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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
11-1-1936 Volume 54, Number 11 (November 1936) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 54, Number 11 (November 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/850
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. November 1936 Price 25 Cents MUSIC beginnings IMPORTANT ADDITIONS TO SUCCESSFULLY BY MANY TEACHERS USING THISI*«,, ARE GUIDED MODERN PIANO PEDAGOGY In Violin Classes In Piano Qasses In Priva te Lessons THE CLASS VIOLIN INSTRUCTOR MY FIRST EFFORTS IN THE PIANO CLASS • PIANO • •y A.. Hathjw,, tad Herbert Butli (Piano Class Book No. 1) MUSIC PLAY for EVERY DAY IN loom The Cateway to Piano Playing carfare -Irk hi, «rt. ft, ue A remarkable first book for classes of piano An introduction to the piano for pupils of beginners. Its application to practical class pro¬ pre-school or kindergarten eg" by eoep, OfKftl MARY LOUISE cedures Is simple. It is distinctive for original of fascinating pictures, tuneful "•l«<'«s arranged ct*.ev*, I, J^die el*Ek,... material, fascinating melodies, delightful rhythms, game-like procedures. Happy Dap in logical progression, immediate results Music Play" ($1.25). Its follow-up book. ****yC^rfLi!? a. TC** ‘ Mrll "* tying advancement. The start, of the pupil. In the same delightful men- BACON ROBYN at ^'Middle C," and the fun k Sik« F ibwals Trftk C dasT JJt Bfcft ner, well into the second grade. ¥oth books When the class has completed s are published also in A parts («0e ea.) for of "Making Progress in the Piano Class" (Piano convenience in class instruction. BOOK ONE BOOK TWO MASON Class Book. No. 2) (75c) and then to "Proficiency Price, $1.25 Student*! Book. 75c Stoats Boon 75. in the Plano Class" (Piano Class Book. No. 3), FOLKSONGS AND ROBYN-GURLITT (75c) the final book in the series. Taachcrt Manual. $1.00 Taachar'iMaaeal.SlOO beginner s book FAMOUS PICTURES Price, 75 cents Price, 75 cents SCHOOL FOR THE PIANO. VOL I Price, One Dollar By Theodore Prester ENSEMBLE METHOD FOR THE VIOLIN A fundamental pedal book. Eighty-five The familiar "red book" the* has startad By Oscar J. Lthrtr thousands of young pupils batwaan t and A most efficient and interesting method of the best Gurlitt numbers for develop¬ THE FIRST PERIOD AT THE PIANO 9 years of aga on fha road to piano play- TWt Mi *ob «*••• m(«n k cwm »♦***« rw uw* book. Its approach to notation, rhythm, ing. "Student's Book" (1.00) and "Player s boo* k«M *M« vw*« Mrti M “V* ing speed in reading. This book can be scales, chords, transposition and technic .ya started in the latter part of the first year is outstanding. of study. FIRST CLASSICS AND FIRST YEAR of 111. PIANO FOUNDATION FIRST FOLK S HARMONY IANGE0 FOB VlOLIt CHORD CRAFTERS Price, One Dollar '.arstor.tf A book that follows any good first grade Price, 75 cents keyboard harmony background. Estab¬ The third book of “Technic Tales” cov¬ lishes the best of transposition and crea¬ ering the eight pianistic chordal attacks. tive harmony work. Excellent for ear¬ RHYTHMICAL A B C'S FOR THE VIO All students regardless of their grade of training. Contains the widest selection of simple classics. advancement should study this book. §se?*3gs CHRISTMAS CAROLS Price, 75 cents In Voice Classes A fine collection of Christmas Carols, ROBYN-HANON containing thirty-four of the most popu¬ Price, 75 cents EDUCATIONALEDUC VOCAL 1 lar songs arranged for young piano IN SONG A! students. All large skips and difficult Students having covered properly the chords are eliminated. Every note is PIANO PATHWAYS By W. W. foregoing technic as found in “Technic gSr==SsSS fingered, thus enabling the pupil to learn Tales” Book I—46Fourteen Sketches”— Price, $1.00 the fingering first away from the piano. are now ready to start this wonderful book that carries students into the super¬ • VIOLIN • MARCHING MUSIC structure of piano technic. The book BEL CANTO METHOD FOR PLAYING AND SINGING should be reviewed from time to time for the violin i;js Price, 75 cents over a period of several years. It pre¬ There is no more attractive book of its pares for Haydn, Mozart, Bach, Beeth¬ kind available. Materials for grades n LET'S PLAY TOGETHER sMmSi- and III. Fine old tunes or humorous ones oven, Debussy, Chopin, Brahms and which have long been popular the LiszL world over. ft The above listed WORKS may be had ON APPROVAL FOR EXAMINATION from your dealer or the publisher. Theodore Presser Co. Examination Privilegei may be e«j«H by f music OLIVER DITSON COMPANY, Inc., 359 Boylston Street, Boston, Mass. o" «ny of fh. boob describe on *is f»9«' # and importers PHILADELPHIA, PA. Cloth Bound—Price, ♦o Preiser's for copies "On Approrel" of music publications in which NOVEMBER, 1936 675 The Etude Music Magazine nstmas Entertainment_ Materi^ _n.iolK' RECITALS W ^ »K.n FOR PUPILS' RECITALS r U. S. A. and Great FOR PROGRAMS BY YOUNG FOLK and_for_p- Songs for Rica, Luba, .Dominican Republic, Ecuador, Young Singers El Salvador, Guatemala, Mexico, Nicaragua, Fascinating _ ", *T"£«nt of the old German toy synn- Paraguay, Republic of Honduras, Spain, Peru and Uruguay. Canada, $2.25 per year. All Christmas Playlets phon^.^M^ny aprtmaryns^oo|rs ^have^weV^^PP®^^^1^ instruments Adapted for Group-Singing other countries, $3.00 per year. and Operettas— tnss ®\ ^rs.rir-K,i^ by (50e) i*** figgs 3S rOL ss ltzg: "umber f0r,or tria,ria"9le ' tamam ' r% (% THE COMING OF SANTA CLAUS, by Frank L. Eyer < 50c> \J9U9 ".v-^esS Ho! Sr. . ... SLE1GH BELLS, by Paul Valdemar (50c) iP|p ££5* Sggt- Noel. Neel (No. 2577*1 'Yuletide 'Piano IS Tree (2) »« (2'/jJ SPECIAL NOTICES .! W: gSsSSSgp AND is Tree (Ift) (i'/ai" H&wTtleto* ANNOUNCEMENTS u*' iai. O Holy'''Wgtoe[sfyjtm-H?s's .' * Cjmuu for lb* Stbool Chons By WILLIAM BAINES | SPECIAL NOTICE S|£®5ftF is all in unison._ Christmas Bells (3) [ohnson.35 ssSSffisSH ThreIaLiltPe Chr'ltnf2] P**' (,) ' SSS=&|J|te::::: S iHSi!^ SssSais*®* The Waifs’ Christmas Stoge^M.".^* By Geo. F. Root Price, 40c 9 (Rental) $100 9 of Santa'(2) C “stSTsrsaj::.^.« Cute Recitations ANNOUNCEMENTS Judge Santa Claus By Geo. F. Root Price, 40c An unusually pretty and effective Christ¬ Christmas Ev. (No. mas ^operetta for ^ children, easily ^ pre- Christmas E TASIe“ghride( ,hrid.(3jc/^::::::::::; :S Pen if iL'^iylfW* Christmas Fi Christmas Spirit |No. 2M47| F-rrii ^ Pejfir.« INo. £,r,;.Tv.T\^infa,K * Santa Claus’ Party A Stray Lottos (No. 23W| ^ iia5~ By Louis F. Gottschalk Price, 10c PIANO—SIX HANDS s£S£j~~ (3) CW.. | Under the Mis Christmas Pieces (of IhTY^igViotoir Theodore Presser Co. CK,W™ l-». IN.- '»"« 'Ll 1712 CHESTNUT STREET. PHILADELPHIA •fcy 677 TTTF ETUDE HISTORICAL HURRY! order „S.CAL PORTRAIT SERIES Q^legro cJjjiniuaL BEFORE... An Alphabetical Serial Collection of . . . FOR SOLOISTS The World's Best Known Mus.c.ans . . . FOR CHORAL GROUPS ,s Jj began in Febr„ary, ,,3^has in=l^drtoJ^ctota^^-^S: OR YOU WILL FORTY NEGRO SPIRITUALS Arranged for Solo Voice MISS THE BENEFIT OF By Clarence Cameron White THESE SPECIAL CLUB OFFERS! There is an irresistible appeal in the music of the Amer¬ is the deadline for these bargain ican Negro and his traditional folk tunes, known as best values of the year in leading SPIRITUALS, dressed with modern piano accompani¬ id ^ with THE ETUDE. ^Subscriptions ments, have found their way into the recital programs of the greatest vocal artists. 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PHYSICAL CULTURE'..! :J|»] Save 40c ' S$a!”!? lit Twell My Lord a-Calls Me (1 Re-»u,arprice «•»» JTH.ENfcTHUoDLEAs,$I:S8 Re»U,ar pri» *510 ■a $3*00 $!"oo -Re°Ularpri” «■»» $3*75 Save $1.25 Rea,,lar price mesii £15 >r price .T^STj - Re9Ular priea .. ,.00 f $4.60 MR-E-g $3.75 — Add to Any Combination— ditto (Women—3 Part).Dvorak-Bliss 2 Yrs.; $2 for 3 Yrs. PICTORIAL REVIEW. u Better Git Ready Now (Mixed).K. M. Gunn 2 Yrs.*; $2 for 3 Yrs.*; $3 for 5 Yrs.* LADIES’ HOME JOURNAL. 2 Yrs.*; $4 for 3 Yrs.; $5 for 4 Yrs.* SATURDAY EVENING POST. JO COUNTRY GENTLEMAN. *Vnited States Only Theodore Presser Co. Send Orders Directly to: Everything in Music Publications The Etude Music Magazine 1712 Chestnut Street, Philadelphia, Pa. — Theodore Presser Co., Publishers — 1712 Chestnut Street, Philadelphia, Pa. NOVEMBER, 1936 678 679 JAMES FRANCIS COOKE the etude Associate Editor EDWARD ELLSWORTH More Audiences HIPSHER Published Monthly Music Magazine By “WITT HAT YOU WANT, young man, are more audi- quainted with the piano works of Brahms. Although op¬ THEODORE PRESSER CO. United State, el America W ences. You have gone about as far as you can posed to sensationalism, he had a nimbleness of fingers 1712 Chestnut Street T * expect to go as a student. Of course you will and a velocity that have rarely been equaled, except by his PHILADELPHIA, never cease studying and you may always learn new things famous pupil, Moriz Rosenthal. PENNA. Vox. LIV. No. 11 * NOVEMBER, 1936 _ from real masters of the instrument, but the time has come From 1888 to 1906 Joseffy was professor of piano play¬ for you to play. You will find that the reactions you re¬ ing at the National Conservatory in New York City. There ceive yourself, when you are playing alone in your room he imparted his artistic educational principles to a vast or in the studio before your teacher, may be quite different number of pupils and made an invaluable impression upon The World of Music from those you experience when you are playing before the musical art of America. His contribution to piano audiences. The reason is very technic was ably reviewed by simple. When you go before an Interesting and Important hem, Gleaned m a Edwin Hughes in the Musical audience you become a different Quarterly of July, 1916, one year Happening, and Activate, Pertavmng to Thing, Mat, individual. Your nervous system after the master’s death. JOHN DYKES is under a great strain and you The creative composer leaves THE AMERICAN FOLK SONG SO¬ do things that you never im¬ behind in his compositions a AN INTERNATIONAL FESTIVAL of CIETY held its sixth Annual Festival o BOWER, organist at Dur¬ OSSIP GABRILO- ham Cathedral of England, agined you could do. All pianists series of monuments which, by WITSCH, for eighteen music is announced to be held from Apr Tune 14th, at “Trapsan Woman Cabin in 7th to 10th, 1937, at Baden-Baden, the the foothills of Boyd County Kentucky .It has been appointed to St- know this, and many, myself in¬ their performance, continually 'X*®' years the conductor of the Paul’s Cathedral, London, »>*NP«a famous German watering place. drew an attendance of fourteen thousand, cluded, have come to dread the revive the memory of the musi¬ ©Brenda Putnam Detroit Symphony Or- ,g. -:—-— »• as successor of Dr. Stanley “ Ossip chestra and one of the largely of mountain folk who came mostly experience of going before an cian. The interpreter, on the Gabrilowitsch most’gifted pianists of his THE GRAND OPERA of Paris, most on horseback and in wagons w'hich Johed Marcbanl, who has become Principal of the Royal Academy of Music. He was bom in audience. Some never recover other hand, particularly before generation, died September 14th. Born Feb¬ sumptuous and one of the most famous of along the picturesque Mayo Trail tha^ leads all the world’s buildings devoted to music, August of 1905, at Gloucester, as the son of from this experience. There the wide adoption of fine record¬ ruary 7, 1878, at St. Petersburg (Leningrad), to the place of the “Singin Gatnerm. a distinguished ophthalmic surgeon who ns on the advice of Rubinstein he entered the was endangered on September lith, when only one remedy for those who ings, is liable to be forgotten by DR. HERBERT GRAF, Viennese stage also an excellent amateur pianist and or¬ St. Petersburg Conservatory and graduated fire destroyed the roof and ceiling, with are willing to take it, and that is, succeeding generations. Joseffy’s damages estimated at from one million to director, has been secured by the Metropoli¬ ganist. At twelve he became organist ol St. at sixteen. He then had two years under more and more audiences. service to music in our country two million francs. tan Opera Company of New York. Dr. Gran, Mary-de-Lode Church of Gloucester; his ad¬ Leschetizky at Vienna, with later theoreti¬ “Once I heard the great Tausig cal training from Liadov, Glazounov and .(5— -S-a- but thirty-three years of age, will be re- vanced musical studies were done at Cam¬ was so great that his name should Rimsky-Korsakoff. His success as concert THE MUSIC LOVER’S CLUB of Boston, called as having been responsible for the bridge; and he has been successively lit say that one does not play upon be kept permanently fresh in pianist was immediate throughout Europe; founded by the widely known- American sensational staging of the operas pt _lne organist of Truro Cathedral, New College the strings of the piano, but upon of Oxford, and from 1033 at Durham Cathe¬ American musical history. in 1900 he came to America and every year composer-pianist, Mme. Edith Noyes Greene, Philadelphia Orchestra in its season of 1934- the heartstrings of the audience. dral. Joseffy felt the responsibility thereafter till in 1914 he became an Ameri¬ celebrated its twenty-fifth anniversary with 1935. --»■ Do not be discouraged if you fail can Citizen. In 1909 he married Clara a luncheon at which many leaders in the THE ROYAL CHRISTCHURCH MUSI¬ 4--*■ of public performance the more Clemens, daughter of Samuel L. Clemens local musical life were present. This active CAL 3USOCIETY,cici i, probably the oldest musi¬ THE PHILHARMONIC SOCIETY oi with one audience, or with a seriously. When he carried the (Mark Twain) and widely known contralto. club-has sponsored a rather imposing list of cacalj organization in Australasia, recently London is announced to give its pnsent» dozen audiences. The time will great works of the masters to the After numerous appearances as guest con¬ atr.irontt fnr mxisiral fame who have later began its seventy-sixth year with a per- son of concerts at Covcnt Garden, with Sit come when you will adjust your¬ ductor of the Philadelphia Orchestra, he was Thomas Bercham leading most of them public, it involved a real and formance of German’s “Mcrric England self to them. This does not mean from 1929 to 1931 the co-conductor with with A. G. Thompson, L. A. B., conducting. Queen’s Hall, the usual scene of these coa- deep anxiety to give only the that you should lower your Leopold Stokowski of this famous organiza- THE CHORAL SOCIETY OF ATHENS, ■4-*■ eerts, has been heavily requisitioned for other highest. Many other great artists Greece, with the Orchestra of the Conserva¬ DR. PHILIP HENRY GOEPP, a leading musical events. ideals. It merely means that by have been overwhelmed by this tory, has' given a performance of “Boris musician and composer of Philadelphia, died <---* more and more exposure to pub¬ responsibility, notably Henselt, IN THE FEIS CEOIL, recently held at Godounov” by Moussorgsky, under the on August 25th. Born in New York, in June TITO SCHIPA, in the leading tenor rok Dublin, the Plunkett Green Cup for Song of “L'Elisir d’Amore," on August 4th. at the lic opinion you gradually get bet¬ whose private performances are baton of M. Icocofflidi. of 1864, he was educated in preparatory ter control of yourself, lose your Interpretation was won by William Todd schools of Stuttgart and Essigen. Germany Open Air Stadium of Verona, Italy drew is said to have been magnificent, from Belfast; the Dennis O’Sullivan Medal and later at Harvard and the Univcrsitiy of audience of twenty thousand people- self-consciousness and say what but who found public perform¬ for the interpretation of Irish songs went to SIR HENRY LYTTON, for nearly forty you really have in your mind Jessie Lowry of Ballina; the Joseph 0’Mara years a leading member of the D’Oyly Carte Pennsylvania. Prepared for law. which he ance so exhausting that he played never practiced, he became widely recog¬ THE TRIENNIAL MUSICAL FESI1- and in your heart.” Cup for singing of operatic arias was presentations of the Gilbert' and Sullivan VAL of Norwich was held in its thirty-lori but little before large audiences. awarded to Frederic Cross of Cork; and the operas, died August 15th, in London. Born nized as teacher, composer and musical The speaker was Rafael Josef- writer. An opera, “The Lost Prince,” was session from September 23rd to 26th. ■ ~ Joseffy was a man short of Cup for Dramatic Singing was taken by January 3, 1867, he first appeared in a pro¬ fy. These, of course, are not his well received; and his “Annals of Music in Andrew’s Hall, under the patronage ol m stature, with very dark, penetrat¬ Patricia Black of Dublin. duction of “Princess Ida” at the Royalty Edward and Queen Mary. The proem* of¬ exact words, but we have never Theater of Glasgow, in 1884. He came to Philadelphia” and “Symphonies and their ing eyes, curly, black hair; and Meanings” are valuable contributions to fered first performances of "Laus l*o forgotten the thought or the CHARLIE CHAPLIN, internationally New York in 1890 for a leading r61e in he had a very sincere, ingratiating musical knowledge- He held the degree of “O Lord Our Governor.” for chorus at* «; quotation from Carl Tausig. We RAFAEL JOSEFFY favorite comedian of the movies, is said to “The Gondoliers” and returned for engage¬ chcstra. by Basil Maine; “Ode to Gnat Me manner. His large and important ments in 1927 and 1929. Doctor of Music from both Temple Uni¬ supervise the musical scores of his pictures, (for orator and orchestra) by Cyril Scott had gone to him to secure a con¬ musical library (now in the Li¬ in spite of his assurances that he neither versity (1919) and the Zeckwer-Hahn Mu¬ sical Academy (1930). and for orchestra alone the Five t ference for The Etude Music brary of Congress) indicates the reads nor writes music. In his home his THE A. B. C. SYMPHONY ORCHES¬ Portraits" of Vaughan Williams. The W Magazine, and found him delivering this kind of bacca¬ favorite instruments are the concertina, pipe TRA, of the African Broadcasting Company earnestness of his musical activities. The report of the THE BUDAPEST UNIVERSITY harmonic Orchestra of London laureate sermon to one of his most advanced pupils. Joseffy organ and violin, on which he plays for of Johannesburg, gave on July 21st its CHORUS is announced for its first American instrumental support, and Sir Thonra Library of Congress (Division of Music for 1934-1935) amusement. thirty-fourth concert, when J. Schulman tour in January and February of 1937. am and Dr. Hcathcotc Statham^conducW would not consent to a conference for publication. He gives five pages to a description of this splendid collection. conducted a program consisting of the Over¬ feared what artists call reclame and was so extremely HAND-ORGANS are reported to have In it are twenty-one manuscripts of Franz Liszt, including ture, “Romeo and Juliet," by Tschaikowsky; THE FORTY-FIRST CONVENTION of QUINCY PORTER'S "String, modest and so exceedingly retiring that he confessed that been banished by Mayor La Guardia, from six Hungarian rhapsodies arranged for orchestra. Symphonic Poem, “Le Rouet d’Omphale,” the American Federation of Musicians, which No. 3" and Leroy J. Robertsons . the streets of New York. How shall the next by Saint-Saens; and the “Symphony in C met at Detroit on June 6th, is reported not when he was asked to talk he did not know just what to say. Joseffy wrote to Liszt in 1885, giving a picture of musical generation be musical, if the children of this Quintet in A minor" have been chasn But Joseffy died in June, 1915, and we feel justified at minor” of Brahms. only to have surpassed all previous records publication by the Society forth*Pubteaw conditions in New York, as he found them fifty years ago. shall be denied their diet of Miserere from “II in attendance, but also to have been animated this time in recalling advice which may be valuable to Trovatore” and Intermezzo from “Cavalleria of American Music. Mr Robertson We are reprinting his letter: many pupils. Apart from pedagogical works, his composi¬ Rusticam?” JAMES PHILIP DUNN, organist and shi^on^n^' c.onf,Uratism which k<,P‘ ,hp fessor of Music at Brigham t oung “I take no small satisfaction in telling you that and Mr. Porter holds a similar position composerimposer of works which have been played V Ven Kee1' tions were comparatively few. His great fame was as an the American public exhibits far greater receptivity LOTTE LEHMANN is by"/ some of America’s pleading symphonysympnony or-— THE FLORENCE HINKLE WITHFR Vassar._y artist and an educator. Born in Hunfalu, Hungary, July 3, chestras, died July 24th, at Jersey City, New SPOON MEMORIAL FUND has been for serious music than reports to Europe of artistic reported to have given 1852, he became a pupil successively of Miskolez, Brauer a “magnificent interpreta¬ Jersey. Born January 24, 1884, in New York vided bv the will nf ik„ i->.« u_i__ ARTHUR WHITING. conditions here would lead one to expect: it is in¬ t City, he was educated at Columbia Uni¬ pianist, organist and com- (Heller’s pupil), Wenzel, Moscheles, Tausig and Franz deed astonishing that Americans, animated as they tion” of the role of spoon, which sets aside five thousand dollars versity, under Edward MacDowell and Cor- Leonora in Beethoven’s and other sums from the sale of jewels the poser, passed away on u VI Liszt. His debut was made in Berlin, when he was twenty- are for the most part by the commercial spirit, nelius Rybner. He had held leading church uc usea Ior lne purchasc o{ July 20th. at Beverly. ^ygt “Fidelio,” when it was income to be used for the purchasc of “such three. His American debut came in 1879, at one of the should succeed nevertheless in preserving a whole¬ presented as the opening positions of the metropolis and was a staunch vocal musiciusic as maymav be deJirabhtdesimhl*. fo7 The Bird in Grand Opera tunty wh best literature a world full of worth and merit: it makes UU1_ have read most of mattcr how one feel that the rest of the universe is By Alethea M. Bonner .. . *hat *{”e * have been. And sonic have healthy, and good, and joyous, and har- rnt nwT V HAVE BIRDS won to the world his melody sketch of this bird busy e ay ^ ^ ^ say that the very monious to the core; it is a resource N^--*t3rsK£ S!S|5= Sgissssr £S5S=S5 It is, of course, through the agency of of Death, the Ha e* ° . y { blacR a liMle of Plato, which can be so easily it is a resource against the vke which composers and librettists that these feathered is surro^ded by a broad river ot d and adapted that the substance come* of unemployed time. My Symphonic Debut in the Films beings have had their “big moments,” for water and rapid‘ ’^tsSn ^d may be felt even if the form cannot be “But. returning to the illustration taken Handel,iandel, Haydn, Beethoven,tseetnoven, Mozart,lviozan, Wag-*v of Tuonela- glides in majestic tasmon yreciated by children, seems to me far from my own experience: I have caught wrner, and countless other classicists have sings,sings. better than a iong, elaborate course of as every one has. the street melodies and By Leopold Stokowski used them very effectively in their tonal me tsarnyara urn™™ reading, such as that spontaneously fol- popular songs, like Punch, Mm, M dramas. T'ROM THE STATELY swan to the lowed by children, such as that we waste «•.//. cure, and they have flitted through NOVEL?—Yes. Unexpected?—No! One of the most beautiful arias to be FmosYic™ seems a far cry, but to the most of our time upon in getting our minds my mind when I wished «<> think of better That is the way I feel, and, I bidding? The audiences to whom we have found in musical literature is the brilliant ilPFrench musTc maSter, Rameau, the covered, as has been often said, like a p.ece thing* haunting me fiir weeks and think, the way my men feel, about 7~T/?. STOKOWSKI S entrance into the Elms seems but a normal played all over the country have not found Sweet Bird That Shun’st the Noise of —Ola < /rrenen_. ‘T"*', as his of blotting paper, with impressions from but they have all gone, one after the tr. our first appearance in films. I might development of his great interest in acoustics, and in the pos¬ it so. They have clamored for more of Folly, from Handel’s cantata, “L’Allegro il cackle of a hen the daily and periodical press. All these each new one crowding its predecessor almost add—“at last.” For it seems to us sible extension of musical facilities through mechanical reproduction the same, and more like it. I have not the {Continued on Page 740) slightest fear that we have aimed over the Pensieroso.” It is the song of the nightin- (conm ow.out. Butuui ninethere is wuiHiimsomething or”, other high time that we begin to help to realize and magnifying of sound. In “The Big Broadcast of 1937” he con¬ gale, sung by a coloratura soprano, with this simple sonata that sticks, and it is heads of the motion picture public—which the great possibilities of the present day ducts two of Johann Sebastian Bach’s compositions of supreme flute obbligato. just as interesting and pleasant to me, an is to say, the American public. sound film for multiplying the audience for classical importance. In the same picture a jazz band of excellent type In the second part of Haydn’s immortal average ignoramus about music, as it ever the world’s richest and most satisfying “Creation,” the tones and movements of was. and rather more so. I think, then, music. also has a part. We have an idea that Dr. Stokowski is doing a fine A Momentous Innovation various birds are presented as perfectly as that as a sample of classical literature is With my orchestra I pioneered in re¬ piece of missionary work, in placing these two so different classes CERTAINLY there will be talk about musical resources will allow. The majestic good in the teaching of reading, to make cording symphonic music for the phono¬ of music together and thus allowing the larger public to determine our appearance on films—the first flight of the eagle, the cooing of doves, and the children feel a little of what is best in graph. I believe our constant willingness for itself which gives the greater thrill. The pictures on this page, time that a major symphony orchestra, the soft flutterings of many wings, all are the world of letters, so it should be an to experiment with the scientists of sound showing the famous conductor in some of liis characteristically strik¬ playing enduring “classical” music, has ap¬ heard in measures of masterly imitative early object in musical education, to mak aided materially in a great technical im¬ ing poses, all are copyright 1936 by Paramount Productions, Inc peared as a feature of a film made for skill. Unforgettable, too, is the bird music children feel a little of what is best m the provement in the fidelity of music repro¬ entertainment. Some of the words spoken which Haydn’s great contemporary, Bee¬ great world of music. That seems to « duced from the familiar black discs. Later and written about this first step in motion thoven, wrote in that magnificent nature the one object of musical education. we plunged into the new field of radio picture music will be favorable. Some will sketch, “The Pastoral Symphony,” a music broadcasting, and learned much about mi¬ wearied. And weariness is fatal to music. be unfavorable. I know there are people, score alive with the songs and calls of much to raise the level of music in the seriously devoted to the finest in music, crophones, drapes, placing and emphasis of Great music does not pall with repeti¬ motion pictures. To him goes the credit birds. instruments. tion. On the contrary, it grows on the ear. who will find it incongruous that Stokow¬ It was the eminent music critic, Henry T. for such successful innovations as the use Naturally, such a serious study of acous¬ ski and his symphony orchestra should ap¬ Finck, who jestingly said that if Richard The work which thrills more at the twen¬ of a Toccata and Fugue of Bach, in the Stirring Up Class tics made me anticipate the point at which pear in lights alongside Benny Goodman Wagner had “carried out his plans of tieth hearing than it did at the first, and musical score of the picture, “Dr. Jekyll the sound screen would become a fit vehicle and his swing band in the marquees adver¬ migrating to the United States he might Standards more at the hundredth than at the twen¬ and Mr. Hyde”; a portion of a concerto for that richest and most subtle of all tising “The Big Broadcast of 1937.” have been accused of borrowing some of tieth—that is what I call great music. of Rachmaninoff, in the dosing score of musical mediums, the full symphony or¬ To both—the people who are pleased, his Nibelung melodies from songs of hermit And that is the kind I wanted to play in “The Scoundrel”; and the engagement of By Edna Faith Connell chestra. That point has arrived. But I was and those who are apprehensive at the news thrushes!” In truth, it might have been films. Furthermore, I wanted such great so notable an American composer and con¬ determined that our Hollywood debut music to be presented in a manner worthy —I say, “Wait! Let the proof of the pud¬ some such tawny-coated, buff-vested soloist ductor as Werner Janssen to do a com¬ ding be in the eating. Let your ears and of the woods that guided the intrepid Sieg¬ Ir you are desirous of raising the should wait until all conditions were right. of itself. I wanted it to be kept in the plete symphonic score for a forthcoming eyes judge the value of this venture for fried to the fire encircled couch of his ard of your music class, it can «se center of interest, not to be a mere novel¬ picture, “The General Died at Dawn.” The Best None Too Good the future of music and the films alike.” beloved Briinnhilde. It was this same Sieg¬ done, with little or no expense, ty, or sideline. USIC HAS BEEN my life work, so For our film premier performance, we I am appealing to the record—the record fried who was made to understand the need a pencil, a narrow strip of papen M I have often been called a showman, and I was not—and am not—willing to have really gone to the heights in choosing which will be seen and heard by millions language of birds by a drop of the dragon’s I hope some day to merit that title, in the a thumbtack. conduct frothy or inferior music, just be¬ our music. We are playing without cuts or of people throughout the world. blood on his tongue. Acting on the infor¬ best sense of the word. The showman in By means of the latter, hang ^ cause it has the name of being “popular” alterations, our special orchestra arrange¬ mation they gave him he was able to secure me, let us say, continued not to undertake As to our performance, whether it is in the most conspicuous part ot tne^ or “familiar.” I came to America as a ment of the Fugue in G Minor by Johann worthy of the music it seeks to recreate, the much coveted magic Ring, as well as to Anything new, or something m * film appearance until we could be assured Sebastian Bach. This work is sometimes young man, and for more than a quarter of the right presentation. A first time for our listeners must decide. To me it seems wed Briinnhilde. place, will attract almost ever)’ of a century have conducted symphonic called The Little G Minor Fugue, but Wagner raised the curtain on many symphonic music in films is bound to be we have played as well as we have ever With the pencil, write music in America. I have been called “ex¬ merely to distinguish it from another Bach feathered characters. It is in “Gotter- crucial. Even today, the very idea strikes played in all the scores of times we have such as “Best counting. Best perimental,” “daring,” and even “sensa¬ fugue in the same key. It is one of the dammerung,” the last of “The Nibelungen some people as something surprising. I had performed these works before concert, “Best attention." “Most tional.’ In short, I tried to make the best “biggest” and most thrilling works we Ring” series, that Briinnhilde, in a drama¬ to be critical of conditions, more critical radio and record audiences throughout the month," “Pupils who try. * music and the public taste meet, to the than the Simon-purest of music lovers United States. The slender sound track at tic moment, summons two ravens and bids We are also playing our orchestrated them fly to Loki, god of fire, requesting twice pupils," and "Best RenerJ. ^ mutual benefit of both. Appearance in pic¬ could be. the side of the film carries in light anc. This will create an incenti't wr ^ choral prelude by Bach, entitled A Mighty that he complete the downfall of the gods tures is one more step—and a big one, I shade a portion of the best performance believe—along that road. Fortress Is Our God. This has a distin¬ by burning Walhalla. The swan, because work and start a comprti^o" Musical Titans In Filmland nearly one hundred and twenty musicians pupils to see who can hart his Superficial, and merely “catchy” com¬ guished record in history as well as in and myself can give. of its traditional background, was another WHEN MY FRIEND, Boris Morros, music. The song was written by Martin favorite with the great German music under the different headings. positions are not good investments for a general director of music at Para¬ Then comes the important question of the Many other headings may « major symphony orchestra. They may be Luther, founder of Protestantism in Ger¬ camera. What is there interesting to see scribe. The legend of the “Swan Knight” mount, asked me to appear with my many. Bach, a devout Lutheran, took the teacher should use judgment and familiar to many listeners, but it is the in the spectacle of a full symphony orches¬ was a familiar story in German folk lore, orchestra I accepted, knowing my double strong, simple melody, familiar to millions the pupils arc weak m, sort of familiarity which soon breeds con¬ tra at work? There is music itself to for centuries before the composer embodied conditions would be met. I knew we could of men and women all over the world, as should be first on the list- _ ik tempt. The listener, after a few repetitions, watch. You may be sure that the camera it in the plot of his opera “Lohengrin.” play the “right” music, and I knew the the basis for one of his famous preludes, Another pleasing picture of the swan was Stars of different colors ^ ^ begins to see, or hear, through them. As will not focus monotonously on the con¬ T.. , . , „ the music lesson recording, the camera work, and the gen¬ or introductions. He was a church organist, grade of work being done, or > ^ ^ soon as he has caught the catchy tune, he ductor and his little stick! The conductor held up before the mirror of music by the This masterpiece of Dutch art, by Frans van Mieris eral setting for our playing would be what and wrote largely for the organ. French master, Saint-Saens, when he gave i art, by Frans van Mieris, and dating from for first and second winners. _ finds that is all there is to it. He grows we wanted. They were. Morros has done is, after all, only the cheer leader, the surroundings of a Dutch home of o£ -t 1654 shoics Is such mighty music difficult, or for¬ day. tion, may be used to promote coxswain, the motorman of the orchestra. NOVEMBER, 1936 684 685 Minor by Bach, this little The fine musicians who sit behind the stands make the music which he strives to the orchestra will be "t The Harp in History mold for best effects. So the camera in our scenes does what the eye of an eager, ody is introduced in succession by one voice By Mabel W. Phillips interested listener would do. It follows the of the orchestra^after another The^ music from one section of the orchestra to fugue, comes from a Latin w .. Woman's Struggle for another. “flight.” The melody pursues itself througn est masculine harpist ever bom was a the8 orchestra at different levels and on An Education With It Welshman named David Owen (Davydd OFTEN DURING A CONCERT you different instruments. All continue waving Gareg-wen) to hear whose playing all the will hear whispered behind you, their threads of melody to the m.gh y fairies gathered from the hills and glens. Recognition in Music “What’s that instrument? What’s playing climax at the conclusion. The tugue is, His early death so grieved the little people now?” But even in the finest symphony consequently, one of the musical forms that they have never appeared in public halls, only a few fortunate members of the most difficult to write-and most fascm places since, but they may be heard weep¬ audience are so situated that they can ating to hear, if you know what is taking ing when the moonlight gilds the waters watch the musicians at work. On the place. I believe that even the musically of the tarns. By Marie Wurm inexperienced among the audiences will be screen, every member of the audience will John Thomas (1826-1913). known fn able to follow the absorbing structure of be able to do just that. He will also have Wales as “Pencerdd Gwalia (Chief of the ancient and honorable privilege of all symphonic playing better than they couM otherwise do, thanks to the insatiably Welsh Minstrels).” a title conferred at the music listeners—he may close his eyes and Aberdare Eisteddfod of 1861, and for three curious camera which can see where concentrate on what he hears. decades Court Harpist to Queen Victoria, will, when it will. In our performance of the Fugue in G. is perhaps the most famed of modern ners, to name only a few of the greatest? of the Porta St. Niccolo in Florence, in harpists. Very few composers have also a talent the year 1339, where the wife takes part in for business. Those people, who often re¬ the disputations on philosophy, morals, The Instrument of Romance proach musicians, do not know what it medicine, music, and so on. "Pep” in Music CLARA SCHUMANN means to be a composer; they have no The old teacher of law, Biaggio Pelacain N THE FOURTEENTH CENTURY MOZART'S SISTER, “NANNERL” I idea what it is like to live in an idyllic of Prato, shakes his head at the wisdom troubadours held the harp in high esteem. It is the policy of every fair minded jour¬ By Benjamin E. Galpin A HARPIST OF ANCIENT ECYPT. PLAYING world in mind, and to dream music whilst and cleverness of the women he discusses. It was to it* accompanintent that chansons nal to cover its field in the broadest possi¬ awake. The composer’s soul is filled with At that time there existed already a num¬ clavicymbalum on the stage, and some nuns were sung to the beauty of their ladies' ble manner, by presenting not merely views underlying rhythm is motivated by rapid music, the composer has no time for think¬ ber of renowned women as poets, sculptors, played stringed instruments, whilst oth¬ Many years ago I stood on a bridge at HE HARP, perhaps the most poetic eye*. It* music was said to cure illnesses which are in harmony with those of the ers played brass instruments. Those that monotonous beats. . T ing only of how to make money. Musical and painters. Two ladies were known not Oswego, N.' Y., and for the first time saw of mind and body: and many a feudal lord editor, but also such as may be quite op¬ and romantic of all musical instru¬ thoughts cannot be bought nor sold by to have married because they wished to played stringed instruments stood, whilst a schooner come into port during a storm. Two conditions of life are activity and paid trilnite with jewels and hospitality to posite to his way of thinking. And it is in ments, makes always a strong appeal weight. devote themselves entirely to science. One the others with brass instruments sat. Gradually there game the sense of a mighty antithetical rest. Let us name the former this spirit that we offer Miss Wurm’s to the sensitive imagination. Archscologists the one that could weave melody upon its One must go back a long way, to be There exists a very interesting little book rhythm that stirred my soul to tears. What . thesis and the latter arsis. Thesis has its article. tell us that Berosus, the historian, has left golden strings. able to understand how it is that women about the clever ladies of the renaissance was the cause? Was it majestic rhythm or attendant depletion or discharge of energy Her altitude in this treatise is purely a record of the harp as it was known in Scandinavia gave welcome to these wan¬ have had so much difficulty in coming to the time, by H. Janitschek (Vienna, 1878). was it simple grandeur? while arsis has its attendant resuscitation Continental. The angle from which she Chaldea and Babylon. The Chaldeans seem dering minstrels who found that the harp front in music, especially in composition. There is a legend that Miriam (Moses’ A minister returned to his little village or restoration of energy. views the musical world is quite different to have given much thought to the perfect¬ preceded them in the Northland. The sagas In the renaissance days women were kept sister) was very musical. Anyhow she did having attended a meeting where he felt The nearer the approach to contrast, the from that prevailing in America, where ing of music for this instrument which was of a lieroic people were interwoven with strictly in convents. We read that the nuns lead the women who played the cymbals the majestic . grandeur of Nearer My God more intense the sense of life. The nearer a great deal of attention and consideration held in great esteem by all F.astern peoples. it* history, and to its strain* were sung in the convents of Italy had their own or¬ and other instruments whilst marching To Thee, sung by several hundred voices. the approach to monotony, the weaker the is given to women composers, and where, A tablet, identified as having been inscribed the deed* of vikings and the majesty of the chestras. That was as early as in the six¬ through the Red Sea. What he termed “life” in music did not sense of life. When absolute monotony is for instance, such a composer as Mrs. H. several centuries B. C., contains a pictorial sea*. Scandinavian music is said to have teenth century. Along with this quite a come from rapid tempo but from majestic reached, we become dull; brilliancy and H. A. Beach, who has risen to masterly animation cease to exist. representation of a group of harpists in the been derived from Icelandic sources. number of women in those days composed Women Composers’ Emancipation rhythm. From Scandinavia the minstrels wan¬ heights, is widely recognized not only by A man may be called “brilliant” because A hundred pounds of rubber tied to the palace of Sennacherib, King of Assyria. madrigals. If they had not achieved suc¬ AS SOON as music was no more con- dered over Germany, wlicre they found the women but also by the entire profession. he brings to our mind delightful surprises. rear of an automobile going twenty miles Their harps are small and have but few With the founder of our publication, we cess, their names would not have been A fined only to churches, the composers His manner of expression makes us say, an hour, lacks bouncing activity and we strings. The Babylonians also made use of art of music fostered to a high degree and handed down to posterity. began to write more freely. The names of the harp the royal instrument of courts. are very proud of the splendid list of com¬ “Thank you for giving voice to the thing say it “drags,” while the same amount of large numbers of players in their proces¬ positions by women that are in our cata¬ The height of writing fugues was reached women composers then became legion. One of the Rhineland’s earlier harpists was I have always wanted to say.” For this rubber in the form of a ball going at the sions and ceremonials; and King Solomon log. in 1555, and without hesitation or thought, During the fifteenth century the most same rate of speed has bouncing activity. the celebrated Madame Krumpholz, whose reason let us not forget to include the ele¬ is said to have maintained a bixly of four We present, therefore, these ideas of words were at that time added to these famous women were Margherita Archinta, The same condition exists in music. It genius was so great that the strings were ments of “surprise” and “manner” in our thousand harpists who played in unison Miss Wurm, not because we approve of counterpoint works, and singers vainly Cassandra Fedele, and a German nun, Clara is. not so much the speed rate of travel that •aid to be a* responsive to her dainty touch teaching. with an equal number of trumpeters. them, but because they represent some very tried to sing them with enjoyment. The Hatzlerin. The sixteenth century produced creates animation, or life, but the up and Rhythm in art design and music is a Familiar as was the harp throughout the as are newly-budded leave* to the breath interesting Continental opinions upon a celebrated composer, Pasquino, had quite ten noted women composers. During the down contrast of thesis and arsis ; the regu¬ thing of culture and dignity. Opr present East, during the pre-Christian period, it re¬ of live forest; and it was the renowned subject which must be a matter of curious a number of ladies as pupils. Vittoria Ale- seventeenth century we hear of twelve lar recurrence of accented and unaccented period of “jazz” will no doubt add some¬ mained for the Egyptians to give to it the master, George Frederick Handel who in concern to many readers of The Etude. otti (1546) was one of them. She conducted women, amongst whom are Italian, Dutch, beats accompanied by the depth and breadth thing permanent to musical • composition, decorative touches which later were to be¬ 1732 wrote hi* unexcelled theme Jor the Of course the magnificent work done by all the orchestral performances in the con¬ French, English, and German women of genuine emotional feeling in the inter¬ but certain dance orchestras which may come so much admired. Some of the costlier harp entitled Breathe Soft. IV U’Mt- American women, through musical clubs, vent at Ferrara, the orchestra being com¬ composers, whose works had been per¬ pretation of the composition. be heard on the radio are scarcely .worthy Egyptian harps were overlaid with gold- At the cl«»*e of the seventeenth century is without parallel hi Europe. The efforts posed of women only. formed with success and published. The The time value of a note may be meas¬ of the name rhythm! True, their noises are leaf and ornately wrought with represen¬ the harp seemed to be again threatened of these organizations have been very bene¬ nineteenth century furnishes an abundance ured in terms.of duration, while its rhythmic Feminist Musicians Favored most animating, but perhaps this might tations of flowers and grasses. One of these, with a brief obscurity, but its use has been ficial to women composers. of names of over seventy famous feminine value may be measured in terms of inflec¬ be explained as the emotional excitement dedicated to the worship of the goddess Isis, revived in all of live large orchestras of the Miss Marie J. A. Wurm, a gifted Eng¬ BUT WE CAN GO BACK still farther composers; and in the nineteenth century tion and activity created by contrasted rela¬ of “cat calls” and fun caused by the sur¬ is said to have been modeled of purest metal present age. The names of Zamara. lish pianist, was trained at the Stuttgart to the times when women who com¬ women wrote symphonies, and chamber tionships. Nothing else lends such instant CECILE CHAMINADE prise of unusual sounds and queer noises inset with the three-leaved lotus with petals Thomas. Barber. Schueekcr. Oberthhr and Conservatory, inhere in 1884 she gained the posed music or wrote poetry were the music of all kinds. Almost every type of interest to music as does excellent rhythm. occurring at unexpected intervals, while the formed of multicolored jewels of great Salzedo have been associated with if tame, Mendelssohn Scholarship. Supplementary pride of the town in which they lived. composition was attempted—operas, oper¬ value. Engravings of the harp, found upon their masterly musicianship has created to this she studied with such eminent artists How charming is the description of the was Cassandra Fedele in Venice, the other ettas, oratorios, nothing was found to be the walls of centuries-old tombs, delineate about this queen of musical instruments a and authorities as Clara Schumann, Joa¬ discussion in the Villa Alberti, in front was Isotta Nugarolo in Verona. In a book too difficult for the ambitious women. by Giuliano Medici, named “Libro del Nearly all the great singers have at all For That Weak Left Hand with much delicate artistry the carnivals glamor of romance that we may M* chim, Raff, Charles Villiers Stanford and of a pleasure loving populace and the never die. Carl Reinecke. Her debut in London was Cortegiano,” the author says, woman, to times had their own methods and vocalises triumphal home-comings of kings. made in 1882; and she soon became a his mind, should have a knowledge of published. But who uses them after the By Stella Whitson-Holmes favorite there and on the continent, where everything which a nobleman has to know. singer is dead? And here we come to one for some years she lived at Hanover and She must know literature, music, and paint¬ of the weak points which have all along ing, but must not do anything which is not prevented women's works from becoming Most students of the piano are right- hand, is an ideal one for making the pupi' TT WOULD SEEM that the harp of tl in 1911 moved to Berlin. She wrote the refined. “It would be ugly,” he writes, “to popular. Women themselves do not further handed, and while the left hand is often realize that there is as much strength anc A earlier Egyptians was quite similar t opera "Die Mitschuldxgen” (1921), an see a lady playing the flute (pipe), or the their own sex’s works enough. more flexible in itself, the student is likely independence latent in the left hand—onc( that of pagan Ireland; as a tablet writtc overture, a piano concerto, a string quartet, trombone.” Pietro Bembo wrote to his It seems the irony of fate that the only to have less control of it. Often, the teacher he has discovered it and gained contro by the famed historian Hesatacus | 500 1 sonatas for violin, for violoncello, and for of it—-as there is in the right. In the main C.) records that “This fertile island cot piano, a prelude and fugue for two pianos, daughter Elena, who was to be educated in composition by a woman which has be¬ it is the actual realization of this fac tains a great city whose people all exc many pieces for piano solo, and the choral a convent in Venice, “About your desire come known all over the world—becoming through activity that sets the left hand ii as harpists upon our eight-stringed bow work "Mag auch heiss das Scheiden bren- of learning to play the monochord, I must almost famous in a certain way—should Ex.3_ Centuries after Ireland became Christiai nen,” besides technical manuals.—Editorial tell you, that to make music is only the have been our grandmother’s sentimental tzed, the monks used the harp to great a. Note. desire of a vain woman, and I wish you to schoolroom favorite, The Maiden’s Prayer. vantage in their educational and evangelic become the most modest woman that ever I hear some reader ask, “Is that by a . HE QUESTION has been raised work in the monasteries of their own a, T lived. If you 'play badly, it will not give woman?” Yes it is, and by a girl named other lands. over and over again, “How is it that you much pleasure; if you come to play Thecla Badarzewska of Warschau (Var- finds that for many years, a pupil’s left there are no prominent women com¬ well, you must devote ten to twelve years sovie) who was only twenty-four when she hand will play distinctly only when it oper¬ Despite its background of dignity, tl posers?” That there do exist many women of your life to it, without learning anything died. She had written several other com¬ ates simultaneously with the right. While harp, in the early part of the twelfth ce who compose music is not denied. A sort else. It is sufficient if you know literature positions; but all in the same style. Surely this “borrowing” may not be altogether tury, came into disrepute, owing to tl of pitying expression comes over the faces and are at home with the other arts, also she never even dreamt that her name would objectionable, it is well for the left hand profanation of sacred music hv the lait of some people when they smilingly say understanding housekeeping.” become popular, or, to be precise, that the to develop independence of its own. To at¬ so that its use for more than a decade w that the compositions, even of those women So, although they had orchestras in all title of her composition would be known tempt this by forcing the activity of the banned, by the pious Pope Sylvester whose works have come before the public, the convents in Italy, there were also wherever pianos were used. left hand working alone is like forcing a Rome, in all of the churches. Unisonal sin are ?\ ?mab value. Of course only those parents who did not agree that so much balking donkey, and may often “set” the mg, founded upon Greek scales dcriv The writer of this article compiled, some not initiated would say that. If only men time was to be spent on learning a musical left hand in its difficulties all the more. from ancient Hebrew airs, was subxtitnt years ago, a dictionary of music containing the path of soaring achievement. Here are were able to produce big works, how is it instrument. At the St. Viti Convent in Fer¬ A study where it is demanded of the for its melody, the method used being t the names of all the women composers two simple and very useful exercises for then that there are not dozens of Beetho¬ rara, the Augustine nuns had an orchestra left hand to “take the lead” in activity and whose works are published, together with making the student conscious of his mus¬ vens, Mozarts, Bachs, Schuberts, and Wag¬ of twenty-three performers. There was a dynamic power while supported by the right cular powers. oistineSKrine aSChapelC2? .“rf* Choirs of the nresr,,* (Continued on Page 746) According to historical legend, the grt NOVEMBER, 1936 686 687 The "Forgotten" Pedal of the Piano The Midnight King By W. Ward Wright The Tragedy of the Mad Musical Monarch Whose Support Made Wagner’s Giant Projects Possible ->HE SOSTENUTO, sometimes Bach: and their discovery would be to “catch” the notes given before called the Steinway pedal, is the difficult for the discerning student. the example, with the sostenuto pedal. Simply depress them silently with the hands By Ernst von Schoenfeld and then depress the pedal. The results unnecessary adjunct, by European artists evident, : would give a yet fuller, not necessarily whose acquaintance- with louder, tonal effect at the close of the PART II passage. The reader can decide for him¬ DUCHESS SOPHIE CHARLOTTE self which rendering he prefers. for it by having it removed from their But it is in the music of modern com- ■ratal brrakdaua o/ U,fart, II «, cert pianos. Not all, however, thought of lad to Ail -o-fUn by (Ml keMijul pri,m. In fact the use of the sostenuto pedal is Posers that the sostenuto pedal becomes it so slightingly, for the late Ferruccio effective throughout the entire piece. The nothing short of necessary. Indeed, Mac- Busoni, who was ever openminded, fair ’'" ’ Dowell, Debussy, and others seem to have favorite singers of the court theater were and just, as he was artistic in his decisions, written with it in mind. How could the toward this lady, it is known that King addition to this, the poor woman, m the dearly indicates its use, in his monumental HE PLAN for a Wagner Festival invited, sometimes at unreasonable hours following excerpts from Debussy’s Hom- T Ludwig entertained for the Princess Sophia loneliest part of the forest, was forced to Theater did not mature, owing to the of night, or rather early morning, to render editions of Bach. Percy Grainger makes Ramean be executed without its the most exalted affection. It is also gen¬ render one of Wagner’s most dismal arias. extensive use of the sostenuto pedal, as is hostility of the critics and the tax paying Wagnerian operas. Here, too, in what was erally believed that this beautiful woman generally called the Winter Garden, was indicated in his own compositions. The in¬ public in its entirety. The scene, therefore, lost her promise of the Bavarian crown Night Gathers shifted to Bayreuth, where the great an artificial lake, rendered strikingly beau¬ formed artist student who has listened to through an unwholesome scandal at the T TIMES Ludwig became very violent Festspielhaus (Festival’ Theater) now tiful by decorative environments of fragrant A that most grateful pianist, Harold Bauer, time. The betrothal between herself and stands. Here again, the munificence of Lud¬ flowers, exotic plants and tropical vegeta¬ l and. being a man of great physical could not have been unaware of the effec¬ Ludwig was broken off and the latter be¬ wig appears. If it had not been for the strength, often put his attendants in peril tive use he frequently makes of it. came a confirmed woman hater at last. tion, and here the King might summon huge sums which he advanced before and of life anti limb. About thirty persons wtrt Mechanically considered, we can best King Ludwig, violently disappointed in either Herr Nachbauer or Herr Vogel to after the erection of the theater, the project more or less seriously injured by him and describe the use of the pedal by comparing his one vital love affair, was a prey to enter a boat drawn by swans and sing to could not have been made possible. Ameri¬ one was killed, not to mention the un¬ it with the damper pedal. When the latter himself. Whenever he came to the Residenz him the Swan Sony from “Lohengrin.” cans should remember that the twenty-five fortunate Dr. von Gudden. For slight pedal is depressed, the dampers of all the or Royal Palace in Munich, it was not to Vogel, who was familiarly known to the strings are released, leaving all the notes thousand francs which Wagner received for opera loving public of New York, was offenses he condemned his servants to be writing a march for the Centennial at see or to be in touch with his people—much confined in the dungeon of his castle, Nen- free to vibrate as long as it is down; but less with his courtiers. It is related that sometimes called upon to color real life Philadelphia, in 1876, were invested in this schwanstcin, or to I* banished to America, the sostenuto pedal holds only those on one or two occasions he gave a State with the spirit of the poet’s myth in less which the hands are holding down at the enterprise. artificial surroundings. This splendid tenor where they were to be placed under the On August 6, 1876 this entirely different Dinner, following the well honored cus¬ supervision of the police. One lackey, whom moment of its depression. It must always Without a doubt the composer’s inten¬ tom of his royal ancestors. But, though the was compelled to sail on Lake Starnbcrg, kind of theater, embodying Wagner’s ideals, lie accused of looking at him in an un¬ be depressed immediately after the notes tions were that the sounding of this one dinner was served in elaborate courses, and of a moonlight night, dressed in the silver e struck and before the damper pedal i< note be continuous throughout the last was dedicated. Ludwig had attended many armor and shield of Lohengrin, and to sing seemly manner, was obliged to wear a of the rehearsals, and it was his wish to he presided at the head of the table, there used. If the sostenuto pedal be depressed twenty-six measures of the Prelude. But for the benefit of Ludwig, who sat on the black mask in the royal presence for a have the first performance given with him¬ was no one actually to partake of the ban¬ with or after the damper pedal, its use be- as he had no such pedal as we have to-day, loses much of the sonority evidently de¬ shore. Poor Lohengrin was hoarse for a whole year: another had a red seal set m self as the sole auditor. However, he was quet but himself. The three or four hundred comes disastrous. Therefore the important he wrote the notes simply as eighth notes, sired, when the damper pedal is released month, after he one night fell into the lake. his forehead, on account of his supposed convinced that with the audience absent, the guests present were the figments of his thing to be remembered is to depress it Many pianists, though not familiar with at the change of harmony; but, if the pedal imagination. Thus he showed his supreme The Bavarian Treasury settled the tenor's stupidity. after the notes are struck, but before the the use of the pedal, nevertheless have acoustics would be very bad and reluctant¬ Whenever the King stayed at Neuschnn- under discussion be used, nothing of the ly permitted the public to attend, while he contempt for all his royal retainers and bill for doctors and medicine. damper pedal is used. divined the evident intentions of the com- sonority of the first G-flat chord is lost, socially ambitious friends. The King, being passionately fond of stcin the whole suite of apartments ws Artistically speaking, the sostenuto pedal poser and seek to retain the bass A-flat is reported to have been seated at the back brilliantly lighted with electric lamps, fed and the damper pedal is not forced in any of the box, virtually invisible. The theater music, generally had it “on hand”; and is often used for sustaining an organ point, throughout the two measures following Midnight Musicales by steam engines concealed at some dis¬ way to compromise the passage. Some at Bayreuth is built largely of wood. In sometimes he ordered a female singer to such as we find in Bach. Without its use, each time it is played, by only half-pedal- tance in the forest. But once or twice a pianists play the entire passage with the 1902 (?) there was erected in Munich, near AT THE SAME TIME he seems to perform. On one occasion he invited a the composer’s intentions can be in no way ing with the damper pedal, an expedient damper pedal held throughout the pianis¬ week he would give orders to hare w the site of the theater as originally planned - have possessed a liking for the old charming soprano of the Munich court fulfilled on the piano. Consider the follow- compensatory in part, inasmuch as the simo section; but to the writer this is In Ex. 6 the right side of the left foot six hundred candles of the "Singers HaD by Wagner and Ludwig, the beautiful Prinz Residenz in Munich, in a certain part of theater to take a drive with him over the ing from the last line of Prehide XII, melody notes and chords are very soft. somewhat offensive; and the problem be¬ puts down the sostenuto pedal; and, when lighted. He then paced up and down fee Regenten Theater, which is practically which, early in his reign, he had caused mountain estate connected with one of his Volume I. Part II, of the Busoni Edition Because the damper pedal is only partially comes entirely solved by the pedal mark¬ it is securely depressed, the foot is rocked identical with that of Bayreuth, save that to be built the famous roof garden—pro¬ castles. While she sat on the scat beside hall for an hour or two. At midnight * of the ‘‘Well Tempered Clavichord” of released, the long string of the bass ings that have been suggested. over onto the una corda pedal. Thus the it is made of steel and granite and marble hibited to the tread of all persons save His him in his landau, not a fringe of her gar¬ carriage waited at the door, and the M* Bach. sustained. But how simple our Let us examine the very Introduction to left foot is holding both una corda and —a very beautiful monument to a pathetic Majesty’s most exclusive friends. Here the ment was permitted to touch his royal per- would drive through the black fe*** problem becomes when the sostenuto pedal the Ballade in G minor. Op. 23, of Chopin. sostenuto pedals simultaneously. At first fanatic with a disordered mind who, in his Linderhof. The servants knew fuD is used. This will leave the damper pedal Nearly always, just when the student needs this may seem quite awkward, but with a day, was the only man of large resources no lights were to be extinguished xk**“ entirely free to clear the changing har¬ pedal directions most, editions are em¬ little practice it will become easy. who envisioned the tremendous power of royal equipage had passed a certain p: monies that follow each A-flat. Give each phatically silent on any suggestions. The Wagner’s genius. on the Pollach Valley, where the castles a fair trial and then decide for yourself passage, of course, should be pedaled, not¬ Ex.7 The King was bewitched by Wagner and visible in tire dark frame of which one accomplishes the best results. withstanding the lack of marks to this was eager to go to the greatest lengths to was his pleasure to stop there for a The comparatively technically simple effect, ill most editions of the “Ballades.” serve him. If Wagner did not directly urge, ment, gaze over the dark Prelude No. 21 of the same composer has The damper pedal used alone gives no ade¬ he did much to induce the King to with¬ rushing waters upon the hundred bnu for long been villainous for the student quate expression to the passage, the end of draw from the world and its realism and ly lighted windows, and to feel that he * to pedal effectively. Many pedalings have the first line sounding thin after the forte to attempt the living of an ideal life sur¬ built himself a fairy castle indeed, been used, but the one generally given in marked at the beginning: but with the use rounded by the luxuries of art, amid the weird custom brought him the name. editions of the “Preludes” is wholly inade¬ of the sostenuto pedal as indicated, we have mountains of his native Bavaria. Ludwig’s quate. The problem here is not unlike the complete tonal satisfaction. Midnight King." . -,j one in the prelude above. 'Harmonic bal¬ pride was stung by the refusal of the people On June 8. 1886, Ludwig, who ** of Munich to accept Wagner without mur¬ ance of the prelude is difficult to maintain. upon building castle after castk. mur or question. At all events Ludwig lost That is, the bass note of each measure dared insane by the Bavarian St* interest in the current affairs of the seat seems to be needed throughout the meas¬ of government. He spent the greater part his uncle. Prince Luitpold. was t"J* ure; but the left hand cannot hold it as of his time in his mountain castles. He de¬ acting king or Regent of Banru- ^ it plays the figure following. Therefore veloped a mania for constructing palaces a man of real power and fore? . many players have resorted to the same on a grand scale, which enormously in¬ greatly beloved by the Bavarunpr^ expedient as in Op. 28, No. 17, the half¬ volved the crown in debts amounting to It is the general opinion that The style here seems to demand a doubling pedal of the damper pedal. But when the millions of marks. wig II at that time umkrsiw’d ?\ - ^ of the bass note C, which is a short organ sostenuto pedal used„„„„ theII PHH|problem „ that was said by the dfpatltio" point. The composer wrote it with a single simplified by the pedaling as given in Ex. 3. A Monarch’s Malady upon him at his immensely w®- L because it was imperative that the C be -p q DIFFERENT STORIES have been re¬ Hohcnschwangau. A day or two law- held throughout the two measures, and the * ntf’cantaWe----—^ counted regarding Ludwig’s peculiar wig was conveyed to a castle only way this was possible on the instru¬ phases of insanity—as though some definite, charge of medical advisers aTL«di ment of Bach’s day was in the manner non-biological cause had produced it. One The next day. June 1L 1886, *0**“*', which he indicated, so that the hand could version is to the effect that both Ludwig I>r. von (sudden, who had »«*• ft* hold the bass C throughout the changing harmonies. But with the advent of the sos¬ and Otto loved’ the same woman—a sister of I.udwig for sonje time of the Empress of Austria, who was later tenuto pedal, the broadening of the two Royal Highness and Dr. \jit Sometimes it is advisable to prepare the the Duchess d’Alengon. Whatever may measures has been made possible, by its out for a walk along the short ™ ^ sostenuto pedal before the performance of have been the imbecile feelings of Otto use as indicated in the above example. Starnbcrg. Two or three hours There are many such examples throughout a piece. The “Sonata Tragica” of Mac- (Con limed on PW 736) pedal the same passage Dowell gives a very good example. 688 NOVEMBER. 1936 the eri"1 689 down by*? hand^mute^and the sostenuto Spirituals to pedal depressed to “catch” their dampers records and radio By Peter Hugh Reed blurr, by the customary use of the damp Symphonies PeLack of space permits us to give but a WF AMERICAN FRONT parlor The two tone-poems, Night-Ride and | - A brief survey of Negro Music in America, from the few examples of the use of this T Sunrise and The Ocean ides, of Sibelius, neglected pedal. But carefu study of ah the still is a music study asthe "manager3 which Victor issued in their album M-311, Jubilee Singers and their Spirituals to the playing of great masters will reveal ™^S1mdar '-* present any new slant on this com- Dawson s “Negro Folk Symphony” by the Philadelphia passages where it can ucoe useuu,v~ Gf the music division of continues poser’s genius that has not already been advantage. The discerning student will, by Broadcastmg System. T P aJ jn. outlined in his symphonies.symphonic., They do, how- Orchestra a little thought and experimentation, - tQ re;gn as society s unl , without ever, reaffirm“ our contention that he is one cover for himself many such places. strument. Radio is not gf 8 0f t|le most eloquent writers for wowood- time and care involved will in the end ^ Qr eyen get along with lessot_it. has wjnds and brasses that ever ^ ^ By Shirley Graham greatly repay him, and the third pe He further states th®‘di f serious Take, for example, his Sunrise music in eventually become a part of histechnic, dfawn an increasing and ence ^ot ^ ^ ^ first work with its deepdevotio.nl study, and performance, thoroug 7 . piano music lovers. Indi j ,cre character, which is widely exploited bv the The author of this inspirational article is herself a Negro musician of national enjoyed by both performer and listener terest and appreciation in pan^muMC^ bfassc8; an<). more import** the mag- reputation. Educated at Oberlin Conservatory, where she attracted the interest ahke. shown this past year th 8L tion with nificent sea music which he has created in and encouragement of the leading instructors; at Howard University, of Washington, D. C.; the Institute of Musical Art, New York City; and the * * * suchnerr'ogramSreas1VAlexanderie^emmler’s the latter part of The Oceanides, where he Sorbonne of Paris; for three years she was musical director of Morgan College exploits tlic lower depths of the orchestra of Baltimore, Maryland; and she has lectured widely on Negro music. Miss in a manner never before equalled. These Eugene Goossens recently wrote, o^E. Robert Schmitz. MARIAN ANDERSON Graham’s “Tom-Tom,” an opera in three acts, of which the composer zvas R. NATHANIEL DETT "I believe that modern music com- writers checked the pianists for ac- works are performed by the British Broad- her own librettist, had its world premise on July 3, 1933, at the Cleveland some wrnvis -raise casting Company Orchestra, under the position has come to an impasse in its CTracy.^while others^wrote^sinipjy to^TW« ^ Boult. ON THE EVENING of April 2nd, {Ohio) Stadium, in a spectacular production, zsrith full orchestra, five hundred with a brilliant performance of Dawson’s trend towards 'laboratory atonal- them. All writers, however, expressed v..- 1935, Rankin Memorial Chapel of dancers and singers, and with Jules Bledsoe in the leading role.—Editorial Note. symphony directed by Dorsey Whitting- and recording are splendid. Howard University was filled to ism,’ and that a return to the roman-. thusiasm andana favon.lavui. Hence, these two pian- ham. When we turn to a work like Haydn's capacity for the sixth annual concert of the ticism of fifty years ago is imminent jsts are hack again tins fall givng ’'icir And Wider Recognition usual"'weekly recitals. Students mterest^Vj - “Third Concerto in D major for Violon- Howard University Concert Series. The The second movement of this Symphonie the symphony by any such measure¬ and has been already begun.” ET THE TRUTH is that Dawson's guest artists were Hans Kindler and as Espagnole is one of the most beautiful of ment they would be signally wrong." Y Columbia album 262, one is grateful th is the third symphony by a Negro, from these programs. It is difficult to many of the members of the National its kind in all violin literature. A change fitted the composer has permitted this essentially Symphony orchestra as could be crowded It is not our purpose here to quote the which in the last four years has been derstand why such programs a came over thk black man’s face. It softened, songful instrument consistently to sing. Tlx upon the rather small platform of the his eyes closed, and I saw again the face columns which were written in every played by a reputable orchestra in this The Gift of Liszt to Grieg into an evening schedule, when the greater country. And one of these symphonists is number of listeners could benefit from them. work is a particularly genial one. and one chapel. The first part of the program had of Roland Hayes as he sings Sometimes I which lias an inevitability in its formation gone well. Bach, both Johann and Karl a woman! Florence B. Price. Lownsbery Surely, if these broadcasts have proven feel like a Motherless Child. Here was no By Eloise Philipp, and Wagner had been received Mrs. Price was born at Little Rock, themselves of such interest, some enter¬ Haydn was truly inspired when he wrote novice. Behind him was not only the New by the Howard Hill section of Washington Arkansas, and is a graduate of the New prising sponsor could be found , back this concerto, although not profoundly England Conservatory, but ten years of moved. The recording is finely balanced with a grateful appreciation which must concentrated study in Paris. He knew what England Conservatory, where she studied At the peak of his fame, a master Sie fort; kh sage Ihnen, Sie haben das them for an evening period! have warmed the hearts of conductor and counterpoint and composition with Fred¬ Zeug dazu, und—lassen Sie nicht ab- Those who are interested in enlarging and clear. _ he was doing, he knew the elements that musician, pianist and composer, Liszt loved players alike. So far there had been little erick S. Converse. She also had later study schrecken- (Keep steadily on; I tell you, their record libraries, are often concerned Schubert “Trout Quintet Opus 114," had gone into the making of those melodies. nothing so much as discovering talent and else to differentiate this concert from hun¬ This night he wept for those black Moors under Wesley La Violette and Arthur Olaf you have the capability, or the capacity, to know what is and what is not on ree¬ was written in 1819, during a summer genius in others. But though hundreds of holiday in Upper Austria. The composer dreds of others given by the National who were forgotten. Anderson, in Chicago. She has written young students had sent him their compo¬ fer it, and—do not let them intimidate ords. If one’s taste is eclectic, he is apt to was completely liappy. It is this elation Symphony Orchestra. But when, for the songs; a piano sonata and other piano sitions, Grieg had not. you).” find record catalogs disconcerting. Rcaliz- .. . second half, the lights dimmed and through A Racial Contribution pieces; a sonata, a passacaglia and a fugue, Imagine then, young Grieg’s astonish¬ Imagine Grieg’s joy at such praise! No ;ng this, and the importance of assembling which we feel in the tv: the back door came Hans Kindler, the AFRICAN TECHNIC! It came through for the organ; a string quartet; a quintet ment on receiving, in the year 1868, a wonder he walked away with his head in a complete list of the most important do- tonalit ",. evening took on a unique interest. For, pre¬ A in another way in the third movement. for strings and piano; a concerto for piano letter from Rome, written in French by the clouds, feeling that since Liszt ap- mestic and foreign recordings under one *l°w movement si||UU a moonlit me-. ceding the conductor, his violin under his Pain and tears were gone. He laughed, his and orchestra; two symphonic poems; a Franz Liszt, praising Grieg’s “Sonata for proved, others were bound to, in time. catalog cover, prompted the (Irani)>ph.. ’ c °’n'I*“cr t. chorus for voices, organ and orchestra; and if the music abounds’in sunlight arm, his step lacking nothing in either teeth gleamed, his body rocked. The entire Violin and Piano,” which someone had Shop of New York City to enlist the the grace or dignity, walked—a black man. orchestra caught the passion of his playing the symphony already mentioned. •ithout shadows or clouds. The work gams shown him. services of R. D. Darrell, widely known “Colored” is such a meaningless word; this and they, too, played with abandon. Black On June 15th, 1933, Dr. Frederick Stock s name from the composer’s usage oi This letter changed Grieg’s whole life. for his writings on records, in compiling man was black. As they took their places, and white meeting on the common ground included this “Symphony in E minor” on For at twenty-five, full of melodic har¬ Encyclopedia of recorded music. The song. 7 lie Trout, in a scries oi rtliltiw the one upon the conductor’s stand, the of Spain. Black jongleur! a program of the Chicago Symphony Or¬ monies which were too modern, too dis¬ “From Russia and America will come the work, nearly7 600 pages in length his fourth movement. A n other facing the audience, a quick look of This is not an imaginary fantasy. It chestra, at the Century of Progress Expo¬ sonant to find either publishers or friends, great music of the future. These countries columns to a page, one of the i of this genial work lias been needed for a understanding passed between the two men. really happened. Louia Vaughn Jones was sition, which was broadcast. Then, in 1934. Grieg was in despair. But when Liszt’s are the youngest in art, and my sympathies tentious and valuable of its kind ( long time, since the only existent set m a smile flashed for a moment. Then the the soloist. This incident is recounted not the Chicago Musical College invited Airs. letter of warm appreciation was shown to and beliefs are always with youth. New pleted, took over two years in the making.making, domestic catalogs was made nine years ago orchestra began to play. because it is extraordinary, but because it Price to appear as soloist in her “Concerto the Storthing, or Parliament, of Norway, York today is the world’s musical center, Mr. Darrell has acquitted himself. with high This need lias at last been met with the Do you recall the vigorous attack of is typical of something which is to-day hap¬ in D minor” for piano and orchestra. This they changed their minds and allowed their and the musical development of America honors in his catalog work, and has earned issuing of Victor set No. M-312. in which the first movement of Edouard Lalo’s pening in America. same number was played by the Woman’s young countryman a yearly pension which progresses rapidly. The musical taste is the everlasting gratitude of all interested Schnabel, Hobday, and three members ot Symphonic Espagnole? It is direct, chal¬ Last November, over the network of the Symphony Orchestra of Chicago. meant freedom and the opportunity to com- being developed very rapidly, and I must in recorded music; but the same cannot be the Pro Arte Quartet, do notable jushet lenging. Eagerly the soloist tucked his National Broadcasting Company, thou¬ In 1931 The Rochester Symphony Or¬ say that in this development radio will play said of his biographical notes, which are to the music. . _ violin beneath his chin, his bow seemed to sands of people heard the first performance chestra played the first symphony of Wil¬ It meant too a trip to Rome to see Liszt 1 a very important part.”—Leopold Auer. strangely critical for a book of this kind. Another chamber work which bam? leap into motion. As I leaned forward there of William Dawson’s “Negro Folk Sym¬ liam Grant Still, of whom Stanley Nelson, Two unforgettable days for the young needed to be recorded in a modem version was a vague feeling of having experienced phony,” as it was played by the Philadel¬ writing in the Melody Maker, London, Norwegian. For on the first day, Liszt was Beethoven’s first “Rasumoisky I™' it all before. Not the symphony alone, but phia Orchestra; when the announcer gen¬ FLORENCE B. PRICE states, “Still is in many ways the most played his “Sonata for Violin and Piano,” tct. Opus 59, No. 1." The I-ener set un¬ all those little “turns an’ twistin’s,” rhythm erously allowed the radio audience to hear remarkable man in American music today.” both parts at once. As Greig watched, made during the Beethoven Centennial owf that seemed attuned to the pulsing of warm' the spontaneous applause which interrupted Philadelphia and New York paper about Marion Bauer, in her “Twentieth Century Liszt seemed to be all over the piano at eight years ago. In replacing tnisj" blood, a beat as relentless as the beating the symphony at the close of the second this symphony and about its modest thirty- Music,” refers to him as “a Negro who one and the same time, never missing a Columbia wisely turned to the Rothv0" of a heart. There came to mind the words movement—a rare departure from the five-year-old composer. They were re¬ uses Negro music as the basis of his com¬ note, bringing out the full tonal quality of tct. whose feeling for and comprehetwt* of Alfred Friedenthal who, in his “Musik, usual dignified procedure at the Academy printed in periodicals over all the country. position in modern vein.” She gives as his the violin—a truly masterly performance. Tanz und Dichtung,” says: of Music. Many of the listeners were a There was even a regrettable touch of sen¬ On the second day, Grieg carried with of these quartets has long been P™*?* most important works an “Afro-American little bewildered. Had not the program an¬ sationalism. In this Alabama was not to be him to the old monastery the manuscript public performances. The "F major C Symphony,” “Africa,” for orchestra, and 'Here stand these two races facing nounced a number written by a Negro? outdone. She lavished praise upon this na¬ of his “Concerto in A minor for Piano.” tet” is the strongest work of the three tw two stage works, “La Guiablesse” and each other, both highly musical, but Could this music have been written by a tive son. The Montgomery Advertiser “Sahdji.” It had just that day arrived back from a form Opus 59. It proves Beethoven s cvol reared in different worlds of music. Negro? Less than a week later Dr. Sto¬ quotes Dr. Stokowski as saying: publisher in Leipzig who had refused it. tionary genius, not only in its Neither of the other two symphonies Little wonder that the Spaniards kowski directed Dawson’s symphony in At once Liszt seized upon the bulky also in its inspirational content. The • The folk symphony of Dawson is was so widely acclaimed as was Dawson's. quickly took advantage of these re¬ Carnegie Hall, New York. Again it was parcel under Grieg’s arm. recording is most realistic on a ns an important step in 'the development Perhaps he was particularly fortunate in markable rhythms and incorporated enthusiastically received. “Oh, now you will play this for me,” he phonograph (see Columbia set 256). of music which truly represents and time and place. Still’s work was played in them into their own music. ... We Olin Downes, writing in the New York beamed. Beethoven, the Titan, shouting ht* expresses the spirit and rhythm and the winter of 1934-1935, in Leipzig. Stutt¬ therefore have, in a way, the union of Times of November 21st, said: gart and Berlin; and he himself was for “Oh, but I couldn’t,” said Grieg, much aiKc to man and God. is m Spanish spirit and African technic.” life of our country. Its themes are spir¬ embarrassed. “I have not practiced it.” the opening movement of the - “The audience reserved its enthu¬ ituals, and rhythmic and melodic the second time awarded a Guggenheim “Very well, then,” replied Liszt, smiling Opus 111.” his last for the P**- . Spanish spirit and African technic! siasm for the symphony of William forms which, although African in dis¬ Fellowship for continued composition. at his guests, “I will show you that I, also, work is one of the most difficult Edouard Lalo is one of those Frenchmen Dazvson, the Negro composer born in tant origin, are American in their No one has made a comparative analysis cannot play it.” compositions ever conceived, rrom who, with Bizet, enjoys the prestige of Alabama, who now teaches in Tuske- present spirit. of the three symphonies, nor is anything Whereupon he read it at sight, at so ance. in the opening movement the ^ disseminating throughout the world the gee Institute. The end of the concert Dawson has made himself a master like that to be attempted at this time. The writer has seen the score and heard only fast a tempo that Grieg had to slow him poser turns to resignationi m ^ spirit of Spanish music. Though born and sazv a majority of them remaining to of the zvhite man’s most highly devel¬ one of them; but every one of those origi¬ down, and with such ease that he had time movement to submission and I*2 educated in France, he is perhaps more applaud long and lustily and to call oped musical instrument, the symphony nal sheets which were handled revealed to make comments upon it to his listeners, go hack to the "Sonata Pathetique- ^ truly the precursor of De Falla than is Mr. Dawson several times back to the orchestra; and as an American musi¬ clearly that the composer was one who had brilliant remarks about his comprehension 13,” for a parallel to the opening Pedrell. J. B. Trend, in his book “Manuel stage. Some unll attribute this acclaim cian I am happy to be his interpreter of it as he played. de Falla and Spanish Music,” writes that to the audience’s impulse to honor a and to welcome him as a brother been carefully trained, had pored over many last sonata, and to the "Ap^^12^^ artist.” scores, and knew instruments. Which So impressed was he with the finale that 57,” for a parallel of the ascending, the change which occurred at the end of gifted artist of the Negro race for a he repeated it. “When he had finished,” „ . ... A MEMORY of OLDEN SPAIN the nineteenth century was not a renais¬ stirred the reflection that his parents could Spam, torn with internal strife during the last passages in the first movement. °n. ^ signal achievement. In this they would The Birmingham Civic Symphony Or- wrote Grieg, “he handed me the manu¬ sance, but a getting down to facts. sing only spirituals. Spam lovely dreams and Gypsy melnUt. of. ists with the highest intellectual ^ be partly right, but if they estimated :hestra closed its season, on April second, script and said in a cordial tone, ‘Fahren 0th!0ZlZndreay?and 6yp^ ^‘diesusmeu,isUnT? differrrt /*-«•»• Spirituals to symphonies in less than fifty the smaller villages scenes quite similar to th to find technical gifts i me one here shown. NOVEMBER, 1936 (Con 739) 690 691 > ETl tt cn;r;tuals offer the scorn with which the poor white » 4. The fourth group of spires Their garded the slave. mte re’ Oberlin that they had been invited by years! How could they even attempt it? serious difficulty rf class fi ^. firstf Mr. Jackson offers as proof four hu„dred Among her millions of citizens, America can boast of but few symphonists. Delight¬ «*“« <* »“h. ful piano pieces, songs, marches—yes; but „ and ridicule of ^associate,his associates by tak- highe.second, they show ■>** very, very few symphonies. ing out this band of colored hm. decidedled outside i than tthehe the spirituals are— drawn- from the• Bible- The Chicago Symphony Orchestra Primitive Backgrounds their own simple songs. Now he rejoiced ricner^ in "tetody and |i £ but o{ No matter how changed or misinterpreted in their triumph. He had a passionate be¬ HERE ARE behind this seeming phe¬ other songs, lessi rhy*"11 , £ ■ 2, To be that text may be, no matter how pc!l r T lief in his mission and m the power nomenon the natural laws of evolution a moving and philosophical ^ esque or dramatized, a„ o{ ^ this music. What to call his singers? Not (Founded by Theodore Thomas) and development. It is possible to trace appreciated, they ®us great chorus, spirituals are related to his understanding minstrels, certainly. Looking into the tu- ■ that evolution directly from Africa. In our organlike resonance ot » d b the cf the teach.ngs which came to him from ture, visioning the trails they would blaze, opening paragraphs we have touched upon They are never adequately renaen j Christian religion. the hearts they would reach, he said, this blend- the Christian religion. By Florence Leonard Africa’s influence upon the music of Spain. solo voice. They were, conceived a is our year of jubilee, this is our time of tones. If the reader ever Not only was _ the slave indebted It is equally true that wherever black men ing and uniting; of tone* « tNegro chorUs white man for the texts of his songs, but rejoicing and thanking God.loou. Wewc ’ ,i trained Negro chorus have gone they have left the unmistakable Even he could not has g^d^ nses ^he ^has had^ an„„ emo- also m the matter of harmonization must SIXTH IN THIS SERIES UPON GREAT AMERICAN ORCHESTRAS trace of their presence upon the music of Fisk Jubilee Singers.” Even he have dreamed how prophetic sing y which will not be soon one recognize European influence. The that land. And that added color has been tional experience preface found in many of the collections ol for the enrichment of the music. WOfSthe spirituals and these early Jubilee forgotten. Negro spirituals is misleading. In one pub- Secular music of American Negroes de¬ lished by Schirmer in 1918, w veloped first in the extreme south, and par¬ THE THIRD OLDEST symphony- besides the alluring one of music, rehearsed which supported the roof had a grace of ticularly in those sections which were con¬ "The harmonies are the Negroei orchestra in America is that of Chi¬ with him but two or three times a month, outline; and, besides its enormous seating trolled by French and Spanish peoples. I have added nothing and htree cago. It was founded in 1891 by and meantime were perhaps playing in capacity, it had, at either side, broad The West Indies Islands, the shores of the striven to omit nothing. Every note in Theodore Thomas, with the support of brass bands, or perhaps not at all. Balatka’s arcades, large enough for the promenading Gulf of Mexico were not subject to the every voice urns written down as sung public minded citizens of Chicago; and it playing was correct, musicianly, and it had of many thousands of people. The audi¬ rigors of winter. Nature was friendly. The by groups of Negroes, utterly untaught has had but two conductors, Theodore also distinction and charm. torium itself was divided by a little railing DH. FREDERICK STOCK planters themselves asked only for com¬ musically, who harmonised the old Thomas until 1905, and since that date, Nevertheless, there was something more of iron, into two sections with a corres¬ fort and ease. Except for the occasional melodies as they sang, simply because Frederick Stock. to be had from an orchestra. This some¬ ponding difference in the price of admission. the whole West were to owe a vast and efforts of some zealous priest, the blacks it was natural for them to do so." It was known at first as the Chicago thing was set before the people of Chicago At the end where the concerts were given, beneficent project. This man was Charles were left undisturbed to follow their own Orchestra; after fourteen years the name Harmonization is not unknown to the in strong contrast, when Theodore Thomas, lights, potted plants, evergreens and mov¬ Norman Fay. emotional tendencies. That they did follow was changed to the Theodore Thomas Or¬ African (see Laubcnstein’l “A Study of making his first tour with his orchestra, able chairs, made an attractive setting for them is shown by the fact that Africa chestra, which was not changed until events Negro Harmony." Musical Quarterly, July, played his arrangement of Schumann’s the occasion; and the skill of Thomas in Fine Seeds are Planted transplanted may still be found in certain succeeding the death of Thomas proved the Traumerei on the night following Balatka’s 1930) ; but tin: Negroes who were singing constructing a remarkable sounding board, N 1881 the Chicago Biennial Musical portions of the Virgin and West Indies wisdom of choosing the present title. It performance of an ordinary arrangement I those songs were too far removed from prevented the music from being lost in the Festival Association was organized, to Islands, Cuba and northeastern South owns its own home, seating 2,582, a build¬ of the same composition. The event was to immense space of the auditorium. Chicago give a festival in 1882, with N. K. Fair- America. These were not the sections that Africa and too close to white Americans ing which was an outright gift, provided by become historic. “Thomas swept every engaged Thomas for a long series of sum¬ bank, George L. Dunlap, Philo A. Otis, produced spirituals, but here were rebuilt to have retained tlie delicate subtleties of donations ranging from ten cents to twenty- hearer away into cloudland.” In 1871 his mer concerts in this hall, in 1877. George Charles D. Hamill, George Sturges and African instruments, rhythms and dance their native harmonization. For African five thousand dollars. The orchestra has visit was repeated, and the next season, Benedict Carpenter was the organizer of Milward Adams as its officers. During the patterns in their purest forms. harmony is complex; "polyphonic parallel¬ always been a “community” enterprise; 1871-2, the Crosby Opera House, which these concerts. Thomas was as quick to winter of 1881-2 there was but a short That this music lends itself to instru¬ ism" is characteristic; and the tonic, sub- for its financial burdens in its early days had been handsomely renovated, was recognize the musical spirit and the public series of concerts in Chicago, but the chorus mental development is attested by many dominant and dominant chords of the were borne by many people. Its affairs are to be opened by Thomas, with a series spirit of Chicago, as Chicago was quick to for the Musical Festival was being re¬ modern works. Henry Cowell, writing in simple songs heard by the slaves were very now controlled by a body of forty men, the of orchestral concerts lasting two weeks. recognize the musicianship and worth of hearsed by Mr. W. L. Tomlins. The festi¬ Modern Music, January, 1931, said, “Cuba easy to catch by cars which had listened Orchestral Association. It has an old age It was, unfortunately, on the very Thomas. He wrote of the “open-hearted, val was to be given in May, directly after possesses both a highly original Negro folk for the soft pad of the jungle panther and pension fund, and carries life insurance on morning of Thomas’s arrival in Chicago generous, enthusiastic” people; and he said, that of Cincinnati, but with a different pro¬ music and talented cultivated composers the whispered hiss of poisonous snakes. each member of the orchestra; for neither with his orchestra, that the opera house “Chicago is the only city on the continent, gram. Thomas was, of course, the director who have developed some of the unique Kirby, in "A Study of Negro Harmony," of which enterprises, however, are the was destroyed in the great fire. Thomas except New York, where there is sufficient of this festival; and this was followed by a features of the primitive material into the Musical Quarterly, July, 1930, says: players assessed. had expected a renewal of his contract for musical culture to enable me to give a brief series of Summer Night Concerts. basis of a sophisticated style.” Its season is twenty-eight weeks, during two years. This was now, of course, im¬ "Whereas in European polyphony series of fifty successful concerts.” In ac¬ For the next few years Chicago had to It is not mere chance, or even necessarily which it gives one hundred and twenty-six possible. Nevertheless, he gave concerts in the various parts arc related closely cordance with his knowledge of the city, content itself with a few concerts in the superior genius, that makes the jazz of concerts. In its own hall in Chicago, it Chicago the following season, four of them, THE SCHOOL OF MUSIC, HOWARD UNIVERSITY, to each other as well as lo the baric he prepared programs of a good artistic winter, by visiting organizations, the Festi¬ Darius Milhaud much more effective than gives twenty-eight Friday afternoon and and of these one had a Wagner program, part, in these Negro songs the singers standard, though somewhat light in char¬ vals, and the Summer Night Concerts. that of his compatriots who were working WASHINGTON, D. C. Thursday evening concerts (the Thursday and at another he introduced to the enthu¬ in the same medium. Milhaud had the op¬ appear to be content if the different acter. At the suggestion of Mr. Carpenter, In 1879 Charles Norman Fay had spoken ‘harmony parts' are in agreement aid evening concerts replacing those which, siastic welcome of Chicago, those two the Chicago manager of the orchestra, he portunity of hearing the black man's music until the season 1931-2, were given on with Thomas on the subject of a permanent Singers much has been written. We would When Doctors Disagree the lead, even if they are not at all mighty geniuses, Anton Rubinstein and H. instituted a series of request programs, and in that environment where it had developed Saturday evenings) ; twelve Tuesday Wieniawski. orchestra for Chicago and had even then without restraint. He spent two years in avoid mere repetition, but there should HILE WE DO acknowledge the limes in agreement with each other. the names of the composers on the first of proposed to raise the money for it. But W afternoon Symphony Concerts; fourteen There had been in Chicago, before this Brazil, he explored the islands, he watched be stress on the fact that it is the “Afri¬ white man’s influence in the making Thus chordal combinations have arisen these are Wagner, Beethoven, Handel, the idea was not then to bear its fruit. In Popular Concerts on Saturday evenings time, several large and excellent choral the natives dance; and when in 1919 he canisms” of these spirituals which our of these songs, there must be a refuting of which are not usually found in simfU Liszt, Rossini, Schumann, Vieuxtemps, ten years, however, during which time the (formerly Thursdays) ; and twelve Young societies, which had helped to form musical returned to Paris he imitated what he had composers are endeavoring to develop the claims made by Mr. George Pullen European harmony, and the result Gounod, Strauss (Johann), Ghys, and People’s Concerts on Wednesday after¬ taste. These were the Beethoven Club and project had been ripening in Mr. Fay’s seen and heard, in his cycle for the piano, Jackson, in his "White Spirituals in the sounds lo the ear much more odvancii Herold. The fact that the “Eighth Sym¬ noons. At the University of Chicago it the Apollo Club, directed, respectively by mind, he thought he saw the way to its “Saudades do Brazil.” Of his more ambi¬ Southern Uplands.” His chapters on the phony” stands on the same program with realization; and, after having obtained Mr. Natural Classification in design than it really is." gives eight Symphony Concerts. Ten Sym¬ Carl Wolfsohn and W. L. Tomlins. These tious work, “Le Creation du Monde,” the Overture to "Zampa” and a Strauss development of “singing schools” among phony and two Children’s Concerts are Thomas’s consent to his proposition, he set Aaron Copeland says, “ ‘Le Creation du :GRO_ SPIRITUALS fall largely the mountain whites are most instructive; Now this complexity of design offend societies gave important performances waltz, shows that audiences had in fifteen mountain wnues are most instructive; , .. .. given in Milwaukee; and occasional per¬ every year. The Mendelssohn Club and the about raising the funds for such an orches¬ Monde,’ written in 1923, on a scenario of N* Four Classes. but his arguments that it is from these «WMiha!?” * *?L_- _ years traveled far from the programs in formances are given in suburbs and nearby Musical Union were other notable ones. tra. His task was to secure signers to a Blaise Cendras, treats of the creation of 1. The oldest and nearest related to the singing schools and from New EngUl ' *“*S*ft which Thomas himself took part as a vio¬ Chicagoans had built, “as a kind of chal¬ guarantee fund of fifty thousand dollars a the world according to African legends. African chant. This type of song is that song books that the Negro learned : ‘nKmd 4 linist, when he played in The firefly Polka year for three years, and thus to form the Much of the musical material is based, ap¬ which is begun by a “leader” (in Africa spirituals are untenable. Burleigh. R. Nathaniel Dett-Ncgiws dj This splendid organization owes its lenge to the world after the fire,” a huge in a New York orchestra. During this sea¬ existence to Theodore Thomas and his far- Exposition Hall, on the lake front, extend¬ Chicago Orchestra Association. This Asso¬ propriately enough, on jazz. There are a the medicine voodoo man or priest) it seems to me tbat tbe autbor destroys —had the advantage of excellent ims*® son of 1877 Chicago heard also three ciation was to replace the old Chicago Phil¬ fugue on a jazz theme, a fascinating blues and calls forth training. Johnson was an early grid®”- seeing supporters; but it had its origin, as ing from Adams Street to Madison. For national programs—Scandinavian, French C“„S°n!e‘, , the validit>' of his c'a'm in his opening harmonic of local talent, with its twelve section, and then a long melody over a melodies fall into a scale closely related from the New England Conservatory had the orchestras of New York and years great conventions and creditable in¬ and Italian. chapter when he says: Boston, in the singing societies and the dustrial exhibits were to be found in this concerts a year, and to enlarge both orches¬ barber-shop chord accompaniment. Milhaud the pentatonic and can be easily imagined Dett from the Oberlin Conservatory. W It was to one of these summer concerts tra and season. In two years this task was “The tidewater sections of the South¬ early efforts of a few enthusiastic musicians hall. It was not built for music; it could has understood, better than any other as being sung over the accompaniment of it is to be remembered that these men that there came a young man from Mar¬ accomplished, the officers of the association European, how to assimilate the jazz beating tom-toms. Repetition and overlap¬ east will have no part in our consid¬ earnestly endeavoring to present the n® to play symphonic music. boast neither interior finish nor decoration; quette, Michigan. To the impressions made yet the arches of the great steel girders elected, and the contract with Mr. Thomas idiom” (Modern Music, November, 1928). ping of melody is frequent. Examples: I eration. These sections were the of their people, to ears which bal ; on his mind at these concerts, Chicago and signed. territory of the big-plantcr and Negro- Humble Beginnings Much could be said of how this music gotta Home in dat Rock and Sometimes I been accustomed to certain musical trw The new orchestra was to consist of found its way “up” the Mississippi River feel like a Motherless Child. owner type of patrician American. His tions. They therefore carefully so IT WAS in 1853 that the Legislature of Illinois incorporated the Chicago Phil¬ ninety men, engaged at salaries which and along its tributaries (rivers see strange 2. Melodies of a slightly later period culture was forcign-influenced and dissonances and smoothed away ’ harmonic Society, and entitled the bill in would bring them under exclusive control things); of how it crossed the Atlantic find the addition of tones from the Euro¬ comparatively urban. His music, what in its strangeness, might seem of Mr. Thomas, and they were to play with Williams and Walker, and how finally pean scale, a greater spontaneity of group all seriousness, “An Act to Promote the there may have been of it, came in as and uncouth. To-day. more mamrcaW*^ twice a week for full seasons of twenty it became one of the determining elements singing and the lessening of the strong Science of Fiddling.” an urban article imported from abroad ciation and understanding by the - weeks. Further, an important clause in the of that expression called “jazz.” It is from drum beat. A few years later, Beethoven’s "Fifth and from the northeastern cities of themselves have brought about am _ . contract read: “The intention of the Asso¬ this section that Samuel Coleridge-Taylor 3. To the third group belong those har¬ America." Symphony” was performed by this society; attitude towards the “arrangements ciation being to lodge in the hands of the took his Bamboula and Nathaniel Dett his monious, rich musings of united spirits and, as one critic reported, the audience Director the power and responsibility for Juba Dance. which move with all the dignity of men Since he himself says„ I_HL that this v the spirituals. bore it “like -martyrs.” Henry Ahner was the attainment of the highest standard of The Negro composer is heir to all this, who, through suffering have come into a section °f the “Negro-owner,” how could _ , ir - for some time conductor of this pioneer artistic excellence in all performances given but if he is born in the United States the deeperueeper realization otof their relation with Negr<** have taken their music from A Master Points the H V orchestra. by the Association.” spirituals are even more definitely his own. powers outside themselves. It has usually in tht *?erently omditi.Mu-d people »T«HESE EARLIER and Hans Balatka, a Moravian by birth, from Thus the munificence of Chicagoans and been assumed that this attitude was pos- hill m°Unt?,n va,,e>s- and 1 lowers had received them ; Hoffnungsthal, had come to America in their ability to recognize Thomas’s high The Troubadour Prophets sible only because of the slaves’ early ac- Tack-son *° Mr. and fanpeCM ior work directly ityt 1849, and when a group of music lovers qualities of leadership, opened the way for NO ONE KNOWS just how they came ceptance of Christianity. Studies recently ignores t^w!n w ****0. Thc "Hter •**> hy two events which took ***** organized a new Philharmonic he was made to be called “spirituals.” Negroes being made of African religions tend to conductor of this orchestra till 1868. He their great orchestra to come into exist¬ called them “plantation melodies.” There ence. Fay, himself, N. K. Fairbank and shake that- assumption. - ... It would seem- ■that was “one of the great and admirable souls is a story of how the first group of singers a fundamental belief with the African is whose work for art lives after them,” says Marshall Field each contributed five thou¬ received their name. It was in 1871. The the oneness and omnipotence of God The Russell. He was a most excellent conductor, sand dollars to this fund. The nucleus of little band of ragged Fisk students had teachings of Christianity were grafted upon according to the critics, but his material the orchestra was formed of sixty of the so charmed the assembly of Congregational this old religious conviction and gave birth was deplorably poor, in that these seventy players who had so long been under Mr. ministers and church officials convening at to Steal away to Jesus. men, who were engaged in many pursuits SYMPHONY HALL, WITH Thomas’s baton—the “regular orchestra”; and the thirty “extra” men were taken 692 NOVEMBER, 1936 the ETI d1 693 . weeks’ time, the has so honored an unknown man. come to an end funds for the Under Mr. Stock’s direction the orches In 1897-8 the organization made an from among the musicians resident in Chi¬ close of the seas n, were subscribed tra continued to uphold its old tradition em Tour, which included for *efir,; cago. These formed "the finest body of erection of the new f'hicatro re- and also to adapt itself to the new de¬ the city of Boston, and won superlativ Tone The tataj. players that money and experience could mands and new opportunities which the BAND AND ORCHESTRA DEPARTMENT of admiration,” as the sponded immediat y ^ build- years were bringing. Some of the note- bring together.” . phrased it, from the critics of that city, of $100,000, to secure * face of With this new orchestra residing in Chi¬ worthy events of these later years have indeed elsewhere. At this time ing (an option), d success o£ the been the appearance and cooperation in the Conducted Monthly by cago, Thomas now planned a new “High¬ tra numbered ninety-nine men, ana Cincinnati Festival of 1910, when the peo¬ way” for his tours, which led to such enter¬ concertmaster was Leopold Kramer. prising communities as St. Paul, Omaha, ple of Cincinnati presented to the city a VICTOR J. GRABEL Kansas City, St. Louis, Nashville, Cincin¬ statue of Theodore Thomas; the appear¬ The Chicago Spirit FAMOUS BAND TRAINER AND CONDUCTOR nati, Cleveland and Milwaukee; and the TT WAS AT THE END of this season ance in 1912, which was the last time the Chicago Orchestra, in filling out its season 1 that the Orchestral Association of Chi- orchestra took part in these Festivals; the with these out-of-town concerts, carried on tours of the eastern cities, in 1911 and fago faced a deficit of thirty thousand only from millionaires and such men of the educative work which Thomas’s orches¬ dollars. “Anything less indomitable than means as had hitherto paid the orchestra s 1921; the cooperation with the Mendelssohn tra had begun so many years before, and the Chicago ‘I will’ spirit,” writes Mr^ defirit it came also from the public at Choir of Toronto in concerts in that city- was able to reach new areas. It seemed Thomas, “would now have abandoned the large — workingmen, merchants, clerks, in Chicago and also the chief cities of the peculiarly appropriate that the very city Class Instruction in Instrumental Music hope of making the orchestra permanent. bookkeepers, school teachers, shop girls, East; the Musical Festival in Chicago in in which that orchestra had given its final Not so the trustees.” After a dinner, t scrub women-it is the niostamazingth.ng April, 1917, when Mahler’s “Symphony of By Franz Bornschem concert and had disbanded, should be the which were bidden all the wealthy and in¬ a Thousand" (the “Eighth Symphony,” tc one to call it back to life and to imbue it I know of, but these were the people** fluential men who were interested in the responded. Between eight f^ mnethou which this title has been given because a with new spirit. thousand performers are required for its orchestra, there was subscribed not only sand persons in the city of ^‘cago vol¬ THE TOPIC, “Class Instruction in profit by such efforts. If patiently directed, immediate attention as to purity of tone, the necessary muscular coordination, be¬ production) was given its first performance Giants in Command enough to pay the indebtedness, but an untarily sent in money enough to provide Instrumental Music,” may interest this fun of playing together may produce which is vitally essential. Let the beginners come equally active and equally timed with additional equal sum, as a sinking fund in Chicago. those who are guiding the musical excellent mental discipline, from which HE LIST OF MEMBERS of the a symphony orchestra with a permanent realize that a good violin tone must flow all members of tfie group, whether the T against a future debt. The chorus was now intelligence of the pupils of Elementary, Association is remarkable, “because home; sent in, all told, $750,000, and saved there may be yielded psychological results, gently, without blemish or frictional grit. types be phlegmatic or alert. Indeed where discontinued, as a basis for economy, and Interesting Items Junior and High School grades, classes of along with the principles from which there almost every name on it is that of one of the day.” So Mr. Russell relates the story. The principles of logical finger spacing on there is a slow thinker among the group, the Association was fortunate in enlisting, ISITING CONDUCTORS from private pupils, neighborhood or community may later develop social ease and poise. the great pioneer ‘Captains of Industry Years before, Thomas had made plans V the strings, which lead to scale structure, or an awkward, clumsy, careless member, as practical business manager, Mr. Fred¬ Europe have included Saint-Saens, groups. In presenting these views the who created the western metropolis of Chi¬ for such a building, and these plans were A warning word must be given against must be given careful attention. Here the there will be need for special individual d’lndy, Rachmaninoff, Casella, Polacco, writer relies upon his broad experience as cago.” Their first thought, after putting erick J. Wessels. now delivered to Daniel H. Burnham the too boisterous an approach towards any teacher must have the ability to correct any drill, and this must be always done tact¬ In 1899-1900, the orchestra made a Proknfieff, Sokoloff. Frank van der a teacher and conductor, aided by his prac¬ its business on a solid foundation, and architect of the new building. The building collective musical effort. There is danger flagrant inattention to the details of pitch. fully, so that corrections may be construc¬ Southern Tour. The season of 1900-1901 tical knowledge as a composer, and with amassing their own fortunes, was to build was dedicated on December 14th, 1905, Stucken and other prominent composers of crudeness and overexuberance when Again let it be said that standing or sitting tive. The preparation given to the little this background will endeavor to discuss up its institutions of art and education, brought to trustees and to orchestra the the program including Wagner—Hail. and conductors of American birth or cit¬ young groups are allowed unrestrained posture is important for the'beginner. En¬ violin group, as just described, may be vindication of their policy of playing only the psychological approach through which into which they put large sums from these Bright Abode (“Tannhauser") and Orer- izenship, have also been represented in these vent. Here criticism should be made against courage aural attention, which is vital to considered the vital germ from which the musical interest may be collectively created. same private fortunes. One of the most the “great works of ancient and modern ture to “Tannhauser"; Strauss— ‘Death concerts. such conditions, if these outbursts of bad success, for listening is part of the fun of future orchestra shall have its growth. As an introduction, let it be stated that important names on the executive board times,” for in this season Thomas pre¬ and Transfiguration” ; Beethoven—“F ifth The building of Orchestral Hall reduced behavior are overlooked by the careless music-making. However, before advancing too rapidly, it perhaps was early child efforts in music was that of Charles D. Hamill, who was sented a cycle of four Beethoven Programs, Symphony”; and Handel—Hallelujah the expenses of the orchestra so far that instructor. Nevertheless, poor judgment on Naturally, where an instructor is able definite drill is needed. given at intervals throughout the winter making, as a member of the little home during his whole life an ardent worker Chorus (“Messiah”). On December 16th it was enabled to extend the scope of its the part of the teacher may crush all fun to give physical illustrations and actually The next step should be suitable part¬ and spring. Each program contained two group, that led the writer later to follow in the cause of music. and 17th was played the Beethoven Anni¬ activities and to afford to the city Popular, in the work. Hence there should be always to demonstrate the technic of the violin (or playing of the violins, with the background symphonies, or one symphony and an a professional career in music. This is The quality of the programs during the versary Program, and on the 23rd and Young People’s, and Civic Orchestra con- a pleasant attitude, good spirit, and an ex¬ later other instruments), there will be a supporting piano part played by the equivalent such as a concerto. These con¬ mentioned merely to prove that the average first years of the orchestra remained un¬ ample of leadership which will urge the more rapid progress than where only verbal teacher. As soon as tonal assurance be¬ certs were a triumphant success. They led, 24th a lighter program—the last, alas, to child seeks fellowship, even in music mak¬ changed; but, in order to reach large Tbe Popular Concerts were established class or group to alertness rather than to description or theoretical advice can be comes evident, the little group should be undoubtedly, to the cycle of Historical be conducted by Theodore Thomas, who ing. Hence the idea for collective teaching, numbers of hearers who were not accus¬ was even then suffering from the illness in 1914. Tlicy reach a clientele scarcely ill-mannered demeanor. Material of ques¬ given to a class of beginners. taught to obey the signals and gestures Programs, in 1901-2. There were six of as it recently has been stressed in class tionable taste (alas, there is much of it tomed to find pleasure in symphonies, a which caused his death a few days later. touched by tlie symphony series, and the With the instrumental instruction imate- of the conductor—the teacher serving thus larger proportion of programs without these, and the first name was Giovanni tickets are in great demand. Their pur¬ instruction, meets an early call for human printed) should be scorned. rial available, a group of beginner violin¬ Gabrieli, 1557, the last name Tschaikowsky, (The magnificent library of musical works, and giving careful directions by use of symphonies was arranged. On such pro¬ pose is to reach tlie masses, and the tickets expression or emotional outlet, which is ists should soon learn to express itself in which had belonged to Mr. Thomas, was the basis of art. The Fiddlers Begin baton or manual suggestions. Here let it grams there usually appeared a long Suite, 1840. arc sold through welfare departments of unison effort, and to grasp the meaning of The year of 1903 was memorable for the donated by his heirs to the Orchestral Though we duly recognize the imitative be said that many teachers are lacking in or Symphonic Poem which was descriptive industrial plants, social settlement houses, T IS TO BE ASSUMED that the the fundamentals of melody playing and conductorial control or knowledge. There visit of Richard Strauss, who came to con¬ Association.) physical value of mere noise making means, teacher has an enthusiasm for the work of a story printed on the program. In ad¬ and other similar agencies. later part-playing. With such practical should be an understanding of the various duct a program of his own works. He came such as are found in the kindergarten toy at hand and can inspire attention. Let us dition to the regular concerts a series of A Prince to the Throne The Young People's Concerts began in drill, and possible assignments for home forms of signals and baton management concerts for workingmen was also given. at the invitation of Thomas, who had been material of the so-called rhythm orchestras; begin with the stepping-stone to the future N 1900 Frederick Stock, viola player, 1919-20. They arc interspersed with ex¬ practice, such a group will soon conquer which produce the so-called “language of the At its very first concert the orchestra almost the first to recognize the genius of I and while we also duly estimate the virtue orchestra, that is, our little group of young had conducted the orchestra on one of planatory remarks by the Director. They elementary problems. The accuracy with stick,” through which the subtleties of ex¬ played Wagner’s "Faust" Overture and Strauss and had, for twenty years, been of having a class of young people industri¬ violinists. Should this be a group of ab¬ which this is done, and the taste that is performing his compositions. So well pre¬ its tours; and soon after he was made arc a part of the Chicago Public Schools’ pression and control may be communicated Dvorak’s "Husitzka” Overture, besides the ously fingering on soundless keyboards, solute beginners, there is need to choose acquired, naturally will reflect upon the pared was the orchestra that Strauss found assistant conductor. It was to him that four year course in Music Appreciation. to the group. For example, unless the “Fifth Symphony” of Beethoven. Joseffy, and admit that such adjuncts may develop suitable violins of three-fourth, seven- type of training that is given by the in¬ the trustees naturally turned to conduct the The Civic Orchestra of Chicago was teacher be capable of suggesting a firm was soloist in the “Concerto in B-flat minor, it necessary to hold only one rehearsal, muscular coordination; yet these adjuncts eighths or full size; also bows of suitable structor. and said to the men at its close that it had remaining concerts of the season, after established in 1919. It is sponsored by the rhythmic pattern, and of indicating speed, for piano and orchestra,” by Tschaikowsky. offer but little stimulation to the aural length. These instruments must be cor¬ The pitfalls of the beginner violinist: been “no labor, but a great pleasure.” the loss of the man who had founded the governing body of the Chicago Symphony power, intensity, attack and release, the The Chicago Orchestra formed an im¬ sense. Perhaps there will be soon devised rectly strung, and have easily adjustable (1) awkwardness of physical attitude; (2) orchestra, and had built It up. year by Orchestra and tlie Civic Music Association management of the class will remain rather portant part of the great group of mu¬ some electrical contact arrangement where¬ pegs. The beginners can be taught in poor stroke management; (3) careless We Build a Home year to its state of high excellence. He of Chicago. Its purpose is to train Amer¬ a shapeless procedure. sicians engaged for performances at the by these dummy keyboards may be so con¬ standing position, in semicircle or rows. spacing, causing poor intonation; (4) mis¬ uring this season of 1902-3 had been selected by Thomas for ti e post ican performers for symphony orchestras. The string group may now be extended World’s Fair of 1893. In 1894 both Boston D nected as to register sound from a near-by Or, if chairs are available, the beginners takes of notation and time values; will both Thomas and the trustees of the of assistant conductor, because of the ability Forty-five of these young players have al¬ in resonance and in range by introducing and New York sought to draw Thomas real piano, by which process actual sound can be immediately taught correct sitting cause the instructor endless irritation. But Orchestra came to an acute realization of which Thomas perceived in him, and which ready been received into prominent orches¬ the viola. Only such pupils as are physi¬ from his Chicago post, to lead the perma¬ value will follow. Therefore we quickly posture, while learning the demands of corrections must be patiently given, if a fact which Thomas had for a long while was early to become evident to the public. tras. Classes, in addition to the regular cally large enough to cope with the more nent orchestras in these cities; but he re¬ pass over these dubious class instruction bodily erectness and the details of physical progress is to follow. It must be the aim been urging upon their attention, namely routine training, are under the supervw* sizable instrument should be invited to mained faithful to what he considered the Soon he was made conductor for a period means and begin with more practical sug¬ control of the instrument. This drill in pos¬ to teach precision and uniformity of that it would be impossible for the orches¬ have a try at its mysteries of tone and the demands of loyalty, although the terms of of three years; and that contract has been U1 UIC pi U1 UIV. •— •—” ^ gestions. ture and in holding violins in proper playing thought and action, so that concentration tra to continue even another season, and the Chicago Symphony Orchestra. That perplexing new clef-notation. This advice his contract would have permitted him to renewed in such manner that he has become position is important The fundamentals of and conception, with the complex attention that there could be no hope of its per¬ is also a Frederick Stock Scholarship Fund, Group Spirit—Group Control about physical aptness also applies to pupils accept either of these offers. Therefore, the permanent conductor, after considera¬ stroke control, open string playing, demand needed by the eye and the ear, along with in spite of the heavy business depression manency, unless the Auditorium was aban¬ tion of all the greatest conductors of to be used for the musical education oi CLASS INSTRUCTION in instru¬ who are chosen for places as violoncellists, which had fallen upon the country after the doned and the orchestra provided with a Europe. This is probably the only instance such students as Mr. Stock shall select mental music most undoubtedly has or the foundational double bass. Fair, conductor, men and guarantors stood home of its own. Therefore, the trustees on record where an organization of the Frederick Stock was bom m Julich. w value as a subtle help in character forma¬ by their task of carrying on the orchestra, announced that the concerts would have to rank of the Chicago Symphony Orchestra many. His father, his first tutor, was a tion. Group teaching, with its problems of On Assembling a Personnel and in the Spring of 1896 the Chicago bandmaster. He graduated from the the elements of self-expression, self-sub¬ HERE CRITICISM may be made of Orchestra made its first Eastern Tour and logne Conservatory as a riohnist, ordination, team-work, and fellow-consid¬ the plan followed in certain com¬ gave its first concert in New York. An continued his studies in theory a™ , _ eration, offers -the serious educator a fine munities where the school orchestra ap¬ interesting incident of this concert was that position wider Humperdinck. , . medium for mental training. Unfortunately, plicants are allowed to make their oivn the Boston orchestra under Gericke hap¬ ncr and Woellner. He came to Amenta ® many of our school systems depend upon choice against ail physical requirements of pened to be in New York on that date, and 1895. to enter the Thomas Orchest^" teachers, who have but a scant musical the specific instruments. A pupil with a they accepted Thomas’s invitation to at¬ has been the recipient of many ^ background and a very meager instru¬ tiny frame might have an ambition to try tend the concert in a body, Gericke him¬ an instrument much too large for his from colleges and universities. *"?. j mental knowledge, to impart class instruc¬ self accompanying them. was decorated Chevalier of the Le?** tion. The personality of an instructor management. Or a thin lipped pupil may During the following seasons various might overcome certain shortcomings or choose a brass instrument that requires a causes contributed to heavy deficits, and Honor. Eric DeLamarter, Assistant CowMoo laqk of technical knowledge; however there totally different embouchure. Or there will an unwarranted tide of dissatisfaction be a desire to play traps, or the popular was bom in Michigan, went to will be much more significant results when swept over the newspapers, which de¬ saxophone, in such numbers as to cause study, worked for a season m ran. personality plus knowledge abound in the manded more popular programs. But the teacher. . overbalance of tone. Very careful super¬ trustees, with far-sighted loyalty, said to Widor at the organ, and then vision, judgment and good taste are de¬ continue his studies in Chicago, w' - . To know the fundamental principles of Thomas, who had thought to relieve them manded of the instructor in assembling and Wcidig. In 1917 he was made A» the technic of various instruments seems of the financial embarrassment by resign¬ essential as the equipment of a teacher the instrumental classification. The novice Conductor and organist. . ^ HOW THEY DO IT IN SUNNY CALIFORNIA ing, “We do not wish to think of your who hopes to impart these constructive must be directed in his path, which should resignation, Mr. Thomas. You are engaged So wide has been the appeal"* Just look at this whopping student band! They are the young men of the features to a class and to lead the members lead to practical orchestral progress, not to play only the great works of ancient phonic music to Chicagoans, so gmn ^ Pasadena Junior College; and their number usually tops two hundred It ivas to a progressive result. The “fun of mak¬ to mere noise making. and modern times, and nothing else. If generous has been the response® ^ the official band of Pasadena’s “Tournament of Roses.” Andre L Strong its ing music,” the enthusiasm, the keen desire director-manager, has written to The Etude that “Many of the arrangements With the introduction of instruments there are any deficits in giving the concerts, and women of wealth to d* for creating expressive musical sound, even used by the band are made by students of the school.” In other words, the band other than strings into class instruction, we will take care of them.” Mrs. John J. orchestra—the needs of the paw* in its most elementary form, are emotional is conducted for the benefit of the students and not as “ballyhoo” for the school there will arise many problems of orches¬ Glessner and her splendid corps of assist¬ A PIANO FOR INVATTn« sented in their love for the ^ factors which will need careful guidance or the conductor. This great organization is known as the “Bulldog Band ” and tral routine; and it will be advisable to ing women helped in these troubled years An English inventor has devised this pi™ in „ ,, that to give a list of donors _ a plays works like “Finlandia,” the “Unfinished Symphony” and Danse Macabre, proceed slowly in adding new combinations to insure the continuance of the orchestra. and constructive control, if the class is to as well as the Sousa marches and regular band repertoire. taho are bedridden to enjoy their favoAte iZrZnZ!*™*' whose generosity has made the (Continued on Page 729) (Continued on Page W NOVEMBER, 1936 6 94 the Erf'1 695 COURSE | extension study Analysis of Piano Musk MUSIC appearing in A Monthly Etude Feature The Teachers’ Round Table For Piano Teachers and Students the Music Section of practical value, Conducted Monthly by of this Issue by an eminent GUY MAIER Specialist By Dr. John Thompson NOTED PL4NIST AND MUSIC EDUCATOR Oriental dancer, and conceive the dance follow. Forearm staccato will be found best tinction should be clear and well marked. as being rather a succession of gracetui for the average pianist. To insure rhythmi¬ BLUETTE cal “snap.” play the repeated chords (16ths Observe also the sustained voices in meas postures8 than a succession of complicated maladjusted person. If he eventually stays Continued practice of this sort By Stanford King followed by 8ths) with one arm motion to seventeen are difficult ones, musically, (the sideward pull on the keys) will ures 19 to 22 inclusive. Against these res steps. Stress the syncopation appearing Credit for Music for our young people; an appalling number in the large community the results are eventually make the keys wobbly. Reminiscent of the summer so recently Observe that the wedgeshaped staccato nant chords Mr. Lemont has; set a rig many of the measures of this music, em of them drop by the wayside. Lucky the usually identical. Will you kindly tell me whether you over is Mr. King’s composition written in This p oblen hand trill for fourth and fifth fingers phasing always the note of synccpatmm mark is used. This implies a particularly _y teachers are finding it neces¬ teacher who can hold interest during this All of which sounds frightfully pessi¬ three-eight rhythm. Play this as a dreamy crisp and short staccato. sary to meet, especially with pupils which, in the case of student P'amsts w.U Let the left hand staccat, be brittle period! I think it worth while to go on mistic, doesn’t it? But look at another pic¬ waltz and at rather deliberate tempo. ot Junior High and High School nge. most likely require separate practice. Make against the legato of the right Hand, jand The many accented notes should sing With these pupils, the excuse for ture ! A student (high school graduate) Often violently biased myself, I respect Observe that in the first theme the left even if the student can get in only an hour the interpretation of this little piece as practice the short double note tr'Us untU out clearly, since they represent the hunt¬ coming with only a half hour per day or two a week. If he can be successfully having worked as long as possible with other persons with sharp prejudices, es¬ hand passes over to play the melody notes ing horns in the chase. practice, and in many cases less, is descriptive as possible. thev can be played lightly and without “I had so much home work that I “eased” over these years the results will his local teacher, goes to a university with pecially when they give good reasons for of the soprano, and also note the slight From a point at measure 75 the melody could not find time to practice.” their back-bristling. You certainly leave no accent on the second beat of the measure. Music, instrumental music, at least, be surely rewarding to him and his teacher. a good music school, or attends a conserva¬ DAWN IN NORMANDY is carried in the left hand against a most has no standing in this state ; that is You will admit, will you not, that when a tory while going through college. In this doubt as to your glissando sentiments! I Melody tones should be given all possible By Jean Ribert effective rolling arpeggio figure in the to say, if pupils take piano, they take agree with you that excessive glissandos resonance, and accompaniment chords it as an outside subject, and are student has real talent, and the true urge stimulating environment he spends part of This waltz, by Jean Ribert, is to be right. This section begins fortissimo but are in bad taste, but I see no need to cut should be shaded proportionately. PRELUDE IN E-FLAT MINOR allowed no credit for it, as for other to express himself musically, “credits” each day in extramusical activities; his played at slow tempo and with decided gradually dies away in tone to the end, as subjects. I am aware that the way them out entirely. And to substitute an¬ The first theme is quiet in mood never By Abram Chasins make no difference to him. He will always mind develops, his spirit expands, his ideals the sound of the hunt fades in the distance to remedy this is partly by a:- other form of scale is unwise, except prob¬ rubato. Descriptive in style, its musical If the reader is of the increasing com¬ i lines find enough time for his instrument, even clarify. At the end of four years, not only rising above mezzopiano. Make the diminuendo, without ritard. This help at the l t. Thehe pupil k ably in such cases as Cyril Scott’s Lotus The second section beginning measure purpose is to paint a picture of sunrise m pany of those interested in the populariza¬ though he is loaded down with other Sub¬ does he have a college degree which helps is important. that he will_ , .., _ Land where the difficult glissando may be 32, after the double bar, is more vigorous Normandy. . « tion of music by talented American com¬ up in his school studies; whereas jects; and his musical progress during this him to land a job, but also he knows that The first section is most atmospheric ana Instead of the crescendo at measure 97, music does not count, and as a con¬ played as a black-key scale by alternating in character. posers, he will find this prelude of espe- age will be not only held, but in most cases there is something more worth while in life breathes the peace and quietude of misty many pianists prefer to apply a diminunde. sequence, the music is left until the hands. Here the melody appears in double notes cial interest. A brief but illuminating last, or even dropped altogether. greatly accelerated. than trying to become a noted pianist. For I feel that this is not wholly an Many times composers call for a piano in the right hand, played mezzoforte, the morning meadows. biography of the composer appears at the and when well carried out (his procedure 'he learns that to create or recreate music Observe that the first section is in L is logical and effective, since it follows out excuse for neglected practice; for, or pianissimo glissando which must not be left hand becomes more active and the head of his composition in this month s after investigating, I find that the is a long, hard task to be approached with minor. The second, beginning measure 17, pupils are required to take home from Should the Pupil Be mood less quiescent. the idea of the chase diminishing with humility, intense concentration, self-de¬ “ripped,” and which, when well played, is in A-flat major, and here the tempo in¬ issue of The Etude. one to four or more subjects from makes an exquisite effect. The marks of dynamics are important An effective syncopated rhythm—three distance. school every day. Encouraged? nial and infinite patience. His ambition creases perceptibly. In one or two schools (private I am glad that you brought up the mat¬ throughout this composition. Consequently against two—holds the rhythmical line will be to bring this music to life as beau¬ The section beginning with measure 49 FRAGMENT schools) credit has at times been -xeeediugly hard ter of the wobbling keys. Hard practice, try to develop as much contrast and nuance throughout the piece. The second note of allowed for music, but it is necessary getting a music education. tifully and nobly as possible, and to try as possible in the performance. consists of progressive harmonies which By L. van Beethoven to study with the teacher employed She has studied under me for one his utmost to make others share and love frequent changes of temperature, and other must be made to flow into each other in the left hand falls exactly half way be¬ by the school, which would, of year and has made excellent prog¬ factors, loosen the piano action so that the tween the second and third notes of the This arrangement for piano of the theme course, eliminate many of the finest ress. She loves her piano work dear¬ it. Whether he will communicate his art DREAM RIVER legato style, in order to simulate musically from Beethoven's “Sonata in C Minor tor teachers. ly, in fact, her very soul is wrapped through composition, performance or teach¬ keys move too much sideways when played. the rising mists mentioned in the text. At triplet in the right hand. Do not hurry I would like to know how other up in it. Pianists should watch this tendency care¬ By Carl Wilhelm Kern these triplet figures. A "lazy” triplet will Violin" is notably done by M. Moszkowsli t this difficulty and c,.„ v--rip of ninety- ing will depend on his development along measure 57 the sun breaks through, and the way. If he is gifted as a “performer” fully, insisting that their tuners occasion¬ Mr. Kern’s contribution to the November be found much more effective. himself a fine pianist and composer. One’s miles approxim from this point accelerando and crescendo for her piano he will go back to his home town resolved ally tighten and regulate the key action, Etude is a composition demanding “flow¬ Give the left hand chords plenty of objective should be to give to the theme lessons. She has studied eight Pre¬ are in effect until the climax is reached to play to a constantly widening circle. If since such a condition causes inaccurate, ing” passage work in the left hand. Exam¬ resonance, but without obscuring the mel¬ the resonance of a violin tone and to re¬ - It is shocking to learn that practical ludes and Fugues from the "Well- Tempered Clavichord” ; the "Sonata, he has outstanding ability he will soon be insecure playing. (Tuners call this, “tight¬ ination will disclose that the left hand pat¬ ody tones of the right hand. Follow the member that phrasing marks for the pianist music is'still ignored as a serious accredited Op. 26.” by Beethoven; a “Rigo- The close of the composition is a repeti¬ well known in that part of the country. He ening the front key pins.”) Practicing loud tern is not difficult in itself. There is only marks of dynamics closely, and supply ade¬ represent the bowing of the violinist. subject in the schools of many states. Some¬ letto” Fantasies and she is starting tion of the first theme in octaves, followed the Hungarian Rhapsody, No. 12, by will, of course, teach students of every glissandos cannot cause this wobbling, for, one passing over of the hand. quate nuance to the flowing melody. The performance of the “turn” at meas¬ times I think the reason for this is that bv the short Coda played smorzando. grade—for even though not a “natural” as you know, no one can “rip” up and down Practice the left hand passages slowly At measure 13 the tempo brightens per¬ ure 7 is written out in full in the lower the educators, not understanding music, are at first, with well articulated finger action. afraid of it. Being an art, and at the same teacher he will develop into one by throw¬ the piano many times without badly SUMMER REVERIE ceptibly, leading into a ritard at measure margin. Naturally the same treatment is because she craves glory, i. As speed develops keep the fingers closer time a science, it defies exact classification. ing himself sincerely into the lessons. If “skinning” his fingers. So, that is auto¬ By Frank H. Grey 16. given to the turn at measure 15. Digital cause life means nothing to li and closer to the keys until at length the Its quality is much too elusive for some of without music. Am I wrong in e intelligent, he will soon find teaching a matically out! The original tempo is resumed at meas¬ dexterity is required of the right hand iron couraging her? What advice and e passages are played with a rolling motion Casting a glance backward to the golden these dry old academic mossbacks! But, fascinating occupation, and will get as At all events, I exhort you to keep a ure 17 and remains in effect to the end. measure 33 on. These passages are to be couragement do you have to offe of the hand and with minimum finger ac¬ days of summer The Etude presents the may I ask, what other study demands from much benefit from it as his students. This few glissandos in your repertoire. And Summer Reverie by Frank H. Grey. The This number merits consideration in clearly articulated though subdued, so as tion. The effect, especially if the pedal is the student a more complete coordination You are in a dangerous spot with your excellent teaching will further enhance his from now on let us give all glissando talk melody in this little number lies in the left building a pianistic repertoire. not to encroach upon the legato melody of used as directed, will be almost that of a of mind, muscles and spirit—the ideal com¬ young lady pupil. You should, of course, playing reputation. Before long he will be in these columns a well earned rest. hand. Play the melody notes with the most the left liand. glissando. bination for balanced growth? (Replies are fire her with ambition to learn to play to a power in the land. beautiful singing tone at command, and SWEET LAVENDER The final measures are played smerxM Against this flowing effect in the left eagerly anticipated!) the limit of her talents and opportunities; But, all this time he must boldly face Trills and Other Matters strive to achieve style and freedom in the By L. Lamont Galbraith (dying away) and the chords are bomd hand the melody in thirds is played by the On the other hand, many educators are but you make a grave mistake if you give the light of a high, unselfish ideal. Which I am an adult, again studying melodic flow—not forgetting that a melody Another composition by an American together by effective use of the kg* music seriously. I think that ’ the right hand. Take care that the upper, or justifiably suspicious of music teachers, and her any hope of becoming a concert artist. is the most difficult task of all! Many of line should constantly change in “thick- pedal. great fault with my playing in child¬ soprano, notes carry most of the arm composer is Sweet Lavender, which takes feel no confidence in them. Anybody on From the facts in your letter I would say us are convinced that it will take only a hood was that I never knew how to weight when playing these double notes. the form of an English dance and there¬ practice or what definite result I was THE SEE SAW earth can put up a shingle saying “Piano that her musical background and equip¬ generation or two of such genuinely as¬ Played thus the melody tones will be given The right hand accompaniment which is trying to get. I was left by my fore calls for special attention to rhythmic Lessons.” Hundreds of persons do just that ment do not warrant such encouragement. piring young musicians to set this country teachers to try to learn things bv re¬ proper emphasis and depth. a broken chord figure, should be rolled effects. By Ella Ketteker peating them. I generally tired of —they give “lessons” but do not teach! Most of the successful concert pianists in well on the way to significant artistic ac¬ The second section, beginning at meas¬ rather than fingered. A tuneful six-eight melody is this ci every piece before it was learned; After a brief Introduction the dance They have little or no equipment for the the world have been artists of outstanding complishment. and I stumbled a great deal when ure 27, establishes a somewhat slower The second section, beginning with meas¬ Miss Kettercr. for moppets in the M playing. I became discouraged and proper begins with staccato notes in the serious profession of teaching, no all-round gifts who have had exceptional opportuni¬ You are adopting the best possible tempo and the character of the music ure 17, carries the theme in the right hand. grade. It remains in five-finger posit** gave up playing entirely. Then, for right hand against two-note slurs in the education, no Normal School preparation— ties to develop these talents from early course of training for your zealous stu¬ changes. The introspective mood suggested Be careful to observe the phrasing pre¬ left. throughout and is built on obvious in fact none of the ordinary requirements childhood. When you consider their equip¬ dent. Give her more Bach, Beethoven, Mo¬ York City and there I was’almost by the sustained chords continues for ten cisely as marked, especially the legato accidentally brought in contact with (melodic and rhythmic), which for any teaching position. I might add, too, ment and training, compared with your girl zart, Schubert, and throw in quantities of genuinely good music—-the Stadium measures, after which the persistent flow sixths. nuto notes, indicated by the short line abo’ good rote study. Words help to creak that many of them have a totally inade¬ Chopin for good measure. Give her plenty Concerts—which I heard for several of the river continues to the end. At meas¬ While written alia breve, the tempo is pupil, and even with hundreds of other summers almost every night. I re¬ or below selected notes. Notice also tl certain atmosphere. quate musical training. of “pure” technic—scales, arpeggios, finger turned again to my home town and ure 42 the tempo broadens and becomes moderate. Pedal carefully as indicated; and talented, well taught pianists, the conclu¬ heavy accent which occurs on the thii So the rest of us have to suffer. There is sion is inescapable. (It must be remem¬ exercises and Czerny. Let her learn as the good concerts which I heard over more and more slow until the final measure preserve the mood of a reverie throughout. PATTER OF THE RADI the radio made me, with leisure on beat of the measures. nothing to do about it except gradually, by bered that not more than a dozen pianists soon as possible that the path of artistic my hands, wish again to play. is reached. At measure 28 the key changes to B-fl By Aba Richie* examination and certification, to force im¬ expression is strewn with tears, but that I want to ask your help. In a THE GEISHA GIRL in the whole world make their entire liv¬ book of duets "Operatic Four Hand major, after the double bar; and it is it provement in music teaching standards and one flash of true creativeness will make up THE LITTLE SPINNER By Mathilde Bilbro A study in staccati ing by playing in public; all the others Album, at the top of Page 22 there portant throughout this section to obser Occasional legato passages oner m quality. must teach, write, edit music, and so on, for years of painful, despairing effort. is a trill. Should I practice this with By Cedric W. Lemont The Geisha, graceful dancing girl of a quiet hand and wrist, depending the alternating slurs and staccato eight trast in this little piece. The wnst Schools should, however, be willing to in order “to make both ends meet.”) Help her to want to play as beautifully on finger action, or should I move Besides being a very interesting little Japan, is forever a source of interest to which occur in both hands. should be short and snappy. M“' give credit to students of private teachers, Parents, teachers, music foundations and as she can—and let kind fate take care of my wrist. Should the fingers be lifted piano solo, The Little Spinner has special visitors in the land of cherry blossoms. It here or stay on the keys? Are the keys Hold to a steady tempo throughout ai that the effort is expended m the who can pass certain instrumental tests. schools spend millions training gifted stu¬ the rest. allowed to^eome all the way up each interest as a trill study for the left hand. is a fact that Orientals have come to know make the performance of this music toward the keys, and not in the n? Such examinations could be conducted by dents to be concert artists, and to what The average student will find a bit of care¬ a great deal more of our occidental music What does trionfante mean?—J. graceful as possible. an audition board consisting (for example) result? Usually the budding young artist The Glissando Again C., North Carolina. ful practice desirable to develop an even than we of the western hemisphere know of the wrist- of the music supervisor of the district or spends several years in a large center trill, since the trilling fingers used here of theirs. The Etude finds many devoted The teacher’s chief function is to show BROOKLETS SONG school, one of the school teachers who plays studying music exclusively, dreading the Teacher! are 1 and 2; and the thumb, being so much readers in Japan; and our music is being the gliss__ the student how to study. Yet alas, how By F. Mendelssohn By William Baines the instrument, and one outside piano (or. time when he will have to return to his heavier than the second finger, has to be adopted at an astonishing rate in that coun¬ few realize this! They leave their students instrumental) teacher who has the respect home town to teach. This fateful day is years’ experience, hut'when'*! find" a played with control. Lacking this control, try—for both educational purposes and con¬ This Grade 1 Melody piece with a glissando passage, I just as dazed as they find them. Being TH,E ETU0F- PrCSCntS one and confidence of the principal. This disin¬ postponed as long as possible, while he the trill will sound “top-heavy.” cert use. The writer has been the inter¬ Otof Ttthe most,/ popular of Mendelssohn’s staccato and legato ix*es « , * substitute a diatonic or chromatic sound asleep themselves, how can they terested outside teacher (there are such) ekes out an existence year after year, liv¬ scale where possible. If I cannot do The piece begins pp, the left hand notes ested recipient of letters recently from against the broken chord W®1 T-3 up the piece entirely. wake anyone else up? Lucky are those— certnnumilthr W°rdS ” Used as a could be persuaded to serve on the audition ing precariously from a few accompanying suggesting the monotonous drone of the Japanese teachers discussing piano teaching paniment in the left w 1 X right in doing tltills? teachers and pupils alike—who grow up to stuLrf Hber ty grCat ar,ists- «* should be committee, if each student were charged a or radio jobs, or lessons miserably paid— .„ ....1 that the great spinning wheel. Swells and diminuendoes material published here in America, and studied by every piano student. The second section is *«** * of the piano have made use find out for themselves what you have very small fee for a ten or fifteen minute his abilities lost in the jungle of the me¬ should be applied exactly as indicated, from these, letters he gathers that Amer¬ of t glissando in their composi- learned. hands and is followed by * ***“ examination, the fee going, of course, to J ' playing, but I can- since they are important in the general ican material is being used widely in the tropolis, his spirit warped by the hard life, The repetition method of practice is so the first theme, D.G d Fine. the outside teacher. The two school teachers frustrated by lack of recognition, denied « anything artistic in its scheme of the composition. training of Japanese music students of all -urn there is another reason wny utterly futile, so wholly without excuse in could counteract any prejudice or injustice I object to using it. I dislike to see It will be noted that the right hand is stages of advancement. IX A SEA CRADLE the necessary routine of playing and per¬ this enlightened day, that any teacher who which would be likely to warp the out¬ formance. Finally forced to return home, a strong, healthy pianist "rip into” composed of staccato eighths followed by In playing The Geisha Girl keep in mind By Lila Phium* j sider’s judgment. a■- fine piano:~-o aas if he were trying to advocates it should be expelled from the sustained quarter or half notes. The dis¬ the dainty mincing steps of the little a^*nice^distinction1 ONE OF THE FEW REMAINING PUPILS OF LISZT F. W. Riesberg was born April 8, 1863 at Norwich, New York. He was graduated from the Leipzig Conservatory in 1883 and later studied wi n Scharwenka and Franz Liszt. He made his debut as a pianist at the Leipzig Geu’andliaus in 1883. He made many appearances as a pianist m America and, also became well known as an organist (Associate American Guild of Organists) and accompanist. For many years he was a critic on the Musical Courier. Editor’s Note. “T T’S BETTER not to remember so invitation to appear at the regular class I mutch, than to remember so mutch hour. JL wot’ ain’t so,” wrote Josh Billings, American hunlorist of the peaceful ’80’s. In Liszt’s Class So much happened during three summers OR MONTHS I had been studying with Liszt that there is no need of “remem¬ Liszt’s works, including the “Etudes bering things wot’ ain’t so.” With this in d’execution transcendante,” several rhapso¬ mind, we proceed. dies, the Lovedreams (there are three), It was the period of Rosenthal, d’Albert, and so felt well prepared to play, to say Friedheim, Siloti, Weingartner, Sauer, and nothing of the confidence of youth and the American pupils, George Liebling, Carl inexperience. At this lesson Della Sudda V. Lachmund, Albert Morris Bagby, Alex¬ Bey (Turkish nobleman, called “Der ander Lambert and lesser known pianists. Pasha” by Liszt), Solly Liebling, Lach¬ A Thanksgiving Day reunion of the mund and others performed, after which American Colony of Leipzig, at Hotel De Der Meister called upon me to play. I Prusse, was the occasion of meeting Anna was playing the Etude Eroica when, Verhulst, Hollandish court pianist, a fairy¬ going full speed ahead, I felt a strong like figure of six feet and four inches. grasp on my right ear, lifting me from This young goddess was pointed out as the seat, and heard the words “Nicht “Pupil of Liszt,” leading to an introduc¬ so schnell, Amerikaner (Not so fast, LISZT’S FUNERAL PROCESSION tion and subsequent amblings through the American) ”; for I was racing through the When Liszt was buried, on August 3rd. 1886. thousands tourneyed to Bayreuth polka and waltz of the period. On a later unison octaves. It was all in good humor, to pay homage to his great services to musical art and to humanity. In .Imerica call she gave me a card of introduction to and I slowed up, and had the joy of hear¬ many of his friends and admirers went into a period of mourning. Der Meister. Carl Reinecke, conductor of ing, “Gut, kommen Sie (Good, come you),” the famous Gewandhaus Concerts, my which overj oyed me indeed. sixth rhapsodies; the Bach-Liszt Prelude all up and began with this big work. When piano teacher, also kindly gave me a letter; That summer we Americans formed a and Fugue in A minor; Henselt’s Cradle he played it for Liszt, the master scribbled so on a bright June morning I started for little colony of our own, going on picnics Song; and Gottschalk’s Tremolo ("Aha! oil his visiting card, “To Bote and Bock, Weimar, sixty miles distant. At the door to the Alte Schloss (Old Castle) of the der amerikanische Beethoven,” said der Berlin; Introducing my pupil, d'Albert, of the Liszt hallway in the Hofgartnerie Ducal family of Sachsen-Weimar, sitting Meister). whose manuscript suite is worth attention.'’ (now the Liszt-Museum), his valet bade in the summer houses of Goethe and Schil¬ This insured its publication. me enter. Seated at a desk was Der Meis¬ ler, with several trips to the Wartburg, One evening Lachmund told me that ter,and there comes a vivid recollection scene of Wagner’s “Tannhauser,” and to j'UGEN D’ALBERT joined the cla d’Albert was to leave Weimar the nest of fear lest he should lose his felt slippers Bach’s birthplace, both in Eisenach, I for the second summer, having con day, whereupon I hustled to his room, aw as he rose. Saxony. A goodly number of the pianists direct from Hans Richter in Vienna, wl Having been previously instructed as to his landlady, and rescued my own bound of that summer became famous in after recognized his genius, both as a piani proper procedure, I kissed his extended copy of the “Etudes d’execution transcen- years, including Emil Sauer, now in and a composer. D’Albert, son of tl hand arid presented my introductions. And dantc" from a packed trunk. “Just lfe Vienna, who played Tschaikowsky’s Polo¬ Frenchman, Charles d’Albert, and a Gc there was iminediate opportunity to observe naise from “Eugen Onegin,” with tre¬ d’Albert,” said the landlady; “he takes man mother, was born in Scotland, b his habit of raising his bowed-glasses and mendous fire; Della Sudda Bey, who anything hc wants." vehemently resented being called a Scotc1 hitching them on the very useful wart just played St. Francis Preaching to the Birds, When d‘Albert announced a series of re¬ man, “Because a cat happens to be boi above his nose. He talked a thickish Ger¬ with extreme delicacy; Lachmund, who citals at the Singakademie in Berlin, per¬ in an oven,” said he, “does that make man, and was kind but brief. "Kommen performed Schumann’s Toccata; and in the haps one hundred persons, including ns a loaf of bread?” His introduction to tl Sie morgen urn vier Uhr (Come tomorrow course of the summer the writer did the Liszt ianer, attended the first affair. Seta- Liszt class was marked by his placing tl at four o’clock),” said he, this being an three Liebestraume; the fourth, fifth and thclcs*. this recital produced such a pro¬ uZu%and Fugue iH E from tl found impression that all the others w« Well-Tempered Clavichord.” At the clo crowded; and one of the papers pnniei Liszt asked d’Albert if he could plav tl “When d'Albert plays, there is somite? Fugue in E-flat minor, which he did. Tic to sec as well as to hear." The small ftps' Der Meister asked further if he could pi; crouched over the keyboard: the wire*® vearo0Mta;eA,L“I WM tr>’" >aid ^vent« eyes: the loose, long hair falling ovtr ® All of 1 bCrt: a"d he di<1 il in'Peccabl face; the tremendous power and panmfr All of that summer d’Albert s particip like pouncing; all of these one saw w tion produced sensations; for he plav d'Albert plavcd! . everything with sovereign technic ai D'Albert's various marriages. the one to Teresa Carreno. Spanish L* 2322T-Lachmund and aollovvin me, ‘‘Come*a lesson along hc I ha ess of tlie keyboard," who was old enW rd!t ,ng at, home ” We climbed to l to be his mother, are matters ot modest single, upstairs room, where 1 His development as the compos® toUuf “Bal h°nCef i,UO - AWuXoJ “Ticfland" (produced at the Metropolis „T"S' Bach, of course,”™ said we “Vr Opera House), of piano concert^ numerable songs, and varied <[on'po!v’S is musical history- His tour oi the States, with Sarasate (famous ***77 violinist and composer), wras event of highest importance: a duo recital in Carnegie Hall, A NEW LISZT MEMORIAL IN HUNGARY the “Krcutzer Sonata" as In commemoration of the fiftieth anniversary of the death of Liszt this and Gavotte eqUCntly hears the Allema has been recently dedicated at Eisenstadt in Hungary. mon was a mistake; for the two the €ri'Dl dream river CARL WILHELM KERN, 0p.( 4 Moderato espressivo m..m.J-=66. a , A THE LITTLE SPINNER a ^ a tempo 5, —- p 15 cresc. - ^—Am »~|*- —- —* *# l! ~ 1 morendo t 35 A. A. P l»|>-- bJTl r. ^ 1 1 |— 5 5 British Copyright gTO$ .Moderato cantabile m. m. J = 84 FRANK H. GREY Copyright 1935 by Theodore Presser Co. British Copyright secured NOVEMBER i936 703 the geisha girl Grade 4. Moderato M.M. J = 84 MATHILDE BILBRo PRELUDE, IN Eh' MINOR Vo. 14 Abram Chasins was born of Russian parentage in New York City in 1903. Like Leo Ornstein and other young American modernists, he was at first a pupil of Bertha Fearing Tapper.' Later he won scholarships at the Ethical Culture School and at the Institute of Musical Art in New York City. After a course with Rich ard Epstein, he studied with Ernest Hutcheson and Rubin Goldmark at the Juill iard School of Musi c. Mr.Chasins has been a memberofthe facultyof the Curtis Institute of Philadelphia and manyof his works have been played by foremost pianists. Grade 5. Andante espressivo m.m, J= 76-84 ABRAM CHASINS, Op. 12, No. 2 A j 4-, J ~tmnr“ J^jm ^ ± •L :L* p* j , «•rh■ A Copyright MCMXXVIII by Oliver Ditson Company International Copyright secured NOVEMBER 1936 rtnMtnt 70S SWEET LAVENDER MASTER WORKS GRACEFUL DAN^E^^ unusaa| musical interest to the work ot p,pil, This very, grateful and playable piece, by a successful American P HUNTING SONG who are seeking pieces to brighten up their repertoires, ura a- This Mendelssohn“Hunting Song”is one of the finest of the“Songs Without Words’.’ Here is suggested for us the spirit of the horses,the hounds,the Moderato M.M. J =128 gold and scarlet foliage, the rush of the chase,and the sound of the hunters’ horns. Mr. Josef Hofmann has frequently played this number with an elo¬ quent and thrilling interpretation. Copyright 1910 by Theodore Preeser Co. British Copyright seeing NOVEMBER 1936 706 707 THE STDDi FRAGMENT FROM VIOLIN SONATA IN C MINOR This excerpt.from the second movement of one of the most lovely of Beethoven’s violin sonatas,makes an unusually fine piano number. Moritz Mosz- OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES -- JESUS, DO ROSES GROW SO RED? GEORGE B.NEV|j And wa-ter, sing-ing as it falls, Is it like Thy sweet voice which calls, I.hi 3l: St r f molto rit. colla voce \ p , k i ^ . . mp u " CaJJs me to Jove and give Thee praise, And see Thee al-ways aJJ my days? Calls m e to Jove,— m- 3 5 | a temp 0 ^5? (==----— sing and fly Make Thy cross al-ways in the skv? rpi • .. . caIJs me to praise, CaJJs me to see Thee aJJ my days? — ——-*-— 6 Sky'-. This snow-white Jamb that plays with me,_ js j, 0 r\ , | rit. a tempo Explanation of Signs: n Down Bow. V Up Bow. W. B. Whole Bow.) — After fingering, means prepare ADAGIO Revised and Edited by the slide in the last played bow. ARCANGELO CORELLI ** Slide in the manner of a glissando. 1653-1713 ARTHUR HARTMANN /Drop the tone at once. >- Accent. 5 Breathe with the bow (and continue in the same bow). vibrato V Violin Piano slightly held back At the same time, vibrate rather slowly and heavily with the Ah Q “ F O p 2 0 accel. pocc ) poco rail. > —ftp e* pFr ^ P accel) poco Sr ^ p -r'Kr n rail, poco ■—* | poco rail. >.^ — > ^ J ^ ^ p— nf,. 1 "'-V -r ' NOVEMBER 1936 Sw. Sw. Vox.CeJeste & Viol. d’Orch. Ch. Flutes 8'& 4'to Sw. MOONLIGHT fed. Bourdon 16' to Sw. J. FRANK FRYSINGER Andantino M.M. J-= 42 »■ - a tempo —r aLp i . , TO= 7 #■ J~P -. ro. Ml f i- f ,r- " f f ^ 1 | .H 1;J 7j 3 1 J ^ fl__.__.fl_ ~ ._ ga -ss- -gr ga * { ll^f ^ 7r 71 J 7j 7^J 7 J 7 t) a tempo-— =rj -j^-p—§5—gry —^ ^5- —-EnJ ~ -ln~H .. ..-HXJ -.--B~L| 7 7 *7 4*4 7 7^}*J%- p^p7fJJ ^ ^ 7^Ji = * * ■ J ' " —— THU BTUBE ’MID THE TULIPS MONTAGUE EWing ’MID THE TULIPS SECONDO Arr. by R. Spaulding Si^ MONTAGUE EWING Moderato e grazioso m.m. J= 138 British Copyright THE STUBS MEMBER 1936 717 PROGRESSIVE MUSIC FOR ORCHESTRA STAND BY THE FLAG CORNET in B[> R.M. STULTS STAND BY THE FLAG R.M. STULTS Arr.by W.H.Macfe Copyright 1917 by Theodore Presser Co. 718 British Copyright secured 7191 Member ms THE ETUDE DELIGHTFUL PIECES FOR JUNIOR ETUDE READERS Cn4„i. , BROOKLET’S SONG Allegretto m.m. J = 108 WILLIAM BAINES Grade 1|. PATTER OP THE RAIN • *“?«»«• ADA RICHTER 2_ 4 5. M' ■ j j J~r \ p Can’t you hear the pit - ter, pat - ter, pat - ter of the rain? Fall-ing- light-ly, fall-ing- g-en-tly 5 5 1 \ 1 —1 Copyright 1936 by Theodore Presser Co. 720 British Copyright secured THE ETUDE A BIRD SONG Spirituals to Symphonies (Continued from Page' 692) m „ York. His intense interest in folk Hockley’s doctrine to cultivate the Sc induced him to study Negro music. voice no matter how beautiful it may T' T Burleigh, then a young singer in be in its natural state; to invite artists v!,.,- York, placed in Dvorak’s hands many of national prominence to■ their nirituals and made it possible for him to churches for recitals, thus offering the ear them sung by Negroes. Marion Bauer community moments of musical inspi¬ “ “He spent three years in America ration.” tmhappy, homesick years’ but he sh,°wed The publication of these aims in 1919 0Ur composers how to use our own here- might be said to mark the summit in the t fore neglected material, through his New first period of musical development of the World Symphony’ and his string quartet American Negro. The year finds excellent based on Negro themes.” music departments operating at Fisk and The controversy which has raged in late Howard Universities and Hampton and rears as to whether or not Dvorak did use Tuskegee Institutes; J. Rosamond Johnson Nevro themes for his symphony is irrele¬ had been sent by Oscar Hammerstein to vant The fact remains that at that time his London Opera House as music direc¬ his music gave the impression of having tor ; Harry T. Burleigh was established in JL ONE, gloriously clear and resonant—smooth, responsive action—unparalleled been built upon thematic material drawn the house of Ricordi Music Company; beauty of encasement—these are all features of the Gulbransen Aristocrat model from Negro spirituals. The effect of this Augustus Lawson was conducting one of five-foot grand piano. However, the most important feature of this superb piano impression is what is important. the leading piano studios in New England; is the fact that it is durably constructed so that its tone, its responsive action, Florence Cole-Talbert had been awarded its beautiful encasement, will endure down through the years. • Write today for A Prophet of the Race the diamond medal by the Chicago Musical free descriptive booklet which tells why this moderately priced high quality THE SECOND significant event was College. grand piano is the wise buy for the music teacher, conservatory and student. the coming, in 1904, of Samuel Cole- Then arose a third factor towards the GULBRANSEN COMPANY, 816 N. Kedzie Ave., Dept. E., Chicago ridge-Taylor. Here was a Negro who had breaking of fetters which still bound these just been appointed conductor of the Han¬ children of slave parents. Out of the cata¬ del Society*of London, who was a professor clysm in which the world was plunged at the Royal College of London and recog¬ following the World War there arose a SONG BUILDERS for BEGINNERS nized as one of England’s foremost com¬ black American with a golden tenor voice Children read and learn A group of Public School posers. He cam,e to the leading music cen¬ —Roland Hayes. He appeared upon the music more rapidly with the children, using xylophones to ters of the United States and was seen musical horizon like the promise of a bet¬ Song Builder—by being able get the tone, creating their to manipulate the notes, the conducting his own works, played by ter day. He sang to kings and commoners. own music on the Song America's best orchestras. child learns the characters and People packed the largest auditoriums of the relation of notes more Builder from poems written To the American Negro he was a reve¬ the world’s capitals. He sang the favorite by themselves. lation. He came three times before his songs in musical literature in the tongues Write to As\ your dealer death in 1912. Each time he gave of his of many nations; but more important than sympathy, advice and help; and each time anything else, he redeemed the spirituals EDUCATIONAL MANUFACTURING COMPANY he left young Negroes with new hope and for his own people and forever saved them 27 Jefferson Ave.—Bloomfield, N. J. broader vision. The immediate results of from the oblivion with which they were threatened. For the first time the American 1. The formation of music societies MUSIC LOVFn«?tSale! Theworld'sfin- Negro faced his own destiny and stopped - LU»Cn31est recorded music. TOY SYMPHONY and clubs by Negroes in all the large apologizing for his music. From this time A50c and 75<- per record. Regular price $1.50 and $2.00. The Symphonies. and Music on his musical development has been from Chamber Music, Operas, of BACH. 2. The insistence upon the study and within rather than a vain effort to white- WAGNER, BEETHOVEN, SCHU- Kindergarten production of real music, the demand f BERT, BRAHMS, etc. Mail Orders for trained directors, and the definite LIHVj sent anywhere. Complete Catalog will make your mornings pay. WffBM "1" on request. Also Victor and Col- Correspondence course by turning away from spirituals. The Hand of Fellowship Ui umbia Records. MUSIC SERVICE America's foremost chil¬ 111 E. 14th St., New York City 3. The encouragement and opportu¬ AND HERE must be mentioned the dren's school. 15 piece set nities offered by these groups to young H. attitude of many white American mu¬ of instruments free to first musicians. Perhaps every Negro singer sicians, ' which did so much to strengthen 10 enrollments each month. Exclusive use in cities of who has achieved prominence was first the Negro’s assurance. I think with a feel¬ AAnswering Etude Adver¬ 100,000 or less. Only $30. introduced to the white public^as solo¬ ing of deep gratitude of Louis Gruenberg. I ist for one or several of these societies. tisements always pays Terms. ACT NOW. For me, he has been a source of real in¬ BRUCE SCHOOL, Inc. Roland Hayes and Marian Anderson spiration. Of course, his “Emperor Jones” and delights the reader. are examples. s 424 E. 43rd., Kansas City, Mo. is recent, but about 1922 he took the poem 4 The establishment of music schools “Creation,” by the Negro poet, James’Wel¬ and conservatories among Negroes. don Johnson, and wrote a work for string Among the pioneers in this work was a quartet. He used spirituals as basic themes woman of extraordinary ability, fine train¬ and built up something both lyrical and ing, beautiful voice and great heart and moving. There was also Henry F. Gilbert, soul—Azalia Hackley. SUMMY'S CORNER whose Dance in the Place Congo found its And Morning Breaks way to the Metropolitan; and the com¬ 6oi poser-pianist, John Powell, of Virginia. WO TN THE YEAR of 1919 was organized Walter Spry calls Powell’s Rhapsodic Ne- get's "Begin to "Play the National Association of Negro Mu¬ gre a work of “great power and brilliance. LJ...Here is oneM„„„ the most adaptable Pre-StPre-School books sicians. In an article published about this EW It is the equal of Liszt’s Hungarian Fan- yet devised. Provides for either Rote, „**.«*£* ® its founder, Carl Diton, clearly set taisic, and some day it will be popular and orth its purposes. One paragraph says: played by most of our great pianists here --S'. Every school devoted to the educa- and abroad.” The columns of The Etude !on °f Negro youth, including the sub- have welcomed the work of Negro musi- ,w fus’c in its curriculum, should 'e. 0 branch, for the association will Whatever may be said about the hard¬ Piano Pieces'and Drills on ff“ ‘or its future constituent ntember- ships of American prejudices, in his >P educated musicians to carry on the musical development the Negro has been .t°>,billed, scientific organisation, encouraged and ably assisted. Florence B. The Qiromatic $ca e 75* « becoming more and more Price, William Grant Still and William The student who masters this compact volume will have h-J eX'€very day. Its members must Dawson are the results of all America has The stuoen bugaboo of piano play- to offer. This is true in spite of the oft conquered for al .t,me hat 9a du„ moment from lhoLySWn’ capaci,y f°r creative IANO inq—the chromatic scale. Not a oui. aihZ -Lfven m°re so. than now, and printed story of how, when Dawson gradu¬ nn I C__ «>>rlae fhrftfi OT TOUT. hr f°r °9Sressive propaganda ated from a certain music school, he was OOKS cm* "‘T- Work towards improve- forced to sit in the gallery during the h ’ by ^ing the commencement exercises while below him —- INTRODUCTORY OFFER _ the school orchestra played his music ana trains Pr°rurc always the best One copy of each of the above books, $1.00 postpaid kZ .°Tms,s and <0 do all in their a white proxy received his diploma. He lion J° ,p them onder the instruc- had been given the work and he had had CLAYTON F. SUMMY CO, 0t t>°°d teachers, to follow Asalia (Continued on Page 726) «******. 1936 723 Next iti order comes head resonance, not conhned to any particular area of requiring as k®§ longer in its reenforcement. When forming head tones development. To force the voice, or o try, the vibrating area will, to some extent’ any way other than through intelligent extend to the chest. When forming chest 10 L to hasten the action of vocal or medium tones, the vibrating area will automatism, will mean sure failure. Head include a degree of head resonance. resonance is developed through the same As a test, when the voice is approach¬ THE SINGER S ETUDE orocess outlined for nasal resonance, or by ing the finished stage a closing of the nos¬ alternately confining the unforced tonal trils will not change the character of the vibrations to the head, as governed by the tone; nor will it greatly change the quality Edited for November by Eminent Specialists action of the vocal automatism. of the nasal resonance when fully de¬ The secret of an equalized scale, there¬ veloped. It is the ambition of The Etude to make this department a Singer s Etude complete i f fore, lies in gradually developing a vibrat¬ Correct nasal resonance is beneficial to ing'area which, in * f > possible, the voice at any stage. Throaty Singing Breath, the Vital Spark of Song By D. A. Clippinger By Lotti Rimmer THIS MIGHT be defined as any many instances it occurs in the act of tak¬ contraction in the vocal mechanism, ing breath. Many young students have which interferes with a free, flowing, unconsciously formed the habit of gulping TRANGE, is it not, that, after cen¬ Now add to these, two more lines, all i S The Ebb of Breath sympathetic tone. the breath; and, in the process, they ex¬ turies of study and development of be done in one breath. OW FOR THE PRESENT we are ’ This term “throaty” evidently grew out pand the pharynx, usually referred to as the voice as a musical instrument, we N particularly interested in the outgoing of that peculiar quality which directs the still are about as much in the dark as to The birds around me hopped and the throat, and the chin muscle becomes breath, the breath that is to be turned into attention of the listener to the singer’s the physiological processes by which tone played. rigid. To undertake to sing in this condi¬ a stream of musical tone on which the is produced and modified as were our sing¬ Their thoughts I can not measure. throat. When the throat is entirely free tion invariably produces the quality called words and sentiment of a song shall be ing masters of some centuries past. Of But the least *notion that they made. from interference, both singer and listener throaty. transmitted to the hearer. With the breath course much of this must be attributed to It seems a thrill of pleasure. are unconscious of the throat. The remedy is freedom. Some teachers inhaled as has been described, allow it to the conditions surrounding tone production, This unpleasant quality we call “throaty” frown when they hear the word relaxation. spin out through an opening of the center which is governed largely by involuntary When this can be done with ease, tr >— may be caused by gripping the vocal cords. Nevertheless the whole mechanism must be of the lips which will be not larger than muscles so that they elude the searchings ~ thought. | coaid MX ea-a, 5rt It may be better understood by the term so free that it will respond automatically would admit a knitting needle. Let it spin “Using too thick a string.” This is usually of the one who must be “shown” their Start thi* at a tempo in which it can be and give the singer the quality he has in control. but very slowly and steadily; for it is on responsible for throaty singing in the upper mind. This response must be by indirect this slowly and evenly moving stream of ‘lone comfortably, and then gradually n. Those, who have gone most carefully dtice the rate of movement. voice. It exists in different degrees. Some¬ control, not by direct control. The student air that the tone is to float. And it must times the resistance is so great that the will do well to remember this. and scientifically into the subject, seem With intermingling hues. We now are ready for die still longer be constantly kept in mind that the less student cannot exert enough breath pres¬ Freedom of the throat begins with re¬ fairly well agreed that the singing voice is With budding, fading flowers phrase. produced on the reed principle, with the breath that is used, above the amount sure to make the vocal cords vibrate, and laxation of the lower jaw. Learn to let the necessary to the vibration of the vocal They stand the wonder of the bowtrs. Ex 3 breath passing over certain cartilaginous then he finds himself against a dead wall, lower jaw drop apparently of its own cords, the more beautiful will be the re¬ Pro,, / dews formations, known as the vocal cords, so to speak, and can go no higher. This is weight. This freedom of the lower jaw does sultant tone. The fact of the matter is that which are thus set into vibration. And it If there is difficulty in getting to the very common among untrained baritones. much to establish freedom throughout the the exercise just given is one from which is because of this condition that control of end of these lines, there has been a waste Hr »pufcr of plul, till! Wrer-fi duplte But this is by no means the only kind entire throat. No greater mistake could be the breath becomes of such vital importance even the finished artist will never cease to gain benefits. of breath. Wait a few moments, and then of throaty singing we hear. There is an¬ made than that of trying to hold the throat to the singer. other kind in which the vocal cords are not With this exercise finished, we are rehdy try again. A slowly moving breath, with open. That part of the throat which ex¬ For the present we shall pass rather to begin to put our principles into prac¬ ease of enunciation, will make the feat the chief offenders. If we remember that pands when we yawn should be left strictly lightly over the physical processes of in¬ tice. Inhale a free, deep breath; and then, quite possible. In fact, with practice OIK the cavities of the pharynx and mouth are alone. The slogan, “Open your throat and haling breath. Nature is the best guide; as it spins out, recite on this single breath, should be able to combine the first four immediately above the Thyroid Cartilage, hold it open,” which was continually heard and if one will but let her have her way, moderately and musically, the following lines given, with the last six. and thus to which contains the vocal cords, and that throughout the last generation, never helped unhampered, she will take care of results! lines from Wordsworth: do the ten lines on one breath, and this these cavities are largely responsible for anyone, but it spoiled more voices than Simply inhale with the complete relaxation with no undue hurrying. There is nothing ««. mio-glm* the quality of the tone, it may be clearly could be numbered. of a sleeping child, or with that easing up The birds around■ me hopped and which will add more to the breath control On the many repeated notes he careful seen that rigidity of the pharynx and The basis of good tone production lies in played. of throat and chest which makes a good, necessary to beautiful song. that the tone flows freely and connected? tongue would affect the tone quality even the following statements: Their thoughts I can not measure. healthy yawn possible, at the same time And now let us try these lines on a sus¬ along, so that the words become linked if the vocal cords were acting normally. 1. Right idea of tone. “INSTANT A B C’s FOR SUCCESS” releasing all the muscles of the torso, so MUSIC ENGRAVING This should give no trouble, so far as tained pitch. Transpose the notes given to into a smooth stream of tone with their Among young students, and some not so 2. Right conditions of the vocal instru- by KENNETH ROSS Price $1 postpaid Piano, Band, Orchestra and Octavo work. We that the air may flow freely to. the very amount of breath is concerned: but there a key which will furnish the most comfort¬ thought carefully expressed. Do not allow young, this is a very common thing. In specialize in book work; also engraved titles. bottom of the lungs; and the secrets of 676 practical Inspirations for successful should have been the most careful thought able tones in the individual voice. tin- study to degenerate into a mere me achievement—applicable all problems. Am¬ deep breathing have.been learned. All of Send your mss. for estimate. as to the musical quality of the voice used ehanical repetition. Its real value will k bitions realized, confidence restored and OTTO A. C. NULSEN this can and must be done very quickly, in in the reading. Not a singsong style, but realized only by a continual effort to make P. O. Box 774 Makirig the Class Crow K. R., 646 Seymour St., Vancouver, B. C. 124 Government Place Cincinnati, Ol order that the flow of rhythm of a song the words delivered with regard to their each phrase more colorful and more mil? shall not be disturbed; and it is in this sentiment, with at the same time a careful The birds a-round me hopped and played. musical with each time it is done. By this only that there is a departure from the thought as to the depth and beauty of the process of study there will be discovered id does not tend toward presenting regular routine of every day breathing. Sing the phrase moderately fast and a in a commercial way. I do not be- Make THE ETUDE Your Marketing Place Etude Advertisers Open the vocal inflection used. a steadily increasing ease in breath control i so called **slap stick” advertising, so then gradually slower and slower, to de- . _ music is concerned. Doors to Real Opportunities in the general work of die vocalist £ Mgwlerably increased the size of my My only object in writing to you is that :“?• ibl1s simply taking penny postal this idea may come to the attention of other Drintpd 5?ving them Pb*inly and neatly teachers and perhaps help them. It solved Nasal Resonance, Again Used and endorsed exclusively by such masters as Bauer, Gieseldng, Iturbi, By Luzern Orrin Huey Lhevinne, and scores of others. Hear START MUSIC STUDY NOW Pal&toitt • and play the new Baldwin. You'll THE VOICE is an affair, of the tive source, this theory has been widely nose” is a statement which ema¬ accepted. An important principle of tone development of the voire, a c . nated from one of the leading art¬ predominate only in the middle range. In TODAY’S GREAT PIANO BALDWIN PIANOS • CINCINNATI production, to be mentioned later, is in¬ 'lie upper tones, head resonance shouldbe ists of the French school of singing, but volved in this procedure. one which has been often misleading. And, in evidence. and in the lower tones a diest resonance should more or less predominate- the less one knows about the voice, the Conflicting Opinions of°forc°ng0therevaotfcenthf ““h'? Thc *d'a ROBERT P. NEILY more misleading it will be. If one jumps corridors to avoid ugh ,he Postnasal A FORMER PUPIL of Sbriglia fails to at the conclusion that this means a pre¬ Thc Equalized Scale TEACHER OF SINGING Jacobs* Piano Folios -LI. uphold his master’s opinions on the to develop rLm«„ceeS°?sanCr ^ ,ryi"* ponderance of nasal quality in the tone, nasal tone. He regards it as by far the neous. To develon head f course erro- I T WILL BE scarcely denied that an A Veritable Treasure Store of Melodious F 5° CENTS then he will have to guess again. A break¬ most important sound in the human voice allowing the vibration^ld/esona"cc. without equalized scale (or range) is an ess®' ing down of the bridge of the nose will nasal . ,hr°ugh the tial factor in a well developed voice; ™ Compositions for the Recreational Period LPOSTPAID J a sound which, "through its tenderness and 23 lakeview ave. ONE HALF HOUR $ .50 destroy the singing or speaking resonance sympathy reaches all hearts." But he also To develop properly L he ^ ,nlpossibi,'ty. ail equalized scale cannot be built so m Over 100 volumes, each containing 6 delightful lyric pieces of any voice. adds that, to realize fully its power to fore developing^atl r Cad reso,,a"re. he- as a pronounced nasal quality is Prei*“ HAVERHILL. MASS. —tuneful, interesting, and colorful—exclusively by American composers well known in the field of light music, classified as In order to avoid a nasal quality of tone, charm, the breath pressure which supports physical To cUl"?' 1" * in the voice, even though "its many singers and speakers have resorted it must be powerfully and unremittingly developed, while in the b u VO,Ce fuIlv and tenderness reach all hearts. At TONE-POEMS — REVERIES — BALLETS — NOVEL¬ to a raised soft palate, which prevents the proper time, however, in one's coarse sus amed. What a pity that so fine a tone nasal resonance, is another ^ staRe nf ETTES — ORIENTAL — INDIAN — SPANISH — vibrations from entering the nasal pas¬ could not be produced with a lighter pres The voice displays ^ , vocal work, or when the voice pf*®- FOR FURTHER INFORMATION CALL 1895 sages. Sbriglia pronounced (zbreel'yah) sure! Hermann Klein, a pupil Gf Manuel objectionable nasal aualit/ . 1Ced and not only must nasal quality be in MARCHES — GALOPS — WALTZES — ETC. to whom nasal resonance was anathema, Garcia, would use this “unremitting” pres¬ tonal vibrations are ' - ,°nly wh™ «hc hut the tonal vibrations also must be Every Number An Original Copyright Found In No Other Collection “discouraged any attempt to force the voice fined mainly to thc nasal corridors, , notice that It begins of man;__ ... ._iy fellow teachers i sure to produce a bright, ringing tone with the nasal corridors Both" b Confincd to fared on ts.?an,wluch in the past has ap- —...unity. , . Send for classified booklet of Contents and Thematics through the postnasal corridors, believing a high masque focus, “thus avoiding all resonance are subject ,o Ih? ^ hcad alternate periods which can be With the hope that this may b( that the head spaces become resonant in danger of nasal quality Confined too much to th ? samc la" only by the action of the vocal auU Jgs fc Atos smems others, and wi“- f”r [IF YOU ARE A PIANO TEACHER send your professional 1 card for a GIFT of great practical value. Refer to this ad. J sympathy with a tone produced in entire Nasal resonance is there for a definite vibrations are heavy and 1'h?s,L "’e ,onaI This requires longer with some voices • freedom.” Coming from such an authorita- purpose. It plays an important part in the fined too much to the hJ!? !! a,,zed- C°n- with others: but those who would SfV0* Walter Jacobs Inc 120 BOYLSTo* st. and unmusical. Nasal d’ ‘hey are shr'H nate this process will go on with TOI1 fonservativeT, Robert P. Neily. tv alter sacoos, me. boston, mass. 724 Sal resonance should only partially developed Member, i 725 the etude And all the bells on earth shall ring. It’s full three quarters of a year p. MOLLER And alt the Angels in Heaven shall Since he his seed has sown.’’ Presents 2-manual And all the souls on earth shall sing. This Miraculous Field of Wheat has On Christmas Day in the morning. THE ORGANIST’S ETUDE Portable Pipe Organ been painted most beautifully by Joachim Patinir, who died in 1524. The small figures Because of the scarcity of carols re¬ in the picture were painted by Quentin garding the flight into Egypt, the one, The It is the ambition of The Etude to make this department an Organist s Etude comple e f Massys. This picture was exhibited at the Legend of the Miraculous Heart, is all the Century of Progress in 1933 and is part of more choice. There is a slight variance in the permanent collection of the Minne¬ the several versions. Mary and Joseph have apolis Institute of Art. The picture shows stopped a moment on their hurried flight the field in planting, in full harvest, the to Egypt to escape Herod’s edict, and in¬ soldiers of Herod with their swords, quire of a farmer the best road to take. mothers running with their children; and, and Beauty It is just at the planting season, and be¬ in the foreground, we see the Holy Family Some Christmas Carols with Romance cause of the farmer’s kindness to them, the in safety, calmly pursuing their way to the legend tells us that the little Jesus trans¬ country which will offer them protection. By Edna Rait Hutton forms the newly planted field into a full Only legends, yes, but they bring to us fledged crop, ready to harvest. The farmer the simple faith of an untutored people; and falls on his knees, even upon his face, doubtless these reverent legends, with their realizing that the Redeemer of Mankind ATURALLY, the real musical in¬ In a very beautiful carol. Chanticleer, characteristic folk melodies, kept the torch N relates that a cuckoo, a pigeon, and a dove When blossoms flowered ’mid the has come at last. Just as Mary and Joseph terests of Christians at the Christ¬ all found their way to'the Christ Child’s where the cock crows all night long, we snows burning in many a soul in those early days. have departed, Herod’s soldiers appear, in¬ mas season are centered in the Upon a winter night, May the Christmas season be much richer manger and boyhood home. In the last have this opening verse, These organs quiring of the farmer regarding them. The sacred hymn carols, the sacred carols of verse this Czechoslovakian legend reads: churches and h because we may add these legendary carols Was bom the Child, the Christmas conditions will i farmer confesses that he has seen them, folk origin coming to us from nearly every All this night shrill chanticleer, Rose. to Qur great inheritance in the sacred carols but that they were there in the planting and art music of the Christmas season. country of the world, and the many solos, A dove settled down upon Nazareth, Day’s proclaiming trumpeter. The King of Love and Light. season and since it is now harvest time, as (Note: Most of these legends with music duets, and choral works of artistic merit Tsucroo, Claps his wings and loudly cries, which have developed out of a love for the For information, write they can see by his golden field, he is sure may be found in The Oxford Book of And tenderly chanted with all his breath Mortals! mortals, zvakc and riseI Christmas story, its message, and its chal¬ I" *•* «** French Carol, Shepherist M. P. MOLLER, INC. the family is a great distance away. Carols, Noels by Marx and Anne Obern- Tsucroo: See a wonder Shake Off Your Drowsy Sleep, tve y lenge. We never cease to feel stirred at Hagerstown, dorfer and Fifty Christmas Carols of All Heaven is under; these lovely words. Maryland the hearing of the great “Messiah” by "Turn back,” then says the Captain, Nations by MarsoSA few are in octavo “0 you," he cooed, "so good and true, From the earth is risen a Sun Handel and some of the more choice can¬ "Your labour and mine’s in vain; and sheet music form.) My beauty do I give to you— Shines all night, though day is done. See how the floufrs all burst anew, tatas, such as “Bethlehem” by Maunder, Tsucroo, Tsucroo, Tsucroo.” “The Coming of the King” by Dudley Thinking snow is summer dew. There is still another carol of The PIPE ORGANS Buck, “The Christmas Oratorio” by Bach, Perhaps one of the most interesting Carnal and the Crane, featuring a conver¬ For Church, Residence, etc. and “The Story of Christmas” by legends-is that of the stork. The verses in This lias been painted most beautifully Postludes, Loud or Soft? sation between the two about the lovely s required tor your Matthews. However, by a study of the this Ballad of the Stork were found in by Margaret Tarrant in a picture of Mary character of Mary, and inquiring where to By Carleton F. Petit, Mus. Bac. legendary carol of religious import and Yorkshire on the flyleaf of a 16th century and Jesus out in tlie snow, the daffodils, find the golden' cradle and silken sheets. intent one is deeply impressed by their prayerbook. This ballad has at least two crocuses, and oilier flowers springing op spirit of reverence and devotion. The carol closes, at the feet of Jesus. The picture is called good musical settings, one by Joseph W. ERE IS A SUBJECT that is the whereas the soft meditative (preferably It is easy to see how these legends might Clokey and another by William Y. Webbe. by a most challenging title. Love that Ms H grow. These carols were handed down A manger was the cradle the Snotes. Our finest Carol of the Hauers cause of much spilled ink, sharp modal) postlude might be quite fitting for In this ballad, the gentle stork feels moved talk, and hard feeling. The com¬ a church where each member of the con¬ from mouth to mouth in days when super¬ to leave her brood and go to Bethlehem to That Christ was rocked in; is from the Basque country in Spain. In stition played a large part in life, when The provender the asses left, this carol, each flower is summoned to mon practice in American churches has gregation knelt after the service for a short find the Christ Child. When she finally been to finish the service with a stirring individual prayer, then left the church there were almost no education, no printing So sweetly he slept on. worship tlic Christ and to shed its perfume finds him, she weeps to see him so rudely and brilliant organ piece, not generally of without audible communication with others, presses, and when people were taught about Him. Each flower stands for a virtue, laid in the manger. From her panting less than full organ volume. Everybody was the actual fact was that in our church these through mystery and miracle play, and Because of the humble birth of the baby represented in the Christ—the violet tor breast she plucks feathers white and warm satisfied, no complaints were made, except prayers consumed no more time than that through the songs of the wandering min¬ and lines the manger with them to keep Jesus, in a manger of Bethlehem, many humility, the lily for purity, the pansy for strels. when some inexperienced substitute failed required to change registration after the him from harm. The ballad closes with the quaint legends concerning the animals have majesty, and the rose (a beautiful thought) to observe the tradition; when it was as¬ recessional. When the meditative postlude Then the legends were often affected by little Christ saying: come down to us. In a German carol of for expanding love, which draws each sinful Illlllllllllllllllllllllllllllllllllllllllllllllllllllll sumed that the offender was not skillful got under way, it was quite drowned by geographical conditions, racial peculiarities, the 15th century, the animals are given heart. This carol is often followed by a and customs. In hilly or mountainous re¬ enough to “play very hard.” the enthusiastic greetings and conversation “Now blessed be the gentle stork keen perception: Gascon carol which suggests of the members of the congregation, as gions, we have more carols of shepherds, Forevermore,” quoth He, Now, with great scorn and contempt for mangers, and pine trees. In lands bordering this practice, a school of modern organ¬ they moved doorward or remained for "For that she saw my sad estate Cradled in a stall was He Tend’rest words fail all thy beauty to JuAi OmJL upon the seas, the carols may refer to ships. ists is dictating the really proper liturgical group meetings. Obviously the soft postlude And showed such pity. With sleepy cozes and asses. show. Where flowers blossom in profusion, the ending for a church service. The reasons had no purpose here. Full welcome shall she ever be. But the very beasts could see We must adore Thee, if Thee tee emphasis may be upon them. In all of these In hamlet and in hall; are surely quite logical and convincing. We We know of one Episcopal church where carols the Christ Child is held up for wor¬ That He all men surpasses. would know. the organist was actually required not to And hight henceforth the Blessed Bird, never before realized how great a sin we ship with such a reverence that the heart A Prayer in Song play a postlude because it interfered with And friend of babies all.” Of the legends connected with the trees, were committing by “blowing off the roof” is warmed as they are heard or sung. There is a legend that the animals were the conversations and meetings taking place none is more widely known than the Cherry at the end of a dignified and prayerful The carols that will be mentioned herein able to speak between eleven and twelve near the organ. That is an exceptional case, We know that the birds have always service. Of course, for the organists of non- have been selected not only because of their o clock, and the legend that thev knelt in Tree Carol, the story of which is found Thy Guidance, Lord played an important part in the Christmas Episcopal churches, there is not considered but certainly indicates the lack of impor¬ charm and simplicity but also because they adoration at midnight on Christmas Eve in the Coventry Mystery Plays of the 15th celebrations of Norway, Sweden, Denmark Medium Voice in F—Range d to F to be much hope of reform, as they are tance attached by some people to the have musical settings that are generally has been painted by the English artist century. Mary and Joseph are walking in and Russia. For days the young people tie descendants of the music and ritual hating musical conclusion of the service. available. Margaret Tarrant. But perhaps the mosi a garden. Mary spies some cherries on a By ROB ROY PEERY bunches of oats and corn to high poles, puritans. Proper liturgical usage is there¬ Birds always have played an important choice of all this type of legend is "The tree and asks Joseph to pluck some to gire The Peaceful Compromise trees, fences and tops of houses, that the fore far from their thought or interest, part in the Christmas legends. Two of our Legend of the Friendly Beasts” which to her child. Joseph refuses: and. npon OLUTION: Let the organist observe birds Christmas table in these cold, snowy this, the uppermost sprig bows down to according to these dictators. S best bird carols came from Spain. An old dates back to the 12th Century This has Attention has been especially directed, the customs of the congregation. If it countries may be full to overflowing The Mary’s knee. From France comes the Basque Carol of the Birds suggests that been arranged to very characteristic carol however, to the lost sheep among the leaves the church quietly, according to the Danish legend, The Christmas Sheaf, closes legend that Joseph tries later to get some the little songsters came back to Bethlehem with these words: Episcopal organists who were still ir¬ best Catholic usage, then a soft postlude is to rejoice at the birth of Christ; and each cherries for himself and is greatly sur¬ and t"by reverently closing their services with a most appropriate. However, if the church, bird sings its own song in its own way to prised when the branch springs out of his And remember the birds, and the song triumphal “Now Home and Dinner” even though Episcopal, adheres to the the little Christ Child. Two of the verses they sang, reach. He realizes his mistake, falls upon protestant concept of Divine worship, which read: ss.sfiirsfsaSJS his knees, and asks forgiveness. The card march. When the year rolls round again ■ is a cheerful and happy rather than a is in two parts, the second much the better, The Christ Child came on earth to bless helpfuL The*donkey,Chsh°agegyt GENIUS MUST BE SERVED KNITTING YARNS , s0 that the fingernail touches the f0f First make the motion very slowly, uau ue mastered quickly. The DARDENELLE "HARMONY FIRST" Methods .... THE VIOLINIST’S ETUDE ’"Tin gradually increase the speed of Now practice vibrato on scales playing and Client Practice this on all strings very slowly both / and p also using < NEW=-s*\ IDEAL For Teaching Child and Adult d* ° " the procedure with second, third and > on one note. This will aid in “*■ Beginners the Best Standard and Popular Music! Edited by ajrSh fin^rs. Pupils will find they developing expression in the pupil. The and “fnrm the vibrato easier when they vibrato is performed in the higher posi¬ ROBERT BRAINE tit rtie fogers not in use; but care must tions in the same manner as in the third position. It is the ambition of The Etude to make this department a Violinist s Etude comp 1 Vt „ that in moving to other notes, the (* I are measured exactly. When the When the pupil has mastered the vibrato, r 1 "fto can be performed evenly, smoothly, assign slow pieces so that its use in com¬ MAKES TEACHING EASIER— 4t a fair rate of speed, then and not positions can be understood. Pieces suited liHben, practice using the bow. Be sure for this purpose are Are Maria, by Bach- KEEPS PUPILS INTERESTED— “ in using vibrato a sufficiently rapid Gounod; The Swan, by Saint-Saens; Air They Learn to Play a Song the Station is used that no fluctuation in on the G string, by Bach: Largo, by ”Very FIRST-“"T Lesson!Lessc ‘ Double Octave Arpeggios on the Violoncello Handel, and others with a singing melody. pitch is noticeable. INTRODUCTORY The pupil should learn to control the PIANO-METHOD A GOOD WAY TO CET By Joseph Suter The Next Step vibrato and use it discriminately. It is an • OFFER • MORE PUPILS_ ■HEN THE VIBRATO is mastered excellent servant, but a poor master. It Teachers with a knowledge of the pwno’accordion' ^ 75^ per Copy " third position, repeat the in- should rarely be used in exercises, and tern will naturally result in the E major the exception of that belonging to C major, W! THE COMPLETE CYCLE of ar¬ arpeggio, but rather a fingering which may structive routine : the first -position. . never in technical passages. Great care %V 3 for $2.°° which, being encompassed entirely in the peggios on the violoncello provides be applied as well to the arpeggio of— arpeggio. . . Here the hand seems to feel somewhat must be taken at all times to play perfectly HAWAIIAN GUITAR Likewise, with the first finger beginning first position, needs no explanation. Like¬ a valuable etude, both as a condensed say, E-flat major: tense but this is mainly due to stiffness in in tune. When performed correctly it will wise. C minor is a first position arpeggio. ^ Q DESCRIPTIVE CIRCULAR ON REQUEST exercise for the various left hand positions Ex. 2 (Pattern X, Major version). on the note F, the same process will pro¬ Wrist and a tendency to grip the neck prove to be relaxing to the left hand and and as a vehicle for ’the study of bowings duce the F major arpeggio; and with the For the minor versions of patterns X Pauli-Pioneer Music Corp.—1657 Broadway.NewYork Ex.2 „f the violin with thumb and forefinger. at the same time will impart a distinctive, such as require successive notes of equal first finger on F-sharp, the F-sharp major and Y but slight alteration is required. Be sure the hand is relaxed and free to “living” quality to the tone of the violinist; rhythmic value. A printed copy of this cycle posjwide; The minor version of pattern X, as arpeggio. swing, and make the impulse come entirely and tone is the soul of music. . is not always readily available, nor is it to mk Summing up, we now have a master pat¬ represented in Ex. 1, corresponds exactly the student’s particular advantage to possess sip tern which fits the major arpeggios of with its major namesake, excepting that one. Any such important harmonic struc¬ PP D-flat, D, E-flat, E, F, and F-sharp. We the order of the “wide” and "close" posi¬ ture is far more serviceable written in the /V will refer to this as pattern X. tions is reversed. Mastering Pizzicato mind rather than on paper. The next arpeggio in chromatic order, Ex. 4 (Pattern X, Minor version). This does not imply a prodigious feat of The fingers employed in the two ex¬ that of G major, introduces a second memory. The twenty-four arpeggios do not amples are identical, as is the allotment of master pattern (pattern Y) which is ap¬ By Archibald Saunders necessarily require as many different notes to each string; the “shifts” accom¬ plicable to all of the remaining major finger patterns. For, in much the same plish similar intervals in corresponding arpeggios: locations; likewise the" “wide” (expanded) N PLAYING EITHER a right or left It must be borne in mind that on the sense that a master key fits many locks, Ex. 3 (Pattern Y, Major version). I so may a master finger pattern encompass positions and the “close” "(normal) posi¬ hand pizzicato, the first essential for G string the fingers of the left hand have tions occur in a parallel order. In short, Ex.3 Remain in the violin student is to stop the notes several arpeggios. Remain in pos. (close) Remain in two courses open to them, a pulling move¬ Let us glance for a moment at the we have transposed the D major arpeggio pos.(close! firmly, otherwise the pull on the strings ment or a pushing one, the latter way af¬ arpeggio of D major, fingered in this man- to that of E-flat by the simple expedient as they are plucked may make the resultant fording, at least, freedom from the possi¬ of employing the D major fingering con¬ Compare with Ex. 1. passage sound blurred, and even cause in¬ bility of striking the adjacent string. Ex. 1 (Pattern X, Major version). sistently a semitone higher. Naturally, tlie minor version of pattern tonation to suffer. Choice between these alternatives is a mat¬ What would result if we employed this Y requires, relatively, the same alteration: The first important point to be consid¬ ter for the individual. Ex.l £ sir sfr sPr ° n„_ Remain ; D major fingering a semitone lower than Z. ^ Ex. S (Pattern Y, Minor version). ered in right hand pizzicato is the ability Left hand pizzicato demands that the D major? Quite logically, the D-flat major Tell your Music Loving Friends about THE ETUDE and ask them to give To accomplish an A-flat arpeggio, em¬ Ex.B Rem,;,, jo to change over swiftly from bowed notes player shall be able to place all his fingers arpeggio; also identified enharmonically as you the privilege of sending in their subscriptions. ploy this identical fingering a semitone Remain in poiuwjde) to plucked ones. In order to achieve this at once on the one string with precision Ask for Catalog of Rewards for subscriptions you send that belonging to the key of C-sharp higher, commencing with the fourth finger po».(w idol - satisfactorily, the right hand must occupy and speed. Now this, in itself, actually re¬ major. THE ETUDE 1712 Chestnut Street Philadelphia, Pa. on A-flat instead of on G. In the same a position near to the strings at the time quires more skill than placing the four Again let us take our D major pattern manner, the arpeggios of A, B-flat. and B, of the change over, so that no time may be fingers in a four-string chord position. In and try it a whole step higher. This altera¬ are played by beginning each with the lost in effecting this. Obviously, then, the the latter circumstance, one gets a single tion causes us to commence by placing the fourth finger on the notes A, B-flat, and c G Jg, D c C bow stroke previous to the change to right mental impression of the ultimate result, Remember, we are not attempting to find first finger on E natural instead of on D. CHRISTMAS GIFTS FOR MUSIC-LOVERS B, respectively. hand pizzicato should be an up stroke, whereas in the case of a run of four notes the easiest fingering for the D major With such a beginning the completed pat¬ This completes the major arpeggios with Compare with Ex. 3. finishing, if possible, at the nut. This this singleness of impression in finger plac¬ leaves the right hand in the most favor¬ ing is not so complete. The left hand able position to free the first, and, if neces¬ should receive training, therefore, so that sary the second finger, for the actual the player can place all four fingers in The Violim'stic Vibrato plucking of the strings. position on one string, and with the as¬ While the first finger of the right hand surance that his intonation will not be at By Henry Wolk “ most generally used, the second finger fault. should be trained for the same work. The nails of the fingers of both hands THE VIBRATO IS A rocking of This waving of the other fingers influences There are two reasons for this. In the should not be allowed to grow so long that speeds to suit the mood of the composition. the hand on the fingertip, produc¬ the finger which stops the note and it is forth easily. Place the first finger on the ™ Place, if the index finger becomes the plucking of the strings is done by them Most of the noted concert artists of to-dav ing a pulsation that giveS" resonance drawn back and forth sympathetically with A string and rock the hand back and forth, tramped, it is advisable to rest it by using instead of the finger tips. The tone in the use the wrist vibrato. This style is usually and vitality to the tone. This rocking actu¬ the other fingers, thus producing .the meanwhile keeping a constant pressure of ™ next one; secondly, the use of the first case of pizzicato carried out by the nails is taught first, the pupil being permitted to ally makes the note alternately sharp and vibrato. The use of this type of vibrato the fingertip on the string. Rock the hand i second fingers alternately can aid the apt to sound “banjo-like,” and the strings change only if he feels more at ease and flat, and this “flow and ebb” imparts to the requires very accurate control of the left regularly and use a swinging movement of Ptayer in attaining speed with facility. themselves can soon be made ragged if the tone what might be termed a “life pulse.” hand. The chief disadvantage to this style vibrato1*61 rCSUltS with anothcr kind of two or three inches in length. Care should nails of either hand are constantly cutting When performed slowly, the fluctuation in is that in the high positions the extra effort be taken not to rock the hand too far them. A COMPEEHEN- An outstanding col¬ A MOST complete pitch is very noticeable and produces a necessary to produce the tones, limits the Pupils, after they can play a bit and During passages in which left hand child’s book, contain¬ especially after they hear and observe’more SIVE collection of lection of standard fa¬ disagreeable effect on the listener, but freedom of the fingers and cuts down the I ‘ “'“■me direction of the action of i pizzicato is used, there must be total inde¬ more than two hun¬ ing nursery rhymes, when it is done quite rapidly, the variation advanced violinists, begin to ask when they vorite songs. Words vibrato until it almost ceases. However, in lger is an important conside pendence of action as far as the fingers dred well known songs and a series of from pitch becomes unnoticeable and a “liv¬ and music. Included the lower positions a very good tone can themTt™ t0 make their hands move.” To latLi j "tug” tke finger must are concerned. Unless this is ensured, the classic, modern, light piano pieces and duets: ing” tone is produced. them this motion seems to make the music are patriotic, operatic, be produced with the finger vibrato. ’Mdthe str'nSs should not be lifti fingers which pluck the strings will tend operatic and sacred suitable for the young more beautiful. It is well, however, to d s- sacred, plantation and The vibrato came into use during the Another type may be designated as the k..sier s™ld ‘his procedure be revers to unseat the remaining fingers (or finger) folks. A REFRESH- courage any attempt to learn to use the compositions. NO many other selections. middle of the nineteenth century and at “Arm Vibrato.” The entire forearm from *1 finger employed in pluck: stopping the string, with a resultant lack of MUSIC LIBRARY ING FOLIO OF first was considered a “cheap” effect. vibrato until the pupil can nlao SPLENDID FOR the elbow moves back and forth while the ten -ds 1° dig into the fingerboi firmness in stopping which is a very im¬ COMPLETE WITH¬ HAPPY REMIND¬ Joachim advised that it be used sparingly note is being played. This movement re¬ i„ tteP,h“d"S;orT" portant factor in tone production whether OUT THIS VOL¬ USE IN GROUP ERS OF YOUR OWN and only on long sustained notes, and cato) *1/ ln.^e case °* Wt hand pfc quires a certain tenseness in the wrist will \ \ a?10n °* the vibrating stri a note is bowed or plucked. UME. SINGING. EARLY EFFORTS. Wieniawski, in his compositions, indicated and must be carefully controlled or the poS„.1a“?,,hT,t,sa“,i!; ‘s,h',hird Finally, the player should see that the the exact places where he wished the hand may be pulled entirely out of posi¬ ”d»» t «— strings are kept free from rosin at the r Cover Binding $2.00 eac vibrato used. But later violinists, notice¬ tion. A very firm pressure of the chin is thfllfr of the three lower strin place where the right hand fingers pluck ably Kreisler and Elman, realized that the necessary to keep the violin secure. Mod¬ them in pizzicato passages. Failure to do sic stores. If your dealer cannot supply you we w vibrato could be used to bring life to the action wfo - fi"g?rs must finish th ern teaching stresses relaxation in the left this means that the fingers are likely to tone and to create in reality an individual whirK „ M. a sl,ght upward movemi isfiedT^OSOT SOLD IN CANADA.) arm. Therefore, because of the difficulty get sticky, lose their efficiency, and spoil tone quality. To-day the vibrato plays an The First Steps ^enable them to clear the ad in mastering this type of vibrato, and of ?s without fouling them. both the passage and the player’s temper. MAIL COUPON FOR ILLUSTRATED FOLDER WITH CONTENTS indispensable part in violin performance. the stiffness required for its perfect ex¬ I L"E,*'™fST tibra!°- ecution, this type of vibrato is not gener¬ Inc. ( I Book of a Thousand Songs, Methods of Production ally used. VIOLIN BOWS. ■hi I ■ I 1 n way. New York, N. V. < ) Masterpieces of Piano Music. THERE ARE VARIOUS ways of pro¬ A majority of violinists use the “wrist Enclosed find $. for which ( ) Child’s Own Music Book. ducing the vibrato. The “Finger please send the books checked. < ) PAPER ( ) CLOTH vibrato,” so called because the entire hand ..___ HiEEIiliniSKS ( ) PLEASE SEND FREE ILLUSTRATED FOLDER WITH CONTENTS. Vibrato” gets its name from its motive from the wrist, is moved. This style is ■ source. To produce this type of vibrato the thumb about opposite 1 V°hn; ‘he favored because it is most relaxing to the finger is placed r! "hfre the second violinist stops the note with one finger and hand, is effective in all positions on all slightly from 2. fu‘fr ay. 11 or i , - xr.TF FOR FOLDERa the others wave back and forth rapidly. strings, and is easily adaptable to various inities a-V m«;clwndising “ ”"b" »* — » »n.g Sk’tS I WANT TO LEARN TO PLAY THE BIG FIDDLE. 730 TOO- THE ETUDE 731 VIOLIN QUESTIONS Gala Days with Liszt at Weimar U THE KNISLEY CONSERVATORY OF MUSIC Answered (Continued from Page 698) N Carl Knisley, Director S'frt Earn a ... By Robert Braine a TALL THIN BOY of twenty, re- study, but much too fast, was told, “That’s Q eSemSesVcZ*Z fo^te'en ^1“^° Srabl'e 'ifeffi'atkm - A served and quiet, but an interesting was Alexander Siloti. He played where ^ t0 ^ “ C°Urt’ bUt n0t dS6' Ho question will be answered in THE ETUDE unless accompanied by the full name ffrantis Walking on the Waves with When Liszt’s famous pupil, Alfred RH- TEACHERS DIPLOMA and address of the inquirer. Only initials, or pseudonym given, will be published. .Minus abandon and climax. Fried- senauer, was engaged for a Gewandhaus 2 became the master’s secretary Au- Concert (comparable to the New York Diplomas and Teae taltf CeriTLrtu* Gollerich subsequently taking on those Philharmonic-Symphony), the entire Board or a .. . rAoUn'mutt" be £L Rosenthal, one of the few now of Managers met, following the public PHILADELPHIA CENTRE—1712 Chestnut St., Philadelphia, Penna. majority of labels in violins are counterfeit and no indication a, the real Zu V Liszt pupils, was noted for _h,s rehearsal, to consult as to permitting him We advise the owner of a supposed valuable old violin to take or tend it i,„ reputable expert Her in such instruments The addresses of such dealers cm, all-conquering technic nothing being im- to appear at the evening concert. He was be obtained fror, the udrvrtisiny columns of The Ltifh a, dhle for him. His transcription of to play the “Emperor Concerto” (Beetho¬ Walts in D-flat (Minute Walts), ven), and at the rehearsal he had added BACHELORS DEGREE thirds with principal and counter-melody certain octave extensions, covering the Lean then new keyboard of seven and one-third R. ■ why you cannot master the anereamateur°,Ubajils.0r^«»8|onal'lyeaweel'jJj running' along simultaneously, was ar- - „ __unable to say, without wateh- at Home in Your Spare Time! INSTITUTE OF MUSICAL ART vibrato, X These*1 players' ranged for a roll on the then new mechan¬ octaves. This was sacrilege in the eyes of ind hearing you play. As your teacher the Honorable Board, so Meinherren of the tells you he "cannot impart the vibrato, it n(“ll.,|i.‘"11 sometime* to the viol ical Pianola. It was installed m Manager might be well for you ALFRED MIROVITCH g^rtf^ss^siasssats.sB ARCH BAILEY VERA BARSTOW E. BLICKFELT JOHN A. PATTON SHERWOOD MUSIC SCHOOL Teacher of Famous Artists —lf§|s&mwi ELEANOR HAZZARD PEACOCK <$!*?> S DEATH OF THE MAD KING Ludwig II, a very powerful man. learned that the physicians had adjudged CHARLES DALMORES EDNA GUNNAR PETERSON xlies were found in the lake. There were telligence beneath the same waters, ridences^ that the ^ King, who^ was very The amazing appearance of this madman, EDOARDO SACERDOTE ABBY DE AVI RETT -owned. Then the mad monarch found the reader a chance' to speculate upwuhe for w±r&,,, lief from the pangs of a deranged in- inexplicable vagaries of fate. ANDRES DE SEGUROLA LAZAR S. SAMOILOFF Spirituals to Symphonies (Continued from Page 723) HELEN A. TRIPLETT are G. D. A. and E. and that the tl PROF. D. C. DOUNIS 0”"'sSaSrsr.ic*" BERTHA VAUGHN •YWOOD OPERA COMPANY m S. Crenshaw B°vd.er hi “tS* F07hiS~ ~ ^ £■ -■■■■ Chromic f1ZsToZ°Fugue Bach son" ha' ^Td ^ded^ S Singers “Q^ S°n "Th"^ haTwol^i" Tty ar” now S3' : harder than ever. Nor did they ROBERT HURD srutsss ait," Vocal Teacher and Coach '■MSS:i§gr Private Teachers (Eastern) HAROLD HURLBUT KATE S. CHITTENDEN .. leacmng Music. Movie Picture's, Radio"0 SSth * 7th Ava. We)|ingtcn Hot>|N,w York. N. Y. Private Teach ALBERTO JONAS RICHARD McCLANAHAN HENRI LABONTE A. SINIGALLIANO The New Piano Accordion Field Pri»Iuh^ta,hi* T,OB,AS matthay ■SSSSKS!* ('Continued from Page 735) 804 STEIN WAY BLDS., NEW YORK CITY 7M■rfSPass. N' Haphone^Oregon 9592*°^' Ca"f- StUdi°Phife^!^hH;i!'4.n37 YOfk LaFORGE-BERUMEN STUDIOS DR. GEORGE LIEBLING FRANTZ PROSCHOWSKI EDWARD E. TREUMANN Mast^- Classes—June, July. August 1936 Vocal Teacher HWB«Mvow 2M W-57th\,= COUmbu, ,213t 736 ' THE ETUDE 737 Gala Days with Liszt at Weirr (■Continued from Page 733) f ISZT’S SON-IN-LAW, Richard Wag- achieve, I will admit, but without which no ciple a..d its Mastery." Get this without ba!fta™“e Particular item, like a piano, for S pap Zi!r7!nilsW INSTITUTE OF MUSIC mmm and FINE ARTS Records and Radio (Continued from Page 690) A Sandbag for Your Music Book Hforitste, By Mary E. McVey aTaSt ™*Recommended ^ recordings : ^BeecSs fv”3?. „o,„hi\ ty mrb?i?io„d» sfflS J'j'SjV ^ snite\mmPhis ^p "(Wctor^ dis^ ^1647)^ Yella *s I7067-68D. We recommend discs 4132-33M). *“ 79n The Bird In Grand Opera Publisher’s Monthly Letter (Continued from Page 684) A Bulletin of Interest for All Music Lovers - ~L-^ composition, La Poule (The Hen), testifies. the opera “Mignon,” by Thomas, is the Rimsky-Korsakoff, of Russia, wrote Le lovely duet, O Happy Swallozvs; and in low lo Coq d’Or (The Golden Cockerel),” a the scores of more contemporary opera satirical fairy tale ballet-opera; and, with writers we hear Ye Birds in Azure Wing- further reference to Saint-Saens, it is in ing, from the rollicking “Robin Hood” by his gruesome tone poem, Danse Macabre, our own Reginald DeKoven; while, 1 List that the crowing cock at dawn, dispels the the Trill of Golden Throat, in Victor Her¬ ne ULarp grim dancers of death. Still another bert’s “Natoma,” is still another sparkling Advance of Publication familiar farmyard fowl, the goose, appears gem. The Cover for This Month By MELVILLE CLARK in a fanciful story entitled, "The King’s Offers-November 1936 Music catalog pages are replete with Be Kindest to the Humblest" The earliest record¬ Children,” scored by Humperdinck. titles of bird melodies, and the musician’s ings of mankind’s A BOOK THAT TEACHES HOW TO PLAY AN INSTRUMENT WHICH Returning to woodland friends, we hear repertoire is not complete unless it includes All of the Forthcoming Publications Eietivities indicate an PROVIDES BEAUTIFUL AND WELCOME MUSIC IN THE HOME, THE Ye Birds Without Number, from Leon¬ such effective numbers as MacDowell’s The f the Offers Listed Below are Fully instinctive desire to CHURCH, OR THE CONCERT HALL *f Hie tears' Phe h°nest and iust wisdom and humanity cavallo’s “I Pagliacci (The Clowns),” as Eagle; the Schubert-Liszt transcription, Described in the Paragraphs Follow- One of h * Theodore Presser are recalled by all who knew him. give thanks to an ^ These Works are in the Course of sung by Ncdda, the Columbine of the play; Hark! Hark! the Lark! or the lilting Two omnipotent Power for "ill enable any one familiar with the rudiments of music t( and a brilliant bird song it is with its ex¬ Preparation. The Low Advance Offer thev nil t Z?”HXpreSS1°nS-WaS’ Be kindest t0 the humblest, blessings enjoyed. In Larks by Leschetizky. National birds are fea Apply to Order. Placed Now, monv i1’ KKWaSi not lmPressed by great rank and cere- his or her acc. mplishments the playing of either the Baby Grand Har| quisite accompaniment of strings. Then the United States, Concert Harp. well represented in music, a well known W?S ^oved hY those who appreciated help. The follow- there is the Thou Charming Bird, from with Delivery to be Made When where all thinking group being Listen to the Mocking Bird, Finished. W -7 Came ln a ,few months ago, was very gratifying citizens have a sincere It will aid the music teacher pleasantly and correctly to guide the veriest beginner Felicien David’s opera, "The Pearl of by Septimus Winner (American); La ,assures us that ten years after the Founder’s pass- in music of any age to a mastery of the Harp. FWITH Yes* at the Piano-Williams.$0.50 appreciation for the Brazil,” in which tribute is voiced to the Paloma (the Doz'e), Yradier (Spanish); mg, we are still living up to the spirit of his character. God-respeeting forefa¬ “delightful bird of plumage glowing” J(, FIRST Song Book-For Little Pianists With clear, concise explanations; with remarkable photographic expositions of When the Nightingale Shall Sing (French -Warn.-. ” thers of this country, I how to hold and play the Harp, and how to place the hands and use the fingers; "When day appears his joyful sing¬ troubadour song) ; and Far Above Us Sails Punosoipt Book for Beginners—Jonas.40 Thanksgiving Day has with carefully drawn diagrams; with progressively presented exercises; and with ing the Heron (a Hungarian folk theme). tea's Concert March Album for Or- a special significance. By common consent attractive compositions this exceptionally fine instructor leads the student of Harp Azvakes the dawn’s enchanted rest; chestra—Parts, Each.-. -20 _ July 24, 1936 there is the acceptance of a Thanksgiving Day Strands of the purest melodies and the Piano Accompaniment.— .40 playing from rudimentary steps to the mastery of those charming effects which When evening falls his notes are as a holiday appointed by the President and give the Harp its exalted and poetic position in the realm of music. most joyous tones have been freely given ten's Two-Staff Organ Book .40 +n the ETin® MUSIC usually by supplementary proclamations of the ringing. by nature’s cleverest musicians, and these Emm Album for Duet Platers Governors of the various states. The Pilgrim erve not only a; While fiery day fades in the zvest." have been woven into the compositions with -Piano, Four Hands .-.-. -35 Fathers at Plymouth in 1621 originated this >r it w One of the outstanding numbers from colorful effect and classical beauty. SeaAibum, the—Piano Solo Collection.30 special festival of a Harvest Thanksgiving un¬ s details of TmD Year at the Piano—Williams.30 der the decree of Governor Bradford. Thbty Rhythmic Pantomimes—Riley, Wsness little Today it is the general practice of most Gaynor and Blake . 73 “t ,fR toCe V'nere every^ doesU^y to pay tor my churches in this country to enrich’the Thanks¬ ithor, an internationally known virtuoso and a noted IWelve Negro Spirituals—Men’s Voices— authority, had as collaborator in the preparation of this Bands and Orchestras giving season with special services of praise, not only on Thanksgiving Day, but also on volume the late Van Veachton Rogers, harpist, who also ton the Big Top—Piano Solo Album.— .30 A e6t WHO ta posed for the photographs that were used to make the clear- (Continued from Page 729) Young People’s Choir Book—S. A. B. .. J5 the Sundays before and after Thanksgiving cut, helpful illustrations which add so greatly to this book's Day. Because music plays such an important value to self-help students. part in these services, and because many Etude readers have a musical responsibility mawkish sentimentality should have no Violoncello ^elpyed me ^ me at all times. PRICE, $2.50 Complete place in the schedule of musical education. “Class Instruction" . .Bomschein in these services, there has been the effort to There always can be found good, whole- n . . _ have the cover of this issue epitomize perhaps THEODORE PRESSER CO., Publishers, 1712 CHESTNUT ST., PHILA., PA. some fun in the making of a musical phrase, Double Bass the most beautiful and most expressive form even when this phrase is limited to an ele- Qass Afcthcxl . in which congregated worshippers find a way of voicing a special thanks for the blessings mentary technic, there can be real pleasure String Ensemble and mercies enjoyed during the past year and derived when the group succeeds in creat- Beginner’s Grade through Elementary to particularly with the culmination of the Har¬ mg the musical des.gn. Jun!or Cradc (3rd Posi,;on) vest season. (2, 3, 4 z'iolins, additional viola, violoncello, The photographic portion of the cover is ausfe. yoved sucn P ..gcarl Dan°N Xxiulse An Abundant Repertoire bass, and piano) the work of the H. Armstrong Roberts studio of Philadelphia. IN CHOOSING material the teacher will "First StePs in Ensemble Playing” Christmas (greetings naturally be guided by the conditions Bomschein Third Year at the Piano existing in each class. Those of adolescent “First Ensemble” (12 pieces). .Bomschein age, younger boys or girls, or more grown- ‘-Easy Classics” .Bomschein Music for the Choir's Fourth Year at the Piano By John M. Williams up groups, in turn, will require different ,‘.‘Farly C,ass.ics”.Bomschein Christmas Program n«;nn i-i_ “Later Classics” .Bomschein Mr. Williams’ educational books are noted psychological consideration. Hence various Music for Christmas is now available in 'Ensemble Method” .Lehrer for their interest-creating values. The Third types of music must be used in presenting wh variety and volume that choir directors “Folk Tune Trios” _ Year at the Piano, upon which the editorial the emotional interest through which the . organists have little difficulty in selecting work is now completed, certainly maintains class may gain intellectual and cultural “Fiddlers Four” .Wilson "table numbers provided they have ready this standard. benefit. "Graded Studies” .Rieger sws to well-chosen assortments of cantatas, _ In the same mail came a letter from a millionaire The course is based on the 26 scales, with Having frankly condemned the doubtful “Polyphonic Studies” .Lehrer sathems, carols and solos. It has been the in¬ manufacturer stating that he looked forward eagerly to The Etude each cadences and tonic chord arpeggios, and, in taste of making thoughtless selection for “Ensemble Training” (3 books) variable policy of Theodore Presser Co. at month as a means of regenerating his musical interest. addition to printing these in their entirety, class material, we suggest a helpful list, Bomschein «season of each year to offer its examina- Mr. Williams employs, for the student’s con¬ . privileges to every individual, or group, graded, classified and suited for practical String Quartet Instruction venience in mastering them, studies and ex¬ entertaining values, which will aid the seri¬ • Pract‘ca* “id effective music for cerpts of compositions from classic, modem “Progressive Method” (Part I “wcasran that demands onlv the best. and contemporary educational authorities. ous instructor in outlining the progress of Elementary) .Pochon 1.“™'°? 1® ‘he standard numbers that m Bethlehem (a cappella), Lily Strickland, Presser’s Concert March Album There are bits from the writings of N. Louise the instrumental organization. The sug¬ “12 Easy Pieces”.Samford . . • an annual urfi J* ^ test °‘ l'me» a"d arp repeated Wright, Frances Terry, Allene K. Bixby, gestions of titles may be helpful, as the “16 Simple String Quartets”.Winslow Stephen Heller, Amoldo Sartorio and others custom of many teachers ! graded list aims toward the trend for s»vSTvneTern?IIlbe" are alwa-vs neces- SSiZ&JS’SS. {or b rctT^, v Wsllu }ear there are several of these lu,.,. fortwo-Dart treble voices Two Advance subscribers0 will be glad to know and such Chopin favorites as the beautiful • The importance of THE ETUDE as a cultural asset classic purity of style, the approach to School_ Orchestra Instruction of the Angels and that the entire manuscript of this large col- melody from the Fantaisie Impromptu, the SPECIAL aad m. a read-v appeal to both choirs in the homes of the musical is recognized by teachers, which invites true musical appreciation and Beginner’s Grade through Elementary “ congregations. Beautiful Star of Bethlehem by Mrs. R. R. lection of high-class marches is now in the barcarolle from the Nocturne Op. 37 No. 2 CHRISTMAS OFFER many of whom annually make a gift.subscription to cultural benefit. This concise survey, lim- Adzxniccd Grades (Positions) icteM ?. l -M** Publications of particular Forman (10c) will satisfy the great number engravers hands and that copies soon will be and the trio of the Funeral March. talented pupils, or urge parents to include a sub¬ ited as it is, naturally must leave unmen- “Orchestral‘ ‘ Training”* .Wilson TZZ who admire Mrs Forman’s dependa- ready. Many supervisors and leaders of school Mr. Williams is now working on the Fourth • yefort leaders, organists and soloists, oi inuse »iiu « orchestras have taken advantage of this un- scription in the pupil's Christmas "stocking." tioned many excellent works. “Orchestra Gass Method”.Lockhart Year at the Piano in which the studies, of the just-published ar- course, will follow the material in the third Inspiring articles, up-to-date news of the music “Orchestral Unisons” (group plan) b No°tWto b^ overlooked at this time are sev- usual opportunity to augment the library of 2 one year C2 t The.Chr!3t ChU by Hawley for , , , . , l;„u,. o„ms8fiil numbers: their organizations and have ordered copies year book. world, helpful departments, and 20 to 24 pages of Morrison the best music bring a monthly reminder throughout Class Instruction Material “»te?s r?S.,chorus' <75c>- This “ ‘be «■» 3 firtHA. of the instrumental parts at the special ad- Copies of either, or both, books may be available J?llS.taadln6 cb°ral work, hitherto subscriptions the year of the donor s thoughtfulness and prove a (Strings and Orchestra) “Setting the Pace” .Cheyette-Roberts MatthVw? Ju^lTdings of^Great Joy, Mrs. vance of publication cash price, 20 each, post- ordered at the special advance of publication constant source of pleasure and profit to the recip¬ “24 Folk Tunes” .Cheyette ^ZtkL” rnixed voi®es. In that ar- Matthews, (1 ~c), ivung^ i William paid; piano accompaniment (Conductors cash price 50 cents each, postpaid. ient. And it's so inexpensive now, when you can Violin Class Instruction "Easiest Orchestra Collection”.Peery it in (L enjoyed a success that keeps Forman (12c);§core) 40 cents. When the work is published Baines, (12c); Three Polish*Uinstmasca^, ^ ^ ^ be withdrawn. for $3 renew, or extend, your own subscription and send a Beginner’sGrade through Elementary to “Holiday Sketches” .Rieger Other cant»(„r8f'k amon8 works of this class, Recreational Album for Duet year s subscription as a gift for only $3.00. Junior Grade (3rd Position) “Short Stories” (8 pieces) _Bomschein ferijrf u f« ‘."Me voices are. Baines' arranged by Hopkins, (ls,)> g N j jn order that music educators may be (60c>; Stulls’ Rise, Old-FVench Carol, by - • guided in placing an order for copies of Pres- Players ATTRACTIVE GIFT CARD FREE! „Tu Author “Graded Orchestra Books” (3)..Roberts ScZtkt^.^' The S, S3 *(60C): and’ Baine3’ Thc A™k- (12c) ; For Treble \ o,ces—B |h t ^ d ^ C(mcert March Album for their orchestras Many piano players take a keen delight in To announce each Gift Subscription we will send an The Class Violin Instructor” (2 books) “Spring Fancies” (5 pieces).. .Bomschein (S. A.) Bixby, ( *c) 15 CAmtmos o ^ tho fonowing instrumentation: Solo playing duets. It’s such a companionable way lil, bearing your «r> ui- o , Hathaway-Butler “Arcadian Suite” (Parts I and III UjJ C^°'” of limited training. For- for Treble 1 owes (S-A.), {15c). Violin, First Violin, Violin Obbligato A, Vio- of spending an hour, or an evening, with a (2b ^C^°° Method” Bomschein 5** 2b* A- WWd, (60c); Stulls’ Church soloisU will like A Wgw Rorn ^ B Second Violin, Viola, Cello, piano playing friend or member of the family. (50c), by H. A. Matthews which s published £UDD g ^ B_flat ckrinet; gec_ Single Subscriptions, $2.00 a Year • ' 8nd’ Dale’s Birthday For this forthcoming publication there has "ViolinGass' Method” ‘ V(3 booksYDOORS; Mi‘Che11 of instrumentald°s!ng let, it classes* Urged acquaint that-the himself n^heneei „l • ’ are recommended. More in two keys, and the organist will want the ^’B_flat’ clarinet> Bassoon, E-flat Alto been gathered together a collection of tuneful and pleasing numbers for piano-four hands, “Class u. i . \arn .Hoesen with real educational musical material. A Ba,VscA"®? ehoose one of these; new and brilliant arrangement of Sd 9 Saxophone, B-flat Tenor Saxophone, First by Clarence Kohlmann, (40c). B-flat. Trumpet, Second and Third B-flat pieces that pianists of moderate ability, capa¬ THE ETUDE MUSIC MAGAZINE “Scale Tune Book” ( b°°ks>a!a-Bang careful choice, well within the possibilities tM’,(75c); Sp™*’ Christ- fc); i£);1T'eIa'>d's New-Born King, Besides the later numbers mentioned > T ts first and Second Trombones (Bass ble of playing third and fourth grade music, Theodore Presser Co., Publishers, 1712 Chestnut St., Phila., Pa. “First Folk Sonps".-Maia-Bang of the grade, is advised. Beware of making ^Hanv J *anna in the Highest, our Christmas-Music Catalog mcludes a lar^ l ^ Raritones, First and Second Trom- will enjoy. .. atson an overambitious choice. Let all work be ^'natio/) wor^s ^ be sent for and varied list of anthems, earoR cantatas ^ ^ ^ ^ Barit0I, Horns „ In advance of publication orders may be attractive, with the goal a clean perform- placed for single copies of this book at the Viola Class Instruction solos, etc., any of which may lie obtained E.flat Homs, Tuba, Tympam, Drums and “Gass Method’ ance in which there are real joy and ei jjSjWe: Sin^n^ available for examination examination. Ask for the catalog or ten us ^ (Conductor-s Score). This book will special cash price, 35 cents, postpaid. -.Lehrer thusiasm—the fun of making music. ** Strict0 ft* <"*1, soprano solo). your wants and a generous quantity of. thes soW only in the U. S. A. and Possessions, (iContinued on Page 742) . d*c); Once on a Night publications will be sent on approva . Aovertjsement 741 lBEK 1936 *1 SHEET MUSIC—VOCAL SOLOS into matters helpful for piano beginners World of MUSIC Knmv Music Folk 18581 Robin, Sing a Merry Tune_Newt m Presser’s Two-Staff Organ Book The Sea Album The Pianoscript Boole for Beginners will in¬ „v byes music, he wants to know 12656 G°p<,r^®j)^Ierciful to Me (High)-L$0'40 |[l„iere»,“ , have, and who are With Registration Prepared Especially for Piano Solo Collection clude a clear and concise discussion of the (Continued from Page 680) 30486 When They Ring the Golden Belize '4° rudiments of music, rhythm measures, hand J ; ,bo»t the PefeThe many books published the Small Organ The giving of pupils’ A FAVORITE position, finger exercises, intervals and scales, “GREEK MUSIC” is a new magazine -»* the master composers and The first difficulty of the would-be organist, piano recitals devoted 30084 Hindu fj! lists of pieces, suggestions for jac ace, and pub}ished by Athan p Theodorides ofgg f «th' ^ demand for c0Ples of thcse COMPOSER who is suddenly called upon to “fill in” at entirely to one subject enlightening introductions to some of the great falo> New York. General readjng maUer ^ jn has proven most suc¬ enlightening in it efJfLt proof of the intenjst muslc church, is that of reading from the usual composers and gi CHILDREN’S SONGS three-staff notation used in practically all pipe cessful. Teachers find • *-■•* **-- musician and the “makers” of music, Songs of the Child World, No. 1—Riley and ing indexed space for various 1--- student will be interested i lot* “a i nf the great music has been organ music. In two-staff writing, the matter that both the pupils special exercises, and both blank pages and the musical GaVHOr . $1.25 and those attending selections and especially in the specimens is simplified by putting the pedal part in small ruled staves. The advance of publication cash Mabel Madison Watson notes with the left-hand accompaniment. become enthused over of compositions of the early centuries. OCTAVO—MIXED VOICES, SACRED 5 40 o a copy, lpostpaid. I bfthe celebrated performers about 20280 Father, O Hear Us—Palmer sn 10 While the beginning organ student should recitals about flowers, mn^Arise, Shine, for Thy Light ik'Com^ strive to master the reading of three staves, birds, animals, the POPULAR PRICED OPERA, with the ^C 'have been written-Caruso, Pad- Madison Watson on music given^ to them - of her a booh such as this one will smooth the way seasons, etc. Thirty Rhythmic Pantomimes best seats at ninety-nine cents, is announced ,h,rtelba Toscanini, deReszke. etc. _ by their teachers. Despite the melodic Miss -ivided he and provide a great deal of interesting ma- The sea is certainly a mighty interesting For Home, Kindergarten and Pre-Piano ^ Baking np a program many expert- iits and musicianship of this composer. York and Philadelphia. for the winter season, at the Hippodrome of OCTAVO—MIXED VOICES, SECULAR has held her published j ally found that the den ands of her terial for use during the learning process. topic for a recital. If a bit of costuming or Classes New York, under the management of Alfredo , KU-teaehers, concert and radio 35223 We March, We March—Sousa so ns mited d her effc delphia studio required au oi ner time. A special feature of this book will be the staging is desired, to give the affair proper Song Texts by Alice C. D. Riley 20790 Sleepy Hollow Tune iS.A.B.)—Kountz* . 12 mfined chiefly Salmaggio who has made such a success of S a brief biographical note on the V works Miss Watson’s reputation as a music edu¬ registration suggestions, which are being pre- atmosphere, the cost need not necessarily be Music by Jessie L. Gaynor "^etan appreciated courtesy and oft- A :~ned to __ cator caused many of Philadelphia’s first this venture for the last three years. The first several yeai families to place their children under her pared especially to meet the limitations of great, much of the scenery and “props,” as Descriptions and Illustrations company is practically American; as of ® to a better understanding by OCTAVO—WOMEN’S VOICES, SECULAR 35123 I’m So Glad Trouble Don’t Last Alway the small pipe organ. With the already wide well as the dresses of the participants, can be By Dorothy Gaynor Blake thirty-two principals sixteen are native born ofthecomposition’s origin and char- Miss Watson’s special interest in cially prominent young men an distribution and increasing demand for these “home-made.” The three Songs of the Child World books ancj eleven i (3-part)—Dett . $0.10 >f children no doubt has ladies who are fortunate in count -_ , , and eleven are naturalized citizens. Fritz Su h notes are not always obtainable, ltgrowth v,a vuuuuuuu e >ng their accomplishments medium-priced instruments, there has sprung Then, too, many composers have found their ($1.25 each) of Riley and Gaynor have be- Mahler, a nephew of the famous Gustav a considerable expense and after much • fortunate home associi up a need for organ music written to suit the inspiration in the sea and its denizens—the OCTAVO—MEN’S VOICES, SECULAR to then come world-renowned during the last several Mahler, composer and conductor, has been St research. In The Etude Historical 170 Hermit’s Night Song—Kern. $0.06 on, the successful author ( small pipe organ and to exploit its possibilities, rhythm of the waves, the crashing of the surf. decades and many responsible for the handling engaged to lead all performances, •ten material and childrei fw Mnit Series, however, everyone of —on lived with the Watsoi Of course, those organists fortunate in having the mysteries of the deep, the songs and of kindergarten and primary classes have used 4_ t OPERETTA more comprehensive instruments can make chanteys of those who “sail the ocean blue.” imminence in the art is included—com- Piducational interests also dated fft1 uers pianists, violinists, and per- Hearts and Blossoms (Mixed Voices) — because of hei _„,l „ a eiiruKSL Js adaptations to meet their own needs. Many of these impressions have been trans- Stulte. si.oo in which he became quite noted. ’ ship in what . The numbers of this collection will be prac- ferred to the printed page so that all who play Cn on other instruments, conductors and -bom in Elizabeth, New Jersey, and best proc instruction of piano tical also for the church pianist, as the organ the piano may enjoy them, who have made some noteworthy " m College of beginners. pedal part and the accompaniment will lie A collection of such pieces has been gathered passed on to them ’ P ’ commemoratlon °f ‘be two hundred and ;udied piano. Miss Watso and her associate teachers also Help for the Christmas Budget A~ii—t-wmpuMwuu unuer suen teachers as have specialize iolin within the grasp of the left hand when played together for this volume and it is suggested Sint many of the present generation of & f°Unding °f ** iath.eFcbruar-V. I93* Albert Ross Parsons, Kate Chittenden, Harry which explair f several of teof THE Etude when 44 of those musicians Rowe Shelley, and Herbert Wilbur Greene. She Miss Watson’ eleme at the piano. _ that teachers take ad- teachers have not had the opportunity to learn y _ort Orange- With gifts, decorations, special dinners and While this work is in preparation, single vantage of the offer in such manner of the physical activities to '* *■ SL family name begins with the letter A extensive entertaining all making heavy de¬ copies may be ordered at the special advance and order now, for Compositions of Mabel Madison Watson which the Songs of the Child World may be THE ANNUAL FESTIVAL SERVICE of were listed. It has now reached the letter I mands upon the budget at Christmas time, of publication cash price of 40 cents, postpaid, delivery when pub¬ md wiD continue until all obtainable pictures PIANO SOLOS adapted, it is a real contribution to juvenile choirs of the United Kingdom took place on some means of easing the “strain” not only lished, a copy of this music literature that Mrs. Gaynor’s daughter, June 19th, at the Crystal Palace, Sydenham bJ biographies have been published. Copies Cat. Not. Title Grade Price Cat No. Title would be a welcome but a happy solution to 24609 Alpenrose Waltz. 2 24534 Marcl Under the Big Top fascinating book Dorothy Gaynor Blake, has set down on (London), with four thousand voices in the of these pages have been printed separately 24533 Birthday Party Waltz. 1 the special advance of a distressing problem for many. In the matter paper by clear and direct descriptions and choir, under the leadership of Sir Sydney md may be had at the nominal price of 5 of gifts, which probably call for the greatest 26386 The Christmas Tree (Christmas Album of Circus Pieces for Piano publication cash price, simple, clever figure drawings, the interesting Nicholson, organist of Westminster Abbey, Morning) . cents each, postpaid. expenditure. The Etude Music Magazine is Nb , ““ ’s, postpaid. pantomimes which may be used to thirty of $—- 1 8- 24608 The Circus Rim 8 On Skis ■ a "happy solution”; as an inexpensive gift for of tl s Bold . questioned the interest the best songs. . 2 % le Snow of Young America in These songs and directions and drawings, COMPETITIONS students and musicians and, also as a means the annual visit to together with a list of the seventy-five other __ Publications That Have Taken of obtaining, without cost, useful and valua¬ 24607 Folk Dance Twelve Negro Spirituals ble articles that make appropriate gifts for 25387 Games and _ town of the circus; songs in the Songs of the Child World volumes PRIZES FOR LOVE SONGS, of five thou- Root 24611 Junior High Entri and writers, artists Arranged for Men’s Voices which may be used with these rhythmic pan- san^ francs (about one thousand dollars), 24539 Little One Sleep !. .30 25385 Song of Sleep and Snow (The By F. A. Clark tomimes, make up this excellent forthcoming twenty-five hundred francs, and one thousand The is the season when everywhere there These articles include a wide variety of 25389 March of the Merrj Night before Christmas) .... 1 tainly have done jus¬ publication which may be ordered now at the francs, are offered in an international contest b the completion of the last details in man’s chromium finish tableware—relish dishes, veg¬ (Christmas Night) .. .30 24535 The Trotting Pony.1 The spirituals are the most natural and in of the earth’s yield before the tice .to this. great acial expression uiof theme negro. Born advance of publication cash price of 75 cents, sponsored by Madame Alice Lombroso. Fur- etable dishes, bread trays, compotes, serving T ... American institution, during a time of his unhappy duress and t,„- postpaid. ther information may be had from “Les Edi¬ Winter season sets in. Some have seen some trays, casseroles, etc.—as well as clocks, flash¬ chlr^teriSS*^ delight m playing a piece changing environment, they set forth with tions de Paris,” 14 Faubourg Poissonniere, if their plantings produce many fold, while lights, fountain pens, desk sets, cameras, wal¬ Paris, France. others through no fault of their own have seen ”f he *0l™!. Cl0wns’, the compelling insistence his deep and varying My First Song Book lets, and choice volumes of music and musical lumbering e ephants, the chattering monkeys, emotions of sorrow, joy, and anticipated re? afailure of production. literature. All these may be yours, without the graceful trapeze performers or the im- lease from the cruel burdens of his life Familiar Songs in Very Easy Arrangements The pieces and books which the music pub¬ cost, by simply making new friends for The For Piano THE WIENIAWSKI PRIZE of One hun¬ ;t parade. In the foreword to this book, the compiler lisher's stock records show a need for reprint- Etude. In other words, we will send these . By Ada Richter dred Dollars is offered by the Wicniawski ings have established a sales momentum Parents and pupils alike things to you. absolutely free, for securing one Association, for a composition for violin and. because many have found these publications will be delighted with this piano, five to ten minutes in length, suitable or more subscriptions to The Etude from . dSZTSZSSZJTSS. SMS1blXr.'fe'SKa illustrated book of favorite useful and attractive in their musical work, fellow students, teachers and club, choir, for close of program but not to be a mere or in their musical pastimes. The following songs in arrangements for display of virtuosity. Further particulars chorus, band or orchestra members. Y'ou’ll be little pianists. There are songs may be had from Adam Kuryllo, president list represents a selection of those which, in surprised at the number of orders you easily’ %Z€¥JsF:i&& ssweassSaras coming up on the publisher's printing orders for the very youngest, holi¬ of Wieniawski Association, 1425 Broadway, and quickly can obtain from your friends and oi the past month, have demonstrated a sub- neighbors; you'll be delighted with the fine -*vn wnte a bit of'a dialog™ to provide?* a con- unable«s,r5'rlr, to find any authenticpnrie version of these day songs, hymn and school New York City. tinuity. songs, melodies from far away statial sales momentum. rewards that will come as our “Thank you” . .1 . I, , .A,. songs. In this collection, I have set them down le pieces in this new book will be within as nearly as nossihlf* T » lands, and some old ballads If you are a private teacher, a school music for your cooperation. included especially for the LAKE PLACID CLUB PRIZES, amount¬ educator, a choirmaster, or a director of any ing to Fifteen Hundred Dollars, are offered Start today! Let The Etude be the solution ytrSMey wfll st^wefl^ recrea^ arrangeme^T^^f parents. This book will solve •tier musical organization, and anv of these to your gift and budget problem this Christ¬ the problem for that teacher for chamber and choral compositions. The works which might serve your field of activity closing date for choral entries is February mas. Send for a FREE copy of our Premium as’usua/with elrly Se^tift^t^ch ^“met’^horu^rTheblfLt11001 gIek-e'Ub'S’ who has been asked. “Why can’t Mary play ,,°S'"g , e ‘or. choral e"tnes ■ Febr,uar>’ mm thorn to you, it is an easy matter to Catalog and complete details of our Premium Swanee River or Abide with Me?" an^for cbambcr "orks- of educational value in each number. the raSente are "P L l u.ra?Uai"tance throu$h »'<■ willing- Plan. While the editors are preparing the material I Couldn't Hear Nohndn ProT™r° ^0ut; The arrangements and selection of material L’^r' Furt^er Pf,rt,C7u'?rs “7 ... r.™ Theodore Phesser Co. to send are by Ada Richter, whose numerous success- £arroIJ; Fake Placid Club, P«e copies of any for examination. ful piano pieces in the early grades well qualify E County, New York. STATEMENT OF THE OWNERSHIP her to prepare this collection. ■*-* price, 30 cents a copy, postpaid. About forty songs with text make up the _ AMERICAN COMPOSERS, native ®ET MUSIC-PIANO SOLOS MANAGEMENT, CIRCULATION, ETC. i&szzz££. ssa- puMc*“- ml**.of Mine; Got *sa Home That Rock;Safes and King generous contents of this book which provides n?turalized, may enter compositions for organ, Jesus Is A-Lis’enin’. REQUIRED BY THE ACTS OF CONGRESS easy supplementary material and interesting P*ano> voice, violin, viola, violoncello, string OF AUGUST 24, 1912, AND Young People’s Choir Book A single copy of this unique book may now sight reading for 'all juveniles in the early Quartet, or any combination of these instru- be ordered at the special advance of publica¬ stages of piano playing. ments, and for a cappella chorus, to be per- MARCH 3, 1933 (S. A. B.) tion cash price of 15 cents, postpaid. There is yet time this month to place an f°rme Woman's Struggle for Recognition in Music Musical Books Letters from Etude (Continued from Page 687) Reviewed CANTATAS Friends their biographies, the complete list of their name is hidden.” The Christ Child, by C. B. Hawley.$0.75 works, the price of each work, names of By nature women are modest and shy. For well-trained choir with proficient soloists. the publishers, and a list of addresses of I have across a shy male Melodious, but not too difficult. Time, 45 minutes. A Christmas Story Program Lives of the Great Composers those who are’still among us. Even a cata- composer. He elbows his way. Most women By A. L. Bachabach CHRISTMAS MUSIC The Createst Gift, by H. W. Petrie.75 To The Etude : logue of the names and works of those fight shy of elbowing. They are very easily This volume contains interesting sketches of twenty-nine outstanding composers, with a T Choose from these listings Cantatas. Anthems and Carols for " Brilliant and effective cantata for mixed voices that In order to make our monthly recital in women who have written books on music and soon discouraged. _Of course there valuable bibliography added to each chapter enjoys many presentations annually. Time, 45 min- few who declare, “I shall make myself for those who desire to carry their studies December more interesting we built the t forgotten. further. [ the Choir's Contribution to the Christmas Service of the Church. program around a story. The press notice heard.” Either they have money, or they The composers discussed are Bach, Beetho¬ Hosanna in the Highest, by Alfred Wooler.60 Composers Not Colleagues manage to get the money together from ven, Berlioz, Brahms, Byrd, Chopin, Debussy, than friends to be able to give their own con- __Dvofak, _Elgar, Gluck,> Grieg, Handel, Haydn, A superb cantata for the average choir group with “On Saturday evening Lawrence Frank¬ Liszt, Mendelssohn, Moussorgsky, Mozart, soloists. Interesting ensembles. Time, 40 minutes. lin, a violin pupil of Mr. Ulysses Burkey, pay with their own money Palestrina, Purceil/EosPurcell, Rossini, Alessandro anil Domenico Scarlatti, Schubert, Schumann, The Light of the World, by Mrs. R. R. Forman.50 will present a Christmas program, assisted these women there should be none whose for the publication of works for which they Tschaikowsky, Verdi, Wagner, von Weber, by Mrs. Franklin’s piano pupils, an alto i the standard of the t lucky enough to find publishers. and Wolf. There is also a chronological chart, Easy to sing and yet quite tuneful. Satisfactory horn pupil, and two pupils of Mr. Osman highest inspiration and technical knowledge Not every woman likes to go with a ground-bass of the reigning Kings and chorus numbers, gratifying solos and appropriate Queens of England of the corresponding pe- organ accompaniment. Time, 30 minutes. Ingraham playing clarinet and French horn. ' musical form of many a male composer, musical societies to perform her works. sometimes a good deal of On the whole, this book does not concern The New-Born King, by Benjamin Loveland.75 The program will be built around a story. The difficulty lies in another direction. That there itself so much with the works of the com¬ “Lawrence sets the stage by playing Composers, male or female, are not exactly injustice done, to preferring only promi¬ posers as with their lives and their person¬ Fine variety in the chorus numbers and worth-while nent names, is proved by an amusing alities. The biographies are told in excellent assignments for the soloists. Time, 40 minutes. A Snowy Christmas Eve. We see a little what one would call “each other’s friends." fashion by a group of nineteen distinguished girl rocking her dolly to sleep while she Women, among each other, never, o anecdote. The writer of this article was, British writers. In a “Foreword," H. C. Colles, The Birthday of the King, by Norwood Dale.60 waits for Santa Claus. Norma Jean Barker the noted English critic and lexicographer says, "Whatever the terms of the communi¬ Tells the Christmas story in 1 "r ’ takes this part. We hear My Dolly by Eliz¬ cation may be, we want to know better the i the ingers. abeth McClean and Lullaby by Elizabeth man who speaks to us through music; and inevitably we feel that to know what he Earls. While singing her dolly to sleep, the looked like, what were his tastes in quite The Christmas Dawn, by Chas. G. Spross. little girl also falls asleep and dreams. A trivial matters such as eating and drinking, how he lived and where, brings us a little Well-selected texts make this musical t duet, The Sandman, by Ronald McFarland nearer to an understanding of him. First beautiful Christmas sermon. Time, 40 n and Mrs. Franklin, and The Dream, by Next Month hand information on these matters gets Bobby McFarland, are heard. The child’s harder^ to come by with every year that The World’s True Light, by R. M. Stults. . Inspirational choruses and fine solo numl dream is a happy one, about a visit to a THE ETUDE for DECEMBER 11 a Gala Christmas Issue Full of HSIv *25!b. this most popular Christmas cantata. Time toy shop, where the toys come to life and Publishers ; E. P. Dutton & Co, Inc. utes. parade for her. Thomas Armstrong plays The Holy Night, by Lucien G. Chaffin... In a Toy Shop, and Louis Burton plays A First Glimpse of Great Music Short, but very effective cantata that ma; Toyland Parade. REFLECTIONS FROM A BUSY By J. H. Elliot “Suddenly the sleeping girl is awakened Written for the musical amateur—the by a mixed quartet. Time, 20 minutes. MUSICAL LIFE “plain man” who listens to music for the by the sounds from a church service next pleasure it gives him, this volume sets forth Heralds of Praise, by Wm. Baines. door to her home. This is told in music by Alexander T. Gretchanlnoff, one of the foremost in straightforward, understandable terms a Cantata for choir of mixei' Russian masters, in an exclusive conference for few suggestions which will help him to ex¬ Lawrence playing The Awakening, Fran¬ THE ETUDE, tells the fascinating story of his plore the world of music, without becoming Time, 40 minutes. ces Smith playing In Church, and The unusual career. lost in a maze of technicalities. The various phases of tlie art are presented iu the broad¬ The King Cometh, by R. M. Stults. Chapel Bell, also by Lawrence. As she est possible maimer—the author deliberately Obtainable either for choir of mixed voices, or awakens, the child hears told in music the avoiding detailed analysis, in all his discus¬ arranged for treble voices in two parts. Please state beautiful Christmas story—Bethlehem in SENTIMENT VERSUS sion. The whole purpose of the book is to give a broad panorama of the music world, preference. Time, 45 minutes. the quiet of the night, the shepherds watch¬ SENTIMENTALITY which perhaps will lead some of its readers The Awakening, by Wm. Baines. ing their sheep and studying the heavens Rudolph Ganz, Swiss-American piano virtuoso, to a desire for a closer study of the many elements found therein. For two-part chorus of treble voices. Not too diffi¬ when the brilliant new star appears, the and brilliant raconteur, talks on "Sentiment versus Sentimentality," in a way that will captl- Pages: 128, cloth bound. cult for junior choir. Time, 30 minutes. angels and their wonderful message of the Price : $1.25. baby Jesus. O Little Town of Bethlehem is Publishers: David McKay Company. The Festival of the Nativity, by Wm. Baines.60 played by Helen Gardner and Mrs. Frank¬ Short, melodious cantata for chorus of treble voices MUSIC STUDY IN PARIS TO-DAY Music of the Orient and Occident singing in two parts. Time, 30 minutes. lin; Silent Night by Elizabeth Earls; Star By Maiibgaret E. Cousins of the East, Betty Smiley, clarinet, Joe Maurice Dumesnil, French pianist, conductor, teacher, author and lec¬ inounccs this work as Hunt and Paul Franklin, horns, Jimmy turer, long familiar with American life and affairs, writes in a highly _Js mutual understand!..,,. entertaining fashion on music in the French capital. -- _ Bachelor of Music, who left the British Smiley, piano; Hark, the Herald Angels Isles for a twenty-year residence in India, and CAROL COLLECTIONS Sing, Alene Davis; and The Angelsf Song, who became versed in the music of the Orient. The nomenclature of Hindu mysticism is Christmas Carols Lawrence Franklin.” EIGHT HANDS ON ONE KEYBOARD y the least, involved; and Miss Cousins was Lulled to sleep again by the Christmas 1 with a difficult task in preparing We Love to Sing Nelson J. Newhard has spent a large part of his musical life in the study this helpful book.’ "Music,”- 'I,” she teUs us, "is music, the little girl is once more awakened of this unique musical combination, which any teacher may introduce the oldest of arts in the Onem. u is me by the arrival of Santa Claus. My youngest with interest and profit. youngest in the Occident.” She also states that "There is in India a whole school of child, Clifford, in costume, took the part of devotees, who look upon music as a transcen¬ Santa Claus, playing the Santa Claus piece dental subject, and who use the medium of A NATIVITY PLAY sound for the attainment of eternal bliss.” in one of my Etudes, after which he dis¬ The book contains also chapters upon Rus¬ tributed candy. Several other pieces were sian music judged from the Oriental stand¬ point. All in all. it is a very novel presenta¬ from old Etudes. Four year old Norma tion of a very difficult subject, of real interest Jean Barker, who sat in front rocking her to nil who are curious about the music of the East. dolly, obligingly shut her eyes and opened Pages: 199. them, whenever big sister, Lois, the reader, Price: $2.00. whispered to her to do so. Publishers : B. G. Paul & Co. (Madras, In¬ dia) American representative, The Anchorite —Mrs. Doris Franklin Christmas Carols for Treble Voices Music is international; there should be Two-Part Voice Questions Answered music festivals for the women composers, !e Carol; Come with Torches, Jeannette, seldom, patronize each other’s works. Yet .... _ Carol; The First Nowell; Good King some years ago, engaged to play at a each year in a different town and country. (Continued from Page.Til) the woman composer relies, more than any ,s; Hark! the Herald Angels Sing; 1 Saw Three Shifts; and can start a phrase "in the middle of concert in Bremen, and was expected to A musical library, of only women’s com¬ Upon the Midnight Clear; Joy to the World; O Come, the note, with fine quality, on the upper E- other class of the musical profession, on play (amongst other pieces), Brahms’ Faithful; O Little Town of Bethlehem ; O Sanctissima; flat, Elijah’s "prayer," Lord Ood of Abraham, the assistance of some one, either to inter¬ positions and books on musical subjects, -1 ' Of,f Your Drowsy Sleep; Silent Night; and again from Mendelssohn's masterpiece, could Rhapsody in B minor. Somehow, at the last and so on, might be founded. be made an interesting program number. The pret the works, or to pass them on to minute, she did not feel disposed to play it, Octavo Edition. No. 21225—Price, 15c preceding recitative, Draw near, all ye yea- pupils. Even down to scale and chord exer¬ A perusal of the writer’s “Musical 'Di¬ pie, needs a broad, dignified delivery, with so she substituted, without telling anyone, rectory” would give proof of the enormous power to sustain a slow, considerable cre¬ cises, women teachers prefer the same a composition of her own, also in B minor amount of idealistic musical ambition, as scendo. An emotional vocalist, who has “pic¬ scales written by a man, to those written Yuletide Carols for Men's Voices tured to himself” the preceding and present m its place (Scherzo in B minor, published well as energy, which women have given situation in the movement of the drama, down by a woman; though they may be by Robert Forberg, Leipzig). jjjjf!} elm!UC»i'. K S“r 1,1 IvMivan :!o Contains The First Nowell; God Rest You Merry, Gentlemen; can make a big effect at this point. Tou men¬ published by the best publishers in the to musical art; but, alas, the “Directory” Good Christian Men. Rejoice; Good KmgWenceslas; Hark! the tion as one of your program numbers The She still possesses the writing in which has not yet found a publisher. Let us have SvftM’r .—“US :8 Herald Angels Sing ; It Came Upon the Midnight Clear; Joy to Tourney of King John, by Saint-Saens. This world. On hearing of the “Biographical the critic tells of how wonderfully she had .L. w-.ivf Tl, Moon Shines Bright; O Come, All Ye Faithful; is a very striking, and for a young singer, music festivals where women could come HIM Low’ Lika a Little Cradle (a) Catalogue” which the writer of this article played the beautiful Brahms, and how well O Little--of Bethlehem;. O Sanctissima; Shepherds! Shake exacting piece ; but, if he is mentally, musi¬ forward with their best works; but let us 21112 Naiareth Off Your Drowsy —Sleep; ■ Siler.- Night; We Three Kings of Orient cally, and vocally equal to it, he will gain a had compiled, the then Director of the the chord passages had sounded (consider¬ 20321 Old French Christm good deal by its study and performance. musical department at the (Royal) State also not forget those who have gone before 10720 Silent Night (t) Are; and When the Crimson (2). Keep on with the perfecting of the ing that there are none in the real Brahms, Library in Berlin, Prof. Dr. Wilhelm us, leaving us their highest inspirations: 21104 There's e Song in the A,r s;m 15c student's breath control; and be sure that in what a very flattering criticism). It would 20350 We Have Seen His Star in the East s,m this study he does not overdo, unconsciously, Altmann, wrote to her as follows: “It Clara Schumann, Fanny Hensel, Ingeborg so as to bring stiffness into the jaw and not be at all a bad idea to bring a pro¬ von Bronsart, Sophie Menter, and hundreds tongue. On a crescendo, especially when “cov¬ would be most deplorable if it were not gram filled with the names of men, and per¬ ering” a series of ascending pitches, there is made possible for you to have your ‘Dic¬ of others, and very much older women sometimes a temptation to "push” the tone, form women’s compositions instead, just to pioneers. resulting in constriction in the throat, and tionary of Woman Composers and Music see what the critics would write, and what , •' *" 7. n.,m,u|. Ad,s), (|) involuntary “sharping.” So, too, in some cases, It is not competition with men that is Authors’ published. For bibliographical the audience would applaud most. But in upon a long sustained note, with crescendo, research your work is quite indispensable. desired, but chances for proving the fact HlUn^loM, i „ , Read rg-Novello if the breath control slips, the throat seems to all seriousness, unless women composers THEODORE PRESSER CO. try to compensate for lack of sufficient, steady You have, indeed, proved in many cases, of women’s equality—not with the world’s breath-pressure and, tightening, elevates the unite in every country, and especially in . MUSIC PUBLISHERS, DEALERS AND IMPORTERS - pitch without the conscious desire of the that under the cover of only the initials greatest geniuses, but at least with those S&S&S- all the big towns, the writer of this does men who have also been struggling for before the surname, a woman’s Christian not see how things can be changed. fame, and have not always succeeded. ,718 CHESTNUT STREET, PHILADELPHIA, PA. 746 The clock hands near the even hour. You are enjoying a program of marvelous music master¬ fully played. The broadcast that follows features a comedian who never fails to amuse. Yet . . . for a minute or so . . . there are news flashes you don’t want to miss on another station. No problem at all with Philco Automatic Tuning! As the program signs off... a glance at the automatic tuning dial reveals the call letters of the station carrying the news. One twirl ... and you hear the bulletins. Click! You’re back on the first station . . . perfectly tuned! No longer need you depend on eye or ear. Philco Automatic Tuning brings out all the beauty of Philco High-Fidelity Tone ... by assuring absolute tuning precision. Foreign tuning has been made easier, too! Stations from London to Japan are named, located, spread six times farther apart on the 1937 Pu;,co Spread-Band Dial . . . made accessible and dependable by Philco engineers! H LALY lMySumfCUfnpom Radio’s Greatest Convenience— PHILCO AUTOMATIC TUNING On the Philco 116X De Luxe . . . call letters of your favorite Ameriain stations are inserted where the mythical call letters appear above. One twirl tunes the station with unfailing precision and true High- Fidelity Tone. "Boom” is eliminated by Acoustic Clarifiers . . . and every note brought to ear level by the Philco Inclined Sounding Board. Five Spread-Band Tuning Ranges cover all that’s interesting in the air. . . while the Philco Foreign Tuning System and High-Efficiency Aerial double the foreign stations you can get and enjoy! See the classified telephone directory for your Philco dealer. Buy, if you choose, on the Philco Commercial Credit Easy Payment Plan. PHI LCO FIFTY-TWO MODELS *20 to *600 PHILCO REPLACEMENT TUBES IMPROVE THE PERFORMANCE OF ANY RADIO PHILCO 116X DeLUXE* . . . $195 (LessAerial) SPECIFY A PHILCO FOR YOUR AUTOMOBILE Sold only with Pht/co High-Efficiency Aerial to insure greatest foreign reception.