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

8-1-1949 Volume 67, Number 08 (August 1949) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 67, Number 08 (August 1949)." , (1949). https://digitalcommons.gardner-webb.edu/etude/159

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the Halle, tius.” The B.B.C. Symphony, Orchestras, THE SECOND ANNUAL International and the London Symphony Society, and the Alex- Festival of Music was held at Aix-en- the Royal Choral prominent parts in the Provence, France, from July 16 to July andra Choir had included Jascha Heif- 31. Under the general direction of M. program. Soloists Pierre Fournier, cellist. Roger Bigonnet, with Hans Rosbaud etz, violinist, and and Ernest Bour as directors of the or- world chestral forces, a full schedule of pro- DR. ALBERT SCHWEITZER, grams was presented. World famous art- famous authority on Bach, noted organ- C^ia5stime soloists included philosopher, con- ists who appeared as ist, medical missionary really Robert Casadesus, Marguerite Long, Ar- sidered by many to be one of the Maurice in the with thur Grumiaux, Andres Segovia, great men of the world, arrived Gendron, Suzanne Danco, Emma Loose, United States on June 28, for his first Trio years Dr. and Maria Stader. The Pasquier visit to this country. For many pro- en- also had a prominent part in the Schweitzer has devoted his time and hospital gram. ergies to the development of his Dr. Schweit- in French Equatorial Africa. Carmel was made THE TWELFTH ANNUAL zer’s only public appearance Carmel-by-the- Bicenten- Bach Festival was held at on July 6 and 8, at the Goethe to 24. Festival in Sea, California from July 18 Some nial Convocation and Music of the best known works of the great Aspen, Colorado, where he gave two The German composer were presented. addresses. From Tiny Tots to Junior High School Agers! conductor was Gastone Usigli, and the included Phyllis Moffet, Muriel conductor soloists Music Festival on August 13, EZRA RACHLIN, formerly a Isbell uled for the early weeks of the season Berkshire So many teachers, both public school private, plan- Rogers, Russell Florton, Ralph performance Philadelphia Opera Company, and are Dorothy Sarnoff, was instead given its first of the and Noel Sullivan. Organ recitals were were James Melton, conductor of the ning on July 14 by the Amsterdam has been appointed classworlc for the coming season that I feel the urge to there were William Kapell, Isaac Stern, Oscar Le- anywhere given by Ludwig Altman, and conducted by (Texas) Symphony Orchestra. In Vladimir Golschmann. Concertgebouw Orchestra Austin give you a few notes on some of the available materials for lectures by Alfred Frankenstein. vant, and director of the Mem- Eduard van Beinum, as a feature of the 1945 he was music CLASS INSTRUCTION. Festival. “A Spring Symphony,” phis open air theater. A NEW AMERICAN OPERA, “Ouan- THE SIXTH ANNUAL Music Festival, Holland scored for large orchestra, mixed chorus, FIRST YEAR AT THE PIANO Part I the Michigan Piano Teach- ga,” by Clarence Cameron White, noted sponsored by conduc- boys’ chorus- .and soprano, contralto and FRANCO AUTORI, since 1944 had its ers’ Festival Association, was held at De- LITTLE PLAYERS by John M. Williams (35*) negro composer and violinist, Symphony Or- solos, is dedicated to Serge Kous- tor of the Chautauqua 10 in South troit on June 5. More than fifteen hun- tenor by Robert Nolan Kerr world premiere on June relinquished the has been named assoc iate con- (50*) Here is one of the very first class-instruction books of its kind! took part in what was per- sevitzky, who graciously chestra, Bend, Indiana, when it was presented dred students York Philharmonic recital ever premiere performance to Mr. van ductor of the New Say! For the "little player" who can't read yet or the average Believe me, its is Music Association haps the greatest mass piano technic sound and it is very popular. It's a very by the H. T. Burleigh found Mr. Autori has were presented in four Beinum’s orchestra when it was Symphony Orchestra. beginner, that city. The conductor was George staged. They Robert Nolan Kerr offers this top-notch book! It's gay progressive and modern beginners book stressing to the teacher of could not attend the active in the United States .for the roles groups, according to age, from seven that Mr. Britten been Tigmont Gaska, and principal conducted in in color and content, and it really has everything. premiere in Tanglewood. The past twenty years, and has TUNES FOR the difficulties that beset the beginners at the piano, with stress Malebranch, so- years to sixty, and played three hundred scheduled were sung by Carmen Dallas, Iexas, LITTLE PLAYERS pianos, simultaneously. Di- performance by Dr. Koussevitzky, how- Philadelphia, Chicago, (60(f) and LITTLE PLAYERS GROWING UP (75(f) on phrasing! Instructive illustrations, and the titles and words prano, and Fritz Vincent, baritone. and twenty are on August 13, as Buffalo. recting the groups, which stretched ever, will be given and are the follow-up books. I don't know of a better workbook to go light enough to attract the child mind. THE FIRST PERIOD AT Mr. Britten’s lyric comedy, THE MUSIC CRITICS’ CIRCLE of across the entire floor of Detroit’s Olym- scheduled. with this and other class piano methods than MUSIC MADE THE PIANO by Hope piano edu- “Albert Herring,” will have its first per- ADELE MARGULIES, distinguished Kammerer (75*), offers like material with New York has selected only one work pia Stadium, was the noted when it is pre- piano teacher, who EASY, by Mara Ville (50(f). Believe Meissner, who has pio- formance in this country concert pianist and me, a beginner can really have many folk tunes as source material. It given a prize in its eighth annual cator, Dr. Otto can just about "teach it- to be the flic Mar- of piano class sented by the opera department of nearly sixty years ago organized ' the orchestral field, the neered in the promotion fun with this group, and can't go wrong! Illustrations, easy direc- self!' award." This is in — leaving time for more instruction. TECHNIC FOR BEGIN- Berkshire Music Center on August 8 gulies Trio, which had the late Victor Winning work being “Variations, Cha- teaching. It is interesting to note that tions, and gay little exercises packed in every one of them! NERS under the direction of Boris Herbert as its ’cellist, died June 6 in by Anna Priscilla Risher (75(f) paves the way for future Finale,” by Norman Dello the three hundred and twenty pianos and 9, conne, and eighty-six. and set Goldovsky. New York City, at the age of studies of Philipp, Pischna, Hanon were moved from six warehouses and others, with stress on finger Joio. a long, notable ca- arena floor in one day without Miss Margulies had ADA RICHTER'S KINDERGARTEN CLASS BOOK ($1.00) development. up on the ELGAR FESTIVAL, given by the reer, which began in the United States RUDOLPH BING, eminently successful a scratch on any instrument. The pianos THE I just can't seem to say enough about these Ada Richter books! of a Henry Wood Concert Society in London with her first concert appearance in 1881. manager of the Glyndbourne Opera are worth more than a quarter to be This one is for the very MUSIC PLAY FOR 30 to June 15 turned out young beginner—not a singing method but EVERY DAY ($1.25) is for very young students Company in England, and for the past million dollars. May Music the largest and most comprehensive ever LOUISE ROBYN, widely known teacher a saying and thinking and doing one. It offers before attempting the Standard two seasons, of the Edinburgh busy work to do Graded Course Series. Everyone Choral works presented of piano instruc- has been engaged as general BRITTEN’S “A Spring undertaken. of piano and composer during classes knows this Festival, BENJAMIN —the Three Bears' Story, arid wonderful pictures book from way back, and it offers a Apostles,” “The Kingdom,” material, died 10 in Chicago at "fool-proof" manager of the Metropolitan Opera As- Symphony,” which was originally sched- were “The tion June of Geron- been a that help ever so much! The child course. Its sequel is at the “Caractacus,” and “The Dream the age of seventy-one. She had picks up the lesson material and HAPPY DAYS IN MUSIC PLAY ($1.25). Both sociation. He will begin his duties under uled to have its world premiere member of the faculty of the American learns how to play without being books are happy and offer three-year contract, on June 1. 1950, aware of "learning." Ada Richter sound instruction, proved successful a for Johnson, who has Conservatory of Music, Chicago, in succeeding Edward also has MY PIANO BOOK, Parts I, II, many years of use. and III for further work. Well illustrated. forty years. filled the position since 1935. Mr. Bing, (50Vienna, but in 1946 he became LET'S I PLAY No. 2) (75*) and PROFICIENCY IN THE PIANO CLASS (Book a naturalized British subject. by Ella Ketterer No. 3) (75(f) are the set of is offered (50*) Presser's Piano Class Method instruction AN AWARD o£ fifty dollars in Philadelphia Ella Ketterer books. Can you believe ROBIN HOOD DELL by the Northern California Harpists never offers the public anything that she hasn't first it? After the very first lesson, the begin- a most successful opening con- harp composition ner had Association for the best tried and found valuable in her own leaves knowing how to play the teaching. LET'S PLAYI gives first number with both hands! cert on June 27 when an audience of written by a contemporary composer in youngsters in the newly in the kindergarten and primary ages a happy start ten thousand gathered the United States during the year 1949. amphitheatre to hear and lesson renovated natural The aims of the award are “to enlarge by lesson progress at the keyboard. These little pieces oiuuciiib musr . . premiere of a concertized ver- have writing books the world the harp literature and to familiarize with words have plenty of illustrations of staff paper, and we have to attract all of the little two special kinds: sion of “Tristan and Isolde” sung by composers with how to write for harp.” ones! The PRESSER'S FIRST MUSIC Lauritz Melchior, WRITING BOOK (10(f) has wide Helen Traubel and The closing date is January 1, 1950, and by the Robin spaces and includes the elements and superbly accompanied all details may be secured from Priscilla of music and practical direc- While we re playing, Hood Dell Orchestra, conducted by Street, San Fran- here's another gay little clown-book called tions for music writing. The Leuer, 1937 Stockton other, PRESSER'S SPIRAL MUSIC Bernstein, talented young Amer- FINGER FUN by Myra Adler Leonard cisco, California. (50(f)—wonderful for finger-tipping! WRITING BOOK, No. of this 87 (15*), lies flat on the music rack. Then ican musician. The highlights And THE MUSIC FUN BOOK by Virginia presented Montgomery (50(f) is a there s the COMPREHENSIVE Wagnerian music drama were MUSIC WRITING BOOK by THE SOCIETY for the Publication of good workbook for class or private as only these thoroughly experienced study. Large illustrations make Hamilton (60*) which offers a thorough American Music, Inc., announces its course in notation This is artists can sing them, and both their solo it fun and very American easy to do. suitable for young or 1950 competition, open for older students alike, and holds and duet offerings reached artistic heights a tremendous citizens, native or naturalized, for cham- amount of valuable information. of great magnificence. The opening con- SUTOR'S NOTE SPELLING ber music works in the larger forms for cert set a high standard indeed for the BOO K A ele Sutor (5CV) viola and piano, or for any one wood- makes many a - game ° f musica| s P e|1 season, and other events which followed i ? piano. The Theodore Presser mg. Little;Xtykes are all wind or brass instrument and Co. original and this helps them have maintained an equally high calibre. express their winning works will be published by the ° r ' n a the opening week g +y music - Ano+her Another feature of ,' spelling ' book is SPELLING LESSONS organization, and the composer will re- Bryn IN TIMEi i , was a Beethoven concerto played by Mawr, Pennsylvania AND NOTATION by Mathilde ceive a royalty contract of twenty-five per Bilbro (50*) and it offers Leonard Bernstein and conducted by not only the list price for sold copies. En- simple spelling lessons but Michigan's Massed. Piano Festival cent of musical mathematics as well. him from the piano. ( Continued on Page 509) Other soloists and conductors sclied- (See Note on this Page) 457 AUGUST, 194* 1 8

Watch for These Features in the September ETUDE nra the music magazine I to 'South Pacific in MUSIC Ezio Pinza Tells "Why Went Published Monthly INVENTION star of “South Presser Co.. Philadelphia i, .'a. The great Metropolitan bass-baritone, now the By Theodore j Si Pacific,” most successful Broadway hit in years, tells how and why he made the transition from grand opera to a Broadway EDITORIAL and ADVISORY STAFF FRANCIS COOKE, Editor-m-Chief musical. DR. JAMES JOHN BRIGGS, Managing Editor Through Liszt, Leschetizky, and McCoy, Assistant Editor widely used by experienced teachers. Guy inbred quality of folks raised m Music Editor smartness, apparently an passed on to scores of the worlds a Composer Great? J. CIces McKray, Yankee others, the School ol Czerny has been Soulima Stravinsky: What Makes England, lias brought to the W. < hrk'nS Dr. Guy Maier exhilarating hills of New Mason, d Albert, Harold Berkley Dr. Nicholaj Douty KH the vigorous, pianists such as Rosenthal, Sauer, Joseffy, Elizabeth £Oesj Dr. Alexander McCurdy been most famous Ruth Evans Buhman Maurice Dumesnll mechanical devices. Our daily lives have becoming, it feel to the son of a famous composer—and George C. Krick N. Clifford Page world innumerable Schnabel, and others, How does be Deito Edna Fort Paderewski, Gabrilowitsch, Hambourg, Pietro Peter Hugh Reed by the inventions, discov- William D. Rerelli made far more convenient and productive pianistic art since Beethoven. Gabril- a concert pianist in your own right ? What are the special prob- as it were, the great highway of quick-thinking, original minds of men of a eries, and contrivances of those he felt that the foundation lems encountered in performing Stravinsky’s piano works? THEODORE PRESSER- our proud owitsch once told your Editor that -FOUNDED 188} BY from the rugged shores and wooded hills ol the pillais 01 men, and women pianistic technical structure rested upon Here are the authoritative answers, by Soulima Stravinsky, Wherever there are Americans, there line states from Maine to Connecticut. Brahms. tirougr Chopin, Czerny, and . . pianist son of the composer Igor Stravinsky. are trying to make things just a little better, inventive writers are men who Since the time of Czerny there have been many Contents for August, 1949 are enormous. Patents issued by the invention. The rewards sometimes teachers who realize, as did Paderew- lane s, of technical material employed by reveal that, in comparison with other in- Darius Milhaud on "Modern Music" VOLUME LX VII, No. 8 • PRICE 30 CENTS United States Patent Office keyboard drill and long, hard practice are States than in any othe ski, that exhaustive the urge to invent is stronger in the United Tausig, Cramer, jschna, approxi- dispensable. Among these are Moscheles, one of the THE WORLD OF MUSIC 457 183!?, there have been “Modern music” is a misnomer, says Milhaud, country. Think of it! Since July 13, Isidor Philipp. Ludwig Deppe, Tobias Washington, pre- Hanon, and particularly Alaitre and a half million patents recorded in their high greatest living French composers. In a brillant, provocative EDITORIAL mately two Rudolf Breithaupt were also distinguished for this the almost ten thousand Matthay, and 459 ponderantly of American origin. Add to article Milhaud outlines his artistic philosophy and describes Invention in Music. ability in invention. the total is considerably more , , patents issued previous to that date, and of Czerny and was his working methods in creating music. Every music lover will Isidor Philipp was born six years after the death MUSIC AND CULTURE a half million. than two and Stephen Heller, who was in turn a pupil of C/erny. . Pittcnger of con- Lessons. . . .Mabel W. 460 type of himself a pupil want to read this important statement by an important Getting the Most from Your Music are obtainable upon all kinds of things, even a new Denmark's Royal Conductor Eric Enoe 461 Patents trained many famous virtuosi, including Otuomar Dumcjnil 462 however, have to do with Maitre Philipp has temporary composer. The Teacher’s Round Table Maurice fruit tree or variety of rose. Most patents, Beveridge Webster, Emma Education in Opera Boris Goldovsky 463 Maurice Dumesnil, Wilfrid Pelletier, bodies. Novaes, Fiddling While the Sun Bums • Dr. W. Schuieishciiner 465 the action of forces upon Nikita Magalolf, and others. Probably he has such as the lever, Bovnet, Reginald Stewart, Mary at the Manuals No one knows just when the elemental machines, foundations for piano tech- Miss done more in his generation to build strong MUSIC IN THE HOME wheel, and the axles, were first devised. They the inclined plane, the years as head of the piano department Etude Music Lover’s Bookshelf .B. Meredith Cadtnan 467 pow’er and nic than any other man. After his The story of Miss Mary Vogt, the unseen organist who has the awakening of man to the multiplication of amazingly represented de Paris he is now living in New York, the march. The capture of the Conservatoire played 30,000 recitals on the largest organ in the world, and has MUSIC AND STUDY thus set much of what we call civilization on technical studies, represent- virile, and actively engaged in teaching. His Pianist’s Guy Maier 468 gravity, the force of the wind, the ioue been heard by millions over the radio, yet has been seen by The Page and employment of the force of and inventive ingenuity, are world-famed and Imagination, the Key to the Child’s Musical Interest . . Ada Richter 469 ing his vast experience of steam, the force of electricity, the loice o Music, the Universal Language Dr. Howard Huuson 470 of flowing waters, the force adoption. only a few of her listeners. their international . Gaining Experience Stella Roman 471 vibrations, the force of exploding chem- deserve hydraulics, the force of sound of all collections of technical material Shall I Become a Professional Musician? Darrell Peter 472 part of One of the most inventive Playing the Piano in Service 473 engines), the force of the atom, are all a the Church Madelon Witlman Jackson icals (the gas and jet Technic,” by Dr. William Mason. He sought to establish What Makes a Career? Keep in the Middle of the Choral Road .Haydn Morgan 474 is “Touch and Inconsistencies man’s battle for existence. without '"'Bate in Musical Notation Adam P. Lesinsky 475 road to technic that was direct, elastic, adaptable, and The Violinist’s Forum the world. a Harold Berkley 477 great invention often confers centuries of benefits upon Liszt, Gabrilo- successful of all concert Questions and Answers Karl W. Gehrkens 478 A His ideas were received with acclaim by Joseffy, S. Hurok, one of the most managers, mathematician, physicist, motion. Strictly American Vocal Problems Mack Harrell 479 It is a long way from the Greek Archimedes, artists. Just How Leschetizky witsch, and Paderewski. - gives the answer, which will astonish many would-be Taught M. B. Boyd 480 that rocky island of Syracuse southeast of and inventor, who lived on said and done, nothing ever takes the place ot Archimedes screw, When all has been Hurok, responsible for the astute presentation of Chaliapin, MUSIC A.. Edison or Lee de Forest; but the tools Sicily to Thomas thorough technical drill. The hands, of course, are merely is used quite as significantly Marian Anderson, Artur Rubinstein and many others, offers Classic and Contemporary Selections given to the world by the Greek scientist, and soul. But the of fine piano playing. The art is in the mind In Old Arizona (Presser *28044) King 481 discoveries of our American inventors. practical to contemplating concert career. Stanford now in American industry as the ( Continued on Page advice anyone a Morceau Characteristique finer the tools, the more beautiful will be 464) (Presser 2156) H. A. Wollenhaupt. Op. 21. No. 1 482 has had a notable part. Cradle Song (John Church Co. *30626) Alexander MacFa'.hlen 484 In American musical education invention Little Admiral (Presser 27442) Robert A. Hellard 486 inventions in the field of musical instruments, talk- "They've Jesus Shall Reign John nation 488 We do not refer to Revived the Music Box" billion dollar (From “More Concert Transcriptions of Famous Hymns") ing machines, radio, or television, which have established _ ... _ Trans, by Clarence Kohlmann , of teaching music. New musical Betty and William Waller of New York City report to Scottish Song (Presser 28023) Marnr-ret Wioham 490 industries, but rather to the methods Swinging in the Hammock (Presser 27607) Marold Locke 491 cropping up all the time. They represent ETUDE readers on an unusual collection of the music boxes educational discoveries are Vocal and Instrumental beginning of prog- Compositions the insatiable desire to advance, which is always the which brought delight of thousands of in TheLoreley (Violin to hundreds homes Quartet) Friedrich Silcher 492 Some, however, remain dif- (Ditson) (From The String ress. We have examined scores of them. the Player’s Ensemble Repertory”) Victorian and post-Victorian periods. Karl Rissland reasons. One reason is that many are not Come,~ ^ Arr. by ficult to justify, for various Weary Soul (Presser *27967) (Sacred Song—Low Voice) product of the product of real educators. That is, they are not the 0r Seren de Dancers 0; No '. 7 (0rgan) Wolfgang°Amadlfis Mozart 494 skill through long Good Are Good Musicians 4’ ,. craftsmen, who have acquired their ?Frnm(From Six Organn TranscriptionsT from Mozart") well-trained (Ditson) inartistic Arr. by Edwin Arthur Kraft experience, but rather are incredibly dull, inefficient, and Patricia Bowman, prima ballerina of Radio City Music Hall, outstanding mu- Delightful Pieces for Young Players works lacking the inspiration and beauty which all who is also a musician, tells how music study aids anyone who Sailing Out to Sea (Piano Duet) (From “Let’s Play Duets”) (Ditson) sical creations must possess. ti Sarah Louise Dittenhaver 496 Hereoro Comesr rtTV1Qc the Parade ,rv ~ writers vary conspicuously wishes to become a dancer. (Piano Duet) (From “Side by Side”) (Presser) Even the greatest musical educational Pretty take, for instance, the case of the toweling Little Daisy (Presser 27822) M^rM Lewis 498 in their output. Let us Stepping Stones (Presser 27925) Marion R Black 498 i; 1 U °£ Beethoven for three Don't Worry About the Next Depression! Romanze (Presser) technical genius, Karl Czerny ( 79 57 ), P P^ (From "Chapel Echoes") [Wolfgang A Tade^MtSart 499 had a big part in the making of his pupils (Franz The years. Czerny, who Village Green (Presser 27420) 500 best. Of his A well-known Western piano teacher describes the unique Alexander lennett Liszt and Theodore Leschetizky) was not always at his with which “barter system” which has enabled her to maintain a balanced JUNIOR ETUDE more than two thousand works, there are many, of course, Elizabeth A. Gest 512 play all of budget in good times and bad. we may dispense. Moreover, the student who attempted to MISCELLANEOUS for musical Czerny, as a technical gymnasium, would have no time Voice Questions Answered ... , , compila- Organ and Choir NtchoIas^Douty Emil Liebling, pupil of Liszt, made a graded Questions Answered L' 505\ 2? compositions. Violin Questions Answered. Frederick Phillips by Liszt. These This month ETUDE is honored to have as the subject for its cover Dr. tion in three volumes of the studies of Czerny favored Hail Rotarians, Kiwanians, Lions, '' Optimists’ and Membe’rs’of Alj’Service Clubs 466 “Selected Studies, are Howard Hanson, head of the Eastman School of Music, and one of the studies, now known as the Czerny-Liebling foremost living American composers. The production of Dr. Hanson’s opera, Z:, “Merry Mount,” was & an important milestone in the annals of the Metro- politan Opera Company. His orchestral works have been performed by symphonies from coast to coast. Elsewhere in this issue ETUDE presents a Thf. Hand of I. Philipp timely, significant article by this 6 eminent musician and music educator. The great French inventor of technical devices indicates ffngh Pric^^o a°year*fn ^il^other countries! what he considers an approved hand position at the keyboard. 458 459 ETUDE AUGUST, 1949 Getting the MOST from your MUSIC Denmark's ROYAL CONDUCTOR

Hints on Oft-Neglected Factors in Music Study LESSONS Practical By ERIC ERWE

by MABEL W. PITTENGER purpose of your practicing if you substitute another Orchestra Director of Tamalpais, California, High School piece, even though the speed of its staccato passages trying to walk in may fascinate you. That’s like two (A Danish journalist tells here, for the first lime, the directions at once. Let your teacher decide what path King Frederik to explore each week. full story of fhe unique performance of

Ask Intelligent Questions of Denmark as a conductor in the Kingdom of Music.) follows the advice this glasses, and comfortable shoes. The student who of 3. But, 4. Be alert. Concentrate solely on your lesson. practical “down-to-earth” teacher may double Perhaps this suggestion sounds unnecessary. honestly, here is what happened a few weeks ago. A Have you ever been so concentrated on your les- the value of his lessons. No matter how dynamic boy arrived at his violin teacher’s studio without his son that you didn't hear the rain storm begin, that the teacher may be, unless the pupil knows hoia violin—he had forgotten it at school; with his sister’s you forgot your best girl friend was going to a dance cannot get the value his to cooperate, he full of piano music—picked up by mistake; without glasses— with your best boy friend, and that the hour was over King Frederik IX —Editor’s Note. instruction. a broken lens was being replaced; and wearing stiff in what seemed only half an hour? That kind of les- studio, is worth while. And that kind of concentration new shoes. There was an extra violin in the son constant inspircr there have been many accom- King Frederik’s first tutor and but playing on it. practice can save you hours of valuable ever Among the Hnpsburgs the boy was not accustomed to in home F Denmark’s tall, popular King Frederik IX from whom he II of France was an was his mother, Queen Alexandrine, like his, fingerings, every week. His plished musicians, and Louis XI There were music books but bow- practice time should wish to resign from the throne, -As a musician. King Frederik’s namesake, inherited his musical gifts and artistic interests. ings, and other suggestions couldn’t be written in to 5. Don’t hesitate to ask questions. be able to make a living— avid amateur I Majesty would easily displayed his rare interest and exceptional music King Frederick the Great of Prussia, played the flute child he T TAKES two people to make a worth-while help his practice at home. The effort to see without Your teacher will welcome your questions. If you a music conductor. Judging from the fact that the as industrious composer of talent for producing harmonious music. By starting lesson—the teacher and the pupil. The pupil his glasses correct playing position impossible. his explanation, say so. good of the diligently, and was also an made don’t understand A King is very devoted to his country and aware the English out in learning the piano and violin as his favorite I should- feel his full half of the responsibility of And tight shoes—well, wearing tight shoes kept him teacher realizes that almost any explanation, no mat- chances for the concertos. Of recent times, Albert Edward, responsibilities of his high office, the Prince showed early Consort, played effectively, as did Queen Vic- instruments, the young Crown making the lesson a success. He can’t be a passive thinking of tight shoes! ter how clearly stated, may be interpreted wrongly. public of the world ever to witness the King Prince music his inclinations for the role of a conductor, and as a pitcher into which the teacher tries to pour the cream prepared last lesson’s toria in her youth. Among the American Presidents, Be with the assignment. He will be glad that you arc interested enough to on the podium of concert halls are very remote. But a devoted Boy Scout he often conducted an enthusiastic orches- of his knowledge. Have you ever been surprised and embarrassed at want his explanations clearly understood. Maybe your that time and Thomas Jefferson is known to have been the music-loving Danes loyally hope his vaca- longer than lover of the violin and President Warren Harding tra of team mates when spending summer “John has been taking piano lessons a lesson when you opened up your music to an un- question comes from curiosity about some point not circumstances will permit their ruler to pursue his musical acquirements. The tions in the Royal Palace of Marselisborg in Jutland. his pal Bill, but he doesn’t play as well. Bill must practiced, forgotten page, headed with your teacher’s mentioned in your lesson. Ask your question. Curi- hobby. boasted often of his early unusual brother, Prince Knud, who is also a have a better teacher.” Perhaps. But perhaps Bill’s pencilled directions lesson present heads of state. President Harry S. Truman, His younger and date? A good way to osity is a fine thing. Don't stifle it. While many sovereigns of both ancient and mod- pianist and enthusiastic lover of great lover of music, has been from the very first one teacher has a better pupil! Maybe John is a passive- prevent this careless forgetting is to keep a small note- 6. Bring definite problems to your lesson. excellent amateurs as musicians who is a good an ern times have been devoted followers. is to all the Frederik are outstanding musical of the King’s most pitcher pupil, while Bill helping himself book for lesson assignments and criticisms. One of my most interesting pupils a hoy of Frederik seems to be the only music, and King was and composers. King as offer. can double The young Prince was fortunate enough to have knowledge his teacher has to John Much worse than forgetting part of the assignment only average musical talent. But his accomplishments have chosen the complicated role of orchestra contemporaries. one to tutor the outstanding teacher of violin at the value of the lesson he gets by helping to make is the habit King’s interest in music is not just a whim. his private of changing the assignment. Each part were far above average. Each week he brought a list history, there have been several The conductor. In Danish Conservatory of Music, George Hoe- this lesson the intelligent efforts of two people instead of your lesson has it is something very important, and he has the Royal Danish a definite purpose in your musical of questions which he had written down during his talented amateur musicians of Royal heritage, and To him, Bill acquaint himself berg, who was also a conductor of the Royal Opera of one. Put it into dollars and cents. John and and technical growth. If you are assigned an etude practicing. Christ, the Danish King done a great deal of research to Sometimes he was scarcely in the ; udio far back as before even as fifteen years. George Hoeberg each may be paying three dollars for a piano lesson, and a piece, both in the of all of the intricacies connected with the art of Orchestra for more than key E major, and both before he might say, “There’s a place in that con Holther, according to the saga was able, with his harp with piano, violin and (Continued on Page 461) but Bill, by actively contributing to the lesson, may stressing sustained, legato playing, it will defeat the conducting orchestra music. studied certo that stumps me. I feel as if my bow were going playing, to arouse all kinds of human emotions. be getting a six dollar value. the wrong direction. But I tried it another way. What “Well, how do you take a music lesson?” John may do you think about this?” Perhaps his idea would ask. And many Johns and Marys, young and not-so- be good; perhaps not. But we both enjoyed working young, may well ask the same question; for much has out the best solutions to his problems. been written, and many educational courses have been Everybody has different difficulties and problems. conducted on the technique of giving music lessons, r You are halfway to solving yours when you discover but the idea of taking a lesson actively and cooper- what they- are. atively has been neglected. It takes two thinking 7. Admit your likes and dislikes in music. people to give and take of knowledge. Everyone doesn’t like the same food, or pictures, Let's consider some of the things, John, that you, or books, or music. That’s normal. Tell your teacher as a student, can do to make your music lessons in- what music you like. He can teresting and successful. often fit your favorite music into his lesson plans for you. 8. Be sure An Important Point you thoroughly understand the assign- ment for your next lesson. 1. Arrive on time. Don t feel that your job is A music lesson is a personal service, not a com- finished when you have ayed p last week s assignment. Perhaps your teacher modity. Your music teacher would save much of his kWvl enjoyed hearing you, but valuable time if, when your lesson hour arrives, he that wasn't the entire pur- pose of his listening. could begin with or without you. Then, if you were The most valuable part of the lesson may be his very late, he could hand you the first twenty minutes suggestions for your week’s work at home. Listen to of your lesson, like a package over the counter in a them carefully.' W rite down the important points. And store, and say, “Here, John, is the part of your lesson understand the purpose of the assignment as well as that you missed. I've done it for you. We can go on the page number. 9. Be regular from there.” Instead, your lateness means twenty min- in your attendance. , or some utes wasted time for your teacher, and either twenty unavoidable reason, you haven’t prac- ticed your quota, minutes taken from your lesson, or twenty minutes come to your lesson anyway. Your esson is still of wasted in waiting time of the pupils who are unfor- progressive value to you. And a missed sson sometimes tunate enough to come after you. means twice as long a time to cstab- neW The best way to arrive ng habit he on time is to arrive a few ’ development of mu- sri.n t a 1UT . 7 minutes ahead of time. It’s pretty hard to start play- technique, is a gradual process, and , the i7.nL1 ‘ iri ing with relaxed, controlled muscles, and thoughtful, CL ^ Jcssons is essential to their growth. ln , n 6CLC l esson intelligent musicianship when you’ve just jumped off ^°] • Then your teacher will enjoy it tnr> ’ an ' Ve u the bus, sprinted two blocks up the street, and rushed ’ M l g y° his best eff°rts. up a flight of stairs! You’ll be better prepared to do great musical talent and mental Opera Mabel brill Danish Caricature Of An Orchestra With The Royal Con- Copenhagen’s Royal House your share of the lesson if you allow a few minutes W. Pittenger enjoyment which comes from conrentnip l Ik Clarinet * linking. ductor And An Admiral On The Left Playing a in which to relax and get your thoughts settled on It’s not a passive enjoyment like w-iirk' ng the business at hand. amOV, ^ * s * acf ve - If you get the feel ino thnf : f; Bring everything U ourse'lf, 2. necessary to the lesson: instru- 7 as well as your teacher, art activelv ,i\° ment (if it’s portable), music, lesson assignment book, I S°™et*11 about making lesson wnrtbouh fk ?® this musit the time for (Continued on Page 509 460 AUGUST, 1949 461 ETUDE Now for chord study. It can be si m . grouping them plified by according to Table identical fitments and as follows: The Teacher’s Round C-F-and G (three white keys). D-E-and A (one white, one black, one white) D-flat-E-flat-and A-flat (one black, one white, one black). Finally, G-flat by has all Conducted black keys, B-flat has one black and two whites, and contrasting with the Doc. latter, Maurice Dumesnil, Mus. B-natural has one white and two black! The above is simple enough and Education should be understood and assimilated French-American Eminent easily by young pupils. Of course Playing by Ear the Pianist, Conductor, Lecturer, study of chords through finger position In the February issue of Etude you is a mere simplification which should by stated that playing by ear is wrong and Teacher no means preclude the theoretical study and leads nowhere. Why? The people of their formation and relationship later I have heard play by ear have done in material presented a wonderful job. I wish you would on. But the above explain to me why it is not all right shows ingenuity, and can likely be of to play by ear. help in the early hus- valuable grades of (Miss) A. M-K., Kansas est Beast. You shall live and be my — J. piano tuition. band!” Here again everything ends well: and in its place there I can only stand by what I said in the the beast vanishes Reflections in the Water is now a beautiful Prince Charming. Opera February issue: playing by ear can only At your Debussy recital in Chicago concluding piece called The be acceptable when done occasionally In the you played Reflections in the water Ravel takes us into and exceptionally. If done constantly Fairyland Garden and 1 noticed that at the third line, of gorgeous flowers as and exclusively it amounts to nothing a magical realm last page, you did some effects that more than an amateurish process that he builds up a powerful climax in which arc not indicated on the music; you are also played the arpeggiated unison by ROSE HELYBUT leads nowhere. I might ask you a ques- joyous bells ring and bright trumpets differently. I would like to teach tion: Whom did you hear, and what did heard, celebrating the sunshine. notes it that way for it sounded very lovely. those people play? Of course it is pos- The “Mother Goose” suite has become Would you mind telling me exactly sible for anyone gifted along that line very popular through orchestral perform- how it is done? Thank you very much to do a “wonderful job” if the music ances and recordings. It is also frequent- in advance.— (Mrs) H. 1. G„ Illinois A Conference with BORIS GOLDOVSKY reproduced consists of popular ditties or ly played on two pianos. But it is inter- Conservatory novelties. this is neither the kind of esting to point out that the version for School, New England But I have been questioned so often about Supervisor, Opera compositions nor interpretations that one piano, four hands, is the original Correspondents with this Depart- this particular passage that I welcome this wants or cares to be con- published in 1910. department ment are requested to limit letters form by Ravel and this opportunity to go into details con- cerned about. Could you imagine anyone to One Hundred and Fifty Words. Boris Goldovsky in Rehearsal cerning its tone production and pedal- playing a Fugue from Bach’s “Clavi- Helps to the Beginner ing. In Measures 2 and 3 of the third chord” or one of Beethoven’s last So- “Helping each other is one of the line, last page, play with a marked con- natas by ear? greatest means of obtaining personal sat- trast of coloring and as follows: Higher aims require a deeper pene- isfaction.” With this quotation from Festivals, tration of musical theory and rules. One author of the XVIIth Century) tells of “Helps to the Beginner” as a Headline, direct the operatic work at the Berkshire 1 needs of opera were a closer integra- Optimal in Moscow, of a re- that the chief singers here are most simply cannot do without them. a woodcutter’s children who got lost in Raymond Wm. Terhaar of Rochester, Boris Goldovsky was horn values, and a under Dr. Koussevitzky. The tion between dramatic and musical advantage of forest. The music describes their an- New York, sends an interesting com- Lea Luboshutz (Goldov- selected, and I thus had the a markably gifted family. personal responsibility among the carefully Ravel’s "Mother Goose” deeper sense of artists along what, guish, in which some birds join with munication concerning early chord study his mother; Pierre Lubo- training exceptionally gifted young sky), the violinist, is members of the operatic casts. A friend and I have been asked to their distant, wailing cries. Says Ravel: and elementary principles of relaxation. seem the only justifiable lines for sound op- pianist, is his uncle, and music has to me, play the “Mother Goose" suite by Ra- shutz, the thought he could easily find his way The value of the latter, particularly, is Begins production. Then, in 1946, I found myself m “He his life. At thirteen, An Experiment eratic vel for our music club next fall and I always been the first need of demon- home by scattering bread crumbs along so great that any new idea dealing With a very peculiar position. I had developed and am also to give some verbal comments entered the State Academy of Music As a concrete approach to solving these needs, I his path, but he was astounded when he it is worthy of examination and experi- young Boris operatic ideas, I had trained a large this composition. Could you give the unfold- strated sound on to the Liszt Academy set out to develop productions in which them was left mentation. I have often pointed in Berlin, later transferring artist-performers according to these some information concerning it, discovered that none of out the and as group of excellent me received the ing of the stage play should be as convincing because the birds had come by and eaten importance of practicing relaxation at an Music in Budapest, where he nothing for them to do! Accord- when it was written, and what is its of music, and in which ideas-and there was Put the damper pedal alone as indi- year, he compelling as the accompanying of an particular background? everything.” Laideronette, Empress of early age, when the body is still in a Artists’ Diploma in 1930 . That same I sought financial support in the form performer would feel himself respon- ingly, — (Mrs.) H. E. W„ Pennsylvania formative cated above, and be sure to hold it down Curtis In- each individual and the Pagodas, has a Chinese background. stage and when joints and came to the United States, entered the compulsion engen- outright gift (opera cannot be self-sustaining), during the whole measure. Make the sible for the conviction and the L It tells of a beautiful young maiden muscles are receptive and pliable. Mr. p and was graduated two launched the New England Opera Theater, in Boston. the stitute, in Philadelphia, performance. Both of these needs were ugliness the curse of a Terhaar proposes tone a substantial one, bordering on dered by the three operas, Because his compositions are so care- doomed to by three exercises which Goldovsky began his con- started in a modest way, giving but the sec- years later. Although Mr. conspicuously served in what I may term We fully polished, with every detail adjusted witch. So Laideronette (in French, “the he claims have brought fine results even mp or even the mf. Then play not next season, we had progressed turned his attention the stage play in in a small hall. By the ond measure with the soft pedal alone. career as a pianist, he soon ventional” opera: that is to say, with supreme craftsmanship, Ravel has ugly one”) remains in seclusion in her in “bad cases,” because they tend to give the Boston Opera House. hold operatic work, serving as As- opera was far from being either convincing to sometimes been to “Swiss castle. day a huge green serpent the pupil the necessary For a still lovelier effect you can to conducting and traditional four produc- compared a One habit of alter- operatic This past season, our third, has seen finger, Philadelphia Orchestra compelling (most people seem to regard watchmaker.” For the same reason it has kidnaps her and carries her away to sea. nating contraction and relaxation. They down the first F with the fourth sistant Conductor of the or slow. We unnatural gestures tions. Our growth has been intentionally without repeating the identical F in the Fritz Reiner), and of acting as a series of wide-flung, been contended that his style is some- Their little boat is wrecked on the is- apply to both hands. opera productions (under only as our financial resources and the accepted for the sake of the arias, with have expanded times artificial, that his attention to land of the Pagodins, tiny creatures second measure. The tone will then Orchestra opera productions (un- which must be For neither has the Cleveland opera size of our audience have permitted. emerge from an echo the result that the purely dramatic aspects of minor issues makes him overlook the whose bodies are made of crystal, porce- 1. Press and hold down a fifth the “blur” as der Artur Rodzinski). He worked simultaneously been any compromise with our artistic ideals. remain something toward which the intelligent lis- there broader, sweeping lines, and that his lain, and precious stones. As they caught (C-G, or any other) with the first and heard from afar. I wouldn't recommend the Cleve- given to large and en- as Head of the Opera Department of the responsibility for the In our three seasons we have expression emanates in- sight began to sing fifth the latter, grand piano tener feels apologetic); and more from the of her they and play fingers. Lift up and bring in however, unless a the Piano Depart- audiences, in a city not ordinarily noted land Institute and as Head of performance was lodged in the hands of ttvo hered- thusiastic tellect than from the heart. That such on their instruments. Some had theorbs the three middle fingers, not forcing of the highest quality is available. unfamiliar operas, such works^ as Western Reserve University, and was conductor and the stage-director, for receptivity to •criticisms are unjustified is amply proven made of walnut shells; others played on them too much; In Measures 4 and third line, roll ment of itary enemies, the then back down 5, Mozart’s “Idomeneo,” Rossini’s ’’Turk in Italy," a top in charge music in the Opera Department inclined to insist on the exclusive im- by the “Mother Goose” suite. Although viols made of almond shells, for they again, resting and relaxing on key the arpeggiated notes from the put of each of whom original dialogues, Puc- Gold- with the stage- restored "Carmen” with the it is small composition, it fitted size. on the Berkshire Festivals. Currently, Mr. portance of his own special department a overflows had to be to their Laideron- tops without pressing them down at downward, with a slight accent of the and Menotti’s “Old Maid and the the losing out. Add to this the widely cini’s “Cloak,” with a spontaneity, a gentle tenderness, ette is made Empress of the Pagodas this time. Repeat ten times, top notes: is Head the Piano Department of director invariably and re- ovsky of Thief,” as well as the more familiar "Marriage of prevalent “star system,” whereby listeners come to a poetic appeal which cannot be found and she marries the green serpent, who member that relaxation is just as im- Longy School of Music, Cambridge, Massachu- operatic mas- Figaro,” “Don Giovanni,” and “La Boheme.” in equal degree in any of his larger is instantly metamorphosed into a hand- portant as hear celebrated vocalists instead of an contraction. Ex.2 setts, Artistic Director of the New England Op- a general concept of opera works. It was written in 1908 for his some young nobleman, while her beauty 2. Press a note and hold down the terpiece, and you have Developing Self-Confidence era Theater (which he founded ), Head of improvement! little friends and playmates, Mimmie is restored. For the fourth number, Dia- with the first which, to say the least, could admit of finger, lifting the other Berkshire Music Cen- happened to us can happen to any well Opera Department of the satisfaction, I determined to Now, what and Jean, daughter and son of Ida and logue of Beauty and the Beast, Ravel four fingers high (like in Purely for my own the pre- the Met- opera venture, and so I should like to en- Godebski. ter, and Intermission Commentator for such improvement. In Ohio, I or- organized Cipa Whenever Ravel had quotes a few lines from Madame de ceding exercise), then down again experiment with have broadcasts.—Biographical Note. one in large upon the chief production elements that any free time he loved to go there and Beaumont’s famous story: relaxing on key tops. ropolitan Opera ganized three companies—one in Cleveland, trained served us. First of all, our singers are made to feel forget the cares of his musical career I think of goodness in Canton—whose members I “When the of your Next: press and hold down second Akron, and one con- expressiveness, that they are competent artists, upon whom the through playing games with the children heart, you do not appear to me so ugly,” finger, lift and relax as myself in dramatic as well as musical above with stage-director (I assume both these posts, telling enchanting stories independent though related ductor, the and that made says Beauty. “Nevertheless I am a mon- first, third, fourth, and fifth have enabled and which functioned as fingers. SERIES of happy circumstances both stage work and music, but the prin- them open big eyes and listen raptur- ster.” had, in general, its own mem- directing "But many men are more mon- Continue along the same lines certain theories of opera pro- units. Each company me to develop ciple would be the same if we had two such directors), ously. Such was the origin of “Mother strous than are.” I a singer in one troupe might you “I wish had in- and using the third, fourth, and only satisfy my personal bers (though occasionally A duction which not no and the audience can absolutely rely. Our strictest Goose.” telligence and could devise some nice fifth fingers in the same bring about be loaned to another), and we had absolutely manner. requirements but which, I believe, can principal singers chorus, are that The first number, Likewise, scenery and rules, both for and Pavane for the words of thanks but ... I am only a Repeat each formula ten times. opera in this country. star-name guest importations. Debussy himself those love- an entirely new concept of look at the conductor, and that they Sleeping Beauty, is only twenty beast.” showed me group to another. they shall never meas- A short silence, then the Beast 3. Keep all fingers high, and under Fritz Reiner, costumes might be rented out by one press ly points in the interpretation of a piece While working in Philadelphia, cues, promptings, or assistance of ures in length, but it is notable for its speaks again: “Beauty, will you be ' three companies prepared, re- shall receive no my a note with the thumb. Repeat interest in the dramatic and Other than that, the which has now gained wide popularity. I developed a strong were any kind from backstage. This means that both prin- sensitive, mysterious, melancholic atmos- wife?” “No, beast.” “Then I shall die ten times, relaxing opera. hearsed, and presented opera independently, and between contrac- If carried liquid, scenic, as well the purely musical aspects of sure of phere. o’ (after out with the proper cipals and chorus members must be entirely Hop My Thumb one of content for having had the privilege of tions. Do likewise with the Rodzinski, in fortunate enough to win great success. second, elusive tone, en- Later, when I worked under Artur bit of the “Contes de Perrault,” famous French laying my eyes upon you.” “No, they will not fail to to be invited to every cue, every entrance, every exit, every my dear- third, fourth, and fifth fingers. seemed to me My next piece of good luck was hance its poetic appeal. Cleveland, I began experimenting! It 462 463 ETUDE AUGUST, 1949 us! We were stage business, every note, every tone, people began to hear about Invention in Music further offered tours (which we generally pro- within themselves and without , to accompaniment)! We have Page 459) help. This, of course, cannot come about duce piano (Continued from England to without the .most arduous and painstak- played in all parts of New heard thousands of people who never instruction ing preparation. technical piling his numerous books the criticism levelled product. The right kind of opera before. Even the series of studies, went about This preparation rests upon certain master teacher and graded at us has been extremely encouraging! drill, administered by a creeds. I believe that each participant without this work with the greatest delight and fault found with our produc- with proper relaxation and opera must be thor- A major and always showed very high in a performance of in possession enthusiasm, tions, mostly by old time opera goers, strain, puts the young artist oughly familiar with every detail of the inventive ability. With W. S. B. Mathews performances are dramat- a kind of finish, polish, accuracy, that every- is that our of musical educators entire work. I believe, further, re- and other pioneer as- ically so absorbing that watching the tonal background, and mastery that thing that happens in the music (sing- sociated with him, he did more to pro- play detracts from concentration on op- main with him for a lifetime. ing orchestra) must result as the volume of music teaching and specialists have duce a great eratic singing! I am delighted with this American teaching Weather Means Nothing natural expression of what goes on with- material in the field of piano study than Warm criticism-arid yet, it has extremely seri- been most inventive. Makers of instruc- in the individual characters on the stage. any music educator of the past century, ous aspects. tion books, including Theodore Presser, to these Students The mood and excitements of the music used. Williams, John and it is still actively say that vividness and credibility Guy Maier, John M. are the result of the mood and excite- To assembling collections at Interlochen Bernard Wagness, Louise The idea of of A ’Cello Class ments generated by the play on the of dramatic play detracts from opera in- Thompson, Richter, educational musical materials in hooks dicates only too clearly that our national Robyn, Mary Baker Mason, Ada stage. In this form, drama and music “The Filzwilliam Vir- in Northern Michigan Bernice Frost, and many, is an ancient one. are fused into one inseparable whole. concept of opera is not quite mature. Silvio Scionti, con- ginal Book” for seventeenth century in- is not as many others, have all made notable Such an approach is a far cry from the (That, precisely, is why opera apparently sim- struments was one of these. This work senseless posturing and gesturing that popular in America as it deserves to be, tributions. Such books, experience and special was also known as “Queen Elizabeth’s only too often “accompany” vocal tones. and as it is in other lands.) The inten- ple, require long Book,” but inasmuch as the to study to assemble. When en- Virginal It is the basis for integrating music and tion of the operatic composer is, not clinical Play for Every royal keyboard virtuoso’s life span ran stage into a unified expression. It makes create a vehicle for vocal display, but to gaged in writing “Music Music Play,” from 1333 to 1003, and as the Filzwilliam the drama of the opera as important, as achieve a complete integration of mu- Day” and “Happy Days in Book contains a piece by Dr. John Bull worthy of following, as the music. And sical and dramatic illusion. The listener your Editor kept the material in hand continually with dated 1621, it is obvious that Good this, it seems to me, is the first funda- who still requires “a veil of mystery” to for years, trying it out Queen Bess never saw it. Since that time, mental of living, compelling operal surround his operas, is quite simply out little pupils, and inventing fresh devices however, there have been innumerable Our preparation for musical-dramatic of step with the basic purposes of Mo- to supplant parts that did not work out Gradually, attempts were theater involves intense rehearsing. How zart, Verdi, Wagner. Opera is meant to so well in the teaching laboratory. It was collections. compilers to present many rehearsals do we require? As many be understood, not to be veiled! If opera astonishing, that in a field which had made by various in progressive grades. as are needed! It may be two hundred. is ever to become a truly popular me- been ploughed so many times by other the compositions For our"first performance (Mozart’s “Mar- dium in America (rather than to remain practical works, new ideas could be un- The spirit of Yankee invention is riage of Figaro”) we had one hundred merely a socially glamorous means of covered which were demonstrably supe- abroad in the land. Already, our Amer- and twenty rehearsals. Our work begins hearing famous stars pour out the fa- rior to older methods of presentation. ican compositions and orchestral ar- with the text, the play. Our company miliar arias of familiar works, to the Theodore Presser, an indefatigable rangements have shown devices that members read it, familiarize themselves accompaniment of meaningless words worker in this field who reveled in every would have given great delight to a with it, and then come together with me and the kind of gestures that cause a successful page he produced, when com- Brahms and a Berlioz and my staff of splendid assistants, for drama-lover to bite back a smile), it must discussions. They must be prepared to be presented as an absorbing combina- the .Sun urnd answer certain basic questions about the tion of great music and good theater. characters they are to portray: questions The audience must see what it hears. like. Who am I? How old am I? How That, I feel certain, must, and will be by DR. W. SCHWEISHEIMER do I earn my living? What happens to the goal of the opera of the future. Denmark’s Royal Conductor me? Whom do I meet? What do I know of the dramatic events? What do I not Attaining the Goal ( Continued from Page 461) What would I be likely to do be- know? Flow to secure such opera? Well, what very pal- tion. Though salted drinking water is not tween acts, when I am not on the stage? we have done, others can do! Any com- kind of music he plays. A swing musician needs at composition, and after a short period as but in the early twenties it was dissolved noted Viennese authority the for anyone engaged in stren- entirely steeped in Dr. Schweisheimer, as the player atable, it is a good recipe Our members are munity that has a sufficient number of an orchestra musician, of the least four times as many caloric units he was called in order to keep the expenses resident in America, gives in hot weather. and identified with the characters they singing voices coupled with native upon hygiene, now uous work good upon to instruct the young musical gen- navy within the appropriated budget. of a funeral march. refreshing, practical hints to musicians who suffer from the of Holding the wrists under cold water is pla"y before stage work begins. Then we dramatic intelligence, and a sufficiently eration Efficiency, too, suffers in hot weather. Far short of Denmark. George Hoeberg zVs often as his military duties allowed. not last long. The arteries are start afresh, inducing the characters (not summer. —Editor’s Note. exhaustion and though the effect does interested public leadership, can most has composed several the heat in such extremes as heat cramps, heat pieces of music, in- Crown Prince Frederik was seen in at the wrist, so that cool water im- performers!) to behave like them- and leth- just under the skin the certainly make an attempt at launching cluding an opera, and heat stroke are the sensations of drowsiness conducted many Royal Theater or the Odd Fellow Palais lowers the temperature of blood in the selves. In third place, then, these aware a musical-dramatic theater.. The keynote by hot weather. mediately important opera performances, and is with the orchestral scores in his hands, argy induced arteries. Rotating forearms and elbows gently in a and developed stage-characters express of such a venture must be the complete mildest form of heat exhaustion is a combina- considered one of the finest present-day following closely the performance of his The helpful. themselves in music. The work does not integration of values; followed basin of cool water is also performance the musicians in Denmark. His ad- tion of lassitude and headaches, sometimes position has tutor or of his friend and musical PIANIST who wishes to keep cool in summer Acquiring a deep tan seems to be a universal ambi- admit of stars. The singer who portrays complete, dedicated responsibility of thd nausea. In extreme form, heat exhaustion can be acquired a special nuance, by his con- visor, Johan Hye-Knudsen, who since the opening movement of Bee- by performing at sum- the name-role in Mozart’s “Idomeneo,” should avoid of tion of musicians, especially those performing artists; and enough financial nection with the musical fatal. New York City had double the usual number life of the 1925, has been a conductor of the Royal thoven’s “Appassionata” Sonata. Chopin is hot- hotels. sunlight is a nat- for instance, may go on in the chorus security to make the try. For A heat-wave. mer festivals and resort And American Royal Court. most Minor deaths from heart attack during the 1948 Opera Orchestra anil one of the ter work than Mendelssohn, and the Liszt B medicine—within limits. Like most things, how- in “La Boheme.” players, performing in America to Amer- are heart deaths. ural A mutual friendship flowered between popular musicians in the country. the heat-producing list. Most heat deaths Sonata stands at the top of ever, it can be taken to excess. ican audiences, I advocate productions Hoeberg and the Musicians, like everyone else, show varying degrees young Crown Prince to play Beethoven in hot weather, the danger of •A Logical Viewpoint in English. By way of warning, however, If you are obliged musicians suffer Musicians frequently underestimate and the latter’s enthusiasm and willing- A Wagner Enthusiast rondo, of tolerance for hot weather. Some it is better to choose a minuet than the stormy During World War II, an industrial mag- Our performances are sung in English. let me say that English opera is advis- endure it without a great sunbathing. ness to endure long hours of study of The of during a heat wave; others Wagner Operas are favorites “Fury Over the Lost Penny.” azine calculated that of the sixty million persons then Not for the usual reasons! Most argu- able only when the performance has classical music discomfort. prepared him for his King Frederik, and as a Crown Prince the Russian hygienist. Prof. amount of irradiations ments in favor of opera in English stress been studied, rehearsed, and polished to This is the advice of working, fifteen million “indulged in sun knowledge in the minutest detail, Most fortunate are those musicians who can fiddle, of all he visited several times the Richard Wag- laboratory tests, Prof. Oku- is, got is Vladimir Okunewski. In exceeding their safety tolerance.” That the value to the listener, in enabling as near perfection as it humanly pos- of the masterpieces sing in an air-conditioned theatre far of orchestra music. ner Theater in where yearly pianist sitting quietly at the play the piano or to understand the words. theory sible to come. Second-rate performances Bayreuth newski discovered that a badly sunburned. This resulted in fifteen million him My Under the kind but firm studio. A difference of twenty degrees instruction of musical festivals have held since calories of heat per minute. or broadcasting to still keeps the listener in mind, but from are far better in a language that cannot been keyboard consumes .89 burns, ranging in severity from mild discomfort George Hoeberg, Prince outdoor temperature is very pleasant. Most Frederik ac- 1876. The King is also a profound ad- raise the pianist’s temperature below severity to cause a different angle of approach. I believe be understood! The “veil of mystery” Scales and arpeggios air-condi- hospital cases. Half were of sufficient quired enough technical skill to conduct homes and concert-halls, however, are not mirer of the great Wagnerian singer, 1.47 calories. Playing Mendelssohn’s songs requires work. that generally (there are exceptions, of can mercifully hide many a defect of a several master to musician must rely on more the loss of a day’s works. It was a great day Lauritz Melchior, in the “Appas- tioned. The average course), no one can think or feel sin- bad performance, and can be dispensed who performed 1.59 calories per minute; the Beethoven The actinic, or ultra-violet, rays of the sun are the for the Crown Prince when his father, Royal orthodox ways of keeping cool. in language Theater in Copenhagen before he sionata,” 2.13; Chopin’s A-flat Polonaise. 2.43. sunburn. Sunburn is usually a first or cerely any except his own. with only in performances that actually King Christian during the chief cause of X, for the first time, became a York difference in Many people are refreshed by a hot bath Our performers are not permitted to have something to say. famous star with the New' Prof. Okunewski found a significant second degree burn. It may be accompanied by fever. allowed him to conduct the Royal Life- warmest part of the day, followed by hot tea or hot thoughts or feelings except those Metropolitan Opera. By special Royal rehearsal and actual performance. The Liszt sonata out that animals are great sun- have It is hardly necessary even to mention guard’s pores, Sun enthusiasts point famous orchestra, after the Grand permission, lemonade. The warm bath or shower opens the of the characters they portray, and this Lauritz Melchior still carries in rehearsal consumed only 1.63 calories per minute; forget that warm-blooded animals are the enormous advantages that will ac- Dinner on his birthday, rapidly. bathers. They March 11. In the title enabling the body to throw off heat is impossible if the language they use is “kgl. Kammersanger” (Royal the concert, 2.64 calories. feathers. skin is crue to the American public if and when the at generally protected by fur or .Human years to come it was an annual method is not to everyone’s taste. Many not a direct and immediate one. Amer- tra- Chamber-Singer). Playing the piano, as every musician knows, is hard But this the great works of the musical theater dition for him to drinks. latter more vulnerable. conduct the Guard's Just as their insufficiently people prefer cold showers and iced The ican singers, in America, therefore, are the Swedish are proud of work. If to this is added a hot room, in small doses, gradually increasing are mounted in an integrated, com- brass-band, playing in their during the day; alcohol pro- Taking the sun picturesque wealth of old fiddler’s music, so the formal clothing, the performer should be non-alcoholic most communicative in English. The lis- prehensible, intelligent way. Certainly, ventilated, and warm length of exposure and building up a protective coat and historic uniforms with big, black duces body heat and increases one’s discomfort from tener’s understanding of the words is Danish are proud of their medieval in danger of heat prostration. America needs opera—even more, though, bear-skin headgears. is of tan is the best way to prevent painful burns. Too dance recalls the heat. Tea, hot or cold, is a good thirst-quencher. less important to me than his being as- tunes. It is only' natural that King In “Harold Bauer: His Book,” Mr. Bauer restlessness, nervousness and she needs a large number of graphic As a young naval drunk slowly. much sun is the cause of officer on duty Frederik has of in Havana, in So is water; but when iced it should be sured of the impact of a completely nat- illustrations been an ardent student his discomfort while playing a concert of what opera can really bet aboaid ships taking his father of salt from the insufficient sleep. sincere, convincing on many the old Danish the thermometer at Perspiration takes large amounts ural, performance. Educate our people to the true composers, Thomas Laub winter full-dress clothes, with effects of worth journeys to Iceland and of salt water Experiments by Luckeish have shown the Greenland, and Buxtehude, re- von Billow once walked body. A one percent concentration After three seasons, our New England of opera, and we shall see America' tak- the former having 90 in the shade. And Hans skin to be: After Crown Prince Frederik had a quart of water) will prove the June sun at noon on untanned great suc- modeled the medieval song and the lat- concert hall, observing tartly (about one teaspoon ful to Opera Theater made great gains. We ing as foremost a rank among opera- cess out of an overheated slight reddening; after fifty minutes, hi often conducting the 15-grain salt tablet serves the same pur- twenty minutes, Royal ter having : of tree. refreshing. A sold out our house! Boston editorials ex- loving nations as she does in composed immortal w orks that he was a pianist, not a palm burn; practically Navy’s Band. The Crown Prince salt lost through perspira- vivid reddening; after 100 minutes, a painful joined triple sonatas, cantatas, pieces musician’s body varies with pose. This will replace the pressed pride and pleasure in us! Other everything elsel in and other The overheating of the the struggle to maintain this Band, ( Continued on Page 466) 465 464 AUGUST. 1949 ETUDE Denmark’s A Remarkable British reflections Kiwanians, Lions, after 200 minutes, a blister. Ultraviolet Hail Rotarians, Musical Century from water may increase the effect of direct sunlight Royal Conductor per cent. Members of 100 Optimists, and volumes. By Bookshelf re- MUSIC.” In two Lover’s Most people cannot associate the warmth and Page “THE MIRROR OF Etude Music (Continued from 464) Price, $25.00. Pu > laxation of sunbathing with potential danger. There- Percy A. Scholes. Pages, 964. All Service Clubs! Ltd., and Oxford fore an efficient sunburn preventive is a good safety Usher, Novello and Company, preparations exist in cream, oil and service club, show which were the forerunners Press. measure. Such TF you know a member of any of chamber music of University lotion form. They contain an “ultraviolet screen, in much interested. Your music. 1 him this. He may be very Bach’s and Handel’s suspension. Esters of para-amino-benzoic of Philadelphia history of Danish held up the looking- solution or Editor, who has been a member The great name in the music— No one could possibly have acid found useful as sunburn preventives. spoken at service clu composer of King 1844 to 1944 better have been Rotary for many years and has Carl Nielsen—is a favorite Fred- glass to British musical life from cus- Es. Other chemical compounds in various proportions are country, has noted die is able Mus(Oxon), Dr. of all types all over the erik. Carl Nielsen is a composer who to ex- than Percy A. Scholes, M.A., D. available for this purpose. the singing ot My the Society ot Anti- tom of opening the meetings with press lightness and humor in his music. One of the Lettres (Lausanne), Fellow of efficient sunburn preventive should not permit the accompanist Historical Society, Cor- An Country, ’Tis of Thee.” Sometimes King's favorite operas is Melsan’s “Mascarade.” While quaries, Fellow of the Royal passage of more than 25 per cent of the effective rays realizes that when one classical American Musicological is an intelligent pianist who the King has always favored music, he has responding Member of the of the sun. The same materials are valuable for treat- the ordinary hymn accompanies a lusty crowd of men through his presence patronized the first performances Society. ing the painful and irritating after-effects of cases a background. It calls arrangement does not suffice as works by younger Danish composers, Knudage this huge work Dr. Scholes has not of In accomplishing of sunburn. vigorous, sonorous accompaniment, which is Bendtzon and Vagn venerable Musical for a Riisager, Niels Viggo Holmboe. used as his background the but sufficiently forceful to provide a married have been overelaborated In 1935, Crown Prince Frederik Princess Times” of London, without which it would What to Eat and Wear strong melodic and harmonic support. of the Swedish such a book Ingrid of Sweden, daughter Crown literally impossible to bring together according to Dr. Carey P. Your Editor, who has occasionally been asked to shares her husband’s Times was born The white-collar man, Prfnce Gustaf Adolph, who inter- Dr. Scholes writes, “The ‘Musical by B. Meredith Cadman devised the fol- is “a being in a sack pulled tight at the neck accompany at service club meetings, is doubt but that the Royal by a foreign McCord, est in music, and there no of a mania which, largely promoted This is the source of much accompaniment, providing a more so- lhis by a constricting collar,” lowing piano couple’s three daughters have inherited musical talent immigrant, suddenly overspread our country, of his hot weather discomfort. It is possible for men’s nDrnm nnd less hackneved. liarrnonv. eight-year-old too strong a word) from their parents. The eldest, Princess was a mania (and mania is not prostration in severe white collars to produce heat and her cousin, Princess Elisabeth, daugh- the world, sight singing!’ Margrethe, for, of all things in upon by most people weather. All clothing on hot days should be open at brother, are both eager piano players. born in Stravinsky, who was looked ter of the King's foreigner’s name was Joseph Mainzer, debt the neck. For summer comfort, the best-dressed man The Muscovite Master ultramodernist, has always maintained his In 1938, the Crown Prince Frederik took over the died at Manchester, 18al. as an “whites,” Trier, Germany, 1801, and in ETUDE for 1926 lie is the enlisted sailor, wearing his summer Orchestra, playing in was to Bach. In an interview patronage of the Royal Opera butcher, he became a choir boy and THEATRE.” Edited by fully open at the neck. The son of a “STRAVINSKY IN THE the door of Bach and knotk bell-bottomed and recently celebrated its traces said, “One must go to the Royal Theater which just priesthood in 1826. Dr. Scholes Price, $3.75. Pub- part in summer comfort. Whitema- ordained for the Minna Lederman. Pages, 228. musical God. Those who sec in Color plays a existence. Two days before his remarkable ver- if one would see my two hundred years of career and describes his Inc. greatly terial absorbs least heat from the sun; black absorbs his romantic lisher, Pellegrini & Cudahy, caricature of Bach are to my mind birthday, Crown Prince Frederik con- music, lie re- my w'orks a thirty-ninth Deciding to devote his life to in most. If the heat-absorbing capacity of white is put satility. error. works have always been contrapuntal the last movement of Tchaikovsky’s “Patlffi- to Brussels, to Pans, had the in My ducted the church and moved the last few years our country has me- at 100, pale yellow is next best, at 102; light grey is nounced During character, but now they are even more so, more tique” Symphony, and the Overture to his favorite to London, becoming a kind of several Russian masters ol the light brown, and black is and finally, in 1841, honor to be the host to rated 150; red, 168; 198; in lodic and less harmonic in type.” Wagner Opera, “Die Meistersinger.” This transfer of missionary of sight-singing. He landed them Rachmaninoff, Gretchanin- last with 208. itinerant front rank—among in the Theatre” is a collection of nota- birthday present to the but in stultified “Stravinsky the baton was the orchestra’s England with no knowledge of the language, Stravinsky. Life in America has not present-day What musicians eat is as important in hot weather off and ble intimate pictures of the master from Crown Prince, and since that day, it has been a conducting successful classes in figures. Igor Stravinsky has as what they wear. Light, easily digested food in mod- two months he was their progress as world world of music and music general musical musical outstanding figures in the tempera- tradition. sight-singing. In a year he started a one of the most distinctive figures in the erate amounts will help to keep down body been criticism, including Jean Cocteau, Emile Vuillermoz, Singing Cir- “Firebird” first particularly ap- journal, “Mainzer’s Musical Times and for several decades. When the Levinson, ture. Fruits, vegetables and salads are world Jacques Riviere, Igor Stravinsky, Andrd A Varied Repertoire months he announced that he had sold music critics were so startled by a propriate hot-weather dishes. cular.” In six took flight in 1910, Ramuz, Arthur Berger, Ingolf Dahl, George textbook “Sight-Singing for the so sensational that they C F. is still necessary. The old idea Royal Opera Orchestra, which consists of sixty- 200,000 copies of his vision of genius so new and Ernest But nourishment The Balanchine, Robert Craft, Nicolas Nabokov, musical campaign is one from their surprise. “Pctrouch- that one should eat less proteins (meat, eggs, etc.) in five men and four women musicians, has always Millions.” His chauvinistic have never recovered Alexei Haieff, Carlos history. It has and Ansermet, Aaron Copland, first as phenomena of musical “Le Sacre du Printemps” (1913), hot weather has been disproved by the researches of played under the Royal Conductor in private— of the peculiar ka” (1911), Monteux, Darius Milhaud, Walter Pis- to this date, and is successively enchanting. Chavez, Pierre Swift. Musicians obliged to work hard in later as King, the repertoire affected all English musical life "Les Noces” (1917) proved Forbes and a Crown Prince and and Bernstein, Vittorio Rieti, William Schu- which the amazing British inter- heard “Les Noces” conducted ton, Leonard hot weather need their normal three meals a day. The covers many fields of orchestra music—symphonies, the foundation upon Your reviewer in 1929 also presents a forgot- Florence, man and Lincoln Kirstein. Stravinsky a job must come from had in choral singing was built. Mainzer, now Alfredo Casella at the Petti Palace in energy needed for doing good overtures, and piano concertos. The concerts have est by book is profusely illus- one of the short story of his career. The energy-building food. Orchestra’s normal ten except by musicologists, was actually and has never forgotten its exotic charm. the same outward conditions as the excellently documented. which lias molded all trated and appearance, the only difference being that only Queen great inspirational factors art. In 1844 “Mainzer s Musical It’s the Humidity Ingrid and the Queen Mother, Alexandrine, the British musical the eminent Vincent Approach teacher, of the Royal Times” was taken over by British is old saying, “It isn’t the heat, King’s and families of members There truth in the the great British firm Opera Orchestra have been present. Novello (1781-1861), founder of THE PIANO. A MODERN it’s the humidity.” In securing relief from the heat, and Com- “INVITATION TO accom- of music publishers now known as Novello (sheet evaporation of moisture from the skin plays an im- The King has always considered his musical TUTOR.” By Anthony Howard. Pages, 81 Many will prefer to transpose this down to the key private pany, Limited. Ascherberg, portant part. The combination of high temperature plishments as belonging to the Royal family music size). Price, SI. 00. Publisher, of F or the key of E-flat to suit the average male voice. matters deep into the great mine of and high humidity is almost unbearable because the life, and the Danish press, which in all other Dr. Scholes has dug Hopwood and Crew, Ltd. The accompaniment is simple and may be memorized “Musical Times” moist air prevents the body from taking the normal is in a position to report more fully of the Royal musical interest contained in the in a few minutes. We shall be glad to hear from clubs and by careful selec- department does not review music, but is course of releasing its surplus heat through the nat- Court proceedings than many other European Courts during the century 1844 to 1944, This or any groups that have tried it out with the usual pair of volumes about music. However, this new ural process of evaporation. allow, has neyer been admitted to the King’s concerts. tion and editing has produced a given over to books unison singing. interesting in- Those who have witnessed King’s concerts, how- which are absorbingly interesting. It would take “a work published in London has much Thus the musician’s chance for summer comfort the and to sketch the contents of to commend it to teachers of beginners, depends to some extent on whether he is spending ever, all agree that it always has been a unique and month of Sundays” even vention readers will have English attitude to this important sub- his summer in Arizona, in the Rockies, or New York. exciting experience to watch the King’s natural crafts- these books, which we hope ETUDE represents the If one is in Arizona, statistics prove he is 28 times manship in conducting even the most difficult pieces the joy of reading.' ject. more likely to fall victim to a sunstroke than a New of music. The most outstanding feat in the experience The books are finely illustrated with pictures (many Yorker. Heat and sunstroke, oddly enough, do not of the Royal Danish Conductor, has been the private rare to American audiences) taken from issues of the An Easy Approach take their greatest toll in the Southern states, but in performance in the Royal Theater of Mascagni’s “Musical Times.” Your reviewer pays tribute to Dr. “PLAY BY7 COLOR.” By Lenore and Sid Wolfe. the Midwestern states of Minnesota, Michigan, Wis- Opera, “Cavalleria Rusticana,” on March 26, 1946. Scholes and to the British “Musical Times,” thirty- Pages, 16. Price, $1.00. Publisher, S. G. Wolfe. consin, Illinois, Ohio and Missouri. With only a few piano rehearsals and one final re- nine years the senior of ETUDE. During a heat wave, the most dangerous part of hearsal of this display beautiful opera, the King gave a This ingenious work is the most elemental imag- the day is between and following both the of his 2 5 p. m., technical conducting talents. inable approach to the keyboard. The book contains heat peak and the noonday meal. The second largest Shortly after the the end of hostilities in Europe, a guide card in seven colors which is to be stood up number of heat exhaustions occur between and Danish 1945 New Musical Philosophy 7 State Radio dedicated in the autumn of on° die keyboard behind the black keys. The color p. m. Musicians can often avoid the first danger- its Radio 10 House, situated in the heart of Copenhagen over each note stands for a tone of the scale (black period, but their performances generally take place and which was the “GENESIS OF A MUSIC.” By Harry Partch. Price, only partially completed when for C, blue for D, red for E, brown for F, green for during the second. And indoor temperatures often Germans the $10.00. Pages, 362. Publisher. The University of occupied Denmark. The Concert Hall in G, orange for A and yellow for B). The notes on the remain high after it has become considerably cooler Radio House is give Wisconsin Press. the most modern in Europe. To staff are all identical little round dots in different outside. it the best possible a violin acoustics, it is shaped like colors. There are no bar signs, no different length Men are three times more susceptible to heat stroke and from here are broadcast “Thursday the famous Musicologists for some years have been familiar notes. The tunes are all familiar ones like Happy than women. And contrary to widespread belief, Concerts,” under the direction of distinguished inter- Lang with the original activities of Harry Partch in what Birthday to You, Home, Sweet Home, or Auld Negroes are two to six times more susceptible to heat national conductors. to the relation of its music Syne, the meter and rhythm of which are familiar than whites. Negro saxophonist or he describes as “Monophony: A drummer may circular to historic and contemporary trends; its philosophy, the average person. The different-colored suffer in temperatures a white musician is able to en- Acclaim from the Orchestra principles; its relation to historic and die scale enable the tyro to pick out melodies dure quite well. concepts, and discs on On the day of the Fred- its application to musical start on die road to musical Olympus. Some An interesting job dedication, Crown-Prince proposed intonations; and and thus may help one forget the heat, Tuning Instruments learn Electronically erik expressed his wish to the Radio Sym- instruments.” may think that it is easier in the long run to even enjoy a heat wave. The less we think about the conduct phony order to open A new electronic device is being used in Orchestra of ninety-two members, and subse- the notes in the old-fashioned way in heat, the easier it is for us to put up with it. Physical schools merely a new consideration of quently as The book is not reviewer, how- to insure accurate tuning of both string he has often directed this orchestra, as well the gates to musical literature. Your or mental agitation speeds up circulation of the blood, and wind in- acoustics, but an attempt to evolve a new philosophy. the Tivoli summer likes to see experiments worked out and he struments. It is called the Symphony Orchestra, playing every everi producing supplementary heat. In order to keep cool, Conn Lektro-Tuner and is The work reveals long and profound research, and in the famous Tivoli Copenhagen. realizes that some musical illiterates will have a lot keep calm. If you feel like quarreling, wait a few manufactured by the C. G. playground in physics Igor Stravinsky Conn Company, the will intrigue those familiar with the advanced scheme. Members of the orchestras, who have played under of fun working it out by this ingenious color months; winter is a better time for that. world’s largest manufacturer of band instruments. of sound. him all agree that the King, by (Continued on Page 501) 466 467 etude AUGUST, !949 ?

given to Schubert Surely this must have been along a woodland path: IMAGINATION, the key to the The Pianist’s Page CHILD’S MUSICAL INTEREST by Guy Maier, Mus. Doc. Noted Pianist and Music Educator By Ada Richter

For another wondrous chord-shape, examine the opening phrase of the G Major Fantasia (Sonata); see also the beginning of the Adagio movement of the Franz Schubert Expert in Child Music Training “Wanderer” Fantasia. Op. 15. It is the famous ll'nu- derer song theme itself, but with the heavy, dark Part II Composer and Author of Many Widely Used Books chords giving it overwhelmingly tragic portent. Maier discussed Schubert’s In his July article Dr. Vibrational Chords tragic life, the reasons for the neglect of his piano also master of the “vibrational” compositions, some aspects of his pianistic style, and Schubert is a

. . those softly repeated chords which nullify outlined a Schubert course for students. This is the chord . play them, scientists and poets, few people seem second and final article on Schubert.—Editor’s Note. all percussive articulation. When you he A PART from im- sure to press down the repeated chord or chords Z\ to comprehend the practical importance ol gently before the keys of the preceding chord have A. agination in the training of the young. Albert Schubert’s Diary been permitted to come back to the key top. This Einstein has gone so far as to say, "Imagination is trio of the Scherzo of the 1) than knowledge.” Anyone may ac- HEN Schubert was a young man, he kept a example is from the Major more important information, but this informa- diary o£ which unfortunately only a few pages Sonata: quire a vast amount of little value until imagination steps remain. On June 14, 1816 (when he was nine- tion may be of W of art, science, work teen), a year in which he wrote two symphonies, in and converts it into some dozens of those beautiful dances, and over one hun- music, or industry, of great value to man. natural instinct to dred songs, we find this entry: Children seem to be born with a imagination. The little ones start making “Today I took an evening walk, which I had not takingly beautiful; which, you will admit, ought to employ any- pictures of the first things they see and hear. done for several months. There can scarcely be give sufficient pleasure and satisfaction to anyone! mind natural desire to thing more pleasant than to enjoy the green country Their curiosity is shown by their again. Many on an evening after a hot summer’s day, a pleasure Schubert’s Chord Texture pull things apart and put them together designed for this purpose. After the for which these fields seemed to have been especially And what miracles we share with Schubert along modern toys are his toy, he must imagine the way created. In the uncertain twilight and in the company the way! The advent of a simple, apparently quite child has dissected it again. It is his first step in learning. He of my brother Karl, my heart warmed within me. ordinary melody—the first theme of the Sonata in to assemble His blocks be- Ada Richter and a Group of Her Pupils ‘How beautiful’! I thought and exclaimed, standing B-flat Major: invests bis toys with imaginary forms. infant, still delightedly. A graveyard close by reminded us come trains or trucks. The doll becomes a real dear mother. Thus talking sadly and intimate- and before long he is carrying on an imaginary con- in of our Ex. 1 Around-the-Rosy, London Bridge, and Farmer the divides. stories about his toy Ex. 3 ly we arrived at the point where the road versation with it. He invents Dell, just to mention a few. familiar think that his higher or lower. And, as from the heavenly home, I heard a animals. Mistaken parents sometimes As the child grows older, the teacher can call into Some children can sing coach. I looked up—and child into prevarication, voice coming from a halting For other vibrational dusters see the accompanying imagination may lead the use the child’s latent imaginative powers in explain- there was Herr Weinmueller paying us his compli- and go out of their way to suppress it. The result is the chords of the trio of the A-flat Moment Musical, Op. ing the meaning of the words after presenting but this is best for the average child. Even for the ments in his honest, cordial voice.” is have a world full of adults utterly devoid of transfigured by Schubert’s chord-texture treatment. 94, No. 4, much of the entire Moment Musical No. 6, that we song. For instance, in the song Mary Had a Little children who have a “good ear,” tone matching is Then the diary rambles on in the same contented He is the supreme master of deep, rich chords often imagination, many of them frustrated materialists. The and many examples in the Impromptu in A-flat, Op. Lamb, what kind of coat did Mary’s lamb wear? Or not a waste of time. It is most valuable in procuring style—probably an excellent reflection of Schubert’s set in wide-open harmony thus: problem, therefore, is to cope with the child’s 142, No. 2. teacher’s in Humpty-Dumpty, who was Humpty-Dumpty, or the quality of tone desired. compositional processes! Yet it is difficult to imagine through control direct them Then too, Schubert’s fondness for incisive, sharply imaginative instincts, and why couldn’t the king’s men put Humpty-Dumpty the fecund Franz writing such sentiments in words to tangible results. This can be done in many ways, articulated chords (loud or soft) in quick rhythmic together again if he fell from the wall? MARCH WIND for the of his imagination flowed Ex. 2 successfully instead of music, tap patterns, is through stories, games, toys, and very everywhere in evidence. The D Major So far the child has been primarily a listener, but Courtesy of Jack and Jill Magazine every minute, day and night. (He even slept with Sonata is full of them: see the opening measures of through music. as the songs are repeated over and over (and children spectacles on, so to lose no time if a melody this his as the first As a working basis it might be well to define will Ex. 4 and scherzo movements. . . . Look later in love to hear the same ones again and again), he walks the beautiful Vien- popped out!) His through so that we may know what ~ -1 thing called imagination, .. : the scherzo ; for more patterns, and 'also examine others often join in the singing. Then the problem of pitch 0 L countryside must have inspired many of the nese in the we are after. Psychologists say it is “the process of t • slow' movement. begins. Some children can carry a tune right from ^ -r m themes of his songs, symphonies, and especially the previously learned, and therf rearrang- When March -wind blows whoooooo, In a It is evident that a good Schubert plavcr must recalling facts the beginning, but for those who cannot, "tone- sonatas: for these superb sonatas are indeed But •when he blows, whoooooo, In a piano be first ing these facts into a new pattern.” In other words, of all an expert chord player. This means not matching” exercises are ifi order. They need not be like panoramic views of such excursions. Their first is with this . -Q ten first have a good memory; and it _ 9" 1 different chord approaches and qualities but an wc must dull; in fact, they can be lots of fun. Furthermore, — fling out enthusiastically like the irresistible themes infinite phase that are first concerned, and can attain very number of them. Too many pianists, alas, we they are of great use in the development of the imag- lure of a sparkling June morning, or they emerge results music. have only three kinds of chords, a loud or fine with ination. For instance, in Pussy-Cat, Pussy-Cat, Where caressingly like a wayward wind-breath over a field Whacked yanked chord, The first step in memory training leading to imagi- a brittle, glassy mezzo-forte chord, and You Been I ask, “What kind of voice does a of wheat. But once on the high road, so many in- Have a kind nation is concentration. We must find some way of of lemon-squeezed, soft Is it ’way in the air (high) like triguing by-paths open up through the woodland that or loud legato chord. pussy-cat have? up * attracting child’s attention so ’that he will form That s why they can’t begin to the gruff and growl-y way, He’s say-ing‘'Keep your Schubert cannot resist exploring each to the end. On play SchubertI Ex. 1 the habit of concentration. From the time he is able soft and gen tie way, He’s say ing“Take your every side melodic vistas beckon, the latest always to understand a few words, he can listen to simple the before. the cellar (low) more enticing than one Every thematic words. His inter- this: or ’way down in 5 es, you say, “hut wouldn’t th songs. He need not understand any prospect is savored for all its worth so that, finally, a fetv cuts make sonatas more palatable?” est at first is in rhythm and tone (but mostly rhythm). at day’s end Schubert often has a tough time finding . . . Palatable to whom Audiences joyously He will often bang a spoon or toy against another his way back to the main road and home again! surrender to the “heavenl Ex. 2 lengths” when the sonatas object when he hears music that attracts his attention. This, I think is the reason for his often diffuse are well played. I am ur — beginning. There like this: < ?” No other explanation of high equivocally opposed to the So the old nursery songs make a fine ) form, and for that extra five minutes of performance deletion of a single not< mit-tens on, I’m blow-ing cold to - day. iere has been altogether • is constant repetition, which makes for easy remem- to which lazy pianists object. But why should any- too much tampering wit Me-ow rait-tens off, I’m blow-ing warm to - day. works of art by bering, and usually an accompanying action, which is the performers. to tak one care when content is so rewarding? The lyric Who would dare at this time; they soon associate the a masterpiece of always enjoyable to a young child. The “pat-a-cake, and low is made style does not lend itself readily to the painting, and cold-bloodedly alte processes of Sensitively played, it is like one’s first the word if presented as above. glimpse of ie s tape or color pat-a-cake, baker’s man” song is an example of the sound with “development”: and since Schubert’s compositional of a tree, stream or human figur< heaven. With the divine breath of its disembodied After we have decided which sounds most like the 1 such perfect nursery jingle. It combines repetition, strong is so overwhelmingly alterations created approach lyric he cannot be phrase-shape, the soul levitates effortlessly through m more satisfactor children try to imitate the sound. Any After the short, easy rote songs can be sung well, balanee or harmony”? rhythm, the action of clapping, plus the added inter- pussy-cat, the to rival Mozart or Why, then it expected Beethoven in mastery of the ether. . . . Schubert’s piano wouldn’t hcl as the the child will be ready for more complicated mel- music is filled with also to love to number of familiar animals' and objects, such His songful cut off a corner or two est of using the child’s name, and all children design. content refuses to be confined dozens of these harmonic levitations. of the canvas to brin or church bell, can be odies; melodies that require imagination to give the A wonderful clearer focus in a or song. Bye- train whistle, a bus horn, a within the limits of exposition, development, or form? Yet this hear their names mentioned poem and re- example is that gentle avowal of love, the intolerable butcher exercises. I make sure the proper interpretation. I wrote the one shown in Ex. 4 opening mmi tec Rock-a-Bye, Baby are other good used for tone matching capitulation. In fact, he creates a “form” of his of evcr day by editors Baby-Bunting and own- phrase the Moment Musical in A-flat Major, y and performers o fall within this register: for this purpose. Continued on Page 508) Op! uisic masterpieces examples. Next come the game-songs, such as Ring- sounds to be imitated ( one tunc tumbling on the top of another, each breath- 94, No. 2, with its shy question with no penalties attached. Let and tender answer. ut our 1 combined feet down ( Continued on Page 5 If 469 468 AUGUST, 1949 ETUDE WuMc, THE UNIVERSAL LANGUAGE

HANSON Gaining Experience by DR. HOWARD

Music Director, The Eastman School of

Conference with STELLA ROMAN to hear the A nounced, but the lady was not present courses, where there is any, Director The value of these At intermission she remarked to an Leading Artist, Metropolitan Opera Association In March 1948 Dr. Howard Hanson, lis- announcement. Renowned Dramatic Soprano; believe, through whatever experience in World asked to comes, I how much she had enjoyed the music the Eastman School of Music, was is subjected acquaintance of tening the student may acquire when he Bach. Lec- how she always enjoyed the music of inaugurate the Louis C. Elson Memorial listening experience is in of Bach— to the music itself. Such was that the music for which Harvard lec- The unfortunate fact tures on “The Material of Music at worth infinitely more than dozens of my opinion expressed such a high regard was not by for so listening she had just University. Louis C. Elson (1848-1920) was tures on history and aesthetics, and when the enthusiastic teacher Bach but by Massenet. a chauvinistic enthusiast for ETUDE is clone under the direction of an many years The London cabby was at least honest when he was by GUNNAR ASKLUND rare and interesting inspires the student by the intensity of his own and contributed so many who musician with a violin under his arm. and its in- hailed by a that have always devotion to the art, its value may lie real articles for this publication we cabby,” said the musician, "take me to the far-reaching. Even the smallest beginning in "I say, had a sense of gratitude to him. fluence of the technic of B.B.C.” , , emission is the direction of the development , , „ told me that the secret of good tonal of this series of lectures by blokes what plays the Bach Born in Rumania, of a distinguished and highly At the beginning forms a firm foun- “Are you one of them in a very open position. Stella Roman listening is basic ancl honest, and her always to sing with the mouth Dr. Hanson, he accepted the challenge laid down concerts every Sunday on the wireless? asked the musical family, Stella Roman has sung all dation for future growth. Another told me that a too-open position is bad. Report upon Gen- cabby. father, a general in the Rumanian by the memorable Harvard life. Her Which teacher was right? I found out for myself "Classifying” Music indeed,” replied the musician. singer, her mother was eral Education in a Free Society, in which the “I am army, was a fine amateur neither was right and that both were right! The can bloody well that to fail “Well then,” said the cabby, “You child’s own earliest following challenging statement was made: “A There is another point about this tendency an excellent pianist, and the test lies in the natural mouth position of the one sound walk!” role of Maddalena for this skills is hardly within the recognize that music is basically a matter of was imitating the rich folk-melodies is singing. The person whose face is so con- While working up the training in the music to hear a expression who I always somewhat concerned when I speak with a education, but participation in the ear of the listener, which I believe is worthy am by the peasants and played on structed that a larger mouth-opening comes naturally, performance, I had an opportunity to province of general air that he she heard sung and criticism casual music listener say with a haughty nat- soprano, then retired in Italy, who orchestral performances can of emphasis, that aesthetic discussing in the Carpathian Moun- will sing better in this position. The one whose famous Rumanian in choral singing or 1 Chaikovsky s the shepherds' pipes it' tend not “care” for Tchaikovsky. For gloriously. This was Mme. Darclee before the student is aurally prepared for may does ural mouth-opening is smaller, will sing better in that had sung the part of the greatest value for large- numbers of tains. Tier father was removed to Cluj, in Tran- be that is exceedingly well written, beautifully and “LeVilli” and “La to make hypocrites of us all. We are informed music jjosition. The only ‘wrong way’ results from forcing who created the leading parts in This would seem to throw out music most part, she began x>ocal lessons merely students.” is medi- clearly orchestrated, and presented, for the sylvania, where to project im- certain music is “good” music, other music either method on a singer whose natural needs de- Tosca.” I begged her to tell me how as a legitimate educational subject leading to a speaking straightforward and direct manner. It holds a for the pleasure of learning to sing. She was scoffed; "each time ocre,” and still other music is “bad.” I am in a mand the oppositel So I learned to sing with my part. "There is no one way,” she arts degree. possible everyone who will listen. It is, she was told she had an excep- hardly general now entirely in aesthetic terms. It is quite great deal for almost astonished when natural position of mouth. I also learned to test advice I sang it, I approached it freshly.” That was Dr. Tillman Merritt, at possible for any musician to play and hear to Bucharest Through the kindness of that certain music may be physically bad for us of course, tional voice. Next the family went according to my individual needs. I had begun to the help I had hoped for. until he is surfeited, Head of the Music Department at Harvard, we certain times. I would not, for example, suggest listen- the music of any one composer where a cousin, herself a singer and lady-in-wait- gain experience! Well, the great day came and the performance “Rites of Spring,” or casual listener should not be so quickly sati- suddenly, it received a copy of Dr. Hanson’s address, in ing to the last movement of the but the Queen Marie, aided the girl’s musical In time, I was ready for engagements—and I got began. I felt very nervous—and then, Tchai- ing to violent boogie-woogie, while ated. If such a listener fails to “appreciate” to that I must do more than merely sing which he, as one of the most widely experienced certain types of the more studies. night, as she was singing in a boat none. I had learned repertoire, I sang countless audi- came me that of One hearty dinner. To label music in qualita- kovsky, it is more apt to be his fault than always this part; I must live it and make it seem real. Accord- music educators in the new world, makes clear digesting a Sea, Queen Marie chanced to hear tions everywhere, my voice was praised. But as likely to on the Black tive terms is another matter. To classify all of the Tchaikovsky, and the reaction is quite did this. Then I got ingly, I took the great third-act aria very simply, put- the fallacious basis of such findings as the Har- her to think a career. I was told to study and wait. I the music of thinking as of any genuine her, and encouraged of music of Bach as “great” and all of be the result of snobbish a small concert engagement (it paid me five dollars ting only part of my mind on my tones and reserving vard Report circulated. We are grateful to Dr. progress in Bucharest earned her a prize for Offenbach as “trivial” tends to develop a kind of a musical discernment. Her a tenor and a my best thought for the pathos of the character. I extract and my expenses) in company with Hanson for permission to publish an a composer study in Italy. She worked, auditioned, and social register of music. Bach becomes baritone. We rehearsed in a bare wooden hall, and remember ending the aria with my head on my arms, from his Harvard lectures in ETUDE. to express high regard. necessary for subsequent for whom it is always polite A Pretty Conceit gathered the experience at once I noticed an odd thing. The baritone, who at the table, in an attitude of grief. Profound silence. —Editor’s Note late to a symphony Spain, and I recall a woman who came This precious attitude toward the arts has always "triumphs in Italy, Egypt, Germany, had but a mediocre voice, made a fine, moving im- I was horrified—my big aria, and not even a hand- program had been an- concert. A change in the seemed to me one which educators should discourage. France. Steadily gaining in artistic stature. Miss pression. The tenor, who had one of the most glorious clap! Was I that bad? Then the house rang with wild shoutings which lasted until the con- A healthy, robust and honest appreciation should, Roman joined the Metropolitan in 1941, since natural voices I have ever heard, nearly sent me to applause and within hearer to enjoy his “big breath,” he sang several ductor motioned for me to repeat the aria. I had been USIC maybe a universal language in the sense reasonable limits, allow the when she has combined her operatic work with sleep. Proud of in varying music. The life, no color, no shading; standing, acknowledging the applause; to go back to that musical vocabulary has no linguistic bar- degrees many different types of coast-to-coast tours, winning acclaim for the phrases on one breath—no sounds which proceed from the scores of Palestrina, no brain control! Then I realized that voice alone is the table and begin the aria as I had begun it before, riers. But, if it is a universal language, it is beauty her singing and the emotional impact M of as would have looked mechanical. What tv as I to do? and Gersh- there heart brain as well very difficult one. The educator who believes that Handel, Mozart, Debussy, Grieg, Prokofieff not enough; must be and a of her interpretations. win vary enormously, but each makes its particular voice, and all three must be t^ell controlled. I was Then the words of Mme. Darclee came back—each an understanding of music is a valuable, even an —Editor’s Note. love for time a fresh approach! So, from my position at the essential, part of the equipment of a well-educated contribution to the sensitive musical ear. A gaining more experience! the music of Bach necessarily preclude the last I got a chance to sing the role of Maddalena footlights, I began the aria as if it were a new one, man is therefore faced with a major problem. For the does not At enjoyment And I Chenier,” at Bologna. I was happy! But ending it on my knees. That was the beginning of training of the ear is in most cases a long and arduous of the music of Morton Gould. in “Andrea regard was very well known, big work for me. My experience wr as bearing fruit! task. The musician may be willing to devote the time believe this catholicity of taste, which I would HE greatest need of the young singer is ex- the tenor for this performance as develops experi- objected to singing with a question-mark I had only made a start, though. For four years I and effort required to develop an adequate technic a strength rather than as a weakness, perience. This is generally taken to mean and he nothing peace of mind! auditioned at La Scala before being engaged to sing of hearing—though there are altogether too many quite naturally if we listen with an honest ear. T ence in performing before a public, and that debutante. This added to my after that, there . . . where I was later to create the Italian musicians who, having ears, hear not—but for the Now let us take the case of Throckmorton P. Twid- phase of the question is certainly of great importance. However, he heard me at rehearsal and before the performance, I passed premiere of Richard Strauss’ “Die Frau ohne Schat- layman the task is formidable in its demands. He dlebotham, who sits, on his weekends, in his room Even more important, however, is the gaining of the all went well. Just ten.” I sang frequent auditions in Rome, too. help therefore substitutes goals which are easier of success- high above the Thames River, reading the score of many sorts of general experience that help one do his dressing-room and he called a greeting to me To myself, to be ready for anything, I set myself the dis- ful realization. a Mozart string quartet. Throckmorton tells us that better work. This, kind of general experience comes through the open door. Pausing, I looked in and cipline of learning parts, The student of “appreciation”—and the quotation he does not want to hear the music. He declares that only through the experiences themselves! At each step beheld a sight that amazed me. T he tenor was doing many thoroughly and quick- of shells of two ly. In addition to having the parts, I gained much marks around the word are generally fully merited— is his soul is much more gratified by this separation of my career, I have gathered helpful lessons and what he called refreshing himself. The the ability to read, study, taught the dates of the composer’s birth and death, the score from vulgar sound. Here Mozart’s mind disciplines from thinking about the things that hap- dozen eggs stood on a table; before him was a mound from and master a part at short notice. (In passing, something of the history of his life, a bibliography speaks to his mind, Mozart’s soul holds communion pened to me. For instance! of raw meat, and awaiting him was a pile of oranges. though, let me say that no of his works, something of the manners, morals and with Throckmorton’s soul. All this before a performance? I asked. Yes—for matter how many parts you learn, you never know them Until you have sung them five six customs of the age in which he lived, and a wash of This is a pretty conceit. It is true that any pro- What Is Good Advice? strength. Again I wondered. During the performance or times before ineffectively, the ficient tenor constantly fighting a public.) Through my know-ledge of many parts, I words describing, generally most musician acquires, in varying degrees, the tech- While studying in Italy, I learned to judge for itself I noticed that the was described throat tense, got contracts. A substitute w-as needed, I called “idiom” in which he wrote. Composers are nic of hearing with the eye, but a complete sense of myself of the value of the vocal counsels given me. I with his physical organism. His was was romanticists or impressionists. In critical eyes his singing was one in a hurry, and then followed a contract of own. as classicists, optical hearing” is, I believe, impossible of develop- had excellent teachers, but I found that some of their veins stood out, his popped— my the music of today are flooded with a ment. I further experience in Again, experience! (And I shall never forget the hur- writing on we A composer, it is true, does “hear” his compo- advice did me more harm than good. I wondered long struggle. And so gained neo-classicist, neo-romanticist, post- sition resistance day before a per- ried telephone call, put through to in Bari, Italy, plethora of words, before it is realized in actual performance, but why. And so I discovered that no vocal advice can learning to build up the me expressionist, perhaps hyper-neo-post-expressionistic the live sound coming like the must formance, using the body lightly and gently on the which took me to Berlin!) Wilda Tinsley, Graduate of the Eastman from a great orchestra be good unless it does good things for you. You romanticist—terms which seem to me to be generally Boston performance itself. You never know when you ( Con tinued on Page 511 Symphony Orchestra is generally more thrill- learn to judge what that is. One teacher, for example, day of the ) any meaning or significance. School of Music, Salutes Her Alma Mater. ing without than the most vivid ( Continued on Page 476) AUGUST, 1949 471 470 etude o

Playing the PIANO SHALL I BECOME A in the Church Service BY DARRELL PETER

early years before of a singer, these counted on age In the case accredited, and may be best spent m leanung he a talk investigated and voice lessons start are by MADELON WILLMAN JACKSON basis this article comes from music courses in most fields- musicianship. A Bachelor The of to give comprehensive acquiring general ” presented before the as to your piano and of church music. upon “Careers for Youth any great doubt in your mind diploma from a music school or additions to the growing repertoire If there is Lf Music degree, or a Applied Arts and consul.* .«>- background originally written for organ 01 York State Institute of for music, it might be »d, most desirable college a serious dignified na- Although music New high, conservatory is the HENEVER music of piano, graduate of The East- Their fees are often with a private be performed enjoyably by Sciences. Darrell Peter, a tional guidance clinic. performer. If you are studying required, the piano is rarely chosen to symphony cannot dollars, but their for the ture is which employ imi- member of the faculty fifty to seventy-five with a school, make Church, where there are interesting compositions School Music, is a ranging from who is not connected it. Particularly in the man of reliable. Abo there teacher produce success. When such hew loik comprehensive and fairly and general mus- W service so long tations of other instruments with School of Music m tests are you get the theoretical been associated with the of the Manhattan yondidn t certain that the organ has and discovering talents majoi. It is intelligently by the composer student advisor. is a possibility of your also, along with your proper instrument, the piano effects are used City, where he also acts as espe- ical background that it°is accepted as the impres- can be most important, bachelor skillfully by the performer, they are in World, know you had, which truly intelligent performance. of necessity. Yet, the piano, with executed joined the armed forces essential lor is used only because Mr. Peter talent is limited. good to chords may be played in a manner ciallv if your musical Bachelor of Arts degrees are great literature, and its broad sive. For instance, five years. Tins included indicate of Science and its treasure chest of War II and served for or three of these tests de- Tone Poem “Omar Khay- Even though two there is a tendency in such possibilities, has ability imitative of the Harp, ( during which he gave career, have, but too often fluctuations in interpretative tour the Pacific area, sufficient talent for a successful side Arthur Foote); suggestive ol the Organ, a of that you have more emphasis on the academic suitable and worthy or any oc- yam Suite,” by before 250,000 service should ask yourselt grees to place for presenting music Chopin); or may concerts, appearing question you 1 lus is an B-Hat minor, by sixty there is still one for the prospective artist. surpass the organ in popularity (Nocturne 11 in a great, than is advisable casion. It may never the army, Mr. Peter became final decision: Do I have harmonic effects associated with men. After leaving before making a formative stage of your training, so make could well be used in the Church simply portray rich School Unless your answer is important, or appeal, but it faculty the Juilliard natural love for music itself? for practice. manifested. the piano itself Melodic by Rachmaninoff). a member of the of will have enough time advantage than has yet been ( piano never expect true artistic sure you to fax greater a strong melodic York City, continuing his definitely “yes,” you may a post-graduate diploma preference for the organ For the benefit of those listening, of Music, New It is advisable to obtain In spite of this prevailing He in music. pro- proves enjoyable. But singing melodies the late Olga Samaroff-Stokowski. success degree before trying to enter the small churches, both in the cities and line always study with determined your fitness tor or master’s countless variety. the Listen- Assuming that you have success are much country, are to different be presented with endless changes and Mrne. Stokowski in fessional field. The chances of initial many isolated areas of our Naturally requirements vary according can was an associate of question is: Which branch throughout soft, mur- a musical career, your next only first. Preludes may range from arpeggios, member of is more security, should you wish piano for their music. In the pianist needs: Accompaniments Course work, and was a qualifications? I lus greater, and there obliged to turn to the churches. In general, er's Music is best for my particular tee, to the "double-stop of music is complete satisfaction preceding the sen muring runs, or strong chords, Listening, Inc., which presented to enter another field later. a small percentage of cases for quiet background music Rehearsals for second, used in piano compositions (exam- possible degree of skill is required of five to ten minutes in length; harmonies so often in Town Hall.-Editors Note. The highest realized. usually from a lecture series to ac- Interludes, Barcarolle, by Arensky). The song may be sung Do not f rgc t that, whereas you may the part of the congregation shorter selections for Offertories and ple: the performer. Reluctance on many voices in criticism Postlucles played the left hand, by the right hand, by inner achieved one hundred per cent perfection piano graciously is explained by the third, compositions suitable for by have cept the and forth as to unsympa- for the or it may be echoed back and organis- practice, you may count on no more than seventy piano music is too noisy, harsh, and immediately after the service. While music with thumbs, « -jr play the lute and the pipe, the that CAN be true. 1 ostludes Canon, or Mendelssohn s Duetto. throw per cent in performance. Singers should not church services. This need not needs to be calm and reposeful, the in Grieg’s the bagpipe, and the tabor. I can eighty thetic for first tw’o I trum, it may be stirring, and for unusual examples everywhere. The myselt. only be good pianists, but should know several lan- however, the criticism is justifiable, be more majestic in character, Watch JL knives and catch them without cutting When, should procession of training in dramatics and simple reasons: either the in- ETUDE magazine, with its continual make love verses guages well, and have good caused by one or two triumphant. . tell a tale against any man, and can I can especially badly out-of-tune, and the lesson to be known and little-known classic piano literature, tables and juggle with diction. Some dance training is desirable, strument itself is a poor one, It is helpful to know in advance for the ladies. I can move or Bible help. Not long ago a pleasing all, gain as much prac- any original tone color; With subject matter or be a source of great somersaults and stand on my head. in the theatrical field. Above too old to have retained presented in the sermon. chairs. I can turn unsatislactory choose appro- of the Bach “Arioso (from Church de- possible giving concerts while you may be traced to at hand, it becomes easier to arrangement way a musician of the Middle Ages tical experience as the harsh playing references This is the pianist, when in- appeared; and this is excellent for an an old man- studying. manager is interested in an inex- materials. music. For example, one Cantata 156) his accomplishments, as found in are No selection of priate scribed the Psalms offertory'. too, among recently published teach- there was artist. that verses from Genesis and Watch His social status was very low, since perienced formed uscript. creation and development ing materials in Grade IV and V, for pieces combining perform. He was nothing but The approximate cost per year, of a music educa- would be read to show the little music for him to Depends on Repertoire that strength. follows: tuition— Much texts first. Then she recalled the essentials of dignity and entertainer; therefore he used the strange tion in the average school runs as of man, studied the a common shown her the the best of the” “ready-made” collections spe- succeed at his business. $350-5650; living expenses will range from little or at one time a former teacher had From tricks of such entertainers to error can be corrected with a new or one or even more, While the first Schubert's Impromptu in B-flat to the cifically designed for the church pianist, select growth of Western art music, which began nothing, if you live at home, to SI 000, the old piano, similarity of With the instrument, or by reconditioning represent- greatest number of usable selec- social expenses are high; better through life, each variation which provides the fifteenth century, the dignity and should you go to a large city where rectified. Often the grow'th of man about the the second difficulty is not so easily cutting, worthy collections of piano equal of all will run from phase in his progress. With some tions. Other fine and of the musician have risen to the books, carfare, and other incidentals quiet meditative play- ing another status pianist is poorly prepared for that Sunday. constantly, some featuring specific consider- as little as $500 able to use this for the Prelude music are appearing arts and professions. Today a person $100 to $200. Thus you may spend pieces of the recital she w'as other ing. His repertoire is limited to the pianist, piano music of French, Russian, or with a vast quantity per year, or as as $2500. Later, many of the congregation praised writers, such as ing a musical career is confronted much show'y. Unfortunately not type, all too brilliant and at perfect Pi elude Northern Composers. studied, and a wide variety It is unfortunate that with the present highly cen- expressing genuine amazement her of great art music to be collections of appropriate music the as many excellent Compositions frequently need cutting to free them channels into which his talents may be directed. tralized state of music it is almost essential that there are for for the service!” of are available for the church pianist as with cadenzas or brilliant passages, while choosing the proper large city, pref- pianist terminates her introductions from spectacular is no denying the fact that young artist play a debut recital in a congregation Another There the organist. In an effort to please the can be used. For instance, dangerous. Most a recital, well-known hymns, choosing those with at other times, only excerpts musical career is both difficult and erably New York. The average cost of such all too often the one or two by playing familiar sacred gems, ser- of the Beethoven Sonata, Op. competition keen. halls is as significance to the forth-coming the First Movement fields are overcrowded, and the given in one of the three major New York elaborate transcrip- words bearing inexperienced pianist resorts to melodies only to have the center section lifted of much serious thought and follow's: Carnegie Hall— Hall—$1000; Often she plays familiar hymn-like 27, No. 1, needs Such a choice is worthy $1500; Town orchestral works, and thus meets mon. tions of choral or Rest in the Lord. Such out, to provide a Prelude of calm dignity. In the first the part of anyone who loves the art enough Times Hall—$650. Halle- from Oratorios, such as O, effort on disapproval at the outset. Although Handel s of con- choice of materials results in a spirit of Polonaise by Chopin, the whole center section can to make it his life’s work. The concert artist must possess great pow'ers Tchaikovsky Symphony may seem appropriate lujah Chorus or a of the listening without the first and last portions to create decided that music is the field you want, centration and tenacity. He must be a good showman receptivity and repose on the part be played Having Darrell Peter appropriate for the season or sermon at hand, neither determine my fitness is a feeling of courage and comfort in listeners. The your first problem is: How can I and have an attractive stage presence. Versatility the piano. is attractive when re-created by of Glazounow’s Prelude in D-flat career? There is no fool proof way of also important, as well abundance of good extreme beauty for a musical as an find piano music which will to decide, especially if one enjoys doing How then, is one to abandoned of its occa- however, there are some things one can is often hard health and vitality of public Experience Major need not be because deciding this; to withstand the strain and reflect sympatheti- A Rewarding a number of different things equally well, which fre- fit properly into the service sional flashes of ultra-modern harmonies. With a little will help. performance. In the popular field originality is essen- do which people. spirit of the church? First, as has quently happens with highly talented The cally the dignity and it produces an offertory of real charm. tial to success. a pianist begins to browse around for ma- cutting each type of musical career been suggested, the pianist will do well to Once Seek Reliable Advice best plan is to examine already so challenging that for they terials, he is apt to find the search detail, then to evaluate your own qualifications in avoid adaptations of larger compositions, from musicians you can in burden. It is interesting Benefits Far-Reaching professional opinions, it becomes a joy rather than a Good Find out what the basic educational Training to Teach invariably prove disappointing and blatant. to pay for them, if the light of each. will findings. Many trust, are valuable. Do not hesitate music to make a scrapbook or file of your to enter each field. What are the success will be realized by turning to are thorough, and include requirements are If you can make up your mind early in the game Greater found antedating The results of such care in selection are far-reaching. necessary, but be sure they composers appre- worthv piano numbers will be essential personality traits? What opportunities are that you want to become a train originally written for the piano by congregation of course is benefited; the an audition but a brief ear and coodination music teacher, and Field’s Nocturnes, written before The but not only may be expected? How own strength and sensi- Bach. Some of John as final the word available, and what pay yourself accordingly, you are lucky. The possibilities ciative of the instrument’s pianist himself gains essential enthusiasm and appre- test as well. Above all, don’t accept Ghopin, will prove delightful. Above all, you what are the best ways to Chopin, and Schumann those of parents and friends. crowded is the field, and here are almost unlimited, and there is great demand tivity. Mozart, Mendelssohn, ciation for this kind of playing. Greater satisfaction of your own teacher, or your will appreciate more fully the dramatic nuances and is a career, and what are its who have written so sym- be proud begin? How secure such for well-trained teachers. For private teaching you lead the list of great men is realized when colorful, challenging compositions They may love you very much, and would shadings possible in pianissimo playing, as well as It is the first two items, basic educa- that they lure the listener their chief drawbacks? should have a college diploma at and pathetically for the piano are played. If is a teacher, perhaps can in turn see you a great success, but the chances of the minimum, particularly pianistic in nature. All the com- he he to I should to effects opinion of your tion and personality, that like consider. a degree is necessary for any kind of school teaching. into appreciable attitudes. aid his pupils to prepare themselves for similar play- giving an accurate and unbiased posers mentioned thus far have made rich use of these In going Secondly, the pianist should free himself from the very slim. after college, university, and the better pub- the moderns, ing in the future. ability are specifically devices in writing for the piano. Among The Concert Artist’s Training lic school misapprehension that he needs music are accepted for entrance into a good music music jobs a master’s degree is desirable. Rachmaninoff call What is required of the pianist in executing these If you qualities Foote, Debussy, MacDowell, and with the concert artist, since that is written for the church. By studying what may count it a pretty sure sign that you Let us begin The best teachers are always good performers, but possibilities. compositions? First requisites are calmness and con- school, you search loi upon the piano for its maximum people think of when music is mentioned. the high degree comprise successful sacred music, he should qualify for some branch of the music profession; but what most of perfection required of the concert composers have produced a trolled simplicity. Without calm within himself, how similar characteristics. For Many lesser known unqualified, “fly-by-night” schools A potential artist should have begun intensive train- artist is not necessary. The emphasis should be more compositions embodying can he hope to create within others a quality essen- beware disreputable, wealth of Etudes, Preludes, and shorter forms often so his instrument or voice at the earliest possible W'ell-rounded will be found expressing sufficient teachers. The chances are they are only after your ing on on a background, an extensive reper- example, many Moscheles, tial in meditative listening? This composure is the and qualify overlooked. In the writings of Clementi, voice this is much later than for an instru- toire, strength, and quiet charm, to and will accept anyone who can show the age. For versatility, and good teaching methods. The grace, dignity, Sinding, and result of familiarity with the music and a happy money, been originated Heller, Reinhokl, Schytte, Karganoff, bankroll. Members of the National ment, since the vocal organ is not settled and ready teacher must have a good knowledge psychology', for religious playing without having slightest trace of a of Scriabine countless excerpts of fine music are worthy relaxation in playing. ( Continued on Page 501 been thoroughly for training until one is sixteen to eighteen years of and should be able to teach for that purpose. Association of Schools of Music have ( Continued on Page 506) 473 472 etude AUGUST, 1949 INCONSISTENCIES IN MUSICAL NOTATION by ADAM P. LESINSKY

treble clefs the ’cello could likewise use the bass and this practice. On the other hand, there are some who his Bachelor I is Mr. Adam P. Lesinsky received of rather than the bass, tenor, a'nd the treble. here reprint music of the old masters with all the obsolete Arts Degrees from Valparaiso Uni- tenor clef in the trombone parts. The Music and instruments in keys which are no longer no need for the clefs, and for frequently wrote in Master of Music Degree from Un- bass clef is sufficient. Composers versify, and in use. Modern composers still write for the French Lesinsky was head tenor clef to avoid writing notes on ledger lines American Conservatory. Mr. it a valveless horn. They give the horn as though were between two Department the the on a score which was cramped for space the Band and Orchestra of all the other instruments a key signature but of that they did not intend lor Hammond, Indiana, Public Schools from 192.1 French horn has none. Although the trumpet in (, staves, ft is very likely tenor clef to be copied on the player’s part, but time he has directed the has been relegated to the museum, trumpet parts in C this to 1931 - Since that trans- tempo the copyist wrote the parts literally rather than Instrumental Music of the Whil- are occasionally found in modern scores, Department of bass clef. The tenor clef is, therefore, markings are vague. Time signatures arc confusing. pose the parts to ing, Indiana, City Schools. burden on the player and should be Note values are determined from the character of the an unnecessary As a pioneer in the field of music education Mr. rather than from the note. I urns and eliminated. to composition has made a profound contribution is completely obsolete and no Lesinsky snare drum part is nearly The alto trombone animate the text and enrich the choral trills need clarification. The within the realm of opportunity to the development of that program. For ten years, parts in the alto clef should ever be printed for th.it consonants distinct, all sounded conversation, certain always written in an ambiguous manner. be performance. As in enlivened School Orches- publishers, however, still reprint old proportion or good taste. The vocal art should hr was president of the National Allegro, Moderato, Andante, Adagio, Lur- instrument. Some syllables receive the properly deserved Presto, words or word in the alto clef. I lie alto del only with purity and distinctness. Association and a member of the Executive all have an indefinite meaning. music with trombones concerned of the voice; likewise, in choral tra ghetto, and Largo desirable but emphasis or inflections established for the viola that there is no Phonetic study is very helpful and E. A'. C. are various degrees of speed in the terms mean- is so firmly the reader will recognize that the title similar attention and practice be strictly Council of the M. There T ONCE that the singing work should that it will ever be changed. It is unfortu- \ should not be carried to excess so transcriptions many ing fast as there are various degrees of speed in the likelihood Z\ of this discourse has been designed from the emphasis will add interest and eminence His writings include of unnatural. Initial and final given. Such give the nate, however, that the viola music was not written m Keep in the becomes distorted and viola, and string bass. terms meaning slow. These terms do not J- V. t i t ie of the familiar Spiritual, works for violin, ’cello, moderate form to the singing. = clef. I his would have made the consonants articulated in correct and exact speed intended by the composer, yet Largo J 40 the mezzo-soprano Middle of the Road. Another neglected quality of interpretation of During the summer session Mr. Lesinsky relatively the helpful in developing head and nasal reso- 1949 wanted by the writer. notation for the viola and the violin middle of the Road; are quite singing a would indicate the exact tempo Keep in the phrases is the treatment of “long” tones. In act. as .visiting instructor at Washington are necessary for distinct diction. All will speed plus the metronome same on the staff. look to the right, nance and conductor The word indicating the Don’t you to tone of more than one beat or pulsation the College, Pullman, Washington. violin are written thus: vowels are to be prolonged while consonants are State marking would leave no doubt as to the composer s The open strings for the Don’t you look to the left. should indicate an increase or decrease in the tonal —Editor’s Noti.. be given just sufficient duration to insure their hear- the conductor wish to deviate from the Just keep in the middle of the road. tonal volume remain the wishes. Should exercised in the treatment volume; never should the directors would fol- ing. Great care must be composer’s wishes, he still has the artistic license to do How well it would be if choral throughout the prolongation of the "long” tone. is quite troublesome for singers same in text when molding of the final “r"; it so. It is true that many composers do their music low the admonition of the above in tonal volume contributes color and musical notation has many inconsistencies, localities. The final “n” is often The variety UR organization. So often, unfortu- in some American this manner, but there are still too many who do not. or shaping a choral beauty to the singing. duplications, and vagaries. Many of these dis- attention in its prolongation; that is, emotional “Nocturnes.” veer or even turn most given too much I have before me a score of Debussy’s nately, scores of conductors or coloring tones, passing tones, and crepancies were a natural outgrowth in the conductors have allowed singers to leave the vowel Chromatic O score, “Daphnis et For the viola in the mezzo-soprano clef the open choral conventionality, is marked modcre. Another abruptly to the right or left of decorative effects its earliest clays to the present Kuages final r, and tones of dissonance which supply evolution of music from the final “n,” the - is easy to strings would be written thus; be an undignified and sound too soon, and Chloe” by Ravel, is marked Lent J 50. It causing the performance to should be given sufficient prominence, and so time. There were also practices which were useful in other consonants then are prolonged, causing the also gives the conductor the even a farcical exhibition. of music which be seen that Ravel’s score Ex. 2 prac- indicated by the conductor. certain periods in the development A order to vocal effect to be inartistic and offensive. This directions. c G D What procedures are to be considered in to them tenaciously. more accurate of the choral are now obsolete, yet we cling choral road”? All vocal, tice is indeed away from the “middle keep in the “middle of the Alertness Changes in music like changes in language come ideal, and such trickery and cheapness should mental, emotional, and physical interpretations en- road” could Concerning Clefs Cf physical alertness are inseparable for about slowly, yet some of these needed changes singers, should not be tolerated. Mental and The acted by conductors, and in turn, by so bound by tradition. The tenor clef should he entirely eliminated. conduc- success. imagination is a significant attribute be made quickly if we were not simple for players to transfer refined, artistic, Too often we find trained and untrained vocal The of music, yet It would tlien be very be governed by sincere, thoughtful, about music that is piano plays everything in the range system of conducting which conductors and singers should exercise. If they There is little that can be done viola sice versa if the music were understanding. tors substituting a self-devised sufficient to take care of from violin to or and appropriate study and it when it is re- the bass and treble clefs are so-called conven- will appeal to the imagination, the mental concept will already printed except modernize the mezzo-soprano clef were which is but slightly related to the instrument. The bassoon and written in this manner. If quality printed. There are some publishers who do follow the notation for that Necessary Requirements of Choral Conductors tional style which has been established by choral become more real and inspiring; the tone masters. We see movements which seemingly are con- will be positive and the vocal message richly enhanced. The first requisite of the choral conductor is to ceived and used for the sake of trickery and show; All groups should perform from the standpoint of have a well-trained ear which will detect any inaccu- neither has a place in artistic choral techniques. Con- mood and emotional content of the text and music, racies. Unless he is so equipped, unpleasant tone ductors would do well to learn that mere arm gesticula- striving to express the dual message of the author and cpialities, insecure intonation, inaccurate rhythmic tions or the act of grinding, constantly repeated, does composer. In these aims the conductor must be the and tonal figures, improper balance and blend, and constitute legitimate conducting and that these example for his singers, and let it be stated here that other undesirable qualities of performance will be not motions attract attention to the conductor these factors cannot be taught but must be enacted without notice. Phrase after phrase, page after objectional many of rather than the performance itself. caught; in other words, an atmospheric or impres- page will be “gone through” in an uninteresting, in- sionistic condition is to created. correct, and inartistic manner. The conductor should be Physical Movements be chorally successful conductor and singers know the basic principles of voice production; he To the appropriate to the and develop an should acquire the ability to read texts expressively; Expressive movements mood must “feel together,” “live together,” and conduc- should achieve some pianistic ability and should have meaning of the text should be constantly evinced— “expressive oneness.” The reflections of the prompted a to the gained some knowledge of musical form and harmony. such movements or directions being by tor’s feelings are mirrored by facial expression sincere study of the composition at turn mir- He must also be able to enthuse, stimulate, and ignite discerning and singers and the singers’ reflections are in necessary the spark of the native imaginative powers of the hand. A conductor’s responsibility is to transfer, rored to the listeners; a challenging task but facial expressions, his inter- singers. He should be able to interpret the text and through movements and for inspirational performances. pretations of the text and music. Hence, a thorough us now turn music as written and if possible depict, beyond the Having dealt with mental alertness, let pos- notation, vivid details which cannot be indicated and just understanding must be exhibited. Consistent to “physical alertness.” An erect, but comfortable involuntary accurately re- chest upon the written page. Conducting is an inspirational facial expressions are and ture is to be encouraged. Both feet on the floor, some- endeavor and no shiftless person should choose or be veal the nature of the mental and emotional moods. high (not shoulders), chin slightly drawn in and the chosen for such work. Arm movements in directing choral compositions, what downward and sitting forward away from except those with decidedly marked rhythms, should back of the chair will give singers the correct position. Vocal Aim not be identical; that is, the motion for the accented When standing, the posture, from the waist-line up. is in The initial aim of the choral conductor should be word or word syllable should be more pronounced or exactly the same as when sitting, one foot slightly vocally to shape or mold the ensemble. In order to larger than the motion for an unaccented word. In front of the other giving flexibilty and poise for the do this, certain proficiencies must be developed. The other words, the nuances of the text and the arm entire body. Relaxation of the jaw, throat, and tongue mental concept or vowel picture must be as iden- movements should show relationship. The pattern of can be established by placing two fingers, one above tical as possible with all singers. Each singer must movements should reflect the true characteristics of the other, between the teeth; have singers .assume the acquire the practice of listening to other members the text and music. position for “aw” or suggest the half-yawn position. Whiting High ScH001- °RCHESTRA of the chorus; he should divide his attention between The art of phrasing is all-too-often ignored. How Encourage singers to be great stress P. Lesinsky natural, as too Adam t singing and the singing of others. The act beautiful and artistic to hear an organist or the con- and attention and .in Adam R ^tnsky, Conductor his own often-times defeat the purpose Head, Mush Department of reading or reciting the text individually or col- ductor of an orchestra “mark off” the music into well this case may develop “local tension.” We should phrases; this is punctuation of the Whiting High School lectively is most helpful in acquiring this desirable defined music. So “sing” as we should “speak” not as we do speak, for choral conductors constantly uniformity. All must recite naturally and with cor- many ignore this inter- Americans have the reputation of speaking badly. Whiting, Indiana rectness. Emission of vowel sounds must be pure, pretative obligation and do not avail themselves of the Diaphragmatic breathing Continued on Page 502) ( 475 AUGUST. 1949 474 etude More About Bowing as to the no possible doubt intention Sight-Reading « recognize you as an expert on part of the triplets be Develop j Haydn writes To appreciate it orchestra, phony,” the composer. and I should much there are some who do for Both groups were of go about improving my bowing, it would eliminate threes over them. but need shall I what you consider used for the viola, could with Trills are also vague not be “How if you would ti-ll me place where we Hus please tell me? . . . treble clef in too. This is one interpreted alike. Will you a beginner should the necessity of using the meant to be trills should be played eight notes sieht-reading? the fundamental bowings consistent without so. All join an orchestral group all be a little more the young player. invited to what order he should learn viola parts for high notes. confusing to count and nine where they end I was sick Forum learn and in sacrifice. to a to me made me Violinist’s change or also nee , hannenede for some to the any radical of turns what bap P The I have been teaching confined interpretation and String bass music is ac- The turn. A soloist may interpret a them Modern composers have generally turn after an with a m ^ realize there are some orchestra is concerned. standardization. A ^ will years' but I fully bass clef as far as some pleases without causing ‘ difficulty. I his in B-flat and A. I he trill any way he without any myself.’ instrument cepted the clarinet quarter, half or whole Jo i n A things I must learn However, many solos for that composi- even note. like a but in ensemble work every idea of my technique. • ° parts written in old beat of confusion, giveC you an Conducted by A. B., California. in the tenor C clarinet played on the up 8 ' Columbia. are partly or wholly written when note should be interpret the trill in the _d. D., British should be transposed to B-flat player must impractical for the tions count, thus: clef. This makes them the last way. Therefore, the music should feel you must the the music is reprinted. same deal like It is good that you school musician who has no need for is a good Berkley and piccolo in D-flat are be clearly indicated as to the number Sight-reading Harold for this means that you Here, The flute real way to learn still be learning, clef in his orchestral playing. Ex. 7 a trill the only tenor out. Both C and notes to be played in if j t swimming: teacher. There prac- definitely on the way of oppor- will be an always better treble clef would be more it. You should make too, the in most the regular trill of eight j s to do and Conductor as they D-flat flute parts are included deviates from get Prominent Teacher are some people who, as soon the tenor clef because it is read at sight. Can you tical than published now. C a beat. For example, if a com- tunities to trying to acquire band arrangements notes to once or twice a bepin to teach, stop more commonly known. old ar- eighth note trilled together with a pianist parts are being published for poser wanted an with more and better ideas, being content to In recent years most publishers have generally accepted read anything and everything rangements as they are being modern- This interpretation is seven notes he should mark the trill “tr. week to merely what they themselves very cooperative about publishing alter hands on? Anything, of the passage without using pass on been already a rarity. after even notes. 1 urns note trill with “tr. 5.” you can get your finger through Individual Having the ized. The D-flat flute is for turns 7” or a five beyond things learned from their teachers. string parts which are edited. variously played is not too obviously he is likely to find out still exists to take care notes have been written carelessly for the snare course that the bow, asset to a the The D-flat piccolo dotted Music will initiative is a most valuable bowing and fingering printed on of Arban s equipment. If you do not his left-hand technique that but it too, will soon be in the past. The old editions leaves the interpretation entirely vour technical about cultivated as saver to the of old editions, drum grip, teacher, and it is not often parts is certainly a time of interpre- library, borrow music lor him. Inequalities of finger the museum. method give a variety This is all right if there have a large surprise numbers relegated to cornet to the drummer. as it might be. conductor. Plenty of rehearsal notes. Most There is a very great lifting of the fingers, uncertain- much most needed reform in our tations to turns after dotted In a band where the purpose. sluggish Publishers Perhaps the is only one drummer. are or letters is also a necessity. the following within your present playing shifting (because he does not have The fundamentals of good bowing notation is in time signature and modern instruction gives than one drummer, only amount well ty in the masters or musical there is more the difficult to who reprint the music of the Sonatas of Haydn and Mo- ear to guide him), are among not so very numerous, nor note values. At the present time interpretation of them: confusion can result from music which ability: the his modern music without proper old Italian So- him. Mute attention is given publish Orchestra is re- collections of the first things that will dismay teach if thoughtful unnecessary Whiting High School does not clearly indicate the type of roll zart draw- editing merely throw a most Symphony. the old-fashioned operatic frequently tested with the bow to them from the first lesson. The hearsing Haydn’s “Surprise be used or when to play a flam or a natas* even Practice, the conductor. Ex. 8 to others will soon help full-length bow must burden on asked me why the of Singelee, Alard, and for accurate intonation, ing o’f a firm, even ate out- Several students have single stroke. Just as a violin part needs fantasies Trumpets in C, D, and E-fiat practice. faults. thing that is taught. And was written in 2/4 time when snare drum part make excellent reading him to overcome these be the first in B-flat and Andante the” bowing marked, a and- moded now. The trumpets Another question can form or join a string However, the great value of the Pre- with the elements of the Wrist- it is played in 4/4 time. showing when to start with Perhaps you ones in common use, at needs marks Practice (see young pupil A are the only is why a the wonderful music Exercises in Mute Finger Motion. When the frequently asked by students stick and when to start with quartet. Playing paratory It seems inconsistent, the right is frog, least in America. time if combination would and October 1945) his bow on the string at the piece of music is written in cut Properly edited snare drum available for this ETUDE for May places to publish parts for these the left stick. the wrist in this day, time. A piece in improve your sight-reading, they quickly develop the instanta- the teacher should see to it that will be it is to be played in 2/4 would save the director or the not only that obsolete instruments. The part parts musical which is hand, that six slow beats, is also help to develop your neous relaxation of the fingers is in a line with the arm and It im- 6/8 time, with the task of doing it. it would played on a B-flat trumpet anyway. drummer great pleas- as the on the bow, and to students. We have entirely understanding-and give you as essential to good technique the fingers are curved transposition on the confusing us get the inconsistencies out of poses the burden of interpretations of turns after Let the string produces good little finger is resting too many duplicating time signatures These two in the bargain, lor instantaneous grip which that the tip of the musician. 4 he director of a our music, new and old. It will contrib- ure professional values. dotted notes ought to be stand- musical there is no result almost im- he should guide the and too much confusion in note even and player who is truly tone. The latter is a on the stick. Then orchestra usually has to rewrite them ute to better performance and lighten careful school 2/4, 2/2, ardized, and any deviation from quartet playing. recognized by anyone who towards the point, being The same melody written in Netherlands with their impor- . Miss E. M., should instead of 6/8. There would be in music appreciation, psychology tone production that is so hold it? . special fin- 6/4 time every good sight-reader— good to make like an F horn with certain certain instances backside-forward, inside-out, canonic im- acquired by, Motion in its pure state—that is, doubt then as to the time value of a aesthetics, has come in tant in the matter of left-hand relax- thinking of it as two no of them don t know they wrist and hand gerings rather than to derogate the impor- itations, which were interesting as exer- though many what you want me to tell you, short strokes from the given note. a tendency even at ation. I know automatically changes it. Your eyes should be teach- still. This bow- separate horns. He sensuous beauty of sound. cises, but generally valueless as music. are doing are I’m afraid I can’t say it. Your alone, keeping the arm The sextuplet tance of the fingers; fingers not in immediate use but horn to B-flat. Therefore, all horn least one beat ahead of your If in describing at the frog, for there from F to seems utter nonsense. It is This type of wall-paper music, which er is quite right. However, ing is best learned This me beats allowed to grip the strings, tension and should be written for the F horn. in rapid rhythms, at least two violin, I trained to balance music like saying that color is unimportant to frequently looked beautiful on paper eventually the best way of holding the the little finger can be Ex. 3 trying to stiffening of the hand -will reprints of old editions should have ahead. At first, when you are should be if the bowing is All painting and that appreciation of light and sounded horrible in performance, stu- would not say that the head the bow quicker than fall but inevitably occur. Nearly every the horn parts transposed to horns in F. do this, your eyes will repeatedly rather say Middle. After the Mo- values and relationship has no bearing persisted throughout the twenties but fingers down, tilted to the left, I would practiced at the transi- actually play- dent is told to keep his In band music we are now in the back to the notes you are as if you satisfactorily made, the bow upon the enjoyment of a painting. largely succumbed in the thirties. It was far that it be turned to the left— tion can be in consciously even in quite easy passagework, and tion period of eliminating the horn a ing at the moment. You must over your left be lifted from the string after and the double triplet Doctor Carroll Pratt, in his valuable accompanied by what seemed to me interpret this as mean- were about to glance should and substituting the horn in F. them forward again and again, too many of them replaced for E-flat book “The Meaning of Music,” writes, complete lack of sensitivity to sound. move on shoulder. each note and carefully publishing both ahead of ing that the fingers must be pressed Some publishers are now I until they stay consistently note. “The conditions which make for pleas- I recall numerous performances which misconception The head is a fairly weighty member, the following eventually of drop- Ex. 4 driving a car, you the strings. From this parts with the idea 3 1924. your fingers. As in naturally and 3 ure in an object of art are too numerous heard in Berlin in 1922, 1923, and left-hand tension that many and if it is allowed to rest As soon as the little finger has been ping the E-flat part. always be aware of the road ahead. springs the r r r r r r and complicated to permit of any dog- Most of the W'orks consisted of disson- must the violin it will hold it pupil i H i. 3 to over- relaxedly on to balance the bow, the was invented it » important this is teachers must later fight so hard trained Before the valve horn en- And how much more any mus- matic estimate regarding their relative ances which shrieked throughout tire if pupils in place securely and without encouraged to practice whole- tone of an open come. It would be lar better should be w'as possible to raise the un- when the road is new to you! group of six six- importance. . . . The great significance tire length of the compositions—so “keep exertion. strokes at various speeds. inserting the hand in need clarification. A have con- were told something like this: cular bow pianissimo note a half step by As a matter of fact, if you the violin teenth notes with a six over them is one of form often tends, however, to obscure relieved that the dissonances themselves the strings as Your head should rest on This will induce a lightness into the bell of the horn. Whenever this was w'ith your orchestra, I. your fingers resting on the role of material. of tinued to play resting on a pillow. of 3/8 time calling for three the pervasive And the lost all meaning, and the impression t let them as though it were arm that might take a long time desired the composer wrote a sharp be- measure reading has already im- much as possible, but don bow silly that the sensuous stuff hope- expect your right it not only placing accents, thus: conceit of the tonal material became one of they have to produce But if it tilts to the to acquire later in life. With the pianis- fore the note. This tradition of proved a good deal. But if you work grip unless experience is lowly and base undoubt- less confusion. performances were a far not rest on the instrument, it actu- given the Whole in front of the note in- The you can sounded notes.’ /I his, however, is does simo strokes should be the accidental along the lines suggested here, then you Ex. 5 edly brings it about in many cases that pretty apt to be equally unrelenting, for- thought than the time- ally holds away from it. And Bow Martelb, for this not only develops of in the key signature has been it. And being a more complex stead =» actually continue to improve muscles to hold the senses become sluggish to tissimo throughout, with no gradations of “Keep your fin- have to exert your neck lightness of arm but also develops con- carried down to the present day. This is sight-reader gives a player a grati- honored admonition r r r r r r the charms which lie in this direction.” to good means that be- of dynamics and with little attention is the root of a re- the violin firmly; which trol of the bow-touch on the string. This probably due to the tradition bound fying sense of competence and ability. gers down!” But it quality players will begin to stiffen your in our schools of of tone, as though the are brilliant left-hand technique. fore long you valuable exercise has been discussed a orchestration teachers Wall-Paper Music I hope you will become one, if you laxed yet double triplet is one beat of 2/4 was upper arm. You may examiners while a themselves realized that the sound is the quickest and left shoulder and number of times in these pages (very music. At one time a board of not already. And Mute Practice time calling for two accents, thus: The “silly conceit” to which Professor quite unimportant. not have experienced this as yet, because wanted to penalize me for using a key surest means of attaining to a compre- fully in January 1944 and October 1946), Pratt refers gained such a hold in the I recall attending an international fes- you are still young, but it’s bound to to describe signature in the horn part of an orches- Concerning Mute Practice hension of it. so there should be no need Ex. 6 terrible twenties which followed the First tival of music and art, in Milan, I be- or occur sooner or later if you continue tration which I submitted, but my “. advise me in violinist is playing a difficult it here. . . Would you kindly If a =- 3 >. 3 World that it seemed for convictions in this War a time lieve, in the early days of the decade. passage, part to tilt your head to the right. teacher, knowing my your columns regarding the mute practice even a moderately difficult After these bowings can be fairly well that the vitality of the art itself would I Ganz feel uncomfort- There is no excuse r-£-r r zs had been sitting with Rudolph Technique. In the to his You may for a while matter, upheld me. in your ‘Basic Violin of his attention is inevitably given to master them requires sev- be threatened. I am not referring to the to to controlled— horn part without in the small concert hall listening explanatory notes you say ‘relax the fingers to his able when you turn your head the for writing a French bow technique and another part rnartelZ- the upper the playing of experimentation itself, which valu- the eral years—the in more than there There is a difference in was some very “Modern” music, and in so that they rest on the string only by their he left, but before long you will without a key signature any tone quality, no matter how much studied, later, the writ- able, nor I referring to fingers third should be and, clarinet part with- these two groups, yet we find them am the rebellion intermission we took the opportunity to own weight.’ Does this mean the doubt see the reason for your teacher’s would be to write a may think he is focussing all his atten- threes are meant. against the Wagnerian technic just barely be touching the strings, (Continued on Page always ten as sixes when two which was go into the art gallery viewr an equally would 506) out one. The composers for band to tion on his left hand. But if he will advice. the “Surprise Sym- imperative, but I am talking about or woukl there be sufficient weight to have key signature for horn, and In the Andante of the ( Continued on Page 516) include a 477 AUGUST, 1949 4^6 ETUDE cannot graduate pupils-it has to be done by a school which is empowered the tongue I Want to Change Teachers degrees. 3 This depends enunciation comes from to grant ( ) on from the throat; of the individual seventeen, and I the standards school. an Q. I am a girl of in own graduate in music should have exercise, which I use both my expect to l>e graduated from high (4) A f K; an is helpful in this re- January. began taking studied compositions written by many and in teaching, which school next ^ singing relaxed and six and studied representing get a completely piano lessons when 1 was and Answers different composers a great Vocal Problems gard. The first step is to Questions American thus relaxed I stopped entirely it is for three years. Then variety of styles, and the graduating re- Strictly natural jaw opening (which, when fourteen, for five years, but when 1 was then, without sink- cital is a sort of “sampling” of all that natural, is a small opening); earnest, and l have and I began to work in studying. Diplomas following pure vowel sounds, m sixth grade he has been (.5) usu- HARRELL ing simply say the played difficult fifth and Conducted by Conference with MACK -“FT (as in met)- consist of a printed form which is A “EE” (as in machine) pieces by Chopin, Debussy. Rachmani- ally thfs order:— OO with the name of American Baritone and Teacher (as the word awe) noff, and other fine composers. But I then filled out the Distinguished “A” (as in father)-short O and if the of these pieces, date of his graduation, is properly relaxed, have not memorized any graduate, the and ALLISON PAGET (as in boot). If the jaw 1 have a Gehrkens, Mus.Doc. by free from the and now I seem to be in a rut. Karl W. certain information regarding his major vowel sounds are kept entirely pure teacher, but I am not satis- will find that all rather fine subject. The document is then signed suspicion of diphthong), you accomplishing, and least fied with what 1 am school change in the Ils Emeritus by the Head of the and by the five sounds are made with no X should also be taking har- Professor I feel that music schools flattening of the tongue from afford to pay Secretary. (6) Many that speech except a gradual mony. However I cannot College almost, they scent (al- Oberlin to grant of these young singers. Invariably, through E to A more than two or three dollars a les- are not empowered degrees background offers a spectacular the forward “EE” position, Harrell’s voice is all they need. If you have slight I Webster’s New Mack to feel that having a jaw); and then a son, anti I am wondering whether Music Editor, certificates of attainment, and distinguished of the aWard as a record of at all, you can ways independent ess-story as well if you can sing ’’ harmouy-and perhaps piano holder of such a certificate icc a voice, you can sing— and > could take Dictionary sometimes the Celeste, Texas, he the pucker of the lips on “AWE the International achievement. Born in at any time. That seems to be student can also—in a class so as to cut down himself as “a graduate.” But artistic sing anything, singing. Hence, until the refers to polio before he girls sing goal in good expense. Would you be willing to rec- severe attacks of attitude. Immature little high school readily, naturally. is tending strongly toward had suffered two general succession easily, modern usage visibly their speak this vowel ommend a good teacher in New York Unable to walk and Delila arias, and if one questions practicing tins the appclation “graduate” for urns four years old. the great the jaw, let him keep on reasonable rates?— P. G. reserving voice, haven t without use of who charges to get well, submitting choice, they look surprised. They have a those who have actually earned a degree. crippled, he determined exercise and not begin to sing! cured. My then! assumed surgery until he was they? Well, itself! It is. of course, to be York teachers to treatment and ,habit ot thouglit,, , , As to singing A. I do not know New goes to that is a completely mistaken proper breathing. tell about that when he Now, vocalization is based upon one even if Assisted by the Most Important Thing Harrell likes to material does not that all well enough to recommend What Is explains, in part, why our vocal breathing is a rather veterans who draw hope from and Since the approach to proper in this depart- i for wounded it might it were ethical to do so Robert A. Melcher in Music? s ne reach the artistic heights to which to go into methods Professor specimen of always matter, it is better not not. Certainly singularly vigorous is the individual ment—which I believe it is deal of discussion the fact that the important thing not it to O. There is a good as reasonably aspire. The long-range discussion. Suffice Oberlin College was once as helpless to and exercises in a you ought to begin the study of harmony among music teachers in my commun- manhood before them as the steps which must be taken dia- voice, so much proper breathing is controlled by the help is the most nine, the family it say that at once, and this will undoubtedly ity about what they think When the boy was between having a voice and using o themselves. bridge the gap add that you get the best notion memorization. Perhaps the best important thing in music. What do where, at his oum mere discovery phragm. I may you with to Greenville, Texas, correctly. The singer’s task is not the lie relaxed, a chord, which is removed correct breathing is when you thing would be to take a course in har- A at the bottom of the you think is most important? was put voice into a flex- what ’ he began violin study. He of a voice, but the building of that singer must try it the preceding measure. -H. R. R. insistence, your back, on the floor. Each mony in your high school or in some tied to the A in end which instrument. Stradivarius did not make on ’’ for a year, at the of ible, responsive exactly the sensations and the piano curved line is a slur. If you -on probation for himself, to note nearby music school and let the The other progress simply by selecting good wood! He spent should music you exactly understand your his demonstrated ability and his violins Whatever they are, these are what for a semester or a year. This will look carefully at your A. I don’t time it. And mechanics. lessons go continue Ins years cutting that wood, aging it, varnishing singing breath. extends if mean What is the the opportunity to management of the correct would give you a chance to stop your will see that the curved line question, but you earned him same! go into the high school, the singer must do pretty much the has been learned, most does not on the first beat to the E most important thing in studying mu- being graduated from Once correct breathing lessons with the teacher who from the G studies Upon production a tie, without hesi- as Ins .career. devote much anxiety to the satisfy you, and to start with a different on the third beat. If this line were sic?” then I would answer decided that he wanted music Fault singers seem to he A Common notes. Many young still very carefully from that it is love, genuine love, for warned lum their top voice—their high teacher later on if by that time you it would be drawn tation to his choice,' his family remem- of Opposed Another thing that the young singer should even to show.) that for Meanwhile first beat to the E on the music itself as “a thing of beauty lus own. singers seem to feel (some feel that you w'ant to change. the E on the fine have to work entirely on expression thought and that he would ber is that singing is an of must be done. Actuah yourself at the mem- beat. a joy forever”— to quote Keats. But Uni- hi°h tones, something different you could work by third and the Oklahoma City musical expression, it than He did this, entering emotion. As our earliest form of case-indeed, any suggestion o keeping up your playing It is occasionally difficult to tell if you arc thinking of music rather ly, this is not the orizing, thus It irk you a little at first to supporting himself sang out their on. may versity as a music major, and represented just that; primitive peoples production of low, middle, and line is intended for a of music, then I would reply in the basic while studying the harmony. in learning to do these easier whether a curved of the study and the feeling difference spend time playing in theater orchestras, of joy, fear, war, religion, love. But soundly basic difference is thing in music by teaching, feelings is a sign of faulty production. A it is the only tie or a slur. But the that the most important top voice things so perfectly, but Three years later, he singing simply gave it outlet. With this relaxa- heads of two quality of inevitable- .hiving occasional recitals. came first—the top voice is acquired by establishing by which you may travel toward that a tie must connect the is that undefinable painful duty to produced road Settlement Music mind, it sometimes becomes my middle and lower consecutive notes that represent the inheres in all great music, violin scholarship at the in tion and forward enunciation in the Popular to goal of being a concert pianist, so ness which won a that lie lacks Changing Over From your Emanuel Zetlin. point out to the possessor of a good voice voice, actually, that same pitch. If there are any notes in which causes such music to remain in Philadelphia, under voices. It is with the middle I hope you have good self-control and and school that will im- Music (in something to say! Thus, a second step can test your pro- Serious if notes after the the school chorus should begin. You will! between, or the two connected beautiful and satisfying even There the Director of the production a strong prove the quality of our national artistry is by placing your fingers are of different pitches, the line is a slur. lapse of centuries. take part) asked young duction of an even scale T am a boy of eighteen— a senior which’ all students had to com- Q. acquisition (through study, reading, association, singing a scale, and eight years Ties and Slurs This rule takes care of all the examples verses some sea on the base of your throat, in high school. When I was Harrell to sing the solo of of feelings and ideas to parison, and plain thinking!) happens. (Continued on Page ;>0 2) I lessons for a year or two but l. Stephen Heller’s Op. 46, you have asked about, and will nearly rhythm watching what old took Q. In Is Right? were so complicated in Who < hanteys which express through singing. stopped because I did not like classical Book I, No. 1, is the curved line con- always answer any such questions that Rachmaninoffs entrusted only to a capable singing voice, there I have of Meas- Q. I am studying that they could be the actual production of the music. For the last six years necting the two G’s in the bass may arise about ties and slurs in piano In Minor, Opus 3, sung, the peculiarly Amer- for about two tie? book shows a Prelude in C-Sharp day after Harrell had which seem to me to be practiced popular music ures 1 and 2 a My music. musician. The are problems I find a con- almost any the second C. No. 2. In the sixth measure Ins voice. A is, course, a highly indi- hours a day. and I can play staccato mark above Director advised, him to develop ican. While every voice of I11 all the editions instantly, making up my 2. Stephen Heller s Op. 45, No. 4, troversial matter. in- strengths and weak- popular piece In violin student, Miss Marjorie Fulton , vidual thing, possessed of its own two What Is a of this composition which I have con- fellow I can also play curved line connecting the Graduate? own accompaniment. is the Philadelphia is one fault that seems to be common third chord to the prominent nesses, still there I of measures one and sulted. I find that in the troduced him various marches, and at this time am E’s in the treble Q. I have been reading your page in this is tendency to an octave D- Mr. Weer to most American students; a local dance orchestra. 1 tie? for of this measure there is teacher, Robert Lawrence Weer. playing with a two a Etude some time and have learned vocal a difficulty in pro- line natural. in a record played as a throatiness (or, to put it differently, decided, however, that I want to 3. In Op. No. 6. is the curved a lot. Now I should like to ask However, great future for him have 45, some not only predicted a i$ largely himself. 1 find that forward tone). This, I believe, pianist, so 1 should like to connecting the two D’s in the left hand questions that are perplexing by Rachmaninoff Soon ducing free, he a concert me. (t) offered to teach him privately. ‘ is correct, singer, but characteristics of the English pieces by my- Measure 1 a tie? he plays D-sharp. Which to the inherent begin working at classic of What are th? benefits of being gradu- in churches and due No. in, Measure 8. left the performance or the notation?— S. the young baritone was singing speak it. Each section of self, and I need your advice as to what 4. In Op. 45, ated in music? (2) What qualifications J. language, and to the way we which notes are his vocal work grad- speech to start with. —J. N. G. hand, kindly explain must a teacher have to graduate pupils? on small radio programs, our great land has its own idiosyncrasies of tied. In cases of this type of music, how quite correct. After three of (3) What degree of virtuosity must the A. Your qbservations are ually superseding his violin playing. (regionalisms, dialects, and so on) and each one be- an- is one to differentiate accurately pupil have attained? return A. Probably you will not like my (4) What type of But did you notice that on the Weer, Harrell won a vocal fellow- oddly enough, has a tendency to send the voice tween the slur and the tie? years with Mr. them, is opinion: Instead of graduation recital would you suggest— pas- swer, but here my of the main theme, after the Agitato School. Then, in order not into the throat. The mid-West has its peculiarly It seems to me that the proper an- type of compositions and ship at the Juilliard back working at serious music by yourself, I selection of sage, Rachmaninoff plays D-natural in impure vowels which to the first three questions should the violin, he mar- throaty “R;” the South has its swers composers? Where are diplomas se- to be completely deprived of believe it would be highly desirable for (5) the corresponding On another Pacific coast area pro- be: 1. No: 2. Y’es: 3. No. The fourth measure? our fore- out as diphthongs; the cured? (6) Please explain the difference ried Miss Fulton! Ranking high among come you to study for at last a year or two puzzles me considerably. recording, Artur Rubinstein plays D- while “down East,” the question between graduation and receiving a Mr. Harrell gives wide duces thick, throaty “L’s;” under some fine teacher, devoting the —A. L. another most American artists, certificate from a college of music. sharp at both places, and on yet of the vowels is such that it is hard to get even tours, appears in opera flatness two hours a day that you have been Thank you for your help. recording plays D-natural at and successful concert sound. Now, no matter Jose Iturbi and New an aural idea of pure vowel on popular music entirely to 1. I would interpret this curved Francisco, St. Louis, spending A. -Sister M. H. .both places. (Chicago, San how pleasant or characteristic or home-like such study of high-grade piano music and tie. and would not strike the G teaches singing at the the line as a So there seems to be good authority York’s' Metropolitan), and speech-individualities may be, they all cut across the to the working out of a fine playing a second time. The fact that there is a A. I do not entirely understand pian- lie the for both ways. I believe that most fuilliard School. basic requirements of good singing all of which technic. 1 suggest that you inform your dot between the note and the curved import of your questions, but I that Note. will an- ists follow the printed score, and —Editor s along the lines of free, unthroaty, forward tone. Thus, teacher that you would.like to begin with line might cause one to interpret the swer them as best I can, and if re- is to do. talking English, mv undoubtedly the safer thing to correct these unavoidable faults of difficulty, slur, and there would be no plies do not help material of about third-grade line as a you to solve your prob- My own preference, however, is for D- stress!) a solid foundation in the of the American singer presents a I encourage (and would like to learn to play in playing it thus, although this lems, I will ask that you he status and that you harm write me again. sharp the first time, and D-natural when repertoire in which only pure Italian curious phenomenon. It is often said that Amer- old Italian easier pieces and etudes as per- it much harder to produce a good The benefits derived these makes (1) from gradu- the theme returns. To me, the D-sharp voices are permissible. Concentration on pure ica produces as many excellent natural vowel sounds fectly as possible before going on to legato. But I believe that the purpose ating in music are, first, T that one has gives that effects: since all a feeling of lift and movement the other hand, people some- Italian vowels has two beneficial 1) is to indicate phrasing, and the advantage as any other land. On more difficult things. Your progress will of the dot of a fairly long period is state- once to get a more appropriate on the initial America does not develop as many vowels are open, their use helps at intention of the composer is to of serious study; times wonder why probably be very rapid, and in a few that the second, that this study ment of the D-natural throat; since all vowels are theme, and the as some other lands! Which cir- tonal sense of an open 2) the player lift the thumb from the has included work first-rate vocal artists months you will no doubt be doing have in various phases of gives a feeling by facilitates a good forward broader, more stately “true” one? Well, both are true. On formed softly, their use things; but I consider it that is tied over, at the same time that music, so that the cumstance is the fourth-grade G graduate is probably its suggestion which open-throated tone and forward of the subdominant, to listen to young singers, enunciation. Now, particular lifts the finger from the lower staccato a good all-round my tours, I am often asked very important in your case he musician; third, that a is very com- essentials of good singing. fitting near the end of the things; first, enunciation are the two re- graduate when I do, I am impressed by two to begin with the easier material, note. who has earned a degree has position. own and fostered, made into second- But this is merely my all over the They must be developed, 3. have answered these a certain vocal talent that exists quiring yourself to note every detail on 2 and You standing among his fellow mu- personal could by the wealth of be confused! Tone comes Mack Harrell preference. I think you attitude nature—also, they must not the printed page—tempo and dynamics questions correctly. sicians that a non-graduate does country, and, in second place, by the singular not al- with confidence play either D-sharp 01 signs, fingerings, pedal markings, and so 4. The only note which is tied is the ways have. (2) An individual teacher 479 » D-natural, whichever you like the better. AUGUST, 1949 478 etude ”

TAUGHT JUST W LESCHETIZKY

by MARY BOXALL BOYD Pupil of Leschetizky

the piano. Leschetizky the mind’s ear, away from he would very quickly to having diagnosed the case there was no other sale way play in music students of the averred that younger generation of theoretically. Usually the piece HE prescribe the remedies, a performer really knew intel- not so familiar with the name of control of public It today are perhaps too weak, which caused lack nervous about playing it the name fingers were lectually he would not be as they are with be to strengthen the T Leschetizky Idle first step, then, would besides he would retain it over a very them. memory; pupils came to him ad- from Paderewski. . of Leschetizky’s trusted the habit of , fingers. All period of time. He never who, after a tecita , of them had long It was Paderewski students of the piano. Many Instinct could fail to a request vanced instinctive playing from memory. on his program in response were a few children “Leschetizky” in public. There fright 1 already played the slightest entrance of stage they, too, regard- him at for his own autograph. . great talent—(wimderkinder)—but spacious music room of the ’ sigmficai of handsome and your autograph, came the prescribed for-finger In the “But, I want of natural facility, were Ludwigstrasse were two grand less manner o big house in the Karl practiced daily after the key- aP as lie exercises to be placed close beside the other, the finished," replied Paderewski assistants pianos, one ’Thkve not yet given by one of the Professors pupil at returned the instruction parallel. Leschetizky sat at one-the write; then smiling, he disliked the word boards continued to Leschetizky had no method. He better piano. written, Leschetizky, the other. The Professor had the program to the owner. On it was teaching. He had worked out cer- in its relation to his gave only private lessons in the sense Paderewski.” but it was Leschetizky teacher of Ian . „ remedies for weak fingers Paderewski Memoirs tain technical pupil had his unbiased attention. There were later in 1938, in “The matters of hand devel- that the And only after these basic, practical lesson, a early years, tl\.e room listening to the “Leschetizky, the lodestar of my the real great- always others in he wrote, opment were completely mastered that opportunity 1 do not know given to fortunate pupils. This the greatest teacher- of the generation. privilege or tlien.^ There is them to learn a great deal by observation and of any one who approaches him now enabled him. one of these, one was not called absolutely none who can compare with attentive listening. As when he was therefore not in the least nerv- Leschetizky’s teaching career began upon to play, and was lived in music, wonderful experience. The lesson was not yet fifteen years of age. He literally ous. It was a with teaching, for the student at the piano, one his time being completely taken up always an event, and playing m pub- ail actual appearance before practicing, studying composition, and not far removed from gift brought him lic. His extraordinary pedagogical the publicl young man. music played many pupils when he was still a very It was essential to demonstrate in the as an inspired of the principles Even at that time, he was recognized at the first lesson, an understanding as far as the pupil had progressed. of piano. , of technique teacher , . , . s early technical One of the strongest influences of Leschetizky Leschetizky heard no technical exercises or pianist Schulhoff, out- understanding and life was his friendship for the studies. He judged the pupil's pianist pos- lie standing to the young Leschetizky as a practical application of such matters by the results for clearly sessing more than the demands of his day got in his playing of the pieces. smooth trills by executed scales and arpeggios—more than At any lesson, it was always a relief to be stopped astonishing a of song-bird quality—and more than any the Professor, after playing several bars, or perhaps to him. It virtuosic ability, all oTfchich were familiar page of music, for then the ice was broken, and one of Schullioft s was the simplicity, poetry, and elegance was more at ease as one listened to his comments and Theodor Lesche- playing that had captivated young criticisms. Leschetizky was severe, and spared no time his early life, tizky. This impression, an incident in or effort to bring about certain satisfactory results. the evolu- sent him searching for the “singing tone, The pupil was expected to be mentally alert. Several into practical tion of which he thoroughly brought corrections might be made rn one breath, virtually, retirement. This became of application after a period of such as altered pedaling, fingering, and phrasing characteristic of the so- widely known as the chief several bars. One was expected to demonstrate these called “Leschetizky School.” conclusions with the greatest expediency. If successful second time— Influences the first time—“Good!” If successful the Early third “Good enough.” But if one had failed in the of his early life were Anton Rubin- Other influences trial, there was an awkwartl silence, sometimes broken Tausig, Thalberg, and Franz Liszt. His first stein, by the pupil’s voice, “I shall work on it at liome.^ followed by Carl Czerny. teacher was his father, “Too easy,” was the Professor's quick reply. “Do 1878, after many years of concertizing all over In it now!” he insisted. Europe, Leschetizky came to Vienna from St. Peters- burg, and settled there permanently. He was one of Uncompromising Teacher Leschetizky’s Best Known Portrait An the greatest pianists of his day. (( Leschetizky solved every problem in the class-room “Those having torches will pass them on to others, either in storm or in sunshine. Playing un rhythmically through the years, until said Plato. So, Leschetizky, spared no ness of Leschetizky as a teacher was revealed. He was could provoke him almost to frenzy. He shortly before his death, steadfastly held the torch for in this direction. he might use them first a great artist and then a great teacher. one As a last resort, numbers of talented men and women, leading was Preparation for the first lesson lasted a short time the metronome—not a good omen! The suspense on to heights of pianism theretofore undiscovered. hand lesson with or a long time according to the progress of the pupil sometimes terrific, as the infallible little steel It would be absurd to describe any one wisdom of the assistant. Being technically clicked the unerring beat of one, two, three, through Leschetizky as a pattern for another lesson. He was, in and the of the the silence. lesson abrupt- individualist, centering his interest equipped and having, as well, a good knowdedge Such an ordeal might end a the first place, an ol pupil. music to be played at the lesson was, at least, some ly if the pupil failed to measure up to the standards in the development of the peculiar need of each nervousness. A short piece by Mozart playing rhythmically. When a newcomer applied for an audition, he was assurance against Chopin Nocturne might furnish the musical Inside the class-room, Leschetizky was uncompro- asked to call at a certain time, the appointment being and a this first lesson. mising-outside it, an under- If the playing of the eager, but substance for of he was a kind and made by a secretary. - to Leschetizky had to be thor- standing friend. clean play uneasy applicant impressed the Professor (as he was All pieces brought He insisted upon honest, memorized, and that meant knowing every ing in the first beautiful quality called by his pupils), he would make a few general oughly place, and always a all notation) perfectly pupib remarks, which seldom were encouraging. measure (notes, rests— so that of tone. It was astounding to listen to gifted write the entire piece if called upon to demonstrate “Yes,” he might say. “you have talent—but— ©ne could do who had been with him long enough to so. Besides, one was expected to be able to visualize his teaching individ- If he were interested, he would point out the genius in their playing. The the mind’s eye, and to hear it 501) deficiencies of the performance ad infinitum, and after the piece of music in in uality of the pupil remained (Continued on Page

480 etude OARACTERISTIQUE “everywhere” in MORCEAU osrams America. ««<*• was eighteen. He toured it, typo i. thi. W.llenhanp. teacher when he One of the most populat piano piece, of “f,York as a pianist, who settlea in « ,as a brilliant German pTan^ Grade a 3X“eces"or 6. AUPT, Op. 22, No. ^ ^ W0LLENH 1 Allegro

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PRIMO ELLA KETTERER

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Presser Co. secured Copyright 1940 by Theodore British Copyright 496 f -

NACHTMUSIK” FROM “EINE KLEINE W. A. MOZART

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Copyright 1947 by Theodore Presser Co. ^gg AUGUST 19M )

Just How Leschetizky Taught (Continued from Page 480) renaissance Some- never two who played persons made up an audience! RECORDED MUSIC GREEN • There were the GREAT VILLAGE tart ten or twelve persons of THE each was endowed with times there were although ALEXANDER alike, of the present at a lesson. The most critical EUROPE BENNETT outstanding characteristics of the marked sense of audience was the class audience. By the ‘•Leschetizky School.” A qual- time one reached the public outside, one great power, lyrical tone rhythm, to the business of playing staccato, and lightness in was well used a beautiful tV playing. before people! & i A passages pervaded their % a uick includes the playing of Leschetizky told this story about his * A %his comment to hear the own presence of mind on the stage. women, nor was it surprising Les- his engagement to Annette Es- ‘‘She plays like a man. Upon remark at the age 'training of concert- sipoff (who became his pupil chetizky, in his allowance for the weak- of twelve, and later his wife), she gave * C pianists made no miniature pianists. him a pair of very nice, gold cuff-links, -a * sex There were no '€ beyond de- which he wore during a concert at which V -r He was a teacher of genius deeply and humanly he was playing a concerto. As he ad- scription, and one into it, one of the cuff-links fell in his pupils. He was aristo- vanced interested under the piano. strict in matters of to the floor and rolled TELEFUNKEN ALBUMS cratic in his tastes, NEW appreciation. Being very much in love at the time, he good manners and keen YOU’LL WANT TO HEAR 6 program- rather more grieved at the loss of it Leschetizky took pleasure in was orchestra be- HINDEMITH assembling of than disturbed. When the the Painter) making, likening the Mathis dcr Mater (Matthias making up gan the tutti, he looked down at the Berlin Philharmonic Orchestra for a program to the Composer pieces under the Conducted by the much of one kind door, discovered the cuff-link Album ECL-2503 (three 12-inch rccords)-$5.00 of a menu—“not too it might take audience likes variety.” He piano, calculated the time BRUCKNER of dish-an Minor chance, Mass in E , a their appear- recover it, decided to take the „ Operaa spoke to his pupils about to Choir and Orchestra of the Hamburg State and free was back again in his chair, Conducted by Max Thurn the piano—to be quiet, did so, and .50 ance at Album EEL-2504 (five 12-inch records)-^ from the the cuff-link, and was ready to from mannerism, and especially adjusted the orchestra at the exact BEETHOVEN of laborious effort. come in with Eroica. Symphony No. 3 in E-flat, Op. 55 appearance Amsterdam Professor went to a recital moment he was expected! Conccrtgcbouw Orchestra of When the Conducted by Willem Mengelberg insisted Leschetizky played to his (six 12-inch records)-$8.75 given by one of his pupils, he Sometimes Album EFL-2502 certain upon buying his own ticket for the per- pupils, usually to illustrate ANTONIO VIVALDI Concerto Grosso in G-Minor. Op. 3, No. 2 judge it with- His playing was iridescent; there formance. He could then effects. Orchestra of Maggio Musicale Fiorentino masterful Gtiarnicri was light in every note. It was Conducted by Antonio out prejudice! EBL-8005 (two 12-inch records)-$3.75 public senses as great act- Album Pupils were prepared to play in and as evident to the REGER the fort- instance, he played sec- MAX by rehearsing their pieces in ing. When, for The Bocklin Suite, Op. 128 unmis- Orchestra of Prague classes which took place of the Carnival, one was German Philharmonic nightly evening tions Conducted by Joseph Keilberth crowd, laughing 12-inch rccords)-$5V(/ before a large audience. takably there, in the Album ECL-8007 (three with the Distinguished men and women visit- with the clowns, and sighing MOZART No. 40 in G-Minor to call at the wonderful hands and warm Symphony ing Vienna were known lovers. In his Concertgebou w Orchestra of Amsterdam of villa to pay their respects to Schumann’s pieces became part Conducted by Eugcn Jochum Leschetizky heart, 12-tnch rccords)-$5.0Dfl a Album ECL-8015 (three If one of them hap- and life to Leschetizky was the great pedagog. life itself, STRAUSS o’clock noon a photograph auto- pened to arrive at twelve wonderful thing. On Ein Hcldenleben (A Hero s Life) he Orchestra of Amsterdam a fashionable hour to call) for a departing pupil, Concertgchouw (which was graphed Conducted by Willem Mengelberg the art-no art with- .50 and a lesson was in progress, usually wrote—“No life without Album EEL-8013 (five 12-inch records)-$7 hear the himself, was the personage calling would ask to out life.” Leschetizky, HAYDN Symphony No. 94, G-Maior (The Surprise Symphony> no escape front audi- of this statement. lesson. There was embodiment The Berlin Philharmonic Orchestra those who studied with Lesche- 22, 1830, near Lemberg, Conducted by Hans Schmidt-Isserstedt ence for Born on June 12-inch records)->5.00 in the and Czecho- Album ECL-8021 (three tizky! To him. much labor spent Poland, of a Polish mother piano without on November BRAHMS pursuit of the study of the slovakian father, he died Tragic Overture, Op. 81 performance was time Concertgcbouw Orchestra of Amsterdam taking pride in 17. 1915. Willem Mengelberg „ A 0 , Conducted by Annette Hub . wasted. The lesson, the class perform- (Grateful acknowledgment of Album EBL-8014 (two 12-inch records)-S3 75 Leschetizky, ance, and the actual playing of a recital lah’s publication “Theodor in certain facts concern- 'SINGLE’ CLASSICS in public were, in this respect, closely 1006, for guidance LATEST career, is made by lesson Leschetizky "s early allied, since, from the very first ing OVERTURE TO ALCESTE author.) with Leschetizky, at least one or two the THE ^BERLIN PHILHARMONIC ORCHESTRA Under the Direction of WILHELM FURTWANGLER Record No. 81001— $1 .25 Prelude to DIE ME1STERSINGER Conductor von NURNBERG Denmark’s Royal ( Wagner WILLEM MENGELBERG Page 466) Conducting the (Continued from CONCERTGEBOUW ORCHESTRA over the Danish of AMSTERDAM boys choruses singing No. 89-80036-S1 .25 his intensive study of orchestration and Record stations. GROSSO IN F MINOR orchestral scores through the years, has Radio CONCERTO of the strict privacy enforced (A. Scarlatti) steadfast orchestral Because WEYNS gained a secure and King, his EDMUND on the concerts given by the Conducting the command technic. to COLLEGIUM MUSICUM gifts have been known only WIESBADEN Often the King has conducted his own musical Record No. 89-80059—SI.25 small circle until recently when shown great a rather I, "LA TRAVIATA" compositions, which have compositions- PRELUDE TO ACT Royal the King recorded three (Verdi) talent. Some members of the SCHMIDT-ISSERSTEDT Overture to Kuhlaus’ “Elverhoj” (in HANS Opera Orchestra cherish copies of these the Conducting the Danish National Anthem, PHILHARMONIC ORCHESTRA pieces, but the King has not yet given which the BERLIN Lumbye’s No. 89-S0086-SI .25 works. King Christian appears), Record his consent to publish any of his TAXES and Schubert’s “Un- PRICES OO NOT INCLUDE FEDERAL. STATE OR LOCAL Since King Frederik succeeded his “Drommebilleder” Symphony.” father to the throne in April, 1947, he finished When King Frederik agreed to the has been forced to relinquish to a high CAPITOL'S MARK OF MUSICAL MERIT was not just a Royal gesture degree, his personal performances as a recording, it very worthy cause, but also musician, but his interests in the musical to further a significance. It artistic feat of great life are still apparent and at several offi- an full right that the records have cial events, it that he has is with is known prized placed as the most highly chosen the repertoire to be played. Re- been the lottery-as they are the cently the King told on a broadcast of premiums in of a reigning King’s rare the Children’s Hour, with his family, first recordings RECORDS as a conductor in the that he and the Queen with the Princes- accomplishment HOILY WOOD of Music. ses, often listened to the young girls and Kingdom 501 Copyright 1943 by Theodore Presser Co. right secured British ClTO' AUGUST, 1949 500 Jil'00

->- HOW MOM AND POP BOUGHT MY NEW PIANO... Problems NOW Strictly American Vocal Voice Questions (.Continued from Page 479)

foi a IS THE matter of common occurrence The tiling ihnt should happen is-exactly Lamb, IS youngster (a Southerner!) named NOW nothing but vibration! If there is the D0DTY as something that reJ L DR. NICHOLAS the to announce himself examine materia! for nSwe TIME least sign o£ a lifting-a rising in —to next fall! _J } serious young wrong. sounds like Le-a-i-m-lor Interesting Century Edition teaching voice-box itself—something is to pretty much anywhere await you at fall! high or students from pieces your favorite —to examine material for next Whether you sing up or down, water. they want a drink of a-e-i-ce music store. Use our new graded and Interesting Century Edition teaching the position of the vocal mechanism say months that you low, must purity as longer than the seven your favorite mu- purify our singing, we classfied catalogue a convenient pieces await you at remain the same. The sound of To letter, but the fact that should guide. F generally specify in your sic store. Use our new graded and our vowels! flexible and the pitch is all that rises or falls! When T fKf good carry- "your lower range is more convenient fuller develop- The sample below is typical of the like a bird." It has classified catalogue as a Another point in the 3‘Lunds ever before, “augurs well for the vocal act is based on correct breath- listing voice. Is ti pos- richer than that should method of used in this cata- ‘Lwer, but is a small guide. ment of American artistry eventual return of your upper tones, the dealer ing, relaxation of the jaw, and good for- logue. voice to acquire enough the stopped at the piano store, typical of the is the de- such a doctor When they The cample below is hardly need special mention, sible for also. You should find out from your ward enunciation (with all vowel sounds SECOND GRADE PIANO SOLOS a new kind of spinet piano. method of listing used in this cata- thorough musical catarrh or sinusitis, for showed them place voted acquisition of a EASY TRANSCRIPTIONS OF STANDARD P< singer expected to if you have any kept pure), the voice-box is kept in advanced is a your logue. would have TEACHING PIECES ThIw' these troubles would slow up background. The singer who for a scholarship at either of and free of upward motion, and the tone 3653 Alla Turca, Am auditioning through his voice Mozarl-Rolfe be when recovery considerably. Also, you must be SOLOS something to express 3214 Aragonaise, Le Cld, G Massenet-Rolfe musicf FIRST GRADE PIANO finds its natural chambers of resonance. conservatory of singing is a good than a Butterflies, a expected sure that your method of better stimulant 3538 Blue C Dore-Rolfe is a good soprano HANDS nature of our mother-tongue can find no How high from strain, ALTERNATING Since the music 2515 Dream of the Shepherdess, The, f one; easy, comfortable and free 3522 Boom Boom, March, C Scarmolm deep and lasting friendship with Arnold (or the way we use it) seems to develop Labitzky t0 Sm for nodtde upon one or both cords is a 3588 Bushy Tail, C have a degree to be- a just his own repertoire, but all forms 2154 Faust Waltzes. G . Gounod ifit necessary to *3682 Down by Merry Matanzie, ..... Porter speech habits that run counter to the not 4 often caused by faulty voice production. violin- RHYTHMIC STUDIES singer?-D. G. C. *3531 of Stephen Foster, F—G.Arr. Rolfe music. Having been a an opera the Gems requirements of good singing tone, we and types of 3428 Andante con Moto, 5th Symph., G come 2. Modern scientific writers upon FINGER STACCATO speak feelingly of the Beethoven distinction double and redouble our care in ist myself, I can voice and its use, make a great 31 ^ - A4 artm must 01 W coloratuia 2074 Firecracker Galop, C 1438 Chasing the Squirrels, G Reed successful as a • Hopkins of being able to read, to play A To be vibrato and tremolo. A careful *3677 Grandpa's Clock, C mastering pure vowels. In looking at advantages 3760 Coronation March. Simp., C.. Meyerbeer does not between Hopkins lyric soprano, the voice physicist, *2981 Hallowe'en Night, Am the_ mechanics of tone, 3666 Estudiantina, Simplified, C even a study of some of the works of the this as a problem, the advice seems too scores, to know Bather, do they 3145 Little Dutch Dance, F Armour Waldteufel-Rolfe have grcal volume. singing teacher, in the various “schools” need to Dr. Carl Seashore, and the self-evident to need special mention—but to feel at home SCALE PASSAGES free, well controlled STACCATO STUDIES both demand a firm, Stanley, may clarify your con- Arnold the values of Playground. if Dr. Douglas *3589 Busy Little Clock, F life, it is amazing of music. By deepening 3694 At The C Schwab timbre and especially, in ordinary, every-day voice of beautiful vibrato, if you are able to under- 3800 Mystery Story, A, C Hopkins by perfect- 3667 Barcarolle, June. Simp., Am .Tschaikowsky clcai ception of is upon this what we have to express, and lyric soprano, an easy, *3150 Nannette, F Armour how little thought bestowed 3758 Fluttering Leaves, Simo., C Kolling-Rolfe the voice is a stand them, and the experiments which shall to sing expres- expression, we . ability ing our means of 3391 Silver Nymph, Simplified. C . Heins-Rolfe the FOREARM DEVELOPMENT vital matter of pure enunciation. Even enunciation, and are the basis of their conclusions. Valse Chromatique, Simp., G of style. As *3452 Indian Boy, Em .Richter to rank as a land, not only 3555 with a good sense that among candidates advanced enough to help America Godard-Rolfe sively and It is difficult for us to concede Injun Brave, Am Hopkins . the 3. *2984 Little artists. and learn more about end. What a change from Hopkins auditions, it is a of good voices, but of worthy BLACK KEY STUDIES Y0U grow older diaphragm would help you He had Pop lift one *3101 Little Redskin, Dm appear for Juilliard become developing the 3527 March on the Black Keys. Stejner singing, your voice may DOUBLE NOTES Lt of to produce the “rather fast, fine vibrato" ipur heavy, old upright! Hopkins 3526 Song From Old Chinatown, G 1?... Steiner must never force it, or it *3007 Big Soldier, The, March, C larger, but you that you wish for so ardently. A vocal tone C... Hopkins LEGATO STUDIES beauty. *2999 Fairy Lake, The, Barcarolle, its charm and its natuial 1694 Cedar Brook Waltz C Perry will lose with no vibrato whatsoever would lie almost *3076 Little Blue Eyes, Waltz, F Greenwald conservatory, and •3665 Consolation, Simplified, F. . Mendelssohn upon the 2 It depends impossible to produce, and it would sound CHORD STUDIES 1864 the Waltz, G. John is a scholar- of the Choral Road Dream of whether or not there the con- 3403 At Vespers, C Armour Keep in the Middle also upon lifeless, dead, unpleasing; while on 3359 Fantasle Impromptu, Simp., C carefully a shoit le- 3404 Consolation, F Armour ship vacant. Prepare vibrato it soon Chopin-Rolfe the trary, if there is too much 1608 Cuckoo Song, C Martin ( Page 474) varied ill character, m Continued from DOUBLE NOTES cital of songs, degenerates into an unsteady, badly con- LEFT HAND MELODY Ase's Death. Simplified. Am Grieg-Rolfe \\ hen you can 3664 original keys and languages. which, because the sense of *2750 Big Bass Fiddle. The. C Hopkins 3357 Butterfly, The, Simplified, C. Merkel-Rolfe write trolled tremolo this recital well from memory, more un- 1216 Bluebird, Melody, C Schiller exercise which 3358 Christmas Eve. Simp., G Heins-Rolfe sing the true pitch is lacking, is still Armour is to be encouraged and exercised; it is step and whole-step. An your choice and ask tor *3154 In Rose Time, F— Br? •3053 Dreaming, Barcarolle, Et Hopkins to the school of pleasant and annoying. expansion.” has proven most helpful in interval hear- it you an “around-the-waist-line To audition. Do not be discouraged if de- an *These pieces have words for singing, breath- in gaining accurate •These pieces have words for singing, if de- again. learn what correct diaphragmatic ing and a great aid fail the first time, but try sired. sired. have a Addresses of Former Great Artists is, observe the breathing of the intonation is as follows: as yours should graded and classified or our complete ing just Our graded and classified or our complete 3. A voice such October issue of ETUDE, Fer- Our High -G, (K In the listing over 3900 numbers is free at see cotalogue listing over 3900 numbers is free at tones from Low-C to catalogue small child or baby; there one will range of good ruccio Tagliavini has a most interesting your dealers or on request from us. your dealers or on request from us. or three semi-tones the act of breathing as nature planned. Ex. 2 or perhaps even two which he mentions the name of CO. so article, in CENTURY MUSIC PUBLISHING higher. However each voice is different, Bassi. MUSIC PUBLISHING CO. Breathing is the power or potency in his Italian voice teacher, Amadeo CENTURY 47 Wes* 63rd St. New York 23. N. Y. laid down. no hard and fast rule can be to ask you for 47 West* 63rd St. New York 23, N. Y. singing, and to be a successful singer one Would it be unethical for me necessary to have a college teach, con- 4, It is not knowledge of this man? Does he still When we could must develop breath support and is very Then Mom played it. Mm-m-m! degree, although a good education city? Where could I and if so, in what it a deal. trol. When the above conditions have PIANO BREAKS upon a like that in a lighter piano, was Success in opera depends appreciate any get tone Our Monthly Break Bulletin enables you desirable. write to him? I would also been properly developed, a person is on voice, an attractive appearance, Giuseppe to build up and glamourize the songs fine natural knowledge of the whereabouts of “METRONOME TECHNIQUES” then ready to sing. clever breaks, novel individuality or per- the Hit Parade with the ability to act well, De Luca emd Amelita Galli-Curci? 1 heir by Frederick Franz figures and tricky boogie effects. musicianship to sing the for a sonality, enough addresses please? Can a reader of ETUDE Fidelity to Pitch Send 20 cents for latest copy or $2 perseverance. x 8 - $1 Postpaid enormous artists 52 pgs. 5 year. Mention if teacher. notes correctly, and in any way get in touch with the luck has a great deal to in The FIRST BOOK ever written describing many What are the causes of insecure pitch? THE AXEL CHRISTENSEN METHOD The'question of whose articles appear in the magazine, See how prov tde practical methods, of using a metronome. it, Sufficient money to points in a^backbone of Aluminum! The first and most common cause is Studio E, P. O. Box 185, Wheaton, do with too. order to ask questions or discuss says it has conductors, performers, educators and other serious until you the metronome for the rapid with the necessities of life the desire to students of music use wrong thinking; not thinking sufficiently you their articles? So often I feel of the and pleasurable -learning of complicated and tricky great help. piano dealerdealer's,s, be sure to see one are established, is also a reading his article, stop5 too in at vouryour musical rhythms on any instrument. ascending intervals and thinking write to an artist after Next time you wide on 1 late. Open contain hints, where to write. Such with an Alcoa Aluminum Four information-filled chapters descending intervals. but I do not know handsome, new spinets equipped to many questions con- too wide on the do’s, don’ts, and answers PIANO of a Nodule would be very helpful and makes the piano up to of the Removal communications “backbone’ cerning metronomes. The book is crammed full The following exercise is one which will Singing After the top and look inside. Its aluminum practical illustrations and examples. Old and new Cords inspirational to a young student. If than enoug From the Vocal y°f spinet . . . with more methods are given of using the metronome, not definitely improve intonation if singers throat indebted. 100 pounds lighter than a conventional difficult rhythms ago an excellent I would be greatly only to define tempos but to master Q, Seven months could help me or move one end of the and develop beautiful expression. Your money re- will think the ascending intervals wide my carry the 18-ton string load. Lift sol-fa TUNING doctor removed a small growth from strength to turned if not satisfied. Send one dollar today to Use or neutral syllables ones narrow: it so much easier to re- and the descending shaving the edge of the cold, can feel the difference that makes Moderate tempo with varied dynamics ex- vocal cord, by piano You F. FRANZ • Skilled professional service costs nothing or three quite a few years, piano. When you because it was so rough. I'or two Amadeo Bassi was, for listen to the full, rich tone of the Ex. 1 tra. See your book for local members A. arrange a room. Then Haven 11, Conn. phone a Metropoli- 51 Wallace St. New weeks I could scarcely be heard above one of the leading tenors of the piano, you’ve made a Directions to be given or write to address below. fine musical performance in a lighter in singing the returned, until of New York. He was can get such Send stamp for pamphlets whisper. Gradually my voice tan Opera Company 652 Gulf Building, above are: Sound tonic chord— or Italian, a fine Aluminum Company of America, hum Piano Care & Moth Prevention I could work of singing with good looking, sturdily built discovery! do re mi fa mi resume my a Do n mentally sing the keynote— is which some- breathe—sing a quartet on the radio. Slowly my voice actor with an excellent voice, Pittsburgh 19, Pennsylvania. Neutral syllables may be used also. American Society exercise—hum final chord—think one normal. It Tagliavini’s both in qual- MAY ETTS half clearing up, but it is far from what resembled Or PIANO TECHNICIANS him very or whole step above or below— 5 muscle. However, the in power. We enjoyed hum new 1022 W. GARFIELD AVE. MILWAUKEE is more like a stiff ity and ASSOCIATE OF GUY MAIER richer in Bizet’s “Carmen, in tonic chord—sing exercise in new key- lower range is more flexible, and much as Don Jose range gave a stirring performance. •k sing the exercise in new keys at will than ever before. Will the upper which role he do do ti do re mi fa mi PAYS (01 PIANO TUNING Whether or not he is still teaching PRIVATE LESSONS—CLASS LESSONS and test the pitch at any time. This ever clear up? * all) we do not know. Learn this Independent Profession 2. I would like to still living at exercise is interesting The other question indeed in musically; it is in s article we deduce ask is, since there is such a wide range From Signor Tagliavini challenging, it AT HOME of TECHNIC demands thinking and will write to him per- PRINCIPLES MAIER the speed the vibrato in the human that he is. If you do do ti do re m: fa mi breath of preparation, and it trains die ear. the dia- Florence (Firenze), Italy, the * Breath voice , is it possible to develop sonally in SUMMER CLASSES in NEW YORK Conductors should find him Amelita ^Enharmonic endeavor to choose phragm so that there will be a rather fast, postmaster will try to and present married anil her name July 1 8-1 9-20-21 August 8-9-10-11 music in such a manner that fine vibration?— O. D. Galli-Curci is now Another cause for insecure pitch is it will Samuels. Both Mme. Galli- become a part of the singer’s life. is Mrs. Homer Luca can be reached strong singing without proper breath They should show that music nodule was Curci and Signor De 719 Steinway Building reflects the A. Your letter suggests that a Opeia Com- support; pushing the tone rather than care of the Metropolitan 113 West 57th Street New York 19, N. Y. thinking and living of the age from removed from one vocal cord, the other in feeling of lifting; this lifting very pany, New York. Tel. TAyior 7-7728 having a which it came—that it is Our patented TONOMETER with BEAT cord being quite normal. This is a an expression of artists who write loi scientific teaching-tuning operation, 2. Most of the sensation will cause the tone to be sup- a civilization. A knowledge of GAUGE is a delicate, skillful, and rather rare Whether or FIRST IN the social, instrument that simplifies learning an are very busy people. ported by the breath. Indistinct con- religious hut the record shows that many singers ETUDE and civic conditions of a assures accuracy with or without knowl- willing to discuss then- Your coun- effects. not they would be STRENGTHEN VOICE! impure vowels, slow tempi, try Model and too*® have completely recovered from its Pfiv sonants and will benefit the edge of music. Action scarcely know. ' conductor and his Grea articles with you, we could „ \ 4 now build yourself and furnished. Diploma granted. Perhaps the most remarkable cases extant, fefcki’j. . Ill Yes—you can a powerful speaking and mental and physical inalertness are singers in the study and write personally to them, in sinking voice with this amazing new scientifically sound interpretation shortage of tune.-s makes this a were tenor, Enrico If you will Self-training ... required. those of the marvelous we tester method. no music or piano other foes of correct pitch in singing. of its music. Oftentimes, 1TABLE and UNCROWDED field. ETUDE the music magazine, Results GUARANTEED. Just send your name for the sensa- conductors G Caruso, now dead, and the equally beau- care of tional details. FREE chart of your vocal mechanism included! PIONEER 50th YEAR- j- your letters to Singers should be taught mentally to choose materials because SCHOOL— will endeavor to forward they were writ- APPROVED. Write for free booklet. tiful lyric soprano, Lucrezia Bori, who is PERFECT VOICE INSTITUTE intervals, especially the half- X III. hear many Continued Studio H-ZOO 141 S. Wabash Ave., Chicago S. 0 on Page 510) NILES BRYANT SCHOOL still living. A,complete recovery takes much them. 10 Bryant Bldg., Washington 16, P* 501 502 etud. AUGUST, 1949 H

Playing the Piano in the Church Service (iContinued from Page 473) proved' Leading Dhgaiv and Choir Questions required in very ordinary. Usually just a little BOOKS Skillful performance is ad- ELEMENTARY PIANO PIECES PIANO and vance preparation is»all that is Tearhe both technic and interpretation, needed Student and y fluent, to guarantee desirable results. for accuracy and artistry result in /ot t£e Student the Plymns should be played firmly easy grace. Never must there be with extreme accuracy in rhythm ~f!rST and SECOND SERIES PHILLIPS of personal showmanship and har- Jinked L FREDERICK BOOK slightest trace . CHOPIN Aboard—Aaron - YOUR bursts of exotic bril- mony. Good phrasing comes through All GUY MAIER nor undue sudden Clock (with words) Selected and Edited by the words being sung. The Busy Little the performer is com- following The sus- compositions especially com- liance. Always No rt - -30 23 Chopin pedal should be used Van Edition by performance. taining sparingly 35 in a Chopin Centennial LITTLE FINGERS TO PLAY pletely submerged in the Choctaw Indian Dance—Vo Ikarl piled TEACHING wisely. Accompaniments contemplating building a As far as playing the organ is concerned, Selected and edited other hand, one needs to be- and for solos At The Ball —Van No rt 30 o. A pastor the gifted teacher. ROTE On the Cinderella Nocturnes, A book for the earliest beginner combining or anthems become more large church is desirous of information re- it would be definitely preferable to have Preludes, Mazurkas, ware of dullness and monotony in interesting Clowning —Aaron 35 from cents type organ to install. Some could not Etudes, Sonatas and NOTE approach , 60 pianist Cobb 30 garding the of a teacher; yet even a teacher Waltzes, Polonaises, AND playing. The pianist cannot, as when the makes the most of Cowboy (with words) — church organ, others an electric or- ' interludes, Raindrops Rodgers 35 advise a' pipe accomplish very much in the short time Ecossaises. organist, introduce changes of small counter melodies', and Dancing — THE FIRST GRADE BOOK does the is to get a disinterested Von No rt. 30 gan. He anxiohs would sustained embellishments. In order to perform The Enchanted Slipper— you have. Your best plan probably FOR PIANO correct, tone or intensity in single, opinion as to which is preferable. Also, if • CHORD PLAYING The object of this book is to lay a clear, For The Roundup—Hibbs 35 Organ,” by atten- well, the soloist or choir needs to Headin' be to get a copy of “The KREVIT tones. Therefore he must direct feel the organ is installed in the front of the by WILLIAM complete foundation for piano study $1.00 Carnival Aaron - 35 care- and the sympathetic support and Ice — pipes on Stainer, and follow the instructions Hand-Shapes of Early tion to portraying changes within each constant 30 church, is it necessary to have the The Three Basic In Time— Weybright into prac- alertness of the accompanist. best results, or would fully. At the same time, put Harmony in Short, Tuneful Pieces THE SECOND GRADE BOOK 1.00 succession of single notes and gradations When all Beans Templeton 30 the same side to get Keyboard Jumping — on principles outlined in the book IMPROVED SIGHT Fluctua- individuals work together harmoniously, the effect be the same if the organ was tice the for FINGER STRENGTH, THE THIRD GRADE BOOK 1.00 of crescendo and diminuendo. The Little Skater— T oylor 35 other, with select, MUSICIANSHIP. congregation is certain 30 one side and the pipes on the on Gregorian chant you and you READING and BETTER tions in rhythm, intensity, and color the to sense this March In F—Beslhoff - THE FOURTH GRADE BOOK 1.00 about thirty feet between of both 1.00 in it. Cobb 35 an expanse of can probably gain a fair mastery help to thwart excessive sentimentality and rejoice Moonlight (pedal study) — : 1.00 S. THE FIFTH GRADE BOOK 30 them? —Sr. M. subjects in clue time. solemnity. Avoid playing too slowly, Mechanics are important, too. Having So High—Weybright and 35 • LET'S LEARN ABOUT MUSIC IN FORM materials ready, in order on the The Spinning Top—An son - NEW! TINY TECHNICS TUNEFUL too sadly. Take a cue from mafly mod- ra^k, somewhat controversial STANFORD KING Tattletale (with words) — Aaron 35 A. This is a out by the by turn people the outline or program of the service Q. Aside from information put early by John Thompson ern religious leaders who in favor of music appreciation book — 1 6 Valse Melodie—Rodgers 35 question, the chief argument Co. will you please tell A at hand, the piano in tune, pedals Hammond Organ stories — very first book of Technic, designed to to the Church for courage, happiness, work- 30 claim piano solos — descriptive A Whirling and Twirling —Von Norf the electric instrument being the other literature has been pub- grade me what of prin- and its uplifting influences. Although ing properly, lighting well-adjusted—all representative thematic examples supplement any Preparatory or First Grade THIRD and FOURTH GRADE larger tonal variety may be had for lished instructing one in the use of that that composers' photo- the music there should breathe of seren- these details help the pianist to play Masquerader Rodgers - 35 cipal musical forms — Book 75 little — a given amount than would be possible organ? —E. S. S. musical quiz. I- 00 ity, it should also reflect joyousness, smoothly and well. Prelude in B Minor—Rebe AO graphs — with a pipe organ. For church purposes of the most Cobb -- - 30 JOHN THOMPSON'S NOTE SPELLER .50 strength, and hope. One outstanding and suc- Stepping Out— tone qualities 40 the pipe organ possesses A. We recommend very highly “The JOHN THOMPSON'S SCALE SPELLER .60 Many small technicalities need to be cessful uses of the piano in church that Waltz of the Roses—Rodgers which are rather to be preferred to the Hammond Organ” by Stainer-Hallett, Michael Aaron Piano Course watched. use of the pedals is most 1 have witnessed was in a student church JOHN THOMPSON'S CHORD The instruments, and if sufficient well A LEARNING MUSIC PROGRAM electronic being an adaptation of the known in Piano Methods important. early piano music is on a college campus. Only one unit of Th“ First Name SPELLER 60 When available to provide an organ the needs by FLORENCE FENDER BINKLEY funds are Stainer Pipe Organ Method to MICHAEL AARON PIANO PRIMER 60 played, music written before the inven- the church had been built, but for this believe the Aids in planning a well-balanced suitable for the sanctuary, we of the Hammond organ, including a very GRADE ONE tion of the pedal, there is little or no they purchased the best in concert grand study program pipe organ would be more satisfactory. excellent outline of the principles of the GRADE TWO pedal used. However, music of . the Ro- pianos. The man chosen to play headed MUSIC DRAWING BOOK There have been improvements in the Hammond design and operation. This GRADE THREE '-00 manticists and Moderns calls for intel- the piano department of the school. In MY °° construction and tone qualities of elec- may be had from your local dealer, or GRADE FOUR ligent skillful pedals. addition to the regular music he pro- WRITING BOOK too and use of MY MUSIC instruments during recent years, magazine. ADULT PIANO COURSE tronic the publishers of this 75 Through them surprisingly beautiful vided, he directed the large student of TECHNIC, Book I MY MUSIC SPELLING BOOK so that to some extent it is a matter PIANO Book 2 - 75 effects in quiet playing are achieved. choir from his seat at the piano. So beau- Probably the better PIANO TECHNIC, READING BOOK individual choice. Q. What would be a proper salary for an The melodic line must tifully and serenely did the music flow MY MUSIC sing clearly be to decide just about how plan would organist, having services only on Sunday 32-page Thematic Piano Catalog and unbroken. Phrasing is as important through the whole service, that few peo- PRACTICIN' TIME con- FREEI much money is available, and then mornings, with extra services in connection as in a siring quartet. Small decorations ple were conscious of the lack of an Price .60 each fer with manufacturers of both types of with special seasons, and sometimes choir MILLS MUSIC# INC. and embellishments must be brought organ. The key to successful use of MILLS MUSIC# INC. instruments and actually try out such practice? The church, so far, has only a 1619 Broadway, New York 19 out carefully, cleanly, like delicate and piano in that church lay, 1 think, in the reed organ, but is planning a pipe organ. 1619 Broadway, Now York 19 organs as would be available for that lacy carvings. Sustained notes must be fact that a good instrument was used that When this is installed, what would be a figure, and make your decision on held suitable salary? It is the richest church in the correct length of time, often and a good pianist played upon it. Answering the second question, we changing basis. this town, and the salary of the minister is the pedal during the hold. The Organ music often seems more im- granted that by “organ” you PIANISTS take it for $3,000 per year. —B. L. inner parts are important because short pressive because listeners are awed by Has Your Child mean the console, or keyboard. With melodies frequently appear in tenor or its unusual its sonorities, aspects, deep of organ it is quite a common the advantage of piano study with either type A. An organist’s salary is a very con- Improve your playing alto, and these need to be carried the chimes, the pedals and pipes, and place the console at a De a member of the practice now to troversial question, and generally speak- through like slender, silken threads its great air of pompousness. The piano, distance from the actual pipes (or sound paid, woven into ing they are not too well but so Paul the whole tonal pattern. on the other hand, as the most ordinary NATIONAL GUILD of the electronic in- by Broadwell Technique chamber in the case many factors enter into the matter that UN IVE RS I TY These details, although seldom under- of instruments, be- is often condemned of PIANO TEACHERS strument), and this would be no detri- • CHICAGO stood or it would be impossible to say what would Learn how the Broadwell Principles of Mental-Muscular Coordination and recognized by listeners for what fore the music begins. For this reason Inc. the tone qualities or ment whatever to be just compensation without knowing the Keyboard Patterns Method to gain proper keyboard habits can greatly they really are, produce an effect of the performer must exert every effort A goal of achievement for every student suitable THE SCHOOL OF to his age and advancement. general effect. given case. improve your Accuracy Technique, Memorizing, Sightreading' Playing. all the particulars in any # and exquisite perfection which will be hard and use all his skills to change the men- (NOT A CONTEST) organist serves only a few to resist. Publicly, an tal attitude of his listeners. If he can The Better Teachers Are Member* trying to learn Gregorian chant REDUCE PRACTICE EFFORT—10 TO 1 fl. 1 am hours per week, but the preparation for Jfhtsic In playing hymns and accompanying play so as to eliminate from .thought Chapters in every large music center only about four months in which Your piano practice can be scientifically applied to eliminate Waste Effort and Time. and have hours sometimes runs into singing, the pianist FOR INFORMATION WRITE to enter the those few Learn how one practice repetition can do the work of ten; how memorizing and sight- makes another defi- these limitations, and create music of to learn it, because I intend Offers accredited courses in reading are reduced to logical practice principles. Broadwell will have to many additional hours, which church au- The System makes memo- nite contribution. Through his playing, such beauty that thoughts are lifted into IRL ALLISON, M. A. convent soon. In the convent 1 rizing automatic. Makes sightreading a natural, rapid and accurate process. public are apt to over- Piano, Voice, Violin, Organ, the singing may be FOUNDER AND PRESIDENT Masses, Vespers, and so on, in Gre- thorities and the inspiring, joyous, moods of receptivity for the sermon, he play Public School Theory, Box 1113 AUSTIN, TEXAS music, as their rule is very stnet look. On the other hand, some organists Music, GAIN IMMEDIATE RESULTS and uplifting, or it may be dull and has accomplished his mission. gorian only Gregorian chant be used. How- spend little time in preparatory work, and Orchestral Instruments. Value of the Broadwell Methods applied to your own playing is appreciated not only that in vernacular, modern the improved quality of playing, but also the speed with which improvements in tech- ever, for hymns in the and can hardly expect remuneration nique, accuracy, sightreading and memorizing, etc. become I am also taking Confers degrees of B.M., A.B., noticed. Improved mastery music may be used, so comparable to a minister’s full time oc- of skills such as trills, arpeggios, runs, octave passages, chord skips, is unmistakably lessons, lessons. Can I, with piano evident after the first ten days. piano cupation. More ability of course is re- and M.M. without the learn houi to play the organ home quired to properly and artistically play Distinguished Faculty Volume tuLiLSmlkae pianos in30days a teacher? Do you know of any ADOPTED BY FAMOUS TEACHER-PIANISTS Controlled Metronome aid of the reed organ now Is Gregorian chant a pipe organ than The Broadwell Methods are used by famous Concert Pianists, Professional Pianists, No musical knowledge needed. Piano tuners in great demand course in organ playing? is in- reputable Teachers, Students and Organists the world-over. These methods be everywhere. Train under experts. Learn with phonograph have studied piano for two in use, and when the pipe organ may hard to learn? 1 Address Registrar for Bulletin applied by the student who has had but 6 months of previous piano instruction as well recordings in JO days. We furnish recordings, instruction should have an organ stalled consideration should be given by books years. If you think I as by advanced students. The methods are as valuable to the player of popular music and professional tools (including record player if needed). recommend someone in church authorities to this fact. In a as to the classical pianist. The Broadwell Methods have been successfully used for over We show you how to line up part or full time work teacher, can you the DePAUL UNIVERSITY twenty years for big earnings. Send seventh chords by thousands of pianists. for FREE literature today. this city? Is it correct that very general way, and bearing in mind CAPITOL chant? Do „ CITY TUNING SCHOOL should not be used in Gregorian lightness of the duties SCHOOL OF MUSIC Dept. E 211 E. Michigan Ave. Lansing, Michigan the comparative f in four months I can get a BROADWELL PIANO TECHNIQUE you think that in such a position as you are occupying Room 401, 64 East Lake Street A new form of Electric foundation in the chant? I know 'good at present, four hundred or five hundred much as eleven Chicago 1, Illinois Mail Metronome with a volume I.atin and could practice as Coupon—No obligation for dollars a year should be sufficient, but - C - control has been put upon hours a day. — CHOIR DIRECTORS— requirements, and responsibil- the as ability, FREE market by the Franz Looking for good anthems that are easy? Clark’s BOOK -"TECHNIQUE" corre- Anthem List *1 for Volunteer Choirs will save you you a booklet de- ities increase, the salary should Mfg. Co.. Ltd. It was found tune. An A. We are sending invaluable aid to busv choir directors. Sup- increase. BROADWELL STUDIOS. DEPT. ply limited. 1.00 the study of spondingly Very few, among 69H that some preferred a soft- $ postpaid. scribing several books on Covina, California best equipped organists, make er “tick” chant, and we believe you even the in the now well A. E. Gregorian SWING MAIL TEACHERS ASK ABOUT ATTRACTIVE FRANCHISE. CLARK which a salary of more than SI,500 or $2,000. PIANO—BY — known able to select one or more 30 lessons Gentlemen: electronomes. P.o. Box 265. Wall Sf. Sta., York N.Y. will be $3.00. Self teaching book. New 5, Additional income is acquired by teach- Send me your FREE Book considerably, though of —CLASSICAL ENTHUSIASTS— “Technique” showing how I may quickly improve my Technique, Accuracy, will help you Memorizing, Sightreading activities. It be borne Piano Concerto No. 1 & No. 2, each 52.00 and Playing. I understand there is obligation. time ing or recital must no course four months is very little Keyboard tricks 1.00 however that the financial Spring Sunset 1.00 in mind, • NAME to get anything like a com- Petit Valse in C Mino 1.00 New Company Presents New Sacred Music in which New work by a new composer & publisher. ADDRESS subject. A hese circumstances of the individual church Lamentation—50c; The Groom and His Bride— petent knowledge of the Write for complete free list. tf Bride (A Violin Duet)—35c; 24th Psalm )an . as are, in the final analysis, the deciding PHIL BRETON PUBLICATIONS CITY Jli® Lyrics)—SOc; New Hymns for the Glory of God also answer your question STATE Utahan Lyrics)—50c. books will P.O. Box 1402. Omaha 8, Near., U.S.A. D’Angelo of the chant. factor in making a decision. p „ Music Publishing Company to proper harmonization v- Box 7054, Station G. Los Angeles 37, California. 504 505 ETUDE AUGUST. 1949 1 '

A Professional Musician? Shall X Become CLASSIFIED ADS Questions Page 472) Violin (iContinued from

Unless you show great leadership and subjects well, such at least two different as well Specialty Shoppe, Delton. Mich. or organizational ability, as mu- Burpee’s PIANISTS example, piano and theory, FOR as for should not try to be "COURSE sicianship, you a HAROLD BERKLEY and conducting. Answered violin conductor. You must be able to inspire ^ « Mwr\.t 1 it* ability to impart knowledge, Composition, Orchestration, kim mm Unusual groups of people, and, at the same h arMONT, Correspondence for the sub- lame Musical Theory. Private or alone- with great enthusiasm patience Manuscripts and cor- 1 1 time, possess great and per- Instruction. junc vv c dixivii a good teacher. He must arranged. Frank S. Butler, ject, makes rected Music ^ severance in achieving the musical goals N. Y. of Corona, have great love and understanding 32-46 107 St., ver- you have set. grip, your tone be ever imaginative and tain an equally firm finger of Chicago, people, and feel called to the field of Consult a Musicologist to Central Conservatory -alive and Should you will inevitably suffer. You should try Beginner's Book to keep his teaching as I have in the famous Kimball BOOK ONE—The satile, composition, I shall not try to PIANO TUNING—Simplified au- E. D. M„ New Jersey. So far fingers by practicing a lot located ear, and a musical -earn free, strengthen those students a of four parts: Needless to say a good instruction $4.00—Literature find out, no edition of David s Building, affords its prepared the First Book consists vital. you, because I know it is im- thentic been able to exercises and scales. 2) Yes, a good Skillfully — discourage Ross, 456 Beecher St., Elmira, N. Y. but of finger plus a thor- The Middle of The Staff. prof "Hohe Schule” is at present available, in all singing scholarly environment Reading Up and Down From Compose, if you must, but make vibrato is very necessary possible. in the Music administrative The Space Notes of The a mem- I think you could find a copy ET UDE for oughly Christian Reading Up and Down From Should you aspire to become college degree melodies. If you can refer to certain that you get a or Public ' From The Space Notes Reference Room of the New lork long article staff. Treble Clef, Reading Up and Down symphony orchestra or a October 1947, you will find a ber of a major The chances that you TUNING AT HOME. it courses Introduction to Musical Playing. .75 two along the way. BEARN PIANO Library. You might be able to have can best be de- The Conservatory offers of The Bass Clef and dance band, you must pos- Course bv Dr. Wm. Braid White Pay as discussing how the vibrato “big name” earn a living from your composi- 1001A other questions should go I think to the Baciglor of Music instrument will vSu learn Write Karl Bartenbach, photostated. Your veloped. As you are so ambitious, leading same skill on your reference degrees in Book sess the tions are slim, and you will most cer- Wells St., Lafayette, Ind. to a man with the training and private lessons. You would and Master of MuRc TWO—The Follow-Up addition, you should take BOOK concert artist. In I would sug- Music Education. introdL,ced to as that of a to enter some other field, library of a musicologist, and more rapid progress. Applied Music, Weybright compositions, the s+ u d en js tainly have make much Through familiar and original + a first-class sight reader, write to Dr. Alfred Einstein, Theory and Com- planning, key «ifl you must be in order to eat. Your gest that you Sacred Music, staccato and legato playing phrasing finger such as teaching, chords and intervals, field, a good impro- ANNOY ING OTH- Northampton, Massachu- majors in Voice, . in the dance PRACTICING Smith College, position, with apoggiatura, accents, and the students first piano d t. and, preliminary training should consist of PIANO Easily At- Miglit Be Genuine natures, tone shading, the to Mayo’s Muting Device have a store in New Vuil- Violin, and Orches- viser. early training, in addition ERS* setts. Ricordi & Co. E. Malaya. Your Amati model Piano, Organ, Your at least to the extent that you cap or Detached by Anyone without G„ instru- piano, tached The address is 12 West 45th worth anywheie Book intensive study on your major harming mechanism. State upright, giand York City. laume violin could he tral Instruments. The Key Signature play your own scores, and thorough full instruc- Without September 5, BOOK THREE— piano and theory, or spinet. Send $5.00 for mute Street. from ?iooo to $2500, if genuine. Fall term begins keyboard After the in- ment, should include Richard black key positions of the grounding in all branches of theory. All Money back guarantee. personally, no for G. I- Training Accustoms the hands and mind to the experience in bands, tions. 1120 examining the instrument 1949. Approved minor music the sub,ect of liey and all possible Mayo, Piano Technician. Dept. 003, appraisal. several rhythm studies, and ma,or and experience you can gain in playing or- give you a more exact Public Law 346. troduction of other ensembles. A col- Latona Street, Phila. 47, Pa. Anyone Interested? one could under technic study precedes each piece for further acquaint- orchestras, and invaluable, and appraised, but I realize catalog and ap- signatures is treated. A specific chestral instruments is Massachusetts. Offhand I do not You -should have it Send for your is not required, but your R. E. F„ this black key combinations. lege degree of con- in not be easy for you to have today. ance with the you should have a knowledge anyone who would be interested it would plication blank status is more secure if you know world. professional are often called Guaranteed pipe Gemimani Violin done in your part of the ducting, since composers ORGANS FOR SALE: the 1739 edition of the Chord Book one, especially if you want to sup- pianos. Cannarsa FOUR—The Scale and have works. If organs, reed organs and does appear I will BOOK upon to conduct their own Tutor,” but if someone Hudson, Mus. Doc., tonal teaching. Be- Company, Hollidaysburg, I^a. Robert l. student to a working knowledge of the plement your salary with Organ him. Positive Proof , This book has been designed to aid the you write for ballet, you must know the turn your letter over to A President familiar with the tra- H., South Carolina. The tact known as KEYS. come thoroughly Miss M Dean combinations dance—opera, the theatre. You must be in Germany” appear Alton M. Cronk, A.M., ditional way of performing symphonic that the words “Made to the beauty of form, Hand Made. Tuned and Preparatory to Ivreutzer label in your vio- Two, Three, Four instru- highly sensitive OBOE REEDS. under the “Stradivarius” to accompany Books One, masterworks. Learn a second $15.00 dozen. C. Robison, he WORKBOOKS Tested. $1.50 each ; ’ Massachusetts. Before is com- color, and motion, and possess great Mrs W. G. B„ lin prove that the instrument a and assured progress. Serves to cheek ment, besides piano, especially if you are 216 W. 41st St., Marion, Ind. average pupil Unusually coordinated Workbooks for "stock-taking" imagination and inspiration to succeed undertakes Kreutzer, the mercial German product made for export. be used at the lesson or of con- the comprehension of his subject. The work pages may a dance musician. A knowledge worked carefully through would not be worth the student's as a composer. should have At the very most it principles and materials more of an the hist assigned for homework. Designed to follow the ducting will also make you three books of Kayser Studies and and it probably is not fields 1 should to more than $150.00, ^ There are two other BACK POPULAR SHEET MUSIC the latter I the four study books. asset to your organization. List two books of Mazas’ Studies. By half that amount. If you wish to dis- briefly. music critic 1850. Ballads, Ragtime, Everything. worth like to mention The Popular. “Special Studies”- and the Bril- would be to do Course At Your Music Dealer — NOWJ^ a cool 10* Classics exchanged for mean the pose of it, your best plan See This New June Weybright A good orchestra player has and cul- greatly must have a first-class musical Fore’s, E3151 High, Denver 5, Colo. Studies.” Many pupils benefit many dealers would even-tempered. The nature liant so privately, for not head, and is tural background, coupled with an acute “Studies Preparatory to such from Dont, Op. 37. care to handle it— there are too many Dept. E Inc. • 1619 Broadway, New York 1 9, N, Y. of his work requires that he be always in Part 111 ot AMERICAN ACADEMY of MUSIC, critical sense and journalistic ability. Kreutzer.” Some sections instruments on the market. alert and cooperative. In the popular 6'-2", ebo- while the pupil 927 • KIMBALL BUILDING • MILLS MUSIC, INC. field, and is us- MASON-HAMLIN GRAND, Op. 1 can be given SUITE SOLE SELLING AGENTS This is a very limited Holstad, Sevcik’s field good showmanship, originality, and nized finish, reasonable. Joseph C. “Brilliant Studies o ILLINOIS another type of is working on the String or Fourth Finger CHICAGO 4, ually combined with 337 Oak Grove, Minneapolis, Minn. for Open versatility are definite assets. There are no better exercises Students were for- work. musicologist, or music Mazas. I. H. C., New Jersey. The technique. The really on an As a symphonic conductor you should developing shifting merly taught to use the open string scholar, possesses a thorough knowledge some of the ma- talented student can skip ascending scale line and the fourth finger prepare yourself to be the musical leader of the nature of music, from its origins TWO-PIANO EIGHT-HAND ARRANGE- though advantage works used terial I have mentioned, descending line. Nowadays, however, enter. MENTS of any Symphonic — on a of whatever community you may to the present day. His primary interest write list taken of the excellent bowing crossing to an or new music needed. Please should be it is increasingly felt that This calls for the most comprehensive Summit School of Music, 8 for Novem- is in musical research and in making and price to studies in Mazas. See ETUDE open string gives a somewhat unpleasant training you can get, along with De Forest Ave., Summit, N. J. aeiJ

singable were Baby Bear Plays Cops and Robbers, only when the tune is in music, are especially useful. The singing Goes to the Movies, and got its name; or the story of with the words to Baby Bear many Tarantella The World of Music the to register, otherwise saying Imagination, Key child must use his imagination before other provocative titles. Sand’s dog that is always told in In every lesson he is con- r force like a bunny, waddle like a the music. write D-flat Major Waltz of he can hop interpretation, Other children to me, enclosing relation to the fronted with a definite (Continued from Page 457) AMERICAN duck, or imitate the branches of a tree for the pieces where I have provides another example of the Child’s Musical imagination for the words pur- Chopin This expression of calling upon the be used to stimu- bending in the wind. brings posely omitted the words. Many sug- an incident may desired result. Each assignment how music through movements of the body, titles for pieces they imagination. which the child gest new would like late the Eurhythmies, has forth a mental picture the possibil- CONSERVATORY Interest known as the art of to write about Baby Bear. These is no limit to and all details may be music. Since the story me There tries must be mailed between September tember 1, 1949; fully by Dalcroze that can reproduce in enjoyable been treated so children are not geniuses, they are doing of making music more by writing to Mr. Russell G. animals and objects, ities and November 1, 1949; and all de- secured for detailed description deals with familiar imagination 20 there is no need what any normal child will do if given awakening a dormant Pennsylvania College fot (.Continued from Page 469) to imagine him- or tails be secured from Dr. Philip Wichmann, MUSIC it is easy for the child may of here. proper material, material he the story or incident approach. Pittsburgh, Pennsylvania. The bear is made the can through James, New York University, 100 Wash- Women, the child has reached the kin- self into the situation. oratorios, and ILLINOIS When because it makes use of the nat- all the operas, CHICAGO he has a birth- enjoy It brings ington Square East, New Y’ork 3, N. Y. docs wind sound when he is (four to six years, the age to live the life of a child; the How the dergarten age tendencies of his age. For those descriptive works within church, plays games, ural all the blowing cold? does he sound when is to advance day party, goes to GUILD OF OR- Sixty-third Year How of dramatization), he ready not familiar with this the average person, and aids THE AMERICAN everything the aver- who are book I range of National he is blowing warm? This type of ques- to the second step in the imaginative and so on, and does of apprecia- GANISTS is promoting a including an excerpt below. to reach that pinnacle of one hundred dollars voice, violin, All this is interpolated am him AN AWARD Playing, Offers courses in piano, tioning calls forth the desired image in process, that of rearranging the facts he age child does. the more ab- Open Competition in Organ he can enjoy is offered by Fischer and tion where plus royalty J. in all other branches of the child’s mind and aids in a better in- recall into a new pattern. During in the story. the finale of which will take place organ, theory, and can forms. In fact, the development auspices of the American be taught the fundamen- HALLOWEEN stract Bro., under the National Bi- degrees: terpretation of the song. this period the child lives in a world of That he can the medium of connection with the 19a0 music leading to of imagination through Guild of Organists, for the best organ tals of music through this method even There will be pre- make-believe, often assuming the part of Ex. 5 not only a pleasurable proce- any musician ennial Convention. Action age, that it music 'is composition submitted by BACHELOR OF MUSIC Children Love some other person or animal. I have at four and five years of liminary and regional semi-final contests, 1 an " gives the individual : but it the United States or Canada. his imagination, has been - —-.T" dure, residing in the Re- MASTER OF MUSIC The voice is not the only means we made use of this tendency in my very does awaken £ the latter to take place during appreciation of an art that he might piece should not exceed five or six only in own classes, e) The in the employ to aid the child in expressing first piano book, “The Kindergarten proved to me not my too, gional Conventions of the Guild of 140 artist 6000. otherwise possess. We hope, closing date is Outstanding faculty receive from Hal-low-een will be here l like Hal low -een. never minutes in length. The Children Class Book.” The method is based on but from countless letters I of 1949. T he contest is open emotion through imagination. development of the imagina- details may be late spring mothers. On a recent lec- that this January 1, 1950, and all of age teachers including: love action, and need little urging to the best-loved story of childhood, The teachers and i-i-e--**-**- any organist twenty-five years q: CT into everyday living, American to brought a — tion will carry over secured by writing to the follow out their ideas through motion Three Bears, providing material the ture tour, one teacher me or under, the only stipulation being he will, after such training, he Organists, 630 Fifth Avenue, Rudolf Reuter number of compositions she had written • Father Bear) and that Guild of played a recital PIANO of the hands, feet, and in fact the whole child can dramatize and enjoy. There in the other that he “shall not have had “made able to “imagine himself New York 20, N. Y. Edward Collins body. Exercises accompanied by music, are no complications of note reading or down for a boy of five. He for the A.G.O. prior to the date of Com- rearranging the • Baby Bear person’s shoes.” in which the children skip, hop, wave counting in the beginning. The child them up” as extra work, petition Preliminaries.” Full details may Kurt Wanieck Never belittle the importance of imag- sings in phrases and sentences, facts into new patterns, and the results “ writing to Mr. M. Searle their arms, and sway their bodies in time plays and 1 he OF HARVEY GAUL, be secured by ination. It was Napoleon who said, THE FRIENDS Hans Heniot We like Hal- low een. by its imag- INC., announce the 1949 composition (Continued on Page 511) human race is governed Bruno Giade first award for which will be ination.” contest, the four hundred dollars and a guarantee of Earl Blair (Father Bear) publication. The contest is for a choral composition based on an American VOICE Theodore Harrison Whether the child has lessons on an Getting the Most from theme. The closing date is December Charles LaBerge instrument, or whether he continues in and all details may be secured by Lessons 1949; Inspiration from the Frances Grund a “music readiness” class, he can derive Your Music writing to The Friends of Harvey Gaul, much pleasure and exercise of the imag- Avenue, Pittsburgh 2, Louis Rousseau OPPORTUNITIES (Continued from Page 460) Inc., 315 Shady Masters ination through the “story witlt music” Pennsylvania. Barre Hill method. Every child loves a story, and really both of you, you'll find that it s According to The Evening Bulletin. B. Fred Wise . 77 not without reason. The story satisfies TEACH- ^jrie fun- THE CHICAGO SINGING Philadelphia, some ol the works of noted • ••in iLme i v (u6ic tl his unfulfilled desires. He, by imagining W, general suggestions. 1 he re- announces the thirteenth themes have been These are ERS’ GUILD composers whose himself the hero, can accomplish all the VIOLIN John Weicher sponsibility of the lesson varies with dif- annual prize song competition for the “popularized,” are: Frederick Chopin s ADVANCED COURSES OFFERED BY THE things in the realm of imagination that Willits of one Scott ferent ages, from very little responsibility W. W. Kimball Company prize Polonaise, Opus 53 in A-flat (popular he cannot attain in real life, l ittle chil- a young of the win- his resting upon the shoulders of hundred dollars. Publication title, “Till the End of Time”) and Stella Roberts UNIVERSITY EXTENSION CONSERVATORY dren like the adventure type story best, the by the child to a responsibility greater than ning song is also guaranteed Fantasy Impromptu (“I’m Always Chas- so we find The Three Bears, ]a earn the Degree of Bachelor of Music? sults in interpretation when the pupil tives are, and what he can do to make MUSIC LETTER BOOK—An introduction to the Organizatton has to offer you. At MY has the story as a guide set the mood his practice efficient. the musical alphabet and their rela- to most letter names of Address John R. Hattstaedt, President of the music. Whatever age the student may be, he tion to the white keys. BOOK An introduction to the Sometimes where there is no story con- will discover that his music lessons are MY MUSIC NOTE — the University alphabet. American Conservatory of Music Extension of the musical Co nSeruci tor nected with the music, an incident is twice as valuable and twice as much fun staff position sufficient "Music and Guide Book, ' which is $1.00. 580 South Wabash Avenue to bring the imaginative powers when he contributes his share to the suc- Price, 75 cents each, except 28 EAST JACKSON BLVD. (DEPT. A- 6 7 6 CHICAGO 4, ILL. into play. cess Chicago 4, Illinois For instance, the title Taran- of the lessons. He may even discover THE SERAPHIC PRESS tella always provides a good excuse to that his teacher is twice as fine as he Milwaukee 4, Wisconsin 1501 South Layton Boulevard reiterate the time-worn tale of bow the thought she was! 509 AUGUST, 1949 — —

contests will master’s death. Elimination duce, attack, and spin a perfect pianis- the finals will And now, if you will, take a second The World of Music begin September 15, and look simo. Out of this ability grows the com- date Page diary written to end on October 17, the The Pianist’s at Schubert’s in that earlier (Continued from Page 509) be timed plete skill of operatic coloring—of fol- 1849. All informa- happy time when he was nineteen, Gaining Experience of Chopin’s death in Page 468) you lowing the great Mozart line—in short, the Chopin (Continued froyn find this entry concerning Wright, Chairman, American Guild of tion may be secured from I TO STUDY? will a com- Page 471) WHERE SHALL GO (iContinued from of establishing oneself as a competent Avenue, Room 1708, Committee, c/o Polish Re- such poser whom he revered: Organists, 630 Fifth Centennial refuse to buy or play vocalist! It can be acquired; but, like Service, 250 hard and bits of gen- N. Y. and Information ac- “Gently, as if out of the distance, did going to pick up valuable New York 20, search desecrations. work of art must be are everything else that is needed to round City. A tones of Mozart’s vocal experience, how- West 57th Street, New York For the the magic music strike eral experience— CONTEST, be- York city) cepted and interpreted “as is. out the enormously complicated sum- THE CHOPIN PIANO Private Teachers (Western) Private Teachers [New ears. left to chance. Only it my With inconceivable alternate may not be held every five years re-creator to attempt to reconstruct ever, total of the singer’s art, it requires alert gun in 1927, and WEISS FOUNDA force and tenderness did it impress, of study and practice can II, will THE HELEN L. is prepos- deep, the right kind until interrupted by World War to fit some ideal of his own and careful experience. In more ways is sponsoring a deep into my heart! Such lovely singing habits. One of with TION of Philadelphia impres- develop sound serves his be resumed this year in connection HAROLD HURLBUT LUCIUS DUNCAN terous. than one, then, the singer best for composers up to thirty- sions remain on the soul, there to most important aspects of vocal of the one-hun- competition PARIS—NEW YORK—HOLLYWOOD Violinist Teacher I recommend first work the interests by putting his personal the commemoration Concert — To timid pianists mezza own (Continued on Page 516) Have Studied with Him Include Pupil of Schradieck for good, past all power or time or is the perfecting of the of the great Polish Singers Who studying isolated movements from the cir- equipment experiences to practical use! dredth anniversary CONNER pianissimo. The NADINE BUREAU third cumstances. In the darkness of this life o Ce_the art of singing Soprano Metropolitan Opera WESTCHESTER CONCERT longer sonatas, such as the second, V Distinguished does not require City Center & Havana Operas they reveal a clear, bright, beautiful singer of German opera HENRY CORDY, N.Y. White Plains, N. Y. Philadelphia, Pa. or last movement from the D Major EVELYN HERBERT... ROBERT HALLIDAY LOIS LEE French opera, one 54 Bank St. 104 N. Mole St. and prospect, inspiring confidence and hope. much pianissimo; in of Opera, Stage and Radio Sonata, Op. 53; the slow movement and other Stars White Plains 9-7808 LO 7-0723 opera, the 1056 O Mozart, immortal Mozart! What count- some; but in Italian Address: Hollywood, Calif. Phone: GL. scherzo from the B-llat Sonata; first needs less consolatory images of a bright, entire musical projection de- movement from the G Major Fantasia; bet- singer’s ter world hast thou stamped on on his ability to contrast forte EDWIN HUGHES second and third movements from the our pends PERFORMANCE souls.” with pianissimi. shading down to PIANISTS PREPARED FOR PUBLIC A Major Sonata (opus Posthumous). tones ISABEL HUTCHESON AND FOR UNIVERSITY, COLLEGE AND indication of five p’s. young, brash I am sure Franz will not object if we a printed Teachers CONSERVATORY TEACHING POSITIONS I confess that in my own Teacher for Piano WINTER TEACHING SEASON: SEPTEMBER TO JUNE re-read his entry and substitute "Schu- work for Teachers: days I dared to make my pianistic debut Modern Piano Technic: Group For full information address: Spinning a Tone . something Conducting "Piano bert” for “Mozart” . . for his own Coaching concert pianists: 338 West 89th Street New York 24, N. Y. in Boston with a program which began Teachers Forum." Tel. SChuyler 4-0261 words seem to us no than mezza voce is not to be with those second and third movements more fitting A good, pure BROOKS MAYS MUSIC STUDIOS MONTHLY SESSIONS IN WASHINGTON. D. C. posthu- tribute to the immortal art of Franz confused with a falsetto. The latter, as IOO51/2 Elm Street, Dallas 2, Texas Phone C-6214 (.Andantino and Scherzo) of the actually a false tone; mous A Major Sonata. Neither Philip Schubert. its name implies, is be produced, but cannot be CHARLES LAGOURGUE STUDIOS Hale nor “H.T.P.” (Henry T. Parker, it can closed. The true mezza voce VOICE PRODUCTION—SINGING better known as “Hell-to-Pay!”), two of opened or EVANGELINE LEHMAN COMPLETE MUSICAL EDUCATION breath support than does the most formidable critics of the day, Keep in the Middle of requires more Mr. Lagourgue is the author of "The Secret" Daily TEACHER OF SINGING — secret of projecting Vocal Exercises. tore limb from limb. Instead they the forte tone. The Opera Operetta Oratorio—Concert. me — — Expert in solving all probems of the SINGING and the Choral Road without a suspicion of to praised daring and hoped that I it evenly, firmly, 167 Elmhurst Av., Detroit 3, Mich. To. 5-8413 SPEAKING Voice— nasality, throati- my huskiness, inhale the breath (dia- entire sonata at the “wobbling,” is to ness. Also stammering corrected. would present the (Continued Page from 502) and then to hold it just 35 West 57th Street, New York next recital. (I should have been an- phragmatically), before beginning to EL. 5-2367 nihilated for that public “strip-tease” of the least instant EDNA GUNNAR PETERSON ten by certain personages and not for immediately on the two movements!) sing. Never sing Concert Pianiit—Artist Teacher their suitability to the present personnel breath—always hold the breath this least 229 So. Harvard Bird. Lot Angeles. Calif. (FRANK) (ERNESTO) and conditions. A well-balanced choice it firm and keep it so. FE. 2597 LA FORGE-BERUMEN studios The Sonata in D Major, Op. 53 second, to make of materials should include selections attack has been made, Voice Piano Then, when the — Schubert’s unique chord technic is which are varied in style and atmosphere sing- fall Among those who have studied with Mr. La Forge are: hold the tone again a second before only one aspect of his many-faceted style. Marian Anderson, LawTence Tibbett, Richard Crooks, and which will attract the interest of the In this way, the passage from THE SAMOILOFF and Mme. Matzenauer. ing further. Unfortunately these brief articles cannot singers, and be stimulating to all—con- bridged. BEL CANTO STUDIOS 4 OPERA ACADEMY 1100 Park Ave., Corner 89th St., New York tone to tone is firmly Tel. Atwater 9-7470 discuss the actual interpretation of any ductors, singers and listeners. not for The only place where you can learn the original Why One of the most helpful exercises Samoiloff Bel Canto Method which developed such of the sonatas; but fortunately the Schu- present music from the early church developing a good mezza voce is the spin- outstanding voices as NELSON EDDY, BIANCA bert access to best student has the "les- liturgy, early secular music, classical and firm breath; hold SAROYA, DIMITRI ONOFRI and many others. Now a' ning of tone. Draw a under the direction of Zepha Samoiloff. RICHARD McCLANAHAN sons” I know— set of recordings by romantic period, the nineteenth century to sing (an it an instant; and then begin Write for Catalog, 3150 West Sixth St., Los Angeles 5 Exponent TOBIAS MATTHAY Artur Schnabel, the greatest charge Schubert English school, Russian church literature, go up the scale Phone FE 8294 No for Audition Private lessons, class lessons in Fundamentals arpeggio is good; I like to interpreter of this day . . . nine sides Summer-class, Southwest Harbor. Me. American music of the present century, on the tones 1-3-5-8-3-5, and then down back 801 Steinway Bldg. New York City (R.C.A. Victor) of the glorious D Major Spirituals, and other types of various again on the tones 4-2-7-5-2-1), singing Sonata, Op. 53, on which the pianist styles and periods? varied choice of pianis- A all the notes first forte and then DR. FRANCIS L. YORK actually recreates the miracle of Schu- selections is always welcomed by per- breath and Piano Interpretation and the Theory work simo, always on the same Advance EDWARD E. TREUMANN bert’s music. The qualities, dynamics, required for the degrees of Mus. Bach., and Mus. formers and listeners. always with the mouth in the same posi- Mas. Special Chopin interpretation. Concert Pianist—Artist-Teacher and rhythmical subtleties of this set are Building a program demands planning change only DETROIT CONSERVATORY OF MUSIC Recommended by Emil Von Sauer, Moritz Moszkowski tion. In other words, you almost incredible. If the album were to Detroit, Mich. and Joseph Hofmann. and designing to develop variety and pitch and volume, keeping everything cost Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. one hundred dollars it would still continuity. will A conscientious teacher else equal, even, and freely firm. This Tel. Columbus 5-4357 New York City bargain, be a since pianists may study spend more time in examining, selecting Again, on Summer Master Class—June 15 to August 15. exercise may be repeated staccato. Private Teachers (New York city) it for years as their supreme guide to and arranging materials for a choral instead of going straight up and down, Schubert. No teacher could lay so much program than the chorus will use in one can repeat the middle intervals first (HULL) treasure before the student in a dozen learning selected. CECILE JAHIEL MME. GIOVANNA VIOLA that which has been forte and then piano, as an echo, fin- Dramatic Soprano lessons. Even if the CONCERT-PIANIST-COMPOSER — student were priv- The following factors should be given volume. Teacher of Singing "Bel Canto" ishing with a return to forte 1st Prize of the Conservatory of Paris ileged to study with Schnabel himself, serious a choral Former pupil of Cortot and Ravel Experienced European trained Artist consideration in building But always on the same breath and in Coaching concert-pianists recitals Coaching Opera, Concert and Radio he would not receive the drill and dis- does more than train young for program: chronological order of com- the same position! BOB JONES UNIVERSITY Courses for piano teachers and advanced #upils Correct voice production, defective singing corrected cipline which this utterly matchless re- posers, sacred versus Private lessons Register now for Summer classes Beginners accepted versus secular, major Phone: Trafalgar 7-8230 Mon., Tues., Wed., Thurs. cording can provide. Special class for beginners minor, slow versus fast, rhythmical versus An Artistic Achievement or a profession. The practical 608 West End Ave. New York City for success in a business Telephone At. 9-0436 19 E. 98 St.. New York, N. Y. The longer one listens to the set the versus people atmospheric, and accompanied Rapid exercises are easier to practice more one’s ears are enriched. You will unaccompanied; a constant change of the attacks philosophy and spiritual emphasis of recognize than sustained notes, and forte Christian dozens of shades of nuance, above well to CRYSTAL WATERS is highly desirable. It is are easier than pianissimo attacks. Hence, phrase-shapes and varieties of live rhyth- HELEN ANDERSON Concert Singer — Teacher open the program with the more serious techniques require graduates to meet successfully mical pulse. Listen these more difficult this institution prepare its Voice Building, Breathing, especially to Schnab- types toward the Concert Pianist and gradually work special attention; and it is good to re- Diction, Expression, Style. el’s chord playing and chord Interesting course piano, harmony texture lighter numbers for closing, except the and — In preparation for throughout member that, no matter how freely UNIVERSITY stands without Many Successful Pupils Radio, Screen, Stage, the sonata and you will the emergencies of life. BOB JONES filial number, which should achieve beautifully tonal sequence comes the 166 W. 72nd St.. N. Y. C. Tel. Sc 4-8385 Concert, Opera. know what I a forte mean by “infinite qual- climax Write for Circular for both chorus and audience. pouring forth, a series of equally well ities.” Play special passages over again religion" and the absolute authority 405 E. 54 St. New York City Programs should not be of too great indicates apology for the "old-time Tel. Vo-5—1362 projected pianissimo tones and again, as you let the marvellously a length. Experience has proven that art! Another flexible rhythms and greater mastery and finer MARY BOXALL BOYD dynamic gradations program should one hour fall term begins September 7. not exceed good drill is to make an immediate span of the Bible. The sink into your head. Decide how to (Pupil of Leschetizky) prac- and twenty It is much LEOPOLD or thirty minutes. from to in the octave above, Pianist—Teacher—Coach—Program WOLFSOHN tice them and then—with your Do Do Building head and more desirable to the audience wish "The results she can obtain Pianist and teacher have coming the scale on sustained are miraculous" heart—see if you can approximate down Writes Leland Hall—Prof, of Music— the for become Smith College Teacher of Aron Copland, Elie Siegmeisfer more than to have them notes that vary in shading from mezzo Address—Steinway Hall Nola Studios colors in your own playing. This — and many artists and teachers. is the weary (but happy the too-lengthy 113 W. 57th St., New York City, N. Y. when forte to the finest ppp-pianissimo. Then, - BEGINNING TO ARTISTIC FINISH best way to learn how to realize the UNIVERSITY (Also 9 Chambers Terrace, Princeton, N. J.) program has finally ended). and nat- Special Summercourse for artists, teachers and students. Schubertian as this exercise develops freely Tel. 2079 M essence. de- JONES Space does a more BOB not allow for shad- Hotel Ansonia, B'way at 73rd St., New York City urally, reverse it, beginning ppp, factors The Diary Again tailed treatment of the many ing to mezzo-forte and then back again involved in the art of choral conducting GREENVILLE, SOUTH CAROLINA For to ppp. This will be far more difficult, Schubert the year 1825 was a rare- and hoped, ROY CAMPBELL JACK EPSTEIN all its manifestations. It is requiring the firmest and most firmly happy period . . . fy alas! it was almost however, that suggestions will Teacher of Successful Singers of BARITONE the above supported breath so that the vocal line his final one. During a long trip Radio — Theatre — Pictures — Concert — Opera through excite the attention of many conductors Concerts —- Opera — Teaching is of exactly equal intensity throughout. "STYLE-IZING" for Radio and the Theatre the Tyrol he composed the D Major so that they will test the recommenda- artistic —Studio Music Studios Palm Beach, Fla. Any well produced tone is an Sonata, several other choice ones, and making 607-8 Carnegie Hall New York City Inquiries to tions and find them helpful in achievement, but the greatest test of ar- Telephone 1401 Steinway Bldg., New York City song masterpieces like Cl 5-9244 the Ave Maria, “the middle of the choral road" ideals pro- The Young Nun, tistic singing lies in this ability to and Omnipotence. more universal. 511 AUGUST, 510 ETUDE 1949 »

Junior Etude Contest Wrote Your Sonatinas and Studies? HUGH PRICE Who and class in which The Junior Etude will award three at- Put your name, age of your Distinguished organist and teacher, member prizes each month for the neat- you enter on upper left corner during his life. He studied piano, flute, tractive have studied some put your address on upper Depart- OST of you best stories or essays and for paper and of the Artist Faculty of the Organ contests and harmony, and composition. At that time est and sonatinas. Yes? Many is open to right corner of your paper. M youths of Germany were answers to puzzles. Contest many outstanding players, the being Teacher their being included con- not ment. of auditions require girls under eighteen years Use one side of paper only. Do you scripted, so he went to Denmark and be- all boys and organist, Virgil Fox. in .the contest programs. Perhaps have anyone copy your work for you. including the virtuoso flutist in the King’s band. age. one by came a A few of . play one, or are studying to eighteen years ot Essay must contain not over one hun- years before his death most of his manu- Class A, fifteen Clementi. fifteen; Class C, dred and fifty words and must be re- lost in a fire. Class B, twelve to born in Rome in scripts were Perhaps it is age; 1712 Muzio Clementi was years. ceived at the Junior Etude Office, on this account he left only a few com- under twelve died in England in 1832. Philadelphia Pa., by 1752, and of prize winners will appear Chestnut Street, (1) Teacliers old he com- positions, but among them his piano Names Instruction from eminent Artist When only fourteen years issue of the September 15. Results in December. Sub- frequently this page in a future which was publicly per- sonatinas are studied by on “Extra Summer talented students at Sher- posed a Mass The thirty next best contrib- ject of essay this month, is available to him to young pianists. ETLIDE. formed. His parents then sent honorable mention. Practice.” of their studies. Friederich Wilhelm Kalkbrenner utors will receive wood, from the beginning London to study, where he became a was born in Germany, 1788, and died Degree courses in brilliant success. He conducted Italian near Certificate, Diploma, Paris in 1849. He became a fashionable Instruments, Public ELIZABETH A.GEST opera in London and went on several Piano, Voice, Violin, Organ, Cello, Wind teacher. Regular Honorable Menlion pianist. He met Haydn pianist and- He made the ac- Dormitory ac- concert tours as a Titles and Terms Game School Music, Conducting, Theory, Composition. entered a sort of quaintance of Chopin and was one of for Original Compositions and Mozart. He even by Nancy D. Dunlea for veterans under 0.1. was the characters represented in the movie commodations at moderate cost. Courses tournament with Mozart to find who composers of the following com- In addition to the Special Honorable Men- Quiz Review HE l or tree matter was about Chopin, called “A Song to Re- on Page 512, others who received Hon- opens September 12. the better performer, but the T positions chose to name them by tion Bill of Rights. Fall Semester Keep score. One hundred is perfect member.” He left an instruction orable Mention include: 'William Tasker, Pat never decided. is considered one of book other titles. 1014 South He musical terms instead of Ruth Ann Perkins, Arthur Wildman, Musical Director, for pupils containing Fifield, Peggy Maher, catalog, write the first composers to write for the piano, piano many stud- composers, Can you name which of the David Chrisholm, Mary Wilkins, Jacqueline Illinois. harpsichord. ies, or etudes, which some present-day J. Downs. Charles Michigan Avenue, Chicago 5, as distinguished from the below, wrote each composition? Gorwell, Margaret Meier, 1. How many half-steps are there from eighth-note and two thirty-second- pupils are given to study. given Thelma Wilcox, Marjorie Hart, Eula His Sonatina in C Major is played by Andante Cantabile Johnson, A double-flat to D double-sharp? (5 notes by one note? (10 points. In Theodore Kullak (German, 1. Gross. Shirley Rebecca Erwin, William hundreds of junior musicians. It is easily 1818 to F. points. In Quiz, March, 1949) October, 1948) 2. Andante in Loucks, Wyness Smith, Eleanor Brend, Wil- 1882) was a well-known piano teacher remembered on account of its bugle-call liam Tucker, Patrick Variano, Jean Kennedy, SCHOOL 2. Does the enchanted swan appear in 7. If you were going to play trombone 3. Crescendo MUSIC opening theme. though he studied medicine for a time. Joyce Williams, Roberta Gray, Muriel Mars- the opera, "Hansel in your school orchestra, in which 4. Largo and Gretel,” "The Later he founded a conservatory of den. Marion Knapp, Annice Fullman, Dorie mu- Staccato (light, airy hours, Magic Flute,” “Lohengrin,” “The section of the orchestra would you 5. Hora Allen, Christine West, Ronald Jordan, Lucile SHERWOOD sic in Berlin. Many pianists practice of National Association of Schools of Music or played with a certain type Bannerman, Robert O’Leef, Churchill England Member of Tales of Hoffman” or “Siegfried”? be placed? (5 points. In September, some of his octave studies, which are Ward. points. In February, 1949) 1948) bowing) (10 not easy. 3. Is the great Polish pianist, Paderew- 8. Did Beethoven write eleven, twenty- 6. Perpetual Motion Charles Louis Heinrich Kohler (pro- Letter Boxers ski, buried in Paris, Warsaw, Amer- one, thirty-two, or forty-four sonatas 7. Valse Lente MUSIC nounced almost like CONSERVATORY OF kay-ler) was born Triste CINCINNATI ica, or Vienna? (20 points. In Jan- for piano? (10 points. In August, 8. Valse Replies to letters on this page will be Faculty in Germany, 1820, in Dr. Luther A. Riehman, Dean of and died 1886. He Romantique in care of the uary, 1949) 1948) 9. Valse forwarded when sent with wrote operas, which are not produced under auspices Cincinnati Institute of Fine Arts affiliated 4. 10. Valse Melancholique JUNIOR ETUDE. Established 1867, Operated Bach wrote a composition for Christ- 9. If your teacher told you to play spic- music-Faculty of international reputation. today; also founded a school of music, Tchaikovsky, Per University of Cincinnati. Complete school of mas. is its title? points. Beethoven, Sibelius, What (10 In cato, what instrument would you be dormitories, 10 acre campus. Address. but is best known for his piano studies Handel, Dinicu (transcribed by Dear Junior Etude: Degrees, Diplomas, Certificates— December, 194S) studying? (10 points. July, 1948) Lassen, for of all kinds. (pro- I am writing to thank you very much Registrar CINCINNATI 19, OHIO 5. If told six Heifetz), Weber, Grieg, Delibes Box E. T„ C. M. BENJAMIN, the conductor the orchestra 10. If a certain major key has sharps Muzio Clementi in the Junior Etude and Make a list of the sonatinas and Debussy. printing my letter to play its letter day-leeb) , morendo, what would he in signature, what are the nounced also for kindly forwarding to me the letters studies you have learned and see how on this page mean? (10 points. In November, names of the tones of the dominant Johann Baptist Cramer (born in Ger- Answers that come from your country. I played many of them are by some of the above 1948) seventh chord in that key? (10 points. many died 1858, also in London) violoncello in an orchestra of two hundred 1771, named composers. 6. How would you express the value In May, 1949) Review fifty. We gave, among other numbers, is considered by critics to be one of the Answers to Quiz and MUSICAL COLLEGE of sixteenth-notes, by Wagner; the Hallelujah Chorus from the “Messiah,” CHICAGO four one dotted- Answers on next page. founders of modern piano playing and 1. Nine; 2. “Lohengrin,” GANZ, President choir. This Ziegfeld RUDOLPH National Cemetery, and I also sang in the girl's Founded .867 by Dr. F. he seemed to be the only player Beetho- 3. in the American B.MUS., B.MUS.ED., M.MUS., M.MUS.ED. was a large concert given by our school. CONFERS DEGREES OF uS ' ven enjoyed hearing. He studied with Virginia; 4. The “Christmas Association and National Association of Schools °‘^ c Arlington, From your friend, Member of North Central Clementi August Dates and slower gradually; INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS and became a popular pianist Oratorio”; 5. becoming Betty Rothwell (Age 16), ALL BRANCHES OF MUSIC. SPECIAL brass sec- St„ Chicago 5, Illinois and teacher. His playing was said to be 6. by one half-note; 7. in the New Zealand. Address Registrar, 60 E. Van Buren Results of Original Composition Anniversaries 10. very artistic and he possessed unusual tion; 8. thirty-two; 9. the violin; C- C ontest in April sight-reading ability. He established a sharp, E-sharp, G-sharp, B. Junior Etude: Some birthdays Dear and events which hap- I play the accordion and company to publish music in London I am only six but also in pened during the month of August in- “I play clarinet in the school band, have played in public over a year. I play There is no doubt about it—some of a sacred song. and published some of the compositions piano. and clude the following: sing a little in Junior choir, and play church and on school programs and clubs Qlefaelanii^hHltlidE nf(Dustt of Haydn, Mozart, other girls." I also the Junior Ftuders are learning to com- Harp Solo and Beethoven. His I would like to hear from some been on the radio thirteen times. August 2, the famous opera singer Enrico have books of piano studies, or Jeanne Mercer (Age 12), Ohio lessons. My picture was in the pose, and they are surely having lots of etudes, are take piano Artist Diploma Caruso died 1921; he was one of the in March, 1949. Music Degree, Master of Music Degree, fun at the same time. One boy, Robert practiced by many young students today. Junior Etude Bachelor of world’s Dear Junior Etude: your friend, 4 * 4 greatest singers. From Ave.. Cleveland, O. Resseger, age sixteen, sent in a string Do you know any of them? mother and RUBINSTEIN, Mus. D., Director 3411 Euclid I take piano lessons from my Mary Sue Clere (Age 6), Oklahoma BERYL August 8, Cecile was born = Chaminade e I am quintette in three regular movements, ? Fredench Kuhlau (pronounce Koo- have been promised a ’cello \vh n Charter Member of the National Association of School* of Music • in Paris 1861. too, and clarinet; my and as this was of a more advanced '^-r T=T lau, to rhyme with how), born in Ger- twelve. My two sisters take piano, I take piano lessons and August 9, Francis Scott Key, who wrote violin for Christmas. and violin. We take piano grade it goes under “Special” Class A. Vjj^a r r many in 1786 and died in Denmark in one of them got a sister takes piano the words of The Star Spangled Bon- Reaves (Age Florida lady who is known as “the 1832, was quite popular as a musician Lois Carolyn 9), from a blind family all Little March Maralee Hostetler (Age 14), California ne? was born (1779). (Some books give blind pianist of Alamosa.” My PIUS X SCHOOL OF LITURGICAL MUSIC to Titles and Terms Games Etude, especially the College of the Sacred Heart FALL TERM August 1 as his birthday). Answers enjoy the Junior Manhattanvillc There was also a tie in Class B be- 3- Per Las- N. Y. 1. Tchaikovsky; 2. Beethoven; 133d Street and Convent Avenue, New York 27, August 13, was Quizzes. opens Sept. 17th tween Maralee Hostetler, for a harp solo Massenet died (1912). He sen; 4. Handel; 5. Dinicu; 6. Weber; 7. Deli- BOTH MEN AND WOMEN Casper (Age 1 1), Colorado COURSES OPEN TO Music the 10. Grieg. Margaret and Corky Brian for a trombone solo Magic composer of the opera, “The Jug- bes; 8. Sibelius; 9. Debussy; Veterans accepted under the G.l. Bill of Rights Conducting-Liturgical Singing—Polyphony- gler of Notre Dame.” Cmfrorian Chant—Gregorian Accompaniment—Choir with piano accompaniment. Special Hon- Counterpoint and correlative subjects. by June Fields School Music—Theory—Harmony— August 15, Napoleon T as born 1769. orable Mention in Class B goes to Dewey w Telephone: Wadsworth 6-1500 Organ— Piano—Voice Anderson for a piano solo. There are lands where dreams can August 15, Peace was declared at end of whisk me World War II. 1946. Prancing Ponies Like a magic carpet flight. August 22. Claude Debussy wr as born in MUSIC Where soft starshine silvers France, 1862. ARLINGTON ACADEMY OF Mavne Miller (Age Illinois castles 16), East for Intensive Professional Music Training" In the airways of the night. August '23, Moszkowski, the Polish com- "The school of the all instruments Then two other entrants tied for reg- Full and part time courses in theoretical subjects and poser was born 1854. MUSIC ARTISTS ular Class A prize, Anthony Strilko, FACULTY OF MODERN J. There are story books whose pages Arranging Courses including Schillinger with an eight-part Sept. 1949 a cappella mixed Like a fairy wand, can change Commencement date 6, chorus on Biblical words, and Carol King (Age 8), Georgia * Approved for Veterans Mayne Me from just a plain somebody Prize Winners for Miller, with a march General School and Offices "Intown Studio" in modern har- In Class C the winner is Carol King To a someone 209 Mass. Ave., Boston, Mass. wondrous strange! Original Compositions 386 Mass. Ave., Arlington. Mass. monic style. Special Honorable Mention for a piano solo, with special Honorable in Class A goes to Emily Ray for a Noc- Mention to Linda Dunlap for variations There are pathways without number Special Class A (advanced), Robert Resseger turne for piano solo, and to Robert (Age Ohio. on a theme for piano, and to Carol Lynn To the land of Make Believe, 16) Harris for a classic Class A tie, Anthony J. Strilko (Age 17), WM. S. HAYNES COMPANY style suite in three McComber for a piano solo. That are carpeted with fancies Pennsylvania; 16) up movements, and to Mayne Miller (Age ’125'' Robert Fullam for {Continued on this and next page) Such Flutes of Distinction as woodland nymphs might weave. Illinois. Pianos Special Honorable Mention Class A: Emily in STERLING SILVER - GOLD - PLATINUM FINE CONDITION AGENTS WANTED ?? ?? Ray. Robert Fullam. WHY BECAUSE But of all the Harris and Robert roads that beckon, Cal- Delivered To Your Door rhythm is Class B tie, Maralee Hostetler (Age 14), request My poor, It’s because I don’t feel Like Catalog on Write for details the call of singing shells, ifornia; Corky Tennessee. Though I count Brian (Age 14), while I play. All the beats as I play. and Raphael CUNNINGHAM PIANO CO. I shall choose the tales enchanted Special Honorable Mention in Class B: Norma Banta, Costillo, Ofelia Costillo, Antonio Uy 108 Massachusetts Avenue, Boston 15, Mass. Cecelia PHILA. 7, PENNA. Now what is the answer to that? So that is the Dewey Anderson. answer to that. That my own piano tells. to years) Class Pastor (Ages 5 8 C: Carol King (Age 8 ), Georgia. 512 513

etude AUGUST , 1949 — — —

ADVANCE OF PUBLICATION ITALIAN SONGS YOU CAN PLAY THE PIANO! STANFORD KING'S PARTY CLASSIC PIANO BOOK OFFERS WITHDRAWN Volume II Part Three Medium High and Low Keys the Older Beginner Piano teachers and readers of these A Book for For a social “ice- Edited by Mabelle Glenn and Publisher’s Notes who have subscribed by Ada Richter breaker” these Bernard U. Taylor numbers for the books in advance, will be glad to u£ic precedent novelty Volume I has set quite a Not only original numbers but old learn that this month, just in time for ScU m old-time bal- volume lives up to it with favorites in new arrangements, serve to and season, our and this new are the the opening of the teaching the modernized type of study lads, etc., equal distinction. It has make this just the material Arranged Production Department is prepared to accompaniments, proper phrasing, cor- older student prefers while learning tops! educa- an about grade place on the market two excellent rect metronome markings, etc. A de- play! Interest is maintained through- for authors of each are to two-and-a-half, tional works. The tionS has been prepared, to- attractively presented technical the Public tailed song study the contributions to out volume has noted for their fine with the Italian pronunciation recreational pieces. The Theme this and gether and nostalgic literature of piano educational table, English translations of the songs, from Schubert’s “Unfinished Symphony,” such music and their new books THE CHILD WORLD 1 recreational OF as A Bi- * -- SONGS numbers . notes on each song and biographical Nevin’s Narcissus and Bizet’s Toreador concise, modern style Grade School Little Annie Rooney are issued in the For Kindergarten and the cycle Built for Two, sketches of the composers. Among Song from “Carmen” are three of the that serves to maintain student interest Volumes others. Reserve your single copy now In 3 fifteen early Italian songs are Bononcini: many choices from this repertoire of en- and With this announcement, of Publication Cash throughout. D. Riley Alma del at the Advance Words by Alice C. L’esperto nocchiero; Caldara: joyable numbers compiled to offer thor- the special advance of publication price cents, postpaid. L. Gaynor Casti: Ah! quanto e vero; Durante: skillful Price, 60 be Music by Jessie Monthly Bulletin of Interest to All Music Lovers core; ough training for performance. offers are withdrawn. Copies now can A fanciulla gentile; Fal- and work Danza, danza Reserve your copy now at the special Ad- obtained at music dealers and from the Captivating, imaginative ’nature' bellissimi capelli; Legrenzi: conieri: O vance of Publication Cash Price of 35 Publishers “On Approval.” give special attention to cultivation, in Dell, ORGAN MUSINGS songs Che fiero costume; Provenzale: cents, postpaid. education, training August, 1949 the essentials of a musical rendetemi; Rosa: Star vicino; Scarlatti: Original Compositions ot A Collection of in the rhythmic expression vederti; Stra- the young child Non vogl’io se non and for the Organ Classics, and Transcriptions Little Pieces from the Early music. della: Ool mio sangue comprerei. Pub- library thought through PUBLICATION OFFERS excellent addition to your for Piano Solo, Compiled and Arranged each ADVANCE OF high An Cloth Bound, Price $1.50 lished in medium low and medium THE CHAPEL CHOIR BOOK organ books. Most of Beer, brings to piano of cloth-bound by Leopold J. keys, this volume remains true to the prepared especially for All of the books in this list are in preparation for publication. For Three-Part Mixed Voices these pieces were students in grade three a fine collection THIRTY RHYTHMIC PANTOMIMES traditions of the famed Ditson Art Song not be duplications Couperins The low Advance Publication Cash Prices apply only to single Alto anil Baritone) this volume and will of music from Bach, the Classes of the (.Soprano , Kindergarten and Pre-Piano Series. Reserve your copy now at any other album. Com- Gluck, Handel, For Home, orders placed prior to publication. Delivery postpaid will with Organ Accompaniment of numbers in (Francois and Louis), L. Gaynor copy ( ) special Advance of Publication Cash texts; Alice C. D. Riley—Music: Jessie by Wolf, France, Overholt, Purcell and Rameau in the sim- Song be made when the books are ready. Send order to Compiled and Arranged positions Kuhnau, the Price of 60 cents postpaid. Kocpke, Broaclhcad and 18th cen- Excellent training in eurythrmes and by Rob Roy Peery Marks, Shcppars, plicity and charm of 17th Action with music! with ar- pieces, musi- and Pynn are included, together tury dance forms. Originally announced use of pantomime. In these gay and engaging THEODORE PRESSER CO. such favorites as Wieniaw- the Classic Mas- interpreted, musical discrimi- Here is an excellent volume of special rangements of as “Little Pieces from cal effects are recognized and SHORT ETUDES WITH in Romance and Chopin’s Prelude title has been changed to that music becomes Bryn Mawr, Pennsylvania ORNAMENTS interest to choirs that are limited cither ski’s ters” the nation and appreciative listening developed; Registrations included for Ham- above to avoid confusion with a vocally or numerically. This collection D-flat. given a basis for self-expression. For Piano single copy may be compiled All Through the Year—Twelve Character- Ivor Peterson’s Piano Accordion Book .65 of sacred music for soprano-alto-baritone mond Organ. A previously published volume Price $1.25 Ketterer .30 Compiled and Edited of Publication for Violin and istic Pieces for Piano has the part for male voices in a mod- reserved at the Advance by Mr. Beer but arranged Organ Musings .80 by Louise Robyn cents, postpaid. price of this new Assembly Band Book—A First Book for erate range singable by both tenors and Cash Price of 80 Piano (75 cents). The JESSIE L. GAYNOR'S

Elementary Bands. . .Gordon Parts, each .20 Short Etudes with Ornaments basses. Seasonal anthems (Christmas, book is 60 cents. FOR GIRLS' VOICES to Orna- SONGS .40 Robyn .40 A wonderful ‘follow-up’ The Conductor's Score For Piano Easter, Thanksgiving, etc.), choral tran- Texts by Alice C. D. Riley ment Family, these eighteen short stud- TEN CHORAL PRELUDES Book For Three-Part favorite hymns, special ar- The Chapel Choir Stanford King's Party Piano Book ,60 scriptions of ies continue in the same style. Culled AND A FANTASY material for use on program or in class-room of inter- Mixed Voices (S.A.B.), with Organ Ac- rangements of familiar classics and orig- Technic Tactics, Twenty-one Short First-rate from the familiar etudes of Bertini, For Organ schools or glee clubs. companiment Peery .40 Stars Over Bethlehem Christmas Cantata inal compositions contribute to its val- by Milo Stevens, is mediate or preparatory girls schools, high Czerny, Lemoine, Wieck, Beethoven and Studies for Piano, for Mixed Voices Stairs .40 Matthews parts, for holidays and Classic Italian Songs— uable contents. Limited to sale in the by H. Alexander addition to the Music Mastery Included are songs in both unison and provided with full explanatory notes, the latest .Glenn-Taylor .60 as form. Volume II United States and its possessions, the spe- by teachers, everywhere, special occasions, with unusually fine examples of the canon Ten Choral Preludes and a Fantasy— For these illustrations treat such basic orna- offertories and post- Series used K Publication Price These preludes, material in Price $1.00 The Ditson Album of Organ Solos 50 Organ Matthews .60 cial Advance of Cash invaluable supplementary ments as: grace notes combined with ludes are based on well-know hymn tunes for this unusual grouping is 40 cents, instruction. The author is well- Fifteen Recreative Etudes for Piano.. Scher .35 intervals and chords; acciaccatura; appog- abilities of the piano You Can Play the Piano! Part III—A Book and adapted to the piano THEORY AND postpaid. for his many successful MUSICAL ESSENTIALS ELEMENTARY Richter .35 giatura; mordent; inverted mordent; turn collection known An Introduction to Score Reading .Schluer .80 for the Older Beginner average church organist. The fact, these studies wil Harold B. Maryott PRACTICE and trill. Advance of Publication Cash special oc- compositions, in by contains numbers for various recreational postpaid. appeal more to students as for the Price, 40 cents, casions and seasons of the church year, A useful reference book by Robert Bartholomew numbers than as studies. Each, however, a fantasy based on When Morning more mature student or teacher, FIFTEEN RECREATIVE ETUDES and essential feature of piano nor- Advance of covers some informa- Designed for use in high school, PETERSON’S FOR THE PIANO Gilds the Skies. The special piano study. this compilation of musical ASSEMBLY BAND BOOK IVOR technic in second grade college and arranged Price is 60 cents, post- mal school or PIANO ACCORDION BOOK THE DITSON ALBUM OF by William Scher Publication Cash tion is drawn from many standard A First Book for Elementary Bands Price, 75 cents. to yield definite practical knowl- Original compositions and artistic ar- ORGAN SOLOS paid. Order Now! authorities. Here is a presentation Compiled and Arranged prepares the such numbers as Weber’s Here is a group of supplementary stud- edge. Careful study by Philip Gordon rangements of of^he rudiments of music notation, Invitation to the Dance; Hungarian For the “king of instruments” this ies for second and third grade students. student for any system of harmony. material for beginning bands! historical data, and a practical Program contains numbers Dance, No. 5, by Brahms; Sounds from favored album some Emphasis falls upon the alternating right Written tests are included, together Here is a book to satisfy a long-felt need, of musical form in a sin- for it, as Alfred knowledge the Vienna Woods, by Strauss; Rubin- composed especially and left hand scale passages; rhythm; with music paper for work sheets. that of easy pieces for assembly programs ale handy volume of digest size. stein’s Melody in F; and the Russian folk Whitehead’s transcription of Purcell’s legato and cantabile playing; staccato; of which an elementary band can make Price $1.00 Price 75 cents song Two Guitars contribute to the rich March Maestoso. There are best-sellers broken chords; left hand development; Supplied good use after one semester of training. _Aidi andStudio this by the popular among them such as Stult’s The Sweetest chord and pedal work; chromatic scale Seacliina single term’s instruction on the chosen contents of volume A / 1 Swedish virtuoso and recording artist. An Story Ever Told and Bartlett’s A Dream passages; and interlacing triads. Take ad- instrument should prepare the student for Filing Music so ably testify. Hammond Organ regis- vantage your Envelopes excellent buy at low Advance of Publica- of this offer and order Window Signs 1 Ttf$ SOUSAS for this volume. Here is instrumentation -tion Cash Price of 65 cents, postpaid. trations are included. Be sure to get single copy now at the special Advance Binders and Folios which does not involve that of the Professional Cards Music your copy now at the special Advance of Publication Cash Price, 35 cents, post- standard concert band, but includes the Manilla Wrappers FAMOUS MARCHES of Publication Cash Price, 50 cents, post- paid. Missed Lesson Notices more regularly used instruments such as: paid. Sold only in the United States and Adhesive Parchment Tape C Flute; B-flat Clarinet A; B-flat Clari- Pupil's Lesson Record Books ADAPTED FOR SCHOOL BANDS AN INTRODUCTION TO SCORE its possessions. net B; B-flat Cornet A; B-flat Cornet B; Scotch Cellulose Tope by Music Educators National Conference Blank Bills and Receipts Instrumentation as Approved E-flat Alto Saxophone; B-flat Tenor READING ALL THROUGH THE YEAR Adhesive Linen Tape Saxophone; E-flat Alto Horn A; E-flat by Carl G. Schluer Literature for Teachers 36 Parts, each 40 cents E-flat STARS OVER BETHLEHEM Alto Horn B; Alto Horn C (op- Twelve Metronomes Box Folios Conductor's Score $1.25 tional); Trombones A & B; Trombone For anyone interested in the art of Christmas Cantata for Mixed Voices Characteristic Music Filing Cabinets CONTENTS C; Baritone (bass clef); Baritone (treble following a vocal score; reading in the Words by Elsie Duncan Yale Pieces for Piano Electronomes Lamps clef); Basses; Drums; Conductor (Piano). alto, tenor and soprano clefs; combina- Music by Louise E. Stairs by Ella Ketterer Keyboard Charts Piano THE STARS AND STRIPES WASHINGTON POST THE INVINCIBLE EAGLE Waves the Danube, Ivanovici; transposing in- of by and tions of the C clef; the To add zest to Writing Books FOREVER EL CAPITAN HIGH SCHOOL CADETS Blank Program Forms for Music Excerpt from Symphony No. 2, by struments; miscellaneous orchestral com- This Christmas Cantata is another the practice pe- FAIREST OF THE FAIR Music Writing Pens MANHATTAN BEACH SEMPER FI DELIS Schubert; the Minuet from Mozart’s binations and the playing of a full tuneful and melodic choral work by riod, twelve orig- Recital and Concert LIBERTY BELL KING COTTON HANDS ACROSS THE SEA “Haffner” Symphony; and Schumann’s orchestral score at the piano, we highly Louise E. Stairs. It is written for mixed inal pieces, one Writing Ink THE THUNDERER Music Spellers Music Soldier’s March; together with such con- recommend this book. Gradual progres- voices, including solos for soprano, alto, for each month temporary selections as Song the Pines sive instruction is assured and examples tenor and bass soloists, interspersed with of of the year, com- PRICES by Mildred Adair; Heigh-Ho! by Walter are from such masters as Bach, Bee- duets and trios. This delightful cantata prise FOR INFORMATION AND this excel- SEND THE JOHN CHURCH COMPANY Rolfe; Lily Pads, by Harold Locke and thoven. Haydn, Handel, Mendelssohn, will appeal to choir directors who are lent group for grades two and two-and-a- two original compositions from the pen Mozart, Palestrina, Schumann, Wagner looking for Christmas music of to easy half. Story-like style and gay illustrations PRESSER CO. THEODORE PRESSER CO., Distributors of Mr. Gordon. The special Advance of and Weber. Don’t miss this interesting medium difficulty. The time of perform- make the THEODORE process of learning a delight. Pennsylvania Publication Cash Price for this excellent and available at the ance is about forty-five minutes. Bryn Mawr, valuable aid now The spe- The special Advance of Publication Bryn Mawr, Pennsylvania collection is 20 cents, each part, and 40 Advance of Publication Cash Price of 80 cial Advance of Publication Cash Price Cash Price for this engaging collection cents for the Conductor’s Score, postpaid. cents, postpaid. is 40 cents, postpaid. is 30 cents, postpaid. 515 514 ETUDE AUGUST, 1949 — — ) !

which will guide the reader of the morn- Music the Universal ing paper in his understanding of the new work. Now this would be possible, anguage if at all, only for the most erudite scholar National Piano Recording Competition equipped with a pair of the most 'acute ears and a quick and discerning mind, A ( Continued Page 476) 0 56 EXCELLENCE PRIZES from and the average newspaper does not pay rgan USiC salaries which would be apt to attract such rare attainments. TOTALLING $4615 “modernistic” exhibition of paintings. In men of Years ago, William Mengelberg this room we observed a man gazing at con- ducted with the New York Philharmonic a product of the futuristic school. He Symphony a work of mine called was in what is usually referred to as a “Pan Goncert $2500 for 5 Artist Diploma Winners d the Priest.” It was played in 800 — 8 Collegiates brown study, standing in front of the and New Philadelphia, Boston, 500 — 10 H.S. Diploma winners painting with his hands clasped to his York, in and on tour by this same orchestra, and someone plus head so that his ears were entirely cov- sent me a criticism which I have ered. Mr. Ganz walked over to him, always ORGAN STUDENTS’ BACH EIGHTEEN COMPOSITIONS 315 for 9 Preparatory Pupils treasured. Here it is: tapped him on the shoulder and said, 500 for 24 Intermediate Pupils Edited by James H. Rogers THE ORGAN “My friend, you are in the wrong room!” FOR Elmore Do Not send recordings to anyone until you have the rules. Carry out instructions The effect of this non-discriminating use A Treasured Criticism Compiled by Robert primarily intended for instructive they are clearly set forth. Write of dissonance was particularly disastrous “What this conglomerate work has to Although The numbers in this collection possess iti the case of young students. do with the title is difficult to discern. purposes, many advanced organists will find in NATIONAL GUILD OF PIANO TEACHERS style with- Mr. Hanson certainly has an abundance a certain dignity and nobility of this volume much attractive and comparatively Irl D„ Founder-President Box 1113 Austin, Texas is entirely ef- Allison, Mus. A Sense of Discrimination Needed of talents as well as creative ability, as out which no church music material, both for church service evidenced by a number of his other sym- little known fective. The compositions of Glazounoff, I recall a few years later, when I was phonic works, including this. It is a work and recital. A number of the lesser known but Matthews and Voris are preludes of a at the KARAY teaching a class in composition follow. effects difficult to The are weird Choral Preludes are included, and it is be- certain mystical character which greatly CONSERVATORY OF MUSIC Eastman School of Music, a young Swiss rarely beautiful and strange. All the instrumental forces, enrich service playing; the Diggle and Best numbers are bril- Preparation for professional careers. Courses in composer bringing me a composition variety in style and technical requirements thus including harps, chimes a pi- lieved that the classical and popular voice, concert and popular two and the Nagle, Marryott and Stcher- which reeked with dissonance. There was liant, exciting postludes; and piano, Hammond organ, accordion, all other in- anoforte are stimulus for consistent study in employed. One of the curi- presented will prove an added specialties of unusual charm struments; theory, harmony, etc. Choral and Instru- not one chord which did not contain at batcheff numbers are Christmas ATLANTIC CITY, NEW JERSEY ous dissonant effects is caused mental Ensemble. Public performances. Individual and by playing. least three minor seconds. I finally polyphonic Almost all of the music is delightfully easy to play. instruction. Enroll now for term beginning Sept. 12. clashing cymbals, the boisterous of brass Price, G.l. approved. Catalog E sent on request. Gurn pounced on one chord which seemed to $1.75 Kissinger, Dir., 1821 Pine St., Philadelphia Pa. and tympany over a foundation of Price, $1.00 3, me particularly ugly and played it again strings. To most ears this was modern and again. (Not a very fair thing to do!) noise—not music. I’d like to hear it again Est. “Do you really want this chord?” I asked, but hate to think would happen flKlene TKeatre 1894 what 1 Dramatic, Dyric and Dance Arts thumping it out even more loudly. “Yes, CHORALS to it if played by a less proficient or- PRELUDES SIX ORGAN D t I do.” said the young man bravely, “I TWELVE CHORAL s chestra than the one conducted so mas- By S. Bach SUMMER COURSES c^-lr„ e’. J. like it that way.” “Well, then,” said I, FAMILIAR HYMN TUNES FOR Student Residence Technical and practical training essential to a pro- terfully by the little man from Holland ON Edited by Albert Riemenschneider fessional career, teaching and directing at New York “Why don’t you write it that way?” For Piano—Voice—Violin—Cello— Harmony—Theory last evening.” Composition Artist Teachers Speech— Drama Studio or TIVOLI PLAYHOUSE. the chord which I had played and the THE ORGAN MRS. WILLIAM HENNE 3001 Pacific Avenue 40 miles out, L. I. Being now an old man past fifty and This edition of the Schubler Chorals offers a new objective Write Sec’y. Shubert, 1780 Broadway, N. Y. City 19. chord, which the young man had written By H. Alexander Matthews a careful and conservative mentor of the that it presents comprehensive source material SPRENGER- were two different chords! to students, in PIANO CAMP FOR BOYS AND GIRLS young, I cherish this expression of the the performer may base his studies of the inter- This is, of course, much too simple an simple preludes upon which BALDWIN-WALLACE radicalism of my youth. However, the This collection supplies the need for Study and play this summer at Cape Cod explanation of certain modern schools of pretation of these compositions. Suoervised Recreation CONSERVATORY OF fact of the matter is that the work was and offertories suitable for service use. They are simple MUSIC composition which, in the hands of a Individual piano instruction BEREA, OHIO (suburb of Cleveland) in no sense a mass of noise but was a Price, $1.50 as in design and never above average difficulty, and there- Write for FREE information to master such Schonberg, have organ- Affiliated with a first class Liberal Arts College. highly organized mass of perfectly good, Four and five year courses leading to degrees. Faculty ization if not beauty. It does, however, fore should appeal particularly to the young organist. MR. STANLEY SPRENGER of Artist Teachers. Send for catalogue or informa- intelligible music tone, and the problem 252 Van Pelt St. Phila. Pa. LOcust 7-4531 tion to: point up the fact that one of the great- 3, was with the critic whose ear had prob- The complete melody occurs once in each number. HAROLD W. BALTZ, Dean, Berea, Ohio est problems since those terrible twenties ably not developed beyond the harmonic SIX ORGAN TRANSCRIPTIONS '/ including Advent, Christ- Pictures of Composers 8 2 xll and) has been to redevelop a sense of discrimi- Hymns of important seasons, ’ nn tK&srt&IBw 7 Pictures of Old Instruments f* requirements of “Sweet Adeline.” MOZART nation in tonal values; to try once again mas, Thanksgiving, Palm Sunday, Easter, All Saints and FROM 45 Songs and Special Bird Calls $1.00 THE 65 Rote Piano Pieces for Reading or DILLER-QUAILE to achieve that mastery of sound which By Edwin Arthur Kraft I Armistice Day, as well as others for general use, are Rote $1.00 School of Music enabled Mozart, Handel or Beethoven I Play Myself Book, Special for included. Adagio, from Quartet in F Major; the Allegro, from Reading $1.00 to illuminate and electrify a passage sim- The Teacher Training and General the from Sym- ply by adding one note to the harmonic Price, $1.00 Sonata No. 6 for Violin and Piano; Menuetto, EFFA ELLIS PERFIELD Musicianship Courses. texture. But it had to be the right note! Romania, from Serenade "Eine Kleine 1 Q 3 East 86th St. (Park Ave.) New York City phony in D Major; There is every evidence that we are re- this fine collection for the 66 East 80 St. New York 21, N. Y. The World of Music Nachtmusik,” are a few numbers in turning to this simpler, more direct and JAMES MILLIKIN UNIVERSITY recital organist. Hammond registrations are included. more honest attitude toward musical com- SCHOOL OF MUSIC A professional music school in an attractive (iContinued Price, 50 cents DECATUR, ILLINOIS OBERLIN college town. position, that we are departing from the from Page 511) THE LITURGICAL YEAR Thorough instruction in all branches of music. Special train- Offers thorough training in music. Courses leading to ing jn band and choir direction. 46 artist teachers, unsur- over-intellectualized conception which THE degrees of: Bachelor of Music, Bachelor of Music S. Bach passed equpiment (200 practice rooms, 23 modern organs, etc. liitrc.ical ye \k By J. Education, Master of Music, and Master of Music Degrees: Mus.B.. School Mus.B., A.B., with music major. sacrificed sound to mechanized form, but Education. five years music Catalog Frank H. Shaw, Dir., Box 579, Oberlin, Ohio. of age for a chamber Edited by Albert Riemenschneider Member of the National Association Schools of Music the transfiguration is not yet completed. Bulletin sent free upon request work not less than ten minutes nor more JOIUNN SEBASTIAN Ru EIGHT LITTLE PRELUDES AND FUGUES W. ST. CLARE MINTURN, Director Philadelphia than twenty minutes in length. The collection of 45 Conservatory Pity the Poor Critic The type found in this By J. S. Bach composition instru- of Music Founded 1877 may be written for j chorals is the simplest in which Bach Edited by James H. Rogers —The DUNNING One condition which has somewhat ments up to eight may organ COURSE Maria Ezerman in number and «*» of IMPROVED MUSIC STUDY Drake, Director progress There retarded this may be found, I include one or two voices. The first cast the form of his Choral Preludes. in editing the short preludes and Gladys M. Glenn, B.Mus., M.A., Mus.D., Eminent Faculty An attempt has been made, Dean of Education Faculty believe, in the standards of music crit- prize is two the Expert Child Training hundred dollars and fantasies; the melody of the Choral this book, to offer suggestions that will ANNUAL CONVENTION CLASS are no fugues that compose Courses leading to Degrees icism which exist in this country. I be- second prize is fifty dollars. The closing Colorado Springs, conception of the purely Colo., Aug. 1, 1949 216 S. 20th st LOcust 7-1877 is treated directly and without episodes aid the student in forming some lieve that it is no exaggeration to say date is Dr. Maurice Dumesnil, guest artist for after- September 1, and full informa- noon Lecture Series features of these interesting pieces. The attractive flow and Clinie (5 days and that the art of criticism is lagging far tion may be secured Helen between the veise lines. With two exceptions, the melody ap- musical open to all non-Dunning Course teachers) from The for information in the preludes and beautifully woven counterpoint and class dates address behind the development of the art of Weiss Foundation, 2459 76th Avenue, collection. of melody - pears in the soprano in all of the Preludes in this EXECUTIVE HEADQUARTERS endless source of pleasure, in- OSMOPOLITAN music, whether in creation or perform- Philadelphia 38, Pa. of the fugues will provide an These Preludes are in essence the expression of the Choral in SCHOOL OF MUSIC ance. Too many of our critics are grad- creasing with better acquaintance. CLARENCE EIDAM. President uates of the sports department with a THE UNITED TEAIPLE CHORUS of the idiom of the Organ. RobSLiiER G. CULt, Dean Price, $1.00 Schools—Colleges technical knowledge—and what is more Long Island, 46th j'ear. Offers courses in all branches New York, Isadore Freed, Price, $2.25 if Music. Confers certificates, diplomas important—a listening experience hardly director, announces the sixth annual mill degrees. Member of N.-A.&M. SCHOOL in. equivalent to the requirements OF Located downtown musical center. for the composition competition for the Ernest Box CONVERSE COLLEGE MUSIC E, 306 S. Wabash Ave., Chicago 4, III. satisfactory completion of the classes in Bloch Award. Compositions must be Edwin Gerschefski, Dean, Spartanburg, S. C. Music Appreciation 1-2 which are given based on a text from the Old Testament, THEODORE PRESSER CO. THE MANNES for the benefit of the football KNOX Department of Music squad. and suitable for three-part women’s cho- Galesburg, Illinois this general lack CO. DISTRIBUTORS Thomas Upon of technical rus. The W. Williams, Chairman MUSK SCHOOL award is one hundred and fifty OLIVER DITSON COLLEGE Catalogue sent upon request. preparation are superimposed the almost dollars and guaranteed publication by Professionals • Non-Professionals • Children CONSERVATORY Class and Individual Instruction superhuman mechanical limitations of Carl Fischer, Inc. The closing date is OF MUSIC Mawr, Pennsylvania Artist Teachers the modern city newspaper. Bryn SHENANDOAH L. E. Hill. Pres. The poor October 15, and full details may be se- Scholarships for Orchestral Instruments Courses leading to the B. Mus., and B. Mus critic, having heard a new work only cured from United Temple Chorus, The -Ed. degrees. Member NASM. DAVID & LEOPOLD MANNES, Directors In the heart once, must dash to his desk, write of the Shenandoah Valley, Dayton. Virginia Room 33, 157 East 74th St., New York 21, N. Y. a re- Ernest Bloch Award, Box 726, Hewlett, view—or more frequently a "criticism”— Long Island, New York. 516 ETUDE Now. . . EVERYONE CAN USE THIS

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THE ELECTRONIC MEMORY METHOD OF MUSIC

INSTRUCTION — long proved in principle . . . now practical for all teachers and students.

This is what Miss Teacher says: • Makes teaching easier. In my own music training I learned the value of playing back of lessons and practice sessions. Now, thanks to the • Now the lesson goes into the home. recordings Webster-Chicago Electronic Memory Method of Music Instruc- • Gives the student many lessons for the price of one. tion —with its low-cost wire recording— I can use this technique with my students. Here’s how it works: the parents to help the student. • Helps I have an Electronic Memory Studio Model Wire Recorder in my studio. My students come in for their lessons and put on • Speeds the student's progress. their own wire spool. We both "forget” the wire recorder • Pays for itself in a few weeks! which faithfully records the entire lesson. After the lesson the student takes the spool home. When the lesson is played on the Electronic Memory Portable Model Wire Recorder at home, mother listens to it and guides the practice sessions during the week. The student plays the lesson for practice as many times as needed —thereby getting several lessons for the price of one. With the Electronic Memory Method of Music Instruction I have really pleased my students’ parents, because their children progress so much faster. It is a pleasure for me and has brought me many new students. Parents of music students should be glad to make the invest- ment in an Electronic Memory home because it speeds progress and shortens the over-all course of study. It pays for itself in a short time. (The Electronic Memory Wire Recorder, for its many uses other than music study, then becomes a family entertainment center practically free!)

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The Webster-Chicago Electronic Memory Wire

Recorder is easy to operate. Wire recordings of lifelike quality may be played over and over again or erased simply by recording over the same wire. Model 180, lightweight and port- able, comes complete with microphone and 3 spools of Webster-Chicago Pre-tested Recording Wire—ready to use. Plug into any AC outlet.

SEE YOUR MUSIC DIALER FOR DETAILS AND DEMONSTRATION.

Electronic Memory Model ISO is Approved by Underwriters' Laboratories lor your protection WEBSTER-CHICAGO 5610 West Bloomingdole Avenue • Chicago 39. Illinois