o™7 7 best of references. We give you prompt attention, and remember . No. 1 Parade of the Tinkertoys Musette S,“f« WE $ PAY $ CASH $ King 4, AND ALL SHIPPING CHARGES Elizabeth The Little Nut Tree L. Homon li °“ ** THE JUNIOR ETUPE Robe 44 Elizabeth LYONS Bill INSTRUMENT 00. MISCELLANEOUS Gest 59 14 W. LAKE ST., CHICAGO 1, ILL. (Est. 19281 DEPT. 536, A Quiz to Test Your Musical Knowledge

’ Alice Edgar Stillman Kelley . Thornburg Passes Smith f, TTlail JAH Cotifmm Jjadaif. If Parents Had Had Their Way g New Keys to Practice Myles D. Blanchard 8 LYONS BAND INSTRUMENT CO., Dept. 536, 14 W. Lake St., Chicago 111. Katherine 1, Ruth Heyman—A Tribute. Maison on Please send me full particulars of your best offer on the following Voice Questions Answered Arthur Farwell 4k Organ and Key Efj Choir Questions Nicholas Bb OC Db Answered " Doutv 47 Violin Questions Answered Dr. Henry S. Fry 49 8 51 SKA*r lanmr, M, «*>«v Ac ‘ m4 o r , A mono 5, IS7Si Original Cost U. S. A. and - GreatLX’KfJiBritain. ^

My estimated value . iYj CITY STATE aytar. All other countries, Canada’C ' ‘ niuf‘ ’ $3.50 a year single N t * opy, Price t , " TORW" AHD MARCH I Y'lTH MUSIC” OOKING OUT on New Year’s Editorial morn toward the horizon Id and the dawn of the coming day, what have music makers here music have prospered more than in America in sight for the future? ever before. In fact, in some parts The great question of the hour of the continent, there is a dearth for millions of people in all lands is of teachers to fill the actual needs. ),ciwvt on the onzon of The Etude “After the war—what?” There is the 2 For instance, a reader usual small army of misanthropes in Saskatchewan, Canada, writes: who can see only more and more “Allow me to congratulate you on disaster. But that is not what his- the excellent standard to which you tory reveals may become the out- have brought The Etude. I never miss reading your editorials first come. We all know that it takes years to heal the scars of war. But after a great world convulsion, such thing, and find them always uplifting and inspiring. as we have witnessed, the story of Man’s life on the planet always “Our great trouble here in western Canada is lack of music teachers. points to periods of rebirth, such as the days of the great Renaissance. I live on a farm near a fairly good town with a population of 1,000. It All musiedom may be proud of the part that music has been priv- has not even a piano teacher who teaches above Grade Four. Even before ileged to play in the Great War. In a letter to Major General P. A. the war it was the same way. Warner, P. N. G., Ret., the Acting Secretary of War. John J. McCloy, “I have been wondering how we can best get our governments inter- writes regarding the musical activities of the troops: ested in furthering the interests of music.” “Music has been definitely recognized as an integral part of maintain- Hundreds of thousands of people have attended the open-air concerts this ing soldier morale, and it is the desire of the War Department to en- of the best music in centers all over the country year, more than courage group-singing on the march, in isolated areas, in occupied ever hitherto. The reverent appreciation of better music is one of the territories, or wherever troops may be stationed. most stimulating signs of our cultural advance. Thousands have been “Each soldier receives one copy of the ‘Army Song Book,’ which is a turned away from open-air concerts this year for lack of space. compilation of familiar songs. ‘The Pocket Guide for the U. S. Army In schools, colleges, and conservatories the attendance in music de- Song Leader,’ with the motto ‘A Singing Army is a Fighting Army’ has partments has been unprecedented. Few people realize that there are been issued to 5,000 officers who have been trained in song-leading at music conservatories in America with an attendance of one, two, and the School for Special and Morale Services, Lexington, Virginia, and is even five thousand students. Your editor for years has repeatedly made issued to the enlisted men on the basis of one per squad. Added to this addresses at American universities and colleges in many parts of the discovered that in most is a booklet entitled ‘Training the U. S. Army Song Leader,’ which is country and time and again has institutions, available to every song-leader instructor. the applications for competent graduates to fill positions have been “Over 175,000 V-disc records containing the men’s favorite music and greater in the music department than in any other branch. songs are sent overseas monthly and are used extensively.” The restrictions upon the manufacture of musical instruments have This work in the Army is only a part of the war musical effort, through been lessening gradually since last July. The great dearth of pianos has which many millions of dollars have been raised for war purposes, to been a handicap because, owing to the piano makers’ skill in handling- say nothing of the thousands of miles traveled by great artists visiting woods and metals, the piano factoi-ies have been invaluable in the manu- army camps all over the world. facture of transport gliders for military purposes. Thousands of gliders But when the war ends, the gates of this, our man-made Hell, will that have rendered indispensable service at the fronts were the result accumulated experience of American piano close and it will become the responsibility of the survivors to see that of the men. they remain closed. Meanwhile, during these terrible days, many are Meanwhile, the business of reconstructing and repairing instruments has risen to unusual importance. Leo Cooper of Chicago still blinded to the astounding fact that the vast increases in mental has been en- deavoring activity, stimulated by the to establish a Na- war, actually have speeded up tional Association of Musical human invention in an un- Instrument Repairmen, to in- heard of manner. This, also, sure the public a uniform, su- has affected our economic and perior repair service which might, as a protection social existence. It makes the to mu- coming dawn a matter of sical instrument owners, in- clude a thrilling excitement and de- guarantee for work performed. light for all, save those whose imaginations have been in- As soon as possible, piano manufacturers will fested with fears, hates, and begin mak- ing instruments selfishness. on a large Sooner or later, if we wish scale. The factories, according to the plans reported by to be happy, we must adjust Mr. Philip of ourselves by straight thinking, Wyman The Baldwin Piano Company, will to the world as it is. First of not need to expand in size, as all, we must recognize that wartime increases have taken we in America are living in a care of commonwealth. That means that. "They will, however,” he remarked, “in that we must serve the com- all probability mon weal or welfare of all, if be obliged to resort to the wartime system we hope to lead a prosperous of day and night shifts, to fill the and joyous life. We must help inevi- in- table demand which is the victims of battle and sure to come for both spire youth to avoid the repe- lower-priced and higher-priced tition of such a disaster. instru- ments.” In music in our country we As with pianos, have reached a point at which makers of all other types every American musician of instruments will also be “put to it” must feel taut with the pride to meet the needs of thousands now, as never before, of new that students. Remember, the practical value of the sub- the whole world, smitten lime art has been realized with the fatal disaster of war, everywhere. Never in the his- THE COMING DAWN will be in no position to States has meet all tory of the United Humanity is looking and praying for a new and glorious tomorrow. This painting was the circulated practical calls tor all greater demand created for the great pharmaceutical firm of E. R. Squibb and Sons and widely kinds ot there been new materials, good music. Teachers of as their contribution to the faith and hope of the American people for an exalted future. including' new for (Continued „„ poqe 52) JANUARY, 1945 ”

Music and Culture result ol effective sunspot radiations) . Earth stormi- ness, at any rate, seems dependent to a considerable degree upon sunspot activity. Clarence A. Mills Pro- fessor of Experimental Medicine, -University of Cincin- “ convinoed, that greater sunspot activity does 2tend to bung cold and storms to middle-temperature regions, and he believes that economic developments are indirectly dependent on periods of exceptional Fresh Winds Will Blow Again spot activity. Tastes are different also in seasons. Peter Ilicli Tchaikovsky wrote from Simaki in September 1879- y h Eray aS *“*»' 1 them. A Discussion of Music and Meteorology The be'timdnf„r )

with, its tender, melancholic^, “as A Physician Tells How the Weather power to fill me with “tai calm and happy feelLgs.’’ April or "Gets Gibraltar? on Composers’ Nerves" However, it is not easy for musician* , , words what they feel and represent in music p Chaliapin, the V" Russian bass, once heard Mo^ssorgS playing a piece which he called The Strait* S , tar. After the concert Chaliapin invite? °tLe comA P°ser btf \\ Wa (clem ctr Schweidheimer, to his room, begged him to nluv tm, „• stopped him in the middle to a^k him what intewtf tion he put on such and such a passage , could not answer. There was no 7 UIGI CHERUBINI, when TJ ? ,'cn de Tremont hap- stoutly rebel, at utmost, tace S GibrsTA but the beautiful comes hard.” in the development of the pened theme. Chaliapin said to be visiting . That’ him one stormy day, raid . . “Child, the weather is abominable. For two days, to himself the music suggested the month 1J to his visitor: “You see that black cloud com- work has been suspended: the brain stubbornly refuses of AprU thaw sparrows, drifting mist in the ing up? it forest. Moussoig When passes over my it will make its service." . head me “Now you may imagine how I feel sky played the piece again and suffer again, and at the end agonies!” . . . And directly afcerward his entire when bad weather and a heavy head pull me up in he said, abashed: “You’re right—it does suggest aspect betrayed his sufferings. Very weather sensitive my music! ... I should prefer ‘0 leave here in spring the and, moreover spring in Russia-there’s was Franz Schubert. “I no GibraUai-dUdl do not work,” he said in a morning, I’m so afraid of my bad- weather idleness!” spring m it at all.” letter to his friends Bauernfeld and Mayrhofer. “The . . . “The day before yesterday I resumed composition Chaliapin quotes weather this incident to prove here (in Vienna) is really terrible and the with relish, yesterday it halted, that and today I cannot times when a composer thinks Almighty seems to have he has'expre^d forsaken us entirely. The even make a start : this a cerl sun tain refuses to shine. It is already May, and one can- godforsaken weather character in his not even music, sit in the garden. Fearful! Dreadful!! Appal- checks all spirits; rain- there is actually ling!!! For no trace me, the greatest cruelty one can imagine.” clouds and rain weigh of this in it; or, if the like lead!” mood is expressed it is Pianist and Thunderstorm Sun was important in an altogether superficial Many musicians are sensitive to the influences of for Wagner’s work. In manner We changes in see from the weather and season. The 'nervous system another letter to Ma- incident of the e musician—of all artists, in fact—is often more thilde Wesendonck he may not take sensitive o literallyY than that of other people; he is often char- said: “For my work, occasional acterized utterances by nervous and psychic hypersensitivity. too, I’m exceedingly of musicians Atmospheric on season conditions, such as barometric pressure, fond of the sun; not and weather. air electricity, 16 radioactivity of the air, and sunspots the kept-off sun, but are eertain produce wJoYh good and bad temper. The connection of at- the sun one seeks to hercondm °ns mospheric whichwmN changes with physical and psychical con- shade to pleasant cool- influence the hu- ditions man body was generally known in former times. Surgeons ness.” And at another in a particular in past "ay. A centuries did not perform operations without place: “Ah, if the sky warm and highly having found n out whether the weatherglass showed would but clear for Wind ’ theMthe L “o favorable conditions. Recently physicians have been once! How am I to put Mediterranean coun- tries, is watching these things more closely again. up with that for over called the sir- occo. A pianist, Under its well known to the writer, once had a a year? It’s no use the influence violent attack of nerves during an argument with grumbling, though; in inclination to quarreling some friends. The excitement was easily calmed down spite of sky and au- and suicide and every by some soothing tablets—but what was the cause? A tumn days, compose I kind of emo- °naldr thunderstorm was imminent and the excited man, a must.” ““ielaoreased. InIn TItalyt the sensitive and intelligent artist, had been affected be- court con- Better Look at siders fore by such storms. Persons whose nerves and temper extenuating cir cumstances depend to such a high degree upon weather conditions, the Baromeier if the siroc CO has blown have a bad time. But there is no general rule: the It cannot yet be ex- at the time ot a same plained with certainty crime. Isn’t weather conditions may excite the sensitive sirocco the nerves of one relax those of another, which part of the HAYDN'S INSPIRATION FOR "THE blowing W person while they CREATION" Jealous h“c and make High-strung, creative weather is the real Santuzza betrays the third depressed. her husband are writings of cause of ill influence When Haydn crossed the English Turiddu to minds especially hard hit, as the Channel in 1791 he passed his through severe thunderstorm rival Alfw? many poets and the memories of many musicians can on the human body a which it is said inspired him Berlioz to write "The Creation," which was not mentions the testify. and the nervous sys- produced until 1798. “paralyz- when the composer was sixty-seven ing effect” tem. Musicians like to years old. of the si- rocco during Weather-Sensitive Richard Wagner blame their occasional his stay in “blues” and depressive moods concrete, reassuring Richard Wagner, an excellent self-observer, gives on A similar effect is produced by the /ho/m Plenty of evidence to this fact. During a spring that things, such as overtension or exhaustion or night and near the Alps, Wmd which is comhimS ‘ ta teenxed with inspiration for him (1859) he wrote to work or continued worries about conceivable problems. clear air and low 411 extreI barometric pressure t™ »ely Mathilde tired, and, presumably It might be better for them to take a look at the is the Wesendonck: “I am dry hot khamsin, blowing Egypt th®e barometer, for their nervous systems probably oyl, from the onrush of Spring, have of late been very have Sahara for about 4 from fifty days in the agitated, blood.” responded conscientiously to falling atmospheric pres- the amf™ with thumping heart and boiling study showed S ' obvious reactions A scie>itific Earlier, Liszt, he had com- sure and approaching thunderstorms or to approach- insane ot th in a letter from Zurich to asylum in Cairo mmatcs of plained: deadly ing snow flurries. The sunspots are continually throw- while tw. an ‘‘x am joining battle again with my enemy, the winter.” ing off excessive heat and electromagnetic radiations seriously Wagner, in his letters to Mathilde Wesendonck, re- which disrupt long-distance telephone, tele- found and m other countries peatedly stressed the point that he could not compose graph, radio communications and which decidedly situated^ during bad weather. “Ah. how I depend upon the influence weather-sensitive people. However, it is dif- ficult to find exact scientific proof (this weather! If the air is light and free, you can do any- is still more true for a proof of the not thing with me, the same as when one's fond of me: infrequently heard belief We havf 5* We contrariwise, me, I can that the present world cataclysm might lastly . “ZyTnTks ^er if the atmosphere weighs on be the “ msuid to the weather icZinZ°Z "FORWARD MARCH WITH MUSIC !

Music and Culture

The Ladder to Virtuosity

A Conference with WUu €1:man World-RenownEd Violinist

SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT

Editorial decorum is a variable thing. In most cases, sheer courtesy demands that an artist be pre- sented to his readers in terms of an "introduction." In the case of Mischa Elman, however, any such "introduction" would defeat its own purpose. No musical reader could consider it a courtesy to be reminded of a status and a reputation that have become household words throughout the land. Mischa Elman is—simply Mischa Elman. The Etude welcomes the opportunity of reflecting his views.

MISCHA ELMAN WITH HIS DAUGHTER, NADIA

delightful and charming liars! “-yN EXPLORING the goals of music study it is playing. Train your hand to go surely and accurately encountered These I well to remember that the student has a certain to any note; to produce any tone in any position. people have a certain amount of magnetism; they talk J- amount of choice in the process. He can make “As to technic itself, only the most general counsels well; they are entertaining, even exciting, companions himself a good violinist without becoming a fine mu- can be admitted to such a very general discussion as —for a while. And then, suddenly, one becomes dis- sician; he can make himself a good musician without this. I can, however, call the most careful attention illusioned with them. Their charm has a cloying in- becoming a really fine violinist. But there the choice to good intonation. To me, intonation is actually the sincerity; they don’t keep promises or appointments, stops! He cannot become an artist without having beginning of all technic—there can be no good technic and the good excuse they have to offer gets to be a made himself both a fine violinist and a fine musician. without a basis of good intonation. Therefore, intona- bore. Their entertaining talk becomes monotonous and repetition, Let us examine the possibilities and the limitations tion should be studied as consciously and as carefully one senses, with its that it is based on effect truth. of these categories. as any technical point of finger fluency. How can one rather than on And so, while admitting all their charm, one lets them go “The good violinist is one who, from the purely study intonation? By practicing slowly and with the their way and seeks sincerity. violinistic point of view, manipulates his instrument sharp alertness of ear mentioned before. companions of greater process fluently and well, and draws from it tones, passage “That same can be duplicated in art. No Musicianship Important work, shadings, dynamics, and effects over which he matter how much magnetism a performer may have, has perfect control. In other words, the purely violin- “I.t is a fact that we observe only as much as we no matter how skilled he may be in technical fluency, unless bases his istic approach is a mechanical one, involving only train ourselves to observe. A great doctor or a great he message on sound, honest, careful those masteries which have to do with the releasing detective, both trained to note details, will see con- musicianship, he becomes a charming liar in a musical sense, tire of him. of tone and the developing of tone into technique. siderably more on entering a room than will the aver- and we A musical liar is simply a player who does not tell the truth of the Now this mechanical foundation is of great impor- age person who has never been at pains to train his music he plays. Perhaps he makes actual tance. It has little if anything to do with musician- mind to any special effort. This extra ability to observe mistakes in the notes; into he is guilty of technical incorrectness; ship still it serves as the only language through which and note must be trained the ear of the violinist. perhaps per- ; musicianship can be expressed. As he plays, he must learn to challenge each tone he haps he takes liberties with the composer’s indica- all events, he is not adhering faithfully “The first task, then, of the ambitious student is draws for absolute purity of pitch. tions—at to will cultivate the spirit of the music and the meaning of the to make himself a good violinist from the sheerly “Careful practicing the ability to hear man tell an entertaining technical or mechanical point of view. This involves a each note in its individual purity, without being af- who wrote it. Thus, he may story, it will not be the true story of the music number of considerations. The most comprehensive, fected by its relation to the passage as a whole. For but announced his program! perhaps, is to take nothing for granted; to neglect interpretative purposes, one must hear tones in terms on musical phrases they build—but for purely none of the violinistic abilities one possesses, either of the Maintaining a Balance naturally or as the result of hard work. Taking things violinistic and technical purposes, one must hear individually “The first requisite of good musicianship is absolute for granted is an easy error to fall into! The student, phrases in terms of pure tones! That is the honesty—honesty with the composer and his in progressing from problem to problem, tends to con- only one reason why violinistic and the musical music, with oneself. This means no centrate on the new work in hand, assuming that the approaches to study are so different. Thus far, we and also honesty specula- tion, no depending on ‘effects’ or charm—or even difficulties he has already surmounted will remain in have been considering ways of becoming a good on chance that the audience may not recognize that happy state of well-being in which he last took violinist—which need have nothing to do with great the pos- sible slips! How to strengthen musical honesty? First notice of them. The sad truth is—they will not! Noth- musicianship all, by mastering absolutely and completely, every ing keeps itself up; everything must be kept up by “Working the other way around, now, we come to of printed score notes, rests, constant and assiduous practice. the musicianship—which is not necessarily bound up least detail of the — indica- with violinistic surety. We have seen that the essence tions, everything that the composer has set down. The habit of A Note by Note Analysis of this violinistic surety is the ability to play good, player who develops the meticulous honesty printed page is on the highroad “Thus, the wise student develops a sort of House- true, fluent tones. Yet we have all heard violinists who with the to good Next, he must question and challenge That-Jack-Built practice scheme in which new prob- could do all that without moving us in the least. musicianship. own habits of musical thought. Does he tend to lems are added to old ones without being allowed to They are good violinists, yes—but they have nothing his they project no message. The com- exaggerate? Does he plan his interpretations in a uni- supplant them. Thus it follows that the more you to say. Musically, opinion in such a case is that such players ladk fied and balanced way? Is he guilty of any lapses of learn, the longer you practice. Violinistic facilities mon This mysterious quality of ‘personality’ good taste? Bad habits of this kind crop into nearly that are not kept up develop the eerie habit of van- ‘personality.’ sooner or later. to be the source from which spring mean- everyone’s playing It is no disgrace ishing, suddenly and completely! Then the student is thought the move to get a bad habit. The danger is in keeping wonders what has happened to that beautiful staccato ingful expression and human power to one hearts. To a limited extent, this is true. But through failure to recognize it and weed it out. Thus! he practiced so carefully—and that he neglected just human the beyond those brief limits, the ability to convey a mes- honest musicianship involves a constant checking those few weeks that he was working so hard at up sage grows out of musicianship. Now musicianship is of one’s playing habits. part of that new sonata ! legato serious lapses of good all a mysterious ‘gift’—it can be cultivated, “One of the most taste “To attain and maintain violinistic surety, I recom- not at and tended; indeed, it must be, if the goal of one that can mar an otherwise well-planned perform- slow practicing. I believe in taking the music cared for, mend ance—is lack of balance, of proportion, in fitting note, correcting as one proceeds, and music study is art. to- apart note for various parts of the music. one's own "In business and in social life, we have all of us gether the Let us suppose keeping the ear alert to the actual sound of

" MARCH WITH MUSIC” JANUARY, 1945 FORWARD Music and Culture It is the business of the sincere musician to find the unity of concept that will bind his interpretation into A Quiz to Test Your an integral whole, and to gauge his contrasts in rela- tion to it. The good musician will school himself to hear effects that are in bad taste. He will avoid bad Musical Knowledge for instance, that an andante passage is followed by shifts; he will be careful in his use of the glissando, an allegro. Somewhere along his path toward mu- realizing that mere slidings'to a note do not put gen- sicianship, the player must learn not merely how to uine feeling into that note! In a word, he will know U Mice Shornlura Smith play an andante and an allegro, but how to conceive that cheapness of effect of any kind never succeeds his interpretation as a whole so that the balance be- in touching people’s hearts. tween the slow and the fast parts may be maintained. “Thus it is evident that a person can be a very good E OFTEN HEAR the term “all-around musi- “An over-slow andante followed by an allegro that violinist without having sound musicianship; and that cian” in speaking of someone whose musical without gain- runs away with itself jars the listener, spoils the just a person can be a fine, honest musician W knowledge has broadened to include many technical side of violin playing. proportion of the music, and defeats complete hon- ing mastery of the phases of the art. It is the awareness of the little artist, in the truest esty of expression. Certainly, an andante means a However, neither one will be an things, the small differences and similarities that dis- artist combines mu- slow part, and an allegro means a fast part—but In and best sense of the term. The tinguish the one of greater learning. Here is a quiz honest, sin- addition to the abstract, dictionary definitions of these sicianship with violinistic skill. He has an that1. will enable you to check yourself on a number of musical message to convey, and he conveys it by little items that you terms we must consider their individual application to cere 2. may know without realizing that fluently, gram- know. each passage where they occur. Thus, it is quite pos- speaking the language of his medium you If you make a grade of 90 per cent you are artist, then, works in a dual observant and have a sible that an andante in a movement that is very slow matically, elegantly. The 3. retentive memory. 85 per cent is and heavy throughout and unrelieved by contrasting sense. He trains his ear to alertness in technical mat- still good. 75 per cent leaves room for improvement. 4. tempi, might be taken more slowly than an andante ters—and immediately trains it to drop technical pre- Below 60 per cent should indicate that you have been solved, and in music of a different color. occupations, once the problems have been overlooking a good many things. If you are 50 per cent right “Indications are chiefly important for marking the to listen with equal alertness to purely musical mat- you can increase your knowledge with a little Only the dual contrasts of mood, feeling, shade, and color. There- ters of phrasing, coloring, and meaning. effort. Less than this might mean that you will do violinistic skill pro- well listen more; fore, the meaning of the selection as a whole must be development of musicianship and to but do not lose heart, for good determined before such contrasts can be sketched in. duces an artist.” listeners are in great demand. Which one of the three B’s (Bach, Beethoven and Brahms) was married? Which of these stringed instruments is tuned a fifth lower than the violin: violoncello, viola double bass? ’ When you think of rhapsodies, who comes first to your mind: Liszt, Chopin, Beethoven? John Field, the famous Irish composer was esne daily loved for Ms: waltzes, nocturnes polkas?

and the Melody in F, which country would b^rep?00 ep sented: England, Italy, Russia? 6. Stephen Foster’s songs are sn , — , ,, they are often thought of as: art-songs folkSlS?*lolksongs, « n 7 Which one nf tv, oco „ spirituals?

Chr tmas musio (not carols) is: Ave Maria 'it ? ' “Thehe don?” Messlah '” “The Redemp- h wMch^re famous Wr°te mi™etS sohn, Grieg, ^BoShl^Be'Th V“' Mendels- Paderewski, Schuberts h 0 iS call 'in 0ame ffl d 00pM aYTgreaTorg h “ would aS Vta dead you select as the ’ which one best*' t? ? Beethoven? Brahms, Busoni, Bach, 11. Which composer was qn VieD*i« Id called him ove<* that young and “Papa”- , i' 12. Haydn Who invented - Schumann? the6 wle \ Handel? ™otiv: Chopin, Wagner, 13. If you could buv n . choose: an Amati V1 lin which would you or an IS ,? 14. If You were 1'1 09 asked tlfe n ! though he the died at the atm c°mposer who. nineteen birty-six, sonatas for the nice had written Phonies, besides m°te than hundreds of forty sym- these would you works of say it wa°as .K*" ' which stem ? Mozart, Chopin, Rubin- 15. One of the greatest „ unfinished 0 at the composer.??’ "68 ever bitten was Was “ — * S S”Ch 6 ' WaS °ne o£ Written by tl>e Vel which the BT0 , y wntt6n in the SOngs llsted below T? ? corner . T S eighte6 ' ”th y6al : n. New^orY^ifT-'"' ST development to reat two deal of its musical pold mer^oAif Damrosch and Sr Sa»le nen ^h one Orchestra ? 18. An opera which MARIMBA VIRTUOSO is g tin 0 ^ » a wbo wa ?" ^e written by

Sr ' a barber ' 19. Samt-Saens . g.rl, who m collage and m athfel.es was a feature ice skating Charming Doris Stockton, a typical "all-American and in business was secretary to a leading railroad executive, has also starstar, basket bah andj girl.- hockey captain,P hls b _ „imba virtuoso. Her recital program in Chicago included such numbers as — ‘ ' 1° q Chopin's Etude, Op. 25, No. the pantasie Impromptu, 20. Music is Paganini's Moto Perpetuo; 2, ' MondnT° T ! Cooriccioso- composed of BrillJe, Op. 21; and Sclerro Caprice by Clair Omar Musser, all undlh, Oo to No 2: Webe?s Po/onobe picturesgue instrument to the music o! the masters. The papers called her "The indicating the' adaptability of this Marimba is becoming more and more popular. Which First Lady Oi the Marimba. " The element does continued ''FORWARD MARCH WITH MUSIC on Page 20) Music and Culture

How to Rehearse

An Interview with

&t)onaid 'Uoorlioortieed Distinguished American Conductor, Musical Director, the "Telephone Hour" and the ‘‘Cavalcade of America"

SECURED EXPRESSLY FOR THE ETUDE BY JENNIFER ROYCE

The eminent career of Donald Voorhees stands as something rounding out his serious study with very practical experience in more than a mere musical triumph; typically American in back- musical craftsmanship. He entered radio in 1925, bringing his service of his music. Since ground, mentality, and ideals, he has bulwarked himself with added skills to the first love, good American training and American methods of flexibility. Of the days of the old Atwater Kent programs, Mr. Voorhees has putting the best in music before the public Revolutionary stock, Mr. Voorhees has been making music since done pioneer work in DONALD VOORHEES AND LILY PONS possible the immense improvement in radio pro- his fifth year. At the age of eleven, he was choirmaster and and making few years Mr. Voorhees has been associated organist of the family church in his native Allentown, Pennsyl- grams. For the past the late with the "Telephone Hour" and the "Cavalcade of America." vania. While still a schoolboy, he became a pupil of must make himself completely familiar with the mean- musician s musician," Mr. Voorhees is noted Dr. J. Fred Wolle, founder of the famous Bethlehem Bach Choir Often called "the of tempo, his austere artistic integrity, ing, the sound, and the ultimate effect of the scores and one of the world's foremost authorities on the works of for his remarkable gift of instrument, his reper- he plays. Score-reading means a great deal more than Johann Sebastian Bach. So great was his progress under Dr. his practical knowledge each and wide has attracted to his orchestra some of the to cue entrances that sort of thing is Wolle that it was taken for granted that young Voorhees would tory of scores. He knowing how — outstanding instrumentalists in the world. He has no pa- become his successor. most mere mechanical charting! affectation or display; he avoids stylized and over- Studies alone, however, were never enough for Voorhees. At tience with The essence of score-reading is the ability to look arrangements, and considers attempts to exploit twelve, he was playing the piano in the orchestra of Allentown s orchestrated at a score and to hear, inwardly, exactly how that con- was the conductor's personality an affront to music and public alike. Lyric Theatre, and became leader of that orchestra while he glomeration of written notes must sound in perform- Etude has asked Mr. Voorhees to outline those points that still a junior in high school. At that time, the Lyric Theatre was The the good conduct of an orchestra. ance. Every tone, every shade of dynamics and color, used by musical companies for tryouts prior to their Broadway he believes essential to Editor's every rhythmic accent, every combination of orchestral openings, and leading personalities of the Broadway musical — Note. harmony must be heard and registered. world came to be aware of the abilties of young Voorhees. As a This, to my result of such awareness, Voorhees got a sudden telephone call, mind, is what conducting really means. Baton-waving asking him to hurry to New York to direct the "Broadway INCE THE RESPONSIBILITY for orchestral is the least of it! This ability to scan a score and hear at the Winter Garden. He the distinguishing Brevities," starring Eddie Cantor, performance rests squarely upon the shoulders a symphony is mark of a good was then seventeen years old, probably the youngest conductor conductor just as a certain construction of the conductor, the essence of the conductor’s — of vocal ever to assume responsibility for a great Broadway production. S the distinguishing of the said to consist of two problems. First, he cords is mark singer. With- the next few years, Voorhees remained in "show work," task can be For out this ability, the ambitious student had better turn his gifts to other departments of music. To offer an illustration of how necessary this ability is, let us con- sider what I call musical proofreading. In dealing with manuscript parts—of an entirely new work or of a more familiar work that is played from handwritten rather than from published pages—one often finds that slips and inaccuracies have crept into the copying. Thus, the players may be making mistakes through no fault of their own. How can those errors be detected and weeded out if the conductor has not absorbed the full score so completely that he can put his finger on the wrong parts the moment he hears them? And how can he do that if he has not mastered his score when he stands before his players at rehearsal? In perfectly accurate parts, too, the conductor needs exactly the same knowledge of his score and of the effect he wishes it to pro- duce, in order to state the full message of the composer

Two Schools of Thought In second place, then, the conductor must transmit his complete in- terpretation of the score he has absorbed, to his men. Now there are two schools of thought in accomplishing this. One inclines to the inch- by-inch'method. That is, the conductor takes his men through five or six measures and stops short at the first discrepancy to clear it up before proceeding further. Then he goes through another few meas- ures and stops again for more correction or advice. Thus, the entire picture of the score is broken up for the men into a series of uncon- nected details that never hang together as a single tonal unit. Per- sonally, I do not favor this method. I prefer reading through the entire score as a whole the first time we rehearse it. Certainly, this must be no hit-or-miss affair-. I explain the interpretation I want, and then I ask the men to read through the full score with me. If the score is new, or difficult, some of the there, but that doesn't matter. men may flounder here and They will find themselves after a moment or two, and carry on from there. The hearing the point is that the men have the chance of work as a whole over-all picture of it. I make notations, and of forming an in the first retouching, and devote DONALD VOORHEES AT WORK reading, of those places that need the remain-

JANUARY, 1945 'FORWARD MARCH WITH MUSIC 7 ” t

Music and Culture perfect correctness if the balanced ensemble of tone the courtesy of reprinting the tribute which this seems to require it. Finally, then, the orchestral player representative metropolitan paper paid to him. must keep up his technical agility. Edgar Stillman Kelley, dean of American In order to maintain a high level of intonation and composers, ing rehearsals to polishing up details. this time, whose incidental music to the play “Ben for But agility, the player must practice. Rehearsal activities Hur” the details fit into a musical picture that has already orchestra, chorus and soloists received more than 5,000 do not replace private practice. It is quite possible been formed, the of the work is performances in English-speaking countries, died and completeness that four days of rehearsal might be devoted to a No- not marred. Inclining to this over-all myself, vember 12 at the Hotel Great Northern after method work requiring no technical velocity whatever. Cer- a long illness. I naturally advocate it to student conductors. His age was 87. tainly our player is busy at his instrument during A scholarly musician who received The student conductor, in essence, should be re- of rehearsal parts of his many honors for those four days —but those his works, which, garded no differently from a full-fledged maestro. were composed in a variety of forms, equipment that the rehearsal does not touch must be Mr. Kelley That is he his work the same studied music with leading to say, must bring to kept in good order besides. As a general thing, or- teachers here and abroad. He held a life composition musical sureness developed through the same absorp- half the fellowship chestral musicians should practice about presented to tion of the scores he directs. The fact of his him ha 1910 by Western College mere amount of time they devoted to solo practice before at Oxford. Ohio. In latter years all of his birthdays being a student will place limitations upon him, and entering orchestral organization. Musically, there were marked an by the performance of anyone who hears him will make allowances for such one of his works by a prominent should be no difference between the knowledge, back- musical organization. limitations. But the point is that his limitations should ground, the glamorous soloist and and standards of On the occasion of never take the form of clouded, muddled musical Mr. Kelley's eightieth birthday the conscientious orchestral musician — indeed, the Dr. Walter Damrosch. thought, or uncertainty as to the meaning of his scores. a close friend, played for boundary lines between the two are steadily becom- the former's “Gulliver" symphony in a National ing fainter and fainter. Orchestral concertmasters like Broad- casting Company broadcast and also directed the Learning to Conduct Fradkin, Totenberg, and Spivakovsky are well known New York Oratorio Society in Mr. Kelley's choral compo- The question of how one learns to be a conductor as soloists. sition “Pilgrim's Progress.” is one that I approach with trepidation. My best be- But the best orchestra, made up of the most musical lief is that one learns by probing one’s own abilities and conscientious players, becomes expressive only in while conducting! Aside from the all-important task proportion as its conductor expresses music. Thus, In celebration of of mastering scores, there is little that I can offer by orchestral work must center about the activities of his eighty-second birthday more than 300 way of counsel. The motions of conducting are simple the conductor—and the most important points upon musicians, composers and music lovers gath ered at a luncheon enough for a child to master within an hour. But the which he can concentrate are the complete absorbing given by Dr. John Warren Erb director of instrumental ’ application of those motions is another story—and this of his scores, and the giving to his men of a complete music for New York Trniver sity, at the Great Northern the young conductor must learn through experience. picture of the music they are to play together. Hotel, and heard as a special tribute the Musical Perhaps the secret is to be ready for any emergency. Arts Chorus of 120 voices sing Mr. Kelley’s choral Suppose a certain sequence suddenly blares forth too work, “The Sacred Choruses " On April 1937. five loudly at rehearsal; the only thing the young con- 9, days before his eightieth bTth day the Cincinnati Symphony ductor can do is, first to know at once that it is too Orchestra gave •world premiere of his tte loud, and then to get the men to tone down. The exact symphony “Gulliver a, to Lilliput,” age which Mr. Kelley - gesture he may decide to use is of comparatively small Edgar Stillman Kelley Passes had cnmn^ °L His Symphony No. m importance. Indeed, the emergency may inspire an en- 2, “New England5 ” JL !?ne best known of his of the major works . tirely new gesture! But once he has met and solved The’ m™ Were HE ETUDE and its readers have lost a distin- titled after mottoes taken such a problem, ha the split-second of time that it from S tinguished and valued friend in the passing of diary. The symphony Mayflower should take to recognize and correct the error, he has had its first Pnprfn,?ormance American composer, Edgar Stillman Norfolk (Conn.) at the learned a great deal more than gestures. He has T the noted Festival in 1913. Kelley; and we publicly express our deep sympathy Other works which That, of were included i learned how to take hold of an orchestra. in timU larger to his gifted wife and companion so long associated were “Alice in Wonderland " lorm course, is the important thing—and the young con- a mm with him in his work. Rather than write a personal orchestra performed for Smte for ductor can master it only by means of a full and un- the’ firstKm' fit Festival in at the Norfolk obituary, which might be colored by our extended 1919; “Pilgrim's .? shakable knowledge of his score. PvTT hlch friendship, we have asked The New York Times for its premiere at the received Turning now to the themselves, I believe Cincinnati 'f players “Wedding Val iu 1918 Ode" for orSSa cn . and that the first requisite for a good orchestral musician anti He also wrote several tenor sol°- is flexibility—the ability to combine a sure knowledge songs in dU “ Israfel.” as well as g EM°rado and of good music with a readiness to follow any inter- choM sm m gS 0f) Captain,” and Poe’s Whitman ’s “My pretation which his conductor gives him. Some of our “The Slppr? -> Born in Sparta, finest solo musicians make poor orchestral or ensemble Wis Mr F. W. Merriam, Clarence y studied under players because they are musically opinionated and Eririv « !f , His European musical N> Led°chowski. either cannot or will not subordinate themselves to a eduLtL?™* Seifriz Kruger, Speidel and received from conductor. The “rightness” or “wrongness” of the con- Finnic at many. After his return Stu«Sart, Ger- ductor’s views will come out at the performance, for to Th? an organist at San c°untry he became all the world hear judge; at rehearsals and Francisco to and and was music d °akland, not be critic for The = Calif., at the performance, his interpretations may iner “an Pranci from 1893 to 1896. sco Exam- questioned. It was during his intermit Next then, the good orchestral player to flexibility, that Mr. Kelley San and a better- studied C Francisco must cultivate a better-than-average— could Wse ^ be observed in The influence ability to read music of any style, his suitt than-soloist’s! — organized his own In glance. He, too, should comic 1890 he school, or idiom, practically at a toured the opm-eft C01 Eastern states hPany, which try to develop the scanning knack I mentioned in and power to 0 Operetta ^produce* connection with the conductor—that is, the ^eT™°? .. ' ''Puritamav™ the He served as acting ' Boston. look at a page of music and to hear its sound at profesf le orchestral a nci written symbols. The concerts at c ™duetor of same moment his eyes meet the of the v!, T Music —in 1901 diversity*“’ cl aay orchestral player must have pretty nearly impeccable 7 anaand 19021909* ra,„- sscnooSchool years he taught ^“““g the question. next intonation—which opens up an interesting piano eight t0 thts country !itl ® in Berlin, 6 C ri9 nT" m.?“nati Conservatory eaCh conlPosition Adjusting the Tone noth f nF°.Jr ch“ Usio pin the ' He orchestrally speaking? and “The „ Composed was the What is perfect intonation, and The History ®uslca right of Musica® l analysis, mean, of course, producing exactly the w* It should •‘ubcruments.” “exactly right tone” tone. But it can happen that the tone on may waver in pitch from a slight deviation in section. This the part of the other players of a given which aie even is especially true of the woodwinds stringed sections, If Parents more delicate than strings. In the Had the others Had a tiny deviation may often be absorbed by Their more difficult playing, in the woodwind sections, it is pitch. In such a to absorb or cover up waverings in case, the “intonation duty” of the other players is to pitch being sounded at that George adjust to the sum-total of Frederick Bars., players must adjust “ 1 moment. In other words, all the thing but a musician. Woulci stand have b slightly in order that the slip in pitch shall not man is able at out. Thus, the really good orchestral Ole Bull wouldTave “ phys correct pitch, to EDGAR STILLMAN KELLEY bee™ taar one and the same time to hear the Stephen Coillns ^tn from Foster produce the correct pitch, and to adjust slightly a { 8 "FORWARD /MARCH WITH MUSIC Music and Culture

Music as a Living, Human Element

The old story of Newton sitting under a tree and having an apple drop on his head is said to have resulted in his discovery of the principles of gravi- tation, leading to vast new ideas. Thousands of inven- ly jJiu* WattfM tions have come into being in this way. I never spend less than three hundred dollars a year upon new books and technical works, new musical compositions Composer, Librarian, and Musicologist Organist, and musical magazines; in fact, anything and every- thing which will tend to keep my mind a living thing. When, in the world of today, we see the forests of perfectly content with is member ol a well-known musical family Ha node. “dead” people walking around Mius MaMeld was born in Nor, York in 1893 and o for years one ol the most heard singers at when they left the William Mattfeld Me composer, and hi, aunt, Marie Mattfeld, the information they acquired admirers. Mr. Mattfeld was educated is the Metropolitan Opera Company, are remembered by many conservatory or the college, we realize that there was founded by Alexander Lambert, and late, musically at the New York German Canserratory, which something wrong in musical education. All over the 1910 he lamed the staff at The New Yor.i Public incorporated into the New York College of Music. In world of music, here and abroad, there are scores and the music dNision in 1923. In 192S he was apparr'.td music librarian ol Library, becoming acting chief ol of pathetic failures for whom there is not one librarian a! the Columbia Pro desisting System ^ ores the Broadcasting Company. Later he become National ’ individuals, themselves. They liter- has built up one ol rhe largest libraries of its kind tc me but the where, with a large stall ol assistants and arrangers. ,.e graduated insti- ally .. .:’ked for years to be from some in the world...... gave a series of, one hundred and eighteen stepped out into oblivion because From 1915 to 1932 he was a church organist in New York. He tution—and then York World's Fair; also at the various recitals "From the Organ Loft" on the air, and played at the New they thought that their preparation was complete. King and Queen of England His works include governmental receptions to foreign delegates and for the The only safe thing to say every day is, “I am pre- Hundred Years of Grand Opera in New York. A ballet, "Folk Music of the Western Hemisphere" and "A paring for a richer, finer, greater tomorrow.” hundred performances in New York in 1922.— Editor s Note. "Virgins of the Sun," received a Physicians, engineers, lawyers, editors, and other professional people keep constantly in touch with current developments through self-study, reading, the refreshing visits, travel, and special courses, as well USIC was never a foreign element to me. I do imagination of the composer when he was writing French scientist and philosopher, as by buying the very latest equipment in order that not even remember my first musical contacts. composition. The (1623-1662) said in his provincial letters: they may be in the lead. I don’t see how a music It has always seemed a part of me, like my Blaise Pascal , expect to be successful if the studio is not M “The world is satisfied with words; few care to dive teacher can hands, my features, my heart, or my eyes. It was a Re- equipped with the very great surprise when I found that most people look beneath the surface.” only finest musical instru- upon music as something added to their lives like an member, however, it is dive ments, as well as the most automobile, a talking machine, a typewriter, a steam the few who care to in their modern radio and phono- yacht, or a course in contract bridge. That is, they beneath the surface out music study who ever suc- graph which he can af- recognize it as something which does not come acquired ceed in attaining wide mu- ford. More than this, he of themselves, but which can be purchased or should have as fine a li- the will of a definite resolve. sical recognition. through brary of sheet music, Real music can never come in that way. It must As I went on in music it books, and records as a come through an irrepressible appetite for the tonal was continually revealed to and professional person in any higher sense. I always have felt that a man me that all music, past art in its other field would be ex- is a present, must contain a liv- is a musician or he is not; and when he is, he seed, pected to have. musician through and through. Now this has nothing ing element. Just as a in a I once visited a doctor whatever to do with printed notes or little blots of buried for centuries planted friend who was a cele- musical symbols on paper, used to represent this irre- mummy case, when music brated skin specialist. He element. Woe be to the person who cannot comes to life, so all pressible had a new and wonderful mere notes! of worth-while character see behind the X-ray machine which had has life in it and needs cost nearly three thou- Musical Beauty Through Imagination only the hand of the artist sand dollars. He had if the average person saw only the printed to resurrect it. What bought it because he felt book, and never grasped the poetry, the While I was connected alphabet in a that he was not justified and their relation to the beauty with the vast music depart- power, the grace, in accepting certain pa- paper? uncle, William ment of the New York Pub- behind the symbols on the My tients unless he had that Library, I came in con- Mattfeld the composer, once gave me a lesson in this lib machine available, a the thought tact with thousands of which I never have forgotten. I still thrill at broken-down piano, an in Arpeggios in musicians and music lovers. of it. I was studying the Czerny Etude anemic music library, a notes was very greatly shocked the “School of Velocity.” I was banging out the I sputtering radio are un- “Now, Julie, to find that when many with force. My uncle stopped me and said, fortunate signals indicat- teachers of mu- don’t you play that as if it had a title like prospective why their ing that the teacher is was like casting sic came to the end of The Wind in the Trees?" This, to me, headed for the musical days, they felt that veil. saw at once what he meant, and after student aside a I MATTFELD cemetery. The teacher in became merely symbols of they were in possession of JULIUS that the printed notes “Nineteen Hundred and a kind of knowledge which communication. daily paper, wonderful replenishing for the rest their lives. That Now” has, m the average Teachers, while insisting upon a hard and fast needed no of they had or reference sheets relating to radio. We know of one accurate as the works of a fine chronometer, is, they felt that a “method” “system” technic as his clients bulletin less inviolate and that, in fact, teacher who used to send to a of never forget that until they have tapped the which was more or must leading radio programs for the week, stressing never can bring real musical in many cases, all other methods and ideas were the child’s imagination they not be missed. You yourself can practically worthy of the waste basket. those which should to his little soul. Teach the little ones to know beauty make programs of fine recordings and have a studio the technical mechanism is like the mechanism that Always Something New “concert” twice a month to which all of your pupils clock does not keep accurate time, in a clock. If the the music on hand (miniature scores is essentially and incessantly a living are invited. Have goes too fast, it is worthless as a clock. Now music or if it lags or and follow the concert with a free dis- is growing just like a tree. It is different are cheap) , interested in the clock as a piece of deco- thing. It We are not Then watch the musical interest of your class the today from what it was yesterday. How under the cussion. only object is to tell time. And that is ration. Its develop- grow. technic. sun can the music worker keep up with the proper appraisal of the value of twenty years I was a church organist in there ment of the art without unremitting study, reading, For New no teacher worthy of the name will stop brought out a But must be on the alert for every York and each month I mimeographed youngster to deal with a musical and investigation? He

expressions of the emotions awakened Music in She Home in the com- poser by certain aspects of the three creative forces of the Universe—Nature, Life, and Love. In contrast to the gaiety and impetuosity of Carnival, represent- ing Life, this overture is more lyrical and quiet suggesting that the music was inspired “by a solitary walk through meadows and woods on a quiet summer afternoon.” This is a worthy addition to the recorded Master Performances Recorded works of Dvorak. The encore on the forth side of the recording is a tuneful Bohemian dance by Dvorak’s talented scn-in-law. Handel (arr Kindler): Prelude and Fugue in D minor from Concerto Grosso, No. 5, Op. 3; The Na- for the New Year tional Symphony Orchestra, direction of Hans Kind- ler. Victor disc 11-8621. These excerpts from one of the earliest, not the best known, concerti grossi of Handel are arranged here for strings of the full orchestra. Although one ly. Peter _Jhicj.h I'Jeecl would not deny the effectiveness of the arrangements, it should be noted that Handel .intended this music to be heard under more intimate circumstances, and that when it is played by a larger body than a cham- ber orchestra it loses some of its old-world charm. Moreover, the swellings and recessions employed h°re Mi. Kindler ALTON: Belshazzar’s Feast; Huddersfield can Orchestra. The Fugue is brilliantly played and by are not in keeplns with Handelian exciting crescendo. traditions. Choral Society, Dennis Noble (baritone) effectively reproduced with an stirring finale here which Stokowski Hanson Symphony Liverpool Philharmonic Orchestra, direction Bach builds to a No. 1 in E minor (Nordic) W has tellingly scored. The Scherzo from the Afro- played by the Eastman-Rochester of William Walton. Victor set 974, five discs. Symphony Orches- by the Negro composer, William tra, direction of When this set was released hi England in March, American Symphony Howard Hanson. Victor set 973 as the Grant Still, is of lesser import, but effective in its There is the earnestness 1943, its superbly realistic recording was hailed and seriousness of youth exploitation of the idiomatic characteristics of Negro in this symphony. finest choral reproduction ever achieved. The method Hanson wrote it in his twenty- dance music. Stokowski, who has long shown a pre- sixth year while studying of the recording has not been divulged, but it appears at the American' Academy diliction for this music, gives that in the midst of wartime English recording en- at Rome. Of Scandinavian- it a rousing performance. gineers were able to realize something which many American parentage, Hanson could not be accom- Delius (arr. Beecham) : In- listeners have previously claimed sought to honor his fore- balance be- termezzo and Serenade from plished. That “something” was a perfect bears in his first Hassan, and La Calinda from symphony tween a large chorus and an orchestra and a tonal by singing “of the the Halle solemnity, Koanga; played by austerity, realism which is outstanding. and grandeur of has been Orchestra, direction of Con- William Walton’s “Belshazzar’s Feast” the North.” Some have found English choral work since El- stant Lambert. Victor disc in hailed as the greatest this music a spiritual kin- But compared to the 11-8644. gar’s “Dream of Gerontius.” ship to Sibelius, others have For Walton These excerpts are familiar former work, the Elgar one seems anaemic. marked the Delius So- influence of has score is full of a sound and fury, to owners of the written a which Strauss, but these viewpoints barbaric ciety sets, since Sir Thomas foreign to anything Elgar ever did; it has a are superficial in in our esti- splendor, a dramatic fervor and a vitality which verit- Beecham included them mation. Hanson stands on blood pressure. Volumes 1 and 3. The Inter- ably play havoc with the listener’s his own feet, and Serenade are from and shows an Here we have real excitement in music, the sort of mezzo individuality which De- which has been thing for which many strive but with little resource- incidental music widely composed for James El- commended, for this fulness, since it is not given to many to retain the lius symphony oriental drama, has been played control of their subjects which Walton evidences here. roy Flecker’s extensively in celebrations “Hassan.” The music is un- this country The work is divided into two parts: the as well effective in as Europe. Hanson off by the hand- pretentious but of the heathen which are broken tends to of the theatre; the Serenade is score solidly and to writing on the wall, and after this the rejoicing build score where a musical cameo, appropri- dramatically and he the righteous. It is in the first part of the s lows assert ately sentimental. La Ca- marked technical re- Walton is most successful; when the righteous Delius’ sourcefulness. the virility and fervor linda is a dance from The orches- themselves, they seem to lack tral equally as opera “Koanga,” which deals texture is generally rich of the heathens, although they are almost and with Negroes. Curiously, this favoring of the brasses. frenetic. work has dance-— which is adroitly 1e Wor^ can be pigeon- The performance of this extraordinary i 1 . fashioned and proves highly holed as belonging been well entrusted to a good chorus, a fine soloist, to the can be effective—owns a Norwegian modern traditional It and a first-rate orchestra. Walton knows what school. of every quality as well as a Negro grows on one gotten from his score and he makes the most with repeated one. Lambert plays these se- hearings. climactic moment. Particularly im- . pressive and Fugue in lections effectively, but not is his Bach (arr. IVI itropoulos) : Fantasia slow move- well enough to efface ment, minor; The Minneapolis Symphony Orchestra, direc- quite inscribed “To my Columbia set X-244. memories of Sir Thomas. IOSEF SUK mother.” The composer has tion of Dimitri Mitropoulos. " authori- Dvorak: In Nature’s Realm Eminent Czechoslovak aa a fi The Fantasia is justly regarded by Bachian composer ne orchestra at his of im- —Overture (3 sides) ; and oinmand, ties as the finest of all his works in this type and has been giv- “Great Suk: Folk Dance-Polka; The en a provisatory form; the Fugue is aptly called the worthy recording. and a Chicago Symphony Orchestra, direction of Frederick fugue dez: W° : G minor.” There is exultation in this Batuque; The Stars; and Fernan- Mitrop- Stock. Victor set 975. Nationalal q of line which makes it easy to follow. rection of sym]mpk° clarity HansIS KindlPrKir,,?, ™-,Z ny Orchestra, di- modernize the music, Perhaps no one could have been chosen to perform Mary iCtor oulos’ orchestration tends to Howe’s - century school this composition who would have been more sympa- nSiiaw 7 it seems closer to the late nineteenth »«ce ' ; it 7epre “ to eighteenth century. T ie thetic to its serenity, naivete and happy contentment T™ Tent than to the opening of the 1 6 im res "the illustrative than the late Frederick Stock. He must have played ""Wmtos P s‘°n ol well planned and executed, M„ht.ni^hN B effect^ . performance is Batuque, by *1 the dome of a starry technical abilities. The this work, along with its companion Carnival Over- the of the conductor’s remarkable Car 0 arrangement o ture, for upwards of fifty years. Dvorak himself gave Lorenzo ™ Brazilian com- side of the recording is an rhvthm? . ,e ftramS. fourth performance works in ,e*Pl°Us primitive glauben all’ an einen the first of these this country be Bach’s Chorale-Prelude, Wir butiess enduring n orI in 1892 at Carnegie Hall, New York. In Nature’s ™. if is ‘effective than the Stokow- Realm hens than lss Goff, which proves less impressive are pi “ Mi“^Howe’s the first of three overtures which Dvorak well aved *f acceptable encore to is intended ‘ ski one. It makes, however, an Tchaikovsky-' nd recorded. Herman to be played as a single unit; these overtures— M the work. The latter transcription is by I n other Realm, ra of t ie Nature's Carnival, and Othello—were ' T Boessenroth, librarian and trumpet player musical s Orchestra. co- Minneapolis Symphony rr?-An earlier Little G mmol excise „ Bach: Fugue in G minor (The -Victor) J^J^on Afro-American SaveEave a poor this overture Dorati Fugue); and Still: Scherzo from im jj. by Orchestra, conducted S °n the sa n of the This Symphony; The All-American me high i° music. RECORDS Francesca 7 a by disc 11992-D. Rimin as the composer’s Leopold Stokowski. Columbia its subieeN h even th ? 8 ™ 1 of the All-Ameri- 0t ' of This is one of the best recordings made as Ulustl ation HamletIet Ro “hvincin? ? u*ian rather That Tchaikovsky "FORWARD MARCH WITH MUSIC" Continued on Page 55) Musical Physics Music in the Home "The Physics of Music.” By Alexander Wood, M.A., D.Sc. Pages, 255. Price, $8.00. Publishers, The Sher- wood Press.

The science of sound or the study of vibrating tilings is indeterminately ancient. About 2400 years The Etude before the last concert you heard upon your radio receiver set, Pythagoras in Greece was figuring out mathematically the ratios of vibrating strings. Since then, ever expanding armies of men in laboratories have been concerned in the mysteries of sound. Music Lover’s Bookshelf With the coming of the cathode ray tube used in radio and in television, an understanding of the electronic theory, combined with sound, has devel- oped into an industry of such magnitude that it is not an exaggeration to say that hundreds and hun- dreds of millions of dollars are now invested in sound phenomena and its adaptation to public needs. The advances in the last half century are astonishing, because sound phenomena are by no means confined to music. Alexander Wood, M.A., D.Sc., Fellow of Emmanuel College, and University Lecturer in Experimental Physics at Cambridge University, now presents to the world a very comprehensive, but not too volumi- nous book upon that very interesting borderland between physics and music, ‘‘The Physics of Music.” Anyone with a high school background in mathe- matics and physics can easily comprehend this book written with almost Tyndall transparence. was the pitch of Haydn, Mozart and Beethoven. The group took life very jocosely and wrote a great deal appointed by of trivial verse, such as William Oldys’: Many will find a surprising number of extraordi- commission the French government in- cluding Rossini, Berlioz, and Meyerbeer, agreed nary things relating to sound. For instance, sound upon “Busy, curious thirsty fly a pitch of 435, and came to be known as the ‘‘diapa- may be measured in phons, indicating the degree A Drink with me and drink as I. normal,” thus becoming the legal of loudness shown on a phon meter, and Mr. Sto- son pitch of France. Freely welcome to my cup, An International Conference in London in 1939 kowski lists the degrees of sonority he expects from Could’st thou sip and sip it up. the pitch an orchestra, not by pianissimo to fortissimo, but by adopted unanimously of 440 cycles per sec- Make the most of life you may, and that a gradient such as this: ond for the note A, may be said to be the Lifq is short and wears away.” official pitch of the world at this moment. Key’s verses, written in the intense fervor of the One of the most useful chapters is that on Halls and 20 phons recollection of battle, have been an inspiration to ppp Concert Rooms. pp 40 “ Americans for over a century. The author was a man p 55 “ of fine family, broad culture, and lived a life of high mf 65 “ accomplishment. Judge Delaplaine has performed a “Long May It Wave!" valuable f 75 phons service in preparing this excellent record of “ Francis ff 85 ‘‘Francis Scott Key.” By Edward S. Delaplaine. Pages, Scott Key’s achievements. The book is par- “ ticularly valuable at this time, fff 95 506. Price, $4.00; de luxe edition, $5.00. Publisher, when every American’s Biography Press. heart’s wish is: "And the star-spangled banner in triumph shall Shall we see adjudicators, phon meters in hand, wave O’er. the land of the free and the home of the brave.” judging contests and marking Sadie Bauersocks’ per- In “Francis Scott Key, Life and Times,” by the Hon. of Frederick, Maryland, formance of Liszt’s Dream of Love by the prescribed Edward S. Delaplaine, we have life of the author of national number of phons just as a photographer uses a light the most complete our meter in making exposures? anthem. Judge Delaplaine devoted years to the prepa- necessary volume, which is a “must” for The book has all sorts of interesting data such as an ration of this reference library. The melody, historical glance at the variations in the frequency the complete To An- (to which the poem was adapted) of pitch in order to secure a standard of frequency acreon in Heaven John Stafford Smith as a drinking song of A. Here is the list reprinted from the History of composed by Society of London, is really a very Musical Pitch by Alexander Ellis: for the Anacreontic powerful tune when sung by a capable singer with a Frequency vocal range. It is perhaps the most virile and inspiring patriotic compositions, when played by fine Date of a' of all a orchestra. Its only rival Halberstadt organ 1361 505.8 band or a great is the revo- Marseillaise, winch is a rare flash Church pitch, Heidelberg 1511 377 lutionary of genius. all must admit that ” North Germany 1619 567.3 However, we with the average is a struggle, not merely of its ” Paris 1648 373.7 voice, the song because octave and a fifth, Schnitzger’s Organ, Hamburg 1688 489 range of an but because some *of words at the Paris Opera 1699 404 the most important extreme end of the the song, such as “O’er the land Silbermann’s Organ, Strassburg 1713 393 range of of the free,” a larynx. Handel’s tuning-fork 422.5 have wrecked many No wonder it was dubbed 1751 The Barnhardt Schmidt’s Organ, Cam- by the humorists as Strain from Hernia! melody was first used in America for bridge 1759 395.2 The the poem Robert T. Paine entitled Adams and Liberty, Paris Opera 1810 423 by which was written for the Massachusetts Charitable Fire London Philharmonic Orchestra 1826 433 Society in 1798. The Anacreontic Society, for Paris Opera 1858 428 which the tune composed, was a group of seventeenth French standard pitch (diapason was century London bloods who wanted to be thought normal) 1859 435 naughty and therefore took the name of the Greek Covent Garden Opera 1879 450 (b. lyric poet, Anacreon 560 B. C.) , whose religion was Philharmonic Society 1896 439 the worship of the “Muses, Wine, and Love.” The Piano manufacturers 1899 439 original verses of To Anacreon in Heaven (words by Military bands (Army Council) 1927 439 Ralph Tomlinson) called upon the members to “in- twine the myrtle of Venus with Bacchus’s vine.” This

Praetorius (1571-1621) used a pitch of 424.2. Handel used 422.5. Dr. Wood's book covers the subject in fine fashion in so far as its size permits. According to Dr. Wood, this pitch ( approximately 422-423) was BOOKS quite widely employed for about two centuries and FRANCIS SCOTT KEY

JANUARY, 1945 "fORW'ARD MARCH WITH MUSIC” 11 Music and Study

How Two Teachers Solve a Mass Production Problem We Round Tablers are again in luck! The Teacher’s Mound Table Here comes a fascinating letter from two enterprising teachers, Miss Rose Mc- Gregor and Miss Marguerite Meiers of the Demonstration School of George nave Peabody College for Teachers in Nash- Cond ucted by ueen mastered can they hope to discover ’ ville, Tennessee, giving us the complete what lies behind the notes, or

- discern details of then very successful student the inner meaning of the music. In your ensemble recital plan. Note first of all own work why not memorize and study very that this is not one of those circus af- thoroughly only those pieces you love most? The fairs—using from ten to sixty pianos and Wuier other com- positions you can twice as many players—which I abhor, learn with notes; be satisfied when you can play and which serve no worth-while musical Mus. Doc. them up to tempo, with purpose. Miss McGregor and Miss Meiers good rhythm, tone, phrasing and pedaling. use four pianos with one or two players Noted Pianist 2. One half hour lesson at each instrument . . . But let them tell a week is in- and Music Educator adequate for a their own story; here it is: “sixth grade” piano stu- dent. You “Our first two-piano ensemble recital ought to have an hour’s private lesson weekly, was given over a decade ago; soon after, and also a class in theory, r nmg a a third instrument was added in a pro- d repertoire a * evm v H r least once all from ° ' And if gram using nearly the pupils maie Z ^ want to our combined classes. Two years ago we Pr0gress 1 advise two hours’ S3lvnf°ry added the fourth piano, and this year Pr0Viding yOUr SCh0Dl S or nth du- (1944) we presented one hundred seven- Hungarian Dance, essential are The Guitar, Gaynor; too exaS not teen pupils in twenty-one numbers. The Schultz; Moon Mist, Rodgers-Cobb; Rogu- in entire program was performed one ish Kitten, Behr; The Marionettes, Lynes; and one-half hours. For these recitals we Correspondents with this Depart- The Gypsies are Coming, Rogers; Mo- Up Letters Touch use all our pupils of every ment are requested to limit students . Musicale, Schubert-Dieter-Barth; — to One Hundred and Fifty Words. ment grade and age from beginners of five To a Wild Rose, MacDowell-Sequeira; I Up Touch. and six years up to advanced and student Country Dance, MacFadyen; Invitation believe you ca?,^ teachers. to the Dance, Weber - Marie - Dressel; c°“"s “We try to make the younger pupils Hungarian Rhapsody No. 2, Liszt - Ben- repeat jr- BI>Mre!’’ r these directions fS ° feel comfortable in whatever group we del-Kleinmichel; Polonaise in A Major, us? tV. L. or for small children. A ... D. Illinois place them. Often the students are rare instances, Chopin Turkish Rondo, Mozart - Briss- Vni1 cata- ; 10 grouped according to their age and size list of available arrangements is Danse Macabre, d 'rections ler-Kosakoff; Saint- Technic of tmfi? on the their of logued and filed for future reference. ^ and not degree advancement. Saens; “Espana” Rhapsody, Chabrier; tembei1 8' in the Sep- , 1942 L“° L” is given, a Sometimes an older beginner plays only After the annual program in minor, - ETnM ' Prelude G Rachmaninoff they appeared ’ whel e tentative for the next year is drawn in a few bass notes at stated intervals, but, plan - Hesselberg. appllcation” at Rebrier end of the first the he is thrilled ad- which takes shape as soon as the °'of th E to be playing with up What Miss McGregor and Miss Meiers Technistory series, "UP Fling r s in the autumn. vanced pupils nearer his own age; and classes are organized omit telling is that their Do ” modestly en- Since fo “? ™ Dip the “No lesson period is ever used for re- 4nv r advanced ones do not object. We semble recitals have become so successful mitten 3 Tablers Have preparation for the en- in for exnUcw teach the young pupils not to be jealous hearsals, the that admittance has had to be put on an P 1 Tteps for Up Touch ,, producing of each other, and to be helpful to the semble program being extra time given X invitation-ticket basis; otherwise the streamlined appenciing some less advanced and less talented among to the student. Often we have the as- notes audience overflow becomes embarrassing! is now that "Dp Pling" them. sistance of advanced pupils who are de- called f.u Round Tablers, how about planning a Swing” D ‘e, e*ser and " the honor to help drill the is “Up Up lighted with “bang-up” ensemble recital this year? LZ™ younger ones. The performance is the only obstacle,” I hear P n Material Used “The you say, “is, elose E atherweight elbow climax of a long period of enjoyment for to bodv° . where do I get four pianos, and if I get h a “Working to the tech- hamper and Angers flat; the program up •the students. A number which never fails where’ll I pedal them, put ’em?” . . . Well, nical precision required for a smooth to attract is a piece played entirely by wouldn’t some sleuthing on the part of 1°' thM conductorless performance is a long and boys. The enthusiasm of these lads for °n middle Anger of R. H. your students, a little search E- bo learned through 2 ay ftom hard job. After the notes are by good teamwork has solved their practice - Act: Plano, the countryside, an advertisement or two SilenHvl I each pupil individually, small groups of problems. several slowly caress keys in the “want” columns with an offer times together, then the of bal1 of two or three are put “We place no restrictions on this an- Gradually ”. Anger. . . . cash—wouldn’t these devices help? taerSi a entire group for that number is filled nual recital as to dress and flowers. Even aPPly more eSSing s Pace as you And almost any studio, with a bit of arm nv,^ L not conduct the elbows body' • and rehearsed. We do the five-year-olds wear long party • • Body and crowding, will take on one or two more move sl?l performance. One pupil in each entire dresses, and the boys dress as formally as fingers nwa-rd toward pianos without collapsing! cares* I l piano is - group is appointed leader which con- wish. The four grand pianos are 3 ard ' — as they - Now among the stu- . pZ Zly Sof sidered a great honor arranged diagonally on the stage so that Ins fingers ^ tones as caress- reaeh , Shall I dents. The leader is placed at a piano all performers can be seen by the audi- Memorize? is Se of Produced ^eys. • bv lin-i * . . Tone where he can be seen by all the players. large auditorium of the College ence. The 1. My teacher has discouraged my movement Ppward and inward the key- memorizing pieces, but I have of After all hands are placed on Demonstration School, with a seating been ad- t ‘ Angers or P^' not b tensed measure or two, de- vised that it is necessary. What is your pushed-un y boards he counts a capacity of almost one thousand, is al- keys P wnsts as - opinion? soon . . . Release pending upon the tempo of the composi- ways filled for this event. as t,Jl 2. I take a thirty minute lesson moving Sounds, once elbow tin* but continue tion, and the piece begins. Should the “We are often asked, ‘Does it pay you a week and study sixth grade f music. How yopt arms ™ara lmt “put become “shaky,” the much should I practice each day? aronn/ “ you rhythm at any time for all the hard work?’ To which we en- actually d tbe I. pian is, softly until — M. M.. Missouri come o''—1that leader is instructed to count thusiastically reply in the affirmative. of to music ? fc 011 '°wer portion ensemble becomes steady again. consider the increased progress of 1. Do you remember that lovely rack Th . the We old ex- Release” ” ls for his part; pression, “playing by touch °aUed the “Up Every pupil feels responsible our pupils, the stimulation, aroused in- heart?” Well, that’s 4 - Don’t even the careless ones causing trouble at terest, cooperation, will to succeed, and what memorizing really means; w., .. it’ would 2®ds from the rehearsals put forth their best efforts the delight of patrons and public alike, of course be better to say, “playing an impulse pro- from eep unwnrid in full.” the heart.” of and semicircular at the public performance. as payment elbows that u com- naturally hands “Finding suitable material for the Pianists cannot play at their best and *iD follow with ' thma u binations has been a problem; all those pages of each bythe time el- we employ Compositions Performed complicated hiero ™V' theL L the however, this by making glyphics staring them nf: we have solved in the face " loosely place,” wrists of the There" to v, s arrangements suit our needs. Music Here are some ensemble num- fore, most musicians feel hold e to that it is elbow tips’ careful always bers played in recent recitals: im 5 hi' ? for two pianos, four hands, is expanded Pretzel possible to plumb the depths ’,As soon than of a pieop p as n„s wrists, by arrangements for Band. Greene; Jingle Bells, Pierpont; until the mechanics 6 combining with of playing lnvisib ' make the “ca- Barcarolle. Ketterer; Village and re wTth ‘c—that ^ eight hands, duets and second Rondo, membering the notes ' S or trios, have become am-n" actua ’ Play the tones piano except in Dennee; Hovering Butterflies, the m ‘ly moM parts. No part is doubled Gaynor: matic. Only after all the 1 aymg 8 tlle external aspects “spot.” Ao Angers from {c°ntinued £°°n as Possible, 12 "FORWARD 071on MARCH WITH MUSIC page 45) here is no ques- Music and Study tion now of opera’s T success in New York, be even in wartime. But when Seventh Regiment had to order. opera first came to Gotham, called out to restore Next came the Academy of it was quite another story. In auditorium fact, there are many stories Music, a larger opera had in New York’s opera history and one in which which wind up with the dis- New York’s First Opera a better opportunity to thrive. There, for mal word “failure.” And thrive it did. the The exact date of the ad- more than thirty years, finest operatic performances vent of opera is uncertain. In given, with the greatest the days so dim and distant were the day taking part. that even historians are hazy singers of from about them, New York heard It opened in 1854, and had the patronage of the old English ballad operas, the start listed in the but these can hardly be count- all who then were city’s “400.” ed. Gustave Kobbe records a great performance of “The Barber It was in 1859 that the Patti her debut in “Lu- of Seville” at the Park Thea- made cia,” and the Herald said: ter. New York, in 1819, with “A young lady, not yet sev- a note that it was given in almost an American English, with Thomas Phillips enteen, birth, having arrived here and Miss Leesugg singing the by when an infant, sang ‘Lucia’ principal roles. There is a rec- with sympathetic tenderness, ord, too, of “Der Freischtitz” a rare gift in one so young, in English at the same theater and increased the enthusiasm in March, 1825. of the audience to a positive The first serious attempt at furor.” opera, however, seems to have been in November, 1825, when Came the Metropolitan Signor Manuel Garcia import- ed a troupe from Italy. They The Metropolitan Opera opened at the same Park House came into the picture Theater in the same “The in 1883, opening on the night Barber of Seville,” this time of October 22. Musical histori- OPERA IN AMERICA BEGAN HERE sung in Italian. The venture ans record that it was erected great Manuel del Popolo Vincente Garcia came with was not entirely successful. At the Park Theater in New York the because the old Knickerbocker his opera company in 1825 and established Italian opera in America. Of course the In 1833 the first structure families, who controlled the' English "Beggar's Opera" by John Gay was given in New York in 1750. but that was ever built in New York for society of the day, refused to more like a pasticcio than grand opera. Italian opera opened at permit social aspirants to pur- Church and Leonard Streets. chase desirable boxes at the It was erected by Lorenzo da Academy. The opening per- Ponte for the New York Opera formance was “Faust,” with Company, but the season was hj arr \Jtui r^t^emarh Campanini and Nilsson. The not even completed, and the J old structure burned in 1891, building was converted into a but the company reopened in theater and lived on in that 1893, and since then has main- guise. tained an unbroken tradition. Then came the Castle Gar- The following arfide was submitted to Mr. Julius Mattfeld, former Librarian of the Music Department of It has been given only one den days. The Havana Opera The New York Public Library and now Manager of the Library Division of the Columbia Broadcasting severe jolt. That came with "Music as a Living, Human Element" appears elsewhere in this Company held its season there, System, Inc., whose interesting discussion of the advent of that strange and for years has made a study of early opera in America. performances on alter- issue. Mr. Mattfeld is a well known musicologist genius, Oscar Hammerstein, giving accuracy. the following statement from him, here printed in the interests of nate nights. But it did not The Etude is appreciative of nearly forty years ago. Ham P Ever so many popular minded writers pounce on perform- "I have your letter regarding 'Der Freischufz.' merstein plunged into the op- enjoy the patronage its man- did not opera in America as 'grand opera.' Actually, grand opera in America ances of great European eratic field in an amazing way. agers had expected for it. of Seville’ in the original Italian November 29, 182 5, begin until the Garcia Troupe put on 'The Barber on well known in None of these ventures, how- very extensively in my brochure published by The New York He made the in New York. I have written on the subject the date of the United States such stars as ever, could have been more Public Library and entitled, 'One Hundred Years of Grand Opera in New York.' Prior to were invariably Garden, Tetrazzini, unfortunate than that of poor Garcia performances, many European operas were performed in the colonies. These Mary Dal- having Rossini and Mr. Palmo, who started out to mutilated versions with an inadequate orchestra. Garcia, created the 'Barber' for mores, and Bonci, and in four be an impresario and wound meeting Da Ponte, Mozart's librettist, in New York, naturally knew what opera was all about. In fact, 'The brief seasons — from 1906 to for the first time in Europe in 1816, reached the colonies at a up by being a bartender. Barber of Seville' which was performed 1910 — he revolutionized the York on May 27th, 1819 in an English version; another perform- performance in the Park Theater in New operatic situation in New York. on March 1, 1822. The opera was heard in the Western hemisphere A Managerial Disaster ance took place at Philadelphia He brought modern works to Buenos Aires on October 3, 7825, in Italian. probably for the first time at the country and forced the Mr. Palmo had built him- 'Der Freischufz was usually performed as a melodrama with the sub-title, 'The Wild Huntsman "Now Metropolitan out of the leth- in English in December, 1824 and reached New York at the self a splendid opera house in of Bohemia.' It was given in Philadelphia 'Der Freischufz' had to wait nearly twenty years before it was argy into which it had fallen. Chambers Street, had pre- Park Theater on March 2, 1825, in English. Washington Irving was interested in the opera; he wrote an adaptation in But Hammerstein attempted pared for his flight into art put on adequately. Incidentally, Boston." Editor’s Note. 1823-24, which was first published in 1924 at — more than he could handle. He in an elaborate way. It was, sought to branch out and in fact, too elaborate for his took on other activities that means. With Clotilda Parilli, brought ruin. Finally he signed half sister of the later-to-be- for the first time that financial and social an agreement to leave the field. But he left his im- great Adelina Patti, as one of his stars, Palmo at- scheme saw needed for the opera, they arranged print and will long be remembered by music lovers. tracted some attention with his company, but not for support was and opening was an auspicious occasion. After his departure the Metropolitan became a greater long. for both. The all social lights of opera company. It learned many lessons from him and Finally one evening the musicians refused to play The opera was “Ernani,” and the present. took over many of his stars. until they received their money. Palmo did not think the city were started its first season nicely. It had For many years opera in America was localized in they would be rude enough to go through with their The company (Barilli) Patti, mother of the big cities. Traveling opera companies from the days threat, so he rang up the curtain. The musicians re- such stars as Caterina Truffi, and Benedetti. It won the of Emma Abbott to those of Fortune Gallo made con- fused to perform, and the prima donna tried to sing diva of later years, patronage, finally, in April, sistently successful tours throughout the country, without them. By this time the sheriff had closed in most fashionable but 1848, weather and sank with twenty per- bringing opera to relatively small cities. Then on the box office, and poor Palmo fainted right in it struck rough the listed. Metropolitan Opera Company and other first his own lobby. He lost everything, and in later years formances still rank later was turned into a theater. At companies began to carry the best traditions to turned to bartending to make a living. The auditorium other horrible riot centers. This has been followed by a number of On the heels of the Palmo venture came the opening its very doors occurred the Astor Place small- of 1846 between supporters of Forrest, the American er opera companies which now tour regularly of the Astor Place Opera House in the autumn of 1847, everv actor, and Macready, the Englishman, hi which thirty- year. It has been the radio which has broadened a venture which started off with a brilliant opportu- tiv> four persons were killed, scores injured, and the interest in opera to this ( Continued on Page nity but did not last long. The promoters of this ggj” MARCH WITH MUSIC’ JANUARY, 1945 "FORWARD 13 , —

Music and Study “Come, hear the word, repeat the word Throughout the fatherland make it heard. We will never forgo our hate, We have all but a single hate. We have one foe and one alone England!

“Hate by water and hate by land Done of What Nazism Has Hate the head and hate of the hand, Hate of the hammer and hate of the crown, Hate of seventy million, choking down.”

To German Song Or what shall we think of music's influence upon the hearts and minds of little children when, instead of the lovely old Christmas song Tannenbaum, hundreds of thousands of Nazi-educated boys and girls raise .What Happens to the Tunes When Hitler Provides the Words their voices to chant:

“America, America, Oh Jewish land, America! You certainly conceited are; In, WaJuJt BartlioLomew A big fat pig, that’s what you are. Oh, Jewish land, America.

“America, America, German popular song of other days extolled the simple, Oh Jewish land, America. honest virtues, the beauties of nature, and a kind of sincere And with you falls, remember now romanticism which made the people beloved of other nations. Your Rosenfeld, the Yiddish sow. Then came the festering growth Religion of Hate," with of the " Oh Jewish land, America.” its lethal hymns of hate. The one quoted by Mr. Bartholomew is

a relic of World War I, when the Germans were well under way with their plan to conquer the world through war and hate, re- pudiating the Christian ideal of achieving victory through peace “Adolf Hitler and love. Mr. Bartholomew quotes from Ernest Lissauer's Hymn is our Savior, of Hate England): 1 being Against England ( Hassengesang gegen “ tbe whole wide worW For Hitler"“N-we live, "We have but one, one only hate For Hitler we die, We love as one, we hate as one. Our Hitler is our lord We have one foe and one alone." Who rules a brave new world.”

This outburst of bad temper was written during World War I and It is needless to multiply directed toward one enemy of Imperial Germany. The seed examnlpc We aie was pelled to admit con sown by the Junkers, and now Germany is reaping a harvest that music can bp bnti ba of hate from her enemies throughout the world. elevating or degrading, TccorTmg\o se of it. Also We^mal Marshall Bartholomew has been a "man's musician" most of we must realize that • Y S by mEa ' his busy life. That is, he is especially noted for his success in the most potent kind of music because i f ,. ‘T? leading groups of men singers. He was born at Belleville, Illi- hypnotizing °“^lnes 11 elements of rhythm melndv nois, March 3, 1885. He studied at (Ph.B.) with Horatio 0dy aud 1>™"' Yale with the terrifying importers Parker and David Stanley Smith, °f and later at the University of of the Words ' 01 most momentous • Pennsylvania (Mus. B.) with Hugh Clarke. He then went to conclusions™ . years by the combined ‘ the Hochschule fur Musik in Berlin, where came under the studies of he psychologists £ doctors,doTt surgem instruction and of Humperdinck, Wolff, and Mme. Schocn-Rene, and psychiatrists i! speech and the power had many friends in the constructive and creative Germany of the development off ^E“age evolutionary yesteryear. He has held many posts as a conductor, such as the point was 1 from whichck J , University mahkind Glee Club of New York (1922-1927), the University upward climb. began : Glee Club of New Haven (1924-1927), and the Yale Univer- The history of the proere«« , S '*Y Glee Club since 1922. and f the Mr. Bartholomew is the author the history of the gradimfn, human race editor of many books and compilations. familiar with the eXPanding He is use of words. invention a: best Ou^mfcest^ in German choral singing and is horrified to find in modern they didn’t have 1 tllink becat tunes that Nazi works in music have been focused upon hate and MARSHALL BARTHOLOMEW any since wordsToThfTlnk Wlth that first > and ev destruction. He takes this as one of the main indications that clumsv w™ i ^ form our ?"e®ort took Germany, like Faust, forefathers ^ success) has "lost her soul." ceasld be Nowhere is this devastating contrast between use ing, laughing, cllatterin moa The article is reprinted by permission of The Keynote, the grunting scream* g, misuse of evident than in the world their long, magazine of the Associated Glee Clubs of America, Inc. and power more slow evoht »eg —Editor's Note. of music. Poets and philosophers for the past 3,000 years have paid tribute to the beautiful things music 1*1 C°mbinali can do to the human race, how it soothes the savage Words are dro^fe °n are, by and large, incorrigible the gives courage learned E AMERICANS beast, comforts lonely heart, to to put words our forefathi look at the to muS? optimists. We much prefer to the despairing, heals the sick; or, at a lower but no izmg it, hey had combined ' two of 'T without re: bright side, to call frequent attention to the less important level, provides recreation, entertain- forces on W earth. No thought J^test emotioi silver lining that illumines a threatening cloud. We ment, self-forgetfulness for entire span alone ™ the of life as m combination as heart stirri prefer our books our plays to finish on a cheer- with c Z and from childhood to old age. Music has remained the Leaders of the B heart-stirring “and people, patriots tu: ful note; the fairy-tale formula of childhood ized ’ indispensable adjunct to religious worship; the elo- this fact for eVangellsta retains centres have re they married and lived happily ever after” still quent language of love, it has lightened our ““s - hearts Unhappily lor the its place with adults as well as with children. and quickened our footsteps in a thousand different bandits and the false things is a proprietor prophe This looking on the cheerful side of ways. 50 T honk particularly in these and the >’-tonks ht worthy trait. On the other hand, use of cumav otr An Art the power of this Misused song , perverse confused and chaotic war times, it might save us, m very true both as individuals and as a nation, a good many All this is and very beautiful, but, if we are to look the subject honestly in the face, disappointments and disillusions if we could train we must more aware that there admit that music has also been the inevitable accom- ourselves to be more realistic, What a paniment of much that is ugly and degrading. contrast are are two sides to everything, that in life as well as in The these Voodoo orgies of the jungle the lewd science, the powers which, properly used, can bestow and dancing of the brothel depend upon music, and the unlimited blessing, have an almost equally destructive war dances and war songs which inflame the hearts influence when misdirected. of primitive in terms of men to the point of murder are music, too. This is true whether we are thinking world of And have we not witnessed the crowning mind and spirit or in terms of the material example which bright- of the destructive possibilities of music in the electrical energy Nazi ' mechanics. The same ”16 PS S° of paradox indeed ' Alon ens drives our locomotives songs hate and of blood lust in the present to TeeNh H- It is , and warms our homes and world homeland h pe medium of electrocution conflict? In which direction does the power of of Mozart In e °Ple of rT remains in essence a deadly music Schiller, Schubert, Ger»any, what- work when set to a text like following, and Heine a Soh„m and, in the of lightning, burns and destroys the from the denyin ann form of beauty S by ’ 01 Qoet ever famous “Hymn of Hate”: which h their so it strikes. of the a ' Way5 singing worw "“used the^d 14 "FORWARD MARCH WITH MUSIC" a FTER only a very few years of retirement from Music and Study public appearances, a once deservedly popular operatic prima donna announced a song re- cital. The announcement made a pleasant stir in the musical world, and the singer’s old friends and ad- mirer’s assembled in force to enjoy again the lovely art of which they cherished so many happy memories. The newspaper critics were all there, too. But alas and The Value of Vocal Technique alack, all were doomed to dire disappointment. Though the singer appeared to be in excellent health, her voice showed scarcely a trace of its whilom beauty. The once reliable intonation, the clean attack, the sensitive phrasing, all the technical details that used to ren- lij. ^J~ra.ncid l^og.erd der her singing so enjoyable were absent. Her delight- ful art was of yesteryear. now but a memory Eminent Vnice Specialist One noted critic wrote at length about his dis- appointment, professing his inability to understand how a singer, once apparently a mistress of a sound of voice) and not vocal technique (the mechanics the , would accept her as a pupil only after she had given that Garcia took so seriously. It is well for young period of older than middle age, could in so short a her voice several weeks of complete rest. She accepted singers to remember that then* voices should not be inactivity lose all traces of that technique. If a well- the challenge and profited by Garcia’s teaching for forced to sing dramatic or intensely emotional music. good established technique, plus good health and about a year. What he was able to accomplish, nobody Such music should await the full physical maturity of preserve physical habits, could not be counted on to knows. What he had to say about her was but little, even the best schooled singer. Disregard of this advice a voice from premature collapse, what could assure and that little rather on the cool side. may work permanent injury to the voice. If Jenny what, in- to a singer a reasonably long career? Just Lind had an audition at the Paris Opera, which re- Lind had followed it, perhaps her career would not deed, the critic asked, is the value of vocal technique? sulted in nothing. She then returned to Stockholm for have come to an end at thirty-five. The singer under discussion had certainly given two seasons. Successful appearances followed in Ber- of great pleasure with her singing during a term lin and London, which won for her the sobriquet, “the The Incomparable Patti years; her sufficed for that. But some technique had Swedish Nightingale.” All seems to have been going An outstanding example of the rewards of good could recall that of her older admirers thought they swimmingly, when, to the amazement of the musical early training and a sound technique is that of Adelina asked when she first came to this country and was world, she announced her final retirement from opera. Patti, who was probably the most perfect vocalist of with art, she had asserted whom she had studied her Why she did this nobody knows. She was not yet the last third of the nineteenth century, but who al- a mem- that she had had no lessons in voice; that, as thirty years of age; she was immensely popular and ways declined to discuss voice production, protesting ber of a family, she had always sung music-making making a great deal of money. Some said that her that she knew nothing about it. The story of her life later, of to the satisfaction, first, of her friends and, strong religious turn of mind revolted from theatrical does not confirm the reliability of this declaration. She the great public. If was correct, our prima tins memory life. From that time forth (1849) she sang in concert was born into a family of professional singers, who donna was simply one example, among many, more only and sang only pieces of her own choosing, which discovered early her exceptional natural gifts and of an untrained vocalist venturing to practice pro- included a few popular operatic arias. Her tours of trained them most carefully. Throughout her long life con- fessionally an art that demands a well-developed, the United States covered two years; then she made Patti continued the prudent practices that her fam- scious technique. thoroughly reliable In no art is a ily and her early masters had instilled in her, and by technique more indispensable than in the art of sing- means of which she preserved, even into old age, ing. untimely Our prima donna’s voice had failed her much of the natural loveliness of her voice. because she did not to use it without need- know how The career of no singer exemplifies better the value less and injurious strain. she could no longer When of a firmly based technique in developing and pre- count upon the physical resiliency of youth, she lacked serving the voice than that of Lilli Lehmann, the Ger- the resources of a sound, conscious technique to en- man soprano. A young girl of sturdy physique and able her to resist successfully the inevitable threat of promising musical gifts she was, from her youth up, advancing years. drilled intelligently, first by her mother and later by A Prima Donna Without Technique other teachers, in the best practices of tel canto. Her first roles in opera were lyric roles, suited to her youth, Some forty years ago a European soprano of great and only in her maturity did she essay the dramatic renown came to the Metropolitan Opera House under roles for which we Americans best remember her. She contract to sing German and Italian dramatic roles. never gave up her coloratura exercises, and to the last Unfortunately, before she had appeared publicly, she was able to execute fluently the lyric coloratura roles caught a severe cold which necessitated the postpone- of Verdi. Indeed she was mistress of the music not ment of her debut. Week after week the postponement only of Verdi, but also of Mozart and Bellini, as well continued. Curiously enough, the inflammation in the as of Weber and Wagner. Patti, her exact contem- throat disappeared, but, notwithstanding, the voice porary, was content to sing her old-fashioned repertory would not function reliably. Finally her physician, a all her life; but there was no field of German and laryngologist of wide experience, said to her, “Madame, Italian song of which Lehmann was not mistress. She I can do nothing more for you except to suggest some- wrote interestingly about vocal technique, and even in thing outside my specialty. tell that you have You me old age was able to instruct her many pupils by ex- never studied vocal technique; the use of your that ample as admirably as by precept. Her attitude toward voice is entirely spontaneous. Due to a physical dis- her art is a model for all students. turbance, your voice, hitherto sufficiently reliable, has Lillian Nordica, from the State of Maine, like Lilli gone out of gear and you do not know how to re- Lehmann, illustrates the point I am trying to estab- adjust it properly. Now, there is a teacher of singing lish: that a sound, basic technique is essential for the in New York who has made a thorough study of vocal full development and preservation of the voice. Her technique. If you will go to her as a docile and re- first studies were with an excellent Boston teacher ceptive pupil she will, I believe, enable you to resume , named O’Neil, and were followed by systematic train- your career.” The singer took the physician's advice, ing in the good traditions in Europe. Her first appear- learned from the teacher the fundamentals of tel ances were in oratorio and lyric roles in opera. Her canto, made her much-delayed debut at the Metro- KIRSTEN FLAGSTAD AS ISOLDE art grew with the passing of the years, reaching its politan, and was soon recognized as the leading dra- apex with her appearances in Bayreuth, and her splen- matic soprano of her epoch, unsurpassed in her im- in Germany, did interpretation of Isolde with the de Reszkes in personations of Tosca, Fidelio, Brunnhilde and Isolde. her headquarters where her art was York. That her coloratura was always Her name much admired. In 1855 she removed to England and, New reliable was Milka Ternina. by her for occasional appearances for charity, was was proved in later years fine rendering of Into any discussion of damaged voices and the pos- except public. Rossini’s “Stabat Mater” and such exacting airs as sibility of restoring them completely, the mysterious heard no more in . Nordica still making no attempt here to appraise Jenny Casta Diva (“Norma”) was in fine voice case of Jenny Lind is bound enter. Jenny Lind re- I am to than fifty, as an artist; I wondering when, at the age of more an untimely death ceived her early training in Stockholm, where she Lind’s standing am merely voice ever recovered from the early strain brought her career to a close. made a successful debut in opera at the age of eight- whether her The perfect vocalism of Nellie Melba was een. Despite her local popularity, after three years based on a solid technique and, though it never reached she resigned her position and went to Paris to study dra- matic heights, it kept her in the front rank singing with Manuel Garcia, already a great authority of lyi*ic singers till she was nearer sixty than fifty. on the subject. He told her that her voice had been Sembrich, so dear to us badly treated, possibly permanently injured, by reason VOICE Marcella Americans, retired opera at fifty, a deadline ( Continued of her ignorance of right technique. He said that he from on Page 46)

JANUARY, 1943 "FORWARD MARCH WITH MUSIC 13 :

Mzisic and Study cal score to keyboard were counted while the subject played the selection. This tested the amount of con- tact with the score. 2. Reproduction with Eyes Closed. The eyes were closed for designated scales, arpeggios and chords. Time and errors were recorded. This tested imagery and familiarity with the keyboard. 3. Ability to Give Material Meaning. After playing through the Make Yourself a Better selection, the subject was asked to state time, key, and modulations. This tested alertness. Fail- ure here means that the reader is guessing. 4. Span of Attention as Measured by Reproduction. The subject was given a short time to look at the score, one fine Sight Reader at a time, and then asked to play from memory. First, a set of four lines was studied for ten seconds each; second, a set of four, one second each Number of correct notes played for each line, and their position, horizontal or vertical, noted. This tested the ability to read groups 7 arauen le lyjiimo of notes, rather than single f notes. 5. Ability to Read Notes that Occur Rarely (leger

notes) . Subjects played selections with extraordinary number of leger-line notes. Total playing time and leger errors were recorded. These notes are found so VERYONE KOTOWS that a person who cannot when I was nine years old. My first sight-reading came seldom in music that many guess at them read his native language is seriously handi- in junior choir and in Junior League at church. and un- I have necessarily handicap themselves. capped. It should be equally evident that a always done accompanying of one kind This tested their E or another, knowledge of leger-line notes musician who cannot is great and at present it is part read music easily at a of my job as studio ac- 116 AheaCi ' The disadvantage. Yet how few musicians are able to read companist.” SUbject ™> allowed tomo^afthento look at the first^measure of music fluently! piano the score. Then it was Among concert pianists and Subject rated as 8: “I am a poor sight reader. Don’t covered with cardboard, and subject played the teachers, really capable readers are in the minority, believe I devote enough time to reading at sight. Have measure while S reading the second. The and sometimes one finds a successful concert pianist a slow functioning mind, but if I did enough sight- second waS hen covered, and subject played who reads probably reading. it while reading The like a beginner. reading would do better Always third, and so on. Playing time and errors The tradition of playing concerts from memory is have had memorizing weTe re! corded. of relatively recent date. During the past century many stressed, so no neces- This tested speed pianists still employed “notes” when playing. Raoul sity for me to read of reading, which Pugno, the French virtuoso, was one of the last con- well right away. Have is very impor- spicuous examples. The development of the memory done very little ac- tant in sight-per- has in a sense pushed aside the development of sight- companying or sight- formance. reading, and this is a distinct loss to the contemporary reading.” 7. Ability to Read progress of music. The subject rated Under Distraction. Often professional While musicians accept this situation as as 9 : “Sight-reading the subject was unavoidable. They were playing, seem to feel that they born . has always been my simple arith- that way, and that not much can be done about it. main bother in play- metic problems, spell- As one eminent music educator said, “You either can ing the piano. Once I ing, and questions or cannot sight-read, and that is all there is to it.” learn the notes, play- were asked of him. However, there is a real problem here, and every ing the music is a The same selection musician knows it. He may be pessimistic about its simple matter, and h^d just been played solution, but he can never deny its existence. On the memorizing is some- without distraction. shelves of music stores you will find Collections aimed thing I don’t have to Time and errors were rt the development of sight-reading. These books are bother about, as it noted during both written or compiled along natural- by musicians and prove that comes renditions and differ- there is trouble ly. long as I have and that they are willing to do some- As ences between scores thing about it. this been studying piano, Psychologists, too, are working on computed. This tested problem, and some jour- I have not learned to of our leading psychological the amount of atten- nals contain sight-reading. sight-read.” articles on the subject of tion used while read- Psychology teaches that personality is not ready In studying these ing. Is it 1. possible to made, but of experience. Sight- histories it is imme- is largely the result read well, using only reading ability, of the personality, is prob- diately apparent that the being part fringe of atten- ably also greatly dependent upon the person’s sight- those who read well, tion? riding experiences. If this is the case, then any at- have experience in 8. Ability to Profit difficulty in reading, while tempt to find the basis of an individual’s those from Preliminary reading music must begin with this question: “What who read badly, lack Study. The subject were your experiences in music sight-reading?” that experience. Even Played one though this does not selection, nnd then Interesting Experiment necessarily was asked An mean that t° study (as as Recently two psychologists who made an extensive there is a one-to-one long he desired) study of problem began their ex- relationship between another the music-reading selection Nine advanced piano stu- experience and abil- which was periment in just that way. Judged dents University School of Music of ity, it does suggest to be equiv- of Northwestern alent Below are a degree of relation- in difficulty to Evanston, Illinois, volunteered as subjects. P'M'hcrs’ Photo Service le hrst. a few of the these persons gave when asked ship, and makes it CONCENTRATION IS THE KEYNOTE OF No finger answers 1 READlNG movements for their sight-reading histories. The rank given these plausible to advise This pupil (Gaby Coutinho), playing without were al- notes! l, concept of ' S an lowed during students was based three scores: first, the opinion those who are striv- the absent score. inner this pre- on liminary the experimenters; second, the opinion of their ing to be proficient study. It was of jnerely estimate of their readers, to start exercising a perusal of classmates; and last, their own sight-reading daily. errors were noterie , SCore both - Time and standing. between scores renriu-rt the best All Phases Investigated comcM” s and Quoting from the subject who rated as for study T Puted. The ~™ differences sight-reader: “Sight-reading has always been easy After the histories were taken, each of the nine because of the training my mother gave me. Once a subjects was observed and scored in regard to his ac- alone, with no corrections tual behavior while reading day I was allowed to read music. Anyone who has to the *°r thes put confi- subjects,Ub C and e e eSts from hor, any music I could find. This watched musicians while they read, will know that aM waa unknown aT t hi T' 7o tV dence into me, causing me to feel that I could read there are great individual differences in what they 010 never *he perf°rmance studied.’ told the nat anything.” do. Every factor that was chosen for observation had “ a of the factors Results of The began piano lessons the approval of other students of reading problems these test subject rated as 2 said: “I differences showed as being pertinent in what that the,- to the ability to read well. The For ththe le WBre great example , subjects following p e ' some dm The author acknowledges the assistance of Violet factors were investigated - • lookedQ gratefully WhUe ° at WMle reading. Lannert of the Northwestern University School of Music in therS looked this Eye Movements. The eye movements from musi- a aa psychological research. rft^.Tg£ ™-ly twice. f Continued on times for the "FORWARD MARCH WITH MUSIC” PageUp .

N HIS BOOK, “Music a Science and an Art,” Dr. Music cmd Study John Redfield has poured out a severe criticism I upon the musical capabilities of organists as a class. He makes no bones about expressing his opinion that they are utterly incompetent, and that organ music is just about the most dreary and impossible of all musical performances. It is easy to shrug one’s shoulders and dismiss such a diatribe as the ravings Are Organists Musicians? of a person entirely unqualified to speak with author- ity. And yet it is an opinion rather more widely held than most organists care to realize. America possesses some of the greatest artists in this field in the world today. There are hundreds of 3.J1.Q.O. excellent recitalists—some relatively unknown, yet L RoJund W. 2),.,,/,am, amazingly proficient. There are many times that num- f Professor of Music, the University of Colorado ber of church organists whose work is of generally high quality. It is with the latter group that we are specifically concerned, since the group includes most of the recitalists as well. Pedal technic has discernment in this direction. At the outset, let us discussed too While it is not at all necessary to possess pitch admit that organists been often to require much memory for success in music, it is fundamental to as a whole are a rather yet develop a trained ear which will enable one to hear self-satisfied group. elaboration, and it is amazing to find so accurately, especially one’s own performance. There is They are usually pos- students liter- no doubt that this is the weak spot in music education sessed of a somewhat many — ally hundreds who but it is a weakness that can be remedied. Frederick more complete theoret- — have studied organ Corder, in his book “Modern Musical Composition,” ical background than rather extensively discusses this problem at some length, asserting em- is common even with pedal phatically that this weakness is one most common pianists. Usually they without any whatever. among music students, demanding immediate atten- have done a goodly technic These poor souls have tion in the shaping of a musical career. amount of harmony, idea of In organ playing, as in any other instrumental some counterpoint, and not the faintest performance, success depends upon the player’s orchestration. What finding pedal keys ac- curately and infallibly aioareness of exactly what is taking place every in- practical use they make unless they may use stant. Wrong-note playing, rhythmical incisiveness of this study depends the old Stainer method and steadiness of tempo, phrasing, balance, suitable upon the character of color effects all these and many others are details the actual work accom- of jabbing their toes in — the spaces between B- that demand careful listing. No doubt most of the bad plished and upon their C-sharp, or organ playing .we hear emanates from performers individual initiative. flat and E-flat and F-sharp— being utterly unconscious that anything is wrong. It is generally con- question absolutely Here one . might pause and some of the ceded that most har- a system vicious for anything teaching that is going on. When a student is con- mony courses are al- but very slow playing. stantly making mistakes that attentive study should most useless in their pedaling de- not have permitted, it is the duty of any honest applied uses, but this Good mands poise and re- instructor to show the student how to study intelli- is a matter that need ROWLAND W. DUNHAM gently and how to listen to what is resulting from his not concern us here. laxation combined quite apart from the technical difficulties he Organists are trained with a smooth, direct efforts, from one is encountering. Here we find one of the obvious in the technic of their movement reasons for developing a technic in excess of ordinary instrument in varying degrees of efficiency. If they pedal key to the next. This will result in a positive demands. With adequate mastery of the technical can manage to play simple music with fair accuracy assurance of ease and accuracy with sufficient velocity matters, most compositions become easy to play, thus and passable fluency they are all too often content. for the most difficult passages. Wrong notes may well player who has been correctly permitting the player to concentrate upon the It is probably this averseness to be constantly de- be rare indeed for a music itself. The question of memorizing organ music veloping their powers that has led to the observations and carefully trained. and pedal still also resolves itself the minute the performer is free of men like Dr. Redfield. With a good manual technic, there from the printed page and can use his ears to the In this consideration of the shortcomings of the remains the matter of coordination. In improving improvement of the more important task of inter- overage organist, three major items are to be exam- this phase of organ technic, one can surely find noth- the pretation. ined. They are Technic, The Ear, and Musicianship. ing better than extensive use of Bach Trio Sonatas. works are to be found prob- In these indispensable Musicianship Technic lems in independence, rhythm, phrasing, and all of organ playing. Many an organist would profit immeasurably by the The most flagrant deficiency in the average organist the essential difficulties in Every organist study of such an instrument as the violin. By this Noble in should play these well to qualify as a competent is his lack of good sound piano training. Dr. good intonation, the movements should be in constant work he would learn to distinguish recent article practice two player. Some of * a advised every organist to Drill should at least studied superior tone quality, artistic phrasing. in the hours daily on the piano. This cannot be too strongly readiness, and all of them be deviations could be applied to his from time to time. niceties of pitch urged. But what sort of practice does it infer? organists of the technical choral direction, a duty of most and one Since the objective technical growth, From this analysis requirements is almost solely ear-training so often leads to organist, it is simple to devise a program where his lack of the procedures ought to be quite clear. Something like for a real Too great a proportion cannot even detect with technical for the establishment and maintenance of mastery of disaster. this might be a helpful routine. Begin in the choir, to say nothing Without such mastery there is fum- the singing of wrong notes work along the lines of the various sections in Joseffy's the instrument. general inefficiency with of poor, even distressing, intonation—if we may judge “School of Advanced Piano Playing." These studies bling, uncertainty, and even by the results in many of our churches. strength, inde- the finest musicianship. Technic—the fluent, accurate are designed to train the fingers for knowledge of the content of the notes comes first in the organ- Musicianship is that pendence, and velocity. Since they are invariably based ability to execute — musical composition which permits the extraction of through all ist’s equipment. Given that, he is free to concentrate on continuation of the figure in sequence phases. It mainly on musical considerations. the essence of beauty in all its is the the keys, a knowledge and mastery of the keyboard is his attention corollary of technic which makes note playing spring an important by-product necessary to an organist, but The Ear into life and bring a response in the emotions and frequently neglected. listener. The creation of beauty is to the painter, the ear should be imagination of the After perhaps twenty minutes of finger preparation, What the eye Unfortunately, many musicians are depends upon the ability of the performer to discover scale practice would appear logical. This should be to the musician. then to reflect it. Fine inter- perception and discrimination, and it for himself first, and at slow, medium, and rapid tempi with high, lacking in aural done therefore a demonstration of musicianship. both qualities are so essential to genuine artistry. An pretation is medium, and low finger action. some tasks peculiar musicians are without what With the organist there are to The remaining hour or so might begin with Czerny amazing number of his duties, especially in church playing. Many times or both would seem to be the most elementary training and Op. 740, or the Chopin Etudes. Then either sight. he is called upon to read at Even though it Old and New Testaments of keyboard players may be may be such a simple thing as a hymn tune, he is (The “Well Tempered Clavichord” and the explored play it as well as though mention expected to be able to it Beethoven Sonatas) . There is no need to were perfectly familiar. Since organists are not as possibilities in the vast literature of piano music other ORGAN adept in this task as they should be, the student may be utilized as a matter of musical experi- which should be encouraged to (Continued on Page 48) ence rather than repertoire. WITH MUSIC" JANUARY. 1945 "FORWARD MARCH Music and Stiudy children at this level. By the end of this period the child should have finished his exploration and should have established clearly whether he has sufficient ability and skills to make continued participation in instrumental music a worth-while use of his time during the specialization of the approaching high in Building school period. First Steps Third, there must be an orchestra in the high school capable of playing orchestral literature of a quality commensurate with the emotional and physical growth of the pupil, for by this time he has established funda- mental skills, he a School Orchestra has entered more seriously the field of instrumental music. Now the problem is to lead him as far as possible into the riches of good musical literature.

Planning a Violin Class for Beginners Accordingly, these 2),

Three Levels of Education The “sixty-four-dollar question” then becomes, “How do you go about building an orchestra in a school?” It seems to the writer that a limited but practical exposition of this problem should deal with two main understanding the areas: first, with the problem of This firsi-year violin class, composed of pupils in the fifth and sixth grades of th structure of education and the University Elementary Ann Arbor, Michigan, was S general organizational School, taught by the auth second, experiences with string classes provided the nature of the children in the schools; and whose such background for this art' "l* with the specific problems of developing the instru- mental music program. Let us now consider that first of the teacher, make this period the appropriate time The following area. four- to explore thoroughly the musical potentialities of the teen major The American school system has evolved into its Questions pupil. e typlcal present organizational pattern largely because of the of those Second, there must be an orchestra in the junior thatS . should nature of children as they grow through the three be con- high school. Since instrumental music is a specialized early adulthood. sidered and tor stages of childhood, adolescence, and which DR - activity within the general field of music education, CLYDE VROMAN our familiar tentative„ «t<-iaxunsdecisions Hence, for these three stages we have miiet I most of the players should have had preliminary train- viohn class b of elementary, junior high, and senior high for “ade »<*°ro » pattern ing should that they have sufficient beginners ,? starting reasons and have proved 01 8 are der schools. In the same manner and for the same listed cach of those major ability, and for the continuous ! some be geared to interest, aptitude study which oFtl a program of instrumental music must 4 t0 aid in picai Points oj vie« of an instrument. Of course, there always are those involved.mvSJ™ solvtlF 'l three stages in child growth and to the existing The 'r^*™** these students who decide to start instrumental music in de tot0 nvoco^i. . •eniPtnW 4 -u-i. nfFm't pattern of our schools. present ememher that no effort the junior high school period, and their needs should tc»T dav“to !, means, therefore, that a long-term plan for but rather Jechni class This be met. But in the main, this three-year period should to* qUes of school orchestra must have three major ° that building a emphasize ensemble organizations based on the dy- r program. *' ’ levels in its instructional St !1 8 'S "'°“ aW areas or namic personal and social drives which characterize 5K?.in rk ,vith program of beginning classes 1. What instrumentalumentai there must be a are thele . First, e music. schools to find the pupils for whom a. 6S in the elementary To find children tMs c!ass? instrument is an education- the study of an orchestral n V lin ^ '. b T u4es and for -. ° talents justifiable use of their time through- studv o, !h tateresf ally effective and b° lbose e riolin. c. children th is just emerg- BAND, ORCHESTRA 0 , in that level the child string re i t out their youth. At mi,Ue 3 SOUnd in degrees of aptitude whlch includes foundation ing as a person, with varying bodv arm 3,14 ’ band Pr of offered and s : r °Per position areas which are CHORUS 2 > for the several subject-matter and m 4 tedh his zeal (3) G niqueS of bowing to him. enthusiasm for new experiences, Edited by William D. Revelli parents o, fh °od mS His 0l tba the the direction Pupils d - TO get for learning, and his willingness to follow growthro of the the icZunuea Promoting 18 "FORWARD MARCH WITH MUSIC” on Page 54) the etvdi — —

HE PICCOLO is generally thought of as an Music and Study “auxiliary instrument”; a flutist is expected to Thave one “somewhere about the house,” in case a score should happen to call for one. This evaluation of 1.the piccolo is true in both band and orchestra writing, and much of this secondary position which the instrument occupies in general musical opinion has been due largely to these reasons: 2. The limited values assigned to it by the classic The Piccolo writers on orchestration—“adds brilliance, reinforces the flute,” “imitates flashes of lightning” (“William little of extra flavor,” Tell” and others) , “adds a dash “the rapid execution possible on the instrument makes An Appraisal of Its Full Potentialities it valuable for use in fast variations.” The fact that most composers have been quite willing to accept the above theories of the textbook people.3. Many composers have either left the piccolo out of their scores entirely or, following the orchestral llj. oCiaurence 1"JciLJ-io as a values suggested in No. 1, have used it solely in- doubler of flute parts, or possibly as a “variation perhaps, be credited as being strument.” Rossini, may arranger a conductor of wind the Mr. Laurence Taylor is well known as an and one of the first well-known composers to dare use an ensembles. Since 1939, he has served as Director of the Columbia University piccolo entirely separately from the flute and as of At present Mr. Taylor is a member of the Committee independent member of the orchestra. A number Woodwind Ensemble. National Conference . Editor s Mote. his overtures use one flute and one piccolo in the score, on Ensembles of the Music Educators and they are entirely distinct parts. The deplorable literature which has been avail- instrument. able in the past for the piccolo as a solo vibrato. The piccolo, too, has a more thrilling, life- an encouraging trend to give the instrument a part sufficient There have been, it must be admitted, giving sound when vibrato is employed. In the past, of real importance. In the past it has doubled the position which reasons for the lowly and secondary many piccolos yielded such a thin, airy sound that flute (and been taken out whenever the score became intonation on the in- less than FF) it has followed the E-flat the piccolo has occupied. The the tone was really too frail to be susceptible to a anything ; too many strument tended to be very faulty. Entirely vibrato; one hardly dared to use vibrato on it because clarinet exactly on other occasions, and in still other of the flute of the instrument-makers, jealously proud the tone was too unsubstantial and, for the lower half places it has doubled the B-flat clarinets in variation careless with of the which bore their name, were thoroughly of the range, certainly too prone to break. figures. This was the commonplace use piccolo it as a second- their piccolo because they, too, ranked Another feature of the piccolo of today or rather in the older band scores. just a small, hol- ary instrument. The low octave was perhaps we should say “of tomorrow,” is the fact that,, Sometimes it has been assigned variation figures all valueless; the highest of this is the low rush of sound—practically owing to the improved conical bore, the instrument alone: a classic example second strain to chill to the Stripes octave was a shrill screech, calculated has (especially in the middle register and upper half of the Trio in Sousa’s Stars and Forever. An- just a wee bit of piccolo bone the very hardiest soul! And of the low octave) a much greater sustaining power, other effective use of the which has become a middle octave extra lip pressure was sure to send the than could ever be derived from the older models. The classic by this time, occurs in the Trio of Goldman’s piccolos are a fifth higher—all very disconcerting! tone can really be described as “full” and “solid,” On the Mall. Here the given the melody especially of the last But the piccolo of today, and hardly characteristics of the piccolo tone most of us in the middle of their range—with the audience being different instrument from along with them. few years, is practically a call to mind! invited to “whistle” piccolo made by the one just described! The latest These, then, are the characteristics of the piccolo In recent years, our composers have been doing American instrument manufac- one of our prominent of tomorrow. Again the warning must be sounded that better and better by the instrument. Composers like many, revolutionize piccolo turers will, in the belief of the very best qualities of even this vastly improved Morton Gould, Vaughn Williams, Georges Enesco, can be shown to the writing, once its possibilities instrument are not going to come in the case along and Gustave Holst, and arrangers like Philip Lang, This is a conical bore instrument, modern composer. with the instrument, direct from the maker. The pic- Erik Leidzen, and Quinto Maganini have been giving unfortunately, its manufacture has parts, sometimes a model of 1941; colo must be 'played to sound well, and it must be the instrument solo and solo parts discontinued for the duration. Nevertheless, Passages likewise which had to be played daily, not merely taken out of the vest pocket which require pp! do not certainly the piccolo of the future. Once it doubled with this is once in a while when a piccolo part creeps into the show the instrument any other in the general use, musical opinion cannot fail to Florent Schmitt, contemporary comes into band or orchestra folder! score. And French recognize that almost all of the faults and inherent composer, in his work “Dionysiacques,” has called for which have hampered the player of the instru- important use of two piccolos. This is all horrors Its Use in Modern Band Scoring and made ment in the past, have been ironed out before the in- most encouraging, and comes along hand in hand with A few suggestions on the range of the piccolo might strument is ever placed in the hands of the performer. the mechanical improvement of the instrument noted be of interest at this point: True, this is only a part of the problem; we have previously. still to convince our flutists that the piccolo is no In this connection, there is a charming piccolo solo longer to be considered a somewhat embarrassing in the last movement of Holst’s Second Suite for “poor relation” of the flute. Even this fine piccolo re- Military Band which, while written a number of years quires practice regularly (daily) to show itself at its ago, seems to be made to order for the new piccolo of best, and the tradition among some of our fine flutists 1941! Here is the excerpt: that the piccolo is “an instrument of betrayal” is going to take some breaking-down! the notes at — c But—the fact remains that the piccolo of today is tend to speak a bit slowly different! The 1941 model piccolo described above can be played perfectly in tune, all over the instrument. The low octave, down to the very D, is quite full (a long recognized contribution of the conical bore, but longer a hollow now improved still further) ; it is no rush of air in this octave. The notes and it may now be observed that, thanks to the new model piccolo available, that first low E is at last be- Ex. I ginning to be heard! (Flutists will at once be reminded of the low D which starts off the well-known flute solo in “Leonore” No. 3!) which used to be the weakest and least valuable of all The Piccolo in Chamber Music It is to be borne in mind always that the piccolo is on so many of the older piccolos (and they occurred all a transposing instrument—the piccolo in C sounding In discussing the use of the piccolo in chamber the time in so many passages) are no longer feeble and an octave higher than its notation, and the one in music, we shall consider chamber music as being di- almost impossible to control in a forte passage. These D-flat a minor ninth higher than written. vided into two sections, (a) small ensembles, and (b) notes can now be struck sharply and maintained at Piccolo writing in the band scores of today shows solos with piano. forte v/ithout any danger of their ascending a fifth! full, In the first category, the piccolo has only relatively The new piccolo is capable of sustaining a being recently begun to insert itself into small chamber strong vibrato in all registers without danger of ensemble scores. Only a few instances of numbers forced, or of cracking. The vast majority of musical wherein the piccolo is used in small ensembles has seemed to agree for some time now that are opinion BAND and ORCHESTRA the writer, and in many of these is ren- known to the in- the flute is an instrument of which the tone use of strument is called for in a single movement only, dered more interesting through the judicious to " ,r MARCH WITH MUSIC JANUARY, 1945 FORWARD 19 ,,

Music and Study small groups of wind instruments: the first calls for oi daring and a willingness to face and overcome the piccolos, second, for piccolo in addition two the one to opposition which strict traditionalists are certain to two flutes. It is perhaps a belated outgrowth of these offer. early in reed for experiments instrumentation small Only by imitating the flute as closely as possible can groups that has the for the interesting replace the flute, and is played by the flutist of the shown way the piccolo overcome its detractors; its weakness in experimentation with the piccolo seen in chamber the past has group. Nevertheless, meager though the number of been its great inferiority to the flute, and works McBride, Douglas Moore, Philip only pieces of chamber music in which the piccolo is called music by Robert by a successful taking over of some of those bul- James, Brant, others, all of which have of for may be, here again the signs are all on the en- Henry and warks the flute literature can the piccolo come into appeared in the past few years. its own. couraging side. These indications suggest a heartening And the possibilities are excellent: the flute comes consider the literature for solo literature is resurgence of the lowly piccolo for the not-too-distant When one to large, diverse, and well established. Con- piccolo with piano accompaniment, the situation is tained in it are future because the quintets and sextets, and so forth numerous compositions which the pic- single glance the pic- colo, well which do use the piccolo on occasion are all recent sad indeed. But a up and down played, and in the light of recent improve- colo solo list available in the catalogs of all publishers ments on the works, and show an interest in the piccolo which is instrument, could very well take over. would be enough to discourage the hardiest soul. Here Another bound to have a cumulative effect on chamber works possibility, in addition to taking over some are a few titles for the edification of any who may of the standard not yet composed. Some chamber works in which the flute literature, is the hope of inter- think the writer over-pessimistic on this subject of esting open-minded piccolo appears are Paul Hindemith’s “Kleine Kam- composers of today in this newly piccolo solos: The Wren, The Turtle Dove, Yankee bom instrument. It mermusik,” Op. 24, No. 2, the Czech Janacek’s Sextet, is without question that many of Doodle, Air Varie, Through the Air, Skylark Polka, our modern composers “Youth” (1925), Darius Milhaud’s “Dixtuor,” the have not the least idea of the Sparkling Dewdrops, Birds of the Forest. These, then, full potentialities American Philip James’ “Suite for Woodwinds” (1938) of our modern piccolo. These men, are representative types of piccolo solos. upon whose and, likewise, Douglas Moore’s “Quintet for Winds” shoulders the interest and inventiveness thing to be done, and it has al- and skill of (1942), written for the League of Composers. Most of There is only one American music of today and the future suggested in a footnote under the piccolo lests, must be given these are very recent works and show a real attempt ready been a chance to hear the piccolo of solo list given in the 1943 Competition-Festivals Man- today and become to blend the piccolo into a relatively small volume of aroused as to its greatly increased sound such as produced by a small group of four or ual prepared by the MENC, namely, “Note: Any suit- values. from the Flute list will be accepted for e en 1 five instruments. able number outlook tor the Piccolo from time step fnrtb ,? !frt this of first sincere attempts to use the pic- Piccolo solo competition.” This is certainly a in “Hy encouraging, One the , and a resurgence of the direction. With the much improved piccolo instrument continuing colo in a small group of instruments was made right the right along the lines already begun fine flute in his “Two Hill or soon to be at our command, many ' in our own century by Percy Grainger now WiU pl obably be fulfilled sooner which it formerly would have been thought sacri- Songs” (1902 and 1907 respectively). These two num- solos ZXZJ"?? well-wishers even venture to borrow for dare bers, in which Mr. Grainger deliberately broke away lege and lese majeste in the extreme to hop? and desirable from the nineteenth-century conception of music as piccolo, now become perfectly possible course, it goes with- being for .string orchestra with added color (winds) to transfer to this instrument. Of judiciously: many represent an earnest and a sincere attempt to make out saying, that this must be done taken over by the New Keys to a more direct and idiomatic use of the wind instru- flute solos by very nature cannot be Practice take a great deal ments, both technically and aesthetically. Both are for piccolo. But many can, and it will t-j M nUon y m n y ng l0V th“Tegi°n yo?u practtce ™Mak? d t°T lmp s " Slble during jour study hours ? PeriiS?”, qmet m wblc to think and work alone s °t b6 establlshed; they rarely proffer themselves. •

is th0ught - Nothta8 °f ® Single unless each effort passage is a criticaftlcal uuprovementfm preceding one. upon the k d n h ^ aS “ you had ap hour to prSce poi p0Le°ta of' the ‘ fusing to be rSsheVTntoeTe" result ot re

A Quiz to Test Your Musical Knowledge (Continued from Paae R) e a U C an Which Y4 liSteci below are women. \tay?%“ ite a |- Hempel, Zlmbalist, Schipa, Eames tmV, Nielsen, Alda, 22. Mozart chose 0011, Gadski Kubelik? an orchm?? . l of one of his mstrument as a title operas. . Hee callednon ^ Oboe, Piute? it The Magic: Violin, 23. Several scenes from Name the operas from have become famous. Mad Scene; The Scene is taken: The The Garden ne Balcony Scene. > The Anvil Chorus; 24. Victor Herbert wrot- light operas, which we 118111^1 and tuneful "Rohm alUnv^L^e Hood," ‘The Spr‘Z '^Wch 01 these are his: Normandy,’’ lli '” " “Floradora ” ”Th?Yr The Chimes of 26. Caruso was Merry beloved in m Widow?” eras are given y tenor below. roles - op- Can you The ch: Carmen,” tile part p!ayed ", ?? “PagSo?”“Llacc1 he II Trovatore?” ’ “Rigoletto,” ‘‘Faust,’' Answers

““3 “ure .'* wn?»a ‘sauiugj ' T I3aui TP utonT nIli ‘ ep Tum*ra ’turnip atI1 IV ‘u3s ,S ”S ,;bs upso.unea U?*S 0t PIodoeT .. tt .„ ., T Ton mo v ’81 H n,!UIV 311,1 ' uYh'TA-a l,v 'sT’S 9I T-iotintlog A REAR VIEW AT THE FRONT w^o..op A -si UP-SUH -n rs R°K~s BT'? an audience of three at a rehearsal "somewhere in England" A Canadian military band giving a concert to ttssiih •; 225^ 8 «to . "FORWARD MARCH WITH MUSIC" !A s . lpBa ., the etude ) — —

T WOULD BE UNFAIR to begin by pointing a long Music and Study finger and asking suspiciously, “Can you play a I recital tomorrow afternoon at two o’clock?” Ima- gine the consternation! How much worse, then, to add righteously, “Well, if not, why not?” What is it that keeps musicians in such a chronic state of unpreparedness? Usually the main stumbling block is time. Where can a musician find time to Maintenance practice technic, learn new music, and still maintain Repertoire

a large repertoire? . The answer lies in systematic planning. Almost any system is better than none. The one most likely to be efficient, would be built around that pernicious time factor. And to make it official, only one piece of equip- n,-J( ‘WJL pages. L JU ment is necessary—a small notebook with many } A pocket diary would do nicely, for in it dates and days have already been provided. “learned” a composition, we When we say we have Lime remaining is not generous that is all. If we had really learned the com- not be overdone. The the paths from brain to fingers (or And actually mean that music and enough to repair the damages of repeated, carefree con- position, no more will be necessary. Both to voice) have been worn deep and smooth from technic have been reviewed: the reflexes, emotional playing. stant repetition. We have, in fact, established an ex- physical, remain keen. It takes between seven and ten minutes to play the habits. As long as we and tremely complicated set of Espagnole. Around twenty minutes are left for For the next two-week period the same routine ap- Danse use these habit-roads with regularity, all continue to The following two weeks, the exercise of relaxation and repair. This second re- some, or all, plies, but every other day. is well. But when they fall into disuse, view should always be done with the music to find That every third day. And so on, until the intervals are of the trigger-swift connections become rusty. they appear: with the week. Here we pause for a month: four reviews memory errors before and which was once spontaneous has again reverted to the once a every weeks for a period of two metronome to prevent rhythm from getting a chance “I’ll have to in all. Then once two level of conscious effort. Then we say, become distorted; and without vibrato! months. Next, once in three weeks for three times, or to practice that some more.” In other words, practice a nine weeks’ total. Finally, once a month for six it to wear the paths smooth and make them automatic months. At that time, we may drop it from the review Forestalling Errors again. sev- roster, serene in the ability to play it, even after By dropping the metronome beat back to 80 for each Obviously, then, in order to preserve these compli- The completed cycle will take eral years have elapsed. eighth-note beat ( Danse Espagnole is written in three- cated reflexes (arrived at by dint of so much hard weeks over a year. eighth) a comfortable slow-playing tempo is achieved. Equally clear, a few , work) , we must continue to use them. This sounds simple, of course, when applied to only Compositions vary according to the nature of then- even at first glance, is the impossibility of practicing composition. But from time to time new ones will difficulties. Danse Espagnole is particularly tricky for each day every composition we have ever learned. one to be fitted in. That is where the notebook be- the bow. Therefore, in this case, special and continuous However, it is possible to set up a system of pre- have invaluable. For example, let us assume a very thought will go into every movement that is made by ventive maintenance in practice. That is, to plan a comes moderate practice sched- the bow. ule of two hours a day. The object of this second review may be expressed Our obliging musician is in a single word perfection. This includes perfect in- a young violinist with tonation,' rhythm, relaxation, and bow control. Not an several years of study to unnecessary muscular ripple nor an unwritten sound his credit. This is the should be allowed; there should be only one true note subject matter current moving to -the next one, accurately and rhythmically. of his daily practice pe- To achieve this is no easy task. It does not mean riod: dropping the tempo and allowing the mind to wan- control Bow der, while fingers perform automatic, and often sloppy, Scales in double stops actions. It does mean intense and continuous listening Cantabile Andante — concentration. It does mean going back over a pas- Tchaikovsky (recently sage that fails to meet the exacting standards. Twenty completed) minutes is time enough to go through all four pages Danse — Espagnole in this manner—with a little left over for the places Falla (last lesson on it that may need extra attention. today) — Of course, it’s hard work, but worth it a million Sonata in E major times over! For, in addition to preserving the achieve- Bach (brand new) ment of his past efforts, this control-practice has an The material may be di- amazingly beneficial result on our violinist's playing vided into parts: four as a whole. He will find that his playing is cleaner, (1) technic, (2) and (3) better in tune, and that it has far more polish. the learned compositions One session of this sort at a time is about all an and (4) the new sonata. average mind can take. So, rather than go ahead to In a similar manner his the Andante Cantabile, he would be wiser to tackle the daily practice time may sonata next. Being new, this will afford a different be split into four equal kind of practice. The change will be restful all the parts of half an hour way around. each. Then back to the Andante for the fourth, and last, TENTH POSITION Our young violinist will half-horn1 period. The playing tempo here is much the extreme positions certainly start each day the Danse Espagnole. Therefore, Nathan Milstein shows the position of the hand in one of slower than that of with technical practice, the fon trol- practice tempo will be dropped only both bow control and scales in the first half- composition, three things system of practice each learned composition including slightly, if at all. In this whereby of period. By the end that time, his fingers are it's “easy." But at the is reviewed regularly, but with decreasing frequency. hour bear watching. (I know same thoroughly limbered. He should be able to tear right play well. It has a trick It is an accepted fact that the longer we practice time, it’s very difficult to of Danse Espagnole without further ado. Played If a composition the more firmly established our reflexes into the getting out of hand when least expected) . Kreisler’s to tempo once, and from memory, is enough. Never intonation is apt to become. Therefore, hoio often we shall need to practice up fingerings are used, the become should he play it more than twice in this manner. nice silky shifts start to smear under it will be in proportion to the length of time we have variable. And the playing of this < or any other learned composition known it. One the influence of emotion. of intonation, the beginnings will allow slight errors The violinist has intonation and shifting then to and a lessening of carefulness to creep in. The Routine of tension, watch in the left hand. (Tries to make them shifts, Begins subtle damage just that Two playings carry the much too, not slides.) Of equal importance are bow changes For example, starting from the day when we have further. at the frog. That messy business happens when he’s finally learned a new composition: every day there- composition So, while the learned must be played, inclined to “schmaltz" a number. after, for a period of two weeks, we go through it thought, playing for freedom of musical the of it can- And that’s that, for one day. It's control and analy- tiuice; the first time playing it straight through from sis that count in the long run. Any musician can apply memory and up to tempo, with everything in it that those two fundamentals to his own problems. should be there to make good music: the second time I hear cries of wrath from teachers, “But that al- practicing it with the music, at what may be called a lows only half an hour for learning new repertoire!" •‘slow-playing tempo” (not very slow: just comfort- schedule, that is indeed control— On a two-hour practice true able). The emphasis the second time will be < Continued on for the first two weeks. Page 52 > cold and absolute. MUSIC” 21 JANUARY, 1945 "FORWARD MARCH WITH C n „

Music and Study What Shall I Do If 1 Can't Play It Up to Tempo?

What Docs T. S. P. Mean? Q- If a college graduate is not able to play a Chopin etude up to the given metro- In the August, 1944 Etude there ap- nomic speed, what is the slowest speed that peared a question concerning an abrevia- you would advise him to strive for? For instance, tion the "Black Key Etude” that the editor of this page did not calls lor M.M. J = 116. If it is impossible understand. He made a wild guess at its to play it at that tempo Questions and Answers what is the next meaning but stated frankly that it was highest speed that you would suggest? just a guess, and he asked whether any —M. L. K. of our readers could supply a better an- A. The fact Conducted by that a person is a college swer. They could! —and within a week graduate has very little to do with speed piano four persons had taken the trouble to m playing. In the first place, col- send in the correct information. We are eges differ greatly in their standards: and, very grateful for this cooperation and the in the second place, individuals differ editor of "Questions and Answers" is enormously in then- ability and W. Q.U•end pievious particularly pleased, for he has always JCJ preparation. Some high school students wondered whether anyone actually reads play better than many a college graduate his replies, and now he knows that at ever will; and some colleges Mus. Doc. giaduate least four people do! students at a level achieve- ment of Here is the information: T. S. P. is an Professor Emeritus that is hardly above that required abbreviation that stands for "Tone Sus- by other colleges for how you would have admission. taining Pedal” (the sostenuto pedal) and can understand Oberlin CnllGije To come down , to facts, what you want trouble finding suitable material by Sme- to know is the sign © is used for *, meaning that what you should do if you tana, but he, too, has written a few piano Music Editor, Webster's New can t play the pedal is to be released. H.P.A. informs a particular piece at the tempo numbers, including the Czech Dances in that is us further that this peculiar and rather International Dictionary indicated by the composer— or, two volumes. Th°re are also some Polkas oi e probably, unsatisfactory combination was used by by an editor. The answer and a Fantasy on Czech Folk Songs, but play as Paderewski in the piano works that he near to this tempo as you bill. , these would hardly fill the S lf edited, especially in Chopin. ’ isn’t effective that way th . “Have you ever come across any com- 1015 Again we thank our readers for their _r,_ fl'om your repertoire and positions by I. B. Foerster or Zdenek clioose fine cooperation, and we ask that at any compositions that do not require Fibich? I esteem both highly and you ™u h SPeed ' time when the information we give seems ?? Por TOUT comfort I will might mention them to your inquirer. UlSf, . inadequate they will feel free to write us ma“y compositions are rea- Of Novak, I recommend either the m,hi . frankly. We carry no chips on our shoul- effective even though they are Sonatina Eroica or the Slovak Suite. y s ders! —K. W. G. °™ewhat more slowly than the There are also compositions by Josef Suk, L ,f? caU d lDr by the , f metronome mark, Dvorak’s son-in-law and Foerster’s It i f 0 rUe °£ course that the ability teacher. Dvorak’s influence is quite evi- to nla Jf f 1 ' ften ei ovs wlth additional Further Information About dent in all of Suk’s music and he has practice if keep on trying; but don’t written in every branch of composition. SS;y„f°urself entirely to brilliant pieces. Czech Composers “Another composer who is very much in the public eye just now is Bohuslav In the July, 1944 Etude Mrs. C. H. Martinu, about whose work you may read How asked us to make suggestions for com- D° You Count It? in “The Book of Modern Composers,” positions to be used in a piano recital of edited by David Ewen. Leos Janacek lease tel1 Austro-Hungarian and Czech music, and th? followimr m me llOW to count happens to be one of my favorite com- by from C,air de Lune in our reply suggested music by Debussv® i ,? we ** “ tt posers, but he is known mainly in the time. STS* Dvorak, Smetana, and Kfenek. Dr. Walter Correct? domain of opera. However, he has writ- Schmolka, of Montreal, Canada, takes ex- ten a few piano compositions, among No question will be ception to the inclusion of Kfenek as a answered in THE FTllDE worth-while number called Va- “ n SS : ° m!' a cd by ,he 11 them a - - I" name andj addressjJ“ t! Czech composer since he was born in of the inquirer. Only initials riations on a Theme. or pseudonym given, will be Vienna. Dr. Schmolka is, of course, en- published’ I am immensely grateful to both Dr. tirely correct, and in writing the reply Schmolka and Dr. Rosenwald for their we should have mentioned the fact that generosity in providing me with these we were thinking in terms of “Austro- additional facts, and I am certain that music.” are explain to you what it means. Hungarian and Czech We our readers now have the best informa- Often, to glad also to express gratitude to Dr. save paper and printing, some tion that is available either in the United large additional piano section of a composition is not ls Schmolka for listing States or Canada. —K. W. G. printed the Measure compositions Dvorak, and for remind- out in full when it is to be repeated by but tri»le 00,1 composer, Bo- is referred to by D.C. or D.S. measure ing us of another Czech The letters Twlhat means t D.C. stand for the words measures nrmJ . huslav Martinu, who is at present resid- Da Capo, which About Repeal Marks mean “from the head”; ing in the United States and whose works that is, from the beginning, the have been performed during the past two Q. Would you please answer a question intention being that concerning one of the “Phantasy shall repeat the years by several of our leading symphony for me you piece from the be- Pieces” by Robert Schumann? My ques- that Mar- ginning up to the point marked orchestras. We are informed tion concerns At Evening, Op. 12. You re- fine which means literally tinu has also written compositions for call there is an introduction, and at the “the end.” The similarly piano, these including several concertos end of the first section there are dots for letters D.S. mean literally “from repeat. Am I to go back to the very en Miniature, a the sign,” and the intention is that and such pieces as Film beginning of the piece or to the beginning in- so forth. stead of repeating from the very Three Czech Dances, Dolls, and of the first section? In this same piece begin- lnt VWe ° ‘ b eaah < entitled are two words—senza replica that ning, you are to repeat only -e s Mention is also made of a book there — from the mXA V not clear to me. Will you explain their stopping at »ere triplets. °nS as “Music in Czechoslovakia,” published in are sign, the word fine. When a In thh» use?—E. F. K. quoted, measure Prague. large section is thus repeated, the continue , ! y 1938 by Orbin, in smaller beats, tQ feel the A. These dots indicate a repeat from repeats within it are usually but diff„ thre Before the above information reached disregarded e Ch beginning. Repeat marks often apply the second time through. instead beat b me I had already written to my friend the In other words o? tb“ small section, but in such smaller sections much easier ’ This sh Hans Rosenwald, the well-known mu- only to a a the marked with repeats thi f measure trymg to cha information case there is always a heavy bar with are played twice the first time through to 6-a „ sicologist, for additional The S y°u have at its right somewhere preceding but only once during entire ,,,, bee; replied dots the D.C. ' he or 1 about Czech composers, and D s’ ruba 6 6 heavy (or double) bar with dots at repetition. To make the to” “arked as follows: the intention per- contamf J? fwo any beats divl of piano its left. In such a case the performer fectly clear about these smaller parts instenu’ “Of the quite substantial list repeats happens repeats the part between the two sets the composer or editor ttae ’ works Antonin Dvorak, I suggest that frequently «££*«,? » by uses quoted h measure "Twelve Sil- of repeat marks. But when there is only the words senza replica, meaning every beat f V you mention the following: liter- s of dots, as in the case of this "without repeat,” Parts. divided i houettes, Op. 8”; “Six Mazurkas, Op. 56”; one set ally in connection with But t V piece, the intention D.S. Thus, Pasic feeling ahouU not and Theme with Variations, Op. 36. There Schumann is that D.C. or for example, D C of U[ shall repeat from the beginning of senza replica means that measure. “ large be! are also a number of Dumlcas, Furiants, you you are to You win Scotch number of short the piece (or movement). repeat from the beginning, but Iayge by Dances, and a that you of baate direction senza replica to disregard nine t tSeth Measure pieces in 85, but the ones I have The does not are the smaller repeats small Op. in ‘ bentbeats much . you mentioned seem most characteristic. I appear in my edition, but I think I can doing so. mol e wiI1 c ‘his entire comply “USical 22 "FORWARD MARCH WITH MUSIC” the etude : ’

Music and Study

Voice Training Through Emotions

Interview with Chosen by Government psychologists after World War I for An rehabilitation work among shell-shocked soldiers who suffered from speech defects, Dr. Garns has treated as many as one hundred individual cases a week, with remarkable success. A graduate of the Curry School of Expression in Boston, he ^ohn Steamun CjcivnS headed the speech department of Lawrence College, Appleton, Wisconsin, for eight years. Then he specialized in psychology at the University of Minnesota and lectured on its extension Dramalist, Lecturer, Voice Specialist staff for twelve years, while heading the department of speech and dramatic art at the MacPhail School of Music and Dramatic Art in Minneapolis. The youngest of six in the home of a country doctor, in Ma- rengo, Iowa, John Seaman Garns began life as a sickly child. SECURED EXPRESSLY FOR THE ETUDE BY DR. ANNIE S. GREENWOOD While getting his education he faced, too, all the hardships of a boy without funds. His father wished him to become a physician, and John agreed. He entered Drake University for his pre-medical work, but in the middle of his sophomore year his eyes failed. Even his lessons had to be read to him. He ties of the sympathetic nervous system with the more fume. Now suggest that the pupil translate this whole soon realized that he could never use the microscope. His aspects of tone production. into sensations. Ask him to medical career was ended. voluntary activity body remember Only twenty years old and sight almost gone! the “feel” of these actions: particularly the expansion "The world had gone to pieces around me," he says. "It was Breathing for Speech and Song of the body, the delicate uplift of the whole torso, and satisfying to my self- a tragedy! I couldn't see anything else “It is due to the sensitivity of these coordinations the gentle activity at the center of the organism in- expression." that crude attempts to train the human voice, by volving, not alone diaphragm, but some forty or fifty Then to the the tortures of sciatica; semi-invalid body came vocal- muscles which could not hobbled about on means of difficult his further studies were carried on as he possibly ises too quickly given and be coordinated crutches. Perseverance and his love of music, however, carried voluntarily. him slowly through the years of college and university special- under the control of the “Reproducing ization in psychology and voice. Doing solo work, directing human will, become worse this “feel- choirs, and singing on lyceum circuits, he struggled con- than futile. The attempt ing” as a breathing exer- stantly against pain and weakness. Now, in his late sixties, to establish ideal breath- cise, over and over again, sight. he has perfect posture, vibrant vitality, and excellent ing for tone by voluntary will gradually register the Therefore, the following observations have a value demon- exercises and controls al- sensation of normal strated by experience. — Editor's Note. most always results in breathing, as against one’s disaster. To tell a pupil habitual method. Usually to breathe diaphragmati- the pupil will find this "^T^ HE CULTTVATED VOICE is a living growth. cally, or in this or that centralization of breath I It is like a rose. That growing process cannot specific fashion, estab- very far from his habitual X be hurried. It is basic that all true voice train- lishes just the set of ten- breathing method. ing must be from the inside out. Whatever mechanics sions which the teacher “Exercise 2: Now start are used in voice culture? for speech and song must be most wishes to avoid. Sur- chuckling — silent laugh- used with the sole purpose of stimulating the outer face body constrictions er. Imagine being in flowering of instinctive emotional states. immediately prevent nor- church where laughter “At the MacPhail School, teachers often brought to mal breathing. would be out of place and feel the effort me pupils who were especially difficult because they “But how shall we at- of control when did not respond to conventional voice training methods. tain ideal breathing for something exceed- ingly funny takes “Such difficulty lay in the students’ lack of breath tone, without inducing place. Gently repress control or in faulty tone production, largely because tensions? the laugh- ter for a moment. of personality problems which involved the emotions “So-called ‘natural’ Then consciously and and the sympathetic nervous system. Vocalises and breathing methods are the voluntar- ily repeat the “feeling” the most careful voice training would never touch their individual’s habitual ways of to these coordinations, keep- difficulties. The voice is based in personality, and only of breathing. Needless ever ing all the spontaneous personality adjustments would release them into say, they are hardly amusement active in beautiful tone production. ‘normal.’ How then may the normal organism. “My solution was first to free the body by relaxing we get down to and “Here again, one gets exercises, involving the whole being—mind, emotions, breathing for speech we as nature’s own response at and body—to establish more ideal coordinations in song? How may touch off, in both JOHN SEAMAN GARNS the center of the body, ordinary life. I strove, through exercises involving posi- teachers and in and the correlated activi- tive and expansive emotional states, to obtain more the consciousness of another person, such ideal coordina- ties of the whole organism, without tension and with spontaneous breathing. I tried to show each student the organism will make spontaneous and beautiful tone a normal retention of the breath. that he did not have to have a superimposed mechani- tions as cal method, but that he already had, deep inside his possible? is to get deep beneath the Normal Response Attained organism, an ideally coordinated technique of breath- “The only sure way down of civilization by instating instinctive reactions. “Exercise 3: Try deepening the response to wonder, ing for both speech and song. All it needed was to be veneer done only when we go back through the to Imagine standing on some mountain touched off as the simplest kind of instinctive hair- This can be or beauty. the race a hundred thousand years. There peak, looking at a beautiful sunset across a vast ex- trigger reaction by natural exercises. history of of the more spontaneous reactions of of awe-inspiring scenery- Notice how the “The training of the human voice makes greater we find some panse or- as sniffing, sighing, laughing, yawn- ganism responds to the expansion and elevation demands upon the instructor than any other kind of the organism, such of normal body activities as have never the body so gently and so naturally instated. Note the teaching of skills for the arts. This is due to the fact ing, and such interfered with by our modern artificial modes tendency to take in the breath by a gentle expansion that the human voice is the flower of two distinctive, been whole body. Observe the tendency yet coordinated, nervous systems: the one voluntarily of living. of the as long as pupil impression of awe and wonder continues directed, and the other wholly non-voluntary. Only “Therefore, to get a to reproduce within him- the active, to retain the breath without tension. through delicate adjustments of these two can ideal self the feeling of normal breathing, the teacher should easily imagine getting ready to exclaim, tone be produced. suggest that he use imagination and allow the or- “Now ‘Oh, how following wonderful!’ Notice how the breath is held “Perfect breath control and the many delicate grada- ganism to respond naturally to the exercises: in ideal holding a rose in and suspense by the complete awareness of remaining tions of tone color are thus produced. The difficult “Exercise 1 Imagine the hand re- sniffing its fragrance; or, imagine gently ceptive to the emotional response of awe and problem in voice culture is the absolute necessity for delicately wonder “In such exercises, and they (.Contimied coordinating the subtle and more spontaneous activi- sniffing the air as if trying to catch some elusive per- on Page 53)

JANUARY. 1945 "rORW'ARD MARCH WITH MUSIC 23 ”

Music and Study

The Immortal “Pat”

Americas Super-Salesman of Music

Ilf ryt^oron J(. -Ant,'Lim

would foster a friendlier feeling among states sundered

by war. Wa ' P1 etty tta day before Aglow with this idea, he hurried home to tell his OMstaas whe b wife. Mrs. Gilmore thought her spouse slightly touched 1”* lnt° °"e J°S‘ ah BaldwS to whom llad beTad' sentT an outline of the but, knowing him full well, said, “When the hosts of festival “VnuVo + fif the man 1 m lookin Angel Gabriel sound the last judgment, I know you Bardwell “T thint S for,” boomed it.” J bilee is a gr6at will be there directing idea,” and he - handed^e^st*e astomshed? bandmaster a That little precedent existed for an auditorium to check for <;snnn r-,-i ,

S °ared ' seat 50,000, didn’t trouble the unquenchable Gilmore. “ this about °ther (Madison Square Garden seats only 18,500.) But one that same day. "The TeXle %°4 subscrlPtions PATRICK S. GILMORE mple of Peace,” as build- of Boston’s best architects agreed it could be done, ing was called «,QO f the W0 entire and drew up plans on speculation. The city fathers and was to city blocks b’e natec J . * by thousands of star- HE PLACE is New Orleans. The time is 1864. of Boston thought the Peace Jubilee fantastic. New shaped eas ietq t+c , *««- Louisiana, cut off from the Confederacy by Far- York was likewise cold. Thinking he might get some ptetely equipped — * ba lor necessity ragut’s if planned the festival to coin- of nature.” Four T victory and the fall of Vicksburg, has government backing he balconies were to run ™ d the returned Sides ' °- of to the Union. Massed in Lafayette Square is cide with Grant’s inauguration, Gilmore went to the building would™ Tw fifths pe glveneivm over a chorus of not fewer than 5000 singers. Supporting Washington. No luck. When the Grand Army of the to performers. them are Gilmore’s Irish dander bands numbering 500 pieces, banked by a Republic refused to touch it, Publicity Plus huge drum-and-bugle corps. High on a podium and was up. He’d see the project through himself. k ' * Pt directing the whole stupendous ensemble is Patrick Returning to Boston, Gilmore canvassed for sub- alive. A sSchilTy ^ natIon s interest Sarsfield to bSlt"bass drumd Gilmore, army bandmaster and master show- scriptions. The merchants listened his impassioned in diameter was ' twenty-live feet exhibited tD. man. Bands and chorus swing into Gilmore’s own and plea, and he spent a week of sleepless nights waiting at stations goggle-eyed crowds en routp fmm -nt only well-known composition dramatizing the the verdict. It was “no.” He confronted hotel organ t0 occa- for installed had pipes the? ™ sion, When Johnny and rail heads who might profit by the But. the ^faCtory chimneys ' Comes Marching Home. The crowd proprietors feverish musical "t 4 goes wild. first to subscribe. Even U But the knockout blow comes with Hail, venture. No one wanted to be was the best stimulant °ver the land him Picked bb* d“ Columbia! For this Gilmore has assembled a row of the music profession of Boston gave scant en- daily. Eight hundred nds were rehearsing chniv. »r ° cannon, one of which booms on each beat of a thun- couragement. The Handel and Haydn Society, one of were lifting m MLline to California voices in Mo f. derous drum. the oldest and best of Boston’s choral bodies, refused nod's Ave Jrariaand “Twelfth Mass,” Gou- ’ and oth This was the first and mildest of a series of monster « (Continued on Page 5« musical shows put on by Patrick Gilmore. With a fine sense of the spectacular, he brought together in the course of his ebullient life, orchestras of 1000 and 2000; choruses of 10,000 and 20,000. Touring the country with his band after the War Between the States, he introduced the hinterlands to the bassoon,, the bass horn, and Beethoven. In his wake, amateur bands sprang up. Bandstands of this era still remain in some towns. Following his footsteps, John Philip Sousa and scores of other band leaders covered the country with crack concert bands. That so many school kids play in a band today is largely because of Patrick Gilmore. A Mighty Vision Yet the man’s name is almost as uncelebrated now as it was in 1848 when Gilmore, a raring-to-go Irish lad of nineteen, burst on Boston, the cultural hub of the nation. Gilmore was born near Dublin in 1829. As a boy back home, fascinated with military bands, he followed one so persistently that the bandmaster taught him cornet and took him on. He came to Canada with a regimental band; thence to the United one States. In Boston he was soon playing cornet in band, and leading another. His skill in putting a fine formed polish on a band was quickly recognized; he head his own “Gilmore’s Band” and remained its service, first as until his death, save for his Civil War and later as bandmaster of a Massachusetts regiment chief of Army bands. came to him The idea of the National Peace Jubilee vast structure in a “vision” one June day in 1867. “A the loyal of rose before me,” he wrote, “filled with chorus of the land, through whose lofty arches a 1000 instruments 10,000 voices and the harmony of by the chim- rolled their sea of sound, accompanied No, this is not a great political convention but the huge Peace festival C d ing of cannon.” Choirs from in Boston. The microscopic black spot in the middle of .“c,ed of bells and the booming he front staq6 Sr °d W “Pat" r’-i feet ^ Qt ° re in great music together bass drum twenty-five in diameter, hims elf. 1869 - every singing which was tha In frn . state in the Union e sens ° ation of the f him is ihe do?Y- 24 "FORWARD MARCH W^ITH MUSIC the etude STRUTTIN’ ALONG Many Etude readers will have “lots of fun” with this characteristic bit of musical humor, written in the harmonic idiom of much of the good lighter music one hears the over radio. The piece must be played deftly, with careful attention to the accents marked, as well as to the sfz. marks. A little persistent

y right 1944 0*f by Theodore Presser Co. British Copyright secured JANUARY 1945 A fluent salon valse giving the player varied opportunities for expression . uei 1 11 11x111 i „j „ o liU1&cl 1U ^ uuy at xirst; then introduce the legato. very lightly Heed the mark, leggierissimo, in the second section, and play the chords with a wrist touch. Grade 4 JANUARY 1945 27 SERENADE BRBSILIENNE Villa-Lobos with serious music and Carmen Miranda with popular music are responsible for the revival-of the interest in the music of Brazil. Byron Coleman has made a setting- of a "catchy” theme which teachers will find useful and appealing;. Grade 3£. BYRON COLEMAN Moderato tranquillo M.M. J = 84 IN THE GARDEN Grade 2£. LILLIAN BLAKEMORE HUGHES

British Copyright 1943 by Theodore Presser Co. Copyright -secured JANUARY 1945 49 WALTZ ^ from “FAUST” The tuneful Gounod had many waltz themes in his “Faust’,’ the best known of which is the sparkling Jewel Song of Marguerite, part of which is JANUARY 1945 r TURKISH RONDO FROM SONATA No. 11 in A MAJOR MOZART This cnaracteristic march evidently was suggested to Mbzart by the intoxicating- music of the Turkish Janissaries, regiments of slaves organized by the sultans. The bands were made up. of oboes, triangles', cymbals, drums, and a peculiar instrument -which consisted of a metallic crescent on a long staff. Bells and jingles and colored horse tails were suspended from the crescent. the When staffs were struck upon the ground the din was a-

THB ETUDE

TAPS! H. ENGELMAPBSE Grade 3. Military March

Copyright 1914 by Theodore Presser Co. British Si Copyright secured THE ETUV* " 5

AT PRAYER Grade A voluntary for the Sunday School or Church pianist. 3. F. G. RATHBUN

British Copyright secured Copyright 1913 by Theodore Presser Co. JANUARY 1945 COUNTRY GARDENS MORRIS DANCE Old English PART III Arr. by N. CLIFFORD PAGE

H6 THE ETUDE COUNTRY GARDENS MORRIS DANCE Old English

PART II

37 THOUGHTS OF A SENTRY WHILE WALKING POST JANUARY in -15 8' (10) ( S w. Sal. 8' Voix celeste, St. Diap. SABBATH MOOD © 00 8874 000 Prepare: jGt. Flute 8', Viole d’aniour 8' coup, to Sw. ® (11) 00 3333 220 ^Ped. 16'&8' to Sw. ED (10) 00 6654 OOO 0 (U) 00 8884 433 SLEEPY TIME

Andantino LEOPOLD J. BEER, Op. 77, No. 1 PARADE OF THE TINKERTOYS Grade 2 %. —r r

MUSETTE S. Grade 2 . J. BACH Allegro M. M. J=9s Arr. by Ruth Bampton

14 2 1 i §=£ ^= ' wj' 4 4— is m

* i 1 J-J «q*= " 1 p * -n-l - : f r f r V « • d—m — ^rr kaeB«J <3> — ;* 3 Fine mf 43f —7^~ • ^ 9 & =^~r /•? / 3 H 1 t3"

5 1 3 British Copyright Copyright 1943 by Theodore Presser Co. secured ON THE SCOOTER Grade 14. ELIZABETH L. HOPSON 5

British Copyright Copyright 1944 by Theodore Presser Co. secured JANUARY 19-15 43 THE LITTLE NUT TREE I had a little nut tree; nothing would it bear But a silver apple and a golden pear. The King of Spain’s daughter came to visit me All for the sake of my little nut tree. ! !

1

The Teacher’s Round Table

( Continued from Page 12)

why not call it practice “Up Release” with slightly T. : “Well, from now on "Full of glorious mu- curved or curled finger tips. •playing the piano’? . . . And if your bud- good old sic!” STOKOWSKI 6. Then practice the touch by letting dies still object, give them the —LEOPOLD guys, the arms bound gently to lap as elbow one-two by announcing, ‘Hey, you go home now and drill heck out nears the “resting place.” For this, use I gotta "A olorious new stand- . to hold . . ought formula 1. 2. Fall. of the piano!’ That o of four counts: Bound. # 3. Rest. 4. Prepare. them!” ard in motion picture P.: “Boy! Would that panic ’em! . . . 7. Play similar thirds in various oc- entertainment.” a lot . . . I'll sure try it!” taves; also triads and diminished sev- Thanks enths, and so on, gradually speeding up -FRITZ KREISLER elbow sweep and increasing volume to ff. Waltz Rhythm by . . . Always complete each release that most waltzes should be “Bound” volume increases, Is it true truly memorable to lap. As played with a strong accent on the first "A more “body spring” (from left foot) must each second measure rather than beat of picture” -DEEMS TAYLOR be used, or “jerking” will result. with an accent on every measure? —A. M., Texas. 8. ... Up Legato Touch is to be prac- ticed similarly—the only difference being Generally speaking, yes; but always that the “take-off” from key is omitted. avoid sharp, hard accents anywhere in The finger rests lightly on key-bottom, waltz rhythm. A slight alternate-meas- as elbows come around in full circle. This ure stress will “glide” a waltz smoothly circle can be wide, small, or all but in- and alluringly. But remember, won’t you, necessarily the first and story of visible. The Up Legato circle is completed that it is not The which receive the stress. when it returns to its low, flat, prepara- third measures the conflict between waltzes tory position, ready to play another Up The rhythmic curve of many emphasis on second Mme. George Sand Legato tone. often requires slight and fourth measures. (MERLE OBERON) good example of this is Chopin’s Playing Versus Practicing A and Joseph Eisner Valse Brillante, Opus 34. No. 1. (PAUL MUNI) for Couldn’t you invent another word for "practice"? I have some boys who are ex- the soul of Frederic ceptionally brilliant in school but are not enthusiastic about practice because of be- Chopin (CORNEL ing ridiculed bv the other bovs. Couldn't WILDE, a new star) we call it something else?—L. B., New York Teacher: “Pete, I hear that your bud- dies have been razzing you about your piano practice.” Pete: “Yeah, and I don’t like it one bit. Everytime I say, ‘Fellas, I’ve got to scram Try this both ways, and see how much now to get in my practice’ they let out a better it is to feel the stress on second Bronx cheer.” and fourth measures. T.: “I wonder just what’s wrong with Still other waltzes glide toward a long that word foot- beginning of the third ‘practice’ . . . You play note at the ball and basketball, don’t you Pete?” measure—with no accent on Measures P.: “Sure!” One and Two; for example, this waltz T.: “And you’re on the swimming team, from “The Blue Danube”: too, aren’t you?” P.: “You bet!” T.: “Well, does anybody ‘give you the bird’ when you go out for football or basketball practice?” P.: “Of course not!” T.: “Doesn!t swimming take a lot of practice, too?” P.: “You said it!” T.: “The game of piano playing is much than any of those other starring harder sports, Another simple example of third- so shouldn’t you have to practice in why measure “objective” is the little Distant good at it?” order to be Waltz from my “Pastels”; P.: “I haven’t thought of it that way. .sf/r-r/fi I guess you’re right!” mmf ... Ex. 3 T.: “And furthermore, if you play the piano well it'll give you something more * than all the sports in OBERON valuable and useful MUNI the world—a skill, a pleasure, a hobby- pp that’ll in fact a different kind of sport jT- bring happiness to yourself and others all -Jv- your pals object your life But say, if w .h CORNEL WILDE you to that ‘practice’ label, why don’t fellas, to Now, just for fun, go back and play just say ‘I’m going home now, GEORGE COULOURIS . NINA Chopin excerpt in this way. . . FOCH- play the piano for awhile’? ... By the the thought what a nice I’ll wager you’ll like it! way, have you ever Screen Play by Sidney Buchman course, many other varia- expression ‘playing the piano’ is? Did There are, of of these can you ever think that you don’t say that tions of waltz rhythm. All CHARLES VIDOR felt by standing away from Directed by about anything else you study?” quickly be “conducting” the waltz P.: “I don’t get what you mean.” the piano and free arm and pliant body as you T.: “You don’t say ‘I play arithmetic.’ with or ‘I play grammar or English,’ do you?” hum the theme. forget that slight but per- P-: “No, I sure don’t! ... I study all And don’t second beat of each MIRACLE OF those subjects, and believe me, they give sistent “lift” on the A NEW KIND OF MOTION PICTURE! A NEW TECHNICOLOR me plenty of grief!” measure

JANUARY, 1945 "FORWARD MARCH WITH /MUSIC" 43

J /

did provide us with some valuable “hints to Miss Heyman’s possession of the The Value of Vocal of the proper craft.” They were sure natural gifts and technical equipment Music As a Living Human that it took a long time to learn how to necessai-y to elevate her to the sphere Technique sing. It takes a long time now, contrary of the more distinguished pianists. Her Element to the belief of countless youngsters who many brilliantly successful appearances ( Continued from Page 15) measure their period of preparatory study in London, Berlin, Leningrad (then St. (.Continued from Page 9) in terms of months, instead years. If of Petersburg) , Rome, and Paris, as well as it took years when the daily lesson was in America, with the world’s greatest was given, that she had fixed for herself long be- with historical and aesthetic the practice, it requires even more now orchestras and conductors, vividly attest annotations. fore. But for several subsequent years These always stimulated in- that two lessons a week is the usual ar- this fact. The performance of three im- telligent she made, an exalted name for herself as and enthusiastic interest in the rangement. Art is long; life is brief! portant concertos on a single program work of the a song recitalist. In this last period of choir and its doings. If more The old masters had no doubt about was all in the day’s work with Miss teachers her singing life she sang on one occasion would create an absorbing and the value of coloratura in the training Heyman. human in Carnegie Hall, New York, thirty-five atmosphere about their work by of all kinds of voices. The vocal freedom These appearances were not precisely employing numbers within the space of two hours. such means, there would be and flexibility developed thus in early in the nature of the usual triumphal less And even the final number was ren- complaint about “bad business.” dered and systematically graded training in march of a successful pianist, in an ep with absolute freshness of tone. ,.K your ^Pinions fluid coloratura offer the safest and surest f? and do not Her technique thoroughly consid- uninterrupted succession of appearances. fet them become was a dogmatic or stereotyped. approach to sustained and dramatic compensation for this arose in the ered working-out of the principles taught A New revelations are coming singing. Material for such a course of up all the her in her youth by the famous Italian form of Miss Heyman’s brilliant social tune and things change indubitably. study is found in unlimited quantity in gifts. Her personal charm, her ever- maestro, Lamperti. ‘ S With the admirable vocalises of Concone, scores of things Then, there was the Italian baritone present flashing wit, her astonishing which are ° as Lamperti, Nava, Marchesi, much timely interest to Garcia, and swordsmanship in repartee, her indom- n il Battistini, whom dread of the sea kept PS S acorns a score of other experts, which, in one are t0 sQuirrels. from our shores. Though credited with itable spirit of courage and cheerfulness The Vmch 1 S into 0Uld be “ntinually the course, lead the student upward the even in the most disheartening circum- alert f on more than sixty years of age, his voice m f Ut hlst brilliant flights of Handel, Bach, Mozart, ,° orical tacts which remained to the end as true and vibrant stances, added to her magnetic qualities the n.M ay ear at a lesson Rossini, Donizetti, and Bellini. pianist, made her a favorite in evei'y - an<1 then as Caruso’s. He was the perfect example as a take home in his£ memory Along some such road traveled, as we circle in which she appeared. of pure bel canto. Many people, in have seen, such great artists as Lilli speaking early Jean de Reszke profound Leh- Miss Heyman found herself everywhere American of was a stu- music, think that mann and Nordica and, in our own time, the most distinguished society of the it refers to dent of vocal technique and kept the in f Thirte that great dramatic singer, Kirsten Flag- world’s great cities, and it was but a “ ColonTes par- lovely quality of his voice into old age. SSTticularly t°„to the psalming, stad. Young, undeveloped singers often from this to public appear- srnuc New His retirement from opera in his early short step n e the contrary, to sing the great dramatic ' Later the student But enough of examples! passed from city to city, acquiring in feains o? the requires years of care- roles satisfactorily each a distinguished circle of friends and SLriTndT^ «se Bel ful study and gradual development. Neg- consequent public appearances. In some Canto the Ideal looks over the border lect of such preparation invites injury to to om"'' I ’ In mysterious way a citizen of the world bors to .'°°ilelEh^ the eighteenth the century, and the the voice — even complete disaster. Soutt- Tl t A 6 ‘ birth, Miss Heyman carried cos- d d ’ 116 'Tol,ld first part of the nineteenth, when the from learn that when Corte^ voice, once overstrained or in any way mentality to these cities rather COnqu,ired °n - perfection of his bel canto the mopolitan tezuma's M was aim injured, never fully recovers its original empire ta deriving it from them. MexicoM (1519-1521) of every properly ambitious singer, than there were young beauty. The voice is a delicate instru- thought of Miss Heyman as WS army ' We the development of a secure vocal tech- One a even know their ment, easily injured; but, if trained in- “i!" nique was citizen of the universe. She seemed to all-important. For the be- telligently patiently in youth, and and lore of the spheres, W6re ' ginner, the daily lesson come with sti’ange prising ent6r seems to have protected from rough treatment in ma- enough^ startflf “Madchen aus der Feme.” It is dancmg school been usual, and he (or she) allowed a kind of <1526) for the was turity, will serve its possessor reliably for Aztec natlvenT/ to sing only in the difficult to believe that she was ever a year, Peter s. In the same presence of the mas- many years. It may even ultimately re- of or even a girl; certain it was that a Belgian ter. (Such was Patti’s early training.) child, Franciscan veal the great American Tristan or Isolde d Often the pupil she never became an old lady. She was of music c°hseryatory was taken into the home that we are waiting for! ill Texc^m h ? of the master so that ageless, like a sibyl, and like a sibyl, had east of tWen ty the supervision Mexdco cTt'y strange metaphysical and occult knowl- A yey ar , “‘S' could be closer. Such intimate relations opened a similar /. later he her musical, social, and spir- edge. Thus ‘ ' were very beneficial in forming correct When we realize C ty qualities and knowledge made the tha°t1 Shake vocal habits at an age when pupils are itual not born until speare was “conferences” which she conducted in 4 the most susceptible to good influence. Pilgrims did not StUrdy and elsewhere the center of inter- lTOd"at3 1 w* Unfortunately for us, none of the fa- Katherine Ruth Heyman Paris 1620, we may h„ Plymouth until admiring groups, to whom mous old masters recorded in any detail ested and she musical ed ‘° tod that cXL\ira brought much light on modern and ultra- its £houdy their procedure in developing vocal tech- A Tribute way in Mexico started on nique; modern music. Related to this period which 6 the ear in we know what kind of music they Palestrina is tJL, 7 / y her interesting book, “The Relation °ught to expected their pupils to sing, but just was born. have been how can of Ultra-Modern to Archaic Music.” Facts they prepared them to do it, we lu / liflm’ . like these of her mind quite spon- are nf only guess. Tosi and Mancini, in their The nature to the average * Breat interest music l taneously led Miss Heyman, at a com- while famous treatises, much to say about one parstm and ’ have should not'h the execution the turn, ITH THE PASSING of Kath- paratively early stage of her career, to with ’ over-technical of the trill and amateurs ever interest in Scriabin’s ideas con- legato and messa di voce, but disappoint- erine Ruth Heyman, on Septem- a deep should establish’ musl° teacher of metaphysics a hi./ ingly little about the emission of the ber 28, 1944, the musical world cerning the relation and larly for Class children ' Pkftiou- W which she gave a profound Thi. slloul./ voice itself and its discipline. lost one of its most unique and gifted music, to concurrently d always run with ti Beginning her pianistic cognizance scarcely to be found else- ' personalities. work in applied CMIll s reguIar in all She left practically none of music o» The Laryngoscope Appears career with triumphs the greater where. too early with ann°t begin some V , ‘r capitals of Europe and the great cities of Scriabin’s piano works unmastered, a not tUc^y in Belief in the value of “vocal methods” merely as „ .. harmony, America, and for some time continuing most gigantic and difficult task, and fashioned 0 of ' seems to have come to full strength in prohibition, the old in this course, she gradually concentrated through this, together with her under- fifths bout? 1855 with the invention of the laryngo- and octaves ^ consecutive and specialized her interests, with the standing of the composer’s metaphysical so 1 1 the scope by Manuel Garcia. Now that the frequently ignArS* ? puPn finds result of sacrificing a wider appreciation attitude, became one of the greatest, if but as in m°dern a . music, visible to all eyes, the constructive . larynx was made the greatest, of the world’s by the public to an extraordinax-y ad- not indeed background lPsiSht to real art of singing could be developed into an of a in,; the the part of exponents of Scriabin. theory miration and devotion on a .Make - exact science. But results did not sustain your mus" v is this for which Miss Heyman 1Ve > if smaller circle. This circumstance was in It has live by it. you to this confidence. The laryngoscope has want study reality a continual progression toward been chiefly known in these later years. In my proved of enormous value in the contacts with the development of an unusual order of In 1934 she founded, and conducted up lands SIClan and the care of the throat, but of little and all degrees s of many individuality. The basis of this develop- to her death, in New York City, the correct management of the been continually minence it has help to the revci / > ment lay in the fact that Miss Heyman’s “Scriabin Circle,” which has won a de- to voice. Even Garcia himself is said to have whom music that only those spiritual following, and has greatly is m.. wide intellectual and range, and voted widened their Pa abi employed it but little in his studies. On existence ever y a part of necessity of fulfilling these in her the familiarity with, and knowledge -h Se f the occasion of his hundredth anniver- the of their art. 4o the very top for The fi lai’yngologists life, made impossible her an exclusive of, the Russian composer’s work and Edgar sary in 1905, it was the Allen Poe sec ““agination of devotion to the usual life of a pianist of thought. Her life was a courageous strug- /ed who honored him with a banquet, not when he wrote t° sense this the musical a ecu, high rank, and to promotion of those gle for and spiritual attainment music aeo: the musicians. perhaps that th '« is in affairs which insure continual appear- in paths pursued by too few, but there Though the old masters did not be- attains the great Soul ™ost nearly wide public. many end ,l definite precepts for ances before a will be who will acknowledge her spired by Whloh queath to us many the poetic ,°/ " when in- they There has never been any question as influence and regret her passing. gles— the development of vocal technique, the creation tlmeil t, it strug- of' / supernal beauty." 46 "FORWARD MARCH WITH MUSIC” the etude ,

Voice Questions

The Magnificent Treasure That Puts World of Music at Your Finge DR. NICHOLAS DOUTY .Answered l» Q Biographies of virtually all the great in music, up to own times; the full name No questions will be answered in THE ETUDE unless accompanied by O Critical interpretations of every composer's place in music published. inquirer. Only initials, or pseudonym given, will be and of his chief works; A WHOLE and address of the o Recommended recordings of all works treated, chosen after the most careful study; MUSIC LIBRARY O Explanations of all musical forms—their origin and evolution; figure? Perhaps, if you write to Mr. Eddy An Audition Before a Board of Judges —and many other features. in Hollywood, California, he may be willing in One Big funds to be able Q. As I have not sufficient to furnish you with more details of his life to study by myself, I have applied for a and work than we can hope to give you in scholarship in a large conservatory. This audi- Etude. Beautiful tion is the most important thing in my life, The records of Mr. Lawrence because if I win I shall be able to study. I am 2. More than fifty and nineteen and I am not getting any younger. Tibbett’s voice are available to the public Boole What shall I sing ? I know that the girl with they may be easily obtained through the pub- chosen, so an extra trick up her sleeve will be lishers of The Etude. Among them are oper- I want to tell trick or two. “Solve]g s For the first time, you me a atic and oratorio excerpts and songs, both David Ewen, "music’s inter- Song” suits voice well, for it is a fairly my sacred and secular, in three or four different preter to America,” has stored the richest, most dramatic voice, but flexible enough to sing the languages. An abridged version of Verdi's complete treasury of factual critical last phrase of the song. But will it ‘‘knock and informa- the singers are Mme. their eyes out?” I was disappointed in one "Otello” exists in which tion ever made available to the music-lover and contest. I sang “Who Is Sylvia?” with all the Jepson, Martinelli, Massue, and Dreeben, as single phrasing, the performer in a volume. It is an endur- beauty I could put into it. Pitch, well as Mr. Tibbett. The role of Scarpia, one I knew I had ing guide that will both heighten the reader’s resonance, all were there, and of the most difficult of all operatic roles, done well. Then came a reedy, little colora- enjoyment of music and develop his critical demanding as it does not only a remarkable judg- tura, voice and a windy air with a windy dramatic ability as an actor ment. It is an incomparable reference work on about struggled through ' A Heart voice but great her. She successfully masterpieces. That’s Free,” screamed a last, horrible high B and as a singer, has been most all forms of musical (Size; 7l4ixl0— to Metropolitan Opera and walked off with the prize. I am going sung by Mr. Tibbett in the 673 pages.) S5.00 or foul and City. is an extremely win this scholarship by fair means House in New York Hs MAIL FOR 5 DAYS' FREE EXAMINATION Ijyrtc so- COUPON you’ll have to help. My voice is a artist, singing equally well in French, above versatile prano, range G below Middle C to E and English. For further de- songs of German, Italian, DEEMS TAYLOR: "A reference library in High C. I have worked on many write to tails of Mr. Tibbett’s career, please itself, containing information and com- PUBLISHING S Mozart and am familiar with them. Any sug- 0 ARCO COMPANY will be in care of the Metropolitan Opera Com- ment that would otherwise be accessible gestions concerning this scholarship him Dept. 32, 480 Lexington Ave., N. Y. 17, N. Y. _ after consulting dozens of volumes. gratefully accepted.—G. S. pany, New York City. only assemble, range 'recommended recordings’ should be ^ Please send copies of MUSIC FOR A. The Board of Judges who will 3. Both the quality of tone and the The n a especially valuable to listeners whose access Q THE MILLIONS by David Ewen, at $5 each, to hear the applicants for a scholarship in determine the classification of a voice. Please for 5 days' free examination. It. is understood D large conservatory will be composed of mu- are exactly alike. to music is confined to radio listening.” remember that no two voices the book(s) for refund a sicians who have heard a n I may return within of ripe experience, Individual differences of range and quality and instru- SIGMUND SPAETH: "I am completely en- 5 days, if for any reason I decide to do so. Q great deal of music, both vocal account. These n choose tne exist and must be taken into thusiastic over this newest product from the mental. They will endeavor to I endoi differences make singers in- most perfect very individual pen of one of our best writers on music . . . singer with the finest voice, the Send C.O.D., plus postage charges diction, the best musicianship, and the purest teresting and prevent their interpretations with information that everyone wants in 0 be sense of style. A pleasant personality will from bcoming monotonous. convenient, readable form, covering the en- a help also. In a word, they will choose the tire literature of recognized masterpieces.” will best repay person who, in their opinion, Four Sensible Questions the school for the outlay of time and money necessary to the granting of a free scholarship Q. What is meant by open throat and lasting It is extremely ARCO PUBLISHING COMPANY over several years. when is it nsed? City Zone “ a girl who & State doubtful that they will hunt for range i s the same 2. Is it correct to say one’s 480 Lexington Ave., N. Y. 17 will "knock out,” or that they will JBfflHHBUHaHffllHISEaEICiaH their eyes that one has when vocalizing? seek to discover the “extra trick or two up as covered tones be’ used? her sleeve.” 3. When should 2. As we have neither seen nor heard you. through a song? terms. a so- we can only advise you in general 4. Should covered tones be used by suit (Bloom Choose several classic compositions that prano as well as a contralto? oSe in your voice, style, temperament. Study using one s a £ and opportunities 5. What are the for M. «« <*- them thoroughly original keys and in ,ou thrilled to in the own records?—G. R. wo, new, end h, the original language until you know every when your piono detail of them from memory. Then sing them A. An open throat occurs when there is no Remember for your Admission, with ‘'all your either in the emission wh.ch con Board of muscular constriction quislte tone? a dew kissed rose heart and soul and strength,” and let it go at formation of the vowels lo ,.Hn.« of of the tone or the itr ’ that. qua non for Beautiful wasn t and consonants. It is the sine descrrbeP. but not J.T. member singing. sensed an A . S . P good . . . be A Young Baritone Asks Questions About consists ^ ' voice ° 2. The practical range of a *°" s ™ Nelson Eddy and Lawrence Tibbett of those tones upon which one can pro- only com- Q. I should like some information on two a pleasant, easy-flowing tone and SICS* duce very great American singers. Nelson Eddy fortably pronounce the words. No audience vocalize. and Lawrence Tibbett, for I am a baritone will be interested to hear you upon what you end I emulate these two singers a great deal. 3. and 4. It all depends tone. will attempt a ? Why is it that a man with such a wonderful mean by a covered We Nelson Eddy sings only musical covered tone is one that uses 2 voice as definition. A The AMERICAN SOCIETY of PIANO TUNER-TECHNICIANS, Inc. head. It comedy? When I listen to him I taisli that the upper resonances of the face and just as it is Address correspondence to 6747 N. Sioux Avenue. Chicago, III. God had given me a voice with so much is possible to sing too "covered” cov- mellowness and quality. Could you give me possible to sing too "open.” A tone too apt your own personal view upon his voice? I ered, especially upon the upper tones, is perfect tone follow your page every month and have a to be strident and harsh. The upon great deal of confidence in your judgment. uses the resonances in varying proportion 2. Mr. Tibbett is the greatest descriptive every note of the scale so that none of them I This ringer that have ever heard in the nineteen is either too "open” or too covered.” years of my life. Could you tell me why he answers your fourth question is well as your has not appeared on records of entire operas, third. Results . GUARANTEED^ Gigli and other out I rs Beniamino great opera 5. Personal records are sometimes sent ringers have done? I have Gigli’s set of rec- by managers for advertising purposes in order ords from “La Tosca” and I think Tibbett to secure engagements for their protegees as Scarpia would be O. K. when there is no opportunity for personal

I A 1 PERFECT VOICE INS Tl TU TE "si 'udlQ 559L b'l' e" L.T he Sl'.'c H C G 0 3. Does the qiiality or the range determine auditions. whether or not a man is a baritone? —L. W. E. (New Zealand). for your know that Mr. Nel- PROTECTION! A. Perhaps you do not SCHOOLS-QOLLEGES had a great deal son Eddy, some years ago, SHEET MUSIC baritone, an ora- treasured success as an operatic of built for filing, recitalist. He sang TONKabinets are specially torio singer, and a 5 Philadelphia protecting sheet music. They roles with the old finding and principal of under the direction CONVERSE COLLEGE guard against dust, damage or loss. Richly Civic Opera Company hruui iiucon, Lilian, bparituiBiiurg, e. C privilege to Alexander Smallens. It wc« my styled; by master craftsmen. Memo for to Jesus m hear him sing the music assigned postwar shopping lists: Look for the name Sebastian Bach the "St. Matthew Passion” of Department nf Music TONKabinet. Tonk Mfg. Co. beautifully- Mr. Eddy is a KNOX Galesburg. Illinois end he sang it Chairman both his face and Thomas W. Williams, good-looking man and Cuiuluguo sunt uiiun ruyucsi. cal COLLIGi his figure are what the movie people on "photogenic.” Also his voice sounds well the screen and over the air. His fortunate TOnKabinets association with Miss Jeannette MacDonald very SHENANDOAH music has resulted in the production of some Courses lending to — for your sheet visually charming pictures, delightful both Mas., mid B. Mus. Ed. degrees. Kates not the B. — for phonograph records and musically. Why, then, should he reasonable. In the heart of the Shenandoah prefer the form of art which has made him Valley, Dayton, Virginia. hot only a national but an international "FORWARD MARCH W ITH MUSIC" 47 JANUARY. 1945 ,

well-equipped organist in playing in the temporaneous composition. When some- and painlessly. There is only the mu- Are Organists Musicians? various keys. Those who have trouble one tries to tell you that it can be sicians’ solution—study and hard work. should take steps to remedy their weak- learned without a thorough knowledge The organist must learn to improvise form, plus a practical ( Continued from Page 17) ness. Any organist unable to play of harmony and simple interludes and preludes. Even for America, for example, in F-sharp, A-flat, training in counterpoint, he is talking these he should possess enough musi- practice sight-reading until he is uner- or E, should be sufficiently ashamed of through his hat. A decent improvisation cianship to make them sound logical and ring—in hymn tunes, at least. When this himself to learn this fundamental of is not made by casting the eyes toward appropriate. The only way to 'do this has not been done, such facility must be musical knowledge. heaven and inventing inane little tunes well is to learn musical theory with formulas that developed later. The art of transposing at sight is not accompanied by some pet businesslike thoroughness, and then ap- rote. ply Another frequent need is for transpo- beyond the powers of the average person are learned by it to practice—usually under the sition. Here we have a real test of one with adequate background and deter- If one cannot harmonize a melody at supervision of a first-rate musician. the problem. Given interesting, varied manner Every detail of musicianship. It is based on a mination to master sight in an organist, amateur or profes- system upon which to proceed, the with a complete avoidance of distressing sional, knowledge of the keyboard, as mentioned a good should give his musical ability a unskilled person must practice diligently beginner’s mistakes such as parallel careful in connection with technical exercises in analysis. If he finds some of the octaves impossible progressions, im- weaknesses piano technic. There is an astonishing and continually. and herein described are con- Improvisation is a subject which provisation is not for such a person to spicuous in his number of experienced professionals who upon own organ work, it might The knowledge necessary to be smart have a disgracefully scanty command of many have written. Much of the advice undertake. to take steps to correct them. - of value, some has been compose instantaneous music at the key- The next the keyboard. A signature of four or has been no time he complains about his helpful, most of it has been of board is far beyond a superficial smat- salary a careful more sharps still brings consternation to and self-appraisal might re- practical use. What is improvisa- tering. There are no short cuts, despite veal the need for too many who call themselves musicians. slight some improvement on his nothing but ex- the so-called methods of learning quickly own part before There is, of course, no difference to the tion? It is, of course, he deserves more money.

University intension Conservatory

1903 — THE WORLD'S LARGEST HOME STUDY CONSERVATORY OF MUSIC — 1943 MEMBER OF No entrance requirements Extension Courses by noted teachers, leading except for Degree Courses. Credits earned by using to Diplomas, and Degree of Bachelor of Music. yoUr spare time for advancement. You can prepare yourself for a better position Catalog and illustrated lessons by studying at your convenience by the Ex- sent without obligation to you. Check tension Method. coupon below

STANDARDS OF MUSIC A DISTINGUISHED FACULTY OF ARTIST TEACHERS — HIGHEST INSTRUCTION YOU MAKING? EQUIP YOURSELF FOR A BETTER POSITION WHAT PROGRESS ARE »• c<. upon Today! A proof of quality is important for one inter- " position and in- offer UNIVERSITY EXTENSION Your musical knowledge—your ested in further musical training. Our courses CONSFmrs,. 1525 E. 53rd Street. Chicago. Y' Depl come today—are the result of the training you you the same high quality of preparation which S. - .*-467 Please send me catalog, have given your natural ability. Additional train- has developed and trained many successful musi- sample lesson, egardmg course I ns c have marked . ~tT? ing will open up new fields, new opportunities, cians and teachers in the past. 1 a* X below. Piano. Teacher's Normal Cours greater income and higher standing in the musi- O Voice NATIONAL HOME STUDY COUNCIL Piano, Student's Course cal world. Council is Association of which we are a Choral The an Public School Mus.—Beginner's Conducting member. It includes the outstanding correspond- Public School O Clarinet This valuable training, through our Extension Mus.—Advanced ence schools in the United States with headquar- D Dance with no interfer- Advanced Composition Band Courses, may be taken at home admitted Arranging ters at Washington, D. C. Members are LJ Violin just by devoting to Ear Training & Sight Singing ence with your regular work examination of training courses only after rigid the 0 Guitar each day that ordi- History of Music self-study the many minutes offered. musician, as Harmony Mandolin narily go to waste. The progressive We are the only school giving instruction in such Cornet Trumpet Q Saxophone busy as he may be, realizes the value of which includes — music by the Home-Study Method, Reed Well paid positions Advanced Cornet O Organ study and finds the time for it. curriculum all courses necessary to ob- in its the Banjo for them. are available to those who are ready tain the Degree of Bachelor of Music. Name Street No Age. YOU! A Dbploma Bs Your I&ev to Success! can do it too! It's up to YOU City State Are you teaching now? . . so, _ _ how Conservatory Y°u? D° you hold PUP“ S iaVe University Extension . a Teachopener's Have you studied Harmony? rtl ‘icate? (DEPT. A-4G7) CHICAGO. ILL. ... 1 5 2 EAST 53RD STREET •Would 5 the Degree of Bachelor Y°u like of Music’ to <

f ' WITH MUSIC 48 FORWARD MARCH the etude 23-1 ”a .

Ill GAN AND CHDIfl QUESTIONS

_Answered by HENRY S. FRY, Mus. Doc.

No questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be pub- lished. Naturally, in fairness to all friends and advertisers, we can express no opinions as to the relative qualities of various organs. < 7>icui,lcsUbecL 'fo/alteri . by KatkLcen btf. Rolff.

Teachers have told us how grateful they were n. Are there any reeds in a pipe organ Would six hours per week be sufficient for In ever increasing numbers, Rolfe transcrip- tions are becoming standard for the better for the. Armour pieces. Written so t hat pupils which are not enclosed in pipes? Do the preparation of a lesson? Do you think people sound teachers; proof indeed, of Century's belief that will enjoy playing them, and based on alone control the reeds, if any are who plan to take two or three lessons and manuals Walter Rolfe is the ideal simplifier of music. teaching practice, It is no wonder that her the manuals or then continue with self-instruction, should be included in the organ? Do Without discernible loss of fluency, feeling, and works gain in popularity every year. Here is a play the reed pipes? When one plays discouraged? Would thirty hours practice per values, this superb musician brings, the partial listing of Kathleen Armour's numbers pedals musical not the pedals, what stops week harm the instrument? How many years’ greatest music to those who are not yet skilled available in Century Edition at 15c a copy. only the manuals, necessary? In the foregoing questions a piano background should one have before enough to play the original versions. 34G7 Auld Lane Syne G— are - argument is being carried on as fol- starting the study of organ? Approximately 3148 Babette friendly 3213 Amaryllis. C—2 .. . King Louis XIII 3462 Camptown Races (Foster' ' played the manuals only in render- how many years of organ study should a per- 3382 Andante Cantabiln . Tschulkousky 0—2{ lows: “A” 3468 Carry to Old Virglnny Ar.dantino, . . Mo Back Music, "B” claimed that if such son have to become a fairly efficient organ- 3in>— were the case only the reeds were played if ist? What is the difference between a “straight 3538 Bluo Doro “ O— • 3469 Oixie (Kminutt I { the pedals were not brought into use. In organ and a unified” organ? Which type or- 3357 Butterfly. Tho. Op. 81. 4. C ! .Merkel 3463 Goodnight Ladies t- * Chicadeo (Symphcny Nv. >. F 2. Becihoren scales, what system do gan has couplers? The Swell organ this 3179 — 3154 In Rose Timo i:- fat — teaching the keys and of 3358 Christmas Eve. Op. 43. G «•- ~ 3470 jingle Bells you prefer, the key of C system or the mov- instrument includes an Orchestral Oboe, 3216 Elegie. Km— 2 M I, 3145 Little Dutch Danco 7 able "do" system?—M. E. D. which does not sound well in a combination. 33H8 Finlandia. Glockenspiel and a Xylophone. When can 33G6 Polish Dance. Op. 2. Dni- . .Schu arenka

3144 Singing Glen 1 l.Syinpbony No. in the {; r organ—not enclosed in pipes. The manuals they be used on a church organ ? What pro- 3 HO Prayer. A. 2),G— 2. Beethoven 3222 Prcludo M'zJmi. Am—2 Itachn-.nninoir ' - alone not control the reed stops, where cedure is necessary to become member 1’ 3472 Star Spangled Banner do a of 3395 Priests* March. —.3 Mendelssohn 3152 Two Guitars - the pedal includes reed pipes or where the the A. G. 0.?—E. M. 3223 Rondo Caprlccinso. (' — ....Mendelssohn Minstrel. The L— l 3152 Wandering 3368 Rose Fay. I Mazurka), manuals are coupled to the pedals, if the C— 2 llelns Piano Method for Beginners A. The number of persons to take lessons 3369 Rustic Danco. C 2 Ilouell A Modern manuals contain reed stops. Both manuals 3224 Second Mazurka. 0—8 on an instrument depends on the authorities Godard 3196 Part I— Pathetioue. (Kse. ). , , end pedals play the reed stops where such 3552 Sonata Dm—3. Beethoven Learning tiro Letters on the Keyboard of the church, and the organist. The organ re- 3398 Tales from Vienna Woods, Li stops are included respective depart- — 2 Strauss 3197 Part II— in the 3225 To Spring. F—3 Grieg , ceives the wear and tear of natural use, and Notes. Bars, Measures, Time Signatures ments, or they are controlled by couplers. 3400 Valse. Op. Gt. No. 2. Am— 3 Chopin if a profit is made on the use of the organ 3193 Waltz in A-ftat. Op. 39. :: 3198 Part III— ,, When the manuals only are played, the stops No. 15. ltrnhms Writing Exercises, Five Finger Exercises it might be wise to save the money toward 3327 Waltz ot the Flowers. F— 2 Tschaikonskv to be used depend on the character of the 3199 Part IV—The 2/4 Timo Signature the care of the instrument. In reference to 3372 Witches Dance, Ain—3 MacDoiveil 3200 Part V—Introducing the 8th Koto passage being played, the contents of the or- the charge would suggest that the Electric Tho nhove Is but a partial listing of Century's Ask your dealer for Century music. If he gan, and so forth. We know of no rule that transcriptions by Walter ttolfe. We shall bo happv Company be consulted as to the cost of elec- in yon our complete cannot supply you, send your order direct reeds only are to be played, if the pedals send catalogue listing over tricity to supply the organ, as the pressure 3000 numbers at 15c a copy. It's free on request to us. Our complete catalogue, listing over are not brought in. the movable We prefer Ask your dealer for Century music. If lie cannot numbers, is FREE on request. might be high and the rftotor a comparatively 3600 "do” system, as that is the one to which supply you, send your order direct to us. large one. Six hours’ practice per lesson wou’d we are most accustomed. CENTURY MUSIC PUBLISHING CO. be a fair amount of practice. People who plan CENTURY MUSIC PUBLISHING CO. 254 West 40th Street New York, N. Y. to take two or three lessons and follow with 40th Q. Please explain what kind of shoes are 254 West Street New York, N. Y. self-instruction, may accomplish something best for playing the organ. Do these shoes but continued instruction under a competent have felt soles? Where may such shoes be teacher is preferable. Thirty hours’ practice secured?—R. A. P. PIANISTS, L © 0 §£ ! per week ought not to harm the instrument except for the natural wear and tear as ex- Our Break Bulletins bring you fascinating arrange- A. We do not know of any special shoes ments for building extra choruses of popular songs the shoe plained earlier in this answer. The organ stu- with novel breaks, bass figures, riding the melody, designed for organ-playing. One of ASSOCIATED etc dent should have a fluent piano technic when Send 20 cents for sample copy. manufacturers at one time advertised such beginning the study of the instrument. The a shoe, but so far as we know it is not ad- PIANO TEACHERS! organist amount of time necessary on piano and organ vertised at this time. One prominent MUSIC PUBLISHERS, INC. Many of your students want to play Swing are both dependent on the person, amount of as well with whom we are acquainted uses dancing as Classical. You can stimulate their interest and in- practice that can be secured and so forth. A crease your income by adding “Swing Piano” to your “pumps" when playing. We suggest any com- to “straight” organ is one where every stop is teaching program. Axel Christensen's Complete In- fortable shoe, with the soles thick enough PIANO SOLO PIECES struction Book enables you to teach pupils how to power, represented by a separate set of pipes. A avoid the use of delicate muscular glamourize popular melodies with perfect time, touch be considered “unified" organ is one where a set of pipes, and rhythm. If your local telephone book does not but not thick enough to FOR CHILDREN list extended, is used to produce stops of the a "Christensen School" send for teachers’ wholesale "clumsy.” price and particulars same quality at different pitches two or more — CASELLA love for stops. We prefer both organs to have couplers, CHRISTENSEN SCHOOLS OF POPULAR MUSIC Q. For several years I have had a Children’s Pieces (in I vol.) 752 to although if omitted likely to . II $1.25 KIMBALL HALL BLDG. CHICAGO 4, ILL. good music, and am now in a position they are more 1 have be omitted from You are Separately, each .35 study organ under a good teacher but the unified organ. is it right in thinking the average organ stop no organ on which to practice. Why that GRETCHANINOFF localities the churches will of the Oboe class can be used in full com- that in certain Book, Op. congregation to binations, but the Orchestral Oboe appearing Children's 98 50 PLAY BY SQGHT not permit members of the practice? Do you happen in the instrument is not that type, and the 1 rannot plny composition without use the organ for HAYDN consinut'^praptYc' ? claiming | any organ in our vicinity that Organ Company organist is right in eUmlnnle this limmlc-.q..' The West Pinnlst™ and" Ac- to know of 6 Sonatinas (In I vol.) will gladly pay the price that it should be used only for solo purposes. Bcndlngps can be so used? I revealed In "TMK'aRT OF SIGHT IU-.'AD- The Orchestral Oboe is more pungent than the to practice.—D. E. JADE tuning of the average Oboe on the organ. The March of the A.R.R 5 Lessons complete $2.00. The use of the organ in the church is organ depends on the stops included, neces- A your HANFORD HALL, 1358 Gteenleaf, Clraago 26, III. usually controlled by the authorities, and sity for attention, and so forth, and in KURANDA (Editor) attitude, except that case we suggest that the organ receive atten- we cannot explain their Old Masters for Young Pianists 90 must be exercised over the promiscuous t ! on as frequently as finances will permit. care MOZART-REHBERG granting of such permission due to the num- We do not recommend the use of the Xylo- congregation who phone in church and the Glockenspiel, if (including "Les Petits ber of members of the a Tanzbiichlein Riens") .75 sending you of quality can appropriate iene use. are good be used at Viennese Sonatinas (in I vol.) ' TKeatre such We 6 ' X might wish 75 ig.^SludorUH seeking profcsijlonid coca' names of places that have organs avai!able passages. Membership in the American Guild duel lot of Organists consists of Colleagueship, Asso- TANSMAN public. in your vicinity. SECY SHUBERT, ciateship and Fellowship, in the order named; Pour Les Enfants (in 4 vols.) Each. .90 in a Q. A new organ has been installed that is, the first membership is colleagueship, How TANSMAN-BARTH local church (a rebuilt theatre organ). which is attained by the endorsement of two Moderately Easy Pieces many persons do you think advisable to have active members of the organization, and the 15 Each .30 PIANO TEACHERS! permission to take lessons? What would you subsequent memberships are optional and at- FOR THE FINEST IN MUSIC advise as to charge per hour fur practice? tained by examination. ASK FOR OUR 1944-45 CATALOGS GLAMORIZE YOUR TEACHING A Revealing New Book in Two Parts teaching popular Learn the secret of playing and PARAGON OF RHYTHMIC COUNTING Choral . Instrumental boogie-woogie. Give J Mew -PIPE ORGANS -Used music . . jazz, awing, jump, . RHYTHMS your students what they want. FOR ALL Builders of pipe organs for church and studio. Ef- Vocal Orchestral ficient. up-to-date used instruments on hand at all 100-page INSTRUCTION Buy TODAY! . . . our new PARAGON OF HARMONIZING times, priced very reasonably. We also rebuild and illustrations to work from. A of BOOK with rules and applied to modernize tracker and tubular organs, additions 25 Wesfl1 45fh Street teacher's (personal) Instruction Manual. Describes OF HARMONIZATIONS stops, couplers nnd chimes Installed. Yearly care lesson-to-lesson assignments for the beginner, me- FOUR KINDS of organs. We solicit inquiries. todayl dium or advanced student. Order now . . . Send for explanatory circular anywhere. Dclosh Brothers -- Organ Experts NEW YORK Price $10 complete, insured and postpaid _ EFFA ELLIS PERFIELD 3508-1 05th Street Corona, L. I., N. Y. City CAVANAUGH PIANO SCHOOLS East 86th St. (Park Ave.) Now York City Y. 103 Fifth Avonue New York 17, N. "FORWARD MARCH WITH MUSIC’ 49 JANUARY, 1945 J — J&hnTh«$gn ‘Tftot/nrn fours# for Piano

"TEACHING Here is SECOND LITTLE FINGERS TO PLAY". "THE GRADE BOOK". Th.s book is de- o book in which Dr. Thompson gives the beginner signed to advance the pupil musically and pianisti- on opportunity to "Ploy o Tune" at the VERY FIRST cally, without interruption. Beginning exactly at the LESSON Price, 60 cents. end of the "First Grade Book" Price, $1.00 "THE FIFTY SECOND "TEACHING LITTLE FINGERS TO PLAY GRADE STUDIES". All ex- amples are edited and fingered ENSEMBLE". Simply a book of occompaniments to by John Thompson and are designed to hold the pupil's be played by teacher or parent while the child is interest as well as to develop the various playing the melodies from the beginner's book, points of pian.sm encoun- tered in the Second Grade "Teaching Little Fingers To Play" Price, 50 cents. Price, 75 cents

"THIRD GRADE BOOK". Carefully "A TUNEFUL FOR THE FIRST planned to con- DUET ALBUM tinue the pianistic and musical development of the YEAR". In this album, Dr. Thompson's talented son pupil from the precise point attained at the has supple- end of evolved material that adapts itself as a the SECOND GRADE BOOK Price( $1 0Q mentary book for "Teaching Little Fingers To "THIRD GRADE VELOCITY Ploy" Price, 75 tents. STUDIES". Fifty etudes from the works of Berens, Bertini, Burgmuller As Czerny, Duvernoy, Heller, "THE ADULT PREPARATORY PIANO BOOK". Kohler, LeCouppey, Le- the title suggests, this book is a preparatory book moine. Loeschhorn, Streabbog ' Price, 75 cents in PIANO PLAYING. It is designed especially for the ADULT Price, $1.00. ‘Musical journey around the world. It aims to oppty , he knowledge he hos olreody ocquired to "THE FIRST GRADE BOOK". In this book, as in all well-known tunes. of his instruction, John Thompson "makes haste slow- Price, $1.00. ly", thus insuring the pupil a sound foundation- for "WORLD KNOWN MELODIES". Eight favorite p.eoes future development Price, $1.00. especially adapted for piano Price, 75 cents "KEYBOARD ATTACKS". The "THE HANON STUDIES". A First Grade edition purpose of this book is to Simplify the teaching of in quarter notes—of this standard work specially touch and expression Only the favored few designed to in piano who hove develop fundamental touches studied with artist'" teachers have learned the tricks ploying Price, 75 cents. p r i ce , 75 ce n ts

"FOURTH GRADE BOOK" Lik P "FIRST GRADE ETUDES". This book is intended to THOMPSON-S "MODERN COURSE lay a foundation in technique for the FIRST GRADE FOR The piano student Price, 60 cents. Price, $1.00. "FOR PLAY". Good educational music GIRLS WHO "FOURTH GRADE ETUDES". Twenty-, piano our progres . is so universally in vogue among modern s,ve studies in oil major and minor keys only good from th teachers it is quite the "fashion" to ploy works of Berens, Bertini, Cromer, Czerny cents. Gurl » music Price, 75 Heller. Leyboch, Loschhorn ‘ p r!ce< CJ, "FIFTH GRADE BOOK". "LET'S JOIN THE ARMY". Especially dedicated to Pianism end M • morch on opoce in nSh,P the teacher this book and the American boy. During instruction, the student"'bL° giving increasingly familiar with works assumes the role of Commanding Officer, from the "commands ' similar to the directions in "orders" or $1.00. Price 75 cents - military manner - "FIFTH GRADE TECHNIQUE" A rti«r . watchword in the Fifth Grade 9 'p* Twenty-five Tuneful Etudes, and beyond "STUDIES IN STYLE". nical exercises the , Mh ' ore based exclusively Pianoforte. These etudes on' in the Second Grade for the taken from standard ,ra9menfs piano literature develop technical fluency in all directions. . ° mee speedily definite technical need. ~ t a cents. Price, 75 75 cents. AMERICAS FOREMOST MUSIC AN OUTSTANDING COURSE BY ONE OF EDUCATORS i without Please send me complimentary and THOMPSON MAN- obligation, THE JOHN Willis embracing o catalog the Music 2 i UALS No. 1 and No. C& FOR p J*NO of "THE MODERN COURSE 124 EAST FOURTH ST -"SUPPLEMENTARY TECHNICAL BOOKS ond "THE STUDENT SERIES". i it Cincinnati, 2,0. i STREET- SEND THE FREE TEACHER'S MANUALS a CITY

'FORWARD MARCH WITH MUSIC’ .50 the etude ! .

\ mix Oi'FSTJfixs PIANO TEACHERS SPEED ®»§ (SK) .Answered HAROLD BERKLEY Cards in Place for Teaching Beginners Back of Keyboard name No questions will be answered in THE ETUDE unless accompanied by the lull pseudonym given, will be published. and address oj the inquirer. Only initials, or Sight Reading

Complete Set of 32 Cards, Keyboard Finder and Book of Instructions — Only 50/ A Bargain Outfit Concerning Moznrl Quartets R. M. M., New York.—Your August Voight Miss N. G., Illinois.—I think you could well Drill No. 1 easily and quickly tots, bow is worth between twenty and thirty dol- use the second volume of the Mozart quartets, SIGHT-PLAYING learned by tiny For stressing visual accuracy lars, so you did not make a bad bargain when as published by Peters in Germany or Kalmus or beginners of any age, with these Speed Drill Cards. includes you bought it and a violin for twenty-five. in New York. This volume, which Makes teaching easier and quicker for class or individual Serenade, is The violin, from your description, is prob- the Eine Kleine Nachtmusik instruction. ably an ordinary German instrument. much easier than the first volume. But the Certainly you are not too old to begin quartets are genuine Mozart, and I am sure EASY TO USE—Speed Drills consist of 32 cards with do not pupils would revel in them. Particularly studying the violin, provided that you your complete and easy-to-follow instructions for their use. On have of a concert career. It is ob- after the excellent training you have given ambitions each card is a picture of the note on the staff which cor- vious that it means a lot to you and that you them. responds with the key on the piano keyboard. Thus, get a lot of fun out of it. Keep on studying the student learns through his eyes, rather than the written and practice as much as you can. The more Regaining Vibrato Control you improve, the more pleasure you will get or spoken word, the location and position of each note. Drill No. 2 K. E. R., Ohio.—It is not at all unusual for from it. luck to you. For instant recognition Good to have difficulty with his vibrato a player AN ADVANCED STEP— Speed Drills are an advanced of keyboard positions after a lengthy period in which he has done Not a Stainer step in aiding the student to quickly identify the note on Genuine little practice. All you have to do is to give evident that the! staff with the key on the piano. These handy cards Miss M. I. W., Ohio.—It is quite it some concentrated attention for a few he stress visual accuracy, recognition of the keyboard posi- your violin is not a genuine Stainer, for weeks. In The Etude for last July I had an never branded his name on the back of his article on the vibrato which I think would tions, producing rapid visual, mental and muscular instruments, This, rather, is the sign manual help you. In it you will find that I advocate coordination. of thousands of copies—one might call many a combined arm, wrist, and finger vibrato. of them caricatures—that have been produced And don't for a moment think you are too THE LARGE NOTES make vivid mental pictures. This Stainer vibrato. in the last hundred and fifty years. old to regain your control of the feature is important, but best of all ... children like Speed 1693 on the died in 1683, so anyone putting Drills. They should be used at the first lesson, and the trying Drill No. 3 label of a would-be Stainer is not even Tuning the Violin set On pupil should have a for daily home practice. For stressing rapidity to be accurate. If it is in good condition, your S., Indiana. The chord on the playing the keys violin is probably worth between fifty and Miss M. — violinists prefer to tune to SIGHT-PLAYING is becoming more and more of a re- one hundred dollars. Should you wish to have piano which most the is the quirement of pianists, and students at the very start, should the violin accurately appraised, you should is the D minor triad, of which A A-string of the violin. How- be trained to attain it. Speed Drills will lay the foundation send it to one of the firms mentioned in the same pitch as the obtained preceding answer. ever, more accurate tuning can be for proficient sight playing. from a low C major chord, of which the G G. The value Concerning Shoulder Pads is the same pitch as the violin GET YOURS TODAY — Speed Drills may be obtained of the latter chord is that tuning to it brings from your local music dealer, or send direct to us, the pub- Miss J. S. A., California.—There are two higher than the A and E-strings very slightly lishers. Complete set of 32 cards instructions, violin Breton—J. F. with only 50c. makers listed named the same notes on the piano. Breton, 1740-1799, and Francois Breton, 1780- Drill No. 4 1830. Both much the same made violins of For pattern— along the lines A Commercial Violin JENKINS MUSIC COMPANY, Kansas City 6, Mo. stressing rapid vis- a broad, flat model ual mental and the name muscu- of Stradivarius—and both used medium brown G. R. D., Iowa.—A violin with lar coordination varnish. Today, these violins are worth be- "Paganini" stamped in it can only be an ordi- tween $200 and $350, according to condition. nary commercial instrument, worth from (2) The most likely reason that your pupil twenty-five to fifty dollars. For repairs to your of holds the violin with her left hand instead violin, I would suggest that you send it to with her jaw is that she needs a shoulder- some such firm as Wm. Lewis & Son, 207 ©epenbabilttp pad— or, if she is already using one, that it South Wabash Avenue. Chicago, Illinois, un- RARE VIOLINS !§>tm:e is of the wrong shape or size. This problem less you know of a reputable firm nearer IS74 Periling a Clientele was discussed at some length in the August your home. of Biscrimmating String $laper«S WE HAVE A NEW ILLUSTRATED issue of The Etude—which appeared after your CATALOGUE WHICH letter was written. You should refer to it, for SPECIALISTS IN VIOLINS, BOWS, REPAIRS, etc. WILL BE SENT A Reference it answers your question more fully than I CATALOGS and LITERATURE on REQUEST UPON REQUEST. August Glass FREE have space for here. As you do not mention G. W. B., Illinois.—Friedrich been mentioned the age of your pupil, I cannot recommend is a maker who has frequently MANY BEAUTIFULLY TONED IN- information con- the size or shape of pad she should use; but in these columns, and for IDif/uim andSon LISTED 1944 STRUMENTS FROM §50 TO I would urge you to experiment until a suit- cerning him I must refer you to the June, 207 South Wabash Ave. Chicago 4, III. $25,000. able one is found, one that enables the girl issue of The Etude. — to hold the violin firmly and easily. It will PUBLISHERS OF "VIOLINS and VIOLINISTS" make a tremendous America's only journal the violin difference to her progress. Beginners’ Material devoted to Specimen Copy 25{!— 12 issues for $2.50 California.—I am naturally FRANCIS DRAKE BALLARD Beginning at Thirty-six Sister M. P-. ANNOUNCING EARLY PUBLICATION OF happy and gratified that you have found my Licensed <£ Bonded Dealer-Collector D. K., New York.—Thirty-six is certainly your teaching— books on bowing so useful in A LIMITED EDITION Rm. 408, 320 E. 42nd St., New York 17, N. Y. not too advanced an age to begin studying tire I tried to make them interesting and helpful viola, provided you are physically adapted to both for the teacher and for the pupil. Al- “SNto fflanp H>trab:S?” it—that is, provided that you are naturally most any good beginner's method will lead relaxed. But you should not entertain “<£>ur heritage from flje fHnSter” ambi- into them easily and naturally. The Laoureux of professional career. One has to An important tions a start Method that you are at present using is one work of about 400 pages record- VIOLIN PLAYERS young for that to be justified. ing existing stories and Basje^PrfiicIpah of^Violin Playing very of the best, and you can follow it with the instruments with their ^ historical il- Ul n first book of Wohlfahrt's 60 Studies. Op. 45, background containing over 100 IMO^'l 4t h* S I.'.'n St P e 1 0 lustrations of Stradivari's rsb ur g? Yin. V True Amateur and Book I of Kayser's Studies, Op. 20. Both genuine specimens of contain excellent material for work. Expert, Authentic, written in fascinating Miss D. G-, Connecticut.—Thank you very of these books the development of sound bowing principles. style. nuch for your interesting letter. You are a you love Other excellent methods for the beginner are PRICE PER COPY $20 rue amateur, for it is evident that LEARN "SWING" as Samuel Applebaum's "Primer Violin Method," MUSIC Perhaps it is just well ’ -our music deeply. nil 1 might not and the "Very First Violin Book” by Rob Roy oaks, c ou are not a professional—you you keep on as you are Peery. MODERN DANCE ARRANGING eve it so much! If InUfiUST GEMUNDEK &' 50N5 should not Ducts, trios, quartettes and ensembles—special elmruses is reason why you 53 W. 5GTH ST.. YORK oing, there no NEW -modulating to other keys —suspensions ant of Beethoven — intpat Ions e playing the Op. 59 Quartets VIOLINS OLD & NEW —organ point! -olor effects—swlngy backgrounds— con- B__^_Expert Repairing, Catalog E year. But you must practice Send for i another VM1M V FINGER GUIDE ELMER FUCHS thoughtfully. istently and A new invention for students and teachers 335 East 19th St. Brooklyn 26, N. Y. Easy to put on— does not mar violin Simplifies learning and teaching—Provides true A Stainer Copy intonation very money, time, and practice J. G., Arizona.—Jacobus Stainer was a Saves Gives thorough knowledge of fingerboard and S. fine maker indeed, but his instruments are positions WONDERFUL VIOLIN WM. HAYNES COMPANY now very rare, and the chances are that your Does away with all guess work —the FRASER, strictly hand-made. Singing Flutes of Distinction Made for Full, ^.i, I2. and \'i size violins violin is of the thousands of imitations one tone; great power. Free trial. that in the last two hun- has been produced I revoice faulty -toned fiddles with amaz- STERLING SILVER—GOLD—PLATINUM say more with- dred years. It is impossible to Stato also of violin when ordering your Finger Ouidc ing improvement. Write NOW! out seeing the violin. For further information Catalog on request Violin Expert on Stainer, you should refer to the Questions ISUKGIIARBT SYSTEMS CHELSEA FRASER, 108 Massachusetts Avenue, Boston, Mass. columns in the February. August, and October, 2720 N. Albany Ave. Chicago 47, Illinois 2025 Stark Street Saginaw, Michigan 1944 issues of The Etcdi:.

JANUARY. 194 ”FORWARD MARCH WITH MUSIC” 51 . . A

main on the score most of the time. Dawn on the Horizon Hence the fingers must find their places on the keys largely through imagery of

( Continued from Page 3) the keyboard. 5. Be attentive. dult looks 6. Keep the eyes on Johm Ho Williams' musical instruments. We in America will the score. If it is necessary to look at probably be overwhelmed with world- the keyboard, make the glance as short as for GROWN-UP BEGINNERS wide demands for new instruments, as possible. 7. Make it a untold workers and factories abroad have positive rule nev.er to start STUDENTS • BOY BEGINNERS leading without first ADULT been victims of the total war. For this observing essentials, such as key. time reason the cost of instruments here may signatures, and any un- usual complexities be accordingly higher, and The Etude en- in the body of the composition. FIRST 1O0K joins its readers to care for their present 8. Know the instruments and keep them in the best leger line notes. for the Adult Beginner of condition. We have discussed only a few of the A first instruction book containing such favor- material musical conditions which may will ite melodies as THE ROSARY, Toselli’s come to us with world peace. What SERENADE, VIENNESE MELODY and dozens be the effect of the great havoc and deso- upon the mental and spiritual of other world famous melodies arranged so lation Repertoire Maintenance progress of Man? Certainly not since the that the grown-up beginner can enjoy Flood has there been such world destruc- playing ( Continued tion and extirpation. Metaphorically, we from Page 21) in America are much in the position of In this FAVORITE MELODIES the Ark on Ararat. With the coming of connection, there ore several thoughts to be the dove of peace we will be looked upon considered. First and fore- most: is as the survivors of civilization. Our re- it more important for a pupil for the Adult to be learning sponsibility will be tremendous and our new work all the while, time will be judged by our or for him to be able teaching pieces, songs from status for all to play the things Educational that he has behavior then and now. already learned? I suggest, operas, plantation songs, drawing room meekly, TIIE ETUDE WISHES ALL OF ITS that the reason for which most music, sacred music and old-time songs, of us learn, HAPPY NEW YEAR is to be able to to READERS A play. varying in difficulty from very easy a really FILLED WITH GREATER OPPORTU- serlous Pupil, who medium grade wants both , NITIES 'THAN EVER BEFORE IN HIS- to learn a lot of new works the old TORY! ' wil1 in extra Ome W°rdS Each $1.00 ’ he wiu lengthen Sdnibrl*?1C Perl0d t0 take cure of it. And third T n T bave found that patience W-145 and slow rr Write for the above books "on examination". Also send for our Catalog C°Unt most he^ly at the , start of f composition, • when new habits a vp l-v BOSTON MUSIC COMPANY ate being formed. Too manv m- Make Yourself a Better 116 BOYLSTON STREET BOSTON, 16, MASS. Sight Reader

is going 16) to be ( Continued from Page Yf

material. There was also a differ- maintenance of CHICAGO MUSICAL COLLEGE same other compositions, President the quality of the glances, good Founded 1867 by Dr. F. Ziegfeld RUDOLPH GANZ, ence in making many very course CONFERS DEGREES OF B.MUS., B.MUS.ED.. M.MUS., M.MUS.ED. readers sometimes viewed - when the re- Music composite Member of North Central Association and National Association of Schools of quick eye movements from score to key- every-other, aduat0 t0 the ALL CHILDREN AND NON-PROFESSIONALS or once to ?; BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR board. All good readers either made few on, m~?ree " day and s0 schedule. At tH^ » Address Registrar, 60 E. Van Buren St., Chicagc(|5, Illinois or very quick ones. Other p01rit the eye movements becomes essential t, notebook in behavior were equally discrepancies April 1 the ^stance, if on Danse anole great. Cantabile go and Andante on an ™' ~ Scores made on these tests seem to April y other-day basis, OSMOPSJUTAN SHENANDOAH CONSERVATORY 14 trill thl warrant the following suggestions to per- Phase th° md °‘ that Jchooi or MUSIC ttwo’ weeks ft OF MUSIC developing skill in SHIRLEY GANDELL. M.A.. Oxford sons interested in Looking U remember> ahead in thJ jJ° ) University, Enoland, President. The suggestions are listed dlary music-reading. to that , a notation 41st year. Accredited. Offers courses Member National Association Schools of effect is man* in all branches of Music. Certificates, in order of importance. the time 4th; Whe” diplomas and degrees. Desirable bonru- Music • Thorough instruction in all comes, do«vn- It seems that ”here°w-ii'V ing accommodations. Located in 1. Practice sight-reading. work 11 be guess • Degrees: B. M. about it. no a branches of music and On the Chlcano._ sight-reading music, one employs en- tions 4tl1, Box" E?"3n'fi S.' Wabash Ave.. in go on ^be composi- M. Ed. • Certificate in Church Music a thrr> i B. tirely different techniques from those 1“ W1U »aka Rates Very Reasonable needed for memorizing or for learning en4“eth“g BALDWI N-WALLACE to play a composition after practice. In information address, S CONSERVATORY OF MUSIC For full this experiment, only the subjects who April ES agn°le lt5“ant BEREA, OHIO (suburb of Cleveland) had a history of continuous experience ? E. T. ANDERSON, Dean “ ies Oborlin. Ohio sent upon request in reading ability could do this. tins: Catalog Frank H. Shaw, Box 515 Bulletin fro might read like your span of reproduction. Try _ W. ST. CLARE, M INTURN, Director 3. Study

it complete. The better readers 1 to make iBn°te - WliiBiliWgMWgwll - Eacb s°n read both right and left hand simul- Apxfi 18— Andante n OF WESLEYAN COLLEGE taneously. Poor readers often see the ™ WESLEYAN CONSERVATORY OF MUSIC— A DIVISION tmie ' BaCh score of only one hand. APm vmen National Association of Schools of Music w™lT1 s Institutional member ol 4. Train imagery by practicing musical mart) <®at a move _ and A. E. with major in music patterns, such as scales, chords, and ar- APnl Degrees: B. M. 20—Danse r peggios in different keys, with eyes closed. ata (first affn0 *e * Catalogue and Information address: movetnentf“ant Each Son- For This plan is practical because in sight- April 21-_ > 4retf Conservatory Macon, Ga. the eyes must of necessity re- The Wesleyan reading Sonata (fl Dean rst moVe^ ^antabile. Bach 52 "FORWARD MARCH WITH MUSIC" the etude u for C/it on idoctrd CHORAL GROUPS OF FAVORITE SONGS FOR ALL OCCASIONS fl COLLECTION SCHOOLS, COLLEGES Compiled by BEATRICE LAISDECK HOME GATHERINGS Here are the songs that everyone is singing. 68 carefully chosen FOLK SONGS make up this unique and unsurpassed album. Favor- GLEE CLUBS ites for all occasions include: songs being heard in G.l. camps, at gatherings. schools, in factories, trade unions, student clubs, family ASSEMBLIES, UNIONS ARRANGED FOR MIXED CHORUS. MAY ALSO BE SUNG AS SOLOS, DUETS AND TRIOS Price .... $1.00 CAMPS CORPORATION EDWARD B . MARKS MUSIC COMMUNITY SINGS R. C. A. Building, Radio City, Mew York 20, N. Y.

there “Of necessity, such training proceeds April 22 — Bach Sonata (first move- way, within the pupil’s own mind, ideal, or slowly because it is an inner growth, and ment) thus running the first two on a will gradually be established an , growth cannot be hurried; also because one-in-three basis, and the Bach every norm, of tone as well as an ideal of bod- basis of it demands subtle changes in the sub- day for the first two weeks. There is no ily response. These will be the conscious levels of self-expression.' Such confusion; what is to be reviewed on any all future vocal exercises. reaches training, however, coordinates f li- whole given day is down in black and white. “This lyric receptive attitude singing. organism and unifies every p'\ase of the Please note that now, three learned its climax in joy—the basis of all is receptive, individual. It releases withm him his compositions are being kept up, with less The more joy to which one auto- finest qualities. It frees him from ten- time devoted to review than was neces- the more the whole organism is and ex- sions. It catches and emphasizes those sary at the beginning for the mainte- matically coordinated in easy tone sup- most ideal emotions which interpret man nance of only two! hilarating tone support. Such instated me- at his highest when expressing through Make one final common-sense pro- port cannot possibly be speech and song. vision. When the time comes to add new chanically. “The principal thing is to superimpose compositions to the review, the increase FRANK vocal skills and ideal interpretations A Should be planned with due regard to Important Principles upon a basis of poised and normal re- STATEMENT OF FACTS ABOUT the schedule already in operation. Pile- are repressed and in- sponsiveness to positive emotions in basic ups should be avoided. Not more than “People who AN IMPORTANT SUBJECT order breathing founded upon Mother Nature’s half hibited require much training in of the daily practice period (what- balanced responses. joy states, get the spontaneous own there is some ever its length) can, in good conscience, to feel the and be encouraged to keep “You can’t be a voice carpenter and delay in filling orders for Deagan be assigned to review. response, they produce the tones that mechanically get such results with voices But to a musician’s confidence, and to them while Marimbas. But it's the kind of delay them. and personalities. You cannot plane down his professional reputation, what a vitally express thatisworth whilefrom two standpoints. produced only the rough edges of the student’s voice, important half it is, indeed! “Perfect tone can be First, it's a patriotic delay, caused mechanical in- nor sandpaper him into shape. Such spontaneously. Anything by the fact that highly important war bad habits and makes beautiful training takes time.” states orders have first call on our facilities. tone impossible. Second, it’s a relatively insignificant “Once the instructor catches the prin- delay when compared to the lifetime ciple of ideal response of the body and tone, it is satisfactionof a truly fine instrument. For Voice Training Through of the normal production of Fresh Winds Will Blow phrases of more than half a century the very easy to go on with short DEAGAN Emotions such songs as carry positive emotions Again name has oeen a symbol of supremacy From and dominantly sustained tones. in marimbas. It'stheinstrumentamateurs the pupil may (.Continued from Page 4) ( Continued from Page 23) these, by easy gradations, prefer and professionals insist upon. into whatever types of song be guided J. C. DEAGAN, INC. wise. influencing their productive capacity. may one sees vocalise the instructor thinks Bertoau Avenue, Chicago be multiplied indefinitely, or Beethoven complained about bad 1770 13, III. and feels the normal response of the or- are two cardinal principles: “There weather: “It always makes me play some- ganism for the production of beautiful attention should always “The center of what out of time.” Brahms’ creative tone. The moods out of which singing receptive mo- be the impression of that periods were mostly in summer. Likewise naturally ecstatic won- grows are those of ment when the whole being is receiving Beethoven and Max Reger composed der, love, joy The moment positive emotions and worship. and responding to many important works during the hot one’s whole being responds to such moods, inhalation and perfect through natural season. Hugo Wolf’s periods of working the body is elevated and ex- normally coordination. were extremely concentrated, almost panded. It becomes active at the center receptivity “Next, this gentle, joyous eruptive; they were in the beginning of and normally responsive, from center to emission of tone. mst be kept during the spring and fall. Engelbert Humperdinck circumference, in a wave-like motion, to his fhen the singer becomes conscious of stated that the sun had great influence the outermost extremity of fingers and the his attention is diverted, and on his work and working; for this reason toes. nging, If one is to sing with ease and free- aordination is likely to be lost. he always wanted his studio situated dom, the whole body must be alive and who sings beautifully must have toward East or South. Wilhelm Kienzl easily expanded by such normal emo- “One and coordinated balance of felt pleasantly excited by sunlight, while tional responses. well-poised Or/ responses. The cloudy found him not disposed for / motions and organic a sky jjjrrcoifre wcwaerJ, “The skillful teacher will carry such radiant, atural ideal is that of a poised, work. AS HE PLAYS THEM exercises over into exclamations and then emphasis wous personality. The more It seems that fair weather with plenty mto sustained which MISSOURI WALTZ (S.i.j A-.*,,™,,,,) tones or chanting retraining of the whole tem- of sunshine, free air, and a clear bright carry ut upon these moods. At first, however, the more of HINDUSTAN erament and personality, the sky increases the productive powers emphasis should the emo- and DOWN BY THE OLD MILL STREAM be wholly on the student really attains many composers, while bad weather with tions and pupil uickly ON THE ALAMO the bodily response. The quality that is constantly a gloomy sky and lasting rain usually ses a tonal THE ONE I LOVE (B.lMusic Publisher, Bnc. let him contrast voluntarily pro- moves edged sword for musicians. Many persons thought and emotion which 316 South Wib.th Avenue, Chicago 4, llllnoii duced tone and hardness and ing of see how its pool of consciousness. i Continued on Page 60) onttleness across the calm will offend his ear. In this "FORW'ARD MARCH WITH MUSIC” 53 JANUARY, 194; —

have been established, and after their sun broke through clouds and flooded the First Steps in Building a physical qualifications make it reasonable What Nazism Has Done auditorium as though Gilmore had to play the larger string instruments. planned it that way. The effect was School Orchestra 10. How are the pupils to procure to German Song overwhelming. During the intermission a instruments? visitor telegraphed his wife, who had felt a. If possible, avoid having the pupils (Continued from Page 14) (.Continued from Page 18) she could not afford the trip, “Come im- purchase instruments until approve mediately. you Will sacrifice anything to have the investment. This will reduce the you here. is think for Nothing like it in lifetime.” children, e. To establish habits of regular Here something to about a hardship on you and the school when The hit-number of and effective home practice. the thousands of enthusiastic, devoted the day was Verdi's you find a pupil who has no aptitude Anvil Chorus. As a prelude, 2. Do I know enough about the violin singers within the ranks of the Asso- red-shirted for strings, b. Arrange to have enough Boston firemen marched and the teaching of strings to insure suc- ciated Glee Clubs of America. Our sing- out and stood school-owned instruments for the pupils like statues before fifty cess with the children I teach? a. The ers should add to the Pour Freedoms for anvils. Soon the to use at first, with a small rental charge sparks were flying proper size of instrument for each pupil, which the Allies are fighting a fifth free- as hammers swung in to cover repairs, c. When you find a pupil perfect time to the b. The proper condition of the instru- dom—freedom to choose our songs, free- choristers. As the with adequate musical talent and prom- piece proceeded, bells ment. c. Methods of establishing good dom even in times of war to sing songs pealed, and finally ise, make clear to the pupil and his a battery of cannon habits in string technique which means of love instead of songs of hate, freedom on the outside parent the serious need for a good in- boomed an awesome (1) Holding the instrument properly; from a dictatorship which stoops even to climax. The crowd strument. was almost hysterical. (2) Correct left-hand and right-hand degrade music for the sake of propa- 11. What schedule is most desirable? position and technique, d. Procedures for ganda. a. During the first two or three weeks - developing the ear along the manual Germany in its all-out effort to con- — —Hwcauic. in less man should try to meet the pupils ten the teacher minutes,” wrote the critic techniques. quer the world has, for the time being " of the New daily, if only for twenty-five or thirty a 3. Can I play the violin well enough to at least, lost its own soul, and it surely fl uesti°n had been minutes. The pupils should not take the settled forever by Mr. demonstrate satisfactorily at least the is not empty optimism for us to con- Gilmore. He had instruments home during this period, b. shown the practicability basic techniques of string playing? tinue to live in the faith that the way of conducting an As soon as the essential fundamentals are orchestra and choral a. Correct bowings and fingerings, b. of love is in the long run stronger than force of 10,000 as established, the classes should arrange to as Karl Bergmann Good tone quality, c. Shifting, d. Vibrato. the way of hate. Here’s hoping that . conducts the meet at least twice a week for from ha 1C and 4. Are the pupils, their homes, and the America’s war songs will continue to be obtained all the ef- thirty to forty-five minutes, and home l T°ShlCh the; school such as to make success with songs of love, courage, and victory, songs ,y “creased number pro- the practice should be regularized. vided class reasonably possible? of home and friendship and freedom that 12. What instructional materials will a. The pupils should have had adequate lift people’s hearts and leave no residue I use? opportunity to develop a sense of pitch of poison. (Copyright) a. There are several good violin class and rhythmic response, b. The parents , ““tJUgllUUlr Ml books available. Confer with the leading WPPk At SCCOnd should be interested in music and sympa- r w concert, Presiden music companies or successful teachers i hlS cabtaet thetic toward the pupils’ practice, c. The walked down th in the area. b. Books with piano accom- tooad centerIto aisle school should be interested in providing to the strains of Se paniments are a decided, advantage in the Conquering experiences in music for the pupils. Hero Comes! One after many homes, c. Materials should be se- 5. How can I gain the cooperative sup- m c“cago, overcom fit age and interest span “th T° port of the teachers lected to the at the slngin and the school ad- The Immortal “Pat” Bright g of Let th ministrator? of the particular class. Sernni “plrad ' 11 ™ relationship of thTonly a. Propose plans 13. What is the my Tatamy.- and procedures which (Continued from Page 24) help to work to that of the private teacher of 1 6 ShoTOIid provide the things they already ««>urcefulness at a: strings? tunestimes" in keepingk desire for the pupils, b. Avoid excessive his fortune cohort a. class and the programmed numbers. A magazine con- 01 preliminary costs, demands, and annoy- The school string 6 thG Chorus Eot com complement each the music to be sung and minute pWelyTutoT'l ^ ances. c. Discuss cooperatively from time private teacher should taining WhUe sinElnE ' slEnifi find the for singing it was circulated Sntly TilA Wew ? I to time with the teachers and the admin- other. The string class should directions T, Sheep Have Gon istrator the talent, but within one or two semesters to all participating performers in various 2 re tried progress and plans of your tenuously t encouraged roundlound them up, n work with the class. the capable pupil should be cities. shouting orders throne' teacher. the estimated cost of the coli- 6. How can I enlist the interest and to study with an expert private When will, the doubled, subscriptions dribbled off. e support of the parents? b. The class teacher be making seum n he saw it he turned was hopeles a. Keep parents thoroughly informed, best use of his time, as regards the long- To prevent construction from halting, cann™. from a ^d electricall and periodically time goals in his elementary school pro- Gilmore recruited volunteer workers from m T teIegrap seek their guidance in stand h keys on hi gram, if he devotes his time to finding nearby towns, providing free transpor- and d Wned the solution of your problems, b. Welcome ;'° °ut the a“gers. Th utilizes the assistance the last minute; Boston’s Piece came opportunities to students talent and then tation. At r°arinE present your halt - Tllen h teacher whenever possible. board, fearing the untried build- began again before groups of parents. of the private school collapse, to 7. 14. What criteria will I use to evaluate' ing might refused allow 0 How can I develop enough interest ®* Was renlized frar the success of my year's work with the 20,000 school children to attend and sing th^IesUvantVd in my class to insure reaching the tal- d esceeded all tions inch di expects class? national airs. Whereupon Gilmore sug- 8 ented pupils? eXPeCtations °f Bo gested they wait until the fourth day, the pmfl?^ d a. Arrange for the children to hear a a. To what extent have I been able to purS the building would have proved amounting interest and hold the pupils with musical when u "all to 15,40 promotional demonstration by the best tXT™'- 000 was over to thp Wo • turne talent? b. To what extent do the pupils safe. This suggestion saved the program. violinist available, b. Have several string had interest and talent play well? Days before the opening, visitors began "awakened instruments available for the children to who have the'eountry ITT ^ what extent have the talented pouring into Boston a motley crowd, the al enthusiasm as try. c. If there are any older string play- c. To ir^ntrknow parents inter- like of which the city had never seen £ ers in the school, have them play for pupils and their become lumbermen from the north, 0U the ested in buying good violins? d. To before; 1 new pupils. Went 0 * about what extent have I been able to interest southern gentlemen with their ladies, reSate L“ 8. What can the school tell me away, TLb 4 under- capable students in studying with a and New England’s first families. Half a hurricanf^S 1“ the pupils which will increase my But he T**the collseun good private teacher? e. To what extent fares prevailed on all railroads. Choice was already rims - standing of the human material in my °f for the five-day festival went for a bigger and 5 anothel class? are the capable students interested in seats better a* build it Opportunity 4 the advanced ensemble organi- one hundred dollars apiece. came with tv, a. Most schools can provide a general joining e June 15. 1869, the great day. At Pranco-PruSIan E ° f th zations? Came 1 picture of the intelligence, scholastic War ' ToT„ cele"T? three o’clock the doors were closed to event, he j *>rate thi achievement, social adjustment, home World Summary still clamoring to get in. The jubilee and PeaC of its crowds schemed w" , background, and musical promise Boston ^ Held i The prospective teacher of a school sea of humanity resembled a wheat field in 1872 ciin pupils, b. musical background and d The the breeze, the undulations financing Ut?° tr0uW analyzed by orchestra should decide whether there is undulating in this' venture w skills of each pupil should be Europe's Bot toEethe a reasonable possibility of building a caused by the motion of fans. A hush top bands toe, T the music teacher during a chat with the La mrd successful orchestra in his school, should settled over the throng as Edward Everett Bepublicaine from ° pupil, at which time short tests of pitch w? rose in the dim vastness of the Guards from tae Gre e become thoroughly acquainted with his Hale . and rhythm can be administered. England th; # Kalser Fran and the children, should plan stage and offered a prayer. Grenadiers from violins, school Benin , , 9. Should the class include only Johann Straus carefully each phase of his departmental Then Gilmore appeared, with white came at a remitert violoncello, and bass be 20 or should viola, ’ 000 t0 taad program, particularly the instruction in shirt glistening. The applause shook the band in a sStocl? “ added? midltlcm o£ T" the lower grades, and should evaluate his building. Fifty thousand pairs of eyes Beautiful Blue a. If the children are in the elementary Danube on this The second better to teach own strengths and weaknesses as a now focused man atop a high festival" school, it is likely to be ® he raised his it Gilmore purpose is mainly teacher and plan an appropriate pro- stand as baton. When promised, only violin, because the means but T was by n the class gram of professional growth to remove came down, organ, orchestra and chorus the overwhelming to find string talent; therefore SUCCeSS deficiencies. These are some of the burst with mighty tone into Luther’s first one. °f th be kept as simple as any There w " s problems should “methinE of a can be trans- first steps in building a good school grand choral, .4 Mighty Fortress Is Our anticlimax about possible, b. Capable pupils it , ugh lfc laste strings after orchestra and a school orchestra is al- God (God Is a Castle and Defense). three weeks ferred to the secondary and dirt , strings ways an asset. Just as the number drew to a close, the their interest and aptitude for nameaninterCliry^r "FORWARD MARCH WITH MUSIC the etude The last of Gilmore’s big shows was given in Chicago the following year, to New York's First Dpera celebrate the recovery of the city from the great fire. achieved the Then, having ( Continued from Page 13) THE CURTIS INSTITUTE OF MUSIC ultimate in quantity music, Gilmore turned to quality. His objective was to remarkable extent. How far this may EFREM Z1MBALIST, Director build the world’s leading concert band. reach in the future of America is diffi- In those days bands were for parades. cult to tell. In Italy, with opera houses Gilmore envisioned an indoor band of in towns with as little population as one one hundred star instrumentalists. He thousand, there are countless opportu- COURSES OFFERED believed they could play great music with nities for small opera companies to go more spirit than a symphony orchestra, gypsying through the land. The size of “high which he considered effeminate, our territory is so great, however, that Composition Organ hat,” and a foreign importation. The opera which is to reach the small ham- in keeping with band he felt to be more lets is likely to come in the future Voice Harp our inherent energy and itching feet; through colored moving pictures in the virile, strong, heroic. third dimension, such as those now Piano Flute made possible through the Vitavision Is Formed The Concert Band patents of Dr. Floyd Ramsdell and his Violin Oboe With this ideal in mind, he combed brother, Mr. Arthur W. Ramsdell. How the world for crack players, paying them soon these may be available to the pub- Viola Clarinet stars, handsomely. One of his cornet lic after the War cannot be stated. The Jules Levy, received $750 a week, good difference between the present movies Violoncello Bassoon his pro- money even today. He studded and the depth movies, however, is the Campanini, grams with opera stars; difference between seeing a regular stage Double Bass French Horn tenor; Mahoney, basso, and noted in- presentation and the ordinary techni- strumentalists. color motion picture. The remarkable precision of his band, Supplemented by Chamber Music, Woodwind & String Ensemble, his genius for lead- however, was due to Opera Class, Vocal Repertoire, Diction, Languages, Elements ership. An inspired conductor, he imbued of Music, Dramatic Forms, Orchestration, Counterpoint, Har- his men with his own electric enthusiasm. climax He could lead them to a thrilling The World of Music mony, Solf&ge, Secondary Piano and Academic Tutoring. without making a motion with his baton. felt it by looking into his face. They ( Continued from Page 1) Ernest Clarke, trombonist, one of the Students are accepted only members of Gilmore's band still few it was mustered into service at the be- Gilmore topped them all. on Scholarship basis living, says ginning of the Civil War as the Fifth told that when he heard the Clarke me Virginia Regimental Band, and raised by band for the first time, as a youth, “it order of General Thomas J. “Stonewall” Catalogue upon request to Secretary of Admissions, was the most thrilling experience of my Jackson, in 1863, to the rank of the whole life. Its tone was like an organ at The Curtis Institute of Music, Philadelphia 3, Pennsylvania Stonewall Brigade Band. During the past times, at others, like flashing a sword summer the band also completed its in the sun.” fiftieth consecutive concert season in Gilmore knew how to handle his men. the municipal park of Staunton. Although exacting in his musical require- ments, he never bawled out a player at TWO VICTORY RIIAPSODIES, one for rehearsal or in the presence of other large carillon and one for small carillon, ^f)bp QbbrkttbJnfililut? nf(Quair players. He instituted a bonus system for by Percival Price, have been published encores which spurred soloists to their Bachelor of Music Degree, Master of Music Degree, Artist Diploma for free distribution by the School of best. For every encore made during a BERYL RUBINSTEIN, Mus. D., 341 1 Music of the University of Michigan. Director Euclid Ave., Cleveland, O. soloists found five dollars extra in week, Sponsored by the Guild of Carillonneurs Charter Member of the National Association of Schools of Music their pay. in North America, the rhapsodies are distributed complimentary “in the hope "Beal Time" He that each carillonneur will select the Even with temperamental stars, Gil- AMERICAN CONSERVATORY piece most suitable to his instrument more had a way. One night Arbuckle and prepare to play it on the day when OF MUSIC—CHICAGO and Levy, both ace cornetists and sworn carillon can join others of his with the Offers courses in all branches of music and dramatic art enemies, got to fighting in the wings of the United Nations in celebrating the Faculty of 135 artist teachers them, the theater. In attempting to stop cessation of hostilities in Europe and the Member of National Association of Schools of Music Send for a free catalog—Address: John R. Hattstaedt, President, 570 Kimball Building, Chicago Gilmore tore Levy’s coat. Outraged, Levy liberation of carillons in occupied terri- duel. was challenged the leader to a Levy tories.” finally persuaded to shoot it out in a shooting gallery, the winner to take a selected party to Delmonicos. When Gil- more won, Levy exclaimed, “Ye gods, but for this, I’d be a dead man.” Master Performances Adept at advertising, Gilmore an- nounced his coming on circus-size bill- Recorded for the New Year REGINALD STEWART, Director boards attached to barns. Concerts were sell-outs. People drove miles to hear ( Continued from Page 10) them. At the old Madison Square Gar- den, in New York, he hung up a record SECOND TEH Lechini FEBRUARY 1 fifty than English is not at all surprising; that still stands: one hundred and after all a Russian actor would do very consecutive concerts, packing in 10,000 Faculty distinguished musicians much the same thing. In his way, Tchai- of persons at each concert. kovsky is as effective here as a Russian Tuition in all grades and branches Pert, dynamic, medium tall, Gilmore actor might be. had a trim, military figure. His sideburns Rachmaninoff: Concerto No. 4 in G Scholarships, Diplomas, Teacher's Certificates and and chin tuft gave way to a waxed minor, Opus 40; Sergei Rachmaninoff mustache later. The front of his uniform Academic Credits in Schools and Colleges Philadelphia Orchestra, con- bristled with glittering medals, some of with the Eugene Ormandy. Victor set New pupils accepted them diamond studded, given him by ducted by kings and potentates. To the end of his 972. Rachmaninoff, who died in 1943, made CIRCULARS MAILED life (he died September 24, 1892) he recording in 1941 when he was still never showed age. A fan once said to this height of his performing powers. him, “You look as young as you did at the dates from 1926, although the INSTRUCTION OK HI twenty-six years ago.” “Why not?” said The work ‘ is a later revision of the Gilmore. “Time beats other men, but I version here ORCHESTRAL INSTRUMENTS beat time.” original score. "FORWARD MARCH WITH MUSIC' JANUARY, 19 -',' —

The Icicle

Itj oCeonora / If —Nlr. !i to

Ker-splash, kersplash! The drops That was all wrong.” falling from the melting icicle “And to think that it was just lit- sounded cheerfully outside the win- tle drops of water dripping from an dow, but Mabel was not listening to icicle that taught me how to play my them; she was busy practicing her rhythm correctly in my Allegretto ” new piece the way her teacher sug- she told her teacher when she went gested. for her lesson. Gale had told her, “When you Miss “Taking one thing at a time will piece, do not try to think start a new work wonders,” answered Miss Gale, at once, but just take of everything “and you know the old saying that A.OEST thing at a time. See what the ELIZABETH one ‘little drops of water will wear away- music page tells you to do about that a stone.’ ” before you go on to the next thing. Make a list of things to look out for, and check them off the list when Junior Etude Questionnaire iWcinie the they are correct.” Keys: So Mabel made her list, signa- by Aletlia M. Bonner time, fingering, correct notes, When Who will do a favor for the Junior sometimes ; (c) No . ture, a —key sings, he gobbles. expression, tone, Etude? Everybody, of course. Well, Have you ever been a contest phrasing, pedal, When a —key sings, he brays; ties, rests. And a here is an interesting project, and winner? (a) Yes ; (b) No - dots and —key’s song is “eek-eek”— seemed wrong in her They now that your Christmas rush is Have you* ever been on a contest Something make music different ways! (a) Yes Why certainly, she had put over you can all spare five minutes Honorable Mention list? piece. Answer (b) No. her second finger on a note and then for it; it is easy. Take your pencil ; . have enough fingers left to TURKEY— and check off the following items in 8. Have you ever written to the Let- did not the figure. That was easy to DONKEY— the little squares; then sign your ter Box? (a) Yes ; (b) No . finish was a little jerky in MONKEY— name, give age and address, and cut Do you belong to any Junior correct. She place. Why certainly, she out the questionnaire and mail it to Music Club? (a) Yes ; (b) how another dotted a note by mistake, and the Junior Etude office, 1712 Chest- many members? ; (c) No . had school that was easy to correct. Junior nut Street, Philadelphia, Pa. If some- 10 . Do you take part in a Elude Red Cross Something seemed wrong with an Afghans one else is using the printed slip you (a) band (b) orchestra ; Re ei ; bel’’ When makin fd) No accent. She was accenting the fourth e squares can answer the questions by number (c) chorus ni . fni f?» Juniorr Etude taken music beat instead of the first beat follow- ? Red Cross af- and letter, in which case it will not 11. How long have you *° to correct. "It them as near the lessons? ing. That was easy correctenn-eet be necessary to copy the questions. . size as possible. should sound just like that dripping If they are So that is easy, like to 12. Do you live in (a) a city (b) a much too too. We should ; large or too small country? icicle,” she said to herself. “That is they can- receive this questionnaire filled out town ; (c) in the . not be used-not saying ker-SPLASH, and not KER- because they are from every Junior music student who Name Age 6 ltted been playing. but k ecause Address splash, the way I have nonot m they^do reads the Junior Etude, either as a matchT up with the others _ And regular reader or just “sometimes,” also remember, the KeclRph Cross does, so get busy right away. not oonont “y fancy stitches, nor You see, the Junior Etude would ant »i rS Uk6 baby P ink or like Metronome baby blue to get better acquainted with Life's ' n °r White - A11 other you all much better acquainted, and scranso By Danelia Janssen r pieces of woolen to know more about you. This means goods&°°as are tsuitableT u° TCnitto^ not live; SqU eS> little metronome But for its pulse I could EVERYBODY, not just some of you. I have a four-and-one-half mches,inch* f for me • woolen- keeps good time for me; Life’s rhythm it marks buocisgoods tjrmavoc . As you live in all parts of the United That squares, six inches. beats to music give other It ticks along where’er I roam. Just as good Squares have States and Canada, and lots of recently been As glibly as can be. Life and vitality. ceived from re countries, too, it is not possible to Helen Mary Margan; Betts™’ AAnna meet you personally, so this is the Iisa Schmidt- w you say, ROb ' It beats a lively pit-a-pat What is this metronome, ertson; Sandra best way to get acquainted. tTstian”'”* something makes me glad. From which I never part, Goodbye. We’ll be waiting to get When slow than that That beats unceasingly each day? your Questionnaire. Its tempo is more You’ve guessed—it is my heart! When I am tired or sad. Quiz Questionnaire No. 5

1. Do you take music lessons? (a) ~V°tnp°und time? 2 1 nationali other ' piano ; (b) violin ; (c) If ty was Scar- instrument ; (d) No *' practice regularly? fa) ' 2. Do you Seal nClel S half-hour (b) hour ; (c) oratorio^HequmitfUy ; during the £Ung more than one hour (d) not Christmas « ; 4. From ? what country d no f™ regularly Annie eSOng Etude? Laurie come? 3. Do you read the Junior ^ANU AR.V 5 - some- (a) regularly ; (b) S M\ T W T F S times J J n J s J. 6 in the - aH y 4. What do you like best notes J j s J. rs stories (b) J iffrrd Junior Etude? fa) ; eighth °uble-dottcd .rj note? playlets (c)- club outlines ; J ol j s J. ; 7. In what opera does , , (d) quizzes (e) games ; an enchanteda ; J o' si J S' J. swan appear? (f) essay Contest fg) puzzle ; 8. Who wrote To A von* r, contest fh) Letter Box ; ° ; 9. What tones Se? miscellane- mak^he (j) poetry ; (k) Pause long enough to note how many days you seventh dommantd t chord in thl ous keep your musical resolutions. Be sharp and. that has majOT key Etude four flats? 5. Do you enter the Junior check them off flatly on your calendar. regularly (b) contests? (a) ; „„g< . 5C) the etude Junior Etude Contest of The Junior Etude will award three at- you enter on upper left corner your address upper tractive prizes each month for the neatest paper, and put your on your paper. and best stories or essays and for anwers right corner of one side of paper only. Do to puzzles. Contest is open to all boys and Write on typewriters and do not have any- girls under eighteen years of age. not use your work for you. Class A, fifteen to eighteen years of one copy contain not over one hun- age; Class B, twelve to fifteen; Class C, Essay must fifty words and must be re- under twelve years. dred and Junior Etude Office, 1712 Names of prize winners will appear on ceived at the Philadelphia Pa., by this page in a future issue of The Etude. Chestnut St., (1), of January. Results of contest The thirty next best contributors will re- the 22nd essay contest this ceive honorable mention. will appear in April. No special announcement below. Put your name, age, and class in which month. See

Composition Contest to fifteen; Class C, undei This month there is no essay con- twelve All the regular contest rules test, and no puzzle contest, but there twelve. to this contest also. A great is—what? A composition contest. Any apply Juniors have, from time to original piece or melody you make up many sent in original compositions and write neatly on music paper will time, unfortunately, could not be be considered. which, the crowded Junior Etude The usual age limits will continue used in department. So here is a chance to so that the young Juniors will not a piece—send one you have al- compete with the older ones: Class A, write ready written! fifteen to eighteen years; Class B, V Playing Duets / \ (Prize Winner in Class C) / \ I love to play duets with my mother / because it is lots of fun and she is \ my teacher. I am seven years old and UNIVERSITY / \ ~tl— CHICAGO am in the third grade in school and / \ have been playing the piano for a THE SCHOOL OF / 78tl« ANNIVERSARY YEAR \ year. Playing duets helps me keep A complete school of music, dramatic art and dancing. Courses lead to degrees. time in all pieces. Four- / \ my other Special students may cuter at any time. hand playing makes me feel like a / SECOND SEMESTER \ big music. girl who is playing hard Offers accredited courses in Piano, / Opens January "The Music Gang" 26 I get a real thrill when we play a Voice, Violin, Organ, Public School Ifrite for catalog Rensselaer, N. Y. Boys of V 2650 Highland Avc. Cincinnati 19, Ohio * march. When I play my lesson well Music, Theory, and Orchestral In- my mother lets me play a duet with Answers to Quiz No. 3 struments. her. When visitors come to our house beat may be divided 1 When each Confers A.B., they ask me if I will play for them Italian. 3. The Mes- degrees of B.M., of Music ito a triplet. 2. and M.M. 216 and we begin with a duet. After that Scotland. 5. brass wind, South 20th Street ah. 4. Maria Ezermax I am not pieces Wagner. Distinguished Faculty Drake bashful and play my seven. 7. “Lohengrin,” by Managing Director without D- Faculty a mistake. When I grow up MacDowell. 9. E-flat, G, B-flat, headed by Olga Samaroff, I am going to be singer, but Mas. D. an opera a ^' Address Bulletin Courses leading to Degrees of course first I must learn to play Letter Pox Registrar for the care of Junior piano. Send answers to letters DePAUL UNIVERSITY Cynthia Sears (Age Connecticut Etude) SCHOOL OF MUSIC BOSTON UNIVERSITY 7) , studying years old and have been Room 401, 64 East Lake Street 1r^m^venc things every + ?^ ve,nrs and I learn new Ceffer/e o/J/mic Answer to Instrumental Spelling US1 least three ? h^v/learriedlearne that there are at Chicago, Illinois . I have , Offering complete courses in Piano. Voice. iy mu :l think whnt my Organ preaches to niusm Violin. Cello, Brass. Woodwinds, and Percussion instru- Puzzle in , rhythm ,t October u ^ ments. Public School Music. Composition. Church e. ce ls b I must 1 ' < will tell. Next, Chorus, Glee 3_rgan; 2. ,H °hat story it Music. Musicology. Club. Orchestra. Baud d-R-um; pi-C-colo; ,n - a d easy man- 3. R rnv niano h! a careful and Faculty includes members of Boston Symphony. Bache- 4. H-orn; ,pr at instrument. Degrees in 5. bugl-E; 6. when l am seated my lors and Masters all musical subjects. Dorms ba-S-soon; ir: tu£ne fingers are *} the approach my RIVERDRIVE SCHOOL OF MUSIC & ARTS Catalog. COLLEGE OF MUSIC, 73 Blagden St.. Boston; 7. T-uba; 3. must th ink of these things. ha-R-p; 9. b-A-gpipe. After I have done li n sure to please capitals reading , ?,» nracticed well . I am 84 Riverside Drive down, ORCHESTRA. l parents and my yseU niy teacher, my New York City idience. From y^ignd^ Prize Winners J} FREDERICK G. KOEHLER, Director for October ^ Complete musical education. Preparatory California Dormitories department for children. Teachers' training Puzzle: courses leading to diplomas and degrees Catalogue Session on request Special Summer 1025 Chestnut St.. Philadelphia, l'a. Class A, Eileen Durham (Age 15), Other Prize Winners for Iowa. October Essay: Jl'ILLIARD SCHOOL OF MUSIC Class B, Eleyce Gibson (Age 14), Lorraine Boss (Age 15), Texas. Class A, ERNEST HUTCHESON, President risconsin. Class C, Sandra Schaal (Age 10), B, Rita Keating (Age 12), Florida. Class ew Hampshire. INSTITUTE OF MUSICAL ART Honorable Mention October GEORGE A. WEDGE, Dean for lonorable Mention for October Puzzle: instrumental instruction. Essays : Individual vocal and Nora Feterrolf, Janet Mackenzie. Iris Nes- Hunsberger. Lillian DuBose. Maw composition and music education. iDith, Frances Moncrief. Miller, Donald Instruction in theory, Beverly Joan Claffey. Florence Menard. Miriam E. den Tate, June Miracle, Esther Smith. Doris L. ** Moncrief. Theresa S. and S. Degrees. Roberts, Draper. Frances Diplomas and the B. M. Lorraine Ross, Ann Lou Ringmeister, Mnrsden. Leroy Cummings, Laura Bender, enard Annabel le Elsa Imdorf. Nancy Whiteman, Katherine Cornish, Ella Jackson, Ethel Benny, Nesbit, uriel Cope. Catalog on request. Taylor Maguire. Marie Carwithin, Russel Moore, Eva Belle Clark, >d Trueman. Agnes Estelle Anders, Gladys Oben, Marvin Luders, Ernestine Bessie Schanrtz, Georgine Nehman. May De 'tty Chandler, 120 Claremont Avenue Room 432 New York 27, N.Y. Frances Corson, Angela Bosworth, Costa. Rene Elverson. Mary Roberts, Pearl artin. Wcscott, Constance Quinn. Iwina Brewster. MARCH WITH JANUARY, 1945 "FORWARD MUSIC 57 . “

THE COVER FOR THIS MONTH—This is- wiuespreaa attention, so it is a sue gives a special tie-up of its cover and matter of little wonder that numerous The Teacher's Round Table conducted by requests have come in for an album of Dr. Guy Maier. When Dr. Maier sent in his arrangements. This book is our re- the photographs of the two youthful sponse to these requests. piano ensemble groups, our Editor could Twenty popular hymns will be included not resist combining them as a “V-Day in this volume of Organ Transcriptions In Piano-Land” picture for use on this PUBLISHERS MOTES of Favorite Hymns. In most cases the first issue of the New Year as a front original keys have been retained, so that cover. all Lovers A Monthly Bulletin of Interest to Music they can be used as This accompaniments for New Year, more than ever, the c °r gregational singing if v fir ! desired. In ad- thought of Victory has great significance. dition to registrations for the standard Over and over again in years past, per- oigan, this book will include sonal resolutions have represented designations sol- for the Hammond Organ. emn covenants to achieve Victory in in- NUTCRACKER SUITE by P. I. Tschaikow- Pn°r to Publication, ,, a single copy of dividual lives. What could be greater, skv, Arranged for Piano Duet by William , ^anua.ru 1 94-5 this book may be ordered however, as at the special we contemplate the future M. Felton—One of the last undertakings Advance of Publication cash price of 50 peace of the civilized world, than to pre- by the late William Felton the M. was P°stpaid Delivery -. will be made pare our young folks, such as those on arranging for two performers Sj’ ADVANCE OF PUBLICATION at one light after publication. the front cover of this issue, to enjoy, piano of Tschaikowsky’s entire Nut- through early training, one of the rich- cracker Suite. PEEK OFFERS GYNT by Edv„ r H Grieg-.* est, most useful, and most practical of Mr. Felton possessed a special aptitude Slorr ,.„1, ArranSSd by the arts in their adult years to come, and for making piano duet arrangements, Fnr'tl" T°’ Ada Ricl.tc— All of the books in this list arc in tf:;a her to enjoy the s and pupils who are world of abundant oppor- and, as may be expected by those fa- acominf ^ ; preparation for publication. The ‘ he previ tunity offered them. We hope this picture his °“sly published low Advance Offer Cash Prices ap- miliar with excellent arrangements, boo'ks to tbi eneS inspires ' and with Mrs. Rlch- many parents to take immediate ply only to orders placed these new duets offer a pianistic richness , NOW. ter°f oto1 t ndmB? steps to provide piano lessons for their WOrk in “le fielci °£ Delivery ( postpaid ) will be made not possible in the piano solo arrange- edurafio f children. when the books are published. ments, yet, at the same time, they have 6 menti°n ° f “Thar^aw^ooTLw Dook These pictures were secured by Dr. Guy Paragraphs describing each pub- been kept within the reach of the aver- tmn ~ ls m prepara- SU fflCe - lication appear on these pages. MrS ' Maier from the Demonstration School of player. of Bertas in- age good Some the selectibns eludedd ill t h original Peer the George Peabody College for Teachers, might be ranked as in about the fourth odi« nr Gynt mel- In rid ’ Nashville, Tennessee. They are the pupils The Child Handel—Childhood Days of grade, others a trifle more difficult, but In the ° s Lament, Famous Composers for Piano Pupils hdM of Miss Rose McGregor and Miss Mar- in no case have the technical demands ^ntain King. Sol- Coif and Bampton vein’s Sona °J f Death guerite ’ Arabian Dance. Meiers. The original photograph Choral Preludes for the Organ. Bach-Kraft. gone beyond grade six. Anitra’s Tin anCl Peer ’ was done by John E. Hood Photos, 12th Classic and Folk Melodies in the First Although the Nutcracker Suite has licmeEve^’ GVnt s ReUirn Position for Cello and Piano.. . Krone n0 ls at Broad, Nashville Tenn. Special art over 7° famUiar with this de- 3, Lawrence Keating's Second Junior Choir been* a favorite many years on or- U-h tul m work necessary to adapting these pic- Book chestra programs, and excellent piano tures for our front cover was executed by My Piano Book, Part Three Richter solo arrangements have been widely per- Nutcracker Miss Verna Shaffer Philadelphia. Suite— Piano Duet of Tschaikowsky-Felton formed, it has been the radio in recent Organ Transcriptions of Favorite Hymns years which has acquainted a greater SXToPt^ EASTER, SPRING RECITALS, Kohlmann number of people with the charms of the OPERETTA Peer Gynt—A Story with Music for Piano PRESENTATIONS, AND COMMENCEMENT Grieg-Richter music in this suite. Piano Pieces for Pleasure Williams ^ut also the EXERCISES CALL FOR PREPARATION All editorial work, engraving, and proof teacherteachei in adnnH^’adapting aicls Read This and Sing! Teachers the book NOW— Present conditions have a great — Manual reading have been on schedule, and when for recital Dengler bearing on the need for attention now to final details of this book are completed, Twelve Famous Songs—Arr. for Piano. .. GYNT special seasonal demands, even though Twenty Piano Duet Transcriptions of there will be hundreds of musicians de- dered af 116 UMspetoalP I Favorite Hymns Kohlmann sure of a copy Adv C Ca- they may be months ahead. Please review lighted that they made at tioncashprice o The World's Great Waltzes King ( l0 t^ all music needs as soon as possible, so the special Advance of Publication cash p“^r that required music may be ordered price of $1.00, postpaid. This offer still is wish to order a single T'‘ enough in advance to keep possible war- odies with well chosen devotional tex-ts. open to any who by Adi rC,'~A Met,wd cias time delays from being a determent to While designed especially for junior copy at this bargain price, delivery to be “s °r ! " div‘dual In- struction—This boot the successful handling of any occasion, choirs, much of interest will be found in made when published. “ response t0 tI,e numerous requests this collection to choirs of treble voices lved for ' whether it be a special Easter Service, tinuatton ol a con and volunteer organizations temporarily TWELVE FAMOUS SONGS Arranged for V/ViB ohters^?f. pupils’ recital, an operetta presentation, successful method I wonderfully special com- deprived of the services of tenors and Piano—As this anxiously awaited book is PHNO a Mother’s Day program, first Book ' the two Mrts of of prepared, we have many inquiries «b- mencement program, or some other oc- basses because present-day conditions. being now, and which avaUab c included, civiiver tllethe ! casion where music is needed. The Advance of Publication cash price, as to just what songs are to be one. work of grade for single copies only, of this book is 25 and are pleased to give such information ORGAN, by cents postpaid. as is available at this time. Barring un- CHORAL PRELUDES FOR THE 6 ' S tended introduce' ' difficulties, book will include thfi Johann Sebastian Bach, Compiled, Revised, foreseen the two tudenh'™t grade work, and has u to and Edited by Edwin Arthur Kraft—To the THE CHILD IIANDEL (Childhood Days of Mighty Lak’ a Rose by Nevin; The Green painstakingly Geen Prepared as a-? it* , is supreme. Every am- Famous Composers) by Lottie Ellsworth Coil Cathedral by Hahn; MacFadyen’s Cradle Pl ecessors " organist Bach tant ' Im r features wilibP !? P° bitious student of the instrument must and Ruth Bampton—The Child Handel, Song; Recessional by deKoven; Cesar ihg interest " Pieces, study woi master his works if he hopes to obtain the fourth book of this entertaining and Franck’s Panis Angelicus; I’ll Take You struct as Wluch wiH in- well as Pr,f° ^ . Evidence highly educational series, is based Home Again, Kathleen by Westendorf; I tain prominence in his profession. on the tions > of certain . and adapta- of Handel. Since Steinel’s r»io CS that this is well understood is reflected early life all children Love Life by Mana-Zucca; My the book. to tbe Grade of The sub 'to l have been love stories, the teacher will have no Heart Is a Haven; Will-o’-the-Wisp by in the volume of orders that good musicianship ySK foundations for pouring in since the initial announce- problem in gaining response to the use of Spross; and Oley Speaks’ In Maytime. first h distinguish two Parts nf 'tn! the ment of this book’s forthcoming publica- The Child Handel. The beautiful illus- Some of these songs will appear in piano ried on into this "“““id. are car- that trations, suggestions for dramatizing the arrangements by the composer himself. thiro tion. The publishers are confident again emphasizes a fact which directions for Others are prepared by such arrangers as the teachers and earnest students will appre- story, and making a minia- “ h“i'’ attention to dehii ! unfailing sugges- ture stage are an inspiration to teacher Bruce Carleton, William M. Felton, and The™ ciate the scholarly editing with trated in book is lllus " an engaainB tions for fingering, pedaling and registra- and pupil alike. The music, which has Henry Levine. B anner A single copy ‘2 - arranged in easy-to-play adapta- The Advance of Publication cash price 0T" v tions provided for these choral preludes been Three, may N0 Book Part be ordered ' by Mr. Kraft. While this book is in tions, includes The Harmonious Black- is 60 cents, postpaid. nown at Advance of Publics the special for single copies may smith, Minuet in F, and Hornpipe for h preparation, orders cents, postpaid. cash Price of 35 be placed at the special Advance of Pub- piano solo, as well as a four-hand ar- ORGAN TRANSCRIPTIONS OF FAVORITE lication cash price, 50 cents postpaid. rangement of the Hallelujah Chorus. HYMNS, by Clarence Kohlmann—An inter- THE WORLD’S GREAT If you already do not have The Child esting collection for the church organist ranged, WALTZES, Ar- for Piano b KEATING’S SECOND JUNIOR Bach, The Child Mozart, and The Child will be this unique album, which will album LAWRENCE will be warmlv King—This the tremendous suc- Haydn, we suggest that you order them serve ideally for many occasions and pur- y CHOIR BOOK—After eral reasons. For deceived for sev- Choir when reserving your copy of the latest poses. nn cess of Lawrence Keating’s Junior sions when thrones^ recall occa- that a second book in this series. The special Advance Clarence Kohlmann Book, it was only natural is known every- same infectious SWayed to the to of Publication cash price of The tun*?//Xt book ’should be prepared in response Child where for his notable musical contribu- for countless c°ntains, while othm-o f*. directors. Handel is 20 cents, postpaid, for single every the insistent demands of choir a tions summer to the services at the lightful era reflect a de- now hi if ? the same pat- copy only, while the list price on the famed Auditorium in a This new book will follow Ocean Grove, New Stanford King- mem°ry. j n original composi- three books already published is 35 cents Jersey. His adaptations tern as its predecessor— of the hymns, as bum, has chosen COmpiling this al- per copy. th P tions and arrangements of familiar mel- sung at these great meetings, have at- waltzes for cream of favorite incline?0n > and has edited 58 Al'VBRHsr the etudb I '

them with thought for the average pi- This book’s contents will not duplicate anist. The full flavor of this Infectious any of the numbers in the solo volumes. music has been retained, however, and However, the numbers in the collection the happy result is a collection, about are equally well known and established grade three in difficulty, which will ap- favorites. Among the hymns listed are: peal to musicians and non-musicians Abide With Me; Work, for the Night is alike. Among the fifteen beautiful waltzes Coming; Nearer, My God, to Thee; Rock included are: The Beautiful Blue Danube, of Ages; O Perfect Love; When Morning Tales from the Vienna Woods, and The Gilds the Skies; and fourteen others. Emperor, by Johann Strauss; The Kiss, Besides being used for recreational duet by Arditi; Over the Waves, by Rosas; playing, they can be used as accom- Danube Waves, by Ivanovici; Gold and paniments for group singing, since ap- Silver, by Lehar; Estudiantina, and The propriate keys for congregational sing- The arrangements Skaters, by Emil Waldteufel. ing, have been used. e THIRTY RHYTHMIC PANTOMIMES 7.25 of medium difficulty. While this collection is in preparation, are For Home, Kindergarten and Pre-Plano Classes a single ordered now at the Those who want a first copy from the copy may be By Alice C. D. Riley, Jessie L. Gaynor, and Dorothy Gaynor Blake cash price press should place an order now for a special Advance of Publication From the celebrated Songs oj the Child World volumes Dorothy Gaynor Blake has selected of Publica- of 40 cents, postpaid. The sale, however, single copy at the Advance tor this book thirty most attractive songs. Accompanying each are clever "match-stick” draw- price of cents, postpaid. Due ings which shows the rhythmic action tor young people. Besides the rhythmic consciousness is limited United States and its tion cash 60 to the developed, the child thus is given early training in music appreciation and group activity work. restrictions, orders can be possessions. to copyright Mothers, too, can use these rhythmic pantomimes and songs with pre-school children in the accepted only for delivery in the United home. Suggestions for use of the rhythmics with other songs in the original volumes also are given. Complete texts, of course. PIANO PIECES FOR PLEASURE, Compiled States and its possessions. and Arranged by John M. Williams—This 0 SONGS OF THE CHILD WORLD 13 Vo Is. Each, 1.25 AND FOLK MELODIES, In the announcement is of special interest, for CLASSIC By Alice C. D. Riley and Jessie L. Gaynor Position, For Cello and Piano, by Charles it concerns an attractive new compilation First The most popular collections of children’s songs published. For years these have been used in from Williams, the Krane—Modern trends in music educa- the home, in the kindergarten, in primary classes in public and private schools, and in juve- the studio of John M. nile clubs and societies. The songs are classified for various seasons occasions, for various especially in the field of instrumen- and earlier announcements of which have tion, activities in the life of a child. They are educational, recreational, yes. and even devotional, stress the thorough develop- as several sacred songs for Sunday school groups arc included. created widespread interest. tal music, musicality. However, little of As the Pieces for ment of title indicates, Piano O A METHOD FOR I For Liftle Children! 1.00 material is available in the THE PIANO Pleasure has been prepared strictly for this type of Consequently, teach- By Jessie L. Gaynor recreational Established favor- field of Violoncello. purposes. Published late in Mrs. Gaynor’s career this book really is a transcription to the printed page ers of cello will welcome this book, the ites, newly arranged, fingered, and ed- of her successful plan of teaching by which little children quickly comprehend the beginnings of which is an instructor at the •of piano playing. Includes interesting pieces and teacher and pupil duets. ited, will make up the book, and an author Juilliard School of Music, New York, and extensive range of musical thought will ® FJRS7 PEDAL STUDIES of cello at Teachers College, FOR THE PIANO 60 be reflected. contents will a teacher Among the By Jessie L. Gaynor Columbia University. be Morrison’s Meditation; Schumann’s This the numbers included are: Air is probably the most frequently used of Mrs. Gaynor’s educational works for very young Traumerei; Schubert’s Rosamunde Air Among piano students. It gives the juvenile the fundamental work in pedal technic which must pre- de la Lune, French pare for the further as in an and Fantasie Im- by Bach; Au Clair study an advanced student and does so understandable manner, By the Sea; Chopin’s interesting to the pupil. This book may in the second grade. tune; November, a Bohemian folk be taken up promptu; such familiar airs as The Ma- folk Brahms' Lullaby, and folk songs of rines' Hymn and The Swallows; and the song; o SONGS OF MODERN CHILD LIFE 1.00 and Russian sources. There is hymn times; Me; Lead, Kind- Dutch By Jessie L. Gaynor and Dorothy Gaynor Blake Abide with variety melodic and rhythmic This ly Light; Holy, Holy, Holy, All Hail the much book, the last work of Mrs. Gaynor, has groups of juvenile songs devoted to health, and each number safety, science and invention, the relationship. Power several among the contents, home and community These were suggested of Jesus’ Name, and by the Council of Public Safety and been carefully edited in regard to the Child Health Organization of America. Christmas carols. has bowing, tempo marks, and Until Piano Pieces for Pleasure is fingering, ® SONGS AND SHADOW PICTURES for the Child World. .75 indications. This is a volume ready for publication, a single copy may dynamic By Jessie L. Gaynor the needs of teachers which will meet little be ordered at the special Advance of A art-music book of songs for children. The verses were contributed by Rachel Barton constantly are searching for easy Butler and the shadow picture illustrations are in free-hand paper cutting by Publication cash cents, post- who Sqsanno Fenimore price of 60 of excellent Tyndale. Makes a most delightful gift book for youngsters. paid. teaching material, yet music quality. . ® FINGER PLAYS I Elemental Hand and Finger Exercises I . .60 Those wishing to become acquainted READ THIS AND SING! (Teacher's Manual) By Jessie L. Gaynor collection may do so by by with the new A half dozen games, with interesting and descriptive verses and charming Clyde R. Dengler, Mus. Doc. Music edu- tunes, for use in — of Publication order teaching movements. cators placing an Advance hand position and linger Numerous illustrations accompany the have expressed great enthusiasm descriptions. the special Advance of Publication for the course of thirty-six lessons in the at price, 60 cents, postpaid. Student’s Book of Read This and Sing! cash The Teacher’s Manual enlarges upon advance of publication offer WITH. l^iano Pieces ly Jessie oC. Cjaynor these lessons and acts as a guide to the Choir directors and those hav- Cat. No. Grade Pric Cat. No. Grade best possible material. It DRAWN— Price results from the selection of music for charge the *30225 Guitar Serenade, The 2 .3 Moon Boat, Thel gives the teacher valuable clues to ing in 30191 J many organizations, are well (My Shadow ]' I'/i .30 achieving church singing 30226 Little Trombone Solo. The ..2 .3 vocal ar- 30192 1 Blacksmith. The) ... technique and tonal practical series ot , tistry acauainted with the (Tea Kettle, The| 'V2 .30 from their vocal ensembles. Theodore 30193 Light Bird, The I ... books published by the 1 This book for anthem 1 /* 30 is a manual of material series we are (Song of the Kitchen Clock]- . To this Company 30736 Princess Dances, The 3 .30 Froggies' Singing School ... class use. It procedures Presser 30194) I makes available book which has Owl, The j-- 1 '/* - 3° this month, a I which Dr. with adding 30735 Voice of the Wind 3 .30 Dengler has already used these Publisher's (Squirrel and the Honey] announced in 301901 enviable success classes of been Little Shoemaker, Thel .i< ,n 301951 Bee, The N |....| .30 in his own ’ " ' ' 2 ' u months past. As is cus- (Song of the Shearer (.Fly, The high school Notes for several J J music. The author has ob- special with this notice, the ad- * Also published {or Two Pianos, Four Hands (50c) tained this material from many recog- tomary of publication price is withdrawn nized sources. His authoritative adapta- vance MARCH OF THE WEE FOLK copies now can be obtained from tions and original material have had and music dealer, or from the publishers many years of practical use and testing. your The for examination. j . thirty-six lessons are so arranged Barnes, In -tj—p Reverent in! Anthem «, by William that they may be used as an excellent collection of this favorite composer's course of study for chorus work or voice is a anthems, especially suitable for classes. excellent selections volunteer choir use. Among, the The Advance of Publication cash price, some time-tested favorites and sev- at which a single book may are copy of this especially writ- eral brand new anthems be ordered is $1.00, postpaid. - melodic ten for this book. Mi . Baines’ harmonies, TWENTY PIANO DUET TRANSCRIPTIONS gift his full and satisfying choir and congregation, and OF Kohl- appeal to Duet and Two FAVORITE IIYMNS, by Clarence of re- Also published {or Piano for Pianos, Four Hands directors appreciate the minimum miinn—The hundreds of pianists who with which his anthems can be have availed themselves with Mr. Kohl- hearsal Price, 35 cents. mann's earlier compilations, Concert presented. Transcriptions of Favorite hymns and The John Church Company More Concert Favor- PRESSER'S PICTURES OR MUSICAL Transcriptions of Theodore Presser Co., Distributors, 1712 Chestnut St., INSTRUMENTS— (with descriptions) Pr.10^ Philadelphia 7, pa ite Hymns are most eager to receive the Pa. new volume, Twenty Piano Duet Tran- THEODORE PRESSER CO. .Philadelphia), scriptions of Favorite Hymns. Advkrtjsbmknt JANUARY. 1945 )

uoiwucwii, picoauic ui ixi a.u upproaenmg Fresh Winds Will thunderstorm. But later he was afraid of Eastwind, changeable weather, foehn WHERE SHALL I GO TO STUDY? Again wind or sirocco. They made him liable to Blow all kinds of unpleasant feelings, depres- sive moods, and even asthmatic condi- tions. He observed the same weather- (New York city) (.Continued from Page 53) Private Teachers (Western) Private Teachers influence on several of his critic-col- leagues. He knew very well, and had it H. FREDERICK DAVIS MARIA CARRERAS spring with confirmed by doctors, that what he suf- Renowned Pianist who look forward to impa-

i fered Teacher of Many Successful Singers "INTERPRETATIVE AUTHORITY" tient longing are deeply disappointed be- from was “a nervous condition," All Branches of Singing Taught. Beginners Accepted — N. Y. Herald-Tribune but there was no help for Utah cause the season does not bring any- him as long Studio: 606 Templeton Bldg Salt Lake City, Teacher of successful concertising pianists. as thing for them but unpleasant physical the low barometric pressure persisted. Phone 3-0316 (or 4-5746) for appointment Accepts talented students. Write for Free Circular feel tired, Puccini 169 E. 78th St.. New York City Tel. Bu 8-0311 and mental fatigue. They out who lived at Torre del Lago, in the HAROLD HURLBUT of sorts, nervous; they complain about country, during the summer, .al- | CHARLES LAGOURGUE STUDIOS stomach ailments; they do ways returned Paris—New York—Hollywood headaches or to Milan in winter. He Developer of Singers VOICE PRODUCTION—SINGING- not sleep well. They suffer from depres- was one of those who are “the sport of (Metropolitan Opera-N.B.C.) Henry COMPLETE MUSICAL EDUCATION Nadine Conner , every change oihers sion, which is a new experience to them of atmospheric pressure.” Cordy (Tenor Chicago Opera Co.) and many Mr. Laqourque will resume his Summer Classes in of Screen. Rairi and cold Radio. Opera, Stage and CANNES, famous resort of. the FRENCH RIVIERA and just the contrary to what they had made him feel ill. In many 2150 Beachwood Drive Hollywood 28, Calif. apply to N.Y. Studios For information and registration expected from the new spring season. In of his letters he complains about the 35 West 57th St., New York City other cases a real feeling of fever may influence of the weather on his work. EVANGELINE LEHMAN, Mus. Doc. Richard be produced (“spring fever”) , culminat- Specht, his Composer and Vocal Coach MARGARET HENKE biographer, states ing in a kind of springtime ecstasy and that his physical condition Dr. Lehman has coached some of the most famous Voice Physiologist and, above singers a remarkable state of all, his work of the Paris Grand Opera. Appointment by Teacher of the "Bel-Canto Art of Singing" accompanied' by absolutely depended upon correspondence. Beginners and advanced students nervous excitability. Sometimes a strange the sunshine; when the 1 skies were over- Studio: 167 Elmhurst Ave., Highland Park 3, Overstrained, defective voices adjusted cast feeling of happiness is added to this his soul was even more clouded by Detroit, Michigan 610 Riverside Drive —New York—Edgecombe 4-2388 melancholy mixture of feeling, and it seems that the than usual. During the cold are sharp- season he LUCIA LIVERETTE intellectual creative powers accordingly retired to city, O'BRIEN EDITH SYRENE LISTER i the much as he loathed VOICE AUTHENTIC VOICE PRODUCTION ened. it, and there enjoyed 405 Carnegie Hall, New York City some relaxation from his Graduate of Samoiloff's Teacher's Course labors. Collaborator and Associate Teacher with the late W. Dependent on Weather Reasonable terms. Efficiency What can be done Warren Shaw and Endorsed by Dr. Floyd S. Muckey in cases of sensi- Phone NO 2-1030 EX 1141 manager of an industrial concern tiveness to Wednesday: Troup Music Studio, Lancaster, Pa. The weather and barometric 616 N. Los Angeles, Calif. Normandie Ave. 309 Presser Bldg., Philadelphia, Pa. three thousand workers changes? Thursday: employing some The various single symptoms pointed out that an unpleasant day re- such as dizziness, EDNA PETERSON (FRANK) (ERNESTO) headache, feeling of GUNNAR the work efficiency by ten per cent. depression in LA FORGE-BERUMEN STUDIOS duces the heart region, and so Concert Teacher Pianist—Artist Musicians who sometimes are very skill- °r h m*y be rel*eved Voice—Piano : by properly se- 229 So. Harvard Blvd. Los Angeles, Calif. ful and experienced self -observers, know nC dr those who have studied with Mr. La Forge are: miStrated drugs FE. 2597 Among 5?? ! and mecli- Marian Anderson, Lawrence Tibbett, Richard Crooks, exactly the kind of weather which dimin- «0t tbat? hs and showers are recom- and Mme. Matzenauer. , ishes their efficiency. There are innumer- mended? in other LAZAR S. SAMOILOFF MOO Park Ave., Corner 89th St., New York cases. anecdotes connected especially with Voice teacher of famous singers Tel. Atwater 9-7470 able From rudiments to professional engagements opera singers. What You Can Do Beginners accepted. Special teachers' courses RICHARD McCLANAHAN Many persons are irritable and less his Studios. St Dr. Samoiloff will teach all summer at Representative TOBIAS MATTHAY is ™portant . efficient on days when the air smoky— ^° factor is to know Write for catalogue—Special rates for the in Fundamentals Private lessons, class lessons aw influence of duration. Lecture-demonstrations for teachers not only singers who are afraid of weather on one's °™ ndltlon 610 So. Cal. City on such days, but ' Van Ness Ave., Los Angeles, 801 Steinway Bldg., New York injury to their voices ‘ » ?° "Human relation- instrumentalists as well. This is produced y ' would be more peaee- M anrt « SINIGALLIANO 16 ' " ELIZABETH SIMPSON ANTHONY the cutting off of the healthful 3 says Pr partly by A MUK T.f ° f - Clarence INSTRUCTOR eyestrain of working 16 University Author of "Basic Pianoforte Technique" rays of the sun, the an ~ of Cincinnati, VIOLIN PLAYING observer Teacher of Teachers. Coach of Young Artists. ART OF in a poor light, and the familiar depres- who believes that Pupils Prepared for Concert Work. Class Courses Chamber Music Training "climate makes sion which many persons feel on gloomy the man," "if people in Normal . Technique. Pianistic Interpretation, Preparation for Concerts and Recitals wt^t „ , reabz Methods tor Plans Teachers. days. Those with epileptic conditions are the effect weather 182 North 19th St., East Orange, New Jersey on then" T. f of St., vicinity weather. ^positions 609 Sutter San Francisco; New York and by appointment. extremely sensitive to changes of ,, and make proper 2833 Webster St., Berkeley, Cal. Statistics show a direct connection be- EDWARD E. TREUMANN the frequency of DR. FRANCIS L. YORK tween cloudy skies and Concert Pianist Artist-Teacher barometer evening^ Advance Piano Interpretation and the Theory work — epileptic attacks. People are more forget- “hen^'we anlvld Recommended by Emil Von Sauer, Moritz Moszkowski required for the degrees of Mus. Bach., and Mus. be seen 3 Josef Hofmann. ful on low-pressure days, as may fVOm a .<,.f °ught on by “On the contrary,” the critic says, "the S1°ns ‘ ^ba t I PIECES of looks like in- roxt ll WGK 2 NWANTED guest-star was excellent, but I am simply tolerably bad te for one wanted. Give first, InPer sheet music 01 oversensitivity of second and third choice. Burpee's Spe- too tired, I have such an abominable a hypernervniiR CLASSIFIED ADS th - cial tv Shoppe, Delton, Mich. can’t write any more.” may be n° headache, I aTCofo?P t of « too much soot in the January 1945 The next morning the manager of the sky. AGE A X D lT SE will never correct a opera house asks his secretary: “Did you We know SAI.K: ST KIN WAY CONCKitT the effects , . l.-OIt faultily constructed violin; this is ac- of a„ south * ABS0LUTI:LV like new. sub- see that? Ten lines! What is the mat- wind on the certam ND Holstacl, complished at the workbench where Azores ' 1 - r>ISt 'Ol! NT. Joseph m ANT I A public was jubilant, the singer Whenever it blows, Minneapolis. Minn. Schwenlc artist violins are made. Have ter? The people go aroimdrt'- 7 oak Grove, corrected! Information free. Box dlZZy; yours was in superb condition, everyone was dren are eveu the chil- 7u, Richmond. Illinois. apathetic ' KASt Book one do!- enthusiastic—and such great art of sing- games. about theh SlNGlVG MADE As soon as th JSttuUos, Qbamberabuyg, Pa. 111 "' ind 6t ts l,.r EasSSn ing is dealt with in ten lines! How can again, everyone “ IN SINGING is cL”” EXPRESSION by John ' to engage erful and lively Will pay $:t.0<) for the above I dare the singer?” Those who are '"> Howard. affect da , “ mil sam^Ts'iki named book. Must be in fair condition. Karpath says that in his young days ditions by Weatlier con I' 1 should nPv cal. instrumental., -} '; High,Hitrh Published by Erhardt lvromer, N. Y. I Kept. R> 3101 that fresb List 1 0(‘. Fore’s did not feel the changes either in winds will etc . T.D. c/o ETUDE. he blow again "FORWARD MARCH WITH MUSIC 66 the etude V

Recently -Issued PIANO 'SHEET MUSIC NUMBERS EXAMINATION privileges cheerfully GRANTED TO PIANO TEACHERS FOR TEACHING USE OR RECREATION PLAYING — Grade 3Va

Cat. No. Title Composer Price

27444 Brave Heroes of Bataan . .Grey .35 V 27386 Homeward Trail Grey .35 27331 Autumn Gold Grey .35 FOR BEGINNERS — Grade 1 27337 Manikin Parade Grey .40 ' Ca/. No. Title Composer Price /WU 27396 Two Very First Pieces (With Introduction to the S' Pedal) 1 —Church Bells, FOR STUDIO, RECITAL, OR 2—Little Brown Bird . . . . Ketterer HOME PLAYING — Grade 4 27440 Yellow Buttercup Thomas Cal. No. Composer Price 27430 The North Wind Forrest Title 27454 Flag of My Country Stairs 27435 Sanctuary West .30 .50 27334 The Snow Man (With Words) . . .Stairs 27477 Patricia Carson . . .Tibbitts Miles .50 27372 Bird Asleep (With Words) . 27421 Painted Clouds 27362 Three Buccaneers (With Words) 27413 Autumn Song Federer .40 Forrest 27388 Flaming Dahlias (Valse Elegante), °t Hopkins .40 27385 Valse Pathetique Felton .35 27389 Mountain Shower Cooke .40 27383 Roses at Twilight Federer .40 FOR BEGINNERS - - Grade 1 2 27353 Lonely Dancer Federer .35 27338 Flitting Fireflies Wright .35 Composer Price Cal. No. Title 27397 March of the Trombones Richter .30

. .Forrest .25 27393 Spring is Here (With Words) .Kerr .25 27351 Little Yellow Bird (With Words) FOR STUDIO, RECITAL, OR HOME PLAYING — Grade 5 Cat. No. Title Composer Price FOR YOUNG PUPILS — Grade 2 27368 Air, From the "Water Music" (Tran- Price scribed, by Gilbert Beard) . . . .Handel .25 Cat. No. Title Composer 27365 El Torero (The Bull Fighter) . . .Vallejo .30 Richter .30 27431 On a Picnic 27366 La Pavonada (The Turkey Strut) .Vallejo .35 .30 27411 The Little Defenders (March) . Hopson 27364 Paso Arrogante (With Regal Air), Ramsey .25 27424 Squirrel in the Treetop Vallejo .35 27419 Graceful Stepper Thomas .25 27367 Tango Cubano (Cuban Tango) . .Vallejo .30 the Pool .Tibbitts .25 27408 Wood Creatures at 27437 Viennese Echoes King .35 Wheels Tibbitts .25 27401 Turning 27313 Dance Erotique Beghon .40 27409 Little Toy Soldier Ketterer .30 27377 The Court Jester Brown .25 27402 Drowsy Land Ketterer .35 27392 Drifting Clouds Ramsey .25 u* 3/yl TANGO CUBANO By Francisco Vallejo 27407 Santa on His Way Thomas .25 Catalog No. 27367 Grade 5 Price, 30 cents .30 27357 My Little Boat (With Words) . .Richter 27361 Gretchen Dances Stevens .30

FOR YOUNG PUPILS — Grade 2Va

Cat. No. Title Composer Price 27412 The Parrot and the Penguin Adler .35 27390 Coast Guard Patrol Hopson .35 27391 The Laughing Brook Ogle .30 Hughes .35 27376 In the Garden 27379 Hurricane Richter .35 27378 To a Dwarf Scher .40 Parade of the Tiddle-dy-Winks. Stevens .35 ELEGY By Josef Hofmann 27381 j King .35 27371 Youth of America (March) Catalog No. 27422 Grade 6 Price, 30 cents 27352 Forward, March!. Thomas .35

FOR PROGRESSING PUPILS OR PLAYERS OF LIMITED ABILITY—Grade 3

Cat. No. Title Composer Price 27425 Dainty Ballet Dancer (Valse Caprice), T ?3p P - Ketterer .35 27410 Happy Valley Lloyd .35 27398 Moonlight Silhouette (Adapted WIF' from Themes in Brahms' 2nd Symphony) Ro 'fe 27400 Meadow Frolic Scher .35 Moon (Reverie) 27399 Lady La*® 'ok 27369 Spring Morning Martin .35 27370 On a Spanish Balcony .Brown 27336 Eighteen Etudiettes on Chopsticks, THEODORE PRESSER CO. Maier .50 MUSIC PUBLISHERS AND DEALERS

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