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

2-1-1951 Volume 69, Number 02 (February 1951) John Briggs

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Recommended Citation Briggs, John. "Volume 69, Number 02 (February 1951)." , (1951). https://digitalcommons.gardner-webb.edu/etude/143

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FOR TEACHERS, PROFESSIONALS OR RECREATIONAL PURPOSES ••• Sounds LikeMelchior this service offered b! The T!'eodore Presser Co. is another step forward in helping our \ and MELCHIOR customers make the rtght choice, These selections are from a distinguished group of com- :osers i:a~thors and have been carefully chosen by our Music Editors. When ordering e sure 0 write catalog number to facilitate prompt-s-correct delivery. . ..

FEBRUARY 1951 ••• when you play their records on the

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CHORAL I phonograph turntable. It will tell Sacred SATBand Organ :~[:7•...'.'", you if your speed (and therefore andTELEVIStON '., your pitch) is roo high or toO low 332-40070 Benedictus Es Domine (Blessed Another great "ZENITH fIRST"- and by how much. Art Thou) *Indudes Federal Excise Tall. P'*e subiect t~ obtainable ONLY IN ZENITH change wilhaul norice. H. Alexander Matthews .16 Zenith Radio Corporation. Chicago 39, Illinois' Over 30 Yeors of "Know-How" in Radionics@Exclusively· Also Makers of fine Heoring Aids 1 ETUDE-FEBRUARY------_...... -]9.11 4 HESS uses the Steinway exclusively, as does virtually every famous artist of Founded 188] by THEODORE PO FIRST NAME IN • 'I I I "S~ today: Graffman, Levant, Milstein, AUTHORS IN THIS ISSUE • • Novaes, Toscanini, Tureck, Vronsky & Babin, laszlo, and many more. music 1JIaga%t1t~ ANDOR FOLDES ("[t's All Done with Muscles," p. 15), was MICHAEL ETUDEtI.e born in Hungary, of a musical-professional family. He began the PUBllSHED MONTHLY BY THEODORE PRESSER CO., PHILADELPHIAP study of piano at four, and gave his first public reciral at seven. ,A. He continued his studies in Hungary with Dohnanyi and Bartok, AARON Editorial and Advertising Offices, Bryn Mawr, Pa. came to the United States in 1939 and played his first recital here in that year. Since then he has toured widely as a solo recitalist, and has appeared .with the leading orchestras of this country. He JOHN BRIGGS, Editor - PIANO COURSE has also given four European tours since 1945. His book, "Keys Dorothy F. Garretson, Managing Editor Charles J. Reed Art D' to the Keyboard," has appeared in six countries. Mr. Foldes is The course thai combines studenl and teocher appeal. Devised to J. Cleee McKray, .Music Editor ' lrfCIQr shall I buy?" sustain slu~e~Is' interest and enthusiasm. Smooth step-by-step advance- now a U. S. citizen. ment, combining the elements of piano technic with melody. Harold Berkley Maurice Dumesntl Etiubeth A. Gest Guy Maier K:ITIW. Gehrkens Alexander McCurdy Wilfrid Pelletier William D. Herelli Development of rhythmic pot- ELISABETH SCHUMANN Michael Aaron PIANO PRIMER - James Francis Cooke. Editor Emeritlls (Strauss: "Morgen"-A Master terns through hondclopping _ Easy-ta-understond diagrams _ Attractive Lesson, p. 26), is authoritative as an interpreter of Strauss' songs, rhymes and melodies plus lorge Noles. Illustrations... .60 having toured Europe and America in recital with the GRADE ONE - In the very firsl lesson the student actually begins to at the piano. Mme. Schumann, a native of Merseburg, Germany, ploy. Simple, Direct, Modern Approach 10 a solid foundation in piano playing _ __._ 1.00 made her operatic debut in Hamburg, sang one season at the GRADE TWO - Easy Arrangements of Classics - Original Melodic Vol. 69 No.2 CONTENTS FEBRUARY 1951 Metropolitan and was for twenty years a shining light of the Material - Pedal Studies Music Canslruction _ Minor and Chromatic Vienna State . An outspoken opponent of Nazism, she left Sca Ies _._ " , , ,. .__, . .__.., , _.._ _.. .. . ___ __. _..... 1.00 FE.'lTVIIES Austria when the Nazis came in. Mme. Schumann now divides GRADE THREE - Original Descripfive Pieces which "sound difficult" but PAGE her time between her apartment in New York City and her son's in keeping with third grade - Original Etudes _ Sight Reading, etc 1.00 THOUGHTS AT 70 ..••...... Erne.t Blotla 9 home in England. GRA.D~ . FOUR - Forms of Compositions - Speciol Study of Sonota For~ MUSIC TEACHING AS A PROFES ION ....•...... Si,mund Spaeth II - . DlmJn,sh~d Seventh and Dominanl Seventh Chords and Arpeggios JEANIE WAS A LUCKY GIRL ...... •...... rUarion lIart 12 Recilol Material _ , , , .', , _, _ _.. . 1.00 THE ORIGIN OF THE FUGUE ...... •...... Kurt Stone 14 REINALD WERRENRATH ("Singing Can Be Simple," p. 16), Michae.1 Aaron ADULT PIANO COURSE - The odult opproach IT'S ALL DONE WITH MUSCLES! , ,,4,.lIor F&lde. 15 is one of America's outstanding recitalists. Both his parents were to th~ p.lano ", rapidly and confidently, through basic principles to melodic SINGING CAN BE SIMPLE Rell1l1ld JPerrel1,ath 16 singers; his father, Charles Werrenrath, was a famous oratorio material In loqiccl, step-wise manner 1.00 THAT INEVITABLE SYMPHONY DEFICIT ,J. L. MClrris 17 tenor and a close friend of Counod. Reinald Werrenrath was REBUILDING A FAMOUS VIOLIN ...... , , on W MICHAEL AARON PIANO TECHNIC born in Brooklyn, and studied with his father, Carl Dufit, Frank King Clark, Dr. Arthur Mees and Percy Rector Stephens. He sang DEt· J'lUT~IE1\'TS one season at the Metropolitan, but for the most pa~t made his MUSICAL lUISCELLANY Nicola,Sloninukr 4 career in solo recitals. He is now teaching in New York City. NEW RECORDS , C,.o,,11 ealtoyne 6 CORRECT BREATHING FOR SINCEnS 10/111 Finll'Y Williamlon 18 MILLS MUSIC, INC. CREATING A STRING ORCHESTRA , l1o'ou lonel 19 HORACE JONES ("Creating a String Orchestra." p. 19), was _-'hiCQgo -4 1619 Broadway; New York 19; N. Y. los Angeles 14 WHAT TilEY DIDN'T TEACH YOU IN SCnOOL AlfO.wIIIJe,McCu,d 23 born in Wales and brought up in New England. His parents set- Hepplewhite in mahogany ADVENTURESVIOLlNI T'. OF A PIANO TEACUER • .•...... , . . . .. Guy, II'ale,Y 24 tied in Bridgeport, Connecticut, when he was ver y young. Mr. S S FORUM /lntold lJerkler 25 .s » ~~~o!i\~. i{J',~-"!lii'/i{i. J ones studied violin as a boy with Isidore Troostwyck of Yale WORLDSTRAUSS:OF".MORGEN"-A1\1 Master Lesson. • • . . • • • • • .• £1'ua bfOrh Schumann 26 USIC...... University, then with Paul Stoeving in New York. On Stoeving's MUSIC LOVER'S BOOKSH ". 'til recommendation, Mr. Jones entered the Royal Academy of Music ORGAN QUESTIONS ELF ....•...... •...... Thoma' Foulkner SlJ When you invest in anything as important as JUNIOR ETUDE ...... •...... ••....•.••..... F'~e.riekPhiflip, 52 in London, where he graduated with highest honors. Later he a piano, you naturally want an instrument that QUESTIONS AND' ~NSWER'...... •..•...... ~li:;abf.th A. Gut 54 studied in Europe with Cesar Thomson and Adolf Brodsky. He ~no Teochers- TEACHER'S ROUNDTABLE S , ..•..•..... Rarl~. Geh,kena 58 will net your family the richest dividends. The has played many concerts, both here and in Europe, and since ...... •.• , ••••.... Mtlllt.ce Dume,nil 59 great advantage of buying a piano with the famous ~t US send you free this new folder, . 1928 he has been head of the string department, professor of violin and conductor of orchestras at the University of Colorado. Steinway name is that it combines pure beauty of .!~thich a famous child-care expert !UUSIC tone with matchless durability. So magnificently Classic and Contemporary Compo,ition. is it constructed that with proper care it will serve in ,tj~~ps you answer,;questions many' ~anzonetta, •...... •...... • , _ Diet,ich Bflxrehu8e 27 THIS ItIONTH'S COVER your children and your grandchildren. Your Child's Tanz:na '.. , ....•••...... ••...... ••••...... Girolamo P,e'tobardi 28 ;."j~!pentsask about starting R~lll ~urln ...... •.•...•..•••••.....•.•... Jean Philippe RanlHU 30 True, the initial cost of the Steinway may be The ballet "Coppelia" was the inspiration from which Artist higher but, judged by value, it is actually the most ~~iji;Jsons. Development M~~::tOi:'E~fl;l···················'·················.pfI,cell·Bur 31 ..~' Joseph Connolly got the idea for this month's ETUDE cover. A Of Days Gone B' : ~ ~ : ..•...•.•.••..••••.•...... ,L. ton ButhlJren 32 economical of pianos! Consider, also, these factors: . Y ••...•••••••..••.••••.•..... DonlJltll.ee Moore 33 native Philadelphian, Mr. Connolly studied in art schools there, Va Ise P lerrette . After Sundown. , ...•.... , ....•..•••.....•••..... EdOflal"d St. Piene 34 then went to Paris to complete his training. As may be imagined; • Only the Stein way has Ihe patented Accelerated 'fh f "TI 'I , ...•..•.••...... , . , Ere,eU SterelU 3j his hobbies include going to the ballet. Action, so essential in developing sensitive touch • erne rom Ie " agic Flute" 36 On the Mountain (Duel) .. , ...... •...... ~(o:;art·Ma,on Every teacher of the piano will find . . . • ...... • . . . • . . . . ,Surah l.o .. ise Ditlenharer 36 • Only the Steinway hCls the patented DiClphrag· "Music. in Your Child's Development" matic Soundbotud, which permits big piano lone in lnlJlTllmental and Vocal Compo,ifion-il "HOW TO CHOOSE a practIcal and useful aid in discussing NEXT lUONTH • • • even the smallest Vertical. Morgen (Vocal Solo) YOUR PIANO" wlt.h.parents the problems of musical A Song of Gralitude' ('O;g'a~')' , ....•.•.•...... Richa,d Strau" 38 • Only the Stein way is used by nearly ClII of the tralmng for the young child. Mail the Le Ta b . T ~ ..••.••..... l1arold K, Marb 39 Everything in music goes back in one way OT another to the This helpful booklet, nation's leading musicians, orchestrClS, conservClloriel, coupon for your personal copy today! In ounn a ria non (Violin) ...... ••••••..... ", •.•... l.ocotefli 41 composer. If we are to have a musical renaissance in America, handsomely illustrated, will ~. Pieces lOT Young Pluyen be sent free on request. radio Clnd television stCltions. we must develop a new school of American . Write to Steinway & Sons, A Pony Ride. , .. , ... ------, I Two Shorl p' (R' .. , , ...••.••..... Mae-Aileen E,b 43 Where are tomorrow's composers to be found? To answer Steinway Hall, 109 W. 57th With such points in mind, can you afford not leces omance and Finale) I H d " Street, New York 19. N. Y. obligation I Drunlnter Boy...... • • . • ...... ay n this question, ETUDE last fall conducted a contest for composers to buy the Steinway? For information on prices Coufidenc , ...... •...... tlIlle·Aileen E,b 46 JESSE FRENCH & SONS I under 18. Manuscripts showered in from all parts of the United and convenient terms, consult your local Steinway DEPT. E·21 e .. , ....•.....• , '" ...•..••••• , , .John rerrarl 46 I States, and ETUDE's editors were frankly astonished at the quality dealer. You will find his name and address listed ELKHART, INDIANA I and variety of works submitted. in your classified telephone directory. Send my 'ree copy 0' "Music In I Next month, as a special report on what the younger Amerj- Your Child', Developmen'" '0: I Ellt ..J·ed III tl'cond c1'IJJ maUl'r J I of Ma,ch 3, 1879. Cop i ht 1 UI~lJtt'l16h 1884 ttt the P. O. ttl Phi/Ii. Po.. /f.J" rbi. ~f' can musicians are up to, ETUDE brings you a number of the IJJtCtlJf/I;OIl,t! cop)",;ght ;;c~,ed 9A',,' .JhT eodore P,eue, Co., U. s. A. ttnJ G"itI Buldl•. I . rig II rtJf!r1'ed. most striking works submitted in the contest. These will appear in I I I ETUDE's music section, in addition to the regular monthly selec· $3.50 a. year in U. S. 11. and Possessi . I' ... .. lion of works for piano, violin, voice, organ, and vocal and instru· ~ STEINWAY I Rep.ubhc, Guatemala. Haiti M x' ons,.a so In the Phl1lPPines. Cost;!. Ric~. CUb2.DomInICan fomollS for musicat ellcellence I City. . Zone SUire. I Spam and all South Americ; t lCO .• Nlcaragu.a. Panama. Republic of Honduf:15, SalVl~of. mental ensembles, chosen from the works of the best classic and ..'. ,i_nee 1875. Piano Division of I foundlan.d; $4.50 a year in al{~~hnet:JeS exc~pt th,:-,Guianas; $3.75 a year in Can2d2 ~nd N~'f' H. & A. Selmer Inc. l\[anuscnpts or art should be accom Co~mtnes. Smgle copy price: 40 cents. Printed In l.!.~.~. contemporary composers...... ~.u l .' . for return of unsolicited m . pan led by return postage. ETUDE assumes no respol1S blhll' ·_------~I anuscnpts or art. 2 ETUDE-FEBRUARY ]951 3 ETUDE-FEBRUARY 1951 ..._------J. t B" NICOL."-S SLONUISKY

Illustrated UBER,the pioneer of French able. The hideous dissonan,es lIidtnrd StrllllSS It..... I~•. "lIlu~r Model 1 Clarinet light opera, had a psycho- would melt rocks into omelettes ... rocks into on.eteuee He jl.ell hi,.; OIV" opera 50 A' Now made in natural $199 logical aversion to his own My ears huzzed from theseabor: Iwood exclusively ... and Complete Outfit [kept in its native brown ' music, and rarely attended per- lions of harmonies ... " Butin [,color.Inner core grenadilla gives formances of his own . later yeats, Strauss becameone music as the new idiom receives said the tenor to a friend. At bMartin Freres the world's most His idol was Rossini. One eve- of the mo t ardent Wagnerites, No need ,,, his next appearance, the hissing precise clarinet bore. Anchored general acceptance. -. more for ANY' ning, he went to the Opera to When asked what music he posts eliminate post "jitters", prevent was even worse. "Your colonel profess;oll hear "William Tell." Relaxing would take with him if he Were locked keys. See your dealer or CLARINE" • must have brought his whole write for Martin Freres catalog in his seat, he waited for the marooned on a desert island, he regiment along," remarked the showing Bb clarinets, alto low E of the cellos, with which named "Tri tan and Isolde1l MUSICIAN'Simagination of- tenor's friend. . and bass clarinet, oboe the overture begins. The con- along with Bach's uWell..Te~. ~''': and English horn. A ten makes him hear what . lUI ductor gave the sign, but in- pered Clavi hard:' and Beeihe- he wants to hear in music. The • stead of the expected E, the ven's string quartets. ~ (J = Sole distributors following two stories are related orchestra struck a crashing about Meyerbeer. Dissatisfied LD·FASIlIONEDmusic lovers Buegelelsen SJacobson./nc. diminished seventh chord, SIN"'" briefly visited with the tone of the B-flat clari- O who complain about the which Aubel', to hi horror, France between the twowars.At net ill one of his overtures, he lack of melody and the over- 5·7·9 UNION SQ.UARE, ·NEW YORK 3, s, recognized as the introduction the French border he had some 'J1JhCTCVCTthCTC ZS music at its best A 2 . asked the player to change the abundance of dissonance in mod- to his own opera, "La Mu He diffi ulty with his visa, and a instrument to the A clarinet. ern music, will find philosoph i- de Portici." Despite his age-- SUI er-i r officer was calledto The player went through the cal comfort in the fact that even ••• thCTC you will find the he was 87 at the time--hc straighten it out He looked at motions of picking up the A in the placid nineteenth cen- jumped from his seat and ned the name in the passport, saluted clarinet, but. at the last moment, tury, people also found their the theatre. It seems that be- and exclaimed: "Monsieur when Meyerbeer was not look- music discordant. "The Musical CJ3ALDWIN cause of the illness of one of trau de Vienne! Le RoideJ. ing, he took up the B-flat clari- Times" of London published in ~ the principal singers, the per- Valse! Pas ez!" Mindful of his net again. "Listen, gentlemen," its issue of January 1, 1895, a COMPOSER' • LECTURER' • EDUCATOR formance of "William Tell" had troublesome vi B, trauss did said Meyerbeer to the orches- glossary of musical terms "by PRESENTS HER been cancelled, and Auber's not di abu e the Frenchmanin tra. "How much richer does the a discontented musician," in More and more symphony 71ew- own opera was put on instead. his mi taken identity for the A clarinet sound in this solo!" which the following definitions orchestras are choosing the SOLO TECHNIC long-dead King of the Waltz. In another passage, Meyerbeer arc given; MUSIC: A succes- • desired to obtain a vanishing sion of more or less discordant Baldwin as their official FOR THE PIANO III his early years, Strauss pianissimo in the kettledrums. sounds; the more discordant Stral£ssiana: Richard was the target of so muchvitu- "Softer, softer!" he admon- the sound, the better the music. piano. Yes, wherever there Presents to students musical ond Strauss told this story of his peration from the press thaia ished. The drummer tried again MELODY:an obsolete term. DIS- technical works in solo form. first is music at its finest. first attempt at composition. On sizable chim.pflexicon [die and again, but Meyerbeer was CORD: See MUSIC. COUNTER- level of piono study for pianistic Christmas day in 1870, the tionary of cusswords) couldhe not satisfied. Finally, he stopped POINT: Two or more themes there you will find the Baldwin. development carefully covered. children sang a three-part oel. made from the quotations. The playing altogether, and just forcibly made to go together May accompany any first book .• 75 In their own words, countless Little Richard listened and then astute Philip Hale damned moved the sticks in the air whether they desire it or not. suddenly said "Mother, I can "Don Juan" at its first Ameri· without actually touching the (Two barrel-organs playing dif- conductors and soloists have BERNICE FROST write music like this, too." And can performance in 1891."DOD drumhead. "Fine!" exclaimed ferent tunes in the same street expressed their own reasons for choosing the Baldwin piano. PIANO COURSE INCLUDES he did! .. His first symphonic Juan was more direct in his Meyerbeer. "This is the pianis- are a good example of counter- simo I want." Richard Strauss point.) KEY SIGNATURE:The BEGINNING AT THE PIANO ...... • 60 work was performed when he methods," he wrote. "Accord You, too, will be thrilled by the response, the strength, number of flats or sharps placed AT THE PIANO, was only 15_ When he appeared ing to Strauss, he was verbose, rationalized the usefulness of Books l, II, III, IV ...... •... Ea. 1.00 on the podium to acknowledge and a good deal of a bore. inaudible playing. In his jocu- at the beginning of a piece to the purity of tone found in the magnificent Baldwin. TWO PLAYERS AT THE PiANO .•.....• 1.00 indicate the only key not used applause, somebody asked: When he made love, he beat lar "Ten Commandments" for COMPANION SERIES, . in the piece. Books I, II, ....•..•.•..•....• Ea. 1.00 "What has the boy to do with upon a triangle, and when he conductors published in his last Consult your classified telephone directory for the nome THE ADULT AT THE PIANO, the piece?" "Nothing," was the was dyspeptic, he coufidedhi, collection of essays in 1948, he and address of yaur Baldwin representative-or write Books I, II...•.•....•.••.•••. Ea. .75 Amu.singly enough, there reply, "except that he composed woes to instruments that moaned says: "If you can hear the The Baldwin Piano Company, Dept. ET.2, Cincinnati 2, Ohio COPIES SENT FOR EXAMINATION brass at all, they are already really. exists a nineteenth-cen- the thing." in sympathy." But II years playing too loud." tury composition, in which the later. Hale called the work "a key signature seems to "indi- ''!: a letter written in May daring, brilliant composition, cate the onl.y key not used in 188~, Hans von Bulow dubbed one that paints the hero 35 • the piece." It is Brahms' Inter- Strauss "Richard the Second." might a master's brush on ean- lFhen an opera tenor Clp- mezzo No.4, Op. 76, which has 1!Ialbw in Yet, Strauss, in his youth, vio. vas," and rhapsodized: "How peared for a curtain call, some- two flats in the key signature. THE BALDWIN PIANO COMPANY, CINCINNATI 2, OHIO lently criticized Wagner. He expressive the themes! What one in the audience hissed. "It But the B-flat Major triad is wrote to the composer Thuille glowing passion!" Musiccriti~! must be the colonel with whom nowhere visible until the last Baldwin also builds the exquisite Acrosonic Spinet, Hamilton after hearing "Siegfried" for even the great ones, mo?~f)' I quarrelled the other day," two bars of the piece. Verticals and Grands, cnd Baldwin Electronic Organs. the first time: "It was abomin- their response to unfaffilhar 4 ETUDE-FEBRUARY 1951 5 ETUDE-FEBRUARY 195/ l ....t -~., . SCHOOLS - COLLEGES NEW RECORDS continued' BOSTON CONVERSE COLLEGEk:? Dallas Symphony Orchestra. The panied violin sonata, and who gave UNIVERSITY Edwin Gerldleflt:1, Dun. 8PlrunbU11,~~~c chorus is that of the North Texas the work its first public perform- KNOX Department of !dUde State Teachers College, and the ance, has now recorded it for QlluburC, lUlnoh ~~ Testival COLLEGE Thomas W. WllIllml,Cblllltl Dallas Children's Chorus. The bril- RCA-Victor (one 12-inch LP disc). cs; of m.: CltalolUlI Hot U1iOlll'!Quell.l~ liant work receives an excellent Of the Bartok work, Mr. Menu- COHS.~V"TO~~ Dean Warren S. Freeman OF MUSiC hin has said that it introduced SHENANDOAH L. E. HIll, Pr••. rendition. (RCA-Victor, three 45 Courses in all branches of music Courses leading to the B, Mus, and B Mus effects previously unknown to vio- oiBritain! rpm discs). and mu~ic education. Preparatory, Ed. degrees. Member NASM. In th~ he.' Imogine an entire 'nation on parade! That's Britain undergraduate and graduote study, of the Shenandoah Valley , Dayton , v·",·mil.." lin literature. And obviously it Beethoven: Concerto No.1, in C presents inordinate difficulties of a in 1951 ••• -with EXHIBIT10NS, PAGEANTS, SPORTS Eminent faculty includes: CARNEGIE COLLEGE This recording of the Bee- technical sort. Probably few living EVENTS, FESTIVALS of MUSIC and DRAMA every- • RIchard Ilurqin By GEORGE GAS COYNE thoven Piano Concerto in C Major violinists besides Mr. Menuhin are where in Englond, Scotland, Wales ond Nor\flern • Arthur' Fiedler OF FINE ARTS is the first made by Walter Giese- equipped to cope with this stag- Ireland. DEPARTMENT OF MUSIC Starting from London, center of this· gola programme, you'll wont 10 visit • Francis Flndloy king since the war. The recording geringly abstruse work. It is in • Instrumental-solo. many of the cities and towns playing their specialized roles in the great • HeinrIch Gebhar4 crsion. By comparison with Mr. orehestra. Vocal_ala and is of high quality, with remark- Bartok's familiar pungent idiom, Bach: Chromatic Fantasy and Festlvcl, • Karl GelrlnCJer ensemble, Music education ably little distortion of the piano and makes challenging listening, Fugue Busch's earnest, musicianly read- -teaching ond supervising In Britain, travel means BRITISH RAILWAYS. By securing all your travel • Roland Hayes vccct and instrumental mu- part. The orchestra is called the Bach: Fantasia in C Minor ing, however, Mr. Renardy sounds sic. Composition-theory On the other side of the record needs before you leave home you will realize substantial sovings NOT • Ernest Hutches.n a bit superficial. Mr. Busch, on ond ~ompoliition for public parlormanCes. Stu. "Philharmonia," which may be a is Mr. Menuhin's performance of obtainable in Britain •.. · for example, MILEAGE COUPONS, which permit Two monumental works of ?n.t~ full symphony orchestra, Public recitoll' • Carl Lams." the other hand, seems bothered by I~d''''ldual <;Jnd gro~p, Chorus, Tlach,rs 01 no: scratch band but does not play the lively Prokofieff Sonata No.1, go-as-you-please trovel. Leave with assured reservotions on frains, on cross- Bach are played admirably by • Albert Spaldln, t,onol and ,ntunatlonol reputation Grcdu t like one. (Columbia, one LP disc). channel steamer services between Britain·lreland-Continental Europe, end at double and triple stops, and other with top prof.ulonol ,.cordi, Cotd. Cltolo~~ with Marcel Gazelle at the piano. • StradivarIus Quartet Gyorgy Sandor, pianist. Mr. San- ony of the 47 outstanding hotels operated by The Hotels Bxeeuttve, British technical hurdles, slowing the CARNEGIE INSTITUTE OF TECHNOLOGY dor displays technical fluency, ad- Kurt Weill: "Down in • James It. Houghton tempo when such things appear. Ball E P'ltt,bur9h n, Po, Stravinsky: "Fire bird" Suite Transport. Arrangements for sightseeing trips ond tours by rail, motor eccch mirable control of dynamics and the Valley" and steomer, can also be completed before you go abroad. • H. Au.ustine Smith Mr. Renardy's record was rnade Leopold Stokowski, conduct- tone-col.or, an overall conception Kurt Weill's "folk opera," Music Education Worhhop- DI LLER·QUAILE ing the orchestra specially assem- of the work having breadth and for London (one LP disc); Mr. PLEASE CONSULT lOUR TRAVEl AGENT Opera Workshop School of Music which has had a staggering num- bled for his RCA-Victor record- dignity. (Columbia, one LP disc). Busch's for Columbia (one LP ber of performances in all parts -Plano Workshop Teacher Training ond G,neroJ ings, leads a dazzling performance disc) . of the country since its premiere Year-round study available through twelve Musicianship Courses of Stravinsky's "Firebird" Suite. BRITISH RAILWAYS week summer program Lassus: Lemenuuions of two years ago, is now available on It is music for which Mr. Stokow- jeremiah. Gershwin: "Rhapsody in Blue" 66 East 80 St. New York 21,N,y, records, sung by Alfred Drake, For information, catalogue, illustroted ski has a special affinity, and the Gershwin's versatile composi- folder, write Des Pres: De Profundis; Jane Wilson and Norman Atkins, sound engineering is of a high tion, which before this has had all Donald L. Oliver, Director of Admiss,lons Ave llfaria SAROYA - ONOFREI STUDIO! with an orchestra and chorus order. (RCA-Victor, one LP disc). sorts of arrangements and tr an- under Maurice Levine. (Decca, one BOSTON UNIVERSITY Two magnificent works by Voice-Repertoire scr iptions, now emerges in a two- LP disc). Room 115-705 Commonwealth Avenue composers of the Netherlands Opero Workshop Debussy: "En blanc et nair" Boston 15. Massachusetts piano and orchestra version by School are given a stirring per- Infante: "Andalusian Dances" Jose Iturbi, who conducts the Beginn.rs to finish.d artists Bartok: Six Quartets formance by Paul Boepple and Jose Iturbi and his sister RCA-Victor Symphony 200 Welt 5etl. St .• New York n. N. Y, The six string quartets of Bela the Dessoff Choirs. (Concert Hall Orche trn Amparo make up a duo-piano , in the recording and also plays Bartok cover nearly his entire life- • Society, one LP disc). team for this performance. The one of the solo piano parts. Hi GREENSBORO COLLEGE span as a composer. The first was SCHOOL OF MUSIC "Andalusian Dances" are spirited sister, Amparo Tturbi, i the olh r C;r •• written in 1907; the last in 1939. Beethoven: Sonata, Op. 102, "Jboro, Nort. C.rallu and colorful. The Debussy, how- pianist. (RCA·Victor one LP Mem"'r HASM They mirror faithfully his devel- ever, would benefit from a more Depaul No.1 l/'QUr "tar toIlrUl; lttdill. 10 B.A, .nJ B.1L disc). . , opment as a composer, and the UNIVERSITY decren. Fa.cuIlJ' oJ Mtlll Teaebtn subtle, evocative style of perform· Beethoven's Cello Sonata is LUlhtf' L. O,bbtl, Pr.,ldul. Glltt., Nelu •. Dut gradual evolution of his musical .L... CHICAGO 8eowf ,n utela,...... d tudltr. ance. (RCA-Victor, one LP disc). Addrtu: IIEGI!TRAR played warmly and expressively Bartok: Two-Piano Sonata thought. All six have been recorded THE SCHOOL OF by Pierre Fournier, cellist~ and by the Juilliarrl String Quartet, The sonata which Bartok Hindemith: "Four Tent- Artur Schnabel, pianist, in this and are performed with skill and perarnents" ,~rotf~ for two pianos and perc us· ~ new recording. Ensemble is excel.- devotion. (Columbia, three LP SlOn Instruments shortly before h.is This ,vork, which dates from Offers accredited courses in lent and the tonal blend leaves discs) . death is performed expertly by Compl.t. training on urrigbt. spinel 1940, is in sections identified by Piano, Voice, Violin, Organ, nothing to be desired. (RCA. and grand pionos. G., " civilian the names of "temperaments"- W.illiam .M~sselos and Maro Aje. oppro .... d. Writ, for FREE infcrmction. Haydn: Symphony No. 22 Public School Music Theory Victor, three 45 rpm discs). specifically, "Melancholic," '~San- and Orchestral Instruments: Huan, plamsts, with Saul Good- SHO' TRAINING,Do!> E in E·flat . 46D S. Stel, St~ QitGtt. It guine," "Phlegmatic", and "Chol- man a~d Abraharn Marcus playing GRE ER Haydn: Symphony No. 35 Confers degrees of B.M'J A.B., Stravinsky: Duo Concertant eric"-rather than the familiar the vanous percussion instruments. in B-flat and M.M. JAMES MILLIKIN UNIYERStTY tempo markings of sonata form. One of Stravinsky's most A stimulating performance of a The Haydn Society of Boston, Distinguished Faculty SCHOOL OF MUSIC It is a clever, imaginative work, agreeable works, the Duo Con- difficult, challenging work. (Dial DECATUR, IUINOl5 continuing its project of recording Oft'ul IboNlUlilb lrtlDLD, l.D Illuslt. Caul!lU Iesd· put together with skill and fine certant (1932) is recorded in a Records, aile LP disc). Inlla delt«l oC: naelMlor of Jdllde. Biellelerol all the works of Haydn, comes up Address Registrar for Bullet;,. :UuJle EducaUoo • .\IutU of MUll" lod yute' craftsmanship. It is heard in an fashion which can be considered or lhllic t:ducatlOIL with two symphonies not often MemberoCI.heNaUonalAuodallooSebOOI.oIllufie expert performance by the Zimb· DePAUL UNIVERSITY de~nit.ive. The violinist is Joseph Beethoven: Scrpncule in D DulleUo Kot OJlODreQuest heard in our concert halls. No. 22 w. ST. CLARE MINTURN, Dlrecttr ler String Sinfonietta and Lukas SCHOOL OF MUSIC SZlgetl, and the composer himself is unique among Haydn's works A seldom·heard and lovely Foss, pianist. (Decca, one LP lS at the piano. The result is a for its use of two English horns in- Room 401, 64 East Lake Street work .by the master is pia yed .Philadelphio Conser.otory stimulating performance of an in· stead of the usual pair of oboes. disc) . Chicago 1, Illinois charmmgly and effectively by of Music FOlllded 1177 teresting and challenging work. The performance by the Vienna N EWI LET'S WRITE AND PLAY, Burrows and Ahearn. John Wummer, Aute, Alexander M "'-RIA EZERllIAN DUXl:i:. DireclO1' Honegger: Concerto da Camera A companion book. to The Young Explorer At The Piano. (Columbia, one LP disc) . Philharmonic Orchestra. under the Price 75c .... Schneider, violin~ and Milton Eminent FaCility The "neo·classic" trend of &pert Child Training direction of the Americ~n conduc· THE YOUNG EXPLORER AT THE PIANO, Bu"ows and ~atil1ls, viola. (Columbia, one LP Honegger's work, like that of many BALDWIN·WALLACE Bach: Sonata No.3 in C Major COU"" leodin; to Degrns tor Jonathan Sternberg, is excel- Ahearn. A song approach' with a systematic program for CONSERVATORY OF MUSIC dISC) . 216 S. 20th St. LOcust 7·1817 contemporary composers, is mark· the development of reading. Price 60c lent. (Haydn Society, two LP BEREA. OHIO (!uburb of Cleveland) Bach's unaccompanied sonata edly in evidence in this chamber· THE ADULT EXPLORER AT THE PIANO, Aheocn. Bloke Affiliated with a first class Liberal Arts discs) . and Burrows, Arranged in 0 style suited for the adult hand, Collel'e. }<'our snd tlre yur courses leading for violin has recently been reo Kodaly: Psalm.us llungaricus music work. It is given an efIec- to degrees. FaCUI~y of Artlst Teachers, Sentl addressed to adult intelligence. Price $1.00 for cataloglle or Inforlllation to: corded by both Oss)' Renardy and tive performance by Arthur Gleg- H ....ROL.D W. BALTZ, Dean. Berea, Ohio Kodaly's massive work for Bartok: Sonata for Solo Violin Write fOT com,ntte co'alo.ue Adolf Busch. Comparison of the ~horus and orchestra, composed Prokofieff: Sonata No. I, Op.80 horn, flutist, William Kosinski, two versions is thus inevitable Yehudi Menuhin, who worked English horn, and the Los Angeles ft":: ~L-":'__ Drama O.pera-Danell In 1923 ~or the 50th anniversary IlW IV~ Musieal Comedy and interesting. It reveals that Mr: Chamber Symphony, Harold Bryns .. ,.L,'"_. Adult !.raJnlng-Stal''' and of tlle ~Illon of the cities Buda and closely with the late Bela Bartok Telenslon, .'>cw 'l:ork appearances strcssed. Renardy has the better fingers. He . (Capitol, one LP disc) . mUS'CeO. Appro,·ed for Vets. Anile" .for Children. Write Pes~h, ]s performed under the dj. in the creation of the unaccom- 'Th~W".:L'$ E .. -\ly;ene. 1780 H'\~a.,'. N. Y. [';ly HI. 124 EAST FOURTH STREET CINCINNATI 1, OHIO plays the work with fire and pre. rectIOn of Antal Dorati by the

6 ETUDE-FEBRUARY 1951 7 ETUDE-FEBRUARY 195/ J t Dr. Mc~ray with an eye to ' much variety in type as possihi! 437·41002 It contains classics with whichyoue. THE SACRED ORATORIO A PRONOUNCEMENT of the people should be familiar suchng ETUDE the music magazine AMERICAN ACADEMY of Song of India, Rachmani~off's p,a< TEACHERS of SINGING lude ~n C Minor, and Moszkowski;; FEBRUARY 1951 Here is a book every serious vocal Spamsh Dance. It also containsfolk teacher and student should own. songs such as Deep River and Vien. This work, compiled by a group of nese A1elodr, and lighter classics leading vocal teachers, was prompted like the H exentanz (Witches Dance) by the current resurgence in the field of MacDowell. Young players will of the Sacred Oratorio. One section enjoy, too, such novelty number, a" is a historical background of the Sac- 'T!s Raining and Shadows of th: red Oratorio from the beginning to Niglu, List price, 81.50 the 20th century, giving its origin and dates and names of leading com- 417·41001 posers. It includes Italy, Germany, England, France and America. MY FIRST NOTE BOOK Another part is devoted to the best WITH MUSIGRAPH procedure for study and performance NEW BOOKS First Lessons in Theory 'lIy dealing with Tonal Production, Mu- Ada Richter sicianship and Diction. Valuable help The author is widely known as one is given for Tempi and Translation, Just off the press of America's foremost writers of as well as an excellent discussion on piano teaching materials for chilo the use of the appoggiatura which all singers must understand in order to dren. This n w book is proofthat the Available NOW! fundamentals of music theory canhe sing oratorio. By ERNEST BLOCH A representative list of 18th, 19th taught to very small children. The and 20th century Sacred Oratorio is musigraph has large-size treble and included with dates, text, editor or ba clef staffs. There are serenl As told to Leroy V. Brant translator and publisher. A second page contuining ymhols of music listing consists of Recitative, Aria, Lends itself to pantomime, with or to be cut out by the student. As the appear, and the child plays folk- pupil learns about these symbols Duet, Trios and Quartettes listing the songs and other airs with satisfying without narrator for descriptive pas- ( u h 8S not S and rests of different A famous composer sums up the conclusions voice for each as it appears in the melodic content. Key charts and sages. Helpful suggestion are given score. List price, $1.00 for presentation of tableaux and set- values). he places them on the musi. interesting illustrations add to the graph. Thi functional approach im. usefulness and eye appeal of this tings. List pr-ice, S.75 430-41008 mediately interests the pupil in the reached in his long creative lifetime, which has well-planned first music reader. theoreti 81 side f music; in factit FIFfEEN DESCRIPTIVE 437.41001 MINIATURES FOR PHRASING List price, $.75 makes a game of learning notes. AN INVITATION TO BAND Th mu.sif.:raph u es action rather established him as one of the greatest living artists AND STYLE 433·41004 by William Scher ARRANGING than less interesting writing or reo TEN ARIAS FOR ORGAN FROM citation. It call be used by the child THE CANTATAS OF by Er-ik Lcidzen This interesting book of second grade to young to write and is attractively pieces is a new collection designed to JOHANN SEBASTIAN BACH Dr. Leidzen believes that the only illustrated with pictures that make develop technic, style and imagina- Arranged and Edited by Carl Pfatteicher and way to learn band arranging is to mu ic symbols come to life. tion. Each is musically interesting; arrange-there is no "magic form- My First Note Book may be used all can be used as recital pieces. Richard McCurdy Ames things which experience has taught us are important. So I ula." Anyone who can read four-part for private or clas instruction. It is SOMETIMES PEOPLE ask the question, "How due, There is sufficient variety of style In presenting this work, the editors harmony can begin this step-by-step aJ 0 ideal f r cIa sroom use in pub- have tried to do, and perhaps a bit to suggest to the younger and mood to hold any student's followed a precedent set by the the composer receive his inspiration?" I think the answer IS method. Transposition and other lic hool f r very earliest work in generation how to live richly. interest. master himself, when' he transposed that one can only receive the highest inspiration from the for organ six arias from his cantatas. hazards are carefully explained, and music theory. It i a "must" for every Every mind should become acquainted with some of the List price, $.75 the scores at the ends of chapter mu ic lea her in the studio. and for fullest, richest living. I do not know how any given person In addition to the inspiring nature great thinkers of history. Confucius has been one of the most of the music, they form excellent are extremely helpful. the elementary school music super- can live richly; that is something he must discover for him- 430.41005 studies for both the mature and The book is divided into five main visor. The child will value his own self. But I do know that in my own life most of my works helpful to me; then come Plato, Jesus. the moderns. One FAVORITE PIECES AND SONGS maturing organist. Hammond reg- parts, including scor-ings from vocal opy. Li.~1 peiee, 8.60 should read them all. settings, arrangements for piano have been inspired by poetic or philosophical ideas, perhaps by Mary Bacon Mason isu-ation is indicated. compositions, and transcriptions sometimes unconsciously. If this be program music, let it be! One should have a hobby. For my hours of relaxation I List price, $2.00 417-41002 Adapted for use in classes and with from orchestral works. The volume The essential thing is that musical logic be observed. But art like to take a few apples, a' bar of chocolate, my camera, and individual pupils, Favorite Pieces 410·41014 may be classed as theoretical. but the PEDAL ~IASTERY my miniature scores of the Bach 48, and hike into the mouu- . and Songs is aimed to foster a real principles laid down are based on uy Rowland W. Dunham for me is an expression, an experience in life, not a jigsaw CHILD BRAHMS tains or on the beach. Also, I like to see how rapidly I can love of music, widen the range of Childhood Days of Famous Dr. Leidzen's extensive practice in Pedal At aster)' is a book all organ- puzzle or an application in cold blood of mathematical theo- reading, build rhythmic sense, give wr-ite a Bach fugue from memory-to date 32 minutes is my Composers the arranging field, and life-long ists will find invaluable. Mr. Dun- ries of musical composition. . strength and control to the fingers, by Lottie Ellsworth Coit teaching experience. ham, distinguished organist and record, but] am trying to reduce the time to 23! I am an and increase practical knowledge of I had but little schooling; my formal studies ended when and Ruth Bampton List pr-ice, 85.00 teacher. skillfully presents a clear keys, scales, and harmony by con- I was 14. I was thereby compelled to study for myself. All American now, I must do as the other Americans do, try for secutive study in one key at a time. Easy-to-play arrangements of and understandable pedal method 430·41007 Illy life] have attended God's University. This has made me some kind of record! The first 32 pages constitute mini- Brahms' music, combined with the which will assure absolute mastery mum requirements; the remainder story of his youthful activities. This, DITSON ALBU~I OF of this difficult feature of the organ. rely upon my own thinking. ] believe this has been much for the ninth book in the series, follows PIANO DUETS In his book. the best renets of the In my teaching I impose no ideas, I only try to help the consists of . supplementary pieces, the best. the same general plan of the previ- Compiled and Edited by English and French schools are pre- studies, and duets for recreation, ]n God's University one finds many assistant instructors, student find his own viewpoints. I know this is the only teach- recital, or reading. The range of ous books and includes directions for . J.. Clees McKray served and welded with new princi- Tins collectIOn, ranging from grades ing that makes the pupil strong. Another thing, in the 50 years difficulty is from grade 2 to 2¥2. a min~ature stage setting, a list of pIes used for the modern electric with Nature as the head of the faculty. Those assistants are three to five, has been edited by organs. List price, 82.50 that 1 have been taking notes on music, and on many other List price, $1.00 recordll1gs of interest to children too many to name, but I can mention a few: Josquin des Pres, from five to twelve years of aue and Orlando di Lasso, Vittoria, Palestrina, Bach, Haydn, Mozart, things as ·well, I have learned that music is only a phase of a attractive illustrations. 0 , 430.41004 THEODORE PRESSER CO., o Enclosed $ .. , .. _. Beetho\'en, Brahms-they are the ones to whom one may go larger thing called life; it is indeed a way of life. An illogical MOTIIER GOOSE IN NOTE.LAND List price, 8.40 Bryn Mawr, Penna. o Charge 'fo my account with any problem in all music, and they will always give the life is a poor life. A Colorful Music Reader for the __ 417-41001 __ 410_41013 The First Easter .75 410·41013 My First Note Book $ .60 should always be remembered by pupil and by teacher Rather Young __ 430_41005 Favorite Pieces __ 437~41001 An Invitation to correct answef5. After years of study, some of it completely It by Josephine Hovey Perry THE FIRST EASTER and Songs 1.00 Band Arranging 5.00 barren of helpful results, I decided to consult these men. It alike that one may teach the techniques of composition, but by Ada Richter __ 430-41004 Mother Goose in The purpose of this reader is to fully __ 430,'UOD7 Oitson Album of no one can teach composition itself . This story with music, treating the Note.land •75 Piano Duets 1.50 was from them that I learned the true art of musical logic! establish concepts of the treble and __ 433_41004 Ten Arias to~· Granting musical talent in the beginning, I think the most Easter theme, follows the general pat- __ 430-41008 Fifteen Descrip- musical composition. bass section of keys and notes and Organ ... _, 2.00 tive Miniatures .75 te~n of th,? many other successful __ 410_41014 I think the scores of the masters are the best teachers. Yet, essential thing to the young composer is honesty. Dishonest}' their correlation to one another. Th~ SUItes of tIus composer. The music is Child Brahms ., . .40 __ 437-41002 The Sacred -_417·41002 Pedol Mastery .. 2.50 Oratorio 1.00 in music can destroy the soul, just as dishonest)' in polilics Middle C approach is used, and one about grade two, in most part ar- perhaps \ve who have studied those scores deeply may lead note at a time is added in both bass can destroy a nation. The composer who strives for effects, to rangements .of hymn tunes, all have NAME ...... , . , ...... - . the young musician a little way, point to him some of the (to be colored red) and treble (to words and Illustrat.ions. Usable and ADDRESS .. COHTIHUED ON NEXT PAGE be colored green) clefs. In Part Two most welcome as piano lesson assign. standardized black and white notes ments, in recital, school and church. CITY· & STATE _.

8 ETUDE-FEBRUARY 19511.. _E_T_U_D_E_F_E_BR_U_A_R_Y_l_95_1 ••••••••••••• 9•••• 1 Music teachers are not frustrated soloists but

skilled practitioners of a specialized and exacting art.

Music Teaching as a Profession

By SIGMUND SPAETH

Sigmund Spaeth, lecturer, musi- own glamorous reputation as performers. To be able to illustrate by actual example may also be an cologist and radio commentator, has advantage, but it is far too easy to fall into the dangerous written 30 books about 11'1USic.His habit of saying "Do it the way I do," and then expecting a latest is "Opportunities in Music," pupil to imitate perfectly a performance for which the neces- from which this article is taken. sary technical equipment is still lacking. A careful analyst, Copyright 1950, Vocational Guid- with a good working knowledge of psychology, and the basic principles of technique, can. often achieve far better results ance Manuals, New York. than the vocal or instrumental genius, naively aware of almost unique powers of interpretation, but perhaps totally unable to explain them.

SCHUI.ADSIIU- AN" '·EIlS.'NAI~ITll NQUESTIONABLY, the greatest opportunities in music There is a justifiable feeling on the part of educational today are in the educational field. A really good music leaders that a capable music teacher should actually be a teacher can always be a busy, successful and presum- Thoughts at 70 U good musician, with not only some ability as a performer but ably happy p«son. also a background of musical theory, harmony, counterpoint, It is a mistake to think of music teachers as frustrated by Ernest Bloch and a working knowledge of the history of music ann the artists, unable to make a living through professional perform- CONTINUED FROM PRECEDIHG PAGE lives of the important composers. Yet. it is entirely possible ances and hence compelled to instruct others in what they that even so well equipped a person may prove unsuccessful themselves were unable to accomplish. Such a thought is not as a teacher, perhaps lacking the right personality, the neces- unly all absurd fallacy but a cruel injustice. sary sympathy and understanding of those less privileged. and appeal to the taste of the pap-suckers, will An outstanding music teacher usually is or has been an why should more be required? the tiniest detail becomes of magnificent the whole-hearted enthusiasm which can overlook minor flaws • 0 excellent instrumentalist or singer, perhaps with practical ex- surely destroy his own souL . ~he element of understandable beauty in the recognition of honest effort and gradual progress. Great Importance in the development of his perience also as a conductor or composer or both. Compen- The composer must remember that "Thou IS Important to the composer. Confucius scholarship and personal ability of the virtuoso type may all scores. Even the restrictions he sets for sating for the possible lack of such experience in a teacher shalt be logical" is the first 'of his com- once commented that "the measure of too easily create impatience with average accomplishment, a . ". man himself become heights of glory. It is only is the innate grasp or intensive study and mastery of the art mandments. He must then remember that IS man ; If we translate this into . severely didactic manner, and the dull and fussy emphasis " I mUSIC, to the little mind that such restrictions and science of pedagogy as such. The ideal teacher should be melody came even before conscious logic. on detail characteristic of those who "cannot see the woods t ie measure of music is man." Music become a burden. Liberty lies within the equipped in both directions. Lacking one or the other, he may A thing that is illogical can never Jive. ~n~st appeal to. man's sense of beauty, else still make a respectable success. But if he is neither a com- for the trees." law. To attempt to become free by doing A true artist must be a perfectionist; but a successful and music without melody is unthinkable: it IS poor mUSIC, or no music at all. petent performer nor a natural or well-trained teacher, he is everything differently is folly-just ron- teacher is condemned to perpetual compromises. The real test The composer must strive for simplicity. Too many young composers begin well doomed to disappointment and possibly complete failure. There template a play in which no actor ever of good teaching is not necessarily the quality of the pupils' One of the most beautiful pictures in my then have no idea where to ao Thi . ' is little room for teachers of any kind who are using that o· IS IS appeared twice, every actor spoke ill a dif- performance, which may depend largely on individual gifts, possession is a Chinese painting of the I profession as a last resort, tacitly admitting that they cannot pro. ,ably because of too little study of the ferent language and about different sub- but rather the stimulation of a sincere and permanent enthu- Ch'ing or Manchu dynasty, over 200 years make a living in any other way. Nor will modern students lOgIC of the masters. They should write siasm. A teacher who holds the interest of a number of pupils old, a painting which depicts three jects and always at the same time--wo111d and parents be satisfied for long with a teacher, particularly thousand. things patterned after th e cIas-a of various grades of ability, not necessarily outstanding, is of branches of bamboo, nothing more. The that be liberty, Or would it be insanity? in music, who is held down by old-fashioned formulas and SICS, then burn them all and ha . greater value to a community than one who can point with . I ,VIng ac- . Atonality and kindred new techniques, routine, without individuality or imagination. painter wrote on the Chinese-made paper qu.ucc .a technique. should throw overboard pride to a few prize exhibits, always ready to show off their including the ultra- free use of dissonlUlce Actually, it has been proved that the best performers do on which the painting appears the follow- faith In tradition, habits, statements of dazzling skill, with the probability of equal success under for its own sake, rouse bitter controversy. Hot necessarily make the best teachers. The greatest artists do .ing quatrain: any other competent instruction. ~eachers, should in short become completely so much by instinct, perhaps even on the inspiration of the I may say that in much of modem music For teaching the so-called "appreciation" of music, which "One, two, three branches of bamboo Independent. And never fear that th . moment, that it is often difficult for them to analyze the true A e In- the elements of logic and beauty appear to might far better be called "enjoyment", a minimum of tech- With four, five, six leaves: lienee of the masters will be sh k I reasons for their success. They have, of course, an elaborate If they are few, yet they are sufficient '11 b a en. t be forgotten. It seems to me that the COIll- nical knowledge is required, particularly as a performer, WI e behind the dramas of th . . technique, but even this becomes almost unconscious in time. Why should mor-e be required?" eIT mUSIC poser must consider that if we destroy the although the ability to illustrate at the piano is always valu- a tower of strength in need! ' If they can remember clearly the processes of their own de- dr amatrc.. Instrument called tonality, or key able. For such work the use of records takes the place of Music, again, I say, should be simple. Composers must remember that zreat velopment and impart this information to others, they may If three pages of manuscript tell the story, li . doi . 0 ness center, logically we must End something personal interpretation, and the (Continu.ed on Pa.ge 60) res III omg Iittle things well. With Bach become excellent teachers, always with the advantage of their to take its place. (Conlinued OIL Page 57)

11 10 ETUDE-FEBRUARY 1951 ETUDE-FEBRUARY 195/ d •

She had found Madame's to come back ill the morning for a treatment. name the second day of her The treatment did not help, but it cost her $20. She whispered to Madame that she would have to stop her lessons for a' while. a Juck4 girl stay in the city. Madame had Jeanie was That was perfectly all right: Madame nodded, though it was a sounded very impressive, so Jeanie courageously telephoned shame for Jeanie to lose the money. for an appointment, which mao Jeanie did not quite understand. Well, Madame said kindly, dame graciously gave her. after all, the term was not over. They had agreed on a term, The girl met Madame and so even in case of sickness the girl would have to pay for She was young, she was pretty and she sang was fascinated by the statuesque the remaining lessons whether she took them or not. figure, the low speaking voice, Jeanie looked at Madame's kind face with dry eyes. Some- like an angel . . . she was all set to be a star at the the small gesticulating hands, thing did not sound quite right. She turned away, but Madame the many strands of pearls. was there, putting her arms around Jeanie. Surely the girl Opera House as soon as she found the right teacher During Jeanie's audition, for which she was charged $5, a understood. Madame was so smile of great pleasure spread over Madame's face. Her little pressed with requests for les- eyes had a kindly, appreciative light in them. She jumped up, sons, that it had been a great BY MARION HART kissed Jeanie on both cheeks and told her that such a voice, sacrifice taking Jeanie three so pure, so sweet had to be trained by Madame, and that times a week. The gjrl should Jeanie had won a scholarship. be grateful. The girl marvelled. Her parents would have to send less Jeanie left Madame, sayIng that she understood: gave her Names in this story are fictitious, but' money. Poor Ma, with the arthritis in her fingers, wouldn't have to do all the wash herself . . . notice at the office, packed her the story itself is not. It is repeated with variations every Through these dreams Jeanie heard Madame's voice, saying suitcase, said goodbye to Aunt Mary and took a coach train year. Throughout the nation, unskilled or unscrupulous that as Jeanie had won a scholarship the fee for the term would be half. Madame usually charged $30 for a half-hour home to Little Lake, voice teachers capitalize 011 the inexperience of young lesson but for Jeanie it would be $15. Three lessons a week, After a long rest, her voice returned, but when her parents asked her to sing one of their favorite songs, she was unable vocal students, and in doing so discredit the profession payable in advance. Jeanie was gently pushed toward the door, Madame kissed her again, told her when to come back and to. Her throat was tight, her jaw quivered: her voice broke. and its thousands of honest, able practitionet·s.-Rditor then Jeanie found herself in the corridor. Strangled voices, Jeanie is aile of many unfortunate boys and girls. Some- pretty voices, high voices, low voices from adjoining rooms. times these young singers have beautiful voices to start with, The girl walked dazedly out but, as misfortune will have it, get into the hands of a charlatan. EANIE SMITH was a lucky young lady. he was pretty. into the street. She was not Or there will be very little natural voice, but someone may 21, and, as everybody in Lillie Lake agreed, she had a quite sure what had happened. see a fat cheek in view. fine _lyric soprano v~ice. Why, whe,ll she sang in church. All she knew was that she had tears came to people s eye , her voice was so fresh. clear a lesson with Madame day after One oj I.he m.ost difficult things to find is a good SInging and sweet. She sang without the slightest effort, like an tomorrow. teacher, and sometimes a teacher who may be good for one Jangel. pupil cannot help another simply because he cannot reach Somehow: during that lesson, Mother and Father were proud of Jeanie and even thouzb when Jeanie found that the way 'him mentally. But if a young person, not familiar with this . ' 0 It meant scraping here and there, they decided to send this she had been singing up to nOW great field, does start out with the hope of a singing career, child of theirs to the great city, to learn all about the art of was completely wrong, she his best bet is to approach a well- known school. In case he singing and become a big star in the Opera house. managed to tell Madame that is not able 10 study there, the school's placement bureau may Mother washed Jeanie's blouses, bought her a new skirt, it was absolutely impossible for recommend a teacher, someone who has had his training there. and packed her clothes. Father filled the Ford with gas. and her to take three lessons a week. One was just as much as she 01' who at least has a good reputation. And although this does drove Jeanie to the railroad could possibly afford. not necessarily mean that this teacher is the best in the world, station. The neighbors came too. Madame seemed upset, surprised, bewildered. At that cheap at least the young student will know that he is dealing with a and gave her a proper fareweli rate the girl could not afford three lessons a week? Why, a serious, educated and trustworthy person. party. singer should have a lesson every day. How did Jeanie think A singing teacher should be as carefully trained as a doctor: "Now':' Mother repeated over she would ever achieve anything? since he is in a position to ruin a student's voice, injure his and o,ver, "take ~are of yourself, And so the girl started working. She never went to a movie, throat and spoil what might have been a good career. BUl as there s a good girl, and give Our spend very little on food and extras, paid her Aunt Mary the long as singing teachers are not love to Aunt Mary, and don't rent and saved as much as she possibly could to he able to required to have degrees, the cause her any trouble while take more lessons later on. ) oung, inexperienced student staying with her." Now, after six months: Jeanie had lost weight. Her throat should be careful in selecting Jeanie kissed everybody good- hurt her constantly. It was difficult for her even to make a his teacher. If be feels that he bye, Joan and Bill and Rachel sound at Madame's lessons, but Madame did not seem to is being exploited, or that he is and Sarah and Betty and Bob. Finally the train pulled out of think anything was wrong. Everybody has to pass through this losing his voice. or not making the Jeanie felt' . . any progress, he should forget station.' very Important, pleased With life and stage, she told the girl. Jeanie was on the right track. certain she would be one afA" merrca s zreat sinaers. very Then one day the girl lost her voice completely. Madame his sense of loyalty and look for shortly: AU she needed was a good teacher . .. 0 was very sympathetic, and sent Jeanie to her own doctor. She somebody else, who will help him onto the right road to suc- Jeame. had bee n III. NTew Y or k for SIX. months now. She was was told what she had .... she did not recognize the medical working in an office. duriurmg uthe day. The amount of money terms but knew it was something serious. The doctor told her cess in singing. THE E.\'1) her parents were sending her was not enousb O'

1.,, 12 ETUDE-FEBRUARY 1951 ETUDE-FEBRUARY 19~ ______r • Allegro moderato J = 88 7he ORIGIN It's all done with n#, ~ of the FUGUE ~~ ~

By KURT STONE tehude and Girolamo Frescobald.i. Theyare important steps in the development that led from the multi-thematic ricercar or canzona to the mono-thematic "Bach" fugue. HE WORD "FUGUE" comes from the instrumental composition, imitative (hence, The Canzona on Page 28, first published Latin "fuga" meaning "flight." Be. fugal) in style, with relatively slow note- in 1635, was written by Frcscobaldi, one Playing the piano equals hik- Tfore "fugue" emerged as a title for values. The canzona was pretty much the of the greatest ltalian onmni ts and com. musical compositions, fugue-like pieces same thing, but livelier in tempo. In char- posers of the 17th century. IIi fame was ing or swimming asa muscle-builder and went by many different names-"canzona," acter the ricercar leaned to the vocal side, such, it is reported, that in 1608, whenhe "rieerear," "fantasia," "capriccio" and while the c.anzona was instrumental in char- was 25 years old, 30,000 people came to others. All, however, employed the device acter, containing florid passages and skips hear him play the rgan at 51. Peter's in surpasses them as sport for the spirit of making a theme "flee" from voice to not typical of vocal music. Rome, even though he had never heen voice. Both these early types of fugal cornposi- heard in that city before. This device, essentially the technique of tion might have one or several themes; but imitation, dates all the way back to vocal By ANDOR FOLDES (again in order to make things clearer than The Clll1.ZQlta is a serie of independent music of the 14th century. It was used in they really are) let us distinguish the ricer- fuguelets, (see Example 1, shown on Page As told to Rose Heylbut the late 15th and 16th centuries, in the vo- car and canzona from the later fugue by 51), none of which undergoes the elaborate cal motets which were the immediate fore- saying that the former two are mostly (but development which was to be so character- runners of early fugue-like instrumental not always!) based on several themes istic of the later fugues by Bach and his compositions. treated one after another, each in its own contemporaries. In these motets, and later in many madri- exposition, while the fugues are mostly At the time when rather loosely-knit gals, the text was divided into short phrases, based on a single theme, recurring in aU compositions of this type were in vogue,a each characterized by its own theme. A tween right and left. Naturally, the tone- expositions. desire for greater thematic unity began to ACED WITH THE PROSPECT of music exercise to compel my two hands to work motet consisted, roughly, of as many brief quality must not suffer from the fact that .'We generally associate the term "fuaue"~ make itself felt. The result was a transi- lessons, a boy I know shied away independently. imitative sections as there were themes. In the left hand takes over temporarily from WIth the types we know best-those by tional form of early fugue. Like the can- from the piano as being "sissified." I learned a Bach Prelude (in G Major, F the right-the melody line must go on each section, the theme entered successively from the First Book of "The Well-Tempered Bach, Handel and their contemporaries. We zona, this form also consisted of separate Shortly after, I led the talk to sports and in the different voices. Once all the voices Clavichord") playing the left hand in G, uninterruptedly. know much less of their forerunners, since sections of different character. but the asked the child to feel my arm and leg had sung the theme, the section came to a only a few of them have been published in muscles. "Boxing?" he asked. "No,': I said; and the right in G-sharp. Then I played themes of these sections were 'related to them together. It sounded like good con- The abo·ve-lnentioned experiment with close. easily accessible editions. These early pieces "just piano playing.': each other as variations are to an origi- temporary music and carried out the Bibli- the Bach Prelude serves the purpose of can be identified rather easily, however, Work at the piano is as valuable a nal melody. Such a series of thematic muscle-builder as hiking or swimming, and cal injunction of not letting the right hand teaching the hands to be completely on their Since our present-clay strict division when we do come across them, because transformations is seen in Example 2. surpasses them in providing sport for the know what the left hand does. Best of all: own. I also found it helpful to study a between vocal and instrumental music was their harmonic structure is far less involved Even in our Frescobaldi example, how- spirit as well. The soul needs exercise as I had to think! By the time I had mas- certain number of left-hand pieces (such unknown at that time, such vocal composi- than that of Handel's and, particularly, ever, (Ex. 1) a certain affinity between well as the body, and there is no better tered this exercise, my hands were quite as the famous Etude by Blumenfeld, shorter tions were sometimes played by instru- Bach's fugues. works by Scriabin, and Chopin transcrip- the themes of the three funal sections is way of getting rid of excess emotional independent. ments. Out of this practice of writing music o tions by Godowski). It is of great impor- In addition, as we have said, most of already present, (Compare, especially, energy than by playing piano for an hour Usually, music is written as melody in which could be either sung or played. there the right hand plus accompaniment in the tance that the left hand should be just them do not keep the same theme ~sroinee the first and third subjects.) or two, solely for one's own amusement. grew a host of subtly differentiated tech- throughout. They seem, instead, to consist Music-making demands the participation left. If this form is never varied, how- as balanced and powerful as the right. The Canzonetta (p. 27) is by Dietrich It is quite strange that while there are niques of composition. Along with these ap- of several different fugues, or beginnings of of the whole being. ever, the two hands get into fixed habits Buxtehude (1637·1707) whose ccmposi- large numbers of left-hand pieces there peared a profusion of names for these par- fugues, played one after another without The secret of fine playing lies in just which are immediately felt in learning a tions and artistry at the organ made such piece in which the normal order is re- is hardly any work written exclusively for ticular techniques and types of pieces. pause. These "fuguelets" have conu-astina this complete coordination of mind, spirit, a great impression on Bach. In this piece, versed, or in which melody and accompani- the right hand! Their distinguishing characteristics, how- themes and different meters and tempf eyes, ears, f ngcrs, shoulders, wrist, and the principle of thematic relationship has body. When fully realized, such coordina- ment are divided between the two hands. As muscle power develops, one finds ever, are so evasive (at least to modern What holds them together is that they are been advanced to a point where there is no tion perfects independence of the hands. Let us think, for instance, of the middle that the goal is no longer a mere setting ears) that it is rather hopeless for us now- all written in the same key, and that Occa- longer a change of meter or tempo: no section of Schumann's "Novelette" in E down of the correct finger on the correct adays to find our way through this laby- sionally slow, improvisatory passage is note, but the achievement of the proper a more separate transitional passages, and In m.y student days, I discovered that Major (Opus 21, No.7) where the mel- rinth of classifications. A very crude sim- interpolated to serve as a transition fro balance between making an effort and then where the sole variation to which the theme my two hands worked too much together. ody appears first in the right hand, while plification is therefore unavoidable if we fuguelet to fuguelet. m the accompaniment is divided between the relaxing from it. is subjected consists of its beina inverted Playing in opposite directions was never want to bring order into the chaos. On Pages 27 and 28 of this month's . ~ so easy as parallel motion. Having always two hands. Later on, for a few bars the In the beginning, all pieces are hard. m the second section (Measure 19). In Thus, very roughly, the ticercar was an ETUDE appear two works by Dietrich Bux- believed that one progresses best by break- left hand carries the tune, while the ruu- It requires conscious effort to get the the third section (Continued on Page 51) ing down one's weaknesses, I devised an ning figuration is still evenly divided be- muscles into the (Continned on Poge 62)

14 ETUDE-FEBRUARY 195/ ETUDE~FEBRUARY 1951 15 the feat was largely made possible by a With royal patrons gone out of fashion, and grant of $50.000 from the city of Phila- wealthy backers hard-hit by taxes, our musical delphia. This was the first time that the city had contributed to the orchestra's sup' organizations must look elsewhere for support port. Other communities, however, have for some years made contributions from the public treasury to musical organizations. Some cities appeared reluctant to call this a subsidy; but grants of up to $70,000 a year have been provided for such things That Inevitable as concerts in the schools and special con- certs at nominal rates of admission. Denver gave its symphony the use of the municipal auditorium rent free; Portland, Oregon, Symphony Deficit rented its auditorium to the Portland Sym- phony at half price. : Other cities which have given their or- - Having to master too many rules chestras financial assistance are Indianap- olis ($50,000 annually), San Francisco, By J. L. MORRISON and theories often confuses the vocal Baltimore ($65,000 annually), Los Angeles, New Orleans, St. Louis, Salt Lake City, Houston and Buffalo. In Sioux City, Iowa, student instead of helping him a special orchestra tax nets the city's orches- tra $10,000 to $12,000 annually. WEN THE PHILADELPHIA On- Inevitably a staggering deficit is the In addition, the orchestras in San Fran- cisco, Los Angeles, Atlanta and Tampa By REINALD WERRENRATH CHESTRA (annual budget $1 million) last result. Someone must pay the difference year ended its 50th anniversary season with between income and expenditure. The only receive grants of cash from county as well a deficit of only $15,000, it was accounted question is; Who? as city, New Orleans is helped out by a something of a miracle in musical circles. In former times, the answer was easy- yearly appropriation of $7,500 from the Colossal deficits have come to be as a royal or titled patron. Louis XIV set the municipal board of education. standard a part of the American orches- example, with a large orchestra under the JULES LOMBARD, a famous basso of ing, not one out of a hundred is an expert wood-wind and bra s players; the various tral scene as dress shirts and ermine. Here direction of Jean Baptiste Lully. Other Several states have appropriated money for the support of symphony orchestras, the 1860's and '70's, was once asked by mechanic. A close fr-iend of mine spends systems of breathing advocated by differ- are losses incurred in a typical season by European princes sought to make their including Vermont, Massachusetts, Rhode his assisting artist, a young soprano: almost as much time having his car over- ent teachers of singing are too numerous leading symphony orchestras: palaces each a miniature Versailles, com- "With whom did you study, Mr."Lombard? hauled for fancied trouble as he does on the to mention. It may he stated in passing plete with court musicians. Island, North Carolina and Arkansas. Thus it is apparent that, however much From whom did you get the groundwork highway; his knowledge of its operation that accounts of the earliest teachers of - Thus originated the splendid Mannheim we may oppose the idea of "state subsidy" to become so marvelous an artist?" is just enough to be dangerous. singing record little or nothine reeardinz SYMPHONY $109,200 orchestra, which so delighted Mozart, the e 0 0 in principle, we have gone a long way "My dear, I had just one ~ocal lesson, Let us look at the problems of produc- this important factor--due, no doubt, to CHICAGOSyMPHONy $166,465 orchestra which Prince Nicholas Eszter- toward subsidizing our orchestras in fact. and it took me six months to recover from tion of the human voice, however com- their lack of sufficient anatomical knowl- MINNEAPOLISSYMPHONY $135,000 hazy ("The Magnificent") created for Americans seem not to tak~ kindly to the effects!" plex, and try to simplify them for the vocal edge. What system of breatbins then to ST. LOUISSYMPHONY '.' $123,914 Haydn, the court orchestra of Frederick 0' , the idea of a subsidy. It is incompatible While I cannot vouch for the authentic- student. I must state at the outset that I use-abdominal, intercostal, clavicular, or PtTTSBURGHSYMPHONY $200,000 the Great, and others all over Europe. with the American tradition of rugged in- ity of Mr. Lombard's statement, the report do not consider myself a Svengali who any combination of the three? LOSANGELESSYMPHONY $200,000 In democratic America, the place of the dividualism and free enterpr-ise. It brings of the conversation is substantially correct, can enable any Trilby to sing. But I do BALTIMORESYMPHONY $138,754 royal patron was filled by men of wealth. The Boston banker, Colonel Henry Lee back memories of undistinguished WPA as the young soprano was my mother, feel that my 50 years of singing and 15 I have lilways used a deep breath in music projects in- the Thirties. And to the Aretta Camp, then in her early twenties. years of teaching should entitle me to make which the abdominal walls move forward And so it went with orchestras great Higginson, founded the Boston Symphony Orchestra and supported it for many years. American mind it suggests one more step Without condoning his attitude, it is pos- an understandable approach to the study and the lower ribs are expanded, front and small. The large Eastern orchestras Clarence H. Mackay, head of Postal Tele- in the direction of a socialized state. sible to appreciate it, in view of the many of vocal production. and back, in the act of inhaling. lt is were helped out by income from record- graph, was a mainstay of the New York In Europe, on the other hand, it has complex methods employed in teaching Percy Rector Stephens, with whorn I definitely an "out" breath and not an "up" ings and radio broadcasts. Even so, they voice. Philharmonic. Henry H. Flagler, oilman long been taken for granted that great studied for 20 years and whose memory I breath, much as a pair of bellows would were unable to break even. and Florida promoter, aided the New York music will not pay its own way. The Lon- revere as one of the great vocal teachers operate in a vertical position with the Orchestras, squeezed by rising costs and Hundreds of books and thousands of Symphony Orchestra (later merged with don Philharmonic Orchestra, which during of moder~l times, used to cite a simple nozzle at the top. The act of takina breath a fixed income, are between the upper and articles have been written on vocal pro- e the Philharmonic}. Edward W. Bok, pub. the war conducted public appeals for funds mathematical formula which has been of :hould be moderately fast-by no means nether millstones. In business, when pro- duction, many of them using such abstruse lisher, was a chief supporter of the Phila- exactly as do the and inestimable help to me both in sineins and Jerky, however-and when possible the duction costs rise, the new expense is passed I' S 0 0 the New York Philharmonic-Symphony, terminology that even singers of long ex- teac ung. aid he, "Breath makes the sound on to the public in the form of higher delphia Orchestra; William A. Clark, finan- mouth and throat should be in the position has abandoned this approach as "undigni- perience are baffled, let alone beginners. and vowels make the form. Sound plus prices. But orchestras dare not raise prices cier, of the Los Angeles Philharmonic. of the vowel to be sunsro· fied and haphazard." Instead the National Admitting that the vocal mechanism, the form equal tone." A simple picture of an too drastically. They know that for most This inspiration of breath on a defi- Arts Council arid London City Council construction of which is more thoroughly often obscured subject, easy enough for of their patrons music is a luxury" easil y Rising taxes, however, have driven the nite vowel should immediately result in have underwritten the orchestra to the tune understood now than in earlier times, is any student to understand. slashed from the family budget. As a c-e- wealthy patron from the American orches- the act of phonation, like the stroke Icl- of $150,000 a year. The British govern- complicated, may we not attempt to sim- Every wind instrument player-and the sult, income is limited by the number of tra scene. Our symphonies can no longer ~owing the back-swing of a golfer's club, ment also subsidizes Sadler's Wells Opera plify our approach to the study of it? voice is a wind instrument-is first tauaht seats in the hall, multiplied by the highest look to one Maecenas for support. The ID one continuous motion, not two. In and the Halle Orchestra in Manchester. While a rudimentary knowledge of the to breathe. As ~ar as I know there ;ay price the orchestra ventures to charge for money must come from elsewhere. other words, the taking in of a deep breath In the Netherlands, seven major orches- construction and operation of an automo- ~e several theories regarding the inspira- them. As a rule, the total is not sufficient When the Philadelphia Orchestra should at its climax be turned at once tras receive (Continued on Page 63) bile should be part of every driver's train- non and expiration breath in the case of to cover the cost of the orchestra season. emerged with its deficit of only $15,000, into sound. As this (Continued on Page 61)

17 16 ETUDE-FEBRUARY 1951 ETUDE-FEBRUARY 19.11 ______J BAND & ORCHESTRA DEPARTMENT Conducted by William D. Revelli CIlORAL SINGING

about breathing for eating, sleeping, sing. ing, athletic sports, or study. They gavebut Creating a String Orchestra Correct Breathing one reason for breathing, and that wasthe one stated above. Why then is there so much confusion At the University of Colorado, "informal education" 'is among students and teachers of singing? for Singers We believe this confusion has come about the basis for a successful stringed instrument program. because those of us who teach. insteadof oN ALL SIDES TODAY, we hear the stu.dying the physiology 01 the body, hare cry, "Emphasis on the strings!" At the -; College 01 Music at the University of Colo- built up our own beautiful theories and By HORACE JONES fancies as facts. We forget that the teach, rado, that is an old story. For the past 23 }'ear~ we have given priority to developing Despite the elaborate theories advanced er must neces arily talk two languages, new string players. For several years we the one understood by the performer and abandoned our full symphony orchestra, in by many people, no thinking and no mus- the other under tood by the listener. For order to develop our string orchestra to a cation and see how they apply to the de- IS attempting to play material far beyond example, we say that the great singer sings very high level of musical excellence. velopment of our string orchestra. You their ability; both technically and inter- cular control are required for breathing on the breath, and so we tell our students Very often, when I am asked to explain will find that they apply to other musical pretatively. How often do we hear an ele- that they must sing on th breath. the development of the string orchestra of organizations as well, and, very often in- mentary or junior high school orchestra What we really mean is that the sound the University of Colorado, I answer, "Oh, deed, to private instruction. attempting to play an "easy" piece by Mo- to the listener must seem to fleet through we use our informal education." (1) In the ETUDE artiele of many years zart or Haydn? Easy-looking to the eye, the air. We forget that sound has a normal To many people this is a rather baffling By JOHN FINLEY W r LLIAMSON ago, Louis Persinger asked: "Why do you yes; but extremely demanding in technical reply. I then explain fnrther. speed at sea level 01 1089 1 et a second try to play the Mendelssohn Concerto when control and finesse. Or we hear a high From all the formal teaching yOll have or over 700 miles an hour. Tf we sing on you have only the ability to play a piece school or collegiate orchestra "playing received, lectures you have heard, and our breath, as we so many times are told. by Dancla?" at" a major symphony, a work of such books you have read, have you ever our breath must travel at a speed of over difficulty that professionals polish it for stopped to consider how very few words IE FIRST THING a new-born child on the floor, and starts raising and lower- 700 miles an hour, or at the peed of sound. It is my conclusion, after hearing years. of wisdom or impacts of personality have does is breathe, and the last thing a man ing one brick placed on his abdomen. When many amateur groups from pre-high school It is my belief that true aesthetic A gentle June breeze that would have to served yOll as guideposts throughout your does as his spirit leaves his body is stop ~e can easily raise one brick he gradually age on up, that one of their chief failings value is gained (Continued on Page 57) travel even 60 miles an hour would be career? It is this inspiration of a person- breathing. Between these two extremes the Increases the number to a dozen. By so do- devastating. What would the same breeze ality, a few lines from a speech, a sentence beginning and the end of life, we breathe ing he is supposed to have mastered eood do if it were travelling at the speed of from some article read, or, perhaps, an every second of the day and night through breathing and, of course, should be able to sound, that is, over 700 miles an hour? old adage recalled, which I call my "in- weeks, months and years. We have dis- use his abdomen to push pianos around. formal education." cussed tuning and timing, and before ton- Then there is the whistle method of The truth is that sound waves move not Let me quote to you a few of my guide- ing can be discussed advantageously it is ~reathing. A little whistle, such as one finds on a.ir, but move through air, in the same posts: necessary that we understand this whole 111 teddy bears, is given the student at the fashion that water waves move. If we throw (1) From an article bv Louis Persinger subject of breathing. in an ETUDE* of years gone by: "It is far first lesson. The whistle sounds the inhala- a stone into the middle of a pond, the better to develop some very simple piece . There are many fads and fancies taught tion and exhalation. When he learns to take waves move out from the point of contact 111 the name of breathing, each one silly 24 steps to one intake of breath al~d 24 to the utmost of your technical and artis- until eventually they ripple to the shore. tic capacity than' strive after some great in itself but carrying weight with the voice steps to one outgoing of breath he has so The water itself does not move. but the work far beyond your reach." ~tudent who has not learned that singing it is said, mastered perfect breathing. ' energy created by the stone striking the (Old adages which make the same point. IS a normal function of the human body. . We are also told of the method that ad- water creates wave after wave. Just so, are "Don't bite off more than you can For example, there is the log cabin meth- vocates lifting the chest as hieh as possibl sound travels not on the air but throuzh chew." and "Cut the suit to fit the cloth.") od of breathing. Since Lincoln and Hayes ki hoe, ta mg t e posture of a pouter pigeon. And the air in successions of condensations un~i1 (21 From a lecture heard in my high were born in log cabins it therefore fol- so on-e-end on! the initial energy of the vi.brations is ex- school days, "The written word is but lo.ws that one must study breathing only Man y years ago our class in Vocal Meth- hausted. We are told that in a voice free frozen speech." WIth a man who was born in a log cabin, ods at Westminster Choir College made a of interference the vibrations will travel as (3) Another old saying, "Slowly but and thus have the only true approach to ~urvey of the different methods of breath- far as the singer can see. surely." the American way of breathing. (4) From a small treatise by Lionel mg advocated in books on singing written If we breathe to keep up the normal Terris, the renowned English violist: lar~ely by voice teachers. It was quite up- supply of oxygen in the bloodstream and Then there is the Chinese Urn method settmg to the class to find that each b k "Perfect intonation is the rock-foundation I' 00 , exhale to eliminate carbon dioxide and if of breathing. A great urn is placed in the a most. WIthout exception, approached of the string player's equipment." the breath does not leave the body when (5) "All work and no play makes Jack middle of the studio and every voice student breathing from a different viewpoint. We the vibrations leave the body, then we a dull boy" must imitate its shape, practicing each day next m~de a survey of the subject as pre- find thet the old Italians were ;ight when (6) "Cenius is lOro inspiration and to open his' throat to the point of nausea. sented 111 books by great physicians. With- they placed a mirror or lizhted candle in 90% perspiration." When he has mastered opening his throat out exception these books set forth th . . " e unI- front of tbe mouth, and refused to accept (7) "Hitch your wagon to a star." in a flash to its widest extent, he has learned form Idea that man breathes to keep a the singing if the mirror clouded or the Let ns take these gems of informal edu- Horace J?nes. conductor of the string orchestra at the University of Colorado, re- to breathe. normal supply of oxygen in the blood candle flame flickered. Both results showed hearses With a small group of string players for accur.ocy in intonation, phrasing, dy- Next comes the method that makes good stream and to eliminate carbon dioxid " that breath was escaping namics and clear ensemble. He makes sure his players master easy works first. piano movers. The pupil lies on his back These medical hooks mentioned noth~g *ETUDl::-J.\:NCAHY 1913 The problem. for (Conti~;ued on Page 49)

19 18 ETUDE-FEBRUARY 1951 ETUDE-FEBRUARY 1951 - ______1 --~~------

I First operation. With a cautious assist from Heifetz, Koodlach removes top of violin and ex- I ~ amines inside of instrument. Top was removed with very thin flat-blade knife. It come off perfectly.

I Rebuilding a Famous Violin I

With his fingers crossed, Jascha Heifetz undergoes the IO-day ordeal of having his 200- year- old Guarnerius del Gesu taken apart for a major checkup

ASCHA HEIFETZ, wear- ing a reI ieved expression, poses with his Joseph Guar- ~ neri us del Gesu violin after theJIO-day ordeal of having the instrument taken apart. During his recent tour of Is- rael, the violin began to show signs of wear, and on his return to America, Heifetz was faced Los Angeles studio of Benjamin studio is next to Koodlach's. Hc maker to distinguish his violins with the necessity for a major Koodlach, son of Abraham Kood- got permission to take pictures from those of his father, uncle overhauling job on his violin. lach, who until his death four of the operation. The series of and cousins, also well-known vio- This was a hard decision for years ago had kept the Hei fetz photos on these pages resulted. linmakers. Hence his surname, Heifetz, since he feared some- violins in condition. (Heifetz The first step was to remove Guarnerius del Gesu. thing might happen to the fiddle, owns two violins.) Last year the the top. The picture at upper Koodlach worked for 10 days, one of the world's finest instru- younger Koodlach overhauled left on this page shows how a 12 to 14 hours a day, on the fid- ments. Made in 1742, it was in Heifetz' Stradivarius, and Hei- Guarneri us looks inside. The dle. He stud ied each step in perfect mint condition. It did not fetz was pleased with the result. cross and ecclesiasticalletters on advance, then told Hei fetz how even have a sound-post patch, Therefore he decided to let Kood- the label (Iesus Hominum Sal- he planned to go about it. Every which is found in many old Cre- lach take the Guarnerius apart. vator- Jesus, Savior of Man- mona violins. Photographer David Kovar's kind) were used by the devout CONTINUED ON HEXT PAGE Finally Heifetz stopped at the

3 With Heifetz again watching, Kood- 4 Heifetz and Koodlach discuss next " Using a jeweler's eyeglass, Koodlach 2 Koodlach removes dried glue with loch smooths rib of violin. Top lies up- step. Ccclomps hold in place the lining, studies corner blocks. Clamps have been chisel, being careful not to touch wood, side down, showing wooden bass-bar. which has been removed and reglued. removed from most of lining, now dry. 200 years old when violin was made.

20 ETUDE-FEBRUARY 1951 21 ETUDE-FEBRUARY 1951 ~-._------.I ------' ORGANIST'S PAGE

RECENTLY the music committee chairman of a large Eastern church called \\That they me up in great perplexity. "We're having trouble with our organ- ist," he said. I asked what was the matter. didn't teach you "Well-" the chairman groped for words. "Being a layman, I'm afraid I can't ex- plain it very clearly. But there is some- thing wrong with his playing. The church service doesn't seem to go quite right." in school 7 Koodlach uses eyeglass again 8 In same manner Koodlach goes Here was an astonishing piece of news. to remove filmy dirt from scroll, over entire surface for specks of The organist had a fine reputation as a without marring original varnish. dirt adhering to the instrument. soloist, and was much in demand for guest recitals. A few days earlier I had heard him playa recital which was absolutely An organist may be a brilliant soloist, yet be un- first-class, both as to program and play- ing. He had played the entire program from memory. His performance was ac- able to playa simple church service effectively curate and well-controlled, even in the most 6 After final gluing, top and bock of violin rapid passages. His phrasing and nuances are clamped to sides. Heifetz examines it, won- were those of a sensitive, intelligent mu- ders if it will playas well as it did before. By ALEXANDER MceU RDY sician. Altogether he was the last man I would have expected to hear charged with lack of professional competence. I communicated this thought to the chairman, who said: "That's why I'm call- amorphous quality that the singers could gin singing. The whole transiuon was Rebuilding a Famous Violin ing you. The committee wondered if you not get the proper pitch. bungled, and in an actual service would would be willing to sit in as an impartial The anthem followed. It was "How Love- have spoiled the impressiveness of what CONTINUED observer, and let us have your opinion of ly Is Thy Dwelling Place," from the Brahms ought to be a highlight of the service, the the service, along with suggestions on how Requiem. Its accompaniment is not easy to Presentation. it could be improved." play, and I reflected that it would give the Next followed a tenor solo, "The Lord , day Heifetz came to the workshop The giving of gratuitous advice can be organist a chance to show off his splendid Is My Light:" by Frances Allitsen. The ac- I companiment to this song is br-illiant and technique. To my surprise, he did not I and watched. Occasionally he lent 9 Painstakingly Koodlach fits the 10 Stringing up. Long, meticu- a thankless task. I was hesitant at first; I watch the conductor's beat, and before he effective on the piano; but it is difficult to a cautious hand in the proceedings. new bridge, made of maple his fa- lous operation is now nearly com- but when it became clear that the organist, ther got in France 40 years ago. pleted, except for one final detail. far from resenting it, would welcome the had played a dozen bars the ensemble was play on any organ. Unless carefully worked (Photo I). opinion of an older and more experienced at sixes and sevens. out: the rapid arpeggiated triplets become Finally Koodlach started to put colleague, I agreed to serve as arbiter. The registration for the anthem was merely a blur of sound. That is what hap- the fiddle back together. He had to badly chosen. It was timid, thin in quality pened in this instance. The accompaniment was not clearly articulated: hence it lacked close the windows to keep a constant With conductor, choir and organist and gave no support to the singers. He did participating, we arranged a "dummy" not use continuo throughout, as he should rhythmic steadiness. The registration used temperature, so the glue would not service. It began with the prelude and con- have; for the most part he played only the was timid, to say the least, and gave inade- chill. This was one of the touchiest tinued through the hymns, the anthem ac- piano reduction of the orchestral score. quate support to the singer. I was amazed operations. After 15 minutes, Heifetz companiment, solo accompaniment, the This is all the accompaniment we find that the tenor managed to get through his solo against such heavy odds. couldn't stand the strain and left, bridges from one to the other, and the re- printed with "How Lovely Is Thy Dwelling Place," but a skilled organist should be telling Koodlach's assistant: "Lock sponses, accompanied and unaccompanied. The prelude was well done. Then came able to fill in the voice parts when necessary. Follotving the Benediction, and at other the doors and don't let anybody in. the first hymn. It was a shock. The organ- The offertory seemed effective enough. points in the service, an "Amen" was sung Mr. Koodlach has very exacting ist played the notes, but that was all. His There was then to be a bridge from the of- by the choir. Invariably the organist work to do." playing had no authority. He did not fol- fertory to the Doxology, taking place at played a chord of such fuzzy, indistinct the Presentation. The improvisation which tone that it was impossible for the singers A week later, Heifetz returned low the conductor's beat. His rhythm was unsteady aud his playing did not give the the organist supplied at this point would to hear their notes. to the studio. Well pleased, he pro- firm support that inspires a congregation have shamed a first-year counterpoint stu- The "service" concluded with the P~st- nounced the fiddle as good as ever. to sing. dent. It was wandering and incoherent. It lude, which was excellent. He is now playing it in his concerts Presently the conductor gave the cue was a series of disconnected ramblings, Immediately afterward, we had a meet- coucluded by an abrupt leap into the key ing, at which I summarized my findings as this winter. Probably never again II Setting sound past, before 12 Operation completed. The for a simple "Amen." But the organist did tuning. If soundpost is slightly off, not take the cue correctly. Wheu he finally of the Doxology. The conductor had no follows: will he need to have it overhauled. Guarnerius, like new, will thrill violin will not deliver a full tone. millions in honds of Heifetz. came in: he used a stop of such veiled, idea when to give his choir the cue to be- 1. The organist (Continued on Page 60)

ETUDE-FEBRUARY 1951 23 22 ETUDE-FEBRUARY 1951 ______1 " ,- PIANIST'S PAGE

VIOLINIST'S FORUM ComJuc'ed by Harold Berkley

~= t: train the left hand to move easil rand accurately between the different positions :- Adventures of a Piano Teacher How can I play -and this is more important than learn- ing each position separately-but it also can and should be used to develop tone '.I! I more expressively? quality in all positions and on all four strings. Beginning a new senes of articles in which an ETUDE You do not mention how advanced those of your pupils are whom you consider to I am 22 years old, and play the violin and surge of the music is given life. In- columnist relates the adventures of his soul among master- be ready for the book. Any ambitious stu- pretty well. I can play most oj the major stead of thinking of yourself when you dent who is working on the Brilliant Stud- concertos without much difficulty, and no play, you must forget yourself, giving pieces - and among piano students of all sorts and sizes ies of Mazas or the 42 Studies of Kreutzer one complains of my intonation. But peo- your instinct free rein to express corn- can do well with it, but some sections can ple do say my playing is too cold. 1 feel pletely the feeling and the emotion of the often be profitably given to much less ad- it myselj, but I don't know what to do music as they come to you while you play. vanced pupils. If a pupil has a good shap- By GUY MAIER about it. My teacher says use more vibrato, A shy, sensitive person may not find ing of the left hand in the first position, but it seem,s to me I am using plenty ol- this easy, for such a person often builds and has also a good ear-this is all-im- ready. Can you help me? a shell around himself to keep out the hurts -Miss 1. K., Florida of life. But a shell is a prison as weIl as portant-he can be taught the principles an armor: it holds in feelings and emo- of shifting from Section 3, the Arpeggios on One String. It doesn't matter if he has SOMETIMES TEACHERScome up to That was only a beginning. Later, for played (hands singly) in accents of twos, Knowing nothing of you except what tions that should have free, untrammeled never been out of the first position. Let me after a class session and with glints in years, I gave lessons to thoroughly spoiled, threes and fours. As usual, the augmented your letter tells me, and never having heard expression. And in the recreation of music, him play the notes across the strings to get their eyes say, "It's all very well fOT you utterly uninterested, practically delinquent second interval and the fourth fingers pre- you play, it is not easy for me to give free expression is the secret of war-mth. the key in his ear, then let him find the children of the rich. This was again on a vented accuracy and ease; so we drilled you concrete advice. Warmth of style can- to fizz over with enthusiasm for piano first note with his first finger and try the for awhile on a tricky pattern, one of not be put on like a dress; it stems from Pieces in teaching. You teach only gifted. students, door-to-door basis. I have taught piano arpeggios on the string indicated. If his the player's inner self. You could ape the tile First Position or eager teachers who want to learn; but classes of pre-school children, groups of the best scale exercises there are, so far ear is good he will soon be doing very effects, of course, but the result would not we ordinary teachers who spend our lives adult beginners (ages 18 to 75), classes of as I know (see Example 2). Can you give me a list of some collec- be convincing-it would be like wearing creditably-and at the same time learning giving lessons to the dull run-of-the-mill "hard-boiled" adolescents (these were by tions of violin pieces in the first position, how to shift. The sooner a student feels a another girl's outfit. far the most interesting and rewarding) with piano accompaniment? I don't need pupils find it tough going most of the The vibrato is a potent means of con- sense of freedom in moving up and down Ex.2 open-string material, but something that time." and even now am teaching "intermediate the fingerboard, the more quickly his tech- ft J/.II .• '," I. veying warmth of expression, and it may has musical interest and some technical Such teachers are mistaken. First, there grade" piano students at the University of .idJttCC('1 he that your vibrato is not continuous, nique will acquire fluency and evenness. problems. -Mrs. 1. A. C., Texas A matter of fingering should be noted are no "ordinary" teachers. If you have a California (Los Angeles). that you vibrate on some notes and not stimulating effect on your students, urging These college students (not piano "ma- on others. Perhaps your teacher has this here. In all editions the fingering for the There are so many albums and col- diminished seventh arpeggio (in Section them on to want to play the piano and jors") elect the course for credit, practice Next came an assignment which the stu- in mind when he tells you to use more lections to choose from that it is difficult 3) is given as 1,3,1,3, 4,3,1,3. Better is giving them sound practical help, you are very little, have had the poorest possible dents found hard-playing the full chords vibrato. to make a selection. However, I think you But the vibrato, well-used, is only the 1,2,1,3, 4,3,1,2. The use of the section an excellent teacher. Otherwise, you are preparation, are lazy and tired, and won't of Osharp Minor up and down for two would find the following books valuable, external evidence of an internal urge: by finger in ascending leads the hand forward, a dud. work unless the spirit moves. But what an oota ves, hands together, without looking and also interesting for your pupils: itself it is not enough. If you don't feel while in descending the shift is not so wide They are also mistaken in that dig about adventure every session is! How fascinating at the keyboard (see Example 3). Kelley-Graded Pieces (Book II) ; Bos- a warmth of tone within you, you can as when the third finger is used. '. teaching only gifted, aspiring musicians. to see musical interest aroused and tech- telmann-Graded Lessons (Books 1I and vibrate like all get-out and still your play- Selected exercises from Section 9 can From my earliest years (almost four dec- nical progress improving. Sometimes these III); Herfurth-"Violin Music the Whole ing will not have warmth. also be given to a student with a keen ear take a long time, but every once in a while World Loves"; Berkley-"Ten Sketches" ades ago) I have. tackled all sorts of stu- E1.3~ However, before you think about more long before he has learned the different in the first position (two books) ; Sontag- dents from beginners to artists, pre-school- they burst out suddenly. For a piano vibrato, it might be well if you consid- positions. These exercises train the fingers ' "Folk and Master Melodies" (two books) ; ers to 75-year-olds, sub-morons to near teacher there is no greater joy than this. ered your approach to the music itself. Of to adapt themselves to the varying width • Presser's "Violin Vista"; Perlman-"Vio- geniuses; and I am still teaching them all! Play with both hands, the course you have studied the texture and of intervals according as the hand moves linist's First Solo Album"; Lehman-"25 up or down the fingerboard. I am certain that few runners·of-the-mill Here's what we accomplished in yes- left ha"d lUI octave lower, color of the harmonic background, the ac- Pieces in the First Position." terday's class of an hour and 45 minutes. companiment; and I am sure you have The bowings indicated for these exer- have had tougher going than I had in my It is a good plan to use a number of worked out the form of each composition cises-and for all in the hook-may be early teaching days. Saturday (for example) (There are six in the class; we use two Students who have not been trained to different collections, so that not all pupils to find out where the climaxes are, par- ignored. There is no tempo for any exer- I stumbled out of bed at six ... jumped pianos.] With four students at the instru- play in "bl.ind flying" always resist such are working on the same book. The eight ticularly the major climaxes. This approach cise. Those written in thirty-second notes successively aboard a trolley, elevated train, ments we practiced tricky technical patterns exercises until they learn how wonderful collections I have named should take care is very necessary if you would create con- should be practiced as slowly as those in ferry boat (to cross Boston harhor } and from Bach's Bourree in A Minor which the of your needs for a while. .:: .- it is to be able to play practically every- vincing interpretations. If you are sensi- eighths. Therefore the pupil should be al- a narrow-gauge railroad ... then walked class is studying (see Example 1). thing without looking at their hands. I had lowed to take four, or three, or even two tively aware of the shifting harmonies froUl a mile, often through gales, sleet or snow- On teac'"ing notes to a bow. For young pupils just to devise some tricks in order to make this underlying your solo lines, you will shade the Sevcik ltlethod drifts to give the first lesson. The rest of drill easier, like playing thumbs alone your tone in accordance with them; if you learning to shift, a bow to each note is the day I tramped from pupil to pupil- first, then the octaves , then the chords' know and feel the chief climaxes you won't I have noticed several times in your advisable. sometimes walking half a mile or more to innards. " use full intensity of tone until it is called column that you advise the use oj Sevcik, Section 1~ at a very moderate tempo, Op. 1, Book III. 1 now have several pupils can usefully be studied by a pupil who is the next student's house-until it came Here's an adventure for you. Go to the for. who are ready for it. Will you kindly tell working on the first book of Mazas or the time to jump back again on those boats The drills were given in many concen- piano. Si~ down before it without even a Very often an apparent coldness of style me how to make the best use of this book? third book of Kayser. But it should not and trains. In the evening I sat happily trated ways, slow and fast, each hand sepa- peek at the keyboard. Find the C·sharp stems from self-consciousness in the player: he is unwilling or unable to give -I. R. R.,Ohio be treated as mere left-hand technique: exhausted in a second balcony seat at the rately, of course. Minor chords with both hands; then play himself completely to the music while he the necessity for a round, singing tone Boston Symphony Orchestra's concerts. Then some harmonic minor scales were Example 3. If you (Continued on Page 63) is playing. Always remember that you are The value of this Sevcik book cannot should also be stressed. only the means through which the glow easily be overestimated. Not only does it Section 2 can (Con'illued on Page 53)

24 ETUDE-FEBRUARY 195/ ETUDE-FEBRUARY 1951 25 ______1 -I •

Canzonetta NOTE, All dynamics, tempo indications, and fingerings are those or the editor. They do not appear in the original and are meant to be suggestions only. 'For a discussion or the Buxtehude Canzonetta, see the article by Kurt Stone in this issue. DIETRICH BUXTEHUDE 1637-1107 [Moderato] Richard Strauss: MORGEN I 4 I "'1' 3

A i)IASTEIl BY asked her, "Tell me, did you understand =-- the meaning of the words of that song you 4 53 5 4 5 4 "'~s =- 2 3 ELISABETH SCHUMANN sang?" She replied in perfect German, "But ~ 4 '''''';24 of course, Madame Schumann! I come from . • - u ___ Bremen." p. -." Strauss' conviction was that if audiences It il 14 p~~ 2 t- 2'~ II" G did not understand the words of a song they 1 ~~@ lerri 2 2 3 II would be so bored that no amount of in- 3 I ... 123 Inj21 I~I I 2~ +n dents believe it to be a "sure-fire" song, . spiration on the composer's part could keep and only after a long acquaintance with it them awake during the entire song recital. they discover it is much more difficult than -4 .!.' I always advocate, for the audience's sake, ~ ,1 '5'; ~ U:l U- J I some songs, which, on the surface, look ==- that entire poem translations. rather than more hazardous. I 4 - r.'\ the more customary and more economical III Before I discuss the song in detail let annotations, should be printed in the pro· . me make a few general observations. You gram. It •• ", = ...... '''7/. If..... will notice that in this article I am avoiding -'li4-~"'"~7/.~"'" --== I·. " r r the word "Lied." There is a very simple =- 4 2 I 2 [ Concentrating now on "Morgen," it is ""1' r fj/I reason: "Lied" is merely the Gennan word , impossible to sing the first phase of this II 2 2ri Jj:; J 21 I "I I 3[ r,1 "- for song. When mentioned in German con- ~I r1;J ." song correctly if you do not fully concen- ", versation it therefore does not acquire the . trate all through the long, beautiful prelude. aura of "important importation" which it , I 15 '4 -, 5 .... ""!.. 3'1 This prelude tells the entire story. If you do 14 3 4 I so often gets in English or French conver- --= not capture the serenity, the feeling of peace sation. Austrians and Germans would never and space during those first 13 bars, you refer to a Debussy "chanson." It would be will not capture them for the rest of the a "Debussy Lied"-so let us call "Mor- song! gen" a Strauss song. I hesitate to "prescribe a recipe" for the Now, one of the primary things about a re-creation of this mood of serenity. Every song is that, under all circumstances, you individual has a diHerent association which must understand the words. Strauss, for helps him to conjure up a special mood or I WAS privileged to sing "Morgen" one, stressed this all the time. Not only for atmosphere. I will not describe here what often with Richard Strauss at the his songs, but for his operas. If forced, he I, personally, am visualizing in order to A piano, I feel I am perhaps qualified would have sacrificed vocal beauty for in- summon up the required feeling because in to convey the composer's intentions to telligibility of the word. doing so, some students might try to use young artists and music lovers. I sang it It always amazes me how excellently, it as a shortcut, copying my associations not only in many concert appearances in generally speaking, American and English instead of using their imagination and their Europe and America but also on occasion voice-pupils pronounce German-a lan- I when Strauss would sit down at the piano guage with which they, in many cases, are own creative powers. and strike the first chords of the long, a11- not familiar. I have noticed quite often The singer should take a breath on the explaining piano prelude and I would get that some of them pronounce German or first beat of bar 14 in order to glide into up, as if on cue, and start to sing; not for French much more distinctly than they do the first phrase of the song. (This, of course, must only be general advice, de- 4 the people present, not for the hosts at their own mother-tongue, English. 3 whose house the Strausses and I might find pending again on the individual breathing ~4 5 5 4 ourselves, but only to be able to get the This is not confined to the Anglo- habits of the singers. For some it might 1\ 1I , 3 2 4 3 5 3 454 5 2 I 5 r.'\ chance to sing an extra Strauss song with Saxon music student. Last summer, as a have to come a fraction earlier-for others . . the composer again at the piano. judge of the International Voice Competi- a little later.) . ~~ . -., 1 f'I The most important thing to remember is It! ··t'l...... With one exception, which I shall relate tion in Geneva, Switzerland, I listened to a ~-'. liI""'-·' .'. 141'*'· ~ [J'12 I~~ 1 F1 cresc I~ a little later, "Morgen" never posed any girl who, I thought, surely must be singing that in this particular song the singer's III ~ 2 I , 31 1_ ..... ~ I~ 0 problem for me. This doesn't mean that I in a Scandinavian language with which I voice must dovetail with the accompani- ~rJ,J 2J II !~ rr cannot easily understand the many pitfalls was not familiar. But suddenly she sang ment as if it (Continued on Page 56) - it so often holds for the unsuspecting stu- one word which was unmistakably German. 1 2 5 4 5 12 3 -5 1 V dent. Understandably enough, many stu- Later I had a chance to talk to this girl. I 2- 4 - "Morgen" appears on Page 38 of thh; month's ETUDE. ~[r3 ~ 5 4 ~ 1 27 ErUDE-FEBRUARY 1951 26 ETUDE-FEBRUARY 1951 I~ i

4 4 1\.1 ~ =-- 1 2 .. ~r-=;4 .!-..L. ""!"r'I 1 . . . 5 4 4 5 c- 2(J.. I" .... mf II.I...l -- ;' ~r ~/ -,.~- ~l 3 .... ~ . --~ :;: . 2 1 • 2 ~ - --======------r CI" I::!~·~r•.,; 5 5 432); 3 1 - IAllegrettoJ 5 4 , 2 1 3 5 4 ---

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, ~ .If:7J.. 3 1 ·.1.·-.,;:. f-== =- 1 ... 4 .-: ~ 3 3 32 5 5 4 4 ~ 5 --== 5 4 (broaden] Adagio ~.. 5 3 5 1 espr. 34 2 2 5 ~- 3 3 5 ("'1

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4 4 1 s 24 2 Allegro 4 Canzona 4 DOPO L~EpISTOLA * NOTE: All dynamics, fingering, and bracketed tempo indications, etc., are those of the editor. They do not appear in the original and are meant to be suuestions only. For a discussion of the Frcscobaldi Canzona, see the article by Kurt Stone in this issue. GIROLAMO FRESCO BALDI 3 1583,1643 [Molto moderato] ~ 5 2 1 1 I I 4 ... 3 5 4 4 " 5 3 4 3 -- 4 I' • IT'I'1 ]..I 'I I~r 3 2 1 2 3 ~ , ...... -...... ,-- .~ ;:- -- I • .~ '. , , •• --.--.. .,;~ .,; ji+ ..: • ~ I ... ~; J r --- J 2 --- 3 4 5 3 4 5 54 ~ 5 1 5 "5 4 5 • 5 5 4 - 2 4 5 f.'\

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,

3 3 5 5 . 2 - ::: • From Fiori mU81cali~a collection of contrapuntal pieces based on chants of the-Ltturgy, composed in 1635, '---==I(I) .. '" . - 28 ~ ETUDE-FEBRUARY 1951 '5 55" 5 "" ETUDE-FFRRTl4I1Y /0,1 29

Minuet in E-flat Of.Days Cone-By N No. 110-40088 o . 14558 h . hi Iy teens d urmg. th e years~ 1783-85. It canff served asI anhieffective" substituteh tor This is one or the easy minuets without opus numbers which Beet ov~n wrote d I IS ear'l r the average pianist. The Trio a or e va ua e pracuce In I eplay. Grade 3¥.!. Valse moderato the ever-familiar Minuet in G. Like the latter, it is effec!ive wfitho,utbelDgdbea;po:.g~al~dapp:~~a~c~.Grade 31;2. L \'AN BEETHOV'" l)ONALD LEE MOORE Moderato{. = 126) mg 0 oc aves an ,"'D 5 4 . L.ll J J I I I I I , I , 5~ 5 5 ~ 21 4 1 4 5 4 4 4.-, 4 3 • , ~ . T I I • f"" . j J p crese,

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I , I I 1 i I j J I I Vf • f' / ~. 1 . . 5 4 5 '-----..----1 I ::i! • t I~ . 3~ ~~ L..J I ~ ------.. 4 5 1 1 1 ~JJ 'I I ~ . ------lIst t.ame IlLast tame ·• . r 1 • -.. I I' ~ 71 ~- C fitr; Pft ~ P qt p , -,j ,~ ~ 0 I ===-HFINE ·• . . . . 5 I <.I p: ... .. ~ . ~ ~p,j' ---~~ ~ I ... ~ F' I I ------..--- , · I~ - 1 p !.. -I ~ ~ <:.: 11.: ~ Ii l j < "" j FINE tJJJ" I~~ :tr n. , . . · 4 5 3 ~ ~ ...... 5 - I I TRIO 4 123 ...t 1 3~ ~ ~ ~ ~~ l= ~ I- +-~. ~ ... ~ ..... " 1 I i5'~ l , ioo'" .. \000lo'" , A ~ I 1'----_--'1 L....J IL-_~_=--I ~A,---- _ < '- ~~ ~ a ,~: ~ f~!= ~ ...---1-

;./ 5 3" o • " , OJ ~# 3 _ 5 ~"'-T ~ •• .:., . . ::::;;:. ~.

~ I L-.J L...L...J I A A D.C.al Fine ~,...- • ~:,. .~ I!. 4 I'J I ~ :4l .... . » \. 4 I I 1) I 54 JEJUI.r 3 1 • ,p 2 3 l~ I I. -' It' ~ I II. q, , ,/ ri t P- . , rt. ; Ir~ fI. ~ ~ ~~ ~ I pp • • •

I j1"_ I 1* I l.-.A-J ~ r L L r r British Copyright secured Cop,'right 1050 by Theodore Presser CO. 32 ETUDE-FEBRUARY 1951 ETUDE-FEBRUARY 1951 33 ten Valse Pierrette 3 ti.c.«: Coda J ~, i),-:---F. ---- ::> ==.::;- ;::... ------. No. 2259i , J ~ ~ t~~!~'";; A light, graceful waltz that Iles well under the hand, affording an interesting study in legato playing. The middle sHti?" in F Major should be. played with ~inging , . tone and smooth, well-controlled legato. Observe carefully the "rallentando" markings; the tempo should be retarded Just enough for an effective contrast WIth the " , . closing section. Grade 3~. EDOUARD ST. PIERRE . 5 _ 'i -r .-J.- I$~' lot . I -6 ' Allegret\o grazioso(d.=72) 5 5 cresco If tor gondc 3 4 mp ral ;;-r-- 3 ~ ,---;--. 3 3 3 1 1 ~3 ;; 3 2 1 2 ,. ft' b6e ~ .r* , j 2 2 1 a, i3 2 - 1 . 72· ~ ~~ ~ ~r;! / I '" . , 11 11 I , l' T P • 1 Ii. - 1 4 7 " , I , , I p ! 5 2 ! I I , , J', , i*' ·I'~r" If e 3-5 a tempo 5 If e If e :I »-::" 3 Jh. ,., 5 41""'1 !. 17 --:: :I~ l . , e i: , I I : L-J Ped, silO i Ie , 5 t r- /. oJ 5 ~ IF j",oo ~~ ~~ CODA ~/,n - 1 3 1 .". 3 1 ..... ~ I ~ l. J , r"T I • , I I t I oJ 5 I :OJ 2 "'p t , ! t· , , • I /' I ,5 I r • No. 130·41042 After Sundown Grade 2Y2. a tempo Moving gracefully(.,I= 144) EVERETT STEVENS ------s 5 2 1 3 4 3 2 1 ,. 5 5 4 3 5 ~- ,., ~ 3 3 3 2 , ! - It. ~ .. • • • H" 'lJPp ] - ->: f--~ 2 ~t s: ...." /- ~ ~ .. ;, -rz: <, = I 5 0 ,51 3 2 5 3 2 2 1 2 3 2 2 1 2 3 1 2 4 Ped. simile ~ rt. r oJ 3 2 -=-L-=as:.-t:..-:t..:imc:.e"---,t",o--,C",o""da,,,--W~_------'- AL AL AL AL ---l\.A AL-:--~- 4 ~1 2 1 ______..l.h. 3

r i t. , dim. =-

~ 4 I 1 3 __ ..JI L...-J Ped. simi Ie Ped. simile 5 3 , , Malta espressivo 4 ~ 4,.------" 3~ 5 1 ~ 1\ •

It! I ~ilpoco rit. , 2 l' so f ter little by little 1 - .c;; (l " ~ ~# ~ ." "'. - ..-t--- .- t! 3 3 3 3 3 2 1 2 oJ 3 __ --1,3~~ L- ~AL ~A'-- __!A'-- __'A'-- ___'A'-- __!AL_-,. _ 8-, 8-, 3 3' a tempo 4 j.' " ;., 3 --,. ItJ -il • ~ • H- r it. =- !pp mp c!'f j9. ~ ~ h ~ h Ih ~ j:; r;, /' ~ •

I 4 oJ A A . I 3 , A A A A I COpyrlght 1950 by Oliver Ditson Company International Copyright 'secured 35 ETUDE-FEBRUARY 1951 �--

Theme from "The Magic Flute"

No. 430·41005 (DAS KU.i\:CEr su HF.RIlUCH) W. A. MOZAHT Theme from "The Magic Flute" Arr, M. 8. Ma.~olt From "Favorite Pieces and 50n"-""'~ 1Iy ~lcr y B neon Mason W. A. MOZART PRDIO (DAS KLINGET SO HERRLlCH) Arr. M. B. Ma.son No. 430.41005 From "Favorite Pieces and Songs" by Mary Bacon Mason SECONDO

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2

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l: , ~ . . . . "' , ~I , , t 1 ...... • ... 1 1 ... -I ..... • • 0 . . . . ;. ~ 4- 1 * .-.". ••• .(Il. :>:> c- II~ ,. 4-i ~ ~ .f;: •

" II. 0 0 • • • . · ~ ~ ~ ~ ~ ~ ~ It! ~ 71i1f! ! ~~4f' -~ ~ ~ p'~ ~ ~ ~ raj ., 1~ 1I11 ,f =- =- . 0 o 0 . . 0 · ...... , I • 0 0 . .,; t ...... , · ~ 7 ...... p. 7 t· .,;t cresco t- :>= =- c r e s c, 3 - =- =- International Cop;rright secured Copyright 1950 by Oliver Dltson Co. No. 430··10121 On the Mountain From "L('I's Play Ducts" hy Sarah Louise Dittenhuver On the Mountain S. L. DITTENHAVER No. 430·40121 S. L. D1TTENHA VER Andantino(J --104) From "Let's Play Duets" by Sarah Louise Dillenha,'cr SECONDO / 1 I, 3 1 p~1 3 :----.. -2 .1Jl31.~ Andantino(J = 104) o __ 2;-'e------2 2~ 0 ------t- <, I \ ; I mp tI h . '\ ,

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Glu·ckes stwn-mes Schwei .. gen. joy of loue un - end .. In .

i i rnaIto tranquillo

Und mer- gen wird die Son-ne wie - cler schei-nen, und auf dem ich ge - hen wer - de, wird rhe morn- ing sun wi II rise a-gain_ to - mor - row and on the eet shall wan - der shall J No. 413·40019 SW. strings 8: Flute 8' Hammond Organ Prepare st. Flute 8' Coup , to sw, A Song of Gratitude (10) 00 5634 210 1Ped. Bourdon Coup, to Sw. From "Organ Vistas" (11) 00 6543 210 HAROLD K. MARKS Moderato A ~f ~ »> ~ r-=------It. ~I I I[ Ir '4·'_fT • [J" [T II-UI U MANUALS r r ~ h_ -r ... • #. ! f>n. # • ~*'• I uns, die Gluck-Ii-chen, Sle wie - cler ei nen in- mit - ten die-ser son - nen- at - men-den Er· de, we, the hap -py ones, be brought to-geth er be-neath the sun-lit blue of heau- en __ yon- der; . ~ PEDAL Ped 52 • - c e. ffijl.------

und zu dem Strand, dem wei ten, wo - gen - bla~ en, wer-den wir still und lang-sam n.ie-der-s tea-ge". Gt. to Ped. shore, white with foam of bil-low-ing waves, our foot-steps slowde-scend-ing, a t empo~o'_...... ,-..,_---_~ And when we' reach the sea ~F i~

r riJ r

C<> • h Brttisb Copyright secured 38 ETUDE-FEBRUARY 1951 pyrlg t 1944 hy TheodQre Presser CO. ETUDE-FEBRUARY 1951 Le Tambourin'a Trianon No. 25444 SOUS LOUIS XIV ...-"'I~ ------I cr-; 1"""'1 j~..J ~ ~ J--.---i.J --- r---, T Edited by Franz Kneisel LOCATJl:LLI ----i'"11 I I ~ 1,., Allegro v A V v - . ------rzV'i " . . ;..;,.., - e...-. . l~ VIOLIN - It I "I r I WI " ldim. IiJ P . ~ Z 'i 4- 'i I I:..J I ~". r 1\ Allegro z eggtero sa tato ==- . ~ :;,.. ~ ~ fl. ... i .J:~ ~ -e, :>- :;,.. ~ ::> ::> • I -9-' .-.... fl. -6- ... • f II I'" .. r__[f . . PIANO " if -r ==- t.- If sf . :> • . . :> • . . ::> • . • I, . . .1-. • . . :;,.. . . . f ...... , . . . . I . L...o J.., l.- L... l.._ioooo ~ .... ~ ... ~ ~ .. ' -=- 1--""" -- i'"11 I <, v I - , ------4 3 3~ .~ v ------, ------. - , p Ifl II l..::l I 'I I I I I 't: ------J~'1 WI f cresco < :(l' a fl.. ~ ..... H. ~ --:11."-tr "-9-' .-... - .~I fL I dim . cresco . Gf' . . . . .if . . . pp . I , I 1 r:1 ercc. Y ~ ~ izz . ,., ,-, I ------I I I' ~, »->: »<: --- , J' l Il '-f" ~ Ii...., CJ I r I~UI@ 'u I I f r err I < p sw. I ... ~~ Ihn . #- k~ I. -6- ... ~ ...- I • .. .if . , ~ . . J' r .. pizz •....., ar~. , ,.,

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1= -=- I!- ,;:,..::0-. pp ! stGee. ~ .. .. __ i. _. jl Ii ...... '. COpnight MC:~lVIII by The John Church- Company International Copyright Assigned1930 to Theodore Presser Co. 41 ETUDE.FEBRUARY 1951 40 ETUDE-FEBRUARY 1951 •

A Pony Ride ~/ I'" =-- dim. leggiero - - "f/cresc. ~" 130·41044 II Grade Ph· MAE. AILEEN ERB I Moderato with strong rhythm (~.= 80) 3133553 2 3 1 ---- • . . . . • .:. .... A - fly - ing o'er the beach we ride I, and my lit - tle po ny, We l,...... - .... J' 1nf .---::;--+-- o .l '"J _ .., .- L'I ...... ,d'1 01""'1 ..1~ A 1 - 3 2 5 3 5 I I,

1 3 5 1 ~. fly so fast, I'm filled with pride, As we go hoofs are pound-ing the cr esc .~'--:':'-'~~-T-=';="';;o

3 5 1 1 4 1 5 3 2 ... p ,. II~_~- ~ p I==- =.oJ cresco ...... 4 3 5 2 II I r , r r~

t [, cresco I dim. cool, damp sand, Klop, Klop, and Klip-pe- ty Klop they go. The rel.ns I tight - ly , hold p .. . . . - ....------J' .....-+~-----=-1--

I - 4 ...... , 2 0 3 1 2 4 3 4 1 I ~ ....., 1/."";.~--"" ~ --...., :> A 'i-:--. v,..r'. ~ .. V> I - ~ ...._____...:, ~ f ...... I,..o0o' t::I-' ..... :../ ~./ - .-- ~ cresco "J-~"---.:'. 5 3 ==, ""., .. S /"iI • ~ ~ ~ I ,ItS I" ;/ :..-- .../ -"/ l::lo" ;;;i"'" I In my hand As we go dash-ing a - long! __ A fly - ing o'er the each we ride < J' . if . . cresco . . ;. ;" . ,..-.-. ;, ...... ~------I . .

~ ... \,.-'" c,...... ~ ~~ J:,...... 3 4 3 ~ ...... 5 - area pf zz, rit. A O~••• ~. d1 .... ~ M I 2 5 3 2 1 2 1 1 1 oJ P"" - 1 . .. cJ' p~ .----....-. 3 ==- t:::I"'i i 1 ~ .. ti !.) 1 cresco - J'I t If I

re: · 01 I ..,, " p ··,. ----- ?1:f' No.2 No .I \J vj ~ ~ j ~'~J j~ ~ .J I I ~ I. '---' . . 4 , I 5 . 5 - 4 ~ 4 5 4 2 5 • 4 3 • 4 3 2 .p 1 . -1 r~ I -~ . '-- · · r ,- , I , 1 ::0- :>- e ~ • , • ,, ~ mJ •• :!.-,.- 3 .. • \ ~ 4 1 4 3 2 2 1 3 2 1 2 5 2 , J ~ ...... t= t= .. .. '...... 5 1 4 • 4 5 ~4 . · 5 2 3 ~ 2---..,1 1 . 3 1 · · . 1 2 . 2 ~ -. ~ I

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I 4 s t tirnellLast time only [t I 3 ------~ ~ --- ~, :> e; I - :>- pp'! '!" t: drum! FINE hark , and you'll hear com-ang down the street "Me , and my drum. cresco J1 :> m,f'7i. ~ e :>- , if -- . 5 2 :> -- :>- 3 4 5 8ua bassa 3 4 4 4 3 , 4, -----. A 4 1 1 2'

. • . eo ':' ":" • • • . . . v; BOOK I-b - Here the student makes BOOK 2-b-Chords and arpeggios open D.S.al Fine more serious effort at Interpretation new fields of interest to pupils in Grade t---(r, t--~. and musical understanding, By master- 2lh. Selections are a bit more mature- ~. ~ «: ing the fundamental Touches he thus but always familiar, melodious and

2 3 1 ~~.::>- ~ ~~: ------1 1-·-rZ· 2~ ----,--- Copyright lOGO b)' Oliver Dltsou Company Tnternnt ioun l Copyright secured Confidence I No. 130·410,16 Grade 1. JOH7'i VERRALL Slowly .\ . Faster 3 "

,t '" p • !'f9- e (J. ~ ,. n n "" - -- '" 1 Last t,me to CbeJa 1 3 D. S. a 1 Cbda . 2 1 1 tIt BOOK 3-a _ In this book the pupil '" learns the real meaning of Form, Mood and Style. As be advances he finds more I pleasure... more enthusiasm in complete It. "" cresco understanding of the music played. .a f!:- J' .- .- n.(J. e- n ...... -- n+L - 3 2 ",4 Slower

v 'U --z; II dim. '" pp J'~ (2 CODA l n -& Go I'J - "" . -- - 1 2 Cop)'l'ight 1050 by Olil'c!' Di(>;;onCompany 4 J nternationnt Cop~..rigfrt seeorel 46 /·;rCOf-FE:mL'ARl' 1951 ETUDE-FEBRUARY 195/ 47 CORRECT BREATHING FOR SINGERS ,r-----·------·--····------!------, breathing. It seems to me that the of breathing, he must accept the (act , first requisite in defeating fear is a that air moves only under pressure, , THE WORLD OF (Continued from Page 18) and that air enters the body only to , good course in theory and in simple , H.o +ll + acoustics. To be sure there are many equalize the pressure within and , ~"Vr- orcce -o.u: other pet fears, such as the fear of without the body. When the oxygen , , thesinger, then, is to discover how nose bleeds and none could heal'. people-that they will laugh at us, content is lowered and the carbon , to use the least amount of oxygen criticize us, or talk about us. All of dioxide content is raised, a little andhow to create at the same time The first, thing a student must these make us "short of breath." organ at the base of the ln-ain, the greatest amount of energy that learn, whether he be a solo singer called the medulla oblongata, bids will travel in vibrations from his or a choir singer, is to decide what Conmge is a fundamental require- the individual expel the air. The bodyat the speed of sound. Since emotions he will allow to take con- This month Boston University Bruckner Festival at St. Florian, ment for every individual who ex- instant this is done the air pressure medicalscientists have studied the -trol in his own mind and body. Fear outside the body pushes new air in continues its year-long festival of late July; the Vienna Festival, pects to appear before people. To wholequestion of oxygen supply in is the first demon that must be faced even begin the study of breathing to keep the pressure inside and out- music by New England composers May 20·June 20; and the Gra. thehuman body, it would seem wise and put down. Fear of sharps, fear the singer must have courage enough side the same. Festival, in July. with a chamber music program forteachers of singing to build their of flats, fear of 16th or 32nd notes, to forget self and focus his attention There is no vacuum and no vac- Eugene Ormandy, who in featuring the Stradivarius String teachingmethods regarding the study fear of double dots, fear of so-called upon the pleasure of those to whom uum pump in the body. Exhaling Quartet. Composers represented December made his debut as a of breathing upon the findings of high tones or of so-called low tones, he is singing. With fear eliminated is the result of lowered oxygen con- are Daniel Gregory Mason, Metropolitan Opera conductor by these scientists. We learn that fear of long phrases, fear of pianis- he will SOOIl discover that no matter tent. Inhaling is the result of the air Pau I Hastings Allen, Randall leading three performances of humanbeings use more oxygen when simo marks, fear of fortissimo marks. what hi" posture, what he eats, pressure outside the body being Thompson, Mabel Daniels and "," will shortly they are under emotional tension Each one of these little fears, so dear whether he is sleeping or awake, greater than that inside the body. thanthey do at any other lime. For Lukas Foss ... Delay Shankar conduct the recording of the pro- to many of us, must be mastered or breathing goes on day and night Man has behaved this way since example,air conditioning apparatus and his Hindu Ballet wlll return duction for Columbia Records. each will take its toll of the normal without. his volition. This realization the day he was born. No thinking in theatrestends to break down when oxygen supply of the body. Chang- wi.ll convince him that there is not and no muscular control are re- to the U. S. next season for a ten- "Flederruaus" is Mr. (Irmandy's a large audience i,:. witnessing a ing these fears has to do with knowl- much 10 worry about in breathing. quired for correct breathing. week tour beginning in December second experience in conducting tense,emotional play. However, no edge and mast.ery of self, not. with Before one can master ~I"LC matter THE END . . Next month, Charles Munch an opera, his first being a per . such breakdown accompanies the and the Boston Symphony will formance of "Madame Butterfly" showingof beautiful scenes in tech- commemorate the lOOth anniver- at the Hollywood Bowl in 1948. nicolor. sary of the birth of Vincent d'Indy Mal·garel Truman's first reo Bell tones of majesty and beauty for with a special d'Indy program. cordings made under her exclusive A large amount of oxygen is used the organ • • • unmatched by any others Claudio Arran and Jennie contract with RCA-Victor are by the mind. Physical activities use the least oxygen unless the emo- Tourel have been added to the scheduled for release shortly. Her tionalurge to win comes into play. CHULMERICH "Carillonic rnent at Westminster, tells list of artists appearing at the first album, made with a choral OPPORTUNITIES Bells", installed in the us: «'Caril.lonic Bells' are a If we examine singing we find S Festival of Great Britain, which group conducted by Robert Chapel of Westminster Choir constant joy to us. We find three different functions in man, College, are connected to the • their use with our organ opens May 3. Shaw, will include a group of working simultaneously and each ... in lhe mUjic 5iefJ organ console and provide limitless. We learn new ways Austria's famed Salzburg Fe8~ early American songs. one using up t.he oxygen supply. the fulfillment of an organist's to use them in our program rival this year will open July 27th .larrnila Novolna, Doris Doc, Thefirst is the imaginative control ADVANCED COURSES OFFERED BY THE dream. Their dynamic range every day. The bells from our and continue through Aug. 3l. Lorenzo AIvary, Martial Sing. of the great artist, who must con- is so great-their tonal qual- tower have a gorgeous tone." stantlyplan to so portray the music ity so superior-their un- Organists and church au- Leopold 5tokowski and Wilhelm her and Charles Kullman sang UNIVERSITY EXTENSION CONSERVATORY distorted volume so rich, that thorities everywhere are dis- Furtwangler head the list of con- . leading roles in the performance thatthe listeners are stirred emotion- they are a distinguished asset covering their true beauty of ductors. New works scheduled for of "" which opened the ally.The second is the self mastery BY THE HOME STUDY METHOD to any organ. tone and musical versatility. the Festival include Verdi's World Outlook Conference at Bob of the performer who must hold Dr. Alexander McCurdy, You should investigate them firmly against the presence of hys- Music has always ranked high among professions. There is "Otello" and Berg's "Wozzeck." Jones University, Greenville, S. c., head of the Organ Depart- fully. For particulars write to: teria or sentimentality in himself. Other summer music events sched- last month. The governors of never an overcrowded field for the well trained musician. Andthe third is the demand of the uled for Austria are the Bregenz South Carolina, Hawaii and Alaska normalfunctioning of the body. • Interesting positions are open in every part of the Musical Organization has to offer you. At SCHULMERICH ELECTRONICS, INC. Festival, July 21·Aug. 12; the were present for the event. field. Schools and Colleges are making it necessary for very small cost and no interference with your every teacher to be equipped for his work; the Radio regular work, you, easily and Quickly can 28101 Carillon Hill, SELLERSVILLE, PA. Whe" l()e sa,. that the great artist ! i is calling for highly specialized training and standard- Qualify for higher and more profitable post- has mastered breathing, we mean ized teaching makes competition keen even in small tions in the musical world. ------that he has so mastered his self- communities. COIUPETITIONS (For details, write to sponsors listed) controland has developed such poise DIPLOMA OR BACHELOR'S DEGREE Are you an ambitious musician? as to use up little of the oxygen We help you to earn more and to prepare • 19th biennial Young Artists Auditions in piano, violin. organ, voice. A successful musician is most always a busy one. Be- for bigger things in the teaching field or any TO BE WELL-INFORMED ABOUT MUSIC supplythat the blood stream must Prizes: $1,000 each. To be held in March and April. 1951. Sponsor: cause of this very fact it is almost impossible for him branch of the musical profession. We award furnishto all parts of the body in to go away for additional instruction; yet he always the Degree of Bachelor of Music. With a Don't miss an issue 0/ E T U D E th.e MlI.sic Magazine National Federation of Music Club.s, 455 W. 23rd St., New York 11, N,Y. orderto carryon the normal func- finds time to broaden his experience. To such as these diploma or Bachelor's Degree you can meet • Vocal solo composition, choral composition. Prizes: 300 for each. tion of just keeping allve. The our Extension Courses are of greatest benefit. all competition. Closing date: March 1, 1953. Sponsor: Sigma Alpha Iota. Write: Carl natural functioning of the body is Digging out for yourself new PIANO ideas for the betterment of MADE EASY F!scher, Inc., 165 W. 57th St., N.Y.C., N,Y. suchthat death comes almost simul- ----· ..- ..• ..--·f'ililn and Mail Th.i.sCoupon------SWING your students is a wearisome UNIVERSITY EXTENSION CONSERVATORY, Dept, A-717 World's easiest system leaches Beginners or L\d- taneouslywith the absence of oxy- 28 East Jackson Blvd., Chicago 4, lI/i1tois. \"anccd to l,h\}' like Radio-He"onl Artists! Learn • A setting of Psalm 148. Prize: 100. Closing date: Feb. 28, 1951. time-taking task. When you rUllS, break!. blues, lrlcks. basses, negro etTect~. gen, Even such a fundamental ex- can affiliate with a school Please send me catalog, illustrated lessons, and full information regarding chimes, BoogIe Woogle, tntros. ends, modernistic, Sponsor: Monmouth College (attention Thomas H. Hamilton). Mon. course I have marked below, recommended by thousands of futuristic, weird st)'les, orr-cojcr. riding-melody. perienceas tuning becomes impos- Piano, Teacher's Ngrmal Course 0 Harmony 0 VigUn jam-hot-blue choruses.etc. lJU~"l)R~;DS of errects. mouth, Ill. o successful teachers, you may o Piano, Student's Course 0 Cornet-Trumpet 0 Cuitar Send for Free Booklet No, 2 and low Prices sible when the oxygen content in the • Competition for orchestral work, not over 10 minutes long, to be be sure that their confidence o Public School Music-Beginner's 0 Advanced Cornet 0 Mandolin T EAC HERS-Use new loose. leaf system. Write! bloodstream is low, justifies your confidence in Public School Music-Advanced 0 Voice SLONE SCHOOL. 2001 Forbes St .. Pi«sburgh 19, Pa. premiered by Baltimore Symphony. Closing date: March 15, 1951. B Advanced Composition 0 Choral Conductin, 0 Saxophone Mostof us have had the experi- new ideas or your work which o Ear Training & Sieht Sin.inl 0 Clarinet 0 Reed Or,an Details from Dr. 1. B. Keefer, 3818 Tudor Arms Ave., Baltimore. eneeof climbing up a mountain and we make available to you, o Histgry of Music 0 Dance Band Arran.in. 0 Banjo Look back over the past year! • Chamber music or small orchestra work, by composer under 19. findingourselves panUng vehemently Name. , ...... •...... •...... Adult or Juvenile ....••. ". _. Prizes: $25, 10. Closing date: April 30, 1951. Sponsor: Jordan Col- whenwe reached the -top. Although What progress have you made? Street No ...... , - ·t····· lege of Music, IndianapoUs 2, Ind., aU. Mr. William Pelz. we said we were short of breath, If you are ambitious to make further progress, enjoy greater City. . , _ , ....• , .. _ State , . STUDENTS-MUSIC LOVERS to earn a?tually we were short of oxygen. • Choir Photo Contest. Open to, non-professional choral groups only. recognition! and increasing fi- Are you teaching now? , ... ,If so.. how many pupils have you? _. ' S.Jllgersalways find it next to impos- liberal Commissions selling ETUDE First prize, $382.50; nine other prizes. Ends June 3D, 1951. Sponsor: nancial returns, then you owe Do you hold a Teacher's Certificate? .. , ,Have you studied Harmony?, . slhleto sing in cities of hiO"h altitude all other major magazines. No Cost Choir Guide, 166 W. 48th St., N. Y. C. it to yourself to find out Would you like to earn the Degree of Bachelor of Music? .. , ... or Obligation. Write for complete untilthey have become acclimated to what this great Home Study --_ .._ ------_ _--_ ------_. details today to: • Young Composers Contest-Chamber music work by composers 16 suchheights. I remember one time to 2-5 years of age. Prizes: $150, 50. Closing date: April I, 1951. someyears ago wben Westminster THE NIVEBSITY EXTENSION Condervalo.r'f M. E. NICHOLS Sponsor: National Federation of Music Clubs (address above). ~hoir arrived in Laramie, Wyam- U CURTIS CIRCULATION CO. • Chopin Scholarship Awards, for study during 1951.52, of 1,000 Ulg, late in the afternoon and gave 28 EAST JACKSON BLVD. (DEPT. A·717), CHICAGO 4, ILL. Independence SqUgre, Philg. 5, pg, each to a pianist and a composer. Closing date: March 1, 1951. ~ concert that evening. Because of 'Ihe "phono" in mO$! lop-blond rodio.phono combinolion5 Sponsor: Kosciuszko Foundation, 15 E. 65th St., N. Y. C. ,e shortage of oxygen we had diffiCultykeeping in tune, some had

48 ETUDE-FEBRUARY 19-'1 ErUDE-FEBRUARY 19-'1 49 ORIGIN OF THE FUGUE t~ have appeared under this name EJI..2 J.J. Frcberger <1616-67l Yari4I __ CfIfUOlM: (If . on~ ig~ores our present-day period III which the "neo-classicists" : TO E@ rr We erL- (Continued from poge 14) :,.,! :;~~ _ 0.- _ .. ~ are attempting to rejuvenate forms ,to. Music Love,o's of past eras). century edition (Measure39), the original form of The fugue with a single theme and ,. I J r IIrrr~rrlr the theme is combined with its in- integrated, modulatory episodes was . etc. BOOI(SHELF after edition of these masterpieces is version. not the final stage at which Bach presents a group of new teaching offered to the musical public. We All that now remains in order to and his contemporaries rested. On pieces in the first and second grades. By THOillAS FAULKNEB invite you to compare CENTURY arriveat a "real" fugue is to bridge the contrary, they soon began to We ere certain that in this list you EDlTlON with any other at cny price. the gaps between sections with in- use more than one theme in their will find interesting and worthwhile You will probably agree that Century tegratedtransitional "episodes," hav- fugues. However, this did not in- pieces which you will want to use. is at leasf as fine as any other edition ing these episodes modulate to dicate a return to canzona forms' Your Century Dealer will be happy ond you too will ask "How can they differentkeys so that the various instead of treating each theme in a to show them to you. sell it for 20¢ a copy?" expositionsdo not sound repetitious. separate section only, Bach and his THE GOLDEN AGE Choir, constituting ail easier way In otherwords, contrasting tonalities contemporaries introduced their Piano Solos-Grades and 2 OF ITALIAN MUSIC to hear the work for most people Piano Solos-Grades 3, 4 and 5 areused to substitute for the gradu- themes one after the other, but then than assembling for a performance allydisappearing contrasts of theme' combined them all toward the end 3982 Big Drum Major. The, F-l Hopkins By Grace O'Brien 3975 Air in G Major, Sulte X1\', -3 ... Bandel of the piece. In this way such "multi- 3983 Floating. ]"-\ . . Stonton eight choirs of five parts each. and tempo. 3910 Bagatelle in D, OP. :13, 1\0, 2-3.llcelhoH'f' 3990 From My Garden, C-Z.. .Heaps Actually, these changes were al- thematic" fugues were brought to TI-IE Oxford University Press, $1.25 4003 By the Lake nf Wallenstadt, Ab-4 J.lm 3984 Four O'clock, G-t Hopkins FROM 15th to the 18th cen- 3893 Courante In E Minor-ll .. ,. " Lull)· readytaking place while cunzonas an intricate and often highly drama- 3973 last Pavone, The. Am·2... . .Granadcs turies, all Europe was an Italian 3909 Evening in the Country, -3 .Hartek Mouul'll (41) 48, 501',.00 3991 little Valse. C-2. . .. Foldes andricercars were still being written, tic climax. (For especially interest- Theme(subject) SCHOENBERG AND HIS SCHOOL 3980 Conga-La Mano Abajo, rr·3 nelircld 3992 Marching Home, C-2...... Foldes colony as far as music was con- . .' 3974 folklong, Oil. 12. No.5. Ji':-m-3 Grleg One of the greatest single- theme ing and beautful examples, see the . r r r I I' Pr tit 3993 Misty Evening, C-2.. . .. Scarmolin By Rene Leibowit. cerned. Italian musicians traveled 3999 Intermezzo, all. IIi. No,!, };b·4 .. Bralun, 3976 Morning. C·~ ProkofietT fuguewriters before Bach was Bux- C-sharp Minor Fugue in Book I of 3972 Intermezzo fr, Petite Suite. lI'-3, .Bcrodln 3985 Outdoor Song. o-t . Kraft to England, France and Germany; "The \Vell-Tempered Clavier," and rTI I~! I I 3977 Menuelto, L'Arluienne, Eb-4 Bleet-Blcek tehudehimself. ,r r r 3986 Polka Dot, c-t. .... Rolfe OLISH-BORN Rene Leibowitz, at composers from everywhere went 3900 Moment Musieal. Oil, 91. :\0, 1. C-4 There is no need to reproduce the Fvsb arp Minor Fugue in the Counter subject 39B7 PUg Nne. G-1. Rolfe to Italy to learn their trade. The Ppresent leader of the French Scbubert second volume. These are both 3994 Queen of the Rodeo, G-2.. . .etctncr 4002 Novelette. 011. 21, !\o. i. A-5 ... Sehutnanu Bachfugues here, since, unlike our Meuure77,8BvBr ..1 rormaofthe IbeUlccombioed. 3995 Quiet S~ninll, G-2...... Croshy Florentine Giovanni Battista Lulli school of twelve-tone composers, 3899 Prelude & Fugue in C Minor. -5 J. S. lJa~h other examples, they are readily triple Iugues, although not entirely 3996 Rllff Tuff, UI11-2 . Steiner and 3902 Rhapsody In Eil. OIl. 119. ~o. 4-4 llrahms 3978 Slavonic DInse No.6, A-2 DI'orak-ITopkins became the founder of French speaks with authority on Schoen- available. It may be of interest, according to textbook definitions. 3980 Rhumba-La Chupallera. O·S" ... Relsrcld 3988 Spring fever, c-r.. noire opera, as Jean Baptiste Lully j berg and Schoenbergian tech- 3981 Samba-Verba Buen,. 0·3, .arr. Guentllfr however,to compare the D-sharp In the C-sharp Minor Fugue, Bach 3997 Squirrel's Picnic, Em-2...... Erkl,arl 4000 Six Lillie Preludu". . .. DI~b does not wait until the end with his 3989 Starry Way. Col. ..ITopl!jns niques of composition. Mr. Lel- MinorFugue from Book I of "The Handel and Johann Christian 4001 Sonata in C MaJor-3.. , Scarlattl 3998 Three Cheers for the Team, F-2 . Steiner restatement of the first theme, but bowitz studied both with Schoen- 4004 Thai" MedItation. G-3 ]Husenet Well·Tempered Clavier" with other 3979 Two Caprices. Dm-F-l. Paganlnl-, Steiner Bach went to London by way of 3901 Three Etullel .. ,.Cbopla keeps it going practically continually J J berg and with Schoenberg's pupil fugues in the same volume. The J; Italy. f::;~rt;:I:/;~ throughout the piece. In the F-sharp tl D.sharp Minor Fugue (which, in- l:~~r;-! This domination of the music Anton von Webern. His book is Century Edition is 201i! a copy Century Edition is 20¢ a copy cidentally, appears in the key of Minor Fugue, the "violation" con- valuable as a further clarification scene by Italian composers, con- KHatMinor in the Busoni edition!) sists in the fact that the second of the aims and methods of Our Graded-and-Classified - or our ductors, 'singers, instrumentalists Our Graded-and-Clossified - or our is still rather close in structure to theme gets almost completely lost complete catalog listing over 4000 and stage designers lasted until the Schoenberg, whose influence for complete catalog listing over 4000 ourBuxtehude Canzonetta, Its theme toward the end). better or for worse has been pro- numbers is free at your dealer or on early years of the 19th century. In numbers is free at your dealer or on goesthrough a number of variation- In our own time, the beginning of (~I:r:~,~~~~~-J~r-l~:;SZjJ'; req uest from us. the 1830's, Wagner's predecessor's found on the music of this cen- request from us. like transformations in the course a new phase in the history of the in his early conducting jobs were tury. of the piece. In Measure 24, it ap- fugue appears to be taking shape. By far the most profound and successful CENTURY MUSiC PUBLISHING CO. all Italian musicians. The book is translated from the CENTURY MUSiC PUBLISHING CO, pears with rhythm altered; in French by Dika Newlin, one of Measure25, inverted; in Measure attempt in this direction is the 47 West 63rd St. New York 23, N.Y. Miss O'Brien's new book reveals 47 West 63rd St. New York 23, N.Y. how this state of affairs came the foremost Schoenberg apostles 62, augmented (Le., with time-values "Ludus Tonalis" (literally, "Game of Tones") hy Paul Hindemith. In about, tracing the evolution of mu- in this country. doubled); and in Measure 77, three "~'"~", l~:-=~,= differentforms of the theme (origi- this work, the spirit of "The Well- sic in haly in relation to political Philosophical Librar)', 84.75 ~~~~~~~~~~~~~~~~~~~T~~~T Learn to sing nal, augmented, an,d with altered Tempered Clavier" has been re· and social happenings of the time. rhythm) are combined (See Ex. 3). captured, but "translated" into a I:::1J:,I!f I~ 'I~:: ":':::;:~O:::::;:1:=:::~; I GREAT ORCHESTRAL MUSIC: HIGH The volume should be a useful The fact that the slow tempo of present-day musical idiom. ~;%i ~ •• §~ rhe frame for tbe entIre collectIOn. II Professional skill costs nothing extra. For reference work. A Treasury of Program Notes not for any individual piece. The ; i the best in tuning and repair service see TONES this piece would make it a ricercar In "The Well~Tempered Clavier," your classified phone directory'for A.S.P.T. Philosophical Library, $4.25 Edited by Julian Seaman Bach touched on practically every 1 i ~ Prelude modulates from the tonality members. Indorsed by piano manufacturers. with confidence rather than a canzonette does not Smd 3t Itamp for pamphlm "Plano and ease haveany bearing on its structural form of instrumental composition Cart" and "Afolh Prtllenl;on" to DePt, E. ERE IS a handy volume for the Once ,.ou learn the WHY I.nd current in his time. Many Preludes SPEM IN AllUM NUNQUAM HABUI H HOW of hi9h toneS. you ""qu,re characteristics. Still, the most a p- the confidence need"" to odd : Ji I :. ':f j I By Thomas Tallis concertgoer, record collector richness and quality to you' propriatename for it is UFugue"- and even a good number of Fugues ~r t~~1, ~B~!~::~E~::~vf:~t~ vo'ce. Or. Freemantel, inte,na- En t~~~:.~ or radio listener to orchestral con- "High Tones and tionally famous voie>'. teache'. theone Bach chose--since there are in "The Well~Tempered Clavier" are §' JlD.:;;; iJ'~' Jk) . .wards) verSIOnof the Prelude, mod· !lives you all the correct ,ul~' How to Sing Them" : .. ulates back from F -sharp to C, thus certs. NIl'. Seaman has collected ~~~ mp~~eti:;;'~ h~k to~'''.:IG'~ ~olonger any clearly separated sec- based on the character of the dance 11 HOMAS TALLIS' Motel in Forty TONES AND HOW TO SING 'y THEM." It'. a find fo' every !lons,and no changes of meter, while, movement of the 17th century Suite, concluding the series. Parts is one of the monuments program notes 011 all the standard Frederic singer-<:le",ly written "nd easy T to follow. Order you. COpy to' The succession of keys of the freemant ..1 dav for only $3. on the other hand, there is a good on the slow introductory sections of of contrapuntal writing in the works of symphonic literature, fugues and interludes of the "Ludus Founded 1912 dealof modulation. the "Fren'ch Overtures," on the bril- ! I Baroque period. The intricacy of from Arensky's Variations on a ) etc. FREEMANTEL VOICE INSTITUTE We now have come to a point liant Toccatas, and, of course, all Tonalis" is based on Hindemith's its part.writing is not matched Theme of Tchaikovsky to Wein- • J'.l I Extension Division where our simplifications are in old and current forms of fugal theory of related tonalities, and berger's Polka and Fugue from even in the grandiose scores of Dept. E-2, 5teinway Hall, 113 W. 57th St.• d.anger of becoming distortions, compositions. is outlined in concentrated form in Mahler, Bruckner and Richard "Schwanda." Annotators include New York 19. New York. SinceBach himself occasionaUy re- Hindemith likewise makes use of the Prelude and Postlude. ••••••••• &&&&&&&&&.&&&AA Strauss, and is surpassed only by Lawrence Gilman, Pius Sanborn, vert~dto the older terminology by present.day or recent forms. In his Bach wrote the first volume of Bene\'oli's Festival Mass (1628), Robert C. Bagar and Louis Bian- calhng some of his more extended "Ludus Tonalis" we find a Waltz, works. While Bach simply collected "The Well-Tempered Clavier" in which has 53 ind.ividual voices on colli (New York Philharmonic- ~uguesricercars, without diminishing Cake-Walk, Pastorale, March, some suitable pieces, running twice duo- 1711. The second volume was com- PIANO BREAKS matically through all the major and pleted in 1744. In 1943, Hindemith the printed page. Symphony), Philip Hale (Boston Our MOllthly Break Bulletin enables you in anyway his harmonic and modu- nervously rhapsodic pieces, as well to build up and gillmouri'l.e t.he son,::B 011 y as some plaintively reflective ones_ minor keys, Hindemith goes a step completed his "Ludus Tonalis," just After d.iligent comparison of Symphony Orchestra), Philip H. the Hit Psrsde with clc\'er breaks. DOI'cl ttor complexity in these pieces. figurel> al\d trick)' hoogle elfects. And just as Bach exhibits every con- further by int.errelating all the pieces one year short of the 200th annj- early manuscript versions of the Goepp (Ph iladelphia Orcbestra), Send :i!O cents for ltltest copy or $2 for a ,owever, Bach's ricercars have as )'etlr, lUention if teacber. ceivable technique of fugal writing harmonically. versary of Volume II. After Bach work (the original, composed Felix Borowski (Cl1icago Sym- little to do with the historical ricer- THE AXEl CHRISTENSEN METHOD car or canzona as have the dance and other styles of compositional Bach's pairs of preludes and completed his great work, there were sometime in the middle of the 16th phony), Bruno David Ussher (Los P.O. Box 427, Oiai, Calif. m,ovementsin Bach's suites to do technique, so do Hindemith's pieces fugues are oflen related in no other one or two feeble attempts to write century, is lost), the editors of the Angeles Philharmonic), and Don- cycles of fugues along similar lines. ~ith the traditional dances-a!. range from the stern, contrapuntal way than their common key, and Oxford University Press have pre- ald Ferguson (Minneapolis Sym- each. remains a unit in itself. It required the passing of 200 years, e:ande, bourn~e, gigue, courante, intricacies of inversions, crabs, STUDY HARMONY BY MAIL pared a score which is a faithful phony). Mr. Seaman bas chosen JRISn ORPHEUS-The Ilfe of B ....NDMAS- Hindemith, on the other hand, con- however, and the complete rise and It is creative. it improves sight playing TER Patrick S. Gilmore, 1829~1892, by ,-whose names they bear. canons, etc., to the almost impres- shrewdly, and the annotations in Mar'll.'ood Darlington. Read about his \XIpu- nects all his fugues through "inter- fall of the symphonic and romantic ond it gives on inside understanding of re-creation of the Motet, and a lar tours, amazing Boston Jubilees. famoUS sionistic vagueness of rustling pass- composers' works, his book are at a uniformly high New York Band, his National Anthem, e~. ludes" which are designed to serve era, before a composer of real signi~ Every detail is carefully exploined ond document essential to the study of Students will be inspired by It . , ' musIc hThi~will be clear if one examines age work or the heavy rhythms of ficance felt ready and inclined to illustrated. Elizabethan ,music. The Motet has level. The foreword is by Deems lovers delighted. SChool, college and public ~e famous six-part ricercar from rich chord clusters_ as harmonic and occasionally even For furfher information write: music libraries are not complete without It. thematic bridges from one fugue to take np where Bach left off. William E. Burke, L.T.C.L.,M.R.S.T. been recorded for HMV by Mich· Taylor. Illustrated. Price $2.50. Remlt by money ach's HMusical Offering" which Most significant is a comparison order or Check to: mJSH ORPHEUS, rnay , the next. The "Ludus Tonalis" con- 272 YO!lge St.. Toronto. Can,ada ael Tippett and the Morley College Rinehart & Company, $5 Box 1541. Washington, D.C. very well be the last piece ever of the harmonic structure of both THE END 51 so ETUDE-FEBRUARY 1951 ETUDE-FEBRUARY 1951 VIOLIN TEACHERS VIOLINIST'S FORUM Advanced Students Learn to ploy and teach the "New Finney (Continued [rom Page 25) Way" recommended bv all World Famous ORGANISTS Violinists. Become an artistic ond financial success. Choir Directors verywell he ignored inasmuch as it 1949, where you will find a discus- Finney Violin Keyboard System STUDENTS! E-2537 N. Bernard St., Chicago 37, III. Chorol Conductors rgan " not a complete scale system and sion of the modern fingering for PLAY A FAMOUS Ifb l!Lluesnons :hefingering given is woefully old- chromatics. fa_hioned.For the study of scales, VIOLIN TEACHERS! $750.00 in Prizes! WILKANOWSKI booksuch as that by Schradieck For the development of accurate Ask for tttustr. Catalog with (Schirmeredition) is much to be intonation few exercises are as valu- Professional Discount on VIOLIN IN YOUR HOME fAMOUS VASICH VIOLINS By FREDERICK PHILLIPS preferred,As for the fingering of able as diminished sevenths; there- Endorsed by Greatest Masters Choir scales,I would refer you to the fore Section 10 should be worked NICHOLAS YASICH Forumpage in ETUDE, August 1948. over until it can be played fluently 817 N. Eutaw St, Baltimore 1, Md, • As organist in a small M eth- quality, and then spend much time and well. Throughout the section, I PHOTO CELEBRATED VIOLIN MAKER odist church; it is my pleasure to trying out different combinations Sections3 amI 4 should be thor- prefer the use of the second finger JOHN MARIi:ERT & CO. UNUSUAL in soft, -medium and loud effects, ou~hlystudied until the pupil is 141 WEST 15TH ST .. NEW YORK II, N, Y. These classic violins are the master work :with both adult and junior rather than the third. VIOLINS OLD & NEW Contest crnftsmanship of Mr. W. \Vilkanowski. choirs, and from time to time there ·noting the results and later applying co;pJeteIyfamiliar with the chord Sections 11 and 12 should be prac- Expert Repairing. Send for Cataloo one Or" America's gl"catest living Iuth- 6-DAY this knowledge in your playing. Oae iel's. As a result of Mr. wtf kanowski's arise diDerences of opinion regard. sequencein 3 and is equally at ticed quite slowly at first, with a SHROPSHIRE & FREY Sponsored by Choir Guide Maga- painstaking ru-t.ist.ry the violinist ~a:; TR IAL OFFER ing pronunciation. Just how should of the hardest things for an organ. homewith the three-octave shifting singing quality of tone and a. con- nvnilable an instrument of long lasting' Violins-Violas-Cellos ist to know is the volume of tone From Students to Professionals zine for its subscribers. lleauty lind brilliant tonal qualities. For the 'word "the" be sung? Some say in4. If these sections are well mas- stunt vibrato. This may seem t.o be Send No Money he is producing, especially when Repairing & Accessories the professional violinist or the talented "I ha" with no accent wil hout excep- tered,the student will find the all- a very unorthodox idea, Perha ps it 119 W. 57th, N, Y, C. 19 C17·0S61 48 pages of interesting articles student seeking a really fine instrument tuni, but 1 prefer the "e" with a playing for soloists, choirs, or with important Section 7 very much is, but I have good reasons for be- there can be no finer choice than t( other instruments such as piano, on all phases of Choral and WILKANOWSKI. sh.ort sound, especially before a easier. lieving in it. Most students, even There is often a tendency to play Organ music in Church, School word starting with a oouiei. Another I believein going directly 10 Sec- many advanced players, find difficulty You (';lll :H-lU'IlIy [utve :I \Vilk:lllo\\"~ki problem: is the letter "r," one p~r- too loudly, and we mention this be- tion7 as soon as the pupil has in maintaining a good tone quality and College. A SUPERB VIOLIN Violin ill your hand" 1"01'oxnmi nntiou cause you seem 10 think that when on fj.day TRIAL, OFFER Here's how son suggesting very soft, almost like learnedSections 3 and 4. It is per- if they must shift more than two 'The \Vilknllowski "Conservatory Model' playing with the piano you have to Printed in two colors. Handy is a slender g"l'aceful. model with well it works, We'll ship C.O.D. with pr-iv- "ah," obut 1 prejer a fi I'm "",. we',1t hapsthe most valuable section in positions. The note preceding the ur-ched body, m-oduclnz a smooth, rich ile.t!:e of (; davs" exnminat.ion in your- play "loud." If possible get a musi- pocket size. Published 10 times home 01' studio. Your money stnys in evcn a roll to it. the book, and it should be pal·t shift is usually the one that suffers: tone. The sides, back, neck and scroll cal friend to listen to balance of ",rc old cudy m;tple of pronounced EXP1'CSS Company's office "endy fOl" -lVlrs. G. P. N., Orcgon of the sl~dent's daily practice until either the tone dies away or the a year. Ilrompt l'efund if you,deci{lc to j'etuI'1l flame; the top is fine old Sl)l'uee of close tone and advise yOll, The book on hecanplay the arpeggios with both vibrat.o js neglected. A careful study even grain; Fine ebony fingerbonrd, the men'handi;;c,- Absolutely no risk! registration referred to above is for Send $1.00 for Special 4 month rosewood tailpiece, with hanil carved No chance for {liS~ll}pointment! 100% l"irst of all we suggest that yOll accuracyand speed. The fingering of these two sections should elim. subscription, which will include cocobola pegs. sati;;raclion or there's no snle. obtain a copy of "Diction for Sing- pipe orgun, but will be applicable to givenfor the diminished and dom· inate both of these faults. Each ex- THE CASE-"Strenmline" model with ers and Composers~' by Hawn, or both the organs you are using. In inantseventharpeggios is hopelessly a contest application, sturdy laminated veneer body, covered TEACHERS!. Take Advantage of ercise should be practiced as if it "Choir and Chorus Conducting" by the Bach number keep the organ with simulated leather in liznrd grain. Special Prices and Terms outof date. A better fingering is were a fragment of a melodic phrase Plush lining; silk ))ow ribbons;· soli.d Wodell. The first deals with prob- part fairly SOfl, lIsing any suitable giYenby Carl Flesch in his Scale -with this proviso: there can be no Mail $1.00 to: bl'ass hardw~\l'e. THE BOW is genuine lems in diction, and whi~e the two solo stop where you ha\'e the melody Pernambuco wood stick well balanced System-a book that should be pos· expressive sliding. Every shift must Choir Guide with fuU lined ebony frog. ACCES- THE FRED. GRETSCH MFG. CO. specific problems suggested are nOl against a softer background, and se:sedbyall teachers-but the finger- be made rapidly. If this idea is SORIES include nn e:'OUm.UIIS Piano Concerto in F Man's Desiring" and "The Rosary" MOZART SMOKE GETS IN YOUR EYES. . , ••.. ,., , .. Kerll Ovel' the yc ...·s there have been are two pieces we use with organ HERE is an extraordinary opportunity and right now only 362 subscriptions .SONG IS YOU, THE (nelv) .. , , ...... Kcw varying standards of pitch, but the for music lovers! We will send you your are still available. The whole jnterest~ SPEAK LOW (new) ,...... Weitl and piano together. Can yOlt suggest 435 A ha<:. been almost universal!}' TRY THIS ON YOUR PUPILS choice of Beethoven's stirring Fifth Sym- ing story is told in our free brochure, STRANGE MUSiC "...... ,Wrigl'l,-Forresi. registral,ion jor the first named to superseded by the 440 A, and th.isis phony-OR Mozart's delightful Con- which we will send with the LONG- WAY YOU LOOK TONIGHT, THE (rII'II'). . ... Kern avoid m.onotony? nQW adopted as the standard pitch. 1/1. rereading "Alice in Wonder. I read this to a young piano stu- certo in F, each superbly performed IN PLAYING record described above. Sim- YOU'LL NEVER WALK ALONE.. . RO/lgers - N. L. ll!l., California land" I ran across this exquisite dent during one of her lessons re- FULL by the Concert Hall Symphony ply enclose one dollar with the coupon. Since pianos and other insLruments Orchestra. Both are high fidelity, Long- If not delighted with the [("Cord, return PRICE 50¢ EACH are tun~d to 440, it would of cour: example of mechanically perfect cently _ .. the last lesson beiore Playing (33YJ R.P.M.) recordings-yet it in five days and your dollar will be Generally speaking we do not be. be advantageous for the organ to . rhymeand rhythm of words.withQut. recital. She had just played her re- you may have either one for only one cheerfully refunded, dollar! lieve it is wise to recommend cer. so tuned, as frequently the organ.I' meaning: cital number for me, a Chopin Noc· THE CHAPPELL GROUP We make this special offer to demon- r················------Concert Hall Society. Inc. 342 tain specific stops for pieces, or even used in combination with other lD· 250 West 57th St .. New York 19. N. Y. "Th turne rendered perfectly in every strate the remarkable quality of Concert I enclose one dnlll\f, fOf ",hich please senti CHAPPELL & CO., INC .• CRAWFORD MUSIC CORP. {or certain types of music, as it is sUuments. Violins, wind iosLrumenl::j eytold me you had been to her Hal] high-fidelity recordings. We will ill'" ~hc hiRh tldclity tOXO-l'LA YI.""-Crel'onl And ' , way ~xcept that it was completely cheCked below. If not delll:hted, I' may retufn T. B. HARMS CO .• GERSHWIN PUBLISHING CORP. much better to learn the general etc. are to some extent flexible aD mentIOnedme to him: also send our free brochure telling how It In lire dan for full refund or Ol}' dollar. Alw he without expressjon. Her music had no ~"'Ild. rrM. your broehufl) dNcrihint:: the n,',," principles of registration from some could be tuned to accord with an S ga\,eme a good character you can obtain our new series of 1951 series ~f Llmltl)d Edition recordinl:s. • WILLIAMSON MUSIC, INC .• B more to say than the poem. The original recordings available no_. BEETHOVEN0 0 MOZART such work as Nevin's "Primer of organ at 435 if necessary, but the IIlit sal'd I could not swim comparison must have been an ef· where else at any price! RKO BUILDING-ROCKEFELLER CENTER-N. Y. 20. N. Y. Organ Registration," and then sit piano is fi.."{ed(according to CODlDl~ We senl them word J had not gone Name. down at your organs and experiment fective shock, judging by her expres~ procedure) at 440. and could if e knowit to be true Membership Limited to 3000 Address. with each and every stop individu. used only in conjunction witl~aD or' W~he should push the matter on sive rend itjon at the red tal. Only 3,000 members can own City. . Zone. . .. St.~lo. ally to ascertain the pilch and tone gan at 4-10. V;-e strongly adn::e 4-10. at ~'ould become of you 7" -Elaine Barkway Bell these limited-edition recordings; .

52 ETUDE-FEBRUARY 19;1 ETUDE-FEBRUARY 1951 53 l j .Junior Etnde Contest Who knows the Answers? Junior Etude. will award threedel attractive prizes ea 1 mont h for the neatest and best stones or essays an for answers to puzzles Ccnteet i (Keep score. One hnndred is perfect) boysand girls under eighteen years of age. . on est IS open to all ClassA-iS to 18; Class B-12 to 15; Class C-under 12. There's both PROFIT as the Night j The Night has Names of prize winners will appear on this paue in aft . 1. When did Franz Liszt die? • • l:> U ure Issue of the end PLEASURE (15 points] a Thousand Eyes? (10 points] ETUDE.The thirty next best contributors will receive honorable mention. 2. How many thirty-second notes 7. A witch with a broom-stick in attending are equal to a dolted eighth- is a character in what opera? note tied to a sixteenth note? (10 points) Special Drawing Contest MINNESOTA 8. From what is the theme given (5 points] T HAS BEEN several years since with this quiz taken? (15 I , yo~r pictures may be of any SUMMER 3. Is the chord C,E·flat, Fvsharp, the Junior Etude has had a draw- stze, m soft pencil, charcoal, pen- A, in root position or is it points) ing or painting contest but some and-ink, crayon 01' water color SESSION inverted? (15 points} verynice work was submitted in but, of course they must relate in 4. How can you tell whether a thesecontests, This month there some way to music. triad or chord is in root posi- Edited by Elizabeth A. Gest will be no essay or puzzle con- Be sure to put your name, age tion 01' inverted? (15 points) 9. Which of the following terms test,and everybody can give their and address on the picture and 5. Is Ezio Pinza a violinist, pia- relate to mood: cantabile attentionto drawing or painting, remember the closing date will be nist, singer or composer? (5 SPECIAL COURSES IN MUSIC AND meno 1110SS0, mcrendo, pia: March Lst. Address: Junior Etude (eventhough you might not con- MUSIC EDUCA:TION points) nissimo, dolce? (5 points) siderthis one of your special tal- Bryn Mawr, Pa. Enclose postag~ 6. Which of the following songs Festival 10. How many strings are there ents). for return of pictures. Tarantella was composed by Schubert: June 18-July 28 and July 40-Sept. I on a viola? (5 points) Hark, Hark, the Lark; Hark, Fact~ co~e fast,er on Minnesota's cool, friendly campus .. , where study- By HAZEL B. DOREY the Herald Angels Sing; Still (A"srvers on next p(lge) mg IS genuine fun! Here, just 15 minutes from six sky-blue lakes you ~ay select fro?1 over 1,500 courses, competently taught by ~ na- Results ol October ES!!8Y contest, Answers to Who Knows tionally-recognized staff. "Why I study Music" I, 1886; 2, eight; 3, inverted; 4, when Splendid library and laboratory facilities afford excellent opportunity for SORRENTO is a beautiful town gayly colored costumes. Prize willller. lor eUflyS: in root position, the letters of a triad gradua,te wo.rk and research ... right-at-hand vacation pleasures, in southern Italy, built high on The orchestra consists of three ClassA, Marlys Karen Lindquist (Age or chord never follow each other as plus stimulating plays, concerts, lectures and social events will make a cliff overlooking the Mediter- accordion players, three violins The Harp In Ancient Wales 16), Wisconsin they do in the alphabet but there is this a thrillingsummer. ClassB, Linda Plzak (Age 13), Illinois always one letter omitted between the ranean Sea. Tourists go to this and a bass viol. One man played Write now for Helpful Complete. Bulletin upon a churn held under his arms, BY MARTHA V. RINDE ClassC, Richard Roy (Age 11), l\laine tones of the triad or chord, Thus, the town every summer to witness the chord given is not in root position be- Dean of Summer Session, 560 Administration Bldg. famous Tarantella Festival, danced which produced a deep sound as HonorableMelltion [or Essays (in cause the letters E and F (regardless he pushed a long stick in and out. alphabe.ical order): of flats or sharps) follow each other in under the orange trees and palms, THE OLDEN DAYS in Wales one supposed he was able to do, l!iJNIVERSITY OF MINNESOTA For some of the dances the men IN GeorgeBarton, Paula Browne, Mary the alphabet. The root position of this which are hung with colored lights. the harp was a much beloved in- All freemen could play the harp! MINNEAPOLIS 14, MINNESOTA carried sets of three mallets, fas- EllenCollis, Sally Crooks, Everet Cum- diminished chord is Fvsharp, A, C, E-fiat, The spectators sit at small tables strument, It was not the golden But this was too much for the dis, onc letter of the alphabet being skipped tened together with more bright mings, Allan Frank, Petrina Freeman, around a glass floor, lighted from harp of our ti me but a much guised slave. He could not play it. NancyHayes, Denise Hackey, Philip between the tones of the chord. In a ribbons, the tops of which were triad, C, E, G, is in root position, beneath. smaller one which could be car- Then he was discovered as a slave I Gephart,Eleanor Gorman, Lorraine M. struck together to make a clacking the letters being "every other one" in In the Festival there are 12 dan- and sent back to his master. Lalle, Larry Lee Lukens, Betty Dale ried under the arm of the harpist. the alphabet; but E, G, C, or G, C, E cers, dancing in couples, and some sound. Ludwig,Arthur jl,lacGraves, Georgette It was considered to be such an Mann,GloriaMortimore, Elbert Nelson • are inverted since two letters are skipped EASTMAN SCHOOL OF MUSIC of them sing folk-songs as they The effect produced by these important instrument that every • Ilimi Nodelman, Betty Peters, Marian in each position, This is a definite rule, dance. The tarantella is a vigor- dances, the costumes,· the lights and easy to remember. 5, Singer; 6, of freeman was obliged to learn it Cnntpnsers .Iud Over·tures Potts, Frank Prizina, Florence Rabb, ous dance in six-eight time and and the music is something long Reba Joyce Salyers, Mary Sanders, Hark, Hark, the Lark; 7, "Hansel and and play it well. This was a part Gretel," by Humperdinck: 8, "Rosa- The University of Iluchester rather fast. There is an old legend to be remembered. By Elsie Duncan Yale GarySunderman, Jean Spealmen, Doris of his education and the "mark munde" Overture, by Schubert; 9, can- about this dance, telling how it The character of this lively Treat,Ellen Ann Watson, 'lary Bruce of a freeman." Woods, Bertha Wintermute. tabile and dolce; 10, four. HOWARD HANSON, Director was named for the tarantula, a dance of former centuries has been A N overture is a symphonic well presented by many composers An old story tells of a slave very large spider. If one was bitten who escaped and posed as a free- composition in one movement, RAYMOND WILSON, Assistant Director by this poisonous spider he could who have written tarantellas, in- whether introducing an opera or man. No one discovered this {01' a motto is "A winner never quits and a be cured only by dancing until he cluding Weber, Heller, Mendels- an oratorio or standing alone, hav- LEITERS sohn, Chopin, Liszt, Gurlitt, Les- long time and he was accepted in quitter never wins," We are enclosing Undergraduate and Graduate Departments fell exhausted. However, interest- mansions and great halls every- ing no connection with any other our kodak picture. chetizky, Poldini and others. Do From your friends, ing as the story may be, the taran- where, In one such hall a harp composition. In the first columns Repliesto letters on this page will be tella derived its name from the you have a tarantella on your list are the names of twelve corn- forwardedto the writers if sent in care Larry Lee, President SUMMER SESSION was given to him to play, as every- Bill Hogan, Secretary, lowe town of Tarento, also in Italy, of memorized pieces? posers; in the second column are of JUNlOR ETUDE. June 25-August 3, 1951 where it originated. the names of twelve overtures, Dear Junior Etude: • 1 have studied piano for six years The dancers are dressed pic- Match the name of the composer Our Boys' Music Club is now in its and enjoy the Junior Et.ude and would FALL SESSION turesquely in costumes of old Italy, with the name of the overture he fifth year and we are aU piano students like to hear from other readers. ofoursponsor.We have our own officers Ardienne Talbot. (Age 13), the girls wearing long, full skirts wrote. The player having the most New Zealand September 24, 1951-· June 2, 1952 of bright colors, with sashes and nearly correct list at the end of and conduct our own meetings. Our short velvet or satin jackets; on four minutes is the winner. For further information address their heads they wear Roman- ARTHUR H. LARSON, Secretary-Registrar striped ribbons, pinned on top and Smetena Williem Tell hanging down each side. Some- Beethoven Tonnhauser EASTMAN SCHOOL OF MUSIC times the girls play tambourines, Schumann Leonore which are also decorated with rib- Mozart Academic Festival BOI" Musie CI. b Rochester, New York bons; sometimes they carry long Mendelssohn Oberon Fort Dodge, Iowa scarfs which they swing gracefully, Strauss Rosomunde The men's costumes are interest- Rossini Menfred Roger Volker, Lon Burfe- ing, too, with their dark red velvet Weber Megic Flute ~~n,David Coolidge, Myles ST. LOUIS INSTITUTE OF MUSIC trousers to the knees, long white an Patten, Kenneth Brahms Hebrides stockings and black shoes; white :unge, Kenneth Heyl, lim John Philip Blake, Jr .• President William Heyne, Educational Director Wagner Roman Carnival shirts, sleeveless green jackets and gbert, Gregory Olsen Bachelor of Music in 23 Fields-Master of Music in 22 Fields Berlioz Fledermeu. bright sashes fringed at the ends. Richard C00lid ge, Norman ' Member National Association Schools of Music-St. louis 5, Mo. Scarfs on their heads finish the Dancing the Tarantella in Sor"enlo Schubert Bertered Bride Runge,Richard Boehnke Fred Isaacson Stephan Tompkins, Alan Robinson, Kermlt• Larson, Tony Tompkins,' Bill Hogan,, Larry Lee, Ronald Peterson.

54 ETUDE-FEBRUARl' 195/ ETUDE-FEBRUARl' 1951 S.-l CREATING A STRING ORCHESTRA ing a rehearsal is a great relaxer. and we had to repeat the entire song Many times the laughter is purposely STRAUSS: MORGEN IA MASTER LESSON) then express the composer's inten- (Continued from Page 19) at my expense. Be one of the group tion of space and tranquility, instead twice. But even then, though we were at the His Master's Voice stu- -not a martinet! They will love (Continued from page 26) of spoiling these two lovely phrases onlyby a performance of technical "Very, very slowly-like an artist." you for it and play the better for by coming in too soon. Let us stress dios in London and there was no andartistic beauty. Therefore the One of the greatest violinists of live audience, I would not have dared you. If they respect your knowledge breath so the next phrase, "nieder- how much can be expressed with the workundertaken must be well within the past 20 years, when I asked him were an instrument-an instrument let up on that inner intensity during and ability, you can "let down your which has the ability to speak words. steigen" would be sung with the consonants "st" in the word theability of the group. the same question, replied "Slow hair," and they won't take advan- those last bars of the orchestra's practice is gold." , Only then will the mood of serenity "accents of importance" which each "stumm." Of course it is pronounced (2) "The written word is but fro- tage of it. quarter note of this bar 28 demands. as if it were spelled "shtumm," and postlude. enspeech."So, in music the printed be successfully conveyed to the lis- N ow, that little story which I (6) "Genius is 10% inspiration I hardly need to explain that those as with other consonants, it should ~oteis frozen music until melted A great /fmb in rehearsal is ex- teners. recalled about the G in bar 25. Of and 90% perspiration." Not being There are songs which, due to a quarter notes express so vividly the get its special emphasis which, with by theplayers through the imagina- cessive speed. Experience has taught blessed (or otherwise) with an or- all the notes in my scale the G was, descending, step by step towards the a correct technique, will never hin- tionof the conductor. I am of Welsh me that the excitement of public climactic high note, sound difficult perhaps, my "Achilles heel." My ganization composed of geniuses, to an audience and never fail to shore. If you look back to bar 13 der the flow of breath or the correct descent,and I base a good dea 1 0 f performance tends to an urging on first part at the Hamburg opera but just the good average American make an effect. "Morgen" is not of the piano prelude you will see position of the vowels. Suggestiveeffect in rehearsal by of tempo, and woe to the group with boys and girls, I change the quota- (where I started my operatic career) that Strauss has already anticipated So many pupils ask me or, in imitationof the penillion contest of no "slack" which can be taken up. such a song; still, it is one of the was the Shepherd Boy in "Tann. tion to "50% inspiration helps de- most exhausting songs for a singer. the emphasis on "niedersteigen' of many cases, write me about their theWelsh National Music Festival Rehears: quick numbers slowly; velop another 50% inspiration." heuser.' Although I had at that PROTECT For the inner tension, the concen- bar 28. breathing problems that I should like or Eisteddfodd.The contestants are speed will take care of itself in time. What is the source of this inspira- time 35 roles in my repertoire, the tration which must flow under the Sometimes a singer is not quite to say here a few words in passing. ~il'ena tune to which they make up (4) "Perfect intonation is the tion? Well, in part at least, the great Shepherd Boy was not among them. careful and holds the last fourth, I think of "breath" as if it were ;uitablewords as they sing. In the rock-foundation of the string play- string sections of the NBC, Phila- YOUR calm vocal current of the song must When the Direktor told me that this never waver from the first note of the syllable "gen" of "niederstei- smoke, climbing through an open sameway, I often find that by set- er's eq uipmem." It is very difficult delphia, Boston, and other great would be my debut role I quickly the piano prelude to the very last gen" a fraction too long. This should chimney. Breath, the most important lingimpromptuword to themes and to listen to oneself in the midst of orchestras which we hear on the air SHEET MUSIC bought the score and, crossing the never happen. For the accompani- factor in singing, should have its singingthem to the orchestra, I am great volume of sound. Soft playing and on records. Let us take our vibration of the closing chord. fingers of my left hand, thought, in a TONKabinet ment's next chord (see example) origin in the lowest part of the ableto instill a feeling for the mu- and slow playing will work wonders. Bach chorale again, and you will stomach from where it rises upwards "Oh, I hope there are not too many You'll keep it neat, clean, orderly, Any singer who looks at this song deal line. Give the strings at least t.he basis hear me in such comments as, "Gee, safe and easy tc find in a Bar 29 towards Heaven. (Or towards the G-naturals in that role." Well, as must doubtlessly feel that "Morgen" or good intonation by frequent peri. that doesn't sound like the Phila- TONKabinet. Special drewer-trcys ceilings, or the apartment above you know, there are nothing but for easy filing almost hand you the is all legato. Of course it is and, ~J1J 1 a/toay. try to dramatize a work ods of tuning; not all tuning at delphians-e-they'd really make it yours, if you prefer.) G-naturals for that Shepherd Boy. music you want. Richly styled; finely difficult as this might be for your . 1 and its interpretative markings. J once, but a few at a time. In an sing. Let's try it again now. Make. crafted. Except for the final word, (bars Although I was petrified, the critics breath control, it must never be for- tellmygroups that I am the director amateur group, two or three minutes it beautiful. Keep that vibrato going sounds badly when the G of the pre- 37 and 38) the "Schweigert" and said, "At last a Shepherd Boy who Style 602 shewn is table height for dual gotten. of a motionpicture. The score is the of tuning for every ten minutes of -always your left hand alive. That's utility" Holds 600 sheets. Write for ceding bar is still vibrating at the the postlude, there is nothing I can sings in tune." Still, I wasn't satis- dealer's name and pictures of other In the first phrase, "Und morgen scriptand we must not only read playing will guarantee better in- better. Don't you get a thrill out styles fo, homes, schools. bands" add. Strauss asked me to let the "n" fied with my G for quite a time to wird die Sonne wieder scheinen," same time the piano plays the G- thatscript but visualize the color, tonation. of it? Your thrill must be 100%; of "Schwelgen" ausschwingen (vi- come. When I came to America for TONK MANUFACTURING CO. the words must follow each other sharp of bar 29. Iheatmosphere. and the characters. (5) "All work and no play makes then the audience might get at least Now bars 31 and 34 are, probably, brate), not adhering strictly to the the Strauss Tour in 1921, I still 1912 N. MCignolia Aye., Chicago 14 evenly, just as identical pearls fol- Whenwe play Haydn we go back Jack a dull boy." Just replace the 50% of it." the bars that are most difficult for note-value of one quarter. But this worked at this one tone constantly. low each other in a necklace. In bar innurimagination to Prince Eszter- word "Jack" with "the orchestra," the singer from a psychological point should not encourage anyone to hold Richard Strauss had chosen me to 18, "gehen werde," I take a short hazy'selegant court. and "boy" with "group." Early in Then: agnill, "Let's have that crys- of view and are, therefore, very often it unduly long! It merely means be the soloist in his orchestra con- TONKabinets breath after the word "werde" and I find helpful a graphic explana- my collegiate teaching career, I was tal clearness of the Bostonians. sung incorrectly. During bars 29 and that he gave me freedom in singing certs and he honored me by playing in bar 19 I make an almost imper- tionof sforzando-diminuendo: "It's called into the office of the Dean. Make it shimmer. Remember how 30 the singer is silent. Then-up that last "n" of "Schweigert," let- accompaniments in a cross-country for S/wet Music ceptible pause, without taking a likethrowing water on the window "I've heard some good things they sound?" comes bar 31 and it is only natural ting it fade away, tour of recitals, devoted solely to breath, just before "die Glueck- pane-splash!-and then the water about your classes, Jones," was his (7) "Hitch your wagon to a star." that the inner tension urges you to In the postlude {Nachspiel ) you Strauss songs. I would practice and lichen," {or .the purpose of accent- tricklingdown to the ground." And first remark. Or, as I translate it, "Hitch your FOR DEPENDABILITY start singing again. Most singers, must keep the mood, as much as in practice that G and sometimes ask ing the poetic value of the words, a forte, gradually decrescendo to "Thank you," I replied. "I am ears and eyes to the stars." I "am due to this urge to let the voice out the prelude-the feeling of serenity Strauss for his advice. He made cer. "die Gluecklichen" ("The Happy doublepiano is "just like an open afraid, however, that they have too constantly reminding my players once more, start the word "stumm" and of peace. A singer who has sung ta.in suggestions. Ones") . faucetturned off slowly, until the good a time." that they should take advantage of of bar 31 and the words "und auf" "Morgen" beautifully to the very "Color it this way," he'd say. "Now Perhaps the most important note 80w of water seems to disappear." "Listen, my boy," he answered, opportunities to learn from watching of bar 34, from one to two beats too last note of "Schweigert" can still sing it on the vowel 'Ah.''' Finally, of the entire song occurs in bar 25; Studentsrespond more quickly than "any teacher who doesn't get at and listening to the great in the early. This is understandable, but it ruin the entire performance by "let- just before one of our recitals, when it is the G of "n.o-geublauen." (I 10 an endless repetition of "Play least one hearty laugh from a class profession. ruins the marvellous tranquility of ting up" during this postlude. When I worried him again about my prob- sing the song in G major). The word louder"and "Play softer." in the hour is, in my opinion, a Yes, "informal education" can be that part of the song. And it is really I recorded "Morgen" in Strauss' lem-child he said, "Now look! If '~Wogenblauen" itself is so beauti- poor teacher. A good laugh takes a potent means for building our only a matter of using one's ability own orchestral setting of the song, your 'G' is good enough for me it (3) "Slowly but surely." I once fully used by the Scottish poet John askeda very great violinist how he only ten seconds." ensemble groups, as well as develop- to visualize the prlrued music at the harp played a wrong note in should cel'tainly be good enough for Hem'y Mackay (who strangely practiced. His reply was, "Very, ing "common sense" teaching tech· hand. If you follow this you will those last five bars of the postlude the people out there. So please stop enough wrote the lyrics of "Morgen" I have "ever fOl'gotten those words, niques. Try it-you will find it worrying!"' I"errslowly-like a heginner." What in German) that I do not think many fun! THE END FRANZ MANUFACTURING COMPANY heshould, perhaps, have said, was. and find merriment a few times dur- NEW HAVEN, CONNECTICUT singers could fail to convey the feel· ing of space, the freedom of the SOOIl nJter that tour the problem shore and the ocean beyond, which was sohed and from then on my G became my favorite, because it had this word brings to mind. It is a plague us today is that students are phrase which should be sung spaci- to be worked·for so hard. Two years THOUGHTS AT 70 after the Strauss Tour I sang a con· prepared for examinations, not for ously, though never altedng the living. basic note-values. Sometimes I have cert at Frankfort, Germany. After- (Continued from Page 10) wards there was a receplion and one America needs more people who heard this passage sung as if there love music for itself not as a means were a fermata sign over each note. of Germany's top music connoisseurs, So far as I know nothing in atonality In their emleavQr to become dif- a famous throat specialist~ Dr. Spiess, t~kesthat place. Perhaps it will in ferent sometimes young composers of climbing the social ladder. This That, of course, is completely wrong condition will come, but it is not yet was my table companion. During the tIme;I would not say no. forget that "it is only the modern and only distorts the over-all line. here. Too many people of wealth meat course he said, "You know, my A~ain if dissonance be logical, which can become old·fashioned," This G in bar 25, by the ' ...·ay, held "take up" music as a fad. Music dear Madame Schumann, it was really use It. All the masters bave from that the masters are ever in style. A the only difficulty for me; but tit;:; must be for all the people, not merely a great privilege to hear you again. Ihetime of des Pres, who us:d four true work of art loses its school, was a purely technical problem for a snobbish few. If I could be so bold as to voice one ~nsecutive sevenths, to this day. is eternal. Great writers use few which had to be, and was, overcome America needs more composers cI'iticism-it would be that your G, ut do not use it unless there is a new words. The existing language and an amusing anecdote comes to who feel the greatness of America. you know, the G above middle C, is reason for it, and do not use it in suffices for them. Thus in music mind in connection with it. But J In America is everything to make for -" My expression must ha,'e been ~xcess.As you can ruin )'our taste there exists the possibility of several shall leave this until a little later. greatness. The folk music is among one of such misery that Dr. Spiess or goodcookery by too much condj. centuries of proper evolution in our the richest in history, having its burst out laughing. "I'm sorry," he ~ent, you can ruin your taste for system of tonality, of several more In bar 27, Strauss wrote an eighth roots in every field of the world. roared, pleased as Punch, "I can'l I e best in music by the use of too in the fields of the older modes. The rest right after the word "still." Yet. Liberty is here, the greatness of carry this through, Last week Rich- muchdissonance. important thing is the mind behind whenever I sang it with him he nature in superabundance is here, ard Strauss came through Frank- Oftenwhen composers employ dis- the words or the notes that it pos- always wanted the entire phrase, wealth of living is here. Some day fOIt and said. 'After the Schumann sonancemeaninglessly audiences do sesses something important to say. "werden wir still und langsam" sung one will come, sent from God, writ- legato without halting at the rest recital you m~st tell her that even" notadm~reit; they o~]y submit be. The simpler the vestment of the '~Other lllen just sing!" causethey think they should do so idea. the more readily perceived it ing great music by the immutable which he himself had put there. thing was fine, except tbat o~e laws of God. And that compose!" After the word Hlangsam" (bar 27) G in 'Morgen'-and watch her face ~ndthe composer becomes the un: will' be. I think one reason for the shall show us all the way. TilE E"\U however, he asked me to take a when you tell her!' " THE END lertaker of music. flood of poor compositions which

57 ETUDE-FEBRUARY 1951 ETUDE-FEURr •

.. teacher's "--~oundtable (jJuestions and Answers , OBERLIN -e SPE£:IALIZED TRAINING FOR Conducted by KARL W. GEHRKENS, Mus. Doc., MAURICE DUMESNIL, Mus. D oc., advises about l\'IUSI£:AL £:AHEERS Music Editor, Webster's New International Dictionary, Playing the coda of a Chop,'n N t and Prof. ROBERT A. MELCHER, Oberlin Collegc - oc urne, practicing Eminent artists give Sherwood CONSERVAtORY octaves, learning to sight-read. students professional instruc- tion in all fields of music.

OF MUSIC SUMMER SESSION STARTS UNUSUALCODA JUNE 18 COLLEGE OR HOME STUDY' help. (1) On page seven (two- guide yo~ toward a mastery of INTERVIEWS piano score), measures seven and that most Important phase of piano II possible, please explain the • I am a high school graduate eight, the octaoe in the bass is playing. Lakefront location. Living accommodations at moderate cost. and E lime oj closing measures-those and have decided to moke piano in parentheses. Does this mean. Degree courses in Piano, Voice; Violin, Organ, Cello, Wind AUDITIONS following the trill-oj Chopin's teaching my career but am not that the octave is to be played? NO TIME LIMITS HERE Instr nments, Public School Music, Conducting, Theory, Com- OBERLIN N"turne, Op. 32 No.1. I find it posruon. For free catalog, write Arthur Wildman Musical sure how /0 go about it. I have Ij so, I wonder why I do not hear for admission are held in vor- hard to explain it to students. Is Director, 1014 South Michigan Ave., Chicago Ill. COLLEGE studied about three years, and I it on recordings. How long should it take to get 5, ious parts of the country during it ad libitum? Or should it be can learn by nwsel] to play fourth (2) In measure seve" on this up to the tempo tnarkings called the Winter and Spring months. playedin strict time? It is an end- and fifth grade music quite easily. same page, there is all. Evnotuml [or by Czerny in his Opus 299? MllSIC Early application is desirable. ingthat I do not fully understand. I have also had som,e harmony. in the bass. Ill. my opinion this is For example, should these be at. -Mrs. J. H. B., Texas Just now I am not laking lessons, a misprint and should be F. Am I uuned during second, third, or SHERWOOD SCHOOL SUMMER SESSION 1951 but I practice at least an hour right? fourth years of study? Also, can Member of Nalional ASfodoljon of Schools of Music In this Nocturne the coda be- data now available. every day. Should 1 go back 1.0 (3) On page ten, beginning with YOlL give me the names of truue rials piano study under a private teacher the second line, does the octave- gins with the measure following Jor sight reading practice? Have • Degrees: Bachelor of Music, thetrill. From there on you can here or go to college? Ij I go to h.igher symbol rejer to both slaves, the selections which appeared in Bachelor of Music Education; college what sort oj course shall I or only to the top one? playasyou feel, for there is no ETUDE in past years been col. Master of Music, Master of take? -Miss G. fl., Kansas (4) 01/ page 27, rneasnre 11, definitetime to follow and the lected and published in separate Music Education. shouldn't the quarter note in the musiclakeson the character of an volumes? improvisationcalling for a great My opinion is that you should bass be printed and ploJ1ed before -W. C. J., Connecticut DAVID R. ROBERTSON,Director Member of the National Associ- go to college for a period of four the second quarter note ill the freedomof delivery. Youwill notice that this coda Box 521, Oberlin, Ohio ation of Schools of Music. years, specializing in piano, but treble? I wish I could answer your is completelydifferent in style also taking courses in psychology (5) How would yo" suggest pla.y- first question precisely, but this is from all that comes before. It and music education. Select a col- ing the trill and tremolo figu.re 011 impossible and here's why: the wouldhe impossible to give you lege that offers a course which the last page? I don't understand length of time needed to reach a The Seal of Approval of the National Guild of Piano herean exactinterpretation of this prepares pianists to teach piano- it. -So /P., New York given metronome marking varies Teachers stands for accomplishment. Hold a well- passage,but if I tell you that it jAMERICAN CONSERVATORY including class piano, which I be- from one student to another. It mustmake a sharp contrast with earned Guild Certificate in your own hands. Wear the . OF MUSIC-CHICAGO lieve to be the way most beginners (1) Since the octave E is in depends entirely upon individual Offers courses in all branches of music and drama tie art lhe preceding pages nnd that it beautiful pin yourself. Feel the thrill of accomplishment. will be taught in the future. parentheses, the performer is free gift, facility, seriousness of pur- 65th year. Faculty of 135 artist teachers oughtto be recited with a feeliue Member of National Assocrataon of Schools of Music Here is a program that I sug· either to play it or omit it, as he pose, favorable hand structure, Send for a free catalog-Address: John R. Hattslaedt, Pre8., 571 Kimball Bldg., Chicago gest you follow: (1) Write to the of ~ramatic,even tragic, intensi; prefers. Why the octave does not concentration during practice, and For information, write Box [113, Austin, Texas Secretary of the National Associa- ~h1Chgradually softens into re- sound through on the recording I other qualities-c-or their absence! tion of Schools of Music (Profes- cannot know. 81?nedappeasement,I am sure you CINCINNATI CONSERVATORY OF MUSIC Books with titles indicating "First sor Burnet Tuthill, Memphis Col- (2) Some editions print E at Will find within yourself the key Dr. Luther A. Richman, Dean of Fcu:ulty Year at the Piano," or second, 'I Established 18b7, Operated under auspices Cincinnati Institute of Fine Arts lege of Music, 1322 Overton Park this point, others print F. Since 10 an adequate rendering of one or third year, etc., must be taken affiliated with University of Cincinnoti. Complete school of music-Faculty of Ave., Memphis 12, Tenn.) asking . arguments could be raised in favor o.f.Chopin'smost moving compo- internationol reputation. Degrees, Diplomas, Certificates-dormitories, 10 acre him for a list of the music schools sItlons. with a grain of salt. One pupil may com pus. Address. C. M. Benjamin, Registrar. of either pitch, I think you are .A new .Ampss:: JJJI assimilate both the first and sec- Dept. E. T., Highlond Ave. and Ook St., CINCINNATI 19, OHIO that are accredited by the Associa- safe in playing whichever one you tion; (2) Read through this list, prefer. THOSEIMPORTANT OCTAVES! ond books in only one year, while 0/ /Jiano :leaching a another will remain two years or r.: selecting perhaps dozen schools (3) The Sva symbol refers to that are right for you so far as both of the treble staffs for the Would you explain the correct longer on the first volume. It is containing geographical location is concerned; the teacher's job to evaluate the first piano part. ~,thodoj playing octaves? I am modern classic (3) Write a letter to the Secretary (4) Yes. It is printed before yearsold and have taken piano student's progress or stagn8.tiol1, Bachelor of Music Degree, Master of Music Degree, Artist Diploma of each school in which you are lessonsnearly eight years. Unjor- then tell him or her what to do, CASELLA BACH BERYL RUBINSTEIN, Mus. D_, Director 3411 Euclid Ave., Cleveland, O. the second quartel" note in the jnterested, asking for a catalogue treble in some editions, and since tunatelyI have never practiced much in the same way as a phy- GRETCHANINOFF and BEETHOVEN Charter Member of the National Association of Schools of Music HINDEMITH many HAYDN and a statement of entrance reo this is a rhythm of three against octaves.Recently I was told that SICian prescribes medicines for quirements. Tell him you wish to his patients. PROKOFIEFF other MOZART four, the quarter note in the bass ~ey are absolutely necessary. TANSMAN composers SCARLATTI COSMOPOLITAN SCHOOL OF MUSIC prepare yourself to teach piano should be played before the second '''ould. you gtve. m.e some sugges- Some of the selections which and ask him to Lell you what his t"",? -M' M G 01' appeared in ETUDE are assem- Preparatory, College, Special, and Graduate Departments_ Courses leading to quarter note in the treble, reo LSs • ., LtD Send for your copy! Bachelor of Music, Bachelor of Music Education, Moster of Music, and Teacher's college offers along this line. If gardless of how it is printed. bled in albums and can be used Certificates in Music and Theatre Arts. you care to do so you may tell (5) Play the octave A·flat in f I,,~d'V18eyou to get Volume IV for sight reading practice. But be Clarence Eidem Rossetter Cole both Professor Tuthill and the ASSOCIATED MUSIC PUBLISHERS, INC. President Member NASM Dean the right hand, and the A-natural ~'Il'ouch and Technic" by Dr. sure to pay attention to the grades, college secretaries that you are 25 West 45th Street New York City 19. N. Y. Edwin L. Stephen-Mgr., 306 SOllthWobosh, Chicogo 4, Illinois in the left hand, thus: .' IbamMason. This is an ad. and don't be ambitious too soon. writing at my suggestion. -K. G. lllIraf Ie work as regards all forms Never read pieces of the same o playing octaves, and the best grade as those you are able to ~UESTIONS ABOUT THE ROCKWELL SCHOOL OF TUNING CLEARFiELD. of lI'ay to . perform. If you can play pieces of ENNA ROOSEVELT COLLEGE CHICAGO . practIce them. It contains OfJerill(1 (l. !?Ii-week CQUf$ll illdlldillO ail phaB6fi of viall/l tUlliUfI and repaifin: • Applied and Theoretical Music, Composition, Musi- RHAPSODY IN BLUE an Inlrodnt' h' h . MODERN EQUIPMENT IN MODERN FIREPROOF BUILDING-EXPERT INDIVIDUAL IN_ c IOn w IC explallls the the fifth grade, read at sight pieces STRUCTION-PLEASANT ENVIRONMENT AND ECONOMICAL LIVING CONDITIONS cology, and Music Education. Bachelor of Music and t The success being achieved by our graduo,tes Is our best recommendation completeec hn'Ique 0f wrist action of the third and fourth. And do "Approved for a.l. Training" . Master of Music degrees. • In studying Gershwin's "Rhap_ 1I'rH6 lodllJJ for }·ro~per.tljfi to If this is too difficult, shorten and

58 ETUDE-FEBRUARY 1951 ETUDE-FEBRUARY 1951 59

.I ..

SINGING CAN BE SIMPLE market could be considerably en- MUSIC TEACHING AS A PROFESSION are also the established teachers' (Continued from Page 16) agencies, and, of course, it is always larged. There are many adults, in- cluding housewives and young busi- WHERE SHALL I GO TO STUDY? possible for an individual to hear of or "fundamental" as it is On tltis su.bject most teachers (Continued from Page 11) openings through personal contacts. nessmen, who would be glad to take SClund, 1 times called, comes up t ie agree that an erect bodily position- For public school work, a college some music lessons, if not too much m PRIVATE TEACHERS (New Vork Cay) PRIVATE TEACHERS (New York C;tyJ Private teaching- is as a rule more "h " it belonl1s definitely in back the chest slightly elevated, the ab mUSIC teacher becomes in effect a diploma is essential, while super- were expected of them. t lOa, '" I outh and must be felt t iere. dominal muscles flat at the start 0 guide, philosopher, and friend, whose precarious than regular salaried visory and other responsible pcsi- The test of good teaching is net oIlleI m . f taking breath, and the head on top infectious enthusiasm may actually work in a school or college, although tions usually call for at least a Mas- brilliant performance but the con- Now for the second element III the HELEN ANDERSON MILDAH POLIA its financial rewards may be greater ns equation-vowel or form. of the spine, not in front of it-is the Concert Picnist French Mello·Soprano prove more significant than an ab- ter's degree. Such graduate work, tinued interest of the pupils. From 5lePhe th .. ideal posture. Add to this a loose TRAINING FOR PROFESSIONAL CAREER Soloist with France's foremost symphonic Or- -solute command of factual detail. in the long run. plus a compensat- however, can be done after a teach- that standpoint, much is still to he In shapingvowels, m.osl au orrues ganizotions: Pasdeloup.-Lamoureux.-Orches- ing freedom for developing other e lips and Jaw should be jaw and relaxed tongue, and you Tone, Interpretation-Master's Technique tre Svmohcnlque de Po-ls. The chief object of such teaching ing career has actually started, by accomplished in the field of music ~glee,'h Soecict Courses for Teochers Teacher of voice and French interpretation. musical activities. The public school ed and the tongue as flat as have a breathing mechanism which and Non-Peolessioncls. Assisting Artists in French Program building. is to establish good listening habits. making use of summer vacations education. I X rea I un ill is well-nigh perfect. Ib6 W. 72nd St.. N. Y. C. TeL SC 4·8385 Founder of "THE FRENCH MUSIC CENTER" system of America makes heavy de- and other spare time. Most colleges Young musicians of solid training possible.Only in the ong e w 1926 Broadway, NYC. cvclloble, from TIlE VALUE OF ENTHUSIASM mands upon its music teachers, with- Ihe Resonance is probably the mos t New and old French music and universities now have regular and sincere enthusiasm will find un. sidesof the back of the tongue classic to popular. HERE is a place in the field of out offering any considerable in- courses in public school music, which limited opportunities for valuable rise against the upper back teet~l. discussed problem in vocal produc - Privote address: come in return. Salaries vary in dif- lion, and one on which there is the 226 West 70th Street, N. Y. 23, N. Y. T music education for honest en- qualify graduates for immediate work on various levels, from kinder- The five Latin vowels ar.e Ihe b~SIS MARY BOXALL BOVD Tel. TR 4·5474 or EN HSIO. (Pupil of LeschetiI~Y) thusiasts and stimulating personali- ferent parts of the country. In the garten to college, eventually influ. I most singing forms In English, greatest divergence of opinion. It is work in that field. Pion ist- Teacher-Cooch-Prog ram Building ties, regardless of exactitude of schol- South an annual income of $1,500 encing entire communities and turn- aGerman,French nne I Itil li180-"a n g nerally recognized, however, tha t Addreu-Steinwoy Hall-Nolo Studios- arship or thoroughness of musical or less is by no means uncommon (asin father}, "en (as in well). Hi" o-called resonance is caused by over 113 W. 57th St., New York City, N. Y. RICHARD McCLANAHAN The pre[JUration for music teach- Motthay exponent, formerly his representative. training. If anything has to be sac- in teaching. In the North and the ing should naturally include the (as in feel), "0" (as in po t, with~ut tones or harmonics, and that some Private Lessons. Teachers Courses, Forums- Summer closs-c-Scutbwest Horbor, Me. rificed, it might better be technical middle and far West. music teachers voices are naturally more resonan t study of one or more instruments • Music is so bound up with the closing sound of the English 801 Steinway Bldg .• N.Y.C . equipment than human qualities. often start at close to $3,000 a year, than others. There are still teachers (Tues.-Fri.) Cl. 6·8950, other day', KI. '-8034 or vocal training, or both, some con- our nature that we could not ~o"),and "u'' (as in bloom). with a chance to reach $5,000 or TOM TIMOTHY The ideal music teacher should be ducting experience, child psychology, These are primary vow Is, Ihere who encourage their pupils to sing more within a reasonable time. A do without it even if we wished HARMONY. COUNTERPOINT able to give private and individual the history of music. as well as the- beingmanymodifications thereof, as "dans If> masque." a dangerous pro - COMPOSITION - MODERN ARRANGING supervisor commands higher pay to. LEOPOLD WOLFSOHN as well as class or group instruction ory and harmony, and perhaps one various forms of "a" as in fall, hat, c dure, which. if overemphasized , ' 17 Weit 48th s-, Suite 41, New York City than the individual instructor. AI -c-Boetius (475·524 A.D.) Phone: CI 5·4293 Pianist and teacher on one or more instruments or for or two modern languages. The music ele, and the German umlaut "ii" leads to a nasal quality. There are Teacher of Aron Copland, Elie Siegmeister the voice, besides acting as a stimu- best, however. the normal limit for and many artists and teachers. teacher with a general education (French "u") and German umlaut others who stress "placement" in the "Special Summer Course" lator of musical enjoyment, perhaps music teachers would seem to be BEGINNING TO ARTISTIC FINISH along the lines 01 art and literature ,.o." sinuses or even in the mouth. about $6,000 per year, although iner their favorite art into somethin!.! Specialist in TeChnical Development and the handling large classes in "apprecia- naturally has an advantage over the While these structures undeniably EDWIN HUGHES Art of Interpretation. Coaching for Recitals. tion," conducting choral or instru- there are outstanding cases of an· fa~ removed from the mere drudgery Pianists prepared for public Hotel Ansonia, B'way at 73rd St., New York City musical specialist of more limjt.ed In addilioll to the simple or con- do cont.ribute some overtones to the performance and for University, mental combinations, or both, and nual earnings up to $10,000 or more, of routine. By emphasizing the ele· College and Conservatory horizon. stant vowelsthere 8rc others, espe- fundamental sound, recent research possibly doing some composing and through extra·curricular activities, ments of recreation and entertain· Teaching Positions Unfortunately, there is still far cially in English, spelled as vowels cs have established the fact that the 3311West 89th Street New York 24, N. Y. CECILE JAHIEL such as wTiting successful textbooks. ment, they can make music a living arranging of music for special oc- too much of the o1c1-fashioned music Imt pronounceda diphthongs, which !>harynx-the upper part of the Concert Pionht-Composer casions as time permits. That sounds Private schools generally pay bet- force and a normal part of life ill 1st prize of the Poris Conservatory teaching, following a; set routine, ate often entirely neglected in the throat immediately above the larynx Former pupil of Cortot and Ravel like a large order, but it is by no ter salaries than a board of educa- complete widl scales and exercises. general. instead of a highly special- Master classes for concert pianists. study of forms. These are UaU (as -is the most important resonator in Private lessons. means an impossibility. tion can afford. and with more than ized skill, restricted to a privileged ANNE YAGO McGUFFEY sticking to worn· out formulas, and in dale), "i" (as in light), "0" (as the entire vocal structure. It has 18 East 78th Street New York City, N. Y. A musician of such versatility and merely financial compensations. few of particular talent and experi· Teacher of Voke REgent 7·7030 or RHinelander 4-1589 treating every pupil as a potential in bone), "oi" (as in void), and further been established-to my sat enthusiasm can exert an enormous Members of the music departments concert artist. Most students of music ence. 1908 N Street, Northwest ~ow"(as in brow). Each has a long isfaclion, at least-that in the effor l Washington, D.C. District 4079 influence in any community, and of colleges. normal .schools, and uni· cannot possibly hope to become pro· The Music Educators National primary sound on an open vowel and o{ thinking of the sinuses, the CHARLES LAGOURGUE O.I.U such people are badly needed in versities enjoy some leisure for ere· fessional performers on even a mod- Conference has recently emphasized . a .etondary or vanishing ound on a pharynx is opened to its fullest ex . VOICE PRODUCTION-SINGING many of the smaller cities of Amer- ative work and for personal develop- est scale. the slogan. "Music for Everybody." Sight.Reading, Musical Theory, Composition. closed vowel, best expre sed as a tenl.. and thus complete resonance 3S W. 57th St., New York ica. Choral societies, chamber-music ment a~ well as for significantly in· and this practical idea. if applied (FRANK) (ERNESTO) Lagourgue's COMPLETE TREATISE IUUSIC FOR EVERYBODY long line with the short vowel fol· is obtained. groups, symphony orchestras, con- ·fluencing the musical taste and en· with sincerjty and conviction, should LA FORGE-BERUMEN STUDIOS ON TRANSPOSITION FTEACHERS of music. and par· lowing,thus: It was a never-to-be-forgotten is available at Theodore PreSSer Co. cert courses, and opera companies thusiasm of a number of young peo· result in a far greater demand for Voice-Piano pIe. Iticularly of the piano. could privilege to study my operatic roles Among those who have studied with Mr. La have actually resulted from the ef- music teachers of all kinds than thi;; dale: eh 1 Forge are: Marian Anderson, Lawrence Tib· grasp the fact that most of their y with the great French baritone, Vic - MME. GIOVANNA VIOLA (HULL) forts of a few such pioneers. Many a country has ever experienced in Ib~ li:ht: ah , bett. , and Mme. Mahenauer. LOOKIi"iG FOR POSITIONS tor Maurel.. during my brief but ex 1100 Park Ave., Corner 89th St., New York Dramatic Soprano professional musician might far bet- pupils would he quite satisfif:d with Teacher of Singing-"Bel Canto" past. In the enlire profession of bone. 0 Tel. Atwater 9-7470 OST of the colleges and univer- playing for their own pleasure, 00 citing career at the Metropolitan Experienced European trained Artist ter choose to be the outstanding '·oid: Coaching Opera, Concert and Radio music there is no more honorable 0 r Maurel summed up the question 0 f figure in a small community than M sities now have placement bu- merely achieving a little musical Correct voice production, defective singing brow: ah 00 10 and significant position than that of resonance and so-called "tone place cerrected. to be swallowed up in competition reaus, which undertake to find posi- self-expression, with no desire Beginners accepted tions for promising graduates. There "show off" or make money, their a good teacher. THE E~n I cannot recommend too highly ment" in these memorable words : ALMA FAUST Phone: Trafalgar 7·8230 Mon., Tues., Wed., Thurs. flowing through big cities. MIS West End Ave. New York City thecarefu!studyof these diphthongs, "You Americans sing in the mouth TEACHER FOR PIANO TEACHERS OR FOR as the intrusion of the terrpinal in the nose in the stomach. I tel I AMATEUR PIANISTS you to ope~ your throat and sing PRIVATE LESSONS CLASS LESSONS sound results in a closed or smoth· Beautiful tone acquired thru integrated FRANK WILLGOOSE WHAT THEY DIDN'T TEACH YOU IN SCHOOL membering that what is effective for lished by G_ Schirmer, New York. ered tone, heard all too frequently. free, free, FREE!" And then the instruction Pupils teaching successfully all over the U. S. Piano Instruction the piano is not always effective for Thatthe discovery is not a recent grand old trouper, at the time well STUDIO NEAR COLUMBIA UNIVERSITY Especially directed to on effective musical ap· the organ. I suggested that the or- Thu.s my athice to a gifted but over 70 would illustrate by singing 600 West Illth St. New York 25. N. Y. one maybe judged by the following , proach to the very young. (Continned from Page 23) ganist study Carl Weinrich's ar- perplexed young organist. His ca~e some phrase, with a complete Iy "free ' Telephone: Monument 2·6772 ~xcer?t from Thomas Hastings' Many years of success in this field. rangement of Malotte's "The Lord's has set me to wondering whether production. MUSical Magazine" {or September invited for consultation, the committe chairman. Prayer," an artistic transcription of there are others in the same predica· Teachers ", either played his solos in an expert man· 1835: ' personally ar by mail, regarding child student Regarding Point 2. I suggesled an accompaniment which in its origi. ment. Is it possible that music nero , "A and e, for example, participate A.s a corollary to Maurel's state EDWARD E. TREUMANN problems. 2. Hymns were not well· prepared that the organist use a more trans· nal form is better adapted to the schools and conservatories in thi:: ment, le't me add that I feel that Concert Pianist-Artist-Teacher Address:-29 Prime Avenue In thesound of i, just at the instant Recommended by Emil Von Sauer, Marti:;: Mas!· parent combination of stops with piano than to the organ. country are neglecting their job? Huntington, Long Island, N. Y. for congregational singing. ~henthe voicepasses to some follow- resonance is the result rather than kowski and Joseph Hofmann. 3. Evidently there had been no super couplers {01· congregational Point 6: The ability to improvise Are they giving students all the Studio Carnegie Hall, Suite 837, 57th St. at I~gletter or syllable. Thus the word the cause of a com plete tone. lf the 7th AV~.• New York City Tel. Columbus 5·4357 rehearsal with the choir director. hymn-singing. and that he fill in the well is a gift. Not all of us can match preparation they need to be good , tIme is to be sung mucb as if written throat is open, if the breath is full 4. The organist did not give the harmony where needed. a Courboin or Dupre in this respecl. church musicians-including practi. "PIANO SIGHTREADING CAN BE taeme, in which a has nearly the if the vowel is pure, the resonance TAUGHT" by IDA ELKAN director sufficient attention. Point 3: It is indispensahle to go But any organist who is willing to cal knowledge of modulation and ~~e sound as in the interjection ah. will be there. If any of these ele World famous originator of "Ear Training, 5. Accompaniments were ill·pre- over hymns carefully with the direc- work at it can gain enough facility simple improvisation.? Or do they Sightreading Piano Method." d' e first or radical sound of the ments is lacking the tone will lack WM. FICHANDLER Carnegie Hall tor before each service. And the THEORY AND ENSEMBLE PLAYING Studio 301, 7th Ave. & 56th Street, N. Y. C. t9. pared and were thin and weak be- for the modulations and brief impro· simply expose them to a few classe~ ~phthongal vowel . is that which resonance. PIANO, cause of improper registration and anthems and responses should be visations required in his church in theory and let it go at that? ]14 Wed 75th St., New York City. SU 7-3775 s ~uld be prolonged, while the sec- Ella Wheeler Wilcox wrote: Compositions by Wm. Fichondler poor arrangements. gone over in church at the organ. service. There are many excellent I fear that undue emphasis on published by G. Schirmer on . sh.ould be heard only at the Point 4: The whole performance '~SOmany gods, so many creeds, PRIVATE TEACHERS {Western} 6. Modulations and short impro- and helpful books on this topic. I virtuosity in solo playing may have expirationor vanish of the voice." visations were poor. is coordinated by the choir director. mentioned the one by Edward Ship- caused some organists to lose sight So many paths that wind and wind; Having C 'd d I . onSI ere tle pnmary When just the art of being kind Everyone taking part must follow pen Barnes in my December. 1950. of the fact that their first job is to e1ements of , one--sound and form HAROLD HURLBUT Alter preseu,ring these general im. the director's beat-organist as well article. Two new ones that every be good church musicians. Every· h Is all this sad world needs." CRYSTAL WATERS Singers who have studied with him include ~t ~reare several contributing fac. Singer and Teacher - Henry Cordy, pressjons, I asked to meet the organ· as singers. organist should have are "The Art thing else must be subordinated to Concert. Opera, Stage, Radio, T.V. and singers of Metropolitan Opera-San Fran· ors In the production of voice almost May I not hope to have been kind jst alone. We had a long talk, then Point 5: The organist must care· of Modulating," by Carlos Salzedo that. Virtuosity is admirable when equally . I Many famous students. cisco, St. Louis and Havana Operas, Holly- . essenll8. Of these posture to some perplexed student by simpli Write for circular wood Bowl-Radio etc. went back to the organ, and I illus- fully study his anthem and solo ac· and Lucile Lawrence, and Harold it serves 'to make the service more Is most . , 405 East 54th St. New York 22, N. Y. Address: Hollywood, Calif. Tel. GL 1056 Important and could have fying to some extent what has usu trated each point that we had dis- companiments, filling them in where Bauer's "Primer of Practical Key- effective; pursued as an end in it- heen menlo d (continued on page 62) lOne even belore sound ally been made to appear a mystery- cussed with the choir director and there is need for support, and re· board :Modulation." Both are pub. self, it is nothing. THE END d an form. the production of tone. THE END

ETUDE-FEBRUARY 195/ ETUDE-FEBRUARY 1951 61 __ 60 ..

THAT INEVITABLE SYMPHONY DEFICIT IT'S ALL DONE WITH MUSCLES! (Republican, New York). Meanwhile, deficits of American WHERE SHALL TO STUDY? Congressman J avits was careful symphony orchestras continue mount- GO (Continued from Page 17) to introduce a note of caution. "I ing year by year. Boards of direc- (Continued from Page 15) PRIVATE TEACHERS (We,te,,) PRIVATE TEACHERS [Western] realize full well" he said "the tors appeal to the public, to moneyed ol'ernmentsupport. They earn about was that he must produce each year dangers of the p~r~lyzing h~nd of individuals, to philanthropic organi- JEROME D. ROSEN EVANGELINE LEHMAN correct position for playing. After becomes much simplified. The fin. ~\\'O_lhirdsof their budget, and the a number of new works by Italian Government control of the arts, and zations. Violin Recitals-Artistic Violin Instruction composers. of the use which can be made of TEACHER OF SINGING a long period of slow practice the gel'S will "look" for the keys in their deficitis made up by the national Founder "Ancient String Instrument Ensemble" them to control thought, hence my One new source is from industrial Studios o pera-O pe retta-O rotor io-Concert fingers begin to relax. It is at this own way. Conversely, one of the government,the provinces and the As for this country, it is obvious 6508 Delmar Blvd. 2070 N. Kirkwood Road 1&7 Elmhurst Av., Detroit 3, Mich. To. 5-8413 several practical purposes of memo- that subsidies as such are not for- bill provides for a Constitutional corporations. In Casper, Wyoming, St. louis 12, Mo. Kirkwood. Mo. point only that real playing begins. municipalities. The goal of keyboard activity is to rizing is to avoid the double strain The Royal Opera in Stockholm eign to our way of life. In the 19th Convention to be called by the Presi- the symphony is subsidized by oil DR. FRANCIS L. YORK give out the required dynamic energy of playing and watching the printed endedits 1949 season with a deficit century, America's railroads were dent, representative of all branches interests. The Herpolsheimer De- EDNA GUNNAR PETERSON Advance Piano Interpretation ond the Theory without becoming tense or strained. notes. of1,470,000 Swedish crowns (about given indirect subsidies in the of the theatre, opera and ballet- partment Store in Grand Rapids work required for the degrees of Mus. Bcch., spends $1,500 a year (in addition Concert Pianist-Artist Teacher and Mus. Mos. Special Chopin interpretation. When it comes to finger fluency, 1350,000), The fixed national sub- form ?f land grants. Today, shipping performers, workers, writers and 229 So. Harvard Blvd. los Angeles, Calif. DETROn CONSERVATORY OF MUSIC audience-to draft and propose plans to : its annual contribution to the DU. 3-2597 The fiueei pianiste are those who I think of the old riddle: which sidyis 1,000,000 crowns. To meet and air transport are subsidized out- Detroit. Mich. can create an atmosphere of excite- came first, the chicken or the egg? the additional costs, the city of right. Governmental "price supports" (but not WP A schemes {or unem- orchestra's general fund) to finance SAN FRANCISCO CONSERVA- ment-tension for their hearers. And Do we begin with musical thought, Stockholmgave 100,000 crowns, and are a subsidy' to farmers. Hospitals ployment relief) which will deserve one student concert for the Grand ETHEL HART-CONTRALTO TORY OF MUSIC, INC. the more relaxed a player is on the or with the technical equipment the Swedishgovernment the rest. and housing projects receive Govern- Government support while providing Rapids Symphony. A teen-agel's' Piano-Voice Studio that enables us to express musical for the democratic control of a na- store in Dallas sponsors "date-night" 53051/2 E. Beverly Blvd., E. Los Angeles 22, cem. 3435 Sacramento Street Walnut 1-3496 stage, the more he can excite his ment aid. Public schools are sup- Un. I-JOOI Un. 1-5360 Bachelor of Music Degree Opera Deportment listeners. The more excited he ap- thought? The best answer is to keep The story is essentially the same ported entirely by municipal and tional theatre and a national opera concerts for the teen- age group. Artists Diploma Pedagogy Certificote Woodrum's, a home-outfitting store pears, the colder will be his audience musical and technical development everywherein Europe. In France, state governments, and the citizen and ballet by the constituent ele- Approved for vetero ns as evenly matched as possible. ments so called together." in Charleston, W. Va., has spent as Children's Saturday morning Classes. reaction. the government puts up about two- pays his school tax whether he has ISABEL HUTCHESON much as $3,500 a season sponsoring In learning works that demand The first step in achieving bal- thirdsof the total budget of the Paris school-age children or not. Teccher for Piano Feoche rs Charleston Symphony broadcasts. Modern Piano Technic; Group Work; Coaching ALBANESE speed, many students progress to a anced evenness is to do away with Opera and Operrz-Comique. Th Aus- Nobody expects the public schools On the lace of it the Javits bill Concert Pianists. Conducting Piano Teochers Piano Mus. D. old taboos about a fixed way of Forum. certain point and then complain of triangovernmentsets a ide 8,000,000 to pay their own way; in fact, though represents a great forward step in Studio 202, 1005'/2 Elm St .• Dallas, Texo§- Dial Dunkirk 2-7845 stiffness in the arms or hands. I find holding the hands and fingers. The The Chouonooga Times has spon- Ph. B.A. 6214 Los Angeles bOO So. New Hampshire schillingsannually lor the Vienna they operate at an almost complete American Congressional thinking on sole test of "right" fingering is sored student concerts by the Chat- that this is usually the result of not StateOpera. And in Italy the gov- "deficit," we do not think of this the subject of Government support really knowing the piece! The most whether it is comfortable and safe tanooga Symphony, and a dance-hall PIANO TEACHERS ernmentappropriates yearly some as a deficit but as a culturally valu- of the fine arts. It is generally con- common form of tension comes from for your playing hand. and night-club syndicate in Wichita This is your invitation to ottend the International Piano Teccher s 1,200,000,000lire (about 2,000,000) able and wholly justified expenditure ceded, however, that the bill has no Associotion 1'151 Notion?1 Convention, ot the Hotel Statler, (for- technical insecurity, but tension can sponsored a series of summer "pop" of I)U blic funds. As Virgil Thomson real chance for early passage. merlv Hotel. ~ennsylvanlo), New Y.ork City, July 16. 17, IB, 1'1. The best evenness, the best sense forthe support of opera companies Teachers Traln\ng Cour~e, Student Plano Playing Exominations etc. also come from unsureness about has pointed out, a part. of the finan- An ironic sidelight is that the concerts for the benefit of the For camplete lntcrmctlcn and free catalog of clmost four dozen of comfort, come when all five fin- throughoutthe nation. I.P.T.A. Teacher Aids write tempo, rhythm, dynamics, memory, U. S. Government, while reluctant Wichita Symphony. In another city, gers a re trained to' play with equal State subsidy is an old story in cial perplexity of orchestras and ROBERT WHITFORD, founder.Presldent or notes. The cure is work on the to grant aid to American orchestras banks joined in making a $5,000 strength on all black and white keye. Italy,as in most European coun- opera companies today is caused by 18 North Perry Squer-e , Erie, Penna. danger spot. and opera companies, is in the posi- contribution to the local orchestra. To achieve this, it is helpful to tries.More than a hundred years their tendency to think of themselves Finger-doubts can often be over- tion of subsidizing European musical The Burlington Mills Corporation practice all scales with C Major ago,whenVerdi was crushed by the as unsuccessful money-making or- come by using the proper finger-ing. organizations via the ECA. Accord- gives $10,000 annually to the North fingering; to practice arpeggios by failureof his second opera, Barto- ganizations, rather than as success- CLASSIFIED ADS And only the playing hand can de- ing to a recent article in the Satur- Carolina Symphony to pay for mem- moving the whole hand, without lomeoMerelli, the impresar-io of La ful money-spending organizations. H~Rl'ION"., Composition, Orch ea- S,,\ LES.n_-\~'-Establishcd Pub llsh- termine what its own proper finger- day Review oi Literature. "ECA berships for its workers. tra.t.to n, MUSICal Theory. Private or ing firm wa n r.s man with cal' to sell ing shall be. You fit the piano to over-dependence on the passage of Scala,helped the composer finan- Such contributions help, but do Correspondence Instruction. Manu- music library to families of music There is at the present time before considers the minds of men as im- scripts revised and corrected. Music students. In tro du ctf on from teacher the hand, not the hand to the piano. the thumb. Disregard the idea of ciallyand encouraged him to tart not solve entirely, the problem of arranged. Frank S. Butler, 32-46 107 mu.kee iL easy to sell. Knowledge of portant as their bodies and equally We must get around the keyboard strong and weak fingers. writingagain. Compo er today who our own Congress a proposal for a St., Corona, N. Y. mu;;1C not n~cessarY. Guar-an t ee paid in need of nourishment. At the same orchestral finances. And it must wh ile Iea.rn lng , LIberal commission. with the fingers God gave us, regard. Also, we must make the piano areunable to get their operas per- venture in subsidizing the arts. The LEAllN PIANO TUNING-Simpli- University Societv, 468-4th Ave. time that ECA is helping to feed, somehow be solved if American sing, without percussiveness. The farmed on account of soaring pre- bill, which would provide for a na- fied. authentic instruction $4.00-Lit· N. Y. 16. N. Y.· , less of what other-s-even better- clothe, house and employ millions orchestral standards are to be kept erature tr-ee. Prof. Ross, 456 Beecher PIA~O ACCO:!'IPANIi'II;.:X'I'S RE- best start is for the teacher to play tional theatre and a national opera St., Elmira. N. Y. fingers may do. . ductioncosts may well ask what has at their present high level. If an CORDED. Send music and check for and ballet, has been introduced in of Western Europeans, it is exerting $·1.20. Musto returned with UN- a simple melody, first neutrally, becomeof sympathetic impresarios NEW PIANO l\-IUTE LETS YOU itself to make sure that Europe's orchestra's playing is a source of BREAKABL,E RECORD. Vincent Re- without any emotion, just notes- likeMerelli. But the fact was that both houses of Congress. It was I"ltAC'I'ICI~ DAV Oil NIGH'I' WITH- cor-dt n g- servtce, P.O. Box 206, Union, Young pianists sometimes tell me magnificent cultural tradition is civic pride, it seems no less worthy HlJ'1' DIS'I'UltOING O'I'HEHS. Mutes N. J. and then beautifully, with a lovely Merelli needed Verdi's opera j a con- sponsored in the House of Represen- piano about 85%. Easily attached or that their hands are built wrong- strengthened." of civic support. THE END detached without harming mecha n- FAUI.'I'Y VIOLtxs coun.ecr-en. that they strike wrong notes because singing tone. Once a pupil recog- dition of his government subsidy tatives by Rep. Jacob K. J avits ism. State upright, g ra nd or spinet' Practical experience of 40 years r-e- Sold only on money back' guarantee: veals "th e secre t." Satisfaction guar- of thick, stubby fingers which nizes the beauty of the singing tone Send $5.00 for mute and 'full instl·uc- anteed. "[nformation free. V. L. the chances are that he will imitate tions. TIichard Mayo, Dept. 004, 1120 Schwenlt. Redwood Valley, California. "spread." I have always beljeved in Latona Street, Phila. 47, Pa. 'VO:!'If":~ .-\.XD 'I'F":,\.CHI;:RS: Become disregarding handicaps. Act as if it, regardless of how he holds his To be sure, a private pupil would practice; give sight reading assign- our representatives; mal{e big money bands. ADVENTURESOF A PIANO TEACHER YOUR UNWANTU::D IUUSIC ex- a~ others do: spare or full time. Dig- they didn't exist, and they will soon have sat much longer at the piano ments and reading helps; assign chan.ged piece for piece, 5¢ each: nified. pleRsant occupation. For de~ disappear. For the short, stubby fin- and dumb-dumbed. But is that help- duets and two-piano music. qualIty matched. Burpee's Specialty tails write: l'dusic 'feachel's' Asso- Finally, watch rests, tempo, indio (Con.tinued fram Page 24) :5hoppe. Delton. MIch. ~.a}~s, 26 FoUel's Lane, Great Neck, gers I recommend two weeks of ful or wise? Isn't a concentrated Don't begin private lessons until cations and dynamic marks as accu- work exclusively on the black keys ten.minute lesson on a piece better the second month. I'll wager, then. HOW '1'0 FINGER VIOLIN COUw PI.·\.J"O l\CCOinPANJS'I' ,\VAN'I'ED rately as you watch tile notes them- The students criticized each other Il~C'I'I,Y. Hughes Studio Route 2 by advanced nmateul' violinist adult (Chopin's Etude on the black keys can do this accurately and easily for him than a lackadaisical half that you will want to continue some Three Rivers. Mich. ' , (studyi'!g l\fenc1elssolm's Con'cel·to); selves. All are equally important. the first time, without a surrepti- eagerly and keenly. I often made to practice for mutual benefit. ',"ould is ideal). Striking the key in the hour? Doesn't he learn more about class work during the whole year. VIOLINS FOn. SALE: Fine hand Your task is not only to strike the humorous (but always kind) carica- also like to join or form trio or dead center will make rebellious ti~usglance as you begin, you are a music, technique and practicing ·in Practice procedures and technique1:i mad~ violins. \Vonderful tone. Made qual't.et gl·OUI).Gedney 5-1475 (N. Y.C.) from finest selected wood. Write fOf right keys. but to recapture the faIrlygood pianist. If you can't do tures of students' faults, asking the Evenings. fingers "smaller." It also makes for a class, isn't he more alert and in- are much the same for all students: T;'arti.;ulars-.George & Joseph Holl, thoughts of the composer. Interpre- pupil himself for criticism. Surely, 617 East Main St., Louisville 2, Ky. A'I"I'E:\~'I'IO:.\' Pl:\I\'"O 'l'E,\.CHEIl.S: a more precise attack and, thus for it, don't tell anyone! terested, aren't his lessons and music- isn't it easier to present them il; Three excellent intel'mediate piano tatjve markings are an integral part such a lesson in technique is a fas- BACh: POPULAlt SH E~T ~IUSIC corry-positions 50¢. Miller, 92 Allen St., more beautiful tone. making more social experiences? classes than to repeat them endlessly TO 1850 FOR SALE. BALLADS, RAG- !l'vlllgtan, N.J. Mastering wide leaps, or jumps, of the opening movement of Bee· A.lter 'hi, teaf each student played cinating adventure for both teacher and dryly to each pupil? It's WOl'"th TIME, EVERYTHING. CATALOG 10e. .JERR.Y ,JUZEK, Metropolitan Mu- thoven's "Moonlight" Sonata. Here and pupil. It most certainly is for me! WILL EXCHANGE CLASSICS FOR sic Co., New Yor]{, endOI'ses Violin is very much like learning to take twoor three positions of the C and For ad·venturous piano teaching trying, if only for the time and BACK POPULAR MUSIC. FORE·S. E. Ton~'post. (Fitting $15.) 150 "oId/ hurdles. Many fine works, like Beethoven indicated: "sempre pp e D·flatmajor arpeggios in accents of energy it saves. 3151 HIGH, DENVER 5, COLORADO. new maf

SATB SSA UNISON SATB Easter (Continued) Lent,Palm Sunday, Easter (Continued) Lent .18 332-07797 Anderson. Day of Resurrection . .12 .20 332-13721 Candlyn. Lift Your Glad Voices in Triumph .. 332-13491 Andrews. When I Survey the Wondrous Cross. .15 332-13251 Granier-Manney. Hosanna _ . .15 332-15174 Barnes. There is a Green Hill . .10 .20 332-15056 Eichhorn. Lamb is Innocent and Mild . 332-14324 Bach. In Deepest Grief ..•...... 25 312-21332 Handel-Warhurst. Hallelujah Chorus 332-14951 Barnes. Obedience . .12 .15 332-15277 Fichthorn. Behold, the Angel of the Lord . 332-14650 Bach. Crucifixus-e-B minor Mass . .16 Messiah . .18 332-10964 .16 312-21623 France. An Easter Song . Clough-Leighter. Brightly Gleams 332-14253 Chadwick. A Ballad of Trees and the Master .. .25 312-21365 Ha"del-~Varl1Urst. I Know That My Our Banner . .12 .10 332-13807 Fisher. Because I Live . 312-20655 Cranmer. In the Cross of Christ I Glory . .18 Redeemer Liveth .. , . .16 332-15290 Marryott. I Worship Him . .15 Eichthom. 0 Saving Victim . .16 332-14653 Gaul. Ancient German Easter Carol. . 332-40006 332-14551 Gaul. Russian Easter Carol of the Trees . .16 332-15168 Howe. In the Cross of Christ We Glory . .16 322-11510 Neidlinger. Easter Chimes . .12 312-06242 Gans-Brackett. Must Jesus Bear the Cross I .20 332-14205 Lotti-Saar. He Surely Hath Borne Our Criefs .10 .12 332-14270 Gaul. Spanish Easter Carol of the Lambs . Alone ············~··· . 332-14269 Gaul. Spanish Easter Procession . .18 332-13761 Manney. Were You There . .15 LENTEN CANTATAS - SATB 332-10738 Gounod-Liftle. There is a Green Hill Far .10 332-15347 Marrvott. Hosanna! Blessed is He . .15 Away . .12 332-12597 Gaul. Three Holy Women . .15 332-14037 Nevin. Into the Woods My Master Went . .15 432-40146 Bach. Passion According to St. Matthew . 1.50 Harris. \Vhen I Survey the Wondrous Cross . .15 332-13968 Gaul. Three Men Trudging . 312-20777 .12 312-21475 Parker-\Varhurst. Jerusalem . .16 '412-40172 Dubois-Douty. Seven Last Words of Christ. . 1.00 Hosmer. He 'Vas Despised ...... •.. .15 332-12922 Gaul. Victory. When the Children Went to Play 332-11954 332-14266 Hosmer. Christ the Lord is Risen Again . .20 332-14208 Palestrina-Saar. Darkness Fell On the Earth .. 422-40014 Loveland. Rabboni . .75 Ledingtol1. Throned Upon the Awful Tree . .15 .10 332-15112 .20 312-21321 Rodney-Warhurst. Calvary . 422-40013 MacFarlane. Message from the Cross . 1.00 Ledlngicn- 0 Christ, Thou Lamb of God . .15 I 332-14157 Huerter. Christ the Lord is Risen Today . .16 332-15211 412-40149 Maunder. Pardon, Penitence and Peace . .75 .12 332-14081 KopolyoD. Alleluia, Christ is Risen . .15 332-13248 Rowley. Easler Day . .15 332-40000 Lovelace. 0 Sorrow Deep . .18 432-40155 Monestel. Seven Last Words of Christ. . 1.00 .18 332-14275 Manney. He is Risen . 332-13967 Scott. Easter Chimes .. , . .15 332-14939 'AIadsen. My Soul is Athirst for God . .18 432-40168 Nevin. Behold the Christ , . .75 .16 332-14079 Manney. Lord is Risen Indeed . 322-35211 Shelley, Christ Triumphant. . .18 332-15176 Mamjott. Legend of the Dogwood Tree . .15 432-40127 .15 332-15246 Marryott. Joy Comes With Easter. , . 332--15110 Shure. Easter Alleluia. , , . .10 "N evin. Crucified . .75 332-15298 Maltze/f. I Sought the' Lord . .12 .15 332-14814 Marryott. One Early Easter Morning . 312-21143 Stainer. God so Loved the World , , . .12 412-40175 Rossini. Stabat Mater . .75 332-13935 Nevin. Into the woods my Master 'Vent. . .16 412-40061 Sheppard. Calvary . .75 Nevill. Three Crosses , .. .15 332-15144 Marryott. This is Easter Day . ~332-15046 Sibelius-Matthews, 0 Mom of Beauty . .15 332-14725 332-15276 Marryott. wake From Your Slumbers . .16 432-40156 Schnecker. Story of Calvary . .75 Raf}. On the 'Vood His Arms are Stretched ... .12 '332-14115 Sibeli..,-Maltl,ew.s. 0 Morn of Beauty ( SSAA) .16 332-10058 312-21140 Maskell. When it 'Vas Yet Dark . .18 412-40076 Stainer. Crucifixion . .75 332-10981 Schnecker. When I Survey the Wondrous Cross .15 .12 332-15321 Matthews. Easter Morn . .22 I Sibelius. Cross of Sorrow . '332-15045 .18 Lent,Palm Sunday, Easter Speaks. I Lay my Sins on Jesus . .16 332-13712 Matthews. Three Women \Vent Forth . TTBB CANTATAS - TREBLE VOICES 322-35093 .20 Stainer. The' Appeal of the Crucified . .18 332-14479 Matthews. Day New-born . 332-11811 Buck. Sing Alleluia Forth...... 16 332-13254 .16 412-40080 Baines. Dawn(SA) . .75 Stainer. Fling 'Vide the Gates . .12 332-40055 Means. Triumph - . 332-14921 Handel.-Page. Hallelujah Chorus-Messiah .. .16 312-10811 .16 432-40129 Stainer--osbom. Crucifixion (choruses only) Stainer, Cod so Loved the World . .12 332-15068 Miles. Hark! Ten Thousand Harps . 322--35315 Hammcnd-SproS3. Behold the Master 332-08621 332-14975 Miles. Harp and Trumpet. , .16 SSAA . .60 Stoughton. 0 Jesus, Thou Art Standing . .15 wm. Passeth by . .16 312-21637 332-15067 Nagle. Joy Dawned Again on Easter Day . .15 412-40109 Stults. Immortality ( SA) . .75 Tsc1wikowsky-Page. When Jesus 'Vas a Little 332-14903 KopolyoD-Caul. Alleluia. Christ is Risen . .16 332-13334 332-14974 Nagle. Ye Sons and Daughters of the King . .15 432-40151 Schnecker. Risen King(SSA) . .75 Child (Legend) . .10 332-15282 Marryott. Hosanna}. _ .16 312-21598 Rasley. Alleluia Cnrol , - . .16 332-14020 Voris. My jesus, as Thou wnr. . .16 332-10028 Maker. Awake, Thou That Sleepetb . .16 332-14708 Rasley. Christ the Lord is Risen Today . .12 .16 EASTER CANTATAS - SATB 332-14550 Rasley. Ye Sons and Daughters of the King . .18 312-10241 Mi",haU-Neoin. Christ is Risen . .18 Palm Sunday SATB 332-13966 Reimann. Joyous Easter Hymn . .16 332-00989 Rodney-Perki"'. Calvary . 412-40054 Baines. Rainbow of Promise , .. .75 ~332-14905 Sibeliw-Matthews. 0 Mom of Beauty . .16 432-40135 Bartlett. From Death to Life . .75 312-20325 Baines. Ride On in Majesty . .16 332-08618 Rowley. Easter Day _ . .15 332-12148 Spinney. Hallelujah! Christ is Risen _ . .16 432-40130 Berwald. Crucifixion and Resurrection . .75 332-15177 Bomschein; wtth Palms Adorn Him . .16 332-15313 Sellew. The World Itself Keeps Easter Day . .16 I § 332-10762 Simper-Nevin. He is Risen _ . .16 412-40122 Dale. Life Eternal . .75 332-01278 Farmer. Ride Onl Ride On in Majesty . .12 ~332-14714 Sibelius-i\latthews. 0 Morn of Beauty . .16 332-14356 Stainer-Nevin. Cod so Loved the World . .15 412-40089 Forman. Everlasting Life . .75 ~332-o9678 Faure-Bruc7le. Palm Branches . .12 "332-14489 Sibelius-e-Motthews. 0 Morn of Beauty (8 pts.) .16 Keating. Conquering Christ . .75 °332-09568 Faure-s-Sudds. Palm Branches . .10 332-13717 Simper. King of Kings . .12 412-40073 Keating. Hail, King of Glory . .75 ~322-35134 Faure-s-Pcnoers. Palms . .12 332-13100 Spence. Christ is Risen . .18 SA 412-40098 Lent,Palm Sunday, Easter Keating. Travail and Triumph . .75 312-21553 Keating. Ride On, 0 Redeemer . .16 312-21646 Stairs. All Hail the Resurrection Morn _ . .16 I 412-40182 Keating. Triumph of the Crucified . .75 332-14449 Luoaae. Prepare the Way . .12 312-21234 Strickland. Christ the Lord is Risen Today . .16 332-14838 Ambrose-Manney. Come to My Heart, Lord 412-40185 Keating. Resurrection Mom . .75 332-15021 Marryott. Hosanna! Blessed is He . .16 332-15346 Stoughton. As it Began to Dawn _. .20 Jesus _...... 16 412-40158 Manney. Resurrection , . I 332-10137 Nevin. Rejoice, jerusalem, and Sing!. . .15 312-10396 Stults. When the Sabbath 'Vas Past . .16 312-21137 Boi",. Nature's Eastertlde . .15 432-40148 .75 312-15623 Parker. Jerusalem . .12 332-14817 Thiman-e-Basleu. Come, Ye Faithful, Raise the 312-21591 Bixby. Lord, We Come Before Thee Now . .15 412-40189 Marks. Victory Divine . .75 332-14907 Teschner, All Glory, Laud, and Honor .. , . .10 Strain . .18 312-21372 Bliss. Daily Prayer. . .10 432-40126 Maynard. Cross and Crown-Pageant . .75 332-14659 \Vhitehead. The King's Welcome . .22 .332-12437 Turtlcr. Christ is Risen. _ . .16 .15 412-40097 Petri. Greatest Love . .75 ~~ti~:~oneLJO~I' Easter Kilmog h' •••••••••••••• 332-14813 Vulpius-Sanders. The Strife is O'er . .18 aure-I' annel/. Pa Branc es _ . .12 432-40145 Rogers. New Life. , . .75 332-14548 'Vhitehead.. Today Did Christ Arise . .18 312-21139 Fomwn. Bells of Easter. . .16 422-40094 Spross. Glory of the Resurrection ...... •.... 1.00 Easter SATB 332-40056 Whitehead. Three Easter Carols (2nd) . .12 332-13244 Foster. Why Seek Ye the Living , . .12 412-40206 Stairs. Eternal Morning ...... •...... 75 I§ Stairs. King All Glorious . .75 332-12603 Ambrose. At the Lamb's High Feast Vle Sing(s) .15 332-15314 "VlIitelwad, Three Easter Carols (lst) .. , .. _. .12 332-14694 Gounod-Stoughton. 0 Lamb of God . .15 412-40115 332-10027 Ambrosc. Christ the Lord is Risen 312-40049 Williams. Because the Lord is Risen _.. .15 332-14689 GouJlod-Stoughton. There is a Green Hill . .15 412-40160 Stairs. Resurrection Song ...... ••... .75 Today(s)(b) .. .16 312-10805 Granier-Warhurst. Hosanna . .15 412-40164 Stairs. Risen Christ ...... •.... .75 .22 Stults. Alleluia ...... •....•... 332-13390 Avery. Lift Your Clad·Voices . 332-14843 Hall.-Mannev. Hear Me When 1 Call . .15 412-40055 .75 Lent, Palm Sunday, Easter SSA Stults. Easter Glory . .75 332-09056 Barnby~Schnccker. King All Gloriolls ~2-14267 Hosmer. Christ the Lord is Risen Again . .18 412-40085 .2.5 .16 Stults. From Death Unto Life . .75 (T)(BB) .. 332-11371 Abt. Let Chimes of Easter be Gladly Rung .... 3'2-06266 Norris. My Faith Looks Up tn Thee . .12 412-40091 .15 Stults. Immortality . .75 332-08980 Bamby. Awake Up, ~ly Glory . 332-02876 Abt. Easter Hyrnn , , .. , .10 12-21626 Peery. Hosannal Raise the Joyful Hymn .. , . .12 412-40110 332-12305 Bartlctt. On '''ings of Liying Light. . .20 312-21552 Buckley. Easter Carol .16 Stults. King of the Ages . .75 312-20234 Rathburn. I Heard the Voice of Jesus Say. , . .15 412-40157 Violin-Harp ObI. 31~-20268 Bizet-Bliss. Lamb o£'G~d' (Ag~'u's'Dei)::::: .15 312-10897 R hi .12 412-40131 Stults. Living Christ. . .75 I .18 312- u n.rtein.--Warl1Urst. Just As I Am , , .. 332-15178 Broadhead. If Ye Then be Risen 'Vith Christ. . 33:0.--15212 Campbell. Christ Has Arisen _ . .15 .12 432-40123 Thiman. Christ is Risen , . .75 332-15111 Campbell. Christ Has Arisen . .16 312-~= Warhurst. Christ is Risen - . 33~ 13388 Coerne. In ~he End of the Sabbath . .16 .12 412-40081 Wolcott. Dawn of the Kingdom . .75 332-15345 Campbell. The Victor's Triumph . .15 312-10132 Warhurst. Come Unto Me .. - , .. Wooler. Hail the Victor . 33...-1·1355 Gaul. Spamsh Easter Procession . .16 .15 432-40137 .75 t 312-1 Warhurst. Consecrated, Lord. to Thee . Wooler. Risen King . .75 °Sold only in U.S.A. and Possessions I .15 § 412-40166 § 0156 Warhurst. Jesus, Thou Art Standing , .. os-----old only in U.S.A. and Possessions THEODORE PRESSER CO. Bryn Mawr, Pennsylvania - -THEODORE PRESSER CO. Bryn Mawr, Pennsylvania 64 ETUDE-FEBRUARY 1951 . "WHY IS BOB JONES UNIVER- SITY LIKE A SHOE FACTORY7" someone asked a student.

He answered, "Because BobJones University builds souls, ships heels, and sends them out in pairs.. "

The student gave a good answer. Bob Jones University selects its students carefully, but if, in spite BOB JONES of this, it happens to get a "heel," UNIVERSITY it does "ship" him.

GREENVILLE, SOUTH CAROLINA Bob Jones University has high academic standards. It puts spe- cial emphasis on culture and Chris- tian refinement. Itstands without apology for the old- time religion and the absolute authority of the Bible. From such an institution, Music, Speech, and Art without a great many Christian young additional cost above regular people naturally would go out academic tuition. in pairs.

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