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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
10-1-1953 Volume 71, Number 10 (October 1953) Guy McCoy
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Recommended Citation McCoy, Guy. "Volume 71, Number 10 (October 1953)." , (1953). https://digitalcommons.gardner-webb.edu/etude/113
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. OCTOBER 1953 40 CENTS $3.50 A YEAR the music magazine
An American Way of Life in Art Llluritz Melchior
A Century of Tradition Rose Heylbut
Revival at the Opera Mllurice Dumesni/
The Piano Triumphs Jllmes Frllncis Cooke
Pioneer Piano Teacher in America Doron K. Antrim
Are You Doing the Joh? Willillm D. Revelli Grado 31/2 110,4D274 ARPEGGIO ETUDE Jr"'!If (ldealar/W If;Q ,ud. unJ hi er IAtu. U rUI I.- 130-41128 CLOWIll • littl {Recital, R dial, lO«dto~L J MItl~""ttr--' 2j Good lor dr' ,.Iopill ltd I nUll, tD mu.i. OIlU11t4 in L,lI') 130-41134 PUNCHINEllO ••• .llfle 31 (ExcrU,.nl ,«;tal piN". tlotl"., t'CMlftltPO,.-",id.J II0-40249 SPIIJl6 m~ . . . l ~ JI {Reeital, LIlUSIlDI IOtIllr sJudy In Itlunlt~ RtlftJIIUCftllofRa!l barmonieoll • ~/ild COllI mpo,..,., U1J .. ) 130-41126 IPRING IOJl6 n 31 (Rniuzl. t'IIUJutd piN' u/u It. u. '''~ lin';" ql41i11h-14t PIANO piano. MoJ~rtlt,. ronl mpor ry uJ,'tJlft) 110-40261 Sf.u OJ Wll . •• . lQoloj f-'I Jl Grade 1 (I< ilal. Adult bin" n. U'/4(/y u,IUI ..-it.LJI.tr 110-40251 DINNERPARTY .. . __frances M_ light $.35 OIU) (Words, Sluay in legato phrasing and detached notes [non- Grlbde 4 legato ]) 130-41129 HOllon IN HOLUND 110-40244 fLYING AN AIRPLANE_...... Babbs Travis .35 (Vny f"Qt'Clit t. '!I.,ttl..,. ,,,, I (Study in phrasing and legato, ALternate hands) mtlOfUc 1l01I. R u.,/)
Grade 11(,. Grad • .5 110-40252 BICYCLERACE __Bobbs Tra,is .35 130,41130 ROMINIUtTE ,. 7j (Study in finger dexterity for both hands) (Fi,,.pi ,. ,rp"1") 8 lit f r 111111 tlul ... ,mJI 110-40270 ClRCUIBAND . _... _. _. . _Louise E. 5tairs .35 (Melody in alternate hands, Should appeal to l)oy.~) VOCAL 110-40272 fOLLOWTHHEADER. __.Cleo Allen Hibbs _35 111·40046 IIIlWEl£D ~tlm IWrI ... 1I f (Preparatory studv for playing contrapuntal music) f\IH/ium. ~"I. ftJl' I I • Itl I Iii' un II, (Auld,,. • J• rilfJl.t. I (ICtI1"u(ll'n". ,Ulln ,uulJ ., 110-40271 TO A DAilY. __.... __ ___ .. Wiliiam Scber _35 ._..... tt /1 •• .' . (Melodic study in legato for both hands) -" ..: CHORAL ",,, ",'" -# ~.~, ~ 110-40253 TUGOf WAR_ ____ .. .. . Mae-Aileen Erb .35 SATB • • • (Good rhythmic study piece in 6/8 time) , 322·40030 IHlllTMI.l LULUII lI... lopif .II - • Grade 2 ', (\f f"(Ii"mo(/.g;cu/, """) . -- •.•,, 110-40247 JOLLYJUGGLER. _... __Jean Reynoid, Davis 322·4D018 - ".. CHIISTMI.l MOU Ill... _II .35 • (Recital, Jaunty piece with good melodic ideas, Excellent study (a c(tJ)J}~/I(I. "tXI "ttl d'/Ji('IIIJ). III" t.lllt d0t4 ."d/allt«- •• in staccato and non legato touch) IjonJ. Wilt',. trjO~ (°""'1'111114/. 1-:' ,u J '.• . 110-40273 "LEI'l PLAY LEAPfROG" _ . __ __ Hubert Tillery .35 322-40D3t fOR IHII GOOO (OM~U" """ .11 (Tuneful, little scherzo with melody in alternate hands) (Piano 01' Or,JJJ' 41 , "d) nttHI 'I'..F""1. r.lttti('t. c.u 110-40256 ONA HOBBYHORlE. . __ . Eiizabeth E_Rogers .35 bt' "NJlor h(ln/u ",n ) (Charming, characteristic study in 6/8, Leans toward con- 322·4DD15 GLORYLIND • .11 llo!!ol .II temporary idiom) (a COlif 110. " d',~m d'l/in,1t • r.IKW ,. /It ill 'UfO JIiril. 110-40278 ROUNDELAY- -- . __ .. __ . Gladys BI.kely Busb _35 "oJ , I ) (Lively, tuneful dance, Recital piece for early grade) 312-40f52 IN THE MIOn OF EIl!HlY liFE (,0 ~!tJf",.I6 110-40279 YlllONS Of ILEEP_ -- ...... ___ _.... Geibel-Richter .35 (Eo • Pr(I('l;col ttI'llon lor Mod "" u•• -4uff,tII1i( cM.J (Words, Original piece on which ten popular versions of mU.$ic 0/ 1611. lind Jill. C fIluFl .,J "Sleep" is based) 312-40156 LUillBY 10 THE INfl1ll JESUS J.11. .II 110-40276 S1EEPLECNASE - __ __ _G_AI" Kevan .35 ( OprOno solo. Piotto ,. Of J'lIICC.. 'Ipm~ fAsr 10 1JIldid, (Characteristic piece combining arpeggio and chord study) Quiet. eDK,il".) Grade 2% 322-40D34 PEll TE (0 NCfJ TIllIE C"ellUllrMt .18 110-40248 APRIL MOOD -- __ _ __Stanford King (Pian{) .10/0 fdlh Mi.xtd rhoTm. (fUnu.1 u.st 0/ p;.1tII anJ ~f(~~~;ua .35 (Study in thirds, Waltz, Melodic) chorlU. The lour,.. Otl OJ! orch~.$JraJ tnKmble. piMOa JDloi. 110-40275 CORNHUlKIN' -- __ _ _Margery McHale stmmem. E pecioll ~ood lor KlIooJ.s) WHEN YOU'VE CHOSEN THE BEST? .35 (Barn dance style, Opportunity for study of syncopated figure) 312-40149 ROC~·A MY IOUL. , • _.. aoo4on 6oIlcIoI 11 f I 0-40269 DOLL!' TEAPARTY...... Anne Robinson (u cappella. fa ',Rht.hmic. 10,1411choradu. NwospiriJuJ) .35 (Staccato, Dance-like in character) 322-40027 TREAD DEM TllOUBlEl ODIU •. _. Georl'l,.. 10 "Ah , _, you hove a Mason & Hamlin" _, _there's a touch of reverence in the remark-and a _ _ 110-40254 FROLICKINGFAUNS_ ' _ _Alberf De Vito fa cappella. 'Tedium dil/icldt • "'epa piritU4lJ fine compliment to your discriminating judgment. In your studiO, in your home, thiS finest of (Recital, Melodic piece in light style) .35 312-40150 WUE. IWUE. fOR THE NI6HT II RYIII6 • __., ,II,", ""''''"' .II 110-40255 GRAYMOONLIGHT_... __ . (Easy, IJractjeo/ edilion lor modern usto, AUlhentic chand pianofortes is forever a source of deep satisfaction. __to the eye, to tbe ear, to the touch. . _ .35 (Nostalgic mood, Reci;~l: Ait~~~~~i~~ 'h~~d;~1~~'~;;:~O~dKing mU.$i~0/161h and 17,h C't!nwr;u) Its pleasures come high _, _but its ageless styling and unmatched stamina guarantee full sattsfactlOn 110-40257 MIDNIGHTRIDERI.... _ r 312-40151 WILL OF 600 II ALWIYS ,En. ' "I"" ...... IS far longer and make the Mason & Hamlin a sound investment for student, teacher and institution_ (Excellent study in' ~~i~k ~~~~~~t~'~~d~~l' WIIllaHm Scher .35 or COntrasts ighly (EfUY, A practical t'dilion for moJun UM'•• -4uthenlic dlo"! recommen d ed for recital) , mu.sic of 16th and lith C'f'.nltu;l!$) Grade 3 SSA 1he 'World's 'Jinest and Costliest Piano 110-40259 MEMORYOF MAYIIME 322-40029 ANGEU' LULUBY Loi' N_foil .Il (Sww waltz, Crossi~~'~; h~~d;,'R~~it~ij Frank Grey .35 (ChriJlmQ.!. diffi~l.l • Cood l'~l~e~~~~)" 110-40277 M~i(~~ PEARlSOf THE NIGHT 322-40032 NOCTURNE______.. __ __. Heny C.rel Mastrol.. .16 (Waltz, Tropical a~~~;~h~~~j StanfordKing .35 DIVISION or: AEOLIAN AMERICAN CORPORATION (Piano ace .• EO$Y, en.limettt-aL. wI4ble for &COmen'j clwruJts. 130-41 f27 PUPPY'I TALE.... _... East Roches,ter, N. Y. girls' glee clubs. elC.) iIl[u50n & 'Hamlin (Recital, Rapid alt~;~~;i~~ 'fi~~~~;'Ch . MargalrefWigham .35 d h - d' , romauc stye, A few as Ing Msonances to illustrate Point) 130-41133 SILYERlNADOWI ¥ * (Recital, Mel~d~ 'i~'i..:ii.: N~;t~l~i~ ~h~~~~~~;;..'.HubertTillery .40 THEODORE PRESSER CO. Bryn Mawr, Pennsylvania ETUDE-OCTOBER 1953 1 1 _ ~lJ
.nnga:inc ~--:t BOSTON UNIVERSITY 'IlUSlC THE COMPOSER OF THE MONTH ETUDE ti,e . :4.-- College of Music Editorial and Business Offices, Bryn Mawr, Pa. OHANN STRAUSS, JR .• the "Waltz Kin17," is the October composer of the All Branches of Music Jmonth. The younger Strauss was born in and Musfc Education The churc~ Vienna October 25, 1825, and died there Robert A. Choate, Dean Feunded 1883 by THEODORE PRESSER James Francis Cooke. Editor Emeritus on June 3, 1899. In spite of jealousy on the (Editor. 1907·19491 they know part of his father, he was able, with the Courses leading to the de,grees B. Guy McCoy, Managing Editor aid of his mother, to secure instruction on Mus.; M.M.:'M.M. Ed. In conjunction Marjorie E. Mosher, Business 111.anager - the violin and also harmony lessons. In with the Graduate School-M.A.; George Rochberg, Music Editor is where 1844, declaring his freedom from all paren- tal control, he appeared as conductor of Ph.D. In conjunction with the School Harold Berkley Maurice Dumesnil Paul N. EJbin Karl \ . Gehrken$ his own orchestra with instantaneous sue- of Educotion-M.Ed.; Ed.D. Elizabeth A. Gest Guy Maier Alexander McCurdy William D. Re:u:JIi they'll Nicolas Slonimsky cess. In 1849, following the death of his Year-round Proiects and Workshops include- father, the orchestras of father .and son Workshop in Music Educ:ation go ... were combined for a tour through Austria, Poland and Germany. Opera Worbhop From 1855 to 1865 he conducted summer concerts in 51. Peters- Pianists Workshop burg. From 1863-1370 he was conductor of the court balls. He Vol. 71 No. 10 CONTENTS October /953 Eminent Faculty of Artists, Com. then relinquished this position to his brother in order to have more time for composition, turning his attention especially to posers, Scholars and Educators FEATURES composing operettas, In 1872 we find him in the .United States Moster Closses under such leaders 01- AN Al\IERICAN WAY OF LIFE IN ART •••••••• 0 ••••••••• lAl,lrll. MI-,I"I;/t;,f II where he directed a series of monster concerts-14 10 Boston and Arthur Fiedler Paul Ulanowsky REVIVAL AT THE OPERA ••••••••••••••••••••••••• Mourlt'"fJ OJ;r;.~tltl ) ... 4 in New York. He wrote almost 500 pieces of dance-music: of A CENTURY OF THADITION •••••••.••••.•••.•...... nQU'l fJ"ylbUf U these the waltzes, On the Beautiful Blue Danube, Roses From the For information. coto/ogue, illustrated THE PIANO TRIUMPHS ...... ••••••••••••••.•.••. Jam". Frnn(i. ClHJk. IS South, Wine, Women and Song, The Artist's Life, and Tales [roni folder, write KOREA CONCERTO .•••••••••••••••• Robert M. Elkin. &- en", e. lentil,..,. 16 "Carillonic Bells" beckon MUST YOU SING? (PART 2) .•.•••••••••••••.•••••.••.. Tudor Wittl"m. 11 the Vienna Woods are perhaps the best known. His finest operetta DONALD L OLIVER WHAT CAN TECHNICAL INSTUUCTION ACHIEVE? (I)ART 2' people all week long- is "Die Fledernmus" His waltzes have a lilt and charm all their JU"rtJ.tt f,."mttrk 20 own, and they continue to appear frequently on the programs of Director of Admissions PIONEER PIANO TEACHEU IN Al\JEIUCA , , . , , ., •.. , •. .Ooro,t N. Ailtrl", 26 _kin ,he hurd! I bon Each artist has his own reason 'or choosing 1OUn:'C of plnI\Ql lire iD the o:m- major symphony orchestras. Baldwin as the piano which most nearly approaches The Artist's Life waltz is included in this month's music section BOSTON UNIVERSITY DEPARTItIENTS munny. Thty 1Ctua/ly pr1lIIIDO the ever-elusive goal of perfection. As Room 115 church 1ITO"1h.The tONI ball!l01 on Page 32. COMPOSER OF THE .MONTH new names appear on the musical horizon, an 705 COMMONWEALTH AVENUE· l\IUSICAL ODDITIES • , , • , • , , , , ..•• , . • . . . , , , , , . . . S •. rdloo Bcll"· """"i Once he was found sittmg at a concerto as a musical form. Vin- PIANO TEACHERS table in a sidewalk cafe in Vienna, cent d'lndy, entering the fray, de- THREE COMPLETE WORKS YOUR AUTUMN his posture betraying profound clared: "There is no doubt that STUDENTS distress. "What is the matter?" the Concerto as a musical form, BY 3 OF AMERICA'S GREATEST COMPOSERS inquired a friend. "I have written serving the purpose of virtuoso 00 ~Lta display, is a degenerate offspring ALL YOURS for only $1 and All Music Louers! a waltz in C major, and acciden- tally got into G major," replied of the noble Italian Concerto that Koschat, "and I cannot find my was raised to such a high degree Roy HARRIS MICHAEL AARON way back." by Bach." And Paul Dukas said: "The Concerto is inferior to a SYMPHONY NO. 3 symphonic form as it serves the The first recording on long-playing MICHAEL AARON PIANO PRIMER .60 ~lark Twain attended a per- .records of this powerful. dramatic MICHAEL AARON PIANO COURSE formance of a V\:Tagneropera in the sole purpose of glorifying the vir- score! ".•• the first truly great orches- tral work to be produced in America," Grades' -2·3·4·5 ••••. each 1.25 1D80'5- and rendered this verdict: tuoso and not the music." Serge Koussevitsky .." •.. eloquent .•• MICHAEL AARON ADULT PIANO COURSE By NICOLAS LONIMSKY greatly excited me," Leonard Bernstein. -'1 have listened very attentively, "..• as representatlve of our times as Baoks '·2 ••••••.•••. each 1.2S and I have come to the conclusion are the best works of Shostakovlch and • Prokofieff," O. Thompson. MICHAEL AARON PIANO TECHNIC that Wagner's music is not nearly Books '·2 ••••••• • • . • each .75 as bad as it sounds." HE IMMORTAL MELBA had MICHAEL AARON DUET BOOK ••• 1.00 IKISCH conducted R ger's Til r aml F liro' Ilarrh T her share of human frailties. Roger H. SESSIONS did nOI .ontribut 10 lI'agner', Deems Toylor tells that when, She could not sing unless she had .... GUY MAIER N Sin lon ietta. After the COil crt THE BLACK MASKERS he asked Professor Pfohl wh wa Iame. II had. f ~ perfonna"", at the early dawn of his career, a sip of soda water after each First recording on long-play! This ex- group, and she could drink only pressionistic suite, dedicated to Ernest NEWt-YOUR L1SZT BOOK present, "Did you understand the b) Amer i on or h tra-, and•• he submitted a popular song to a Bloch, consists of 4 movem.ents: Broadway publisher, it was reo one brand, ApoUinaris. After the Dance; Scena,' Dirge: l"inale. Sessions' A new collection of 10 selected Un:t masterpieces music?" "rrankly, n ," r pli d th n helv d. Loui . £1 'Io101e end of a concert in Buffalo, she music 15 "... tremendously vigorous stressing his lyrical compositions and transcriptions Pfohl. Nikisch sighed. "You or o idul 1I I ~ h n the &.10' S,,,. j ected because "the words are in and moves forward with a. relentless and offering the student the widest variety of study the key of C, and the music in the found the bottle empty. She called drive. Probably closest In 'Intent to the pieces, ••••••••••••••••••••••••••.• $1.50 the second musician wh uld n t ph n)' r h Ira pll"lilinI895: music of Beethoven," MarkA. SchubllTt. understand it," he said. ol\, ho is "~ a n r did not ~ rile thi- Cen. key of F." Since then, Taylor de- for her local manager, Louis Gay. cided to write "unpopular songs." At this monument, a reporter eager YOUR BACH BOOK ••••.•••.. 1.50 the other?" in [ui r d Pfohl. "1 t nnial ~I.r h from pttitlinle'. to meet his deadline, entered the YOUR CH~PIN BOOK •••••••• 1.00 am," said Nikisch. c~t in our achic\t:menl Clf iode· THINKING FINGERS (written penden e. bill Irem a Itn dttidol • green room and asked her what she was going to sing for an en- with Herbert Bradshaw .•••• 1.00 When the Centennial Exhibl- ncr tion for '",000, bichsum IT'S EASY TO READ ow MUSICAL fashions core. "Louis Gay! Apollinaris!" (written lion of Philadelphia was laun h d \V til prim in enthrinlbtmal· with Memo Beyers) .•...••• change! There was a time, Melba repeated distractedly. The in 1876, the energetic Worn n' t r, I] h for Ihe lh"", 01 H not so long ago, when audiences next morning, the review con- YOUR MOZART BOOK Centennial Orge niznti n had u in. piratie» nOI U' ..hington. not objected to the inclusion of solo tained this concluding line: "For fovorite Mozart compositions, fingering· exercises ond,--:.,.Iii~.:;":~.L. grand idea: to commi i fI a in oln. bUI the l)reU~\mtricaD We are happy to send you this record to introduce our recordings the author's suggestions for faithful interpretations of concertos in symphony programs an encore, the great Melba gave Illarch to Wagn r. Theod r girl. . 0 on'Cquencc, lhe$5,001 of "200Years of Amerlcan Music" ... a program Inaugurated by Mozart .....•• , •••.••.••••••• , •.• , . • • . • . •• 1.50 as being beneath the dignity of a a splendid rendition of her favor- a grant from the ALICEM, DITSON FUND OF COLUMBIAUNIV. Thomas, the condu lor r th Spe· Mar h h abolll Ihe 1Il<. "'" MOZART PIANO RECITAL ON RECORDS! serious concert. The opposition was ite song, Apollinaris, by Louis cial festival concert. \\ r Ie lag· a. 0 1.000 prite !>caut\ h" ,I' Guy Meier's dram otic recorded performance, an two Two '0" particularly strong in France. Gay." INCE THE LAST WAR a great musical HOW THE SOCIETY OPERATES 10" long ploying discs, of the fovorite Mozart selectians ncr, and in due time r civcd n ir u : th r i an inter Iof curio Long Playjng When Hans \'on BlBow appeared as Cyril Scott tells this story ahout S awakening has electrified the music- Your purchase of the superb long Play. cantained in his own piano lext - "YOUR MOZART favorable reply. WacYncr n k d nn ,ill', bUI pr iou lillie-fort" loving world _ a sudden realization that ing record offered above for only .~1.00 BOOK" ... ", ••• , ••••..•...... eoch recard 3.95 Records! piano soloist' with the Pasdeloup Sir Thomas Beecham. One day, the foremost music being written today does not obligate you to buy any addltlonal honorarium of five thou and 101· is American music _ and that American records from the Society-ever! However. Orchestra in the 1880's, someone Beecham rehearsed a Beethoven . . bl we will be happy to extend to you the cour- lars, and countered all p sibl b • Symphony, and became so en- composers have een writing enJoya e (esy of an Associate I-Iembership. Each MARVIN KAHN objections by pointing out th t shouted: "Enlevez Ie billiard!"- melodies. important music for the past month. as an A~sociate Member. you will Take away Ihe billiard table! grossed in his own thoughts, that 200 years! be offered an American Recording Society "Signor Verdi received from hi LO "\ TJ \I . public per. And now an outstanding musical organ· recording by a famous American composer. BEGINNER'S GUIDETO POPULAR PIANO PLAYING. 1.2S A particularly violent demon· the orchestra got out of hand. He ization has cmbarked on a program of at the specl3l Gub pnce. If you do not WIsh publishers half a million franc J r r , " re I.rgoly infor· creating high fidelity recordings of 200 to purchase any particular record. you need BREAKS, FILLERS, ENDINGS & INTRODUCTIONS stration occurred in March 1904, stopped abruptly and exclaimed: years of American music! Every fo.rm of merely return the spcClal form prOVided fat his Requiem." The money wa mal h n Jlw ..ician.swould musical expression is in..:uded in thiS pro- thac purpose. (written with MUlrOY Arnold) ••••••••••••••••••••• 1.25 when Paderewski played a Bee· "Gentlemen, don't you know this raised, and Wag11er delivered the mak 0 fal lart, then ;lOp and gram-symphonic, choral, insuumenral and CHORD CONSTRUCTION AND HINTS FOR POPULAR thoven Concerto at the Colonne music?" "Oh yes, we do," replied chamber. works. fo.lk-music. theatre music .. ~ FRfE RECORDSOFFERED manuscript of hi "'Crand Festi· tr' ogain. \1 the Per·· Opera. _ .. musIC of Amenca at work and at play; ~. t'Vith each twO records pur. PIANO PLAYING •.•....•.....•••.•••.••• 1.25 Concerts in Paris. After the end one of the players, with a mean- music of America growing, laughing ..• ~ .. -. ! chased at the regular club price val March for the Opening of the od in th eighteenlb cenlUIJ·, music born of the love of liberty. ~(ld the '0.111) 'you will receive an additional MODERN MELODIES FOR POPULAR PIANO PLAYING. 1.00 of the first movement, a group of ingful emphasis on '"we." love of fun. the love of good !Ivmg and 1V('l: record of comparable qualicy Centennial Commemorative Cele. familiar c.r)' \\8 "Care a l'ut!r MODERN STYLES AND HARMONIC CONSTRUCTION persons in the audience proceeded Some well-known performers, the love of God. Whatever yout tastes- Q ABSOLUTELY FREE. We urge FOR POPULAR PIANO PLAYING .••••••....•• 1.25 bration of the Declaration of In- or·' ok oul for Llle Do," as a here is music for you! '{ '~.'" "". you to mail the <:cupon at once to hiss so lustily that Paderewski branching out as composers, have HOW THIS MUSIC CAME TO BE RECORDED since this offer is llmired! PRACTICAL TECHNIC FOR POPULAR PIANO PLAYING 1.25 dependence of the United States of warning thot • ,hifl in the finger and the orchestra had to wait until adopted pseudonyms by translat- Recently, the direcrnrs of the rennwned NOTE. These exclusive A.R.B. hlgh-ft- North America." The l\larch was Alice M. Ditson Fund (If Columbia Uni. • dellty recordings are not avall- po~ilion W8_ coming in the ¥lolin ing their names into other tongues. Od« NEW AND IMPORTANT PIANO BOOKS dedicated to the Women's Centeno the offenders were ejected from the versity awarded a substantial grant which able anywhere else-at any price! parts. hall. But the objectors were not so Josef Hofmann adopted a Russian- made possible the founding of the American AMERiCAN RECORDING SOCIETY ~ HAZEL COBB llial Organization. Always a gal- There wa \-er· little preoccupa· Recording SocietY. whose sale purpose is 100 Avenue of the Americas. Ncw York 13. N. Y. Look & Learn Workbooks I & II easily placated. They went to sounding name Dvorsky (Dvor in to record and release each month a new EUGENIA ROBINSON lant gentleman, Wagner wrote (Q tion \\ ith tuning. In a '\8f. it "·~5 high.fidelitv recording of American music. .,.. ------.. court demanding damages and re- Russian is Hof in German, and on· Long Playing records. These records have • AMERICAN RECORDINGSOCIETY, Dept. 7a4 Workbook One leaches note-reading in as direct ond· effective 0 woy as pas_ Thomas: HThe tender passages in already 'I\·on for the Society an Award of 100 Ave. of tlu, Americas. New York 13. N. Y. I an advantage. At lea~t. the mu9C imbursement of the cost of tickets. courtyard in English). Sir Henry sible. Workbook Two offen a more progrenive method for note counting and the score represent the beautiful Merit from the National Association fat I ALL3 for $1.00 I reoding. Includes valuable chorh and diogroms ....•...•...... each .75 wa not interrupted b)" irrele,·ant Their attorney made an eloquent Wood wrote arrangements unQer American Composers and Conducwrs "for and acccompJished women of outstanding service to American music." I HARRIS _ SESSIONS - SCHUMAN I y ESTHER RENNICK Hymn Tunes For Beginners ounds. Tuning of ill_trumentson plea for "the right to hiss" arguing the name Klenovsky (maple wood A ~.ollection at belo,,:ed ond fomiliar hymn tunes for the enjoyment of the America joining in the festi"al ARE THE RECORDS EXPENSIVE? I ~{\~~~~y~:~~rdm~eS~~rbelf:b~~~~'ral:~~~~ ~~l.~~: I the stage i a prett}' unmusical in Russian), but he did not know ~eglnnen, orronged In five finger potterns for piano (with words). Conlents that if some listeners were per- procession. " bDsiu <. Tho_ eropl)" 6fth,. ~~, ~~e~~eedcf~~ra;~e T~~~~~~ecb;d~h~\~~~~~ I :o~d~~/SSi:I:tl:. ~le~·~~t :~[:l~~~~eer~~~ery~; I Include: J~sus Lov •• M. - Rock Of ....9&S - Faith Of Our fat/11m - America, mitted to express their approval that there was a real Russian com· department of RCA Vietor, are priced below I ~~lb~i~;IO~e,~·h~~~n~~ng~~l~~ at;~~~~'I~~\I~: 'I The 8eoutlful- Blessed 8e Th. Tie Thot Binds and many others...... 60 Wagner added a few suggestions ounded between tile mo\·emen15 most L.P:s of comparable qualiry - only • I I hi h I II d t h of a concert by loud clapping of poser named Nicolai Semenovitch S4.3~ for 10" re..:ords. and 54.95 for 12", ~~ee~~'~~1l;\·M~mber~~Il)e~~i~~Or~n~}~ri4.~s5er~:I ~ WILLIAM KREVIT Styles & Touches For The Piano f~r the performance: 'II have in- 0 of triDg qllerleL by players records. The A.R.S. Philharmonic Orchestra rl'foo:dll'·.s'.4.•3a~t~~dlO"b·'~~[I:;'''.}'.·o~:.:.,I.,wI • Achieves beller sighl reading, concentrative- lislening and coordination of hands, others were equally within Klenovsky, author of forgotten I 1.:.!:•• dIcated the great pauses whose overanxiou - to secure perfect tun' engageS the finest avai!:lble artistS' and con-d. ~may" decline to Durchase...... any or all~ Society eye, hand and eor for smoother keybaard performance ...... •.•.• 1.25 their rights to express loud dis- ballets and cantatas. d uctors ... an d a II fecor d mgs are ma e reNlr{]s olTerl'd to me. With clch two Society I solemnity might be auamented b ing_ produce a ralher disquieting with the latest hi.c:h-fideliry equipmenr, and • ret published today-Plan now for Q more interesling teaching season with this latest release. principles the student shouldbe The Joy of Dancing able to comprehend the ·'Modern Contents by Charlotte Hess I BELIEVE • DANCIN1 WITH SOMEONE • TELL Dance Patterns in GeneraL" ME A STORY. 15 IT ANY WONDER· MY The background of dancing is Anyone seriou ly interestedin ONE AND ONLY HEART· MANY ARE THE rhythm rather than music. Music TIMES • HEY I MiSTER COTTONPICKER 7-5" the art will revel in thi inlerest. gives loveliness, character and ing, well wr-itten book. Songs From charm to all dance forms, but much Publi her, harlotte lIess HANS CHRISTIAN ANDERSEN dancing is done to the beating of Camegie Hall, ew York 15m An. by ADA RICHTER drums the clash of cymbals, and other ~ercussion instruments. Mi 5 hur h rlCun A eompan' I An unusually beautiful edition of cherished songs by jU"rmllduk,., P. ()lUCUr in Ado Richter's most charming arrangements. Hess well-known expert on dane- Dr. OIH\,ay, formerly orglnist Contents ing i'n New York City ha wril~en 01 Ell' ethedrel h. ~ril~na ANYWHERE I WANDER. WONDERFUL COPEN~ a basic book on the art which HAGEN. THUMBELINA • I'M HANS CHRISTIAN 111 ., X II nt and helplul boo. must claim wide reo gnition. tart- ANDERSEN. THE UGLY DUCKLING· THE upon organ ompanimeet which INCH WORM 7511 ing with very graphic ilIustrati?ns will I m t h Ipful 10 organills of the meaning of posture, POlO, grace and balance, she puts (orth in g n ral and peci.lly inlonna· SONGS I BELIEVE tiv I r Btudenl. ne oection of An. by MARIE WESTERVELT a very easily understood phil 0- t h b kid voted to Irtll! LEILA FLETCHER PIANO COURSE Famed for accuraty You'll want the newest and finest and dependability ••• piano course for your new students! Prepare$ for better reading, faultless technic;; The fosters appreciation and builds music educa'ior'!. lOOK ONE (Primer) • BOOK tHREE(Grode llfa) METRONOME de Maelze World's First High Fidelity Radio-Phonograph lOOK TWO (Grade 1) • BOOK 'OUR (Groo 2) Price $1.00 each by SETH THOMAS .!)' with sound In Full Dimension MARCHING FINGERS Just released! Early grode arrangements of out- records, is like adding three dimensions and color standing marches, many with original lyrics". It is Summer, 1953. You corne ~s one of a vast group, including STARS AND STRIPES FOREVER - OUR musicians and music-lovers from all pans of the to a morion picture. Through the revolutionary DIRECTOR (the Animals' Marc:h) - EL CAPI. Here's the finest metronome "Acoustic Lens" opening shown here, rhe room is TAN (Marching Fingers) - DE MOLAY COM. very world, to Massachusetts [Q attend the great annual MANDERY • THE LIBERTY BEll· KING you can buy-the Seth Thomas" Berkshire Music Festival at Tanglewood. flooded with sound ... the purest, cleanest, most COTTON (Changing of the Guard), etc:. Metronome de Maelzel. B5. thrilling sound yOIl have ever heard ... from deep- Made by a company whose nllme But one of your most amazing experiences is not even has meant precision-in-time for 139 esr bass to highest treble. It is sound of breath- FIVE FINGER PATTERNS years, this dependable instrument is listed on tbe program! taking "presence." IN JUMBO NOTES easily adjustable for tempos from 40 At the Curtis Hotel, in nearby Lenox, Philco Small wonder l'0u cheer at this miracle to 208 beats per minute. Measure- • HYMN TUNES ment is both audible and vi6ible- Phonorama* is making its first public appearance in high fidelity sound. Small wonder that This very first book. for little fingers-l S by distinct tick and oscillating p"u- ... and it sweeps the Festival off its feet! Here, for hymns including ABIDE WITH ME - BLESt these great men and dulum. . .. is • wond~rful aid to theeie-",," BE THE TIE - HOLY, HOLY, HOLY the first time, is high fidelity sound in Full Dimension. women of music agree WHISPERING HOPE, etc. 60. Inside the handsome, hardwood ment of c:orrt..'ct MUOg iD musK:- case is a sturdy, key- Johannes Ockeghcm This di tinctive autobiograph . . h V by Ernsl Krenek wr-itten Wit great naiveleandsi~. So little has been known of the erity is really a homely saga01 work and ideals of Johannes Ocke- the iking delerminatio~ hopes ghem that we should be grateful ta and ideal of the liule daughter Mr. Krenek for collating a large f a ani h pa lor born ona litlle amount of material in reference i land ofT the Dani h co..~ .ho. to this fifteenth century master. d l rmining te become. pian;,t This is one of a series on such and tea h r, overcame porutl'. early composers, edited by Dr. near tarval;on and unthinbhl, John J. Becker, which includes obsta I , v nluall aU.ining~. A Piano of Tasteful Elegance volumes upon Orlando Di La 0, po ition of on of the mO!lsought You and your family will cherish for years and Guilliame De Machaut. aft r I ech in the f. hionahle Lovely, yet liveable. These are the reasons why French Provincial The works of Ockeghem (1420· 'ifth nd Park Men"",. is so very popular with today's homemakers. In this new Jesse 1495) are little known in this ti n f York ity,.nd nco French "Lorraine" you have French Provincial in its most live- day, save for some of his txtcen ding in knOl FREE "Piano fg~h"-(1 helpful, reyealing booklel you'll want. Write Dept. E-l01 secular themes in his religious and pclitical Hfe of the melropol;,. creations, but his works were ur r vi "'er. having purgtd JESSE FRENCH & SONS PIANO DIV., H. & A. SELMER INC., ELKHART, INDIANA nevertheless widely used. him- (on/lnllta on Pose 10) New MAGNAVOX high-fidelity phonograph ~~TONKabinet The Magnasonic brings you a world of enjoyment from recorded music! 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Ih",_.~ .1- changer plays records of ''''''':.li.--e ~"I~ he "ali .r .... ,.- all thtee speeds and sizes, for ,.ou. automatically! lI.de Ilrit.1l IheM'.pec;_' -~. • PIANISSIMO PICK·UP THE BOSTON SYMPHONY ORCHESTRA airl. ",..-.r ,....,..Ih.t .1•• '- has a floating dual-stylus hanrl ",0. d, ..... ;e ~...... ,! that is equipped with two AND ORGAN scratch· free osmium tips! ~IYle 600 Ilbo.. " hold. dtoul )92,5 dlert! of .~k ..... ril& hor deeler'a name and folder .a...-iag oUter u"l.", for THE AEOLlAN·SKINNER ORGAN COMPANY, INC. o'nea, ~_udi .... lKhool-. ofcbt"'lra..•• TO:'\K )lFG. CO~ BOSTON 1918 N. MACNOLIA AVE., ClllC~-\CO 14. ILL G. Donald Harrison, President The Ma9navox Company, Fl. Wayne, Ind .• Makers of the flnest in Television and Radio-Phonographs - William E. Zeuch, Vice Pres. Joseph S. Whiteford, Vice Pres. FOR YOUR TO NKab·InetS SHUT MUSIC "lilt 9U8J£CT TO C ..... NUti WITHOUT MOTICII: ------8 ETUDE-OCTO/JER 195., 9 ETUDE-ocrOBER 19» ...., d Music Lover's Bookshelf 1 (Continued from Page 8) The Observer', Bookof Mtuie self of the foregoing Teutonic sen- by Freda Dinn tence has only this to say of Mme. Tbe period at the end ofthis Lauritz Melchior as Tristan Christensen's memoirs-they are Lauritz Melchiol" sentence is, we are told by the intensely human and give a nne X bomb experts, large eoough10 picture of musical life of Manhat- enclose 10,000,000 atoms.SOIlJ< tan's "400" in the early years of day some future Homer will write the century. It is one of the best an epic telling the odessyofHer. "'struggle for victory" stories yO,UT cules struggling to compressthe reviewer has recently read and In- universe into 8 tiny capsule. Freda dicates what can be done by a Dinn has given us a 188 pagevol- zealous, proficient person pr~- ume presenting the art of music pelled by determination and a will from its early history 10the pre> to overcome all obstacles. Mme. Christensen is now eighty- ent. It i quite 8 marvel of literary one. Early this year she visited muluun: in parvo describing lhe the Presser Home for Retired j nee, art, and hi tory of music and its mak rand m teepieces Music Teachers in Germantown, l Pa. and played a lengthy program redu d t th mall Ico"",i"hle of music by Scandinavian com- form. It i a peculiarly Brilish posers, most of whom she had pr du tion which gi'es f,,~of known. Her performance \v·os dis- mod rn Briti h music .0neB tinguished by insight, beautiful ab ut ",h m the world of musjc tone and interpretive under tand- at large kn w little today.The ing. The book is finely illu trated work i xc II n~y done aodif with half-tones or photographs. you er in need of a pocktlmusi- Mme. Christensen's life con- cal n y lopedia reduced 10the tinues to be active as she still least ommon v rbal denominator, teaches a few select pupils. by all m on get it. An American Way of Life in Art? Exposition Press (New York) Frederick ! orne & Co. '125 $3.00 Tnt END One of the foremost singers of today tells of the shortcomings of young singers that are both revealing and disturbing. from an interview with Lauritz Melchior secured by Myles Fellowes I nering all those beautiful dollars; but the ~ URING the past season I engaged in with singing hits, in whatever style hap- fast trip leads inevitably to the place where an experiment. With a group of gifted pens to appeal to him or which he can D the singer needs the skills he has passed young singers, I visited over 100 American copy from records. He finds it an' utterly by and they aren't there. Then he is lost. cities, presenting concerts and using my novel idea that the songs of Schubert, Youth is not eternal and it seems a pity stay in the various towns as an opportu- Schumann, Brahms, represent not only to devote it to building certain loss! nity to listen to young, untried vocal tal- "numbers" but a basic part of the vocal How does this unfortunate situation come ent. It would be a pleasure to report that art, helpful in mastery of singing as well about? I see two chief causes. One is the my contact with young musicians made as in the mastery of style. general teaching situation. I know there me proud of the materials and the scope Now, the really sad thing is that these are many fine teachers in our land, persons of our native art. Unfortunately, this is methods do not consign a young singer to of integrity, capable of sound judgment THE PREPARATORY BOOK- not the case. The results of the auditions immediate failure! Singing hits (individu- An Easy, inleresting. Beginner's and honest correction. But they do not wipe on this tour were, in many cases, disap· ally styled) into amplifiers may be quite Book. profitable---for a time. But the time for out the large number of charlatans who set pointing. up in business for gain, without thought BOOKS 1-0 ond '-b--Loys the The young people I met were all charm- such activities runs out, and the singer Foundation for All Furure Lesscos. of their great responsibilities. A hair- ing and eager; many of them had truly has no artistic resources to fall back on. dresser cannot work without a license, ob- BOOKS 2·0 and 2_b--Technic, fine natural voices; the fewest knew how The secret of singing lies, quite simply, Spinet or console, modern or traditional , dyna-tension the Pedal, Rhythm, Chords, fit· in learning to sing. One must learn how tained only through proof of ability, but I peggios. to sing. My general impression is that to- ... your Everett dealer offers a wide se- to use the voice and how to save it, pro- anyone at all can set up as a voice teacher; lection of these exquisite pianos. All day's young singer aspires to "mike tech- BOOKS J.o and J.b-TeocJ>es there is no lincense required, no need for have this in common .•. dyna.tension, ,EVERETT nique"; that is, he fortifies himself not ducing one's effects from a capital of mu- tone miracle of the century] Like those Form, Mood, Style ond 0 Reper' sicianship and technique. And this capital proving knowledge, fitness, or anything at toire of Recital Pieces. at all with sure vocal emission, but with of a grand, strinzs of an Everett arc ~0 I all except a desire to get pupils. An inex- under far greater'" tension. And tones, the comfortable knowledge that his tones must not be spent! It is by reserving capi- Price, each book 75 cents, like those of a grand, arc distortion-Iree. Prices begin at .... $735 will be amplified in the control room. He tal and spending only interest that the perienced youngster who falls into such Get the facts about dyne-tension, exclu- ll21 bands can do himself lifelong injury. Ro.b. factory. Bench extra. JVrit~ lor Complae John Thompson Circu . knows little of vocal production, of breath singer becomes and remains an artist. The sive with Everett, before you buy any Small down payment, The second reason why our vocal stand- piano "at any price! Discover why so easy monthly terms. technique, of personal skills in the manage- growth of the artist is like a slow train many teachers and professional pianists Send for free catalog and ment of volume, color, shading. He has that stops at many stations. It is, of course, ards are no better than they are is even have chosen dyna-tension. Everett for nante of nearest dealer. possible to jump on an express and pass further reaching. It lies in the fact that their home, their personal use. 'ThQW.LL'$ mUS'CeO. little concern with the continuity of art or the classic repertoire. He contents himself these stations, going ahead fast and gar- even today's (Continued on Page 47) EVERETT PIANO COMPANY, SOUTH HAVEN 3, MICHIGAN. 124 East Fourth Street C,ncinnati 1, Ol1io ETUDE-OCTOBER 1953 11 10 ETUDE-OCTOBER 1953 1 An eighteenth century stage work by one of the greatest of French composers has been the medium for a truly sensational Revival at the Opera Ftrst factory of Stci.nway and sons. The men of the Steinway family-3 generations. Seated, left, Pres. The~dol'e E. Stcinwav and Vice pres. 'Villiam R. Steinway, with some of the vouugest membcce 01 tile famous clan. Stcinway Gr'und 1859. Three spectacular scenes from Rameau's "Les Indes Culantes;" including (center) the ballet which hnel nn illlporhull pnet in til produdion The inspiring story of the founding and development of a famous American piano manufacturing by Maurice Dumesnil company now observing its hundredth anniversary. o MANY of those seated at the terrace a small opus: Bach-and Counod-s-for in- that Rameau wa the ne who broke away Tof the Cafe de la Paix, watching the stance, with the Ave Marie; Mozart, the from the convent i nol hor;:.onla! styleof passers-by and sipping a cafe-creme or a Turkish Rondo; Schubert, the Moment the medieval "orgenurn. I thus paling the by Rose Heylbut cup of hot chocolate while enjoying the Musical; Schumann, the Traiimerei. The list way of unrelated chord whi h caused Parisian night, the enormous crowd pour- is long and extends, nearer to us, to Saint- such excitement among hi omtrTaloire ing out of the Opera must have been some- Saens' The Swan, Dvorak's Humoresque. schoolmates, and 0 much dismal' among thing of a puzzle. What event had taken and last but not least Debussy's perennial their teachers of the old guard. Xererthe- Battle of \Vaterloo as an excellent bugler. the Stein ways also took the road to free- place? A State occasion, perhaps, or some and inevitable Clair de Lune. As concerns less, music wa freed and the first step THE HOUSE of Steinway is one hun- Returning to his home and his small cabinet dom, arriving in New York in 1850. For gab. performance with a sensational all- Rameau, everyone knows Le Tornbourin, can be traced back to no other than Jean dred year, old. maker's shop in the village of Seesen in three years Heinrich and his sons worked star cast? Still no sign of officialdom was and this charming little piece has been Philippe Rameau. Reckoned by American business statis- as craftsmen in American piano factories, visible j the Republican Guards didn't transcribed in many ways by Godowsky, tics, that is a long time. Reckoned by the the Harz Mountains, he decided to cele- brate the expected birth of a child by mak- ultimately establishing their own firm in stand rigidly on both sides of the stair- Kreisler and others. Be it said in passing, Rarneau: was 6ft ears old whenheem- traditions of art, it seems surprising that ing a piano in the baby's honor. The son, a barn on Varick Street iii.lower New York case of honor, and in contrast to years I most enjoy the original text so full of barked upon his great operatic career. At the name which has become so well identi- fied with piano should be any younger Theodor, was born and the instrument was City in the autumn of 1853. From the ago when formal dress was obligatory refreshing spontaneity. seven he showed unu ual precocity and W~ not yet finished. Fourteen years later it start it was a family enterprise. Father there was little of it-s-if any at all-Lin Jean Philippe Rameau (1683-1764) oc- already a virtuoso of the harpsichord. than the piano itself. Among the Stein way was still not finished, and young Theodor and sons made pianos; a daughter, Dor- that audience. Comments overheard here cupies a prominent place in musical his- Then he studied violin and organ. subse· achievements is the fact that the firm has helped his father work at it in their shop. etta, helped sell them by giving free piano and there were rapturous; enthusiasm ran tory, for it was he who laid the founda- quently taking a position as organist and combined American business with artistic Completed at last, the piano was a mas- lessons to prospective customers who liked high, and a general feeling of exhilaration tion for a philosophical science of har- choir director in one of the Paris church~. tradition, steadfastly maintaining the best terpiece, of sturdier frame, more strings, the instruments hut couldn't play. And the emanated from that crowd. Again, what mony with the publication of his "Tr aite He first tried hi hand at opera when he elements of each, through a full century had happened? de l'Harmonie" and the "Nouveau Systeme of building. and finer tone than any instrument then firm prospered. obtained a libretto. U amscn." from Vol- The answer is simple, and in itself as- known (1836.) The many prizes it won at Seven years later William Stein way, de Mueique Theorique" (1722-1726). The taire, whom he resembled srrikingly in Steinway & Sons is strictly an American tonishing: a performance of "Les Indes fairs attracted such attention that orders Theodor's brother, moved the factory to boldness of his theor-ies elici ted sharp appearance: the work was rejected because firm, having grown into an international Galante," by Jean Philippe Rameau had poured in, and Heinrich put his eight chil- Park Avenue at 53rd Street, then a dingy criticism and he was accused-even marry of its Biblical subject. His second opera. enterprise of international reputation from been featured. If the venerable ancestor of dren to work helping him produce his own business area. (When Park Avenue became years later-of having given up tonal suc- "Hippolyte et Ar icie." was produced in a small beginning launched in New York French music had been present he would idea of what a piano should be. There was New York's Mayfair, Theodore E. Stein- cessions and resolutions, and prescribed 1733, but thi masterwork was such a [ail- City in 1853. The first Stein way piano, have been the most amazed of all, and de- no Steinway piano factory in Germany; the way, Heinrich's grandson and the com- a new system whereby accepted princi- ure that Rameau came near to renouncing however, goes back to the 1820's when an lighted at this resurrection of his work. instruments came out of the cabinet pany's present president, chose an apart- ples of orderly tonality were discarded. the stage altogether. His friends prevailed. enthusiastic young man assigned himself a It often happens that great musicians be- But his discovery of chord inversian was maker's shop. ment on the site of the old factory, purely however, and his next effort was "Les wholly non-commercial labor of love. Hein- come popularly known through one of their a st~oke of genius, and looking back im- In the political upheaval, of 1848 which for reasons of senti ment.) the year Indes Galantes." The success was triumphal rich Engelhard Steinweg (later American- By compositions only, and oftener than not, partially after two centuries it is obvious brought men like Carl Schurz to America, 1865, the family built the first Stein way and it opened the (Continued on Page 57) ized to Steinway) was decorated at the 12 ETUDE-OCTOBER 1953 13 ETUDE-OCTOBER 1953 ...... ' 1 T------ work as a general conducts a war.lo down for two years ~ather ,tl~an his office hangs a large map of th on a USO tour, his piano fell fr~m Ieaper plano which e Hall on 14th Street; it was to serve pro d uce a cl . A world with pins stuck in strategi a moving truck and scattered rts as New York's leading concert stage could easily have kept It. open. ~ places in 54 countries, showingat : 12,000 parts about a bazaar. The that same critical trrne, rt refuse until the erection of Carnegie Hall glance where his pianos are, 'Il'hich Special Service officer remern?ered (1893), and to present such figures offers totaling $1 million for the U!~e are in use, which in transit, which that a Lt. Stein way was statIoned as Patti, Paderewski, and the young of the Stein way name on a rudto sidet racked or delayed. Greinerpre. with an Air Force unit nearby, and Kreisler. The present Long Island and a refrigerator. It kept l'esolule]: serves peace in the artist,soul h~ sent for him on the hopeful chance City factory was begun in 1872; the away from the deluge of mergers that his name might mean something. gelling the r-ight piano to the righ'[ present Steinway Building, on West which reduced the number of Amer- The Steinway in question was John spot at the right moment. Howmr 57th Street, housing the company ican piano companies?~ nearly 90%. An editorial discussion H., who, like all the young Stein- his abifiie-, have been requisitioned offices, salesrooms, and Stein way During the later crrsrs of Wo:ld ways, spent the war years in uniform- in other ,,'ayQ, as well. Steinwav The Piano Concert Hall, along with sixteen War II, the family wizardry With He looked at the wreck, harked back arlio;;ts have come to regard hima's stories of offices and studios, was wood and glue was turned to t!lC of the recent amazing and to his factory training, and had the ad, iser, friend. bridge partner, mar. built in 1925. In 1878, just twenty- production of glider wings and tails piano assembled and in playable r-iage nunsef lor, and strong ~houldet five years after its inception, the for the U. S. Air Force. shape before Mr. Eddy's concert. on which 10 )('011 at all moments American House of Steinway opened Stein way standards have produced Stein way standards permit no mass Greiner like-, to recall the ti~~ highly gratifying developments its first foreign branch in Hamburg, an almost fanatic loyalty in the production, no speed-up slogans, no Pad rew ~kj "ired him fromFlorida' Germany to supply growing Euro- artists who use the instr umern- a 1i'S1 making-do with materials or crafts. "\ have left behind in Huckingha~ TRIUMPHS pean demands. including nearly a cent ury ~f tilt.' Each instrument takes nine months Hotel the I unt-, 10 my turede. ~h' The secret of Stein way eminence is world's greatest musici~ns. Hlc~ha.nl in the piano industry. to build and requires the services ecretary 'j< daughter has lef! behind the {act that the family has never WaIYner played and praised a I m- of 400 workmen. Its frame is of cast- her ucquar ium ccmainlng 12turtl~. simply turned out pianos; rather, it wayC' piano. So did Berlioz. Li..zt . iron and its strings of steel, but und Ih· vu let fM~(JJ 10 order ~ has worked to keep alive the patient, Paderewski, and Rachmaninoff' o. good wood determ.ines its filler qual- r ihnu ..and (If m) lavorire ti,areltt5." painstaking love-labor of Heinrich today, do Dame Myra Hess. ro~· by JAMES FRANCIS COOKE ities of tone and action. A steady Grt·iner at OIl e interrupted thecon· Engelhard, housing it in piano cases. canini, Hofmann, Horowitz. J\rtUf 2 miHion board feet of maple, The half-ton Steinway grand is a Rubinstein was to play in Blleno .. c1~I'1 tlf lilt"· l,iuno hu...ine~~til collett Western sugar pine, Eastern moun- unu ..llip Ihe: n;quired 8rticle~. composite of 12,000 parts, most of Aires when a shipping strikc h lei tain spruce, Brazilian rosewood, them tiny and complicated and all up the delivery of his favoril piuno. Pac! ·rt'" ...li' carttr at the (tin· touches upon the regression of the piano. strings (scale) may be bought lor 8750 to Southern poplar, Honduras Mahog- "a) le: hoord i.... till ~llurrtof THE SURPRISING indease in the num- of them precision made. Thousands Rather than accept a 5ubslillllC. he In a relatively short period the number of $800, although there are othcrs on the any, and American walnnt are at ber of pianos manufat:tured this year of minute adjustments are made on telephoned New York and the next pridc' au thl,.· Irm. lur il '1\'1' William market selling at around $500. any given moment undergoing the in the United States over last year should individual piano manufacturers dropped each" piano before it is tested for day watched airport attendants huul ~I(~ill\\ a • Calher ollhe prt'''t'ntpresi· Following the depression and the intro- four year indoor-and-outdoor wea- be cause for jubilation to aU interested in from over two hundred to less than thirty. use. A California dealer once hesi- dent. "ho ~amhletl 0.000 in gUll' duction of reforms in the general banking, thering requil'ed of aH Steinway a Sleinway concert grand (nun th Some of the firms went bankrupt, others tated to lend a 5teinway to Jimmy New York plane, explaining lhal th anld'" on lilt" J'relll p..lr'.., fiN Amer· music study. lumber. Only half the wood from the shut down production and still other well- financial and business conditions, our over- Durante, lest that exuberant come- 1orl ican wur, Lowf. when Paderelnki In the first two decades of the present lumber yard goes into pianos; the thousands of dollars of lrun"1 all national economy is noW upon a far dian damage it. Hearing of this, off 'red to PO) William Ihl" IS.£MXI century, piano manufacture in our country known piano names were bought up by rest is discarded through failing to costs repl'esenled a small price for sounder basis, despite the present confusion Theodore Stein-way w.ired the dealer the security of playing a piano he lJW It Ihi .. tour had m de. in I1ddilion reached an all time high. Then it en- larger firms with more capital, initiative meet rigid standards. The >vood in world affairs. This may account in part that if Durante could harm one of trusted. Stein way pianos stand in lite IU tilt' r.lri~inul '\0.000 loan. tein· countered a number of developments which and courage. Today we find firms listing his pianos, he'd quit the business which is used is kiln dried, boiled way rdlt cd the monr)'. )ing. MTo for the remarkable comeback of the piano White House. Steinway files incltld brought about an historic slump. The first from ten to thirty "name instruments" some and start making cream puffs. Dur- in oil, glued in plies, bent under a Jetter from Thomas A. Edi;;.cm. 11£1\ • di~oh'rcd )"HII i..P3)' enough." in production and others discontinued. as an indispensable factor in music educa- ante got the piano ("So I sits down ,tons of pressure, turned, hand-carved, was the invention of the audio tube by Dr. dated 1890 and reading: "Stcinway The 10)8 It of Itin"a" arti5ts Usually when an instrument is reproduced, tion. at my Steinway ... "). It came back sanded, lacquered, and in a dozen Lee deForest in 1921 which ushered in the & Salls-Gents: I have decided to j.; m~l('ht'lI h)' Ihal f teinway Several very stimulating and optimistic scratched, but otherwise undamaged ways persuaded to contribute electronic age. This took the radio out of an effort is made to keep up the standards, keep your grand piano. For ~OJl1 lealer" Tht Jlrhilf'~ of di~playing articles have appeared lately in responsible and in perfect tune. strength, richness, and spirit to the the primitive "cat's whiskers" stage and characteristics, designs and quality of the reasons unknown to me it gives hell "r Ih' -i~n STEI'\\\ 1\ i_hi,hl\plized To maintain its tradition of crafts- thin "plink" of the steel strings. original piano. general publications which should be most results than any so far tried. Plell e b) piano hou"c~. Thi~ mllnUfll.ClUrer· made it a necessity in the average home. manship, the firm employs a corps Steinway standards carry beyond How were these blows to the progress of inspiring to all music teachers. The always send bill with lowest price." llenl'f r ·blit)n ..hip i...,~ltollyone of The tube also greatly improved the process of old, highly skilled workmen. Of craftsmanship. During the depres- the piano met? Why is the piano striding dependable Wall Street Journal in a copy- sion, when Un.ited States piano busi- Since 1925, Steinway's artist reo tru ..t: Ih'r- i..nn ,~rilltn contraCI of phonographic recording and reproduc- the company's 700 employees, seven- 5 ahead at this time? The radio, followed by righled dispatch from Chicago by George ness fell off from $104 million to lations are in the capable hands of hi't "t'c,"n 1h" I'" II pari it'... Three )'W ing, making it possible to bring to listeners teen have been there for fifty years ago. and on Illt'ir (I~n initiali\·e. television has already proven more advan· Melloan, stated in its issue of April 6, and over; nearly 300 are twenty-five $10 million a year, the firm shut Alexander Greiner who conducls hi everywhere, at very slight cost, the greatest Slein"J\' dt"all'r... looking ahead to tageous than detrimental to music study. 1953:* year men. Generations of the same music performed by the greatest artists. tilt" ("unent anniH'r"of)-_ organized "Piano factories are running overtime. family of craftsmen take their places Economic prophets however, sawin this the Young students are enabled to hear great tilt' Stein"J) entennial Commiuee Reports of the National Piano Manufac- at the bench, side by side with gen- death knell of the piano as a domestic masterpieces performed by the foremost alld ,olunteered to promote it turers Association show shipments in J an- erations of the Stein way family. For necessity. artists and are inspired to emulate them. the firm is still strictly a family throUl;houl the land. The SteiDw~ Boys and girls, who in a previous era had uary and February this year reached the Centcnnilll begin_ in October 1953 A second condition was that the Amer- enterprise. All the members begin to be coaxed to practice, soon were found fastest clip for that period in more than a and \, ill conlinue during the full ican way of living was ceaselessly changing at the bench, learning their trade begging their parents for music lessons. quarter-century. They were up 9% from music en-on of 1953-51. ThiE kind by the introduction of mechanical, elec- from elderly workmen who, in their Music in the public schools augmented this the rate of early 1950-a year which saw time, learned it from oldel' Stein· of loahy ho .. made it pO~.iblefor trical devices in the home. Refrigerators, demand. More than this, the extraordinary piano sales hit their highest pitch in over ways. Two of Heinrich's grandsons, the firm which produce:. hUI2CO 01 vacuum cleaners, air conditioners, electric two decades. sixty-nine year old Theodore E., and America'~ Bnnual turnowr of piano~. ranges, toasters, irons, deep freezers, increase in the birth rate in America has seventy-one year old William R., are to garn r 10C(. of lhe indu~t0:s mixers, oil heaters and other expensive brought thousands and thousands of young-' "For all 1953, B. F. Duvall, vice pres- president and vice-president of to- annual gro~_ .tInd 10 see its name household aids, reduced the amount in the sters into the world, and this rate of in- ident and secrelary of big W. W. Kimball day's Steinway & Sons. Next in line uo;;ed as n synonym for the produc~. family budget formerly spent for art and crease (observed carefully by business sta- Co., in Chicago, forecasts total production Here is Theodore E. leiDwa,'5 are Theodore E.'s four sons: Theo- education. tisticians) is likely to grow in the next ten 01 over 180,000 pianos, 5000 above 1950 dore D., in charge of Engineering own account of Ihe spirit animating Due to rising building costs, new houses to twenty years. The elevation of the living output and the highest since 1927. Most and Research; Henry Z., Factories Il ar ds cenlury of leinwa)' !:'tand . : wage of the average worker enables vast other manufacturers agree. Manager; John H., Advertising Man- '-The IO"e of the Task. lbe reallza· and apartments were built with rooms so numbers of parents who could never afford "At Kimball's factory in Chicago, the ager; and Frederick, a factory ap- tion of its imporlance. and a pas, small that it was literally impossible to find world's largest, William Kimball, grand· pointee. Charles G., a cousin, in the ~ionllte urge to project it b~~er floor space for an old-fashioned upright a piano or music lessons for their children, sales department, is the first fifth- into the future hu,e been the gUldmg piano, to say nothing of a grand. to give them this privilege. nephew of the founder, surveys a nearly generation Stein way to enter the motifs of the leinw8)'s for these The greatest set-back to the piano was The piano manufacturers met the need empty warehouse. 'That's the way we like firm. Other cousins, currently in Jast hundred )-eors. The S,einlfay the depression which crashed down in the for a smaller piano by devising a cabinet to see it,' he says. 'The only ones unhappy rompers, are on their way'. At least Centenary Celebralion this ,.ear early thirties, bringing about the failure of piano which they dubbed a "spinet" al- are the dealers. They can't get enough once a year, a Board meeting~ Elaine Malbin chats with Mayor Joseph S Clark J :M marks the complelion of OUf fiti.' banking institutions and business finns though it bears no relation to the classical pianos to satisfy their customers.' family reunion is held, picnic style, of Philadelphia and Fredric R, Mann (ri' ...h.) , r~'1 ayol' Cenlur)' of enice to Mm,ic." ' H d D II C . '" prest( ent of throughout the land. This was followed by spinet, save that of size. The spinet, if "At Grand Haven, Mich., George H. at President Theodore Stein way's R ob In 00 e oncerts (Phlla.) prior to resen . Steinway's nllme ~tands for mort concert version of "La Boheme" in which 1\'1 It~hon of ever increasing taxes and government finely and soundly made, is an excellent Stapely, president of (Continued on Page 20) summer home. l\It than a product. It is- chiefly for All of the Stein ways learn the the part of, Mimi, The concert (on July 30) lll~~-ke~ tI~n sang waste, producing widespread unemploy- instrument for home music study in smaller of the Dell s most successful season in its 24~ye h' e ~ose this reason thai the Steinway Ce~' business, according to Stein way stan- y ment. All of these things put the finishing homes. Fine spinets, with over-strung '" Reprinted by permission of the publishers 400,000 people attended the 18 evening and a.r _Istor , ~'Cl' tennial strikes Il warm rt:'pon~ lfl I 'ld. , d lice h )llorninor dards, from the ground up. In 1943, c 11 I en s concerts un el' t Ie prcceden I hI" k' ... '" concert plan. ea In", all-free A mericlln hearn. when Nelson Eddy was in Khartoum THE E. D ETUDE-OCTOBER 195.3 15 14 ETUDE-OCTOBER 1953 "IS IT ALL RIGHT for me to sing in the choir?" is a question frequently asked of teachers and it is quite a difficult one to answer. There is undoubtedly much to MUST Yon Sing? he gained by this experience and associa- tion, but much damage can and does accrue in some instances. There are many con- ductors who know little or nothing about Part 2 voices and seem to consider them as brass instruments. They demand great tonal vol- ume and try to extract from forty singers the volume of four hundred. I have wit- by TUDOR WILLIAMS nessed such painful incidents and noted No Carnegie Hall concert ever had a more the hoarseness which afterwards afflicted all the singers. Many times such voices are appreciative audience than that which gathered injured irreparably, but others foolishly yourself under the guidance of a good step into the places of those who become for he sings at every opportunity. Just ui the far away "Renaissance Tea Room." teacher. Your own voice has an identity all useless to the conductor. As a rule young "singing" at every opportunity however, its own and with the development of your people in their late teens and early twen- does not constitute real practice. "Prac- by Pvt. Robert M. Elkins ability, personality and artistry, you will ties are sought by these unscrupulous con- tice" means more than merely using the carve your own niche in the Hall o-f Fame. ductors and since their voices have hardly voice. The teacher will instruct his stu- and Pvt. Gary Jennings Entrance to the R nnis81111 Ten Room. As stated earlier, there are several dis- matured, tremendous damage is wrought. dents as to how often they should practice tinctly different fields open to singers, and Under the guidance of a good conductor and the duration of such periods. He will some singers are temperamentally more who knows voices and controls them with also give instructions on the vocalises and the almost miraculous feat of salvaging suited to one than others. Very few arc NE COLD NIGHT last winter, we sat care, there is much to be gained. It is very exercises to be used and the range to be 4,000 of his heloved records and brought successful or even satisfactory in all fields. O in a smoky, lamp-lit shop tucked away helpful in the matter of reading, follow- covered. Naturally such vocal practice is Some who are outstanding in grand opera in the back alleys of Taegu, and listened, them safely south to Taegu. ing the beat, rhythm, singing with others imperative and a definite program should Now that the invaders have been re- fail miserably in the popular field or on with a few other Americans and a score and learning the relationship of each vocal be adhered to. It generally demands self- pelled, South Korea is hopefully rebuild- the concert stage, while many who are ex- of Koreans, to a recital in the universal line to the others. Thus, in answer to the denial on the part of the student, but no ing. But the musicians, composers and con- ceHent performers in oratorio and church language. question "Is it ali right for me to sing progress is possible without it. There is, ductors are still wandering, their hopes and music have no success in any other type That night we heard Liszt's Hungarians in the choir?" the first thing to consider however. another form of practice which careers shattered. Many of them are fight- of presentation. In most cases such limi- tread their sprightly measures, heard is-Which choir? or Whose choir? The is seldo~l done, and not at all by some ing for their country's freedom. The music tation is the result of poor training; in Crieg's trumpets shatter Nordic icebergs, good voice teacher would do well to make students. I refer to "silent practice" or and the instruments have been irretrievably others, it is incompatibiUty. Every effort and listened while Tchaikovsky taught it his business to know something about tonal contemplation. This is the practice lost. Little remains of Korea's musical in- should be made to become compatible to mirlitons to dance. the various choirs in his area and their of listening to tones in one's own mind- heritance but a few private record collec- all the different musical modes, and the OUf concert hall was far from being conductors. In the majority of cases it is tonal imagery. Lengthy periods can be tions like Mr. Pak's. wise teacher knows how to break down another Carnegie; it was smaller than the safe to assume that no harm will result spent in this manner with beneficial results. But, despite its embattled condition, those barriers of temperament. average American living room. The music from such activity, but in those instances It is the function of the mind to conceive Korea remains a singing nation. And it was all on records; old and scratchy rec- where the conductor is a brute (in his and produce tone and the function of the was Pak's desire to make his records avail- But in the case of a limitation imposed ords played on an antique phonograph. A treatment of voices) the answer should be hody to reproduce it. All of the truly pot-bellied coal stove was the only heater able to this music-hungry public. He ac- by the teacher, the student himself, when an emphatic "No!" great singers do this (although in some in the room. But this tumble-down little complished it by opening the Renaissance he realizes his instruction is being con- Far too little consideration is given to cases the effort may not be a conscious back street shop has become a shrine for Tea Room. Now music lovers, students, fined within narrow limits, should make the selection of the operetta presented an- one) until the process becomes practically music lovers in all South Korea. composers and musicians gather nightly in a change of teachers. It is only too often nually by many high schools. It must be instantaneous. Many would-be singers sim- The place is called the "Renaissance Tea this unpretentious (Continued on Page 51) due to the very limited knowledge of the remembered that most of these successful ply stab away at tones, with one hand Room," and a brave name it is. For here l\1r. Pak Yong Chan genll sets the needle teacher. However, it is quite natural that and well-loved works are written for ma- cupped to the ear and the distressing vibra- remains almost all that is left of serious on a worn record. one form of musical expression should ture voices, aod the adolescent voices of tions they hear prompt them to agitate music in war-ravaged Korea. And the have greater appeal to a singer than others, high school students-particularly the boys the air with still more devastating sounds. "renaissance" of classical music in this and that he may excel in that form, re- -have not, in the vast majority of cases, Never for a moment do they pay the slight- country, if it ever comes, will be due in sulting in such a demand for his services attained the needed maturity. Take for est attention to the original pattern, if large part to Mr. Pak Y ong Chan, the tea that no time is left for professional ap- example that excellent and popular light such ever existed. Before beginning any room's proprietor. actual vocal practice, a period should be pearances in other fields. However, a Before the war, Mr. Pak lived in Seoul. opera "The Desert Song" by Sigmund spent in silent contemplation. If, in your knowledge of the literature of the other He had studied economics in Japan; but Romberg. The part of Sid El Car requires a good high tenor and the part of Ali Ben mind, you can hear a pleasing tone, there fields is of immeasurable value. The singer music was his first love, and his twenty who is thoroughly adaptable temperamen- Ali, a robust bass voice. The "boys selected is a reasonable chance that your body will years of record collecting meant more to tally and has the requisite vocal flexibility for these roles in one presentation I wit- reproduce a pleasing tone. As you persist him than just a hobby. He was not unique should be just as enjoyable in a popular nessed were sadly inadequate, though each in this practice, the ability to select tone as a lover of fine music. In those days ballad as in an opera or oratorio selec- strove mightily (as young enthusiasts al- improves. Korea boasted three symphony orchestras, tion; the one requires a simplification of ways will ) to handle his part aflectively. The practice of listening to the recorded and practically every literate Korean was the technic demanded by the other. II the familiar with the works of major corn- Had adequate voices been available the voices of great artists can be enjoyable words of a song call for a simple, direct posers, native and foreign. selection of "The Desert Song" would have and inspiring, but any temptation to imi- presentation, it would be ridiculous to Then came the Communist invasion, and been good, but surely a selection should tate the voices should be firml y resisted sing them in a dramatic or "operatic" the musicians scattered. Precious musical be made a[ter reviewing all available talent -c-unless one is considering a career as a manner. libraries were destroyed, orchestral scores so that the young voices are not subjected mimic or impersonator. Never mind trying Most singers, in fact, most artists, by were burned or lost, record collections to strain. to be a second edition of Caruso, Tibbett virtue of their preoccupation with their were pulverized. In the midst of the holo- One with a strong desire to sing does or Calh-Curci ; you may become much art, are generally (Continned on Page 56) caust, as Red armies roared down the not as a rule have to be urged to practice, greater than any of them by simply being length of the peninsula, Mr. Pak performed Pvt. Robert Elkins (I.) with oth . . er service rnen In the tea room. 17 ETUDE-OCTOBER 1953' 16 ETUDE-oCTOBER 1953 .. 1 BAND AND ORCHESTRA DEPARTMENT Are You Doing cords Reviewed by the Job? PAUL . ELBI by WILLIAM D. REVELLI sence of listening fatigue remain the final te Is of high fid lity. our e rs are for )OU High-Fidelity Notes bell r tc t quipment than an) thing in the laboratory r in th ndvert i er' vocabulary. But, tnk it Irom a high fid lit fanatic F ANY music lover has escaped the high There's an analogy in Lin Taiyi's novel, from away ba k, in r 0' high fidelity reo "The Golden Coin." A nearsighted girl is producti n of music there i_ sarisfaction high degree of efficiency in the conductor's I fidelity movement, he might as well sur- HE TEACHING SCHEDULE, admi nis- teach. Such skills take years of preparation render now. No one can possibly avoid it in fitted with glasses for the first time. What Iar beyond th po« r I dollar to pal or and study under the guidance of expert in- management and organization of all details Ttrative assignments, and organizational had always been blurred in the distance structors and, except for a few minor cases, connected with the function of his depart- the future. word t d S Til . responsibilities of school and college band The year 1953 marks the turn of high suddenly becomes clear. But this, declares ment. Such efficiency does not materialize and orchestra conductors are indeed vo- are a phase of the conductor's training that fidelity from a hobbyist's passion to a prac- the girl, is unnatural. She breaks her new • by accident or spur of the moment plan. luminous and varied; in fact, such tasks are is frequently found to be deficient. glasses. - ning, but is rather the result of careful, tical reality for all. MOZfu-t: ylll/,I1,."" e. 39 i" E·jl(11 Uajor, It would seem that these total demands, The electronics engineers who have de- frequently so manifold and demanding that Since the close of World War ll, the as- K. 5/:! if met, should qualify the conductor for premeditated, systematic, well organized signed most commercial phonographs in the y",p!4olf_,. '0. 10 itt Mi"ot. they seem to be without end. Yet, as in any sembling of high fidelity record playing his work. However, his responsibilities are and efficient consideration and attention to past have known that the end result of their K.550 program of progress, advancement is made equipment and radio receivers has mush- far from ending here, for in addition to all details concerned with the complete work is not music as you hear it at the con- only when obstacles are surmounted and roomed from an engineer's spare-time ac- These r rd ings his musical and academic training he must operation of the department. cert hall or when you make music at the the problem solved. tivity to a nation-wide pursuit. The success made in th th ir't i by possess considerable executive, administra- Too frequently we find the music educa- piano or organ. But certain listening tests The responsibilities of the school instru- of a new magazine specializing in this field Sir Thoma Be ham tive and organizational talents. tor who is the competent musician and as well as sales records convinced them that mental conductor are perhaps greater than is an indication of wide-spread interest in and the London Phil- The school band and orchestra conductor teacher, but whose skills and training in reproduced music characterized by genuine most buyers honestly want radio and phono- those of the classroom teacher of other harmonic Or h stra. who is efficient in the organization and music far surpass his interests and talents high fidelity in quality of sound. graph music to sound like reproduced music fields, for if he is capable of carrying out are part of a lcgen- administration of his program and depart- in the executive and organizational More evidence of the attractiveness of and not like the real thing. When panels of in full all of his responsibilities, he must be dary repertoire tree - ment must devote many hours each week to branches of his profession. "hi-fi" may be seen in the elaborate audio average listeners were subjected to wide- much more than a competent musician and ured by record col- such problems as: maintaining a complete In view of the school music conductor's centers in all our large cities. In these estab- range music as contrasted with narrow- pedagogue; he must be philosopher, friend, lectors but of late and accurate inventory of all departmental vast responsibilities and the various areas lishments interested music lovers may hear range music, the preference was usually for advisor and counselor to all students who difficult to secure. Co- equipment, items such as uniforms, instru- they cover, let us more clearly define them sound-reproducing equipment of many the latter. Naturally, the better reproducing come under his direction. If he is to make lumbia has now ments, library, repairs, course of study, and give further consideration to the means manufacturers. Intricate circuits make it equipment was not built. The guinea-pig the proper impact and influence upon the obliged by bringing ir Thomas BeedJam schedule, concerts, publicity, faculty sup· by which they may be achieved. possible to audition almost any desired com- music lovers had broken their glasses in th~ young and adult lives of his students, he out a "Special Coli lor ries' containing bination of pick-up, turntable, amplifier, Lin Taiyi tradition. must be as gravely concerned and interested port and understanding, community service, The Student, The Home and speaker. Thousands of music enthusi- It was the unexpected growth of h isrh- on eight LP disc eighteen histori perform- in their social and aesthetic development, public relations, cooperation with and sup- If the music program of our schools. is asts in this manner, or by catalog or hear- fidelity parts sales beginning about 1947 ances of the 78 rpm era. Of greatest interest and their ultimate status in adult society port of other departments of the school's to realize its primary responsibility to the say testimony, have selected component that finally convinced the big interests that are these Mozart. ympbonies. especially the as he is in their ability to perform adequate- program, such as dramatics, athletics, radio, child, to the home and to the community, parts and have assembled (or have had as- a lot of Americans have golden ears after G minor; Weingart.ner readin of two ly upon a musical instrument. parent-teacher associations, board of edu- it must first seek the development of the sembled for them) phonographs or radio- all. That there is money for business in hiah Handel concerto gross; and three Wagner It is true that the responsibilities of the cation, and the school administration from student, not as a musician but as a well phonographs they firmly believe to be more fidelity is now beyond dispute. 0 titles; recordings of the He idn cello COIl- classroom teacher would include all of these grade school through high school. integrated, clear-thinking citizen whose musical than most commercial models. A~ 1953 moves toward its close, the high certo and the chubert A rpeggiont: sonata facts of the students' training, however, in It is in this area that the conductor -is n qualities as such have been accomplished From the beginning of the high fidelity fidelity bandwagon rolls on with new big- featuring the art of Emanuel Feuerma : most cases the classroom teacher's tasks are confronted with the vast mass of details through the assistance of the music pro- movement, everybody has understood that outfit converts by the dozen. Competition three short Bartok works with tile composer nearly completed when these missions are and administrative problems that no class- gram. Hence, in our teaching of music we the movement is a reaction against the poor from catalog houses, local custom builders, at the piano; and zigeti performances of accomplished. Not so with the conductor, room teacher encounters, and a responsi- must be equally concerned with the stu- musical quality of the typical radio or and audio centers has caused every manu. Ernest Bloch's Baal hem and violin con- for in addition to these qualifications and bility that in addition to cutting large holes dent's development as a citizen of his com- radio- phonograph combination you buy at facturer in the business to introduce one or certo. While the tone quality varies. it is his interests in these aspects of the students' in his daily teaching schedule, also requires munity as we are with his ability to prepare a store all ready to plug into the wall at more high fidelity models as part of his generally good. development, the conductor must be not considerable "know-how" and training. home. Most of these commercial outfits 1954 line. only a skilled performer upon his major in- The importance of these responsibilities his daily rehearsal assignments. have been built to sell by the hundreds of ~liether the conversion is complete re- Bloch: Concerto G"o~$O and their success in the final results are We have in music a powerful instrument Schuman: S)·", phony lor Iring. strument, but also possessed of the ability thousands or millions, and their designers by which the student may be reached; fOT ~~lall1Sto ?e seen. To paraphrase a spiritual, and training to satisfactorily perform, at quite evident when, in our observation and have worked frankly on the theory that few Everything called high fidelity ain't a 0"0- through his musical experiences and con- This record is presumably only the lint least for demonstrative purposes, upon all study of the most prominent and successful buyers are interested in hearing reproduced ing there." Un distorted high frequenc~s. tacts he may be (Continued on Page 61) to be released from the hours of tape re- of the instruments which he is required to school and college bands, we readily find a music that sounds much like the original. clear bass notes, unhindered dynamics, ab~ (Colltinued on Page SO) ETUDE-o'CTOBER 1953 19 18 ETUDE-()CTOBER 19j3 PIANIST'S PAGE three-voiced fugues joined together by In- terludes. There is also an opening prelude and a closing postlude. The whole work, of The Piano Tl'iumphs More Thoughts rom formidable difficulty, is a fascinating study. What Can Technical .f Its fugues employ the familiar old con- (Continued from Page 15) trapuntal devices like the "Retrograde mo- tion" of the third fugue in which the theme Everett Piano Co., says: 'We've been oper- is restated in reverse order; O[ the "Inver- ating at full capacity since last September. the Mexican Border sion" of the second fugue, with all intervals We're working a nine-hour day and it Instruction Achieve? turned upside down, seconds becoming looks as if we will have to continue doing sevenths, thirds changing to sixths, etc. - There are toccata interludes, canons and so through April. We're that far behind.' "And at Rudolph Wurlitzer Co. in Chi- modal fugues. The Interludes link the cago, R. C. Rolfing, president, says the Part 2 fugues key- wise, starting in the tonality of company is having no trouble selling all the preceding fugue and finishing in the the pianos it can make. by MARTHA NEUMARK key or a related key of the fugue which "These reports from major manufac- follows. turers in the Midwest, the biggest piano- Serious, advanced players will find the making region, are echoed by producers by GUY MAlER Ludus Tonalis not only a unique and chal- in other parts of the country-though not 8. Portamento (employing arm motion) lenging composition but very rewarding to HE TEACHER· STUDENTS are not all are equally joyful. John Steinwav, speak- 9. Thrown Weight (f r extended legato play. ing for famed Steinway & Sons in New York Tpermitted to forget that many things other than technical drills are necessary for over long intervals) City, says the company's sales are right on 10. irculat ing ri t and Forearm [use- The Pianist's Piano a par with those of 1950. effective performance. They must know the Why is it that when most professional period .stylel. ~f the composer; the same ful in Ilaying broken hord) "1. F. Feddersen, president of the manu- pianists are confronted by an unfamiliar symbols and juxtaposed notes are variously It is readily apparent that many other facturers' association, lists as a major fac- instrument they regard it with hostility? interpreted in the music of different periods. elements mu t cnl r into th production tor the bumper World War II crop of It seems to me that this is unwise because Even within the works of the same corn- of a sat isfa t ry performance. Dynamics, babies, which has now grown into the seven it creates a serious psychological block. poser these differentiati!ns are known to rhythm, pedaling, memor izati n are equal- ever I play, so evidently it is worth it . to 14 age group. 'These youngsters are now A Good Question The pianist expects the instrument to be crop up; thet(piano teacher must have an Iy important-the nrrols need d to "In your Junior pianists' classes why I seem to practice (mentally) so slowly- reaching the right age for taking music unresponsive, stiff, uneven, wooden, so of I adequate background of reference to im- achieve proj er attention to them depend do you permit the young players to per- -it takes three clays at a half-hour daily t(~ lessons,' Mr. Fedderson says, 'and this is course he starts out with several strikes part to his own students. 10 a great extent on the fa ility that good form such trashy music as , go oyer the Bach-Busoni Chaconne thor- only beginning. We can expect a 30% in- against him. He takes it out on the poor, ,i "You can acquire elasticity at an early physical rna tery imparts, Th admittedly ...... , and ? I should oughly." crease in that age group by eight years guiltless piano. Result: stiff muscles, , I stage," Mrs. Leonard teaches. "Finger ac- integral facet I true mu ical performance think that you would find it intolerable to That pianist has answered her question from now.' pushed, bad tone, unyielding rhythm ••. "Adds Mr. Stapely of Everett Piauo Co.: tion is only a part of piano playing; much may for the mom nt be lismi d with the listen to rubbish of this kind and would perfectly. Very slow) thorough, kinesthetic Then of course he blames the piano! 'Any experienced piano merchant will tell of the control should come from the fore- very brief analy i that follow: refuse to hear the ghastly stuff." practice away from the keyboard-hands Is it the instrument's fault that it is you 80% to 85% of the pianos sold are arm and upper arm." DYNAMIC: The ontrol of ound "olume An excellent question even if it is rather singly and together-is the very best way ancient, battered or tired? Why not con- bought by parents who want little Johnnie No set of technical piano exercises in is actually ynonymou with the production violently expressed! Yes, I am often criti- to insure an adult against forgetting. The sider rather that pianos have defects just to learn to play.' current usage can actually be original in of music, since mu ic itself i expr ion, cized for listening to musical rubbish; but more painstakingly you do it, the better. as players have poor qualities-fingers not "Lucien Wulsin, president and treasurer essence. But Mrs. Leonard's form of presen- despite the generation that have been ex- please remember this: The pupils who play To "mental practice" the first movement of always controlled, passages uneven, tone of Cincinnati's Baldwin Co., which runs tation definitely is. And obviously these posed to the theory, lill all too prevalent, for me want to perform these pieces; they a sonata might well take an hour, a Chopin inclined to hardness? Well! The unfortu- second to Wurlitzer in unit production but drills are not just to be "given" to pupils. that expression i omething that is added love them; their teachers have taught this Nocturne less, half to three-quarters of an nate instrument is perhaps dried out, the leads the field in dollar sales, cites another The piano teacher must take the time and to music. A point to remember yet often music to them; they have saved time, ener- hour. The long, involved Bach-Busoni Chao felts are soggy with dampness, the strings reason-a general increase in interest in the trouble to see that they are copied and forgotten by piani ts is, in Ir. Leonard's gy and money to attend the class. So, who conne would require at least an hour and rusted, the sounding board cracked, or it's music. that the execution and use of each is words: "Dynamic should alway have a am I to condemn their taste and refuse to a half for one thorough go-over. out of tune-s-the victim of a dozen dis- "Mr. Wulsin notes that the number of thoroughly explained. It is important to rational basis; they're net ju 1 to be listen? Even in the sappiest music one can Never skim mentally over any piece; towns providing regular classical music con- keep at technical studies as they are out- changed when you think ou've been long usually find some good qualities or a way always "see" and "feel" every finger on tressing ailments. But treat it sensitively and you will be certs increased from 1,000 in 1941 to 2,100 line? below. Scales and arpeggios form an enough on one level and it's getting mono- to help the pupil to improve technics or every key, and always go over difficult in 1951 and the number of persons attend- excellent basis for many of them. It is tonous. In Bach, for example, the more musical perspectives. And always, then and portions carefully with single hands. It is surprised at what it will give you. Test it ing concerts of classical music rose from important, as Mrs. Leonard affirms, that you recreate within the level of the spe- there, I suggest better or more appropriate a slow, painful process; but no other mem- to see whether it needs swift finger tip 16 million to 30 million. In the same period, the performer be so conscientiously versed cific dynamics the more artistic your in- pieces to teacher and pupil. ory method is quite so effective. contact percussion, or responds more to gentle or solid weight. Never push or force the number of symphony orchestras in the in them that when they are met with in terpretation will be. The quality of tbe It takes long, loving labor to raise stand- (See "Mental Practice" by AIda Ciccolini its tone, for that will only result in dull nation increased from III to 200. He also ~omposit~ons under current scrutiny there chord progressions may sugg t the rise ards. This cannot be attempted in a short on Page 16 of the September issue of notes a sharp rise in phonograph record IS a feeling of complete familiarity. That and fall of dynami s. 7 to I, for example, class audition. I want each student to play ETUDE.-Ed.) thudding and utter frustration. Remember sales and the soaring volume of music way lies fluency. In silhouette the ten tech- generally eases off, as does 1 to VI. An zestfully and happily for me. Why is he that an upright or spinet model cannot pos- conveyed to the public by means of radio niques line up as follows: augmented chord, on the other hand. indi- playing the piano? For enjoyment, release, Epitaph sess a good grand's virtues ... II you do and TV. 1. Dropping Exercise (for relaxation) cates a strengthening. Piano and pianis- lift. He wants a "kick" from it, and can Well, as you see, problems do rear their not take out your exasperation on the in- 2. Staccato (really a form of the Drop. "Mr. Bull of Story & Clark says that simo, as an instance, arc relative markings. only find it at his own taste level. So I heads, even here on the placid shore of strument you will soon discover good as- ping Exercise) when TV was first introduced, it took dol- In order to be heard in the back row of listen to the music he has prepared and try Bocochibampo Bay! But they don't persist; pects that you can emphasize. Through con- lars away that might have been used to 3. Legato (for producing smooth pro- the concert hall the fingers must he most to send him home rejoicing. they soon melt away in delicious dolce far sideration and care you may even be able buy pianos. 'But later,' he adds, 'it became gression of tones) firm and the sound may not be too low. niente. to endow it with qualities it does not seem a stimulant to the piano business by spread- 4. P~rasing (drop and release with arm) Be sure that all notes are always audible l\'lental Practice to possess ... and you will probably end ing a knowledge and appreciation of mu- 5. SIdeways Wnst Motion (for thumb and clear. In general) using the weight An excellent young artist pianist asks: Hindemith's Ludus Toualis up by liking the poor old thing! sic.' In other words, he reasons, people crossings; especially designed for scale and of ~he fingers and hand produces soft tones; "Is mental practice the answer to my A pianist asks: "Could you tell us some- Too many pianists blame the piano for seeing a maestro perform on TV get the arpeggio passages) weight of the forearm from the elbow pro- note-uncertainty and memory lapse in play. thing about Hindemith's huge piano com- their poor playing. The wise ones take such urge to play or to have their children learn 6. Ricochet (like skipping stones' for duces the medium range of dynamics, while ing in public? I try to average thirty min- position called 'Ludus Toualis'? What is incidents in stride, match their own flexible to play. playing single and extended grace ~otes forte and fortissimo should be produced utes a day of such practice but even that it all about?" minds and muscles to the instrument's pos- "A big boost to piano buying has mordents,. inverted mordents, turns) , with full upper arm, or more." Here MIS. is hard with my heavy teaching schedule. Its title is Latin for "play in tonality", sibilities and play effectively and well. ' come too, from the spreading popular- 7. Rollmg Forearm (no wrist, no finger Leonard cited the case of Artur Rubinstein) But it does give me a secure feeling when· and it is a profound collection of twelve THE END (Continued on Page 58) movement per se) who is known (Continued Oft Page ~) ETUDE-OCTOBER 1953 21 20 ETUDE-oCTOBER 1953 ... schedule up for one three-quarter hour MUSIC IN THE GRADE SCHOOLS lesson each week. Does this seem logical to you? Your book "Music in the Grade Schools" -G. T., Durham, N. C. IS DEMONSTRATING NECESSARY? has been of great help to me, but I have QUESTIONS Last year I attended a Piano Clinic at some very special problems, and I hope 1. I believe that most concert pianists which the teacher spoke at length about you may be willing to help me with one or play the movements of the Bach Italian form, style, practicing and performing two of them. We have a wonderjully en- Concerto at about the following tempi: works of different periods. Several students thusiostic crowd of children in our first Allegro )=116 of that teacher were called upon to illus- TEACHER'S six grades-they love to sing, they can Andante) =44·48 trate the lecture, but this was fragmentary read notes, and they are so up-and-coming AND Presto J=112 and in my opinion, unsatisfactory. The that l'd like to give them more than they 2. I believe that J=92 is a good tempo members of the class wanted the teacher to are getting. How can I create more interest for this Gavotte. actually perform but constantly met with in private lessons, for instance; and how 3. Either observe all of the repeats or alibis. We thought it was because of in- ROUNDTABLE ought I to go about starting an orchestra? none at all. Some performers feel that since ability to play. Do you think that a teacher Any suggestions you may have will be each dance is short, all the repeats should ought to be a performer as well? I am ANSWERS welcomed, and I'll do my best to follow be observed. Others feel that because of the interested to know. Thank you very much. your advice. (Mrs) H. G. W., New York. large number of dances in this particular Miss L. E. L., Mass. Suite, none of the repeats should be ob- served. Strictly speaking, all the repeats This question is controversial and there I am glad you h~lVefound my book about should be taken; but this does make the are many who say that concert pianists are music in the grade schools useful, and not necessarily good teachers, which is composition quite long. perhaps you would get some additional 4. Here, as in the Bach Suite, either ob- absolutely true. On the other hand many suggestions from my other book, "Music good teachers are mediocre pianists, some- serve all of the repeats or none. I believe, , MAURICE DUMES IL, Mus. Doc., in the Junior High School." This is pub- however, that in this composition most per~ times because of a poor hand, or lack of r, lished by Birchard & Co., but may be time to practice, or little natural gift. Still discusses a controversial m au. and formers do not observe any of the repeats. . recomrneruls "L£njaI11iliar" album. . secured from the publishers of ETUDE. 5. As for the length of a lesson, I believe their teaching can be effective and they can As for your fifth and sixth grades, I turn out well-trained pupils. Of course the that the usual length is 30 minutes, but I think what you are doing with them is ideal combination is one of both elements agree with you that at least in the case of ~ excellent, hut I believe you ought to begin the more mature student 45 minutes would on a high plane, for in a Piano Clinic such . . -" some work with instrumental music also. as you attended there must be a maximum be better. However, I think two lessons a -- If a piano is available you might devote degree of personality appeal which binds week of thirty minutes each would be al- one music period a week to teaching these the audience to the teacher, and vice-versa. most twice as good as one forty-five minute children how the notes in their song books Let's suppose the teacher discusses Chopin's lesson, so maybe you can work it that way. connect up with the keys of the piano. Fourth Ballad. Whatever his verbal com- I have one other suggestion for you: The This would naturally lead up to the idea i ments may be, the listeners will understand Conducted by KARL W. GEHRKENS, trend today is very strongly in the direc- of private lessons, and some of the pupils better if he can sit at the piano and perform man (Salabert). hours. uch produ lion obvi u Iy cater Music Editor, Webster's New International tion of class lessons in piano, with from 5 who are not now studying the piano might I it brilliantly. It will also convince them Slightly more difficult but not exceeding to the ma SCS, the minu habens of intel- Dictionary, assisted by Proj. Robert A. or 6 to as many as 8 or 10 in the class. easily be induced to do so. Incidentally, it beyond any doubt that the one who ad- grade three and a half: lectuality, and they arc li rated by com- Melcher, Oberlin College Perhaps you might work out a plan by would be a fine thing for both you and the dressed them knows what he was talking "Onze Pieces Enfantines," Alfredo Ca- mercial consideration. This may r may which each pupil would have one class private piano teachers in your city to come about. sella (Universal). not be wise, and I incline toward the latter, lesson a week-this to last about an hour; to know each other, and I suggest that you In my opinion, demonstrating is less "Almanach aux Images," Gabriel Crov- for the people at large are far more dis- and one private lesson, this to be only 30 plan a meeting-perhaps a Saturday lunch- classes in both strings and winds, and jf necessary in a studio and during private lez (Augener). criminating than the advertising agencies eon-to which all private teachers in town no local teacher is available you might minutes long. lessons than it is during a Clinic. Never- All the above numbers are short and seem to believe when they elect uch pro- I do not, of course, know the circum- are invited. Eventually all this - would be able to induce a teacher from some theless, it is advisable at all times, for it effective. They should please your audience ductions hardly exceeding the mentality of stances in your city, therefore I can only naturally lead to piano classes in the school, near-by place to come to your town for a conveys a musical picture that is direct and and bring a welcome change into your pro- six years olds. Is it impossible to beuer make these general suggestions. But per- the teaching being done by private teachers, half-day a week. It takes time to develop alive. And remember: "Where the spoken these conditions, and IUU t quality al- grams. be an orchestra, but the time to begin is when haps they will set you thinking along a word stops ... music begins." It applies ways sacrificed to "low brow" tastes? I but under the general guidance and super- the children are still in the grade schools. little different line.-R. M. and K. G. eloquently to the case. MUSICAL QUIZ wouldn't think so when I examine the vision of the school music teacher. Ideally the money paid by pupils for class lessons -K. G. As the quiz goes on, the name of Ger- schedule of the Australian Broadcasting ABOUT PLAYING HYMN TUNES IN CHURCH WANTS UNFAMILIAR ALBUMS shwin is brought up. A little ten-year-old Company. would be turned in to the music teacher or perhaps the Principal of the building, each ABOUT TEMPOS IN BACH AND HAYDN Please give me some suggestions about Could you give me the names of un- boy raises his hand: Down under, more than 30 public con- hymn playing. I have no trouble filling in familiar albums for the early grades, let's "He was born in Brooklyn. He wrote certs and recitals are heard weekJythrough- class piano teacher then being paid by check once a month at a fixed rate per 1. Wltat tempo is usually given each o] the chords, but when adding little Tuns and say one to three or three and a halj. I want Rhapsody in Blue. His father said make it out Australia. III 1951 there were 687 such hour, the rate depending on the length and the movements of the Bach Italian Con- figurations it is sometimes hard to make my pupils to play something out oj the good George it might be important. He concerts. Of these, 508 were public per· quality of the teacher's service. certo in concert performance? these fit the required number oj beals, and ordinary at' our next recital. Do you know liked classic. He was influenced by Ben formances by symphony orchestras under In the case of orchestral instruments, 2. What should be the tempo of the Cav- this throws the audience off the track. Will any good albums published abroad? Thank Hogan." control of the Commie ion, and' free con- the easiest thing would be to have a large otte in B Minor by Bach Saint-Soens? you very much in advance. "What?", Teacher exclaims. certs-including those for school children you advise me? 3. In the E Major French Suite 'o] Bach, Miss R. E. V., (Miss) A. L. G., New Jersey The golf champ turned out to be _ • . -s-totaled 162. These figures are eloquent picture of each instrument-perhaps on a csu; chart-and to have the children see the what repeats are observed in concert per- Beethoven. and they testify to the culture of both man- You will probably not like my answer, picture as they hear the instrument on the fonnance? There are many albums published abroad agement and radio audience. . but this is the way I feel about the matter: EVERYWHERE YOU GO phonograph. A better way is to have stu- 4. In the Haydn Andante con variazioni and I think you will enjoy the following Recently and in addition to the above- in F Minor what repeats are observed? I believe it to be in bad taste to add "runs ones: ... there is Radio. Of course you know mentioned gag, we heard of a contest with dents from the high school come to the music room and demonstrate his instru- 5. I have been out of the field of private and figurations" to the music of a church "Pour Petits et Grands," two volumes, this gag which for many months torments prizes granted for the best completions of piano teaching for about ten years. I am hymn, and my advice is that you merely Alexander Tcherepnin (Durand). us like a mosquito or a gadfly . Yes, there ment to the grade school pupils, giving the words: "I like radio because ... " again opening a private studio. It has been fill in a chord or add an octave in the bass "Trois Pieces Enfantines," Jaques Dal- is radio, but of what kind? While we are theni a chance to ask questions, of course. Well, my fellow Hound Tablers, I shall not my observation that, in my own case, the at points where a more powerful accom- croze (Salabert). thankful for a few high class programs If this is not feasible, there may be adult win the washing machine or the wrist watch three-quarter hour lesson, except jor very paniment seems to be needed, but that you "Pour nos Petits," Paul Wachs (Sala- such as the New York Philharmonic, the players in your community who would be or the deep freezer. After searching vainly young students, is much better than the stick to the notation otherwise.-K. G. bert) . N. B. C. Symphony with Toscanini, the for a good program and hitting only on willing to come to your school and do this holi-hour lesson. 1 contemplate setting Iny THE END "Croquis pour la Jeunesse," Evangeline Metropolitan, and a few stations devoted sobbing females, crooning mutton-tenors, same thing. Eventually this should lead to Lehman (Alphonse Leduc). to "good music," we can only deplore the gangsters' gunfire, or inane commercials, ,"Yvonne en visite," Albeniz (Edition tide of vapid soap operas, crime stories, my answer probably would go like this: Mntuelle) . blaring jazz bands, "hammy" commenta- "I like radio because with a flip of the "Vingt Pieces Faciles," Alexandre Tans- tors, which rises every day for interminable fingers, I choke the nuisance." THE END ETUDE-OCTOBER 1953 23 22 ETUDE-GCTOBER 1953 VIOLINIST'S FORVM ORGANIST'S PAGE "1 have been taking violin lessons for four years, but my vibrato is very weak and not much use to me. Could you possi- bly give me some information concerning exercises [or vibrato. Miss J. B. E., Maryland To Strengthen There are no better exercises for vibrato than really slow scales. Start with the two- New Vitality octave D major scale in the third position. It is easier to learn the vibrato in the third a Weak Vib rato position than in the first, and you should • stay in it until you can produce a smooth zn the and even vibrato from the wrist-though not necessarily a fast one. Speed is not a first essential in learning by to vibrate, though you need to acquire it later. Absolute relaxation of the hand and Church Service arm is much more necessary, and this is the first quality you must aim for. It is HAROLD BERKLEY impossible to remain relaxed if you try First performance of HThe Christmas to vibrate fast at the start. With the hand by Alexander McCurdy in the third position, rest the wrist against the shoulder of the violin and, beginning with the second finger, roll the hand to and the mu ie. U ually he d legale thi respon- T. JOHN'S Episcopal Church, in Hag- the morning and evening services and for fro over the rounded tip of the finger. Hold sibility to an organist and ch irmaster ; erstown, Maryland, recently held a two- the settings of the communion service that each note for about six seconds. At first, S but the ideal reet r till take the k nest brate rapidly. Let it come naturally as you bow does not stop between the notes and day festival of church music to celebrate a choir which is worth its salt need repeat yon will probably not roll the hand more interest in the mil i al ervice, keeps in play solos that call for it. If your hand the tone does not disappear. This calls for the re-dedication of its Brugh Memorial selections only at long intervals. And there than four times to each note, and the touch with what i g ing on and gives hi and arm are relaxed it will come as you a lightly balanced arm and a very sensitive Organ. The instrument was built by the is such a wide latitude in the choice of sounds you make may be a little depressing. need it. touch on the bow-stick. For these reasons, M. P. Moller Co. of Hagerstown in 1925, good music for offertories that during the sincere hell at all times. Don't let either of these things bother you: Five years ago uch a r ct r, the Rev. Why not try to buy from the publishers the portato is practicable only between the and was completely rebuilt this year. church year some important work can be just realize that an essential foundation is of ETUDE copies of the October 1947, middle and the point. But the rebuilding of the organ was only sung every Sunday. Kenneth M. Gearhart, arrived at I. John's being laid. August 1952, and September 1953 issnes of Discreetly used, it is especially suitable part of the story. It was the outcome of Nevertheless, an Episcopal church can Church in Hagersl wu. Maryland. He had When you feel that it is easy to roll the the magazine? On the Violinist's Forum to the works of the French and Belgian a five-year campaign to infuse new life into get into a rut, musically speaking, just as had considerable experien and wa a dip. hand evenly though slowly, move it away page in these issues are comments on var- composers, for if well played its effect is a ministry of music which had become easily as any other church. The beautiful lomat of the fir 1 order. Tactfully he ur- from the shoulder of the violin and con- sensitively expressive. The compositions of more and more perfunctory over the years. service can become as run-down as indif- veyed the situat i n at the church. What tinue to vibrate. This may not be quite so ious aspects of the vibrato, most of which Vieuxtemps offer many opportunities for Music is a vital part of the Episcopal ference and inertia can make it, if it is he saw of the mu ical progr III did not easy, but keep on rolling the hand slowly will be helpfnl to yon. its use. In a phrase such as Ex. B, its effect service. A "good many people hold that the allowed to do so. Oddly enough, when this please him. The mu ic we provided b)' and as evenly as you can. In a day or two musical standards of the Episcopal Church condition does occur, it is reflected, as a a small professional choir which eng ever you will be doing it without any trouble What Is Parlato Bowing? is particularly good. are the highest of any denomination. rule, all through the church. and over again the arne works of ir John at all. " ... Would you kindly tell me what is Whether one agrees with this or not, it is If a ministry of music is to succeed, Stainer, John E. est, ]. H. Maunder and Now you are ready to try the first posi- meant by portato bowing, how it is played impossible to deny the range and variety it seems to me, someone with vision must other mid-Victorian composer. {Thi is tion. At the start, play two or three notes and 'when it is used. [ have seen several of music which one can find available for be at the head of a church. In an Epis- not meant as a sweeping condemnation of in the third position, then two or three in references to it lately but never heard of the church service. copal church, this person must be the rec- Victorian church music; but enough; after first, alternating in this way for a few it when [was studying ... " But it must be emphasized that the Such a wealth of beautiful music has been tore According to the canons of the church, all, is enough.) minutes. Then practice.something that does Mrs. M. L. B., Illinois portato is effective only in inverse propor- written for the canticles and responses of the rector has ultimate responsibility for It was Mr. Gear- (Continued on Page 52) not call for the vibrato. After some fifteen tion to the frequency of its use. Over- or twenty minutes, go back to the vibrato Portato means "carried," and to the vio- done, the effect is one of mawkish senti- and work in the same way, though playing linist it implies that the bow is carried mentality. Not long ago I heard a well- more notes in the first position than you over the string without pressure. That, known violinist, whose sentiment greatly do in the third. Again spend no more than of course, is an over-simplification of a exceeds his taste, maltreat the opening five minutes on the vibrato before going rather complicated description. It will be theme of the Finale of the Cesar Franck to something else. The reason for this al· easier to explain what the portato actually Sonata as in Ex. C-and so all, ad nauseam. is by explaining how it is produced. ternation of practice is that nearly everyone Ex.C has a tendency to stiffen when learning to ~n ~ ~~~~ I vibrate in the first position. If this happens dlFt i"IViI"ElI1 etc. it undoes all the good and careful practice The portato may sometimes be used that has gone before. So be sure to stop even when it is not indicated. For instance, and rest for some ten or twenty seconds Ex. D, the final measure of the Introduction at the first sign of fatigue. I have said Ex. A shows how the portato is usually to the first Caprice of Rode: this many times, but it cannot be em- indicated. You will see that it is a sort of phasized too often. semi-staccato. But there is a vital difference As soon as you can vibrate easily and between the staccato and the porta to. In the smoothly in the first position, then is the former the bow stops after every note; in time to increase the speed of the vibrato the latter it is "carried" a very short dis·" gradually, and also to practice it in the tance, _with aI! absolute minimum of pres· The Concerti and Caprices of Rode have upper positions. 51,1re,before pressure is applied to produce a number of phrases where the portato may Be patient. Don't be in a hurry to vi- tone on the next note. In other words, the be tastefully used. (Continued on Page 60) ,.~,:--C-ontinuo;;group. Note viol da garnba "made' by E. J. Phiflips, a Wind section .0£ instrumental gs-oup, Note recorders and alto choir member. trombones, 25 . 24 ETU fJE- , 4 1 4 4 f :44, Moderato (J,72) R.H·8-' 3 '=- 2 I 3 1 >- <, .. : u J - . ~ --= -,J -:J-::- '!' >- • >- • >- ~- 3 .. 2 3~ I '- p '- mp tenderly 3 ~ L.H., PIANO - 5 J ~ .fI..fl. f..~..t'- R.H 5 L.H.r qr~~R~ ,J,. .~ .JI-J. ..fl. .fl. ...fI. f .,...... _~ PIANO /' .J,.:..it ..fI...... cresco 31 -~ I . .r .1·'l.I 21 ~r:il 41 ~ I <. I . " , m . . 4 sempre staccato (' 1 ~ I ~ I ~ (. ~! 5 r3 (. r --- f2 3 - - L.H. --- ~ ~ u 2 1 3 ... t" ... : I I Z a tempo . . f\ u 2 3 ~ . .." ::..----' pp "?! ~ pocodim. d~.fI. .~ ••• .,' .fI.~ .". ..,...... # ..... 4fI-_"" ~.~ ...!:..~ ..- • • . 4 2 3 3 , ~ ~ • u ~.II·' ",.:.u· . >- 'f i z * .. ".If.:~ .. I r ~ · II I , 8', I~~'~>- . ;!t':'~ l-z;:f 5 8'; f ff I f\ u 4 ~ ...... ~ .1If!: " •• JII! ..1..1 ...1:'" ..1:..1 .. 1:.. ' ..I ...... , .....1 ..l'" '- J :I 7 ::1 ~ #~t- ...... mf s -F -~ < r -== s r r ~ '( 11/'/ ....;1 5 . >- . fl":.· , ~r "T 1 1 I , --- -:J~ ~ I 31 .:J.---J ~ 1 ;] -...... I t- ~. 1 ~'4 T r .... p pp .... 11 ff p r --- 13 3 to r: 13 "J: ~ t - ~ .,...... l ...... it..:. . - ;,...:.. "".# ....A #_.fl. .JI- ate · .. - ~ 4 5 1 · 1\ u 1,.1 1/5"h u 4: 2 3 1 2'" t~ ~ k~1 2 ..fi I '- 'n-t 5 ~~ ~~ mp mf f\ 2 ->- % .... ->- .>- ~. 1 = ___ 111p_ Fine • • - 5~ "" 3 I poco l'it. 4 ~ ~ :...------l .. ) ~ / ... ~ t. ':" >- • >- p : - ...... fI. .fl. .... ff... ~ ~ (' (' ...... l ...... l ... ..l ... ..l ..1 3 ...... ~2 I ~ 4 t ...... I' 12 r3 5 3 2 : 5 3 4 ~I..' . 5 Z t " 3 .0) 2 1 3 · 5 I A A 4 3 4 ___-----52 1 2 I , .2 3 t 2 4 t ==-p mp I dim. e raIl. D. C. al Fine sf, A 3 .2 t 21 5 .2 [) ...... 3 % t % t Z 3 5 S A 5 t 2 t Copyrighl 1953 by Theodore Presser Co. 28 . In~el."national Copyright Secured Copyright 1953 by Oliver Dilson Company Inle rnat ianal.. Copyrigh t~Secure d ETUDE.OqTOBER 1953 ETUDE· OCTOBER 1953 . 29 God So Loved the World Grade 3 (Chorus from "The Crucifixion") JOHN' STAINER No. 110 - 40259 Memory of Maytime Arranged by Henry Levine Grade 3 FRANK GREY Andante rna non lento ( ,80) 5 5 1 3 5 2 v:alse lento e sostenuto i~ 4 4 . l~ -... ,..--..... i______z ------. 2,_ 2 4,~ l 2 l 2 l 1\ I ~ " .. . , --- . . , , , · . 7:T ... c;. · .... I <- ]f- ~. LT .. G.:- ,- afesa. I-- i r ... mf< I!. -6-: [;* - J- II!. •••• mp --- - ::::::::- <, - 1--. -= PIANO p.-; II I'-n PIANO mp....-- ~ ~ ~ ::-- :..:.- I.. ~ i--IJ<-: -r: I J .. ..II. .s: :> " L.H;. J_ I- , -. ---- , • > :> > > : " · · , : . . · l . . . 5 4 2 3 2 • . · fT· r-=------. 3 r~S'-' i~~' ~ , , , , i 5 ~ 5 ~, •i 2 ~~5 21)) 4. 3 2~l l l ---.., a tempo A u -\ I i I 3, 5[ ~, t , i 7 'l l . 1\ I ------.------.------...... ------. I I- -6-cresa. • • I~ r I II 1(;,1p.c=:::- ::$- p. II!. ~~2 t---~ I U~.9- III [ .. I_ll"~ ~.J.J ~:J .. ~. 1.fL .. :- ~ • III _fL Ib <9- .. '>"- • . . · : le ~ 3 . . 4 3 oJ • · - . . , ~ ,-=------1" I I r~r' I I . . A ~ f~' --J' , , n !j, 3 2 i i 5 3 3 ______3 5~ 2 r,~4 l 2 r-. 2 I i 2 t 3 I 1 t i 2 l 2 l 2, 0 3'4 ...... t " II , I --... :::---.. 1\ ----~~ · ------,- 1-6 I :;s , It - cr.esa. T • ::::=- it-r:-'1I I? '11 I I •• !.. --= mf if P - i- cresa. ---Jf:". _ _ • .fL , , , i mf ~.~ u" ~ - u - ,..--...... i II r--- ~~~~.""~ bl: :I.: ---- . '. t i 13 I ~. 0 1 ~ 2 l 3 2 3 ~ i 5 i · 13'I !'I 5 3~ i) -I i 4 i g .~rt: 1 i~ " l l ~~ 1":\ ...;- -... , " , ...---. -~~- - 1':\ . : . · . - ~, c; ... I l- · ~-.:.... !'Iarese. .... I I ... . II!. ~.p r" . (;,I ~: H I · ..'. -- ' --. II!. " , p~ P- 9- 1'-...... : ~ 3J II J III 2 ..JI. ~ t---~ ~ i~ III ~.R.H.-.L Ri"rall e dim. ...J..i1 P -"'. . .a. . . • .~ I.~: . rall I.e dim. 1":\ Ul.l I\.f :>:>::: ..I~~: > > I.~ . > > l ~_ +- 1':\ · : · . • i 5 i 2 i 3 2 , . . . -- - I I T I '6'J5'; . -I> I r.:.----r ~-- , i • 5 --J' , ~Fi"e - A r .~5 l 2 3 2~ • Un poco pIU.. mosso • u 5 4" t l i~3,5 ·~iI5.J i 2 ~ 5 % 4.3 .s. " I --. 'T'I . --- c; • '.,s>C'resa. I~ t ~ > cresco i':' rt I~ r -,p1l p~ V~.J I II!. "-. -d"" .q;; n ~~2 _ll' f/ 1'-. IU'r \- ~'!. ;- "/:: I ll:;;~ I.. : !... II.' .JL ~:.J :- d' be' 1--- ~ i#g ,!- "If: Ur 1tr ~ . , . - ..11 .:- ~ ... I. , . - J'n ~ r-:-.. ~: · . . i . .. 0 · 5 l 4· i 4 3 - 3 . 4 . . " , .- r L-.-.J L--.J , , i~ 1":\ - f\ u 52 ~ t 3'1 51~ ;- t 2_ "l I r~ ~~11.5 3 ----- ," .J 'I ~ ,".. J --- ., ~ I- l 2l ;...;l52 II 2 · . " I .----...... 'fl-5 · · : · . , · ,- I c;. ',-- 1-<- 6' (;,I' II!. I ,j' I=- · pp . . · .m. I ... •· pp!!- r'~ II!. I I I" r · --I-- -I II j ~ rall rall.i':\ T ~~ ~ 1":\ Ib~ fbtr' ~ So --: 2 [---0 ~ ..~ · : $: b..coe: ~: I~: lliq,$:: Ibtr... ~: . . . . . · - ",. -.....- Il£,l ~ · · · · · 4 • '5 I I ~ --J' , -.J D. S. al Fille From "Themes from the Great Oratorios',' arranged and edited by Henry Levine. [410-41021J • • , -- , ,'-__ -1 ~ Copyright 1952 by Theodore Presser Co. International Copyright Secured Copyright 1953 by Theodore Presser Co. ETUDE,QCTOBER 1953 31 30 International Copyright Secured ETUDE _ OCTOBER 1953 ------,- .... Artist's Life ...... --...... --... :7:;. i=-~ r£ '1t I• .;--~ lil~ :~~ .(Waltzes) ~ ~ ~~ it- it it ~ ~~~ . ~JJ : : Turn to Page 3 for a biographical sketch. Grade 4. JOHANN STRAUSS, Op . 316 It 'I ~ f PP f ~ ~ ~ ~ ~ ~ ~~ 1:. ee ee JJJ ~ ...... ,,- -- .. " Tempo di Valse .... ~ ~ ~!~ee~ .... , I , If. JI: PIANO P .J JJ "JJ J. JJ JJ ~t J~ JJ e ~ ~ f2~ ~ . r, /"t #~~ #~ #{~ I- r" I-- I-- f- ee~ : ~~ t It p PP ~ !.- '- .. PP, , '7--;" 1-'~ I: s: .ur- ...... ,. .. ,.,j ...... , . , , , • f tt ~ .. ~ ~ . ;{ ~ . •• f. I lit PP - ~-~ I:J ,.J .fII. ,:t II :~ , " n~ •• •• ~ !: ~ · ~ . ~ ~~ · 2---" .: --..... ,;-!= i;;; = ~-.. - 2----" J F1 --- . If. f } e;~ ~~ 1:1: , J I: If JJ JJ e: ~. · .. · , • • , · I. tt· •• 1. II Lost Endi n g 1\ #~ #£~ #!E I-e : . >- . >- > I I , u ~f2 ~ ..;.. b.-n ' - ,., ... A I 1 .:. .------. -.------. :::..-.... " If. .. .. PP } ,P ~ . P '- '- ~ ~ ~ .. I I ~ I r r r - 1 . f f ...; ... OJ I I I ee I~ .- .. - - --"'.,.. -t-4- ':< t" I I. J I : . - .. D.C. I I , I p..-"'" I ~ ------:2 I ~ J 9- . ------11. 112. • 11TaStl ~ J.l ---, ::;J(2 ",:,)r-,s>- .:...... ~ ~ ~ P"""" -;; ~ Ending t. --. J ::------P ; · • • .... , ..- = If. .. · . -- - ... ~ ... i 1-1 •• .. .. , .. , .- ~.~ ~, p I .. • .. • · · I · , I I "11 fJ ~ I_I <9-----;' e e .fII. 11 D.C. ------'"' e e .. b.-! I: ~ b.-l • ,., .:. .:. .:. ~ .;, ... f2 II'- ;"e'" ...... ,.. it- ~ e ~ ~a. · I • ...... If. I ~l f f If. p .... I , !! !! jj ii ",.e~• · : it 1:1: ~e ee 1.J I: pop It · · •• ~. · · , .... -... I I ,iii. .. ~ b.- ______~ lL .lor~ ~ ~ :e ~ !:.~ .... h! I:B: .fII._ . ... d~.q~ j Ii ~-IltJ. ~ ~ Ii <9------.. 1;-. :;; .;. . . ." .:.--.:. .:. "'-'19- . . - f. t: . ... I P ~ =,' ~ ~ ~ · :: . J~ JI: f f . ii !! !! !! !! ..l. ii ~~ - · •• •• ,. J, . I I' I • \From~'Album of Waltzes" by Johann Strauss~[410-40110J ~ '=i 32. ETUDE - OCTOBER 1953 33 ETUDE _ OCTOBER 1953 • ----.. St. Peter's Oathedral'" ~ 9-' Andante (:50)J VLADIMIR PADWA (2.' ~~7)l7 ~jl7J17 ~J~ ~. iF3.h"l.h7 .~)J7j)7 :-~.~ ~ f- • J.l • . 1'\ . . . • A a ~ ", . , . . . ~ ~ ~ ...... · • Ii p ~ tJ ~ e ~..... I!. ~ .. ~ ~ , "J J f I: P · h- . · · !-C. L- • .:!-- ..:: ~ i u=i -...... :----- :d: ~ ~~ ~ :: ~ ~ 8 ~ i ~ ~ '1- ~)J7j)7 ~~j)7)J7 ~~~ ~ (2. ~ ~~~ e l!~~" ~ "4 -='Ii ::. ~:i,i . . i-= f- . he .. " '---~ ~L-~~L_....J~'--_-'~L_----!~L_-.JI\L_...Jh\ I\L_-J~ AL__ [@: p f II .---... ~------;-J--J-,.--- f llqi ~ ~ • .s: ,,~ II- , ~ ~ .,lI~ J1~ i .. · I - p .. A A A A A a '<, » i..lt~ . Jl~" I 1 II 2. . t. '-. ~ .-z:; ~:111 ... lII':;5 ~::::,q~: - ... 1ijl : ffmolto::=-mf =~p 11:-=4 :;: 11 . ~ : 111"~: :; ~ ~ ~:i'~'r-- ::: ::::;~==:=.~ ~ ~ v. ~ 7~:="--=q :..... :1ii·~.r.. A A , A f ~j1ii~ fL-..j. A ~~~.A 7:--r: A A " A A 1: A II!- .. f II II ~~ ~ ~~ ~.~ ~ ~ ·l~~~ ~ I' FP ~ , ""j""""--I ~ 'U' • ~ " '--- ~ 7J ~~ ~ ~:~~i~r.=~:L) .... 8 ~_1II' ~ '11 ~1j >- A A ~----.A....-.... A...... A h h A una corda '...J ' A .::> :> ~ f\ II !. ii8: .~ #e ~e:~ #~~ ~e:?fL (i.. .Q. • . I' 1'\ :>- AA A A A A ~ . :>- >-- A A A AAA I@. r I ~ I·' • , .•. :> I .'. r >- >- - I 0 _._~ "-'- 1T= ,.::: .'. f ~ ~~ ~ ~ ~ .' -- 1 lJ' • · - - - .. =6 ~ f6~ #13 =41 · ------,- #:i,i ~ ~r: 3-:<5 8 . --.Ji. 1\ A 1\ A'----1A\_--JA'-_....JA~_~L_...J"'_..A A ~ • • ~ - ,:;From"R~·~~~·S~'i·t·~:·,.b·y\riadj~i·~·Pa-d·~~·~·.[13"o.'-4:i-l::io] L---I 34 Copyright 1053 by Oliver Ditson Company ETUDE, OCTOBER 1953 International Copyright secured ET{JDE-OCTOBER lD53 35 , * , Grade 3 Bourree SECONDO Bourree JOHANN LUDWIG KREBS PRIMO JOHANN LUDWIG KREBS (1713.1780) (1713.1780) Allegretto (d=92) Allegretto (J=92) 4 2~ 2~ ~.;. s I'J I ~ .. ~. ~ %. ~ ~ % 2 1- ~~ :~ ~ ='l ~ ~ " I , ~ I@ ... mf I' P,.- I'J r -c-, ;;;;;- r- . : , , , . 1 % I 2 z 1 z Z @ '--' 3 t 3 5 - -, % ~- ~ • 3 t ~ r :; 3 ...... ••..••.•.•...... 3 • 1 2 t 3 . • 3._____._ /2 _ ..---. t___. 11 I h j % t .~.".~ =:.. s: ~. ::,.I '-' ' . mf 1'- P =- ===- - 11 I a: <, ~ t-: .-:-- '<, .... : -- - , e ' , t 2 I 3 t r • - 3 :; 3 :; 8"~ 3 3 'tr n I 4 ·."....3- 3~ 3 3 3J~J~ s 3~ t'~,._ '" !. · • . ~ I@ -: 3--' - I ' mf f~ I f.:- _::::::-.- -, I , ·. @ . t -----.. '-- z , t ~1 t ~ 2 4-" "'--?IT • Grade 2Y2 Menuet* JEAN PHILIPPE RAMEAU Menuet Allegretto (J= 126) SECONDO (16 3.1764) PRIMO' JEAN PHILIPPE RAMEAU (1683. 1764) t3 /-. . • ~~ i....---. , / .. :; .~ 2 ,3 ::::--4", _ 2 • f1 I 1 ~, lr,;t. 2 '", 2 - ;;;;11., ~3 /' 2_. ~. - - r -, PIANO 1'- mf 1- P.=--- - P I c:::----.. --.... ~ . '- 4 1 / 3 ~ 3~ 1 ~ ,. , PRIMO • :; 4", _ --- { •• Jl ., ~3 1('"~ ''; 2 2 ~." $: 5~ "---/' ~ mf f' - · r 1'- ,- mf I" --- P 11if--== f p 1 I , ~ " ~ ~ , , :> t 2 :; · . 2 3 · "t _ 5 %5 "~ , . ,,- , 3 --..../ TI 3 ~ •• t~ '- "./ .~. .. t -~. ~ " - . 5_____ -~ ~ 3 I ______.1 5_____ . .".~:.. 4 , 1Jl .dl!"; _ P f=- p . ~.;"1l2)r n: f , , , . 1'- '-.!C.. ", 1 f p mf f 'Ii , =\ =------'. -----... I # . ... , ,;f, From IIClassic Masters Duet Book:' compiled and arrang.ed by Leopold J. Beer. [410.40033J @. '- 4 , '--' t 1"--' ':" ~':"~~ v 1~ , Copyright 1941 by Theodore Presser Co. 5 1'- ~. I 36 British Copyright Secured - ETUDE _OCTOBER 1953 ETUDE.OCTOBER,'1953 37 » .. r-r- • • • BERNARDO PASQUINI Grand Partita in D mInor (1637.1710) Freely t-ra-nscribed: for 01'galt j (';\ Tellla , I ( 1 ( ,J J ! j ( . by Giuseppe Mosehelti " (Calmo e cantabile ~-e- I H-e-' 'V...... I I (:f11r I -c-, ...... J ..< ... 1,• .",b..hn r-. : P G Sw. 1" MANUALS fl· fl· rt-. : Ped.16' Sw.to Ped. PEDAL o· ------Variazione 3 Ped.31 Ir L'istesso tempo 1.1 I I I .J I I J ..I'; I I I r J J I I , I I fl - s .If 1 II'ILI J • Ii ® Ch.8'·4' Flutes & v:lina I I i'" I I r r t:\ _.Jt.J' ...,. .Q. 51.. .n. ft. J la-e-: I",b .. hn. -e- \-ll-e- I He- ,hl~ : • •• ~ : •< Ped.31 Ch. Stops S' Hammond 1 @ 10 5424 211 I , I f 1 ,I { r 1 I I J I I I I' IJ.JJ J I I I (';\ Sw. to Ch. Variazione 1 Registratio" I @ 00 7:;43 100 " - J I I I~ I- I ,. or r J I I I I ! r rHf rr I r r-. .0. 11t.d .)1 J~H.g. .d-e- .0.' ...... ~n ...... e;9.. h_~ ;> •< 0;Ch.I' : em Gt . .n.. .. II. .. [e- .I.! • . -(;-. . n . ...;----.. a-. ·< : Ped.jt;' , 8' Sw. Oh. to Ped . Ped.42 Variazione 4 Ha-m-m atui Regis. (J I1!J 00 6551 000 @S w. St'r mgs I I , I • . . I I - r I' . @Ch . .d I- motto legato r ~ . sempre siacc ... h_ .. ~_... ·(1,1.. • •· : 1 . . , .. r ' ill] Gt. rm Gt. [ll) oi, Flute or French Horn : , Gt.to Ped. off Gt. to Pcd. Gt. Dulciana & Flute 8' Sw. & Ch. to Gt. , Variazione 2 I I I..,...... r rr, ?II d0 fl oven , I ~ j J IJ J I • I I , I I I j I I .. I~ Gt. ~ r I I····· I ...... & It r I I r II I • ", • ..... ,1,)- .... f.'\ mf senip re legato ...... ~ .Q rr ( i'" : .. • -I, n I~~ r : •· l' , I (';\71" Ped 16', S', Sw. Gt. & Ch. to Ped. : : • Ped.42 , , '.:'To be continued in November 1953 issue. 38 Copyright 1953 by Oliver Ditson Company International Copyright Secured ETUDE. OCTOBER 1953 ETUDE. OCTOBER 1953 99 7 » --- - ... r:... _fl- ••• ~JII. Citt~--;a~.fl~. Menuet GEORGES BIZET t /4,.1:.. b f#?~~~!'nT'_'b'~~",..... fI-...... ;,rq.~1E~tt~. (From "L'Arlesienne Suite, No.2") . !"t transcribed by N. Clifford Page Accom,pan~me Andantino quasi Allegret~~ - ~ cresco poco a poco cresc: .t. ~ ~ .. •. .fI- f'- .: ~ f- I " , FLUTE - pp - I" • • • It. Qua~i avpa I' i I - • cresc. poco a poco cresco r .d. J. : pp rLrl! rirV fir j r rJj rrr r r l1r rflJ .. .. 11 .. I I . " :> t:: :>:>:> I if •• I ~ #.,..1/1. t"~*. -r-, • » ;;- '''''l ~ (*~flfI--;,*r:~-.*f. ~. ~,.tt~ ~ ~ .../, : ~ ~ ~ •. .fI- ~.fl, " , ~ moltof --=:I ~ I' r f ~, pp P I . I - - : . "v •• , :>:>:> :> v1 -'II I' =-- pp - "...L I I .-r- ... I ~ ~ - ~ f ~ ...... "1 "1 "1 -; 1 1 v_. 1 .. > I~ :> :> Vi 1 r ·r r r f rfr f r~r.r pp [11 ~1 - > :> .. oJ : == ttb~*.> :> l' : • r- 'i 'i :; 1 ~ =j :; .. ' ...... ~ La.t tim. to Coda~ ~:> ~:> •• ~.~ ~...... r;-. ~~ 11. II 2 . -$- CODA - ~ 1 ,-:=:::::- .. .. •• ~.,lI!.t~fI-r!fl~h cresco marcato pp if dim. • .. pp 1 " • It. - . _____r~ r-. ..-;;,.-;---.... ro ~ ro •• " ~ ~l::~Et?-- - D'S "a lCdo a " l ~.~.~ - :f!.f!.;"f'-~.' --. r-..",d."*~ fJ I ..---- ~ -"., I • • ~,tt~ .-:-;if~ • .(2- pp cresco ~ • tr:\ I • poco if dim. p 1.... .1 .. • I' I , calando e smorzando pp 1- ..,; • It. if") .. 11 "'111'''~ r:\ 1:<; .;0'. l'i ") lI'if~ ...... --- pp cresCo dim. p ~ I' ~.,. ' ... 1 : i: .. ~ . ~.. 1-'11 oJ I'll ppp .- rir J r W calando e smorzando .. : 11 r:\r:\ 1 'i =i t:= ~ 'i :; ll"rom"The Dltson Album of Flute Solos:' edited and arranged by N. Clifford Page. ~-[434-40040] .. ~ -6- Copyright 1937 by Oliver Dit.on Company . .' .0 ETUDE. OCTOBER 1953 ETUDE. OCTOBER 1953 .1 • Lullaby No.110- 40257 JOHANNES BRAHMS, Op.49,No.4 Midnight Riders Karl Simrock CWiegenlied) Edited by Walter Golde G~de 2~ English Text by Constance Wardle WILLIAM SCHER 5 Con. vivo (J.= 120) 1 5 In tender motion (Teneramenlc con moto l 2 1"3 i,, 5 1...... ~1 ~jj i~ .. • 1 ~ , ~- ~ I'".1'" I"'l"'"l • a 2 (zart bewegtJ P . ~ , . . . _..I . . . ,.,I.,J r 1 '- -L..I -..J : p-==:: ==- ~===- . i- I'JJl :> -======-:> s~~· -======-:> :> 111-' &: UE-.n : : . . _. . • ~ ::::~ . . . ,5 2 , ,a 2, '- a alt·· • s 2 3 2 -iii 2 2, II m ~11J. mm 1, ....-.... :> \1 :> ~I " I . ------...... · ~ I, , ~.t:[,. · f = 'r ~ Jl #~: ~H...: ...: .b~ Jll[~. #( :> . . . . ~ , , It ~'3 , · , 5 ,3 , , , , , ,2 ,~ " , · L-...J " 5 You r L, pray'rs have been gray is the Iight,_ Slip_ in _ to the c, bed, 2 a 5 " a peace till day - Iight,_ You will see in your dream Christ-mas can - dies a I""'!"" • , 3 2 , :;> un. - ter die be - dacht _ mit_ N(i"g • Zein be stcokt , sehltt1'f Ro - sen J Ch'Yist.ki1ld • Zein's he _ wacht _ im_ Traum dir_ Eng Zein J dic~ zei - gen Ii ~ ~ ~ J -=if 'I ~~. :> _~ ...... It;·· ~. a L!---ls 4 a ,2S~1 Copyright 1953 by Theodore Presser Co. 1-' --'I , 1 ... International Copyright secured No. 110-40253 Grade 1~ Tug of War MAE-AILEEN ERE said. If God wills, you will ~ EnergeticallyeJ - 96) a gleam. As you bliss ful - Iy " . Deck'. Mar - gew friihJ wenn Gatt ~. <, Baton. Schlaf nun se l£g 'und to ~ v- '-!'" s: ,. / '1L 1-7 -...... ~ -~ ~ ~ ::--...... [ f ==-~ ''!f . •• . . . •• . • A •• •• .. .. • .. · 3 a , 3 5 1 5 3 i ~ , , 2 5 2 1 . ~ I...• .~- -~ ~ 1";/ -~ ~ v 1--- ~..;, break, If God wills, you will wake With ~.,:.I .. ~ .... ~ ,,;I.. -.. .. !',~ ...... ,. ",f the sun_ at day break. .. I"~ ... . •• keep, As you bliss ful - Iy sleep, An - gel guards watch will · weeki, nwr - gen friih wenn Gott keep. J zvill) zvirst dt< tvie - der ge ootekt. 2 2 2 , dies J schlaf nun s. Zig • und suss, schau im Trau,m JsPa ~ ra dies. ~ . 5 2 1 ~ -~ ~ -...... ~ -~ 1 ~ ...... < ./ - - acc;;l . ==- ~;;:./r·~ R.H. . . • .. r-,..., ... • ... ••• •• •• .,..'" "-a From "Easy German Classic Songs;' edited by 'Valter Golde. [431-41002J Copyright 1952 by Oliver Ditson Company a 5 International Copyright Secured by - 42 Copj'right 1953 Theodore Presser Co. International Copyright secured ETUDE _OCTOBER 1953 ETlfDE·OCTOBER 1953 43 7 No. 110·40279 rJ u , Visions of Sleep Words and Mus·icby , Grade 2 ADAM GEIBEL Arr. by Ada Richler , . <; a tempo If: ":f J Tempo di Valse (J= 112) 5 5 • 5 -, .. ... 7 -...... 1/ ~~i how we love' PIANO pp r-rall. Sleep, r.'I P. O.al Fine p Jl 8 . , ,3 ,5 I V-- '------.J L----J "'---.J '---..J '- r- / -- 3 2 5 , 5 < .i>. 5 3 , , . '< .. • / ,,; • . ""9- fl- = 1nf. , = When the dance is o e r and the joys of-the ~ No.iiO- 40238 Grade 1~ Revolving Door Ped.simile A. LOUIS SCARMOLIN a tempo Con moto ( .= 60) • 1~ ~ 3 r. II 2 liS !.---- 3 5 . ------.. 2 --- I I . =====~+-rail. ~ , = 1'- l.The- door keeps tu'rn . ing, turn . ing, My- head is spin . ning so; ev!ning are end . ed. a! o those y eyes,- :1 PIANO < hea,d keeps pound - ing, pound . . ing, The door keeps turn lng so;------p 1r;T - ";jt. jt. rjL jL rjL ;.. ·r;" r;.. ;.. r;.. ;.. r;.- jt. 3 8 1 5 1 4 1 11- 5____ 11 u _____ 5 1 ~ Fine '..-----2 4 . -...... 4 1 1 3 --...... f rit. Repeal . a Au re - voir," dear ~ I , -<, friend. _+_ ad lib. I~ , I d • - My feet are burn - ing, burn . ing, As r o un and 'round -I go. • - The turn - ing door keeps sound . lng, As in the street I go. ;.- .r;.-;,. r~~ .,;;,. ;.. r» r..;. r• :c---~.;. Copyright 1953 by Theodore Presser- Co. I ~ International Copyright secured 2 1 s 6 S 5 2 3 , 8 5 No.il0.40244 Grade 1 Flying an Airplane BaBBS TRAVIS r.u 1 2 1 , , ~ 2 3 Moderato (d.=eo) . '- H ....--.---/ - fThe door goes 'round H~nd 'round, 'Twa,s lots of fun a,t first;------mp -~ ,...... , PIANO =--- . l- ~. /" I 1 2 , I 1 I s 5 3 P.8. al Fiy , U.-... , .~ Jl ------.. ------...... Fi,l" - . ~ ~ .~ ~ / / lis H.~n to H~s ""~ To sound,- But now I have a thirst. 2. illy- I • P - ~ ~ fL ... $ll- • '6'" ~ ralt. ".--.. a tetllPO ,;. -- . . . ~ r· , 1 1 2 2 3 1 I Copyright 1953 by Theodore Presser Co. 4 44 International Copyrigh1. secured Cop,)'right 1953 by Theodor~ Presser Co. International Copyright secured OCTOBER 1953 ETUDE- ETCDR-OCTOBER 1053 45 • AN AMERICAN WAY OF LIFE IN ART? Alman of German origin,and is the first . It h -ve r as its name implies (Continued from Page il) The Alman, or Al lc ma.n dc , was not of a oor t a.int y a dance. was, owe c, ' I JOHN BLOW . I h i te r i t i is cheerfulness. Grade 3;z- movement in a regularly constructed s ui te . is c a rae ens t c . (1648·1708) young singer finds almost no chance whereby the Metropolitan Opera is Allegretto 1 4 to earn a livelihood outside the more paid for keeping him on its rosters 2 1 blatant fields of quick success. The ~or one year. If the rosters are full, road to art has become virtually a If for any reason quite unconnected dead-end street. I am heartbroken with his personal abilities he is not LEILA when I hear really fine voices using needed at the end of the year, he is mike techniques instead of honest let go and people say, "Ah, he can't PIANO f vocal production, and singing any be much good; he was at the 'Met' FLETCHER sort of music, any sort of way, in and couldn't stay ... " And then be- PIANO COURSE order to support themselves. I can- gins a sorry grind-not to develop not help but think that if such good himself as an artist, but to find ~. 3 voices were developed in Germany enough paying jobs to Jive. His gov- The EASIESTBEGINNER'S BOOK written. Graded or Italy, they would be trained as ernment knows nothing about him, to the last degree so that progress is almost automatic. This book artists with the opportunity of mak- and cares less. will fascinate your pupils. Unique Keyboard Chart. Duet parts for ing a living in art. The youngster And what are his chances? Since 19 pieces included, for Ensemble playing and Early Recital use. who does this in America today is the advent of television, concertizing 4 the exception rather than the rule. is not what it once was. The best BOOK TWO GRADE 1. Contains an abundance of delightful We hear much, and justly so, of business today is done by .the civic first grade pieces in "five-finger position." Duets and parts for the American way of Iife. It is my subscription series, and on rainy Ensemble playing included. Keyboard Transposition Studies ~ great dream to see this way of life nights even their houses are empty: begin with Book TWO; these easy, practical, and most beneficial carry beyond the undoubted benefits people stay comfortably at home and studies are immensely enjoyed by the young pupils. of cars, refrigerators, and TV sets, watch TV. The chief source of ~ into the even greater benefits of revenue today is the musical show or $:; spiritual values. Our urgent need is the night club, and whatever their for an American way of life in art! merits as entertainment, they are not Let me outline an, alas, unpleasant notable for the development of classic ~~ i r r- contrast between two ways of artistic artistry. And even the most sensa- life with which I am Iamiliar. In my tional success assures no future own native Denmark (about the size security by way of a pension. ,i 2 5 ___ of Brooklyn, with a population of This deplorable situation is not .~ some 4 million)-indeed, throughout due to lack of money: we are the 'I Europe in general-the artist's career richest nation in the world. It is not is limited only by his own abilities. due to lack of popular interest in If he demonstrates the right material music: people are eager to hear and (in his voice, and in that little touch to enjoy what they get. The trouble of God's finger which makes the is that we have not yet come to real- c~c~ mf IN EASY ARRANGEMENTS 2 artist), he can be given proper train- ize that art, like all education, needs 4 FOR PIANO sr L ElL A ing in the National Conservatory. In support-regular, sure support which FLETCHER due course he gets his diploma and is best furnished, not by sporadic 21 best loved Carols to play and sing. with it, if he wants to go the the- gestures of art patrons, but by the Delightful new arrangements. Easy, atrical way, a small chance to prove government through subsidy. We effective, ployo6le. Grode one. himself in the practical stage routine need an American art! At your favorite music dealer-Price .55 of the National Opera House School. In the old days, each tiny Cermnn There, again depending on himself, ducal court had its own composers, he may grow into larger roles and its own company, its own traditions. 2 become a useful member of the com- These troupes competed against each ROBERT WHITFORD PIANO METHODS REPRESENT ..------...... 2 pany. As soon as he is regularly other, before audiences traditionally A NEW MOVEMENT IN PIANO EDUCATION employed, he begins paying toward trained in music, and thus national • his pension for which he is eligible music grew. We know all this, yet You will be pleased with the innovctions Mr. Whitford at the end of fifteen years of un- we do nothing to bring similar pos- has brought to present day piano teaching. Yes, there interrupted company membership sibilities into our own m.ores. Most have been some worthwhile changes made. (which permits him time off for of the money spent on art in Amer- Write now for a free copy of PIANO TEACHING TO- guest appearances elsewhere). The ica goes to museums for the art of DAY which reveals Robert Whitford's personal method longer he sings, the larger his pen- the past. Grants are made to train for teaching children and his method for teaching adults. sion wiII be. Should he leave the young artists in schools-but not a With your copy of Piano Teaching Today you will also penny to let them come to fruition in be sent complimentary, Mr. Whitford's master lesson 5 company before the fifteen years, the sum he has paid into the pension the practice of their art. I should on MUSIC'S MOST UNUSUAL CHORD. Just send your fund is returned to him, though, of like to see statistics on the number Robert Whitford name and address and state whether you are a piano course, without interest. At each step, of conservatory graduates able to ieccher, a student or a parent and we will send you the above. Moil to: he is assured of adequate training, make a decent living in the art for Robert Whitford Publications, 204 N. E. 31st St., Miami 37, Fla. 3 adequate practice, adequate oppor- which they are trained and for which tunity, and adequate living-all made their abilities fit them. For the pionist desiring to build a refreshingly new repertoire, here are Robert Whitford possible by government subsidy. The cure? We need to extend our compositions for the piano that are excitingly different. American Rhapsody. grade 5; Moderne, grade 4; Enchantment, grade 3; Autumn, grade 3; Morning Mood, Grode 3; In America, the young artist notably rich and generous way of Serenade. grade 3; In a Pensive Mood. grode ]; and The Clock and the Pi0110. Grode 2. studies where and as best he can. life to our own art. I should like to Perhaps he is lucky enough to win a see each interested individual write scholarship to one of the accredited to his Senator and his Congressman conservatories. In due course, he pointing to the desperate need for CLASS PIANO COURSE gets his diploma and with it a chance subsidized art outlets (companies, The course consists of: How to organize a class. How and what to teach be- to. go scurrying about for a job. theatres, etc.}, and urging the crea- ginners at their own age levels. Studio administration end music games are part 4 . 5___. 4 With luck, he may win an audition tion of a Department of Culture, to of this mimeographed course that is a MUST FOR EVERY PIANO TEACHER whether she teaches privately or the group method. Price $20.00 entitling him to one single recital. determine and apply the subsidies Eromv Ear Iy English Gl aasi cs}' Edited anAre~·ised·by George Maxim.[.1;W-40019] ~I Order from: MRS. BERTHA M. DAARUD Perhaps he may win an audition (Continued on Page 63) 2621 SULLIVANT AYE•• COLUMBUS. 4. O. Copyright 1930 by Oliver Df tson Compa ny Internat.ional Copyright ~cllred 46 ETODE' OCTOBER 1.953 ETUDE-OCTOBER 1953 47 ___ .6 _ .. though he made his. debut in an Italian opera, "The Jewels of the Madonna" in 1912 at the Metropoli. PIONEER PIANO TEACHER IN AMERICA tan Opera House in Philadelphia. (Continued from Page 26) After singing in various European lma.g;".el ~OOGummed Labels--Nicely THE WORLD OF charming musical beauty of his lion to the arm musicles, particularly afternoon the appalling amount of ".~"":;:;;..~~:~~e~e:'~~[~~[er~,a~:g~e~~~r~s~i opera houses, he had his Metropoli. -,"--:J* ~1 tones, the product of these condi- to those of the upper arm and from time spent on dry, mechanical ex- "%~~'';UP 'n Handy Pad form. Easily lI'or~h tan Opera debut in 1924. He sang :% $I-Ilr,ce only 500! Money back If tions, greatly excited my imagination his observation of virtuosos in action ercises. Liszt overheard their re- r~ not pleased! J7 in the American premieres 01 and fascinated me. I never missed an he had become convinced that these marks. "All true," he said, "but TOWERrt'PRESS. Inc. BOll 591-AE, Lynn. Moss. Krenek's "Lonny Spielt Auf' and opportunity of hearing him play, and muscles were of utmost importance. there is one little exercise which has Weinberger's "Scbwanda." closely watched his movements, and His "devitalized arm" was becoming come down from Hummel that I particularly the motions of hand, arm more and more a part of his idea. never give up. It does me more good By Sister M. xaverta. O.S.F., Mus.M. The City Center of I\lu.sic and and shoulder. I was incessantly at With his analytical mind, Mason than anything else." He accordingly The MUSIC READINESS PROGRAM, Drama, lew York. has received a the pianoforte trying to produce the learned much from Liszt. He devel- went to the piano and played: endorsed by prominent piano pede- same delightful tone quality by im- oped an elasticity of touch which he KING, CLEVELAND, AMERICAN STANDARD errant of 200.000 from the Rocke. Ex.1 New and Rebuilt Band Instruments 90gues, is adapted to various oge itating his manner and style. used throughout his life and im- levels. Most children of the age of The National Federation of Maurice van Pr-a ag , French feller Foundation to be used in pre- BUFFETT, LEBLANC, NOBLET "My continued perseverance was parted 10 his pupils. Liszt put fire ~ RR §l CLARINETS six to nine years may be considered Music Clubs announces winners in horn player, former personnel m~n- senting new productions in opera L JlJ3~@lm#JJ3FjiPI~ "pre-schoolers" in the study of music, rewarded with success, for the result into this American's playing and f~:23232~ -etc. LEEDY & LUDWIG Drums & its lIth annual Young Composers ager of the New York Phllharmonic- and ballet. The grant is 10 be lipread especially instrumental music. . was a habitual devitalized muscular was very fond of utilizing strong Accessories Contest as follows: Lawrence A. Symphony Orchestra, died in New over the next three -eaeons with claiming that when preparing for a HAMILTON MUSIC STANDS action in such a degree that I could accents for marking off periods and Th, MUSIC READINESS PROGRAM Moss of Los Angeles won first prize York City on August 10, at the age 100.000 bing available for 1953· public concert, he practiced it three WEYMANN Co. Dept. E makes teaching beginners fun. It fas- practically play all day without fa. phrases. Later when Mason wrote his 1613 Chestnut, Phila. 3, Po. of $150 in Class I; Donald J. Mar- of 67. In 1907 he played with the 54; 60.00 for 1951·55: and WI.· hours a day to regain his technic. cinates the child, gratifies the teach- tigue. The constant alternation be- own method he utilized accentuation Mason built upon this idea his sys- er, and delights the parents. tino won first prize of $150 in Class Chicago Symphony and later became 000 for th seascn 19 ·56. tween devitalization and reconstruc- in exercises very widely. Mason also tem for developing and maintaining MY MUSIC PICTURE BOOK ...... 75 II; Hamiro Cortez won second pr-ize solo horn player with the St. Paul MUSIC AND GUIDE BOOK ...•.. 1.00 tion keeps the muscles always fresh learned from Liszt the famous two a technic in the shortest time em- MY MUSIC COLOR BOOK •...•. .80 of $100 in Class I; and John E. Symphony and Sousa's Band. He be- for their work and enables the player finger exercise which he developed MY MUSIC LETTER BOOK .•.•.• .75 Stephens was awarded second prize came a member of the N. Y. Phil- The Youth Orche t r-a or ploying accentuation throughout. MY MUSIC NOTE BOOK...... 85 to rest while playing. The force is so so extensively in his "Touch and of $100 in Class U. harmonic in 1915 and in 1922 was Grenier Ph ilndelphla, conducted His first teaching experience also Postpaid for cash with order Technic." made personnel manager retaining by William R. mith. a ..i..18n1 to distributed that each and every strengthened his belief in the value muscle has ample opportunity to rest Several of Liszt's pupils who later THE SERAPHIC PRESS Charles Hamm's one-act opera. that position until his retirement at Eugene rmundy. ha.. begun its of accent for developing technic. while in a state of activity. Further- became famous were discussing one 1501 SOllth Lgyton Boulevard "The Secret Life of Walter Mitty." the end of the 1952 season. s c nd s asou under tit spen-er- (Continued on Page 64) more, the tones resulting from this Milwaukee 15. Wisconsin the prize winning work in the contest ship of the Junior hamber or Com. touch are sonorous and full of energy conducted by the School of Music of The University Musical So- merce of Phil delphia, Rehear-al- and We. An idea of my own which Ohio Unive~sity. was given its first ciety, Ann Arbor, Michigan will are held n nturrlay m rnin~~ It's Simple .. was persistently carried out into performance on July 30 by the Opera open its Diamond Jubilee Season on Memb rship i~ re ..rrlered 10 relented action aided materially in bringing Workshop of this university at October 7, with a recital by Roberta m usicia ns b t w en the age. of 14 Opportunities and about the desired result. This was 10 acquire concert performance con- Athens, Oh io. The performance was Peters, coloratura soprano. Charles end 21. to allow the arms to hang limp at I trol of rhythm with all its delicate conducted by Charles Minelli. Dt- A. Sink, president of the University my sides, either sitting or standing, gradations through familiarity with rector of Ohio University Bands. Musical Society has arranged an out- Better Income ... and then to shake them vigorously the use of the Metronome. Results standing series of events which will Jay Fr-o -mn n, n led rielin with the utmost possible looseness. :1 that are positive and often astonish- Macklin l\'Iarrow, composer-con· include the Boston Symphony Or· expert wh ..e r 'putarlcn lh a judge This device was in after years rec- ing are accomplished simply. ductor, former music director of chestra, the Virtuosi di Roma, the de of old ~lrinl!:'d in..lrumcnI ha.!~· Positions Open ommf}ndedto my pupils, and those M.G.M. Records, died in New York Paur Infantry Chorus, and the Chi- ond 10 non . di d in tockbridge. You Can Advance in MUS I C Complete information is contained who persistently followed it gained Interesting positions are open City on August 8, at the age of 53. cago Symphony Orchestra. M aSEl;. on ugU.,1 18. al rhe age of in "iUetrollome Techniques," a . great advantage from it, and even- thru He was music-direptor of the over- 85. nli) his relirem III in 1949. )Ir. everywhere. Schools and Col- Extension Conservatory comprehensive, unabridged textbook tually acquired a state of muscular seas branch of the Office of War The American Academy in Freema.n had be n for many lear~ leges make it necessary for When you inspect our Sample lessons you will readily by Frederick Franz, a world author· elasticity and flexibility." agree that you can acquire new ideas for bettering your- Information during World War II. Rome is again offering a limited curat r of til "i lin collec:ti n orille every teacher to be equipped ity on the l\'Ietronome. "Must" read· Thus did Mason break ground for self as well as your students. You can become affiliated He had conducted at radio station number of fellowships for mature Rudol ph 'urlilzer ompOD)". He with a school in existence over 50 years, recommended by ing for all teachers, professional and the relaxationists in America. for his work; Radio and TV WNYC and had sen'ed as guest· students and artists capable of doing had purchased man)" rare old \jolin, thousands of successful teachers, and be sure their confi- amateur performers. Send $1 cash, At twenty, Mason sailed for Eu- are calling for highly special- conductor at Lewisohn Stadium. He independent work in various fields made by tradivari. Guarneri and dence justifies yours. The new ideas and technical im- check or money order to .A rgus As· rope and studied in Leipzig with ized training. Standardized provement will revitalize your work. was the composer and conductor of of the arts, including music. Appli- Amati. [n J929 he arranged for Ihe sociates, Inc., 956 Chapel Street, New Moscheles, Hauptmann and Richter, a number of Broadway productions. cations must be received at the purchase br Wurlilzer of Ihe tntir, teaching makes competition HOME STUDY in Spare Time Haven 10, Conn., for ~py_. __ in Prague with Dreyschock and Academy's New York office before violin collection of the lale Rodman keen, even in small commun- under Liszt in Vienna. The playing If you are ambitious to progress, to enjoy greater recog- Jean Sibelius, noted composer January 1, 1954. Details may be Wanamaker from Dr. Thaddeu:: nition, and financial return, you Owe it to yourself to of Moscheles was in a direct line of ities. was the winner of the $21.000 award secured from Executive Secretary. R;ch. investigate this great Home Study Musical Organization. descent from Clementi and Hummel At very little cost and no interference with yOUl' regular in the first international Wihuri American Academy in Rome, 101 and just preceded the Thalberg Are you a Busy Musician work, you can easily and quickly qualify for higher and Foundation music prize. Park Avenue, New York 17, N. Y. more profitable positions in music. Edward Lc\,+is. composer and school. He advocated the quiet and Ambitious? Wayne Balmer. double ba5.S player. The Amel'ican Symphony Or- position of the hand claiming that Diploma or Bachelor's Degree Friedrich Schorr, noted Wag- both trained at the )lanhatlaIl A successful musician is al- chestra League and The Brevard Clementi could play the most rapid We help you earn more and prepare for bigger things in nerian baritone, member of the Met- School of :.\Iu.sic. New York. will ways a busy one. It is almost Music Foundation were co-sponsors passages with a coin on the back teaching or any branch of the profession. We award the l'opolitan Opera Company from 1924 study in EUrOI)e this year under DRAWBAR SELECTOR in August of a symphony workers' of his hand. impossible for him to go away Degree of Bachelor of Music. With a diploma or Bach- for use with to 1943, died at Farmington. Conn .. a Fulbright Award Ilolars.lllp. ;\k elor's Degree you are ready to meet all competition, HAMMOND ORGAN forum and a community symphony on August 14, at the age of '64. Mr: Dreyschock was a distinguished for additional instruction; yet Start now to revitalize your growth in Music. Set of 40 Selectors in walnut box. Instantly reset Lewis will ludy in Germany and virtuoso of his day and one of the drawl>ar groupings and registrations. 1:I1~hly ree. management course. The e\'ent took Schorr was one of the leading Wag- he always finds time to o'lIll1endcll hy tOllGrganists and Grgan perlmUcals. place at Brevard, N. C. Mr. Balmer, the 6r5t double ba~. greatest octave players of all time. Fill In and Mail This Coupon Write for De8criptioe FOlder nerian singers of the century, al. broaden his experience. To pIa yer ever to recei\e a Fulbright He overheard his teacher, Tom- RAY KERN STUDIO ••• I P.O. Sax 1087 Lokeland. Fla. Scholarship will study with Karl aschek remark one time that someday such musicians our Advanced • • • ••••••••••••••• Krull1pf at the ienna Academ)' of a pianist would play octaves in Extension Courses are of • UNIVERSITY -EXTENSION CONSERVATORY. !\1usic. CHOIR PLACEMENT BUREAU place of the single left hand notes in greatest benefit. • Dept. A·782, 2000 S. Michigan Blvd., ChicaCjo 16, Illinois. • P.O. Bax 412 Glen Ellyn. Illinois Chopin's Etude Op. 10, No. 12, in C • Pleose send me catal09, illustrated lessons, and full information regarding. course I have marked below. C01UPETITlONS (FM detnils, write to sponsor listed) minor. Dreyschock secretly deter- We Place The SOCiCI}' of Music En· • 0 Piano, Teacher's Normal Course 0 Harmony 0 Vial'in • lhusiasts. b he\'ed to be the 6r~1 mined to be that one. Beginning next Directors Organists Singers • The Eurydice Chorus Award Contest arranged by The Philadelphia • B ~~ab~f~~tc~~~'tM~~~~Beginner's B ~~~"a~;;dTCu07::tt 0 Cuitar • music organization fOlmded on a day and for a period of six weeks • 0 Public School Music-Advanced 0 Va ice 0 Mandolin • Art Alliance. Award of $300 for the best chorus for women's voices. he practiced eight hours a day on fJ Advanced Composition 0 Choral Conducting 0 Saxophone Roberta Kennedy Leeanna Lehault Closing date March I. 1954. Details from The Eurydice Chorus Award national scale for tbe lay mu~ic and University • 8 Ear Training & Sight Singing B Clarinet • the Etude. At the next musicale he History of Music Danee Band Arronglng 0 Banio Committee, Miss Katherine Wolff, Chairman, c/o The Philadelphia high fidelity enthusia::=t. was recenth' activated following more than a year ?stonished everyone present by play- Art Alliance, 251 So. 18th Street, Philadelphia 3, Pa. • Nome Adult or Juvenile • of organizational preparation. '\filh Ing the Etude in octaves. national headquarters at Great Bar· J\hson received over a hundred .~r~tNo. • • Ohio University School of Music second Prize Competition for a lessons from Dreyschock, including Extension 1IIII!~"~,~"~.w.~".~ NEW RECORDS beauty with such control as one sel- • • • • • • • • (Continued from Page 18) devoted to two marches composed • • • • • for the coronation of Queen Eliza- dom hears. Though he has ample Argentina, plays not from a printed voice for Die Beiden Grenadiere and corded in November, 1952, during beth II: Orb and Sceptre by William Q. What does this ad offer .me? • score but from family tradition. In. • What's New at PRESSER • • • the first Pittsburgh International Walton and Coronation March 1953 Der Erlkonig, his finest singing is eluded in his program of gypsy music by Arnold Bax. The reverse side done in such songs as Schubert's • Contemporary Music Festival. If ADVANCE OF PUBLICATION are dance rhythms from variuu~ Du bist die Ruh, Suuulclien; and • others are as excellent as the first, holds Elgar's three best marches: Write MUSIC TEACHERS parts of Spain, each intriguing in Pomp and Circumstances Nos. 1 and Nackt und Traume. Beethoven's ap- Capitol should be amply repaid for A. for CATALOG • These books, now in preparation, be delivered to you as they· its special way and each realistically 4 and Imperial March, Op. 32, (Lon. pealing cycle, An die ferne Geliebte, FREE will its faith in recording the festival. reproduced. Mezzo-soprano Lydia opens the recital and serves to dem- come off the press-limit, two copies per book. Please send remit- Ernest Bloch's Concerto Grosso for don, one 12·inch LP) Ibarrondo joins Montoya in perform. onstrate the art and technique which • tance (check or money order) with your order. • string orchestra with piano obbli- .ing two of the eight items on the Haydn: "Farewell" Symphony iVo. make this disc truly distinctive. Ger- gato is a modern classic, and Wi!· Complete descriptive teach- .PIANDRAMA OF EASY PIECES BY MODERN MASTERS guitar recital: La Hija de Don Juan 45 iu. F-slwrp minor ald Moore's piano work likewise de- • liam Steinberg's direction of the "Le Midi" Symphony No.7 ing g.uide to new and stand- Alba and Las Cositas del Querer, serves high praise. (RCA Victor, compiled and arranged by Denes Agay Pittsburgh Symphony puts it on in C major ard publications with one 12·inch LP) • This collection offers ideal material for study, recital, and sight reading. records in definitive manner. William (Remington, one 12-inch LP) It may be a little early to speak of sessions for the pianist of moderate skill. Thirty pieces by 25 of the leading Schuman's work, written in 1943, Christmas presents, but the new composers of the 20th century are presented, including works by Stravinsky, Schubcr t : Trio No.2 in £·fl(ll Major Philadelphia Orchestra recording of Boris Christoff in Russian Arias and Special Money-Saving may be subject to dispute but hard- lor Violiu, 'Cello (lml Songs • Debussy, Prokofieff, Bartok, Kodaly and Puccini. • ly the Pittsburgh performance or the PiaI/O, 0[1. 100 these two Haydn symphonies con- Boris Christoff, eminent Bulgarian Plan for ordering new 410-41026 List Price $1.50 Advance of Publication $1.10 tains so much lovely music that any fine engineering that went into the Issued as a bass, has recorded for "His Master's piano solos music lover would be happy to re- making of this record. (Capitol, one memorial to Voice" a program of three arias .THEMES FROM GREAT CHAMBER MUSIC ceive it. Surely no one could hear • 12·inch LP) vioJinistAdolf from Russian operas, two traditional compiled and allanged by Henry Levine this simple Haydn music played Busch, who Russian songs, and four Moussorg- Plcase send l'ree Musie • This volume will bring to the music teacher student and music lover a • faultlessly by the Philadelphians Chopin: Mllzurkfls died in 1952, sky songs. The arias are appropri- TEACHERS CATALOG and new source of enjoyment-the pleasure of playing some of the loveliest under Ormandy without a kindly Eleven of Chopin's best efforts in this Columbia ately accompanied by orchestra, the • musical moments in the entire literature of traditional chamber music,. thought for the donor. Besides effort- SPECIAL OFFFR to: this form have been recorded by thc reco r d in g is Phi.lharmonia, and the songs are most of the music derived from String Quarters of Beethoven, Schubert, less playing, the disc is distinguished Brazilian pianist Guiomar Novaes. an overdue properly accompanied by piano, the Brahms, Haydn, Mozart and 'I'chaikovskv has never been available for piano. re· by silken string tone that reveals not The piano tone as recorded by Vox plncem 01 for pianist being Gerald Moore. Whether Namc . _ • 410·41027 List Price $1.50 Advance of Publication 51.10 • only superior musicianship but su- is not as warm as we are accustomed the RCA Vic· singing arias from Prince Onegin, perior audio engineering. (Colum- • PROKOFIEFF IS EASY • to hearing on most recent discs, but LOr 78 rpm re- Khovantchina, or Legend of the l n- bia, one Iz-tncb LP) Street . compiled, edited and arranged by Denes Agay it is suitable for the performer's ap- cording made visible City of Kitezli or such songs • Mr. Agay has aptly described Prokofieff as "One of the few modern masters proach to the music. The quality of as Song of the Volga Boatman, Field years ago by Beethoseu, Schubert, Sc/UI1l1flfltl Marshall Death, or Softly the Spirit whose works have a nearly universal appeal ... l" This unique collection. the performance depends on your the arne trio. Adolr 611Kh Lieller City Zone Stare . offers twelve of Prokofieff's pieces, including original piano pieces from choice of style. Mme. Novaes plays Though relca d by olumbia. the Dietrich Fischer-Dieskuu's rec- Flew Up to Heaven, Christoff is more • his "Music For Children, Op. 65" and easy.to.play transcriptions of selec-. the mazurkas in an intimate, some· than master of his material. His rich recording was actually taped non- ord·recital of German lieder should for Befter Music Service Write: tions from the well known "'Peter and the WI" ol/," "Classical Symphony," times delicate, manner and always professionally at Iii home of Robert he heard by every serious student of voice is flexible, colorful, controlled. • "The Love 0/ Three Oranges" and "Rom.eo and bdiet." • gracefully. (Vox, one 12-illch LP) Flaherty in ennon!. hubert takes singing. The 28-year-old German (RCA Victor. one 12·jnch LP) 41041028 List Price $1.00 Advance of Publication 8.70 top honors in the recording, though baritone combines expressive vocal THE END Chopin: COllcerto No.1 in E Millar BOSTON musIc COmPANY the piani t, Rud If erkin, easily • LORD IS MY SHEPHERD (Psalm 23) for Piano (UHI Orcheslrll ,ttt '?It-'e '" ,ttt 'P~ -Giuseppe Moschetti • The concerto which Chopin wrote wins performing honors. Adolf Busch's violin is as energetic and 116 BOYLSTON STREET BOSTON 16. MASS. • Cantata for Mixed Voices and Organ • in his twentieth year is by no means musical a ever but just as apt to This cantata, ideally suited to the small church choir, may be used at any the greatest work of its kind, but KOREA CONCERTO it deserves to be heard and to be slip now and then. Brother Herman's • time during the li~urgical year .. C~ll1posed in a tradi~ional harmonic and (Continned from Page 16) represented on records. That Gyorgy 'cello is well integrated into a satis· contrapuntal stylel It moves convlllcmgly from the musIc of the first chorus, • fying performance. (Columbial one through a four·part fughetta, to the final section employing echo effects Sandorl soloist, and Eugene Or- symphonic renJezvous. It is easily apparent t,hat lIdr. Pak 12·jnch LP) • and ending on a brief but powerful "Alleluia." • mandy, conductor, together with the It was our first visit to the Ren- does not conduct his tea room ven- Philadelphia Orchestra, have given 412-41006 List Price 81.00 Advance of Publication .70 aissancel and we were amazed at the ture for profit. We sat sipping tea presents Vaughan 'Villiams: A Paatorale it adequate recording will not likely ~cope of Mr. Pak·s col!ection- all evening and spent less than a oc~ S","phOIlT • PIANO PATTERNS • • be disputed. Sandor avoids the over- Sir Adrian Boult and the London Chopin, von Weber and Offenbach dollar's worth of Korean money. Ml". • -Thirty Easy Characteristic Pieces playing which sometimes plagues his Philharmonic orchestra have gi\'en came and went in melodic sllcces· Pak is not seeking personal gain. • performances; the net result is a • • !his ~ollectio~l presents the welcome combination of attractive and appeal- • this symphony its first recording. -ion. We decided to make a request His one desire is to propagate !he • A ROLAND HAYES RECITAL Illg pIeces whICh serve to develop specific skills for the beginning student. delightful disc. (Columbia. one 12. culture of fine music in his country, • thus making it possible for many to 'Iud, just for an experiment. settled • Reginald Boardman at the piano Each section (there are six) contains five varied pieces chosen specifically inch LP) . • hear the seldom·pJayed work for the "Il Moussorgsky's "Pictures at an His hope is to earn enough to buy • • to illustrate these basic techniques: staccato-legato; rhythm; arpeggios; • A superb collection of 24 songs by one of the world's finest lenor voices. ThIS first time. The Pastorale. dealing :~'(hibition"as possibly the most un- an occasional new record for his • cross-hands; scales; and chords. Also uS1lbie for supplementary work and Gl"ieg: Somlta ill. A Minor lor ICello • supremely perlect. recording of Hayes' matchless technique wilt pl'o,·lde year~ or with impressions of English counuy li~e1y composition to be found in coLlection-someday, perhaps, a new • insplratlon llnd practical benefit to every student and teacher. A priceless • for recital. amI Pi(lll.o, Op. 36 • heritage that e'/ery musIc lover will want to own and share. F,oanck: So"ata in A Major for IHe. is the opposite of the composer's I\orea. We handed in our request phonograph. He dreams of the time 41041029 List Price S1.25 Advancc of Publication $.90 • • 'Cello and Piano London symphony. The use of a and sat back to await the results. when he can afford to make his • PARTIAL I'ROGRAM-2 sides 12" LI' Custom·Pressed Vinyl collect jon a music library for loan • Three Old English folksongs • LITTLE PLAYERS HAVE ARRIVED! In his recent recording of these wordless solo soprano in the fourth The far wall of the room is banked • with shelves, and these shelves are to ardent music students. • Selections from Monteverdi's Orleo ond Hondel's Tomer/ana -Robert Nolan Kerr • two nineteenth century works Leon- movement as a member of the or· • Selections from Mozart's Wornung. Beethoven's Op, 8J No.1, Schube.t·s Op. 59 ard_ Rose again demonstrates his pre- heaped with record albums, tier on For a long time to come, Korea's No. J, Op. 25 No.2 and Op. 43 No.2 • Th~ "~iltle Players" series by Kcrr is rounded out by this latest addition, chestra and the idyJjic mood suggest Aue/:, kleine Dinge from Ita/ienisches liederbuch , Wolf emmence as a concert 'cellist and tiel' from floor to ceiling. Each cultural heritage will remain in the n-hlch Intl'oduces the student to more advanced reading problems, rhythmic • Delius. The performance gives the Beau 50ir (Bourget] ,.", Debuuy Leonid Hambro again proves his album bears an identification tag hands of a few persevering men like Micheu Bonio •. ,.Creole folksong. orr. C. Nickerson patterns, phrasing, and chord building. Helpful hints on how to practice, symphony its full due. and good en· Poeme Persiono de Ruboi~o' ... , , ..... Santoliquido unusual talent for chamber works marked with a Korean syn:.bol. With Pak Yong Chan. And even his brave • me~ory ge~s, ~nd notes to bOlh student and teacher make this a worth .• gineering bas preserved faithfully To People Who Hove Gordens . " Scollish Folksong, orr, Hopekirlc this simple filing system, Mr. Pak effort to keep classical music alive Three Afromericon Religious Folksong. . , , orr. R. Hayes whIle contnbutJOn to pedagogical material. of this type. The Franck sonata was the product of Sir Adrian·s sincere can locate an album or an individual in Korea must end someday, when five Negro Worksongs .orr. f, Hall .410.41030 List Price Sl.OO written for violin and piano, and, in conducting. (London one 12-inch Advancc of Publication $.70. record in a matter of seconds. the last record is worn beyond recog· "A Hayes concert. aclual or on records, Is a treat . . . will attract both tbe judgment of this listener. its LP) , sophisticates and "arlety seekers. Hayes' charm and style defy both age and CAROLS FOR CHRISTMAS essential character is jeopardized He lays the records gently on the nition and the last phonograph goes vocal limitatIOns. Excellent as a glft,"-Ben LeboW, Record Retailinu. when lowered to the 'cello ran ....e wobbly turntable, and gently lowers sHent. '·At 6:>. Roland Hayes still sings beautifully ..• the tenor's artistry. technique • -arranged by George Wa.lter Anthony Five English Ceremonial March~ and lllJderHandlng have nel'er deserted him, , . , The folkSongs and wor\!:- the old diaphragm pickup playing Butl for that one night, at least ... This hook of familiar carols provides a pmctical two-stave accompaniment • The othe,r .work is typical Gri~g: London LL 804 has no title except songs are sung with a slmpllclty that transcends art,"-N,Y. Herald Tribllne. ann onto the worn grooves. On a The room suddenly reverberated which may be used for the piano, pipe or Hammond Organ. It also sel·ves Both prOVIde pleasant listeninO' the titles of five marches. but. belie\·e (Columbia, onc 12-inch LP) e' small slate han bing overhead, he to a magnificent, thundering theme, • a~ u" sup~lement.ary accompaniment for "Chrislmas Carols We Love To • me. it"s a record to boost the sales of r - - -At Your Deoler-or Mall Coupon TODAY- - - -,. notes-in English and Korean-the counterpointed by a long, ecstatic Smg (WIth .stones of the carols) publislled for mixed voices (312-21130). 50-watt amplifiers. This disc is a I A 440 RECORDS, Dept. E, 180 Broadway, I Flamenco: Spau;sh Gypsy MfUic ~allle and composer of the piece that "Ahh-h-h!" from the audience. The I New York 38, N. Y. I .411.41004 List Pricc $.75 Advance of Publication $.55 • hi·fier·s delight. Anybody who can sit A Dloi8111n r;/ O'l1lOn Auocfatu IS ~laYing. He springs up from his sound reproduction was far from I Please ship me postpaid, cuerully packed and completely I Since recordings of guitar music quietly in his chair as he listens to I ir~~rl~AtgaL~stli~~,d~Ta~~iyth$6.95~tchlesa ROLAND HAYES I are rarel Remington's recent releas~ Chatr every few minutes to change perfect, and there was a persistent ORDER BY MAIL TODAY these tremendous marches played by of Spanish gypsy music authentical_ the record when one side is finished tick in the record, but everyone 0 Check enclosed 0 Bend C.O.D. the London Symphony conducted b~' I I ly played by Carlos Montoya is wel. and, at the end of each composition, seemed to recognize the opening bars I .P,lnt NAME I ·THEODORE PRESSER CO., Bryn Mawr, Penna. • Si~ M~colm Sargent might as well come. The Spanish· born guitarist, carefully and lovingly dusts each of Moussorgsky's "Pictures at an climb lUtO his casket and call for the IL ADDRESS JI • former accompanist of dancer La record and files it back in its proper Exhibition." I I • • • • • • • undertaker. One side of the record is album. CITY ZONE-STATEE _ • • • • • THE END HAYES 50 ETU DE--.()CTOBER 1953 ETUDE-OCTOBER 195-3 51 • The Latest Additions To The Successful Chappell Showcase for Piano ~iolin unuestions ¢»rgan lflluestions IN ATTRACTIVE SETTINGS OF MEDIUM DIFFICULTY By HAROLD BERKLEY Answered by Louis Singer del' pad. At least seven out of ten by FREDERICK PHILLIPS A Difficult Question violinists need a pad, though many Weare contemplating buying All THE THINGS YOU ARE ...... Jerome Kern Q. is therefore not qualified to pass an of them strive to do without one- an organ for a church that seats opinion on the constructional merits BEWITCHED Richard Rodgers L. D. G., Colorado. I am sorry, but I cannot tell you where you to the detriment of their left- hand but 190 in the sanctuary, and have of this particular instrument, but CARIOCA ...... Vincent Youmans could find, in the original Italian, technique. Unfortunately, it is con- in mind a used Morton pipe organ from the virtual duplication of the I'll BE SEEING YOU .. . Sammy Fain the letter written to Stradivari by trary to the policy of this magazine which is being reconditioned by a same stops on both manuals, it is JUNE IS BUSTIN' OUT AllOVER .. . Richard Rodgers the Marquis Aribert.i. It is just pos- to recommend brand names in its finn in this locality. The price will apparently of the "unit" type, where THE NIGHT WAS MADE FOR lOVE ...... Jerome Kern sible that you could get the infor- editorial columns. You should go to be $3,250.00, including a new con- the one set of pipes is operated by the biggest violin dealer in your sole. Following are the specifications: SO IN lOVE Cole Porter mation from Mr. Rembert Wurlitzer. both manuals. This, in itself, is not 120 West 42nd Street. New York neighborhood and tryout several MANUALS-Compass CC to C·4, 61 essentially wrong, though the written WUNDER6AR ...... Cole Porter City. pads and shoulder rests, and choose notes. specifications would imply somewhat Each of the above .50 the one that suits )'OLl he t. Try to find PEDALS-Compass CCC to G, 32 more "organ" than actually exists. A Label Translation one that is adj u table to the contour notes. The writer played an organ some- Scintillating arrangements for one piano-four hands of your shoulder and collar bone PEDAL-Bourdon 16', Flute 8', what similar to this for some years, Miss J. G., New York. Translated, and that does not touch the back Cello 8', Salicional 8', Dulciana 8', and was able to obtain quite sat- by Trude Rittman the words inside your violin read as of the violin. There aloe several on Octave 4', Dulcet 4', Twelfth 22/3', isfactory tonal results, by properly All THE THINGS YOU ARE . . . Jerome Kern follows: "Nicolo Amati of Cremona, the market that should suit you. Piccolo 2'. combining the different stops on the the son of Hieronymus, made it in SWELL-Bourdon 16', Diapason 8', two manuals, A complete set of 4', IN THE STIll OF THE NIGHT .... , ... Cole Porter 1719." The date alone would indi- A Gual'ner'ius opy Flute 8', Salicional 8', Dulciana 8', 8', and 16', couplers helped a good MARCH OF THE SIAMESE CHilDREN .....••....•...... Richard Rodgers cate that the violin is worth little, Flute 4', Salicet 4', Twelfth 22;3', bit, and while you do not mention THE SURREY WITH THE FRINGE ON TOP ...... Richard Rodgers for Nicolo Amati died in 1684. Fur- T. W. W., Texas. Very probably Fifteenth 2'. these we presume they are present in YOU'll N£VER WALK ALONE ..... Richard Rodgers thermore, the spelling you give is your violin i a errnan factory copy Expression Pedal, Crescendo Pedal, your organ. The price given for re- Each of the above .75 not that of a genuine Amari label. of a Guarnerius. The fa t that the Blower and Motor, Generator and conditioning, including a new con- What happens here Your violin is probably worth be· date is not filled in i trong indio bench. Please give your opinion 0/ sole, seems rather conservative, and, THE CHAPPELL GROUP tween fifty and one hundred dollars. cation that the instrument is not the adequacy of these specifications assuming the firm named to be fully genuine. However. it may have some for above church; the ceiling is high. competent and responsible, it seems can enrich your life Buxton Hill Music Corp. • Chappell & Co. Ine. _ T. B. Harms Co. Need. a Shoulder Pad value. If you have reason to believe E,C.S.-California like a rather good proposition, and OeSylva, Brown & Henderson, Inc. Williamson Music, Inc. so, you ehou Id Ink or send it to A. The writer is not personally the specifications should be adequate You notice the change when the Hammond Organ comes into your life. RKO Building Rockefeller Center New York 20, N.Y. Miss G. e., Michigan. I can sym- a reputable dealer and get an expert familiar with the Morton organ, and for your church. pathize with your need for a shoul- opinion. THE END You play impressively within a month-even though you may have had no previous musical training. And you respond to this music with NEW VITALITY IN its deep, rich tones and majestic voices. THE CHURCH SERVICE 'CARL HSC - • NEW VITALITY IN THE CHURCH SERVICE , You relax as never before. __ experiencing a new-found ability to let (Continued from Page 24) , , added light 1/pon the go deep down. For you can sit quietly at the Hammond Organ and shuck Definitely i Continued from Page 52) off the tensions of your world. hart's thought that the scope of the splendor and misery of - the preferred course with so many You find a new companionship with your family and friends. You re- choir's activity ought to be widened, buman genillS,";< can be-and has been-duplicated Ernest White_ It is designed to offer leading teachers throughout America! not only to make the sacred service discover the old-fashioned fun of making your own entertainment in by any other church willing to de- excellent support for the regular as fine as possible but also to secure your own home. vote the necessary time and energy services of the church and is ade- the participation of church members You watch with pride and pleasure as your children take to music. Letters of to its musical program. quate for all special services. Mr. ECI{STEIN OJimwe~ and outsiders who might become White saw to it that the instrument And your satisfaction grows as your youngsters gain confidence and interested in joining the church. The program at St. John's, success- In Six Books by MAXWfLL ECKSTEIN fully developed in this church over was well-placed and that there is a poise from their command of the Hammond Organ. As a beginning, the Rev. 1\11'. Gear- RICHARD a comparatively short period of time, complete ensemble in every division. hart secured as choirmaster Charles Why put off this pleasure? You can play the Hammond Organ in a The ECKSTEIN PIANO COURSE irnrnediatelv is worth noting: I think it is one of the best instru- appeals to the Teacher alert to the advantages of McKee. Hagerstown's .leadinz hard- month or less. Thousands have. The Spinet Model (not shown) is just ware wholesaler. Mr. McKee"'also is First, the professional, disinter- ments of its size I have ever heard. S1285 Lo.b. Chicago-including built-in tone equipment and bench. You having the best lesson materials to supplement all WAGNER ested type of church singer bas dis- Fourth, Mr. Gearhart and Mr. the "know how" of successful teaching. a church musician of long experi- can buy on terms of up to 3 years. You have room enough in your home- appeared, His place has been taken McKee have set up a long-range plan ence, having been brought up in St. The Burrell Collection a Hammond Organ fits a space 4 feet square. Have a demonstration at STREAMLINED -ILLUSTRATED -For Class or Prinlf .. lnsfrtlcfion. by a host of people devoted to the of special services, extending over John's Choir from boy soprano to your Hammond Organ dealer's now. In a few minutes he can show you church and its service. There are a a period of years, which appeals BOOK ONE (Oblong Format) 03703 .60 BOOK FOUR -On06 .75 bass. In addition he is an oboist: he Edited witb Notes by good number of young people, both greatly to people interested in church how much it can enrich your life. For more details, mail the coupon. BOOK TWO(Upright Form;lt)037D4 .75 BOOK FIVE-OJ7D7 .75 studied with Marcel Tabuteau-6rst JOHN N. BURK oboe of the Philadelphia Orchestra. married and single, who take an in- music, both those who wish to take BOOK THREE Om'5 .75 BOOK SIX-OJ70S 1.00 terest in the ministry of music. part and those who wish to listen. Since he was active in the musical Long shrouded in secrecy, the startling The choir already has sung Bach ,. life of Hagerstown, Mr. McKee had Burrell Collection of \'Qagner letters is Second. the Mid-Victorian church now. revealed as the discovery of a gen- cantatas and works of Buxtehude, NEWt an idea that there was a reservoir music has gone out the window. In its .. era~.lOn-sl.ledding new light on Wag- place is heard excellent music, in- Pachelbel and other composers of ECKSTEIN of trained musicians in the town ne~ s marriage to Minna, his music. his IiAMMOND O.llGAN c!.udingAmerican works by Sowerby, the Baroque era. whic,h ought to be tapped. He began philosophy, a.nd his relations with col- MUSIC'S MOST GLORIOUS VOICE 00 ADULT PIANO BOOK looking around, with the result that leagues. Titcomb, Willan and others. Also Some of these Baroque works pre- performed are great works from the sented problems, which the church S d St. John's Choir now includes people • "Mr. John 1 . Burk, the Boston rnusi- ~.'..'.' This new book is wonderfully planned as to materials pre. ,0.:-:"0' who are graduates of the Eastman COIO~lst, has edited this collection with past by Palestrina, Schuetz, Bach, solved in resourceful manner. In M~ ~~!.. adrnirahls skill ... The letters will Iss------1 .,~.:,:..,~~:?:: sented, the sequence for- rapid and logical progress, ::::~:: and Juilliard Schools, the Curtis In. Handel, and Mozart. Instead of the certain numbers the choir and organ Hammond Organ Company I cmate all who wish to study the mind 4210 W. Diversey Avenue, Chicago 39,lllinois : ...., and the rather "immediate" playing satisfaction for the .....0' usual "sweet little cantata" for were augmented by an instrumental stitute, the Peabody Conservatory oc character of this woefully mixed bUI Home Model ::::~~ Christmas, the choir sings Schuetz' ensemble. The original score called , ~~:::: "grown-up" beginner's nrst lessons. fO 3832) 1.25 :::::::: and many other fine music schools. very true creatoc:'-*VINCENT SHEEAN, Hammond Organ Please send me full details about the models of the Hammond I for viola da gamba rather than 'cello. Price on Request Organ I checked below. Parenthetically I might add that N, Y. He,.ald T,.iblll1e "Christmas Story." (Mr. Gearhart have If~~ur dealer or the publisher gladly will fet you eJ(amine ,hese boolc'~·:·;·' believes this setting, so simple and Now, the viola da gamba is almost Spinet 0 Home 0 Concert 0 Church from my travels around the country Now onl}' $5.95 at all bookstores o l~vely, is one of the great teaching an extinct instrument, but a wood- A P3,J~1 C~rJ ",ill ~ring I am perfectly certain that in any Name_. ._.~ . ._._ ..__ ._._. __ ._._...... _ '~,ou '0"' RAPID CALCULATION [__ N_O_J_Un_iO_r_E_T_U_DE_c_on_te_st_th_is_ill_O_nth__ 1 ..O····~~·e-·r··~·n·····~o··n···~·e·=:~:~:····· By Gertrude Greenhalgh Walker ARY was studying harmony sion of C-minor. Right?" WHERE DO COMPOSERS GET IDEAS? b Ii L.A ~ (J G and his lesson was on recog- "Exactly right, Gary. Now tell (Continued) nizing triads and their inversions. me how you did it." "Miss Brown," he said, "1 can "Well, you j list look for the note humorous portraits of Samuel another in the gallery. OF MUSIC name any triad when it is in its that is the top of the two notes that Goldberg and Schmuyle iuduce a Composers sometimes put their root position, but the inversions make the largest interval in the chuckle. The Old Castle. drenched own experiences into music. Any- puzzle me. I wish there were some triad, or in other words, the higher in moonlight, and The Catacombs, one hearing Grafe's On the Trail • For the serious student who wishes in- rapid calculation system that note in the largest interval is with their echoes of tragedy, are from Grand Canyon Suite will feel tensive professional study of music, bal- would give me the root of an in- always the root of the triad." sombre pictures, while the Market sure he is describing his own mule- anced with participation iu college liberal verted triad in a flash." "That's right, Gary, and I'm Place in Limoges and The Great back trip down the canyon trail. arts program and general campus activity. "There is, Gary, and its easy glad you found it yourself instead Gate at Kie] picture the activity of Most of you have drawn pic. Dormitories, co-educational dining, exten- sive concert series by guest and local Edited by Elizllbeth A. Gest to remember." And, taking a piece people in public places. Through- tures and made up stories, so why of manuscript paper she wrote a out the Suite the recurring Prom- not try to put some of them into artists, excellent practice facilities. few triads as Gary looked on. Soon " I anade theme represents the spec- musical form? You would have Member National Association Schools of Music STEADY WINS! the puzzled expression on his face tator walking from one picture to lots of fun. Try it some time. 0' turned to one of surprise. "I see , it!" he exclaimed, "and now I'm Write for: By M.ue-Aileen Erb going to prove it. That first triad Conservatory catalog describing de. is the second inversion of Ccnajor. of asking me to tell you. You will Letter Box grees awarded ARY suddenly slopped prac- gering, accuracy--everything bad. Right?" Miss Brown nodded. "The remember it better, and recog· Bulletin on admission and audition M ticing and banged a few dis- How do you expect to become a second one is the first inversion of nizing this will help you with your procedures cordant chords on the piano. good pianist?" A-flat major; the third triad is the sight-reeding. too. It is a case of Send replies to letters in eare of For-eign mail is 5 cents; some for. Calendar of music events for the cue- "What's the matter?" asked her "But, Miss Kenyon, everybody Junior Elude, Bryn Mawr, Pa., eign ah-mutl is 15 cents and some is first inversion of Dvmajor, and where 'the mind must ee further rent year mother as she passed the door. tells me I'm a wonderful player for and they will be f orwaeded to the 25 cents. Consult YOUi' Post Office the fourth one is the second inver- than the eye'." before stamping foreign ail, mail. "Oh, nothing much. I'm just dis- the length of time I've studied." writers. Do not ask for addresses. Programs of concerts and recitals I couraged. Nancy and I started "It's all on the surface, though. given during past season piano lessons on the same day and You are not building a good foun- Dear Junior Etude: • she's nearly through the second dation. I've told you before! You Where Do Composers Get Ideas? llive very far away from Junior Etude, Director of Admissions. Oberlin College : book. I'll never catch up to her." are not doing your best and you in Singapore, and I would like to hear • from Junior Elude readers. 1 am very Box 5103, Oberlin, Ohio • I "Why should you? Why do you are terribly careless. Maybe you Part II fond of music and have been to a few ______1IIIi ------..... ~, I can fool the people now who do want to? You are doing very well, by Alice iU. Brainerd concerts. ETUDE helps me a great deal you practice faithfully and Miss not know a lot about music, but in my music and the Junior Etude is my favorite page. Kenyon says you are making good you'll find it will not last. A not- Sometimes composers do not fol- for many cornpo ers. After _Ious- Linda Lim My Lon. (Age 11), Malaya AMERICAN CONSERVATORY progress and that your lessons are so-talented pupil who is willing to low the plot of a story but select sorgsky attended an exhibition of always well prepared. What more work hard often surpasses a scenes or characters from it. An paintings by his friend Hartman, OF MUSIC-CHICAGO do you want? You are doing your talented one who is careless and • Offers courses In all branches of music example of this is Rimski-Korsa- he composed a suite of len piano 67th year. Faculty of 135 artist teachers best, and if it takes you longer lazy, you know." Dear Junior Etude: kov's orchestral suite, "Scheher- pieces describing in music the Member of National Association of Schools of Music than it does Nancy to reach a cer- Those last words sent Mary soar- I have been studying piano for three Send for a free catalog-Address: John R. Hattstaedt, Pres., 581 Kimball Bldg., Chicago aeade," based on the Arabian pa)ntings by Hartman. Ravel later tain goal, what of it? Nancy is one ing up in the clouds. Perhaps, years with Mr. Earl Jones and am work- Nights. The characters in this suite arranged the suite for full orches- ing on a Haydn concerto. I have won of those quick, gifted girls, but I someday-well anyway, Miss Ken- include Scheherazade, the beauti- tra. The pictures in the suite are several scholarships and received suo notice she does not stick to things yon never had to give her such a perior rating in the National and In- CINCINNATI CONSERVATORY OF MUSIC ful Persian Queen and wife of the Gnomes, picturing mysterious an- MI'. Van Vaetor- and Glenn Ter-r-y very long. Remember those art les- lecture! ternational auditions. I played at one of (See letter) William S. Naylor, Ph. D•• Direc:tor ond Dean of Fac:ulty Sultan; The Y Dung Prince and tics of imaginary creatures; Bydlo, sons last year? And how long did Several months later she ran the "Young Performers Talent Contest" Established 18b7, Operated under auspices Cincinnati Institute of Fine Arts. The Young Princess and the Kalen. plodding oxen drawing a hear}" she stay in the Glee Cluh?" home from the studio. "Oh, and have been invited to play at OUI Affiliated with University of Cinc:innati. Complete school of music-Degrees, dar Prince. The numbers in the Male Chorus concert. We have a splen- Diplomas, Certificates--dormitories, 10 acre campus. Write for free Catalog. wagon; The Tuileries, children Dear Junior Etude: "Ye-s, I know. She does not did symphony orchestra here which suite based on the scenes in the playing in the gardens. The Ballet I play piano and clarinet and am in- Registrar, Dept. E. T. Highlond Ave. and Ook St., CINCINNATI 19, OHIO have much stick-to-it-ness." sponsors our Talent Contest. I like all stories are The Sea, Sinbad's Ship, of Unhlltched Chicks and the Hut terested in dramatics. My hobbies are "It's like the Hare and the Tor- kinds of sports, especially football. I T he Festival at Bagdad, and the postcards, character dolls and swim- all, Fowl's Legs challenge the im- am enclosing my picture with Mr. Van toise," her mother told her. "They Shipwreck. ming. I would like to hear from others. were going to run a race, and the agination of the listener. and the Vector, conductor of our Nashville Sym- Paintings have provided ideas phony Orchestra. Becky Jean Campbell (Age 14), Illinois fast- running Hare was 50 sure he'd (Continued on next page) Glenn Terry (Age 11), Tennessee Bachelor of Music-Master of Music-Bachelor of Science in Education win he laughed at the Tortoise and Slow but steady • (B.S. in Ed. by arrangement with Kent State University) said he'd never win. In fact, the Mommy!" she cried. "I'm all ex- e WARD LEWIS, Acting DirectDr LITTLE SHEPHERD Dear Junior Etude: 3411 Euc:lidAve., Cleveland 15, Ohio Hare was so sure of himself he cited! I guess maybe I'm the old Member a/ llle National A-sooci"Uon of Scha"l~ Of M,,~jc Dear Junior Etude: I have studied piano for several years took a nap in the middle of the turtle after all! Besides playing Lourine Zautner (Age 13), Wisconsin The following would also like to hear and also play organ. In our School Or- race and still expected to wi n! But two solos in the recital I'm to play chestra I play piano and triangle. I (Pr-ize winner, Class B, Junior Etude Poetr-y Contest) from Junior Etude readers. Limited the Tortoise just kept on going- the second- piano parts for two space does not permit printing their let- have also started to teach. I would like COSMOPOLITAN SCHOOL OF MUSIC to hear from readers. and going, and finally WON! And others and am to play the accom- ters in full. Sheila McNeil (Age 16, Preparatory, College, Special, and Graduate Departments. Courses leading to The Little Shepherd plays his pipes Catherine Joan Nelson (Age 17), was the Hare surprised! H And then he lets them out again California) plays accordion and hopes Bachelor of Music, Bachelor of Music Education, Master of Music, and Teacher's paniments for someone who is To call his wand'ring sheep, So they can run and play to become a concert accordionist; Rose- Massachusetts Certificates in Music and Theatre Arts. As the months drifted by Nancy going to sing. Miss Kenyon says Until the valleys all resound While Little Shepherd watches tbem mary Shaw (Age 13, Iowa) plays piano Clarence Eidam William Phillips continued to be the showy player, With joyous echoes, deep. President Member NASM Dean she has to have SOlneone she can And pipes for them each day. and saxophone and is secretary of her • For information, address Registrar, 1625 Kimball Bldg., Chicago 4. III. but one day Mary had a ray of trust. I'd rather be the Tortoise Junior Music Club; Sara Jane Hart And all his sheep then hear his call; hope. She reached Miss Kenyon's any day!" Oh. Little Shepherd. pia\' for me, (Age 10, New York) studies piano and Dear Junior Etude: With happy leaps and bounds studio before Nancy had left, and With happiness.. so dear: he.r favorite composer is Mozart; David I like the Junior Etude and learn a "Well, well. Congratulations! I They answer him, and crowd around Shenandoah College and Conservatory And ever let me hear your song GlUey (Age 12, Wisconsin) studies lot from the monthly quizzies but I have Miss Kenyon was saying (so loud read recently that talent is merely To hear those sweetest sounds. piano and theory and has done some yet to get one-hundred per cent! I play 4-year B. Musicand B. Music Educa- Thorough profeuional prffparatlan. that Mary could not help hear- So very sweet and dear. the ability for doing good, hard composing. violin and piano and am starting cornet, tion degrees in piano, violin. voice, Also accredited Junior College. Then Little Shepherd shuts them in orgon, 'cello; public: schoot music. Shenandoah is under church sponsor. ing) , "Nancy, your playing is un. work. So keep on being the Tor- Oh. Little Shepherd, with your pipes also sing in Glee Club and in the Girls' For safety, through the night, Theory, conducting, woodwind. ship but non-sectarian. emphasiling speakably careless today. Your toise and in the end you'll be cer- Now play your melody. Ensemble. I would like to hear from And watches o'er them faithfully Letter Box writers be sure brasses, academic courses. Church spirituOI awareneu among her stu. So all the world, with jo,' may hear, hand position is bad, rhythm, fin- tain to win out!" to stamp your mail music lovers. music. Class and privote instruc:tion. dents. Est. 1875. Summer ussion. Until the dawn's first light. And ever happy be. . correctly for forwarding Carol Hazlett (Age 16), New York Catoloq: Clr. of Admissions, Dept. E, Dayton, Va. 54 ETUDE-DCTOBER 1953 ETUDE-OCTOBER 1953 55 • , , I audiencegets the idea you are sing- However, if any song does not appeal MUST YOU SING? • J1 "down" to them, they will resent to you or is unsuited to your voice (Continued from Page 17) A UNIQUE COLLECTION it.~If your program IS." t~o arty " and style, don't sing it, as it is un- likely that you will help the com- ~,, considered to be poor businessmen. of they will not like that either. Be <'::tJ There are exceptions, of course. All sureyour program is well balanced poser or yourself. "Art for art's ~ A Beat you can ~ ••• the top artists appearing before the with arias and art songs, and see sake" is all very well for those who public today are under the business ORIGINAL PREPARATORY SOLOS thatthe major part of your program are financially sustained by other management of one of the many is in the language of the people to means. Unless you have other founts ~L~rn;:3A Beat you can hear! agencies which secure engagements :lite Bat5ket whomyou are singing. of sustenance don't martyrize your- for them at home and abroad. Some s.; A young singer should not make self. Such lofty devotion may prove 1~1 ~ %tlmer of these agencies are organized on a by the mistake of programming several unhealthy, and in any case it will nat.ional scale or even a world-wide songs by unknown composers, or not be appreciated. scale, with offices in principal cities THE SISTERS OF THE HOLY CROSS severalunknown songs by any com- If, after careful reflection, you METRONOMA and they supervise the affairs of Edited by BERNICE FROST poser.A well-established artist may decide to study for a professional Electric Tempo Indicator their clients down to the last minor No. 8705 Pric:e $1.00 beable to get away with two or three career as a singer, and you are pre- MUSICIANS AND detail. They set a price on each songsthat may be entirely new to the pared for the self-denial it entails, with the flash Baton artist and establish that fee nation- audience,but too many young singers then go ahead and good luck to you. MUSIC TEACHERS ally; secure engagements for him; Fischer & Bro. 119 West 40th Street New York 18, N,Y, try it, and then wonder why the oc- But remember, a singer seldom has a World's most dependable time beat! J, Selmer Metronome gives you correct publicize him; arrange his hotel and casionwas not the hoped for success. Irie id. You may sing ten thousand Increase Your Earnings With tempos two ways ... (I) by a sound travel accommodations, receptions If the program is confined to lesser pei-.ect performances and be the beat that can be set loud or soft. and and social affairs, etc. As the artist's knowncompositions and you are re- toa : of the town, but all of that will (2) by a sight beat through a visible, This Profitable Profession popularity grows, the fee naturally flashing light. Easily set for allY tempo tainedfor the purpose of presenting be argotten at the first bad tone you from 40 to 208-Largo to Presto- grows, and the percentage accruing SHERWOOD MUSIl: Sl:HUlJL them, that is a different situation. sin THE END with a twist of the dial. Piano luning is a well-paying, to the agency brings in more money In playing with a band or orchestra, uncrowded profession. The num- for the multiple services they per- Distinnuished since 1895 for the training: I prof ..sional you are expected to follow the beat of form. o the conductor's baton-not the sound ber of able tuner-technicians is musicians. Member of the National Association chool .. of the bass drum or other members of An unknown singer finds difficulty or REVIVAL AT THE OPERA CAN'T WEAR OUT-cen', slew down. the group. The Metronome, with its at a serious low. Here is an op- at first in interesting anyone in his of Music. Fucu.lty of renowned m dean and European The beet is olwoys ste ady, ccccrcte ot flashing visual beat, helps you learn to portunity to combine your talent (Continued from Page 12) eny tempe. do this. Simply turn the sound beat services and must therefore rely artists. Degree, diploma, and ccrt iflcntc course .. in pinno, volume as low as possible and follow with your many contacts to en- upon his own endeavors to find a voice, violin, organ, 'cello, wind .ins t ru m nts. Publie eh 01 NO MOVING PARTS-itusesthethyre- the visible flasher. Get it now-Metro- show-case for his talent. In this he way for a period of great fertility tury that the Ballet-Opera as a form Iron "heart beo''" tube developed for noma is your biggest tempo bargain! hance your professional and music, eompoait.inn. In the heart of cultural hi ago. Liv- may get a little assistance from the whichlasted twenty-three years. was created; in it the dramatic con- radar. E)(du~ivedesign (U. S. Potenl No. financial standing. Jug accommodations at moderate cost. tent was limited in order to make 2,522,492). On Sale af BelferMusic: S'ores recommendations of his friends. His One may wonder why such a euc- Distributed Exclusively by teacher witl, for obvious rea sons, cessfulwork sank into oblivion for room for practically continuous dane- VOLUME CONTROL-moke the beet AND ... what's best ... you can os loud or seft o~ you like, or very from make efforts on his behalf and some ing and scenic elements. And it can do it at home, or in your studio, SPRING SEMESTER DEGI 5 FEDD flY 21111 overtwo hundred years, and how it shcrp to mellow. I teachers are very good at this, but finallywas rescued from such long be said that those dances in Ra- as thousands of Bryant School NO CLUMSY ADJUSTING-no set a teacher should not be expected * For free catalog, write Arthur Wildman, lilt ,,1 Director. * neglect. is all due to a man of meau's and Lully's operas furnish H.&A. ~tlmtr INC. It screws, Dial it like your radio to any graduates have done. 'I to devote his time to management. rare artistry, vision and experience. some of the finest French instru- lempo-40 10 208 beets per minute. DEPT. E·l02. ELKHART, INDIANA. As soon as a singer has attained 1014 SO. MI[HIGAN AVENUE • [HI[Al;O 5 • mu OIS Maurice Lehmann, director of the mental music of their period. This, Bryant School Student Says such a degree of proficiency and art- Operaand the National Lyric The- however, was two hundred years ago. "I am a professional musician ... istry that his services are being atres,combines those qualities both How would conditions shape up for I already tune my own piano sought by organizations as an enter- as a manager and a metteur-en- a revival when musical and other as- better than anyone around here tainer, that is the moment when he scene (stage director). After win- pects have so radically changed, and have the training to work at must decide what fee to charge for ninghonors at the Conservatoire he when so many contingencies would TWO GREAT CHORAL SERIES AT 15 CENTS PER COPY a pleasant profession when my his services. After all there is the enteredthe Cornedie-Francalse where have to be met? Says M. Lehmann: playing days become fewer." accompanist to consider and rehears- he fOl1J1dan opportunity to develop "It was no easy task. The old mu- al time, clothes, dresses, coiffeur, hisnatural gifts for things theatrical .sical score had to be scrutinized, and JAMES ALLAN DASH STANDAIlDANTHEIIS Piano Production Booming etc., beside the frequently trying at- amongan illustrious company reared slightly revised; who could do it with EDITED BY DR. DASH "Fortissimo boom ... piano pl'O- mosphere in which one is expected to in the sanest and loftiest traditions. the proper tact and respect? Then CHORAL ARRANGEMENTS duction at highest peak in 35 perform. An em inent artist who was Subsequently he branched out for there was the casting. Some friends years." told me I could never persuade the asked to perform at a very formal himself, took the directorship of These entirely new arrange- This series includes 1SO TIME MAGAZINE vocalists to sing during the dances, party demanded ten thousand dollars variousParisian stages, and drew so ments can be sung with a min. choral gems in ·their original and vice·versa. Questions of amour- for the appearance. The hostess much attention by the novelty and Take advantage of our up-to~ ST. LOUIS INSTITUTE of MUSIC propre-of self dignity and preced- imum of effort, and a maxi- form. Composers represented agreed but stipulated that he should artistry of his productions that it date instruction featuring the in- not mingle with the guests, where- ence--would arise. To them the mum of real singing pleasure. John Philip Bloke. Jr., Pre..idut I culminatedin his appointment to the include Byrd, Lassus. Gibbons. problem appeared jnsoluble. It took strument which takes the guess- upon he said, "In that case my fee helm of the Opera. In three seasons they haye will he $5,000,00:' a great deal of patience and diplo- Palestrina. Purcell. Morley, work out of piano tuning ... the (Non-profit Educational Institution of High.r Leorning) "Les lndes Galantes" is a Ballet· helped rebuild thousands of When (as stated earlier) you have macy, but in the end I succeeded in Bach, Handel, Mozart. etc. famed Bryant Tonometer with A :rofessional school accredited by the National Association of Schools of Mini' Opera.This title needs a little elabo- reached the stature of artistry that obtaining everyone's whole-hearted dispirited church choirs and an . approved for G. I. training. Approved for non-immigrant dudenk under ration. Through the centuries ballet Edited by Dr. Dash. these an· beat gauge. (See illustration.) your services are in demand, look cooperation. For the musical score I school choruses throughout Section 101 IA}(15)(F} of the Immigration and Nationality Ac-t. has undergone much evolution. In discovered a revision which our great Learn and earn like the many about you for an agent or artist's the United States and Can- thems are beautifully printed opera it usually appears as an inter- Paul Dukas had done years ago as a Bryant School graduates the representative who can talk business For catalog or further in'formation write lude unessential to the plot thouO'h on fine grade paper. for you. Much care has to be given labor of love and with no thought of ada. world over. Piano tuning pays, and 7807 Bonhomme Avenue connectedwith h under som~ prete~t to this selection, as you will find St. louis 5, Miuovri eventual performance or financial orother; such is the case in Counad's that people have different definitions remuneration. Furthermore, I sub- "Faust." Without looking back as far OUR ADVANCED METHODS of integrity. Most such agents are BUTLER UNIVERSITY mitted this score to the examination as the choral dances of Greek trag- FREE THEMATIC CATALOGUES fine, honorable business people who of that incomparable orchestral ex- . J~RDAN COLLEGE OF IUSIC edy,we find general dances featured Produce Results will work hard to promote your wel. A rich trodlfton, a progressive philoso h . pert, Henri Biisser, who looked at Two new catalogues. one for each of the above itation. Baccalaureate degre . 0 p y, a~ outstanding faculty. complete oc:aed· ~tthe end of medieval mystery plays, each note and gave his final O.K." fare, but there are a few who will Wrife f es l~ once, ramo. Music., Music Education. Radio. series, are now available. Each shows the complete ill Caccini's "Euridice" (1600), and Maurice Lehmann is a dynamic G.I. Approved - Diploma Granted allow you to do all the work while JORDAN COLLEGE OF MUSI~!lUtBond d.Jir~ infotmo"on first page of all the selections in that series. Write Ind' 'laX El, 1204 North Delawar~ Stn.t Mon'"erdi's "Odeo" (1607). The gentleman who speaks with the au- they merely collect 10% (or more) lanapo s 2, Indiafta of your earnings. Importanceof ballet in French opera thority of one who knows his subject us for either or both! free of charge, or see them at Write for free copy of The Bryant School comesfrom the long tradition of this "Program building" is a particu. thoroughly. At the same time he ~s your local music dealer. catalog and complete details-TODAY! Founded 1870 larly interesting and important part for~ of art at the King's Court. The modest and reluctant to dwell on hiS OffiClaldesignation of the Paris Opera of a singer's business. Your teacher PHIL~DELPHIA MUSICAL ACADEMY outstanding accomplishments. But ASSOCiate Member NASM J as Academie Nationale de Musique should be able to help in this and Distinguished Faculty , ANI SZANTO, Director those who have followed his career et de Danse reflects the intimate con- THE BALTIMORE MUSIC COMPANY NILES BRYANT SCHOOL your agent may, through his knowl- FA Veteran's work on credit lIour basis De9l"en 0 d D·,_as from the first and consider him right- 20 Bryant Bldg., Washington 16, D. C. edge of audiences you will sing for, nection which was felt to exist be- ly as one of the greatest producers in 1617 Spru.e St. LL TERM BEGINS September 14, 1953 325 N. Charles Street Baltimore 1, Md., U.S.A. The Pioneer School-Founded ;n 1898 render invaluable assistance. If your Philo. 3. Pa. Wrlte or phone lor inlormation tweenboth. So strong was the French the world today point to his amazing fondness for ballet in the 18th cen. (Continued on Page 60) 56 ET DE-{)CTOBER 19;3 ETUDE-OCTOBER 1953 57 b • THE PIANO TRIUMPHS r spinet pianos rather than g.unus Iur.urug, bUE ouly vf the tonal beaut v (Continued from Page 20) ~'hichhave been the delight of thou- he can produce. These ideals i;l 1856 The Rudolph Wurlitzer sands of homes. Some of these firms, piano making are reached solely by ity of the relatively low'·priced spinet Company however,have made .grands which the co-operation of the craftsmen -a waist-high upright instrument 1857 W. W. Kimball Compaa, commandedworld respect. and the management, implemented THEODORE PRESSER COMPANY completely redesigned to allow ,:se 1857 Story & Clark Piauo Com. Amongthese firms are Otto Alten- by years of thought, experience, of shorter strings than in full- SIZe pany burg, Estey Piano Cor p., Everett labor and dreams dreams dreams presents with pride ... pianos." Piano Co., Jesse French and Sons This makes the' manufa'cture of There are certain essential facts 1857 Weber Piano Compan)' (divisionof H. & A. Selmer, Inc.), pianos one of the, most interest ins in the story of the piano which music 1862 The Baldwin Companr GrinnellBrothers, Gulbransen Com- enterprises imaginable. All leadin: students and music teachers may 1863 'lathushek Piaoo Mfg.Co pany, Haddorfl Piano Company, manufacturers of art pianos ar: learn to their advantage. The ro- 1869 Krakauer Bros. . Hardman,Peck & Company, Janssen devoted to this creed as outlined. mance of the keyboard instruments 1870 V/ eaver Piano Company, Inc. FAMOUS ARTISTS Piano Company, Inc., Kohler & and this has led to the production of stems hom the days of the artisans In the foregoing list are aIM Campbell,Inc., Krakauer Bros., Gor- many of the greatest instruments in of the Italian. English, French, names of firms making more mGl!er. donLaughead Company. The Lester musical history." Flemish and Ge~'man primitive mak- ately pr-iced instruments that have PianoMfg.Co.Inc., Mathushek Piano The prices of pianos have, of ers, and continues down to the great been widely u..ed. 'ole that all 01 CALENDAR Mfg. Co., National Piano Corpora- course, risen notably in the past ten modern instruments of the English these piano firm were e~tablished tion. Sohmer & Co., P. A. Starck years, but no more than the prices Broadwood. the French Erard and over Ighry-rhree )CDr ago, mani. Pia~oCompany, Story & Clark Piano of other commodities and services. the Pleyel: the German Bechste!n f sling the long prominence of the Co., Straube Pianos, Inc., Weser The cost of your urban telephone and Bliithner and the Ameri an pian in Am ricau musical llfe,The -1954- PianoCompany, Winter & Company, calls has gone up 100%. You are Chickering. Steinwa y. Knabe, Mason Aeolian m riean orporalion. e- Conover- Cable Piano Mfg. Company, lucky indeed if your streetcar fare and Hamlin, Baldwin, Kimball, tublish d 1932. now own .. and con. Ivers & Pond Company, Kranich & has not risen two or three hundred Everett and many other foremo t Irols th manufacture of Chickering Bach, The Rudolph Wurlitzer Co. percent. American manufacturers of high & ons ; ''" m. K Rube" Ce.: 'Ia<:on (oneof the largest. makers of smaller Following is representative of the prestige pianos. America may be & Hamlin. (1'0 h' II 8~ the \larshalJ prices of the ebonized finish grand very proud of raising the qualit y & ~ end ell : (....,,~, reek & Ce: pianos). pianos of a foremost maker: and efficiency of the American piano eber Pinno 0.; \C6lian ;\mpico: In this issue of ETUDE is a special You will treasure this which has contributed numerou in- A. B. ha ..(·; J. . Fi Ikr; Emer· and very graphic article by Miss Style Length 1936 1953 good.looking and useIul ventions and I'efinements and has t' n; ~(roud: \ o..e: \'fh lockand RoseHeylbut giving a timely tribute to the One Hundredth Anniversary Baby Grand ST' $ 900 $2585 gained for au l' pianos aU over lhe u do~en other ma~e.., 'nle .\eolian calendar tluoughout the Medium Grand 5'7" $1200 $2900 world encomiums from the great mpany hO" tltt I rf=:f'-Imaker of of the famous house of Stein way & A Living-room pianists. composers and condu tOI'~ pia) er·pi no·, "hi h are nreh seen Sons, which has maintained such year - And give it to high standards, ideals and family Grand 5'10'/2' $1800 $3420 of the last one hundred years. No in Ihi dll). Pla)cr-piano. repre· your family, friends, finer pianos have ever been made senled no inc()n-illerable ran ofthe traditionsfor a century, that ETUDE Music Room Grand 6'1l" $2200 $4475 artisticalJy 01' mechanicall)', than t lui piano J)rf)(lucliun in Ihe earh· gladly presents this article contrary teacher, pupil, as a 10 its long established non-proprie· Concen Grand 8'1l '4" $2750 $6900 ,I CENTURY OF SERVICE the splendjcl jnstnllnents of our ycarq of Ihi rrnllln. In Ihe fine~ thoughtful ~~extral> gift. I leading makers. (orm.:" of the I,lo) ·,."piano. ~uchas tarypolicies. Mr. Theodore E. Stein- The first piano maker eSlabli~hed Ih Am"iro. rhe:' Duo-.\n and the way, president of the firm, is a Perhaps the reader may exclaim, grandson o( the founder, Henry "What! Nearly seven thousand dol- in America was John Behrent wh ~ It· \Jignun. Iltt) a('tuall~ pro- opened his busjness in Philadelphia du (' temway & Sons result who h h d· Charge To My Acconnt D IC t e au lence hears. In tion of our national cultural stand- comes manife-&_ The trrileT ba5 jn~ otIleI' word h . • 1854 Mason & Hamre In ompany . s, t e vutuoso must never been oyer a li"'l of rican fiJ1!li h ards. nere1llly '''''I"'red by Winler " Co_ tmkofth· . THE END who.se Sll~ are mo....h in -IDJllel e mstrument while per. 58 ETUDE-OCTOBER /953 59 • ARE YOU DOING THE JOB? REVIVAL AT THE OPERA ui.: 01 How to Get (Continued from Page 19) EI~~WENGERRISERS (Continued from Page 57) • Set up Your Money's Worth speedily taught the importance. of the el~- that require responsibilities of every $500 PRIZE • Take down versatility. He is equally at ease ~n and straightforward music. This pub. t instantly II as dif lie is willing to pay its money 1'1 '11 mentswhich serve as vital forces In student from the highly talented to in Long Play Records d • Store opera operetta, or rama, a . Mrs. H. S. Martin, now teaching in San Francisco, compactly Why ner 8galn take a ehanee on buying poor feren~ in character as "Cyrano de receives in exchange, satisfaction of the development of his attitudes, the monotone. hos token part in Guild ouditions since she wos a New, Free Catalogue. Write today! ~~or~~nt!'~~~~~r~cu~rt'.an;.~O~~Ya~~8Et:Eit~ Bergerac" and. "Peer Cynt" (at the ears, eyes, and soul. Experimentation appreciation, enjoyment and un~er- Certainly no subject in our edu- best LP reeeree. sums up what the Dillion'S .Ioadlng in} "Sb Boat" is dangerous, and in the case 01 standingof the better ways of Iile. cational program more effectively little girl. She has won the High School, Collegi- WENGER MUSIC EQUIPMENT CO. music critics say about hundreds of recordings at Porte. Saint- M artm, ow "" opna~o~y~~~:ni:t'a:O~C~~~:i~~~ecllonlyou want. The establishment of proper work teaches or is more stringent in its ate, and Artist Diplomas, the Poderewski medal, Owatonna, Minnesota and "Annie Get Your Gun" (at the ultra-modernistic or extremist works this guide ahow. at a glance wtlich are tlllI bnt Irl Allison medal, and now is winner of Event No. of several competing records. Never 8galn do YOll Chatelet] , or Gabriel Dupont's "An- the chances of success are reduced habits with students is another re- demands of individual responsibility have to buy blindfolded. nor spend your money on LUCILE MARTIN I of the 1953 Piano Recording Festival. At pres- WORLD FAMOUS McKINLEY EDITION second rate recordings when you could for no more tar" and Rameau's "Les lodes to a minimum while those of a deficit sponsibilitythe conductor must as- than that of music, and in no field money get the bO$\ retordings. In fact, when the 991 Son Bruno .4'1'e. sumeif music is to make its niche is accuracy more essential. In the San FranciscQ. Cal. ent stlldying with Robert Vetlesen, Director of 1600 GRADED TEACHING PIECES Ioweet-urf eed record' are good this guide says So. Calantes" at the Opera. Instead of are increased. Of course novelties If you want sUllgeltions for rounding OLlt)'Illlr record Academy of Music. PIANO _ VOCAL _ INSTRUMENTAL library, you'll !lot hundreds of ideaa. relying mostly for effect on t}~e must be pre ented, for otherwiseno in the student's development. Such band or orchestra, the student soon Wilh this guide you ean't help but lave money 25(' A COPY through careful buyin,. and you get all the musical colossal-as did Max Reinhardt In progress would be possible; but ex- habitscan be accomplished through learns that punctuality, reliability, enjoyment yeur money should bring YIIU. FlIr your SEND FOR NEW FREE CATALOG COPY of ONLY THE BEST IN RECORDED "The Miracle"-Lehmann constantly treme caution has to be exercisedin the conductor's guidance of the dependabi lity, alertness and initia- MUSIC. tear out ad. prinl name & addreu. and NATIONAL GUILD OF PIANO TEACHERS McKINLEY PUBLISHERS Inc. mail with 35~ to HARlAN PUBLICATIONS. 4 bears in mind that quality is more making a selection. It is not neces. pupil's preparation of the assigned tive are absolute requisites and by-· MARiON AVE .. GREENlAWN,LONG ISlAN D.N.Y. (Founded 1929 by Irl Allison, M.A., Mus. D.) 797-8th Ave. Hew York 19. N. Y. music lesson, as wen as through products so vital to the success of important than quantity, and his sue- ary to call on the old stand·b}'sor BOX 1113 AUSTIN, TEXAS cess is due much to the meticulous the repertoire in order to draw the efficiently planned rehearsal and the ensemble; and, if properly ap- If you order music by moil .•. order from care he takes of small details which crowd. ow t the ond question. practice sessions. plied by the conductor, are most SHATTINGER MUSIC CO. others would consider only trifling Can Y u make a guess as to Ourtwo Once the student has come to valuable in establishing the habits LATEST PIANO SUITES matter. And now to the financial best money maker ?" realize the necessity for definitely of assuming responsibilities and 812 Olive St. MUSIC SELLERS SINCE 1876 St. Looi. 1. Mo. by AMERICAN COMPOSERS angle, that bete noire of all direc- U 'Faust,' perhap , and 'Aida,' n I planned practice objectives, proper carrying them out to the end. We are retail moil order music distributors for the music of 011publishers. work habits may become transfer- tors: he recommends both a practica l risked. Easy to Early Intermediate Grades Always 200 feet of counter display of mllsic and idealistic approach: .. ct. at all," Lehmann laughed. . able to fields other than music, Cooperation "To gain the following of the pub- "Number olle i 'Le Indes Galantes.' Cooperation is another teaching THE PET SHOW . Rolph Federer .75 lie is not always an easy task. The 1 had 10 in I II twe exira box offices Self-Dlseipliue element that is of infinite value MIDSUMMER NIGHT REVELS Florence A. Goodrich .75 expenses of a great musical spectacle in the lobby where there is a eon· Self-discipline is another develop- since it is so essential ·to our daily PETER PAN. . . Ernest Harry Adam. .75 mentthat is a part of our teaching living. Every conductor and per· have risen to such astronomic heights stant flow of music lo\'ers, profes. THE SILVER SKATES Ernest Harry Adam. .75 ~=!':~=fcn that it is necessary to find an im- ional pe pie. socialites, working. responsibilities.Here we may direct former is aware of the necessity for EXPERT APPRAISAL SERVICE mense audience in order to amorlize men, louri I, II buying ticketsto the student's musical activities in the complete cooperation of each EARLY IN THE MORNING Edward Ballantine 1.00 28 E. JACKSON BLVD. CHICAGO 4. ILL. them. One must please without com· hear and see l'l jOfBOlttn workbv sucha manner that he establishes others' efforts. Here the student must MINIATURE BURLESQUES .. Erne.t Harry Adam. 1.00 promising artistically, and discreetly Jail Philil)pe Rameau. The hou~ definitepractice periods, and noth- fit his individual performance into ~~~~~~~ introduce new aesthetics suppressing i sold OUI ix week in advance.Is ingexcept extreme emergencies will the total result, learning to blend Send for complete Jist of Schmidt's Educational Series the elements of luxury which are lhi not hean·",,·arming. and an elo- interferewith the scheduled session. his part with those of his fellow deceiving and a camouflage for an quent demon UGlioR of improfement This guidance eventually achieves musicians, and is led to realize that THE ARTHUR P. SCHMIDT CO.• Inc. absence of imagination or research. in the ta Ie of pen Andour suchself·discipline for the student the final result and effort of the geen! 120 BOYLSTON ST. BOSTON 16. MASS. this One ought to strive toward linear cond be Ii .. , ·The :\Iagic thathe voluntarily avoids most dis- whole will be commensurate with harmony, subtle colors, playing with Flute.' It tractions from his daily schedule. the cooperation of each individual Along with this "self·discipline" member of the ensemble. Here the Christmas those lights whose gradations, though "" onderfu1!," I exc.laimed. And ~ New Simplified Arrangement of • hardly perceptible, create an atmo· now berore clo ing. 1 ,,"auld liketo comesa realization that sacrifice, student learns to accept critical an· give an phere of mystery, poetry. and mention 8 rumor. If il i accurate tenacity, perseverance are absolute alysis of his over-all deficiencies dreams." there mighl be a po ..ibilily 01 a essentialsto his ultimate success in whether these shortcomings be musi- DEBUSSY-CLAIR DE LUNE Our conversation would have been ew York presentation of"w lodes musicor any other field of endeavor. calor otherwise. by ETUDE incomplete without two additional Galant" in the future. This tronld questions dealing with the opera: imply th lIan_fer of O\'er nro hun· Social Developluent Poise and Self-Confidence ADA RICHTER subscription Is it on the decline, as many con· dred inger::-. choristers. dancers. No form of activity nor subject Through guidance and expedence for piano solo tend? 6guration, electrician and 51age of our school curriculum offers a the young musician is taught the Price-80c Which two works are proving II:ost hand, exclu!i\'e of the orcbBra, a mOrelucid, tangible and effective importance of poise and self·confi· successful during the present Paris very big unde.rlokiog indeed, ~ould means for the social development dence and its value to him in all season? it materialize-and 1 hope it 1rill- ofthe student than does our instru- phases of his daily living. Music ELKAN.VOGEL CO •• INC. "Opera is not at .'.til on the de- be sure to attend one 01 the per' mentalprogram. Here each student contests and competitive festivals are 1716 SANSOM STREET PHILADELPHIA 3. PA. It's a wonderful way to say "Merry Christ· cline," Maurice Lehmann declares formances e,·en if )'OU ba\e to come gainsfrom the very outset the oppor- doing much to engender such poise mas". With ETUDE, you give $60.00 worth emphatically. On the contrary it is from California or Honolulu. It will tunity for social contact. Immedi- and confidence, and are contributing of music ... plus hours oE entertaining and very much alive and will conti~ue to be an uoforgellable eJ~riC:Dce,~ell atelyhe is cast in with a large group substantially to the development of NEW YORK COLLEGE OF MUSIC ?e. But we must give the public what wortb the lonlt trip. of fellow students where each is the emotional stability of young Arved Kurtz, Director Chartered 1878 constructive reading. It wants, and this is melody, clear THE E:"1D important to the success of the musicians. College and Professional Courses ..• Class and Individual Instruction .•. Daytime or Evening.. Full or Part Time_ ETUDE is so easy to give. Just use the order whole.Here the timid and reserved From these competitive conditions, are given the opportunity to develop the student, if properly dil'ected, Write for Catalog form found in this issue. Note the SPECIAL NEW YORK 28, N. Y. TO STRENGTHEN A WEAK VIBRATO assurance, aggressiveness and lead- learns early in life the values of 114 EAST 85th STREET GIFT PRICES. ership.Through performances in the being a fair and honest competitor. (Continued from 1'0 e 25 various activities covered hy the To each one you send a gift subscription, Under such pressure he comes to It s.hould. be pointed out thal ll'e I d marchingand concert bands and the realize that accomplishments, deci- ETUDE will mail a handsome greeling card k we J to !flC.nd lel'l minute:!' a ayOIl mar mgs gIven in Ex. A do not in· the portalo. playing. at firs! elo~ly. orchestra, he has the opportunity sions and awards are based on hon- c variably indicate that the por'ato ,'. to develophis social qualities to the estly earned results; a lesson that in your name, timed to arrive for Christmas. t h d four. then six. then eight notes10 utmost. proves to be most valuable in his a e us.e . Quite often it ind'lcatas the ho", in lhe upper b.11. Laler. 'Ile seml·staccato. in which the I,OW Speaking of the conductor's re- adult life, whether it be related to ag a 00'" iog e'l:e.rci~. it an be laken does stop for a fraction of d 1 sponsibilities to the student also musical performance, the seIling of after each note This dirTa see-Ion ",ith tile whole bow. (or the conlro establishes the problem of the stu. life insurance, or winning the Amer- h . . lIers rom nece~ar-y 10 !lfodurc an ~\(n porlato t .e. genuille staccato in that the in. 6 dent'sresponsibility to the conductor ican League batting championship. dlv,du I d in the lov"er Ilalf ran only beAt I l! . . a notes 0 not be' . h I 1 liSIC offers many avenues for the Here the conductor is accomplish- characteristic attack of ~~n W,lt t le the entire ril:hl.arm technique. developmentOtIS£ h' most Important. ing much toward the development of It e s accalo. 11 is nol ~uTprking th.1 ~ouM:JnI was remarked ahove lhat to ~l~ase.of the student's training. the student's character, citizenship, BALDWIN·WALLACE MILLIKIN UNIVERSITY play the portato well caLIs for a I,'gh, nOlhing aoout fhi bo."ing .hile you ere IS the preparation of the solo and integrity. By stressing the true CONSERVATORY OF MUSIC SCHOOL OF MUSIC I DECATUR. ILLINOIS arm a d were Hudj-ioD". ~ot many teachers or the band I' BEREA, OHIO (suburb of Cleveland) n a sensitive touch on th C concert, t le plano ac- fundamental purposes of the con- Olrerl thorough training In music. ClIuues lead. comp . Illg to degrees of: Dachelor of Mualc. Bachelor of ~ow .. It follows, then, that this howe enr menlion it. thir.kin . pc'rbap:. Affiliated wl~h II first cl&89 Liheral Arta t'b ~mment, setting the stage, dis- test, he brings the student to realize College. Four and floe year counea leadlnl: ).luslc Edu~at1on. Master of Mude, and ;\laster or :lltlslc Education. 109 IS an excellent exer'. - tbat it i not used tJIou~h 10 be im' ndutmg of tickets, printing of plac- that the objectives of participation to degreea. Faculty lit drtht Teacheu. Send production A Clse 10 tone portanl. But Ihis {'iew on:rJook5 the ar s u<:her' h . fllr catalogue lIr Information to: ;U em berot the N lIt1onal,A ssocl a t1l1n Schools ot :.t u81c , ~ 109 at t e evelllng con. are not primarily to "defeat an op· Bulletin sent upon request to devel ., nyone who is 'Working I th I de' aD be Cert a d CECIL W. MUNK. Direetor. Berea. Ohio W. ST. CLARE MINTURN, Oirector op hIS tone quality would d'0 act at or man" u nls It , n countless other details (Continued on Page 63) a very ,-.Iuable e~erei. Tst [.~D 60 ETUDE-OCTOBER 1953 61 ETVDF;-OCTOB£R 19;) b ------~~ ARE YOU DOING THE JOB? .. WHAT CAN TECHNICAL INSTRUCTiON (Continued from Page 61) HOOSEY AND HAWKES' RECENT ACHIEVE? t but rather to pace the road student, school and parental support TEAl:HERS- (Continued from Page 20) ponen, " from "the cradle to the grave." /J;.ano :Jriutnp~j to excellency. HARVEST ! h philosophy eventually teaches In addition to these responsibili- HERE'S YOUR GOLDEN to combine a vivid showmanship with formations in your mind. Recite mel- 5uc .' NEW EASY PIANO SERIES ties, the conductor must possess his basic technique and to preserve ody notes and chord numbers and himthat he is competing against 70th Anniversary · If and the standards he has set other qualities which, though less Celebrate ETUDE'S "Everybody's Music Library" the chord notes in the position in nmse • the beauty of his tone while produc- I tangible, are of equal importance new {arr. Harold Perry) ing the very loudest of musical which they appear in the piece under forhis individual accomp1Jshments. with us and join the Among such elements are: tact Vol. I. Chopin 60 sounds possible for the piano, play- consideration; in difficult passages it If suchcompetition is. properly con- . diplomacy. patience; he must be VoJ. II. Tschaikowsky. .60 ing literally "from the socks up," as is often helpful to memorize these . d and directed, It should lead celve .' aggressive. alert, dynamic, deliber- Vol. III. Schubert .... .60 one critic phrased it. details before starting conscious student to recognIze and give TEACHERS' t Ire ETUDE CLUB 11 . ate, persuasive and enthusiastic if he RH YT H M: Although lVIrs. Leonard memorization of the composition as credit to his fe ow compeutors. rue1 I. "J AIRS AND DANCES ed. a whole." Such analysis is in any It will also teach 11m to ose gra- is to insure support and proper in Save money and boost studen! by Annie Doroile. advocates occasional intelligent use of the metronome until the pulse of case necessary for respectable rendi- ciously"and to "win humbly." When tegr'ation of his music program with way ... chosen as "one of the best that of the total education plan. He interest-the profitable Club Plan collections of 1952-53." a composition is firmly established, tion of any composition. In mernoriz thishas been accom plished, we can must keep abreast of current instru- Book 1-1.25; Book II-1.25 she warns her students not to put ing a Bach Fugue, for example, you besure the proper competitive spirit For details, write mathematics ahead of music. "Let must know all the voices and be able hasbeen attained. mental developments and be in formed of the ever-changing litera TEACHERS' CLUB BOOSEY and HAWKES your pupils feel the pulse rather than to play and even to write them down ETUDE Bryn Mawr, Pa. ALSO TRIUMPHS IN just sit and count." she advises. separately; then memorizing will be The Conductor ture which is constantly being added c/o ETUDE the music magazine PUBLICATIONS FOR: "Music cannot be regarded as purely easy. "But don't wait too long to and the Community to the band and orchestra repertory memorize consciously," Mrs. Leonard JOHN M. LEIPOLD He should participate in profes - - mathematical. even though a com- 218 $. Hhtlland A¥ •.• L•• Aft.tlt' 31. CIIII. If the conductor is fulfilling his y BanJ .. poser like Bach requires a steady warns. "That's as bad as doing it total obligations to his school and sional music education meetings beat for proper interpretation. None- too soon. The exact timing of this community,he is encouraging in clinics and forums. He should en WHERE SHALL I GO TO STUDY? y Voice •• theless, the pulse must be felt sub- process necessarily varies with the every possible manner the student's deaver to work harrnoniousf y wid 1 jectively, not just counted out with individual student; the wise student continuanceof his musical paruci- his administration, local music deal PRIVATE TEACHERS (New Yo,k Cay) PAULINE ALFANO V C/'oruJ .. mathematical precision. One mark will be able to determine just when pation in the community musical crs, private studio teachers and pro CONCERTPIANIST-COMPOSER-TEACHER of the top-flight pianist is the ability actual concentration on memorizing groups. He will make every effort fessional musicians. He should con Pupil of Paolo Gallico& Michele Fivesky RICHARD McCLANAHAN PROGRAMBUILDING-HARMONY- V Q"c/,ejlra to go forward all the time-s-never will be most effective. Each memo 10 stimulate such activity by enlist- tribute to music education throng! 1 of Teacher Picano COUNTERPOINT hesitating, but always thinking in rizaticn acts to help the next." and personal rnusica 1 Matthay exponent. formerly his representative. ingtheir services in the civic and research Private lessons,technic courses: available as Studio:CcarnegieHall,57th9t. & 7thAve..N.Y.C. V ~n.jfntmentat long lines; always worki.ig toward 2. Visual Sense: The ability to church ensemble following their growth. visiting lecture·recitalist, or critic·teacher, Bya ppointment:Mon.to Fri.,12t04P.M.Sa2-3138 a focal point. Never slow down too "see" the printed page as though it He should promote the cause 0 r Six-DayPiano Seminars graduationfrom high school. If the 801 SteinwoyBldg.. 113 W. 57th St.., N.Y.C. FICHANDLER Combination:; much at tile end of a passage-that's were before you is most helpful and BOOK MANUSCRIPTS WILLIAM civicmusic life of his community good music literature and throng! 1 PianoInslrvction amateurish. Keep the feeling of mo- can best be acquired by careful read- INVITED be at a lowebb, he will contact civic the performance of contemporary EDWIN HUGHES 314 West 75th St. New York, Su-7·3775 0lii:11'1_tOt I tlUbUttlff ""'" fllt our fret music encourage present day com PIANISTS PREPARED FOR PUBLIC Compositions published by G. Schirmerסtion, but with an appropriate flexi- ing and rereading. Some people have It TOU au 1 • Catalog on Request: 1I111.lra1Nl 1>OOII;Ieiuu..1 T. 'k ,'.",. {. a.ttl Ii leaders and seek means for the PERFORMANCE AND FOR COLLEGE, and TheodorePresser,in preparation bility. Scmetimes use a bit of rubato a photographic memory to a remark fJ ,."b,..",r. It ltlb how•• "" f\I.loll.h~urnl r DEPT. 357 c.l1.lrltlullI\ rour bl'looll. u •• h.r. I""'... I. '-o.lredJ 01 stimulationof an active music pre- posers to write worthy works Io UNIVERSITYAND CONSERVATORY instead of actual retard. Endings of able degree; but it is up to the rcst allier wrlh'rfl All tuhJff>I,f'UIIlll4f-,nt """ _albin "'~I{'OfI'l"(1W,ll~ IMI, f/W 1'*1" ET In fret gram,Not only will he assist jll the our school and college bands, orches TEACHING POSITIONS CLARENCE ADLER Boosey and Hawkes phrases should frequently be marked of us, Mrs. Leonard stresses, uto VANTAGE PA£8S. I..... 12. W. 31St.. N. Y. I. organizationof the civic band, or· tras and choirs. 338West 89thStreet. NewYork24, N. Y. Teacher of famousconcert pianists now tour· P. o. BlI~ 418. dynamically rather than rhythmi. make the most efficient use possible h. C'''''.: tUJIi lIftl"... Itlr