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

3-1-1954 Volume 72, Number 03 (March 1954) Guy McCoy

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Recommended Citation McCoy, Guy. "Volume 72, Number 03 (March 1954)." , (1954). https://digitalcommons.gardner-webb.edu/etude/109

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Piano Recital!' of Tomorro

Chopin'. Influenc on odern usic - Part 2 .. Htlc••• LeTTeRS T 0 THE EDITOR

Au Author's Rehuttal be avoided." The Symphonic Caril- Sir: Mr. Bigelow's letter in the Ion eliminates this "strident clash" December ETUDE criticizing my and permits use of the major third, article, "A Symphony of Bells," without which complete harmoni- brought a slight smile, inasmuch zation is impossible. as the author felt I was posing as Bell literature is replete with an authority and suggested that I discussions of the harmonic Iimira- use instead, among others-c-Mr. tions of bells, and of advancements Bigelow. in the art of tuning. The Sym- As to "chimes" and "carillons," phonic Carillon is the latest and even my critic uses the terms in- possibly the greatest improvement Y ANGLE discriminately on page 16 of his to bring us more harmonious mu- book, "Music from the Belfry-I." sic from the skies. FRO GUIOMAR NO'v'AES photographed at the Steinway by Adrian Siegel Also, the famous bell founders, Paul D. Peery Gillett and Johnston, employ both Coronado, California vV terms in literature describing their Now, the greatest STEINWAY " bells. This usage has dictionary "Music to Unite Nations" of them all ••• for your home ••• sanction. Merriam Webster's de- Sir: I appreciated' the article, fines a carillon as a "chime of "Music to Unite Nations," in the bells." December ETUDE by Esther Ren- At no point did I list the over- nick. I also attended the conference tones of a tubular chime and claim in Brussels and regard it as one of I them to be those of a carillon bell. the greatest experiences of my life. I One of the suggested authorities, The contacts with teachers from all \S Mr. Percival Price, on page 37 of over the world, the gaining of new his book, "The Carillon," shows the insights into various aspects of mu- harmonics of a tubular chime of sic education and the pleasure of pitch tone C to be A-flat, D, F and hearing from these varied groups B. This series of overtones is cer- added up to a thrilling experience. tainly vastly different from those As one who has given over thirty I gave. According to my article, years to work in music education, the partials for a minor-tuned Sym- I was elated to hear the words we phonic Carillon bell of this same have often repeated here in the note would be C, E-flat, their oc- U.S.A.: "Music education should taves and G. It is interesting to be included in the education' of This plaque marks every note that Mr. Bigelow likewise everyone." Testimony in agree- Steinway Centenary piano STUDENTS FROM PRACTICAllY EVERY STATE IN THE UNION AND gives C, E-Hat and G as the partials ment with this statement was given of a C bell on page 6 of his above by practically all who spoke-es- A SCORE OF FOREIGN COUNTRIES quoted book. pecially from those of the war- By providing a second series of ravaged countries Japan, Holland, For a century the Stein way has magnificently is the Stein way An uncompromising loyalty to the Word of God and an evangelistic bells, tuned major, the Symphonic Belgium, Germany, France and been the choice of the world's fore- Vertical constructed that, with Carillon has met and defeated all Austria. Many expressed the most artists. And the Steinway to- proper care, it will serve your family for generations! emphasis go hand in hand with high schalastic standards and an musical objections, even the prob- thought that since the suffering in day, with the experience of 100 lem Mr. Bigelow presents in the the war, music was more essential years, is the greatest Steinway of That's why, even though the initial cost may be higher, the above reference where he states, than ever in the building of a them all. atmosphere af culture and refinement. Stein way Vertical is, in the long " ... there is a strident class in the sense of security and happiness These also are the reasons the Stein way is the one perfect piano run, the most economical piano College of Arts and Science major third .•. and bell music among young students. you can buy! on chimes and carillons alike is Mrs. B. J. White for your home! School of Religion built on the acceptance of the fact Alexander City, Ala. In addition, the Steinway is Our booklet, "How to Choose Your the only Vertical that brings you Piano," contains valuable information. School of Fine Arts thal the major third chord should THE END For a free copy, write Steinway & Sons, School of Business the Diaphragmatic Soundboard, Steinway Hall, 109 W. 57th St., New which helps produce glowing York 19. Your local Steinway dealer School of Education COMING IN APRIL big-piano tone, or the Acceler- (listed in the classified telephone RACHMANINOFF AS I KNEW HIM, by A. M. Henderson- ated Action, which aids beginner directory) can deliver to your home a superb ?leinway Vertical $147 (The Bob Jones University chapter of the Future Teachers of Personal recollections of the great composer-conductor by one who and experienced player alike in for as little down as ... 50 America is the largest in the country this year.) knew him intimately ... SIR THOMAS BEECHAM, by Doron K. achieving sensitive touch. So Liberal time to pay. Slightlyhigher in the West Antrim-A colorful word picture of the unpredictable Sir Thomas ... WHAT I LEARNED SINGING IN COMPETITIONS, by The Steinway is used exclusively by Curzon, Carol Smith-Words of advice from a well-known young singer Detroit Symphony, Fleisher, Heifetz, oI the present _ .. AN AMERICAN CHOIR IN EUROPE, by Lympany, Lynch, Maynor, Paray, Pressler. GREENVILLE, SOUTH CAROLINA Stern, Vronsky & Babin and many, many BOB JONES UNIVERSITY George F. Strickling-The story of the successful tour of the others. Over 1000 music schools and music ~STEINWAY Cleveland Heights High School Choir . . . and other features. departments of leading colleges use the Steinway exclusively .... and nearly all THE INSTRUMENT OF THE IMMORTALS Music, speech, and art without additional cost above regular academic tuition, of the nation's leading orchestras. radio and tetevtston stations. Academy and seventh and eighth grades in connection. ETUDE-MARCH 1954 1 -

THE WORLD OF

$3.50 A YEAR ETUDE tIre Jnllsic "Uf~.,(f~ine fficese Bryn Mawr, Pa. founded by Dr. WiWam Wallace Editorial and Business O ' Edward van Betnum, distill" guished conductor of the Amsterdam Gilchrist in 1874,. The Club has had Concertgebouw Orchestra and the a number of distinguished leaders since Dr. Gilchrist's passing, includ- F . C ke Editor Emeritus London Philharmonic, made his FOlllld~d1883 by THEODORE PRES~ER James rancts 00 (Editor, 1907-1949) debut in the United States in January ing Dr. Herbert J. THy, Charles E. when he conducted a series of six Krauss, Dr, Lindsay Norden, Bruce Guy McCoy Managing Editor concerts of The Philadelphia 01'- A. Carey, Sherwood Johnson, Dr. . . E Mos'her Business Manager Had McDonald. and Harold Wells MarjOrle . , Ed' chestra. He appeared as guest con- Oeorae Rochberg, Music ' ttor ductor during the absence of Eugene Gilbert, its pr~sent director. The Karl W. Gehrkens .co D '1 Paul N. Elbin Ormandy on his mid-winter vacation. program for the anniversary season Harold Berkley Maunce umesm d William D. Hevelll includes Bach's "St. Matthew Pas- Elizabeth A. Gest Guy Maier. Alexan~er kMcCur y Nicolas glonims y The Mendelssohn Cluh of Pbil- sion," Mendelssohn's "Elijah" and adelphia is this year celebrating its Handel's "Messiah." eightieth anniversary, having been (Continued on Page 7)

Morch 1954 THE COMPOSER Of THE MONTH Vol. 72 No.3 CONTENTS Johann Sebastian Bach, the greatest of FEi\>TURES HundredS of churches through- the famous musical family, is ETUDE'S A/f'c Temp/f'l,)n 9 out the world, reach OUI with choice as composer of the month. Born HAVE FUN IMPROVISINGl ..... - ..... , ...... •.. ,. Hf'I"u. }01l"'1011 ]0 V-M 936HF High Fide/it-y the gtortcu music of" arillonic March 21, 1685, at Eisenach, Germany, he Record Cb anger Attachment, . , . , $69.95* 'IHOSE MITCHELL CHl?IRBOYS j' WORKS ·OF· s' 'liACi-1 - ] I Model 935HF Challger, THE USE OF THE FLU'lES IN TIlE . Aibert R;elllell.~dlllei,lf'r BcI1~··.to turn the thoughts of lived to be 65 years old (died July 28. (same leu metal pan), . , , , . . . • $59.95* . 'OWN THAT LlVES BY MUSIC" the throngs churchward. 1750), with a record of accomplishment "TROSSINGEN-THE LITILE 'I . Nor/lw R"l'l/"I Grill;'" 12 \ "all the musit is all you hear" 'ilt, Elk(H1 15 urcly, you want your church that stands unique in all music history. I ]6 PIANO RECITALS OF TOI\WERRR~WIU'sic'S'i'lJOY"' .:: :i/;,;r~J'Fr"I'"cilJ Cool", to have this kind of inspiring PREPARE NOW FOR SUi\'Ii\I" .. ' . W'l/rer "':;(11: 17 Bach's early life was along a hard road. THE SLEZAKS-FATCHEERNA!",DODSEOR~'MUSI'C (P:,;t 2). . . }tm f!nlrllltrri 19 voice! .. artllonic Bells" have Both of his parents died when he was only CHOPIN'S INFLUEN ,0 " . V-M 936HF always been the choice of those ten and he went to Ohrdruf to live with a DEPi\>RTJUEN'l'S who want the best at reasonable brother who taught him to play the key- 1 co 1. he in trument is brilliant, LETTERS TO THE EDITOR ··· - . 3 board instruments. But jealous)' on the part HIGH FIDELITY WORLD OF MUSIC, - ... 3 melodic constant in timbre and of this brother soon developed when young Johann outstripped COMPOSER OF THE MONTH ••...•.....•••. "he'ol~s . si,;,,";"6;";' 4 rich in rmatched bell tones. No l\IUSICAL ODDITIES .. : ... ·•·····•····••••···· '.' Dtlle Atrllt'rlJon 6 him in musical skill. RECORD CHANGER MUSIC LOVER'S BOOKSHELF .....•...• ········ _..•.. ·.P(wl N. £11);/1 1R tower is needed .The bells maybe In 1700, Johann Sebastian went to Li..ineburg and was admitted NEW RECORDS , .....•.•.•...•... K.'nrl W. C"llrl .."", 22 D ./ played manually or automati- See how easy it LS to own and play ATTACHMENT QUESTIONS AND ANSWERS. • ...... , . 2' as a chorister in St. Michael's Church and also received a scholastic EACHER'S ROUNDTABLE .. _,...... Il ""nce umf'UIf cally. The cost is small. IVlile ~I AYING ACCOMPANIMENTS ... ,...... Alpxalltler /'r1cC"rf/y 24 education. In 1704, we find him as organist of the church at Arn. V-M offers yOft alt tmequalted co-mh in a- the new Wurlitzer Spinette TflE 24 CAPRICES 01" RODE (Second Twelve) .... , .. · .I-Inrolll Herl,,'_er 25 for detail today. to- tioll of high fidelity toual reproductwIJ. 2() stadt and in 1707, he began his work as organist of St. Blasius' TWO PART INVENTION IN C MINOR-BACD. A 'Master Lesson ... CIIY IUtuer IlIld luxurious recOl'd playing CQ1Well- Find out how you master the VIOL-IN QUESTIONS...... , - Htlr~/rI ~f'~l,'~"r 52 • Church at Miihlhauf3.en. In 1'114, he was made concertmeister for the Here you'll read that a \Vurlitzer ieJlce. The V-M ·936HF is the first rt;cord 53 ORGAN QUESTIONS .. " ·,.················ Fre;tlerl~/" 1IIIIl',}~ .=)I "eariLLoKic -the home organ that only the Spinette at home! challger attachment specifically d:Stg!ut! JUNIOR ETUDE...... •.•••••••••.. EII;ube 1. A. GN 93ell,( duke of Welmar. Meanwhile, his creative work occupied much of to meet the high stalldards of dlscrnnl- his time and many organ compositions began to appear. He was wealthiest in the land could once Wurlitzer's new Heasy-play'~ 1M/hIE lovers of high fideliJy music, It SCHULMERICH CARILLONS, Inc, plays records of all three sizes Ilud spe:ds JUUSIC also at this time making annual tours as organ inspector and vir- aO'o]'d~i5 now ,vithin your reach. course is so simple even a child lluto111atically or manually, as )'011 deStre, 12360 Corillon Hill. SUlERSVllLE PA. Composi/ions for Pinno (Solo (md DneO tuoso. ]n 1717, he became Kapellmeister and director of "Kam- The fine craftsmen who gave can leach himself lo play. Just 15 The V-M 45 spiudle is iucluded" Gold ."Corillonic ..... ' h 0 ~ fot WI base plate IlIld burgundy aceessones are Two-part Inyention (No.2 in C minor) (Master Lesson) '"lIr", ... "" of S}lIs." I The nnme "E'l"UDE" is regiSlerc

sohn and \Vagner. They walked diminished-seventh chords baoinzb on simultaneously. In his remark- down the aisle to the percussive able, but little-known opera, rhythms of a Bach Toccata played "Kastohey, the Immortal," he by another member of the Bach At de ttJP ~ de @aul reached what was to him the Ulti- Society. The marriage proved a With MUSIC TEACHERS and ALL Music Lovers! ma Thule of modern harmony. happy union of Bach-loving souls. IIIIU 11111 1I111 1111111111 1111111111111111111111111 11111 III II 111111111111111111111111111111111111111111111111111111 Beyond that he would not go. Any . YOUR L1SZTBOOK by Guy Maier further excursions into unresolved dissonance was to him "super-har- • 10 selected works by Franz liszt, including transcriptions, less mony," not to be tolerated in civ- OHN PHILIP SOUSA, the familiar mcsterpleces end world famous compo·sitions. Offers the ilized music, and he severely criti- J March King, was born in student the widest variety of study pieces Price $1.50 cized Richard Strauss and Vincent Washington, D.C., of a Portuguese 1111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 father and a German mother. Yet Newest Piano Book S LON I ill SKY d'Indy for such transgressions. He By NICOLAS wrote to a friend in 1903: "In the a legend grew that his name was in the Modern Idiom! a pseudonym made up of the ini- lieu and Jacques Salmon, who works of the French disciples of VERlTABLE comedy 01 er- rials of Siegfried Ochs (or Samuel claimed that they wrote the music d'Indy there are many harsh har- MODERN MELODIES rors is involved in the author- Osborn) and U.S.A. The recent A of the ballet at Baltazarini's reo monies and modulations, similar For Popular Piano Playing ship of A maryllis, a popular tune to my music in Kestchey. But I edition of Moser's "Musik Lexi- quest. kon" introduces a new twist to the All-time favorite songs especially c r- sometimes SUllO" to the words have nothing to do with such o 'Vho is then the real composer ranged for the early intermediate pianist. "Dainty Dancer Gally Now_" 1t is d'Indyism. The difference lies in legend: its entry all Sousa states of Amaryllis? Certainly not Ehys. an see.·· Simplified crronqernentsr-' Stormy Wea- best known in the arrangement by the absolute logic of harmonic in parenthesis: "Super Omnia certainly not Louis XIII. The last ther _ Sweet lorraine - All My Love - Henry Ghys, the French musician combinations, in the invisible U.S.A.':-Unitecl States Above All! A Beat c - word comes from Jean-Baptiste yo"~ Moonglow _ and others illustrating mod- whose claim to fame is that he presence of the tonic at all times, \Veckerlin, the great nuthoritj 011 ern rhythms and idioms. Supplemented was the first teacher of Ra vel. and faultless voice leading. In A strong lnfln,.namecl Sandow, Marvin with drills, analysis, practice procedures. French folk music. who asserts who flourished at the turn of the by- Ghys published Am.a.ryll~s unde~ t]"] ndyism the sharpness of har- Kahn Price $1.00 with finalit)' that the tune dates the subtitle. "Air of Louis XIII.' monies is mainly the revelation of century, made the crowds gasp by A Beat you back I an lei air of the thirteenth 111111111111111111l111IIIUIIIIIII1l1\11111,1l1111111l111111111111111111111111111111111111111111111111\111111111111That French monarch was indeed ignorance and plain nonsense." holding up a platform with Oil up- can hear! YOU'RE THE COMPOSER by Eric Steiner an experienced musician and he ceutur v ! So great was Himsky-Korsakov's right piano and a pianist. At one did write a madrigal entitled Am- contempt for Strauss, that when a of his exhibitions-it was in Liv- A Course In Creative Writing for The Plano Student aryllis. But this royal Amaryllis friendly critic found some simi- erpool-his muscles gave way, and Deepens the student's understanding and appreciation of music, • ~tlmtr bears no resemblance to the one larity between Rimsky-Korsa- the platform, the piano, and the and provides him with the gratifying prospect of being able to En, is a questi on that is ure arranged by Ghys. On the other kov's suite "Mlada" and the "Sin- pianist all crashed down with a compose short piano pieces. He will learn to understand the H to lump the greatest experts great noise. Sandow jumped aside structure of a melody, the various forms of a simple composition, hand there exists a Gavotte as- Ionia Domestica," Rlmsky-Korsa- on musical biography. What llu . at the last moment, but the piano and the proper use of harmonies for the accompaniment. cribed to Louis XTTl which is kov wrote to him: "The only re- · Price $1.00 ian cornp 5 r \\'8 exiled to hi semblance between my work' and was wrecked and the pianist dam- METRONOMA identical with the Ghys tune. hi rthplaee in iberia n the sus- the Domestica may be found in aged. "Sandow is now a piano vir- Electric Tempo Indicator picion of murder? Th ans wer i : tuoso," reported a local news- "Al\IARYLLIS" arranged by G hys the use of muted brass. To avoid with the Flash Baton MILLS MUSIC, INC. 1619 Broodway, New York 19, N. Y = Aliabiev. His name is cllieRy this, I am willing to take the mutes paper. "He has smashed his in- • *r- .. known 10 (he musi world through off the brass in the next edition of strument." World's most dependable time beat! Selmer Metronoma GIVE YOUR CHILD THE ADVANTAGES hi mel liou song The Vigll/in- my score." gives you correct tempos two ways, .. (1) by a sound l\l cr "A:'II.\RYLUS" by Louis XIII {t(j::!Ol ~~ Of Studying Piano With An I.P.T.A. Teacher gale. wh i h i hen I rformed in Schumann cOll1.plailled,in his beat that can be set loud or soft, and (2) by a sight beat letters to Clara Wieck, hef are she The International Piano Teachers Association, the world's the lesson ~ccn in Ro~ inj' "Bar· • through a visible, flashing light. Easily set for tempos largest piano teacher organization, devotes its entire brof vill." became Frau Schumann, that his energy toward making music learning the pleasurable from 40 to 20B-Largo to Presto-with a twist of the The murcl r in \\ hi h Aliabiev WHAT GREAT composer spent mi nd was a vacuum, that he could , experience it should be. Here are some of the special So is our A rnarylhs a misnamed dial. benefits it offers. ,,'as involved urred during a a month in a debtors' prison? not think, that he could not write Gavotte by Louis XlI]? Further In playing with a band or orchestra, you are.expected • Student Membel"ship In the World's, Lorgest .Fra~ernily of Pion.o Studenls • Annu?1 card ty8m in 182-. Alillbiev de· The answer is: Wagner. He lan- music. This gave an American Notional aild Inlernotiono! Piano Playmg bamln.otlons •. ExclUSive I.P.T.A. Academic research reveals that this tune ap- guished in the Clichy dungeon in journalist the opportunity to com- to follow the beat of the conductor's baton-not the Music Counes • Over 65 Copyright.ed Teacher A,ds Enabling the Teac.her to do th~ Bes1 pears under the name La Cloc',elle nied hi guilt. and the evidence Job • Annual Natianal Convent,ons Alternately In New York Cdy and Ch,cogo Paris for three weeks, from October mit the worst musical pun of all sound of the bass drum or other members of the group. • Periodical Educational Bulletins. All I.P.T.A. Teachers ore Certif,ed. a~ainst him \\fa n len lush'e. in the score of the "Ballet-Comique 28, 1840 to November 17. But per- time. He said that Schumann was The Melronoma, with its flashing visual beat, helps you Under the guidance of. on I.P.T.A. te~cher. yo~ learn to ploy the :",orl?'s finest piano de la Reine" produced in 1582. N c\'erthel . the Emperor \ ieho· literature. The As,ociatlon advocates ,he leaching of the bed mUSI~ 01 all publishers. haps "languished" is too melodra- Wieck-minded. learn to do this. Simply turn the sound beat volume as You are invited to write ROBERT WHITFORD. I.P.T.A, F~under-~resldent ?t t~e Inter· long before Louis XTIl was born. las I ordered him to he ,leporled notional Headquarters for a. complimentary. copy 0.1 PlOno Time, a directive that matic a word to describe Wagner's 10 Toholsk. t WI1 \\'here Alia- low as possible and follow the visible flasher. Get it now explains the A,sociation's philosophy 01 mUSIc learning. This ballet was a sumptuous af- the enforced detention. The prison rules A British lord was urged to International Piano Teachers Ass'n. 204 N. E. 31 st St., Miami 37, Fla. fair. It featured a walking fountain hiev was born in 173-. liabie\' -Metronoma is your biggest tempo bargain! were extremely liberal; in fact, the subscribe to the Ancient Con- A NON-PROFIT ORGANIZATION was allowed full freedom of mo\e- with real jets of water. Tweh'e prisoners were allowed to go home certs of London. He refused. "But Plan to attend the International Piono Teochers Association 1954 Con\/ention. ot the water nymphs, acted by the Queen ment in the cit . He organized a Hotel Sherman- Chicago, 111., July 12, 13, 14. IS. Con\/ention e\/ents are, a four day to their families for supper and your brother subscribed, so why teocher training course, on ortist concert, student recitals, educ.ationol exhibits, and lnilitar band there and he can· of France and eleven court ladies. were allowed other privileges. not you?" insisted the solicitor. numerous social functions, including a grand ball. tinued to compo . It was in To· CAN'T WEAR OUT-can't radio to any tempo-40 to 208 disported themselves around it, J list what particular creditor put "Oh," replied His Lordship, "if I slow down, The beat is ail.'ays beats per minute. group of minstrels. clad in while holsk that h wTote his on I) 5)111· steady, accurate at any lempo. Wagner in jail has never been es- were as deaf as my brother, J IDEAL for use by ... phony_ whi h was 11 \er publi:;;hed. satin embroidered with gold jin- tablished, except that the original would subscribe, too. I' NO MOVING PARTS-it uses Musie students and teachers in £ter 8 few ·ears Ile \\"8 8110\\'00 the thyratron "heart beat" sight reading pract.ice. mUJiCOl'dj rJeweJI Spl'in'} Re£uJeJ gles, played La. Clochetle. , complaint came from Germany. tube developed for radar. Ex· Going still farther back in time. to rcturn to EurolJean Russia. clusive design (U. S. Patent Instrumental groups MINUTE MELODIES-Book One Wagner never mentioned this epi- V lllllbregue, the husband of No. 2,522,492). for a sight-beat plus sound- we find that was sung c,'cntuall . uling in ~Ioscow beat. Edited and onnototed by Gp.orges Bermont $.85 Lo, Clocheue sode in his autobiography: but the famous prima donna Catalani, VOLUME CONTROL-make Vocal groups and church choirs At last! A New Book of original piano pieces by outstanding American Com- at the wedding of Margaret of Lor- where he died in 1851. the beat as loud or soft as rou posers such as Archer, Bennont. Glover, Ketterer, King, Mana-Zucca, Mittler. there is extant an anguished letter tried to form an English opera for quick, visible tempo like, or vary from sharp to Ogle. Perrin. Reiser, Rennick, Robinson. Rogel'S, Sugarman. All pieces are short raine and Duc de J oyeuse which from Wagner to his friend Thea- company for her. The manager guidance. and very melodious. Designed to capture the interest of first year students. mellow, took place in 1581. The published Despite his flo Icing beard and dor Apel asking lor help. Appar- examined the project, and said Dancing instructors New Early Grade Pieces-Very Descriptive-Excellent Recital Material NO CLUMSY ADJUSTING- to provide a basic beat in score of the "Ballet-Comique de la academic appearance. Rim~ky· ently, the money was paid by no sel screws, Dial it like }'our class. CONCERT IN THE PARK by Georges Bermont. .35 that the expenses for the cast Reine," which includes the tune of Korsako\l may be regarded as the MOONLIGHT MELODY by David Hirschberg. .35 Apel, and Wagner was soon reo would be too great. "Not at all," SPOOKY GAMES by David Carr Glover. Jr.,. .35 Am.arJllis-Gavoue-Clochette, cred- Father of Russian modern musir. leased. objected Valabregue. "My wife is STEPPING HIGH by Zelma Smith... .35 its the music to one Balthazar de He was the first among Russian the whole opera. All you need is to On Sale 01 Better Music Stores New simplified, beautiful arrangements-For Any Age! Beaujoyeux, a Frenchified Italian composer to adopt 5uch proce- When two lnembers of the hire a few amateurs for the rest of Distributed Exclusively by STARS AND STRIPES FOREVER (Finale Theme) by Sousa- whose real name was Baltazarini_ dures as consecuti,e augmented Bach Society of London were mar- arr. by Waller Pels .35 the company. The worse they sing, and who was the official composer TO A WILD ROSE by MacDowell-arr. by Georges Bermont.. .35 triads and wholesale u~ of whole- ried in 1920, they scorned the the brighter will the great Catalani $flmtr at the Royal Court of France. The DEPT. E-31, ElKHART, INDIANA MUSICORD PUBLICATIONS tone scales. In tbe ~ond act of matrimonial classics of Mendels· shine." THE END Send for fre" new authorship was later disputed by his opera_ 'Th Golden Cocke.. !.'· 858 Post Avenue sp,;ng Catalogue Staten Island 10, N. Y. two Frenchmen, Lambert de Beau- he combines augmented triad!!' \\1U1 ETUDE-MARCH 1954 5

4 ETUDE-lURCH 1954 t - Wodd of Music (Continued from Page 3) Music Lover's THE FABULOUS CONCERT TRIO The Louisville Philharmonic James Dalgleish of New York Reviews by Dr. Paul Elbin and Howard Taubman prais'f Society has granted commissions to City and Kenneth Cahuro of Lake the technical ability and the exc:pti~nal pe1orm~nce 0 BOOKSHELF three student-composers and seven Charles, La., are joint winners of this unusual combination. Selections ,"elude are. well known composers for orchestral the ninth annual George Gershwin works under the commissioning proj- Memorial Contest, sponsored by Vic- Valse Triste (Sibeliusl ect of the Louisville Orchestra. The tory Lodge of B'nai B'rith in co- Elephant Dance (Sclnt-Scens) three students each to receive $500 operation with the B'nai B'rith Hillel Fugue in G Minor (J. S. Bach) are: Sgt. Paul Nelson, of the U.S. Foundation. The winners will share Overture to "Marriage of Figaro" The Kreisler Story Military Band at West Point; Paul equally the $1000 award. Mr. Dalg- Contradonse No.1 (Beethoven) Ranseier of Louisville; and Keith. leish's winning composition is en- Donee of the Buffoons (Rimsky-Korsokoff) Wittmeyer, a graduate student at the titled Statement for Orchestra, while Prelude to l'enfont Prodigue (Debussy) Louis P. Lochner's Notable University of Washington in Seattle. Mr. Gaburo's piece is On a Quiet The Jolly Caballero (Frosinil The seven composers, each of whom Theme. Both works are scheduled Complete lP 331jJ RPM long Ploy Album Life of the Great Master will receive $1200, are: Bernard for performance this season by the $3.85 Postpaid, send M.O. or check to Wagenaar, Heitor Villa-Lobos, Karol New York Philharmonic-Symphony of the Violin Rathaus, George Perle, Paul Cres- Orchestra under Dimitri Mitropou- CAPRI RECORDS. ton, Halsey Stevens and Gian Fran- los. 145 W. 45th St., New York 36 cesco Malipiero. A Review by DALE A DERSO The Berkshire l\fusic Festival Dr. Caspar Koch, dean of Pitts- will be enlarged this summer result- For Bright Beginners and Alert Teachers burgh organists, and for fifty years ing in there being six week-end con- blood in hi viens. Mr. Lochner's NE of the most ~ngaging of city organist at North Side Carnegie certs by the entire Boston Symphony long pers nal rei ndship with KEY TO PIANO PLEASURE musical biographIes, that of ~n Han, retired January 1. During the instead of three as formerly. Under by Frank Fredrich " O Kreisler and his Americen wife full "The book every MUSIC EDUCATOR can endorse eminent musical personality, Fr-itz years that he has held his official this plan, ·the orchestra will give (nee Harriet Li ) made available Saturday night and Sunday after- Thru your dealer ($1.50) or direct from us MEDINA, OHIO Kreisler, has just appeared {~~m position, the distinguished organist, LYNNE PUBLICATIONS, Dept. A, to the hi graph r an immense now 81, has played more than 2000 noon concerts on every week-end of the pen of Louis P. Lochne~. Fr-itz amou nt of mot rial that could not recitals. Dr. Koch was on the faculty the festival period from July 5 to Kreisler universally recoglllzed as pos illy have b en otherwise se- of the Carnegie Institute of Tech- August IS. Also there will be a new the most famous violinist of his nology from 1914 to 1941. His son, series of chamber music concerts on cured. era holds a relative position to the Paul W. Koch, has succeeded the the six Wednesday evenings of the Kreisler's li f \\'8 ri h in ac- ins~rument that Paderewski did to father as city organist. festival period. J-nllilation /01' march 7 c rnplishl'ncnt, all f which is reo the piano, that TosC81lini does to lated in d tail in Mr. Lochner's Melville Clark, noted harp vir- The American Chamber Opera Street, invites all the orchestra, that Pablo Casale Society, Allen Sven Oxen burg, di- The San Antonio Music Company, 31b C crnmerce book. Th oullin r a few high tuoso and inventor of the Clark Irish does to the 'cello, that Sousa did harp, died suddenly in Syracuse, rector, presented on January 15 in piono teachers to a teo and address by pots in hi car r ketched in to the band and Albert Schweitzer N.Y., on December Ll , at the age of New York City, what is believed to this review with th greatest pos- does to the organ. Not since the 70. He was president of the Clark have been the American premiere of time of Paganini has any violinist ible brc tty, must lack the color Musk Company of Syracuse and was Gluck's opera, "Paris and Helen." been received with such Widespread and a tion f th biography a the widely known as a concert artist. He With Arnold V. Gamson conducting, was the first president of the Na- the cast included Maraquita Moll, acclaim. Moving from triumph t auth r pr sents it. After which Dr. Guy Maier begins his three day class. tional Association of Harpists, and' Laurel Hurley, Maria Leone and triumph, the entire rnusical world Fritz rei lcr. n of a music- (Mrs. Dorothy Doll, chairman) loving physi ion r moderate one of the founders of the Syracuse Paul Franke. has rained honors upon his path. Symphony. (Cont~nued on Page 8) Silver Anniversary Year With all this great success he has mean, was b ru in ienna ill made friends everywhere and ap- 1875. Hi fath r wa his fir't teach- NATIONAL GUILD OF PIANO TEACHERS parently there are none in the field er. The hild sh wed amazing pre- ceil)" from hi babyh 00. H~ Austin. Texas of music who would dissent from Box 1113 the world wide recognition of him schooling wa received at the Ro- as "the king of violinists." man Cath lie rmna ium con- Kreisler's position as a distinc- dueted by lay brothers of the tive international personage, not Pieri l order. He ""a admitted to ORDER YOUR CHURCH CHOIR MUSIC ... from merely in music, but as a rich and the lmperial and Ro 'al Conse",,- SHATTINGER MUSIC CO. pervading soul is properly de- tory of Music at the age of se\·en. 81Z Olive St. MUSIC SELLERS SINCE 1876 St. Louis 1, Mo. scribed in a publisher's paragraph the 'oungest pupil ever to be ad· We are retail moil order music distributors for the music of all publishers. on the jacket of this new biography. mitted to that famous institution. Always 200 feet of c:ounter display af music •.. ask for catalo", "Fritz Kreisler shows the undis- There his tcachers \fere the em· puted king of vlolinists to be a inent masters Leopold Auer and great universal spirit to whom lit- Joseph Hellmesberger. Jr. At the CATHOLICSONGS For The Young Pianist erature, languages, science. and age of ten litUe Frill \\·on the politics are as familiar as the coveted gold medal. Tben he ~as Arranged by LOUIS CURCIO intricate score of a classical con- taken to the Paris onsenatOire A new collection of 17 beloved Ca.tholic hymns for th~ young certo or the fingering of a tricky where at the end of two -ears he pianist to· play and sing. Contents melude - Adeste, F'deles-;- violin passage-a man who ha received the Premier Grand Prize Miss Josephine Elizabeth Hahn, who has been a music teacher in Jesus, Jesus, Come To Me-O Lord,' Am Not Worthy-At The Cross held his own not only among for violin playing. Hi teachers in Canada for 60 years, fifty of which have been spent in the town of Hanover, Her Station Keeping - Penis Angelicus - Come, Holy Ghost- artists and musicians, but also Pari were Joseph Lambert ~Ias· Ontario. Miss Hahn was honored recently with a banquet attended by her THE BALDWIN PIANO COMPANY Dept. A-] IJ Ton'um Ergo - Holy God, We PrO;$e Thy Nome - ond others. among kings and presidents, states- sart (violin) and Leo Dehbes former students, many of whom received their A.T.C.M. degrees through her Cincinnoti 2, Ohio r ....~ Price .75 men and philosophers, without (composition) o[ whom Krei5ler training. Miss Hahn, in addition to giving piano instruction, conducts Pleo$e $end complete inf<;'rmolion obout classes in theory, and as a result of her work Hanover has been a "Service lhe Acro$onic. (""" ./ Highly Recommended By Catholic Clergyl ever losing his compassion for and says. "Delibes was a ga blade- Center" of the Royal Conservatory of Toronto for many years. Miss Hahn's Nome ... ,._.{ .1':p .~ ...... •...... understanding of the underprivi- rather Aighly and irrespoT1~lble. IMPRIMATUR' Archbishop Thomas A. Boland life has been crammed with varied activities. She has won fame as a speaker Add'~~~":~ . leged and suffering." When we ,..'ere in the midst of a on various subjects. For many years she was organist of the Catholic City., ••...• , •... NIHIL OBSTAT, Reverend Joseph H. Brady The author of this 450 page trio composition lesson, some prell)- Church of Hanover. With her sister, Pauline, now deceased, she staged four bute biography has gone into the damsel would come along and sug· Gilbert and Sullivan operas presenting them with local talent to the credit preparation of this work with a gest that it ,..as lime Lo dejeuner of all concerned. Her work also includes the writing of a history of Hanover. thoroughness which makes your re- or go for a stroll. Delibes usuallY ETUDE salutes this still aClive distinguished Canadian music teacher. viewer suspect that he has Boswell dropped (Continued on Page 211 ETUDE-MARCH 1954 7 6 ETUDE-.IJ.4RCH 1954 - Wodd of Music

(Continued from Page 7)

Virgil Thomson's "Three Pic- Oskar Straus, famous composer tures for Orchestra" suite was played of Viennese waltzes, best known ~or for the first time in Philadelphia by iVIPROVISING is fun. People seem to en- you yesterday in the garden"-"How love- his operetta "The Chocolate. 0- the Philadelphia Orchestra in [ann. I joy listening to it, witnessing, one might ly the SUIl is!"-"Come and sit over here di .. died at Bad Ischl, Austria, on ary, with the composer conducting. say, the "making up" of tunes. It's even . .. " What do they suggest, in tones? What J~~~ary 11, at the age of 83. ~e was The three pieces comprising the suite patterns do they make you think of? Will one of the last of the great VIennese are entitled, The Seine at Night, more enjoyable for the improviser himself. One of the best known of the line of your pattern run up or down? waltz composers. He was well. kno~n Wheat Field at Noon and SeaPiece You sit down with a general notion of tune in the United Sta:es and Iived In Will it come out as major or minor? Think- "WithBirds. or pattern or line or form in your mind, New York City during part of Worl~ and work it out as you go along. I think ing out things like that won't make you present day piano virtuosos War II. He had conducted many 0 The Altoona (Pa.) Symphony it would be a good idea if more people a great composer, certainly, but it will stim- his works in this country and wr.ote Society is the new name for the reo tried their hands at improvising. ulate you to express yourself in music. scores for several Hollywood m~;les. guies valuable hints on how to activated former Altoona Civic Svm. I say try their hands advisedly, because I happen to have been born with a feel- His first operetta success was The phony. Under the leadership of ing for improvisation. My thoughts come Waltz Dream" produced in 1907. it's the result that counts and the result Donald Johanos, the new organiza. "The Chocolate Soldier" was first cannot be assured in advance. Neither is to me simultaneously in words and in mu- tion is presenting a series of concerts produced in New York in 1909. it easy to tell how to go about it. Genuine sic. But as I go along in improvising, I try which began in October with the final improvisation can't be taught. One is born to think of these random ideas as a com- one scheduled in April. The Berlioz Society is the name with a gift or flair fOT it, or one is not. position; that is to say, I find and then fol- Have Fun of a new organization founded. by Like making up rhymes or sketching, the low whatever form .their natural content Indiana University School of enthusiasts for the music of Berlioz. seems to suggest. Some ideas need a popu· Music at Bloomington will presentin germ of the thing must he in one's blood. A newsletter will be published by May what it is b lieved will be the You can help people develop their ideas in Iar style of expression; some require sonata the society and one of its aims is "to form, fugue form, form, the style fir t p dorman e by a non-profes- proper form, but you can't show them how chaconne provide a central point for t~ geth- Improvising ~ sional C mpany of Mou3sorgsky's to get those ideas. Still, there are a number of a serenade. The main thing is to find ering and dissemination of ln forma- "Boris odoun "I." of hints that may, perhaps, make the road this inherent form, and then to develop it in tion • about Berlioz an d h'IS wor k- .n any style that best suits your purpose, William Ernest Gillespie of Exeter, smoother. This, of course, presupposes that knowl- N. R., is secretary-treasurer. Wa8hinglon University in St. The first step towards improvising is the Louis. 1., will hold a Festival of acquisition of a very sure sense of 'musical edge of style and of form of which I spoke Dr. Reginald Mills Silhy, Must in ob ervance of Music Week, style-all styles. When you really know earlier, and I stress the point that this 0:- the first we k in . lay. Those laking ganist-composer who has been cho~r about sequences of themes, developments, knowledge is imperative to good, flowing director at the Roman Carbolic part in clinical discussion will in- the characteristics of sonatas and operas, improvisation. One must also be familiar Church of St. Ignatius Loyola, New clud Margu rite Hood. ilbert Wal· the individualities of progression in Bach, with interval relationships-those which IeI', . Paul H rfunh, David Blumen- York City, for 20 years, died in that Brahms, Debussy, it helps you-not in can follow each other and those which can- thaI lind Elizabeth Green. city on January 14, at the age of 69. creating ideas, but in expressing such ideas not-the effects produced by various se· He had formerly held organ pOSI- as you have. I have a very personal feel- quences, etc. In my own work, I never have tions in Washington, D,C., Omaha. E,'un Eva na, widely known barl- ing about improvisation. Today, it would be to think consciously in terms of intervals; Nebraska, and Phlladel pb ia. tone singer and I ech r, since 1938a fa ulty III mber of the Juilliard possible for me to talk to Milhaud or Stra- they come to me as naturally as do the vinsky and actually ask them how they words of a sentence. Still, whether one ac- World Famous The National Association o( Graduate hool of Music, died in Teachers of Singing held its ninth. ew York ity n January 3, at the work. I can't even talk to Bach or Brahms quires one's knowledge of intervals by in- annual convention in St. Louis, De- age of 53, Mr. Evans was activ~as or Debussy; so my way of getting closer to stinct or by study, that knowledge must be JOHN JUZEK VIOLINS cember 27·30. The program featured soloist with CB . s.inging on venous them is to improvise in their styles. This there as a basis to form and development. Violas and Cellos a number of symposia in which prob- programs. He al held important presupposes a knowledge of their styles; lems concerned with the vocal pro lee- s 10 position in varieu churches. In and this knowledge is enormously deepened A good way of trying one's hand at all There must be some reason why 1937. he be arne a ~taR member 01 the JOHN JUZEK VIOLINS are in sion were discussed. There were also by trying to work like them. this is to start by a full analysis of some a voice clinic, a "Town Meeting" and the Chautauqua School of )fu£ic~ such a great demand all over the This kind of work has always been a part simple melody, to see how it flows, how the annual banquet. THE END country. of my studies. When I was about eight years it develops, what happens to make it come Just compare the violins of other _.-COlUPETITIONS (For details, write to sponsor listed) old, my beloved teacher, Margaret Hum. out right. As olle progresses, one can well makes at double or even triple cost to phrey, was beginning to teach me Brahms. carryover this analysis-habit to Mozart the superb tone and excellent work· • National Federation of Music Clubs Twelfth Annual Young Com· AU at once, she played a beautiful melody and Beethoven; as a start, though, take manship of the JOHN JUZEK VIO· posers ContesL Total of $500 in prizes. Closing date March 25. Detail.s for me and told me to improvise on it, something easy, like London Bridge Is Fall- LINS. from Halsey Stevens, School of Mu ie, niversity of Southern Cali· developing it the best way I could. When ing Down. The first seven tones state an ~ have innumerable finest com- fornia, 3518 University Avenue, Los Angeles 7. Calif. I had finished, she played the melody idea-and then see what happens. Im- ments from teachers and professional again, in a quite different context, and mediately yOll find a development in the violinists-many an artist prefers to • National Symphony Orchestra Composition Contest for Unit,ed said, "This is what Brahms did with it." quasi-repetition of the last three tones. play on a "Master Art" JOHN JUZEK States composers. Total o[ $3,300 {or original compositions. Entnes VIOLIN rather than on an expensive Thus she introduced me to one of the glori- Then comes a repetition of the whole fig- to be submitted between October 1, 1954, and January 1, 1955. ous J ntermezzi, as well as to the habit of ure and then a brief coda. And that's all old instrument. Details from National Symphony Orchestral Association, 2002 p approaching the masters through their own there is to it. Try it yourself! State a sim- Student outfits from the lowest price to the Street, N. W., Wash., 6, D. C. Master Art grade styles. ple idea, develop it, repeat all you have so Weare the sole agents for the famous F. N. The chief safeguard in improvising is Marcella Sembrich·Kochanska Voice Contest. Open to Americans of far, and then wind it up. Later, you will Voirin Bows, Bourdain and Greville Clar- never to pad. If you have no ideas at the be surprised to see that Beethoven does inets. Polish descent, ages 18·25. Deadline [or application March 30. From an interview Details from Miss Alice Rozan. 150 '0. Parad , BufIalo 11. .Y. moment, stop. To go on and on and get no· exactly the same thing, but in a much METROPOLITAN where is boring. Which brings us back to larger way, and with noble ideas, But the with Alec Templeton MUSIC COMPANY • The Mannes College of Music Composition Contest for operatic the question of those ideas! Naturally it principle of form and development is iden· Wholesalers. Importers, and Manu/ac- works. Award of ~nooofor a full.length opera OT $600 fOT a one-act requires great talent to invent beautiful tical. This is form improvisation, and it turers 0/ all musical instruments As told to Rose Heylbut opera plus two public performances by :Mannes College Opera Dept. melodies-----.-actually, to compose, Yet I have is extremely helpful to follow it through 222 FOURTH AVE .. NEW YORK 3, N.Y. Closing date May 15, 1954. Details from Fred Werl The Maones the idea that making up tunes isn't too from analysis to execution. Publishers of the famous books on Violin Playing: College of Music, 157 East 74th Street, ew York 21, . Y. difficult. At least, it's worth trying. A good You can do exactly the same with Mary "SIMPLICITY OF VIOLIN PLAYING," Vol,. I, II start is to try to express simple thoughts- Had A LiUle Lamb, where your development • Midland Music Foundation Composition Contes.t. Awards of $2000. "ALL VIOLIN TECHNIQUE" {complete. from beginner to artist} simple sentences--in music. comes through a little rhythmic device $1500 and $1000. Composition for orchestra or choral group or orches- by Robert Juzek Say to yourself something like, "I saw with a change (Continued on Page 51) RADICALLY DIFFERENTAND A CHALLENGE TO ALL THE EXISTING METHODS AND tra and chorus combined. Closing date July I, 1954. Details £rom The THEORIES ON VIOLIN PLAYING. Midland Music Foundation, State at Butiles Street, :Midla.nd. Michigan.

ETUDE~MARCH 1954 9 8 ETUDE-MARCH 1954 ow

. .' . / the formation and The inspiruig storv 0 the most widely known A noted Bach specialist here development 0/ one 0/ boy ch.airsau s in.i America at the present time. discourses in a most scholarly fashion

on some aspects 0/ the way in which the great

cantor used the flutes in his

The Mitchell Cholcboys on the Dennis Day Show sacred choral and vocal writings. Those Mitchell Choirboys

by Helen Johnson

group is aimpl y thts : "S b Xlitchell is the N A LOW rambling '.lOuse on North New best adult friend we ever had or ever ex- I Hampshire Avenue 1Il Los Angeles, usu- ally called "The Choirhous.e~" twelve b~Ys pect to have!" . Through the niuet en ).ear. of II ex- sit at attention in the choir rOOI11.A tall by Albert Riemenschneider dark-haired man strikes a few chords on perience, the choir h.os. \ oned. III the num- bel' of its personnel. II uug at tunes n many the piano. Bob Mitchel! is jus~ be?inning his daily three-hour rehearsal with Ins boys. as I. BUI today th re are nil' 12 [the Back in 1934, Bob, then a slender youth orisrine l numl 1'), which [If. ~litche1l6nds (The series of three articles, of which this groups ccntatnmg more or le50SI,omogen- fantasy. Massed choral effects have become sufficient [or hi needs. Th re is no limita- is the first, was prepared by Dr. Albert of scarcely twenty, organized a boy choir eiry, such as the family of woodwind instru- the order of the day and the music tends Riemenschneider originally as a lecture to be for St. Brendan's church in Los Angeles. tion as to col r or reed. and at pr nt ments, the brass with the kettledrums and toward the homophonic rather than the two out of the twelve are :\ gr "and one, delivered before the Library of Congress. The the strings. These various groups function polyphonic. It was Christmas, and the first appearance untimely death of the noted Bach specialist a Japanese. In thi \Va) Bob \lit hell Ieel together, establishing within each group a It is partly because of this change that of the now famous Mitchell Choirboys. prevented this event from taking place. Under that hi Choir an truly repre- nt the um- This was a tremendous undertaking. the auspices of the Dayton C. Miller Fund, sort of entity, which thereby may the better the music of J. S. Bach has not al ways been First, because "singing" boys weren't found versa] brotherhood of Mon a it exist in the lecture was subsequently issued in booklet be contrasted with the characteristics of the understood and appreciated, especially the on every street corner, and secondly, there America. Bob wants it thi \\ay."1 have form, by the Library of Congress, whose kind other groups or blend in connection with relation of his orchestra to his choral music. were no trained personnel available. Con- another reason for wanting l\egro boj s. ~o permission to reprint here is gratejully them. Bach's choral music was essentially poly. sequently, the young musician started his one else can ing piriluals as they do, acknowledged by ETUDE.-Ed. Noie.J As orchestral music developed, additional phonic. In his choruses he usually em- They appear with Bing Crosby own school, carrying the expense himself. because they understand them:' instruments were added from time to time ployed four or five voice parts, each with in Paramount's "Conuectlcut Yankee" N ORDER to secure a clear picture of Bob Mitchell is not an ordinary man. If he The question, "How does Bob )litchell I the use which J. S. Bach made of the to those selected as more or less conven- a differentiating character, in order that were, all the heartaches and sacrifices corn- choose his Choir members'?" is often asked. flutes in his sacred choral and vocal works, tional by the classical masters, expanding his melodic lines might be presented with men to such a procedure would have com- In a rather simple I ut methodical W8)'- it will be necessary to review some of the the extent and colors of each group, but the greatest clearness possible. His use of pletely unnerved him. But today, after the just as he does every thing else. Each 8:' conditions under which he worked in this not breaking down these family barriers to the orchestra was, by and large, simply an With Frances Pier-lot and Charles Biddol':! passing of almost two decades~ he is more pi r-ant to the choir must pass a rigid audi- field. These might include his objectives in any great extent. There was often consider- extension of his voice work. Bach was more in Allied AI,tists' ~'Thc Babe RUlh Siory enthusiastic than ever, and the brilliant tion in wh..ich his voi e is lried out-:;inging his employment of the orchestra; the con- able individuality in each member of the instrumental in his voice demands and~ at success of his boys lS compensation aplenty. the scales and ome song he kno\\~. ;'\01 dition of the various instruments at that family group, but lt was seldom forgotten the same time, more vocal in his demands "rm not rich after the way people measure being able to read the notes is no seri~us time; his aesthetic approach to the art of that the general effects were based upon the made upon his orchestral instruments than wealth today;~ Bob said smilingly. «But~" handicap if he posse es the other reqmr.e· music; the influence which his religious be- family groups in contrast with each other, any other composer who has accomplished and he placed hls slender expressive hand mcnls. as Bob teaches these rudiments III liefs had upon his activit)'; the spiritual rather than in the contrast of individual major work. In this manner he brought over bis heart-"'here's where I feel it!" class. BUI Ihe boy IllU t be able to keep influence which the words of his texts had instruments of the same group. orchestra and chorus into greater rapport Bob likes boys, and they jn turn adore time and detect ··out·or·tunc" noles. also upon him. as \vell as perhaps other features The function of the classic and modern and ·unity. him! It may be because he is much like a have a great love for music. The I.Q. of and customs common to his time. orchestra in supporting a choral work of While he was assigning and distributing hoy himself in youthful demeanor and ap- each boy l11ust be corr pondingl) high. We must remember that Bach's use of the larger dimensions at the present time is his voice parts to the fulfilment of the form pearance. It may he because of his recog· too. to meet the exa ling requirements of orchestra was indeed different from that in the same as that of the orchestra itself. of a great composition, he thought equally nition of their abilities. But it also Illay be his schedule. and personal it ' pla)s an use at the present time. After the death of The color of the various families of in- of having his orchestral instruments par- because of his deep understanding o[ boy important part in Bob's choi e of mem- Bach, and continuing through Haydn~ Mo· struments is brought to bear as the basic ticipate in completing this great structure nature and his keen respect for their limits bers. Singing is serious business \\;th aU zart and Beethoven, the so·called classical support of the chorus or the singer. It is and gave them a part in the development and desires. At any rate~ Bob is ~·tops" with of these boys. and each One must po~ school of orchestral technique developed. true that thls is only a natural reaction, akin to the importance of the voice parts. each one of the twelve boys who make up a strong desire to work with unlimited pa- In this there came to be established a cer- since the form and type of the music since Because of this, his compositions often what Bing Crosby caBed the "best choir in tience. He must learn, loo. lo a cept r~pon' tain pattern outline for the use of orches- Bach's time has changed greatly. No longer show double the number of independent the world," and the cOI:census of the entire sibilily. feeling the (Collliuued 011 PaF-f 201 tral instruments. The various families of is the preponderance of vocal work based parts than are found in the "oice section instruments were banded together into upon the fugue form~ or that of the choral alone. (Continued on Paf!c 14)

ETUDE-MARCH 1954 11 10 ETUDE-JIAII.CH /9'JJ 7 J') ) I, i)') )))) , I' , A sight-reading class at the Music College 'I\))})\)\)')\

•

Probably the only town in the world

where mUSLCis continually ui the air

from morning till night-that is Trossingen-

the little town Teen-agel's in a happy blending of rnusic and scenic enjoyment Nevel' too young 10 make music that lives by music "Sec what it says: ~ZU1' i\lusiksI1Hh-T,·os..,inJCf'II'"

dios" occupy the top floor of one of the villagers arrive in leisurely fashion. But maple for the best models, pine for the main buildings. As you climb the last the 36-piece town I and, d Z ns uf elemen- whether they come by bicycle, bus or less expensive, gluing together parts, twist- by Norma Ryland Graves flight of stairs, a medley of sound streams tar)' school harmonica band and small afoot, they enliven early morning hours ing wires, adjusting buttons, polishing, from behind their closed doors. Lightly private groups to uumer u to mention. with occasional bursts of harmonica music. pasting labels-these deft-fingered Tr os- run scales, arpeggios, repeated tuning ,\Vith a program [such varied mu ical From the street, the main entrance to singers have few idle moments. ACH YEAR from the little village of than 3,000, yet whose title has long been tones, phrases of popular and classical interests any ordinary village of like size the Hohner factory looks like that of any If you were to count the number of in- Trossingen-tucked away in south- "The Music City." music-the volume at times rises to ear- E would be mere than content. But not music- well ordered house. Primly starched white dividual operations required to complete west Germany:s Black Forest region-some To the Trossingers, making music is not splitting intensity. minded little Tros ingen. Every July for curtains frame flower-boxed front windows. an ordinary piano accordion you would be 20 million h~rlllonicas and a lesser number only their business interest but their cul- Stepping into one of the typical little the past nine years it ha raged its own Once inside, however, you discover several astounded at the number. No lessthan 4,,039, of accordions are shipped to various coun- tural stimulus as well. It is probably the studios, you find the tuner busy at his music festival when for several day it five or six-storied buildings grouped according to factory count. tries of the world. The United States has only town in the world where music is work bench fronting two wide-flung win- entertains accordion-harmonica player and around a central court. At one side still "Of course, we could easily mechanize long been a favored customer. From Civil continually in the air from morning till dows. As he lightly fingers accordion keys, bands from aU parts f G rmnny and stands the little cottage where, in 1857, more of our work," a company official War days of "Abe" Lincoln down to "Ike" night. his eye turns from the distant, gently roll- neighboring ouutr ies. Running co-jointly clock-maker Matthias Hohner opened his quietly points out, "but that would destroy Eisenhower, American presidents along In its center sprawls the 96-year-old ing hills to studio walls, where pictures with the Festival is the month-long special "years-ahead-of-the-times" harmonica-ac- the purpose for which the factory was with amateur musicians, boy scouts, Grs accordion-harmonica factory which is the founded-to give work to as many as of Hollywood celebrities elbow those of course for band leaders offered by the cordion factory. in ever increasing numbers have discovered largest in the world. It employs 30-90% possible. Aside from the employment angle, world-famous musicians. College. As you go from one building to another the fun of making harmonica music. of the town's working population. Next years of experience have taught us that He works rapidly but surely, for he has Since the Tros luger make music their learning how your harmonica or accordion No doubt "marry a GI stationed near door is Trossingen's Music College, Ger- few time-saving mechanical devices ade- been carefully schooled through years of business, they start it early in the da). is made, you come into contact with thou- Stuttgart, Germany, has noted the wording many's only state approved college for quately fill the place of human hands. Take experience that sharpen his senses. Fin- teachers of accordion and related instru- Long before the seven o'clock factory sands of workers. You watch thousands of of certain highway signs: "Trossingen-e- pairs of hands continually in motion. Se- tuning for instance. Can you tune a fine gers, sensitive as those of a blind person, ments, with which is incorporated the City whistle blows, they are tr kking along Die Musik Stadt." If he follows one of lecting wood that has been properly aged instrument mechanically? We think not." manipulate' wires and buttons. Ears. so School of Music. As for musical organiza- their quiet, clean-as-a-whistle streets on these branching country roads, he soon (eight or ten years), sawing birch and The factory's one hundred "Tune Stu- accustomed to (Col/lilll/ed 0/1 Page 58) comes to the little picture book village tions, there are the internationally famous the way to work. nlike the mad rush of whose population numbers scarcely more Hohner Symphony Accordion Orchestra, Americans to punch the time clock. the

Two pals with but a single purpose A sextet of Trossingen players enjoy an outdoor rehearsal International music festival at Trosslngen

Fillin....e tocerbcr hundreds or picecs of w~od for each accordion

Boys' Hal'lilollica Band in rehearsal -

The Use of the Flutes in the Works of J. S. Bach

(Continued from Page 11) COMPLAINTS are frequently raised they were the external result of against the repetitiousness of the pro- parts in connection w~th a solo grams offered by concert pianists. Are the Ripieni," as well as "Tutti"; he certain emotions which were ex- Herein was found one of the voice or a duet in the ar-ras. To fol- complaints justified? used the brass family of three pressed. Some one has said that reasons why the music of Bach low the meaning and play of the An' analysis of several season's recitals trumpets with the tympani as the i~one could drop a vocal theme of was so long in receiving recogni- individual instruments as employed demonstrates that there is solid ground bass; the group of two flutes with Bach and one of Handel upon a tion. The independent instrumental by Bach offers one of the greatest for the complaints. Whether the recitalists the violoncello as the bass; the very hard surface, that of Handel parts, such as the flutes, represented fascinati'ons for the listener of are unknowns appearing for the first time, group of oboi with the fagotti .as would separate itself into sections, by only a single instrument, could Bach's music. The words of the or well-known virtuosi of the keyboard, the bass, and the string group WIth while that of Baeh eould not Pee- not possibly hold their own against aria give the clue in pract~cally almost all confine themselves to a restricted the violones as the bass. He thus sibly be separated. This tone paiot- a chorus part sung by a dozen or every case. The voice part mt~r. and nearly identical repertoire. Very few presents a half dozen family gro~ps ing, on the other hand, while it was perhaps even many more voices on prets these with stress o.n the sp~r- venture performance of compositions other which he proceeds to contrast WIth probably not used consciously by a single part. Each independent in- itual content and mean mg. While than those heard again and again season each other. This sharply delineated Bach for its own sake, is an excel- strumental part must be presented this is going on, the instru~ent after season. Many seem to have less than use of the groups is almost unique lent means lor entering into the by a sufficient number of instru- assigned to perform the obblIgato twenty compositions in their repertoire, in Bach and it happened during spiritual values of his mu ic and ments to balance with every other winds a garland or wreath of which they repeat season after season. his early days as a composer. He e pecially in assisting to establish part, both vocal and instrumental, meaning, often in colorful to~e What causes this situation? Is the piano did not continue to develop the moods, matter of tempi, etc. which is of equal importance. painting, about the voice par~. !hls literature limited? Thatcan hardly be the During Bach's day this presented idea to any great extent. It has often been stated that brings the entire realm ?f spl.IItual reason, for anybody with more than a pass- no special problem, since his cho- It may be said without fear of Bach's arch tration wa largely values which are contamed JO the ing knowledge of classical music is aware contradiction, that Bach was the influenced by the mu icians, which rusesconsisted at most of only two text to its complete fulfillment. that there are numerous pianistic master- most sensitive of all the great com- might be available at the time of or three voices on a part. In this Here perhaps a word should be works gathering dust on shelves which are posers in the selectivity of hi~ i~- perforrnancc. is true that he com- proportion the single instruments, said about the aesthetics of Bach's It rarely performed or not performed at all. dividual instruments. By this IS po ed th great cantatas and ora- Some original and perhaps startling suggestions such as for instance the oboe, could music as expressed in the very Why then are they neglected instead of establish their identity and the in- meant using special instruments to tori as he n them for vivid pictorial forms and patterns, had d of being used to enlarge and enrich the dependence of their parts. In our realize the spiritual intent which are here gwen by a uiell- known keyboard artist as well as the symbolism which use in the church. He would, in narrow, petrifying customary repertoire? time, when everything must be was inherent in their characteristic permeates so thoroughly his music. many case, know what in truments Surely greater variety would impart greater done on a large scale and the cho- quality. This is also true of his on the manner of presenting The great biographer of Bach, would be available f r perfor.n- interest to recitals, give greater enjoyment rus for a Bach Festival often num- use of voices, especially in the Philipp Spitta, brings to the front an e. but a thorough study of hi, to piano concert habitues and attract bigger bers from 100 to 200 voices, it is arias. For instance, in his arias the a continual narrative of these phe- orchestration, a they arc found audiences! necessary to secure a proportional bass voice was selected to express nomenal but he tries to excuse in the gr at Ba hgesellschalt edi- Two factors are mainly responsible for balance of the parts if the poly- the texts dealing with Old Testa- them as being beneath the dignity tion, soon dispels any uch deduc- the existing situation. One is the general phonic element in all of the work ment preaching, with admonish- Piano Recitals of Tomorrow of Bach. Rochlitz in his "Freunde tion. uch a tudy will soon provc custom which has developed during recent of Bach is to be produced in its ment, with expressing invectives of der Tonkunst" and Mosewiu , in to an inve tigator that a higher years which forces pianists to perform correct proportion. wrath, reflections of intense ear- his writings on the Matthew Passion force than mere availehility dic- entire programs from memory and, two, Let it be said here that there is nestness and similar situations. For and other compositions, were the tated the inslruments used. That is its corollary, a creeping aversion among a decided limit to the size of a the tenor voice he selected the texts by Ida Elkan. first to touch on these symptoms. force was Sa h' n of Etn of pianists to mastering sight-reading. chorus and orchestra above which dealing with the dramatic, the hope- It remained for Albert Schweitzer any in lrument for the purpose of It is not difficult to trace the lamentable the finely chiseled linear lines of lessly desolate, the words of de- and Andre Pirro to exhaust the expressing the deepest spiritual poverty of present-day piano recital pro- Bach cannot be correctly repro- scriptive narration as well as those study of the descriptive and sym- content of the text to be expressed grams to the modern compulsion which duced. With the possible exception of highly lyric quality. The resig- bolical elements in the words of by the mu ic, forces pianists to play their concerts from when contemplating recitals, resort to the toire which embraces no more than twenty of the choral works, designed for nation and situations of deep feel- Bach. Schweitzer enumerates a con- Since there i used a greater memory. The process of memorizing even pieces practical1y graven on the memory compositions or so? To be abie to spell out festal occasions. and a few works ing were usually given to the alto, siderable list of the tone painting variety of instrumental combina- one major classical composition is, in during student years and to the few slowly the complexities of piano notal.ion is good in which the m~ster resorts to har- while the soprano was given situa- symbols, which Bach uses in his tions by Baeh than by any other itself, a feat for the average person who added to the repertoire either by long and enough. The fact that it leads to a scant monic treatment, the choral works tions of great praise and rejoicing, great composer, let us try, if pos· has become a pianist. But modern custom painful mnemonic struggle or by familiar- repertoire, imperfections of interpretation will be more effectively interpreted intense love for the Saviour and music, and Pirro mentions unlim- sible, to classiIy ome of the metb- requires the pianist, whether possessed of ity through having heard them repeatedly and artistry and to the falling off of by a smaller chorus and orchestra purity in faith. It is true that ex- ited numbers of examples of word ods whieh he employed. an ordinary or a quick and retentive musi- at the concerts of other pianists. Hence audiences is forgotten. than with a more ponderous body. ceptions occur in these tendencies, and thought description. It is true Perhaps the one which might cal memory, to memorize sufficient pieces the paucity and repetitiousness of contem- Few pianists today are really good sight- The ensuing contrast between the but the line of demarcation is fair- that there is scarcely a page in the best be brought under a general for at least three or four complete and porary piano concert programs. readers. Many, when called upon to accom- ensemble and the recitatives and ly clear. It was not possible to carry full scores of the Bach cantatas plan is his use the orchestra for different programs. This is indeed an pany a singer, a violinist or a cellist in arias will also be in much better over this differentiation into the where such evidences are not dis- of An equally serious result of the need to cernible. However, it is possible festal occa ions. These times would onerous task even for the individual gifted memorize several entire programs is that compositions with which they are unfa- proportion. various voices of complex chorale with an unusual musical memory. For the miliar, simply can not do so with anything Since we know that the orches- fugue, but some of the character- that the truth lies rather in the fact include the Fea t Days, such as the time and effort it takes prevents suf- tra of Bach was used in a different istic qualities assert themselves. that these pictures are only the ex- Christmas, Easter, Ascension anrl pianist not so gifted it is little short of ficient attention to be given to the niceties like musical efficiency. Facility in sight- torture, necessitating concentration on the reading (involving co-ordination of eye, manner than that in use at the These are greatly assisted by the ternal evidence of the spiritual similar events. In a lesser degree, of interpretation and artistry. In addi- same pieces for a very lengthy time. Were present day, let us briefly examine natural range, timbre and pitch to depth which Bach entered when he or, at least without the use of the tion, the fear of a lapse of memory during touch and ear), which should be a basic what constituted his orchestra and clarify the voice leading in a quite undertook to transfer a text into brass and percu ion family, were it not for the fact that most of the com- public performances creates tensions which skill of all pianists, and which actually how he applied the technique of unusual manner. If a chorus is well music. The meaning of the text is the Passion. These great surging positions commonly selected" by pianists detract still further from interpretation would make memorization much easier, is for concert programs had been studied and the same. trained by special rehearsal of the what interested him primarily. The masses of choral tone as exempli. and artistry. Consequently we have many going by the board. It is no exaggeration In a very early cantata, No. 71, individual parts, this will be espe- fact that the striking tone painting fied by the opening chorus of tho. some already pumped into their memories pianists who display digital dexterity, but to say that the keyboard fraternity are "Gott ist mein Konig," written for cially evident. and descriptive patterns so often St. Ma tthew Passion or the chorus during the period of advanced studentship, few artists. in danger of falling into the plight preva- the change of council at Miihl- Just as such tendencies are pres- came to the front, is then the result "Sind Blitze, sind Donner," frohl the task would be well-nigh impossible for The difficulty and time taken in mem- lent among singers, great numbers of whom hausen, Bach leaned to some ex- ent in Bach's employment of the of the inherent feeling which every the same work.. are in the same many. orizing lengthy compositions has also in- are totally unable to read even the single tent to the grouping of the instru- voices, they are much more marked phase of music had in the mind category. For his festal orchestra Since the majority of people take the evitably led to a decline in sight-reading. notes of the vocal line and whose repertoire mental families somewhat after the in his use of the individual instru- of Bach. These symbols and pat- he used brass and tympani (U~lI' path of least resistance, it follows almost Why master sight-reading when it is pos- is comprised of a handful of songs learned modern manner. He used the cho- ments. This is especially marked terns were not consciously used to all" from two to iour trumpets automatically that the average pianist will, sible to make a career today with a repcr- by ear. (Continned on Page 57) rus groups, "Core plene,' "Senza when they are assigned obbligati express certain emotions, but rather and tym- (ContilllU!d on Page 51)

ETUDE-MARCH 1954 15 14 ETUDE-MARCH /954 •

followed by Zippy the seal, with applause UMMER MUSIC. SCHOOLS were at that was really unbounded." Nevertheless, S first only an incIdent III our natIOnal the traveling Chautauqua should not be cultural life. Now they have become a v~st looked down upon as it rendered a valu- and iI~portant movement through which able service at a time when it was needed. thousands of music students receIve ~ew With the coming of moving pictures, the joy and many teachers derive pra~t1Cal The progressive music radio and the phonograph, these touring and inspiring uplift in their professIOnal Chautauquas gradually evaporated, thus work. depriving many a smart commercial man- teacher will be wise In looking through bound volumes of ager of a handsome income. the ETUDE reaching into the last century, In 1943 Serge Koussevitzky, famous con- The Slezaks- to heed the advice the writer has been very much impressed ductor of the Boston Symphony, started by the great number of announcements of the Berkshire Music Centre at Tanglewood schools for Summer Music Study in many and devoted his great talent and energies different branches of musical art. Today to the project. With a notable faculty the Summer Music Schools are of marry dis- Father and Son school has drawn students from all over tinct types depending largely upon the abil- the musical world. After Koussevitzky's Prepare ity, ideals and experienc~ of th~se who death. Charles Munch, Koussevitzky's sue- direct them, and the special reqUIrements cessor as conductor of the Boston Sym- The actor son of a famous operatic tenor father makes pertinent of those who need them. These include: phony Orchestra, a sumed the direction of 1. Festival Schools with large symphony this project. The School has over 400 stu- comments relative to the demands of the artist's life orchestras. dents. Many brilliant performers in Ameri- 2. Summer Music Schools at Univer- can symphony orchestras have received sities, colleges and conservatories. Many of Now much of their valuable training at this the great universities now conduct sum~er internationally famous summer school. Burton Paige interviews JTIALTER SLEZAK music schools and many conservatones Other similar summer festival schools, have operated them for years. such as those at Colorado prings and As· 3. Music Camps and Music \Vorkshops. pen, Colorado and at Brevard, [orth Care- 4. Master Courses conducted by artists the next twenty years of use will not rub lina, with the fine Transylvania Symphony ALTER SLEZAK is a large man, of his work and the great responsibilities it of established reputation. For orchestra conducted by Dr. Christian Pfohl, W large geniality and large accomplish- brought. This sort of thing is rare today off its glow.' Thus, Mahler took away all 5. Normals, Institutes and Clinics. when many young performers. put a life of the heavy roles and kept Father on Mozart have been notably succes ful. ments. Star of the Broadway stage, of films, 6. Intensive music courses also known aurl Rossini. It was years before he again It is hard to draw the line between the of radio and television, he has won the ac- art in second place to the double life of as "Refresher" Courses. sang heavy parts. festival school and the musical workshops claim of Americans everywhere as a master money and 'glamour.' They wish to be seen 7. Introductory music courses subsi- "Whenever my lather sang. he rested the and music camps. The Iational Music of comedy, drama, and operetta, and the at parties, at night clubs; they are constant- dized by publishers who promote their pub- ly catching planes to rush from a concert day before and the day after; when he sang Camp, founded by the courageous and in- possessor of a personality which shoots Summer lications of many types. Such courses are trepid Dr. Joseph E. Maddy at Interlochen, sparks across footlights. Further, \Valter date to an operatic performance to a heavy roles, he rested two days before and usually given without fees to the teacher broadcast. They build careers, perhaps: after. He never strained or dissipated his Michigan, in 1926, ha been surpri ingly Slezak is heir to the large tradition of art. who can qualify for them. In general: hu- but not eminent art. powers. And he took regular periods of successful and has provided musical op- His father was Leo Slezak, also a large and man individuals are gregarious, and all "My father did nothing which could in rest from all stage activities, giving his portunities for hundreds of )'oung people. genial person, who, a generation ago, estab- such educational enterprises are based any way harm his voice or the inner re- spirit the developrnent that is even more Normals, institutes and clinics repre- lished himself as one of the greatest dra- upon the fact that under certain conditions sources that determined what he did with important than the technical development Music sent a slightly different type of summer matic tenors of all time. During the Metro- students work more actively and enjoyably his voice. Gay and fond of people, he musical activity. Clinics which are held politan Opera's Golden Age of Song, the of the voice. in groups where there is a communion of would attend no parties within three days "In time, T was allowed to accompany my at different limes in the year are usually elder Slezak's performances set standards thought. of vocal eminence and artistic integrity. of a public performance; he never sat in father when he practiced. A new song meant The music festival schools in the United gatherings of professional teachers with a The younger Slezak grew up with the mu- smoke-laden rooms, never went to night at least four months of intensive prepara- States received what proved to be their sprinkling of students hoping to become sical traditions which prevaded his parents' clubs. On performance days, he ate lightly tion. Father always learned poem and first great impulse from the New York teachers. THe teachers discuss material, home. He began life as a concert pianist. and, after four o'clock, saw no one but my melody together, marking breath pauses in- Study State Chautauqua, founded in 1874 by methods and principles in the light of the drifted into business, drifted out of busi- mother. At such times, the whole house- to the score. In operatic preparation, we Methodist Bishop John Vincent and Lewis latest information procurable and are led ness and on to the stage where it was-and hold went on tip-toes! Father realized that began by going through the full work as a Miller, on the shores of beautiful Lake by some of the most distinctive and widely still i5-a source of astonishment to him to the duration of his voice depended on his whole, noting indications, values, style, An Editorial Chautauqua in the northwestern part of experienced figures in the musical world. encounter a less-than-reverent approach day-to-day living, and he organized that color. Next: Father would underscore his New York State. Normals and institutes, which usually last to art. living so that he continued singing at the own part with a red pencil, beginning work Originally a religious project, it devel- from two weeks to a month, are likely to You ask Mr. Slezak to discuss the vocal top of his form until 1936. As he would like a student-he counted out measures. oped into a widespread cultural movement. resemble high. power short term conserve- by habits he learned from his father, and he have wished, his career ended at its zenith; rests, time values. In time: then, he would Many similar centres were established in tory courses with an especial appeal to smiles assent at the same time shaking his he never had to watch himself slide down- begin to sing his part: always with small different states and proved very successful. teachers. Over fifty years ago, Mr. Thee- head in negation. "Of actual vocal meth- hill. voice, and marking where to breathe. After These should not be confounded with the dore Presser conducted a summer musical JAMES ods, I remember very little," he confesses. "In 1901, Gustav Mahler brought my months of such preparation, he was at last itinerant tent Chatauquas moving like cir- normal at the University of Pennsylvania. "Anyway, methods as such aren't too impor- father from his Breslau engagement to the ready to sing with full voice-at which cuses from town to town. These enlisted On the faculty were such famous contem- tant. Each singer discovers his own needs Vienna Opera. Tn Breslau, he had been sing- point the work began all over again. FRANCIS the service of many top' line speakers, lec- porary teachers as Dr. William Mason, E. -if he is intelligent-s-and guides his work ing every role he could lay hands on; he "My father rose daily at 6:30. He stayed turers and educators including William J. M. Bowman and W. S. B. Mathews. The was still in his twenties, and nothing was at his .desk, writing or studying, until 9: Bryan and President William Howard Taft. normal was a pronounced success, but Mr. by them. The great thing I learned in my father's home is the artist's way of life. It too heavy or difficult for him. Mahler when he began vocal work which continued COOKE Sometimes the Chautauquas, in order to Presser's business interests were such that changed all that. 'You must use your voice pander to popular taste, interspersed their he could not give the time to its regular is simply enough explained-complete dedi- till 10:30. The first half-hour was always cation to art, not in publicity statements discreetly,' he said; 'you have one of those programs with the trivial and bucolic vari- annual continuance. Mr. Presser, himself, devoted to scales, arpeggios, attacks and rare Eigenstinuneti (a voice which is ety acts of the day. These led one con- was a strong believer in Summer music but in every moment of everyday life. My the full complement of standard exercises. father led the life of the dedicated artist, recognizable from its first tone, and com- temporary wit to write, "The silver voiced study and spent part of many summers in Then he worked at compositions, learning subordinating his likes, his pleasures, his pletely revealing the quality and person- orator thundered with zeal and left his earlier years at the New England Conserv· new works and reviewing familiar ones. ease, his very thought to the demands of ality of its owner). You must treat it so that He went over and (Continued on Page 56) hearers dumbfounded. But soon he .was atory. He could see (Continued OTt Page 59)

ETUDE-MARCH 1954 17 16 ETUDE-MARCH 1954 c

gard to its form; as a composition of Chopin, in regard to its strikingly unusual character; and finally, it is a remarkable phenomenon as a composition per se, re- Chopin's Influence gardless of who created it. These three aspects deserve to be discussed in further detail. 1. Form. Schumann in his famous re- view had already noticed that nothing binds together the four separate parts of the Son- on Modern Music ata in B-flat, and that each of these is cords nevertheless a separate masterpiece. It is conjectured by some that in his review of' Part 2 the Sonata, Schumann dedicated to Chopin his Kreisleriana, which Chopin did not-like. Even if this fact influenced Schumann's Reviewed by opinion, the German Romanticist did not by JAN HOLeMAN take this opportunity to have his revenge PAUL N. ELBIN because, in spite of everything, his criticism of Chopin's Sonata reveals his genuine and continued worship of Chopin, whom he had always supported ardently. Schumann criti- ONCERNING the unusual harmonies, tok's Barcarolle and in Prokofieff's Seventh cized the form of the Sonata hut he en- C modulations, and faLse tones that ap- Sonata: thusiastically recognized its content to be pear strikingly in the sonorous sequences magnificent. usually go i knowing conductor Ex.:! · I)' . Folkdy/e 0/,.102 d dict n. a of the scales in Chopin's mazurkas, we find CHOPIN: Schu muntt : Ftve i eces 'II .'. , (Here it may be worthwhile to mention Chcl"ulJini: Requiem iHuss in C jUillor and an able uppOl"ting rche Ira. (Vox: Trio No.1 ill 0 iHillo,., Oi». 63 that the false tones originate in folk mel- in passing, Chopin's- attitude toward Schu- PL 8362-2 dis sand erma n-English text] Toscanini largely deserves credit for re- Here is a good example of the hearty odies played "falsely" on village instru- mann as a critic. There is a characteristic vivine interest in Cherubini (1760-1842), music-making that characterized the Pa?lo l-,chaa': Th e A!f'rry Widow ments either because of the primitive con- passage from one of Chopin's letters to a CO~1poser honored in his da y b~t ne- Casals Festivals at Prudes, France, ?unng The "Widow" will Ie fifty years old next struction of these instruments and the in- Potocka: glected until lately. The n~w recordmg of the summers of 1951 and 1952. Having de- year but Angel Re ords' new full-length adequate mastery of them by the pla yers, or "I am afraid of those criticisms of Schu- Cherubini's moving RequLeln Mass, how- livered the best of the 1951 perform~nc~s recorded performance inc:li ales that her because of the very nature of the folk tunes mann as a Jew of a cross. With the best of ever, comes from Italy, the musical forces to America. via LP records, Cotumb13 1.S youth may be immortal. The (lim us \~'a~tz, that require such a treatment. Note this ex- intentions, he may write something that being the orchestra and chorus ~f.the now releasing highlights of the 1952 festi- the Vilya song and all the other lilting cerpt from Mazurka, Op. 56, No.2, in C will make me ridiculous forever. Pray ar- Aecademia Nazionale di Santa Cectlw of val. Volumes 11 and III include seven 12- music of the ureal Viennes operetta plus major: dently, my dearest, that I may get rid of Rome conducted by Carlo Maria Giulini. CHOP!!';' inch discs, of which one is devoted to the~e considerable dialogue in rman are found him some day." Unless you object seriously to the fact"tha,: two Schumann works. Casals and Leopo d in this captivating rc ording. It is not Ex.l But there was always a kind of criticism the. Latin text might as well be . ah Mannes, pianist, play the l~vely folkstyle often that a cast f stellar operatic ingers throughout, you will like the p~rformance. in which Chopin would have believed blind- pieces: complete as usual '~Ith the groans can adapt to tb ina like "The Merry ly-if he could have brought it into ex· It is devout, spirited and faithfully re- the distinuuished 'cellist. Alexander f Widow." but Elizabeth hwarkopf (the istence: "Why didn't I live when Bach and corded. (Angel 35042) o 0 ki Schneider, violin; Mieczyslaw Horszows 1, widow), Erich Kunz (Collnt Donila). Ern- Mozart were alive?" he wrote. 'IT would piano; and Casals perform the trio. Repr?- Beethoven: Concerto No.4 in. G, 0 p. 58 my Loose (Valellcienne), and Otto Acke~- have thrown all my nonsense' into the fire duction is only fairly good, but the ll.lUS1C While the high fidelity fraternity will man (conductor) have Vi nnn in their if they hadn't thought it good." not be interested, music lovers will appre- glows. (Columbia ML 4718) blood. The young Camille. lcolai Gedda, Perhaps it is better that Chopin was ciate the favor offered by RCA Victor in l(islllcl is Swedish but his singing style is pure 1905 born somewhat later.) releasing Artur Schnabel'sMth.ird, last and Broadway musical hits don't ordinarily Vienna, Ackerman conducts the Philhar- Without discussing the matter at length, best recording of the G aJ or concerto. qualify for the record review . section. monia orchestra and chorus in a perform, we must, however, observe that Schumann's Recorded in England only a few years be- "Kismet" is different, however, S1l1ce the ance ll"uaranteed to bring you June in criticism of the form seems to us ridiculous fore Schnabel's death in 1951, the new LP tunes were lifted bodily from the works March~ (Angel 3501B-two 12·inch discs) today, were it only because of a general Qf Alexander BormEn, who departed this release joins the emi.nent Beethoven au- Giordano: AlIllrea Cllellier Thus certain orthodox criticism aimed at evolution in forms, an evolution in which thority and the Philharmonia orchestra life in 1887. Cleverly adapted by Robert The international reshuffiing of partners some of Chopin's composition also strikes Chopin played his part. Schumann who under Issay Dobrowen. Though the orches- Wright and George Forrest, the Grieg- finds Capitol the American outlet for Italy.'s at folk music. Even the few aspects o~ could see so much was still unable to per- tral work is not on a par with the soloist, arrangers for "Song of Norway" some years Cetra recordings. From this partnershIp Chopin's music mentioned above add up to ceive this, and the Finale written from the net result is the best version of the G all"o. the Borodin music is a good match comes a creditable recording of Giordano's a great, original, previously unknown style But in order to understand why it is pre- beginning to end in a disharmonious uni- Major concerto on records. (RCA Victor f~r . the Oriental Aa\'or of "Kismet." Co· major opus. Jose Soler. tenor, and Renata which proved to be very fecund, a spring- cisely the Finale which was seized upon by sono seemed to him a mockery of genius. lumbia's lifelike recording features the LeT 1131) Tebaldi, soprano, head an excellent cast board for later composers who, following the modernists, it is necessary to become 2. As a composition of Chopin, this Broadway cast headed by Alfred Drake. FI'ench Military Marches directed smoothly and -without o\·er·el~- in his steps, discovered their own new more closely acquainted with its nature. Finale no doubt constitutes a drastic excep- .(Columbia ML 4850) Despite the popularity of band music in phasis by Arturo Basile. The orchestra 15 paths. And although it is difficult to say That amazing composition which is the tion, most removed from his traditional i'\lcndcl~sohn: St. Punl Oral,oria, Op. 36 America, good band recordings are scarce. that of Radio Italiana Turin; the chorus, wbat direction Chopin's creative work finale of the Sonata in B-flat minor is ac- style so well known to us from his Ballades, Angel Records' first recording by the Band Good old Vienna, origin of much of our one assembled for the recording. Audio en- would have taken if he had lived longer, tually ~ kind of eccentric etude or prelude. Scherzos, and Concertos. Aside from a few post· war recorded music, is the source of of the Ga.rde Republicaine is a notable gineering is satisfactory_ disc surfaces it is possible to formulate some inferences Scriabin, who is akin to Chopin, did not in measures, there is nothing of "Chopin" in the first recording of this once-popular addition to the list. Surveying French mili- smooth. (Cetra 12-14-3 discs) on the basis of these few compositions that any of his sonatas make use of such a bold this Finale-there is instead a mysterious oratorio. Almost complete, the performance tary music from 1789 to the prese.nt, the Hindemilh: Tile Four Temperamen', breathe the spirit of our own time. harmonic system as this with its clear evi- and incomprehensible intruder. features the Akademie Kanunerchor and the Shostakovich: Concer'o ill C Minor for Piallo world-famous Paris hand of 83 men mclude Reflections of Chopin's harmonies in the dence of Chopin's eminently modernist 3. The third aspect, related to the previ. Pro Musica Symphony, Ferdinand Gross- Felix Slatkin, conductor. and the Con- in their concert such favorites as Sambre compositions of Debussy, Prokofieff, and tendencies. It is a collection of dissonances, ous and perhaps the most interesting of all, mann conducting. The original German text cert Arts Suing Orchestra must be credited et Meuse, Marche Lorraine, 9uand :lJ1ade- to a small extent of Bartok are met with in quite Hun-Chopinesque," which even today is the very structure of the Finale-this, is used. Cathedral-like acoustics and an with one of the best recent recordings Zon and Marche des Grenadters, T,h1s col- the form of figures adapted from the im- sound incomprehensible to many an un· regardless of the fact that Chopin com- edgy soprano in the chorus are the only of contemporary music. Their performance lec;ion of historic band music, hrilliantly mortal Finale of the B·flat Sonata. Elements trained ear. This work is a remarkable posed it. The Finale consists of sequences, unpleasant items in a performance other- of these two pleasant works is marked by of this Finale are clearly discernible in Bar- performed and recorded, belongs in every phenomenon as a finale of a sonata, in re- some of which (Continued On Page 57) school library. (Angel 35051) wise blessed with excellent soloists, Ull- understanding. (Continued 0" Poe€ 6-t) ETUDE-M'II.RCH 1954 ETUDE-MARCH 1954 19 18 c

Home On The Range, Cool Mr. Lochner has supplemented number, and when he puts three Water and Standin' Ilf D' Need 0' in Paris and in Rome. Next he stated: "America is a young coun· at the time. his splendid biography with a cat- fingers to his lips for the "thirds" to Prayer. The last group contains joined the Austrian Army and be- try, with untold possibilities still Kreisler with his wide and rich alog of Kreisler's compositions and. soften down or shakes his index songs in the lighter ,ein. such as came an officer in the picturesque before it. J expect great things experience in all phases of music finger rapidly for vibrato from the a discography of some three hun. Bobby's Boogie, Brahms' Lullab.y Uhlans. from it from an artistic standpoint. holds the unique position of being dred Kreisler recordings of the out- «firsts," the I'esponse is immediate and That Wonderflll Mother 0/ Mine. In 1899, after a lapse of ten The same surplus energy which in the composer of some of the most standin'gviolin concertos in musical and satisfactory. Here the boys appear in gay sport Between 500 and 600 boys have years, at the age of twenty four, the earlier days of the Republic played compositions of this cen· literature. The Kreisler comic op· shirts and blue trousers. he made an adult debut in Ber- went into the acquisition of money tury. He has, of course, known not been part or the group during its As they grow older. Illany of them eras were both great hits. Apple ninet.een years of existence. A boy lin with resounding success. He and the provision for m;terial follow successful careers as soloists. only the great classical and roman- Blossoms was written when Kreisler soprano's vocal life span is short- returned to America in 1900 and sllch as Tommy Traynor who sang things is now finding an outlet in tic music of the past, but has also was a house guest in the home of about two years-the longest, four- with Jan Garber; such as Allan 1901 with the 'cellist Gerardy and the espousal of art. known intimately most of the great Efrem Zimbalist on Fisher's Is- so the personnel must be changed Copeland who is one of the ".:\lodern- the pianist Josef Hofmann for a "In the pioneer days of America creative musicians of his Own span frequently. To meet this emergency land off the coast of Connecticut. aires." Even those who do not con- serles of highly successful concerts. it was but natural that men's minds and counteract any delay in filling of years. He is an' excellent pianist Kreisler, burdened by the tragedies tinue musical careers find that Bob In 1904, the London Philharmonic should be filled with material any «gaps," Mr. Mitchell keeps, a and has made many appearances of the first World War wrote, "I Mitchell's strict discipline and study awarded him the coveted Beethoven reserve or "scrub" I unior choir things-the development of rail- in public at the keyboard. Some wrote my part of Apple Blossoms habits acquired in his school have which is trained by Jim Ostrem, one Gold Medal. This was followed by ways, the rearing of buildings for years ago the Ampico Company been instrumental in gaining suc- quite as much for myself as for of his former choirboys. years of concerts throughout the service rather than beauty, Lhe con- made piano rolls of Kreisler's play. cess in other fields. the public. Torn and weary with Mitchell's Choirboys range in age world. struction of hridges an:l tunnel~, Yes, the Mitchell Choirhoys are ing of piano arrangements of his the sorrow of war, I fought my from twelve to sixteen, In 1934, the When the first world war broke just a group of average American the acquisition of money. own violin compositions which had own depression in the work of com- age range was from eight to fOl~rteel~. out in 1914, Kreisler was recalled kids with perfectionist's training and "Now America has the leisure a very extensive sale. The Ampico position. It was the only thing that The youngest at t.he present tIme IS discipline. But in one minut.e·s time to the Army. This obliged him to and the culture to foster beauty Company advertised, "Kreisler's twelve. They all come from modest saved me. In seeking to write songs they can change from a bunch of cancel his lucrative concert en- and artistic design. Look at the homes with satisfactory parental co- piano playing is as fascinating, which would amuse people and "'every·day" boys to a subtle group gagements. The Austrian govern. operation, which is very necessary Woolworth Building in New York, brilliant and alluring as the violin make them happy, if only for a HCmonegie Hall, Molto ..Allegro!" of appealing angels with hea\'e~IY ll1ent was severely criticised for in the success of .any boy. Take the for instance! It is not only a sky- playing which has brought him the moment, I (Continued on. Page 47) case of Tony Butala. Bob discovered voices to correspond! THE END ETUDE-MARCH 19';4 ETUDE-.lIARCH 1954 21 20 QUESTIONS AND ANSWERS· BROAO FINGERS When using my middle and fore-fingers TEACHER'S between the black keys I fi.nd they are a little wide and frequently stick especially sk the aids to vote on whether when my hand is damp. It is a most uncom- would thfen at~ hav; a club which devotes other tasks he might well practice all ho~r fortable feeling and is worrying me in case they pre er 0 . I ROUNDTABLE . . to learning to Slllg voca a day In this case I advise a half houri In its anttre tune I should have greater trouble later on. . I I I 01 and auot 'ier the morning )e ore sc 10, . . . I if they prefer to have a more materia , or 1 Id Could you please enlighten me on this? half in the evening after dll.llleI. 1 tvue of club which wou sponsor .hour I I ra J. E. T., Canada In the case of the talented .hlgh s~ 10~ genfe ~lees at which some of the mem- per orman d I J'k pupil or the adult who is ser-iously wtel · ld lay solos duets, an 11e I e, The trouble you mention is by no means , . I t of practIce shoul d hers wou P , ested in mUSIC t te amoun il on instruments. .. uncommon. However, one can manage to be much larger. If the h.igh sch.ool p~.pl Announce tl1e time of the first meeung. play between the black keys, and very well, is able to get school cr-edit for his out::-ld: · first session hav e them Sing and at uusI 1 . I if one holds the fingers slightly sideways. [ . he might well do two hour's stu d y 0 mUSIC awhile, then suggest that an e1e~tlOn 0 It is impossible to describe exactly how, MAURICE DUMESNlL, Mus, Doc. a day-or even three. But all these figfiu~·e~ officers be held-probably a Presldent,.3 as it is a matter of "feel," but I am sure discusses broad fingers, a Beethoven are sucrfYestive only-there ar.e no nec. - .. , ·I'reasurcr and a Memb rship you will find the proper position if you S ecretal), a '. I question, repeats, and gives advice on rules about it. However, it is stili a caee of ittee of three two hcing students nile try to play G and A, slowly and each hand C oumu " b blv the "Practice makes perfect" so if you arc a the third member a teacher-pro a ) separately. other matters. fi acher . you will make every rea IIy ne tee . ,1, . tor chcr I ater on a 1 rogram om- musIc ca . J • Such use of the fingers between the black effort to have your pupils practice regular ~ . . d per-haps 'crtain othcr conullllte'S Ullltee all . , k keys occurs frequently in modern music- I . tell'laently This 1S done not 50 much Conducted by KARL IV. GET1RKENS, anc Ill' o' " I lila \ be planned for. Ravel's in particular-but in this, as in so by requiring certain amount.s of tln~c as .»)' I~cfore c\ ell annOun 'i~lg the fir~l meet· many other things, it was Bach who opened Music Editor, rrebster's New lnternatwnal 'd' " eacll IJUj)il with mtcrestlng llIa- provi 1110 • I int)" --all thosc who nrc IIlter sled III ftlrll1- Dictionary, assisted by Prof. Robert A. ur the way. Passages of that kind do not imply terial selected especially for hl1l1~b~'tea~ I- . 0 , . .1 I II VOli will of our , ha\e 1llfr a illUSIC C u), J' d virtuosity and they are mostly of the quiet, Jli.ldefter, Oberlin Callege. ina him some harmony, by takmg an .111- clI~d'errcd with thc Ilcad of the ~ho I an legato type. tc~est in other phascs of his life, ?ecol11l1lg: secured permission to u e some sc~lool room The great Anton Rubinstein reportedly interested with his parents and IllS general for the meetings. 1 hope you Will also. be had very large hands, but this handicap Psychology and tact must go hand in home and social situation, and especi~lIy by Often this question comes up: which com- able to secure pCfll1i sion to scle t any kl.nd didn't prevent him from becoming one of hand with musical knowledge. Scrutinize setting up goals for the differ.ent pupdF- and posers wrote best for the piano? Well, HOW MUCH SHALL THEY PRACTICE' f . bolll c:acrcd and c:ccular-\\ hlch the greatest pianists of all time. He con· yourseH thoroughly and impartially. If you praising them when they beglll to approa.ch o ll1USIC- - - . opinions differ, in this as in everything else. seems to you to be suitable. After J3ecunng quered the difficulty, probably in the way think the former are lacking, read Dr. these goals. Of such stuff are the really Ill- Personally I would propose three names: • I would like to know how 11l.nch time the such permission you \\·ill, .of ·ourse,. ~ook outlined above. Cooke:s editorial again and again. Its prin- fluential music teachers made, and 1_ hope Chopin, Lizst, and ... Moszkowski. Don't average cornmunity piano te~cher should around for suitable material and tnl.lke a you are one of them. -",,-.G. ciples will enrich you immeasurably and be surprised at the latter. I do not deal with require their students to practLce every day, plan for its purchase. You will ,,'anl t u~ READ YOUR ETUOE help make you one of the teachers who will the greatness of the music, but with the easy that is, how much time should be expected unison songs with piano or other ae O~ll' be "liked." brilliancy of finger performance and facility from the beginner, the advanced ~wdent, HOW TO START A GLEE CLUB panilllcnt; duets for s~prano and all~, \\Ilh To those who constantly are in a hurry of technical assimilation. Tops among his the yOll,nger child, and the older c/nld .. or \\·i.thout aCCOl11palllmenl; and triO f~r and skim over the surface, glancing through • I arn the music teacher in a girls' school BEETHOVEN'S PIANO WRITING works in this respect is probably the Con- -Mrs. M. T. T., GhtO the pages and postponing till tomorrow a where there has never been a glee club or soprano, mezzo soprano and. alto. The musIC cert·etude The Waves, Op. 24, a number more thorough reading, I recommend that . I club of any kind and.l shoultZ need nOl be difficult, but It should be of Once on this page I expressed the opinion which ought to "knock them cold" in any Your question cannot be an~,~er.ed a 111.ltSLCO , like to ask your advice as to slarl.ing some high quality so that the girl will respecl they absorb every word of Dr. James that Beethoven's piano writing was often contest or recital. categorically, It depends on the pupil s. m- Francis Cooke's editorial HI like Teacher" sort of a musical club. it: and in the rehearsals you, the leader, awkward and difficult to handle, because of terest, the a"lllount of parental co-op~ratlOn, -Sisler M,. St. A., Vermo'll will emphasize beauty of tone quality and in the May 1953 issue. the orchestral or still more, string quar· DEEP THOUGHTS the number of school subjects the child car- blendin ...... of voices at all times, even from This article is not only a masterpiece, but tettish character of the style. As a striking ries~ and other similar factors. Because 1 do not know your specific situ- the \'ef)~first. -K. G. an inspiration to anyone engaged in the example I mentioned the final Fugue of the When the one hundredth performance of My general opinion is that for, the y~ung ation I can give you only some vcry general teaching profession. As such it should be "Hammerklavier" Sonata, Op. 106. This "Samson and Delilah" was given at La Mon. child who is just beginning, the Ideal 5ltua- suggestions, but perhaps some of these may SHALL I THROW UP MY HANDS OR NOn posted up in each studio, and each teacher elicited some criticism and I received sev- naie opera house in Brussels, Ferrucio Bu- tion is either to place him in a piano class, be of help to you. In the first place. I should cut out the first two paragraphs and eral letters from those who think that Bee- soni and !sidor Philipp came from Paris or else to have him come to the t~ach~r • Not long ago I played the Sonata Patlre· suggest that you invite some already estah- carry them in his wallet and refer to them thoven can do no wrong. with Saint-Saens. As they walked toward several times a week with no practlc~ In frequently. lished glee club to come to your school and tique by Beethoven in a competition .. ~hen. But now there comes Chopin and no one the theatre for the final rehearsal the master between. But this is not always fe.aslble, give a littlc program so that your own I approached the end of the eXposLtwn ! Yes, you are a good teacher if your pupils will doubt what he sa ys on the subject: and if the teacher can meet the pupIl only seemed worried and remained silent. Bu. pupils may see what fun these others are raised my right ann higher and higher until look forward to their lessons; if their smile "There are few geniuses capable of un- once or twice a week he ought probably to soni, in his introspective manner, whispered havln ...... Soon after this announce a meet- it was completely stretched out ouer my tells you the pleasure they derive from derstanding all instruments and bringing to Philipp: practice about fifteen minutes daily in be- ing of all girls in the school who arc i n- head. As it turned oul. that was the de· them; if they look eagerly at your hands out all the potentialities of each one. I know tween. The older child who has already had 'Tm sure he's thinking of all the diffi- terested in organizing a glee club or some ciding jactor t.hat lost me the contest, and and listen intently while you demonstrate of only two such men: Bach and Mozart. a year or two of study usually has only one culties he had to get 'Samson' performed other sort of a music club. At this m·eet- I should vallie your opinion on the molter a passage by playing it yourself; if they Even Beethoven is not so universal in lesson a week, but here again I am very years ago. It comes back to him, and makes ing tell the girls that during the first year -do sllch mannerism.s add 1.0 the success never look at the clock during the lessons; much in favor of two lessons or even three. scope; he is at his best with the orchestra him sad ... " anyone in the school may become a mem- oj a musical perjormance7 or are rhey just if when you say "That'll he all for today" and the string qua.rtet. but in writing for the Such a pupil should probably practic~ at But Saint·Saens' thoughts were not on ber, but that after the club is once estab- foolish gestures or what is caned «{!Ood their face shows disappointment; if you least a half hour a day, but even so httle piano he sometimes forgets that the piano those troubles of by·gone days. Suddenly lished membership will be limited to those showmanship?" -I. D...N. Y. never criticize sharply, but do it in a kindly time is not always available if, in a?dition is neither an orchestra nor a string quartet. he stopped and spoke in his dry, high who eit.her have at leas.t fairly good voices way; and, most important, if before doing to his school work, he has home dutIes and In his sonatas he is somet.imes obviously pitched voice: T am sorry ),ou lost the conte~1.. hul T'm so you begin by commenting on what they perhaps' an outside job. But if his school or who play on some instrument. annoyed because the piano is not so. As for "Ra, ha ... Look lhere ... At last I find A fter a little talk of this sort by VOlL I glad )'ou wrote (Conlil1u,ed 011 Page -t.8) do that is good. For even in a mediocre or requires little home study and he has no myself, I understand the piano best. This is it, that store where I left a hat to be cleaned un-prepared performance, there is always the ground on which I have the firmest last year and forgot to call for it!" one or more points which can be praised. footing." (Contin.ued on Page 48)

ETUDE-MARCil 19,;4 ETUDE-MARCH 1954 23 VIOLINIST'S FORUM

ORGANIST'S PAGE The 24 Caprices Playing of Rode Accompaniments by A conscientious organist "can An Analysis of HAROLD BERKLEY the second twelve derive as much satisfaction from

a well-played accompaniment as 11\ D1SCUSSING the first twelve of the note of the second measure-and all simi- be played faster in the lower half of the from any part of the weekly service." Rode Capnces on this page Lwo months lar forzandi-should be treated as a stress bow-the bow touch varying between a ago, I laid special stress on the value so and not as an accent. light spiccato and a stronz ]~arcato. ~nany of the1~ have for developing a sing- The foregoing illustrates only something Being in the key of F ~11inor, No. 18 by ALEXANDER McCURDY Ingly expressive style of playing. Such a of what can be done with a measure and naturally has many awkward passages that st~'le must, of course, have the co-operation 3 half, but the same principles pertain n~ust be. mastered before all)' thought is of left-hand grip and vibrato ,ebut til Jn31n. throughout the Caprice. gIven to Its potentialities as a bowing study. Selecting an appropriate registration is responsibility for it rests on the bow arm A correct shaping of the left hand is es- delightfully contrasted to the sustained And they apply also to the 14lh Caprice. only part of the secret of playing good The ability to vary the speed of the bo\\; se.ntlal if these passages are to be played "DEAR Dr. McCurdy: chorale-tune. The moving voice must be The ~daglO can be played with deep ex- "Is it your feeling that celestes, vox accompaniments. It has been pointed out stroke, to draw it nearer the bridge or emphasized, but not by drowning out preSSIon, and in the Appassionato much With true intonation. The Caprice should humanas, solo reeds, tremolos and the Like several times before in these pages that l1ear~r the finge.rboard as the music may flexibility of tone is required. This latter be practiced (a) in the upper thtrd of the everything else. much good singing is ruined by badly- may be used in the accompaniment of solos Accordingly, one would probably choose r~qUlre, and to increase or decrease sensi- section lS one of the best legato exercises b?w, t~e detached notes being played both played accompaniments. and anthems? Do you think that we take at this point his brightest, 1110st piquant ~lVeJy the pressure on the string accord- to b~ found anywhere, the many string de.tache and martele ; (b) in the lower Now in such cases one can always think lllg to the volume of the tone needed all our accompaniments seriously enough? stops, perhaps a combination of strings and crOSSIngs posing problems that are not too third, detache ; and (c) spiccato in the mid- A. B." of several dozen good excuses with ut really ~hese are necessary if a really singlng ~tyle flutes. Tremolo and celestes would be in- ~a~y .to solve. However, ther can be solved die of the bow. In all bowines 0the leeat exerting himself. There was difficulty in , 00 The first part of this query is hard to IS to be acquired. If I,t IS remembered that in going from one SIgns must be observed. Because of its appropriate here. arranging rehearsals {n b dy, including answer categorically. As they say in the On the other hand, if one were playing And no study calls for them so com- strmg to the next, the bow should rise many string crossings: this is a splendid Nil'. Toscanini, ever gets as much rehearsal armed forces, "It all depends on the situa- Mendelssohn's 0 Rest in the Lord, he might pletely as Caprice No. 13. It carries out in or .fall only just enough to leave the one study for developing agility of bowinc time as he needs); the tenor came do\\'11 tion." employ both tremolo and celestes with good greater length and detail the qualities of stnng and take the next. On the trills. No. 19 is the most fascinating .anel" in Generally speaking, any registration is with influenza; the organi t wa busy with results. He could also use strings and Hutes, the Introduction to the first Caprice. ~he bow should move momentarily faste; many ways the most valuable Caprice of good providing it sounds good. There is weddings and funerals all week: and 0 on. and have available on the choir or solo A really good performance of this study )11 order to make the accent necessary for th~1ll a~1. The expressive lyricism of the nothing wrong with a celeste stop per se. \Ve all rea lize that there can be troubles manual an imitative reed with tremolo for mean,s that the player has a first-class ex- all short trills. Anoso IS an engrossing stud y in itself, for But-there are celestes and celestes. A vox about rehearsals and other exigencies: but bringing out all sorts of counter voices here pressionai technique that can be applied No. 15 needs very slow practice at fi'rst the melody must be played with as much humana, properly voiced and in a good my guess is that the one most frequent and there throughout the aria. to almost any melodic passage. to develop the necessary co-ordination be- expression in the double stops as it Is . state of repair, can add distinction to the source of trouble is that the organist just At first the crescendi and diminuencli tween the left hand and the riaht. ha I . I 111 Such a registration is appropriate for the _,,, 0 'It < S the sll1g e notes-no easy task. There is service. On many instruments, however, the doesn't want to spend time working out the slow, grave, thoughtful mood of this par- should be made entirely by taking the bow man)~ . traps which. can cause poor in- one phrase (see Ex. B) for which I have vox humana is so bad that it would be details of an accompaniment. ticular aria. The accompaniment need not faster o~ slower. Then, later, this should tonat1O(1. At. first the bowing should be a f?und no practicable fingering in any edi- questionable to use it in any combination, Such a I"nan is deluding himself if he be "sickly sweet," however. Some organists be con~blned with drawing the bow- nearer firm martele; later, when the notes have tJOn except my own. Here it is: for accompaniments or otherwise. shrugs off accompaniments as trivial. Ac- shun the tablets marked "Tremolo" and the ?nclge or further away from it, ac- been mastered.: the Caprice should cert~inly The same thing is true of solo reeds and tuaHy they are among his most important "Vox Humana': for fear of sentimentalizing. cordII:g as Inore or less tone 1S needed. The be played splccato in Ule middle of the E.,.il, "~" tremolos. The tremolo can add piquancy to jobs: and he can derive as much satisfac- They thereby limit the resources at their very !1rst phrase (see Ex. A) js an instance how. Played in this way: it is an especially ~~i,,=-~e'. i~: .- ~: • any stop; or, if badly adjusted, it can tion from a well·played accompaniment as command. Used properly~ both these stops of tillS. fine study for agility of bowinO' =- ~" ====-- create a wobbly tone like the goat-bleat from any part of the weekly service. V ,b" -= have a valid place. j ~. 16 calls for a great variety of tone vibrato of a poorly trained singer. It is important, too; that he give firm E,x,A _ ~ Care must be taken to make the A-G In playing a work like Rejoice Greatly, shadlJ1~ and tone color. In spite of a few But the fact that an occasional refractory support to his singers. Many choirs sing ~eventh low enough, but when once this hom "The ivlessiah;: the tremolo and ~lramatIc moments, it is essentially lyric 1S .mastered the phrase can be played stop cuts through the ensemble like a buzz- well at rehearsal (when the piano is used); ~~h_<> ~:=-.I~ -~>- celestes would be unsuitable. The vigorous: lJl l~lO~d and therefore must be played with saw need not condemn the use of such then when they go into the church the organ ea-sIly, cleanly and with expression. affirmative music which Handel wrote at On the D-fiat the how should start slowly a slI1gm.g, expressive tone quality. Every stops under any and all circumstances. A accompaniments are so badly done that the Octaves are an interesting and impor- this point seems to call for brighter stops. and about halfway between bridge and short tnll should be as rapid as possible number of factors must be considered, in- tant study at any stage of advancement and the other hand, He Shall Feed His Flock disconcerted singers are incapable of doing On finger. board: then it should be drawn and ea~h should start with a slight bow the Allegretto section of this Capri~e is cluding the resources at hand and the nature good work. and Come Unto Him can he played with a ~omeW~lat nearer the bridge and faster, and aC~~l1t III order to give it vitality. of the music itself. Firm support is eveD more essential in one of the be~t octave studies to be found warm: mellow singing tone throughout. lmmechately slower again and towards the here are many intonation difficult' To take a specific example~ the simple I anywhere. As lJ1 all such studies, the broken Many other examples could be cited. It playing for soloists, especially the non- finger-board. Little bow must be used on t b' les accompaniment to Bach's Jesu, Joy 0/ Man's ? e overcome 111 the 17th Caprice, and un- octaves are better practiced unbroken at is not so much a question of whether ce· professionals found in most church choirs. ~le first B-flat and G-flat, but as the hjO'h Desiring. I am perfectly sure that the care- tll they are mastered the tempo should be first~and slowly. The value of octaves as lestes, vox humanas~ solo reeds and trem- The organist, playing on comfortably tilted ful organist would not use a tremolo for ·f1at and A-flat are played more bow is slow and the bowinO' a crislJ mart I' 1 manuals and pedals carefnlly built to A. G. b I' 0 ee.ess ~echl1lcal work has been emphasized often olos ought- to be used: but of whether they needed to. bring out the crescendo. l\1,uch ow J.emg taken in the piano passage~ and this selection. He no doubt would not want O. specifications to make his work easier. 111 these columns: so it need be said l are suitable for the particular work one less how IS used on the last note of the to use celestes either. The problem here is more In th~se t11~rked jOrle. When the left- that this Allegretto should b onl y is playing. might sometimes (Continued 011 Page 49' measure. The forzando (fz) on the first , . '. e recurrent y to bring out the triplet figure which is so hand tecllluque IS secure, the study should studIed unul It (Continued on Page 62)

ETUDE-MARCH 1954 ETUDE-MARCH ./954 25 I PIANIST'S PAGE Two-part Invention This month we celebrate the birth f t (No.2 in C minor) II more than a hundred f'ter hi 0 he great Bachwhose contribution to music I It J. S. BACH of Bach'smusic, it hal;::~i~n~!i~~~tfath., ~is wor~ wasvdiscove red" in the t9th c:n~~r/G Ifu:~~~f::rhmo~e meaningful. Obscured for Guy Maier. Turn to Page 3 for a hiogra;~~~l ~~eSt~~.~or:~~s3~rsas Mozartand Beethoven. On page 20 ;O~~ir~f:~~:t~I~~~se~u~~~~~~Vi~~ J. s. BACH: 2 • Minor Two- Voice Invention C 1'1ANol~~~~3~~~~.~~~~~5~~f~1~5~'§~2~3~3~4~1~2~3ii------i;,~~~ii~?~.~~1;;;§§j

1 321253

A Master Lesson ~.1 >

12 3 by GUY NIAIER LDFATHERBACHwas a wiserteach- 5 2 1 1 2 4 2 ~. O er than many of us. In his lllstructlOn book for his formidable family of gifted ______1 3 1 children (The Friedemann Bach Book) I 2 1 2 he placed the C Minor Invention last (fifteenth) of the two-voice inventions. I silver strearnlcts break through t laugh know, because I examined the original The fugues, well and long studied, develop their way down the mountain. Their laughs manuscript in Berlin. He did this, I think, him into a dependable, controlled musician- are irresistible ... they run. laughing, they because it is the most mature and difficult For other Bach selections leading toward nash laughingly as they giggle gaily on of all the two-voice inventions. the fugal style see Nos. 7, 9, 12 and 16 in their duet journey to the river. When I Yet, editors print it second (because "Your Bach Book" as well as the Four Pre- of the old C Major-C Minor habit), and saw them 1 thought instantly of the two ludes and Fugues which follow. OOWiJlg voice-streams f the Minor many ..teachers assign it that way. This is In- vention. or course I followed them! Often unwise, just as it is a ll1istak~ to teach A Good Edition many of the two-voice ilwentions before as they [lowed they threatened to join to- The Busoni editions of the Inventions gether; but not until their long phrases the easier three- voice ones, and just as it seem to me to be the best edited and most is a crime against Bach to give the Inven- curved happily through verdant meadows sensibly elucidated. Secure the Presser edi- and blossonling orchards-with no rocks tions too soon to students who are not tion of both sets. The English translation r' > ready for them. This inventions-far-all or rapids to block their flow-did they of Busoni's flowery italianate German was finally merge to lose themselves in a larger policy of piano teachers has turned away very carefully made by Lois Maier and my- more students fror.i Bach than all the other stream. Sometimes 1 finish the C :.\linor 124 2 3 1 1 self. You will learn much from it. ==- anti-Bach influences lumped together. Invention forte as the little treams rejoice cresc. 1 > Most p-ianists play this Invention at 2 3 1 The Inventions are difficult music. Do when they join the r iver ; ometimes piano J := 76 - 84; ] like it more cockil y, about as they softly sink into those final lovely not give them to a student until he possesses J = 92,-- 96.... First, learn each of the a good, solid technic and plenty of musical two voices separately by memory, so that C's .•.• sensitivity and until he wants them. As for each voice is trained to flow confidently .~.~~(,.)p£it cresc. the C Minor Invention, do not assign it A Discovery. Try It! a~d colorfully by itself before you join An outstanding teacher who often makes until most of the others are mastered. the two silver streams. Be absolutely sure Because of its canonic form, this inven- significant contributions to this page but of your fingering; always know which 1 tion makes one of the best introductions to prefers to remain anonymous, writes: 32 3 2--:::: z 5 (~)(~) finger to use ... and never use another! ~ Z 4 Bach's fugal style. Intermediate and ad- "For two weeks recently, due to an in- fz " I~ --=== 5 As to which voice to emphasize, here is -I,. 3 ;....-. »>: vanced piano students do not study enough fection of the vocal chords, I was not al- 32=-<5 -. 4 >----3~ ~. a suggested plan: measures 1-2, R.H .... 1 .~1 3 of the "Immortal Forty-Eight" (Well Tern- lowed to talk ... but, of course, I had 3-4, L.H.... 5-8, R.H.... 9-10, L.H. ------pered Clavichord) and are not kept review- to continue teaching. Then 1 made a dis- .. leading to the left hand exposition of theme cresO;:- ~ iiiiiiiii. ing these fugues often and thoroughly covery, viz-we teachers talk too much ~ - ;;: molto • -'7 =t:.J (new key) in 11-12, L.H.. . 13-14, ____ • 3u~~ 21 enough to receive the priceless technical during lessons ! I found that I gave much ::.". t- -Ff-t-"4 ... __ ... tt·~~ - benefit to be derived from them. How true R.H., etc. better lessons without a voice. I just sat -:" Always play your "bringing out" voice .- is that old saying: with a pad and made clear notes 011 the . - with the gentlest stress; never push or 31 32 5 "A Bach Fugue each day important spots on which the pupil needed 3 3 4214jz 1 5 =------accentuate it. Play the entire Invention >- 5.1 5 Keeps the jitters away." to work. When necessary 1 indicated fur- - - smoothly and without measure accents. Bach fugues do j list that! They a re the ther corrections on the blackboard, and . - Only occasionally give slight musical best technical studies I know, perfect in- found that when I sat and demonstrated at ------. stresses-as on the mordents in measures struments for developing finger independ- the piano the student really listened. Never 3-6, the long notes in M. 7 and 9, etc. ence and interdependence. Any player who have I had better musical results! can sit down and play half a dozen Bach "When you are forced to reserve correc- isrz: poco ril Laughing Twin Streams fugues well is an excellent pianist. If he will I remember a magical spot in the high tions to the most glaring ones, it points practice these fugues carefully just before (10,000 ft.) remote Colorado Rockies them up miraculously. After all, we can he plays any other difficult composition in 1 1 where the ice of a glacier suddenly sheers only 'put across' such a small number of 1 2 public, he will not need to wOFry much criticisms (Continued Oil Page 61) ~ J5~_~2~1~_~__~3~2j~3 off, and down from under it two sparkling about technical incompetence or insecurity. Copyright 1937 by Tl~eodore Presser CO I ETUDE-MARCH 1954 . 'I ETUDE-,l1ARCH 1954 27 26 /I I ~ I t\ ~, -::>: ...... , . . 0 0. · Scherzo Humoresque I 0 • 0 · . No, 110·40281 STANFORD KING · · i o I '----l.. -:.:.Jr ill I -==:::=-f - .... Grade 4 , Tr - : rr;f ~I ~ ,_. A '1"'- 1 ~ ~ ~J. /IC~~~~I::h •• - . 0 . .-- - "W ... . . · '- ....,..- ...trl "tl1. ' . · . . '\ ~ ...... o~ J .~ I :V!"'D'! . I - I ...... I· fB =1__ I;",J~ II l.,J1.-""" I ., A Pres t 0 t: , -=::::: -===-- b. I\. -==:::::: L.H, ,A ,A ~ .Jr:.o n • 'r:!' , JDJ)l '1 ,A . . PIANO -- A JJ)J. - . · . . ...- ~ O!. ~o ~ 0o' · ~ """"- (Ibס..,1 P. C. at Coda < / . _ R.H. Ii. ~I""""I"'"' I\. ,I\. ,H. . -. I\. A 'F :. - ~ dr~ , .. .ir.· . .,:'.' . , , . . " · - . ,,},-~ == . · ~ ..tr~ ".tr~ . , ~ 0 0 ~ . . ""'-I ., .. l...-oo" ~ .:J- - 8 V'l '1 , . "' -~t' L.H. -.... . ,. O!. Io"",J ~ i""J '-""" ' , { hJ'~ -=::::: ---=== mr J:~ ~ ~ ~~ ~ J!~ ':"- No, 130· 41141 -< ~ ,A b ..: . . . . ,I\. . . . · Grade 3~ In the Chapel :> MARGARET WIGHAIII . · - - :> - :> . y RH. - - - - - > :> - - :> ...... · -,,;;....0 Slow 1:: ·fJl - - - - - ~fJl - - -- ~ I'!! 1 I. .co: :A a tempo 1\ .. J. """"" A · . .. · · • -.1- . . 0 · I\. -1,' "-l\-;' · 0 !: !: ' · · . · · A - , ..;.~;.;.~ ~ .... b.. .~~ . , . · · - ,ir· @: L H .. · ~ ~o ~ · ~.Jr'" ' Pd . ~ I Is: · ,. J ~. .. :V,!,,~,!,' olce ~: ,1:, · ...... ,J~ PIANO It pp ;;;::r l"..ooIooI R.H mf r:"ffl ~ ~.., -=== [,.A mf -=::::: -==,I\. ,I\. I . j ~tJ~ ~ ,I\. . . . ~J ~ ~ ~!Jl · , ...... e' -e- -e- -e- . . . · R.H. ! A ~ Ped.simile -e- ~ ...... - - :> - r' ------:> :> :> /I . , ,----, "'--. · S 0 , I-- Last time to coda..l!:L 0 0 J: II" : · 0 I\. "l" ... . 0 · , },-';. . 0 · · .~;, · · · 0 · " ,.tr.. , . ' ' ~ · · · . . · II: · T:f r . ~ · ~ qii · -tt- b~' ;!-: p fiJii, iF r · ''';1' bJ ;.....,J ~ ...... ' " ~"f ~~.lJi' ~.... br~" ~ .u I • q I,.""J I..-'-" ' '-- ~ ', ' pf" qr' -=::::::= ~ .. ,- - . ,A • 'J ,I\. --,I\. . . . • -e- U U -~ ...... ~ • I' ~ ~ -:> ~ "'oo'" \..000סס..\ aternpo I~I - /\ . . • 1 · - · ~ ~. r '1 "-1 ~ ...~5 pp p · ,qt- '. 't r i' r~ f' rit. 8 dim. qr- , . . . ~ I . I I M· -J: 1fT :J- u- - - :>- - - Cu. -e- - :> - - >- - .co: - > > -' :> - ~ I b -I -e-' r-T''' - J: J. , J. i ~ . 0 . · 0 . : 0 . . . . . · : · . · . 0 · 0 ., O!. · · . O!...... I~~ sf: ~:;I. ;J" • · ~~.l~'bt-l!- '-- ~.b,-R· ~lif~ ~ '-- qr qr- ~- < J ~:pill: 1-: I\. 1":' ~:~ i~.. r:.zP~ i p kPJ It ~t #r' ~•. f,q:: '.1' . . =-.· . -. ~ .. .. • I I ~ .. -J -J: - -e- Copynght 19;)3- by Oliver Ditson Company Internation8.1 Copyright secured International Copyright secured Copyright 1953 by Theodore Presser Co. - ET[JDE-MARCH 1954 - - ETCJJE-MARCH 1J54 28 No.t10·40296 Grade 3~ Pastorale No. 130·41142 Romance FREDERICK C. WERLE Grade 5 SAMUEL B. WILSON Allegretto (J. = 66) /'Iu I I I Andante • ~ . ,., I ~ . . . .;; ~-~ 'iTT ~ ; z • •Ii" I I ~ ~ -6' it>'i ~,.. -v--r • i 1 ~ ,... .> PIANO < mf ~f:: L/ JJ~ »: -~J - . n ( ~ ~ 3 .. ~ ~ ..../'- de no tes full pedal ~ i r. ... ~ es 1wl! pedal :.-- - ..Il- denal rl ..~ ~ /'Ill I -----e ------.. ~ , ~ ------, . . . . ! - · . · . " ------· · . ---- · ~ < ---- ":1" - - " - --- 11- "f:;/L ~ »>: I,•• b.. ,i"" •• I. J f I . - Last time to Coda -$- flu II »>: ~ r--' r---;-.. · . · ,. . 1 · · V · .~ ---"-----~~-- I~ I"·' U""~~f t 1--iI u·· I ---...... ·1 p =---- p :: mp - I a t81111'O - ~ fI, .. ~ I r---- b ~ - " I ~ ~ ~ bj ~ I . - · - ,., t ~ till=- h_~. · . · . ------I , .' I j J ~ I' 6-' · ~ .... .-: rit.~ • .. 1 q - l!. ) ])J -==f li ,., jj b~~~ <» l I J) , ~ I"'l'i""1 if~ - : : ------. ( . . · ------· '--= 1 · · 43 i- ..... c;... - ~ · 1------1 ~3 '~{ --r ~ '~brr ~ ~ mp ~~ ~~ ~ ,., jj - .~. ~ .'L-..----" n ~ "------" " " ----J' " - , , , · T' ______--, . ~ .. --. -!-' u· ....· .... -,. - '--" ... .-: ---~ .

II ~ ~ IJ. C. al Coda II . . ,------· -- -- e · . .", p j' r r -.. ••. ,/ ..i>- Pfr~ i--• , · R.H.{.\

...... - ~ '11 ~ +- · ------f drammatt:co p . · -----.-~==t===!:==== ~ 0: u. "" . -6' ...· ~.-~. {.\ CODA pp - . . . · . . . · . ------· · · ~t! "~ __ ..J.~~~ __ '--_'-- __ ~ ! Cop . h --.J' II " ~ yrlg t 1953 by Theodore Presser Co. Internationa.l Cop~.igh' secured International Copyright secured Copyright 1953 by Theodore Presser Co. ",TUDE-MARCH 1954 ETODF..JfARCH 19.;1 31 30 ..

No.110-40301 Oontentment No. 110-40291 Dark River Grade 3 Grade 3Y, STANFORD KING FREDERICK BRIED Andante(J=88) ~ ,J"':1 I -----.:L:- 1\ I z~ --.. 1~~~M~O~die~ria~toi(·J-~=~9:::::6i)~ii~~~i~~ii~~e~~~~~!~j!~~~~~~~~~. . . ---. ./ PIANO mf .. ,. ~ f.. <, \ PIANO P -- JIL . /' .~/' .-~ /' .::---' /' -- '""'- .. , I I I . J - sem p re legato ~I -- ~ •• u ,., I _.e i-n---'.~ - --- L.H. ave. R.H . . . p I .'Or r rat~ f. p .------: J>~ -/:;; ~~ It ~ .. /."""'" --- -~rl c..;;...... I I P~ ...... r-I ~ 1"'1 .~ ~ ... s> .---~------:ll----:------P a tem~' _------~I'"'------L.H. r " 1 _-~ I"·' R.H. 4'/ 1 0 ~ . ~It#,.~ mf / 1'\ I , l J f...... • .. .. I .. ,.r ...... L.i Fille • :lo !.- 2 ]' , I~ I • . 1-----. n'1 J. L.H. ... ~l Iii i3?J . " I I ~. ~ f f f (. I ~ ~ 5 •. , I ,f. !l P cresc: poco a poco r r l..~tl!lc ,~ »: ',.~ , ~ ::::--- , I • 1 1 J..l J 1 0 2 I 2 1~2 l/'Ci ~ eLI". ... Fine " . t , ------r, U I r ...... Jl!:l ~, I 1 2 t'I , .------, ~ ~ -- b_- I . , , 2~ . . /' ..-~ I;. -.. -.9-: I"'" J , I TT r I , f. ••I·' ...~ ~M:) , p~ r.; .... • 1 2 3 -/ ~ J /~! C--~ Ie l.#ib\'~i ---- " . ~ . " . ~.------, - I ..... • .. w.;-- ''-.. ~ - .----- I, -:J ,J ~ I I I I~ D. ~ \-....[ I I ----;-- , 1---·' 1":---1 ~ I I .1." ;------, • --- . . . . . If. ur ,.r TIT r ...... , . 'I . - f. l' >'1" . ~f:) ~ - tYreSlJ. PO()O a poco _ lJ :r-l /' ~ /:' L .~ ,..-( f /'I:" ;tt 6!,1'a'b..J ~Tl • .,If. ..9-: /L .&~ ~ /' y~ ....------' .~ .~ . ..

'I . ~ u:;; P. C. al F,"e ...... p~ ...... j"ooo .... ~~.... C .------o:.~'" D.C. at Fine Copyright 1953 by Theodore Presser Co. Internationa.l Copyright Secured Copyright 1953 by Theodore Presser Co. I International Copyright Secured I 32 ETUDE _MARCIl 1954 ETUDE.MARCH 1954 33 4

German Dance German Dance SECONDO WOLFGANG AMADEUS MOZART 1756- 1791 PRIMO 5 WOLFGANG AMADEUS MOZART 2 .. Moderato (,,1.= 66) Moderato 0-=66) 1 5 5 III ..:. ~ fl- 2 2,..,P.~ . • 23 ~ 2 2Flp.~~ ;. 2 1 3 ~ ji. . ~~ ~ 2~~~ • •• · ~Il ~ 1i~.. .:. ;. ~ . 2~._ . · I I · If. , ·

f , I I f · 'Ill - , · · - , I · . I -V ;, t ~ -~j 2 ~! · 11 ~7j Sl- 1 G • • 1 · 3 . .. · '----- •. 3 1 3 • r " • 2 fI- f1,a~ .:. ~ 5 1 ~~.~ it.it ~~ ~ :.. ~~i!.jL . 1 • . 3 ~ Illl ;.. -;::i;. ~::;. iii;. _1Il_ . · :~=~r;~~ , · I , · · · cresc. .If , · P .- p cresco ff - - - . . , . , · 'II - , I · · I · • • . ~ '!' ~ oJ .1 ~ .. .. · , , · • , 5 ~ I-jl \-oj I I-j 1 · 1 ,- .. .. . , 1 .. Trio .~ ~ ,...... Trio 1 3 .. · Illl r-. , .,. ll_ ...... 3~ ~ · · · .. 1 · I 1 · , , p · · , · (I If. "- -' rv nlf' · P · · . . · ~Il · 11 ~ · , ...~ 7 ~ · · ...... - '!" ",. · 2 ' 5 ---- 3 '!" . 3 .• 3 " 5 J J l ~ 3 ~~ ~ III SlfI- III III ~ J 3- .------. . .. ~ l 3 ------, .~ · "~-=~ -'Ill ..... ll_ .. ~~~~ "... ". e ~~~ ~". 'f: ~ ~ ~ ". !,-.,.'" ~ .. · · , · -= • · , p cresco f -.: · p cresco f · ~ 2 ":T · · Illl . - . --- to-- 1 :::: ::; ::: :j r • ~. ~ ~ ~ ~ ~ = · 3 I ' 3 I . 1 I 5 ~ ...... · · · 'Il ~ ... I!..~ 3_~ • .. ~ 1 . I / I / I . P · , 1if , "-- f...' · · P · . . · 'Ill , -,I -,I 11 ... -,I. • ~ . · i: . . ",. · From '~Classic ?tIasters Duct Book;' compiled- and arranged by Leopold J. Beer. {410-40033] '!" '!" 2 S s...... __ S British Copyright secured - 5 Copyright 1011 by Theodore Presser Co. ETUDE-MARCH 1954 M ETUDE-AHRcn 1,%.J .'15 ..

No.131-41052 The Tryst rit. ELEANOR PATTON m a empo 1\ I 11 t Florence Aye! ----- · , m11 con espressione -,- . , Andante religioso {.\ , "IT *~'''''' blest._ Seek not a _ far this tryst-ing place, With - in thy heart seek and a-dore, VOICE 'u ' I and rest a.while:' .'-'" ~ a-tempo , ~, -'- "Come ye a - part ~ I · I~, \------I , a tempo · · I~ , · I ,~I ,....------.. a-. ~ f.' rit. y~ ~ "I1J I ,q~ ~ I I, I --- ,r -=. • 11 , ... n .. bi! II "f(---rL, J 1'J I L 'I . J • J _------I~' ~ '''.1 rm ~ f: ~ [--JI ---:; ~ (Q[; "p . PIANO f fr'r -- I ., dim. pocori!f:..,~. 1/jI:J :I JJ I L 'J 1i I ~ " L I'----'-6- tm 1\ I poco cresco f oresc _ ff~ . , I I 1 -= -- , t , poco cresc. f There thou shall meet Him face to face,_ There He a-bides for - ev er-more. I , - , 1 ,. r ... 1\ I f. Bi doding thy weary heart re. It is the bless-ed Mas .f er's voice Ca.l l _ ing thy spirit to be - guile,_ .~' -vii -----...... , ,~ i :: 1 . ,..---- ;;.... I .r-; »> -"l""'I mf cresco " , po'!.!!-....oresc. ./\:' ..J.. 7 , .n ... f: ,~ 'LYi '. -t ~ I poco cresco -f f f~_ ~ n i.'""i -~ I~I ~ ----- ~ - . , I ...... ~ ...../ '~ 1 li Largo rt . ff br oadly GAETANO PUGNANI , dim. . (from Sonata) Piano part arranged by Efrem Zimbalist - Largo f. 2 3~ joice: Te_joice. Come yet come yc a - part, " II - I broadly VIOLIN . I"""T' II ~ I ~ • ,- I I-I , , ~ ,------~ e p dolce r ----- f\ II It --- ". Q .-=-.... f: 1 l-i ~ '-'i ~ 1 '.... I" - cr;c. ri~ I dim. mf~. ~ ff q== .1--J . -~ :: It - - - ~ ~ ~ • • • PIANO pdolce r . ~*_.l=- ~ . . .. I ... ~ I ~ -~ ..~ 1.- ~ .. -~ •

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2 fI II If 4 n 2 , 2 :---..... ~ ~ 3-;-- @ , r r Here, rest-less sQuls,find rest, Peace. flow-ing, fills thy heart) Come and.thoushalt be- -, -----.... , fI , , 1 , Q ... I' - - - " - I I ~ .. u If ------. - - I, f. , i -~ 1'1 r I 'I • • • t I h ~l--j .~ ... ~ ,.< lIP. .:j :ji #11 1 -1 1 1 ...... "f#~ . _~ I ..-r""T'r:l 1i r y

wI __ --. T " ------:: i -. • . \ - I , Copyright 1953 by Oliver Ditson Company International Copyright Secured From HSoloViolin Music of the Earliest Period:' compiled by Efrem Zimbalist. r414-41001] Cop . h L I yng t 1951 by Theodore Presser Co. 36 ETUDE _MARCH 1954 International Copyright Secured I ETUDE_MARCH 1954 37 ...

Kyrie, Gatt Heiliger Geist This magnificent f ive-vc iee chorale prelude exhibits the extraordinary harmonic sense possessed by Bach. The pedal is reserved for the phrases of the chorale tune which acts as the cantus firmus while the manuals carry four upper voices whose inventiveness, richness of line, and subtle harmonic details are of the highest order of creative thinking in music. It is Bach who teaches us that inspiration is to be found in the imaginative realization of specific musical problems themselves no matter what the external factors at the moment may be. Th is is borne out by the general absence in Bach's music of dynamic marks since he felt that a real musician would perceive without hesitation how a piece must be played. It is important to restate this principle of the inner source of mu , mp =- p sical feeling and thought in t~is day and age of a growing externalization of all cultural values. In order to preserve the tradition of Bach, we must learn from him what music is by studying his music as it was composed by him.

JOHANN SEBASTIAN BACH

3 3 ~ I I 1 ) I , I I J I I 1, I cJh!J.1 J I"'< '1,1'1"111

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From "The Church Organist's Golden Treasury;' edited by C.F. Pfatteicher and A.T. Davison. [433-41003J Copyright 1950 by Oliver Ditson Company 38 International Copyright Secured ETUDE_MARCH 19~ ETUDE-MARCH 1954 39 oq

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5~ 2 ___ 5 ~ .---.. z--.--.... 5~ . 2 4 No. '110·40290 Sammy the Sailor . . JEAN REYNOLDS DAVIS . Grade 2~ ~ I , @, ,,~ I I T 1 I rit '11:f :::::::=- P ---- fT 717 mp ~~ .-;. '~q,ll- • ~, /I ------. ------" , .. . : -v -~ ., • v. -.J. -l , 2 4 3 2 -~ .. ~?f. 4 4 L' ~,,~ _ PIANO a tempo ~ 2 - 2~~ 2~_ 2 - 3~ . q: mp , @. 'L-/ <, ./ 1 ~ uif L.H. P ==--=-- f rit. e dim., al/ine R.H. P ~~ .------,ll--;' -'- , ~,ll- " 3--3 : , , , f 2 2 ':--- s - ....J 2 ' 2 .. No.130 ·41137 Grade 2~ Mor-ning Mist EVERETT STEVENS mp-==. 3 Moving t ranq u iHy ~ ~ f ~ jj 3, 2~ I ..-I- ;...., ,....., I , I , 1 ~

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No. 110·40289 No. 110·40266 The Froggie and the Fishes Grade 2 Oinderella Dances Grade 14 A. LOUIS SCARMOLIN LOUISE CHRISTINE REBE (J=lU) Words by Dorothy Lehman Sumerau s Tempo giusto 5 ~ B,fl· • 3, 6 /'ill i i Moderato (J=138) 1 J r

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• THE KREISLER STORY . ~' Invest in your child's Sarabande in E ~lnOI (Continued from Page 21) (From the Fifth English SUlte) JOHANN SEBASTIAN BACH Ed£ted by Ebenezer Prout found I could forget myself!' The "Let me put the atonalist case in future' ~ith opera ran for a ye<;ir on Broadway, another way: supposing I learn 'il and had a long run on the road. to know a man intimately and hear (Andante • ~ 2 3 2 a Wurlitzer noW'! 72) 4 4, 3 I< 3 1 Kreisler's other opera "Sissy" was him converse, say, in English, Ger- 3 Z Z 1 I Z given over 200 times in Vienna. man, French, Italian, and Spanish, Kreisler is bitterly opposed to and that I find he speaks each of atonality and ultra modern ugliness these poorly, though claiming to r cresco in music. be a linguist. If suddenly, over- PIANO "The atonalists fly in the face night, that man claims to have of all that we have accepted as written marvelous poetry in, say, standards and as conceptions of some dialect spoken by the tribes 2 beauty and harmony. Their music of Western Africa which I am in 3 3 has little or no relation to these no position to control, I think I I< 3 4 standards. have a right to doubt his claims. 2 4 1 Z 3 "Now, I am the last one to insist The fact that his knowledge of the 3 1 1 ~ that art must forever move in the languages I know and which he same grooves. If an artist, a com- claims to have mastered, is de. poser, has gone with the rest of cidedly faulty gives me a right to us for a certain stretch of the road, doubt whether he is a genius in the f and then gradually walks off the language which I don't know."" beaten path and finds paths of his Kreisler's tumultuous concert own, I am quire willing to concede life made it impossible for him that right to him. Beethoven went to give time to teaching. (One year 5 4 5 with the established standards of he gave 260 concerts.) Therefore 1 1 3 his time and then blazed new tra ils. 2 3 although his playing has influenced 1 1 Likewise Wagner in his time; the style of thousands and is fortu- Brahms ditto; Scriabine, Richard nately preserved in his records, he Strauss, Mahler, Debussy, and Ra- will, alas, have no disciples. Mr. vel in our day. But all these men Lochner quotes him as saying: lived up to certain standards of "I hesitate to say how little I harmony and beauty even when, practice, because young violinists out of a creative impulse within might think they don't need to them, they branched out beyond practice. Yet it is precisely if one 2 2 the conventional. It is a significant practices well in youth that the 10 5 fact, however, that these men al- fingers should retain their supple •. ways had a devoted following of ness in later years. contemporaneous musicians who "The idea, however, of being could understand and keep up with compelled to practice several hours them. Brahms, for instance, had no daily is the result of self-hypnotism, less a patron than Schumann. which really does .create the neces- p "But take some of our atonalists. sity. I have, on the contrary, hyp- They know little about the classical notized myself into the belief that I You think of so many things, How traditions of music, and think that do not need it, and therefore I do beautiful a Wurlilzer Piano will look by just putting down a succession not. I can regain my best form in in youI' living room. How close it'll of disharmonious and discordant three hours. draw your family together. How much fun you'll have around so fine 15 noises which have no integral reo "I believe that everything is in an instrument. 5 lation to each other, they have the brain. You think of a passage 4 1 5 4 But, most of all, when you're buy- 1 evolved something new in the and you know exactly how you 2 I 3 2 realm of music. Some combina- want it. It is like aiming a pistol. ing a piano you th ink of your child's future. Like a good education, a tions of dissonances do not con- You take aim, you cock the pistol, Wurlitzer Piano helps develop self- stitute music, in my opinion. After 3 4 you put your finger on the trigger. confidence and character. Yes, and "1 i 1 3 2 all, art connotes beauty, assonance, cresco A slight pressure of the finger and charm and personality, too-traits harmonic symmetry, and not ca. the shot is fired. The same should that pay big dividends in future hap. cophony. And the atonalists can apply to technique on an instru- piness and success. hardly expect others to understand ment. You think before, and not 5 4 Remember, a child is young only them when they do not understand merely as, or after, you fire the once. So don't put off getting a 2fl themselves. note. Your muscle is prepared, the Wurlitzer Piano for your boyar girl. Interior Decorators' fovorite! Here's the "I had an amusing experience 4 physical conception is perfectly More people, you know, buy Wur- piano that's been making such a big hit 2 not long ago. An atonalist handed clear in your mind, a slight flash of Iitzers than those of any other name. with interior decorotors. They soy thot it me a composition of his for pe- Ask your Wurlitzel· Dealer about his goes beoutifully with all troditionol rusal. I said to myself, 'If this man ';'Later, after he had learned what Naz- easy payment plan. Help your child furnishings. Mahogany, walnut, blond mohogony, or mople finish IModel230m. really knows what he is doing, he ism is like, he described atonality pithily go further in life with a Wurlitzer. as "a pogrom in the arts" in an inter- Now! must have written every bar with a view for the Vossische Zeitung of Berlin p purpose, and he will detect altere- for January 10, 1934. He then added: tiens of his score immediately.' I "What surprises me in all these new efforts to achieve effect is that so many ~here~ore tested him out by chang- instruments and devices must be used 3 3 lIlg his composition in a number of when our greatest composers with sim- WURLmER PIANOS ces ple instruments and the human voice did Made by the World', largest Builder of Piano, and Orgon$ Under One Great Name fla . But what do you suppose? things that remain beautiful." From "Piano Compositions by J. S. Bach, Vol. r: [-\30-10000] -le npver even noticed the changes! (Continued on Page 48) THE RUDOLPH WURLITZER COMPANY, DE KAlB. ILLINOIS Copyright Hl07 by Oliver Dt t s on Company International Copyright secured Hi ETlJDE .•l1Af{CfI 1951 ETUDE-MARCH 1954 47 7 PLAYING that there is a certain amount of Yet there were detractors who tel' his accompaniments, but he TEN SUGGESTIONS ACCOMPANIMENTS "over-accompanying" by certain out- t.hought the organist was "over-ac- should also rehearse them carefully YU'.1 can euess what my answer w~sll' QUESTIONS AND ANSWERS '" . dstl standing organists who occupy very companying." To me, he was utiliz- with soloist and choir. Full rehearsals Patience. much patIence, an FOR THE PROGRESSIVE (Calltinned from Page 24) . . Ier : {or there conspicuous posts in this country. jog the instrument with skill and with the organ are not always more patience are 10 01'(, • I am not sure what is meant by taste. Everything possible was done (Continued from Page 22) is no easy road to such an ach1Cve· MUSIC TEACHER practical-indeed, during the note, OUTSTANDING reflect that while he presides over over-accompanying. If it means using to make the music take flight. ment and when the goal seems to be learning stage the piano is more his mighty console, the soloist has every resource of a given instrument Celestes were used, tremolos and me so Irunkly because I believe I in sight it. recedes and calls for ~ore satisfactory-but when the choir is BOOKS- . by HERMAN ROSENTHAL nothing but a sheet of music and a to the fullest possible advantage, I can be of a little help t.o yon. In the efforts because our sense of hearing, solo stops were used whenever the ready to sing a particular number bad case of nerves. If at this point, am all for it. music called for warm, singing tone. the organist should be ready to play For the first place, a fine performer ?oes n?t uur perceptive ahility have grown III 1. Let us strive at all times. to he feels the organist fumbling and During my student days in New Such men were the exception then, it, and the number should be reo make gestures of any SOI'~ simply m . I -e dernandinx .. teacher, the student, proporuon anc are mor .. '" improv. e the quality.. of our musical floundering at the console his state York there were two great organists order to impress the audience. Peo- The same holds true for t.eachmg, as they are today. Most organists do hearsed with the organ. the listener performance and teaching. . of mind becomes sheer panic. who were in this category. It is not take their accompaniments seri- ple 011 TV often do this of ~~tlrse, but 100. One never ceases to lmprove, In church music as in most things, 2. Let us develop a .ke~n mterest Conversely, a well- played accom- thrilling to recall some of the ac- ously enough. I am convinced that when aile is a serious mUSICIan, play- throughout. a lifetime. good results come from careful prep, paniment can sustain and encourage companying they did, and what they ina fine music sincerely and humbly, in the allied arts~pa1l1tlllg, sculp- the thoughtful organist should study aration. The man who trusts to the the singer. If the organist uses his accomp lished for their singers, both Music one does not obtrude one's self to the MUST REPEATS BE PLAYED1 ture, architecture, literature and the and master accompaniments as he uncertain inspiration of the moment imagination, a sacred song or aria soloists and choristers. A frequent point where people remark tha~ you dance. would a Bach fugue or a Franck for notes, registration and ensemble can come to life from the very first saying was that "any fair singer can are "graceful" or that you are "awk- I am working on th.e A. ,!wjor 3. LeI us practice High Ethical chorale. To sight-read an accompani- will be a sadder, wiser and-it is for the note of the accompaniment. be almost great with that man play. ward" or that you "let yourself go 50I/.a/,a by Mozart and wou.ld like to ment at a service is unpardonable. hoped - better-prepared man next Standards in our profession. There are good musicians who feel ing the organ." too much," or maybe that you are too know if this sonata can be cut down Not only should the organist mas- time he plays a service. THE END 4. Let us he sincere with our pu- Pia.lto inhibited. It is your own inner feel- . d t make it shorter. Alm.ost tn or cr .0 .. il s a nd not overl'lIIphllsi:c the op- ing for the music, rather ~hall your every line l:n the whole co~npo~nuon pi . . . . as a A HANDBOOI<. Of CON· portunitics avuiluble III musrc desire to impress the audience that is repeated; in fact, ever)' line except CERT AND TEACH1NG should motivate all that you do. the coda. It seems extra Ion;! nru] career. MATER1ALfROM 1580-1952 In the second place, all artists at· requires much time to perform. I 5. Let us s peuk of music's great t.empt to strike a nice balance be· will be looking for your (llls"/Ve~; valuc a;, u hobby, By JAIIlUS FR1SK1N t.ween what they feel inside and how (Mis.5) A. F. N., 7 exa$ and lRlfllN ('REUNQUCH their own inner feelings will affect 6. LeI llfolbe enthu"du8t.i.c lIb~ut ~lIr ( ~ _ Learn More ~••Earn M~re subject Hnd inflame Ihe Ilnuj!.lllallon Et/ifNi hr Ih~ 1,IIe Emesl //1l/(hC!OI1 others. If an actor, for instance. got When I play this SOllGuitar On Stndying Singing sion in years when he should be Altogether, Mr. Lochner's nota- Above all. never allow an inc\;' Breathing, Resonance, Voc::alization, Enunc::iation, Phrasing, Style, etc::. o History and Analysis of Music 0 Mandolin By.SERGlUS KAGEN studying. As a result. the artist often ble biography, packed with engag- pcrienced pupil to perform wilh a o Harmony 0 Saxophone "I recommend the \'olume l!ighly ... "'ill is burned out at an early age. In ing incidents and observations up- po~i'i\{'ly had pluwr. • 0 Cornet-Trumpet 0 Double Counterpoint serve many singers to be, smgers who al.e, o Professional Cornet-Trumpet 0 Banjo singers who have been .. The. stu4ent WI!! the old days he wa!" not allowed to on important musical mattcr~ have a good guide and fnend III .tlus book. make a d6but until he had com- Name. _ Age' _ -iI1<1ggl~ T~)'t~, Sa/Ill'day Revfw.. $2.2' . .." makes a "must" volume of wide- pleted mtenslve. traJlllllg .. 01'1 \ University Extension Street No. _ $ale at all baoksellers or booh will spread interest for all musical read. be shipped postpaid 01'1 rec~ipt of c~etk Of This is wjse counsel, mdced. Too ers. It is published hI' The Mac. money order sent direct to the publisher. much impatience prevails among the Cily---- State _ youth of today. Bclieve it. or not, this millan Compauy which has given RINEHART & COMPANY the ETUDE permission for the Are you teaching now? If so, how many pupils have department once recejvcd a letter ILLUSTRATION CREOITS I!~~ CONSERVATORY 232 Madison Avenue, fI:Olll a boy, which read: "I want to publication of extracts given here you? Do you hold a Teacher's Certificate? ~ IQ--Elmer W. Holloway New York 16, N. Y. f rom the book. be a .concert pianist. How long Joe" 12, I)-Ulbrich, Jorg. WolR & Tritschler, Have you studied Harmony? Would you like to earn it take, and which hooks do J. huy?" THE END A. Strobel, Songermonn the Degree ,01 Bachelor of Music?' _

48 ETUDE-.l14RCH la.i! ETUDE-MARCH1954 49 THE USE OF THE FLUTES :"'., - ,." , -.'"' ::-.,...... :-....+~..:..:..-:..:-+.:..}++.:.+-J IN THE WORKS OF J. S. BACH - -.. .:-.....:...:••:....:-.:....:...:...:....:...l-.:..:••:....:-..}> -...... ::: • .....~~+~~+++++++++~+++.. * (Continued from Page 14) NEW FOB TWO pIaUOS ~++++++++++++++~q~¥~••~•.+~A~h~+++++++++++¥+~+¥~~~.+.. ++ ~+ ¥ + + + pani, but sometimes substituting varieties, is the use of the string + + members of the horn family); two family, with the addition of the flutes *Suite Champ~tret'J VittorioJeeti :l: the most significant :j: flutes,which in modern presentations and/or oboi or other selected in- ., h 'f" to be among h .;. should each be doubled or tripled; struments which the compositions Considered by many aut Or! tes h a1 music are t ese • • . BOURREE ECOSSAISE set of 2 scores f the oboe family, including the oboe would demand from its inner mean- • da caccia; full strings and the con- ing. ARIA • GIGUE $3.50 recent eonsribuuons '0 'M realm 0 cnor O\O\t~\.S~\t\~S\ tinuo. This latter was the bass upon As perfect as Bach proved himself other compositions by RIfT! for 2 pianos ~hich the organ or harpsichord built to be in his use of the two above the harmonic structure which held mentioned plans, which are repre- '2nd AVENUE WALTZES set of 2 scores $4.00 the great weave and woof of the sented by such works as the choruses 'CHESS SERENADE. . set of 2 scores 6.00 polyphonic pattern together by sup- of the great Mass in B Minor, the plying a free harmonic support. Magnificat, the Passions, etc., he ·in the repertoire of Gold &- Fizdo/e Violons, violoncellos and bassoons shows more subtle finesse in his were used on the continuo melody selection of special instruments to ASSOCIATED MUSIC PUBLISHERS, INC. to supply a broad and satisfying unify the spiritual relationship be- publishers & importers of fine music bass, without which the whole struc- tween the words and music in the 25 W. 45th St •• New York 36, N. Y,. 6331 Hollywood Blvd., Hollywood 28, Cal. ture of Bach's music would fall and vast majority of his arias, which are .:+ • • • .:. fail in its objective . naturally based upon a text, either + t The second plan, which is repre- sacred or secular. * ~ sented by a multitude of forms and (To be continued next month) l S EARLY CHORAL MASTERS SERIES ~~~ A new ce»: .:. AMERICAN FOLK SONG CHORAL SERlE .. II uTished in Europ from the 13th .;• •:r.... edited by eu« Siegmeister ChotTal cOtomaPbo~~:o;he~liddle of the 18th ccnl1ury,.J Dhur. :.~: HAVE FUN IMPROVISING! 01 . cen ury. . of contrapuntn ana ar- :~: ing this pen?d the techm(b~~shd laying the basis for :~: (Colltinlted from Page 9) :~: m fi d this monic practIce werfe est8 ~sllye~H 'Vestern mu ic. At .:• FIRST GRADE PIANO SOLOS ..:. School choruses and amateur groups w n t d is the development 0 prac ftc I choral masters are expo- :~: p of note. Analyze all kinds of tunes, :~: series within their capac.ity to perform. f amwestern present the works of the e~r Y ce to the ])oint wh r .:. sential gaiety and sunniness in the To meet the need of every piano educator •••• h h I f Amencan folk song- ro .' dramatic renalssan - . f,l .:. seewhat they do, and try to do some- way he threads his notes together. who is seeking solos of fine musical ...:. t e woe range 0 l' . ituals to fleDclng a . b £. d· d j)ublished and per orm \l .:• thing similar! That, actually, is ...:. songs to mountain ballads, from w ute Splf. to they are agaIn elng stu Ie ? e of the Enrly .:. Verdi must have possessed a highly and technical content . the best way to learn form and jm- :~: blues. Elie Siegmeister ~dited the c~mpleti sedd~~ion with tremendous interest. lL IS kthe l~~~PyOof these om- :~: developed sense of the dramatic, ..... which he gave many of hIS own best pIeces. ~ a , 0 I Masters Series to ma'e d .:. provisation.That is t.he way I learned since his intervals-his very way of what to do. I acquired form from by WELL-KNOWN CONTEMPORARY COMPOSERS '.!:'. the selected works 0f ot h er 1ea dinO"tl AmencanC PIcom-'lip Pd':'o's~lrt,~onsava,'lable l'n practical editi 1.1. set in .,mo aCnrnd .:. putting note combinations together-':" l ...:. h D glas Moore Pau reston, :n . 'th suO"gestions for tempI. ynam .:. the music itself-and the man who spells tragedy, as unmistakeably as No. 8753 , , ...•...... Price $1.00 ...:. posers-sue as au k 'h' b en included to notatIOn WI 0.. I I 8 hi graphy or the ::.: :~: James, Normand Lac wOOu- ~ve . e I fi ld of phrasing. Each selectlOll lllC ue e .:. taught me how to improvise is do the words of the plays he set. To ...:. make this a most valuable contnbutIon to tIe e composer. .:. Johann Sebastian Bach. I recommend me, a high note at the end of a J, Fischer & Bro, I t9 We,t40th Sheet NewYork lB, N. Y, ~: fine choral music. :~: himas the best teacher in the world! phrase means tragedy. A cadence ¥ v It becomeswonderfully interesting that moves along and suddenly goes toanalyzemelodies and find out what up indicates a kind of doom. This. ~j~ CHORAL SERIES WESTMINSTER CHORAl SERIES i makesthem flow. In most cases, their of course, may be a highly individual .:. CONTEMPORARY F m'II' i';' progress results from the simplest thing; yet there it is, and it is the .:. Unaer the guidance of Dr. John '. w I lam on. pr I . .;. devices, Take the ...:. E" this dynamic series is an original by a .lellt of Westminster Choir .College, compo r \\' 1 .:. Soldier's Choms reason why a sudden upward shift Bocllelor of Music, Master of Music, Bachelor of Science in Education (8.5. in Ed. by ...:. very pIece III . • oser Here is the U I I b d 1 0 .:. transfer to Kent State University or Western Reserve University) 1 from"Faust," for instance. Here you in Une call startle me in a phrase . 't younger generatIOn Amencan camp M h 11 Bia. have had close association WIth t18t ce rate 10. :~: have one idea three times over in WARD LEWIS, Acting Director ...:. best of Jean Berger, J oseph Goodn~an, a,rs a. have contributed their best choral end~avor to thth .:. Again to me, a complete happy end- 3411 hc:lid Avenue Cleveland 15, Ohio marked rhythm, with a repetition of Mcm!>n af lhe National Associ"ti"" Of Schools of Jtusle 1 k Ludwig Lenel and others. Wntten pnmanly for outstanding series. The music was Written by ue ing of melody takes place in the :i: t the triplets as development. The :~: t~: ~ell developed high school or college ch~rus'l thhe well-known composers and arrangers as George Lynn :~: middle register. Take the end of Toreador Song from "Carmen" is Horne, Sweet Horne-that last phrase ...:. . . th fru,'t of an effort to present mUSIC W HC Tom Scott, Warren Martin, N.orrnand .Lockwo~d an ci .:. ...:. senes IS e , . a Otto Luening. Ranging from mtermedIate to dIfficult, .:. simple statement and answer-like completes the picture perfectly . NEW YORK COLLEGE OF MUSIC 1: ,'s ','stinctly-but not radically--£ontempor.ary. In n. - cd .l I t conversation. To my mind, most That's it, you feel; a truly happy Arved Kurtz, Director Chartered 1878 ;.. t U The problems of choral performance reqUIre thIs the series presents a wid~ range of sa~r anu secu ard .;. musicis statement and answer, which ..... ure B h d a material, including Amencan folk mUSIC, anthem .. an, . sense of home. College and Professional Courses ..• Class and Individual ...:. d' t k' d of contemporary idiom. ot sacre an G b U ~ hrings me back to my earlier theory ...:. mo era e III II f h' h singable choral arrangements of Bach. Iozart, a ne J, . All sorts of individual quirks and Instruction. _ . Daytime or Evening.. Full or Part Time. ...:. I . ks are included a a w IC are, d I ::. about getting effects by expressing secu ar war '. Schutz, Haydn an oller masters. . feelings enter into the kind of ef- Write fol' Catalog :~: effective and worthwhile musical expenences. t ordinary thoughts and ideas in tones fects one produces-to me, for in- 114 EAST 85th STREET NEW YORK 28, N. Y. :.t v as well as in words. stance, the key of E Major always ~ .:.. But music, like good talk, must ...:. ~ suggests trees and gardens and out- ...:. .;. k~ep to its point! Rambling, pad. door things-and that, precisely, is ROBERT WHITFORD PIANO METHODS REPRESENT ~ ~ .:. .;. ding, mixing styles and metaphors the value of improvising; it frees A NEW MOVEMENT IN PIANO EDUCATION ruin the meaning. Sometimes music one's most personal thoughts and ~: Write Today for Free Sample Copies and Descriptive Literature You will be pleased with the innovations Mr. Whitford .:. i that should be pleasant conversation, elllo·tions. has brought to present day piano teaching. Yes, there ¥ ~ sounds (interval-wise) like quarrel- No one can tell you what or how ¥ ~ . I W have been some worthwhile changes made. ;. mg. hen that happens, something to think in music; but in most people . ,. Write now for a free copy of PIANO TEACHING TO- ~ ...... ~ has gone astray in the sense of form. some sort of ideas are already there. ~ v ~ ~ All I have said so far is of general To develop them, you simply let them DAY which reveals Robert Whitford's personal method application. But the tunes you make for teaching children and his method for teaching adults. Bryn Mawr, Pennsylvania come out-always fortifying them ~j~ THEODORE PRESSER CO., i up as you improvise must make their with a sound sense of style, of color, With your copy of Piano Teaching Today you will also ~ ~ effect, and just what this effect is of interval-relationships. By know- be sent complimentary, Mr. Whitford's master lesson ¥ ~ to be depends less on rules than on on MUSIC'S MOST UNUSUAL CHORD. Just send your ~ ~ ing what others have done-the kind Robert Whitford ¥ ~ tbe thought-habits of the one who is nome and address and state whether you are a piano ...:. 01- of pattern they use, the way they let ~ + doing the improvising. In other their phrases and sequences f1ow- leceller, c student or a parent and we will send yau the above. Mail to: ~ + ~ ~ words, you yourself-the kind of you get a firmer grasp on what can Robert Whitford Publications, 204 N. E. 31st St., Miami 37, Fla. person you are, the way your mind be done and what you can do. Cer- YOII ore invited to attend the ROBERTWHITFORD PIANO TEACHERCONVENTION ot tile it.:..:..:.{..:.+t.....~~~ ....~."'..••-r"'.~~~~+~¥~+¥¥¥+++++++++¥¥¥++++++¥+*++++~~++++++~+++++++~++++~+~+?~~~~~~~~~~~YV~~vvvv~#\•• • • Hot.el Statler, New York City, Jllly 5tll and 6tll, 1954, and tile Hotel Statler, Las Angeles, works-comes out jn the way you tainly, it's worth trying. Because California, Allg. 4tll and 5th, 1954.Tile conventions are sponsored by tile Certified Robert ~ombine notes, rhythms. cadences. Wllitfard Piano Teachers of America, bllt open to all piano teacllers and interested students. improvisation is really the greatest Canve~tion eve~ts.are; 0 twa:d,ay tea~ller training course, an artisf concert, a student recital, n this sense, we find Mozart's es- fun! THE END educational exlllbits and SOCIOI functions. Write for complete program.

9~ ETCDE:-II IRCH I ETUDE-MARCH 1954 50 51 I If you're still waiting, HAROLD BERKLEY ~ioJin I¢!uestions It»rgan lItP.uestfons read this ..• . ViOLIN MASTER CLASSES Individual and class lessons, daily chamber music, lectures By HAROLD BERKLEY at Answered: by FREDERICK PHILLIPS BERKLEY SUMMER MUSIC SCHOOL To Secul'e Violin Studies An Excellent Craftsll1an /lOW using buildings ond campus of F, E. B., Kansas. You can easily S, T. F., Philippine Islands. Dom- obtain from the publishers of BridfJton Academy, on Lo.ng Lake Was born about .' 1cuS Montagnana l ETUDE copies of my "Modern Tech- Enclosed is the floor plan of a North Bridgton. Maine m . 1750 Althoug 1 16', Flute S'). COUPLERS-Great 1690 and died about . k er-s nique oi Violin Bowing" and my /lew church we are building; the 16' and 4', Creat to Pedal 8'. Swell he was one of the great~st ,rna er;~ July 12 to August 21. 1954 "Twelve Studies in Modern Bowing." tmol seating capacity will be 450. to Creat 4', 8', 16'; Swell to Pedal 8'. · I . known of illS life. It very Iitt e IS _ tel. I think the price of the former is Because of limited finances we are All recreational facilities thought possible tldl~t l~e .wa~N1~ccolo $1.2S. and of 'he latter SLOO. considering the following alterna- Our church has a Minshall-Estey '1 f Stra Ivan 111 For full information, wrife low,p~Pl Ok h for his best work tivesas regards the organ, and would electric organ with twelve stops Berkley Summer Music School Amati s wor sop, . k "Country Fiddlers" appreciate your comments and sug- above the regular keyboard, as [ol- 19, N. Y. is similar to Stradivari's .earl~' ...v~r <:' R. B., California. I am sorry, but gestions: (1) Use of present organ lows: Diapason Bass 8' Dulciana Room 1011.113 W. 57th St .. New York . Montagnana m fu st-c ass A aenume 1 I cannot tell you anything about the withan added Diapason, bringing tlie Bass 8', Octave Bass 4', Dulcet Bass cOl~dition might wen be wort 1 as "country style" of playing the violin. 4', Bourdon Treble 16', Gedeckt 16', c12 000. But there are many installation cost to about $1,800. muc J1 as c , 1 market It is foreign to my training and ex- (2) Purchase 0/ an electronic organ Diapason Treble 8', Melodia Treble fake lVlontagnanas on tne . I [ perience. I have heard "country fid- costing from $2,000 to $5,000, de- 8', Octave Treble 4', Flute Treble that are not worth one-twenuct!' ? dlers" on occa-icns. and marvelled pending on selection of instrument 4', Flaurina Treble 2', Full Organ. that sum. Whether or not your vloll1~ at their dexterity and rhythm, but Please advise what stops are more . I f course have no wav and sale price 0/ present organ. is genume ,0 , have never studi d their technique. (3) Purchase of new organ of $5,000 or less regulation. jar solo, choir and of knowing. or more. congregational work. Also, please An nkoowu Make!" Ol/r present organ is unified and suggest some books o] preludes, of- ApIlTaisal Suggest ell J. C. AI., Texas- Your violin seems duplexed with five ranks-St.opped fertories, et c., for a beginner. A.]. G., South Africa. I am sorry, to have an Interesting. if perhaps Flute, Tibia Clausa, Violin, Clarinet H. M. W.-R. I. but there IS. no pOSS1.Ible way {or_ me. legendarv. history. hut l"r,n afraid I and Vox Hiunnno (no couplers or IF YOU AilE STILL postponing the pleasures of having a Hammond to determine the value of your vlOlll~. can't t el l yOli In re about 11 than )'OU pistons). We have been advised that. A general principle to follow Organ in your home. let these typical Hammond Organ owners tell An instrument bearing a cO~"fecl1)- ha,'e tolel m . The books at my dis- the present organ, with addit.ion of would be to accompany a solo with yOIlwhy you shouldn't wait. worded Stradivarius lahel might be p sal do not lil:t a maker by the a Diapason, would be adequate for the softer stops, choir numbers with "500 or it micrht he worth wor tl1 .:i' • c . name f~. olassi, and the expertI the new church. Do you agree? The medium organ_ and congregational From a famous American humorist: "Like a friend of mine (who $50,000. There are less tl~an ~IX con~lIll e had n \' r heard of him. No tone is not comparable to th.at of singing with the louder stops, but doesn't know middle C from his elbow) I learn everything from hundred genuine Strads llOW' In eXIst· one could give you an evaluation o! typical church organs, and the vol- <;111 this must be governed by the memory. I figured it would be a year before I'd be able to play our ence. and there are hundreds of thou- the il1!',trumenl wilhout making a ume seems insufficient for our pres· trpe of music, ranging from the de- Hammond. Actually, I could play four things the first week. At 405, sands of fakes bearing Strad labe.l~. personal examination of it. ent building, seating 300 persons. votional (soft) to praise (loud). I'm doing something Iwas certain I'd nevel' be able to." Some of the latter are e::Prague Craftslnan we chose a Hammond Organ because it is so easy to learn to play_ i~n·t. genuine uarneriu.:: del Ge5U adding the Diapasons will give you Miss M. S., California. The ,iolins The tonal structure of the present What other instrument could let them range so freely in a world that can be ,\;orth 11~ much as $-IO.OOO,but organleaves a good bit to be desired, the loudest of the stops, with the of the Prague maker. Johann Georg: has never been discovered to its farthest limits?" whllt your violin is worth DO one Octaves 4' for additional volume and Hellmer. are generally very well largely through lack of Diapason could sal' without seeing iL quality, and possibly lack of 4 foot brightness (suitable for most hymn Your local Hammond Organ dealer offers a variety of convenient made and usually have a good tone. singing) _ The 16' and 2' stops should terms. Many dealers give you up to 3 years to pay. They are worth today bet ween stops (you failed 10 indicate the A Scr'\'i e Suggestion pitch). The addition of the Diapason be used chiefly fOL- special effects 5200.00 and $400.00. As an ap· which win suggest themselves to Why wait any longer? Admit it-there's really no reason why you Dr. E. A. .. Louisiana. I would wouldimprove this situation consid- can't begin to enjoy music's most magical hours now. praiser. I can recommend 1\h. rari ... you, and of course the full organ for 5-u~ge::t that you t~ke your prob~ erably, but if it is at all possible the Brown. 5625 Wilshire Bhd.. Los hymns of praise or anthems of either 10 hroll::hire & Frey. usual couplers should be installed. Complete price of the Spinet Model, (above) is $1285, Lo.b. Chi. Angeles. praise. For coJJections of music for est 57t1l tr t. or 10 Re~berl and then the organ might suffice: cago, including built-in tone equipment and bench. For furt.her de- this type of organ, we suggest "CJas- V;~urJitzer. 120 We-t 420d ~tr~ Electronic organs have been im. tails see your dealer or mail the coupon below. A Tell-tale Date sic and Modern Cems," "Reed Or· hoth 8ddre~e~ in Xe"" York ~t~. proved greatly within recent years. The foHowing books are ol'oiloble Mrs. E. A. T., Pennsylnlllia. I am gan Selections for Church Use," Either firm would gi,'e good ~n1ce. and certainly some of them have glad you are prepared for the news "Pressel' Two Staff Organ Book," BEGINNING BOOK introduces lhe basic elements of mu~ic in piono study for givenentire satisfaction in churches that your violin is not a genuine "Gems of Maslerworks for the Or- the earliest beginner approached in a natural ond functional w;:i'ce . .. .75 of yOUTsize. Be sure that the sound Stainer. He died in 1683_ and your A Factory Product gan." All of these may be had for . ~ ~~ambeTsare adequate, using two HAMMOHIJ OR/lAN · b don besf-loved melodies, each with a specifically prepared instrument is dated 1732. E\-en a ,11rs. J. B.. T,.~as.Tb' ~r~ examination by writing to the pub· ONE I necessary. The maintenance costs MUSICS MOST GLORIOUS VOICE BOOK IS ase Price •.. 1.00 second-rate copyist would not make ··'tade in German'- on lh Iabe teaching poinl. - • GtrrnJ° ?re not at all serious. We are send. 1ishers of this magazine. so bad a mistake. I [ear that yonr dicate that your ,"ioHn is a d~ BOOK TWO is a logicol and natural continuation ~f ~ook One: introduc.ing I~g you a list of builders of both violin is an unabashed factory prod- factory product. no maller h~" . Please advise how to play the Honw Model Hammond Organ. Complete ,hylhmic patterns which are frequently encountered 10 plano musl~. PIP.e~nd electronic organs. Also de. Price ... 1.00 uct. made by some eoncern to whom the label ma)' 100k or h0""lnden, quarter 110tes i/l. the composition "In ddails. including price, sent on request. • .. me]fla sCnptiOnsof self-contained pipe or- dates were not important. pherable the ~'maker ~ 01 rth dulci jubilo" (No. 35 in VoL V 0/ BOOK THR"EE-Here, selected works oJ the Classic Masters and arrongeme~ts of gans which might meet your needs be. The inSlrument would ~ 1"0 I d• . troduced for the achievement of style and Infer- Orgelwerke, J. S. Bach-Peters ~------well-known me a les are In Price ••• 1.00 for a less expensive actual pipe or- HamlllolHI Organ Company Wants Violin l\lusic at mo~l 75.00. Ed.). Should they be played 2 pretation. gan. The following would be about 4210 W. Di\'crsey Avenue. Chicago 39, Illinois Mrs. R., Indiana, Miss T. the min· . against 3, as //,'oIlJd be Sl/,pposcd ETUD"ES AND VARIATiONS, Based On Honan, edited on~ arranged b.y. Roy L. H._ F U, Imum reqUIrements for a Please ~end me full dct.ajJ~ aboul the models of the Hammond Organ I have chcckecl . . I . r' presented as companion studies to the traditional One or tile Gagliano aD!.. from the 3 2 tiow signature, or w£th Green with speclo varia Ions Price each •• _ .75 Connecticut. I would suggest that n;w pipe organ: GREAT-Diapason the first aod third notes of each o Spinet 0 Home 0 Concert 0 Church Hanon Etudes. Books 1 and 2. you write to the publishers o[ lhi~ Lcd,. H. T. G_ P,nna.JI":: 8, Stopped Diapason 8' Oboe gr Dc. magazine, telling them the type of l Lave4' SWE . ' .' grail p 0/ tripl ef s? j .. the Latin fonn of tbe'.hal a~JlI"""" , . LL-Gelgen DIapason ------_._._-----._._------_. __ ._-_._._.- ._------_ .._------music you wish. They will be glad to C N, G.-Ill. Gennaro. and Janu.nu~. :f~ 8.' Rohr Flute 8' Salicional 8' Dul- Address._ .. " ._._. ."_~...... __... . _ send you catalogs. If you e:::tablish a was probably 'be be-l rod" . ~ Clana8' FI 4' D . ' . I .,..lfj;n." PED ' ute , olce FIfteenth 2'. Yes. play 2 against 3. To do other- bank reference, I think they will "'end City ---.-.- -..--- .______. . .._._._P.O. Zone.. Slale ..__._ numerous Gagliano aDlJ .' ~ Fl AL-Diapason 16'. Bourdon 16' wise wouJd spoiJ the effectiveness you music on approval. ha\.e sold for 85 much l~ ute 8' (or Bourdon 16'. Gedeck~ © 195~. ~AM..,ONP PRGAN COMPAtH 3 of the composition. ------~ B ~ 52 ETUDE_M.lRC I ETUDE-MARCH /954 53 sang chorals." Charles. "Just wai t till I finish the "Fifty-three musical relativesl" story," replied George. And then exclaimed Meg, quietly. . No Junior ETUDE Contest this month he continued-"During the genera- "Well, George," said Howard. Poetry Contest COllling Next Month PRE PARA nON FOR tions that followed the miller's find- "you are the winner in this contest. tOMORROW IS TODA V'S ina the rhythm of the mill wheel But still, I never heard of a musi. BEST DEfENSE EFFORT and the cithera, the interest in mu- oia n named Veit!" FIRST NAME GAME sic increased among his descend- "rs-either did I," George ad. by Stella M_ Hadden ants, about fifty of whom became mitted. "But Veit was only his professional musicians. Some were first name. His last name was organists, some were teachers, Bach, and his great-great-grand. The central letters, reading Tchaikowsky's first name; the cen- some were composers. But they SOil, who was so amused at the down (after being properly ar- tral letter of Gounod's first name' were all very fond of music and story of the cithera and the mill. ranged), will give the first name the central letter of Lisat's firs~ organized a IVlusical Guild, cOl~· wheel, was none other than the of a noted English composer of name; the central letter of Bizet's posed of relatives! They had a big great John Sebastian Bach." light opera, very popular in first name; the central letter of SPECIAt COURSES IN MUSIC meeting every year at which they AND MUSIC EDUCATION America. Gottschalk's. first name (he was a The central letter of Wagner's nineteenth century American com- WHO KNOWS THE ANSWERS? first name; the central letter of poser. UUAHplS lInH~HY -qS :.13M.SUY ALL IN THE FAMILY (Keep score. Une luurdrcil is I'I'f!ec,) 6. II w many sixteenth notes 1. \Vhat is meant by intona- ota SUMMER SESSION are equal to a double-dotted hall· Letter Box PROJECT for MARCH You'll really enjoy studying this summer on Minnesota's cool friendly tion? (10 points) note? (5 point) During the month of March , campus, bordered by the historic Mississippi, close to the cllltu~al shop- 2. What does a double·bar sig- p.lng a~~ entertainment areas of two large Cities, and just 15 minutds from forbid him attending a school 7. What is a diatonic scale! Send replies to letters in care of concentrate on improving Jour IT WAS at the meeting of the nify? (5 points) SIXenucmg lakes! where music was taught!" (10 p 'ints] Junior Etude, Bryn Mawi' Pa scales and cadences. A Ilati~nally recognized staff of professors, augmented by a grou of Young Musician's Club that 3. Approximately how long is a all~ they will be forwarded ~o th~ "Think of that," exclaimed outstalldl~~ guests, offers more tha.n 1000 courses In every field of sCI~nce 8. 'Va Clementi, who wrote wrlte.rs. Do. ask for addresses. Howard announced a contest. The flute? (20 points) "?t ~~d ~ducat.lon .• 1ncluded ar~ special \Vo.rkshops in Biology, Chemistry, George, "and of the wonderful exercises member who could tell about the many of y ur and Sooa. Foreign m?ll. IS 8 cents; some for- YSdICS,Language, Industr.IaJ Arts, Liberal Arts, Higher Education 4. When speaking of opera, ergn airmail Is 15 cents and some is music Handel composed!" Howard tinas, Italian, Austrian, Bohemian G UI ance, and Human Relations. ' musician with the greatest number what does the word grand mean? 25 cents. Consult your Post Office f ~~l.abl.e library ~lOd labo~·atory facilltie~ present an unusual opportunity interrupted him with "It's your or pani!"h? (lO points) before stumping Ios-cig n nil' IIwiJ. of musical relatives would win a or /e.-lea/eli and_gladllole work ... an excumg program of concerts plays turn next, George. Who are you (10 points) prize, and at the next meeting he 9. From what is the theme • lectures and so~ral events, assures stimulating recreation. Enroll fo;· eithel~ telling about?" or both of two Independent terms of five weeks each. called on Ethel first. given with thi quiz taken? (IO Dear Junior Etude: "Wait and see," replied George. She loved the music of Mozart points) [ play the mouth-organ and ukulele FIRST TERM June 14-July 17. SECOND TERM July 19-August 21 and told about how that composer's "My story begins away back in the 10. Was the otch )'mphony and my hobbies are swimming skiing sixteenth century, in a small town basket-ball, tennis and table' ten .' For he/pIIII derailed bld/elin write lather, Leopold Mozart, a com- composed by Beethoven. hubert 1- ) ms Dean oIlhe SlIlIImer Session, 902 JOhll5101/ Hall 5. Is lVletropoulos an opera pl~g·pong . I would like to hear from in Germany where there lived a (10 Dear Junior Etude: poser and violinist, taught his tal- singer, composer, pianist or or- chulnanll or Mendelssohn? JUnior Etude readers in the United miller and baker whose name was I have been studying music for fOllr ented liltle four-year old boy, WoH- chestra conductor? (10 points) pint) States. UNIVERSITY OF MINNESOTA Veit. He loved music very rnuch years and I love it. .My teacher 11K gang, to play minuets on the piano Henning Blume (Age 17), Germany M J ". ~ : lnrs. and his great delight was -playing :, . ~mlth ha", been a subSCriber to MINNEAPOLIS 14, MINNESOTA with his little sister, Maria Anua, ~ JUDE for over fifty years! l am send- a small instrument called a cithera. • whom they called Nannerl; and : take piano and vocal lessons and sino- mg yOll my picture. He would even take this musical Temple Triplett (Age 9) Alabama how the father took the children III our sc~oolchoir. I have taken par~ instrument to his mill and play on through Europe, exhibiting them m a mUSIcal revue. My hobbies are • it while the wheel was grinding Dear Junior Etude· in concerts as child prodigies. Also Musical and Medical In truments ro~]er- and ice-skating, reading, had, I am le~rning to pl~y the 'cello and am 1954 FRANCES CLARK PIANO WORKSHOPS Nlozart had a musical brother who the grain. Years and years went ~mton and horseback riding. I would by. Then one day a great-great- lIke 10 ~ear from others who are in- also dOlllg opera. Being very Illllch ill- became a teacher, composer and JUNE 24-30 Kalamazoo College Kalamazoo M- h- terested In music. tereste~ in music I would like to Jearn M' ' , Ie 19an grandson of Veit heard the story JULY 19-23 acPhati School of Music, Minneapolis Minnesota conductor. Doctors today use an instrument Garcia believed he could train Margareua M. Dasca/os (Age 17) somethmg about it in other parts of the and exclaimed, "The grinding ~f world and would like to heal· from JULY 26-30 lamDont School of Music of the Universit; of Denver Then Charles told about Haydn, for looking il1to throats called a hi ingers better if he knel\'ex· Pennsylmllia the mill and the playing of the readers of Junior Etude. enver, Colorado ' whose parents were very fond of actly whal t ok place in the throat cithera must have made a merry laryngoscope. Do you know that • Glenice Serzl (Age 17), South Allstralia AUGUST 12-18 Brevard College, Brevard, North Carolina music and sang in the village of the inger, but the maio pro~ Dear Junior Etude: duet. Howbeit, that ancestor o·I this instrument was invented by a • AUGUST 23-27 Fischer Concert Hall, New York City, New York choir; and that Franz Josef had lcm was-how could he gel a gooi W~are four sisters and we have a family us t~ form a string quintette. ,,"'e are mine learned the sellse of time. and singer? Not in so many words, of eleven brothers and sisters, and look into the dark ca,-ern hehrnl stnng quartette_ We are now pract· . u sendJOg you our picture. For further informafion write: in this wise music first came'into course, but this important medical H,ydn q t ICln>:> after supper the family would gath- nar ettes and we J·ust love th Carol, Eunice, Laura and Grace a per on tongue? This ~m~ Our' em. Sec:retary, Franc:es Clark Piano Workshops his home." instrument was invented by one of youngest SIster, age ten is joining Hagedorn (Age 12 to 16) Wisconsin er for an evening of music. The 74 Cortlandt Street. New York 7 New York of any mu- the world's most famous teachers hopeless at first, but he conttild mother and the children would "But I never heard sician named Veit~" interrupted of singing, Manuel Garcia. the idea of fastening a mirrortol sing while the father would some- long stem so it could be loJlier~ times accompany them witb his into the throat, and to illuminatI harp. He told how three of those the area he wore a light fas!en~ children became musicians, how Stan Kenlon records allangements.. - by to hi own head. By a gIDplelUI! Josef himself became one of the Westlake C.ollege of Music gl'aduale Bill of tbe t m h could ... el'elYU

54 ETL'DE-IHRCH ETUDE-MARCH 1954 55 in a musical comedy because the THE SLEZAKS-fATHER AND SON to say that, while duty and good PIANO RECITALS Of TOMORROW costumes of the period involved were manners require one to eye the (Continued from Page 15) (C ontinued from Page 17) large and wide, and would ha~e conductor, one should know one's made her highly regarded but still The existing situation is decidedly pianists having their music before " 1 . to :>, b h must sight-reading be a special the programs of today. That they Iormances were always so . ' I Stanisl avskv- Don t e too muc might have been composed by non-legato, in other wcrds-r-percus- course for those who wish to adopt could have memorized their pro- I d no difficu lt y in changing t ie bothered by learning to stand. 10 Schoenberg at an early stage of his sively. There is nothing like this careers as accompanists. The aver- grams is not open to doubt, nor that lallie"al mind. Father had an enOl~- alk These are not fixed techniques career. For example the following Finale in all of the musical litera- o 1 'bT to us W . age pianist should be able to read they could have memorized them 1U0US sense of responsI. I Ity f 1 -the question is, how to stand and sequences; ture of that period and of today. public. Once, in Berlin, he walk. Geslure~ grow out. of Ihe music in the same way and as easj'ly with much greater ease and in much ot: Frequently we are faced with the as an educated and practiced book sli"htly below par on the day period in which a play 15 set- Jess time than the average pianist Ex.3 CHOPIN' question how Chopin would have Memher Nafiona I A--o-,"o';on" ... of Schools of Music reader who sees and comprehends of today, for they could read music re;ital and told the mana;er ~o chicfly out of th costumes. Playing composed jf he had lived longer. aned'the concert. I remem er t e hericlan in hoop- kirts and knee- the meaning of whole words and easily and accurately, and facility c .' . he eame to ' .. d.j ~6Jlqm When we observe the influence of his many words in advance at a glance. in sight-reading is a great aid to Write for: mana:>prepare for the stage. It d p nd~ on brealh ro;l~ ~ CATHEDRAL CHIMES Regardless of your need-a simple bell tone or a fine unsurpClssed in the tubu- is not an easy problem to solve. I hal)pily. til H~ral :-lU enm'f 5t1~ BUTLER UNIVERSITY carillon-you'll find the world's greatest selection of bell lar chime field .•. remark- share my father's view aboul. learn- und r:,tand& I rt.he~h._· prn-ti able depth and warmth. ing theatre-one can have phenom. parts u::o. m' father did. t~ rl witt. and chime systems from our long line of fine instruments, For inside use with organ {;~L~~"-:"~O"~~o'~!!~I~~m.d_ JORDAN . soP enal breath and beautiful tones in rol 6r-~1 ~hl)'. paait- and outside amplification. A rich tradition, a progrdeSSlVe p .1 °D y, Drama Music Music Education, Radio. wenIn; The more than 21,000 installations of Maas Chimes, " Bit egrees In once, ' ' the studio, and still be a desperately ahl.'a~~ marlln@ the bm ~ 01 itatlon. acca aurea e w. f colalogue and desired informolio" Carillons and Bell Systems attest to their superiority. THE VIBRACHIME OLLEGE OIF MUSIC (Box E), 1204 North Delaware Street long way from performing Oiello. •.~ince ~inginl! ~nd _~~arrtSll.1 JORDAN C Indianapolis 2, Indiana Pure, sweet bell tones that The question is. how to gel before tll ~tDg are enu~h I lo::tel Write for catalog covering ow' complete. line of fine can be played with organ an"audience wit!lout experi~nce? a~vi'" lhe. ~ing.in.~ sUd:~'f;l}Il bell instruments and aCCeSS01"l-es. for inside use, as tower One answer lS. to take hule Jobs Ius expenence m mu_ d.llc¢i carillon, or both. The first -any little jobs., in a chorus.. in Furthe.r. ~tag u ge~ artjall zar' self-contained, C1nd the school plays. in Little Theatre ex· in the 1"'0 fonn )lu.... tbaI world's largeSf selling electronic bell instrument. perimental groups (which lasl can crah. l)()~ibl le..~ rufu';' ~ mAA5-ROW~~ be helpful if the directoT is a tTuJy slraight ~eatre. nted~. .ntb. good one, not yel en roule for IUTe~ wtllch mu~ ~l ID J. Broadway, and possessed of Hage pacing of tbe mu"te and-~. experience beyond walk·on parts) _ wilh the co:;lum Onl~ 01J Dept. E2 • 3015 Casitas Ave.• Los Angeles 39, Calif. -- =>Ol~'h.._ And. if the young singer f.nds an a ~tage and ~T«n sa.r ~ pal! openIng on the stage. his best luck wide fame refu~ the lei

ETUDE-MARCH 1954 56 57 NineteenthSeason--- Whatever the program may be, it is icas and accordions. But if you . N THE LITTLE TOWN FOSTER MUSIC CAMP good music freely offered for all to consider the remarkable advance TROSSINGE - Richmond, Kentueky THAT LIVES BY MUSIC BAND & ORCHESTRA enjoy. made in the art of harmonica-ac- 5 weeks, June 13 to July 17 "Trossingen Music Days" is cordion playing in the last decade $90.00 ALL EXPENSES another event that is freely given, alone, you realize that such per- -Sherwood MusicSchool~" For High School Students only in this instance it is the hos- formances are not unusual. They . d f n page 13) (Contmue T01 James E. ran Peursem, Dir. pitable little town that each year assure recognition for these instru- . . . a for successful careers. One and t"\\.'o- Thorough profes~nonal trarmng f . te studio teaching. Bachelor is host to hundreds of visiting ac- ments in today's music world. "6 0 u-ses prepare or prrva . li "48 Chord Harmonica," which is cordion·harmonica players. During As far as "the little town that year Ccrti cate C I Pi voice craan VlO Ill, . h that they instantly d~· D . <: [ UT and five years. lana, , '" , really two harmonicas in one. The the long. July days and evenings lives by music" is concerned, it and Master egrees. to . . blic school music. Faculty perfect pttc d h' difference III hair.brea t s . latter retails for abou~ 15?OO. "Die Musik Stadt" fairly bursts never has had any doubts in regard 'cello, wind instruments, composltJ~n, pu . t Many opportunities teet a. hi flawless tunmg. nd American arus s. Demand for accordions IS not as tone, direct IS d of accordions with festival music. Opening con- to this matter. Ever since Tros- of J"enowned European a f ce Member of the san for public recital, solo and group per ,orman . Each day thou s hunted from grea t as that of harmonicas, for they certs are followed by regularly singers can remember, they have . as are s arc less adaptable and are more ex- spaced units of choral music, or- had an old saying that neatly sums National Association of Schools of MUSIC. . . and harm?nJc the mailing rooms these studios to . d mailing. pensive. Depending upon taste and chestral music, original folk music up the whole matter. Their eyes Founded 1895. Splendidly equipped lakefront building. Summer . cka

ETUDE-MARCH 1954 58 ETlDE 59 PREPARE NOW FOR SUMME.R MUSIC STUDY SHENANDOAH

(Continued from Page 59) CONSERVATORY OF MUSIC • PIANO • B.MUS. & B.MUS.ED. DEGREES Often teachers, through the daily pupil playing in mediocre manner to • ORGAN •. FULLY ACCREDITED pressure of their work, fall into one presenting a really excellent per- WOODWINDS • ACADEMIC COURSES thoughtless habits and worse yet, ublication formance. Such a change sometimes VOICE, STRINGS • CO·EDUCATIONAL drop into a monotonous rut. They seems almost miraculous. PUBliC SCHOOL MUSIC • CHURCH RELATED forget how to prepare themselves After many talks with various each day for the lessons they are teachers who have worked faithfully • B.MUS. IN CHURCH MUSIC. REASONABLE RATES to giveon that day, how to save the in intensive music courses, call them . Orders are limited to two ) pupil's time and their own time by what you will, refresher COUTses Write BOX E, DAYTON, VA. of publication prices. d u ~ comingdirectly to the right point, workshops, normals or clinics, the; Order now to take advantoge 0f Iow a dvance d with your order. postpaid e Ivery ) stavingon that point and persisting have expressed the greatest possible OUTSTANDING FACULTIES copies per book. Please send remittance (check or money or er) untila definite objective is reached. enthusiasm for the privileges that including celebrated artist-teachers will be made as each book comes off the press. Theyhave not kept alive to the need have come to them not merely COMPREHENSIVE CURRICULA for new material, not merely new through the instruction, but by the UNDERGRADUATE AND GRADUATE LA BOHEME pieces.but to new ideas and happen- affiliation with other student teachers PROGRAMS LITTLE PLAYERS HAVE ARRIVED! by Giacomo Puccini ingsin the music world which stim- with similar ambitions. The OfFic;:e of Admissions, DePaul University. FOLK.WAYS U.S,A. by Robert Nolan Kerr arronged lor piano by \fnTie Westervelt 64 E. Lake Street: Chicago 1, Illinois. by Elie Siegrneister ulate the pupils' interest. In other Now is the time of the year to (PIANO SOLO) IPIANO SOLO) English lyrics and iltusuations by Jane F/olY Member N.A.S.M. Flnonciol 6-4000 words,they have not been working make new plans. Introductory A progressive series of American songs. sC~:leS The hi"hlight~ of the Haith' story and bean. The "Little Players" .s~ries by. K~rr iSd"o~~~h~ up to hall of their pedagogical effi- courses of educators 'who exploit . nd sketches for piano-IO 5 volume~, ata rt.mg out by this latest addition, which ~ntro u:blell1s warmjn~ mus iv of I'tH·('jni'~ L{IRaJleme are pre- ~vith music for the very e.arliest bcgmner. Be· student to more advanced reading p r '1 r ,; semed here for rhe en~oYIl1 I~t of amut~ur ciency. their own compositions. usuallv for WHERE SHALL I GO TO STUDY? r . that the children of each era are attuned rhyth mic pau.erns, plll"19& romed by the lcacher "ho ill in lou_rtb of UD' (Continued from Page 26) Bochelor of Music Degree Opera Deportment SACREO SONGS (for Junior choir) Words by Adolph St.olle hackneycd duet U1m"ic. Moderate dlf6tUhr· LEOPOLD WOLFSOHN arranged b}' Margaret Jones Hoffman Anists Diploma Pedagogy Ceriificate A short scene in song jor elementary school List Price 1.75 AdqUl e of Publit'alion 1.30 Composer, Pianist and Teacher Approved for veterans This collection contains ~asi.ly sunf? a~Tang~· j~ one lesson. Anyhow only a few Teacher of Aoron Copland. Elie Siegmeister rhythm patterns or bits of music Children's Saturday morning Classe •. ments of sacred songs for JUlllor choll"s In um· NothinO" is more unpredictable than the weather. ond many artists ond teochers. smkin! .. , 'Yakless teaching,' that's which you write, or can play har- BEGINNING TO ARTISTIC FINISH son 01' two·parts. Included are. tradition~l carols and eSllccially when a group of children nre mymottofrom now on I" Hotel Ansonia, S'way at 73rd St., New York City d hymns as well as chOIce selectIons of lookin{l; forward to a picnic. This scene tells in A • monic or other progressions written MAE GILBERT REESE B~'ahms,Schubert, Thomas Tallis, Max Helfman. words of real charm and wit, and music which TUNES FOR TEENS . d men! say I. We pester OUI stu- by himself. A blackboard so located WILLIAM FICHANDLER Piani$t List Price $.85 Advance of Public~Ition $.50 you will remember after hearing only once, the by Ruflls Wheeler and tilt i~eiJlt1 enlsbytalking too much, we correct Piano Instruction Specialized training for story of the ·'Weatherman". Performance lime: stimulates looking away from th.e teochers and concert ortists Three-part $on8S lor Rill' Qtld bo.u· ~ constantly,pick flaws, naO"about this 314 West 75th St., New York, Su·'.l775 approximately five minutes. piano and Teduces eye strain. It's a Compositions published by G. Schirmer 1330 N. Crescent His. Blvd., Hollywood. Calif. andth L' 0 LORD IS MY SHEPHERO (Psalm 23) The {'ombllled tal n~ of Mr. Wheeler and llr: I at. et s try to cut out some of and Theodore Presser, in preparotion Ho 3-2296 List Price $.60 Advance of Publication 8.40 great help, too. in piano classes. In by Giuseppe Moschetti Sie~llIei~ter hn" r !uhed in a book of ~n~' tIe yak·yak, and confine ourselves my university classes I could not Cantata jar Mixed Voices and Organ \~hich UI'C ideal £br tile junior hi,h ~hool miNe mOreto . 1 '11 . k mUS1CaI ustrallOn at the teach without it. prOl.l:mm. Thl" mu.::ic i~ dn"o from the ~1lI' This cantata, ideally suited to t!le small_ church I eyboard. Then the students will I have never approved using one's WHERE SHALL I GO TO STUDY ADVERTISING RATES: choir, may be used at a~y tIme ?~lrJng the PLAY BALL inp:fy endlc!!5 ~torchou;e of \me-tinn foll.:.: arranged for t.he piano by Marie Westervelt ~ic. urranl;ed !!impl and el e.fferth~elJ1IIlt. ',eaf"how it should sound" and precious, private living room for liturgical year. Composed m a t~'adltlOnal hur. t le/ll listen. . ... Advertising in these columns is restricted to teachers. The monic and contrapuntal style, It llloves con- Lyrics and illustrations by Jane Flory the prn{'ticnl limit .. of ~irb' and bo,.-~·'fOlte teaching. A blackboard is one of the of junior hitEh !!ch~ol atEe. "ith nta"iunua vincingly from the music of the first chol:us, III; reasons for this-you can hardly de- rate is $5.00 per 'h inch, $7.50 per % inch, $10.00 per inch. Be. through a four-part fughetta, to t?C final sectl~n Another delightful story in song by Marie sic,')1 effect res-ullin,:. Chord symbol are P '" employing echo ~ffects and endmg on a bnef Westervelt and Jane Flory-this time about vided for illlpro,-i~ed 3c{'ompanirneol 00 IP. A WALL BLACKBOARD vote one whole sidewall of the room cause of this special rate, only orders for six consecutive issues America's national spon. Intermediate grades. instrumem available for thi.! purpo~· to a blackboard! .. Any room in but powerful "Alleluia." A long . i' can be accepted. Advertising copy must be entered by the 5th List Price $1.00 Advance of Publication $.70 List Price $.85 Advance of Publication 8.55 Li!il Price 1.00 d, anee of pu-blieaholl ~ I ' mUSIC- med wall black· your home-an unused bedroom or Joard placed in front of the tail of little used dining room for example of the second month preceding publjcation. (Example, advertis- Yourgrand' . . . . plano IS a pnceless asset -is always better for teaching than T In a studIO Th ing for June issue is due April 5th). We set yOUl- type Order Your Copies by Title odoy ! f' . ere are so many uses your Jjving room. ~r 11. The student sittinlJ" at the A wall blackboard is not expensive without chat·ge. Simply forward us your copy and advise the planocan d 0 11". rea corrections and sug- to install. . Be sure to have it large amount of space you wish to utilize. THEODORE PRESSER CO., BRYN "estJons ca . I MAWR, PE L ' n 51g It-read Aashes, and long. THE END

60 £TV DE-MARCH 1954 ·61 PIANO RECITALS OF TOMORROW (Continued from Page 57) COSMOPOLl~A~G~~t~~~~ot~L~~~~?o f of the time now used for spelling out Preparatory, College, Specie f' aMn • Ed t" Master of Music, and Teacher's log publicly and, beca~se ~ost 0 _ notation and memorizing La be trans- Bochelor of Music, Bachelor ° .USIC • uca d,aor'h t An Certificates In MUSIC an e c re s, the time taken in prepanng, or c\o~ ferred to interpretation; it would William Phillips erfectJO 0" t reir .,. I Clarence Eidam b NASM Dean cens was spent on P . >:> 1 ' remove the tensions ansmg rom the President Mem er interpretations and artistry, t iey fear of a lapse of memory; it would For information, address Registrar, 1625 Kimball Bldg., Chicago 4, III. h nearer to an d were able to approac reduce to a tremen ous extent the ideal quality in their perfOl"lmadnces. deadly staleness inevitably resultinr -CINCINNATI CONSERVATORY OF MUSIC rea a van- .. AU in all there are no f" 0" from the repetition and labor in- William S. Noylor, Ph.D., Director and Dean of Faculty ., • ro tages to the modern vogue a ,glYBlll , valved in memorizing and in playing A Distinguished Professional Musi,c School-AHilioted with University of Clncmnat, . J f m rnemor'y . U .. piano recna 5 TO • the same few composmons m'er and SUMMER SCHOOL, 1954-SiI Weeks-June 14 to July 2~ have seen serious f I . r I curse ct special rotes for High there are, as we h' I d over again at concert a ter concert, Refresher Course for Tdoa'ohersh"fSP~fh~~nr~_~usic Education-Artist Faculty 0 the at er ran , d I I I d School Students-Bon - rc: es ra . - t· 19 Oh' disa dvantages. n ,and it woul , 0 course, a so ea to Address Registrar, Dept. E, Highland Ave. & Oak St .. Cln~lnng I • 10 many advantages 0 •. I h . . , there wou Id be 1 . f an expansIOn 0 t e pianist s reper- an abolition of enforced p aymg rom toire and thus make the concerts of memory at piano reclta~s. ., d tomorrow events of greater audience ld rest re the pianist s nee . d CLASSIFIED ADS It WOll les 0 . . Id Interest and enjoyment an . conse. . ht readtna: It Wall I· . to master srg - "'I' . quent.ly more appea mg to mcreas. tistic per ormances In , I· 'fHE E"D FOR PIANO 'l'EACHEHS O~I.Y-We lea d to more a r -t Ingly larger auc iences. 1\ HARillONY, Composition, Ol:chestra- have a special money~~~vln.g deal', general by allowing the greater pal <:I tio n Musical Theory. Private or worked out for you. w r tte fO~, fu COI.I:espondence Instruction. Mao,\!- information about our new FTO l:\cripts revised and corrected. ~~l\107 Plan." Use your Iet ter-hea.d or enclo,se anang·cd. PI'auk S. Butler, 32-4 a business card If possible. I.e" is THE 24 CAPRICES OF RODE St., Curona, N. Y. Artine Music, 117 W. 48th Street, New York 36, New York. The musicians' library LEA.nX PIANO 'I'U~ING--:-Simpl~fied~ (COlll.illlled from Fage 25) .lnE~[on.Y_IJLAYING AND SIGH'L'- .iuthentic instruclJon $4.00-Ll\{r the right hand. Then they !.lhouldhe ;'ture free. PI'of. Ross, 456 Beec er nEAJ)[~'G by proved me~hods oVE:r can be played with accuracy and "Splendid specimens of musical book.making"-New York Times St., Elmira, N. Y. 30 years. Free syllabus '.Vlt)l Ameri- taken with a sharply. articulated can and Canadian apPl'eclutlO!l .. State brilliance at the jndicaLed tempo instrument and degree of efllclenc;v. martcle. Lal r the study can be ,vnl'I'!J: SOl'\"(~S:Read "songwriter;r,; ."l\fastel'-l\'fethod" Cou!."ses (StudIO Here are the masterpieces of song and piano music in a sturdy fibre covers. Each volume is enriched by a critical Review" Magazine, IG50-ET BT$:f'OO 16) 6, }\Tol·th Street, St. Leonal'ds-on- -J = 78. [ practiced in the lower third of the way, New York 19, 25¢ copy; . The most noteworthy sect ions 0 series of splendid volumes. Edited with authority. Engraved Sea, l]Jngland. bow, bOlh dctache and mareato, the introduction, and most volumes contain the best obtainable year. No, 20 are the passages in thirty- SACIUFICING ACCORUlONS. New, slurs always being laken. Laterstill and printed wilh exquisite cra[tsmallshjp and bound in portrait of the composer. II \Cli POPI]LAR. SHEET ItlUSIC:l'O guaranteed, 120 bass, $80 up. Free second notes: they are of tremendous 18;;0. Ballads, ragtim.e, everytlnng. it can b played in the middle. spic· catalog. Used Lowrey Organo, $450. value in strengthening Lhe left-hand Cataloguf'. 15~. ClaSSICS e~changed Claviolines, trumpets. Stemmel'm~n, cato. the slurs slill being oh~en·ed. for popular. Fore's, E3151 HIgh, Den- 8932-SSth St., ,Voodhaven, New YOII{, fingergl·ip, But there is milch more $3,50 per volume Mozart, \Volfgang Amadeus Handel, George Frederic, Model'll Russian Songs vel' 5, Colorado. Vi 7-0SGG. To be uble 10 play 1>as~ges of spic. Twenty Piano Compositions Songs and Airs (Two volumes) in the CapI·ice that deserves concen· Selections from sonatas, fan- 1. High Voice 2. Low Voice I;'OR SAI,B. J. B. Rogeri Violin. Da,te UIO mixed wilh slurscall~roragood Vol. I: Alpheraky to V[OI,IN1UAl{ERS. AIUA'I')JlI!RS, trated and thoughtful practice. The tasias and shorter pieces. Moussorgsky PU()JrESSIONALS. Fine ton.e Eurr 1690 with Kill & Son papel·s. Will deal f control, a necessary controlif Jensen, Adolf FOI,ty Songs pe~n wood. Materials, sUl?plies, pa - con~ide1" trade for .eqmLllY good old forte double-stops which must be sus- PIANO VOLUMES 1. High Voice 2. Low Voice terns tools and instructIOns. IllbUls- Italia.n viola. '·Vnte h.,ennetl]- L. reu I agility i 10 be acquired. Schubert, Franz High Voice Vol. II: Moussorgsky to Wihtol Shepherd, 4102 Belt Road, S.E., W nsh- tained with very slow bows are not trated catalogue 10~ refunda e. Th shaping of the left hand i.~of Selected Piano Compositions 1. High Voice 2. Low Voice Premier Violin Supplies. 430 South ington 23. D. C. easy; neither are the passages of From 'Waltzes, Fantaisies, Liszt, Franz, Thirty Songs Broadway, Div\sion VE, Los Ange· paramount imp rtance in No. 23,_~ Bach, Johann Sebastian Low Voice les ] 3, Cali forma. lUOUu::n.N l'I'AT~IAN VIOLIN"S, etc. triplets with sustained quarter-notes. (Two volumes) Montents Musicals. Modern Scandinavian Songs Americ~i's foremost impol·ter, whole- good dcal of Ihe lime Ihe hand ~hould Lange-Muller to Winge The latter (see Ex. C) have to be Vol. I: Shorter Piano Composi- Schumann, Robert Schubert, Franz, Fifty Songs ~'U Sl ClAN S l 'rEA C HER.S 1 S'I' lJ.- saler. Exclusive agents for the be~t. b so far lHO\lOd Ihal Ihe knuckleol tions 1. High Voice 2, Low Voice DE]\"'I'Sl Hundreds of exclUSive musIC Prices from $75. Free brochuI e. played in a specific way. Fifty Piano Compositions 1. High Voice 2. Low Voice Subul"ba,n Music, 643 Stuyvesant Ave., th fir~t ling r no longer touche, charts, self_instruction book;;, hOtX~~ Vol. II: Larger Piano Composi- The very cream of Schumann's One Hundred English Folksong·s kltudv courses, monthly mUSIC Inl 1- Irvington, N .. T. Ihe n ck of th violin. whilethe tions productions. Schubert, Franz, Fifty .atlons music on index cards, latest Additional Songs Edited by Cecil Shu'rp "0 Hllal: songs for rent. FRlpE CAT~- GENUINE 'VILL.IA.~[ ,FO~t:STER Medium Voice thumb ties back under the neckdi· Beethoven, Ludwig Van L High Voice 2. Low Voice tdG. ,Valter Stuart Musl.C StudiO, ("Old FOI'st.er") VIOlIn In llh.e-ne~v rectly opp sil the grip of the fin· 1227-B Morris Avenue, UnIOn, N. J. English custom-made, oblong, alli- (Two volumes) One Hundred Folksongs Of All gator brown, genuine l.eather, case. ger ... To acquire true intonation.the VoL 1: Piano Compositions PIANO ANTHOLOGIES Schumann, Robert, Fifty Songs InclIlding two expen:;lve fa~ous- The bow must leave the upper string L High Voice 2. Low Voice Nations SW.ING PlANO-flY MA[L. 30 self- make French bows. $212. <=,Jtll~1bar- ludy has to be pTa ti ed ,'eryslowly Vol. II: Piano Compositions te.l,ching lessons $3. Ench.§tnted For- momentarny after th.e second note of Edited by G'l'anville Bantock t $20 (classical). Over aO publlca- g~ins. Box 342, potsdam. N. Y. Anthology of German Piano Shakespeare, William, Medium Voice each trjplet, returning to it for the al iir$'t: Iherefore. Ihe indicated Brahms, Johannes ~fon~. Order the 82,~ page" bool<--: al Music Fifty Songs "My Autobiography, or I ,com UOOTiLE'I': "200 Violin Lab~l Fac- third note and leaving it again be· bowing an be di,~ided in order.th Selected Piano Compositions (Vol. Il~Mode1"n Composers) osed engraved, edited, pu.b1JsIH~d similes of importary.t m~kers . E~c:ll 1. High Voice 2. Low Voice One Hundred Songs By Ten ~v ~tlsic on a handpl·ess III SkId marked with natlO.nallty, var~lsll fore the first note of the next triplel. a good tone qualily may be obtam~ Edited by 1'do1'itz Moszkowski Masters color, price range. Price $2. Sublll.ban Chopin, Frederic ro·\\," $10. The fabulous true .story All in alL this study can be of great Til long slurs in the InlIoouCtlOn ::'Strauss, Richard, Forty Songs (Two volumes) of a' scientific Inusical ~xpel"lment Music. 643 Stuyvesant Ave., IrVIng- (Two volumes) Early Italian Piano Music 1. High Voice 2, Low Voice under the word "Manu.scTlPtotechni- ton, N. J. benefit ta" both right-and left-hand 10 No. 24 :;:hould be taken quitecl~ Edited by M. Esposito Vol.· I: Schubert, Schumann, compomusicology". Phil Breoton rUbS- Vol.I: Forty Piano Compositions Franz, Rubinstein, Jensen technique. and also to the develop- 10 the bridge. other,,-ise it wm be Tchaikovsky, P. 1., Forty Songs lications, P. O. Box 1402, ma a , J,lil'[' us REPAIR,. ~EllUIJ~D A.ND Edited by James Huneker Modern Russian Piano Music 1. High Voice 2. Low Voice Nebl'aska. RES'I'onT)~ your vlol!ns, c~llos ,and ,'cry difficult to produce an e\eo. Vol. II: Greater Chopin 1. High Voice 2. Low Voice bas~es. 33 years expenence In ~Ul ope ment of the student's rhythmic 8ense. (Two volU'lnes) Vol. II: Brahms, Tchaikovsky, Intend~d to l:ound out a Chopin HA.ND llUJLDING EXER.CISES Fon and America assl;l)'e you of hlghe.~t No, 21 is the most perfect study \ elvety quaJit), of tone. The Agi.l!tB Vol. I: Akimenko to ~'Wolf, Hugo, Fifty Songs Grieg, Wolf, Strauss class workmn:llshlp. One of AmelI- collectIOn With the preceding 1. PIANIS'rS by \Ve!d0!l Carter" Tea- fOl· calls for a fi ry martele. The plilllll Korestchenko 1. High Voice 2. Low Voice High Voice 2. Low Voice chers concert pianistS, ad'.anced ("a's best eqUIPped shops. OVE;r .300 the '"attack" thai has ever been volume. stude'nts. A better. technic With 20 Italian, FI'eneh and German vloli"!1s, written. Every how strllke nll181slart pal:sages mu t be pla~·ed l'Iitha; Vol. II: Liadoff to Wrangell minutes daily practICe. Sen.d $1.00 for for solo, orchestra and studer:t, V10- Early Italian Songs and Airs One Hundred Songs Of England CO)y to ,Vashington MUSICal Jnst!- lins sent any,vhere for free tnal. ~nd with a pronounced accent. even the mu h clarity of aUack a~ thefp~ *Grieg, Edward Twenty-Four Negro Melodies (Two vol1.L1nes) Edited by G1·anville Bantock tule 1730 Sixteenth Street, N." COlTIjHu'ison. Expel't bo·w repaIl'lng Piano Lyrics and Shorter Com- a.nd I'ehairing, New and used bows, -first notes of the short slur!:. In thl? pa~$'ages.. but with leS5 'Igor. Eae.J Transcribed for piano by Vol. I: Caccini to Bononcini 1. High Voice 2. Low Voice ~Va;hington, D.C. positions supplies of all Idnds. Headqu

III ETUDE-MARCH 1954 62 HI De-If tRCHA _ 63 NEW RECORDS COKER COLLEGE Students ln!'! Travel Assn.-2Ist Anniversary Small 4-yr. college for women .. Distinctive see- eral cultural and pre_professional training In lUUSIC STu.n:" TOI;U the arts and scienceS. A,B., B.S. degrees In 14 professional fields. NASM. in July 5th to Sept. 12th Member Courses ~ $950 (Continued from Page 18) piano voice. organ. violin. publlc school mUsic ~ II all-exp., i"d.,reamer New. 'modern. all' conditioned music building' Featuring concerts at sanmm. lost with Renardy's untimely death Grants-in-aid. scholarships. Basic ree.tor stu~ _llI._ . Bayreuth. Rome, Paris, Edinburgh; dents of mustc. approximately $925. Rldmg. goU precrsron and excellent tonal pro- tennis lake. swimming. canoeing. Indoor pooe WHAT -_--;. -;-..DI'. open to non-music majors and/or last November. Piano accompani- • Country Club facilities. Catalog. . _____ 'r performers as well as students. duction. In the latter respect, Capi- ments, preferred by many concert Department M, uartsvme, S. c. }'our Iratel allent Gr tol's engineers deserve applause es- SITA .. 545 FIFTH AVE.,N.V.C.·MU 2·6544 audiences, are well played by Eu- pecially for the concert-hall sound BALDWIN-WALLACE DO YOU PUT gene Helmer. Recorded tone is re-created on the Shostakovich side LEARN MAJOR superior. (Remington 199-146) CDNSERVATORY OF MUSIC AND ~IINOR SCALES of the disc. Not all LP's can boast BEREA. OHIO (,uburb 01 Cleveland) See the relationship of the Maior and string tone like this. (Capitol P8230) AMllauH.I with & IIrn d&u l.iheral AttJ HERE? Collu: . Four amI fiu year fiJUflel lutlln~ Minor scole. on 0 "ientiflc bosis. Bo,;e Beethoven: S,-",!Jhony No.6 in F e to ueerees- rl.culty (If ,\rtllt Telclterl. SeM in lhe study of Harmony. Highly recom- ]ttJnjor, o». 68 tor catalogue Ot Informallon to: mended by Teochers. $3.00 Postpoid. Fam-e r Requiem There's no great need for another CECIL W. MUNK. Director. Buu. Ohl, . only the J. H. FREEMAN This loveliest of requiems suffers 400 East Graves Mnntllrey Park, Calif. recording of the "Pastorale" sym- in its latest recording from a the- phony, but this one pl·ovides a good DON'T ANNOY NEIGHBORS! atrical approach which defeats the best music PRACTICE IN SILENCE excuse for calling attention to the llJiIIUun ~ and k. A LIMITONE SII,~;NCEI( in music from the outset. Why Roger fine series of European recordings 30 E. Adams St.-Chicago 3, lU. ' .., ,,:~:;"i;": ;:,,',:::~::,,,:~~iWagner, whose chorus sings the ~ ,·oom. oxi-v ) OU HEAlt THIl . '" " l':QT£S_~'1O SOUND CAHlUES being marketed here under the Epic BEYOND THE ItOO1'>1.J"st drop Latin text, allowed the spirit to de- VIOLIN SPECIALISTS should appear . . it itt to I'uctlc~-Wko out tu label. This disc was made by the I! \ play nOTl1l"ll~·. FitS spinets "nd part can only be guessed, but. the OUR NEW OLD lNSTRUMENT \ upl"ip;hts onl)'. 10 Day Money CATALOG NOW AVAILABLE ~ Back G",ara"'''''. 59.95 Post- Vienna Symphony with Willem Van paid. No C.O.D.'s. Spoclfy; Mnl.-o of 'plalOO: fact is on the record. Even the micro- publishers of "VIOLINS I VIOLINISTS" s'phret <)1" "prigl,t; PI"yer: "'01'. ,cOl""", cl,j/d, Otterloo conducting. The Beethoven onyour piano TilE LIMITONE co. phoning adds to the pseudo·dramatic 5226 pcnn Ave.. p;ttsburoh 24. Pa. is solid. conventional, but the re- treatment, soft passages apparently being taped from a distant micro- corded sound, typical of Epic reo leases, has a richness. a sturdiness phone, loud from nearby. Surface that marks it definitely above TEACHERS crackle adds further to the disap- for extra profits and savings pointment. (Capitol P8241) average. (Epic LC 3011) JOIN Goossens in Oboe Concel·ti Voodoo: A,.lthentic Music 0/ Hlliti Here are some of the best collections and arrangements As part of a series of "Distin- available: To the growing collection of folk ETUDE TEACHERS' CLUB guished Concerti for Wind Inst.ru- music on records Remington has ments," Columbia has assembled on for details, write added an intriguing program of one long-play record five oboe con- music from Haiti. The ten numbers certi played by Leon Goossens with BOOK MANUSCRIPTS ETUDE TEACHERS' CLUB on the 12·inch disc include examples two orchestras and three conductors. c/o eTUDe the music magazine of music Illustrative of African. INVITED Recorded in England between 1943 It ycm are looklnv tor a puhllJhtt. tfCId IOf acrr nee Indian and French cultural influ~ l11u_IrlIted booklet 11I11'd T.,.. ,hi'" III S.,t',j Bryn Mawr, Pa. and 1949, the disc collection offers II 1'"IJI'dll:r. It lell .. how I'"&npullll.h. ""... am ences. Emy de Pradines, soprano dh' rlhllie 1eMir I~ I. , haY' .~ IOf hIInclrtds aI Ada R i.chtcr only fair reproduction including nlhet \l'"rllA!u. All ,ullJ It r6f\~hlnK. S", lutbon soloist in seven of the ten, is a life- welcomtd Wrlle IMa)' flit ntll1kltl E:T II·, tfM. more surCace noise than is usually VANTAGE PRESS, III, •• 120 W. 31 51•• N, Y.1. long student as well as performer I .. t.'C1llf.: 6'J6 IIou,..MllI II", •• lIelJrtrM fa . .. arrangements found on Columbia's transfers from arrangements ... collections of music from her native island. 78. But the art of Leon Goossens Other forces include a twelve· girl more than atones for any reproduc· THE AMERICAN TRAVElER *THEMES SONGS OF MY COUNTRY "dance-chorus" and an orchestra of tive faults. The eminent oboist em- Send $.85 $.85 drums, bamboo horns, sticks, "tcha- FROM GREAT CHAMBER MUSIC ploys his chaste tone for exemplary An unu.sual and clever collection of piano tcha," four·note flutes and a modern for $1.50 A "timely collection of 46 patriotic songs for performances of wOI-ks by Cirnarosa. solos With words, for the young pianist of guitar. (Remington R-199-151) Brand new!. This volume will bring the pleasw the gra~e 1-2 piano student. Employs differ- Bach, Marcello and Handel. Sir 'Mal· FREE ~rade 2 or grade 3 level. Relates a series of ure of pl~Ylllg some of the loveliest musical colm Sargent. Basil Cameron and ent registers. of the keyboard ' th us giVing.. Bach: Well-Tem.lJeretl Clavichord, 1/"~ olk Songs and Ballads with early modes of moments In the entire literature of traditional Walter Siiskind are the conductorial ~!:.,-!X~ sonotlty and tonal variety. Book I BOOK ~avel such as the horse and buggy steamboat chamber. music. Most of the music derived colleagues. (Columbia ML 4782). ABOUT ':"'~1 French Suifes Icycleand canal boat as themes. ' , fro~ stnng quartets has never before been avffiadabIe for piano. Moderate to advanced With these two Columbia LP reo Strauss: Don. Quixote, Opus 35 MUSIC leases, Isolde Ahlgrimm, Viennese d 1 cuhy. One of the greatest of Richard Bach authority, formally begins the SI''''C~ he.re. docs nol Jl«fftit all ade- SONGS OF STEPHEN FOSTER Strauss's biographical tone poems. quate description of tbi' rc.rnarbhle MARDI GRAS project of recording all of Bach's SCTilmcr Radio Mu.ic Lil.orat7. We *THEMES $.85 Don Quixote, has not often been reo $.85 compositions for harpsichord. Miss will Illerefote be Jlad lb KDd ,-00 c~rded. Th~ recent recording by the witlloN' ob/iglllwH •• an inte.te5liJt( book· Mardi Gras time' N FROM THE GREAT SYMPHONIES Twenty.eight Foster songs arranged for grade Ahlgrimm uses a harpsichord with in 0 let telling bow you an 0'11'11 all tIris ['f ' ew deans comes to full VIenna Pl1llharmoni.c is a brilliant 1 10 $.75 pedal keyboard but achieves no music for g .mall I,ani •• f1/ us ..,. e .. these easy arrangements of authentic :~2. All the old favorites and some less famil- combination of the conducting au+ greater clarity of line than that ob- 011(11 ('osl. LOUISlanafolk Th·· Twenty·two superb selections from Beetho~ To obtain tbis 4n-plte. iDu$n.ted usedf h songs. IS foho may also be Iar Does too. Complete texts given. tained by others with more conven- thority of Clemens Krauss. the not· ven, Brahms, Dvorak, Franck, Haydn, Mozart, able 'cello playing of Pierre Fourn+ frce booklc:l. simpt, pule coupoSl CIlI or sc 001 or cluh pageants. Easy to play. tional instruments. Wanda Landow· a l"O!!it c...nl and ~il to S~hubert, Schumann and Tchaikovsky. Me- ier, the underst.anding performance CHARLES SCRIBNER'S SOXS, dIUm Grade. ska, to name the most distinguished Music Publi.ben. S97 Filth Att.lltlt, of a great orchestra and the Stl perior of the "others," plays Bach as an New York 17. K Y_ sound engineering of an experienced ,~.--_. - - --_. -- ~-~~- _ ..~ . *THEMES artist; Miss Ahlgrimm plays es· , ' RODEO OUR LATIN AMERICAN NEIGHBORS sentially as a scholar. (Columbia co~pany. As a recording, this Don : CI....kUS Scan:fu'. Son, : FROM THE GREAT PIANO CONCERTOS $.75 Qutxote fights no windmills. sufTer- : 59; }~ihb An .. N. Y. 17. N. Y.: : $.85 ML 4746 and 4747) : Plu.se KtId me., FREE. iUt/.I" : $.85 no falls. (London LL 855) - A zestful f r b· Captivating rhythms and melodies of the : lrated "o-page brocbure liriq : using authe~t~~ A mIt. around the rodeo and Ten masterful themes from the best of Bee- Paganilli: Cllprices Nos. 1 to 12 : completc details ..bout htllOU1 ,: the Qun . . merlcan cowboy tunes. For songs and dances of Mexico Cuba B ·1 , 9-volt.1me $cribne.T Rldio Music , thoven, Chopin,. Grieg, Liszt, MacDowell, Ch'! ' ,raZI , l\tozal'l: Soulltn ill A Mnjor, K. 331 Remington has had more than its : Libr:tq. This requut pbCCS me : abilir . g p,amSt of second and third grade Mozart, ~achma01noff, Rubinstein, Schumann . 1 e, Costa Rica, Ecuador ,gen-Peru and Ar Haydn: SOIUltClS in. E-F/nt Major wul : unde.T no obligation lI'baUOCTU. : y share of recordings that turned out and Tchalkovsky. Moderate difficulty. tIna. For the grade 2 pianist of any age. D JUnjor ·, ' to be memorial discs. Two Albert ·, '. Write for CompIete Westervelt List Write jor Complete L~viJle List Write for Complete Richter List Spaulding recordings ·were made Though slightly blemished b. : Kame ....•••••••••••••••••• ". : scratchy surfaces Leon',d H b ? shortly before his death, and a M H ' am ro s ·, '' Send for Your Copies Today oz~rt. aydu disc is one many kev_ Simon Barere piano disc was reo : Addrul •.. ··! leased as "Simon Barere Farewell." bO~ld students will cherish. Tl~ , ' Read About the Significant New Achievement FOLK-WAYS artl"'t a A . 'e · ' Now comes an Ossy Renardy reo ¥ .' n men can pianist . l U.S.A. by Elie Siegmeister in our Pre~PubIication Ad on Page 60 ·: Ci17 Stat, ' growmg f WIll ! cording of the first half of the daz· ame, gives these f T ., 1 classics cris ) anll lar zling Paganini Caprices, played with . . . p, c ean, Correct read. , 1 THEODORE PRESSER CO., BRYN MAWR , PA. sparkling accuracy, reminding music mgs. fhe plano tone is II I Please Kite __ .... ~."": R . we recorded I Illude tttKbn tf ~ .~ UkiaI ...... I lovers of the great promise that was ( , 1 enl1ngton 199-135) THE END. !_------_ ••-

64 ET DE_.lIARCH]951 Like magic, these concealed fingers add fine argon music ta any piano - spinet. 9l"Clnd.or upright.

Your authorized music dealer can quickly install the LOWREY ORGANa in your piano. Then you can play beautiful organ music in an infinite range of rich, new tonalities - and you alone can even combine piano and organ in unheard-of duets. The ORGAKO does not interfere with the piano action in any way-you can still play piano alone!

By using your same familiar piano keys, the LOWREY ORGANa makes it easy for you to play organ music-you can keep your LO"W"REY piano, too-and save space. Ask your music dealer to show you how this compact and versatile electronic organ will lit into your home. Inspire your children-thrill your family-and amaze your friends with this low-cost piano-organ-the LOWREY ORGANa. For full information, send the coupon on page 64, now. o 0 CHICAGO ------For complete information on portable ORGANa shown abooc Also available-complete Built-in Models from dealers who sell these pianos: GET THIS NEW ORGANa BOOKLET JANSSEN Use handy coupon on page 64. This saves your Etude cover. III' 'lill' STORY & CLARK JESSE FRENCH & SONS LOWREY ORGAN DIVISION Central Commercial Industries Inc. Also in Canada from: (Ea •. 189'-) MASON& RISCH 332 S. .I ichigan ve., Cbicago 4, IU.

Canadian Represeneanve: Ed. Ardwnbauh, loco 500 See. Catbe.rt.ne St .. E., " Mootreal 64