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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
3-1-1934 Volume 52, Number 03 (March 1934) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 52, Number 03 (March 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/820
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]. NOTE THE ETUDE MARCH 1934. Page 139 GRAND OPERA IN CANTATA FORM EaiiDijiQii QSi os NINE Tieachir’sCirtificate PLAYS Do you feel that if you were given the Opportunity you could accomplish more in Music—qualify for the bigger and better opportunities that are ready and waiting just as soon as you are BY qualified to grasp them ? Your musical knowledge—your position and income today EUGENE —are the result of the training you have given your natural ability. Additional training will open up new fields, new oppor¬ tunities, greater income and higher standing in the musical O'NEILL world. You can get this invaluable training right in your own home, CHORAL FANTASIAS without any interference with your regular work, and at but a fraction of the cost in time and money otherwise necessary. The for Extension Method of Musical Training developed and perfected by the University Extension Conservatory—whether for be¬ FREE- FOR YOUR LIBRARY ginners or advanced musicians—is not an experiment, not a .iS5n Mixed Voices makeshift, but has stood the test of a quarter of a century’s unqualified success. -to those who join the Book-of-the- Require no costumes or scenery. Thousands of professional musicians, teachers and artists Month Club at this time .. • if costs Time of performance about fifteen minutes. throughout the world owe their success wholly to the authori¬ aoassspass 1 tative methods and the painstaking guidance of the master nothing to belong and you do not Withinu thetuv/ ran^e1 nfU'1 crhnnlouiiuui rlmmeuiiorus xm.'/vot,voices. teachers of the University Extension Conservatory, and gladly testify to that fact. have to take a book every month m Difficult passages slightly modified without detracting from effec¬ tiveness of the music. Let This Great Conservatory Open the Way for You ggg WE suggest_ simply that.. .#you send the coupon, below and gget full ....- Whether you are a professional musician, a teacher, or just a beginner, this information as to what the Book-of-the-MBook-of-the-Month Club does . great Musical Organization will open the way to the sure attainment of your tallr^n"„basis of perparts month oreac fraction,h chora ' thereof.fantas,a availabIe on a musical ambitions. You will find the small cost of our training to be in no for book-readers. For instance, are you aware that as a member, $5.00 sense an expense, but a real investment that will pay you big dividends in you are not obliged to take the specific book-of-the-month chosen satisfaction, in culture, in standing and in real money. Your satisfaction is by the judges? You may buy it or not, as you please, after reading BIZET—Carmen .. GUARANTEED. .50 SULLIVAN—Pinafore. .50 the judges’ pre-publication report about it. Nor do you have to GOUNOD—Faust . WAGNER—Lohengrin .. Judge for Yourself pay any fixed sum. You simply pay the regular retail price for such .50 VERDI—Trovatore.50 WAGNER—Tannhauser . We want you to know how interesting, how valuable, the training of the books as you decide to buy. What then is the University Extension Conservatory will be to you. We want you to be the advantage of joining? judge—without any risk or obligation whatever on your part. Return the Coupon and we will send you a number of sample lessons in There are many: first, book-dividends; for any one of the courses in which you are interested, for your examination— every dollar its members spend on books they CONTENTS ABSOLUTELY FREE. receive back on the average over 50% in the These Sample Assignments will prove to you why University Extension form of free books. Second, without a penny SECULAR CHORUSES FOR COMMENCEMENT Conservatory training in Music has gained and held such a high place in the Musical World, and has meant so much in recognition and real money of expense, through the reports of the judges you are kept completely informed about all Messaoe ..(Oct. No. 18,198—10c) to so many thousands of- ambitious musicians. "F Home ..(Oct. No. •'.. MIXED (S. A. T. B.) the important new books, so that you can UiienloMHl A-Hunting WE Will Go Just check the course in which you are most interested. Sample lessons lVIiltche«*£—PnmamT 7.. .‘.W'SS Z. iiSgZJSJ n'eURSERY Rhyme Suite (OcJ‘ No' ji will be sent to you, with full information of all our Courses and our re¬ choose among them with discrimination, in¬ KnXfe Butterfly TE: ((Sct. No. &£ STRANGE INTERLUDE »er*he”—‘b"uIServRY 5byme Suite. (Oct- No. loilotllc) markable and exclusive method of teaching. 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Etude Readers & Advertise; THE ETUDE MUSIC MAGAZINE THE ETUDE HI Founded by Theodore Presser, 1883 The Etude “Music for Everybody” Music Magazine zJACusic (^Magazine THEODORE PRESSED Copyright, 1BSL 6y Theodore Presser Co. for V. S. A. and Great Britain re PhilMphu,,Pa. A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT AND ALL MUSIC LOVERS Entered as second-class matter t._ 1884, at the P. O at PhiL Jpnarj der the Act of March 3, 1879. c’™' VOLUME LII, NO. 3 MARCH X JAMES FRANCIS COOKE , 7,2. , 7,4 ch^°n?t STR^T.^mLADELPHIA, PA. EDWARD^TlSWOOTHHIPSHER EDITORIAL AND ADVISORY STAFF U 7 jy TA_ 1-- CnnlrA. P/I Subscription Price Clarence G. Hamilton Jacob Kwalwasser F. Sherman Cooke George L. Lindsay Ar&U^i^BLI CdombttS Louis Woodson CurtU Joseph E. Maddy Dr. Hollis E. Dann RussellBussell Van DykeJLJyice Morganivi liCaS^lrDZ^,:2iaReP^“7 THE WORLD OF MUSIC William Arms Fisher WilliamVilli,™ S. NortenhfNortenheim ragua, Paraguay, Republic of Dr. Henry S. Fry D. Victor I,. F. Rebn Spam, Peru and Uruguay. Canada 12K Karl W. Gehrkens Peter Hughlugh Reed pe^ year. AU other countries, $3.00 pe! INVEST YOUR MUSIC MONEY WISELY Elizabeth??!? ienry S. Sawyer Interesting and Important Items Cleaned in a Constant Watch on WHY IS the Bible the cheapest book in the Hope E. Stoddard Single copy, Price 25 cents. you^purehase the^complete works^ Frederick W. Wodell Happenings and Activities Pertaining to Things Musical Everywhere Etob Roy Peery, Music Critic Couperin Onegin Will tn M. si ton, Editor of Music Section of The Etude Remittances nittances should be made by money bank check, registered lette” 2 THE BICENTENARY of the death of THE CORRESPONDENCE OF WAG¬ MME. HELENA PADEREWSKI, wife of MME. SIGRID ONEGIN achieved a ver¬ Postage ,sta®Pa Mone, CONTENTS m lettersletters is a risk "the*tkp - sender™.3. Francois Couperin-Ie-Grand was celebrated NER with Hermann Levi, who in 1882 con¬ the eminent pianist, Ignace Jan Paderewski, itable triumph when, on December 17th, she World of Music . 1 early in December, in connection with the ducted the first performances of “Parsifal” passed away on January 16th, at their villa appeared in the Artist Series of the Philadel¬ Etude Historical Musical Portrait Series. 1 Renewals traditional fete of Saint Cecilia in the historic at Bayreuth, has been acquired by the Library at Morges, Switzerland. She was born Helena phia Music Teachers Association, at the Acad¬ Editorials . 1 Church of St. Eustace of Paris. A program of Munich. Gorski, Baroness Von Rosen of the Russian emy of Music. A rare voice “of tremendous Student Hardships that Lead to Success.E. Retliberg 1 upt is sent for renewals since the Nobility. During the World War she did Studying the Pianissimo .O. Ohlinger 1 'rapper shows the date to which of works of the master was given with Joseph range, power and brilliancy, equal in all regis¬ Musical Courtesy .W. L. Clark 1 Bonnet at the remodeled organ and with the THE SALZBURG FESTIVAL will be notable service in relief work, both for the ters," which she handled with the ease and The Composer’s Workshop .R. Pitcher 1 Manuscripts music pouring from the very pipes and stops lengthened this coming summer by three ad¬ wounded soldiery and for the needy civilians. THAT’S WHY WE SAY “PLEASE ASK FOR certainty of a coloratura soprano,” but served CENTURY EDITION.” YOU WILL GET A NEW An Irish Quartet .B. Logan 1 ould be addressed to Tils for which it had been written during the mas¬ ditional days—beginning July 28th and end¬ as a medium for the great soul of a wonder¬ CONCEPTION OF YOUR MONEY’S WORTH. On Choosing a Musical Career .A. Patterson 1; SCXte THE SUPERVISORS NATIONAL CON¬ Music and Dance Ritual in Ceylon .L. Strickland 1 ter’s long incumbency there. ing September 2nd. Opera conductors will ful woman and mother, as the master songs Century piano solos, 15^ «o. include Clemens Krauss, Richard Strauss and FERENCE will hold its Biennial Convention Pride of Personal Performance.H. E. French li sible care is taken but the publishers a°e of Schubert, Brahms, and Verdi, as well as Musical Pepper Box . li Bruno Walter, with “The Marriage of Fi¬ from April 8th to 13th, in Chicago. There the simpler folk songs, won ovation after ova- not responsible for manuscripts or photo¬ TCHAIKOWSXY has been honored at will be an International Ensemble Competi¬ Records and Radio.P. H. Reed, li graphs either while in their possession or Moscow, by a month of concerts of the Phil¬ garo,” “Cosi Fan Tutte,” “Don Giovanni,” At^the*County^;air,CM Berlin, Weltstadt of Music, Part II.J. F. Cooke li “Fidelio,” “Tristan and Isolde,” “Oberon,” tion for high school quartets and quintets of Helps to Better Sight Playing .R. E. French li harmonic Orchestra devoted almost entirely string, woodwind and brass instruments, and The Cincinnati Symphony Orchestra.F. Leonard li Advertisements to the works of this foremost of Russian and “Rosenkavalier” in the repertoire. Or¬ PHONOGRAPH DISCS of porcelain are The Slighted Finger .c. W. Grimm li chestral concerts will be led by Arturo Tos¬ the National finals in the High School Solo st reach composers. For some years almost banned Singing Contests. Among the subjects to be reported to be about to be issued by a Jap¬ Teach All Keys in Early Grades .F. A. Williams li not later than 15th of t from his native country by the Organization canini, Vittorio Gui, Willem Mengelberg, anese firm. Recordings are said to be un¬ The Piano Accordion Band .c. Longyear 11 month preceding Richard Strauss, and Bruno Walter. discussed are: “Instrumental Classes,” “Class Conducting a Studio Piano Contest .K. Wallace 11 of Proletarian' Musicians, his compositions Piano Teaching,” “College and University usually clear upon these discs; and, to balance Four Times Twenty Musical Years .p. Goetschius If are again welcomed by decree of the Com¬ their greater breakability than the usual vul¬ Fantasie Impromptu, cffm—8.Chopin Band and Orchestra Department. y j Grabel Is Music,” “Teacher Training,” “Radio in Music Flier Elite. Am—3.Beet Horen munist Party, encouraging “a broad and EIDE NORENO, brilliant coloratura so¬ canite, they will last practically forever. Grand Marche do Concert, D|,-5 . Woll’haupt That Interesting Woodwind Section of the Band. .,>. J. Gagnier 1£ Education,” “Small Vocal Ensembles” and Grande Polka de Concert, Oh-5-6. .Bartlett lviusic JiiXtension Course . j Thom nan™ ii generous utilization of all the rich musical prano of the Metropolitan and Chicago opera both vocal and instrumental music in the Hark, the Lark, Tr., D|i-6. • Schubert-Liszt Teachers' Round Table . ' "c‘ G Hamilton If Do you take advantage of the many heritage left us by the masters of all na- companies, received from the King of Norway high schools and the grades. TOSCANINI opened the season of the Straram Orchestra of Paris, with a concert at Problem of Baby Violinist .. . ' ' %' HB€rnhon If excellent merchandising opportunities the decoration of the Order of Chevalier of St. ■3-D- .“4 u Olaf, when she sang on December 7th, in A UNIQUE PROGRAM was presented at the Theatre des Champs-Elysees, for which which ETUDE Advertising Columns Oslo, after an absence of seven years. The Dallas, Texas, on November 9th, when can¬ the Franco-Italian program gave a perspec¬ ;0£ !! '. 'g./enley 11 offer you ? entire royal family were in attendance and vases of Frank Reaugh, well known as a tive of some of the outstanding masters of the Thomas Beecham as artistic director. This, there was wild enthusiasm. painter of Texas cattle, were exhibited, with two countries, mostly of the moderns. LaJpBe^/m'd E^Hsh’ ft*,' G—LBmHh c!S'f^in8e,"s Mouth.ii .*-—-—8* Notation of Pedal Footing . ..n "s"ri " ■' one of the historic shrines of the musical each accompanied by cowboy songs and other Making the Most of a Small Organ 7.7..TV g cramfn?d in world, has been saved from the lately threat¬ YEHUDI MENUHIN is reported to have compositions of David Guion. THE BAYREUTH FESTIVAL is to re¬ ceive an annual subsidy of one hundred MarYt Pefwa'S!tQ-Si7.2'M«k Famous Hymns of the Saints Bernard . . 6 F Malt i ened demolition and will be thoroughly ren¬ drawn four thousand to the Salle Pleyel of Mazurka,^., 4 . .Godard Organ and Choir Questions Answered. S' H PROFESSIONAL ovated, with new lighting and scenery, the Paris for his December recital. Included in MUSSOLINI’S OPERA PLANS promise a thousand marks (about twenty-five thousand Violinist's °6." .7.7*; i£k|nS latter especially for the “Nibelungen Ring.” the program was the seldom heard “Concerto solution of the bringing of this art within the dollars) from the German Government, if re¬ Old Mosst.CoveredHChurch,1An, C-l!ilopklnj DIRECTORY in D major” of Paganini, in which he is said reach of the humblest of Italian citizens. This ports be true. This is to be brought about tsy. fc—I The American ‘lloax 'S'0,° W to have “delighted the customers (?) with will be accomplished by the building of great through the new Richard Wagner Protective ^35 Pizzicato Polkaj C—3.'.. SUZANNE FISCHER is a young American Law, which also would secure “Parsifal” for Violin Questions Answered ..S'1}E'BFr9w soprano who has been making something of brilliant, sure scales, double stopping, octaves, amphitheaters, with special attention to acous¬ tenths, chords, trills, flying staccati and left- tics, which will make possible the jiroduction exclusive production at the Festspielhaus. 1?! Russian i8onIaZ()ka 31—^.Heins Recital, the Choir of Birds..i' S' £™me a stir in musical Berlin, by her interpretations Playing Both Hands Together B°nner 19 of the Cio-Cio-San of Puccini’s “Madame hand pizzicati,” all done superlatively. of opera at low prices of admission. The 13 ISlt!? PMih^'h^^ • • • • TjSSSjf Value of Easy Pieces 6 .Lli' I' Career 19 kS-?• first of these will be constructed in Rome, A BEACH PROGRAM was given on De¬ 13; : |cal'es^nde Cjh’ords, 2 ..' .'.' .' .' .'^° -RECENTLY ISSUED PIANO TEACHING WORKS WITH HIGH MERITS- Eight Hours At Our House For Adult Beginners pu?lF,sAhLeLrs FIRST AND Thele Story o GRADE PIECES Nanynka An Outstanding Time-Tested Folio of Piano Music ★ ★ ★ Lessons in Musical Dictation 75 MODERN COMPOSITIONS 29 OPERATIC COMPOSITIONS 25 SACRED COMPOSITIONS 38 LIGHT COMPOSITIONS The Qreatest March 53 CLASSIC COMPOSITIONS In American History THE STARS AND STRIPES FOREVER By John Philip Sousa Every Boy and Girl Wants to Play It! "ptEODORE pRESSER (o. 1712-1714 The Music Mart CHESTNUT STREET of the World. PHILADELPHIA, PA. aii r ■ ■ TIONS OF THE JOHN CHURCH ?oEuHrv,:,i'ARTE"sF J tub mm Page 1U MARCH MSI, The Etude Historical Musical Portrait Series An Alphabetical Serial Collection of THE WORLD'S BEST KNOWN MUSICIANS >is series will be continued alphabetically until the entire Jl'evbr hitherto0bee^issuer THE PRINCETON HIGH SCHOOL BAND This band, of Princeton, Wisconsin, is conducted by Edgar H. Zobel. It represents over one-third of the total enrollment of the high school and grades of the local schools. r(3ubas and tidbits sIF anyone thinks that the editor is scoffing in this editorial, knife.” “For car sickness—chew dried beef.” “Ammonia bleaches W please think something very different. It is all about “The yellow flannels.” Could anything be more practical? These are ' Band Mother’s Cook Book” published by the Band Mother’s mothers who know what to do when there is something to be done. Club of Princeton, Wisconsin, which is sponsor for the Princeton They are post-graduates of the University of Life. High School and Junior Bands of that city. We can readily under¬ Then we come to the cook book proper. After mentioning some stand how certain ladies of the very effete East, who walk around of the musical cooks of history—Lulli, Rossini, Paganini and as though they were trying to blow June bugs off their noses, Beethoven (carelessly omitting the editor of The Etude, who has might be horrified by this very practical volume. been a Cooke for many years), it proceeds with the recipes. At the What has Goulash (or Some Such), Hasen Pfeffer, Chili-Mack, top of nearly every right hand page there is a quotation upon Pigs in Blankets, and “sich,” to do with Beethoven, Mendelssohn music, from some outstanding personality—a really splendidly or Sousa? Just about every thing in the world, if you are a Band selected list. Many of these come right in the middle of recipes. Mother of Princeton. You see, these fine ladies, bless them every Thus you find Mrs. H. O. Whittemore’s recipe for Tuna Fish one, wanted to help the bands composed of their boys and girls; Scallop bifurcated with “As leisure increases, music becomes more and so they; like-good American women, turned to that technical necessary. You can’t have too much of it.—Geo. Eastwar” knowledge in which 'many of them are experts. Living in a part of (probably George Eastman). Mrs. M. M. Bednarek’s Hic\ory Nut our great country where skill with a skillet is still an honor and not Ca\e (yum, yum!) is interrupted with “Who hears music, feels his a disgrace, they decided to get up this “cook book,” to which many solitude peopled at once.—Browning”; and Mrs. Henry Grams’ contributed, with proper pride, autographed recipes. The result toothsome Apple Chili is interspersed with “Get into the school is a two hundred and fifty-six page volume in stiff paper covers, band or orchestra—Sousa.” with some eight hundred recipes, tested in that finest of all Show us a better way for the housewife to be reminded of laboratories, the American kitchen. Goodness, if the ladies of music. Mother places her Spritz Coo\ies (authorised by Pauline Princeton can cook like that, we want to get into their good graces Teske) into the oven to bake; and, as she puts down the recipe, and go there sometime for a visit! she reads: “Musical appreciation should be promoted as one of The book starts in proper orthodox fashion, with the following the liberal arts of life.—Herbert Hoover.” Right away she goes quotation from an editorial in The Etude : into the parlor and plays a Chopin nocturne, some interesting exercises or some of the latest pieces in The Etude. That mother “Four Giant Enemies of Depression will never become a “back number” or a kitchen drudge. She is “The giant enemies of depression are FAITH, COUR¬ renewing her youth daily and having a very good time in AGE, INITIATIVE and WORK. doing it. “Musician—your greatest obligation, during our re¬ If we (a mere male man) know anything about cooking, this book construction period, is to let the world know how music, is a most excellent one, from the American standard. Of course more than anything else, sustains faith, fortifies courage, it may lack the Gallic finesse of Brillat-Savarin, Escoffier, or any of promotes initiative and energises work. Music is the God- the French magicians of the kitchen; but it is fine, downright given force which combines with ideals to make a better American cooking, designed to please wholesome appetites and to and a happier world. ‘Valor grows with daring, fear by nourish the inner man. We felt several pounds heavier when we holding back.’ ” got through perusing it. It all looked so good that we wanted to Then there are given two pages of informative matter in which eat everything it mentions from cover to cover. we learn, for instance, that: “Salt and soda are excellent for bee We have never heard the Princeton High School Band, con¬ stings and spider bites.” “Cut fresh bread and cake with a hot ducted by Edgar H. Zobel of Ripon, Wisconsin (birthplace of THE ETUDE MARCH 1934 Page H THE ETUDE MARCH 1934 Page W LONG SUFFERING EARS the Republican Party); but, as we look at that splendid group of Student Hardships that Lead to Success happy, husky, boys and girls, we just know that the cooking of IAN came upon the world a pastoral creature, depending upon those mothers of Princeton (representing as it does their attention M)the fruits of the earth and the creatures of the air, the land 1By Elisabeth Rethberg to the fine things of the home) must have had a great deal to do with and the waters for his food, shelter and raiment. From these primi¬ the fact that the band has won First Place State Award four years tive surroundings he has advanced via power and the slaves of PRIMA DONNA SOPRANO OF THE METROPOLITAN OPERA COMPANY. MADAME RETHBERG WAS SELECTED in succession. Music, to these children, is no esoteric thing but a power—machines—until at this moment he lives a totally different BY THE VOCAL TEACHERS’ GUILD OF AMERICA AS “THE WORLD’S MOST PERFECT SINGER” practical part of everybody’s daily needs. kind of existence. Machines are properly a multiplication of If you want to help this fine group of ladies in their splendid hands and are designed to make labor easier and its products more work of sponsoring their band and at the same time to secure a rare beneficial to man. At least that is the ideal of the machine age. As Told to Rose Heylbut symbol of American development of music in the home-—a musical In some respects it has developed a higher form of life with more cook book, we are informed that copies may be secured, postpaid, leisure and more joy. Civilization either will be caught between from Mrs. H. O. Whittemore, Secretary of the Band Mothers’ DON’T suppose that music students who did much to make life pleasanter for the giant wheels of the world’s machines and mangled to a bloody I Club of Princeton, Wisconsin, on receipt of one dollar. We have realize how fortunate they are. us youngsters. He often brought choco¬ pulp, or it will dominate the machine and guide it carefully and an idea that the news of the publication of the Band Mother’s Starry-eyed boys and girls, their lates to school, and a treat that was, for safely as do millions who have found a new life in the automobile, Cook Book is far more vital to our wholesome fundamental na¬ glance riveted on the Great Goal ahead, we had so little! Once he gave a party the aeroplane and the cinema. Everything depends upon the they are forever trying to project them¬ and invited twelve of us girls to come. He tional expansion in the art than the information that Slapovinsky quality of the machine itself and the wisdom with which it is used. selves into the future, without stopping to sent the invitations on open post-cards; the has just written his “Sinfonia Impossible, Opus 372.” ' Often, however, the machine becomes a horrible Frankenstein, appreciate the value of the present moment. time and place were indicated, and there Those mothers of Princeton know what they are about. which, in its effect upon man, cripples, maims, suffocates and anni¬ The carefree hours. The joy of learning. was a postscript that read, “Have no fear; The power to make dreams. And so often cavaliers will be provided.” The cards hilates. The human body is destined by nature to appropriate GENTLEFOLK those dreams are far more splendid than were delivered in the great common post- natural things and to reject unnatural things. Man, just now, in anything that can ever happen to one! My box in the Conservatory hall, and, when SOME of the most preposterous, the most disgusting, the most his historic stupidity is finding this out. He craves natural foods own student days are perhaps the loveliest the authorities read that postscript, there- “impossible” people we ever have known have been musicians. instead of machine foods, natural clothes instead of synthetic of my life, and I count myself a singularly was great consternation. It was not On the whole, however, we have been deeply impressed with clothes, and so on. Possessing automobiles costing untold millions, happy person. I love my work; I am thought proper to make us acquainted with the very small proportion of objectionable individuals among those he longs for a peaceful walk in the country, without asphyxiating gratified when my work goes well; and, any young men who were not vouched for who rightfully may be classed as musicians of training and ability. gases. His eyes are burned by artificial light and his nerves are when work-time is over, I thoroughly by the Conservatory, and we were not enjoy my out-of-doors life in the country. allowed to go to the party! This is said with all seriousness, after an international acquaintance blunted by moving picture horrors, when he yeams for fine, - What fun we had in those Dresden days! and friendship with musicians, embracing many thousands of Yet those student days in Dresden, just at inspiring pictures that the moving picture folk might readily give the close of the war, are inexpressibly dear We lived in a small, well-recommended members of the profession. Nor have we found, all things con¬ him. to me. Would you like to visit them pension near the Conservatory and prac¬ sidered, any higher degree of eccentricity among musicians than Finally, his ears are tortured by inferior radio receivers and ter¬ with me? ticed and studied and talked music all day among people in other occupations. rible radio programs. The fine radio is one of the great blessings First we must go to the tiny town of and nearly all night. I roomed with a We have seen, over and over again, solid, “hard boiled” business of modern time, but the inferior radio is a curse. Moreover, it is Schwarzenberg, in Saxony, nestled in the girl from home, whom my parents knew men, confronted by trifling annoyances, fly into tantrums worthy a curse which all really musical folk should take under serious cragged Efz mountains that separate Ger¬ and liked. Our parents paid for our of the most volatile prima donna who has just discovered that the consideration. many from Bohemia. There, in the hills, schooling and our room, but we had to is a broad, brown house with sloping manage our food, clothes and amusements orchids on her green-room dressing table are of the wrong color. Music teachers are beginning to talk about the “radio ear.” Of course we have expected to find musicians, with their eaves and a dignity that says, “I am strong out of our allowances. I believe an Ameri¬ The radio ear is a condition of distorted hearing, brought about by and stout; for centuries I have faithfully can laborer earns more in a day than we opportunities for culture, to be people of refinement and breadth. listening continuously to an inferior receiving set or to inferior performed my duty of shelter.” In the had to subsist on for a week! You would We have lived in the homes of some of the richest, as well as some broadcasts by incapable musicians. The radio ear is an ear de¬ parlor, overlooking the fir-clad hills, sits laugh if I told you the cost of my entire of the humblest; and, generally speaking, we have found them stroyed by frequent contact with conditions which destroy the a family, making music. The father is at musical education—something around five beautiful idealists, with a sensible, practical aspect of life and a true receptive qualities of the human ear. This is not the case the piano, playing the songs of Hugo Wolf hundred dollars! We didn’t have meat to human grasp of every-day problems that have been an inspiration where the radio reception is perfect; but where it is bad, as in the and Robert. Franz, which he early under¬ eat every day; we got dessert only on stood and loved. The mother stands be¬ Sundays and holidays. But we devised to the writer. While writing this we are thinking particularly of case of the cheap set or poor broadcast, the ear establishes new and side him, singing in a clear, sweet voice. means of helping ourselves out. My friend, the late Eduard Schiitt, whom we visited last in Merano. Of inferior standards of hearing. Just to hear a choir, for instance, so course you think of his A la bien aim'ce; but Schiitt’s compositions A young boy takes up the thread of melody for instance, would write home for a huge, that one may know it is a choir—but a choir with the balance on his violin and carries it like a second represent such a range of genuis that they deserve far wider homemade sausage, which she shared, slice horribly distorted is a very dangerous thing to permit a student to voice. A *sweet-faced girl is selecting for slice, with me, who had no supper recognition and will probably get it when this war-gassed world endure. The student thus acquires an entirely wrong conception music from a pile on the table. And over money left, after a new dress had been recovers. of tonal values and his sense of hearing is mercilessly bludgeoned in the corner by the fire, beating time and paid for. Thus, my friend acquired bor¬ Schiitt was bom in Leningrad (St. Petersburg), in 1856, of out of shape. Better to have no radio at all in the house than to drinking in every note, is the baby—a rosy rowing rights in the new dress, and we German parentage. After study at the Conservatory there, he child of three, the little girl I used to be. both went to parties, that is to alternate have one that does not receive and reproduce the original music went to Leipzig as a pupil of Richter, Jadassohn and Reinecke, at parties, all winter long. Our allowance without distortion. When you get a fine set, see to it that you turn The Cradle Conservatory the Leipzig Conservatory. In 1878 he went to Leschetizky as a from home included admission to one opera on only music that is worthy of your intelligence, taste and your private pupil, remaining with the master two years. His life as a MY STUDENT days began in the and one concert a month. But regularly, precious ears. cradle. We were forever making ELISABETH RETHBERG teacher, pianist, director and composer brought him in contact twice a week, we went without dinner, so The radio ear, that is, an ear with its sense of sound so dis¬ music at home, and I was always learning. as to pay for extra standing room. with many of the foremost personages of his time. This brought torted by defective programs and defective reception that it Before I was two, my sister taught me Adieux Sonata of Beethoven. I was And I have the right to be a musician to him a kind of courtliness, a warmth of expression, an intellectual Hardships that Helped scarcely can tell good from bad, is far more prevalent than is gener¬ little folk songs; and, though I couldn’t praised for my performances. The piano now, for I did learn theory 1” sparkle that, despite his seventy-five years, made him just one of speak the words, I sang the tunes correct¬ ally known. Music study with an instrument, such as the piano department advised me to become a pianist, The discipline at the Dresden Conserv¬ I DON’T think these little hardships hurt the nicest, best mannered and inspiring young gentlemen we had ly. Villagers used to stand around my us a bit. On the contrary, they taught or violin, will of course correct the “radio ear;” but why acquire a and the vocal department said I must be atory was rigid. They set us stiff tasks ever met. Thus we range out through the great crowd of memories go-cart to hear me. Later, we children a singer. I was assigned to high classes. and saw to it that we accomplished them us appreciation. That, I think, is the radio ear by means of poor sets, when fine sets may be secured for of gentlefolk we have met in the profession. Somehow it gives us would quarrel as to which of us was to Then it was discovered that I knew noth¬ thoroughly. There was an American girl secret of happiness—to be able to value a feeling of great pride to think that we have been permitted to such reasonable prices? The really musical person cannot expect have the piano for the next two hours. ing at all of the science of music, theory, there, who, accustomed to the greater things. What you have is not nearly so have lived in this wonderful field of music. to get for ten or twenty-five dollars, what it necessarily must cost We all played both violin and piano, and harmony, counterpoint. In order to keep liberty of her own land, was inclined to important as the glow of value you place far more to manufacture in reasonable perfection. we all sang. I didn’t stand out at home for up with my advanced vocal and piano resent the rigors that we took for granted. upon it. I am a little bewildered when I being musical. We were all musical. I work, I had to master advanced theory, For instance, although we were quite hear of the expensive demands so many learned to sing the classic Lieder and to too; and so I worked out the preliminary young ladies, the Director insisted upon young American music students make. play the works of Bach, Beethoven and studies quite by myself, in my free time. our rising and remaining standing in his They must have furnished apartments; they Brahms, without realizing they were It was difficult, but it had to be done. presence, whenever he entered the room. must have fine clothes; they must get INSPIRING DAYS “classics.” They were simply very beau¬ Our charming American colleague was “into the artistic life” and go to smart tiful, lovable friends, to be lived with and Advice in the Negative constantly at odds with the rules and, teas; they must have this and do that. As The regeneration of business, industrial and agricultural life in all narts nf the i c- . . . enjoyed, like the mountains and the trees. SPECIALLY do I remember one of secretly, we envied her her spirit. Once, a matter of fact, they need nothing of the. everywhere. Unquestionably the outlook for active music workers and Darticukrlv States is an inspiration to musicians When I was seventeen, I was sent to my theory masters, who would scowl when the severe theory master had been kind! The only things they really need in keeping with this enviable condition, has in preparation man»S£l teachers is very bright. The Etude, finishing school in Dresden. And there and glare when the advanced assignments unusually hard upon her, she answered are good health, a good teacher and a Claude Debussy. ’ Debussy’s friend, Maurice Dumesnil, made elaborate nofcJdurinarh Among t,he,se are An Interview with began the dawning of a new life. I saw left something to be desired. Once he said good will to work. The Muse has a opinions; and these he has developed into an interview, of very great interest MnriVR8 the ?°™P?ser s latfr years, of his important my familiar world of music as something to me, “Fraulein Elisabeth, I have some “Look here,” she said in her quaint whimsical fondness, perhaps, for those who professional, something glamorous, some¬ gives an incomparable “Master Lesson upon the Valse in AjTZZ iiving pianists, good advice for you. Be a painter, a foreign German, “Are you here for my know how to deny themselves, to forget thing that was part of my everyday life, sculptor, a writer—be anything you like; benefit, or am I here for yours? If I themselves for her. Time enough for the Spalding, the noted American violinist, discourses on the qualities^hat distinmiifwR P ‘ In Vlollrast or Fiddler,” Albert and yet different from it, too. I wonder but don’t try to be a musician if you can’t pleasurable accessories later—and then they ‘Music Study m London” is a new travelogue by Dr. Cooke, which will aonrarl n two Y^sts of the bow and catgut, knew all about everything, I wouldn’t be if you can appreciate the emotions of a learn theory!” coming to school to you!” won’t seem so very vital at all! of fascinating musical features and new and delightful compositions PP tW0 lssues- Added to all these will be a host country-bred child of seventeen who has When, on the invitation of the Royal She was quite the heroine of the Con¬ I can truthfully say that I have never grown up with Isolde’s Liebestod, witness¬ Dresden Opera, I created the title role in servatory after that, and, actually, the aimed at any goal beyond music for its ing her first performance of “Tristan und the world premiere of Dr. Richard Professor respected her! That was my own sake. When I began serious study, I Isolde”? Then and there I determined I Strauss’s “The Egyptian Helen,” in 1928, first taste of American independence. had no idea of becoming a professional must be a musician, although I hadn’t my old theory master came to my dressing- musician; later, when I had, I never worked been sent to Dresden to specialize in music room in evident confusion. Moral Surveillance for a post, a role, a prize, a laudatory at all. “Madame,” he said, “I hope you have HE CONSERVATORY also under¬ mention. I have worked to sing well. I I took my examinations at the Hoch- forgotten something I once told you.” took to look after our moral welfare. have before me a vision of a world of great schule of the Royal Dresden Conservatory. “On the contrary, Herr Professor,” I Among the vocal students, there was an music where, by steadfast striving, I may Page 146 MARCH 1934 I sang Schubert Lieder and played the Les replied, “I have always remembered it! elderly gentleman, a kind, fatherly soul, hope to enter. That is all. What has THE the Page 14B MARCH 1934 ETUd£ THE ETUDE MARCH 1934 Page 149 “I don’t seem to remember you, he bright things should have come to ft come to me has come to me of itself. full of droll, dry, typically Saxon humor! went on, “but. don’t let that worry you, rosy girl who struggled so with her theo? Just at the time I was engaged for the exercises. Somehow, I have alwavc l- ! First Engagement Opera, I was “commanded” to take part child I don’t know anyone except the people who sing in “Der Freischiitz.” her with me! There is much’ that I HEN I was seventeen, one of the in a light little operetta given in the pal¬ W That’s the only opera I ever go to. Do could teach her to-day, but she has taueht T3he (Composers Workshop Opera Intendants heard me sing, and ace. I was terribly awed. (I seem to have you know why? Because there’s a hunt me much, too. She teaches me over an! I was immediately engaged for the Royal a gift of being easily awed, by great, old over again the wonderful joy of striving Dresden Opera. My father had to come on buildings, by truly great people, by nature, of learning, of seeing new vistas one,' from Schwarzenberg to sign my first four by the music of the masters. To this day, Stentorian Songsters yearly contracts for me. I was given my when I sing Bach or Mozart, I must work before one. The value of work, the pom, compositions, a polacca; and, at ten he the quartet, Victor Herbert (1859-1924) bservation—or is it meditation passages from Bach and Handel. Viva¬ O wrote a ballad, “The Lover’s Mistake ! whose grandfather, Samuel Lover, wrote or reflection?—inclines us to the cious Paris found in the smooth, even, Now began serious study; and successively the well-loved Irish song, The Lozv’-Backed By Lily Strickland belief that the stars, in their mu¬ singing quality of Field’s own music, too, Car. sical course, have shown a marked predi¬ something strangely and delightfully quiet¬ he was under O’Rourke, C. F. Horn, Frederici, and Galli, a Milanese singing For many years, so closely identified lection for certain towns, cities, villages, ing to their excited sensibilities. When at with American Music was “dear old hamlets, as fit abodes for the sons of the keyboard, Field lost all shyness and master. . . T5he Subtropical 15hemes and ‘Rhythms that Have an Undying Allure In Paris, his meeting with Rossini, the Victor,” it seems hard to realize he was Apollo. At any rate, Fate, Destiny, awkwardness and entranced his listeners not native to this continent. Chance, or, to quote Andy, “something” with sweetly intoned melodies. composer, led him into the role of operatic What smiles, chuckles, and deep laughter marked out Dublin as the early home of In St. Petersburg, Field and Clementi singer, and he made his debut as Figaro in “The Barber of Seville.” His success has this composer and librettist given us THE BEAUTIFUL island of Ceylon ment. Masks are regarded as symbols of a group of Irish composers, namely, John parted company. For twenty years, off through the medium of his light operas, lies like a many-coloured jewel, sur¬ divinity and of good and evil spirits. In Field, Michael William Balfe, William and on, Field, the virtuoso, lived in this encouraged him to try his hand at operatic “The Serenade”, “Naughty Marietta” and rounded by the blue-green waters Ceylon Devil-Dances the masks represent Vincent Wallace and Victor Herbert. music-loving city of all the Russias and composition, and he wrote many operas, “Babes in Toy land” (you thing of gaiety!). of the Bay of Bengal and the Indian Ocean. ogres, demons, animals, buffoons and gods Wallace was the only one of the four who was its idol. Russia indeed worshipped at “Siege of Rochelle,” “The Maid of Artois” with the still popular song The Light of And how we hum over and over the Gypsy From the white-sanded beaches to the tops and are considered absolutely essential to failed to choose Dublin as his birth-place, the shrine of this “pale, tall, thin, and of the luxuriantly foliaged mountains there Other Days, "The Enchantress,” “The Slumber Song from “The Fortune Teller." the perfection of a dance. The symbolism but at an early age he had it as the city dreamily melancholy but altogether ro¬ is a gradation of scenic loveliness that Bondman,” all of which were produced Herbert also has to his credit two grand and significance of Devil-Dances are en¬ of his adoption—his parent’s choice! mantic looking” composer and performer. alone would inspire one to study the music and then—perished. But “The Bohemian operas, “Madeleine” and “Natoma,” and hanced and emphasized by these masks Field (1782-1837), son of a violinist, His real influence on Russian music is of a people whose imaginations have been Girl” lives on and has been translated into seldom has anything more suggestive of which are awesome, fearful, or monstrous grandson of an organist, was early saved seen in the work of his pupil, Michael fired by their environment. many tongues. Who does not love its joyous, lilting Springtime been written when intended to exorcise evil spirits, or to the trouble of making a decision as to a Glinka, who later developed the Russian At one point on the North Western coast, express the spirit of dread diseases such heroine, the lovely Arline, reared in gypsy than Barbara s song from “Natoma,” I career. This decision his immediate pa¬ School. While here, Field wrote truly a series of sand-bars almost connects the as ravage tropic countries. surroundings after being kidnapped from List the Thrill of Golden Throat. ternal ancestors made for him; they “put charming, gracefully embellished melo¬ island with India, and this point, called her father, Count Arnheim, and who does Not only did Herbert write captivating John to music” by apprenticing him to the dies—the first real nocturnes in point of Adam’s Bridge, has been the subject for To Create Illusion melodies, but he was a master of orches¬ master piano technician, Clementi. dem¬ form and the inspiration of the nocturnes not fall in love with the faithful lover, some pretty legends in Hindu and Buddhist tration as well, knowing exactly the effect HE CEYLONESE masks are made enti, besides accepting an apprenticeship of that melodic genius, Chopin. The noc¬ Thaddeus, since “all the world loves a literature. An island so near the southern¬ T he wanted produced. And, at rehearsals, of wood, brilliantly painted, exag¬ fee of one hundred guineas, used young turnes are not his only musical legacy. lover”? most end of India would naturally be in¬ he was often insistent to the point of tyr¬ gerated, hideous and large in size. The John as salesman in his piano factory and, He left to us concertos, a pianoforte quin¬ Decorated by the French, honoured by fluenced to an extent by the Dravidian or anny in securing the effect. psychological effect aimed at in the use as his teacher, kept him unmercifully close tet with strings and three sonatas, which the Russians who heaped upon him money Tamil Indians who came over and settled of these masks is to create a spell of mys¬ to practice on the pianoforte—in off hours. sonatas he dedicated to Clementi to whom and fame, offered homage by the Prus¬ Generous-hearted was the genial Irish¬ in Ceylon. We find that, in spite of the tery and magic and an illusion. The man Truly, Field found dementi’s “Gradus ad he felt deeply grateful for sound, although sians, this Irishman lived for many years man, and his willingness to give knew no coming of Moors, Malays, Portuguese, in the mask impersonates an ogre or an Parnassum” no flower-strewn path. In addi¬ often severe, teaching. the life of a gentleman farmer in Eng¬ bounds. Anyone from a real “down and Dutch and English to the island, the most animal, and the audience is hypnotized into tion, John, awkward in manner, shy in A concert tour in Italy was unsuccessful. land, admired by the English. out” to one who merely imagined he was outstanding forms of music and dancing the feeling that he is actually seeing such disposition, sensitive of soul, found himself The force of previously acquired intem¬ Balfe, with a ready facility for invent¬ “on his uppers” could always count on are those developed by the Buddhist and Herbert’s helping hand. a creature. It is strange how the Devil- nothing at all in the nature of a high pres¬ perate habits plus ill-health, resulting in ing attractive melodies and arranging them Hindus. NAUTCH SINGER AND DANCERS OF CEYLON sure salesman in the factory, where his a long hospital term, made Field ac¬ with splendid orchestral effects, captured And so of Ireland, birth-place of Field, Dancers take on the personality of their natural reticence about meeting people was quainted with the woes of destitution. the fancy of all song lovers. Despite a Balfe, Wallace, Herbert, well may we say, Background of Art masks; their hideousness transforms the made greater, because his master kept him ruined and deserted city of Anuradhapura, death; the inevitable rhythm of a life’s men into something fearful, grotesque and From these he was rescued by the Russian slip-shoddiness in workmanship, he touched Music there for echo dwells, UDDHISM, introduced into Ceylon in so poorly clothed. He was ever conscious Raemanov family who took him to Mos¬ the heart, and “his song found its mark.” B the ancient capital of Ceylon. To this city developments are used in a hundred dances awe-inspiring. Though the mask itself Makes each sound a harmony. the third century B.C., is the predom¬ came, in 307 B. C. Mahinda, the son of in India and in every country where Hin¬ never really changes its fixed expression, of his shabby appearance. It always cow. Health gone, ambition broken on And no song more so than Killarney. inating faith of the country, and to this Asoka, the Buddhist King of India. He duism has been felt. the various movements of the head, with seemed a case of too much John and too the wheel of disappointment, will power As organist, violinist,'world concert art¬ SELF-TEST QUESTIONS ON day it is curiously mixed with that Hindu¬ is said to have planted the bo tree, sacred The various forms of the symbolic dances the change of light and shade, give the little coat. undermined, we imagine he stretched out ist and composer, William Wallace, whose MISS LOGAN’S ARTICLE ism that is so ineradicable in its relation to Buddha, that still lives and is supposed in ’ Ceylon may be traced back to the impression that the mask is a living thing. In 1802 dementi went abroad and took welcoming arms to Death. birth-place was Waterford, gained world 1. To zvhom teas Field greatly indebted to Buddhism. The country itself is so to be two thousand, two hundred years old. Dravidian, or non-Aryans, and to Budd¬ Under the spell of such a dance one is Field with him, still in the double role of recognition. His greatest claim to fame in his musical life, and why? rich in tropical beauty, so filled with varied A Prodigy in Appreciation This tree, planted in the soil at Anuradha¬ hists. An ancient primitive deity, called deluded into the impression that the crea¬ pupil and business assistant. rests on his melodious ballad opera, “Mari- 2. In zvhat zoays did Balfe prove himself forms of flora and fauna, that the mere pura, was the living standard of Buddhism Gale Yaka, the God of the Rock, is wor¬ ture represented by the mask is there in ICHAEL BALFE could be labeled tana,” and again and yet again one wel¬ to be a prodigy? effulgence of nature was, and is, a colour¬ M taken from India, and, concomitantly, with shipped by dances given in his honour actuality. This weird effect in the use of Paris Culls Quietness “child prodigy,” for he gave the comes Scenes that are Brightest and There 3. Wliat are some of the famous songs ful background from which to draw ideas its planting in material soil, the seeds of which always take place upon the rocky masks has long been known and used by N PARIS, all rejoiced in the lovely first sign of love of music at the age of is a Flower from this work. of Balfe? and inspirations in art-forms. Folk-music I Buddhism were sown in the land to flour¬ slopes of mountains. Although there are dancers who chose such a medium for the lyric quality of the young Irishman’s four when he rejoiced in the Big Noise 4. What zee re four phases of Wallace’s particularly is influenced by environment; ish ever after. feminine divinities connected with Budd¬ creation of their dances. The Benda pianistic skill. Under his fingers, the piano of a military band! At five years of age Singers Through Generations musicianship? there is a distinct difference between the It is claimed that Buddha himself vis¬ hism, they have no part in the authentic masked dancers of today are doing no became a sweet voiced singer, doing spe¬ he had his first violin lesson; at seven he HE FORCE of heredity is shown in 5. What ancestor of Herbert’s zsias himself rugged, primitive, strong character of the T ited Ceylon and that he left his foot-print Buddhist Devil-Dance. The Yakkum Ne- more than their prototypes of centuries cial justice to delicately shaded legato drafted a band score of one of his own the case of the fourth member of a famous musician? Tibetan Devil-Dances which take place in on Adam’s peak, and one of his teeth, still tuma, or Ceylonese Devil-Dance, is similar ago, centuries even before the masks were the Northern Himalayas, and the music preserved as a holy relic at the Temple of in the spirit of interpretation to the ancient used as an adjunct to the Greek drama. and dancing of the flat plains of South the Sacred Tooth at Kandy. In any case, tandava dances of Shiva, intended to be So our Ceylonese Devil-Dancer with his India. Each type of music is a tonal and the Buddhist faith grew in the hearts of masculine, virile and strong. Undoubtedly masks creates a spell that is further de¬ rhythmic reflection of the country, and the the people and has since overshadowed all the significance of the Shiva motif, in bold veloped by the use of picturesque costumes content of the ideas expressed are colored other faiths in Ceylon. The British, who rhythm and energy, has influenced the and embroidered likewise. The Tibetan and appropriate music that make the har¬ On (fhoosing a ^Musical (Career finally conquered Ceylon and who rule it Ceylonese ritual dance. monious ensemble so fascinating. Devil-Dances are Buddhist, as are the Cey¬ today as a Crown Colony, have in no way lonese Devil-Dances; but the Ceylonese Given on festivals sacred to the Buddhist In the mountains of Northern India Annie Patterson influenced the native music of the older calendar, these dances are supposed to where some of the famous Devil-Dances By Dr. Buddhists have developed a distinctly dif¬ races, nor have any of the invaders changed ferent style of music and dancing, and exorcise evil spirits. The spirits of dis¬ take place, the dancers, forced by the the individuality and character of the ease, for instance, are summoned by drum¬ even a different type of costume. exigencies of severe climate, wear heavy In the historic cases of Handel, Mozart, authentic dances peculiar to Buddhists and beats ; then, after being entertained by a and cumbersome costumes that of neces¬ PERHAPS there is nothing more diffi¬ limit of necessary endeavor, so that at this good for solo instrumentalists. For those Before the Tamils came from South cult or more momentous in the young and a few others, the youthful fervor won Hindus. performance, they are entreated to take sity retard any lightness of movement in point they stop from further efforts to¬ who really love their art, but who, through India, or before the other racial invaders person’s life than the making of a cor¬ through, though sometimes at the price of their departure and their ills with them. the dance-figures. The effect is therefore ward improvement and development. As nervousness or any other cause, prefer the had entered the country, Ceylon was in¬ The Dance as a Ceremonial rect decision as to the choice of a musical a life sacrificed—as was the case with the awkward, slow and grotesque, due partly a matter of fact, the climax of achievement more quiet life of the teacher of music, habited by an aboriginal race known as the itualistic dancing is so ancient Pantomimic Dances career. The main reason for this is that Swan of Salzburg—on the altar of the dire Veddahs. Beyond the fact that these peo¬ R to the spirit of interpretation of the Hill in music, as in all the other fine arts, is there is necessary the courage required to . that we can only surmise its begin¬ AMONG THE Tamils, who imported natural gifts—of both mind and body— necessity of making a hard earned living. ple were animistic in religion, very little Buddhists and partly, as I have said, to reached only with the completion of life endure years of close study, the passing of ning. While there is a Buddhist legend ■lx. their tribal dances to Ceylon, are rather than mere inclination or ambition, When, however, a real love of the art is itself. is known about them. Save for a rem¬ the nature of the garments worn. But in recognized examinations, and, again, the to the effect that the three daughters of numerous folk-dances connected with the should decide the issue. combined with a steady and unconquerable nant here and there in the mountains of Ceylon, where a tropical climate makes waiting for “opportunity” to launch out on Maya danced before Buddha to tempt him Indra-puja, the harvest festivals, the stick- To the outsider, the vocation of the great determination to overcome all obstacles— remote districts, they have vanished, and too many clothes a torture, our Devil- one’s own when all this preparation has from his path of righteousness, such sto¬ dances, called the danda-rasa, and other Dancer is much freeer, lither, and lighter artist—applauded by the public and as¬ as was the case with Wagner, for instance TET US TAKE the concrete case of the island has been impregnated with new been made. ries have no place in our discussion of pantomimic and graphic dances. These in his dance-movements. The legs are left sumed to be making immense fees out of —there is no question as to the choice of -L-j young singer. There needs be, fit and different races. religious dances as celebrated by Ceylonese several forms, while not entirely ritualis¬ uncovered as are the arms, and there is a few hours of exertion—appears to be a music being a right one. and foremost, the “gift”_for gift it is To the Stars Buddhists. The magic of dancing has en¬ tic, are important in the lives of the people a greater play of muscular activity in evi¬ glamorous rose-strewn path. How few Right here one would put in a warning of voice. Cultivation can do a great dea Most Ancient of Lores realize that, behind the glitter and glory note to those really able youthful aspirants AS TO the composer—that creator of riched the pages of the oldest known Hindu and, because of their continuous use for dence in the more exuberant, emotional and but, unless naturable endowment is thei AGAIN WE must refer to the Rama- of the stage or platform, lie years of strug¬ who, being able to play or sing to the de¬ - poems in tone—there is even less of literature, but the true spirit of ritualistic centuries, have become symbolic and tradi- unrepressed postures and figures of the labor, that would undertake to force in ■Ix. yana, India’s Hindu Epic, for it re¬ gle, hopes deferred, and anxieties, even in light of the family circle or of a few ad¬ doubt that such a one is bom rather than dancing goes much deeper than dances per¬ dance. Again I must point out the signifi¬ being a bloom for which no proper ger lates that Rama’s army crossed Adam’s the hour of initial triumph, as to whether miring friends, think that the world of made. His is a nature that responds to formed merely as accomplishments or en¬ The Sinhalese, likewise, have many folk- cance of climate on the nature of the lies in the soil, is vain. But, given t Bridge, aided by Hanuman, the Monkey- tertainments. the game is worth the candle. The moral fame lies fair before them and that they something finer than is the natural impulse dances and dances based on religious leg¬ dance for there is a striking difference in voice, there must be training. This mt general and his monkey soldiers, to conquer is: “Pause and wait for the great call.” have only to fare forth to conquer. To be of the ordinary mortal. In the Rig-Veda,. the most ancient book ends and stories, one particularly childish the two types of Devil-Dances. The masks be approached in the right spirit of mode most of Ceylon. Aside from this mythical of the Hindus, the early gods, in a hymn For, just as in the life religious, the musi¬ right honest, the selection of music as a And now just one final word to those and humorous dance being called the worn by both types of dancers are sim¬ and incessant endeavor. Nothing short chronicle, Ceylon has, unlike many East¬ of creation, danced in a ring and began a cian must be sure that he or she has a calling, in order to have a chance of “show¬ who would court success with the public. “horse-trot” (unrelated to the American ilar as to characters expressed, but even perfection in tone-production, enunciatic ern countries, a very ancient history, called rhythmic beat that set the world in mo¬ genuine aptitude and fitness for the call¬ ing-off” even a fair share of ability in If you can try, try, and try again, and still fox-trot!). they are more elaborate, diversified and and general musicianship, should satis the Mahavansa, which is regarded as ing. Elsewise all the study and struggle execution, has done more than any other keep loving your art and living for ,l> tion. Shiva, as Nataraja, the Lord of the The elaborate and colorful masks worn gayer in color. The skeleton mask, so the aspirant. Then, after these acqui: unique. In 504 B.C. the Sinhalese, of one thing to overfill the profession with despite discouragements and even the Dance, is the great master of cosmic by the Ceylonese dancers deserve particu¬ much in evidence in both Chinese and Ti¬ in the world will result in but Dead Sea tions, there comes the patient waiting f Aryan ancestry, settled in Ceylon, and later mediocrities—those individuals possessed of gaunt spector of poverty in the path bt- rhythm. His symbolic dance represents the lar mention. We know that masks came betan Devil-Dances, is supplanted largely fruitage. opportunity, the chance to be heard ai the Dravidians of Southern Indian fol¬ Youthful precocity is all too often mis¬ that self-assumption that the ability to fore you; then go ahead without fear. The five activities in the world, creation, main¬ into use ages ago, first as an adjunct to by the Ceylonese masks of diseases such to be esteemed in the right quarters. lowed. The Sinhalese Kings established taken for talent, or the still rarer genius. acquit themselves tolerably well is the goal of success will be surely reached if the tenance, destruction, soul-struggle and re¬ ceremonial and religious dancing and act¬ as fever, plague, small-pox and ills com¬ Somewhat the same conditions ho one who strives is but dead in earnest themselves at the magnificent and now lease. Shiva’s drum symbolizes life and ing, and later for use in secular entertain¬ mon to tropical countries. THE ETUDE Page 152 MARCH 1934- THE ETUDE MARCH 1934 The Ever Rumbling Drums ecstasy, and in their very expression of music and dancing. There is nothing HE MUSIC of the two types of Devil- macabre or morbid in the traditions of Dances is as varied as the costumes. Buddhism, that aesthetic faith which pro¬ Berlin, Tohe Weltstadt of "Music Whereas the Tibetan dancers use mainly hibits the taking of life in any form, which large brass horns, gongs and drums, the records and radio produces a fine race of vegetarians, and twenty-first in the Series of ^Musical travelogues Ceylonese dancers use a nasal-sounding which has made, as far as we have seen, wind-instrument of the bassoon quality, a people of gentle, cheerful and placid dis¬ flutes, bells, and extremely picturesque and By Peter Hugh Reed sonorous drums. The occasional use of position. Having seen and contrasted the two By James Francis Cooke stringed instruments is more for show than types of Devil-Dancing so famous in both anything else, as the small tone volume of Northern India and Ceylon, we feel that, PART II the strings in the Orient is always rrr^s while each has its own strong expression drowned out by the drums. of originality and uniqueness, the Ceylon¬ The Ceylonese Devil-Dancers are seen ese is far more attractive in general char¬ by an autobiography, a birth certificate and at their very best at the two great festivals, AFTER THE more or less banal fare Russian Church Music GENERALLY speaking, Berlin is an acter. There is a friendly and sympathetic school diploma, as well as the endorsement “Wesak," or the festival of the Full Moon, AX which usually precedes them, Sto- extremely clean city; and the sani¬ atmosphere in the blue skies, the luxuriant CHALIAPIN, singing with the Choir tation is such that the hygienic of parents or guardian. In the orchestra and the Perahera, or Festival of Buddha’s J- Jk kowski’s regular symphonic broad¬ of the Russian Metropolitan Church palms and flowers; and the face that casts, sponsored by Chesterfield Cigarettes conditions surrounding the student are ad¬ school, however, students are accepted at Tooth. On each of these popular occasions in Paris, is heard in two impressive reli¬ the age of fourteen. The duration of the every dancer and musician who performs nature wears in one of the loveliest of (Columbia Broadcasting System, nightly mirable. Food is perhaps more cosmopoli¬ islands. With such a background of scenic gious compositions on Victor disc 7715 term of attendance is not fixed in years, but in the festival rises to the peak of his work. except Sunday), may seem to a listener tan than in most German cities—one can beauty, of smiling, fulsome tropic warmth They are a Credo by Gretchaninof and an¬ depends upon the industry and ability of Inspired by the huge throngs of people, much as an entrance into a beautiful get almost any desired kind. The horrific and sunshine, one goes away from a Cey¬ other by Archangelsky. In the days of the the student. This is a wise provision, as the atmosphere of tense excitement com¬ cathedral or palace might seem to a tour¬ Blutwurst (blood pudding), with its con¬ lonese dance feeling uplifted, cheerful and Czarist regime, the music of the Russian the School does not pretend to put its seal mon to such religious holidays, and the ist who has been previously conducted notation of the slaughter house, may be had thrilling to the echo of the drum-beats and Orthodox Church was one of its most stir¬ upon a graduate until it can produce what fervour of their own enthusiasm, the danc¬ through mediocre and uninspiring sur¬ by Teutonic epicures. Beer soup also is ring ceremonial features, as these composi¬ it believes is a real musician, properly ers, in their finest costumes, throw them¬ the flute-song. roundings. Sandwiched most of the time often on the menu. The writer never has tions attest. Music-lovers interested in trained. selves heart and soul into the business of between vagaries of so-called popular seen a recipe for beer soup, but judging by SELF-TEST QUESTIONS ON Russian music, with its essentially national¬ At the Hochschule, the following studies the dance. music, this program is a veritable musical his only investigation of the dish, admired MISS STRICKLAND’S ARTICLE istic qualities, will welcome the advent of by so many Berliners, it must read: are compulsory for all students, no matter The Ceylonese, while emotional and eas¬ oasis in a desert of commonplace redun¬ this disc. ily worked up, display a brighter, happier One quart of consomme what may be their principal study: 1. Where is the island of Ceylon? dancies. And yet, it is hot the program Two of England’s finest string artists, mood less touched with the dark fanaticism par excellence that it should be, since it is One quart of beer 2. What is the history of its settlement? Albert Sammons, violinist, and Lionel 2. Musical Theory of the Hindu celebrations to Kali, or the marred by the discordant personality of an Two tablespoonfuls of sugar 3. What is the purpose of the mask in the Tertis, violist, unite to play a “Concertante 3. Musical History Moslem celebration of the Muharram, such announcer whose style would seem to us Serve lukewarm dancet Sinfonie” by Mozart (Columbia Master- 4. Instrumental knowledge sufficient for as we see in India. Buddhism itself, a more appropriate to promulgating a foot¬ This is probably all wrong, as the prepara¬ work No. 188). This striking work, the theory, piano and instrumental religion designed to free the spirit from 4. Why is the drum the most popular in¬ ball game or a regatta than a symphony tion itself must have gustatory charm of a written in the composer’s early twenties, the traditional fetishes, sacrifices and pes¬ strument of India? concert. cumulative type, like olives. Perhaps the is full of the enthusiasm of youth. It is writer was like the Irishman who said that 5. Ear Training simistic qualities of Hinduism, is reflected 5. '.In what way is the Ceylonese music dif¬ The position of the radio announcer and in the people, in their reaction to religious ferent from that of India? most impressive in the first and last move¬ he would probably like olives but he never Vocal pupils are obliged to take weekly: the tourist guide are doubly comparable ments, particularly from the players’ stand¬ had tasted one that wasn’t spoiled! One hour in the study of anatomy, physi¬ when we consider that both of them, not point; and yet it is the second movement Music tuition depends entirely upon the ology and hygiene of the vocal organs infrequently, destroy or- retard an illusion to which we shall turn more often, for reputation of the teacher or the school. One hour in the study of the Italian lan¬ or appreciation by arbitrary proclamations only in its quiet reflective beauty do we Some of the leading piano teachers charge guage the 'Pride of Personal Performance in the midst of the listener’s contempla- find the soul of the composer truly in evi¬ as high as twenty-five dollars a lesson. One hour in declamation (elocution) dence. As one writer has noted, the other Lessons in some of the little known schools tors’ School), the Opcrnschule (Opera has commanded the talents of many of One hour in the study of rhythm and phys¬ (The Etude presents a fine letter from two parts are given over to too much cere¬ are very cheap. School), the Orchesterschule (Orchestra the greatest musicians of Germany. In ical exercise in relation to rhythm Too Much “Tall^' monial writing. The superb artistry of the School), and the Schauspiclschule (Thea¬ 1929 the High School had five hundred and Students in the School of Musical a successful piano manufacturer) two soloists, however, helps sustain our in¬ German Music Schools tre School). In the old days of kings and seventy students and some one hundred Pedagogics (Musikersiehung) find these HE SUBJECT of unwelcome com¬ T terest ; so the work in this recording is HE HIGH SCHOOL FOR MUSIC emperors, Germany had three royal music and fifty faculty members. Among these branches compulsory: munications on the radio has been a both vital and ingratiating. (once the Royal High School for Mu¬ schools, located in Berlin, Munich and were the Direktor, Professor Dr. Georg 1. History of musical education To The Etude: in the fact that no mechanical form of provocative one ever since the advent of sic, and goodness knows, it may be that Wurzburg. In recent years the conserva¬ Schiinemann. Professor Franz Schreker, 2. Practical music teaching I have read with great interest your music presents the same charm and satis¬ radio. Whether this particular offense will Sibelius' Symphony again before this article is published) is tories of Weimar and Stuttgart are ranked Professor Paul Juon, Professor Paul 3. Rhythmical training editorial upon the subject of “Carloads of faction as that which is produced right in ever be satisfactorily worked out for all LTHOUGH Victor repressed the first one of the foremost music schools of the as State conservatories. The Royal High Hindemith, Musikdirektor Emil Seeling, 4. Method of ear training Pianos,” October, 1933 and beg leave to the home. “The Pride of Personal Per¬ concerned is debatable. As long as an ad¬ A - album set of the Sibelius’ Society in world. Here the words “High School” may School for Music in Berlin was founded in Professor Carl Flesch, Professor Hugo 5. Method of singing call to your attention one phase of the so- formance” is entirely lacking when one vertiser sponsors a program, pays for the this country, we are given to understand be misleading to American readers, to 1875, when the Royal Academy of Arts was Becker and Professor Arthur Schnabel. 6. Method of violin playing called “decadence” of the piano which seems “turns a button.” The piano is back of, time on the air, and so forth, he is going that the second, issued in London this past whom they usually imply an institution reorganized. The Department for Musical Admissions to the Hochschule occur 7. Method of piano playing to have been entirely overlooked and and the background for, practically all to demand, and rightly so, the privilege ranking below the college or university. Composition, however, had been founded as twice yearly, April first and October first. 8. Piano teaching • which, in my opinion, is of the utmost im¬ music, even in today’s radio programs. to promulgate his product. Advertising Fall, will not be similarly dealt with. The- portance in arriving at a true evaluation Another fact worthy of note is this: second album contains two symphonies, Quite the contrary is true in the German early as 1833 and the Department for Prac¬ The applicant must be at least sixteen years 9. How to teach interpretation blurbs, however, we believe, should be re¬ connotation of the words, which here are tical Performance had been founded in old, must have evidence of the completion 10. Introduction to music teaching of conditions. small apartment grands and upright pianos stricted to .the beginning and the end of a the Third and the Seventh, the former played by the London Symphony, under used as indicating higher or highest; so that 1869. These in 1875 were combined in one of an adequate general education, as well 11. Practical experience with single groups First: every home needs music, but a had not been on the market very long when program, since those presented in the mid¬ the slump hit. Nevertheless there were a the direction of the late Robert Kajanus the name really should be translated as institution, with many departments, under as evidence of marked musical talent and with trial lessons few years ago those who could not play dle are as offensive as static or similar “The Highest School of Music.” It in¬ Joseph Joachim. The institution has had through previous preparation. These very 12. Psychology and were not able to give the time neces¬ great many out on payments. But did they (who gave us the excellent interpretations distracting elements. A pertinent observa¬ cludes the Kapellmeister-Schule (Conduc¬ very liberal subsidies from the State and elastic requirements must be supplemented 13. General pedagogy sary to learn were able to satisfy their come back in bunches? They did not, as tion by Jascha Heifetz about “talk” on the of the First, Second, and Fifth symphonies they had been sold to real music lovers who musical longings with the player piano. radio was published recently in the New now available in recordings) and the latter desired to make their own music and who This demand reached the astonishing pro¬ York Times. The famous violinist pointed played by the British Broadcasting Cor¬ portion of nearly sixty-five per cent of the preferred to interpret the written music out, and justly so, that there was “entirely poration’s Orchestra, under the direction of industry. sheet to suit themselves rather than to sit too much talking on the radio, which Serge Koussevitzky. This last recording, and idly listen. This is borne out by the which was made during an actual per¬ Second: the all-electric radio supplied the makes it very difficult for a willing auditor fact that dealers have had practically no formance in London last Spring, is one requirements of those sixty-five per cent to concentrate on the program. stocks of used modern pianos, in spite of of the most remarkable of its kind so far of piano customers who formerly bought the numerous “bait” advertisements one player pianos. But the depression threw issued. sees on the subject. Sto\ows\i Unhampered The “Symphony No. 3” is divided into on the market literally thousands of pianos The facts are that stocks of good pianos three movements, while the Seventh is in and players from customers who could not —really good ones—are very low at both SPEAKING of Stokowski, let us con¬ complete payment of their contracts. one long movement. The Third is one of factories and music salesrooms. Where¬ sider Victor set M 188 which con¬ Sibelius’ happiest symphonic expressions, It is readily seen from the foregoing that fore a very slight improvement in the tains excerpts from Wagner’s “Die Got- that is, it is consistently bright and cheer¬ the regular piano business had to suffer purchasing power of the average family terdammerung.” Here we have the art ful throughout. Ernest Newman, in a out of sympathy with the general decline could easily produce a very decided short¬ of Stokowski unhampered by the person¬ booklet accompanying the set in question, in industry, as well as from competition age in the piano market. ality of an announcer. Three sections of tells us that the tone-poem “Tapiola” (issued with the flood of player pianos whose I trust you will be able to see this side the final music-drama of “The Ring” are in the first Sibelius Album) and his “Sym¬ value had been “deflated” to ridiculously of the true piano situation and make good presented in this set: Siegfried’s Rhine phony No, 7” “are his two greatest orches¬ low levels. Journey, Siegfried’s Death, and Briinn- tral works; and they represent the climax hilde’s Immolation. The bright side of the picture is found of his development as a thinker upon the These excerpts are, to our way of think- subject of the blending of form and ex¬ mg, the best, of the recent Wagnerian re- pression.” To us, the intellectual content leases that Stokowski has made. In them of the “Seventh” mates its emotional The Musical Pepper Box he makes the music live most impressively. tensity in one of those rare amalgamations This is particularly true in the first two of these two aspects of art, like a con¬ Sfjt'ons. In the last, one -feels that he has summate painting in which the realization Sweet Silence buy a mouth organ. To every one that slightly suppressed the orchestra at times of the drawing equals that of the coloring. Tess: “The words are better than the was shown him he said: “Too small! Too for the sake of the singer, although the The fact that the “Seventh” is cast in one final pages are superbly realized. The music 1” small!” movement is not due to some program Bess: “Yes, I can’t hear them!”—Le At last the shopkeeper lost his patience. dum ful1 forces of the famous idea, as Mr. Newman points out. Rather Philadelphia Orchestra has been used Rire. it is “a succession of spiritual experi¬ “Look here, my lad,” he said, “try your rather than a small part of it, as in the ences finding their natural musical expres¬ RICHARD STRAUSS mouth along this grand piano, and if you Symphony No. 4” of Brahms (a fact THE LATE DR. MAX VON SCHILLINGS PAUL HINDEMITH Musical Measurements sion in a form of their own,” and as such don’t swallow it you can have it for noth¬ we only recently learned), makes these President of the Prussian Academy of Fine Arts Germany’s most distinguished composer Germany’s Noted Modernist Composer The youngster entered the music shop to ing !” we should accept it. since Wagner recordings doubly realistic and enjoyable (Continued on page 2 io) THE ETUDE Page 155 Page 154. MARCH 1934 THE ETUDE MARCH 1934 n that in 1850 and was, until recently, under the 14. Experimental pedagogy and psychol¬ direction of the late Alexander von Fiehtz. ogy The faculty of this school has included some If there is anything left out in the fore¬ get- of the most famous names in music. In going list, please do not send an inquiry recent years, Ludwig Breithaupt, one of the to the High School, as it would be a source foremost pioneers in piano instruction, has 'Bhe (Cincinnati Symphony Orchestra of great humiliation to the faculty. These rooms, can¬ been head of the piano department. lists are presented merely to indicate the not expect in The Klindworth-Scharwenka Conserva¬ meticulous and highly detailed care with every case tory combines the names and the personal¬ which the German mind seeks to cover ities of two great factors in German musi¬ Its Origin, History and Activities every little point cal life. This school was organized by Xaver Scharwenka in 1881, and he in¬ For the Student cluded in the faculty his brother, Philipp THE EQUIPMENT of the High Scharwenka, the composer. These gifted ‘By Florence Leonard School ranks with the finest in the men carried on the traditions of the world. Many American schools, however, America for Kullak Conservatory, where they both now have equally fine facilities and facul¬ such rates. were trained. In 1893 the school was com¬ NE OF the earliest signs of the In the end the Cincinnati Musical Festival The Star Spangled Banner. The first Committee and of Theodore Thomas that ties of equally distinguished musical artists. The Stern bined with that of Karl Klindworth, one O musical interest and musical prog¬ standards far surpassed those of Europe, symphony on the program was Beethoven’s he did choose works like the Song of One of the great attractions of the High of the greatest pedagogues Germany’ever and they became the most perfect concerts “Fifth,” and others were the “Ninth,” se¬ Triumph or the Bach Magnificat which are tory in Ber¬ ress of the citizens of Cincinnati School, for the musical foreigner visiting produced. For seven years Xaver lived in of their class in the world.” They achieved lections from the “Eighth,” from Schu¬ as yet far above the apprehension of the lin is unique was the founding of a choral organization, the city, is the extraordinary collection of America, attempting to start a branch of this pre-eminence, of course, not at first, bert’s “C major” and all of Schumann’s public. The festival broke up in the midst in that it has in the year 1800, by “those ladies and gen¬ musical instruments located in its museum. the school, but later returned to Germany, but “only after many a long year of hard “C major”; Mendelssohn, Weber, Wagner, of an indescribable scene of enthusiasm.” (with the tlemen who felt themselves disposed to or¬ Here one finds the harpsichord once used where he again became head of the Euro¬ work, and sincere, unselfish devotion to the Beethoven were represented in Overtures, This from the special correspondent of the Klindworth- ganize a singing school.” There were by Father Bach. We entered the room pean school. The present director of this highest ideals on the part of everyone who Liszt by the symphonic poem, Tasso. The New York Tribune. Scharwenka already other choral societies, among them with proper reverence and were invited to conservatory is H. Robitschek. The radi¬ the Haydn Society and the Harmonical had anything to do with them. The record Overture to “William Tell,” which never The year 1878 brought to Cincinnati the try the instrument. We could not conceive cal changes in the personnel, instigated by Society. Music, in her development, was of those festivals is a very remarkable one, failed to bring a response from those in memorable occasion when the Festival be¬ such a profanation, but after we heard that the Hitler regime, based upon nationalistic following the same lines that she followed and their influence on the musical develop¬ the audience who cared only for the lighter came an organized art institution, the the instrument was used frequently for premises, have so altered the complexion ment of the western part of America was music, the dance music of Strauss and the greatest of its kind in America. Through tain a very in New York, at the same period. The broadcasting programs of the works of the of German musical professionalism that singing society formed the earliest group; similar to that of the Handel and Haydn Trdumerei of Schumann, in Thomas’s own the munificence of Reuben R. Springer, old Leipzig cantor, we then had the singu¬ high position one cannot say definitely just what the then came the singing society with assisting Society of Boston in the East.” effective scoring, made the instrumental land was secured for a music hall, and a lar experience of trying the keyboard prob¬ and prosper¬ status is of large numbers of musicians of George Ward Nichols, the husband of parts of the programs as acceptable to the large and thoroughly equipped building was ous progress, players on orchestral instruments, and ably more respected by musicians than that Jewish birth, who have contributed so much finally the orchestral instruments them¬ the brilliant woman who had originated huge audiences as were the vocal numbers, erected. The possession of this building of any other instrument in the world. Alas, despite the to the fame of Berlin as a music center. selves. This was the order of the unfold¬ the plan, was the first president of the and the festival “passed off so successfully meant perpetuity for the Cincinnati Musical all we could remember was part of the G competition It is the conviction of the musical world ing. “Cincinnati Musical Festival Association.” that the Board of Directors decided to give Festival Association. Minor Fugue and the Invention in F. of a heavily that many of the reports that were given In 1824 came into existence the Apol¬ Theodore Thomas was conductor, and Otto a second two years later.” “The veritable The next important step in the develop¬ subsidized An idea of the cost of German tuition currency are greatly exaggerated and that lonian Society, “for the cultivation of vocal Singer was chorus director. There were grandeur and splendor of this achievement, ment of Cincinnati musical life came as State institu¬ may be gained from the schedules pre¬ Germany is too wise to fail to recognize and instrumental music.” It had forty seven concerts, three matinees, and four to which the West, or the East either, in the founding of a College of Music in 1878. sented by the German Institute for For¬ tion. This ex¬ the great services of its Jewish citizens, active and honorary members. The first evening performances. 1873 has known no fellow . . . has dis¬ Among the activities of the College was to eigners in Berlin, prepared for summer cellent school who have patriotically supported national Saengerfest ever held in the Middle West seminated music into remote regions as the be a permanent orchestra, and also an or¬ THE CATHEDRAL (dOm) IN BERLIN The Chorus and Its Selections study. The leading teachers at the State however, has was founded ideals. was given at the old Armory Hall, in heart sends blood to the finger tips.” chestra department for the training of 1842, the year of the founding of the New AS VOCAL soloists appeared Annie In the second festival, the standard of players. Although the life of the College York Philharmonic. . Louise Cary, Myron W. Whitney, the music was distinctly raised, although was doomed to be short, yet it had a great In 1869 an event of great importance, as Nelson Varley, Mrs. H. M. Smith and the programs for the matinees were still influence upon musical interests and. later years were to reveal, gave further Mrs. Dexter. The chorus sang from Haydn somewhat popular. There were “for the standards; and the Festival which followed, Helps to Better Sight ^Playing impetus to the musical activities. Theo¬ and Mozart, Handel, Schubert, Wagner, most part, grave, serious, enduring things.” in 1880, surpassed anything which had been dore Thomas, on his first Western tour, Mendelssohn, Gluck. School children sang “It is to the high honor of the Festival as yet heard in Cincinnati. Mr. W. N. Hobart, and Mr. Lawrence Maxwell, suc¬ By Ruth E. French brought his orchestra to Cincinnati. The field was ready for the new seed, as is cessively Presidents of the Association, shown in the quick response of the public have given devoted service to it, and have Not long ago a well known concert pian¬ maintained the splendid standard which has The right hand part should be taken Reading chords is the next step. Here be trained to feel that it is no more neces¬ and the press to Thomas’s playing. The ist and teacher bewailed the present- lack of “Gazette” said, “The audience at Mozart always been its fundamental characteristic. alone. The first note is played with the again the principle of finger adjustment sary to look at their fingers in playing than good sight readers among students. Some¬ fifth finger, the other fingers being used holds. The Soldiers’ March from Schu¬ at their feet in walking. Hall last night heard the finest orchestral thing of the reason for this condition will music that has ever been given in this city. Orchestral Innovations to cover their respective keys. The fingers mann’s Op. 68 will be found very good to Another help in sight playing is a thor¬ be understood if one will but study the . . . The evening was one for those who ISTORIC among the later Festivals should not be allowed to rest on the keys start with because the eighth rests give ough knowledge of the keys. This means H musical curricula of various colleges and heard this orchestra for the first time to have been that of 1896, at which the but should nevertheless be kept directly ample opportunity to adjust the fingers for more than merely knowing signatures and universities. Hardly a school offers any over each key. It is possible so to cover the next chord. remember as the night when they were “Samson and Delilah” of Saint-Saens was being able to play scales. It means ability performed, and that of 1902, at which four training in this subject though it is one all the notes of the first two measures ex¬ One should not try to cover too much lifted up and inspired as never before.” to “feel” the key of f-sharp minor, for orchestras of different dimensions were of the best assets of a pianist. To memo¬ cept the last. The first six notes are now territory at first but should play slowly, instance, under one’s fingers. Carried to Festival of 1873 used. In this performance of Berlioz’s rize certain pieces of various styles is not played slowly but in time, they being con¬ always working for speed and hair-trigger its full length this would include key¬ “Requiem Mass” two hundred musicians enough. The student should be taught to sidered as a group rather than as separate precision in making finger adjustments. THIS FIRST concert was followed by board harmony, but a very considerable played. Besides the augmented orchestra read at sight music at least within three notes. As the third finger plays the first Practice should be continued on this and others, until, in 1871, a plan for a knowledge can be gained by playing five there was a brass band in each of the four grades of his memorized repertoire. c in the second measure the thumb is other pieces of the same grade until finger Musical Festival, to be held in Cincinnati We have all been subjected to the theory moved over g. This is the most important notes up or down from any note of the in 1873, was laid before Thomas, by Mrs. corners of the stage. There were likewise adjustments are automatic; then one should scale one is studying at the time. Practic¬ “sixteen kettle drums, ten pairs of cymbals, that sight players are born, not made. I part of all because it involves the two work to read more rapidly. A week or Maria Long worth Nichols (afterward Mrs. ing various cadences will also help. The Bellamy Storer) who asked him to be its a great chorus and the organ; and When grant that the physical and mental equip¬ main points in rapid sight playing, namely, two of daily slow practice should suffice. ment of some people is such as to make looking ahead and placing the fingers in serious student can invent many other conductor. For Cincinnati, “like Boston,” all joined the effect was stupendous.” But The rapid sight reader looks at the notes ways. it was not alone the immense number of them read readily at sight. Yet with position at the earliest possible moment. instead of his fingers, both so that he may writes Mrs. Thomas, “had already made proper training any normal person can Lastly, one learns to read by reading. genuine musical progress, and possessed its musicians taking part in the performances In the third and fourth measures the keep his place and so that he may lose learn to become a rapid and accurate sight Rules and directions save time and labor, own orchestra and several choral societies, which made this Festival noteworthy. For fourth finger is placed over b when the no time. Glancing at the keyboard may reader. but they will not make readers. When and was ready for a high standard of art.” one program, in which one hundred and thumb plays c. When b is played the take only a quarter of a second, but in We read music by noting the position the student is fairly sure of his finger ad¬ Mrs. Nichols was the daughter of twenty-nine musicians played, Thomas had fingers are put in position for the rest of that length of time one could be taking in of the notes in relation to the staff, the justments, let him take an entirely new Nicholas Longworth, one of the wealthiest prepared, during two years of study, an the measure. The left hand part should the next measure. Drastic steps must be fingers feeling the distances on the key¬ piece, not too difficult but hard enough to and most prominent of Cincinnati men. incomparable reading of Bach’s “Mass in be studied in the same manner, the student taken therefore by the beginner to prevent board accordingly. In other words, the bring into play the principles he has She was an enthusiast about music as well B minor,” such a reading that, to quote always thinking to look ahead and to place habitual looking at the keys. Covering the hands work in coordination with the images studied. Now he ascertains the key, time as other arts. (It was she who made the Mrs. Thomas, “The score in which the re¬ the fingers in position at the earliest pos¬ keys is one way, but simple control is received by the eyes. The finer the co¬ sible moment. signature and tempo marks. He glances first pieces of Rookwood pottery, and sults of his labors were annotated is unique ordination the more accurately will one much the better method. Beginners can through the piece, noting any measures founded that institution of ceramic art, in the world, for it represents the consen¬ that seem complicated. He places the giving it the name of her country place.) sus of the opinion of all the great Bach To perfect this coordination one should hands in position for the first notes, counts “A restless, aspiring, commanding, and experts of both Europe and America.” begin with something much easier than aloud for one measure at as nearly the marvellously efficient being,” writes Russell. At the last Festival which Thomas con¬ one’s regular grade. Melody, from Schu¬ proper tempo as he feels he can take the “Thomas, with her intelligent cooperation, ducted, in 1904, he gave Beethoven’s “Missa mann’s “Album for the Young,” will serve piece, then plays straight through the piece made the plans and worked out the details. Solemnis” and “The Ninth Symphony.” as an illustration. without stopping. If he makes a mistake Without her help and her capital there With such glorious traditions, with a he picks himself up on the next beat or would have been no such enterprise.” Thus public thus trained to expect and to love measure, but goes on. When he has fin¬ was started that first Festival, “the first in the best in music, it is not surprising to ished, he goes back, studies his mistakes, the remarkable series of such events that read of the first complete series of sym¬ finds the cause of each and plays the piece has never ceased since and has been a phony concerts in Cincinnati, given under again. center dynamo of musical inspiration for the auspices of The Orchestra Association Let us, finally, sum up the essentials of all the West.” Company, during the season of 1895-1896. good sight reading: “The matter of expense never entered There were forty-eight players in the or¬ 1. Look ahead. into the calculation of the Board of Direc¬ chestra, and ten pairs of concerts were tors,” says Mrs. Thomas, “to any appre¬ 2. Place fingers in position as early as played, on Friday afternoons and Saturday possible. ciable extent in planning their details, as evenings. There were also three popular the whole idea was to give a series of per¬ 3. Look at notes, not fingers. concerts, in March of 1895. For some formances which should conform to the EUGENE GOOSSENS 4. See notes in groups. years preceding these concerts, an orches¬ standards of familiar festivals in Europe. 5. Know your keys. Conductor of the Cincinnati Orchestra tra of forty men had been giving concerts, 6. Go ahead. Don’t stop for mistakes. THE ETUDE MARCH 1934. Page 157 Page 156 MARCH 1934. THE ETUDE splendid civic institution, a possession of SELF-TEST QUESTIONS ON with Michael Brand as their conductor; concerts led those who controlled the des¬ MISS LEONARD’S ARTICLE and these players formed the nucleus of tinies of the orchestra to make special all its people. The officers of the Cincinnati Institute of 1. What was one of the earliest signs of the new orchestra. The new conductor efforts in connection with the series of Fine Arts are: William Cooper Procter, musical interest in Cincinnati? was Frank van der Stucken. 1930-1931, and in consequence the audiences President; George H. Warrington and 2. What woman originated the plan of the The idea of these new concerts originated were doubled in size, the first effective co¬ “Cincinnati Musical Festival”? with Miss Helen Sparrman, Honorary operation of the schools was brought about, Louis T. More, Vice Presidents; Maurice President of the Ladies’ Musical Club. and a conscious program of building future J. Freiberg, Treasurer, and Lucien Wulsin, 3. Name four important conductors of the Cincinnati Symphony. (Conducting a Practical Studio Piano (Contest Miss Emma L. Roedter and Mrs. William symphony audiences successfully begun. Secretary. Herbert G. French is Chair¬ Howard Taft were also leading spirits in The concerts were given, first in Pike’s man of the Board of Trustees of the or¬ 4. When were the Young People’s Con¬ the undertaking. A Board of fifteen Opera House, then in Music Hall. In chestra. certs inaugurated? women was formed, and the guaranty fund 1911, the new Emery Auditorium became (Other articles upon the great symphony 5. To the generosity of what two people attack of the redskins hand, especially the groups of sixteenths hand. The right hand chords are built on possible grace. The five-note groups of No question mil be answered in these columns unless accompanied by the full name By Harold Locke which should be played with shallow touch the overtones, so striking a characteristic sixteenths which appear in the right hand and address of the writer. Only initials, or a furnished pseudonym will be published. are to be played in sprightly fashion, but A typical boys’ piece. It opens with a and rolled rather than fingered. Due at¬ of bells. The melody makes its second ap¬ not hurried. It is well to keep in mind the war dance, the tom-tom bass played stac¬ tention should be given the two-note phrase pearance in broken chords, reverie style, in measures 8, 12, 16 and 20. Release the after which follows a short section played qualities of stateliness and grace as in¬ cato against the melody in the right hand secure such a position, which is a difficult probably enjoy. If a piece progresses The value of such a system depends on pedal exactly as marked; it helps fortify religioso. Then the D.C. sign points one separable from the minuet. Values of T^otes which alternates staccato and legato. The thing to do in these days. Put your chief badly and is evidently ill-adapted to her (1) whether the music which you use is the rhythm. The second theme, while pre¬ back to the beginning, when- the chimes Beginning with measure seventeen let cavalry arrives for the fray in the key of efforts on your own piano study and teach¬ fingers or her mind, don’t push the matter really good; and (2) whether it works well serving the same rhythmical pattern as the ring out once more; and so to Fine. the legato make marked contrast with the .. „» is having a difficult F minor. The right hand groups are to rning note values. Can you ing, trusting to your growing class of too far, but quietly lay the piece aside with the pupils. Evidently from your ex¬ first, is in the sub-dominant key and is staccato which has gone before. At meas¬ suggest some kook which emphasizes be rolled off while the left continues stac¬ ABOUT THE SHIPS AT SEA this subject ?—H. B. pupils to do the rest! without insisting on the finishing touches. perience you can answer “yes” to both cato. The battle scene is to be played played with less tonal intensity than the ure 25 the first theme reappears, heard this By James Rogers time in the key of the relative minor. The these questions. It is wise to have a sys¬ forcefully, with heavy accents. The piece first theme. The success of the perform¬ Give the pupil plenty of drill in counting Staccato Vouch, Pleasing tem of instruction that you can rely on for ends with the cavalry theme, showing that ance of this number depends upon lightness Mr. Roger’s text reads, “Not too fast, third or trio section lies in the key of E and tapping out simple rhythms from hear¬ Ppte Singing. JXtemory Wor\ with a rocking motion.” To obtain this flat minor, tonic minor, after which D.C general use; but I should always be ready the Redskins have “bitten the dust,” ac¬ in partnership with sharp rhythmical ing you play them. After she has learned Pieces 1. Children in the first and effect play the two-note groups in the sin al Fine as indicated. to try out other materials and to substi¬ cording to the best traditions of boyhood, definition. to count the following rhythm, for instance, 1. I would like to know a simple second grades are taught singing right hand with the drop-roll attack—that entirely by rote. IIow long may tute them on occasion, if such a procedure and that the soldiers are victrrious. with a distant accent on each first beat: method of explaining and teaching piano pupils be thus occupied? is, drop on the first eighth and roll inward SARABANDE IN E MINOR the "staccato touch” to beginners. is conducive to variety or interest. For SHRAPNEL 2. I have a pupil who wants to 2. I have a pupil twelve years and upward in playing the second. The By J. S. Bach old whose ear Is especially good, yet the small beginners, for instance, the book, VALSE LEGERE By Mildred Adair |J J J J |J J J |.J J | learn only the pieces she likes, which she does not memorize easily. She “Music Play for Every Day,” is particu¬ rocking motion, of course, is intended to This Sarabande is taken from the “Fifth I think is all right to a certain ex¬ By Evangeline Lehman Here is a brand new title for a piano tent ; but the teacher wishes to give has studied for nearly three years. larly attractive and may be followed by imitate the gentle rolling of a ship at English Suite for Clavichord.” It is in Should her memory work be me¬ A very graceful waltz which, despite the piece and one which should appeal to the some pieces to benefit a pupil. What chanical or based on careful analysis “Happy Days in Music Play.” sea. This gentle rocking motion persists polyphonic style like most of Bach’s music would you suggest?—M. M. fact it covers a wide range on the key¬ imagination of young students. The pas¬ J J J J | J J J | J J J J | o | of the piece assigned?—M. E. H. throughout the piece, as apparently no for the clavichord and calls for nice control board, lies most comfortably under the sages in thirty-seconds divided between the 1. Explain to the pupil that a tone is storm is encountered. The second theme on the part of the performer, since each she may apply it to the complete rhythm of 1. Rote-singing, excellent for vocal Stiffness in a Single Wrist fingers. It is suggested that the left hand hands should be made to zip up the key¬ staccato when it ceases the instant that it is in D minor and is built for the most voice moves in counterpoint to another, Pitty Patty Polt (See “Playtime Pieces work, has little to do with piano study, I have a problem that is causing be pedaled as it is phrased, that is, down board in a manner suggestive of flying for Children,” by F. Flaxington Harker). is heard. To cultivate a staccato touch, let me considerable trouble in my play¬ part on broken chords. independently, yet both blended to form a which is necessarily occupied with the ing and practicing, namely, stiffness. on the first beat and off on the second. shrapnel. Needless to say, these runs For additional work along this line I him place the fingers of his right hand on reading of notes. Hence I should em¬ should be rolled rather than fingered and perfect whole. Aside from its beauty, At times my right arm becomes The right hand should be played lightly EXCERPT FROM CONCERTO, Op. 54 refer you to “Spelling Lessons in Time the keys: Middle C, D, E, F, G. Now phasize note reading from the time that tense, not from too much practice should approximate in sound as far as Bach’s music is most interesting from the let him sound the C by pressing the thumb or fast playing, but from a sort of throughout the first theme, using just By Robert Schumann and Notation,” by Mathilde Bilbro. piano study is begun. mental tenseness. Then, after re¬ enough finger action to give sparkle and possible the glissando passages which structural standpoint since it is absolutely quickly, straight down into the key. As The Schumann concerto is unquestion¬ 2. Several mental processes are in¬ laxation movements, on resuming clarity. make their appearance later. In playing perfect in form, each and every note having the latter is sounded, the pressure should y playing, the tenseness goes auto- ably one of the most beautiful ever written volved in memorizing piano music, of atically into the left wrist, which The second theme in the dominant key glissandos it will be found advisable not to its own significance. A most beneficial Advertising for Pupils be released, so that the finger rides instant¬ for piano and orchestra. This excerpt is which the most effective and accurate con¬ stiff as a board. This tense- is somewhat slower. The theme this time press too deeply on the keys. A shallow practice would be to play each voice I have taught piano for a number ly up on the key, finally resting on top of arranged to include both piano and orches¬ sists in memorizing the finger motions. is played with the left hand while the touch with even pressure gives best re¬ separately before playing together. This of years in a large city, but, as X it. Play each key twice in this way, thus: tra parts. Play the introduction with am now living with my parents in Begin with short sections—perhaps with a right provides an interesting accompani¬ sults. The flesh below the finger nail procedure has a direct bearing on the per¬ a small country town, I find it hard n those which I have much fire and sweep. The word “sweep” studied previously. ment in passing back and forth. As much should not be allowed to touch the keys; former’s conception of the work as a whole. to procure pupils. may here be taken literally, since the two I have the privilege of circulating plicated music, with the part for each hand Shall I stop entirely playing my resonance as possible should characterize otherwise a glissando may prove as dis¬ report cards in the schools for a old pieces or work merely on relax¬ chords—the sixteenth and the following by itself. From this, gradually build up ation exercises for a while ?—R. G. the second theme to contrast against the astrously uncomfortable as gliding down BZZZ talent test. The first three who re¬ eighth—should be played with one sweep ceive the highest average will be phrases, and finally complete musical sen¬ flowing passage work of the first. The the old cellar door. By William Hodson entitled to a half-hour lesson in If you find it difficult to relax both of the arm throughout the introduction. tences. It is better to work in this thor¬ dynamics are clearly marked, as well as In this number Mr. Hodson has presented piano weekly for one year, free of wrists at once, try practicing with one Follows then the first theme, quiet but charge. How would you give a ough fashion than to memorize by ear, the metronome guides for the tempos. DANCING SPARKS an intriguing example of legato playing for talent test if you were I, and how which often involves many inaccuracies of hand at a time, perhaps for a week or two. By William Scribner very resonant, with a little emphasis given young students. When properly bound to¬ would you fill out a report card There are a number of pieces written for the upper notes in the right hand. Be¬ "■— • •**’•*■-^ould 1 be «able " t< execution. OLD PINES Mr. Scribner’s sparks dance in triplet gether the passages give a drone effect Other five-finger exercises may be treated a single hand on which you might work, ginning with the last half of measure eleven By E. A. Barrell, Jr. groupings throughout this piece. The right suggestive of humming wings. ich Czerny’s “Velocity in this way, as you like. such as Scriabin’s Nocturne, Op. 9, No. 2. the theme lies in the upper voice of the Studies,” then the Bach “Inven¬ 2. A pupil is of course more likely to A System of Veaching This beautiful composition of Mr. Bar¬ hand employs finger legato while the left In the second theme, measure 20, the tions,” finally the “Well-Tempered When your -feeling of relaxation is com¬ does a bit of dancing on its own from the left hand, ornamented with the right hand left hand plays with sustained legato while Clavichord.” All of these I have practice well music that is pleasing to her. I would like your opinion about plete, try introducing the part for the other ren’s should be played in the style of an figures in groups of five which should be my system of teaching, which is as low bass notes to the upper supporting har¬ the right tosses off the two-note groups But I should impress on her mind that hand perhaps for only a few measures at improvisation. The melody first appears rolled and thrown off. Be careful to ob¬ follows: monies. Clean finger work is absolutely which are slurred. you are the Doctor and that the medicine For very small beginners I use a time, stopping as soon as a sense of in the cello section of the piano against sus¬ serve the phrasing in the section beginning In a large conservatory, if I c which you give should be taken according John M. Williams’ “Very First tained harmonies and pizzicato bass. The essential to a spark-like performance; get such a position?-—B. G. -sons” and the two books stiffness is felt. Stiffness of the wrists is wherefore it is advisable to practice this measure 24. A climax is building in this PUSS! PUSS! PUSS! to directions, whether it tastes good or not. that follow It. _' then_ put the. .. fatal to good playing, and I should never treatment should be misterioso, in keeping section and reaches its apex in measure 33 With eight pupils you have a good Also tell her that the harder she practices student into Duvernoy’s “Ecole with the ghostly quality of the poem. The piece at first quite slowly with well raised By Mana-Zucca allow it to occur or to continue if it ap¬ (last half). In the original this is the start; and by such methods as you sug¬ the music that you give her the sooner she Primaire,” then his Op. 120, then rhythmical line in this music is very elastic. fingers, later reducing the finger motion A Grade 1 piece descriptive of its title. Czerny's Op. 199. pears. tutti played by the orchestra. Phrasing is gest you ought to increase your class Will be through with it. For the child from n The meter, too, constantly changes, passing as speed develops. Be sure the first two quarter notes are It is a good plan to test the condition again of utmost importance in the section rapidly. Meanwhile, however, consider her tastes, from four-four to five-four and then to played staccato, followed by an accent on lirectly Duvernoy, and of your wrists frequently by holding down beginning with measure 40. The rhythmical The report cards seem to me an excel¬ and try to give her pieces which she will 3 forth.—M. H. J. three-four. Emphasize the climaxes, es¬ BELLS OF OLD ST. PATRICK’S the third beat. The groups in eighth notes one key at a time, meanwhile repeatedly swing is dominated by the two legatos lent device. For the talent test, I advise pecially where the composition builds to By Victor Renton are to be played legato. raising and lowering the wrist as far as it followed by two staccatos which keep up a you to hear each pupil play by himself, Grandioso. From this point the mood can possibly go in either direction. Playing chimes on the piano is a real constant alternation. The excerpt closes marking him on the following points, with drops in intensity until the final ritardando HIDE AND SEEK thrill for youngsters—and for some chil¬ with the first theme heard this time in the one hundred per cent as the maximum for ends on a broken chord played pianissimo. . By Mana-Zucca Hands of Small (Compass dren of a larger growth, too, for that mat¬ key of the relative major. each, finally dividing the total by six. Re¬ Another Grade 1 piece, this time in le¬ ter. Here is a piece with the chimes all quire him to play music which is well GLAD EASTER BELLS gato. The tempo is slow, and since the written out and ready for them. Play as MINUET ANTIQUE within his grade and which (except in the the past three years. By Wallace A. Johnson indicated with the pedal held down By G. Karganoff patterns are obvious this piece is well sight-reading test) he has sufficient oppor¬ *alented child but adapted to rote teaching. lands that it is imy---- This piece opens and closes with a pas¬ throughout. Give the left hand more This is a very interesting piece for piano tunity of studying. o play numbers with very much dis¬ sage in sixths divided between the hands prominence than the right, since the melody written in minuet form. The first theme Data for report cards: tance between the notes. She has really lies in the upper notes of the left MARKET DAY IN KERRY COUNTY learned compositions like Mozart’s and played in bell style to imitate chimes. is to be played non legato and with all 1. Accuracy of notes Rondo with very little trouble. I A certain blurring with the pedal, if not By Bernice Rose Copeland 2. Time and rhythm shall appreciate your mentioning some technical books, studies and overdone, is permissible in playing this A piece with the Irish flavor which 3. Phrasing other works of about this grade section. The following part in three-two makes it appropriate for programs or les¬ 4. Tone-quality that can be played without having time is to be played in the style of a hymn. son assignment about the date of St 5. Expression Resonance and legato are most necessary Interest, Always Interest Patrick’s feast. It is written in jig style 6. Sight-reading here. The piano should be made to sound and is to be played in a lively manner. Any reputable printer ought to be able grade, such as the Rondo which you men¬ as much as possible like an organ. It is Good finger work and care not to blur to furnish these cards for you, if you ex¬ tion, which is perfectly practicable for suggested that each chord be pedaled Dr. Thompsons department will, we are sure, be carefully with the pedal are necessary for an accept¬ plain to him exactly what you want. small hands. I may mention especially: separately. able performance of this little number. You are devoting more time to piano J. S. Bach, “Two-part Inventions” (nearly preserved by teachers who in the future will use the pieces he practice than is good for your health. I all of them) ; K. P. E. Bach, “Solfeg- PIERRETTE’S DANCE describes. The teacher's first obligation, in giving a piece, is RETURN OF SPRING advise you to spend an hour or two of gietto”; Mozart, “Sonata in C Major”; By Louise C..Rebe By M. L. Preston this time in outdoor exercise. Schumann, “Album for the'Young,” Op. Miss Rebe has called to mind the ever to surround it with information which will ma\e it absorbingly The title suggests naturally a certain The “Well-Tempered Clavichord” fur¬ 68 (containing many charming bits). lovely figure of Pierrette to title this grace¬ freshness of interpretation for this piece. nishes a splendid background for any ad¬ For technical work, I refer you to Le- ful little Air de Ballet. Remember the interesting. Interest, always interest! The first theme is in G major, the second vanced piano work. moine’s “Fifty Juvenile Studies, Op. 37,” lightness of her dancing feet, in playing in the dominant D major, and the trio in You ought to be able to teach in an in¬ which are written especially for small the little rhythmical figures of the right the sub-dominant C major. Notice that in stitution providing, of course, that you can the trio the theme lies in the left hand. THE ETUDE Page 162 MARCH 193i THE ETUDE MARCH 1934 Page 163 FASCINATING PIECES FOR THE MUSICAL HOME ATTACK OP THE REDSKINS Tjhe ‘Problem of the Pdby Uiolinist Here is a, descriptive Indian number which boys in particular will tackle without any urge on the teacher’s part. Grade 3. Indian War Dance HAROLD LOCKE (By Ellen Bernhoft Lively 116 finger a separate identity, as his name was NLY WITHIN the last few years she would say, “Mother, let’s do my notes easy to understand, even when the O first, second, third or fourth. The corre¬ has it become at all common to lesson now.” eiehth note was introduced. sponding numeral was used also. Of course, commence the study of music be¬ After the child progressed thus far with little Mr. First Finger’s job was to play fore the average age for entering school. the blackboard work, and familiarized her¬ A on the G string, E on the D string, B It is, perhaps, more common to start self with the violin, the next thing to do on the A string, F on the E, and so on young children on the piano, but it has was to have her associate the notes, E, A, with the other fingers in turn. All this been demonstrated, also, that a child of D, and G, on the staff, with the strings was absorbed very, very gradually, and three or four can make splendid progress on the violin. So Baby was taught the in the study of the violin. This instrument, proper position in holding the instrument, yet, almost before one realized it, little first, second, third and fourth fingers had indeed, is to be had in sizes suitable for the placing of the right hand thumb against Four apples in a bag, forM the whole note, learned to stand straight on their little very tiny children. We are all more or the side of the finger-board, and the pick¬ two for the half note, one for the quarter less familiar with the three-quarter, half, ing of the string whose “little house” (or note and only one-half an apple for the tips, on the different strings, and these new and even quarter size violins, but there are note) appeared on the staff, counting 1, 2, eighth note. Baby once remarked, “The notes were introduced upon the staff and also the eighth, sixteenth, and thirty-sec-' 3, 4, for each note. While Shirley Louise little black kitten looks just like my blackie their names as easily learned and recog¬ ond sizes. These are not toys but small was learning the picking position, great notes, when he puts his tail up; so we can nized as the open string notes had been. sized instruments, perfect in every detail. care was taken to keep her left hand posi¬ call him “Blackie Note.” The Strings Welcome the Bow Shirley Louise, before the age of three, tion correct. The accomplishment of- this The measure bars were “fences” divid¬ showed an unmistakable desire for a violin. aim was, materially aided by a little glove- ing the staff into “yards” and so many A GREAT event was the introduction She would stand beside an older sister dur¬ finger tacked to the neck of the violin, in “counts” had to stay in each yard, accord¬ of the bow, with very special atten¬ ing the latter’s practice period and saw which was inserted the thumb each time ing to the time signature, whether common tion to the proper positions of the curved away with two sticks, sometimes for the the instrument was taken up. time, three-quarter, or whatever it might thumb and the placing of the fingers of the greater part of an hour. In order not to tire the little student by be. right hand. The practice of holding the Santa Claus brought the “little fiddle” too long periods of work with the violin, “Fifty Easy Melodies for the Violin, violin between the chin and the shoulder, (an eighth size) and lessons were com¬ the black-board work was alternated with Book 1,” by John Craig Kelley, is excellent with the left arm at the side, and drawing menced when Shirley Louise was “half the use of the violin, the danger of fatigue for the young pupil, starting as it does the bow straight from the frog to the tip past three,” under the weekly supervision being thus eliminated. with the open strings and in a gradual developed flexibility in the little wrist and of Professor T. To Mother was dele¬ The next step was the introduction of way bringing in the first, second, third, good tone quality, as well as the neces¬ gated the daily practice-lesson for teaching half notes and quarter notes (blackie and, finally, the weak, little fourth finger. sary strength in holding the instrument. Baby the proper position of the instrument, notes, we called the latter) with their In teaching the number designation of From the very beginning, Shirley Louise and the basic fundamentals of music, and time values; also the whole, half and the different fingers, Mother found it ex¬ learned to sing her little pieces and has further carrying out the instructor’s direc¬ quarter rests. The following little dia¬ pedient to draw smiling little faces on the associated the notes with tone, enough any¬ tion’s regarding technic. gram made the time values of the different little finger nails, thus giving to each little way to succeed quite well in singing simple The first lesson consisted of the child’s melodies by note. She listens carefully to learning to print the letters E, A, D, G, intonation, and the little fingers respond the names of the open string notes of the quickly when she detects a tone off pitch. violin. At first, she tried with Mother It is surprising how the little violin has guiding the little hand, but very soon she developed tone quality, in response to the formed the letters readily, by herself. E use it has received, and, incidentally, was the straight, post, with one, two, three through the substitution of an aluminum D lines; A was the roof of a house, with a string which Sister discarded from her full cross-piece nailed across the front; D had size violin, in place of the gut D which a straight back and a little round tummy; was on the small violin. and G started out to be a round ring, but Although Professor T. insists on her changed his mind, and decided to stop and counting aloud, when practicing, Shirley build a table. These were the associations Louise has a well developed sense of used with each letter. A blackboard rhythm and seldom makes a mistake in proved invaluable for making illustrations. time, even when playing a piece with the The next step was the introduction of the piano for the first time. staff. But this was not done until Shirley Louise was able to print any of the four Her Own Songs letters as soon as called and name them HE THINKS that every piece must readily whenever she saw them. She soon S have a meaning; and a story, real or learned to recognize these letters on sign¬ fancied, goes with each one. She thorough¬ boards, calendars and papers. ly enjoys having Mother sing the words Where the Hotes Live to Flow Gently Sweet Afton, and asks countless questions about “My Mary” and HE QUICKLY learned that the staff S the “murmuring stream.” She is intensely is composed of five lines and four interested, also, in the story of John spaces, pretending that the lines and spaces Howard Payne’s Home Sweet Home, and were streets, with all the E’s living in the fourth space, the A’s in the second and so the association of My Country ’Tis of forth. A whole note was drawn in the fourth Thee with the love of our Country and our space, and Baby was told that this was E’s Flag. Her own imagination supplied beau¬ house. A tiny letter “E" was printed inside tiful little themes for Prayer and Evening the note. Thus, A’s house was a whole note Song. The other evening, while watching on the second space; D lived in a little the sunset tint the sky with crimson and “whole-note-house” in the space below the gold, which faded into the softer shades of staff. And then Mother had to make steps pink, she sang Evening Song over and (the two ledger lines below the staff), and G over, then confided to her mother that the was put in his little house in the basement. last long soft FS was just “When the sun During the time our little student was went to bed.” It was interesting to note being taught this blackboard work, she Shirley Louise’s reaction when taken to was also becoming familiar with the violin. hear the high school orchestra concert. She learned to name the different parts: She watched the violins to the exclusion scroll, bridge, finger-board, tail, pegs and of everything else. Then, this four year so forth, as they were pointed out to her, old criticized the position of one of the and also learned the names of the strings second violins, and scored another for not and to distinguish their different sounds. using his bow properly! All this was as interesting to the child In less than a year of study, this child as any game that might have been de¬ of four has equalled the progress of many older children, plays a great many little vised, and several times during the day “Which is the G String?” (Continued on gage 198) Copyright 1934 by Theodore Presser Co. British Copyright secured MARCH 1934 JPage165 THE ETUDE OLD PINES Permanent and ancient pines along the sky Silently stand with rugged arms outspread; Serene grey ghosts, defiant and alone, Grim sentinels among the lost hill roads. Henry Chapin E. A. BARRELL, Jr. Grade 44. Lento con espressione m-.m. J = 80 ben cantabile am | ri n PI 2 ^__ — a tempo U f f f j nil c dm. f rfl a J.ri J ) cresc.^ w^‘ sOlr^n \rjr i & * r ^ it r ¥^ Grandioso .;. p. - " Li . 2 1 °9 j, 5 3 T A^j e) / e>- mf) 1 strict time 5 40 | pp~ *r *r hr *k. molto ri t.al fine -d&f rail, e dim. V morendo ns m j 7 St -o-11 # jr Af- * 3a pi \i.rs 8vabassa Copyright 1933 by Theodore Presser Co. British Copyright secured THE ETUDE Page 166 MARCH 1934 THE ETUDE MARCH 1934 Page 167 A new and piquant conception of this ever PIERRETTE’S DANCE popuiar character from French foJk-Jore. AIR DE BALLET LOUISE CHRISTINE REBE Grade 3. Grade 2. Moderato M.M. J = 60 GLA.D EA-STER BELLS WALLACE A. JOHNSON THE ETUDE Page 168 MARCH 1934 DANCING SPARKS william scribner Mr. Scribner makes himself known to Etude readers for the first time by this sprightly and capricious piece. Try to get the effect which the title so vividly suggests. Grade 4. Con spirito M.M. J=138> Grade 3. ABOUT THE SHIPS AT SEA JAMES H. ROGERS Not too fast, with a _——5 5 ■/ f | 1-pr*,-^^ r V?1 V ' 5 J gg(i»4t —= - ’fej: f 1E . z~-— Fine f 4— -f- -1-1 S U — m ^—6 h.. A Hi. 1 ^ ^ -T-S^ ■Lj-I- - J-l 7 j 7 ||[j' \m=r =d=d ■L ■r-Lj H 1 1 Don grazi a ^ 5“a 1 -- ^1 4-a ^5 a"? 1 m 3~2~4^ a'-1 m < v? "I 1-1 Hi J- -ryr^K- H dim. ^ P /rfr^n t in j)| t M i CK J1 > — ^—m *■ m §fe U LB mf 20 ^ a £eb* ‘£eb.» *£eb. *5a. * $&.* $eb.# ‘Seb.* 5^-—-- > 5* 1 — 5^-" 25 > > _ _— In this piece,one can readily picture the interior of an imposing cathedral as the echoes of the chimes quaintly rise and fade in their solemn cadence, > J ^ through aisles illuminated by the gorgeous colors of irridescent stained-glass windows. Grade 2. > , 30 Larghetto M.M. J= 104 8- £ £ o & 5cb. * “Seb.* iMrrf Play f.nr with loud pedal down throughout chimes and accent notes.Hif r if Copyright 1932 by Theodore Presser Co. British Copyright secured Copyright MCMby The John Church Company International Copyright THE ETUDE THE ETUDE MARCH 1934 Page 171 THE ETUDE MARCH 1934 Page 173 THE ETUDE Page 174 MARCH 1934 ^iTl? ETUDE MARCH 1934 Page 175 OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES — ALL HAIL THE "RISEN KING C. B. HAWLEY ’Tis Eas - ter morn, GJad Eas - ter morn. Your al-Je-Ju-ias Allegro maestoso _f__ Lo! what a ra - diant , » J - j 1 • 3 r l mp __- RcrTf f PrJIJr-r r 1 r .J 1 J J r* ft-1 morh - ing dawns, O’er all1 the wait - ing earth! The JiJ - y fair and , 1 -(fo b J ,0.1 —■-k ■ =»-> X,- T-1 M T T - TrP -?II 1 i 3 -AG a, AG ——i—r J Jj »•—a—i—i—i—-h? ii j j p j ii t r ii j r-i—p P vA-' rnf r r -* J •Lfx* 1 V • ' 1 1 1 —1-^ earth and heav’n, AJJ haiJ the ris - en King,- Ye myr - iad hosts of earth and heav’n, _ AJ J hai J— the (^=5 :-^-Z$7~ 0 —3—p-U Jp J* J |-rm | J j--H j T T~n I a] ■j| !*&■ LiXj-j i *1 3 P -8 J i i i i > >40 > JJ j rit. . an - geJs bend - ing from- the skies, Their a] - ie - lu - ias sing. As from the dark-dess Lord— of life and Jove- is ris’n! The trem - bJingtomb is torn: I A - wake, oh earth! Re - 0 1 ./* ^)'lU m0v0 I L 1 | 1 I k stone is roJl’d a - way, “He is not her< the Lord is ris’n!” She hears the her - aid say._ The 0 | »to/o 3 in ir i ?" Zl? TX TX FsotQ'f r 1 55 . ."^i i— -a—=*=A— j I j HJ- n [__ jj >_> > ,—t -j_|_ lff3J L -1 mr? ff w :=j j r pT-p ~ II 1 5=- of the tomb, He comes, the ris - en King, jje comes, the ris - en King, joice, ye heav’nsl Tis res - ur-rec-tion morn! >Tis res - ur-rec - tion morn! _ / jQ .1-.-1— ■■« | i, bi 1 - | _ | /s" — T „ > > r | pfffcfff T k > > fyH t CODA i _i. i f. j F-_-F International Copyright MARCH 1934 Page 177 Page 176 MARCH 1934 THE ETUDE THE ETUDE English version by Jay Media CARITA MIA MY LADY’S BANDBOX (MY CARITA) Spanish text by P. de Montoliu GAVOTTE MEXICAN RANCHO LOVE SONG CLARENCE M. COX Moderato appassionato THURLOW LIEURANCE pur-ple me - sa, In the eve - ning glow, Out where the state-ly yuc - ca J31os-somswhite as snow_ Cuan-doin laes pa mm-re El pos-trer ful - eor, Y res-plen-den - te bri - lla La yu-caen su flor, Some day, Ca- ta mi - a, When the spring is here, When soft gui-tars are play - ing, BeJJs are ring-ingclear, Se lan - za - ran al true - lo Con a - le - gre son; MARCH 1934 THE ETUDE THE ETUDE MARCH 1934 Rage 179 ( Sw.Voix Celestes (coupled to Gt.) ELEGY 1 Gt.Diapasons 8 ft. CHANT SOLENNELLE Registration: j Ch Orch.Oboe (or soft Gamba) ( Ped. 16 ft.& 8 ft. FREDERIC LACEY MARCH 1934 Page 181 Page 180 MARCH 1934 THE ETUDE THE ETUDE SERENADE SERENADE From “DON GIOVANNI From “DON GIOVANNI” TEE ETUDE MARCH 1934 Page 183 Page 182 MARCH 1934 . THE ETUDE PROGRESSIVE MUSIC FOR ORCHESTRA C MELODY SAXOPHONE STRUTTING OUT or OBOE DANCE IRENE MARSCHAND RITTER INTRO. _ a _ in;-X Am by W. H. Mackie STRUTTING OUT IRENE MARSCHAND RITTER DANCE __ INTRO. Solo Violin STRUTTING OUT 1st CORNET in B!> DANCE IRENE MARSCHAND RITTER ^TtR0- 2 8. f > n '1 11 2 1— - —"" p cresc. f y1 c 1 1 > - ^ 11 2 ^ 1 m l i J v j ba I LJ jLii U 11 " -^ _- -~-—- Clar. >■ -rr^| ^-p- STRUTTING OUT IRENE MARSCHAND RITTER TROMBONE ^ or CELLO DANCE INTRO. ft- Jft cresc. ■ - M STRUTTING OUT IRENE MARSCHAND RITTER 1st CLARINET in B!> STRUTTING OUT DANCE INTRO. _ v DANCE 7^ THE ETUDE MARCH 1934 Page: .185 Page 184 MARCH 1934 _ ™ * i^r-no THE ETUDE DELIGHTFUL PIECES FOR JUNIOR ETUDE READERS HIDE AND SEEK M ANA - ZUCCA, Op. 134, No. 1. Slowly M.M. = 112 J r2 .—.5 4^.-^ a**., BZZZ! a - a 3^~t~n I love the song of robins, But best of nature’s music— Of every bird that sings, The hum of buzzing wings. WILLIAM HODSON r^7 * 5 10 Swiftly M.M. J.= 144-160 j TTIl ■v? tS 5 2 J * 5 3 J ^20 2 i5^d i 5 3 1 British Copyright secured Copyright 1934 by Theodore Presser Co. MARKET DAY IN KERRY COUNTY Grade.2 £ BERNIECE ROSE COPELAND —_ 3 4 "3J 3 2 1 5 13 54 p A 5 1 2 p^i r / J/ ^ (j ~ 5 rrr < Wj? f 7 « * J ^ r bf- \- — uL—1 f- 3 J- 5 Copyright 1933 by Theodore Presser Co. British Copyright secured Grade 1. PUSS! PUSS! PUSS! Briskly M.M.J = 116 MANA-ZUCCA, Op. 134, No. 2 1 > : 3 A 1 i=- . . > ^ ■ 1 . . ^ _1_ 15 ~ - ^ 10 ^ ■ 7 | ^ 5 . . > 1 Pin mosso 3 2 4 5 5 2 4 2 1 is- . . i* • is- . . ^ is- . . is- is- ? m m * P » 20 24 |^uss! Puss! Puss! Riss!Puss!PUss! ^- 1 3 is- PUssLPuss! Puss! British Copyright secured Copyright 1934 by Theodore Presser Co. Copyright 1934 by Theodore Presser Co. British Copyright secured MARCH 1934. Page 187 Page 186 MARCH 1934 THE ETUDE the etude Grsaea. RETURN OF SPRING M. L. PRESTON Tempo di Valse M m J.= 76 __ m m m 0 nvn m tm m m m m p ALL HAIL THE RISEN KING on the single, legato eighth notes, with a Easter Song loose wrist motion. Observe the crescendo to forte at measure 23, followed by ritar- By C. B. Hawley dando, measure 25. The a tempo marks the (Vocal) return to the first theme. The church soloist will find a ready use The pizzicato notes at the close may be for this vital Easter song by C. B. Hawley. plucked with the left-hand, since they are In the medium key, as here published, it is open-string tones. suitable for the singer with an average vocal range. ELEGY The first verse should be sung forte, in By Frederic Lacey a broad tempo, not too fast. At measure (Organ) 8, sing mezzoforte. Observe the crescendo Chant Solennelle, which is the secondary from forte to fortissimo, measures 18-19. title given to this composition, means sim¬ The Allegro, measure 20, indicates a faster ply “a solemn song.” The spirit of the tempo, and Maestoso, measure 31, a broad¬ music itself, however, rather emphatically ening of the movement. Note the accel¬ depicts the even tread of a marche funebre. erando e crescendo, measure 39, and ritar- The indicated registration is to be taken dando from measure 41 to the end of the as merely suggestive, and the organist should try out various combinations until At Tempo I, sing softly to measure 51, a satisfactory effect is obtained from the where forte is indicated and the tempo is individual instrument in use. faster. At D. S., return to measure 14 and Play the four measure introduction with continue to the end of measure 41, indi¬ both hands on the Swell organ. After the cated by the sign©; then skip to the Coda. hold, both hands should transfer to the The use of the rei*erated melody note G, Great, coupled to Swell. Care must be 4 -- measures 18-19, is the composer’s way of taken to sustain the dotted half-notes of 4_~~ - 4 ' ^ 4' 2 1 5_ A...-^7... .. interpreting the spirit of the text, “As the melody, which is written in octaves from the darkness of the tomb.” For the between the hands, while the accompany¬ second verse, however, the small notes ing chords are struck. Use a semistaccato should be sung. 35 40 or detached touch for the chords and pedal - D.C.% notes throughout this section. ♦ ♦ CARITA MIA The second section, beginning at meas¬ it ■+■ 19- Mexican Rancho Love Song ure 45, should be played with both hands By Thurlow Lieurance on the Swell. The Vox Humana is indi¬ cated at measure 49. From measure 65, (Vocal) -1 d H- the melody (right hand) is played on the TRIO A new song by the composer of By the Choir organ with Oboe or soft Gamba ALL IN ONE GLORIOUS TRIP Waters of Minnetonka is an event for the stop. Hold the tied notes as indicated in attention of singers everywhere. the left hand accompaniment for the de¬ Relinquishing for the moment his inter¬ sired sustained effect. Add soft Flute to Come to France this summer . . . And you are in France the mo¬ est in Indian themes, Mr. Lieurance de¬ the Choir registration at measure 73. votes his genius to the music of Old Mex¬ Measures 81-82 are played with both hands to work and play ... to temper ment you step aboard a French ico. Carita Mia was conceived while the on the Swell {Reed stops only) and at the study with a grand good time. Here Line ship. You’ll enjoy the unique composer was visiting near Agua Calienta, second beat, measure 83, both hands trans¬ Mexico, during a recent summer sojourn, fer to the Great, in preparation for the are schools of music rich in talent atmosphere of France-Afloat . . . and is in the pure Mexican style. We return to the first theme. the world-famous cuisine and wines predict that this appealing rancho love song and traditions. Here are memo¬ will win many friends. . . . efficient service . . . congenial STRUTTING OUT rable sights and scenes to treasure The Spanish text is by P. de Montoliu; By Irene Marschand Ritter people ... every comfort and every the English version, by Jay Media. through the years. A summer (Orchestra) Sing the verses mczzopiano, in an im¬ convenience. And the skilled sea¬ Special honor is accorded the drummer course in France is, in fact, the ex¬ passioned manner. Note the fermata, or manship, born and bred in the “hold,” in measure 10, and again, measure in this little novelty dance for advanced perience of a well-rounded career! 12, the latter approached by a rallentando orchestras. The “traps” included in the Breton sailors. scoring are Indian Drum, Cow Bell, Gong, At Fontainebleau, for example, and diminuendo. The refrain is marked Ask your travel agent to help Siren, and Cymbal, in addition to the usual mezzoforte. Particular care should be in a wing of the Palace itself, is the taken in observing the crescendi and de- Bass and Snare Drums. you plan, without charge, a French The solo violin part is moderately dif¬ crescendi signs, which interpret the rising well-known American Conserva¬ Line trip this summer. (Tourist ficult and requires considerable dexterity and falling cadences of the melody. Note tory. From July through Septem¬ the rallentando and pianissimo at the close. in the higher positions. The syncopated Class cabins on the S. S. Paris have rhythms occurring in certain measures are ber there is instrumental and vocal been newly enlarged and redeco¬ MY LADY’S BANDBOX “tricky,” but are similar in all melodic parts and thus will become easier in re¬ instruction, courses in composition, rated.) And for further details By Clarence M. Cox hearsal. The B-flat clarinets and cornets counterpoint, harmony ... all about courses of study, send for (Violin and Piano) supply both melody and rhythm. The C Exceptional music of an easy grade is melody saxophone or Oboe is largely an branches of music. Tuition and the new French Line booklet, obbligato part. Baritone and cello players found in this Gavotte from a set of first living expenses are moderate. “Summer Courses in France,” position pieces called “From an Antique may use the part for trombone. The small Shop.” The dainty grace of the melody notes cued in this part, however, are for There is opportunity for contact mailed to you free... . French Line, and the classic mold of the harmonic set¬ cello alone. with celebrated musicians . . . rec¬ Educational Dept., 19 State St., ting are mindful of the period of Haydn Before commencing to play, give special and Mozart. attention to the repeat signs, which are reation, concerts, the opera in Paris. New York City. Play at a moderate tempo throughout, the same in all parts. Each of the three using short strokes of the bow. The first sections is repeated. At the D. S., return three notes of the opening theme should to the sign which is found after the be played with down-bow in the lower half, two measure introduction; then play to each time they occur. Use very little bow the hold <3fceneh, J&rve PARIS (Luxurious New Tourist Class), March 17, April 7 and 28, May 19 "Wherever there is good music there is harmony. Wherever there is harmony there are good citizens.’’ ILE DE FRANCE, March 24, April 14, May 5 and 26, June 16 —J. Hampton Moore, Mayor of Philadelphia. LAFAYETTE, March 11, May 16 • CHAMPLAIN, April 3 and 21, May 12 MARCH 1934. Page 189 188 MARCH 1934. THE ETUDE THE ETUDE At Last We Sing olden time apparently handed down to pos¬ AFTER THIS, words and small, slow terity very little in the way of vocal pre¬ . tunes may be essayed, with the closest cept and admonition; but that “little” really attention to matching all that is produced contained the whole of what they knew and with the perfection of quality formerly ex¬ taught. And of their precept and admoni¬ THE SINGER'S ETUDE perienced on Lah alone. ' Should this suc¬ tion—if we can bring ourselves td under¬ ceed, even in moderate measure, then the stand the truth as they understood it— Edited for March by student may conclude that he is well on nothing was more important, more reveal¬ the way to bringing his vocal organ as ing, or more fulfilling than the necessitous Eminent Specialists closely as it can be brought to that stand¬ rewards contained in the simple rule of tuning the voice in the center of every note It is the ambition of THE ETUDE to make this Singers Department "A Singer’s Etude” complete in itself ard of tone-perfection attained by the really great singers. we sing; for thereby hangs every following The great masters of bel canto of the law of bel canto, or beautiful singing. Tdhe Inner Principle of the teaching of William Shakespeare What -About Jsfasal 1{esondnce? By Gordon A. Fory VYtakjng the VYCost of a Small Organ The D. Appleton-Century Company Announce a companion volume to By William Robert Crawford THE ORGANIST'S ETUDE “Standard Organ Pieces” Edited for March by Many a church organist playing a two- on the Violin Diapason of the swell organ, now in use by 25,000 Organists manual organ of moderate size, after hear¬ draw the Great Open Diapason and coupler Eminent Specialists ing one of the large organs, with its many Swell to Great, having all the other great beautiful soft stops, wishes he had such stops pushed in. Now play a solo on the It is the ambition o5 THE ETUDE to make this Organ Department "An Organist’s Etude” complete in itself an organ to play, so as to make the music Great organ, then both hands on the Great, at the services more interesting. By play¬ giving the people a chance to hear the Open MODERN ing on the four foot stops an octave below Diapason, entirely alone. After a while add where written, he may obtain more soft the Swell Bourdon, and keep on playing. combinations than are usually found on a Then, when everything is ready, add the small organ; the listener will think it is full organ. You will be pleased with the ORGAN PIECES a much larger organ than it really is. Some effect. 75he Flotation of ‘Pedal Footing such combinations as the following may be Playing at the service very softly and A companion volume to “Standard used. from memory one or more of the hymn Organ Pieces,” of which more than Have one or two soft stops drawn (8 ft.) tunes every one loves is always appreciated, 25,000 copies have been sold. This new on the swell, coupled to the pedals. Then especially if they are played in the same volume is devoted to the works of By Clement Antrobus Harris draw the Great Flute Harmonic (4 ft.) and key one is improvising in, since in this case modern composers, containing more play an octave lower than written. Now there is no feeling of preparation, such as than ninety compositions, many of add the Dulciana (8 ft.) or the Fifteenth SO LONG as he is studying under a The latter plan has the advantage that the spectively with the pitch and duration of there would be if one modulated to the key which have never been arranged for (2 ft.) or both, playing either in chords or in which the hymn is usually sung. teacher the organ student will feel no sign indicates which foot is to be used apart sounds. So I shall speak of the pedal-notes organ. The list of composers includes as a solo (accompany on the swell where difficulty in understanding the marks from its being above or below the staff: as white or black just as one would of There are certain changes which an organ written). With these three stops, eight Ippolitow-Iwanow, Kistler, De Falla, by which pedal-footing is indicated: they in other words, it is an additional indication manual notes: no one can fail to under¬ tuner can make at very little cost—changes combinations are possible. After this see Moussorgsky, Palmgren, Prokofieff, will be explained to him lesson by lesson. and to my own mind looks better. Some stand what is meant. which will add to the soft combinations. what combinations will be satisfactory, He may, for instance, soften the lower Sibelius, Stojowski, Stravinsky, Worm- But when this stage is over, and he begins On modern organs with a polished pedal- using the Principal in place of the Flute seventeen pipes of the Great Flute Har¬ ser and many others. The value of to study by himself music of different board and light touch the glissando may be Harmonic. Eight more combinations are monic and get a beautiful soft stop Dia¬ this book to skilled organists as well authors, editors and publishers, of different made quite satisfactory in effect, is often possible, all distinctive in tone. With the pason, when played an octave below. The nationalities and periods, the organist may very useful and is probably much more as to students can hardly be over¬ Swell, more combinations are available same may be done with the Principal, and be hard put to it sometimes to understand often used than it is marked I It is avail¬ estimated, as it will provide them with than on the Great, but first draw the Great a good soft violin diapason be obtained. the method by which the footing is marked. able for playing any two notes not more a collection which, in terms of the cost Dulciana coupled to the Pedal. The tenor part of the Gamba may be given For in this phase of technic there is no than a tone apart, except white to black any of foreign sheet music, is actually Only a few swell combinations need be as much of a violin tone as possible so as to one system which is as uniform and uni¬ interval, and black to white if more than worth in excess of $150. Engraved for versal as is the use of numerals for indi¬ mentioned here, it being left to individual imitate a violin solo played on the G string. a semitone apart. Also it may be used for cating fingering. One reason for this is enterprise to discover what more are avail¬ Also the Dulciana may be given the right pipe organ on three staves, sheet music three consecutive black notes a tone apart, that a number of expert organists would able. Draw the Swell Violino (4 ft.). tone to ' accompany a solo played on the size, with large and readable notation. and any number of white ones a semitone differ more in their method of footing a Now you can use the Aeolina (8 ft.) and swell oboe. Also the upper seventeen pipes Be sure to read the following: nn or tone apart. The notation for this move¬ pedal-passage than they would in their the Flageolet (2 ft.) as described with the may be made a very soft flute tone. If ment takes three forms: one is to write angering of a manual passage. Another, Flute Harmonic. After this see what can thought best it is very easy to shift the CONTENTS it has recently been adopted by a very the name of the foot to be used over or and the chief reason, is that there has been be done with the Flute Traverso (4 ft.). Twelfth six pipes, and re-voice them into a modern French writer. As the foregoing under the staff; another and much the most Aitken Jensen .Murmuring Zephyrs an enormous development in the technic of The Bourdon played an octave higher with beautiful four foot Flute; the six bass pipes measures from Saint- Saens’ Fantaisie, are usual way is to write the pointed sign over Amani Kistler.Prelude (Kunihild) pedaling of late years: the very simple or without the Aeolina is usually very missing will not be noticed.. The- lower the only ones in this composition in which each of the notes, or in some cases only the old markings have proved quite insufficient seventeen pipes of the Swell Diapason Danse des Sylphes Lasson .Crescendo he has indicated the footing by this (or any first, and follow it or them with a con¬ y of the Toreadors Leoncavallo .Pagliacci (Mosaic) to indicate the intricate details of new sys¬ other) method, it may be objected that his To obtain an impressive crescendo to the could be softened into either a Flute or Blockx . . erenade (Milenka) Liszt .Liebestraum tems : and, in the absence of any official necting stroke; and a third is to place dots full organ, such as you would use for the Salicional and the 'Swell Bourdon Bass Blon .... Luigini .Egyptian Ballet (Mosaic) idea was to indicate a particular phrasing, under or over the passage. (“A” is an Boisdeffre code, composers and authors of “schools” Doxology or a Grand March, while playing made almost a whisper. Luigini.Voice of the Chimes not footing. But in all other measures example from Rinck, and “C” from Best) : have devised several systems of pedal no¬ (with one or two negligible slips) the MacDowell .... Scotch Poem, Op. 31, No. 2 tation. Mascagni .Prelude and Siciliana stems are turned according to the usual Ex.G itermczzo. Op. 117, No. 1 Massenet .Air de Ballet rule (above the middle line, down, below Waltzes, Op. 39 (Mosaic) Moszkowski.Melodie, Op. 18, No. 1 Adagio (Concerto Op. 26) Moussorgsky . . Hopak (Fair at Sorochinsk) Right or Left Foot it, up). The phrasing could have been in¬ .Habanera IRSTLY there is the question whether dicated just as well by this correct way as Famous Hymns of the Saints ^Bernard Paderewski.Menuet a 1’Antique F ..Nocturne, Op. 55, No. 1 Palmgren .May Night a note is to be played by the right foot by the other: CLEMENT ANTROBUS HARRIS .Valse, Op. 18 Papini .Dolce far Niente! By C. E. Miller . ..Causerie, Op. 40, No. 6 or the left. There are two ways of indi¬ ■ Love’s Dream After Ball Pierne .Serenade cating this. One is by the use of initial Ex. 3 Poldini .Poupee Valsante .Simple Histoire Prokofieff .Gavotte in D, Op. 12 letters: in English “R” for right and “L” editors are very careless in the matter, and NE of the most glorious of all Abbey of Cluny, and remained there, so far .Reverie for left; in French, respectively “D” for I could name well-known works in which O issepied (Le Roi s’amuse) Rachmaninoff .Prelude, Op. 23, No. 5 hymns is that of St. Bernard of Rachmaninoff .Romance droit and “G” for gauche; in Italian, “D” V signs are placed point up, and point down, as is known, for his life. To him we owe Therefore I take it that the composer’s in¬ Clairvaux—who must not be con¬ Rimsky-Korsakow . .. Dance of the Buffoons for destra and “S” for sinistra. When the on the same side of the staff! the glorious Hora novissima, split up in Rimsky-Korsakow. Flight of the Bumble-Bee tention was to indicate both footing and fused with St. Bernard of Mortaix, a cen¬ pedal-part is written on a separate stave Very frequently one foot has to replace various hymnals into separate hymns. The Rubinstein.Kamennoi-Ostrow, Op. 10 phrasing. tury later—the Jesn dulcis memoria {Jesus, these letters, if used at all, are usually the other without re-sounding the note. In proper order of these is as follows: (1) Saint-Saens .Bacchanale (Samson) A third way of showing which foot is the very thought of Thee), welcome at all placed above it; but in two-stave music they this case probably both feet, and certainly For the heel two signs are in use. The The world is very evil; (2) Brief life is Saint-Saens .Minuet, Op. 56 to be used is by placing signs for the right times, but usually associated with the Sapellnikoff.Chant sans Paroles are, of course, placed below. For such the releasing (second) foot, will use the most common is a letter U or u, and the here our portion; (3) For thee, O dear, Schumann . . . Cradle Song, Op. 124, No. 16 foot above the staff and for the left foot Second Sunday after Epiphany, and the .. . .Nocturne in Ab music the letter system is practically the toe, since the heels are too broad for' 6'he other, especially in French publications, a dear country; and (4) Jerusalem the Schumann .Romance, Op. 94 below it. As the signs themselves show Feast of the Holy Name. Sibelius .Romance, Op. 24, No. 9 only one which can be adopted, for when to release the other conveniently. And circle O. Where a rule is observed in re¬ golden. All these are compiled from two Sibelius .:. . . Valse Triste whether the toe, heel, or sole is to be used signs are use,.' the foot to which they apply there are two ways of indicating the action: gard to the vertical alignment of the toe- This good saint was the son of a knight hundred and eighteen lines of Latin! Ob¬ Extase Spendiarow i:-■ . -e Op. 3, No. 2 they must needs be dealt with in our next who had a castle in Burgundy, near Dijon, VIII) Stojowski.Melodie, Op. 1, No. 1 is shown chiefly by whether the sign is one is to draw an oblique stroke from the sign, V A, the same rule is observed in jection has been taken to the meter used Strauss, R.Lento (Violin Concerto) paragraph. where he was born in 1091. He entered the . .Shepherd’s I)an« __ VIII) placed above the staff (right foot) or below sign below the staff to that above it, or the use of the heel sign, the open end being not corresponding with that of the Latin, .Torch Dane. (Henry VIII) Stravinsky .Berceuse (Fire-bird) Toe or Point Signs vice-versa, as the case may be. The other placed away from the note, thus: U above first of the Cistercian monasteries in 1113, of which I give the first line as an example, >w .Meditation, up. 3a Szalit.Intermezzo, Op. 3, No. 3 it (left foot), rather than by the sign itself, ... . Mazurka, Op. 54 which indicates whether the toe, heel or HE SECOND question is how the way, neater but perhaps not quite so obvi¬ the staff for right heel: n below the staff and was the author of what is known as “Hora novissima, tempora pessima sunt;” Thome .Under the Leaves T the “Rosy Sequence.” Both of these hymns Tschaikowsky. .Andante (Fifth Symphony) sole has to be used. (As will be seen, foot is to be used. When the pedal- ous at first sight, is to place both signs on for the left heel. When this rule is not but any one will see that an attempt to Tschaikowsky .Melodie, Op. 42, No. 3 shortly, some signs for the right foot are board was first invented, and the touch no the same side of the staff as that of the observed the open end is generally placed are to be found in the English Hymnal, reproduce this meter in English, with ac¬ Tschaikowsky .. .Nutcracker Suite (Mosaic) but the Jesu dulcis memoria alone is to cents and all, would practically abolish the . . Sigurd Jc vertically reversed for the left.) To place doubt very heavy, the notes appear to have first foot, and mark them with a tie. This, upwards both above and below the staff. Wagner.Magic Fire Scene (Walkure) the letters above the staff in two-stave been played almost entirely by the toes, of course, can be done only if the points As the heels cannot easily replace each be found in Hymns Ancient and Modern. use of these beautiful hymns. oS'I: . To Sprinf Widor.Andante (Fourth Symphony) This hymn was an especial favorite of Wieniawski .Legende, Op. 17 music would make them look as though the heel being used only when unavoidable. of the sign are placed in opposite direc¬ other and cannot play glissando, the marks —Musical Opinion. Hollaen Wormser .Reverie (Gipsy Suite) they applied to the tenor part. Here is But as the touch became lighter the heel tions. indicating these movements are not used the late Queen Alexandria; and in the early an example of separate staff letter nota¬ was used much more frequently; and in in connection with them. days of 1892, when her eldest son, the late Youferoff .Elegie, Op. X tion from Rinck: recent years the sole has been brought into (L to R) (R to L) Duke of Clarence, was so seriously ill and play as well. For all these uses letters or (Continued in next Etude) lay on what proved to be his deathbed, Ex.l R.L R signs are needed. All authorities adopting she often repeated parts to him, and it was AUSTIN ORGANS Bound in green cloth, gold lettering m one of the last things his conscious ears the latter seem agreed in the use of a form '—" X / " — Are designed on scientific resembling the letter V to indicate the toe heard. At that time Her Majesty fre¬ a4g^icomr.|ii TJ] *' i Another action practicable only by means c principles and on an artistic quently paid private visits to St. Paul’s or, as some call it, the point of the foot, of the point of the foot, or the sole (not the Price *5.00 There are two other ways of indicating Cathedral when Holy Communion was be¬ tonal basis. Built of quality and the sign is placed over the staff for heel) is the glissando or sliding of the Five Ways to VYCa\e a the foot to be employed, but these are the right foot and under it for the left. ing celebrated, hidden in an almost in¬ materials with skillful work¬ foot from one note to another. visible spot, where the present writer, For Sale at all Music Stores applicable only when the pedal-part is There is a slight divergence of usage as Volunteer (fhoir manship they are outstand¬ written on a separate stave. One, and I I shall have the occasion to distinguish however, used to see her. regards position. The point of the sign is several times between the notes which on By T. Otto McPherson ing in tonal character and think the older, is to turn the stems of either always placed upwards, or else up¬ St. Bernard of Mortaix or Cluny was notes for the right foot up, and those for a manual clavier would be white and those C heer each other always. born in France early in the twelfth century, in durability. wards when under the staff and downwards which would be black. The terms “high” the left foot down. This plan is not very when above it: but both his father and mother were Eng¬ D. APPLETON-CENTURY CO. (black) and “low” (white) have been used H onor God always. common, but the student ought to be ac¬ Ex. 4 lish. For him, however, like his prede¬ AUSTIN ORGAN CO. for this purpose; also the terms “long” and O ur mutual interest always. 35-39 West 32nd St., New York quainted with it. As will be seen from the cessor of the same name, the world had HARTFORD, CONN. example given herewith, short”; but these are confusing, since I will do my best always. no attractions, and he soon entered the they are primarily used in connection re¬ R everence always. d THE ETUDE THE ETUDE MARCH 1934 Page 193 Page 192 MARCH 1934. Band and Orchestra Fun front the START and a glorious.. (Continued from page 159) a (giuite ^"o^/^mandchoir questions 1 FUTURE FOR THE MONTH OF MAY, 1934 Answered By Henry S. Fry, Mus. Doc, anglais reeds is that the “staple” must be accumulates on reeds. Otherwise the pads, with . Fx-dean of the Pennsylvania Chapter of the A, G. O. of the same make as the instrument. Reeds the reeds or embouchure are^ liable to be¬ while (b) anthem offered as water-proof are a mistake and come soaked, thereby causing possible THRILLING! Music of should not be used. trouble in the most particular passages. modem America. Every- MORNING SERVICE EVENING SERVICE ones loves the Sax’. Play The cane is porous and must remain The care and treatment of reeds consti¬ your firs t tune in one week that way for the sake of sonority. If any tute the most important factors of good on the new free blowing, tone-sure P-A.Then rapid PRELUDE PRELUDE Ho questions will be answered in THE ETUDE unless accompanied by the full name shellac or rubber solution is used, the playing. Organ : Vox Angefica .Henrich Organ: In Remembrance ....Von Biol and address of the inquirer. Only initials, or pseudonym given, will be published. whole flexibility of the reed is gone. With the Boehm, Conservatoire and Piano : With Muted Strings.Nolck Piano: Minuetto.....Barne The reeds should be dried directly after Heckel systems, the proper fingering neces¬ ANTHEMS ANTHEMS Q. I hope to havt 'an installed in use much electricity t Can yc playing. The least saliva possible should sitates a most careful study; many players (a) Stay Thou With Me.Bach (a) Lol ’Tis Night.Waghorn „ ww - Company hook of pieces for reed organ! be allowed to dry on it. Remember, the do not make full and proper use of the fa¬ (b) Near the Shore.Haven you please give (b) Love Divine.Marks addreis of this Companyr^Do*you think the .A. We do not feel that the idea of equip- life of a reed is approximately sixty hours cilities they offer for a smoother and truer of use; for its porous texture (which is pitched execution. The most expensive OFFERTORY ' OFFERTORY °r- board^and ^ gfi Search Me, O God. .Marks If With All Your Hearts.Robert gamzx. AoowrA AUAAl nowwhat_ informationg ather advise vour securing a mano with nerlfli Kao^ the reed’s life) will soon be filled with make of any of these instruments is, in (Mezzo-Soprano and Baritone Duet) (Tenor Solo) the firm you mention is no_ _longer The Used are available, and we are sending dry saliva. the end, the cheapest, as the satisfaction specification you send unified nTand duplexed ; you ii lation by mail in reference to such PAN-AMERICAN tps you specify, it is of the incuts. You might also,secure a new or and pleasure to be got from them gives POSTLUDE ,/hether it will be satisfae- wo manual reed organ with pedals and General Hints theater type. . We are also sending you information depends on your preferences. In general the wood-wind section of a Piano":' Marche‘carilkm'IV?^Tllansen e effects will—ill havei. 1.. ha carefully se- erence to such instruments by mail: a AN INSTRUMENT should never be I__ for $4200, for your organ would not consume much . hard to blow; should any difficulty band is pretty much neglected; conductors without the traps, for $3600. ty. You might get information PRELUDE of equipping your organ from a party be experienced in this respect, one’s in¬ and organizers should exercise every effort rgan : In the Afterglow. 0 I am studying the organ hy myself and in your city whose name we are sending,you, strument should be thoroughly examined. to make a well balanced organization. ano : Sweetly Dreaming. Aletter have finished Stainer’s hook and “The Art of though we do not advise such equipment! Organ Playing,” hy Thayer, besides many com- Some reed organ books are "Reed Organ There is something radically wrong. The Two to four flutes, one to two E|j clari¬ ANTHEMS positions for organ, in hooks and sheet form. Player,” Lewis; "Classic and Modern Gems trouble, most likely, lies either in the pads, nets, twelve to twenty Bb clarinets, one ) Be Glad, O Ye Righteous.Wc odward dust now I am studying Dudley Buck’s for the Organ,” Jackson; "Reed Organ Selec- to two alto clarinets, one to two bass clari¬ ) Jesus, the Very Thought of “Phrasinq” and would like to know what to tions for Church Use” ; "39 Original Pieces for springs, reeds, joints or cracks. (b) Suffer Little Children.Cranmer use after this, in a technical way. -Will you Harmonium,” Franck; "Reed Organ Method," Oil should never be used inside the bore. nets, two oboes and cor anglais, two bas¬ also give me a list of organ hooks and piecesT Landon. OFFERTORY OFFERTORY Watch, clock or “three in one” oil is soons and a complete family of saxophones song . ■■■ M AILCOUPONTODAY ■■■ There Is No Unbelief...... Wooler ‘The Catholic preferable. This should be used exclu¬ are not too many for the concert band of (Mezzo-Soprano Solo) 'Violin with s in reuai-riaymg, Nilson ; “Master Choirmaster” is published, the price for gle copy and the price for a year. sively on the screws and springs. The for the Organ,” Carl; “Eight Little Conductors should endeavor to induce POSTLUDE _s and Fugues for Organ,” Bach. Did John Henry Newman (180. instruments should be well dried after [piflNOI RealBlues,Flashy Tricks, Slick Basses,Hot an: March in G. For organ books we suggest selection from Lead Kindly Light before or aft< playing, a piece of light tissue being used. young men to take up the odd instruments, Stuff, New Bteaks-HUNDREDS of effects. 10: The Fountain.( “Thirty Offertories for the Organ,” Rogers: affiliated with the Church of Ron MAIL COURSES lor Beginners or Advanced “Thirty Preludes for the Organ,” Clough- did he write this hymn? Swabs are not to be recommended. The such as oboe, cor anglais, bassoon and thru quick, easy “Slone’s Simplified System.” Leighter; “Thirty Organ Pieces for Use in Please give me some information regarding joints should always fit tightly, as loose¬ even sarrusophone, with the object in view Christian Science Churches,” Young; “The H. F. Lute and W. II. Monk who wrote the TEACHERS WANTED I New loose leal method PRELUDE PRELUDE Modern Organist,” Shelley. words and music for Abide with Me. Were ness accounts for air leakage. of attaining balanced bands. Thus the ef¬ makes teaching easy. Teach full or part time. Write for Teachers* Proposition at once. Organ: Shepherd Boy . Marks Starlight.Kohli Organ pieces that may be used are : Suite ”. . Protestants or Roman Cat holiest A clarinet mouthpiece should never be fective and more artistic rendition of the Piano: Sunday .Pitcher Piano: Shadoi on Lake Como..C Gothique, Boellmann ; Concert Overture, Mait¬ t Abide with Me considered a Protestant wiped downwards. Wiping should be done band will be further enhanced; the color, SLONE SCHOOL OF POPULAR MUSIC land ; Coronation March, Tchaikovsky ; Festi- hym. 1 St. Pittsburgh, P :g,” Faulkes ; often while playing. Players of reed in¬ lightness, nuances and flexibility, together ANTHEMS val—’ Prelude-“Ein’ c Feste Burg,” Ft ” ANTHEMS nusunnun, nuuuio, run unarm dc Concert, .. struments should also be careful to draw with the greater balance, will command (a) Gently Lord, O Gently (a) O Sing Unto the Lord.Baines Bonnet; Dreams, Stoughton ; Retrospection, clergyman f- Lead Us.Dett (b) Now the Day Is Over.Wooler Hogan ; Carillon, Delamarter ; Dawn, Jenkinr - out, during rests, the saliva that easily for the band the attention it deserves. Rebuilt Band & Orchestra Instruments (b) Be Thou Our All In All. .Conhurst Night, Jenkins; Exsultemus, Kinder; Suit , hed by T— ---- HONESTLY REBUILT—FULLY GUARANTEED Tremblay; Clair de Lune, Karg-Elert Toc- OFFERTORY icu, 1705 Rittenhouse Street, Philadelphia. instruments sent upon request. Distributors King Band Instruments, catina, Barnes ; Melody, Barnes ; Canzone Pas-, Singleoln„,e copies are fifty cents and the yearly Department E-3, Be Still .Wooler torale, Scarmolin ; A Christmas Lullaby,lahv. sub^ .ri,riptic-- is two dollars. WEYMANN COMPANY. 13th & Arch Sts., Phila., Pa. (Alto Solo) Voris ; Berceuse, Albeniz-Lanquetuit; In Sum- - id- Kindly Light v written_ by _~ ‘ mer, Stebbins. Henry Newman when he was a young clergy¬ POSTLUDE POSTLUDE man of the Church of England. The year Organ : Marche Joyeuse .Stults gan : A Song of the Night. .. Shgpard r several years I have been organist seems to have been 1833. BUY THE BEST Piano : Adoration (4 hands) .. . Borowski The Rev. Henry Francis Lyte, author of Harmony By been under several different directors. I find £},); Y,” ‘-\wllx *■— it Ednam, near The Story of “Aloha Oe” Accordion « TotVsh t0ani °ItthteherZVe° lime Kel?4^oUam{'.—. -,-_, Jun^l" —J, and graduated Correspondence PRELUDE , at Trinity College, Dublin. His memory is PRELUDE have sufficient volume for a c) chiefly_ a-_dated—» with the district church at* By Frank Willard Kimball Organ: Prelude Allegro.Schulei been using all of the 8' stops hi 1. Lower Brixham,I Devonshire, England, where EXCELSIOR Clear Concise PiarmY EiTdearment*'.'."."."M Piano: Elegy .Poldini that too loud. Please tell me o remedy this. What stops can I use in place _ he became "perpetual curate" in 1823. Lytes \=3f|wKr ACCORDION MFG. CO. EDMUND SEVERN ANTHEMS Diapason stopsf Need these be used for gen¬ own tune to the hymn apparently was neg¬ W ^ .ve,. Hew Turk, 1063 Franklin St. Melrose, Mass. ANTHEMS lected, and when the hymn won recognition in lic of Hawaii. Three years after a treaty (a) Abide With Me.Watkins eral playing 1 When changing stops while England it was probably tuneless, and the ALOHA OE was adapted from an old (a) Jesus, Meek and Gentle.Barnes (b) Lead Me,-O Lord.Harris playing, what stops would I add to produce a was negotiated with the United States for (b) Come, Holy Ghost.Dicks slight at compiler of “Hymns Ancient and Modern," /A Hawaiian folksong which originated -* of volume at the close of a solot 1861, asked Dr. William Henry Monk, their the annexation of the country to Uncle OFFERTORY OFFERTORY —E. B. Music Editor, to supply the want. “In ten ■a. JMrom onr own song, Home, Sweet O Love That Wilt Not Let A. Since you did not send list „ _ minutes,” it is said, "Dr. Monk composed the Home. Although Queen Liliuokalani was Sam’s domain. The Heart of God.Stoughton Me Go.Fprmar eluded in your organ, we cannot give you (Soprano Solo) (Baritone Solo) specific directions. If your Diapasons-- sweet, pleading chant that is wedded perrna- quite proud of her musical ability, she In the archives of Hawaii are many ■WALTER JACOBS, Inc., has acquired the Sole Selling Agency of the loud, do not use them ; and depend on _ songs written on note-paper by the late POSTLUDE f TOii^Mces" born7n By Harold R. Harvey Vhe Great American Hoax By Mary E. Cook Not LONG ago I was asked to be the greatest value in this experiment. In former days the occasional solos sion, akin to his own, often expressed his COLONIAL MODEL Once at a state fair the writer spent “THIS IS NOT A STRADIVARIUS!” assist in the viola section of an Since much viola music lies in the range allotted to the viola were for contrapuntal ideas in a way impossible to any other By several absorbing hours at a booth where At one side of the booth will be a table orchestra which was to furnish the of the tenor and alto voices, it would cause contrast, but now it is seized upon by com¬ instrument. His quartets show many in¬ JESSE FRENCH & SONS accompaniment for a rendition of “Elijah.” confusion if music were written in the posers for its own individual quality. stances of this. Mendelssohn and Schumann various concoctions popular with the public, bearing a bushel basket brimming full of My desk mate, a young lady in her second treble clef as in the following illustration: Muted, the tone is of an almost indescrib¬ also played viola, but the instrument has such as soothing syrups, facial applica¬ just such labels, likewise “yellowed with tions and medical compounds, were exposed ic—it furnishes the background for year in junior college, played viola ex¬ Ex.l able beauty. The natural harmonics have no unusual prominence in their chamber age.” and with the selfsame lettering. ar excellence, for those who take tremely well and had a superb instrument a velvety quality which makes them par¬ music. Schubert seemed chiefly to have as frauds. Over this table will be a sign: “Factories y modern Home requires a grand with a real viola tone. My enthusiasm ticularly effective. Chords played pizzicato appreciated its admirable blending qualities One other exhibit the writer would like and private violin makers zvorking in 1934 . to complete its turmsmngs. to arrange for, in state fairs held in 1934. Be French & Sons Pianos supply this requirement in a splendid manner; for the viola as a solo instrument led me to are rich and resonant and seem to linger between the violin and the cello. Schu¬ will paste these labels by the thousands in e of' the•1 fines ‘ 1 .mes in all parts of the world. They bear a ask her what solos she was playing. Im¬ in the air. Give the viola a melody which mann, more than Schubert, grasped the In the center of the booth would be a their violins. It costs but half a cent to veil ki wn to music lovers since iota, agine my astonishment when I learned that, calls for breadth, tenderness, mysterious¬ possibilities that lie in the viola. He has violin, highly polished, newly strung and print them and there is no law against ^The tone quality is delightful.delightfu The action light, i though she had been the violist in a very because of the necessary use of so many perfect as to pegs, bridge and tail piece, ness, pathos or a veiled quality of tone, and many beautiful passages in his chamber These wonderful instruments come in a wide range of styles—uprights fine school quartet for six years, she had added lines below the staff. Let us see it will respond to any of these moods with works, and he sometimes employed it in a but with just a sufficient number of Other exhibits will be a set of instruments in three sizes, 3 feet 8 inches, 4 feet, and 4 feet 4 inches high; and grands never played a viola solo! Certainly here what would happen if the bass clef were a readiness unsurpassed by any other in¬ higher register than had been done before. scratches lining it to show it to be “at used by violin makers to put “marks of also in three sizes, 4 feet 10 inches, 5 feet 2 inches, and 5 feet 10 inches in was a chance to do some missionary work least one hundred years old.” It will be length, both standard and period designs. strument of the string family. He was probably one of the first composers age oh violins” as well as a demonstration For complete catalog and name of nearest dealer, address: by means of the power of suggestion. Our to use the treble clef in addition to the C near enough to the sight-seers to enable of the process of yellowing new paper to conversation brought out this point, that, Viola Vicissitudes clef. In some of his chamber music, them to peer through the f holes to a label make it look old. And it will be pointed JESSE FRENCH CORP. while she loved the viola, she had never THE CAREER of the viola has been notably in the quartets and quintets, the faultlessly worded with the Stradivarius out elsewhere that this custom of passing really given it serious consideration as an an interesting and a -singularly solo passages do not sound as striking as “trade mark” (slightly yellowed “with off poor violins for “Stradivari” Factory Office, 334 East J Ave. New Castle, Ind. instrument which could speak with a voice chequered one. Originally it was the old¬ they might because of the doubling of the age”): a hundred years old. of great beauty and power. As is evident, this clef would employ just est and most important member of the melody in the piano part. Yes, it’s the Great American Hoax, and By way of contrast, may I mention an¬ as many added lines as the treble staff, or string family, but its prestige gradually Antonius Stradiuarius Cremonenfls one that daily tricks thousands of our other experience. Last summer it was my else at some convenient point another clef; diminished until it became a mere drudge, Brahms' Chamber Music unsuspecting citizens. We wonder when good fortune to play viola in the orchestra would need to be added for the higher1 faciebat Anno iy}j necessary for balance of parts but not con- HE CHAMBER music of Brahms people will begin to be less gullible and of the University of Michigan. Again my notes, making the almost continuous use of T 'sidered of much worth in itself. This may further developed the field for the to demand that they know the true source desk mate was a young lady who also was two clefs necessary. The clef selected,’ have been partly due to the growing disuse viola and began to make it imperative for and worth of the instruments they pur- an accomplished violist and who also had therefore, is the C clef which locates Mid¬ of the larj|e and powerful viola tenore, at players to improve their hitherto most in¬ Over this violin will be a placard stating: provided herself with a real viola. Again dle C, for the viola, on the middle or third about the end of the seventeenth century, adequate technic. Only players of real the matter of using this much neglected in¬ line. and the more general adoption of the viola strument was brought up, and I was attainment should attempt passages such of the present, a smaller and more man¬ as occur in the third movement in the informed that she had just recently gradu¬ ageable but far less brilliant instrument, ated from one of our best schools of music “Quartet in B flat” in which the viola, owing to the discrepancy between its size unmuted against the mutes of the other T5he Violin Sound Post with viola as major! Again I was as¬ and its pitch. tonished, but happily so. We compared strings, is the most important instrument It is easily understood that, as no great throughout This is no music for the half¬ By S. E. Frew notes and I found that she had an extensive This is the compromise with the bass and demands were made upon the technic of hearted attempts of disappointed violinists repertoire of the best in the viola literature treble clefs which has been found to be the instrument, it had few adequate ex¬ who have sought refuge in the precarious of the bridge gives the easiest resonance; and was eager to learn of any new things. most useful. No detail of violin construction is the ponents. The result of this in turn was shelter of the viola desk. (Edouard cause of more experimenting and uncer¬ but, at such a position, the volume and the For higher notes the G clef is used that little of interest could be written for Colonne called them “the refugees of the firmness of the tone begin to diminish. So Tones Rarely Isolate in order to do away with the reading tainty than the setting of the sound- post. it owing to the very limited powers of it is not well to have the sound post as far ETWEEN these two extremes there of added lines above the staff. It has often treble clef.”) These passages demand a The difficulty arises from the fact that, B viola players. This condition existed al- as five-sixteenths to three-eighths of an lies a story of almost compete neglect been suggested that viola music should be genuine viola technic fully equal to that of even once the sound post is set, it is im¬ .most up to the present generation. In inch back of the bridge. of this splendid instrument, in so far as its written entirely in the G clef, but doing the violinist or cellist. possible immediately to judge of the accu¬ fact, the “Sonata for Viola and Piano” by While a position of one-fourth of an being used for solos is concerned. Evi¬ this would restrict the student to certain In the hands of a fine player nothing racy of its placement since a quality of tone by Anton Rubinstein stood for many years inch back of the bridge is fairly good and dence is not lacking, however, which points editions which might adopt this method could be more beautiful than the viola parts is thereby created which is only temporary as the only solo sonata for this much neg¬ seems to be particularly well adapted to to an increasing interest in the violin’s of notation. It is certain that the great designed by Brahms. Several of his works and which gives no indication of the final lected instrument. Of late years, however, new violins, that is, those that have been larger brother, for even many of our literature of the quartet Would be forever for winds are arranged for viola. He made result of the alteration. As an evidence of Make THE ETUDE Your Marketing Place its position has changed. - Growing pre¬ an alternative part himself to the clarinet the uncertainty under which many violinists played on only a few weeks, the positions smaller school orchestras can boast of at closed to him, to say nothing of all the occupation with color has discovered pe¬ Etude Advertisers Open the Doors to Real least two violas. Only recently the viola part in his two sonatas for clarinet and have labored, there is to be seen not un¬ of five-thirty-seconds to three-sixteenths of Opportunities great orchestral scores. So, it is best to culiar and often most effective possibilities. has been given a place in our contests—for learn to read the viola clef “straight.” piano. The viola can replace the clarinet commonly in violins the scraped away por¬ an inch back of the bridge produce a firm tone yet one with sufficient resonance. instance, this year in the Junior Division of Most people think of the viola as just Composers Who Favored the Viola in the “Trio for Piano, Clarinet asd tion of some of the wood in the top and the National Federation of Music Clubs. “a big 4 violin,” a fallacy which only an Cello” and, less successfully, in the back, near the sound post and the edges No material improvement can be made, Tell your Music Loving Friends about THE ETUDE and ask them to give A FACT that has contributed greatly to The larger size of the viola, in relation great “Quintet for Clarinet and Strings.” of a sound hole, caused by experimenta¬ perhaps, over the sound post a little more you the privilege of sending in their subscriptions. appreciation of its tone can do away with. ■xi. the viola’s present importance is that, to the violin, permits the use of longer and The viola can also replace the horn tions in moving the sound post in different or less in diameter than one-fourth of an Ash for Catalog of Rewards for subscriptions you send Although it is not a brilliant instrument, in spite of, or, perhaps, because of, its heavier strings with a consequent lowering in the “Trio for Horn, Violin and positions. inch, of cylindrical shape and made from THE ETUDE 1712 Chestnut Street Philadelphia, Pa. the viola possesses a tone-color of excep¬ neglect m the past, it has been the instru- of the pitch of the whole instrument. Not tional charm; it combines the depth and Piano.” Brahms used the viola as an Conditions produced by the position of old seasoned spruce. While the sound post long ago a suggestion was given by a ment most often played by composers who obbligato instrument in his two songs for the sound post vary between two extremes. should fit firmly in position, it should resonance of the violoncello with the mel¬ wished to take part in chamber music. The prominent school orchestra director that a lowness and tenderness of the lower strings voice and piano entitled Gcstillte Sehnsucht A sound post back of the bridge one-thirty- not be too tight, since there would be first of these composers was Mozart, whose satisfactory start could be made without of the violin. While each string has its and Geistliches Wiegenlied, two songs of second to one-sixteenth of an inch can be some slight danger in a very tightly writing for it is hence more interesting the instrument itself. He advocated string¬ individual tone-qUality, the lower strings unusual worth although seldom performed. regarded as one limit, the limit of greatest fitting sound post. Also sound post than that of Haydn. The. treatment of this ing the violin like a viola, that is, removing in particular are sombre or dramatic, and Dvorak was also a violist and had a strength, or of a loud tone not necessarily setting should be influenced a little instrument in his quartets is striking it the E string, moving the lower three the upper strings tender, pathetic and of a peculiar fondness for the instrument. of the best possible quality. A position of by the thickness of the wood in the moDERn MODERN being given , almost as important a place PIANO strings up and using a viola C string in veiled mysteriousness. The timbre, which Smetana, his master in composition, gave one-fourth inch directly back of the foot top of the instrument. as the first violin. In his “Trio in E flat,” meTHOD PIANO METHOD place of the violin G string. Certainly can be made to contrast most tellingly with it unusual prominence in his quartet, “Aus a most charming composition, he combined I Simplest Method Known. Most Modern; Com-1 such a re-strung violin would not give the the more open tone of the other strings, Meinen Leben,” the opening of which is it with the clarinet. . In fact, in all his same sonorous tone of the larger instru¬ is rather dark and nasal and approaches almost a small viola concerto. Dvorak I plete; Most Systematic; Thoroughly Illustrated. I ment, but it might be an experiment worth works Mozart treated the viola with affec- I All chords in music, Bass Progressions, Modulations, Breaks, Endings, ■ some of the woodwind in color, particular¬ tion and confidence. used it with more discretion. In his -«, Improvising, Pentatonic Scale, Whole Tone Scale, Blue Scale, ■ trying as an emergency measure. It would ly the oboe, English horn and clarinet. “Quartet in F major” the viola announces “Though it is easier to increase the tone on the up-bow and to decrease ;, Tenths, Hot Chords, etc. Shows and illustra Beethoven who also played viola did ___ from the major to the 13th chord. On sale at your i be especially useful for younger players Ippolotow-Iwanow has written a remark¬ the main theme in a most interesting man¬ it on the down-bow, it frequently happens that for convenience of bowing not write for it with quite the suave bril¬ I Part 1, 2, or 3, (Each Part). : $i.ool with small hands. At least, it would not able duet for the viola and English horn ner. The viola is also used with telling the reverse of the above will be more expedient; and for this reason it is liancy of Mozart, though he fully under- interfere with an early start in reading the in the second number of his “Caucasian effect in the “Terzetto Op. 75," for two necessary to be able to do both of these with up or dorm bow. The much-dreaded C clef. This would seem to Sketches,” called In the Village. hew r/efra20ry temPerarnent, which, Strad. M.M.COLE PUBLISHING Co. Chicago being, in its gruff sincerity and sombre pas¬ violins and viola, in which the viola has the experience of acting as a bass instrument. Page 196 MARCH 1934. THE ETUDE the etude MARCH 1934 Page 197 ‘Music of 'Njiture VIOLIN QUESTIONS A Fc Pi oneer Answered A Series of Programs for Studio, Club or Radio Recital By Robert Braine By Aletha M. Bonner On Two CHICAGO THE CHOIR OF BIRDS Ho question will be answered in THE ETUDE unless accompanied by the full name Highly Successful and address of the inquirer. Only initials, or pseudonym given, will be published. Part I—Music and Birds Nightingale in the Garden— Reader: Theodor Kullak The softest sound in Nature’s score is The Hen (La Poule) .. .Jean P. Rameau MUSICAL COLLEGE (Much o} the mail addressed to the Violinist's Etude consists of written descriptions, photographs and labels of old violins. On the basis of these, the the beating of an insect’s wing against a Our Neighbor’s Hens.Paul Wachs Books writers ask us to tell them if the violins are genuine, and their value. We regret The Cuckoo.Henri Van Gael to say that this is impossible. The actual violin must be examined. The great ledge of grey-toned rock that blocks its Founded in 1867 majority of labels in violins are counterfeit and no indication of the real maker. path; while sweetest tones, perhaps, sound Piano Group (difficult) We advise the owner of a supposed valuable old violin to take or send it to a forth from a potpourri of song poured from The Humming Bird.Paul Perillo H. S. Wilder, for many years one H' 8‘ WILDER reputable expert or dealer in such instruments. The addresses of such dealers can be obtained from the advertising columns of The Etude and other musical pub¬ the throats of blue and scarlet, black and The Lark.Glinka-Balakirew of the foremost Piano Teachers at the New England Con¬ lications.) gold-clad choristers of earth and sky. Hark! Hark! The Lark..Schubert-Liszt Nature’s cleverest musical genius, a Bird as Prophet.Robert Schumann servatory and the Pioneer of Piano Classes in America, Two Larks.Theodor Leschetizky RUDOLPH SANZ, President Shiiiplnj; for Appraisal. violins run into the thousands, it would be feathered chanter of lowland and of plain, writes: G. A. S.—If you send your supposed Stradi- necessary for you to establish yourself in one has been called a “comedian of song,” for Piano Group (four hands) varius violin to a firm of experts, for repair of the large cities, if you expect to sell direct The Swan—(Arranged by W. M. and appraisal, be sure and have it insured in to private customers. You would have to do there is no sound, whether made by bird transit. If the firm is reputable, you run small or beast, that he cannot imitate: and thus Felton).C. Saint-Saens risk of having another substituted for it and Song of the Thrush. George L. Spaulding "I have studied, with the greatest care, both 'Music returned to you. Stradivarius made very few “the mocking bird” has been named. But, small violins. They are practically all full though a bird of brilliant wit, he sings a Piano Number (six hands) Awakening Play for Every Day’ and 'Happy Days in Music Play’ of the Birds.Otto Lange To Embark On a Career. rich and tender song: “Trills of humor and fully agree that they are the most thorough and D. J.—If you will reflect a little, I am sure contralto cadences . . . and tissues of Song Group you will see how impossible it would be for moonlight” are found in his musical dis¬ The Nightingale’s Song.Ethelbert Nevin inclusive courses for the beginner to date. Surely they the famous violinist and teacher, _ me to look into the future and tell you whether the manufacturer of the Italian violins, oi you can “develop into a great artist,” as your Robin, Sing a Merry Tune..E. Newton RUDOLPH GANZ course. of which you have purchased, to place “aj letter phrases it, when you are a complete When the Swallows Homeward Fly— are the result of the most exhaustive knowledge of proved by Leopold Auer” on his labels, I c stranger to me, and I have never heard vou The vibrant notes of the master bard not know. However, Prof. Auer sometimi play a single note on the violin. Your letter of the mountains, the thrush, may be Franz At>t INTERNATIONALLY KNOWN PIANIST, the child’s abilities and musical desires. From cover gave testimonials to violin makers, and als shows intelligence, and, what is just as im¬ heard in a theme of triumphant melody, Lo, Hear the Gentle Lark— gave them permission to label their violii portant, great enthusiasm and a passionate Sir Henry R. Bishop to cover the psychic appeal is' correct and abundant. “approved by Leopold Auer.” " love for the violin. The works you say you for the bright-brown songster sings with CONDUCTOR AND COMPOSER, SUC¬ t, at nine are studying are all excellent, but evervthine an exultant force which only towering A Brown Bird Singing... Haydn Wood Is upon how well you play them. That I Reading: Selections from “The Birds of Happy is the child whose progress is along such de¬ cannot judge withoutw’**'— h_„*■—•—g you— play.— -You heights can give. CEEDS CARL D. KINSEY AS PRESIDENT state that you have ail excellent teacher. That Or; again, in a setting of precipitous Killingworth” lightful paths, and fortunate the teacher whose work Methods for Self-Helpers. being the case he would be the proper person By Henry Wadsworth Longfellow OF THE CHICAGO MUSICAL COLLEGE J. B.—You will note that I recommend the to advise you as to what you may hope to grandeur, comes the florid cry and the is so well outlined.” violin method you mention only in the case achieve. Living in a fairly large-sized city, (Suggested Stanzas, 12 to 17) no doubt have an opportunity of hearing heavy whir of eagle’s wings, when, as in ofi'’101.'11 students who are trying to learn ’.•uncus i the poetic picture by Tennyson: without a teacher. The reason for this is concert violinists. Try and arrange Part III—NATIONAL BIRDS that this method has a great deal of explana¬ (lition with such of these violinists He clasps the crag with crooked hands; MUSIC PLAY FOR EVERY DAY— tory matter which is lacking in many noted as are willing to hear you play. Some will, An irresistible very first book for methods, etudes and studies. The greatest and some will not, go to the trouble of hearing Close to the sun in lonely lands, young piano beginners.. Delightful composers of violin studies wrote their works talented young students; so you must not be Ringed with the azure world, he stands. La Golondrina, The Swallow— game-like procedures, charming mel¬ m the expectation that they would be studied aged if you occasionally meet with a Arr. O. Lehrer (Mexican) THE CHICAGO MUSICAL COLLEGE under a teacher, and omitted all but the most ial. The-. opinions v.„ —mid get in that odies, interesting illustrations and fragmentary explanations. 2.—I should would be entirely disinterestc.., _ Listen to the Mocking Bird— "cut-out” pictures, a novel keyboard strongly advise you to study with a good entire“ of flattery. If the verdict of He watches from his mountain walls, (Arranged by Alice Hawthorne) — is an institutional member of the a cher, ii ” uj™ artists is favorable, it would chart and many other features con¬ -; but, L And like a thunderbolt he falls! Septimus Winner , get several better for you to study in New York, Chi- stantly appeal to the child’s imagina¬ nethods, since what you do not under! '°, or another large American city, or in Piano (four hands) : La Paloma (The National Association of Schools of Music tion. For class or private instruction. r talent n one method may be made clear in another Part II—MUSIC Dove) (Spanish Folk Dance)— PRICE—COMPLETE—$ 1.25 XXX, yol‘. co"ld. I,roflt *>y Mitchell In Four Books—For convenience in money. Piano Group (medium) S. Yradier class use. Price—Each Book—40c orrespondence school method you Flying Sea Gulls.Carl Reinecke Song Group If you decide b e lessons acher, Cliafing of the Neck. Song of the Nightingale. .F. Filipovsky La Colomba (The Dove)— I, of c< le the ( and meth- •T- rxrA srent many violinists suffer from The second semester began Monday, Feb. 5, 1934. the chafing of the violin against the neck, Bobolinks.Frank H. Grey Folk Song of Tuscany primarily for class which produces inflammation and sore spots. Birds in Dreamland.R. S. Morrison Y Deryn Pur (The Dove)— This trouble comes from two causes: first. Full course students may register now. have a very late start at thirty-five, " ressing the violin too hard against the Skylark’s Morning Song.... C. Koetling Welsh Folk Song ““ su.re J’°u can learn enough on the econd, from not holding the violin per- The Eagle, Op. 32, No. 1— When the Nightingale Shall Sing— violin to give yourself and friends much itill, but causing it to sway to and fro. Special students may enroll at any time. £?fasure. From what you tell me about your- Aiiis latter fault causes the violin to rub the Edward MacDowell Troubadour Song (France) neck, thus causing the chafed places. Do not Birds of Passage.Eduard Poldini Far above Us Sails the Heron— llalterbH X b°X’ “The Vtoto^nd °Ho'w'tS | “ —'-’in too tightly against the neck Hungarian Folk Song d do not let the violin sway from Song of the Birds, Op. 120... Carl Heins “Violin Teaching aSd^ VhSfin PStudy”” “by Many violinists double up a silk HAPPY DAYS IN MUSIC PLAY Eugene Gruenberg. These two books contain —ov.tttxvmci and place it over the chin-rest and down over the bottom of the violin. This —The brilliant sequel to "Music and'pictures.* conslst entirely of explanations forms a soft cushion between the jaw and The SUMMER CATALOGUE is now ready Play for Every Day." Keeps up the neck and affords relief. high plane of interest already at¬ Breaking Bridges. Playing With College of Music (ttAcAmaft, Hoke Value of £asy Pieces 1228 Central Parkway, Cincinnati, Ohio By Ernest J. Farmer AMERICAN MUSIC and DRAMA At the close of a recent recital by A student’s tone and powers of inter¬ CONSERVATORY Paderewski, as soon as the rapturous ap¬ pretation advance much more rapidly when plause of three thousand people had died a fair proportion of the practice time is spent on pieces of small difficulty. When COLLEGE OF MUSIC OF CINCINNATI, Cincini down enough for one to be heard, a a ^ remarked that his playing had gone back. it takes all a student’s attention to get the OF MUSIC Asked why she said so, she replied, almost notes of a composition, there is none left and address of the inquirer. Only initials, or pseudonym given, will be published. CHICAGO 48th SEASON indignantly, “Why, he played a fourth for the musical meaning. Even if the hard number is practiced until it becomes easy grade piece!” , Make each accented tone with a do Offers Accredited Courses in piano, vocal, violin, organ and all by that time it has lost its freshness. ’ —If mi acciden n one staff impulse. See that your fingers . ^)ljr Qlt far latti Jnafllutr of fl)ugtr A mental attitude similar to this lady s ,i C——” " "" curved and firm at the nail joints, other branches of Music and Dramatic Art leading to is a great hindrance to many students. Of¬ Many quite easy pieces are of high ar¬ staff —1 the sweep of pedal will help a grr-* Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma tistic value and form most pleasing recital accidental appeal., w ,, „ the crescendo is well graded, Public School Music Course in conjunction with Western Reserve University ten a teacher assigns a piece carefully and be played;d with one pedaling, DEGREE—MASTER OF MUSIC judiciously chosen to suit the pupil’s needs, numbers, a fact recognized by Harold iLTKiff^roCmSa made very, brilliant by BERYL RUBINSTEIN, Director, 2605 Euclid Avenue, Cleveland, Ohio. Bauer who has played second grade pieces denature sharp in that it affects only the one DEGREE—BACHELOR OF MUSIC only to have it treated with contemptuous degree of the staff on which it is placed and neglect as “too easy.” It has happened in sophisticated New York, to the delight nnlv ill! to the next bar line ; whereas the Big- nature sharp affects all other degrees of the DIPLOMAS—TEACHER’S CERTIFICATES more than once in my own experience that of his audience. Technically simple num¬ CONSERVATORY same name throughout the section having that very soon afterwards some world-famous bers are easy to follow, and an audience signature. Therefore the answer to your ques- Under Authority State of Illinois OBERLm OF MUSIC artist has included the despised piece in a naturally appreciates some such “in be¬ program, but even this object-lesson did not tween” numbers which place a lesser strain Thorough preparation for concert, opera and teaching positions. make the stubborn pupil treat it with due upon the attention. Many a pianist, after Many special features, weekly recitals, concerts with full orchestra, Diriicult^asHaiges.^ ex^ain ^ow ;;le follow¬ lectures, school of opera, training in students’ symphony orchestra, respect. playing some elaborate number in which he takes great pride, has found he gets ingshould he played: Mathews’ “5th Graded bureau for securing positions. For several reasons pupils need pieces— Course for Piano/’ Faye 111. J. 8. Bach, “In¬ and plenty of them—three or even four twenty times the response from his audi¬ vention, Two Voices,” Number 8 m the third Frank H. Shaw, Dir., Box 534, Oberlin, 01 ence, following it with a piece which cost measure the left and right hand come together grades easier than the most advanced ones on F How is the same note played at the him one-twentieth the time to prepare. they are capable of learning tolerably well. same' time with loth hands, or which hand SUMMER MASTER SCHOOL To judge a piece by its technical difficulty (Id pla I itt Apart from sight-playing, the attainment of —Alar_ fon page 35 of R. Schumann’s Novel¬ is to adopt the standard of the vaudeville Three Summer Sessions—May 16 to June 25, DANA’S MUSICAL INSTITUTE facility, freedom, resourcefulness, even se¬ ette Op. 11, Number 9 (the part marked “e”), performer, not the artist. If a musical idea the melody in the middle voice is to he em¬ June 27 to August 6 and August 8 to September 17 Professional and Teacher's Courses on the Daily Lesson Plan. Degrees granted. curity, calls for the mastery of a consider¬ phasized. Does the right or left hand play the Departments in Piano, Voice, String and Wind Instruments cannot be adequately expressed without ad¬ middle notes or are they divided between the able amount and variety of material. The One Hundred Twenty Artist-Teachers Public School Music Courses State Accredited. vanced technical means but is at the same tiro. could be piayed by either hand; same is true of memory. The ideal con¬ Supports its own Symphony Orchestra and Concert Band—Daily rehearsals. time lofty enough to justify the expenditure however, most editions have marked it as Special Summer Courses in Public School Music, School of Opera, School Catalogue on application to Lynn B. Dana, Pres., Warren, Ohio, Desk E. dition of memory-development is the mem¬ played by the left hand. You will probably of a great deal of labor, the artist does so notice in vour edition that the F in the right of Acting, Children’s Musical Training, Class Piano Method (Oxford), orizing of something every day. If all this cheerfully. But if the idea which the com¬ hand is placed in parentheses. Theatre Organ Playing material is of the most advanced type, how¬ poser wished to express is simple, the pian¬ 2.—I cannot answer your second question. I think you have given me the wrong opus Send for free catalog. Address John R. Hattstaedt, Manager ever, there can be only one result—much or ist will find, in interpreting the number in I know of no Novellette Op. 11. If you will SCHOOL OF MUSIC give proper key and opus number, I shall gladly all of it will be played too badly to be of the spirit in which it was written, that sim¬ AMERICAN CONSERVATORY OF MUSIC OF THE UNIVERSITY OF MICHIGAN any advantage. plicity is fully as effective as complexity. 575 Kimball Hall, Chicago, Ill. Complete curricula leading to degrees in -Which hand plays the m all branches of Music. Faculty of distin¬ if MacDowelVs “Concert guished artist teachers. Concerts and May (fonsertiatorjg Festival by world's greatest artists and Gaining (Control of Fingers organizations in Hill Auditorium seating 5,000. Chorus of 350; student symphony By George Brownson Northwestern University SCHOOL OF MUSIC orchestras, glee clubs, bands, etc. Recitals School of Music each week on $75,000 organ. ii v«r a i ty Professional Pef)aul An excellent exercise for gaining equal I School' highest standard. 8-Week Summer Session, 'll C control of all the fingers is the following. Have the brackets on the octaves in the bass D Ideal lota_-_—. any significance, or are they played as if the north of Chicago. Degr brackets were not there1 N. U. .i of Me **&/«*• 1 taught..U£UU- T.iboralLiberal ArtsArt subjects Students may enter at any time 2.—Although the time signature is “Com¬ ss Dean, DePaul University School of Mush mon,” there are twelve eighth notes in each Dept. E, 64 E. Lake SI., Chicago (The same notes will be played an octave measure (in the accompaniment). There is no SCHOOL Bullet! marking to show that they are triplets. Is lower by the left hand.) The accents fall¬ there any particular reason for thist—W. M. A. ing on different notes each time the scale A. 1.—The curved line connecting the two of MUSIC OXFORD PIANO COURSE ftETnnrr INSTITUTE OF CONVERSE COLLEGE is repeated cause all the fingers to do an bass notes indicates that the octave is to be gtlKUIj, 1 CCf ccf I CCf Jf -J broken (or rolled) ; that is, the lower tone is MUSICAL ART |CHopLNOrRMU^CuTH , equal amount of work sounded just a little before the upper one in¬ MUSIC FOR THE PRE-SCHOOL CHILD stead of striking both tones exactly together. 2.—Strictly speaking, these notes should be Two Courses by Correspondence grouped in threes with triplet signs accompany¬ Gail Martin Haake ing each group; but in many cases the sign is Vhe (Baby Violinist left off, the assumption being that the time LAWRENCE COLLEGE American Conservatory of Music CONSERVATORY OF MUSIC (Continued from page 162) Trills in Bach. All Branches of Music Taught 3.—In what grade is this composite Q. Will you kindly furnish detailed 1m- —G. P.formation i__ . rraining for Concert and Teaching r——, apjjcareu in two recital previously, it had been suggested that A. 1.—This melody is played with the left played: Rondo. ... A Minor, \bth measure For Free catalog, address ATLANTA We entertained a few misgivings in regat hand. Start the rolled chord before the beat "" ■*- also the Prelude from Bach’s CARL J. WATERMAN, Dean CONSERVATORY of MUSIC Mr. and Mrs. Crosby Adams people often clapped their hands to show that the two melody C’s sound together. “English S No. 2,” 21st measureT to our Baby’s first public appearance, as that they liked the performer, and the 2. —The left hand plays this melody, You Bachelor of Music Degree, Diploma and Certifi¬ GEORG LINDNER. Director TWO SUMMER CLASSES necessary tonsil operation had seeming! cate in Piano. Voice,_ Violin ^ - “ * ' Courses in PIANO, VOICE, VIOLIN, ORGAN, proper acknowledgment was, of course, a seem to be under the impression that all notes a. xne ioiiowmg PUBLIC SCHOOL MUSIC, NORMAL TRAIN¬ for TEACHERS OF PIANO leit an unwholesome fear of strangers. ] are held their full value by the fingers. The minor, Mozart, and “ ING, DRAMATIC ART AND DANCING bow! So Shirley Louise, her baby face instant these whole notes are played, the hand Bach) DUNNING SYSTEM June 21st to the 27th—August 2nd to the 8th, 1934 fact, for some time every strange man w; wreathed in smiles, bowed to her audience, should free itself from them in order to be in Catalog upon application viewed with dark suspicion, as a possib position to play these melody notes. The whole Peachtree and Broad Streets Atlanta, Ga. and calmly waited until the applause had notes are of course sustained by the pedal. of Improved Music Study MONTREAT, NORTH CAROLINA Jean Warren Carrick. Dean M.D.; and many have been the tearful ei subsided, then looked at her accompanist, 3. —It is hard to place such a composition in counters with strangers, in spite , a particular grade. This “Concert Etudi Eastern Office and began to play her first number, the quite difficult b<. 76 EAST 79th STREET, NEW YORK CITY fAAnswering> Etude Adver¬ Mothers assurances. What would tl tisements always pays ESTABLISHED 1857 little May Song by Vogt. Then followed Pronound] Western Office child do when asked to appear before 160 EAST 68th STREET, PORTLAND, OREGON and delights the reader, large audience of strangers? Lightly Row and Little Walts. 2 1 The following morning, when she awoke, ■ Of course, her adoring family took the PFAROHY CONSERVATORY she sat up in her bed and asked, “Mother, Places well up in the front of the and 1 LilUvl/ 1 BALTIMORE, MD. when is the next recital?—’Cause I have OTTO ORTMANN, Director FREE TO AMBITIOUS PIANO TEACHERS “’•aind her,beloved teacher tuned tl to get ready!” One of the Oldest and Most Noted Music Schools in America. htfie violin, and sent her out upon tl Please send me a free synopsis of the New Printed Text used as a basis of instruction by teachers who tiny6 giri’s*’aWhetl audience greeted tl SELF-TEST QUESTIONS ON want their pupils to earn Sherwood Music School applau e o„rPPearanCe’ with a deafenir MRS. BERNHOFT’S ARTICLE Teacher’s Certificates and Diplomas under them. Etude Advertisements are Bulletins of Splendid Buying Opportunities for afL °ur naisgmngs returned. “Nov for a flood of tears,” we thought Hov 1. What might the staff and the fi»Ser' Please send me also full information about the board be likened to, in teaching very series of ten affiliations to be awarded free to onerthe childCh°10ffiCal e?eCt of the "ow. selected competent piano teachers, including free young children? Normal Course at your Main School. "When I was a boy in Warsaw, and my father was teaching and con¬ tot expected AULTsWrky LouUe’f a' 2. In what way may blackboard work he ducting at the opera, our whole family was obliged to live on a dollar a her iTal ?Usic have bcen a joy 1 of great service during the lessonst day. Things ivere cheaper, of course, but that was still very little. That 3. How may note values be taught! experience did not hurt me; on the contrary, I believe that adversity is 4. How may creative ability be encour¬ generally a stimulant to the artist. Too much comfort coddles him" FILL IN AND MAIL TO —Josef Hofmann. aged? Sherwood Music School 5. In what way may the fingers be in¬ h n n i n n n j* ;o; tl; m dividualized? THE ETUDE the etude MARCH 1934 Rage 201 Page 200 MARCH 1934. Eliminate the Word “Practice” from Tour Vocabulary SHERWGDD • MUSIC • SCHOOL VOICE QUESTIONS FOUNDED 1895 BY WILLIAM H. SHERWOOD EASTMAN SCHOOL OF MUSIC By Ella McElligott Answered 410 SOUTH MICHIGAN AVENUE • CHICAGO of By Frederick W. Wodell The average pupil when questioned about the pupil simply reads over and over cer¬ The University of Rochester his music lessons, will invariably say he tain paragraphs until he remembers the Second Imrrowamrmmi likes the lessons all right but that he hates sense of them. If he wishes to memorize a to practice. This word “practice” seems passage, he continues reading it again and Howard Hanson, Director No questions will he answered in THE ETUDE unless accompanied by the full name to have a baleful significance for him. again, occasionally withholding his eyes eWorld’s tfair Summer Session Children will repeat over and over, “I hate from the book until gradually he can re¬ Raymond Wilson, Assistant Director and address of the inquirer. Only initials, or pseudonym given, will be published. ■ IRTY-KIATI : anhiijal> to practice,” without realizing what they peat, word for word, the entire lesson. mean. The remark is simply a parrot-like Playing the-piano, violin or other musical VJT GAIN you have opportu- Certificates, Diplomas and De¬ Courses lead to Degrees: Bachelor of Music, Master of Music, Master of Arts the mouth. By “rhythmical” we mean that utterance used to solicit sympathy from the instrument involves the same principle of n charge of about the exhaling shall take as long as the slow f_3L nity to combine summer grees. in Music, Doctor of Philosophy in Music; Eastman School Certificate (Diploma) ...... -it to sing. Their Inhaling. Endeavor so to fill your mind with questioner. preparation. The music notes take the settled, but the parts are not the message of the verbal text, the beauty and These same young people talk with joy place of the printed words and the fingers study with a thrilling visit to the We have planned for your en¬ well enough balanced to do four-part music. illuminating qualities of the music, and your World’s Fair! Come at your joyment a series of 16 recitals I have been unable to find a book of three-part desire to have your hearers appreciate both, of practicing their play or operetta which do the work, that the lips perform in read¬ Registrations for 1934-35 and 1934 Summer hymns for male voices: but oven two-part that you absolutely forget yourself in vonr their class is to present, and the simple ing or memorizing by rote. convenience, engage just the in- and concerts, besides which you hymns would be better for the pre- work. Then you will also forget to be “nerv ous”—frightened. Inquire of your physician word then has an entirely different connota¬ When the young student realizes this struction you want, leave when may look forward to the major Session Now Being Received o help met as to possible nasal and laryngeal catarrhal tion for them. Ofttimes, too, children are fact, the horror of practice drops, and, you must. musical events of the World’s conditions needing attention. There may be heard to say, “I just love arithmetic or though he may not always have perfect conditions arising from an interference with Our full staff of 12? teachers Fair. normal digestion which contribute to your geography,” as the case may be, but never lessons, the time spent in preparing them Preparatory and Special Departments trouble with an excess of saliva. Your doctor will be available throughout the The cost is easily within your will know how to advise you concerning that will add, “I hate to study it, though.” The is given more cheerfully. In fact his at¬ Summer Session, June 1 to Oc- means. Ample living accommoda¬ Dine tenors who can do moderately high part also as to the drug sometimes used to control student’s love for music should be and titude toward his work as a whole is better. Orchestras Broadcast Over NBC Each "Thursday 3:15 P. M. E. S. T, the secretion of saliva. To assist in making Try to have the student realize that tak¬ tober 31. tions and practice facilities have forjr hymn-singing. Using the real pitch fo your words better understood, practice the can be of this wholehearted kind without ten’s voices, which Is one octave below th ing a lesson in music is only half the job real pitch for v correct formation of the vowels, and the dis¬ any distaste being attached to it. Training will be given in been arranged at moderate rates. For information and Catalogues, Address _,_____:e a simple fonr- tinct articulation of the consonants, especially and that the outside work the pupil does those which end words. There is an excellent Practice need not be a bugbear to the Piano, Piano Special reduced t>... t hymn for mixed voices, such as “Flem¬ completes the task. Home preparation ing” and arrange It for your men In three set of special exercises for this purpose on music student. H.e should be told, in fact, tuition rates. Ex¬ pp. 47 to 51 of Wm. Shakespeare's book, "The should not be held up as a separate activity; Normal, Class Arthur H. Larson, Secretary-Registrar parts. Keep in mind that part music for Art of Singing.” The Etude publishers will that he does not have to practice. The men’s voices, especially in the case of un¬ rather it must be bound up with the joy Piano Methods, cursion rates on trained singers, is usually best kept within get it for you. word “practice” does not exist for the that comes in taking a lesson and con¬ Violin, Voice, railway and bus Eastman School of Music, Rochester, N. Y. the range of one octave for each voice upward Front or Back of the Mouth. modern teacher and pupil. The words from the note shown herewith : Q. I am studying with a teacher who “study,” “prepare,” and the phrases, “work sidered as a natural sequence to the time Organ, Cello, lines. Payment of studied in Europe for three years. She has over” and “play over,” answer the purpose spent with the music teacher. part of your tui¬ taught me to place all mg tones, low and high Wind Instru- ®x‘*‘ II.Bass I.Bass IL Tenor I.Tenor If the word “practice” is never used be¬ in the front of my mouth. Now some of my better and have a certain beneficial psy¬ ments. Public tion may be de¬ friends studying with other teachers are told chological effect upon the young student. fore the pupiL any unfavorable association Devoted to Music, Drama to place high tones in the back of the mouth ferred, if you The teacher can draw the analogy that he may have made with preparing lessons School Music, and Physical Educat which, in my opinion, makes them sound wish. Write at throaty. Will you please inform me which is in learning a history lesson, for instance, will disappear. Band, Orchestra correct f—R. M. Z. INCLUDING THE FOLLOWING PROFESSIONAL DEPARTMENTS In reducing f- __ - - and Choral Con- once to above ad¬ mind the definitive importance of the - A. What is the real test of a tone ? Its sonnd- of the triad and of the dominant seventh. The quality, loveliness, expressiveness. Whatever ducting, Theory, dress for Summer Conservatory of Music Band and Orchestra “melody” may sometimes best be given you mean by “placing,” or whatever your Session Catalog i the 1 a the friends mean by that term, makes no difference Composition, Ra¬ Speech and Drama Physical Education s a rule keep the_ if the tone (when you or they say it is dio Technique with the views of . . _nd bass, for the reason “placed”) to a cultivated ear lacks agreeable¬ A J\[ovel Rehearsal of “Vristan” that when these voices are close together at ness, and expressiveness, and If hearers find and Dramatic “A Century of Public School Music Speech Correction low pitches the music is likely to sound difficulty in understanding the words. "muddy” and to be ineffective. The publishers There is an additional test: a tone must By G. A. Selwyn Art, leading to Progress.” of The Etude may be able to furnish you with be correctly produced in order to be lovely and Address: ITHACA COLLEGE, 1 DE WITT PARK, ITHACA, NEW YORK settings of hymns for men’s voices, three expressive ; only such tones will join smoothly, In a truly legato manner, with the tone next above or below. Try a chromatic scale of one Karl Goldmark’s recently published false note to another. But imagine Tristan octave (beginning on a variety of pitches), in the year 1861. Q. 1. Dors high school a eappella singing and note whether each succeeding pitch is clear¬ autobiography contains an amusing account put more strain on the voice of a sixteen year ly defined. Y'et the flow of sound is uninter¬ of an invitation he got from Carl Tausig to “In the long interval to the present day, INSTITUTE OF MUSICAL ART old girl than accompanied singing f rupted—continuous. An “aspirated” or a attend a performance “en miniature” of 1911, we have learned to bear much in the 8. If a young voice is strained is it ruined, “hammered” scale will not do. Power of he World-Renowned Musical Works of the voice is highly desirable, but for good singing Wagner’s “Tristan und Isolde.” way of dissonances, and Tristan probably r ■i. I have studied piano for seven years it must wait upon tonal beauty and expressive¬ appears to a modern generation already out JUILLIARD SCHOOL OF MUSIC and would like to go to the college of--. ness. One cannot pronounce well except the “This was an important musical event!” of tongue, soft palate and jaw are free from declares Goldmark. “R. Wagner had sent of date. But at that time, Mendelssohn 120 Claremont Avenue New York City Is this college good for voice and music in generalt What are some other good colleges t rigidity. When such freedom exists, the lis¬ Cornelius some specimen sheets of the was still “the thing” and reigned supreme. ERNEST HUTCHESON, Dean OSCAR WAGNER, Asst. Dean E. T. tener has the sensation that the singer is hav¬ “There was Tausig playing at sight, with A. 1. We know of no reason why high ing an easy time—doing nothing but allowing piano arrangement of the opera. We were school a eappella singing should put more the voice to flow freely and smoothly out of to examine them with Tausig. I shall the pedal down, on Cornelius’ old piano William Shakespeare A school for serious students. All branches. Moderate tuition fees. strain on the voice of a young girl than ac¬ the mouth, and “talking” plainly on the differ¬ badly out of tune, accompanied by Cor¬ ent pitches as though every syllable formed never forget the impression this perform¬ THE LEGACIES OF THE EMINENT ENGLISH companied singing, provided that the singer nelius’ incessant caterwauling, you could- SPECIAL ANNOUNCEMENT really sings. Too often the accompaniment itself automatically at the very lips. We do ance of Tristan made upon me. Karl AUTHORITY ON VOICE CULTURE WHO covers up faulty singing, so that the vocalist not hear many singers who give us these pleas¬ not call ft singing, and Tristan with its NUMBERED AMONG HIS PUPILS MANY OF A new four-year course for the training of Supervisors of Music in cannot hear herself and does not notice that urable sensations. Nevertheless there are Tausig, later so balanced and superb a THE WORLD’S FOREMOST SINGERS AND she is forcing her voice. This we do not call some who do so. with much profit to them¬ rich, absolutely new and daring harmonies I Public Schools leading to the Degree of Bachelor of Music Education. selves, and the vocal student would do well to person, was at the time, in his youth, still VOICE TEACHERS. Catalogue sent on request. singing. Remember that, if there be a dozen It was enough to make the angels weep. voices singing your part forte. It is only re¬ follow their style. After all, no matter what given to wild pounding of the keys and quired that you shall give a fraction of the the student’s sensations of tonal vibration in After the first act I got up and said: ‘Now total volume of vocal sound, and never more the mouth, face, “head” and so forth, it is played almost everything with the pedal listen! By all the saints above, I simply exhibit with lovely quality the parts of the vocal instrument that are down. Cornelius undertook to sing, don’t cannot stand this; my head is ready to and perfect freedom ft rigidity in face, ‘‘placed,” that is, adjusted and considered WANTED: A REPRESENTATIVE tongue and jaw. favorably for the production of good tone. If ask me how!—never striking the right key, burst!’ The others, it seems, although College of Fine Arts in every town to you know a good tone when yon hear it sung I he Art of Singing _ Thisrm.,_ de pends upon the circumstances. merely declaiming higher or lower, drag¬ silent, were of the same opinion. The If your voi...” - ’ abused, by yourself or somebody else, you are lucky, Syracuse University Train Children’s Voices “strained,” the first thing „„ „„ Judge “placement,” in the last analysis, by ging his phrases up and down from one piano was closed.” Based on the Principles of the Old Ital¬ High grade work with excellent remuneration singing entirely for a period. Get advice from the sort of tone you are hearing. ian Singing-Masters, and Dealing with Degrees: “ a first-class vocal teacher as to when von can Breath-Control and Production of the Louise Weigester School again begin to sing, under careful, skilled in¬ Means To ward Breath Control. Voice Together with Numerous Vocal Q. A friend told me of a certain article Piano, Piano Teacher Training, Voice, 862 Carnegie Hall New York struction. At your age it ought to be possible Violin, Organ, Cello, Harp, Composition, to restore the voice, unless its abuse has been written by yon concerning aids to breathing very severe and long continued. of the beginning voice pupil. In it you m~ Public School Music 3. Consult the advertising columns of The Passing Notes AH the advanta^es^of a large University. Special By William Shakespeare Katherine Carey Etude as tp good colleges with music depart¬ ments. Write to the college you mention and help breath control. / ...„ Presents an analysis and clear d music scudents, 5 pipe organs Successor to Mrs. Babcock’s also to several others, requesting names of self, and am interested in any method which By Florence Leonard physical fundamentals of singing co SUMMER SESSION July 5 to Aug. 12 women who have been graduated by the in¬ would help my faulty breath control?—J. E. torso, the vocal organs, the jaw, head an< INTERNATIONAL MUSICAL stitutions and have made or are making good A. We think your friend has got somewhat cavities, registers, etc., followed t> y careful m the professional world as vocalists. mixed in his recollection of the article re¬ His repertoire of songs included about one ercises that deal with various aspects of breath control, vowe Dean H. L. BUTLER ferred to. We do not recommend pupils to A prodigious feat: On Jan. 27, 1899, _Jon of consonants and passage execution. There is a thoroi U'diS Room 35, College of Fine Arts and EDUCATIONAL AUENCY Problem of a Young Radio Singer. ‘‘push” on any part of the body when singing. Madame Lilli Lehmann began at four in hundred and twenty pieces, with duets and each difficulty presented and the exercises are planned to meet th< Syracuse, N. Y. Church, Concert and School Positions Secured Q. I am seventeen years of age and have Have you consulted your teacher about breath quartets, over thirty selections with orches¬ voices. Published by Oliver Ditson Co., Inc. Carnegie Hall, New York Tel. Circle 7-2634 sung in a large church choir for about four control ? There is a good deal of controversy the afternoon to learn the part of Fricka VV'/J:ir'Jl a radio program for about in “Das Rheingold” and sang it that night tra, about fifteen oratorios, ten appearances PRICE, $2.25 three months and still sing in one or two num ftc. ~.n., t difflculty in taking my for the first time ... Not one artist in a in five operas in concert form, and twenty- words understood. Thef- p vcry J)ad fault thousand would have been able to perform five performances of nine operas actually SACRED DUETS SACRED DUETS that I do not kr .. overcome. When sung.—Bispham. I sing the saliv, s down into my mouth that the body is gently expanding between the this feat, physically, nervously, mentally navel and the breastbone, and at the back From poor teacher to famous singer: innJ'7nV,'Z‘A Vi'TY*01’'® t0 hr,'ak mV breath- and musically.—Bispham. by WILLIAM SHAKESPEARE by WILLIAM SHAKESPEARE „ r -at / can swallow the excess under the shoulder-blades, the breath in con¬ Galli-Curci in her girlhood tramped the if "• 01 c'se simply “crack up.” Could you sequence flowing, as of itself, downward, fill¬ A sensitive ear: Adelina Patti had an give me a remedy? Is there any medicine in„i ing the lungs. At the finish of the inhalation, extremely sensitive ear. When she was at streets of Milan to'earn her way by giving will stop the flow of saliva partiallyt the very lowest part of the abdomen will be Windsor Castle by command of Queen Vic¬ piano lessons. She taught herself to sing, Miss L. E. K. found to have come somewhat inward. To control this rightly taken breath for singing, toria, dinner was served in her room on secured a debut by her own efforts and on starting the tone will a feeling as though appeared at the chief opera house in Rome. pal difficulty*8!!!0nemfoimness—fear°Ur still gently inhaling (this is balancing ex¬ silver plates. But the noise of the scratch¬ haling muscle action by the continuation, to ing of knife and fork on these plates so In later years the receipts of one concert a degree, of the action of the inhaling muscles) have reached eighteen thousand dollars, and retain this sensation throughout the sing¬ annoyed the diva that she could not eat, “fo^ t^’miM ing. Will that the tone shall be free from and went down, famished, to sing before and in the first six months after her Amer¬ Theodore Presser Co. , breathiness. Always finish the phrase with your aid. Before singing take a fow varv at™ the Queen.—Armstrong. ican debut nearly five hundred thousand 1712 CHESTNUT ST., PHILADELPHIA ®¥c:*}> 4,e(?P breaths through thl hole breath under control, so that a turn could be dollars worth of her records were sold. and also m through the nose and out through with good quality, on the same breath, David Bispham, in one year, made more through after a momentary stop! than one hundred and thirty appearances. —Armstrong. THE ETUDE the etude MARCH 1934 Page 203 Page 20% MARCH 1934. When Telegrams, Letters, and Dealers Letters from Etude Friends Order Blanks Began Calling for " 'CANDLE LIGHT'- C ADMAN ■ SUNG BY JOHN McCORMACK" We Were Delighted to Learn This Great Singer Had Discovered This Beautiful Song. CANDLE LIGHT HE BEAUTIFUL CHARLES WAKEFIELD CADMAN NEW YORK SCHOOL o/MU SIC and ARTS 310 West 92nd Street, New York City (At Riverside Drive) Special Summer Courses Starting May 15th Students Can Enter Any Day, Six and Ten M1 L ^ IKKST.22 SJ’SS I~t’S5& ESS= s-L-st jmMW0*'1 Some things Musicians Should Know m About ‘Pitch By F. L. Donelson A Studio Piano (Contest THE ETVDE the etude MARCH 1934 205 Page 204 MARCH 1934 The Evangel of The Chapel The Etude Historical Presser Instrumental the New World Organist Musical Portrait Series Ensemble Oratorio for Soli, This is probably the last This feature of The Etude continues to A New Series of Standard Compositions Chorus, and Organ month m which copies of caJl forth the most enthusiastic comments for Group Playing Publisher’s Outline by this album may be ordered from our readers. The comprehensiveness It is with pleasure that we announce to Dr. Forrest J. Prettyman at urhei SpeC1- rnfnce °,f °f the series seems to be a source of amaze- Etude readers, and particularly to super¬ Words from the Bible, publication price. The work ment to every one and constantly we are re- visors of music in the schools, the publica¬ the Hymnal, and by realty appears on our pub- ceiving letters commenting on this phase of tion of a series of worth-while compositions Ethel Arnold Tilden fishing schedule tor this it; and more than one has expressed pleasure in sheet music form for various combinations Music by I month but, fearing that in OI1 finding, on this page, the picture of a of band and orchestra instruments. With Van Denman Thompson | the press of other seasonal former teacher or some other individual the momentous development of instrumental The Theodore Presser Co. is gratified to , ,, . '} may impossible vvil0m they had known years ago in student music in the schools of this country, there secure the publication rights of this impor¬ to adhere to this schedule, we have decided days, and who has since won recognition in has sprung up a need for ensemble music tant choral work written for the celebration to give organists who have not ordered copies the musicai world. “How do you get all the for special groups within the band or orches¬ of the 150th Anniversary of the organization another opportunity to do so during March, pictures?” is a question frequently asked. tra, and it is this vital need which we pro¬ of the Methodist Church. Many perform¬ lie know that many are patiently await- Well, it doc take a lot of “digging” some- pose to supply in forthcoming publications ances of this oratorio have been announced mg their copies of The Chapel Organist and times and often it requires extensive corres- of this important series. Advance of Publication in advance of publication, the most impor¬ we assure these that our best efforts are going pondence. However, the result justifies the Realizing the tremendous popularity of DID • MY- LEVEL- BEST “tl tant of which will be given in Baltimore next into the production of this book so that it expense involved, and we feel sure that when certain of our best-known publications, it is fa fa ^ October by a chorus of one thousand voices, will compare favorably with such outstand- this series is eventually completed, it will our purpose to issue some of these in the Offers—March 19 34. directed by Dr. John Finley Williamson. mg successes as The Organ Player Organ stand aione as the most comprehensive work best possible arrangements for string, wood¬ The Evangel of the New World deals with nepertoire and others of our cloth bound Gf kjn(j ever attempted, wind, and brass ensemble, in various practical All of the Forthcoming Publications Easy Quartets for Young volumes selling at $2.00. We know that when Many of our readers,’ not wishing to combinations. DlD YOU? Are you sure you did the founding and progress of American in the Offers Listed Below are Fully Violinists copies of this book are received by advance mutilate tiieir copies of The Etude, are se- Details regarding the first five numbers of your level best? William James, when he was pro¬ Methodism, in a symbolic and subjective this series, which will be published at an early Described in the Paragraphs Follow¬ manner. It is written in Three Parts, with subsenbers they immediately will be put to curing the separate pages as they are pub- fessor of psychology at Harvard, used to insist that As the name implies, this is a collection date, follow: a Choral Episode inserted before the last good use. . . . fished and in this manner a most unique, ing. These Works are in the Course of the average man used only a small portion of his ot easy pieces for beginning violin groups therefore, we invite all organists, who have biographical scrap book may be made. These Dance of the Rosebuds, by Frederick Keats Preparation. The Low Advance Offer Extreme care has been taken with the ar —Four B|j Clarinets—Arranged by Hugh resources. A wholesale baker in Chicago wanted P The opening chorus is a song of the Ameri¬ not taken advantage of this offer, to send m separate pages may be purchased at the Prices Apply to Orders Placed Now, to find out how his competitors were operating. He rangements to follow out a specific plan to their orders this month at the special ad- • ■ * - ■ " ’ ' • >- Gordon. have the four parts graded in order. The can pioneers, that “tide of brave men” which vance of publication cash price, 80 cents, with Delivery to be Made When sent out sixteen trained men, each with $5.00, to Score . 25 cents 1st violin, which is the most advanced part swept over the central and western plains in postpaid. This offer will be withdrawn when Separate Parts. 15 cents each Finished. visit a chain of bake shops. Each man was in¬ utilizes the third position up to the octave search of rich farm lands and gold. Across the book is placed upon the market. For the wood-winds, we have selected a structed to make an initial purchase and then buy harmonic. The 2nd violin, 3rd violin, and the self-seeking of these times there flows a bright, tuneful composition which has had Book of Piano Duets Beginners.... 35c any additional goods proffered up to $5.00. The 4th violin are entirely within the first’posi- song: “Sinners, turn, why will ye die?” The Melting Pot a wide appeal among students of the piano Burst of Song. men returned and all that was spent of the total tion, the 4th part being the easiest. All parts Then is heard the Voice of the Itinerant Summer A Unique Collection of and violin. Every band has a number of The Chapel Organist—Pipe Organ. amount was $10.00. None of the sales clerks had made any worth while are carefully bowed and fingered. Preacher: “The spirit of God is upon me.” “Around the Year” Series < Easy Piano Solos clarinet players, and this publication, ar¬ Out of the wilderness of sin comes the ques¬ Easy Quartets For Young Violinists. effort to proffer or suggest additional wares to invite sales. The four violins will be complete in them¬ Solo Collections There always has been ranged for a quartet of Bb clarinets, is in selves, but an optional piano accompaniment tion, “What must we do to be saved?” and line with our plan to furnish arrangements —Piano Accompaniment . the Voice answers, “God so loved the world.” The time is not far away when__pupils something„ stirring„ to the imagination, as well Indian Songs—Mixed Voices—Lieurance.... Many music teachers as we have discovered are surrounded with oppor¬ is being prepared for those less experienced will be departing for summer vacations, tem- as a consciousness of -0 — for practical use. The complete score is pre¬ Penitence follows in the song: “Father, I pared especially for the use of the super¬ The Melting Pot—Piano Collection. tunities but they hardly “turn a hand” to reach for them. players who need the support of an accom¬ porarily suspending their regular course of when young minds think upon the many paniment. The piano part further makes stretch my hands to Thee.” Then from all visor in charge of this division. Musical Travelogues—Cookb. over the land comes the triumphant: “Arise, music lessons. The wise teacher knows that various nationalities and the distant lands possible the use of this music for one, two, it is not desirable that such pupils should be of their birth. Some young pianists have Melody of Love, by Hans Engelmann— The Structure of Music—Goetschius. One of the great opportunities is to become acquainted with new pupil— or three players with satisfactory results. my soul, arise.” Part Two deals with the Christmas Con¬ permitted to forget all about music while seen some of these various nationals who String Quartet—Arranged by Ladislas Kun. Summer—"Around the Year” Series < making educational material. Study the advertising sections of The Etude, The set ot four violin books may be they are away and many see to it that copies adopted America as their homes while others Complete . 50 cents Piano Solo Collections. study your catalogs and write for “On Sale” packages. It always pays. ordered at the special advance of publica¬ ference at Lovely Lane Meeting House, Bal¬ timore, in 1784! The Choral Episode, for of The Etude are delivered throughout the have only learned about them through their Separate Parts. 15 cents each Voices of Praise—Anthem Collection. tion cash price of 75 cents; piano accom¬ Summer to pupils who are not taking lessons school study of customs and peoples, Engelmann’s Melody of Love is known to paniment 25 cents, postpaid. unaccompanied mixed voices, is based upon five camp-meeting tunes and recalls a signifi¬ during that period. Perhaps most all of them have heard the millions of music lovers. This arrangement cant feature of American religious life in the If you have any Second and Third Grade term, “The Melting Pot,” applied to the for 1st violin, 2nd violin, viola, and cello is practical for newly-organized string quartets first half of the nineteenth century—old songs pupils who will be apart from your instruc- manner in which our country assimilates Musical Travelogues tion during the coming vacation why not mankind from all over the world. Through seeking interesting music of an easy grade. The contents include such popular favor¬ of real musical value which deserve con¬ The 1st violin introduces some third position The Cover For This Month By James Francis Cooke tinued use. As interest in early Americana place in their hands this book of piano pieces folk songs, dance tunes and other forms, ites as I’ll Take You Home Again, Kathleen, having “Summery” titles and music of a light these various nationalities have their individ- work, the 2nd violin and viola are entirely The cover design on this month’s issue of Londonderry Air, O Susannah, Boccherini’s Music is always accorded prominence ii The vast increase in interest in all travel seems to be growing, this Episode is apt to the joyous church services of Easter Sundaj and cheerful character so appropriate for that ualities in music. This collection is to be in the first position, and the cello employs The Etude, is a painting entitled A f alse Minuet in E\>, Ballet Music from Schubert’s literature in America, is one of the indica¬ become one of the most popular parts of the season? Retaining the students’ interest in entitled The Melting Pot because it presents, a limited use of the fourth position. Note, by H. Kern, reproduced through the “Rosamunde,” Romance from the “Pearl and so appropriate is music to the spiri tions of the constantly broadening aspect of cantata. of this festival that organists, choirmaster; this manner will bring them back in the Fall for the delight of students in the early inter- Menuetto (from Quartet No. 52), by F. J. courtesy of the Taber Prang Art Company. Fishers” by Bizet, Crammond’s Pride of the the American people. There is probably Part Three presents the church at work— ready and anxious to resume study. mediate grades, pieces that are based upon folk and music committees usually plan well ii no branch of writing which is quite so fas¬ education, missions, the healing of the sick Haydn—String Quartet—Edited by Rob Roy The reproduction on our front . cover is a Regiment, Jolly Darkies by Bechter, and While this book is in preparation copies tunes and dances of foreign lands. Teachers Peery. rendition in oils done by Charles O. Gebauer Risher’s The Clown. advance the very finest programs possible cinating. When Marco Polo came back from in body and mind. The final chorus, “From Many churches conduct at least three service; may be ordered at the special pre-publica- will find this tuneful, at- Complete with Score. ... 75 cents after this painting. Mr. Gebauer is a well The book contains no difficult rhythms, the CJrient in 1271, there was a greater re¬ all that dwell below the skies.” is based on price, 30 cents, postpaid and copies will tractive and rhythmically known artist, maintaining his studio in Union on Easter Sunday and this naturally call; vival of world interest than at any time the familiar hymn-tune “Duke Street,” which Score . 25 cents and no technical problems of any kind. The for use of all available musical talent. be delivered to advance subscribers in ample interesting material Separate Parts. 15 cents each City, N. J. The cover has a pleasant bit of arrangements utilize the possibilities of the since the writings of Herodotus. Columbus. may be sung by the congregation. „ the piano students. human interest and is rich in those qualities In arranging well balanced programs it i Magellan and particularly Captain James The composer, Van Denman Thompson, This separate Menuetto movement from a large hand for fullness of effect, the Primo The advance of publica¬ Haydn Quartet, and the one following, have which make “old timers” engaging in their practically a necessity to include solos, anc Cook, with their expeditions extended this who is organist of De Pauw University, tion cash price of this part consisting chiefly of the melody in oc¬ probably duets, when capable s:ngers an been published at the special request of the acquaintance. Perhaps the poor fellow strik¬ taves between the two hands, and the interest. Writers are sometimes given credit Greencastle, Indiana, has scored this vital volume is 35 cents, post- ing the false note should have the benefit of available. Fortunately, there is much excel for things which they do not deserve. For work in the modem idiom, yet vocally it con¬ Committee on Instrumental Affairs of the Secondo part given to simple chord treat- lent material from which the soloist maj Indian Songs Music Supervisors National Conference, and the old adage, “More to be pitied than cen- instance, Amerigo Vespucci, when he returned tains few real difficulties for a competent For Mixed Voices select, as many of our foremost composer; from his voyages in 1498, wrote extensively chorus-choir. The solo voices required are are included in the Survey of Music Ma¬ It has not been so many years back since A single copy of this novel collection may of church music, inspired by the signifieanei Soprano, Contralto, Tenor, and Baritone. Thurlow Lieurance pR£MIUM WoRKERS, ATTENTION! terial for Small Instrumental Ensembles. be obtained by sending your order at our about his discoveries and through this our For the beginning string quartet, nothing those in humble circumstances who had a of the feast, have contributed some of thei: continent became America instead of Col¬ There are numbers for chorus of mixed voices, This is the last time that ’ yearning for expression in music were unable special advance of publication cash price, 35 best music in solos with texts suitable fo; umbia. semi-chorus, and men’s voices. this book will be scheduled Here’s a list of a few exceptionally fine could be better for program use than this to afford teachers and had to struggle in cents, postpaid. use on Easter programs. Copies of the work may now be ordered among our advance of pub- premiums given in exchange for Etude easy Menuetto from Haydn’s Op. 1, No. 1. Modern travel literature is very extensive, lication offers because it is Music Magazine subscriptions. Literview It may be played entirely in the first position slow development to get to a point where any Space does not permit giving here a de but in the field of visits to musical shrines at the price of one dollar a copy, postpaid. kind of acceptable rendition upon an instru¬ tailed list, but if those seeking solos anc so well along in the pro- your musical friends, secure their subscrip- in all parts. Extreme care has been taken written with musical understanding and at cess of publication that tions at $2.00 a year and you will receive with the editing, which is complete with bow¬ ment might be accomplished. Today with The Structure of duets for Easter will write to Theodori the same time humor, popular interest and parents enlightened upon the great benefits Presser Co., asking for the folder Easte copies will be ready ere another month shows one credit toward any premium selected, ings and fingerings. Music consideration of the great educational achieve¬ up on the calendar. Those interested in This merchandise is well worth the little of a musical education there is a greater Music they will obtain the desired informa ments of the world, there is comparatively Burst of Song Menuetto (from Quartet No. 41), by F. J. desire to provide suitable instruction and it By Dr. Percy Goetschius tion. A few music samples of popular Easte mixed chorus numbers, therefore, should act trouble it takes to secure it: Haydn—String Quartet—Edited by Rob Roy little. Therefore the Musical Travelogues by immediately so as not to lose the opportunity . Leather Bill Fold—including Card Case, also is comparatively easy to locate a com¬ solos are shown in this folder. If the tim. James Francis Cooke, have a practical value Peery. petent teacher with so many well trained The opportunity is still is too short to permit your ordering from th< to obtain a single copy of this remarkable Stamp Holder and Transparent License Case Complete with Score.... 75 cents given to secure a first which teachers and students seeking a collection of numbers that will lend color and —is made of fine leather, choice of black or instructors of music as exist today. Then tolder ask lor a few copies of solos or duet' broader understanding of the great music of This little book with lots in it will answer Score . 25 cents there is the help of public school music in¬ edition copy of this new tor examination. We will be glad to sene a touch of the novel to any choral program, brown—given for only two subscriptions. Separate Parts. 15 cents each work at the special intro¬ the world, cannot fail to recognize. The ad¬ the problem of many seeking to make inter¬ Thurlow Lieurance is noted for his great Three-Compartment Sweet Meat Dish— struction and also the attractive materials a selection provided the return of unusec vance of publication price is $1.50, postpaid. esting various occasions such as banquets, The more advanced string quartet will that have been published for the benefit of ductory cash price of $1.50, copies is made before Easter. Be sure t< contribution to music in having collected and equally useful for cake, sandwiches, candy enjoy this charming movement from Op. 76, postpaid. To secure such or social gatherings of other types. It, of recorded melodies used by the American or nuts, size 10% - « ”“t“ /n’- furnishing a course of study that makes music mention the range of your voice in ordering course, also will have its acceptance in No. 2, in the Key of D minor. The 1st violin a work by a foremost Aborigine in his traditional songs, ceremonies plated. Gn study a thorough delight to the student. Here are just a few that have proved sue Voices of Praise schools and colleges looking for a very low part requires considerable dexterity in the Those desiring an enlargement of this pic¬ authority on the subject is indeed a privilege, cessful. Are you acquainted with them? and courtings. Mr. Lieurance has cleverly tions. , higher positions, but the 2nd violin, viola, and judging by the number of advance Collection of Attractive Anthems priced collection for assembly use. It would adapted these original Indian themes and Sandwich Tray—Here s a delightful re- ture for framing may obtain copies, hand be very easy, with punching a few holes and and cello parts are within a moderate range colored, in any given length, with the width orders already placed, our patrons are quick , SOLOS It lias been some time since we have issued harmonized them so that the beauty of these ward for securing only four subscriptions to and are not difficult. to sense the value of the book. It will prove the use of a cord or ribbon, to bind this in proportion. For instance, a 14 x 20 hand r[ JuiIvhe,Risei;Jin" (Two Keys) Hawlei a volume of anthems for mixed voices, and sems of music of the Indian might be known The Etude. The center is Golden Maize Garden of Roses, by Irene M. Ritter— a most valuable reference book, and the fact book in a cover giving the menu of a banquet and used throughout the world. Many are China Plate with decorated rim and hinged colored enlargement of this subject would be CWv t ^ 77m[Thr<£ Kesys) Neidlinge consequently there are a great many excellent or the program of an affair, thus making a Violin, Cello, and Piano—Arranged by Wil¬ $8.50, or plain black and white or sepia that Dr. Goetschius has such an entertain¬ Glory to God (Three Keys) . Rotol numbers from which to choose the contents particularly effective in their arrangements handle non-tarnishable chromium. ing and interesting style in presenting his Hail, Glorious Morn (Two Keys) very acceptable souvenir of the occasion as £ • i t_ c_- tn To frmrtd Umbertone Tea Tiles—An attractive new liam M. Felton. finish, $4.50. These may be secured from for this, the new volume in our series of for mixed chorus. Some of those to be found --— — - Complete . 75 cents subject gives the book a wider appeal than Violin Obbl. ... c well as providing songs to enliven the event in this collection are the most popular of all design of tea tile made of decorated umber- the Taber Prang Art Company, Springfield, reasonably priced anthem books. Volunteer and make it more enjoyable. In most in¬ This delightfully melodic composition has a purely technical work might have. This Messiah Victorious (Two Keys) .Hammonc choirs have found these books especially Indian love songs: By the Waters of Minne- tone with chromium-plated rim, 7 inches in book, by one who has been for many years. stances numbers will be given complete with been arranged for trio in a manner entirely „. duets valuable, both from an economical and musi¬ tonka; Rue (Pueblo Spring Song); Where the diameter. Given for only two subscriptions. Head of the Department of Theory at the music and there will be a good variety of a Rlue Heron Nests; Love Song (From the Memorandum Set—Size 4 x 4 4 inches in- to fit the medium of strings and piano. It is Christ Victorious (A. and T ) cal standpoint. The anthems in this new generous number of songs included. As it of moderate difficulty, employing the higher Book of Piano Duets for Institute of Musical Art in New York City, Easter Morn (S. and A ) fr-hl! collection will, in general, be about the same Red Willow Pueblos); The Owl Hoots on eluding three books one each for addresses, is sure to establish itself as an authoritative may be expected, there will be old favorites positions for both violin and cello. The He Lives Again (S. and t!) . . . . grade of difficulty as in the other books of the Teenee Pole (Medicine Man Scene); birthdays and telephone numbers. Complete Adult Beginners treatise on a most vital phase of music study. and the indispensable folk and patriotic /* the Ripening Time of Com and others, with automatic pencil. Your choice of tan, piano accompaniment is printed in complete Rejoice and Be Glad (T. and B.) . . /Cfc the series and will include the works of some songs, yet there also will be quite a few score form, with the violin and cello parts To compile a book of duets along the lines of the best writers of the present day. There Program notes written by the composer also brown, gray or black. Tri-Tone Suede. Only of our very successful Piano Pieces jor Adult attractive and melodious numbers of other • T.J.J 1V,;= volume two new subscriptions. engraved above the piano. will be opportunity for solo work by those types. Beginners, the editors have selected and ar¬ able to undertake it and. all in all, Ihe arTheCadvance of publication cash price for Auto Mirror Clock—Replace thes old rear ranged many well-known old songs and un¬ If you wish to see a copy of this book as a single copy is 40 cents, postpaid. This is view mirror of your car with this distinctive The Etude Music Magazine hackneyed classics in a style particularly variety will be most satisfying. soon as it comes from press, register your a single t I. i nermit a wide mim- Mirror Clock. The polished bevel mirror has suited to those adult players who have not And heaven had wanted one immortal song. The choir director desiring to acquaint order now in advance of publication, enclos¬ T The World’s largest, and most highly himself with this new book may insure Ins berPof people to become acquainted with the rounded corners and the clock contains a ▼ respected musical publication. progressed far enough to perform more ad¬ ing 5 cents for a copy. When published, it collation and it will be withdrawn when the guaranteed 30 hour movement, be 2% x vanced works. receiving a first off-the-press copy by placing will sell at an extremely low price in quan¬ CAN YOU AFFORD TO BE WITHOUT IT? —Dryden his order at the special advance of publica¬ book appears from press within a few weeks. 7 inches. Given for only three subscriptions. tity lots. Advertisement Advertisement tion cash price, 20 cents, postpaid. the ETUDE MARCH 1934- Page 207 Page 206 MARCH 1934 THE ETUDE Orchestra Book. When the compiler first Guides For Tourists Advance of Publication presented The Easiest Orchestra Collection World of Music Folic who travel into cities and countries Offer Withdrawn (with Band Parts) it was given a most en¬ SPECIAL NOTICES unknown to them make certain of seeing the thusiastic "reception and pronounced by many AND (Continued from page 141) interesting places and save considerable time There is but one work withdrawn this month from the special advance of publica¬ authorities the best collection of material by following well mapped directions or by issued for beginning orchestras. Thousands employing a competent guide. Should a tion offers appearing in this Publisher’s Monthly Letter, but it is a work of such im¬ have used it and many of these have demanded ANNOUNCEMENTS person, for instance, visit the city of Wash¬ something suitable to follow it. The Progress¬ THE f2,000 TROPHY, in the form of a PIETRO MASCAGNI has recently com¬ ington and try to walk about and learn portance that we realize the filling of orders beautifully designed gold loving cup was won pleted the score of a new opera, “Nerone,” in for copies will tax the equipment of the de¬ ing Orchestra Book is the compiler s answer to something of its historical spots, prominent these requests and we ourselves, believe that for the second time by the Bughouse and which he is said to have touched but lightly buildings, statues, et cetera, the task of iden¬ partment handling this section of our pub¬ SPECIAL NOTICES | gastric Band, in the Industrial Band Compe- upon the monstrous side of the historic em¬ lishing business. School music supervisors he has even surpassed his work of the original. tifying everything properly, of not missing im¬ The arrangements are, of course, just a trifle Stahddin’ September, at Belle Vue, York¬ peror’s nature and to have emphasized his portant things and of not wasting time would and directors of young orchestra organizations shire, England, with seventeen bands in the more human traits as expressed in his culti¬ have ordered liberally of the various instru¬ more advanced, the orchestra players are “pro¬ l pedagogue soon prove overwhelming. On the other hand, gressing,” and the instrumentation is the .— --scho"1 - J contest. vation of poetry, music, the stage and athlet¬ . . . MUSIC LOVERS CUT even though one would like to do a certain ment parts of this orchestra collection, the dress M. C. c e of The Etude., ics. The libretto, by Rossato, is based on a contents and instrumentation of which have same except for the addition of a Solo Violin •g--*• amount of roaming about to discover un¬ part, with some 3rd Position work. Each DR WILLIAM C. CARL has been elected play by Cossa. usual things missed by the perfuncto-v tour¬ been given in these pages during recent •a--:-j). months, but for the benefit of those who may instrumental part is priced at 35 cents; the president of the National Association of Or¬ MAGAZINE COSTS 15% TO 25%! ist, in the main one may be sure of saving piano accompaniment at 65 cents. Copies ganists, to succeed Dr. Charles Heinroth who THE CITY OF LOS ANGELES, through time and seeing all the right places by en¬ not have read these descriptions permit us ANNOUNCEMENTS | to tell you something of The Progressing may be had for examination. recently resigned because of new duties in the action of its Board of Supervisors, ap¬ gaging a tourists’ guide. propriated seventy-five hundred dollars to¬ In music activities, guidance to the more CLASSICAL PIANISTS and Students— New York. 4— ward financing the Hollywood Bowl summer important publications may be had through Learn to play "blues,” fox-trots, etc in —-»• concerts, recognizing these as essential to the month by month watching of items listed Ultra Modern Styles without affecting THE CLEVELAND SYMPHONY OR¬ your classical “bearings.” Be able to an CHESTRA has lately tried the experiment material as well as cultural interests of the in the publisher’s printing orders. These are tertain friends with popular music. Writs' community. the important items to which thousands have J. L. C. Song Service Studios, 135th St * of opera production. “Tristan and Isolde” been guided because of their merits. Any Walnut Ave., New Tork City. ' was presented with the stage of Severance of the numb-rs in these lists may be secured Hall transformed by a series of planes and MRS. ELMER BEARDSLEY, celebrated for examination. SONGS ARRANGED to meet all com platforms to suit the occasion, and with the on December third, her fiftieth anniversary mercial requirements. Melodies that are light coming from the sky dome. Elsa Alsen, as organist of the United Church (Congrega¬ distinctive, origina1 and appealing. Work Paul Althouse and Rose Bampton sustained OCTAVO-MIXED with a writer whose songs sing their own tional) of Bridgeport, Connecticut. Her first —~i——-■ who will give you his best in appointment as organist was at the age of twelve, when she began service in the Con¬ gregational Church of Huntington just out¬ 10831 Open Now Thy Gates of Beauty— side of Bridgeport. Hosmcr . CORRESPONDENCE SINGING COURSE MME. CHARLES CAHIER, the eminent 10398 The Ilenvens are Tellii Small Mnothlv T3o __ American contralto, has been appointed by •g-j. thoren . the Austrian Government to be the leader of 6 They Have Taken Away My THE WESTCHESTER FESTIVAL (New _ a ner „ — — the master classes of singing in the former York), which has risen to a place of prom¬ Imperial Academy of Music of Vienna. With inence among these events in America, is to this engagement goes the title of professor, become an annual instead of the biennial oc¬ Ed. M. Ross, Mans a real distinction in teutonic lands. casion of the past. Sandor Harmati is to 4}-f take up the baton laid down by the resigna¬ THE NATIONAL BRASS BAND FES¬ tion of Albert Stoessel. MUSIC ARRANGED, copied, harmo TIVAL of Great Britain recently brought into ***1 Cianfracco, Rome, N. ~ competition twenty-three of these organiza¬ A CIVIL WORKS ADMINISTRATION 35001 Boat S tions. First place was won by Foden’s Motor ORCHESTRA, composed of both union and .Ware-~pross . Works Band, led by F. Mortimer, strangely 20026 A Happy Fong (2 part)—Pitcher non-union orchestral players, only the needy enough, the last to play. It had achieved this of which receive any compensation, is giving OCTAVO—MEN’S VOICES, SECULAR honor last year and also in 1930. a series of five free concerts at Richmond, -J> 20393 Sweet anil Low—Barnby-Bliss.. $0.06 - - --- Paul Wagner, 303 West Virginia, with Miss Franklin Woodson con¬ 35079 Where'er You Walk, from Drew, Houston, Texas. PROF. ALBRECHT MENDELSSOHN- ducting. “Semele”—Handcl-Spross.15 loyment under various trades and -the place i BARTHOLDY, grandson of the immortal att l lions 5*Ch C "d’dTShisheld J" e Stri°”f OCTAVO—MEN’S VOICES, SACRED -„ _ first place, it would be ™ LEARN TO COMPOSE. Home-study composer of “Elijah,” is reported to have been “LE JUIF POLONAIS (The Polish Jew)” Rose Garden, but one can not overlook others course. Melodies composed, orchestrated. dismissed from his position as head of the 35267 Lead, Kindly Light—Spross- $0.15 iding Valse Miniature, March of the Archers, Zygmund Rondomanski, Groton, Conn. by Camille Erlanger had a revival at the did quite a little self-study and in this manner, of Soldiers, Dancing Columbine, et cetera. University of Hamburg, because of his Jew¬ Opera-Comique of Paris, on November twen¬ CHURCH MUSIC BOOK ish nationality. Such a straining at gnats! ty-second, after not having been heard there Did not the parents of Felix become Protes¬ Popular Choir Collection . $0.35 Compositions of Montague Ewing for some fifteen years. Time was when the -Your Pupils Will Be— tants, rear him in that faith, and he himself name of Erlanger was one of great operatic SHEET MUSIC—PIANO SOLOS PIANO SOLOS marry a Christian? Grade promise. Perhaps a few revivals, as with the Grade 23823 ALL AMONG THE HEATHER 3* 19271 MARCH OF THE MANIKINS 3 Helped byTheseText works of some now hailed as masters, will 19099 Cupid’s Appeal (Reverie)— 24545 AT SUNSET . ] 22609 MARCH OF THE WEE MEN 3 FRANCO ALFANO is reported to be en¬ but discover a lode of gold in his scores. Engelmunn. 3% $0.25 24494 AUTUMN EVENING . 3 35 19747 MIDGETS’ PARADE. 2*4 gaged on the score of a new opera founded 18046 Melodie, Op. 18, No. * 18834 AUTUMN GOLD . 3 .g-*• •*n 22963 MOONBEAMS . 4 Books--x, on the Cyrano de Bergerac of Rostand. Our Hossicowski ’.. 5 .25 23085 BIRDS AND BUTTERFLIES.. 3 25533 MOONLIGHT MELODY ' .' '3 FRANCES PERALTA, a member of the 13 Valse in C-sharp-minor, 23595 THE BOX OF SOLDIERS. 23107 ’NEATH FUJI-YAMA. ' ' own Walter Damrosch wrote an opera in Op. ti!,, No. 2—Chopin... 7 Imitation of a Military Band 2% A Japanese Dance .... 3 THESE WORKS ARE FOUND IN English based on this same book, which had Metropolitan Opera Company from 1921 to 23108 BY THE WATERS OF SICILY 3 1930, died on December 22nd, in New York. 23109 CHINESE DANCE . 3 24547 ’NEATH THE SILVER STARS 1 THE REFERENCE LIBRARIES OF its premiere on February 27, 1913, at the SHEET MUSIC—TWO PIANOS, 23596 THE CLOCKWORK DOLL.... 2% - 24492 ’NEATH THE WILLOW TREE 3 Before this engagement she had sung with FOUR HANDS 40 23009 OGRE DANCE . . . . 3*4 LEADING MUSIC EDUCATORS Metropolitan Opera House of New York. 18520 DANCE OF THE INSECTS.... 3 -X PENGUIN ISLAND. . .3-1> the Boston Opera Company, the Chicago 23081 DANCE OF THE OSTRICHES 3 EVERYWHERE-_ Opera Company and for three years with 12 Singing and Swinging— 24248 DANCE OF THE WATER 24546 ON THE SEE-SAW. WITCHES . 3% 24063 ON THE VILLAGE GREEN:!: THE “PETER IBBETSON” of Deems Scotti’s company. She was a native of Man¬ 23321 DANCE OF THE WITCH DOC- Taylor made history when, on December chester, England, a daughter of J. H. E. SHEET MUSIC—VOCAL SOLOS TORS . 3 26th, it opened the New York season of the Partington, the distinguished British painter, 22798 THE DANCING BEAR. 3 30342 Invocation to Life (High Voice) 23600 DANCING COLUMBINE .2% STANDARD HISTORY OF Metropolitan Opera Company, the first time but came to America when very young. ~b0r0M .ciili'gh * 19750 DANCING HORSES . 2% MUSIC—By Dr. Jas. Francis Coolce that an opera in our own language had •g-*• ™ DANSE GROTESQUE . 3 18836 PHRYNETTE .... < Cloth Bound—Profusely Illustrated—$1.50 achieved this distinction. 18835 PIERROT DANCE .. . 3 COMPETITIONS 23011 POLISH PEASANT DANCE" 3 THE EMIL HERTZKA MEMORIAL 19748 THE FLYING RINGS .214 GRISHA GOLUBOFF, the ten-year-old 23086 GALLOPING ZEBRAS . 3 24493 POPPIES IN THE CORN 3 PRIZE of fifteen hundred Austrian schillings 23197 QUEEN OF THE ROSES.. '4 violin prodigy of San Francisco, was some 23944 THE GHOST OF THE 22796 A RUSSIAN DANCE... 3 is again announced. The composition may be MUSICAL LITERATURE HAUNTED GRANGE . 3 24491 RUSTLING LEAVES . 3 time ago requested to return immediately to 23877 GIPSY REVELS ... its German owner the twenty-five thousand for small or medium sized orchestra and must 24548 IN A DREAM BOAT. 1 23320 SEVILLANA . 3 be not more than twenty minutes in length. Well Known Plano S 23598 IN A FAIRY SWING. 214 23431 SILVER DREAMS.' " 1"Grace'- dollar violin which had been loaned to him 22610 IN A GIANT’S GARDEN.3 ful Dance . 314 Manuscripts must reach, not later than Feb¬ 24718 SINGING WATERS .. 3 for concert use in America and Europe. Anti- ruary 15th, 1934, the office of the secretary, 22797 IN AN EASTERN GARDEN. HARMONY BOOK FOR Jewish feeling in Germany is given as the An Oriental Picture. 4 18553 SLEEPING PRINCES'! ‘ ” 1 Dr. Gustav Scheu, Opernring 3, Vienna 1, 24121 IN A ROSE GARDEN. Inter- 50 23198 SOLDIER DOLL March. Mystic. 314 BECINNERS-By Dr. P. W. Orem Beware of Swindlers 19746 THE SPANISH DANCER nL Austria, from whom further information may 23599 THE STUFFED ELEPHANT' 2V Flush Cloth Binding—Price, $1.25 It is sad but true that too many clever 23010 IN SUNNY SPAIN. 3 be derived. 23048 IN THE AQUARIUM. 3 23323 SWEET FERN Dance Intlr- Supplies a superb foundation for fu- A BABY CHORUS is supported at the men and women stoop to petty larceny by 18833 IN THE MOONLIGHT. 3 ture musicianship. Its exposition of the Budapest Opera House. It is composed of -Add to Any Combination- collecting for magazine subscriptions and 23597 JACK IN THE BOX. 2* 25909 SWEET MEMORIES.2V, fundamentals of harmony is given in a THE ANNUAL COMPETITION of the MANIKIN JOY. Caprice.3314’ 4n TORTOISE PARADE !.'j!!)) ’' ’ f4 forty carefully chosen children of the regular .; $1.50 for 2 Yrs.; $2 for 3 Yrs. PICTORIAL REVIEW. failing to turn in the money. Pay no money .50 18554 THE UGLY DWARF 7 chorus; and these spend the whole day at ciety for the Publication of American .; $1.50 for 2 Yr«.*; $2 for 3 Yrs.* LADIES’ HOME JOURNAL. to strangers soliciting Etude subscriptions 3 23770 VALSE MINIATURE. k usic will be open till November twentieth, .; $3.50 for 2 Yrs.*; $5 for 3 Yrs.* SATURDAY EVENING POST. 3 -40 23432 ZEPHYRETTE. Airde Ballet 4 the opera house, where they have their regu¬ $1.50 for 2 Yrs.*; $2 for 3 Yrs* COUNTRY GENTLEMAN. unless you are convinced of their honesty and lar school lessons, are taught singing and r the submission of manuscripts. Only * In United States Only. care to take the risk of loss. Representa¬ PIANO FOUR HANDS dancing, and may appear as supernumeraries irks in chamber music form, and by Ameri- tives who secure subscriptions directly for 24748 BOX OF SOLDIERS. Imitat in of a Military Band. „ THEORY AND COMPOSITION n composers, are eligible for consideration, 24122 IN A ROSE GARDEN. OF MUSIC-By Dr. P. W. Orem if needed for night performances. CANADIAN AND FOREIGN POSTAGE EXTRA The Etude Music Magazine, Theodore 24677 MARCH OF THE ARCHERS. ill particulars may be had from Marion Presser Co., Publishers, carry our official 22665 THE UGLY DWARF . Flush Cloth Binding—Price, $1.25 luer, 40 West Seventy-seventh Street, New receipt. Do not accept an ordinary stationery Those who have studied the author’s MME. LUISA TETRAZZINI, who a ark City. store receipt. We cannot be responsible for Harmony Book for Beginners,” or any quarter of a century ago charmed the world .g—--V Send Orders Directly to: the work of swindlers. other course in the elements of har- with one of the most spontaneously rich and S?onyK C1n r gIV?n no better guide than A SCHUBERT MEMORIAL OPERA thiSt.bookffor going on to actual com- brilliant voices of all musical history, recently 01 IN A ROSE GARDEN .^ *ND PIAN0 left her retirement in Italy to give a series of RIZE, providing for a debut in a major The Etude Music Magazine Change of Address farewell” concerts in British provincial le in a Metropolitan Opera Company per- When you move, advise us immediately of VOCAL SOLOS c.ties, with a final gala event in the Royal rmance, is announced for young American — Theodore Presser Co., Publishers — your new address, at the same time, giving Albert Hall of London, when, it is said, “the leers. The contest will be held m conjunc- 19818 SONG OF THE PIRATE.'.'. your old address. We -should have at least technique was as complete as ever” . . . m with the Biennial of the National Federa- 1712 Chestnut Street, Philadelphia, Pa. an of Music Clubs in 1935, at Philadelphia; four weeks’ notice in advance of any changes SCHOOL CHORUS THEODORE PRESSER CO. scales and arpeggios were executed with ex¬ so that copies will not go astray. 13 IN MY GARDEN. Arr. by E. A. Barrell, Jr. (Two Part) 1712-1714 Chestnut St. Philadelphia, Pa. emplary smoothness; scattered high notes Advertisement were taken dead in tune.” THE ETVDq Page 208 MARCH 1934 the ETUDE MARCH 193/f. Page 209 JUNIOR ETUDE -(Continued) Run Down T5he ‘P.'B.A. Gift (Continued) By Gladys M. Stein As Miss Enslin’s class assembled one are polished steel pipes, played with a Find out if you are putting enough Ex. 2. The melody is in the bass. For morning she announced, “The P. T. A. wooden mallet.” CONTRAST into your playing. Contrast CONTRAST the right hand must has purchased a fine radio for this class; “But don’t they have other drums in the is a very important word in music study. play the accompaniment very and now we can hear next week’s pro¬ big orchestras?” asked Albert.* It means a chance to do many different SOFTLY. You are then using gram which is to be devoted to percussion “Of course; but we have been speaking things that improve your playing enor¬ CONTRAST between the hands. instruments.” so far only of the percussion instruments mously. A general chorus of approval met the with definite pitch,” explained Miss Enslin. Play the following examples on your announcement. “The others do not have this quality, such piano and observe the effect of using “Some of the percussion instruments are as the long drum or bass drum. These CONTRAST, instead of playing monoto¬ too large for me to carry, but I brought have a deep tone. The snare drum gets nously, with all . the notes alike in tone some others to the class today,” she told its name from the snares or strings stretched across the lower head which give quality. And study your own pieces for Ex. 3. The melody is in the left hand, but them. “And I brought pictures of the a rattling kind of tone.” more examples of contrast. so is the accompaniment. Play large ones! I thought it would make the Miss Enslin picked up a pair of cymbals, the thumb notes very SOFTLY. program more interesting if we knew as Harley asked, “what are these made One night, the musicians of the house¬ of my art, and snapping staccatos and You are then using CONTRAST something about these instruments in ad- T3o ‘Bach on His ‘Birthday What -About It? of?” hold were conversing in friendly tones con¬ rumbling chords are at my command. between different fingers in the March ii cerning their musical activities. The Sometimes I achieve very dramatic effects Does your teacher find you a thoroughly “Let’s start with this one,” said Jack, “Eighty per cent copper, and twenty per cent tin. And this Chinese tam-tam is By Eugene Weber Water-tap spoke first. and give visable proof of the interrelation satisfactory pupil ? Of course that does not holding up the picture of the kettle drums. of color and sound that science is so mean talented, because talent is a gift; au “Their real name is Timpani,” explained made of hammered bronze. It is used Oh, Bach is mighty, don’t you think? “I am a born singer,” he said. “My worked up over. I frequently induce that anyone who possesses that gift has to Ex. 1. Play the echo very SOFTLY, by Miss Enslin. mostly for climaxes. And now, let us look He lures me to the very brink ancestors were famous for their liquid others to express themselves musically, do is to develop it to the best of his ability using the soft pedal as well as by “What are they made of ?” asked Harley, at the tambourine. This was introduced Of beauty, ecstasy and art. voices, and the family tradition still lives. But all pupils can be thoroughly satis¬ using a light finger touch. You are the mechanic of the class. into Spain by the Moors and is probably He sings his way into my heart No Water-tap ever thinks of any other Here the Tea-kettle began to sing in a factory, talented or not, by ALWAYS do¬ then using CONTRAST with re¬ “The bowl shaped part is of copper and of oriental origin, dating back two thou¬ And makes a simple, minor key career. As natural vocalists, we qualify sand years or more. The word ‘tam¬ clear soprano, to the delight of all. “The ing just exactly what their teacher says, as peated phrases. Ex. 4. Here are shaded steps and half¬ the heads of skin. The drum sticks are Unfold his soul, direct to me. for solo work, but frequently sing duets bourine’ means ‘little drum,’ and these music of the Fire is always an inspiration well as possible; ALWAYS practicing steps, sometimes called melting whale bone with tips of sponge, felt, or by request with very pleasing effect. I instruments are used in the folk-dances of to me,” she said contentedly, “and I am their full amount; ALWAYS concentrat¬ tones. They are so effective when wood, the different weights being for dif¬ often try out new tonal and rhythmic Italy and Spain,” compelled to express myself in song. The ing on the work; ALWAYS bringing the played artistically. Play the last ferent effects. There are always two or effects, and my experiments have given more in a symphony orchestra, one being “They have castanets in Spain, too, don’t much pleasure. I can, with the right ma¬ assignment book to the lessons; ALWAYS note of each phrase very SOFTLY. tuned to the key-note and the other to the they?” asked Mildred, remembering a keeping the music where it belongs so that You are then using CONTRAST nipulation, run the scales and arpeggios, or fifth of the scale. These drums, you know, dance she had taken part in once in the trill. During the night I often invent little it does not get lost; ALWAYS doing the between melody accents and their resolutions on the “home” tone. have definite pitch.” school festival. tunes which I try out the next day, and written work and not forgetting about it- “I love to watch the kettle-drum player,” “They do, indeed, and their name is sometimes—” ALWAYS having a few pieces ready to said Dick. supposed to have come from the word, Just then the Water-tap was abruptly play unexpectedly; ALWAYS remember¬ “The glockenspiel consists of twenty- ‘castagna,’ a large chestnut which they turned off, and he subsided, gurgling ing the corrections the teacher makes and Letter Box seven or thirty-seven small steel bars, set resemble.” arpeggios deep in his throat. Then the not bringing back the same mistake at the in a wooden frame. The tone is bright “And here is a triangle, isn’t it?” asked Clock in the dining room began chiming next lesson; ALWAYS having clean Dear Junior Etude: Dear Junior Etude: and clear, but it does not blend very well Robert. JOHN SEBASTIAN BACH the hour. hands and nails at lessons. I have obtained pieces of cardboard and I have been taking piano lessons for with other instruments.” “Yes, and it is very important,” said “The Water-tap sings very well,” said If you are not a thoroughly satisfactory drew on them some of the pictures from three years from my mother who teaches “The xylophone with rosewood bars is Miss Enslin. “The triangle is frequently Of course, the untrained ear is deaf she. “I have often listened to him with pupil it is entirely your own fault, for the Junior Etude and hung them in my music back in the mountains. I live in the of the same type,” continued Miss Enslin. used in the orchestra. Sometimes it is To subtle changes in the clef, enjoyment, for I have a very musical ear every one of these points can be accom¬ room to remind me to do my daily practic¬ mountains. We have organized a music “These were played in ancient times by the struck in single strokes, and sometimes it And very few can really see plished by the average pupil, talented or ing. I would like to get up a music club, club, but in the winter we can not meet, Russians, Poles and Tartars. These ear¬ is trilled across the corner. And now I The weaving of his melody. not. And taking pains with these little but there are not enough children in this as the roads are so bad. We meet at my lier ones had glass or other kinds of bars am afraid we shall have to stop,” she said, But, as for me, his music holds and every accomplished Kettle takes a fire points will often make up for whatever neighborhood who can play. house every spring. arranged on beds of straw. glancing at the clock. “But I am sure we The key to heaven, in its folds. on her concert tours. My voice is lyrical may be lacking in genuine talent and help From your friend, From your friend, “Another instrument with steel bars, but shall enjoy Friday’s program better, now and, as I have a large repertoire, I am you to become your teacher’s very best Marcus Wilban (Age 11), Mary Hill Whitcomb (Age 11), played by a key-board, is the celesta. It that we have some idea of the percussion And yet there’s something further still constantly in demand at social functions. pupil. Arkansas. Tennessee. looks something like a small reed organ.” instruments.” That makes us hold our breath, until Notice how often refreshments are served “There was one in last week’s concert,” (N. B. The string instruments were The final note has reached its end, when I perform 1 This shows the esteem said Jean. treated in the Junior Etude for November, For Bach has something more to send. in which I am universally held.” “Now the last in the definite pitch group 1933; the woodwinds in January, 1934; and He sends a message to us here, Then the Water-tap spoke again: “There is the chimes,” said Miss Enslin. “These the brass in February, 1934.) That makes us know there’s naught to fear. is nothing equal to dramatic effect, as the ‘Down PERCUSSION INSTRUMENTS A message full of faith and hope, Fire just remarked, and I often accom¬ By Olga C. Moore A message like a stethoscope plish this by the simple expedient of be¬ 0 Do you enjoy your practice? Does your Dear Junior Etude: Dear Junior Etude: That feels the heart-beat of our ways ginning my song when no one expects it. music ever sound a bit dull and monoto¬ We have organized a “Music Apprecia¬ The name of our club is the “Violin And warns us evil never pays. What could be more dramatic than that? nous ? And do you sometimes wish you did tion Club” and meet once a week. Each Study Chib” and we meet every Saturday Oh, , art is so entrancing to Besides, there is a great value in having 0 not have to practice? member plays a classical piece and dis¬ morning. We have been studying about The one whose soul is pure and true. something to say, and I learn new tales every day from the Water who hears them Perhaps you have run down. Perhaps cusses the composer. The purpose of our composers and operas. We also study the¬ myself. I exercise my voice every hour, from the Soil, the Rocks, the Birds and like a clock, you need winding up. Not club is to gain a better understanding and ory of music. Our club pin is a small gold day and night, and I have a good under¬ the Wind. So I am able to pass on the with a key, of course, but by suggestion* appreciation of music. I am sending you a violin with bow. Our teacher gives us 'Bhe Shamroc\ Game standing of rhythm.” She ceased as the daily happenings of the world.” to bring your springs up to tension again picture of our club and hope you can gold stars for the best lesson. We are chattering voice of the Alarm-clock on The mention of the birds made the so that you and your music will have no"' print it. also having a contest and our teacher is By Gladys M. Stein the kitchen shelf began to shout. Canary hop about on his perch. “You all life. From your friend, giving a prize to the one who practices “I know all about rhythm, too,” he Cut out of green paper a number of sing very well,” he said, “but only at the (Continued on next page) Permelia I. Snider, the most, and to the one who progresses shamrocks, and on each one write a ques¬ buzzed, “for I always speak rhythmically, will of Man, your master. My music is California. most quickly. tion concerning music—for instance, “Who and I never get tired of hearing myself not under the command of anybody. Your From your friend, wrote the Happy Farmer?” “How many keep such perfect time. Usually, once a songs express joy, because you know no Mamie Wilson (Age 10), Texas. scale signatures are there?” and so forth. day, I get a chance for real singing, which sorrow. But in me the Spirit surges, and gives me great pleasure and usually suc¬ m joy and in sorrow I sing because I N. B. This is the first Junior Club ceeds in waking every one in the house.” must And I listen to your different voices member who has written from a club of “Listen to him talk,” whispered a Match and I put them in my own songs, and my violinists. Who else belongs to a Violin that had just been struck. “He thinks songs pass Heavenward, and the Angels Club? himself musical 1” hear them.” Then the Fire leaped up, his vibrant Silence fell for a moment, as the house¬ LETTER BOX LIST tones rolling forth. “I am the oldest of Dear Junior Etude: ear Junior Etude : hold musicians were lost in thought Then When I was getting over the “flu” I Many of the following have written very sell, Joe Martinez, J. L. Kendrick, ] musicians, having sung since the beginning I am sixteen years old and have studied Parsons, Mary Dill, Mary Helen Ross, the brilliant voice of the Canary sang loud uld not go out for several days. So I interesting letters about themselves or their of the world. Expression is the key-note and long. 'the piano and organ for several years. I Malina, Gertrude Immer, Ruby Hansoi it out all our old music and played all I music work or their clubs; but, unfor¬ erine Ledbetter, Carolyn Cowden, Mai am planning to take a master’s degree in tunately, space does not permit printing Craven, Maxine McElroy, Deleena organ and become a Doctor of Music. I uld. , , Mary Clare Eddy, Gwendolyn Johnson. Place the shamrocks in a box and have Musical ^Mother Goose Last Christmas our Junior Glee Club these. Reynolds, “The B Sharpers”, Eloise H would like to correspond with organ Theresa Friday, Terence Hendley, Ruth Zeline Lytle, “The Little Musician’s each player draw one. Each player reads students, as I am too old to enter the ive a pageant, and I was one of the mem- Pinnock, Verna J. Wyss, Murray Dranoff, Anna Jean Carmichael, Betty Jo Baker, 1 his question aloud and answers it. If he By Hilda Lewis xs of the chorus. Kobyrn, Elizabeth McConnell, Janet Au, Pa¬ Rutherford, Daphne Tackach, Mary ] Junior Etude contests. Virginia Catherine Wolfe, Betty Elmesr, “Clef can not answer correctly, he is “out.” From your friend, tricia Brann, Mildred Bennett, Margaret Pussy cat, pussy cat Pussy cat, pussy cat. From your friend, Friday, Helen Kellawny, Verda Bartlett, Rich¬ Club”, Ruth Brandon, Michael L. Mellor, Continue drawing shamrocks until there ard Rancourt, Josephine Eshellan, Frances Evelyn Tyler, Doris Weisenbach, Hannah Where have you been? How did they play? Wilson B. Ortiesen (Age 16), June StefEan, Maxine Murphy, Betsy Ann Rus¬ Louise Abegg. are none left. The last player left in the To music recital Franklin Grove, Illinois. game wins. “With splendid expression,” With Roger and Jean. I heard teacher say. Page 210 MARCH 1934 THE ETUDE JUNIOR ETUDE—{Continued) Records and Radio I (Continued from page 152) Bach Unaccompanied it prepares for the finale,” the celebrated Junior Etude Contest “Great Fugue,” published separately as ZIGETI, via Columbia disc* 68152- Opus 133, but originally intended as the WHERE SHALL I GOTO STUDY? 68153D, invites us to listen to unac¬ The Junior Etude will award three March. Names of prize winners and their last movement of this quartet. companied Bach, this time in the “Sonata pretty prizes each month for the neatest contributions will be published in the issue in A minor.” This splendid violinist does The reasons for Beethoven’s substitution and best original stories or essays and for June. L Established Teachers in Leading American Music Centers more than most to engage our attention in of the lighter and gayer Allegro, published ' Put your name and age on upper left these works (he previously recorded the as the last movement of Opus 130, are Subject for story or essay this month: corner of paper, and yoor address on upper varied. It is said that the work, as orig¬ “Myself and My Music.” Must contain not “Sonata in G minor”) since he creates a right corner. If your contribution takes inally published with the “Great Fugue,” over one hundred and fifty words. Any surprising eloquence of tone under difficult more than one sheet of paper, do this on proved too long and too exacting; hence boy or girl under the age of fifteen years conditions. However, we do not believe Chicago his publishers and friends urged Beethoven Detroit t^lew.York / New York may compete, whether a subscriber or not. each sheet. that Szigeti or anyone else can make this to create a more cheerful ending. In sever¬ All contributions must bear name, age Do not use typewriters and do not have music agreeable to the many rather than ROY DAVID* BROWN ing the “Great Fugue,” which has been KAtE S. CHITTENDEN .LAURA STEINS RHODE and address of sender, written plainly, and any one copy your work for you. the few, under the present system of bow¬ American Pianist \"d Teacher FRANCIS L. YORK aptly termed the "heart of the whole work,” Assistant and Successor to €mil Liebling Pianoforte — Repertory — Appreciation Piano and Voice must be received at the Junior Etude Competitors who do not comply with ing. Piano, Organ, Theory Beethoven, however, left his “Quartet in B 905 LYON » HEALV BLDG . CHICAqO, ILL. 230 WEST 59th ST., NEW YORK CITY Coaching, Instruction in Accompanying Office, 1712 Chestnut Street, Philadelphia, ALL of the above conditions will not be Chamber music enthusiasts will surely Detroit Institute ol Musical Art 52 PUTNAM AVE., DETROIT, MICH. considered. welcome Victor’s releases of Brahms’ flat” without its intended “bond of spiritual Pennsylvania, before the fifteenth of ALBERTO JONAS “String Quartet in B flat, Opus 67” (album union”; hence the work as published seems WILHELM MIDDELSCHl/LTE, more of a suite than a unified quartet. The Celebrated Spanish Piano/Virtuoso Ml83), and Beethoven’s “String Quartet” LL. D. Teacher of many famous pianists in the same key, Opus 130 (album M157) ; realization of this, we are given to under¬ Director of Wiscomin Conservatory, Milwaukee/ 19 WEST 85TH STREET, NEW YORK CITY DOUGLAS STANLEY My Most Interesting Musical My Most Interesting Musical stand, on the part of the Budapest players, Professor of Organ and Theory, Tel. Endicott 2-2084 On Wednesdays in Philadelp for both are excellently played by the Dstroit Conservatory, American Conservatory. Voice Budapest String Quartet, one of the finest is the reason for the omission of the pub¬ Experience Experience Rosary Collage, River Forest, III. 44 West 77th St. New York organizations of its kind now appearing lished finale in this recording. It ap¬ n*orcc Work arranged. Private lessons in LEONIE BRANDT (Prize Winner) (Prize Winner) and9Theory. 5210 Kenwood Av«., Chico (Mis.) Noah Brandt LaFORGE-BERUMEN 'STUDIOS Philadelphia (Sots.) Reasonable Rates before the recording “mike.” pears that the Budapest organization is Principlas ol Piano-Forte Playing Before moving away to another town, I play a flute in our Junior High School unsympathetic to the gayer finale, and that Author ol Science in Modern Piano-Forte Playing Voice—Piano a neighbor of ours, whose daughter had orchestra, and last spring we competed Frank La Forge teacher ol Laurence Tibbett RALFE LEECH STERNER Five Units in One they prefer to play the “Great Fugue,” published in 1921. Theodore Presser Company Vocal Instructions been a music teacher, gave me a large col¬ against a number of other high schools in since October 1922 NE OF the most interesting aspects after the Cavatina, instead. 14 WEST 68TH STREET, NEW YORK Singing and Speaking Voice lection of sheet music, Etude magazines our State. of Beethoven’s “Quartet B flat” is That clever scene between Eva and 10 W. 92nd Street New York, N.Y. and interesting books. Just about five minutes before our num¬ FRANZ DARVAS Tel. Schuyler 4140 the fact that any of its initial five move¬ Sachs in the second act of “Die Meister- The hours I spent going through this ber was called, the mouth-piece of my flute Piano and Composition ADELE LEWING ments may be regarded “as a work in singer,” in which the former tries to ascer¬ EDWARD E. TREUMANN music, sorting it out, and mending many broke. What could I do! I knew a good 4220 KRAFT AVENUE Pianiste — Composer — Instructor itself without detriment to the effect.” As tain the latter’s feelings toward Walther, Leschetizky Exponent Concert Pianist—Artist-Teacher sheets that were torn was a most delightful many things could be fixed temporarily NORTH HOLLYWOOD, CALIF. Paul Bekker states, they “form a suite, is excellently rendered by Ljungberg and STEINWAY HALL-315 WEST 86th ST.-NEW YORK and interesting experience. Many of my with elastic; so I hurried to find some and Emil Von Sauer and Josef Hofmann almost a pot-pourri, of movements without Schorr on Victor disc 7680. One of the Tel: Schuyler 4-4560 Summer Class: June to Sept. Apply Now. most happy hours now are spent trying over fastened the mouth-piece. I was relieved CHARLES C. DRAA, Mus. D. New York STUDIO, 7 W. 86TH STREET, NEW YORK, N. Y. any close psychological interconnection.” incongruities of the recording companies is RICHARD McCLANAHAN this music, some of which is known the to find that the flute stayed in tune and This unusual formation, he believes, was in¬ Pianist, Teacher, Touch Diagnostician world over, and mastering those pieces worked all right. their neglect of Wagner’s “Die Meister- GUSTAVE L. BECKER Representative TOBIAS MATTHAY tentional on Beethoven’s part, since he did singer,” for, to our way of thinking, no Special Summer Course, June-July that a few months ago were too difficult We played the Gavotte by Martine, and Pianist, Composer and Teacher not wish to have an “imaginary center of other music-drama of his would prove 706 STEINWAY HALL, NEW YORK CITY W. Palm Beach, Fla for me. .1 had a short solo in it. We were last on gravity” prior to the finale; hence each more enjoyable in a complete recording These, I am sure, are my most inter¬ the program and remained in considerable WALTER CHARMBURY movement “is merely episodic inasmuch as than would this one. LAZAR S. SAMOILOFF GERTRUDE RENNYSON esting musical experiences. I call them suspense until the judge’s decision, which Pianist and Teacher experiences as each hour I spend playing was in our favor. Voice teacher of famous singers WILLIAM C. CARL, Dir. Beginners accepted 539 37th Street this music really reveals new grounds to Betty Stevens (Age 13), WEST PALM BEACH, FLA. explore and greater difficulties to master. New Jersey. 610 So. Van Ness Av«., Los Angeles, Cal. These experiences are not merely an in¬ Special teach cident or two that will fade in my memory, Musical Books Reviewed but will live on through many delightful 1Puzzle (Corner hours in the years to come. Answers to December Puzzle Marjorie Hook (Age 13), D California. Music—Its Secret Influence Throughout Russian village, and leading to the child Do Miscdia s escape from a pogrom instigated by Ole the Ages the Countess who later was to become one of American Elsa By Cyril Scott his greatest benefactors, the violinist’s child¬ 'My Most Interesting Musical So fascinating is it to follow out any con¬ ish successes are traced till they lead to bis Altos cept to where it stands as a complete system acceptance as a pupil by the great Auer. Fol¬ Experience Sextet of logic in itself (divorced, maybe, entirely low his artistic triumphs at Odessa, St. Peters¬ Premiere from the fact that that gave it birth), and so burg Berlin and the capitulation of the mightv (Prize Winner) Triplet devious and entrancing are the paths of the Joachim, with a popularity tournament with Trumpets mind as they weave through that mystical the talented young von Vecsey; and then In order to know my most interesting sphere of music, that we cannot blame our Pans with its cabals, till the New World en- Oratorio musical experience, you must have an Serenader author for giving himself up so thoroughly to tices and New York bestows its accolade on Repertoire. his search for meanings and effects. We can the young Knight of the Catguts. Such is this imaginary picture of the following: three even suffer the dizzyness of great heights, and volume of lure and inspiration for the am¬ girls, seemingly excited about something, the discomfort of unsure footing without mur¬ bitious young violinist. “St. hurrying into a concert hall, before which mur, since we are continually being buoved up Pages : 201. Prize Winners for December Puzzles— by his sense of absolute confidence and a curi¬ Publisher : Saul Elman. was placed a large sign proclaiming that ous straightforwardness where we would nat¬ Price : $5.00. OF THE the great boy pianist was to play there Alflo Micci (Age IS), Illinois urally expect doubt and hesitancy. Purported to be the thoughts of one, Master today. Murray Dranoff (Age 13), Connecticut Root Hoomi, a. Hindoo seer, dictated through The Complete Organ Recitalist Yes, there was to be a concert, and these Theodore Saccoccia (Age 13), Rhode the medium of a certain Nelsa Chaplin, the Child Jesus” book tells of the deep inner workings of music three girls were to be present among the Island throughout the centuries, its effects in setting International Repertoire Guide audience. I was one of the three, and, as attitudes, creating fashions and swaying em- By Herbert Westehby Pires. Much wisdom finds its way into the A YrJ interesting book, this, containing I had never seen the boy artist nor heard erudite sentences of the volume, a reading of much information not usually available in the Given Under him play, I had been joyfully looking for¬ ‘Puzzle which would repay one if only for the re¬ lange of one volume, covering German, French, juvenation always resulting from holding, how- ward to the privilege. By Anna Overby (Age 13) Netherland, Italian and Scandinavian Schools eVPaes - y22\ ”eW aud unexpected outlook. In r?ne’ a?,d British aud American Works After the program, at which I was thor¬ The first letter of each word, reading art Two. Personally we cannot agree with Fine Auspices Price:' $2.50. f£Ls„tatemeni referring to the organ as having oughly enthralled, he retreated to the cor¬ down, will give the name of a great mu¬ Publishers : David McKay Company. become as flexible and expressive as any or¬ ridor to autograph the programs of his sician. Answers must give words as well chestral instrument.” We have yet to find any A Portion of tbe Account Given in admiring audience. organ which can equal in flexibility some of The Liturgical Tear the orchestral instruments, especially the the "Indianapolis Times" Reads— THE IMPRESSIVE SCENE IN ST. JOHN’S CHURCH, INDIANAPOLIS, AS A LARGE AUDIENCE Now, when I look through my scrap¬ (Orgelbuchlein by Johann Sebastian Bach) strings. book, I pause at this program, and think 1. A wind instrument. i aside from a few such inadver- LISTENED REVERENTLY TO A SUBLIME, FIRST AMERICAN RENDITION OF “ST. THERESE 2. A wind instrument with finger board. Edited by Albert Riemenschneider tf?ties, this is a most Informative work. Be- of this concert as my most interesting This edition or organ chorals is a compre- OF THE CHILD JESUS.” ORATORIO BY EVANGELINE LEHMAN. 3. A percussion instrument. siae the many organ compositions listed, there musical experience. er?,u? flne ^lustrations of Cathedral Inspiring Oratorio Mary Eardley (Age 12), 4. A wind instrument. well-known organists and composers. Presented at St. John’s Clement O. Bosler said the pres¬ 5. A Russian composer-pianist. trniiin^Vn6 the sevpn manual console con- entation was made possible only Michigan. accordin^to ^hfM by 200 Singers and because of the co-operation of 6. Our favorite music magazine. are given (words appear in German with likiw?JL tbe laTg?st organ ln the world will 1 Pages :- P 117In. lnterestlng t0 organist readers. the city’s finest singers and mu- 7. A German composer. English translation) ; the tempos suggested in Musicians various editions are quoted ; references are grimes : $2.00 paper ; $2.50 bound. Those assisting were the Choral Honorable Mention for December 8. Another composer. named and suggestions for interpretation are Publishers : H. W. Gray Company. --By WALTER HICKMAN_ Ensemble of the Indianapolis Essays: 9. A great violinist. Sin wLt Thlls,,fineI,y Prlnted edition will be Matinee Musicale, Schola Can- Rosalie Watson, Mary E. Garrett, Mary 10. The native land of Scarlatti. to tSe student advanced P^Yer as well as torum of S.S. Peter and Paul Thorne Tyson, Betty West, Ann Warson, Clara Pages: 138. Christian Science Hymnal Amid a setting of religious sir Cathedral, St. Philip Neri male Melton, Mildred Mangham, Julia Elizabeth Price: $2.25. Plicity, the first American pe choir assisted by the clergy choir Comte, Irene Altheide, Olive Derry, Helen Publishers : Oliver Ditson Company. formance of Evangeline Lehmar of this city, A Cappella Choir of Grigg, Shirley Rubensreih, Jean Crawford, Honorable Mention for December oratorio, St. Therese of the Chi the Arthur Jordan Conservatory Eleanor Siegel, Elolse Newsome, Elizabeth was, presented in St. Johi of Music and an orchestral en¬ Hutchinson, Sylvia Ann Neville, Junior Di- Puzzles: •gss. PA^oHo church last night. semble from the Indianapolis Memoirs of Mischa Elmans Father Under the patronage of the Mo Symphony. Bacco, Catherine McLaughlin, Mary Alice Ethel Wriston, Betty West, Lillian Hyatt By Saul Elman thethl FrmiwFounder, °MMaryStS Baker?U agesEddy,‘ Theare poemsin grea o McCall, Thelma Hauser, Mary Elizabeth Ann Rogers Warson, Verna J. Wyss, Julia Joseph Elmer Ritter, D. I Father Bosler had high praise Berath, Mary Eardley, Elizabeth Howe, Cath¬ Elizabeth Comte, Mary Walsh, Dorothy Gor¬ , A b,ook S?led wlth the romance and thrills Pettin?snCM each being 8iven several suitabl administrator of the diocese, t for the genius and energy of erine Ruppert, Celeste Robinson, Ruby Mu- don, Norma Maple, Carter Fowlkes, Bettv attending the conquests of a child prodigy till emoHnn' i Mu?lc as an expression of the majo lf‘ K'ous setting was made po Elmer Andrew Steffen, conductor. chael, Mary Ruth Suit, Roberta Pemberton, Mae Frisery, Arlene E. Young, Jean Galby, IS tnH ripened and he has been ac- Page“’:J628here COmes fuIly lnt0 her own- Sible for this inspired work, Fred Noble was concertmaster Laurence Franklin, Alflo Micci, Frances Bir- Lucille Stokes, Lennie Mar Frisery, Dorothy m an introductory talk, the Rt and Mary Helen Brook, organist. ditt, Louise Hooks. Mae Cook. viXfeta of his d°ay*he m°St brUliant °f Prices : $1.75, $4.00 and $5.00. Beginning with a description of life in a tiny Ing SocietyrS : Tbe Chrlstian Science Publish o ut of sincere efforts V to give 9 and IQ^ yga * chiIdr^ris the'W th zi new ank re$q)\:d}de >o'^ % is ,v;u * > I 17* v i/M( 4 i t > v irTDTTTC lx. B" Y: VIRTUE of ksVi^A^t^Acti^ *, , Use of atti^tiv^mate^a^an^ ltjis^ffi- ciency in meMng th$, (iequ$e*n^ts In rtaeja- \:- '• mentary stages*. this «ew:’p*rt<^ rnLtllbd ;i*i ^ destined to become isu^cej4sfuf,'.ia8,si)i{!| the^.-G 5 many well established method! al&aafr^jA ^x-jr. \ istence. All in Qt\$ is. a ^jgnifiqant titl*^inft| y it aptly describ.es \hp tiqok which sio.ifi^ifgl^i!* presents the three' ..essentiarl'i phases?' df\*musifj$ study^tnelody, rhythn), harihbny—^foj’,'ke\;e.l-,:. oping ±f)e beginner. Jt ^apturtjfemtkYeljt.'lv&VuV y •' the stbsti. because it .wftftdntsfiecjaliy Jor.-ijjk, \ children beguining'iliafWi stuSyat^ or 10 ygars*'^ * aotaT'NOlAN KOI ;v, ,-of .age. Giving- .ajpng Pnl^restitjg fashfirffc ■w-'*v there are pi%sqfntect*%ingle nonl^rjelodges, eli?.< % FpB , CLASS ’OH PRIVATE INSTRUCTION irientaryf rhytill® studies, ijjdtatiort. ^xetcises^’ 4 rhythm dictation, and ^jl^jjntary h'jiri^ony. £ THEODORE PRESSER*LEASER' COc V ARe^yiew'qu^kiSns an£ ar^eKS'are*incfuded-$t ' i I7ti Chestnut street • Ehiladeephia-5'^ ^appropriate ]ii!afces,,aJh? n^ny vali|jabfe s'ugges* 1 «vl Ttions for.tlie teacher. JAlMlercises and pieces b 'lire in that melodious*, chjir^iing style which has made the name if'Robert' Nolan Kerr so popular among teachers and pupils alike. Teachers of Piano Beginners Everywhere Greatly Favor these NOLAN KERR ELEMENTARY PIANO S PRICE, $1.00 TEACHING PIECES • By ROBERT NOLAN KERR 1 ONE OF THE AUTHOR’S CLASSES IN AC¬ Title Pri% TION. THE AUTHOR’S YEARS OF SUCCESS¬ Angela Dances . $0.« FUL CLASS AND INDIVIDUAL PIANO The Band in Our School. March... .4t> TEACHING EXPERIENCE, TOGETHER WITH Cheerful Cherub . .25 25810 Daddy and I Sing.. MARKED GIFT FOR CREATING ATTRAC¬ Dolly Sleeps . If TIVE EASY PIANO PIECES, MADE POSSIBLE 25136 Excelsior. Processional March . ent, address the publishers with THE PRODUCTION OF THIS SPLENDID AND The Happy Darkle . request for examination privite} 19546 Happy Thoughts . THOROUGHLY PRACTICAL BOOK FOR THE 25551 Learning to Waltz . YOUNG PIANO BEGINNERS OF TODAY. 24011 Let's March . Little Lame Lucky.,_ 25240 19545 Mother's Bedtime Story . 24009 My First Piece . My First Piece. Four Hands.. On the Flying Horses. PUBLISHED BY Pinch and Punch . A Quiet Story . Skipping Home from School . Skipping on the Lawn. 24972 Spring Is Here . 25813 Step Lively . f HEODORE PRESSER £o. 19547 Through the Woodland . 24973 Valsette . 1712 CHESTNUT STREET PHILADELPHIA, PA. 24010 Waltz With Me .