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

3-1-1951 Volume 69, Number 03 (March 1951) John Briggs

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Recommended Citation Briggs, John. "Volume 69, Number 03 (March 1951)." , (1951). https://digitalcommons.gardner-webb.edu/etude/142

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The Pi-oblem of Sincerity -by Virgil Thomson Fornest Ansermet Re\1elU'lle8"Firebird" _ ..,~ You Look to Your Audience? Luigi Dall . The U niversit • tone opera, 'f~ccol~'~ tragic 12· month will I y of Ilhnois this . aunch be given its fi e Prisoner," will estival of C a two-month rst F ontempo A Alllel ice t h performance in Its campus at U b lary rts 011 , ate '11' J lights of th Fr. ana, Ill. HiO'h- this month. The Ul lard School e estival "II ~ upeJa had it co~trovelsial new pearances b r P WI be ap- . s premIer Jtl urm, Ital e a yeal ago and Rafael) K aJul Hindemtth T d 11 aellk Carpenter's )'75 it' John Alden con uctors of the . as guest celebrated Itt bnthday was chestra and Universltv Of- academic as month . h I G"' a student p I concei ts of h. Wit special o ian-Carlo M . er OJ mance IS musi b caao. St L' C Y the CI . Maid and the T~~olt~~'s "The Old '.-' . ours d 'u- base of Symphonies ::; a~, Indianapolis Th' ier. e sixteenth 1\1 an opera" .. : The Dybbuk" tival in Flo ay l\'lusic Fes IC version of I ' M renee It I . made famous b h the drama ay 6, with a' a y, will open t tre. will highlYh e Hahima Thea- Verdi's "M b performance I C' Ig , the N ac eth." 0 0 heard opera' to' 'her seldom- tty Opera sort ew York be opens March ~~mg season, which lIlg the Fe ti I performed dUI- "G enoveva." 5 IvaHeumann'sare S h Rent-Ire e vacatio. f and E' aydn's "0 h HI any part of th ns or teachers " Ul ydice," I p eus choose can be . ~ country thev Oberon" T' and Webel's Mrs. Mildred Leal,~~nged through HIzer C ompany... he hRudolph W ur- ers' R _. \\ IS new "T I esidence E I eac 1- al del' for 100 I as received an e West 42nd JXC lange," 100 part of the A ectronic 01 eans a, M. St., New York . rmy' o 1s. Lewis a. . 01 CIt)· program N s procurement I SSlstSI I . tomes durina n exc ianeine Theatre'I'," ew York's Roxy o summe. 0 ° I curre ,I ' or a return any negotiatino- O or sabbatical Ieaves N1 vacation"I ' made except . 0 c larrre i, Philharmo . S ppearance by th a small I ~ I mc- ympl - e tIe Roxy staO" h lOnyas part of swap has been arranged. ee when a elu,ion 01 the o;h~lhoW at the con- m April. armOJl]C season Bruno Walt and Guido C er, ~eorge Szell antelh '11I Rudolf Serk' con uctors . h WJ Je uue,' over 50 concert Ill, who. I has pi a)•e(I ·d WIt th N ~ PhJiharmonic-S e ew Yark delphia 0-IC h estra'Wltl. the Ph'lI a- \~'ith Dhuitri My~phony next year with the or . SInce his debut . ~ ltropo I ' gamzatio . Enftnce tf;J£J7I 40ur C/jTtrC/J/" /" InUIl1O"a, In . I U 08 con month donated hi n III 1937.' Iast u .::;u mttstC t ° USlca d· . second Casals F~ ~rector ... A concert fo th s servIces at place this ye stlval will take chestra F r d e benefit of the 0 a ar at P . . un. As a a f- southern Franc jerpignan, in preclation tl oesture of al'- w/lff/;2tl~ LledroltlCrr ' " I e, UIl(er tl d' , Ie orche t q, l.on 0 cellist Pabl Ie lrec· ment on th'e maht fs rah manaO"~e· o ClallS who . ? Casals. Musi· presented Serk' .0 t e concert The sacred m . 'Il/L. r uSle 1 pating i a ministryor " partICIpate I . national Har JIl wIth a red Intel' Organ. fhe M adeI 5 orof yourth I church deserves the B Id ) ear s event '11 {111 las' veste t - at a cost 'UrPfl'Ing~ arger Model 10 provld· Win Electronic r. WI ret arm in V. r ractor for I . l' estival this , urn for the I J ermont. u, y mod~~t by any st'lllda~':II:?lTlng mu,ic G ..n ummer S e expert org,lnJst f I companson. securing such training. S ". er, fir,t ;" o'f ',' ydney .ames W. Baln t lrlllg Quartet I he Griller reSIgned as pr .d p Oil last month the Baldwin' th lee s at home at made a Comr,,' last month was dore Presser Ces\;nt of the Theo- performer find' Ie ess expenenced amcr f th s t Iat I by Herhert LOB· e was succeeded easliy. Th lustery comes o the Briti"h E .0 e Order e word trad f ~ descnbes tl ttwllal best George VI. y mpll'e by Kino' IeSJ ent in charO" ,seOiorvice- dlstlllctlve v Ie w,ly the nch and COUPETITIONS . ~e of the company. Olces of the B I ~r~o:"~"l~::' ~ played take If .l dWln are ~:::~~;u~~:;~~)~'~';~~~~'C onsult your"e 1 ect ,an d sound • 19 I (For de/ail . t I biennjal Y 5, wn/.e 1.0 5 directory for tl c asslfied telephon~ Prizes: $1000 oung Artist, Aud-I" . ponsors listed) Ie name d your B.tldw. an address of National~ F' each. To be h Id .JOI IOU' 111 • C .ederalion 01 Mu,;c ~I b March and Apv10111n. 1orgall~, voice . 1ll repre . _ write Dept. E-3 sentatlve-or ompe"'ion I . u ,,455 W 23 II, 951. S . C ' the Bald' . premiered by B~II .orchestral work . rd St.,New York flonN;or: ompany Cin . . WJl1PIano Detar,.1 Irom Dr. aLUrnBare Symphony.. notCI over" 10 minute, Ion. . .-Y your free co } cmnatl 2) Ohio for • Chamber mu,;c' . ~eeler, 3818 TUd~;r~ da'e: March t~95ble To Select A Ne opy of the booklet "8 BOB JONES 15' w n;r

YOU BUY ANY . AUTHORS IN THIS ISSUE NOW the mUSlC magazine VIRGIL THOOISON ("The Problem of Sincerity," p. 11) burst PUBLISHED MONTHLY BY THEODORE PRESSER co., PHILADELPHIA, PA. ort the New York musical scene a dozen years ago, and it has not YOU MAY HAVE Editoriel end Advertising Offices, Bryn Mewr, Po. been quite the same since. His witty and provocative opinions PIlll\TO on the state of music, appearing regularly in the New York Herald Your Own Library send for this Tribune, are widely discussed (and quoted) in musical circles. HOW Founded 1883 by THEOOORE PRESSER James Francis Cooke, Editor Emerilul A native of Kansas city, Mr. Thomson graduated from Harvard TO (Editor, 1907.1959) of Radio's Best-Loved Music CHOOSE JOHN BRIGGS, Editor in 1922, spent three years on the Harvard faculty as an instructor THE in music, then went to Paris for further work and study. During a (The perfect Gift-to last a life time) Dorothy F. Garretson, Managing Editor Charles J. Reed, Art Director J. Clees McKray, Music Edilor BEST visit to France in 1947 he was made a Chevalier of the Legion of PIANO Elizabeth A. Cest Harold Berkley Maurice Durnesnil Karl W. Gehrkens Honor. Guy Maier Alexander ,McCurdy WiJfrid Pelletier William D. Revell! Mr. Thomson is the composer of a long list of works, including The Scribner symphonies, string quartets, Masses, chamber music of all kinds, and two operas with texts by Gertrude Stein. He has written four • What are the important hidden qual. books and numerous magazine articles. ities to look for? Vol. 69 No.3 CONTENTS MARCH 1951 Radio Music Library • How con you make sure of musictll GEORGE P. ORR ("Notes 0/ an Amateur Violin Maker," p. 19), excellence, as well 05 surface beauty? FEA'l'URES a senior partner of the Philadelphia law finn of Orr, Williams and FOR CHILDREN· TEACHERS • How can a person without musiCQI Baxter, is an enthusiastic amateur musician. He has been baritone AMATEURS. PROFESSION- THE PROBLEM OF SINCERITY...... •...... Yirgil TJlOtIIllOII II training iudge a piano's quality? soloist with Philadelphia's famed Orpheus Club, plays the violin ALS ... this Scribner Radio THERE'S l'IUSIC IN STAMPS...... 00 ••• 0 00 •• , • T},podQ"(1 KQch 12 Music Library will provide These are JURI II few of the questions and is a dirpctor of the Curtis Institute of Music. EVERY VOICE IS A PROBLEM .. _ _ UOIl(d;p Mille,. 14 an endless fund of piano every thoughtful person wants to ask Noting that for 200 years violin makers in and America HOW DO YOU LOOK TO YOUR AUDIENCE? , .. ,OmU Rttthb(Jlle 16 and vocal music for all before choosing a piano for 1 he home. have tried without success to match the tonal. qualities of Cremon- By asking them, you II ill gel more SHALL I TEACH MY STUDENTS I>OPULAR MUSIC? Lloyd AlhHl W(IIIlWII 17 needs and occasions. piano value for your nrouey, and as- ese instruments, Mr. Orr ,determined to have a try at the problem DON'T FORCE THE ISSUE!...... }oh" K"owiPif Robbitlll 18 surance that your choice will give you himself, by making as a hobby. Thirty-five years of testing Yes, yours to play and to own as a beau- ]a<:\ing musical satisfaction. NOTES 01' AN AMATEUR VIOLIN MAKER George P. 0" 19 tiful permanent Library-the music you and experimenting followed, resulting in violins that have been love best! Contains most complete col-

ERNEST ANSERMET REHEARSES "FIREBIRD". . • • • • • • 0 • • • • , • • • • , , The booklet, "How to Choose the 20 used in the Philadelphia Orchestra and highly praised by some or lection of best-loved music of the air Best Piano," answers 20 important waves-cclassic, romantic, modern, op- questions people ask most often. They the greatest virtuosos of today. ETUDE is honored to present Mr. eratic, and sacred. are answers you should know before DEPARTIUENTS Orr's article in this issue, believing it a significant contribution to Nine lovely volumes contain 718 se- lections full size sheet music. You may making a final docision. Send the WORLD OF MUSIC ... American violin-making. coupon for your free copy, today. I have them at your fingertips. THEY MUSICAL MISCELLANY. LIE PERFECTLY FLAT when opened •• 0 •••••••• 0 •••• Nicolwl IO'ljmsky y JPcllulIlISQlI 22 wrong sequence. 316 for VOICE SCHOOLS NEED A COMPLETE INSTRUMENTAL PROGRAM .... Ro/pl> E. Ru,I> 23 politan's celebrated Wagnerian contralto. Miss Miller gives Brandl MUSIC FOR THE EASTER SERVICE ...... Atexonsler McCut'fly credit for the vocal technique which she has passed on to Regina LOOK AT THIS PARTIAL TABLE 24 u_,...~ HANDEL, SONATA IN D MAJOR-A MASTER LESSON F1oro/d Berkle. Resnik and Anne Bollinger, both of the Metropolitan, and to other 5 OF CONTENTS 25 ~"';i!Ji!ii~,~ ,"l~·-·~~I ADVENTURES OF A PIANO TEACHER.. . ' gifted young artists. Volume I: 75 CLll~sje and nOl11alltic compualtione ORGAN Q E Guy !JIm"!" 26 by lIadl. Br-etliovcu. Ct"!llln, Illlydn, Ltszt. )len- ~~ NO TORN PAGES U 'STIONS ...... F d . 53 ucJs~uhl1. )luz,rrt, lllrbinstcin. ~etnrbert, Schum arm, JUNIOR ETUDE . 0 • 0 0 • 0 ••• - • • • • •• re erick: Pilillip8 IM---,---,,- NO FRA YEO etc. 5~ -., CORNERS Volume II; al )To<1crn wurkx by Hrajl111s. Dehrrss)", We will olso send, free, "Music in TEACHER'S Rou~~r~~~~~:·· Eli;~befh A. Celli _~~ NO EXASPEUA- uvcrak. (;1'1<,\:,(,l'adcr~wski, Rachmaninoff, Strauss, '£sdw.ll;:o\\'skY. many (,then. TION HUNT· Your Child's Development." Even if 58 THIS ltlONTH'S COVER bt-r:; Volume III: aT ljght works b}· Chaminalle. Drlgo. QUESTIONS AND ANSWERS. 00.00 ••••••••• M(wrru DlI/IIesnil ING FOR Gmrnod • .\lassene\., l'ntdini. 'rhunle. others. your child is too young to play. you .....•...... Karl W. Gelc,.kells MISSING 59 Volume IV: 47 grarhl opera selcelioUli by Verdi. will find this advice by a child.care In the Red Rocks Amphitheatre near Denver, thousands gather SHEETS "·a~1\c", Hossini, Saiut-Saens, Hirusky-Jiursako\\', expert helpful and interesting. SHEET EVER olhers. lUUSIC each year for the annual sunrise Easter service. Because of Red IN WRONG Volume V: H jlOI1UIar e:l. 15 Negro S]lirLtuals, 6':1 The Mink with the Dole in his De.a~1 certs by Saul Caston and the Denver Symphon)' Orchestra . hymns . Nocturnc . _ . . Richarrl Conliguglia 30 SllC1rolC Mallreen wlJ1!hel'd 33 A TREMENDOUS BARGAIN Volume VIII: 148 faHlrlte S011l~S of eT'ery charac- HUInorc5llue ...... Bill Bolcom 3] tel": e,mcert. folk songs. light operas, college songs, Raindrops _ Mar,· Ellen Brililn 33 In sheet mU5ic the music contained :l\'Iorl1ing Song ...... Charle3 Peck 32 in ballads, etc. SlInclus ...... Robert Rir:t>H llarri~ 33 this Library would cost over $396.80. Volume IX: 73 supplementsrY compositions- in- J~2 eluding some of the best suil Illost rellresclltath-e . CI#IIHfi,. ,tn,l t:,·tlnl.e"'Ptlrurg C(Ulf/ItISi/o Even then you would have a cabinet examples of eontemilorary llOllUlar dallt'l'l music. Prelude In F-sh.lrp Major F Cl . 34 ItI"N NEXT MONTH .•. filled with hard-to-get-at music. Con-

CPianos Preludc in A 1\I.ljor IOIJ~" Wahz, Oil. 39, No. I ••• 0 ••••• /ohamle~ Brahm' 3i venient full Jize 9" x lZY/' sheet music TI R F. Chop", 35 Wilt 0 39 N j------1 ./oharlnes Bra"lII~ 38 Famous for musical excellence since 1875 lC eturn "'eli.t; Itlcllde1nohn_Barthold,. 36 'I'Il/ I ~. 0 ).. ' O. ~ at a cost of leJJ than 10 centJ each . : ~~~T~l~~O~C~~~i~~:SA~e~u~S Etude 3/51 nil 1;0;, p. 39, No. :.> "Detroit's Symphony Waits for a Sponsor"-lhe story of a • • • • 0 ••••• /oll11nnell Bra'rm~ 311 You get this famous music for nearly I New York 17. N. Y. JTocld lind InN/rt'",,·n/1I1 t"""PtlNilillnlf determined group of musicians who won:t take no for an answer one-sixth normal cost in a gorgeous life· I please send me, FREE YOUr illustrated 40-page JESSEfRENCH & SONS Largltetto :nI(l Allegro, from 0 IUajor Violin Sonat:t . . time Library. Handsomely bound in I brochuro gl\'ll11/ complete details about the fa111ou~ The CrucifixIon. . . .. Neg,. SpiritluII ,~2 to their dream of founding an orchestra in orchestra-less Detroit I G F H Scribner Artcraft, stamped in gold. !l-~olurne Scribner Hadio "'usle Llbran·. Thia Dept. E-31, Elkhart, Indiana • • amIci 39 Sultd· in . . , request places we under no obUgatlOIl ",hatsoerer. Little Gipsy Soug (Duet) . Leopold J. Bee,. 4.0 .IY ornlllg In tltc Mountain,;;;. _ . Gall:;_Nordwan 44 ... Virtuoso Joseph Fuchs advises young students on how to I Without obligation, scnd your free book- Printed in jet black on clear white paper for easy reading. FREE book-rack. Each I lets [IS indicated; master violin pl'oblems ... "Sing With Your Fingers/' admonishes I If uniler 21. L-;ecl!/f fur y"rtng PlttYf!rS volume contains biographical, historical I Name .•...••..•••• , •••... _••... age. plene .••• o "How to Choose the Best Piano" AIJril EnclJantmellt ... Mary Boxall Boyd, a Leschetizsky pupil who passes on the secret , ...... Veruolt Lane 45 Jack in thc Box data on the composers and their music. D ;'1I-'Iusicin Your Child's Development" .•.•..• '" .Olir:#" DIlII¥:/1II I of Leschetizsky's famous "singing tone" ... plus departments Complete Index in Volume IX. ,I Aildress. Name'__ ~~ ~ __ I Entered (/f second c!'lSS nJaller J:1I1".II")' 16_ 1884 t th P 0 edited by Guy Maier, Maurice Dusesnil, Alexander McCurdy, Har- SEND THIS COUPON FOR FREE Po I Zone No. Street _ Pl"eHer Co., U. S. A. alld Great Brit,lill. illferlla!;ollfJ (:o'P)' : h~Ph,la·'d ., lI11dl'r the Act 0/ Al.lrrh 3 1879. CoPJ-ri,h< /9)1, ., Thf"t!nr. rIg !e(:lIre. All rights reserr'eJ. ' old Berkley, William D. Revelli and John Finley Williamson ... 40-PAGE ILLUSTRATED BROCHURE I Clts (If any) .. Slate .. , . I I Please gL\'o name and address or your music tell.eher City ZOlle __ Statc _ and 22 pages of music hy outstanding classic and contemporary I ir sou are U1lUng lessons I o Please check here If yOll (Ire" teacher. .. composers. ~~~~~~===~------, 3 ETUIJE-WIARCH 1951 ------I ,;rUDE-.I1AROI /9.il SOLOMON uses the Steinway exclu- sively, as does virtually every famous artist of today: Foldes, Ganz, Kreisler partnership with a celebrity. Liszt was invited to a party Landowska, Maier, Guy & Lois, Mitro- Along with these charming in Paris. When he arrived, hat poulos, Skolovsky, and many more. and credible anecdotes, Herz in hand, he asked the hostess: recounts many others that are . "Where is your piano?" "Oh, Maestro," gushed the delighted W,rld~finest pre.aision-built less credible. For instance, in . praising American achievements hostess. "Are you really going . . in medicine, he claims that he to play for us?" "Oh, no, it was miraculously cured of. bad wasn't that," replied Liszt with learn on a Steinway? METRONOME ... burns by a "pain extractor." a disarming smile. "I asked for And speaking of American the piano because I wanted to By NICOLAS SLONIIUSKY prudery, he tells that in a Phil- put my hat on it." adelphia home, he found that ERE's the very finest Metronome the legs of a piano were cov- • H you can buy ... the Metronome de ered by flannel underwear, be- VIVID PICTURE of the musi- finished the first numberofthe The word "pianoforte" Maelzel, a precision instrument made cause. as the hostess explained by Seth Thornas*-renowned for fine cal scene in America 100 was used for the first tlme A pro~ram, a man rose from the to h1;11, "nether limbs should clocks since 1813. years ago is presented in a audience and said: "Mister in English in a London play- A wonderful aid to students and never be exposed." bill dated May 16, 1767. teachers of music and dancing. The forgotten book, "Mes Voyages there aren't one thousandl: One of the numbers on the keywound movement- of this depend- in Amerique" by the Vienna- "One thousand what?" ask~ In a music store, Hera' able Metronome accurately measures born French pianist, Henri Herz, Herz. "One thousand candles! attention was attracted by a pr-ogr-am was listed as fol- time for you ... audibly by a distinct lows: "Miss Buckler will who gave concerts in California ] carne specially to see them prominently displayed, novelty, tick ... visibly by its oscillating pen- during the Gold Ru h in 1849. Eight arc missing." "All right," "Mademoiselle Sontag's sing a song frOID 'Judith,' dulum with tempo easily adjusted accompanied by Mr. Dihdin, from 40 to 208 beats per minute. At the end of one f hi c n- aid H rz, "you can collect the by Henri Herz." He looked at upon a new instrument Handsome, too, in birch case with certs, the manager brought him mis ing candles at my hotel the music; it was not his. He warm mahogany finish. And portable, called pianoforte." a large bowl filled with yellow II Iter the concert. U Herz put had never written any such of course. Ask your favorite music powder. "What is thi ?" a k d eight cendl in (I bo;' and wrote piece. He was about to protest dealer, department or jewelry store to • show you this fine Metronome priced Herz. "The receipts!" r Iii d on th wrapper: "Good candles against this misuse of his name, at only $12.95t. Seth Thomas Clocks, the manager. The p wder was (or good Iri nds of goodmu- but his manager, who was with ERLIOZ SUGGESTED once (in tPl'i~•• ubj •• t to "h..n.... Thomaston, Connecticut. *Re ... U. S. P ..~. Off. gold dust which the audicn c, SIC.. .. BUI t Ite man never ap· him, cautioned him against do- B "Le Menestrel" of July 10, consisting mostly I miners, p nred to laim the package. ing so. "You will undermine 1859) that a fine effect car; be paid out at the box office. The your own career if you disavow obtained in orchestral music if cashier had a pair of alan The celebrated Bar1lum your authorship." The piece is "in the measure marked X, a whieh he earefully weighed 1 h tri d I I rsuade He" 10 ap· still listed in the catalogues of tray with a pile of dishes is admission fees. I ear with Jenny Lind, who was the Library of Congress and dropped on the floor." Harold Davidson, the American The local impre arios appar- to be lowered from the roof 01 other music libraries as com- G. ently were not quite sure f th the theatre n the stage, dressed posed by Herz. ultra-modernist, went Berlioz one better. In a composition nature of the ent rtaium nt as an ang I with a pair of wings. Composers will have their entitled "Auto Accident," there Herz was to suppo ed to pro- H rz declined the honor. Buthe little jokes. When Elgar was in is a part described as follows: vide_ When Herz arrived in c n Ilted to appear in piano the process of completing a new "Two glass plates, each resting Sacramento, lhere wa no piano ensembles wilh women ama- work, he hoisted a red flag over on a washbowl or crock, with Leading musicians would be the first to agree in the hall. He explained I tJ,e teurs. nc girl performer fainted his house to keep neighbors and a hammer or mallet in readi- that, for the beginner particularly, the early use of audience they would have to on the tage. "From nervous· friends from dropping in. At ness to break them. On page 9, an inspiring instrument like the Steinway helps wait until the siLuation was ness?" someone asked Herz. least this is the story reported measure 4, these glass plates musical ability. Practice is easier and more enjoy- cleared up. HThere may be h o. from incinnali," replied able. Fingering comes more quickly. A keener by the Pall Mall Gazette of Oc- are to be shattered with the cooks clever enOUCJ"h to make Herz. whose under tanding of sense of tone is developed. Self-confidence grows. English was limited. At one con· toher 1906. hammer, one on the second rabbit stew withou~ a rabbit'- True, the initial cost of the Steinway may be cerl 16 pianists participated in count, and the other on the sec· I-Ierz elaborated, "but I ha~e When. Wagner was rehears- ond half of the third count. ]n higher, but in terms of its abiding rewards, it is the an ensemble arranged by Herz. llever known pianists who can ing the "Magic Fire" from the the next measure, the bowls, most economical piano you can buy. Moreover, so aile of Ihe girls could not play expertly is the Steinway constructed, that it will play piano withollt a piano." "Valkyries" with its difficult containing the broken glass are the piano at all. but imitated serve your grandchildren as well as your children. "Well, sing, then!" shouted violin figures, the concert mas- to be emptied on a hard sur· the movements of other pianistsl Consider, too, these advantages. someone from the audience. ter stopped playing and said to face, table, or floor." without actually striking the But Herz refused. In the mean- Wagner: "I can play anything • Only the steinway has the patented Accelerated Action, keys. that can be played, but I can- time a piano was finally brought In his last years of life, Bela a true boon in developing sensitive touch. from a nearby settlement. It had not play that." "I know," re- OBOEIllustrated: in being a Bartok, the great Hungarian • Only the Stein way has the patented Diaphragmatic Her:; look pride No. 12 Oboe plied Wagner. "No one can play only six octaves, of which three gentleman. A woman pianist composer, had a difficult time Soundbolud, which permits big-piano tone in even the (plateaux keys). it. Just make believe that you "HOW TO CHOOSE Outfit, $510 were out of commission. "\Vith smallest Vertical. who ad\'ertised herself as a pu- finding an apartment in New YOUR PIANO" Here are tone, tuning, a smile I sat down at this wreck" are playing the notes, and I will Also available pil of Herz, although she never York where he could practice • Only the steinway has as Iowa depreciation value and action beyond anythi remi.nisces Herz. limited ~y be satisfied." This helpful booklet, No. 14- "I studied with him, confessed her duo·piano music with his wife. as high a resale price. Ring Key Oboe. handsomely illustrated. will you 've ev~r hoped to disco .1,,- Outfit, $299 playmg to whatever keys worked little trickery to Herz when he Finally, he succeeded in finding Hans von Biilow was be sent free on request. Purely as an investment-apart from its beauty, in a double-reed instrum- at all. Tn all my career I never arrived in 1 ew York. UBut a place where the landlord did No. 13- asked to contribute to a Write 10 Sleinway & Sons, and its association with the immortals of music- English Horn. Try the Martin Freres 0 had a more brilliant success. I Madame," said Hen: "I remem- fund for a worthy ll1usician not object to music. But the Steinway Hall, 109 W. 57th is not the Steinway your wisest choice? For infor- at your dealer's, or write for co talked almost as much as J very well the lessons gave Slreet, New York 19, N. Y. ber I in need. He agreed 011 con· rooms were not large enough mation on prices and terms, consult your local played. bUI 01 Jeasl I did not plete Martin Freres catalog~h6 you in Paris!"

___ e ~ Music Lover's lUIlsic Lover's BOf.losl.e.f (Continued from Page 8) ~ L/ST£N .. BOOI(SHELF THE LITTLE BACH BOOK Florentine school to which he be- [ lonzed infused a fresh inspiration Edited by Theodore H. Nickel By THOJUAS FAULKNER o its dyna-tension .I ~",Mfl~RY into music that sustained it until Somewhat on the plan of "The the end of the 19th century. Bach Reader," edited by David Dr. Schrade's book makes and Mendel, Dr. Nickel's new vol- Monteverdi seem curiousl.y con- ume offers essays on various as- /L~MFn~fR temporary. In about 1600, Calilei pects of Bach's genius. Contribu- FRITZ KREISLER of our time, and spiced withend. wrote: "From 1430 on up to the tors are O. P. Kretzman, on "Bach A ;,_ selection o] "",,,"'M", 'M" ~ less variety. 9 By Louis P. Lochner present day, all the best musicians and the Twentieth Century"; Mar- ing ;,Z difficulty, for stndents and experts '~fRlfS Mr. Lochner's Own careerhas were united in expressing their be- tin J. Nauman, "Bach the Preach- ERE IS an authentic, carefully been almost as fascinating as that lief that music had reached the er"; Paul Nettl, "Bach the Teach- H documented biography of the of the man he chronicles, After greatest peak of perfection that er"; Hans Rosenwald, "Bach the BARTOK-Seven Sketches, Op. 9 . $1.00 greatest of living violinists. It is graduating from the Wisconsin man can possibly imagine." The Tone Poet"; Heinrich Fleischer, a model of accurate reporting and Conservatory of Music, he lesi. BAUER-Turbulence, Op. 17, No.2 .50 contemporary decline of music wa "Bach and the Organ"; Walter E. objective presentation. tated bet ween a career in music BERGER-Three Bagatelles 1.00 lamented on all sides. Men sighed Busai 11, "Bach and Hausmusik." A foreword reveals that !VIr. and journalism, finally chosethe for the departed glories of J osquin An appendix offers a catalogue of BOWLES-Corretero de Estepana .75 Kreisler has read and approved the latter, and spent 20 years as a for. des Pres, Willaert and Cipriano de Bach's works and a list of works COWELL-Square Dance Tune .60 manuscript. But he has let tand eign corre pendent. Meanwhilehe Rare exactly as today's writers available on records. DE MENASCE-First Sonata for Violin and Piano 2.00 such picturesque details as the fact reported European musicalevenu mourn the passing of Bach, Bee- Valparaiso University Press, $3 SCHNABEL-Piece in Seven Movements 1.25 that the wife of his early ben Iac- for Nlusical America under the thoven, Brahms, Handel and Mo- SESSIONS-From My Diary . 1.00 tor, Ernst Posseit, "tactfully cured name of Paul Hoyer. He hasknown zart. Monteverdi in his own time Second Sonata . 2.00 him of his heavy, audibl breath. intimately Richard traussl,Stre. was denounced as unorthodox in vin ky, R I ighi, Prokofieff, Lehe SIEGMEISTER-American Sonata . 1.25 ing" while he played and made his harmonies, radical in his inno- UNDERSCORE Sunday in Brooklyn . . 1.50 him take yeast with ra pb rry and mDny oth r famous nrusiciars vations, and a musical bolshevik By Frank Skinner Toccata on Flight Rhythms . .50 juice to get rid of his ndolesccnt of our doy. Tn 1939 he was awarded generally. Today's composers I • , , Mr. Skinner's new book is like SMIT-Five Pieces for Young People . .75 pimples. the Iulitzer Prize f r distinguished should be reassured by this ap- no other previous work on orches- SOLARES-Estudio en Forma de Marcha . .75 Mr. Lochner is equally frank on ervice as a f reign correspondent. praisal of the life and times of - tration. A veteran of the movie the subject of Harriet Li s, the Monteverdi, who stood in much WAGENAAR-Ciacona .50 Moc,nil/an, $5 industry, he has adopted movie- red-headed girl from Brooklyn the same relation to the 17th cen- making technique in presenting EDWARD B. MARKS MUSIC CORPORATION who in 1902 became Mrs. Fritz tury as they do 10 the 20th. COLLECTOR'S GUIDE TO this manual of scoring for the RCA BUILDING RADIO CITY NEW YORK, N. Y. Kreisler. "Harriet," he says, "has W. W. Norton. $6 AMERICAN RECORDINGS, films. An actual film production is been a controversial figure through. 1895·1925 followed, narrative-fashion, from out her husband's career. he i MEN OF MUSIC By Julian Morton Mom the composer's first reading of the fully aware of it, and indeed takes By Wallace Brockway and manuscript to the final "sneak pre- pride in it." But, Mr. Lochner Herbert Weinstock HECORD collectors, this is view" of the finished movie. In be- points out, if Mrs. Kreisler has Fon a After reprinting this volume handy guide to the colorful era tween is an encyclopedic account offended many people b) being eight times, the publishers have when the recording industry was of how a movie score is written, "undiplomatically direct," it was concluded that its popularity mer- first bing c labli hed, Early reo scored for orchestra, conducted, necessary to her husband's career. its a revised and enlarged edition. o rds of aruso, McCormack,Pat recorded, and coordinated wi th "An easy-going, dreaming mu i- Addition of new material increases t i. Tamagno and Ruffo are listed. action and dialogue. The book will cian who has attained the stature the scope and usefulness of what along with such now-forgotten fascinate anyone interested in the ..'~ of Britain! of genius needs a buffer between was already a standard reference movie industry, and will doubtless names a Ferrari-Fontana, Fcrres himself and the rough-and-tumbls work, surveying the course of stagger composers unaware of how Imagine on entire "nation on parade! That's Britain Lamont and Augusto Scampini.A world." music from Palestrina to Stravin- much more there is to a film score in 1951 ••. "with EXHIBITIONS, PAGEANTS, SPORTS useful volume for the seriouscol- Kreisler's lifelong aversion to sky. - - EVENTS. FESTIVALS of MUSIC and DRAMA every- lector. than merely writing the music. practicing, and the rather Bohe, Simon & Schuster, - 5 Skinner Mnsic Co., $3.50 where in England, Scotland, Wales and Northern American Record Collector's Ireland. m~an life of his early days, are Exchange, 3.75 Starting from london, center of this gala programme, you'll wont tc visit faithfully chronicled. So is the THE ORCHESTRATOR'S mony of the cities and towns playing their specialized roles in the great storm of vituperation which burst HANDBOOK Festival. about Kreisler's head, on account MONTEVERDI By Maurice Gardner THE HARP single chord tells you ... here is lone that In Britoin, travel means BRITISH RAILWAYS. By securing all your trovel of his service in the Austrian By Leo Schrade In the short space 01 53 pages By Roslyn Rensch needs before you leave home you will realize substantial savings NOT Army, when America entered this little manual gives the orches- A rivals many a grand! Secret of this incredible obtainable in Britain .•• for example, MILEAGE COUPONS, which permit INCE THE one previous book de- World War 1. And Mr. Lochner History is full of examples al trator or arranger the basic infor- performance is Everett·s dYlla·/clIs;on go-as~you-pleas& travel. Leave with assured reservations on fro ins, on cross- reprints in full critic Ernest New- men who achieved greal things mation needed to practice his S voted to the harp has been out channel steomer services between BritQin-lrelond-Continenlal Europe, and ot man's rather acid comments on trade. There is no attempt to dis- of print nearly 20 years, Miss scale, a super tension principle until 1I0W ·any of the 47 outstanding hotels operated by The Hotels Executive, British under the mistaken impression Rensch's volume fills a definite Transport. Arrangements for sightseeing trips ond tours by rail, molar coach finding himself, alonO' with the rest that they were doing something cuss subtleties of tone-color and available only in costlier Everetts. These new of the musical world, hoaxed by else. When Columbus landed on blending of sonorities in the man- need in music literature. The open- and steamer, can also be completed before you go abroad. spinets are the last word in styling:. 100. Kreisler's "transcriptions" of the San Salvador. he believed he had ner of EerUoz or Rimsky-Korsa- ing sections are devoted to an his- PLEASE {ONSULT YOUR TRA VEL AGENT works of early composers. found the route to India; when koff; rather the volume gives the torical survey of the harp's origins Five strikingly beautiful models now on display or ony BrilishRoifwClYs Officeshownbelow, Altogether the book is an ab- Monteverdi and his contempora· answer to the practical question: and evolution into our present· day in America's leading music houses. Write NEWYORK10, N.Y., 9 Ro(kefeller pI. sorbing account of a rich, varie. ries developed a new kind of music "Can this passage be played by the instrument. Next is a practical CHICAGO3, III., 3' So. La Salle Street BRITISH RAILWAYS for free "100 Series'· catalog. Everett Piano lOS ANGElES14,Cal.,SlOW.6th Street gated life in music. The career of wilh drama, tIley believed the) instrument to which I have as- treatise on tuning, care of strings, a touring virtuoso is like nothil1O' had rediscovered the principles of signed it?" The author presents placement of chair, instrument and Company, South Haven 2 .Michigan. else under the SUIl. He goes aIT classic Greek drama. his material with a minimum of music stand, fingerings and use of :~"":-''':':"'''~' - c' ~>~-.~ ~ over the world, plays before roy- Later scholars have little respect words and a maximum of charts pedals. The final section suggests alty, hobnobs with celebrities of [or Monteverdi's musicology, hul and diagrams for ready reference music for beginners and advanced . all sorts. Kreisler's virtuoso career much respect for his innovations. and quick study. players. Philosophical Library, $6 tl/ #~ONLY IN SIZE, PRICE AND STYLING I has been one of the most hrilliant The daring experiments of the Staff Pnblishing Co., $2 I 8 11I. _ ETUDE-MARCH /951 ...... tlltrro_.E.T.U.D.E_ft.lA.R_CH_1.9.r,.' •••••••••••••••••••••• ~ ETUDE the music magazine ASCAP MARCH 1951

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In addition to its vast repertory of popular music, ASCAP's catalog makes available The problem of to American audiences the works of hundreds of distinguished composers of serious music the world over, members of affiliated performing right societies, including: SINCERITY

SAMUEL BARBER HOWARD HANSON ETHELBEHT NEVIN BELA BARTOK ROV HARRIS SERGEI HA IIJ\'IA 'INOFF ERNEST BLOCH FRITZ KREISLER ARNOLD SCI-IO~:NJJERG HARRY T. BURLEIGH GUSTAV MAHLER WILLIAM SHUMAN Recitalists work hard and loyally to get the notes of the music right, JOHN ALDEN CARPENTER GIAN'CARLO MENOTTI IGOH STHA VIN KY AARON COPLAND DOUGLAS MOORE I EEM. TA YI.. R DAVID DIAMOND VIn IL THOM ON but surprisingly few of them communicate anything when they perform (Among 700 ASCAP Standard Composers) C0l1 dou( y By VIRGIL THOMSON ARTHUR BENJAMIN FREDERICK DELIUS ZOLTAN KODALY BENJ Ai\ilN BRITTEN EDWARD ELGAR WILLIAM WA!..T N ERIC COATES GUSTAV HOLST RALPH VA HAN WILLIAMS

tell are 1I0t cv eu the subject of the music. For music of pa~- fi!;j;'rMzc~ fART is a form of communication. and music the Iorm si onate and personal expreesivity is a small part indeed of of~rt best su~ted t~ the conjmuu.icaticu of sentunen ts. ERNEST eRA USSON VINCENT D~INDY SERGE PROKOFIEFF feelings, emotions, It does seem strange that the clear standard repertory. There is a little of it, though ver-y little, CLAUDE DEBUSSV DARIUS J\'1ILI-IAVD MA HI E HAVEL I communications of these should be beset with so many dif- in Mozart, a bit more in Beethoven, some in Mendelssohn. ARTHUR HONEGGER FRANCIS POULENC CAMILLE T,- AENS ficulties. Perfection of the technical amenities, or at least a great deal in Schumann and Chopin, less ill Brahms, and ..Qt;rJtJ'ec-e an approach to it, is more commonly to be met with in then practically no more at all till you get to Bartok. Its • the concert hall than is a convincing interpretation of any- presence in Bruckner and Mahler, though certain, is ob- MANUEL DE FELLA ERNESTO LECUONA En 1 T VON OOIiNANYI thing. They play and sing so prettily, these recitalists, work scured by monumental preoccupations. Berlioz, Liszt and ENRIQUE GRANADOS P. J. TURINA RICHARD STRA S so hard and so loyally to get the notes 0,[ the music right Wagner, Strauss and Schoenberg, even Debussy and the J5t'ao// that it is a matter of constant astonishment to me how fe\\ modernists operate mostly on a level of complexity that of them call make it speak. prevents all efficient interpreter from going too wild and ALFREDO CASELLA LUIGI DALLAPICOLLA OTTORINO RESPIGm Composers, too: have trouble «onunuuicating, especially the meaning from gelling too private. It is not that technical difficulties prevent introversion. But the simple fact that @r,;,,,,,,u~ American composers. They make ~all great: big, beautiful, shapely structures; but it is not always clear what purpose, the subject of most music is evocation obliges both oo.uposer ERNEST SCHELLING IlICHARD THUNK ERMANNO WOLF·FERRARI with regard to living, these are intended to fulfill. One has and executant to objective procedures. ~'UJcdorJ/o.t'aA!ec-e a strange feeling sometimes, right in the middle of a concert f?JJNrzri! Schumann. rot' instance, 5eaSOIl~ that the music world, both the COllI posers and their Music of personal lyricism, BOHUSLAV MARTINU LEOS JANACEK HELTon VILLA'LonDS exeoutants, are just a swarm of busy ants. accomplishing can be played or Sllllg without antics and often is. But it nothing to human eyes but carrying grains of sand back cannot be rendered conviucingf w ithour personal involve- ASCAP is proud of its services in stimulatinz the productivity [ " ment. This poses the problem of sincerity. You can write idi , "b 0 serious composers and forth. How much useful work anybody is doing. of by prOYI mg them With financlalll1centives. course. is hard to know. But seldom, O~ so seldom, does or execute music of the most striking evocative power by a musical action of any kind speak cleatly . simpl y. without objective methods, provided yOll have an active imagination. You can represent other people's emotions, as in the theatre, detours. Part of this inefficiency comes: 1 am sure. fro III the pres- by the same means, plus decorum. But) ou cannot project a titre of romantic attitudes in a nonromant ic age. From the personal sentiment that you do not have. If you fake it c violinist in a Russian restaurant who hOIJf'S to be lipped knowingly, you are dramatizing that which should be trans- for pushing his violin into your shashlik to the concert mitted directly; and if you fake it unknowingly, you are pianist who moons over the keys or slaps at them ill a merely, by deceiving yourself, attempting to deceive your seeming fury, all are faking. The)' are counterfeiting trans- audience. AMERICAN SOCIETY OF COMPOSERS, AUTHORS AND PUBLISHERS ports that they do not have and that in nine cases out of Sincerity is not a requisite for theatrical work, for evoca- tive work, for any music that is, however poetic, objective 30 ROCKEFELLER PLAZA, New YORK 20, N. Y. in character. Taste, intelligence, and temperament are the only requirements. These will enable you to get into From MUSIC HIGHT AND LEFT. by Virgil Thomson. Reprinted by permis- any role and out of it again, (Continu.ed on Page 51) ",jon of Henry Holt & Co., Inc. Copyright, 1951, by Virgil Thomson.

10 11 ETUDE-MARCH 1951 ETUDE-MARCH 1951 I ~------...... * ------_ ...... , ...... 4tf

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__..iSS.' 4.• l\fozar·t :,. Sl11Clana 9. J. S"'anss, Jr. 10. J. Strauss, 5.,. 1. Rheinbcrgcr 2. Gounod 3. Mnssenet 6. Schnhc.,t 7. Br-uck ncr- 3. l\'Iillockcr

== 'iJiISb • There's Music In Stamps

Philatelic Issues honor the memory of European and American mu icians , ~ ( " ~ By THEODORA KOCH ', , .. ' ,,'

14.. Slegf'rled U. Cimurosa 12. Hans Sachs 13. Wagner USICIANS HAVE BEEN COZlilVlEl\JOBXrED on Ausl.ria can also point with pride 1.0 Pastor postage stamps oftener than any other Josef Mohr and Organist Franz Gruber (15), wh Msiqgie group of artists, The wrote the words and music for a Chri tma carol has honored Stephen C. Foster, John Philip Sousa, beloved the world over-"Silent ight, Holy ight." Victor Herbert, Edward MacDowell and Ethelbert has issued many stamps for Richard Nevin. Most European countries, too, have issued Wagner (13). Even Wagnerian heroes, likellan stamps in memory of their musical. sons. Sachs in "Die Meistersinger" (12) and Siegfried Shown on these pages are some of the musical (14) have appeared on German stamps. commemoratives which have appeared in recent Italy's muscial heroes are, naturally, opera com- years. This is by no means a complete list, but a posers-c-Cimarosa (11), Rossini (24), Bellini representative cross-section of musical philately. (13), Spontini (20) and PergoJesi (21), 0, 19 Josef Gabriel Rheinberger (1) is better remem- shows the house where Bellini died at 34, after bered in his native state of Liechtenstein than out- writing 11 operas, the best-known being u orma." side it. He wrote operas, oratorios and large orches- Italy also has honored the immortal violinmaker tral works. This stamp w-asissued in 1939 to com- Stradivarius (17), memorate the centenary of his birth. Chopin (25) is a national hero in Poland, and France has commemorated such mUSICIans as 2]. Pecgolesl 22. ? his picture has appeared frequently on Polish 17. Sn-adivm-lus 18. Bellini 19. Bellini House 20. Sponrini Gounod (2), Massenet (3), Debussy (26) and stamps. The latest issue observed the 100th ann i- - Chabrier (27), Proceeds from sales of the Debussy versary of his death in 184.9. stamp were used for the relief of unemployed in- tellectuals, Finland issued No. 23 in 1945, commemorat- Mozart (4) has been honored by Germany, ing the 80th birthday of the great Finnish com. and Czechoslovakia. This stamp was issued poser Jean Sibelius. f by Germany in 1941 to com~11e1110ratethe 150th No. 22 is a "mystery" stamp. It bears the word anniversary of Mozart's death. ~ "Italy," above which appear the first four meas- ? Centenaries of Smetana (5) and Dvorak (16) • ures of the Polish national anthem and the order ", are observed in two Czechoslovakian issues, ", of Polonia Reslituta (Restored Poland), one of ", Austria, for 150 years the musical capital of the nation's highest decorations, No one is quite " Europe, can boast more celebrated musicians than " sure where the stamp comes from, but it is thought any other country except Italy. Many have appeared to have been issued either by the Polish Govern- on Austrian stamps. A partial list includes Schubert '" ~, ment-in-Exile or military authorities for the use of (6), Bruckner (7) and three Viennese operetta Polish troops fighting in Italy during World War oomposers-c-Millooker (3), Johann Strauss, Jr. (9) II. At any rate it is an unusual item which is highly and Johann Strauss, 51'. (10), prized by collectors. TilE °END 27. Chnbrter- 23. Sibelius 24·. Rossini 25. Chopin 26. Debussy

12 13 I ETUDE MARCH 1951 ETUDE~MARCH 1951 l... ~------,-, La ~ rib expansion and the corners of the lips. The latter should for all his patients. Each pupil must be taught on an indi- be pinched slightly, so that the upper teeth show. By. this vidual basis, determined by the teacher's analysis of his means the centers of the lips remain free, arid the chin can- strong and weak points . Two of my students, Anne Bollinger and Regina Resnik, • not be pushed forward. Stiffness in tongue or jaw can be a serious handicap for are now singing in the Metropolitan. When they first began Every VOIce a singer. I give exaggerated exercises to relax these often- to study with me, they represented diametrically opposite offending members. vocal problems. • I have found exercises on single tones useful with breath- Anne Bollinger had an easy upper register, but she used ing exercises. It should be stressed, however, that these three different methods of producing it. As a result, it IS a problem exercises correspond to the bar exercises of a ballet dancer. sounded at various times as if three separate sopranos were They are indispensable, but one does not actually dance in singing. Her voice also was light and lacked carrying power. that mechanical way. One such exercise can be illustrated I convinced Anne that a concentrated, resonant sound as follows: Stand straight, with shoulders down and chest was what she wanted. We evened out her scale by developing up, drop the jaw easily, with the tip of the tongue touching the voice up and down from C within the treble staff. Judi- By ROSALIE MILLER the gum and lower front teeth. Sniff quickly through the cious use of breath made her voice more brilliant. It was nose, and at the same time expand the ribs rapidly. Sing. not a question of taking in more breath, but of expanding Then relax the ribs with the abdomen in and the diaphragm the lungs more fully at their base and of exhaling more quiet. evenly and slowly.

NRICO CARUSO, alter a day cf Iistenina to aspiring In doing this and- other exercises, it should be stressed ROSALIE MILLER . n. Regina Resnik was a different problem. She was a big- but ungifted young ingers, i said to have com. that, while basic technique is always the same, certain rules voiced lyric soprano, and was trained by me as such until mented wryly: "Half the world thinks it can sing; must be modified to suit individual jaw and facial structure. E she was engaged by the Metropolitan. Then she was assigned No hard and fast rule can be laid down which applies to all and the other half knows it can sing. It roles like Leonora in "Trovatore" and the title role of Any vocal teacher who ha been in the field a few years voices under all conditions. There is no substitute for the "Aida" which are written for dramatic soprano. We could would doubtless agree with nruso. Most young students experienced, discerning ear of the vocal teacher. not protest, and tried to work out a formula to enable her Even Metropolitan Opera perform- have the mistaken idea that all the singer needs is a voice. A good maxim to remember, however, is that no grimace to cope with the heavy demands of these operas. Few will concede that singing is an arduous career which is necessary for producing tone. The face must be used to ers must work hard to overcome vocal express emotion. Whatever is strained and distorted in I finally persuaded Regina that it was better to be requires as much preparation a being a doctor or lawyer. drowned out by a flood of strings and brass than to take a Singing is a skill which must be learned. The teacher facial position is wrong. shortcomings, maintains the teacher But if grimaces are to be avoided, it does not follow that chance of forcing, which would merely throw her voice out who tells a student to "sing naturally," is asking the impos- facial muscles are completely in repose while singing. One of line without producing a bigger tone. Gradually, through sible. \'Vhile the singing of a ballad or folksong artist may of Anne Bollinger and Regina Resnik frequently hears the statement that singing is the same as constant singing, she developed the middle. register needed be "natural," that of a concert singer is not. Musclesmust speaking; or that singing is merely "extended speech." I for these operas, and last year achieved her biggest success be trained to withstand the new pre sures put upon themby think this idea is a fallacy. Singing should sound natural, as Sieglinde, a role which sometimes has been sung by a the taxing work of singing art-songs and operatic arias. A but it can never be natural. When we speak, for example, high mezzo. singer without a good vocal foundation will lose his voice in a conversational tone, we never open our mouths to the With careful training it is possible to work wonders with with the first strain of overwork, or from being obliged.to a voice. The great thing is to make haste slowly. An Italian REGINA RESNIK widest possible point. This speaking-voice position is ade- ~ing when physically tired. quate in singing for low tones, but as we ascend the scale proverb says, "The more haste, the less speed." Too much My feeling is that the entire basis of zood singing is n 0 it becomes necessary to open the mouth to the utmost. strain on a young voice can ruin it. I well recall the story proper breathing. Without a knowledge of breath and how Again, most of us are careless about pronunciation when of Porpora, who kept Caffarelli on exercises alone for five to handle it, the entire vocal structure will topple. we speak. We must modify our spoken pronunciation con- years, until the tenor was ready. No singer today will study My own formula for teaching is based primarily on cor- siderably if we are to have cleat: diction in singing. that way; they are all impatient to make their debut. But rect breathing, which means training the muscles to hold Some teachers advocate copying the sensation of yawn· if you examine the careers of young singers who began in a breath and release just enough of it to get through the ing when about to sing. I find that this often tightens and their teens and early twenties, you will usually find that phrase. Interrelated with correct breathiua are correct depresses the back of the tongue too far. If the student finds they>are finished just at the time when they should be in n.rticulation (and here J depend on phoneti~s to help Illy sensations of this sort helpful, a better model is the sensation their vocal prime. singers who do not speak a foreien Iauguage) training in America has more beautiful natural voices, I believe, t:l t:l v , felt at the beginning of a sneeze. the use of both vowels and consonants and the correct use than any other nation on earth. Many of our neophytes fail of the lips, jaw and tongue. ' On the other hand; many students are only confused to capitalize on their potentialities because they are too By understanding breath and vowels I do not meanthat when told to sing as if they were about to sneeze. Instruction eager to find a short-cut to singing success. There is no a singer should become muscle-bound: He should. rather, methods must be tailored to suit each pupil. No vocal teacher such thing, and I believe there never will be. The goal today have all muscles under control 50 as to achieve ~ompletc can use an assembly-line technique in teaching, any more as in the past is to be reached only through painstaking, ease while singing. I maintain that there should be only than a doctor can issue a blanket diagnosis and prescription persistent effort continued through years of study. THE END two points of tel'1s1OnIII. teoh b dy wI1].Ie singing-c-the.. Iower

15 14 ETUDE-MARCH 1951 fTUDE-MARCH 1951 ~------...... _------How do you look Shall I teach my students IHAVE HEARD many mothers say, "Betty is doing splendidly with her piano to your audience? lessons. but now she wants to play popular music ~nd her teacher will not allow it." Popular Music? Or "Richard wants to learn to play popu- lar music so that he will be popular with his crowd." Recitalists can benefit by borrowing the tricks Mildred brings a popular piece to her lesson, and remarks slyly, "May I learn You may decide to forbid it-or of stage deportment of an experienced actor this next?" And we teachers sigh. We want so much to instill the love for the classics discover the value of popular music as a teaching into their young and impressionable minds. And we have so little time. What are we aid. First, read this provocative opinion

By BASIL RATHBONE oaoinz0 to do?• The problem is here. We can- not ignore it. As told to Rose Heylblll Are you going to say, as one teacher By LLOYD ALLAN SWANSON did, "Well, go ahead and play it-at home." And then forget it. Or, "No, we are study.

I·nz the classics there is no place for that o ' NLESSTHE RECITALIST performs be- hands in his pocket, or he can smoke. The person seals himself differently from a type of music." various scales: so be careful that it does hind a screen, the first impression Shakespearian actor can do neither; he tall, thin one. In general, sit back, let the I recall, when I was in college taking Have the child play the C scale. Then have him pick out the tonic, mediant and not confnse the child. We find that the Uhe makes is a visual one. From must rely solely on his own control. base of the spine (but not the upper part I the high school vocal music methods, that dominant notes, but for simplicity's sake chords built on IV and V of the scale are his initial step out of the wings until he The best way to master controlled ease of the back) touch the back of the chair, the question was raised, "If the boys and call them 1, 3 and 5 at first. Have him major and I suggest that we examine a begins his music, his audience derives a of gesture is to practice before a mirror. and keep your legs naturally straight, girls ask for popular songs, what shall we pl.ay the chord and name it. Show him few popular pieces to see if the piece ends definite reaction from the way he manages At first, you will be overwhelmed with neither stretched out nor pulled in. The do?" After much debate on the subject we that it was built from certain notes in the with a V-I harmony or IV·I. This leads himself. self-consciousness; hut that will pass-and best way is the way that feels easiest.Again, arrived at the following answer. Do not scale. Play it with both hands and at vari- us into a discussion of cadences, and the The instrumentalist, as well as the vo- with it, the first qualms of being looked at. watch yourself in a glass. bring it up, but if they ask for it: give it children are eager to look for endings. We calist with a modicum of stage coaching, First you must learn to stand. Find an to them. And I thought that a most sen- ous places on the keyboard until he knows the chord perfectly. discover that most popular music ends bulwarks his peace of mind by learning easy, erect posture in which you feel com- In using your hands, remember that, sible solution. Continue this with all the scales. And V-I: and that most of the hymns end with how to control his body under scrutiny. fortable and not as if you had swallowed in an accomplished actor's gestures, there In piano teaching, my answer is: "Yes, here is where I check on each child's knowl- a IV-I ending. We talk about the Plagal He can borrow a number of points from the a ramrod. Keep your feet together, hold is no such thing as a straight line. Straight, if anything of value can be taught with it." edge of scales. Talk about the reasons for Cadence, or Amen Cadence when we find basic training of the actor. your head high, put your shoulders back, line motions are jerky and hard, Always Well, can anything of value be taught the sharps and Rats in the scales. Have a V-I ending. By this time the children To the average layman, acting means and stand tall. Make this position as na- there must be a slight curve. We had our with it? him number the notes of the scale-c l , 2, 3, are so excited making discoveries, that I doing things, preferably at high emotional tural as possible, and get used to it-before first lesson ill the use of hands through Certainly. I have found several good reasons why it should be taught if the 4 5 6 7 8. See that the fingering is cor- often find it difficult to end the lesson on pitch. Nothing could be farther from the the mirror. the business of a handshake, and for this, children ask for it. I will admit that I do r~ct: A'nd'see that he does not confuse the Lime. Did you ask for interest? truth! The actor's goal is to learn repose- our Director's wife, Lady Benson: took us not bring up the subject of popular music numbered notes with finger numbers, espe- how to be still; how, without stiffness of jJtlainlaining this posture, you must next in charge. First she thrust her hand out cially in the left hand. Now that we have learned all the tonic self-consciousness, to do nothing whatever learn to walk-not stride or gallop. To with my students, and as long as they have in an unbroken line from shoulder 10 fin- Call the number one note the tonic, and chords (up to four sharps and four flats) but be himself. And this is the most difficult aid balance, try this helpful device: draw no interest in it, I allow the sleeping dog gertips-as a lesson in what not to do, he too will soon be doing it. Naturally you with both hands, we have the fun of turn- thing to learn. Actually, you cannot learn a straight chalk line across the room and to lie peacefully. Next, she changed this into an exaggerated will bring up the names of the keys as we ing them over on their heads and we call it all at once, as you memorize a poem or walk on it slowly, one foot exactly in front One of the most interesting ways to teach curve, palm and wrist out, elbow in. Finally, go through the scales, because you are it inverting the chord. The discussions on master a dancestep. Repose comes gradual- of the other, keeping the steps even and chords is in so-called popular music. Ex- she took out the exaggeration and extended locating the tonic chords and the same inversions come in here. All possible ex- ly, as the result of control. throwing the legs. At first you can hardly amine a piece of the music. Almost every a gently and gracefully curved hand, name applies to the chord. periments are made in inverting the chords negotiate a distance of four feet on the measure is marked off for chords, pre- The actor learns never to use his hands Try to catch the scales and chords in and noticing how differently they look and I got my own training in Sir Frank line. Keep on tl"ying. Presently you man- sumably for the guitar. -or any other part of his body-without the order of the sharp and Rat progreso sound. We playa game in which I play Benson's Company of Shakespearian Reper- age the four feet. Presently you cross the a purpose. One moves only as a means of sions-Key of C, F, B-flat, Eflat, and an inverted chord and they try to identify tory, one of those fine British institutions r00111. the line-walking begins to T he child's interest is high. He brings conveying thought. Where nothing pur- A.flat; then back to C, G, D, A, and E. it. Gradually the fear of inversions disap- to which one was attached as a student, come naturally. When this happy moment a popular piece with him. Show him the poseful is expressed by a gesture, don't If there is a chance that they will re- pears and the child learns to identify the studying many skills, assuming many parts, arrives, use the same gestures and walk chord symbols as written above the treble make one. Stay still. There is nothing more member that order, so much the better. third of the chord even in the inversion. and rounding out experience in various toward a mirror. You will be surprised to clef. Tell him: "We will learn to play it effective. There is nothing less effective We usually do not go beyond four sharps Continuing this discussion, it is an easy types of performance. note the rhythm which has come into your with chords, and not as written. The mel- than meaningless motion. This, precisely, and four flats at first, unless a chord in the matter to change the sound of the chord Training in Shakespearian repertory is step. Keep on practicing! ody is to be played with the right hand: is the basis of the controlled repose of chosen piece calls for it. by lowering the third a half step, and we particularly valuable because of the stric- In learning to sit, there is no fixed ges- and we will harmonize the left hand as which I spoke before, and which flO\~s We also find that it is fun to discuss are off on a discussion of minors. Let the tures imposed by the costumes. The actor ture. Unlike the step-by-step process of soon as we learn the chords." He will be into you as you learn to stand, walk, Sit, child do most of it. Remember that the in a modern play can always faU back eazer to start. A teacher will find this triads built on all the tones of the scale. walking, seating oneself depends upon in- use your hands-and not use your hands, upon two stock gestures-he can put his hich rate of interest and enthusiasm most This is a different approach from that teacher is only a guide in this teaching dividnal physical type. A short, stumpy As you grow in (Continued on Page 56) o gratifying. of finding all the tonic chords from the process. He can (Continued on Page 57)

16 ETUDE-MARCH 1951 ~------l.. ~~=ETUDE-MARCH 1951 .1IIIIIi17 will do him little or no good to play "well," if he feels cramped or unhappy in his prac- Notes of an amateur tice. Better, frankly, to have him give it up altogether if he doesn't enjoy it. He will be better off listening to records, or to good radio-programs-if he likes them- VIOLIN MAKER or reading good books, or playing ball, or just romping. The contagion of your own enthusiasm will be a moving force ill his growth, in music as in everything else. A Philadelphia lawyer who makes violins as a The things which will make his life worth living are those which he does, not from hobby describes the results of 35 years' experiments a sense of duty, but from heart- fell desire. There is no other way. If he is to earn his living by playing, that is another mutter. But even from that By GEORGE P. ORR standpoint, most cflcctiv professionals whom I have known, who arc happy in their work, have always practiced because OR OVER 200 YEARS excellent violin ous experiments and tests, such as rethick- they wanted to, and because, somehow, the)' makers in Europe and America have nessing, revarrrishi ng, changing the sound were inspired rather than disciplined. F been trying to equal the productions holes, etc. He has examined over 50 Strads Musical feeling, rather than showman- of Antonio Stradivarius (1644.1737) and and a number of Guarneri del Gesu. He ship, is the key to musical taste, and. of Joseph Guarnerius del Cesu (1698· has seen some of them disassembled and crudely as this fe ling may manifest itself 1745), both of Cremona. Since practically has had a Strad and Nicholas Amati at it should not be smothered or discourazede every violinist of first rank today uses a hand with which to make comparisons. if the child is to be enriched. He will never violin made by one of these Cremonese express dominion without first knowing makers, we can safely assume that their Professionals have used the writer's freedom and enjoyment. instruments are still unequalled. violins in symphony orchestras and in con- All this is very general, and, 1 hope, not The price of these instruments puts them cert. They have suggested that he record too presumptuous. beyond the purse 01 the average young the results of his experiments. The fol- Don't force the In my own case, the incentive approach violinist, and, in these days of gift and lowing is therefore submitted-for con- issue! sideration only, as many of the matters was always effective. J was a -enthusiast, other taxes, there is less and less probabil- although not too adequate a performer. I ity of an "angel" coming to the rescue. discussed are still controversial-with no pretense of having "discovered the secret AN OPEN LETTER was first told that I could play all the jazz The creating of new violins which our I chose, but that if I neglected to practice young artists will find adequate for play- of Stradivarius." to the father of a boy who won't practice the more basic things first, my lessens ing" in the largest halls, and also within ,We shall not discuss the purely mechan- would be discontinued. I did not respond their means, is a real challenge. ical problems of violin-making. They are" too well to this approach. But my teacher We have in both Europe and America ably and beautifully covered in Heron- was wise enough to point out that slow Allen's "Yio.lin Making, As It Was-and Horace Cooke's ten-year-old splendid makers who, relieved of economic and careful rhythmic work ill my regular pressure, might well achieve this goal; Is," published by Carl Fischer: .Inc., and son Peter had shown a real liking practice was essential to jazz. 1 responded to a lesser degree in "You Can Make a for music and a flair for playing DCfU" 'JOJ"flee: but they must earn a living. to this idea and practiced more carefully. It was with this thought in mind that- Stradivarius Violin:" by Joseph V. Reid- the piano. But when it came time I was sorry to hear that you are en- I was fortunate, too, in that at all times the writer began making violins as a hobby a Popular Mechanics book. to practice, he just wonted to countering certain problems in connection I was working on at least one composition 35 years ago. It is regrettable that the great violin "get through it." ~vith Peter's work at the piano. Perhaps which I enjoyed. In the field of research the amateur has makers left no written records OJ instruc- Although Horace had no idea It may help you if I tell you about my I cordially disliked Caerny exercises be- certain advantages. He is not pressed for tions. There are several excellent works of training his son to be a pro- own experiences at Peter's aee o· cause of their musical emptiness, but it time. An extra year in the making of a on violin making, but the authors left no fessional musician, he wanted him Music means much to me, because I have was pointed out to me that after 1 had outstanding instruments. Those who made to do well whatever he undertook. violin' is of no moment; expense is not always enjoyed it. This enjoyment is the done twenty minutes of Czerny, I would be the great violins were probably (a) too Horace sometimes wondered if he (or should not he) a factor. thing fO.l"which I am honestly grateful to able to play Heller and Chopin with greater busy to write; (b) incapable of reducing was going too far each time he my family, my teachers, and my more en- case, mastery, and enjoyment. Experience If a plate or a botch of varnish does their knowledge to writing; or (c) jealous insisted on a letter-perfect per- lightened friends. I was almost never made proved this to be true. There has never not come up to expectations, the amateur of their methods. formance from his small son. to practice. Music was never forced down been a practice-day in my life when I did maker discards it. He makes nothing for In our opinion, progress in rediscover- Horace asked the advice of his my throat. My feeling is that, in deal inn Front, side and back views of two violins not practice at least one thing which I sale, hence "appearance" is never achieved ing the secrets of the Italian masters has friend John Knowles Robbins, a with a child's musical education, we mus~ made by George P. Orr. Instrument at thoroughly enjoyed. at the sacrifice of tone. He has no secrets been slow because later makers have tried French teacher who had long never lose sight of the chief objective: his right is copy of a Joseph Guornerius del A boy, it seems to me, should develop to guard, so every step or experiment is to copy form instead of substance. made music his hobby. This letter enjoyment of music, rather than any musi- Gesu in the Wanamaker Collection; that rhythm first of all. He is made for it, discus~ed with a professional violin maker. Skilled violin makers have often re- is the answer he received. cal skill which he may acquire. at left is Mr. Orr's design, with features because of his muscular strength, and he The writer has made only seven violins; produced a Stradivarius faithfully in every Particularly in the formative stages, it of both Bergonzi and Stradivarius models. enjoys it. This (Continued on Page 64) but they have been the subject of continu- detail, but without (Continued on Page 47)

I ETUDE-MARCil 1951 19 17~ 18 _ ETUDE-MARCil 1951 ...... = 1 2. , want a crisp, 3. Espressivo ...

Ernest Ansermet rehearses his Orchestre

de la Suisse Romande for a Geneva performance of Stravinsky's "Firebird" Suite 5. If looks could kill ... 6. Let's try that passage again

RNEsT ANSERMET, celebrated Swiss conductor, is E well-known in America through guest appear- ances with leading orchestras here. His U. S. conduct- ing dates this season include concerts in New York, Philadelphia, Baltimore and Chicago. From Chicago he goes to Montreal and Havana. '" Originally a professor of mathematics, Ansermet turned to music in his twenties and in 1918 founded the Orchestre de la Suisse Romande at Geneva, Switzer- land. Under his di recti on it has since become one of Europe's leading orchestras. Before leaving for America last fall, Anserrnet con- ducted a performance of Igor Stravinsky's "Fire bird" Suite in Geneva. During rehearsals of the "Firebird" music, a photographer slipped into Geneva's Victoria Hall. Pictures on these two pages show what went on 7. Pianissimo 8. Bravo, messieurs! Well done! while the performance was being put together. I. Now: Where were we?

21 20 ETUDE-MARCH 1951 BAND & ORCHESTRA. DEPT. cOIltluctel1 by William D. Revelfi CHORAL SINGING

TIS GENERALLY EXPECTED of teachers of instrumental music that they have a Iwide knowledge of materials and tech- Schools need niques for teaching everything from begin- Correct Breathing for Singers ning classes in all types of instruments to smal] ensemble groups, orchestras and bands in elementary, junior and senior high. a complete This is a large order, yet we heartily con- PART TWO: The secret of correct normal breathing lies III good posture cur that all schools should have a complete oHering in each field. In the crowded curriculum of the present- instrumental program day school, no subject can be completely By JOHN FINLEY WILLIAMSON covered. But any school which hopes even in some idealistic future to achieve a com- plete program must do a great d~al of careful, long-range planning. Ensemble groups, orchestras and bands in all grades o MASTER CORRECT breathing it is The singer then who wishes to be an sing a tone with vitality without a similar In teaching any language-and music is manifestation. This is not a cause, as is necessary to know how we breathe artist must, above everything else, learn no exception-it is important 10 follow a are essential for a well-rounded school music plan Twhen we carryon with the normal to discern and then project the moods the sometimes taught. This is a re ult of cor- logical sequence if the learner is to make functions of living. There is the breath of composer used when he created the music, rect vital activity both in sports and in progress. One would hardly expect a child repose. We use it when we sleep, and when and so it becomes the singer's task to make singing. to enjoy advanced language before some of we are completely relaxed, but no one can the public feel these moods. The beginning the basic fundamentals had been learned. By RALPH E. RUSH The secret of correct normal breathing sing or perform in public when he is com- of breathing and the foundation of art- We believe that learning to play an orches- Chairman of Music Education, University of Southern California pletely relaxed. The sheer act of trying to istry rest then in breathing for each mood lies in good posture, and the easiest way tral or band instrument presents the same say something through an art is as in- the singer expects to create. When this to achieve it is to lie flat on the floor "language learning" pattern. volved as is the art of music itself and result is accomplished an amazing realiza- with the entire spine touching the floor. J n the study of Spanish, students must requires great activity on the part of the tion comes into the consciousness of the If a sway-back condition keeps the spine meet certain pre-requisites before advanc- esred in pcnmtnug their children to start orchestra or pre-band experience eluring performer. To discover how this activity singer. He discovers that each mood has front touching in its entirety it is good to ing:beyond the beginning stage. We believe at such an early age. Hence, the beginners' which time some 'type of talent tests is expressed put your thumb on the end of its own pace, and that if he breathes for raise the knees keeping the feet on the instrumental music study should follow a classes ln junior high school should be and aptitude experiments are conducted to the sternum and your hand over the part a mood he not only has the right amount floor, causing the back to straighten un- like pattern. given much importance. help locate those students who seem best of the abdomen that lies between the lines of oxygen in the blood stream but he has til all parts of the spine meet the floor. In twenty years of public school instru- equipped for a career in instrumental mu- of the receding ribs on either side of your the feeling of the pace or the tempi in his Through this exercise of raising the knees '11, tnl orderly sequence of learning mental teaching, this writer has seen more sic. For the beginning group there should body. At the same time put your left hand muscles. He is then ready for the attack. the 'individual will gradually become able leading to mastery of an orchestral or band successful instrumentalists start at seventh be at least a beginning band class com- at the sijle of the body on the lower rib So the formula for the singer or the con- to keep the back straight. When this much instrument, courses and activities should be grade level than at any other. In a junior posed of winds only, and a begilllljng string line. Say "Oh!" first with the mood of ductor, for the pianist or the violinist, the is accomplished he should then stand graduated on at least three general levels of high school of 7-8-9 grades, it is logical for class for bowed strings only. quiet satisfaction, second with a mood of woodwind or brass player, is the same. It against the wall with the back still touch- attaiurnent-c-f l } the beginning groups, (2) beginners to start in the seventh grade, pro- great weariness, next with a mood of long- is mood-breath-pace-attack. ing the wall in its entirety. Again he may the intermediate groups, and (3) the ad- ceed to the intermediate groups in the The umiter differs with those who ad- ing, next with a mood of surprise, next Before we continue concerning breath . have to bend the knees a little at the be· vanced performers. Perhaps such groupings eighth grade and "make the first team" vocate beginning orchestras with all instru- with a mood of sudden irritation, next control perhaps something should be said ginning. When the back is straight as the are to be found in grades 4-6 as the first in the ninth grade. ments present. The material that is avail- with a mood of tenderness. You will notice about muscles. individual stands against the wall, the next level, grades 7-9 as the second level and In most school systems it will be neces- able for teaching such classes is all con- that each time you exclaim "Oh" for a The diaphragm is a dome-shaped muscle step is to practice walking with this ac- grades 10·12 as the advanced level. At any sary for some beginners to start at senior ceived for either the strings with winds different mood you make a different use that makes a solid airtight partition be- quired posture. This posture is accepted rate, it is our firm belief that students must high school. This is far from ideal, of added, or the winds with strings added. The of the muscles of the body. tween the abdomen and the thorax. The by actors who must move about easily in be permitted to advance from the lower course, for a student who waits until tenth keys that are used, the starting tones, the diaphragm muscle is in reality two mus- a limited space and yet not attract atten- levels up in a continuous sequence, if real grade to start a career as an instrumentalist range and other problems first met, all Such observation proves that man has cles. The one part is attached to the tion to the movement. With such posture progress is to be made in playing. Some will have to make rapid strides to overcome point to this fact. And it is well-known that been so made up as to breathe in response sternum in front and to the three upper incorrect breathing is almost impossible. students younger than fourth grade might the handicap of competing with pupils who what is good for beginning winds seldom to the various moods that go to make up lumbar vertebrae in the back. At the sides The individual will find that when he is be admitted to the beginning classes, and started earlier. However, it can be done interests beginning strings and vice-versa. the complex emotional life of man. He does of the body it is attached to the six lower relaxed there is a slight outward protru- some students with out-of-school training quite successfully. If the entire instrumen- String players who start with winds in the this automatically because he is so made ribs and cartilages. The central part of sion in the upper abdomen, but when he might be eligible for the intermediate or tal program is confined to the senior high same class can hardly be expected to that the body constantly supplies the re- the diaphragm is a tendon not attached to is active the expansion extends around the advanced group. A very flexible program school, then all three levels should be pro· achieve any degree of accuracy in placing quired amount of oxygen for all of the any bone. The diaphragm is one of the entire body. Especially is this activity would be necessary to meet all the individ- vided, but the advanced level can hardly be pitch correctly, since they spend most of different moods that arise during a day most powerful muscles in the body, and noticeable in the back. The best way to ual needs, but the important fact is that expected to achieve the same standard that their time scraping hard even to be heard. of normal living. The poised individual so functions that one cannot strike a blow observe perfect breathing is to put your every student who seeks entrance to the pro- can be found in a school offering seven or' The problems of string tone quality and is then the individual who controls the kick a football, throw a basketball or a hand arou nd the waist of a baby and notice gram should be able to find a niche where eight years of instrumental music training. intonation are seldom given any considera- moods he uses during the day. The nerv- baseball, or serve a tennis ball without the his breathing, then while he is lying on his talent and technique could be chal- Within each of these three levels there tion. The usual procedure is for the strings ous, temperamental and sometimes hysteri- sternum giving a slight outward and up- his stomach notice how his back expands lenged. should be a wide variety of opportunity for to drop out of such a group until only a cal individual is the individual whose ward bound and the ribs at the same time in breathing, especially when he is very Some students will not be physically able individuals to experiment and develop. beginning band is left. moods control him. The nervous individual moving out a little from the sides of the active and kicking. A child of three months to enter such a program in the elementary Even before the beginning instrument At the elementary level it is recommended classes, there should be some form of pre- that where possible (Conlilllted on Page 62) is always short of oxygen and is continu- body because of the action of the dia- has never studied voice, but Its breathing school and some parents will not be inter- ally having a conflict within himself. phragm. It also follows that we cannot is perfect. The im- (Continued on Page 64)

2 3 P1L~ 22 _ ETUDE-MARCH 1951 CDE-MARCH _19_51 •••• • .... d •

the first Lord's Supper, almost any organ VIOLINIST'S FORVltl ORGA.NIST'S PA.GE work that is devotional in character is appropriate. Especially beautiful and suit- able for this occasion is "Le Banquet Celeste," by the great French mystic, Olivier Messaien. (Published by Leduc). It is eflec. tive, and does not seem generally known, The work is not as easy as it looks. and Music for the should be prepared with greal care. Another effective work recently pub. lished is the "Suite Medievale" of Langlais IN D MAJOR (Elkan-Vogel}. The Elevation and the Com. SONATA Easter Service munion are particularly beautiful. The organist in search of material might also consider H. Alexander Matthews' "Com. munion" (Elkan-Vogel), "Communion" Larghetto and Allegro Newly-published compositions, in addition by Purvis (Sprague-Coleman), "Kyrie [Iei- son," Karg-Elert (Elkin, London), "Solemn to established masterworks, give the church organist Prelude," Noble (G. Schirmer), and Sower- by's "Meditations on Communion Hymns" a wealth of material for his Holy Week services (Cray) . For Good Friday an abundance of A lUASTEIl BEIlKLEY material is available in the chorale pre- By ALEXANDER McCURDY ludes of Bach, Brahms, Karg-Elcrt, Max. Reger, F10r Peeters, etc. Excellent Hymn Preludes also have been written by Bing- HE composers of the classic school The crescendo in measures 8 to 12 must ness of tone and still some intensity. This ham (Gray), McKinley (Gray) and Pur- of violin playing-Bach, Handel, be made "ery gently: it does not lead to note is not the end of anything, it is but vis (Carl Fischer). T'Tarrini, Veracini, and others- a major climax. At first 110 extra bow pres- the haLEway mark. ~LM SUNDAY, Holy Week 'and As organ solos, there are many works I like 10 use as Good Friday music "The knew that the violin was essentially aFyr.ic sure should be used, only longer strokes. The accompaniment in 16 and 17 needs to be played with care. The melodic phrase Easter Day pose a problem which has given which are both effective and appropriate. Tumult in the Praetorium," from the "Pas- instrument. In their concerti and sonatas From the second beat of measure 10 slightly in should stand forward quite promi- many a church musician gray hair-what Among my favorites, some old, some new sion Symphony" of Paul de Maleingreau even the Allegros must be sung-albeit more pressure can be used, but it must 16 nently while the phrase in calls for a to do about "Les Rameaux" ("The Palms"). (publishers' names in parentheses): (Senart). It was composed especially for vigorously. But it is in the slow move- be used with discretion-no great intensity 17 pronounced diminuendo leading to the This grand old number-and it is a "Tr-iumph," Elmore (Gray); "Toccata the Good Friday service. "In The Tumult ments that the lyric quality is pre-eminent. is called for in this phrase. The tone should pianissimo in 18. grand number, one of those pieces so pop- on 'St. Theodulph,' " Diggle (Gray) ; "Ben- in the Praetorium," a footnote observes, These movements must have all the vocal grow in volume and restrained intensity Measures 18 and 19 are the most poig- ular as to be its own worst enemy-has edictus," Reger (Marks); "Marche Heli- "the hearer may visualize the angry mob, qualities of good singing. nP to the first heat of 12. This F-sharp nant in the movement, and they should be seen hard service for many years. Too gieuse," Guilmant (Gray); "Les Rame- shouting and murmuring by turns, and the The Larghetto and Allegro we arc dis- needs to be played with great subtlety; it played much more softly than measures 1 many years, we sometimes think. Yet there aux," Langlais (HerelJe); "Vexilla Regis," Christ passing on His way to Calvary. Fin- cussing here (the first two movements of should start with a full forte tone, but the to 4. The right qualities of tone and phras- are in every congregation worshippers to Purvis (Sprague-Coleman); "Prelude for ally the uproar dies, and we seem to feel the Sonata were analyzed on this page last second eighth of the quarter should become ing are not easy to produce. The tone must whom Palm Sunday without "The Palms" a Joyful Occasion," Lang U. Fischer); the whole earth relapse into an awed hush January) illustrate vividly the two styles noticeably softer. A decided, though not have a core of intensity, but its effect must would be as unthinkable as Christmas Eve "Alleluia," Mozart-Goldsworthy (J. Fisch- at the overwhelming tragedy." just mentioned: the purely lyr:ic and the abrupt, break is needed between the F-sharp he almost that of exhaustion, almost faint- without "Silent Night." On their account er); "Entree Pontificale," Rossi (Peters). vigorously lyric. and the C-sharp. ' ing. This effect can be enhanced by phras- some dare not omit it from the service in Most churches will have one or more Marcel D,t/Jre's "Stations of the Cross" The phrase from the second beat of 12 jng down OIl the dotted-quarter notes in favor of less hackneyed music. services on the Monday, Tuesday and (Borneman) is also effective. Any number A mood o] nostalgia pervades the to the first beat of 14 is of considerable U: and 19. However, the tone should not After much cogitation I have arrived at Wednesday of Holy Week. Music generally can be used for Good Friday. Larghetto, Not nostalgia in the narrow historic interest. It was used frequently by quite disappear on these notes-there can a foolproof solution for "The Palms." Play used for these services too often creates a Holy Week is climaxed by the services (and exact) meaning of home-sickness, but most composers from the time of Pales- be no actual break ill the melodic flow. it. Play it even if your musical conscience mood of unrelieved g100111. My own feeling on Easter Day. A big, dramatic number is rather in the looking backwards at some- trina to that of Mozart. According to a recoils at every bar. Give it the most is that this is wrong. Holy Week is a solemn effective here, such as the Toccata from thing beautiful that has been left behind. well-known musicologist the phrase had a By contrast with the foregoing rneas- musicianly rendition you know how, Then occasion; but there must always be the Widor's Fifth Symphony (Marks), Mulet's The first four measures should be played religious significance. It will be seen that ures, the crescendo in 20 suggests a re- pass on to other pieces which are less trite, feeling that Easter Day is coming. There Toccata, "Thou Art the Rock" (Marks) ~ with a soft tone that has yet a core of in- if lines are drawn between the principal surgence of life. It should be carried and equally appropriate. should be a triumphant note in the back- Farnam's "0 Filii et Filiae" (Presser) and tensity, an intensity that makes the listener notes and then between the secondary notes, through to the second beat of measure 22, ground. Mulct's "Carillon Sortie" (Marks). aware of a dignified sadness in the music. a cross is formed (see Example 1). growing always in fervor aud intensity. Pnssuges oj Scripture which are suit- I find this mood exemplified perfectly Other works recommended for Easter The diminuendo in measure 4 need be In most editions, the C in 21 is marked able for Patm Sunday, and which have in such a work as Bach's chorale prelude, Day are "Alleluia, Pasch a ostra" by Tit· scarcely more than just perceptible. In spite E;'(.1

lO with all accent. Although the note does been set many times by various composers, "0 Man~ Bewail Thy Grievous Sin," a sub. comb (Wood), "Easter Morntng 011 Mt. of the higher register, measures 5 to 7 rl' rS1i r" lit require the utmost expression, its treat- are these: limely beautiful work that will embellish Ruhidoux" by Gaul (J. Fischer), "Christus should not be played with more tone than ment is beLter indicate.d by crescendo than "Hosanna to the Son of David" any service which the organist may have Resurrexit," by Ravenello (]. Fischer)~ and the first phrase. A resigned serenity must This phrase: starting piano, needs to be by accent. Neither should there he au ac- "Blessed is He that Cometh" during Holy ~Teek. Other suitable music HChristo Triomphante," by YOIl (]. pervade these openiJ.1g measures. The cres- played with a real crescendo, so that the cent on the B in 22-this note should flow "Lift Up Your Heads, 0 Ye Gates" ·can be found among the chorale preludes Fischer) . cendo begins, very gradually, in measure E-sharp in measure 14 is sung with a full- smoothly but intensely from the previous "Who Is This King of Glory?" of Bach and Brahms~ and the Choral Im- I have already rllentioned the ne\\' suite 8~and the bow strokes should be gradually voiced forte. The C'sharp and B in 14 calls note. The diminuendo should not begin "Jerusalem, 0 Turn Thee to the Lord" provisations of Karg·Elert. Among con- by Langlais. I ts final number uses as its lengthened. If the appropriate tone is to for just as full a tone, but the diminuendo until the second half of the G-sharp in 23, In addition, there are two hymns sung temporaries, the Dutch composer Flor subject one of the great hymns of Easter be produced, little more than half the bow should begin on the first beat of rneasure but it should continue until the beginning only on Palm Sunday, which merit inclu· Peeters has written a new set of chorale Day. For any organist who is seeking neW length shoula be used for measures 1 to 7: 15. This diminuendo should be discreetly of the second beat in 24. This G must be sion in the service at that time-"Ride On, preludes (published by Peters) which will music to add distinction to his Easter sen- the slowly-dra\\7n stroke will give the needed played: the F-sharp in 16 must have round- played with the ut- (Continned on Page 52) Ride On in Majesty" and "All Glory, Laud add beauty to the Holy Week services. ice, the concluding nwnber of the Langlais intensity to these phrases. and Honor." For Maundy Thursday, commemorating suite is highly recommended. THE E:,\,D

ETUDE-MARCH 1951 25 ~ 24 _ ETUDE-,lf;/RCH 19.11 ______d PIA.NIST'S PAGE " I Adagio Elizabeth Anne Buts, 18"or,Allentown, Pa., has, been composing since she was six, but didn~t take.aplano lesson tInt~l'the age or 12'.,At '14'.she a~ddc.dto).nake;tnusH~ her life work. "At Moravian Seminary ill Bethlehem, Pennsylvania," she writes, "[ studied prano·w.ith Ruth 'Becker Meyers, who.was a pupil of Ernest.Hutchesonc I am new in my sophomore year at the Eastman. School o{ Music in Rochester. New York, where I am majoring in composition; eud studying: with the composes; Louis Mennini. Ji. wrute 'Adagio; last yeac-. and evenrualls-L should, like.: to orcheetcate it.". • .. ELIZABETII ANNE BUTa ~. Adagio ~1' -, Adventures of a Piano Teacher 1\ I • 1 I 17'<"'- LI':" n ril-..r1 ~ I. I T I 'I ...- I I Ii I I ,_. PP.P rt , t -

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too, used to suffer from those Mon- teacher to practice one piece each week, the minimum but with a definite goal; day Morning Music Teacher's Blues. and to play it for the student at the "tired playing routine may thus be established I, It seemed impossible to face the point" of the lesson. The same piece may painlessly, and (of no small imparlance) be played for every pupil and the selection your stock as a player may be raised in week's exacting schedule, until I learned to Poco is changed weekly. Try several ways of the student's mind-and it sho' shoos spend an hour or two planning each pupil's ....esso lesson. It is fun outlining the lessons presenting it. Give a brief, graphic imagi- those blues! , . r-I _-----. ~_I Ih..J 1-,: I ful planning. of the best ways I know for a teacher to in the bewildering labyrinth of piano - - - Another good blues remover is for the keep in trim, Practice may be reduced to playing. One (COil/inned on Page 64)

Presenting on the following music pages

Winners in the JUNIOR ETUDE composition contest u

Lento On the following pages appear those hy young composers which follow arc an interesting example of bitonality, ~I.~ ~11 ... P"'"'c= -.... compositions which, in the opinion of mainly for solo piano. with the r igb tb and in C Major and the -- ETUDE'S editors, were the most striking; Each number appears just as it was left in If-flat. t ~ +J lj .. ~:J. j--* • submitted in ETUDE'S composition con- submitted in the contest-parallel fifths . ~ r ETUDE'S editors were fascinated by the test last fall. and all. In some cases, sections of a work range and versatility of manuscripts sub, r 1':\ ex:re~n . ~, h .. , I. .i-z: ~ t 1"""1 The contcst was limited to young com~ were omitted to save space. None were mitted, and hope readers will have as " posers not over 18 years of age. Re- edited by ETUDE'S staff, however. Every much fun playing this month's Illusic : ~ sponse W.38 astonishing. Manuscripts notc appears just as it is written in the ~ .. ~ '~~ section as they had in preparing it for 8-- '0' .~ ~ ~ poured in from all parts of the United original lualluscript, publication. r ~ States and Canada. They WCl'C of all Composers represented here come ~ /_i1 -r;;;::- To Elizabeth Allqe Butz, already a , .. ,...... ~- jj hJ ..n ~--.-. sorts and sizes~piano solos, songs, works from large cities and small towns, and composition student at the Eastman for violin and piano, other instt'umental from all parts of the country. Many School of :Music, and to others of our It! • ... j ~ I L.. mp·"· ~!11. I I combinations. styles are represented, from Richard young composers who have indicated r rtf ;: -==. ==- -=:::: For space reasons, works in larger Contiguglia's romantic, frankly Cho. they intend to make music their profes- ,

Copyright 1950 by Elizabeth Anne Butz, Dop. 27 26 ETUDE-MARCH 1951 ETUDE-MARCH 1951 ______.... rl ~------L 3 1

..-----;[. 8 ------~------, f\ I ...., _ #- h~ :--- 1- ~h~ - ...... ------== if ... ",'-# -# .. ? It: ..... (' 'I' _~. '-J ... PI'delicately ---- 8------, lightly, ~--;...... , ./I: n.J .l .... ~ ~ .. . _ '0" _____ - ", , , , "0____. -----r ;j. Il I , ------A riJ J n:l ~ ~ , 10 .~ ~ ~ ~ It.! ..... 1 '1 I ~ ... . F ~~./I.. """'~,~~ • ~r .. ol .. J J'1 J i7,J I · : . . :=:>::::::- •• • ....:...... ,...• 'V 1 8------a tem~ /IL?=' ,jJ, r.'I . . - <, ,#~ lI.r --- "=' L ~ I - --- - " ~I~t- ~~,,~ .h..J. ~ ..~! I, ~ ., ~ ..:. !.:.~. .t ~~~ It ~rJ' ~ U~: 1------' I I I , I I I • =- oJ ~ "=' - ~ , 1 .. ,C ~~ . , ~ t TJl --: ~~ ~J L , I., r i t. e dim. I --- : as if starting again - ,.. ,.. 1:"\ ~ ,.. r:- ~q~ ~~~:::::------'_~ n ""'"n f~~ :J -- - - 8 ------oJ - • ~; 11 , . ~ . ~'~~:4~ ~"""--;-I ~~ I ~---: ~ n"--""'" ~ .. -'-- a;) : : - * Animato acce 1. , 1 I oJ ~ .,.~ #~ I l- I I G ,., I . ritardando expresstvo , t .. J'j~ t: ppP !IIi I I · J,m It) . agitato ~,#,.--::\ , • , oJ ::> ~ I ~ ;;-;,.-; ~ • -I~ ~ . .... v ____ ~~ . •• ... V ,., L ~ ~ '-----::~ 8- _.! •• • r i .. ... Midnight Promenade 8---L:

Donald lenni, who at the- age of 12 is lilready up to Opus 27. is in the eighth grade al Walker Junior High School, Milwaukee. "My firsl recognizable tunes wer~ played al about four or five years of age," 'he recalls. "At six, I 'had my first lesson;; with a friend of the family, Mrs. Olive Gillard, who taught me the · ments of music. In 1946 I registered for piano lessons at the Alverno College of Music, with additional lessons in harmony and later in, composition. In 1948I hef;ame interested in the organ and began taking lessons. By this time I had written about 60 pieces, some slllall and some a little bigger. Some of the larger one. are: Petite Concerto in D Minor; Sonatina in G Major; 17th Century Suile (dance forms); Christmas Suite; Suite Americana; etc. In April, ]950 I was awarded the blue ribbon in the contest of the Piano Division sponsored hy the Wisconsin Schools of l\'1usic Association." Au·lrna t 0 (~ 152) ~ DONALDJENNI = #-. con fa rza " I ~ ~. • · ., .---., , , , I 14 strict tempo ... :as ;,-> mf . >- ~ 0 ~ ~ " I •• • . . - . I~~~ 8--~ 8-1

t • -# • ~ · ... "=' t: F1= - - ::>- - ..,::> . ., . " I • . . . . .~ -.. ., . . =-. oJ co ;,- 1> · - > ;:". ;,- i 1 ~-t 1111:" t:'I FINE I I I - Ii ~ ~ r ~ . ;g _I~ [,. ~~~ :-. -=::::: :=-mJ growing louder ~~ ., continually ., " I I ;:". ~ >;:". - . .------~ ~ , r. h. thumb - . q;> ':J::>~:> U, i~; 8~ 8-1 8-- r I- ~.~. ~~o#t'*~' I I , ~ ""f-l! ~!' · , 1 - , 28 29 b _ ETUDE-MARCH 1951 ETUDE-MARCH 1951 ______d L •

t:'\ R H , , . " I , "-- ,. Nocturne tJ '- ,..... i 1 , • ...... The 13·year.old Contiguglia twins, Richard and John are well-known as a duo-piano team in their home town, Auburn, New York. Richard writes: "I am in the eighth grade, attending East High School in Aubur~. I started music when seven years of age with Mrs. Ada Herrick Yury, a capable teacher .a~d accomplished rit. I I 'I " /"'""I- -I I I ~ >r ,.... musician. My brother and I have appeared on concerts with Claudia Pinza and Percy Grainger, and have played from tune to lime before CIVIC clubs and on . -- programs sponsored by church organizations. We studied theory and harmony under Mrs. Yury and have taken violin lessons under Mr. Harold Henderson,an " . accomplished violinist who is director of music in the Auburn public schools." '" .LL M d t o era O' RICHARD CONTIGU GLlA r r r r - ~ I , ~. o ~ ,.....--:> . -;2>, r i i ,"" • . Tempo I - .~-:;--..r.'I I -----;; . ,oW -:=--.... ~ ~ .e-: I I :=> 1 " I' . ml J , , ~.J~ 4- , ... ~ • .. I poco dim.= === "'I ~ .. ,. : :. ." fl. • : ... .. ,. ,. ,. ,. ,. fll ,- ....-I "3 ~J;:' 3' :i'~~/ ...~ ~::'~ ~ . .; Io"j",j I...l..j Humoresque 1 .. .3/ .. I-*y .. I~'" "I have studied seven years of piano," writes Bill Bolcom, 12, of Everett, Washington, "and I hnve also studied r-ourposi tiou. My piano teacher is Miss Evelyn Brandl, P P who is a pupil of Bertha POlley Jacobsen. My composition teachers are George Frederick !\fl"!(ilY and John Verrall, both of whom teach at the University of Wash. ington in Seattle. I have written man y small, descriptive piano pieces, as well as sonatas, Siring quartets, suites, and am now working on a string trio for two violins and viola. I am in the eighth grade at Ihe Norlh Junior High School in Everett. I play the piano in our school orchestra and percussion in our school ~ ~ ~ J ~ ~ ~ "'ft #: band. My favorite sporlS arc swimming, hiking and cycling." Allegro BILL BOLCOM ,. ,. -?- ..... fr- 8----- tl .Ys. - , ~~ :>::,., ..,----::: - ~ ~ ------~ ------,~ ~ I 1 ~~. ~ ~ ... ~...... - <' ~,.---.0 :;;;. n ~ ,'"' 1 O'~ ~~~ O''-. p t: 4 jI.... ~~ ...~~ L4l -~ .,~ 'IIZj' - P - a tempo ...... ,~ :. ~ .. ,I .--1---~~ -----.r---.. --- B---J - rd. t:'\ . --- ,., I ~:~ ~ ~ -"" "rf J : J :: ... ~ • . . : ~ '--~ ,. - .; ~ ~---./ ...... -/ ,. " 1. 112 . ~ _To ~da {~ --.:. I T - --.... ,., I ;- ~ I .- -- - = ------. .; I ::=> ,. -# I . ~ ~ -" '-V 1 , ~ q1~ ... :- ... -...-'. ,. .~ 8.~ - R.ti. 1 1~ tempo ruba~ r.. "1 '"1 ~ 1 I - I ,\ , ,--.. ~I I 1 . ~ : ...... 'FP t. -5 -# r J' . 'f~ L.ti. } mj' r I r.'I .. • I ;;. ~ ~ ..- ,. ;;. D.S.a Coda -:J: • LB,

CODA

'-'" . PI' , ETUDE-MARCH 1951 31 ,,10..-~ 30 _ s

.11__ e _ - e .II ,.. .lL.e_ ,.- 0 Morning Song .' . ~~.•* .. . .. hi' d' g piano fOI" 11 years with a teacher III WllltclI'~ler M - R Ch arlee Peck, 16, IS a high school student in Whitewater, Wisconsin. He writes: ] ave reen stu YII~ h hid ke music my life wurk." '.' rs. OXa Prideaux Pritchett. I hope to enroll in a music college and major in-piano after hj g sc 00. an rna . CH'RLE -I- J!.. S. a J;:ine ., 'S PECK Poi I Coda Andante espr essivo(~ - 92) , ,;.. , , , I - - - - I r r' I ...... ~ ... ~ u rC"'-r c:..r L 'r ~r .. .. rt: "'If' I I- r j ~ ~ ,...,- ....,- fT~ - - The Mink with the Hole in His Head - • 1 Sharon Maureen Lougheed, 6~. has studied since she was 4 with Miss Vera Radcliffe of Vancouver. She is now in Grade 2 of the Nassau Elementary School in ~ -.r 1,..1 ~ Princeton, New Jersey. Sharon's parents have a mink ranch near Vancouver. Sharon explains that when mink mothers are alarmed. they pull their young ones • A . A • into the nest box as quickly as possible, sometimes injuring them in the process. The mink celebrated in this piece was nearly scalped in this way, bUI quickly , A ~ A • L-J 8 I~- - - ~-ii-;--- recovered after an application of methiolate. -T'--" SHARON MAUREEN LOUCHEEO ~ J J1 ,...,1 I r-, - ~ I I :i! 1...11 I I I r reJ u r-1"" I . I riO -·n- r a~ e , r U~ Cta~d rr a tempo 2J] I , ri 1J'r1 ~ .1 - ~ , .. -- 1 1 0) I ~ •F'~7. I - 1 •r;/_ J/ -r ~., 4- :;j Raindrops , A .]I A C • ~ A I • . , A • • L...-.-A--A--A- Mary Ellen Braun, 6%. years old, lives in New Concord, Ohio. She writes: "I want to tell you the answer is yes you may have permission to publish my piece 8- - - , a eo.. _ Raindrops. J studied a year and a half at preparatory school of Muskingum College. My teachers were Mrs. Schnitker and Miss Neiser. Mary Ellen Braun." (Mary ------0 I Ii"'_ EIJen's mother helped her spell the hard words.) softly and slower ~ I ~r..., ~ I MARY ELLEN BRAUN . ~ I I • boo ;;;4 I ~ • .. ... :;; ll-. It. -..L.J . . . . . ~.J'"I II I r molto rit. win- dow pane they fall. ri tard 8 a tempo Hear the pret- ty rain drop fall-ing all a-round Pit-ter pat-ter pit-ter on the , TI "TIl ..r11 /111e .;...;.. .;.. ~ ~: ~ n ~ I I 1 't' .-...... ~--_ 6-... .---... ~--,..6-F .;.. *.;.. .. ;. ~ I" i I I I-l • ... • 4 ~ .. ~ ... ~ ~ A A A A A A A simi Ie Sanctus ,..., I I r""I 1 I ~ ~ , , I T i1 ~ - The Sanctus which appears here is fro III a complete Mass in Honor of St. Frances Cahrini by Rohert Rivers Harris, 17, of Lockport, New York. He writes: "I have slUdied the piano fairly regularly since I began taking lessons fr.om Mrs. Russell E. Frost of Niagara Flills in 1937. Later I took lessons from Mrs. Richard Cardell of Lockport. At present I am attending Hamilton College al Clinton, New York." , Jl'A d t ,~ROBEiT RIVERS HARRIS I :;j nan e~' p u r e ,1 ....,.., ~ ~a J:m r j ~ ~ n f9- T:im. ~'i . ~~ f- ~ - - 1 ~ etus, San etus, San Ib I , 07 ~ = -. , A A A A ~ , I • A A A • • L-J =- -.~ =-- Song of the Orient etus, San etus, Bryan Frank Gore.Il, lives in Downers Grove, Illinois. "I have studied piano for five year .. with ·1\01,'" ~'I""o L DC" I . "p.' ,1,1 . d . h hI' 'd' f' . - . ~ - .. I n ower 0 r owners ro\~ It'' ,,'files rell0U~ stu d Ie Wll my mol cr. lave p ace III our plano music contests sponsored h" the Downer- "",o"e·\ . CI b I' h d' 'h , d hI',·, , . h ,. h I b d h' h . d ~" • u liSle' u. ani 111 loc\"enl ,ra e In sr 00 In p ayed two years In t e regu af SC 00 an, W Ie IS con ucled by C. J Shoemaker I take clarinet les~ - r T S' . 0 P k d h 1rrd --== the past two years in the District Solo Contests s.ponsored by the lllinoi~ Grade Sch~ol Band A"oc',a,' :.on~'I,ornol all.Y I,rt~narro of ,.kOar·an 1\'!',PI',h, ==- . dE' . S· . lOll. 11Y aller IS C laHman of I Ie eparlment 0 . a PIe m sunt ere Ii et matlcs an ngmcermg Clence at Roose,-clt College in Chicago." De us Sa ba - oth. BRYA FRANKGORE Animoso --== ---= oth. PIe San etus, Ib- m1 nus De us Sa ba Allegro 1IiJ. , , , Ii -=- ritardando san -. na • ter ra glo r1 a tu a. Jl II J! ~ J'J ~ ~ .- ._~ . - . Jl , • •

t: a ritardando! ... 7It "* • J ., ,I - F~ k 't. 0 • ere Ii et • ter- ra gIo- ri - a tu - 8. Ho - san .. na ex - , ~ iJ. - m .'sunt • ...... \ ...... , ~ - ... ~ 8--·····-.;: ~ ==- IT I - 1'- SIS. san - na in ex - eel SIS. 11 in ex - • eel - Ho t. :;;; --. " ..... I'" -I ~. ,v - Ii: "'. • # • "Ifv' 1· 71 san na 1n ex eel SIS• \ 4 ...... eel SIS. Ho "4 ... -# , 33 ...... ETUDE-MARCH 1951 32 ETWE-.IJARCH 19,1- ______1

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5 ~ 5 4 - 5 4 ~ 5~~ The Return 21~~ 4 , .... _.-.... 1 I . I •••• FELIX MENDELSSOHN-BARTHOLDY, 0". S5, No.5 ~' ~ 4 . . 11 r-::: ~ ~, ~ .... r~r--i.- II"", l' --: 'tl .:. ' r---, ###: --:# ' .... 11 •• .. . , . ( 1-1- 3 ill ...... 3 5 - 3 - 5 2 5 5 Waltz 312~2_ 5 3 5 5 2 2 2 4 5 JOHANNES BRAHMS, Op. 39, No_ 1 2 5 4 12112 3 3 4 3 1 5 ~'3' • ' ; , ~ Tempo giusto(~ = 134) 4 2 4 5 2~4 "",02: .> ... 'dl.~-' 3 !r~ ~I-:.1 5 ~ 5iL ~ , • 3 . ,II ~,. 1;"!: ~. !. ;. ~ ~ ...... ;.... ~jI. .. ;. 2 .. " , , , . , • ""i' -1 ~ .~ (1 · It -r I WJ~ :i ~.~1-iiI I Uf I"' ~ cresco I ' !x"!'-'! IfI" ~X,,!, ,!" -=- :==>- p .. sf U} I- L.J- "1 l ... , . It --, $:t::t:bS t: "2 1 I ,f ;: ;: i .:. .1 'L .. . • · ~ . 2 3 L: · • I 1 1 1 4 I _~ II~'.. 1 " ~ 1 j:..~ I "'-..: -~ ~ 3 ::: ::: 13 ~ " 5 i i i :: ~ 2 5 " ~ ~ . . ~ =~ ~ , "', ~ ~ ~ 3 5 -;) 3 5 3 5 5 ~ 3 ~ 1 3 2 1 4~24 d 5 4 l...-_--!AL.--_..JA'-- ~ L--_---'A'- __ _'A~ _'A'--_--l ' ' .----;--.. '/""j-'------;.., 2 Illll~~2 j r-l~ j~~~ n " 1 "., 3~..:r: 1 . . - , 4 -----j ~~ hJ~J h~ bIjJJJ.J JJTIJ:J .. ~ II 1 I I I I J 1fb:'~ 1 1 I I 11J II _ 11 ~.jI1'''' 2 I , ~~ ... I'" ~'#i... p I------=---- sf ,.--;; . ~r' p if . , < .- , I I ~~.;.. III I 1 1 I I I m I cresco 1 1 " u I I I . ~~J' P ~ q, ~i .;. ~ ~ .& ~ , 1 . ,;, ... i , I •• 5 , ~~ r ~~ r 1 2 ~4 , . 4 5 I , r , 5 5 3 I - , . . 5 5 5 3 5 3 1 2 1 , . . • " • 5 2 5 4~ 5 5 1~ 3 ~ -;"', '-''''; '_,1 51 ~' 2 4 5 4 t ~--;---- . , . 5 4 'l. 112, II ~ h= 4 ,... , . , ki~~.L~~ ~ it .. A! ;,. ..---.:. - . . . Jl~" i;,. ~ i it ~ t~i it . ~ •• -iL.j • , It: r sCoF: ~ • -01 '-;"';""'11 ~ I cresco - 1 ~ p = 'P It "- .. It: t < :-:-. sf p - J' ;,. , , ;. ;,. . :.. .:. ; . IS{~ ,. lDJ1 J. .:. • , " ~ .;,~i " U ..

From "Presser Collection No. 51, Songs Without Words" by Felix Mendelssohn From .cPres8er Collection No. 285, Waltzes, Op. 39" by Johannes Brahms ETUDE-MARCH 1951 37 36 ETUDE-MARCH 1951 ______1 Waltz JOHANNES BRAHMS, Or· 39, No.2 From "Presser Collection No. 285, Waltzes, Op. 39" by Johannes Brahms. Sonata XIII [ 1. 112, 1 FOR VIOLIN G. F. HANDEL Larghet to( Jl = 56)

'2 ~ _ ~;::~~t~ pespress.

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From "Presser Collection No. 285, Waltzes, Op. 39" by Johannes Brahll1sWaltz JOHANNES BRAHMS , Op. 39, No.5 ~ p cresco '1!If leggiero G raZl.OSO (~= 176) 4 if 3 2 to.. 11 ' ... L ~ ~ ~ ~ 2 I , ... ~ "'U ~ . . It I '--I I T I 1'-----'11 I I---~ p.\~~h:e.'c. .."'\ . (If. -""";\ W rr--... . P a 0 • .' • I, 2 ~ j .J.. ~ .J. =: .;;h:-- I 2 I . 11 J J ..J ..... - . .f' ,f dim. 3 3 2 3 4 4 4 i 5 L-.J 5 L-.J ~1~~.~~ ~ J=- 5 3 k , ~I 31 , 5, ~, ~, ~, 5 a , ~ 3" I "'.II II, . . • . p cre sc, - f ~ =-' p · p to jf r . , 111 I-r; I r:::: 1 2 /'- ;';') • r.: ~ . r; I 'V/ H~ r J I --1 __ -- 1 _ 4~ 1 (111 ,_ ._ r ~ p~~:::~sc~ 11 p r PI , I ;> ,,-=(, I :J J--J " " · • · P~ cresc,~ 1 14 I I I 3 r f1 I I I I '-' I I L--l , r 41'1 4 -.:~ '" Sz· ~p '" Jilt I I I I I I . " 5, 5 _ • h. 1"-12-. -~I t.I 11"1~=- ==-- I 4 'P -== ::- , dim.. fobo ri P" ,L .J---, - - . · •· 3 4 I~ 1,,- -I -6 cresco , 38 ETUDE-MARCH 1951 ETUDE-MARCH 1951 39 ~------d Little Gipsy Song Little Gipsy Song No.23573 LEOPOLD J. BEER, Op. 64, No.4 No. 23573 PRIMO LEOPOLD J. BEER, Op. 64, No.4 SECONDO Allegro(O = 108) Al Leg rof d = lOB) 5 1 4 ! ~. 2 5. 4_ ,. ~ . 5 - • I - ~ - - ., m/

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~ tJ U I Cop;yri:ght 1\)27 by Theodore Presser Co. Intcl"llRtionnl Copyright secured International Copyright secnred Copyright 1927 by Theodore Presser Co. 40 ETUDE-MARCH 1951 41 ETUDE-MARCH 1951 poco cresco --== 3 - The Crucifixion They nail'd Him to_ the tree, An' He nev - er said a mum-be - lin' (HE NEVER SAID A MUMBELIN' WORD) Arr. by William Arms Fi~her word, ~ NEGRO SPIRITUAL ,---J ~J :J ~ -:-=: . I Lento 'l:7D • VOICE l' [:i Oh, was - n't that a pi t - y an' a pococ sc~;... t" .,. ~. ==------.,.. .,.. If"" --e- . ~-" I · - · ~ :> ~ ~1 --=0; dim. - ~ J PIANO p ==- WI q~ I - • I H -e- ~~ -' . · -e; . · Col' · not a word, not a word. = :;i:___ -. ·- - - - - r . Not a word, ~ ,. ,- ~ _,.TI'';? . (-r • I word, r r , 3 --= I .. 'P --= I -. • '" • · dim. It.! Pi - late's bar, An' He shame? An' He nev-er said a mum-bev l in ' word. They car-ried Him to . 1\ I " · It u T' '---- ',3 -+= ==- - • I :>- r'fi P - --= ;==- ---- ~ ItJ pierced Him in_ the side, An' He nev - er said a mum - be - lin t word. He , n L r I 1 9- ~~ ~" ~,. ~[ I · • I r I t:'\ t:'\ - -=:: , -=i 1\ I .. • • ,--= . . I.J it- Oo" .-' nev-er said a mUll-he-lin' word; Not a word, not a word, not a word. t:' ;;;;;--0 i -- j i I (. slower 4) , . . I 3 I-==r."==- • • v •• • I ,, ~: -== :=:=- ~~r r~br An' He nev-er said a mum-be-lin' word, -r--, Not a word, not a , ltr ~ bow'd His head _ an' died. n V slower ~ "1i-'-' ~J I~ £1.'1 t:'\ ~ i . . . • I ItJ ...... '1 j I I It! " ==- r 1 ~ q~ r pp --===- 3 -=;= I pp==- rJ- 1\ I t:'\ 'h/IP I -,--- ~ - .. I =r[ .. . '" .. , . t. ~-9- I They led Him up to Cal .. v'ry's hill, An' He nev .. er said a mum - be - lin' #~ q:oi ~ = 0 -- • ...... 'I 'PP 1\ I ..... • I=-.-- -. . ~ ~ ---- -e- It! I It. I u, I~~~i q:i q. ~~ word, ~ not a word. , lF~ =- [r :PP-= - --== ===- It! . PP.P 11 ~. ----.... l:;l • r t=ii b

Copyrigllt MCMXXVI by Oliver DitSOll CompulIY International Copyright secured .f'- f· 42 ETUDE-MARCH 1951 ETUDE-MARCH 1951 I Sunday Morning in the Mountains , '. 1sw. Acojtne, Celeste, Bourdon 16: & 'rree. HammondRegistration No. 28.016 at, FI.s' (later Chimes if possible). coupled to sw, Sw. @ (10) 20 0627 210 RUDOLPH .GA.NZ April Enchantment Prepare Ch. SOft Fl. 8: coup. to sw, Arr. by Chester Nordman Ped. soft 16: coup. to sw. Ct. 00 (10) 00 4760 530 No. 110·40090 VERNON LANE Tr-anqui Ll oIsl :: 96) Gt. (][] (i1) 00 6783 100_----- Crade 2 - ~ ""I Flowingly 5 1'1 .;\ -----1:'\ -----=- 135 ~

MANUALS Sw, ~ I m 1rVp/ frJ \ f1 .,. r-r .H. over RH ...,. '\ OJ . 4:::. ~~. Gt.--zQuasi-+ Horn)• fAil C!. PEDAL s 3 1 3 Ped. 42 en, Gt. ffi] en, @ Gt.1ID Ch.(or Gt~) © ce. lID © 1.- ..- jioi;-- ~ .--: ~ -- ~~ " , I ~. [~ _"'& (Echo) (Echo) sw.@ J' j' , 'fJi}-= n-- ~ -- I I ss, (C) "------• .... ~ en. © I It! mp/ t1:. cresco orr • -I /\ , ~ -e- ~ n-I ct. ffiJi'"---+- J'~ f' OJ

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T ':"~. r--. \---..,--.~ j Bourdon off ~~~r-- clH es te only _ _ Gt.(OrCh.)~Ch.(Ors •• )(E) /:'\ - - - - ~ ~ -,...,' ~ L.H• 1 3 0 .. ... R.H.over L.Il. I I . .. ,--- -;:. \~.... i-9·f I I ~..l...,_I\I--....i--._ =-- ~ele8te off - raZl. -, Aeoline only sorerdo \'-j-rl\ JJ \ .-I 1\ .J J

'!' o- ! "'~ v '_ -- v , ::.-» , CIJJI.\right ]0-18 b,\" Theodore Presser Co. Ped. 31 British Cop.\'r1ght S{'ClIl'C'r! British Copyright secured Coprright 1950 by Theodore Presser CO. ETUDE-MARCH 1951 45 ~_,,",,-'44 T _ ETUDE-MARCH 1951 NOTES OF AN AMATEUR VIOLIN MAKER holes, slightly narrower grain at arched instruments of 1707 to the center, and wider at the flanks, seems flat instruments of 1714 and 1715. We have also seen instruments of (Continued [roni Page 19) to give the best results. Maple with medium to wide flame, the same period varying greatly in a t e"P0 or no flame, is to be preferred to arching, yet all having the same rich, sonorous, woody-reedy quality. Stra- , r -...... reproducing its tone ". This slavish from the maple you are about to use, that with a very narrow flame . .,J, I divarius' training in the shop that ,----. copying might work If wood were 7%6 inches long, %G inch thick and In seeking the perfect model, -, . had produced three generations of uniform throughout. We find, how- 12 inches wide, with the grain run- much time and effort has been violin-makers •. and his many years o....J7 ever that Stradivarius varied his ning at right angles to the V2-inch wasted in copying meticulously the I of experience, taught him the type J I \ - thicknessingand modeling even when side. Scrape this strip with a razor exact outline of an old instrument. I~ ~ R.H . of arching for each piece of wood...... usingtwo pieces of wood from the blade until it is smooth. Then bore Given the required length and width ~~ a small hole, just large enough for of bouts, with the approximate On the other hand, there is very little p '""'... .J I samelog. iJl'\' \ \.JT '\~7 an A violin string to pass through, curves of the Cremonese instruments, difference in his outline, with the ex-ception of his long model of the I '" l It is obvious, therefore, that he 1/2 inch from the end. Suspend the the general outline is merely a matter 1690's and his very late models. was seeking a plate that would do wood from the string and strike it of beauty and convenience for play- "4 No hard-and-fast rule {or arching ~ ,--=-.. ~ L.H. something rather than look like with a small mallet. If it has not a ing. clear, bell-like tone, discard the The corners must allow sufficient can be laid down, as different pieces -B!!.. OVer L.H. something. Each piece of wood I , wood. If it has. then check; its pitch. space for blocks and still leave a of wood, even those out of the same needed individual treatment. log, ha ve different acoustical proper- I . We shall discuss this individual We have achieved best results by gracefully curved interior. Many . ties, but, generally speaking. the treatment presently. The first step comhining a piece of maple of the fine-toned Strads and Guarneris have -- their top corners almost worn away. narrower the grain in the spruce It '17 is to secure the wood. Without wood dimensions given above that emits -....J -L L 9i and the closer the grain (net flame) ..J. i D.C.a! Fine A-sharp with a piece of spruce, 5/8" < L ~.Lr of proper resonance, a good violin in the maple, the higher the arch- rail. -,...... ~ is impossihle. We have never found x %." x 11", with the grain perpen- It is well, however, to have long ing should be. JJ \.IJ \ iT \ Jr I \ ..1-. n, American maple or spruce with dicular to the "Vs" side, that emits center bouts so as to keep the , \" 111 The Aat models have the richer ( F.- proper acoustical properties. The C-sharp. (These are of course sam- corners sufficiently long for blocks and more penetrating tone, but if best maple and spruce comes from ples of the wood being tested, and and at the same time wen out of are not used in the actual construc- the way of the bow and bow band. the wood is narrow-grained or hard, ~ the foothills of the Alps. Much fine the violin will lack mellowness. This woodcomes from the Tyrol. tion of the violin.) To allow the bow to reach both the Wood that produces a lower tone E and G strings on a flat model, mellowness can at times be obtained It should be well seasoned, but from the same wood in a sfightly thesearch for timbers 200 years old is 10 be preferred to that with a the violin at the middle bouts should Jack in the Box higher pitcli. As a rule, the harder not. be more than 4%" wide. higher model, althou gh when arched is a waste of time. to the height of some of t.he German No. 130·'HQ40 OLIVE DUNGAN Meisel in New York. Lewis in the wood. the higher the pitch, but: Having selected the wood and de- cided upon the outline, the next instruments, a shrill whistling tone Grade 2 A.S.C.A.P. Chicagoand other firms specialize in at times a close-grained soft. wood 8;" will emit a higher lone than a wide- problem is arching. In the 50 or is encountered. importing wood for violin-making. The grain in belly and back should Saucily(.I.=72) 5 1 "' gruined wood of greater density. more Strads which the writer has The total cost of raw materials for be somewhat the same - narrow- 3 2 ,d. Straight-grained spruce. with 18 examined. there have been many 1 1 2 5 ~. 4 a violin should not exceed 25. IT!=- styles of arching, from the high- grained (Colltinued on page 49) ~ r. Having suitable wood. lake a strip grains or reeds per inch at the f- 4f '!" . ,,-,' +'!" ' ~. r ...... ~J~Ck in the box-jumped Qut(jumped out) • . ,- ,c- ... •• -,

5 ~ time only time lIst II Last 1~·~ ~ . ,. I ~ ~ ~. ~ f'..:. ~ ..... 2 • , ~.~a I - ~., I tJ ~, . ~. 1-4f~• • < - Fl1\E .-;- ~, 0'). :~: . . -.: ... ~ . ..:--... , . . . J:£ '&:: , 1951 1903 THE WORLD'S LARGEST HOME STUDY CONSERVATORY OF MUSIC 3 5 WHAT PROGRESS ARE EQUIP YOURSELF FOR A BETTER POSITION This is Your Opportunity-Moil the Coupon Todoyl 3 A proof of quality is important for one in- ~ - ;.... 1t_,~ ~..f!:\ YOU MAKING? terested in further musical training. Our UNIVERSITY EXTENSION CONSERVATORY, Dept. A-719 ... . Your musical knowledge-four position and courses offer you the same high quality of 28 East Jackson Blvd.. Chicago, Illinois • I . Incometoday-are the result of the training preparation which has developed and trained Please send me catalog, sample lessons and full informa- 14 ~ou have given your natural ability. Addi. many successful musicians and teachers in tion regarding course I have marked with an X below. ""! honal training will open up new fields. new the past. o Piano, Teacher's Normal Course 0 Voice ~ ~, opportunities, greater income and higher NATIONAL HOME STUDY COUNCIL o Piano, Student's Course 0 Choral Conducting rl9: ~ ...... ~ • tfF', Blandingin the musical world. The Council is an Association of which we o Public School Mus.-Beginner's 0 Clarinet , . This valuable training, through our Exten· are a member. It includes the outstanding o Public SchooIMus.~Supervisor·s 0 Dance Band Arranging ~lonCourses. may be taken at home with no correspondence schools in the United States o Advanced Composition 0 Violin 1 . Interferencewith your regular work just by with headquarters at Washington. D. C. Mem- o Ear Training & Sight Singing 0 Guitar 8------devoting to self-study the many minutes each bers are admitted only after rigid examination o History and Analysis of Music 0 Mandolin -~\ : 2 d.oythat ordinarily go to waste. The progres- of the training courses offered. o Harmony 0 Saxophone A ~ ) Of Of · Sivemusician, as busy as he may be, realizes We are the only school giving instruction o Cornet-Trumpet 0 Double Counterpoint l-,,~ :;;- Professional Cornet-Trumpet 0 Banjo , ~ ~hevalue of such study and finds the time for in music by the Home-Study Method, which o I It. Well paid positions are available to those includes in its curriculum all the courses Name. . Age .. . who are ready tor them. necessary to obtain the Degree of Bachelor tJ Street No...... -: YOU can do il lao! It's up 10 YOU! Aof DiplomaMusic. Is Your Key to Success! City. . State . < '~ ~ -~ .,..,. D. C. a1 Fine L.U. Are you teaching now? If so. how many pupils have /'h... ;/ you? Do you hold a Teacher's Certificate? .. ,. >- , UNIVERSITY EXTENSION CONSERVATORY .- "'" . Have you studied Harmony? .Would you like to earn 28 EAST JACKSON BLVD. (DEPT. A,71S) CHlCAGO 4. ILL. the Degree of Bachelor of Music? 5 4 S 2 1 3 Copyright 1950 by 011\ el' Dltson Company 2 · 46 47 tbl _ ETUDE.MARCH 1951 ETUDE-MARCH 1951 NOTES OF AN AMATEUR VIOLIN MAKER

410-41016 (Continued from page 47) 437-41002 THEMES FROM TilE GREAT THE SACRED ORATORIO BALLE'fS . A PRONOUNCEMENT of the beUywith narrow-grained back, etc. duce good results. You may have left COMPOSER' • LECTURER' • EDUCATOR AMERICAN ACADEM¥ of Arranged for piano solo Also, relative densities sh?uld ap- too much wood around the edges, or by Henry Levine TEACHERS of SINGING roximate each other. That IS, a back the wood may not have proper reso- PRESENTS HER 7lew- Here is a hook every serious vocal Those of you who look forwardto ~f medium density maple should be nance. Look for dark or spongy the annual appearance of the Ballet teacher and student should OWI1. matched with a belly of medium den- spots, and discard any wood that de Monte Carlo, Ballet Theater This work, compiled by a group of contains them. SOLO TECHNIC S~dler Wells ~al1et. Co. and others: sity spruce, etc. Otherwise, you will "~l\\ leading vocal teachers, was prompted It is just as important that the by the current resurgence in the field WIll be particularly enthusiastic have to make one plate abnormally FOR THE PIANO of the Sacred Oratorio. One section about Mr. Levine's latest addition thin or heavy to obtain the desired plates have resistance to vibration Presents to students musical end is a historical background of the Sac- to his collections of theme music. one-tone difference in the pitch of as that they have freedom. of vibra- red Oratorio from the beginning to By popula~· demand h~has arranged. the two plates. tion. A hard' piece of wood thinned technical works in solo form. first the 20,h century, giving its origin for the plano, selections from the to ]/1uth of an inch will usually vi- level of piano study for pianistic and dates and names of leading com- world's great ballets. A partial list. Sillce the bellies are usually in brate to the slightest touch, but a development carefully covered. posers. It includes Italy, Germany, ing of the contents includes excerpts two pieces cut from wedge-shaped violin made of such plates will have Moy occam pony any first book . .7S England, France and America. from: Adam-GISELLE; DeJibes- a sepulchral tone with no carrying Another part is devoted to the best slices of a log, the grain or reed is CapPEllA; Gliere-THE RED power. Furthermore, even the best- procedure for study and performance POPPY; Stravinsky-c-THg FiRE almost at right angles to the plane if seasoned wood will, after finishing, BERNICE FROST dealing with Tonal Production. Mu- NEW BOOKS BIRD; Tschaikowskl'-SWA~ not cut too close to the heart or cen- siciuuship and Diction. Valuable help LAKE. ter of the tree. There, the smaller show some slight shrinkage in time. PIANO COURSE INCLUDES is given for Tempi and Translation, diameter imparts a slight curve to Hence the plates should be left Just off the press For U. . and its possessions only. BEGINNING AT THE PIANO .. ,60 a." wen as an excellent discussion on the reed or grain. This heartwood slightly over the calibration desired. Llst price, .75 AT THE PIANO, the lise of the appoggiatura which all should be avoided. (The reed is the Our best results with plates have Book, I, II, III, IV ...... Ea. 1.00 singers must understand in order to hard grain indicating yearly growth, been achieved by tuning the back TWO PLAYERS AT THE PIANO. .... 1.00 sing oratorio. Available NOWI separating the pulp or soft wood in plate to 0 natural, and the belly to C COMPANION SERIES, A representative list of 18th, 19th natural. before the sound holes are Books I, II,...... Eo. 1.00 and 20th century Sacred Oratorio is herweeu.) THE ADULT AT THE PIANO, included with dates, text, editor or In beginning actual construction, cut. Cutting the sound or f-holes of the Books I, II ...... •...... Ea. ,75 translator and publisher. A second 417-41001 the scale of thicknessing given by normal Stradivarius type of the 1715 COPIES SENT FOR EXAMINATION listing consists of Recitative, Aria, MY FIllST NOTE BOOK Heron-Allen is aa good as any as a period will lower the pitch of your Duet. Trios and Quartettes listing the plate one full tone. Then your rough followed a precedent set by the arrange-c-tbere is no "magic form- WITH MUSIGRAPII start, leaving all calibration a trifle voice for each as it appears in the bass-bar wilJ raise the pitch one and master himself, when he transposed ula." Anyone who can read four-part Fi"SI Lessons in Theory b,· full. But remember that the calibra- score. List peice, $1.00 for organ six arias from his cantatas. harmony can begin this step-by-step Aflll Hlehter tion of both Strads and Cuarneris one-half to two tones. The bass-bar In addition to the inspiring nature method. 'I'ranspoaition and other varies considerably. While some of should then be reduced until the 4.10-4.1018 The author is widely known as one of the music, they form excellent hazards are carefully explained, and of America' foremost writers of this may he the result. of repairs, pitch is exactly the same as it was THE SECOND MUSIC FUN BOOK the scores at the ends of chapters studies for both the mature and piano t aching materials for chil- there is no doubt that the old makers before cutting the sound holes. The br Virginia Montgomery maturing organist. Hammond reg- are extremely helpful. dren. This new book is proof thatthe calibrated 10 suit their wood and longer j-holes of a late Joseph Guar- This is a sequel to Miss Montgom- istration is indicated. The book is divided into five main ery's "The Music Fun Book," which fundumentuls of music theory canbe model. (See the calibrations given in nerius del Gesu type lower the pitch List prfee, 82.00 parts, including scorings from vocal taught to very small children. The a tone and a half, and it requires a was an immediate success with settings, arrangements for piano Hill's "Guarneri Family.") teachers and students everywhere. nuisigroph has large-size treble and When the thicknessing of the back slightly heavier bass-bar to bring the compositions, and transcriptions bass clef staffs. There are several Various means of impressing music 410-41017 nears the figure given hy Heron- plate hack to its original pitch. from orchestral works. The volume pages containing symbols of music fundamentals are employed, and in PIANO PARTNERS may be classed as theoretical, but the Allen, begin testing the plate for Since practically every Strad in connection with a regular instruction to be cut out by the student. As the Teacher and Student Piano Ducts principles laid down are based on pitch. Generally speaking, the thin- existence has a bass-bar by a mod- book it makes the student's lesson by Molly Donaldson pupil learns about these symbols Dr. Leidzen's extensive practice in ner the plate, the lower 'the pitch, ern violin maker. and much has been 3 NEW CATALOGS FROM PRESSER more understandable. The book con- The problem of holding the piano (such 8S notes and rests of different the arranging field, and Jife-Iouc values}. he places them on the mlJsi· but thinning near the edge while written 011 the subject. we will pass Outstanding Value to Piano end Vocal tains no music to be played. Pencils, pup.il's interest is often difficult be- teaching experience. "" crayons and paste are needed. Les- Mra.ph. This functional approach im· leaving the center portion heavy will over that item with but a few Teachers, Choral Directors and Students. cause he is bored with the easy- List pl'icc~ 85.00 sons are presented according to grade pieces he is obliged to play. mediately interests the pupil in the raise the t.one. comment~. The grain of the bass-hal' must be THEMA TICS OF NEW PIANO MUSIC ,-ubject matter, not in the order in Ml·S. Donaldson has solved this prob- theoretical side of music; in factit To ascertain the tone or pitch of which they should be used. lem with duets for pupil and teacher. 417-41002 makes a game of learning notes. the plate, we support it on a small at right angles to the line across t.he with list of best-selling pieces The ability of the student to solve The primo parts are easily played PEDAL MASTERY The mllsigroph uses action rather cork at the point where Ihe sound- top of the ribs. The bass-bar gener· Contains one page each of our new puhlications plus listings these 'problems is an excellent in· than Jess interesting writing or reo by first and second grade students, by Rowland W. Dunhmn post will rest. hold it by pressing ally should have a slightly wider of related pieces easy to pre-view hefore ordering. dication of his progress in musical while the teacher plays the difficult citation. It can be used by the child grain than the belly, and should Pedal Mastery is a book all OI·O'nn. another cork on top. and then draw thinking and understanding. secondo parts; thus the student feels too young to "'Tite and is altraclh·ely have a clear ring when dropped on GUIDE TO CHORAL MUSIC-SPRING 1951 List price. $.60 ists wilJ find invaluable. Mr. Dun- illustrated with piclUres that make a heavily resined bow across the low· he is pedonning an interesting piece yom hardwood bench. ham, distinguished orlJ"anist and music symbols come to life. er side of the middle bout nearest 19 Outstanding New Choral Nunlhers-Sacred and Secular. of music. The numbers are original The linings should be as light as ~30-41004 and refreshing. and will appeal to teacher, skillfully prese~ts a clear My First ole Book rna}' be used the sound post point. If you have dif- Selections froln the Westlninster Choir College Library. ~IOTllER GOOSE IN NOTE-LAND young, active minds. an~ und.erstandable pedal method for private or class instruction. It i~ ficulty in getting the tone or pitch, possible, consistent with strength. Listing of 215 Popular Choral NUluhers for Lent, Palm A Colorful' Music Reader for the List l}dcc, $.60 wInch wl11 assure absolute mastery also ideal for classroom use in pub- look over your plate carefully. A We have used willow and soft spruce Sunday and Easler. Rather Young of this difficult feature of the orO'an lic schools for very earliest workin and have (Continued on Page 50) b~..Josephine Hovey Perry "stubborn" plate is not likely to pro- 410-41013 In h!s book_ the best tenets ot th~ music theory. It is a ·'must'· for e,·en VOCAL CATALOG The purpose of this reader is to fully English and French schools are pre- THE FIRST EASTER music teacher ill the studio. and for The first page of each of 31 New Songs. Listings of songs establish concepts of the treble and served and welded with new princi- the elementary school mus.ic super· for every ~l11oodand occasion-Adventure, Ballads, ChildrcrJ. Ilas!3 section of keys and notes and by Ada Richl,er ples lIsed for the modern electric visor. The child will value his own Ti.ps tn Parent.;; etc. Conlplete inforlu3tion a8 to fOl'eign texts, orche8tra or their correlation to one another. The This st.ory wit.h music, treating the organs. List price. 82.50 copy. List price, g.60 Middle C approach is used, and one Easter theme, follows the general pat· hand accoulpalliment, voice range and usc in radio, concert, nole at a t.ime is added in both bass tern of the many ot.her successful Pop concert or for lnen or W01uen. (to be colored red) and treble (to sujtes of this composer. The music is THEODORE PRESSER CO o Enclosed $ .. EFORE SELECTING A MUSIC TEACHER for) our Bryn Mawr, Penna. •• be colored green) clefs. In Part Two about grade two, in most part ar- o Charge to my occo~nl B child, consult your local music dealers. They. ~re ill Indicate which cata1og-or• cctl.ulog$-you standardized black and white notes rangements of hymn tunes, all have ---437·41002 The Sacred Oratorio . $1.00 touch with the available teachers and are usually wllbng to Wltnt, on the handy order form below. appear, and the child plays folk- words and il1ustrations. Usable and ---410-41018 The Second Music Fun Book ,60 give a fair opinion of their work. If there is a local music ------songs and other airs with satisfying most welcome as piano lesson assign· ments. in recital, school and church. ---430·41004 Mother Goose in Note.lond·· .15 teachers' organization in your city, the secret~ry of the THEODORE PRESSER CO • melodic content. Key charts and ---433-41004 Ten Arias for Organ ...... •....•...... interesting illustrations add to the Lends it.self to pantomime, with or 2.00 .group wlll be pleased to furnish a list of accrecllted teac~. Bryn Mawr, Penna . ---410-41017 Piano Partners...... • - .. n"eflllness and eye appeal of this without narrator for descriptive pas- JIJ ---410·41013 The First Easter - ...... ••..... ers. Then, if possible, arrange to h~ar .some of the pU~Ils Please send me the following FREE catalogs: sages. Helpful suggestions are given .15 weB-planned first music reader. tauO'ht by the teacher you are consldermg for your chI1? o Thematics of New Piano Music from Presser List price. $.75 for presentation of tableaux and set- ---437-41001 An Invitation to ·B~~d.A·r~~~~i~~- -. 5.00 Yo~ can probably attend a pupils' recital and th~s obtaJ.11 tin~s. List pdce. $.75 ---417-41002 Pedal Mastery . 2.50 o Guide to Choral Music 0 Vocal Catalog 433-41004 a "ood idea of the type of work the teacher is domg. ThiS TEN ARIAS FOR ORGAN FROM ----410-41016 Themes from the Great· B~·I1·e~~··· .15 Name _ 437-41001 seem like a great deal of effort, bu.t i,t will save ~ lot THE CANTATAS OF ----417-41001 My First Note Book :::::::: ..::::: .. ,60 m;y JOHANN SEBASTIAN BACH AN INVlTATION TO BAND NAME of time, money and grief. Choose your chIld s teacher WIsely. Address ------Arranged and Edited by ARRANGING ...... , ...... - ...... -Herman I. Rosenthal by Erik Leidzcn Carl PIatteicher and ADDRESS ...... City and State Richal'd McCurdy Ames Dr. Leidzen believes that the only CITY & STATE In presenting this work, the editors way to learn band arranging is to ...... - - . 49 ETUDE-MARCH 1951 hl 4R _ ETUDE-.1IARCH 1951 ------j -----;-~--- ...... ------III!!!IIIIIIII!!!!!!!IIII!I!!!I------..EtiLIJP NOTES OF AN AMATEUR VIOLIN MAKER NOTES OF AN AMATEUR VIOLIN MAKER belly, as well as by the placing of the sound holes. (Continued [rom Page 49) (Continued from Page 50) Professor Saunders of Harvard IMPORTANT century edition has made a wonderful contribution {ion: "What is the desired tone?" well to leave the j-holes a trifle nar- to the art of violin making by pho- ANNOUNCEMENT! noticed no difference in the results. mentioned. Some experts say this is ques . . row until the last. Then, if the tone tographingt the tones of various in- presents a group of new teaching It is, of course, important that the caused by the presence of salt in after edition of these masterpieces is Even the Cremonese makers dl~- To all piano teachers, is muffled, increase the width of the struments and demonstrating the ex- pieces in the fint and second grades. linings fit snugly and that the ends the soil in which the tree grows, and offered to the musical public, We feredon this point. The. early Amatis students, players j-holes, being careful not to overdo it. act change in tone accomplished by We are certain that in this list you of those on the middle bouts be it is true that the best wood has been invite you to compare CENTURY d Andreas Guarnenus wanted a an I' N' I Stradivarius was pretty consistent physical changes in the instrument. will find interesting and worthwhile mitered into the blocks to resist their obtained near salt mines. Others say EDITION with any other at any price. II mellow alto qua tty. ICO a so , I in both the shape and the placing of Heretofore, we had only our own pieces which you will want to use. tendency to straighten. the Italian makers used broken gal- You will probably ogree that Century Amatisought a mellow soprano qua - The "NEW" SHEFTE his In some of his later in- recollection of the tone before the Your Century Dealer will be happy Last of all comes the finishing. We ley oars that had been used in salt. is at least as fine as any other edition it while Stradivarius aimed at a j-holee. I \, I struments, they were placed nearer change was made. The results of Pro- to show them to you. have found that the final finish of water for years. (One explanation of and you too will ask "How can they p~1\'erful, reedy tone, and J?sep 1 RAPID COURSE in both plates is better when scraped the beautifully-grained woods used sell it for 20¢ a copy1" G arnerius del Cesu a thicker, the bouts, thus giving greater width fessor Saunders' experiments have by the old Italians is that the Vene- w~odYtone. To equal a Stradivarius to the bridge table, but they differed been published by the Franklin In- Piano Solos-Grades and 2 with a sharp razor blade than when MODERN PIANO PLAYING stitute of ·Philadelphia. rubbed with sandpaper. The reason tians procured their galley oars from Piano Solos-Grades 3, 4 and 5 Of Guarnerius del Gesu tone is the little in shape or size. We urge upon all those who would The greatest course in 3982 Big Drum Major. Tho, li'-l. .Hopktns is not entirely clear, but it is prob- Asia Minor; and the wily Turks. ambition of most makers, so a good- contribute to the art of violin making 3983 Floating, }'-l . Stanton ably due to the fact that sandpaper assuming that at some time or other 3975 Air in G Major, xutte XII", -3 .. llulluol one should be available for frequent Jose/lit. GUflrnerius dei Gesu, on POPULAR and STANDARD music 3990 From My Garden,C-2 .. Heaps 3910 Bagatelle In 0, 011. 33. >\"0. ~.S.ll~ethoHIl forces grit ancl dust into the pores they would be at war with Venice, comparison, and a good violinist the other hand, varied his j-holes that they, first, study carefully and 3984 Four O'flock, G-1.. Hopkins 4003 By the Lake of Wallensladt,IlIH Lls1.1. with almost every model. Even on the analyze the tones of the finest Cre- 3973 Last Pavane.The. Am-:? Granados of the wood and probably bruises took care to supply curly-maple oars 3893 Couranta in E Minor_:! I.ully nearby to join in the tests. The NOW READY! ~991 Little Valse, C-:? Foldes the exterior fibres, wbereas a sharp which would break in hard service.] 3909 Evening in Ihe Country.-:t llartok maker also should be able to play. same viclin, they often differ as to monese instruments. Second, that 3992 Marching Home, C-2. . }'ohles 3980 Conga-La Mlno Abl]o. 11"-3 Ilel!fehl It is possible that a salt or salt- shape, location and deviation from they read all the important literature 3993 Misty Evening. C-2. . Scarmolln razor blade does not. Sandpaper can 3974 Folksong, on. 12, NO. ::0, 1";1'111_:1 .• Crlek He need not be a virtuoso, but should Authorities are agreed that available on the subject. Third, that 3976 Morning, C-~ .. Prokofieff be used around the outer edges. petre solution was deliberately used 3999 Intermezzo, OP. Iii. No. l. EIl·l DrahlnJ be able to play in the higher posi- the perpendicular. Since there was 3985 OutdoorSong. (J-l ... Kraft this "NEW" SHEFTE by the old makers in curing their 3972 Intermezzo tr, Petite Suite, h'·3 Iloro,lIn even greater variation in the cutting they realize that without infinite pa- 3986 Dol, Col. Holfe tions and draw a good tone. 3977 Menuelto. L'Arlulenne, Eb-4 IlIUt-Block tience and conscientious work over a COURSE is SHEFTE'S best 3987 Pug Nose, U·l Rolfe When the violi" is put together wood. Act.ing on this hypothesis, the 3900 Moment MUllcal, Oil. Ii~.No.1. 1'-4 While it is impossible to describe of his scrolls, it is doubtful if he 3994 Queenof the Rodeo,G-2 Steiner period of years, worthwhile work and the greatest for- "in the white," cure it for three or writer has on his later violins used Schubert there are certain describable varied his sound holes purposely. He nothing 3995 QUiet Sailing, C-2. . .. Crosby 4002 Novelette, OP. 21.1'0. 1. A·Ii.. ,&humann tune, can be accomplished. Fourth, that 3996 Ruff and Tuff. Dm-2 Steill~r four days under a violet-ray lamp. three applications of a strong salt- 3899 Prelude & FugueIn C Minor.-,; J.~. Bach features. First. the tone should be was a rapid and erratic workman, ward step in the nation- 3978 Deorak-Hnpklus they keep an accurat.e record of their SlavonicDanseNo.6. A-2 Then put on your fittings and string petre solution. These applications 3902 RhapaodyIn Eb, OP. 119,No. 4·4 llrahml powerful enough to fill a large con- but since his violins are tonally su- wide movement to MOD- 3988 SlIring Fever, c-r. Rolfe 3980 Rhumbll-La Chupal!er•. 0-3 .... Helsfeld it lip. If it does not sound well after should be very light to prevent any perb, it would appear that the exact proceedings and the results of their 3997 SQuirrel's Picnic. Em-2. Eckhart 3981 Samba-Verba Buenl, G-3. Irr. Guenther cert hall. One great virtuoso in fact ERNIZE and SIMPLIFY experiments, making one change at a 3989 Starry Way. C-l .. Hopkins proper adjustment, varnishing w.ill warping. Then, when fully dry, the 4000 Six Lillie Preludu ... lllri, ,aid to the writer: "Cive me a violin location and shape of the sound hole 3998 Three Cheersfor the Team, ]i'-2 .. Slelner not help. Make sure that all adjust.- violins should have another day or 4001 Sonata In C Ma]or_3 .~arlaltl is not too important. .I. B. Cuadag- time in order to be sure of "cause piano instruction. 3979 Two Caprices, Dm-F-l Paganlnl-.Stciner 4004 Thai., Meditation, G·:! . ;\lluenN wilhvolume, and I'll make the qual- ments of bridge, sound post. height two under the violet-ray lamp. al- and effect.." Fifth, that they make 3901 Three Etudea ('hooln ity." Second. the tone must be even nini 11150 varied his sound holes, usu- VOLUMES 1-2-3 and angle of strjngs are right. If the ways being careful not to get the ally placing the right one a trifle this data available to pro£ec:!'ional Century Edition is a copy from top to bottom. There should 20¢ violin-makers. Finally, that 1,1("1' do tone is still poor. and only as a las! lamp close enough to the wood to Century Edition is 20C a copy be no spots where the instrument higher than the left, but since he Each volume $1.25 in U.S.A, resort, try the following: If the tone make it more than comfortably warm frequently varied the shape of cor- not allow ent.husiasm Jar their own "speaks oue' unduly, and no dead On sale at all music stores Our Graded-and-Classified - or our is thin and shrill, take a little off creations to cIOlld lheir .iudgn!'~ It. to the touch. Sudace temperature Our Groded-and-Clossifilld -Of our ~Jlots.The violin must also respond ners on the same instrument, the complete catalog listing over 4000 the center of the belly with the razor 0 The price of first-cla.<;s Cremonese WRITE US FOR LITERATURE should not be over 100 Fahrenheit. complete catalog listing over 4000 to the slightest touch, and not placing of the sound holes at cliffel·- numbers is free at your dealer or on blade, be·ing careful to keep the After a few days, two coats of ent levels was probably uintentionaL instruments ha;;: placed them beyond numbers is free at your dealer Of on "break" under heavy pressure. The MUSIC ~l~SO WABASH AVE req uest from us. same general contouL Do the same the reach of Oil!" ~nLlllg artjsts. 'Ve very thin, clear fish glue should request from us. lone should be in proportion to the It is important that, when viewed FORSTER PUBLISHERINC CHICAGO thing with the· back. testing the tone must see I at Ihey can acquire in- be applied. This glue should be touch. There lllust be suflicient re- from the side, the I-holes are practic- at each slight change. Proceed with freshly made, and never allowed struments that are adequat.e, which CENTURY MUSIC PUBLISHING CO, CENTURY MUSIC PUBLISHING CG, sistance so that one can play fortis- ally parallel to the top of the ribs. extreme care. and in no case take to boil. The violin should be warmed means tllat we must encourage 41 West 63rd St. New York 23, N,Y, simo or pianissimo without losing Avoid I-holes that rise perceptibly off more than %4th inch. Half that under the violet-l·ay lamp before the 41 West 63rd St. New York 23, N.Y, present-day makers to create them. quality. toward the tailpiece. This, of course, MANUFLEX amount should suffice. glue is applied. THE END In finishing the instrument, it is is controlled by the modeling of the (patented) If the tone is hollow or sepulchral. When the glue is thoroughly dry. Adult •• • take a little ofI the plates near the rub it lightly with very fine steel Le....el I Robert Neidig InSlructiOI1 is back in ribs. \\'001, and play the violin well for POPULAR PIANO PLAYINC The Cremonese makers probably at least a week. You are now ready i ., Intemallotl5l1y famous Nridi:! adjusted thicknesses after trying for varn ishing. methods. Expert IllSlnlctionrll!" be- MUSIC their instruments for tone. as many ginners or e\llerh::lleert. Fluemuskal I sll'le thru chord Impro~lion. Strads are unvarnished ~ll1der th~ Much has been written on this "'Iff n:lulollolt or ,,,o/e •• idlltll p"r"..~r. our concert hall,.;. All ,wer America NOTE: For some time, Manu8ex THE PROBLEM OF SINCERITY advertising has been concentrated ilJ STEINWAY HALL 113 W. 57 51. Ci 6·1339 fingerboard. Their great variation in subject, so we shall only touch art.ists are endea\'oring to treat. the the field 01 medicine. In nearly ev- contour of surface and thicknessinp: repertory, the vast body d which is ery part 01 the United States and in a few highlights. You can get all Voice (Continued from Page 11) many European countries. ManulJe.x confirms this belief. sorts of gums and varnishes. from objective music, and composers are is helping the handicapped ta regallJ the use af crippled hands and fingers. Treating·and varnishing the wood the hard, brittle shellac to the soft treating the monumental forms, too, • LOUIS GRAVEURE 10 perform it perfectly, to' communi- be rendered, and any attempt to im- ManuRex is installed in more than has a slight effect on the tone. but dragon's blood. Each sort has its as jf their personal fantasies about 7S public and government rehabili- cate through it. They are not suffi- pose one on it takes the life out of it. tatian clinics. I am highly gratified FRANZ MANUFACTURING COMPANY the main purpose is to preserve it. proponents, who maintain it alone is The exactly opposite condition ob- these were a form of communication. at the recognition accorded Manu- Piano cient for a proper rendering of as a NEW HAVEN, CONNECTICUT An unvarnished violin soon lose~ its On the other hand, more often than Rex lactor in the reliel 01 human the t~ue ."secret" formula used by tains regarding objective music. This suflering.-Rex Underwood. tone. Schumann's songs or of the Bartok Stradivanus. One is of course free benefits enormously from exact pro- not t.hey treat personal music to a • ETHEL LYON quartet~. These you must feel. What ALL-TIME GREAT FRITZ KREISLER The filler makes the tone more to experjment with mixtures he routined and tradit.ional streamlining gives to lieder recitals and string cedures and standardized renderings, realized years ago the potential benefits PIANO BREAKS sonorous, ·and the varnish js likely \VRITE FOR LITERATURE that prevents it altogetber from of MANUFLEX to pianists and vialin- Our Mouthly Break BUlletin enllhles J·OU fancies. A compromise. which the from every thoughtful observance quartet concerts their funereal qual. ists. He shrewdly pointed out the faUacy to bnild up and glnillourize tile SOIlg"S on to make the tone more soprano i~ speaking tbat language of the beart the Hit Parade with cle\'er brealJ:s novel ~\'riter has tried wjth good results. CORPUS CHRISTI and precision. Personal involvement of wasting precious time on practice for tigure6 at'id tri('kr hoogie effects. ' ity, when they don't come off, and quality. The slightly increased thick. IS to mix two batches of varnish- that is speech at all only when it flexibility. when. as he wrote, "Through Selld :to {·ellts for latest copy or $2 for II FINE ARTS COLONY with jt, the injection of sentiment, is the application af Mr. Underwood's ~·ear. 1\Icnthm if teachcr. ness caused by varnishing raises the their miraculous excitement. when one soft, one fairly hard. Put on one June comes from the heart. They should Manuftex this flexible condition can be 4-16 they do, is the absence o~ pres- a great foolishness. THE AXEL CHRISTENSEN METHOD pitch of the plates a trifle. It is prob- leave the stuff alone unless they are brought about in a few minutes without P.o. Box 427, Oiai, Calif. very light coat of your soft varnjsh muscular effort:" . . . able that the thickness of the aver- Mrs. Buford Kirk, Pres., Dept. E ence of authentic feeling in the and try the tone. If the instrument The rclwle questioll of sincerity capable of spontaneity. Once rid of Such sensatlCnal artIsts as planlst age varnish just about compensates 301 BrOOks Dr •• Corpus Christi. Tens interpretation. Firkusny and violinist Spivakosky are If i..a •• i ,.'_ .,. sounds "soggy," add a coat of the haneci"lly for selt-instruction. Courtesy lO The next (Continued on Page 51) ond grond pionos. 0.1. & c;ivilion relatively permanent. The fonner, teachers. readings of the music of personalized See the MANUFLEX ... try it. .. experi- JOHN M. LEIPOLD approved. Write for FREE information. which make for drama, constitute hearts' content. But in the domain of ence the near miracle of almost immedi- 218 S. Highland Avo., Los Angeles 36, Calif. sentiment are, by definition, incor- ate flexibility. MANU FLEX is scienti- nine.tenths of the whole musical rep- private feeling>:, fooling around with fic_unbelievably efficient and versatile. SHOP TRAINING, D.. k [ rect. Because senliments, feelings, GRE ER 4'0 S. Stal, St., Chicogo,III. those one does not have is suicidal. Adjustments are instantaneaus. NOTE PLAYING private patterns of anxiety and relief ertory and nine-tenths of any mature • Send for free illustrated brochure of A perspicuous guide for reading PIANO composer's avallable subject matter. TH~ END the Manuflex in action - or send your treble and bass notes for skips SWING MADE EASY are not subject to standardization. check for $20.00 for a beautiful Manuftex OSEF. . HOFMANN is oIlen quoled. as saying' . "Slo w prac- Mixing the two kinds gets nobo~y sent postpaid. Use it freely for 5 days and non-skips. World's uslc~t ~Y8lemlea~he$ Beginnersor .".d- They must be spontaneous to have and if not satisfied, return it and your J tICe IS undoubtedly th~ baSIS for quick playing. _ .. The '·anced to phi)' like Ralllo-RC'OOrdArtiS!!;:Lean! anywhere. Treating personal musIc and one runs. breaks. blues, tricks. bu!loCl.neP"Oelf~l!. an~'existence at all, spontaneous and money will be refunded. cor chimes. Hoagie Woogle. Intros. ends. IlKlderni!lie. objectively gives a futile effect. PLAY MYSELF BOOK amateur, long before he IS able to play a piece II unique. Naturally, experienced per- Price $1.00 (For February and Marchl · 'd h rec y, futurlstlc, weird st)·les. orr-color. rldlnJ+me!&l1. • One is worthy 0.1 praise oilly MANUFLEX COMPANY begms to tWIst an turn t ings in it to suit himself." :lam-hot-blue choruses. etc. Hl.;");DREOSof etl'I:CIIi. Nevertheless, on account of the pres- EFFA ELLIS PERFIELD sons can teach the young many Send for Free Bileklet "II. 3 and 1..... Prices tige that historical Romanticism en- iJ one knows how t.o vctiue 2130 NE Klickltatr Portland 12, Ore. 103 East 86fhSt. (Park Ave.) N. Y. C. -La Von Kirby TEACHERS-Use new loose-leaf lI)'5te•. Write! Ihings about the personalized reper- joys, the latter procedure dominates criticism. -Robert Schumann SLONE SCHOOL.2001 Ftrb$SSL. Pithlturlb I!. Pa. tllry. But there is no set way it must

50 51 ETUDE-MARCH /95/ E'tUDE-MARCH 1951 ~ ...... _------~ HANDEL: SONATA IN D MAJOR (Continued [roni pctge 25) BUY 3 GET 1 F R E E ~r9an l(tluestions most artistry. It should start very as it is actually written {Ex. 31 Save On All Selections of Another very common error' [. softly and reach its greatest inten- . Uth sity when the accompanying chord playing of the first. three notes uf changes to the diminished seventh measure.' 3. and all SImilar me" ~ures. Answered by FREDERICK PHILLIPS LONG PLAYING RECORDS on the first beat of 25. The tone as If these notes were a triplet in: should then relax into the F-sharp. stead of ~ group of two Sixteenths N?w, save from .25"/0 or more and build up your collection of LP records The crescendo in 26 and 27 should and an eighth. this new, convenient way. From our complete list of Long Playing Records not be excessive-it is really a slight Measures 3 and 4 need a long bow of all makers-Columbia, R.C.A., London F.F.R.R., etc.-you select what- • In a Methodist church the organ and for recitals? Arc there any books ever r.ecords you want :-vhenever you wish. Quick, safe delivery to your nuance, though the A-sharp in 28 stroke, so th.at ~he tone may he both · built the front. of the church in this field? -C. L. J., Ohio door IS guaranteed ". With your third selection in any group within six calls for a certain amount of stress. forte and smgrng. But in 5 and 6 in IS hi' mont~~, you ?Iso receive one lP record of your own choice absolutely Free! The D in this measure is better taken not more than half the bow should in an organ loft behind t e pu ptt. Yes, it 5 as simple as that. Yo~ may buy as few or as many records as you On the sm-Iuce, the stop list seems mezzo-piano, with a diminuendo to be used. There must be a pronounced The organist plays iouh his back choose. You pay no membership dues or fees of any kind-ond with every very attractive and should produce three records purchased, you get a bonus record without extra cost. the first beat of 29. Some editions c?ntrast bet ween the forte and the directly toward the center of the good results. The natural tonal qual- n;\\'anling Ilfcume hobh)' or :1 rich ca- indicate that this note should start plano measures. The same interpreta. congregation and the choir sits in OF ,\I.L TIIJ,W:S in lirc For which yon Write today for full details to Dept. 12 ity of a theatre organ, however, is rccr for ),our hoy or girl. It can help forte, but they undervalue the ac- Lion applies to measures 7 and 10 the loft behind the organist, facing could spend $12R5.* how m;IIlY willlill somewhat different from that found rou uu )'01/.1' leisure hours. BONUS RECORD CO. 40 East 231'd 51. New YOI·k 10, N. Y. companying harmonies. The first two beats of 11 call fora the congregation. What is the correct every year with pleasure> in church organs, but your organ full forte lone. the diminuendo Com. way 10 arrange the seotisu; of the Thc Hammond Org':1l\ will. A space f01l1" Ieet aquure seems to have enough of the basic is large enough Verr cllre/ltt plwwiug is neces- ing only on the last beaL. It is best soprano, alto, tenor alld bass ~ec· Th is Instrum cnt gi\'cs you more than stops La give good results. We are Your horne call be mudcsu I:lrge or sary for the lung crescendo which In continue the diminuendo in P lions? -L. D. /-I., Connecticut rnusi c: it ~ivcs yOIl a vcry personal way VIOLIN TEACHERSI VIOLIN TEACHERS small, you'll find a mcde l o[ the sending you a list of reputable organ 10 relax, Iorgct thc tensions of )'our Ask for utustr. Catalog with Advanced Students starts in measure 29 and lasts until arriving at a piano at the beginnim Hammond Organ to lit it. There is Prutesstonat niseount 011 110 and I'll manufacturers, all of. whom are also \\'lIl·ld. :Ind enjoy yourself. Learn to ploy and teach the "New Finney the first beat of 35. It is much beLter of 13. From 13 to 19 is on~ lona" There is hard fast Ie. no inst"llatioll: yon Sililply ping tile FAMOUS VASICH VIOLINS Way" recammended by all World Famous qualified to do repair work. We be- Vou ('rcale vour own 11lllSic 011 the Endorsed by Greatest Masters Violinists. Become an artistic and financial to delay the crescendo until the always·growing crescendo. The bo: but the l!enerally accepted arrange- Ibll11nond Org:1Il illto all clc..:trical success. lieve your best plan would be to have HalnmOlHI Organ: wann,c.:utorflll ,hold, second beat of measure 31. Measllre strokes should at first be shorl. ment is for the sopranos and tenors oullct and it's rcady to pla),. NICHOLAS VASICH Finney Violin Keyboard System lllliel. simple, rich. Music to fit your but from each I1H:a5ure10 lhe next to be on the congregution's right une or more of these firms examine j\lainlcllancc COSl~? Jior~ct lhc11l. 817 N. Eutaw St. Baltimore 1, Md. E-2537 N. Bernard St .. Chicago 37, Ill. 34 and the first beaL of 35 form the mood and rcncw you for YOLlrrole in the instrument first hand, and we This is lhe onty org:11I i·Jl the world apex of the phrase and the emotional they should increa<;e in length un. side and the altos and ba<;:'ie~on Lhe life. All tllc sounds or gTeat music- feel sure they can be depended upon tllat nevcr nccds lllning.t rcqu ircs 111 in- SHROPSHIRE & FREY climax of the movement. The phrase til l\ fuJi half of the bow is bein" congregation's left. from lllC II"hisper 01' strings to the boast JOHN MllRl-I:ERT & CO. to advise you impartially as to inllll11 mainlen:lncc. Violins-Violas-Cellos 141 WEST 15TH ST., NEW YORK II. N. Y. must be sung with the ulmost taken for the lurred sixteenths i~ of the hC1SSCS-lc:lp 1O tirc beneath From Students to Professionals VIOLINS OLD & NEW whether or not it is best to repair Why nol Ihink Ihis Olle Ihl·Oligh·~ Repairing & Accessories warmth. The third dolted quarter- 19. The descending scale in 20 and your Iingenips. Expert Repairing. Send for Catalog • I wolthl apprecill1e in/ormation as 119 w. 57th, N. Y. C. 19 C17·0S61 this organ or purchase a new one. Wci~h IlrC pros and cons ur ullying' a note C in 32 should relax, but the 21 must not diminish in tone-a towhere I may obtain a pedal clavier You lIl:edn't know:1 note B must begin an jnLense crescendo full forle IUU<:;t he maintained Responsible manufacturers do not YOll, yOllrsclf. witllOllt cvcr having had Ibmmond Organ. Compare it with 10 attach to a piano for practice what you call get Wilh the samc moncy to the A-sharp jn 36. through measure 22. take advantage of the lack of knowl· :l tesson. Cill Ical'Jl 10 play simple hUl purposes, or a small tIVOIIUlIllWL reed crrect ivc music on the J--lamlllond Organ anywhere clsc. A slight break jn the tone is Measures 23 and 24 need the 5atnt· edge on the part of committee mem- organ or practice orgon with peclals Thcn, whcn you llnclel'st:lIld Lhat LO necessary beLween the first and sec· ~harply·accenLed playing and exact bers in matters of tllis sort. Such a in les." than a month. Thousands h:lve (prejembly second hand). 011'11 a Hammond Organ is to 011'11 a rhythm given to the first t\\\l firm could also advise yOll of the already donc it. and beats of 37: the final phrase -Miss M. J-I., Oklahoma lifctimc or plcasurc, answer the real approximate cost of repairs or the YOII .. 11I·jelt }'Olll" family life, too should begin pianissimo, and the measures of Ihe movement. The qucstion: Call you :dlord 7'1Ot to? \V!len :1 Hammond Oq;all COIIICSinto crescendo to the hjgh B should not scale in 25 should have a slight purchase of a new instrument suited You llIay ohtain a pedal clavier a homc, the ramil)' builds its fun Scc and hear thc world's most widely rise above mezzo-piano. crescendu. which relaxes u:; soonas to your requirements, and the most from the firm who:;;e addre~s we are around it. llsed organ in hOlllcs and churches, at Of the four varied movements of Ihe G is reached. However. in 26 saLis factory specifications. One of sending you, but the installation of 1t can stimulate YOllr childrcn's in- \'uur local dc:tler this II'cck. For more the Sonata, this Larghetto probably Ihe F-sharp should be not less than the best books we know to hel p you info1'lIl:lIion, mail the coupon. such pedals on a piano would be tcrest in lllusic. It call uc the basis of a offers most to the student and to a singing mezzo-forte. A soft. coax· is "Contemporary American Organ," quite expensive and would have to the artist. The art:st finds in it an ing lone is needed in 28 and 29. but by Barnes, obtainable in most music OBERLIN he done by a local organ service opportunity to display the highest the crescendo in 30 and 31 build: and book stores and also undoubt- firm. The second firm we are listing technique of IIIusical ex pression. 10 a broad forte in 32 and 33. The edly in your public library. makes a two manual practice reed The student finds in it an aJmost diminuendo in 3 t should start from organ with pedals, and we suggest unequalled study in tone production. the first nole of Ihe mea~;nre.with • How long should one stu.dy piano CONSERVATORY you write to them. The third firm be/ore t.aking lip organ, and how If there is an)· fault in a player's little bow on Lhe third beat. listed handles used instruments, and bow stroke, it shows up in this move- There shou Id be a slight break m.uch Bach should one have before can undoubtedly supply a used two ment. Even the first measure requires bet ween the last nole of 34 and the starting? H OUI much other prepara- manual pedal reed organ. a change of bow, a change of string. first note. of 35 to accenlUate the tion such as scales, etc., is necessary? OF MUSIC What should one lise to start organ and a change of position at one and modulation La B 1\'1ajor.Measure~35 the same moment. to 41 should balance measures 3 10 • I am on the organ committee of study? -So P. D., Louisiana ALLEGHO 10 and be played with Ihe samt' my church (rnd wish advice regarding APPLY NOW FOR ADMISSION The Allegro which follows is dynamics and coloring. The cres· Ih.e repair of the present organ or A thorough grounding in piano is FOR THE SCHOOL YEAR largely a matter of straightforward. cendo in 41 leads to the one clima\ Ihe purchase of a new one. The pres- desirable as a basis for organ study. This ought to include the following: OBERLIN 1951-1952 solid, clean violin playing. Every jn the movement-measures 42 10 ent instrument is a t.en-,rear-old ABOVE: Home i\lodcl Hammond Organ, used in more borne!! than any oll\l'r organ. note must be sung. even in the pas- 45, which call £01' briJJjancv of tone. theatre organ, supposedly a bargain any of the standard technical stud- COLLEGE sages of sixteenths, for this quality ies such as Czerny, Burgmuller, Con· Hammond Orgllll price!! starl at $1285* for the Spinet Moc!d (not illUSlf~il{'d ahove). Applicants will be auditioned As much bow as possible ~houldhe at 4,000. We have always had t.rou- is essential to the performance of taken on Ihe dotted eighths. while ble with it, although many organists cone Cramer etc .• in progressive in New York. Philadelphia. St- a Handel al1egro, no matter how the si.xteenths should be sharply who have played it see possibilities oTde~, leadin~ up to about fourth PRICES START AT JUST $1285* (OR THE SPINET MODEL Louis, Chicago and other cen- vigorous it may be in concept. And accenled. The diminuendo in 4i of great worth. It is now in a hor. O"rade· scales in all major and minoi: keys t~ a fairly fast tempo (say four ters. Early application is neces- there must be plenty of contrast. must drop quickly from the begin· rible state of disrepair. (wd we are .HAMMOND OElGAN The chief problem most students llin~ of the second beat. and 48 wondering whether or not it is worth notes to the count at 120 or better sary. Catalog and admission MuStCS MOST GLORIOUS VOiCE find hl this movement is that of played lightly. fixing. I am enclosing a stop list, on the metronome); also scales in data on request. There should be a long crescendo and comparing it.with the foundation thirds_ sixths and tenths. As a pre- limin~ry to organ study the folIo·w------j from the beginning of 49 to the end stops recom.mended in Rogers' edi~ l-IammotHllnstntment Company I inO" Bach piano works should be I • Degrees: Bachelor of Music, of the movement. Measures 53 and tion of the Stainer "Organ Method," 4210 W. Diversey Ave., ChicaJ{o 39, Illinois I us~d: "Short Preludes and Fugues," \\fithont obligation, please send me information on the I 54 ca JI for a ringing fortissimo. T~ YOlt will /ind very lew sim.ilarities. Bachelor of Music Education; following Hammond Organ models: I "Two and Three Part Inventiolls," I obtain this tone draw tbe bow close How does one go about getting bids CHURCH MODEL, used Master of Music, "The Well Tempered Clavichord." o Spinet l\Iodc1 o Church Model I Master of to the bridge with a concentreterl jor a repair job or buying a new I in some 20,000 churdlc.~. o Horne !\lodel o Concert Model Music Education. pressure. instrument? ll1ho ure reputable firms Organ study may start with the I Stainer "Organ Method," "Exercises I COlleen :\loJcI has 32-note The sludent can retu.rn to tbi; in each line? After looking over the Name .. I AGO pedal keyboard ,llld an correct rhythm. f I Fa I' too a ten one in Pedal Playing," by Schneider_ additional tPeJ:i1 Solo Unit, DAVID R. ROBERTSON, Director Member of the National Associ- Sonata again and again wilh i~' stop list would YOit suggest repair Street.. I hears the first t wo measures per- «Master Studies for Organ," by Carl, tunable to preference by creasing enjoymenl and profit It I' or a new organ? What specificat.ions City...... P.O. Zone ...... State... : the organist. SOk 531, Oberlin, Ohio ation of Schools of Music. formed as if the rhythm were based a masterwork he will find more r~ would you suggest in the moderate and "Eight Short Preludes and IL © 1951, KAMMONo INSTRUMUlT COMPANY 3 I on triplets. as in Example 2, instead 1 *1. o. b. Chicogo. warding as he malUres in rnu~ical price field for a non-liturgical service Fugues," ~y Bach. of on gr~ups of four sixteenths. experience. THE E"D • 52 E1TDE-JIARCH IQ·;J _ __ E_TUDE-MARCfl 195_1 •••••••••••••• 53 .I ~------... Who Knows the Answers? TheJunior Etude (:ontest will be ontitted t1lis month. (Keep score. One hundred is perfect)

1. Which of Wagner's well- 7. Which minor scales do not LETTERS Prize Winners for November Essay: There's both PROFIT known operas did he com- use the fifth finger in right Class A, Mark Cecil Abbott (Age 16), and PLEASURE pose first? (15 points) hand? (10 points) Mississippi in attending 2. Does a guitar have frets? (5 Repliesto letters on this page will be Class B, Grace Miller (Age 13), Dela- forwardedto the writers if sent in care ware points) 01 JUNIOR ETUDE. Class C, No essays received. MINNESOTA 3. What is meant by tutti? (5 *,tJm?rll~ . " . points) Deer ]ullior Etude: Honorable Mention for November SUMMER 4. What is the interval called Ilivein Egypt and I will tell you some- Janelle Abbott, Anita Bassett, Herbert SESSION from C to Fisharp? (10 8. Who wrote "Invitation to the thing about the music in my country. Dardik, Nancy Kay Davitt, Beverly De- Dance"? (10 points] We have many instruments of brass, points) Long, Angela Goodson, Marjorie Howe, 9. How Illany symphonies did stringand woodwind, The first two are JoAnn J arkanicb, Donald Kaufman, 5. What is the interval called used most for accompanying native Brahms compose? (15 points) Roland Barrick Low, Evelyn Long, J an- Edited by Elizabeth A. Gest from e to G·llat? (10 points) dances. Our native music is more or ice Martin, Doris Orebach, Shirley Name five terms used in both 6. From what is the theme given 10. less similar to Bach's and that is why Raffensperger, Arnold Repucci, Roberta music and football. (5 points) we with this quiz taken? (15 we like Bach. We feel understand Ann Rusher, Reba Joyce Salyers, Syd- SPECIAL COURSES IN MUSIC AND his music more. Other composers, as ney Thomas, Georgia Tutweiler, Sue points) MUSIC EDUCA"TION (A"swers 01/ this IlUge) Chopin, Beethoven and Mozart, arc Ann White, Orin Woodman. GETTING ACQUAINTED WITH heardin our concert halls where many of our audience are Europeans 01' June 7'-July 2' and July 30·Sept. 7 Greeks,Recently the Philbunuonlc Or- Deer ]u"ior Etude: Facts come faster on Minnesota's cool, friendly campus. , . where study- chestrafrom Vienna was here. Wc have • Here in Munich at the America INITIAL ENIGMA R-isHossini, who wrote Wil. ing is genuine fun! Here, just 15 minutes from six:sky-blue lakes, you a verygoodconservatory of music here. House there are many concerts which OPERA li am Tell, may select from over 1,500 courses, competently taught by a na- By Alice M. nec.au« I would like to receive letters from are very well attended. Then there is The op'ra where Tell shoots tionally-recognized staff. J -is for Johann, the first name Junior Etude readers. here an opera, an operetta, and at least the arrow so well. From your friend, five symphony orchestras, chamber or- Splendid library and laboratory facilities afford ex:cellent opportunity for by Ethel OslJorne Crider of Bach, Josephine Bishorat, Egypt chestras, quartettes and trios. In the graduate work and research ... right-at-hand vacation pleasures, E-is for Elsa, a real heroine, This master of music was Slimmer I go to a youth orchesu-a in plus stimulating plays, concerts, lectures and social events will make Made famous by Wagner in from Eisenach. • In our school we had u contest for another city where I play Lasso. Also, this a thrilling summer. his Lohengrin. the best music scrap book. My father's nearly every High School has its orches- Write now for Helpful Complete Bullet;n U-una corda , quite softly you'll friend had been saving ETUDE mega- -is for tempo. How fast should lra. Dean of Slimmer Session, 560 Administration Bldg. play, rr lines for twenty years and gave them to 1 would like to receive letters from it go? And use the soft pedal, for me. .Myscrap book, full of ETUDE pic. Americans who love music. I play violin Sometimes it is fast and some- fairly well and 'cello and basso a little. l!IJNIVERSITY OF MINNESOTA that's the right way. lures won first prize. times it is slow. I lake oboe, piano and twirl baton From your friend MINNEAPOLIS 14, MINNESOTA Eliried Westermeier (Age 17) N-is for notes, SJgns for time and would like to hear Irorn a lover of V-is for unison, and it's well music. Cennany and for tone; known Margaret Troth (Age 13) With these we read music, All voices are sinsinz the New York • J am pianist at our church and en- with friends or alone. o 0 joy it very much. 1 sing in our high very same tone. • We have a play each year in which school Clee Club and last year played SHERWOOD MUSIl: Sl:HOOL I-is an opera, II Trovator e D -is for Do. It's the scale's thechildren of our block take part and baritone horn in the band. 1 like pipe Toreador in Bizet's opera, Carmen. or electronic organs and hope to play named; starting place, weusually have a very large crowd to one. 1 would like to hear from others Distinguished since 1895 for the trammg of professional Composer is Verdi, for which No matter which one. in the see it. I would like to have some Junior Etude fans write to me. who like music. he is famed. treble or bass. . musicians. Member of the National Association of Schools IT was on a Saturday afternoon shelf and together they glanced at Carol Newcomer (Age 11), Utah Mona Vivian Bross (Age 15), Virginia of Music. Faculty of renowned American and European that Patty and Beth decided to the titles of the operas, exclaimed O-is for oboe: It's quite hard E-is the name of a bright, ma- organize a music club. Yes, it was over the beautiful pictures and to play; jor key; artists. Degree, diploma, and certificate courses in piano, a sudden idea. They had been finally decided to read the story The orchestra tunes to the Four sharps makes its signa- voice, violin, organ, 'cello, wind rnst i-umcuts, Public S(·lwo] listening to the radio in Patty's of "Carmen," because they liked pitch of its A. ture, F,e,G,D. home when a popular Metropoli- that song so much. They became music, composition. In the heart of cultural Chicago. Liv- tan baritone was announced. He quite excited over the various epi- ing accommodations at moderate cost. sang the "Toreador Song" from sodes of the vivacious Carmen the opera, "Carmen," by Bizet. and the lovely Micaela won thei; Answers to "Who Knows?" They were thrilled by the song and hearts completely. ~UMMER SESSION BEGINS .JTJNE IR I, Rie,nzi; 2, yes; 3, all together, llslla\l\ Wagner; 7. C.sharp. [·flat. F. F·sharp. were soon humming the catching "\V aU ldn 't it be nice if we had refernng to all instruments playing t~. G-sharp_ B-Aat: 8, Carl :\[aria ,'on * * melody, sung by this daring bull· some recordings from the opera," ?ether; 4" augmented fOllrth; 5, dimin- Weber: 9, fOllr; 10. line. quarter, half. For free catlLlog, write Arthur Wildman, lll/l.';;"ul Director. fighter. remarked Patty, "now that we Ished fifth; 6, Overture to Rienzi, by play. rllll, hold. "J didn't know there were 50lW5 know the story?" like that in opera with so mll~h "It ,certaIn. Iy would," agreed melody and swing to them, did Beth. "Why don't we organize a you, Pat?" asked Beth. Music Club? We could buy some most talked·about club jn tOWIl. eras of Gilbert and Sulul'ao- "Sure," exclaimed Patty. "You records with the dues and read So n~any wanted to jojn that the aPinafore," ':lolanthe." etc. Solo see, Miss Corday has been play- about the different operas and hear ~eetJl1gs could no lonaer be held and ensemble number~ were to be Rbythm Band, Clwl·lotte Amalie, St. Thomas, Virgin Islands ing some recordings for us in the the music?" In the girls' homes a~d they fi- presented in costume and there Hlusic class and I like the opera "That's a fine idea, Beth. And it nally had to move to the Biah I:HII:I\GII 5 • I1.I.INIIIS was much fun in preparing for Con'es. Leija Domingo, Erna Smith, 1014 ~O. MII:HIGI\N I\VENUE ones best of all. And she gave me would he lots of fun, too. Let's do Sc~ool gym with Miss Corday Dell' ]uHior Elu.tle: :s the event. Needless to say. it was Claudette James, June Taylor, Eva Dun- a book to read about operas and it. Then we'd almost believe we theIr sponsor. . • Last spring we rendered several se- a great success and everrone de· lections on our Rhythm Band at the lop, LiUian Holder, Ceneva Pcrez, their stories. Would you like to see had seen the operas. And maybe Several months later the club clar~d it was the most enjoyable Communitv Music Week Pro ....ram and Genevieve. Georges, Enllnia Hydman, it ?" some day Miss Corday would take voted to hold an open meetina for Bernard McBean, Givcn :Moolinaar, ST. LOUIS INSTITUTE OF MUSIC mUSical entertainment the '"DUll!!' our nUrl1b~rswere well receiv~d by an "Yes, 1 would," answered Beth. us to the city to see one." the parents and friends. Each audience of hundreds o[ persons. We Carl Potter, Franklin Jackson, Clifford Williom Heyne, Educational Director people had ever attended.' U Pemberton, Edwards Le Bron, Marilyn John Philip Blake, Jr., President "T think that would be interesting. "N oW we are going places!" ex· member was pri vileaed t are sending you our photograph . tl 0 b'TIna .Why not try "Getting Acquainted Auld Williams, Aurea Williams. Allen Vanterpool, Lela Adams, Louise Morris, Bachelor of Music in 23 Fields-Moster 01 Music in 22 Field~ I'd like to read a little after I get claimed Beth with enthusiasm. guests. For that eveninu' t 0 • tl S en er· wIth Opera'· in )'our own group Van Putten, Clarice Potier, Peria Ray- Almeaoa Yearwood, Janet Maxwell, Illy lessons clone." So that is how the Saturday t~mment ~he members voted to Merle Kiture, Janet DeWindt, Ritza Member Notional Association Schools of Music-St. louis S, Mo. and see bow much pleasure it can mond, Santa Aerrana, Deltah Joseph, Patty look the book from the afternoon Music Club became the gIve selectIons from the liaht Theresa Jackson, Jean Lambertis, Delia Smith. • i:'J 01'- give? You wiU be surprised. .5.5 54 ETUDE~MARCH 19.\/ ETUDE-MARCH 19;1 SHALL I TEACH MY STUDENTS POPULAR MUSIC? HOW DO YOU LOOK TO YOUR AUDIENCE? SCHOOLS - COLLEGES (Continued from Page 17) BOSTON (Continued from Page 16) Department ot MUSic EASTMAN SCHOOL OF MUSIC UNIVERSITY KNOX Qaleabulr. Illtnets Thomu W. wruue». Chairman age the children to play ar- out 7th chords and a few 9th chords. control, you grow in repose. We stay still. COLLEGE Catalogue sent upon reQuest. enr",r l d .. of have all found ourselves in the pres- For the sake of your own stage . 5 with these c lor s, maJOIS I do not dwell upon the reason why pegglO . • • I mUJic deportment, take time from listen- CONSEIlV.Q,TOIlY d linors 10 all mversrons. n we place a B-ftat in the "C 7th" .CoflefJe 0/ ence of some stranger of whom »e OF MUSiC n The University of Iluehestar L. E. HIli. Prea. an' f ·1· ing to great artists, to observe them. SHENANDOAH . , they become very auu JaT chord (as the popular pieces call know nothing, yet whom 'we imme- t us wa] Dean Warren S. Freeman Courses leading to the B. Mus. and B. Mus. I our dominant-seventh chord,) but diately judge to be ill at ease by the \Vatch the utterly sure and con- Ed. degrees. Member NASM. In the heart withthe chords.. . HOWARD HANSON, Director Courses in all branches of music way he walks, sits, moves. By care- trolled repose of Heifetz and Horo- of the Shenandorol'ed ror Vets. Annex tor Dhthlren. Wrlle 'S auumented chords here, and Major, which contains a B-Aat. Right K Alvtcne. 1780 n'wav. N. Y. City 19. C~ 0 I • Arthur Fiedler Drawing again from my own train- from them. xplain that many pieces use t ie here we carefully find the chord and discuss it, to avoid all further con- • Francis Findlay mg, I most heartily recommend fenc- CARNEGIE COLLEGE ~)lU5sign to indicate this augmented SUMMER SESSION fusion. • Heinrich Gebhard ing as the best means, perhaps, of The recitalist's stage presence is chord. mastering balance and ease. The OF FINE ARTS Before we take up diminished By this time the child has learned June 25-August 3, 195\ • Karl Gerringer affected by the way he is dressed- ~~S very postures required in the use of in this case 1 should say how she DEPARTMENT OF MUSIC chords, we have more experlmenta- the piece by placing a chord at. the • Roland Hayes I nstru me nto I-solo, the foils assure control. A practical • on we beginning of each measure, and .• Ernest Hutcheson is dressed, for the man's prescribed orchesfrc . Vocal-solo and lion intervals which learn FALL SESSION knowledge of ballet-dancing is also garb admits of few variations. Avoid ensemble. Music education and name. We play intervals from playing the melody in the right hand, • Carl lomson -teaching ond supervising most helpful. We young Shakes pear- being exotic or "'different"-avoid vocal ond instrumental mv- Znds up to lOths. 1 bring up the Now jf he is t.en or more he usually September 24, 1951-June 2, 1952 • Albert Spalding eans were, in addition, put through a sic. Composition-theory wants t.o "swing it." Do not. despair, being anything but yourself. An ond composition for public performonces. Stu. name major third and have them • Stradivarius Quartet rigorous course in old dances-ga- over-loading of jewelry or of shining dents' full symphony crchestrc. Public recitals' learn to recognize the sound. We teacher. For further informati'on address lndivjduo! ond group. Chorus. Tecchers of no: • James R. HOlighton votte, minuet, , etc. sequins and the like tends to glitter • alsolearn how to find it by counting tional and internotional reputotion. G'oduotes • H. AI/gustine Smith in the audience's eyes and becomes with top profenionol records. Coed. Cotalog. up two whole steps. But th,ey reo YOI(. be /lre/wred to "swing it" too. ARTHUR H, LARSON, Secretary-Registrar Music Education Wo,kshop- Bsa physical control is generated distracting. Select good materials of CARNEGIE INSTITUTE OF TECHNOLOGY memberit best when they discover I have found that when the student Box E Pittsburgh 13, Pa. Opera Workshop by one's state of mind. No stage non-disturbing colors, and have them thatit sounds like the do and the mi reaches this stage, he or she is very EASTMAN SCHOOL OF MUSIC -Piano Workshop person ever rids himself completely designed simply and in harmony in their well-known major scale. much aware of a necessary beat. DILLER.QUAILE Finding this, measure by measure, Rochester, New York Year-round ~tudy available through twelve of the feeling of excitement which with your particular personal type. Then we lower it a haH step and School of Music has been a perfect way of teaching week summer program comes from working before an audi- If I were to counsel a young lady discussminor thirds. After t hey are ence. Nor should he! The actor who in the choice of a concert gown, I Teacher Training ond General well grounded on the fact that it rhythm, and even those students who For information, catalogue, illustrated felt absolutely nothing would arouse should suggest her going to a good is a step and a half they have fun gaily play through their classics folder, write Musicianship Courses absolutely nothing. The trick is to dressmaker and asking, "How would findingminor intervals all over the ignoring rhythm suddenly become Donald L. Oliver, Director of Admissions 66 East 80 St. New York 21, N. Y. keep natural excitement from degen- you dress me to suit what I look keyboard. very much aware of the importance BOSTON UNIVERSITY erating into fear. If you know what like?" of the beat. GREENSBORO COLLEGE Room 115-705 Commonwealth Avenue you are about, there is no cause for The great solution for such prob- Diminished chord3 become very A valuable teaching aid? Indeed. Bachelor of Music Degree, Master of Music Degree. Artist Diploma Boston 15, Massachusetts SCHOOL OF MUSIC For the first approach in this fear. No one knows exactly how to lems, of course, is the diligent ac- Greensboro, North Carolina simplefor them now, as they know BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave., Cleveland, O. throw off scaredness-if he did, he'd quisition of good taste-in every- Mamber NASM they consist of a chord built of study of tempo, we discuss the num- Charter Member of the National Association of Schools of Music .Four Yelr counts leading to B.A. Ind B.ll. possess the secret of eternity! -but thing, beginning with food! Here, degree.. h'.cult)· ot Arlin Teichert minor thirds, ber of beats to the measure, and if you can help yourself greatly by too, the kind of training I was lucky Luther L. Gobbel. Pr.tldent. Gustav Nelsen, Dean it is in 4-4 tempo we discuss the Send f()r colfllug... find b'llCh". Of course all this time they have SUMMER MASTER CLASSES sane thought, by control, and most enough to receive was enormously Addre$!: REGISTRAR been playing their cllOsen popular fact that the beats could best be COSMOPOLITAN SCHOOL OF MUSIC of all by experience. Start as early helpful. In England, the young actor played bass-chord bass-chord. I music,the melody in the right hand Preparatory, College, Special, and Graduate Departments. C~urses leading t,o usually start them out by drawing University of Denver as possible to exercise self· discipline. serves years in one of a hundred JAMES MILLIKIN UNIVERSITY and all these wonderful chords in Bachelor of Music. Bachelor of Music Education, Mader of MUSIC, and Teacher s By way of a practical help, just stock or repertory com panies, before SCHOOL OF MUSIC their left hand. Usually we fit but an arrow pointing down for the bass Certificates in Music ond Theatre Arts. Rossetter Cole before yOll walk out to the stage, he dares show himself in London. In DECATUR. ILLINOiS not.e (which should be the same as Clarence Eidam DR. GUY MAIER, editor of Pian· orre" thorouGh tralnhlll" In mu$lc. Courset teed. onechord to a measure if the child Dean stand by an open window and fetch those years, he learns much more illg to de!:"reet of: nlchelo, of Muile. Bachelo, of the name of the chord). and an ar- President Member NASM ist's Poge, "Etude;" eminent piano MUlilc );r!ucltlon. Muter or Music. and MI.ter is young, but the older children Edwin L. Stephen-Mgr., 306 Sauth Wobash. Chicago 4, Illinois a dozen deep, rhythmical, diaphrag- than parts-he learns how to live, of ;\luglC I·:duutlon. row pointing up for the chord; a pedagogue. Class and private in· :Mem be, ofthe ~ aUoDiI Alloclatloo SchoollofMuslc will want to tryout all tbe chords matic breaths, inhaling as much ox- how to eat, how to distinguish be- nul1etln sent utlOnreqUell bass note for the third beat and a struction, July 2 - Aug. 3. W. ST. CLARE MINTURN. Oireetor when there are two or three to a ygen as you can. tween styles, between good and bad measure. Gradually they are learn· chord for the fourth. And explain Special Warluhap July 16-20 ROOSEVELT COLLEGE of CHICAGO And how are these skills going to taste. ing to harmonize their melody and that on the first. beat a hass note Philadelphia Con5ervatory should be played. on t.he second Applied and Theoretical Music, Composition, .Musi- help the young recitalist who is not Admiring the American people as are most excited about it. cology, and Mu~ic Education. Bachelor of MUSIC and of Music Founded J877 beat a ChOl'd, the third beat a bass FLORENCE LAMONT HIN- an actor? By control and econOlnJ' I do, standing in profound respect About this time I usually have Mastel' of MUSIC degrees. MARIA EZEll MAN DIIAXE. Director MAN, outhar of "Slogans for Sing- of gesture, he can make a favorable before their wonderful receptivity, I repercussions from some of the par- note and the fourth a chord. After Bulletin on Request Eminent Faculty ers;" teocher of notionolly known impression the moment he shows feel sorry that similar opportunities marking two or three measures they Chicag'o 5, Illinois Expert Child Troining ents.They call and tell me that they 430 So. Mjchi.~an Ave. ortish. Voice Clinic June 20-Jufy 21. himself. do not exist, on a large scale, for Courses leoding 10 Degrees are so pleased over Mary's or Dick's grasp the idea. Never mark. all the Once you have learned posture 216 S. 20th St. LOcust 7·1877 measures. but rather leave It up to Private instruction June 20-Aug. 22. the young American actor. What a being able to play that hard piece- and walking, come out of the wings splendid thing it would be if each why, they can't even play it them- the child to discover where the beats with a natural, rhythmical step. of the smaller American cities had will fall. This is usually all the as- To CHRISTIANSEN CHORAL selves.And they have noticed a sud· Don't rush on-don't stroll on; both its own repertory company. where SAROYA· ONOfREI STUDIOS den interest in the piano Qn the sistance the child needs, and off he SCHOOL. Intensive course under gait.s betray seH-consciousness. Just routine training could go forward Voice-Repertoire part of the child. So everybody is "'oes on a glorious adventure. High·Rating Holders Df 1951 High School Diplomas direction of f. Melius Christionsen wa.lk. Keep your gestures few and all through the year, and where great ., He is happy. And look what he\has Opera Work5hop happy. Probably the child most of ond his son Pout. June 18-28. simple. There is a simplicity of ugli- from all. Or should I say the teacher. learned. ness. to be sure, but this can be Beginners to finished artists Through the numbering of the Teach popular music? Why not! root.ed out by assiduous practice be- 200 West 58th St., New York 19, N. Y. OPERA WORKSHOP. leI', • Rhythm is both the life ((nd scale it is easy for the child to pick TT-fE END fore the minor. NATIONAL GUILD OF PIANO TEACHERS Make 011 Opera. Britten, directed by soul oj all music. Roger Fee. June 20-July 21. -Heinrich SChUlZ (1585.1672) BALDWIN·WALLACE the following Scholarships are Available: Milke YOrtr bows simply, gra- CONSERVATORYOF MUSIC ciously. Don't gesticulate. Don't be BEREA. OHIO (Iuburb af Clenlanlf) $1000 Rollins College, Winter Park, Florida BAND DIRECTORS' SHORT AmllaLed ...i~h a IIrs~ ellU J.lmral ArU coy or what is called "cute"! If you Colle/l:c. }I'ou, anti life year eclunu leadlnll $ 500 Los Angeles Conservatory, Californio actors and actresses would come for to delreea. Faculty or Artln Teicher •. Send Your Pupil Needs Praise COURSE. Conducted by Or. frank tor calalOIm., Or IllformatlOh to: carry an instrument, don't hold it lectures and discussion! You can't $ 200 Academy of Music of Son Francisco. California Simon, Cincinnoti Conservotory of as if it were a kettle; don't swing it. HAROLD W. BALTZ. Dean. 8eru. Obi. e lavish with your praise when the chil.d deserves .it. Music. July 23-28. give a child his full educational ad. $ 125 ManhaHon School of Music, New York Grasp it firmly yet relaxedly, hold vantages py sending him to school r-WESLEYAN CONSERVATORY- B Chlld.Ten are hlUlgry for praise. But neveL' tell a chlld it still, close to you, and don't do (or his parent) he is doing well jf he isn't. A pupil needs to $ 125 Oklahoma City University, Oklohoma two days a week-you can't train an and SCHOOL .f FINE ARTS • things with it. Avoid fidgeting, be told when he is not working up to hIS capaCIty a~d may $ 100 Chicago M usicol College, Illinois Write fOf summer music bullefin 10: actor on occasional bit parts. Given A Divisian of Wesleyon Col/eqe twitching, or fussing with your hair the chance, the American people can even need a scolding once in a while. !-Ie'll. recogmze then The Lamont School of Music or your clothing. Take the time to ~om8Po-:it~;,n~eg~~'iC~i~7';~\:~~'A~r5tnf~:j~: To join the Guild, write Box 1113. Austin, Texas ?e the most beauty-loving audiences I'l!ember Nattonal Association of Sell_'. of .... the sincerity of your praise and appreclate It. 909 Gront St. Denver 3. Colo. seat yourself com fortably, easily (or III the world. It's the chance that's ~·:...:Jfc.n~·~·~.'nG~r.ea:~.:~."t:~t":._11 to find a natural stance), and then Dor;s O. Jelks. ae ..n -Ethel J. M. COl/rad needed! THE END 4.3-£ CoII~e st ..• acon. Georgia

, 56 57 ~------ETUDE-MARCH 1951 ErUDE-M ARCH 1951 ===----==~~~~II!!!II!!!IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII!!!!!!!!!!!!!!!!!!!!!!!!!!_!!!!!!!!11------.~-~

THE ROCKWELL SCHOOL OF TUNING CL

Pickaninny Dance (Five finger technic) Ketterer _30 110-27892 Phantom Shadows 1I~4ll'. Pedal) COnndl _30 (Passage playing, Staccato vs. Legato) 1\'laury ,70 Organ Grinder, The (Words, Boys, 6/8 time) Stairs _30 110-27952 Foaming Sea (L. H. melody, Rapid tempo) Wnght 110-27787 110-27299 enlli~h Dance (Grace nole Rl h ) t l-en~ 110-27725 Over the Garden Wall (Woltz, ll1elody playing) Thomas .30 110-27863 Frn' B n s. 'yl n, e . 110-27972 Gypsy Lament _,>0 TIlIng litter ies (Dott~d. Phrasing) Brovl"n (Melodic playing, Passage work) ...De Leone 130-41044 Pony Ride, A (Words, 6/8 tim,e, Phrasing) £rb .30 110-40112 _3,> I Happy Clol~'n (6/U lillie, L. H. chord.\"l Rohin.-on 110-26030 Hoe Cake (Rhythmic, Chords) Price 110-27969 Raindrops on t)le Roof (Words, 1/4·.1 /8 1/0If'S) Stairs .30 110-27536 1C _35 110-40045 Red·wjnged Blackbirds I~ ..lk·.~nldmol!ler s Time (Touch. Chords. Pedol) ....Taylor 110-27656 In a Gay Cafe (Dotted 8th notes) Stevens 110-40054 .J Inl I 1!i'18 Ride (Words, Staccato·legato, Pedal) Stairs 110-40058 In Lazy Spring .30 r _35 130-41016 Rolling Hoops (3/4 time, 110-27070 Lil (C.'lt 4,r .3rds and 4ths, Accent. taccalo) Robin50n (Adults, Modern harmony, Pedal, Chords) ....Moore In Quiet Pastures (L. H. passage work) Colema.n .35 Key G, Both hands but little togetherl Stevens .30 110-40510 Ma~1( aters (Modern. Chromali<:. Adull.s) Birc..~ 110-27830 _50 110-27720 Los Dos (Octaves, Rhythm, Tango) Val~eJo 110-27545 Sandman's Near 110-4101S NiJ;,c~fl~d~The (Chords, Phrasing. Pedal) Wagnes5 _30 (Words, Left hand, Legato melody) Ketterer .30 110-27796 Mountain Journey (Expansion 01 hands) Wnght 110-27703 School is Out! (Words, Melody, 6/8 time). Richter _30 o (ArSpel'sios. 3rds a>ld 5ths_ CroS5ing hands) __.._..JGDg 1I0-4D041 Petite Coquette (Staccato chords, 110-41008 n a wan·Fllled Lakt'" _30 110-27469 Skipping (Words, Phrasing, Easy chords) Mosher _30 L. and R. hand legato passages) Shumaker

(A rpe{zlZios. L fl. melod,.) £ _telrn. ETUDE-MARCH 1951 60 ______61 J ETLDE-1l4RCH 19;1 I1111i " that are without orchestras. eral excellent arguments for this also be a part of the entire instru- munlues hi . plan, the best being that strings can mental program, especially at the AN INSTRUMENTAL . hardly the place of t 1S aru- It 15 I tl . f hear themselves better, and training advanced level, where real apprecia- PROGRAM oleto discusSat lengt I ie merits 0 ith the orchestra or the band. We in string tone, fingering, bowing and tion and discrimination should be eller . . the special problems pertaining to fully understood. Radio music and (Continued from Page 23) believethat both are Important In the school prog~am and that both string choir only can be given proper broadcasting should also be drawn the violin class and the cello ck attention. Likewise, wind players on at this level. havetheir place III most schools. The be held separately, and clarinet cl::: make better progress when not Those students who are the real f community the interests and and cornet-trumpet classes are best type0 ' scheduled with students of the leaders in the band and orchestra started as separate groups too. A background of both parent~ and STOP "HEEL HOLES" FOREVER·, '15 the school needs for mstru- strings, since their peculiar problems should also be introduced to the field the junior and senior high levels t pupr , .' d I of chamber music for their instru- SAVE YOUR PRECIOUS RUGS I' ,a mentalmusic orgalliZatlOn, an tne can be given more concentrated ef- oomp ete string orchestra is recom. fort. Breathing, articulation, blend- ments. A string quartet, woodwind with this. beautiful safety mat. A quality product mended, especially if at least two f functionalcharacter of the band, moulded u"!a lovely musical design of rich soft brown . 0 ing of woodwinds and brasses all quintet and brass sextet should cer- I haveall been import~nt factors rn rubber, ':Vh1Chblends with piano finish. Adding beaut eac I Instrument can he present. seem to be solved more rapidly with- tainly be expected as a by-product HIGH and uti ltty to the finest of drawing rooms it is a GOO~ belpingone school decide on orches- Housekeeping MUST, Prevents ugly spots or When at least two violas or two of - any well-developed junior or worn traonly,whereas another school h~s out the presence of strings. With covers them; encourages correct posture-in a word- double- basses are present alone witl senior high school orchestra and TONES IT BELONGS. Sent to any address in the USA for decidedon band only. Yet we still such a plan, full orchestra and full $3.50 cash, check or money order. No cori-s . On violins and violon-cellos, the st~dent~ symphonic hand experience is re- band. Other groups that enable good with confidence CLU~ plan, order five mats, remit $14.00 save "$350 can help each other witIt many proh. believethat with the proper teacher and ease Special offer for agents and music teachers. Due' to served for the advanced group. performers of strings, woodwinds or condl tions the s~pply IS necessarily limited so order and principal, most schools should One" y,u I"arn th" WHY and lems;b whe~eas if only one viola or brasses to have an experience in this HOW 0\ high tones, you aequi," promptly to aVOId disappointment. provideboth band and orchestra. However, many schools feel that th" eonfid"nee n"ed"d to add one ass IS present. he will need riehne.s and quality to your the junior orchestra should not be most intimate form of music should ,"o,ec. Ilr. Fre"rnant"l. interna· V. M. CRU I KSHAN K - SPECIAL TIES "Hi,h Tones and tionally farnou. ,"o'ee t"aehe., Potent much more individual attention than and can be provided by the music g'ves you aU th" eorr"et rule. Dept. 3-D rawer 190, SUNBURY, PA. As is clearly see", it is most im- limited to strings alone, and a taste Ho .... to Sin, Them" for rna.lenny high tone. in Applied for the teacher can ur should be ex. hi. ",actieal book "HIGH of the real orchestra should be teacher who is interested in the by TONES ANIl HOW TO SII"C peered give. and usually he be. portant that the teacher' especially THEM." It'. a find for "v"ry JO activity. It may take a few extra Frederlo sing",-clearly writt"n and easy understand both fields and place offered. There is much easy Litera- to folloW. Order you' copy 10_ comes a problem child who event. Freernantel day for only $3. Lure for this stage and if interest is trips to school at an earlier hour or ually drops out. A class of from equalemphasis on each. Hence, we Found"d 1912 the chief objective, then probably a noon period, or possibly even some twelve to twenty seems ideal for the reiterate that intermediate group FREEMANTEL VOICE INSTITUTE WHERE SHALL I GO TO STUDY? the mixed string-wind combination after-school time, but it is worth it mixed string class. Of course. in forboth band and orchestra should Extension Division is the correct type for that school. to the true music teacher. large classes of all instrument types. be offered at the junior and senior Dept. E·2, Steinwoy Hall, 11] W. 57th St., PRIVATE TEACHERS (New Yo,k CHy) PRIVATE TEACHERS IW"te,,1 In either plan those players who If a student instrumentalist has New York 19, New York. CRYSTAL WATERS the pupils should be carefully se- high school level. Singer ond Teacher show the keenest interest and make had seven or eight years of consistent ••••••••••••• A••••• A.AA. Concert, Opera, Stege, Rodio, T.V. lected and. if progress is to be made In the most mature instrumental HELEN ANDERSON Mony famous students. HAROLD HURLBUT the best progress should be allowed truining in orchestra and/or band, he it will be because the students them: musicdepartments the int rmedlate Concert Pianist Write for circular Singers who hove studied with him include to "sit-In" at extra rehearsals of the should have developed a sufficient 405 East 54th St. New York 22, N. Y. J:'IADINECONNER.- Henry Cordy. selves want to make the next level orchestrais usually a string orches- TRAINING FOR PROFESSIONAL CAREER ond Singers of Metropolitan Opera-Son Fran- advanced group as a special incen- technique to play many of the Tone, Interpretation-Master's Technique cisco, St. Louis and Havana Operas Holly- of uttainrnent , tra and the intermediate band also Sceciot Courses for Teachers wood Bowl-Rodio etc. ' live and reward for their progress. world's great masterpieces of music, MILDAH POLIA The mutter of scheduling pupils. is all wind players. There are sev- and Non-Professionals. Address: Hollywood, Calif. Tel. GL 1056 Many schools follow such a plan for From the standpoint of his cultural 166 W. 72nd s-., N. Y. C. Tel. SC 4-8385 French MenD-Soprano teacher-Lime and available roomsfor Soloist with France's foremost symphonic Or- the big concerts, so that all qualified development, his future education, go nizotions : Poscieloup.-Lomoureux.-O rches- such classes all must have adequate his deeper and more highly defined tre Svmph onique de Paris. JEROME D. ROSEN performer beyond the beginners' Tea.ch~r of voice and French interpretation. attention b fore beginning class work MARY BOXALL BOYD Violin Recltcls-e-Artisfic Violin Instruction stage have a chance to play for the sense of discrimination, he is cer- (Pupil of Leschethky) Assl,t,ng Artists In French Program building. SliCC Founder of "THE FRENCH MUSIC CENTER" Founder "Ancient String Instrument Ensemble" will d. However. until beain- tainly far ahead of the student who Studios public. Pian ist-T each~r~Coach-Progro m Buildi ng 1926 Broadway, NYC. nin~ clas~es are properl)' established Address-Stelnway Hall-Nola Studio5- New. and old French music available, from 6508 Delmar Blvd. 2070 N. Kirkwood Road The third level or advanced group has been in and out of the band or St. Lou-is 12, Mo. Kirkwood. Mo. in a school syslem. the entire instru· 113 W. 57th St., New York City, N. Y. claSSIC to popular. is the organization that is usually orchestra during those same years. Private address: mental mU'=ic prot:!ram will remain 22& West 70th Street, N. Y. 23, N. Y. thought of when we mention the or- Tel. TR 4-5474 or EN 2-6510. "top heavy". This most important EDWIN HUGHES EDNA GUNNAR PETERSON chestra or bam!' This performing However, if a student is exposed first step should be faced squarely SUMMER MASTER CLASSES FOR Concert Pianist-Artist Teacher group should be made up of players to a heterogeneous group composed 229 So. Harvard Blvd. Los Angeles Colif by hoth teachers and administrators PIANISTS AND TEACHERS RICHARD McCLANAHAN DU. 3-2597 .' who have adequate skill and training of all ages and embncing all de- JULY 9-AUGUST " M?tthay exponent, formerly his representative. who want 10 pr(lvide a COTllpleteoff· grees of skill and training, then a 338 West B9th Street, New York, N. Y. Private Lessons, Teochers Courses, Forums- to associate with each other and not Summer closs-Southwest Harbor, Me. erin~ in music. frustrated student wm inevitably reo 801 Steinway Bldg., N.Y.C. be handicapped by a few "unskilled" (Tues. Fri.) Cr. 6-8950, other days, KI. 9-8034 ETHEL HART-CONTRALTO players who spoil every effort of suIt, and a totally distorted opinion Piano.Voice Studio ANNE YAGO McGUFFEY Then· III II If' be an adequate of music can be expected. A student 5305112 E. Beverly Blvd., E. Los Angeles 22. Calif. those who are adequately prepared. CARILlONIC BELLS Teacher of Voice "feeder system·' 10 provide for Un. 1-3001 Un. '·5360 Such a performance group, whether who has experienced the complete 1908 N Street. Northwest CECILE JAHIEL pruper balance or instrumenls. and program of instrumental music will Washington, D.C. District 4079 Concert Pianist-Composer in elementary, junior high or senior £ike the {,eckol1il1~ "i 1st prize of the Paris Conservotory the rel>lacemcnts thai are called for high, can be one of the most im- have robust strength of individual Former pupil of Cortot and Ravel ISABEL HUTCHESON with each gradual ion. Tn the elemen· Masler classes for concert pianists. )) portant school organizations for performance, since he has not been a ~el1tLe 6pirit (FRANK) (ERNESTOJ Teacher far Piano Teachers Private les50ns. Modern Pi':lI1a.Technic; Group Work; Coaching tary level. if violin!:1 and cellos are forced and driven along the way, 18 East 78th Street New York City, N. Y. creating fine school-community re· LA FORGE-BERUMEN STUDIOS ~~r~~~t P,arusts. Conducting Piana Teachers started Iwo or three semesters in In most neighborhoods there REgent 7-7030 or RHinelander 4-1589 lations. In this connection a com- but has had a natural, normal de- are many good people who need Voice-Pian a Studio 202, IOD511z Elm St., Dallas Texas- advance of the clarinets and comets, velopment, much as the language I\mong those w~o have studied with Mr. La Ph. B.A. 6214 ' plete instrumental offering should be a special reminding, a friendly Forge are: Marlon Anderson, Lawrence Tib· all wiJl arri\"e in the intermediate student who followed Spanish I with persuasion that reaches into bett. Richard Crooks, and Mme. Malzenauer. of the utmost importance. However, CHARLES LAGOURGUE 0.1. U or advanced group!=- with a more Spanish II, then III and IV. their hearts and brings them to 1100 Park Ave .• Corner 89th St., New York the advanced group should exist for church. "Carillonic Bells," send~ Tel. Atwater 9-7470 . VOICE PRODUCTION-SINGING equalized technique. After a teacher A healthy, normal attitude toward Sight· Reading, Musical Theory, Composition. EVANGELINE LEHMAN )} other reasons too. One of the chief ing their inspiring message, 35 W. 57th St., New York TEACHER OF SINGING has had ~ome experience with the good music can always be expected provide exactly that persuasion. Lagourgue's COMPLETE TREATISE objectives should be that of develop· EDWARD E, TREUMANN Opera-Operetta-Oratorio-Concert scheduling of beginning classe5 he from one who has experienced basic And the people who respond ON TRANSPOSITION ing varioo repertoire. Concert Pianist-Arfist-Teacher is available at Theodore Presser Co. 167 Elmhurst Av., Detroit 3, Mich. To. 5.8413 will find the plan th8t best suits the fundamentals all through his train- come to the church whose Recommended by Emil Von Sauer Mortiz MOH- All types of music lit.erature should "voice" speaks to them. kowski and Joseph Hofmann. ' needs of his school. ing career, and has not been "in" Studio, Carnegie Hall, Suite 837. 57th St. at be played and all periods of music Any church can afford 7th Ave., New York City Tel. Columbus 5-4357 MME. GIOVANNA VIOLA IHULL' DR. FRANCIS L. YORK When this beginning stage ha' history should be represented if boys and "out" due to program difficulties "Carillonic Bells" -8 tower Dramatic Soprano I or advisor's or parent's counseling. isn't required. This electronic Teacher of Singing-"Bel Canto" been .!'uccessflllly passed. there and girls are to gain a true perspec- Advanced.Piana Interpretation and th Th ry carillon, made only by Schul- Experienced European trained Artist wo;/ Mequ,red by the degrees of Mus~ Boecoh should be an eagerne5::i to pur5ue tive of music. Listening to fine re- Proper musical training calls ior ALMA FAUST B.S. Music Education Coaching Opera, Concert and Radio on us. Mos. :>peClaJ L.nop'n interpretatio~' merich is remarkable for its Piono Teacher steady application on the part of Correct voice production, defective singing DETROIT CONSERVATORY OF MUSIC • the silidy fllrlher in the intermediate cordings of the music studied should beauty of tone and crystal Learn to Teoch or Ploy for Pleasure corrected. the student and consistent exposure Summer Course: July 5-August 2 Beginners accepfed Oetroit, Mich. grot! p8. ] f a school offers both or· clarity. More than 1,500 tower 600 West Illth. (Corner Broadwoy) Phone: TrClfal~ar 7-8230 Mon., Tues .. Wed .. Thurs chestra and band. tJle junior orches- to the effects of good music. This installations attest its su~ New York 25. N.Y. MO 2-6772 608 West End Ave. New York City periority. Write for descriptive tra and the junior band will be tbe is not to say that music should he SAN FRANCISCO CONSERVA_ literature. next leyeL the only subject in the curriculum. It WM. FICHANDLER FRANK WILLGOOSE TORY OF MUSIC, INC. If an elementary band i~ aho til is quite as bad to have only music PIANO, THEORY AND ENSEMBLE PLAYING 3435 Sacramento Street as to have too little. All good music Piano Instruction Bachelor of Music De re Walnut 1-3496 be offered. many of the problems eariLLcmic 314 West 75th St., New York City. SU 7-3775 teachers know that music must be Compositions by Wm. Fichandler Especially directed to on effective musical ap- Artists Diploma g e p :;'pero Deportment of the wind pla)·er~ can be handled SCHULMERICH ELECTRONICS. INC. published by G. Schirmer A e ogogy Certificate given in proper balance with other proach to the very young. pproved for veterans that might be o'erlooked when 2B2Bl Carillon Hill Children's Saturday morning CI essentials for good living, but our Many years of success in this field. asses. 8trinl!'= are pre5ent. 1£ only elemen· plea is to give instrumental music SELLERSVILLE, PA. "PIANO SIGHTREADING CAN BE Teachers are invited for consultation, either tary hand is offered. there j" lillIe TAUGHT" by IDA ELKAN personally or by moil, regarding child student a real chance to grow and develop "Curil/onic Bells" is a trade- World famous originator of "Ear Training problems. ALBANESE probability thal orche5tras will eyer mark. Tt denotes electronic Sightreadin!=j Piano Method." ' Piano by offering a complete program for carillolls produced by Schul- Address:-29 Prime Avenue Mus. D. be started in Iligher le,-els. sincet~e Carnegie Hall Dial all students who choose this field. merid, Electronics, Inc. Studio 301, 7th Ave. & 56th Street. N. Y. C. 19. Huntington, long Island. N. Y. Dunkirk 2-7845 winds progre~'= more rapidly. '}111: Los Angeles THE END bOO So. New Hampshire is es.senLially what has happened so often recentJy in man)' small corD'

62 ETUDE-MARCH 1951 ~------~ £TUD£-.l/4RCH 19j/ ------~ CORRECT BREATHING FOR SINGERS

(Conti,wed from Page 22)

yortant thing in studying breathing vocal sound is the result of a vibra- if h~ sings mentally all the time, the ·A" ch.oll" through empathy will do every. ," IS not to worry about how we breathe tion created by the appI·oximation of but why we breathe. Breathing the vocal cords. This approximation dung tha~ he does. It is impossible i:: for a choir to breathe incorrectly if ii should give LISself-control, it should of the cords creates an obstacle that ~;F' . i:.' the conductor is right himself. This e- , Wonderful New give us poise, it should give us the keeps the air from escaping, and in ~:.~ ability to project the interpretative turn with the diaphragm builds air means also that correct posture InUSl ", ,. Music WORK-MASTER compression that causes the vocal be a constant rule, both in perform. c s e , moods to the listeners. o. F' ance and in rehearsals. One almoSl A_C' DoesTheseChoreslikeMogill After mood, breath and pace comes cords to vibrate. [ - ~' feels when he attends the rehearsals 1. Transposes directly attack, and here again we have a Breatli ecntrot during correct of a church choir that the singer~ 2. Names intervals lot of fads and fancies reaardiua singing means that the rate of ex- are defying the Lord. They seem t~ hI", a) all majar 3rds, etc. so-called breath-control. In ~eadin~ "1' I 0 ", penditure of breath is controlled by say: . give 0 my presence, that is fOR TEACHERS, PROFESSIONALS OR RECREATIONAL PURPO~ES ••••••• c" , b) all intervals in any key the different books on singing by vocal authorities, one would almost the larynx while the diaphragm enough. Don't expect me to use m R(," hI 3. Gives key signatures ACROSS ., instant, accurate. You'll marvel thus feed air to the vocal cords. Too activity around the waist then in·. and authors and have been carefully chosen by our Music Editors. m;,J presence." The result is always m;nl""" often we accept a detail of a whole creases because of creating this air p~r4 at its effortless problem solving. When ordering ... be sure to write catalog number to facilitate prompt-correct delivery . compression. The singer feels that boring to the performer and to the PRfl". and forget the whole. The whole $2••• worshipper. 'Nr[RVAl·MJ.J~... SEND ONLY fULL PRICE is that any individual can only think his stomach and upper abdomen are Our New ul,-lo-date catalogs are now available to you-FREE. Just check which catalog will ARROW ".,."MAil Co,h, Check or C.O.D. of one thing at a time. When the being pulled in toward the spine. The be of service to you ... 'I'hemarlca of New Piano Music, Guide to Choral Music, Thematies of '"II Full Money-Bock G"o,emfee "I' artist sings, the only thought he can entire upper chest wall is firm and Singers when they sing must have ....'°12 31 New Songs, plus Special Listings by Mood, Range, Key, etc. "0 have is to so control the amplitude, on the high side. When the phrase both feet squarely on the floor, sit ." UNIVERSAL MUSIC FEATURES erectly on the chair with a Ieelina 1 Monlgomery 51., San frands(o, Calif. softness and loudness of the tone so is finished the individual needs to that beautiful phrasing is the result. replenish quickly the entire supply of almost lifting their bodies off MARCH 1951 If he thinks about breath and about of oxygen. This will immediately be the chair. This automatically brin"s about correct breathing, and with air breath control he must then believe taken care of through the air pres- SeculaY that breath can be controlled and sure outside the body. If the singer compr~ssion used while singing, the PIANO SOLOS this we know is not true. Again learns to open the throat quickly, result IS always a beautiful tone in. 332-40075 The Uttle Dustman may I repeat, the only conscious the air pressure will immediately spiring if th conductor or si~ger Grade 1 Brahms-lipscomb $ .15 control a singer can have is that of equalize the pressure inside and knows how to phrase artistically. 130-41071 A Little Prelude (SSAA, Medium difficulty, easy rangel the softness and loudness of the outside the body. The singer then THE END Margaret Wig ham $.30 tone pattern that makes up the goes on to the next phrase. 332-40051 They Die Not. . Alfred Whithead .16 (Single notes, Phrasing, Independence of fin- phrase. The voice is not the vibra- The conductor of choirs must also I SATB, Dramatic, Effective ccc., Medium grade tions that move on a stream of accept his full responsibility for the gers) of difficultyJ good or bad breathing of his choir. air, the voice is not even sound Grade I'/' 312-40051 Today I Saw A Storm ..~ made by the splitting of an air In reality if the conductor has cor- Kenneth E. Runkel .16 0 wi (,) stream, as the tone of a flute. The rect posture and breathes correctly, ADVENTURES 130-41050 A Melody of Long Ago =z-= .... (SATB, S solo; Brilliant, Good concert number: ~~ cE .!! John Verrall .30 OF A PIANO TEACHER Brilliant ccc. but not difficult to play) m"o " • (Single note melody, legato, Easy chords, ~O-a l- ), Modern, Phrasing) ... z (Contiuued from Page 26) G ~ E w '"w BAND J ; a Cl --' DON'T FORCE THE ISSUE Grade 2 > 0 • :::> "'._ E I- '"0 through this slow, rhythmic practice he likes, and why. '" . 135-41014 Q~:OI That's what "J)laring" the piano Extra Parts . .50 c •• 00 t.hat he will ever learn to relax. He Z = "ii.= means. Let's have more of it! Grade 3 Condensed Score. . . 1.00 «'~E; should tisten, especially to his left Rem.em.ber that what he likes is " .. 0 C hand, Since most people are natu· 110-40150 Valse Melodique ... Ella Ketterer .30 D:: " U Ql what matters. Above all cre' 1 . o c-a ... rally right.handed, they neglect the f I ' '" lllll to TORRID RETORT (Chords, Arpeggios, Phrasing, Pedal J C c : ~e t.~lat he is playing because he BOOKS >- 0 Ql ... left hand in practicing t.he piano. likes It, and not to show off Otl ' U " • i "'I-It:,;.., 1 TOLD (lne of those smart .60 w",-. - ~ ... Actually, this hand needs /nore de- 'U fl' . lel~ Grade 5 Piano Partners. Molly Donaldson ::!!:"'D Ql "'" WI . atter him, which may be fatal }'oung lads who mOle 10 the piano 410-41017 - D-a E .. velopment and practice at the piano o ;.!! c a ~ .s 'Q "".... t~ Ius pr~gl'ess. Or they may criticize class that I had jusl been writing 130-41072 Little Suite ..... Vladimer Padwa .60 .... UA.DZ (; .. Second Music Fun Book .. ~ than the right hand does. since it lurn unkmdly or ianorantl I ' I 11. Toccolo, 2. lulloby, 3, Polka, 4. Borce- 410-41018 . . '" y. W1ICl some items for ET DE. in spite of Virginia Montgomery .60 ... is almost always the more ~aladroit IS Just as bad. Or they I rolle, 5. Marching Song l . may }e "'0 having a temperalure of 101 degr~. of the two. A good left-hand, inci- II t Excellent recital, All types of technic, Not se -satlsfied· in their tas t es a:- -to he quipped. UHot Huff. eh?" 410-41016 Themes From the Great Ballets dentally, relieves the strain on the rna ke Iurn foruet that 11 ' I' too difficult I '] '" e IS 11<; own Henry levine .75 right, in aU maUers of right-hand muslca medium. ~ TIlt; E~D technique. In a person of musl'ca] , Prices subject to change without notice. attalll- m~~ts, .great or small, genuine hu- CHORAL Sometimes the right hand knows ImlIty IS such an admirabl I' what to do but can't do it because although a very rar e qua Ity. Sacred I . e one. 1t come'" ILLUSTRATION CREDITS: the muscular strain on that hand is am convillced only as ]" too great. Nine times out of ten~ the d h' a resu t of IS-Harald M. Lambert 332-40065 God Is love rugge onesty with one's self _ I H. Alexander Matthews .12 explanation is that the right hand is ~nowledge that a job well.d . tIe 19-Walter M. Faust carrying too big a load, because Its own reward. one IS (SATBor 6 parts or SSAATIBB,Nol difficullas left·hand pract.ice on that particular Sincerely YOurs. 20. 2 I-Paul Senn,BladeStar parts are in easy range) passage has been neglected. Knom'es

~_~1Il-._64 _ ETCDf:-JJ.4RCH /9j/

'.. ·I ... ~" Organ Musie. or Your faster 5°1195

How the Lowrey ORGANa Works UNBELIEVABLE? YES, until you actually play this Amazing Electronic Piano-Organ

!dany users call the new Lowrey ORGANO "The afford in your home or church or Sunday School- ~lfacle of MU.SIC! "-aud here's why this electronic listen to the Lowrey ORGANO. Send coupon for free plano-organ brings SO much satisfaction to so many demonstration before Easter. people: The versatile tone combinations of the ORGANO are rich-full-beautiful. .There's a new kind of music possible only ~lth the ORGAND-the intriguing combine- LOVVREV Long wearing nylon pins-about as uon of organ and piano. big around as a match stick-rest with T~e ORGANO. conserves space--and you a featherweight touch at the back of don t have to sacrifice your piano. 60 piano keys. When a key is depressed The Lowrey ORGANO with all these edvan- -the pin operates an electric switch tage~ costs MUCH LESS than any other elec- tromc organ. so that a series of specially harnessed o electronic tubes produce the Unbelievable~-Yes, you'll never realize its full beauty until you actually hear it. If you ORGANO's beautiful music. CHICAGO Vibrato and tone selector tabs on love fine organ music - that you can easily the control panel centered below the keyboard provide many interesting musical variations. The ORGANO can be installed in a matter of minutes-does not mar fin. GET COMPLETE INFORMATION LOWREY ORGAN DIVISION ish. It can be quickly removed, and is in this new ORGANO booklet. easily portable. Fits any standard piano. U8~ handy coupon on page 64. Central Commercial Industries, Inc. I ThIS saves your Etude cover. 332 S. Michigan Ave., Chicago 4, Ill. -