, #n Ik6 i66ue ... iC1 The" Immortal Trifles" of Gilbert and Sullivan
Ann M. Lin" • Singing Patrolmen
Rase Heyl6u' • There's Music in Your Piano Rowland W. Dunham • How to Plan a Rehearsal John Finley Williamson • Teaching is Selling
Frank Friedrich • Sinuses and the Singer' s Voice
JI10 I J • it takes more than knowledge FRANCES CLARK THE WORLD OF announces The "NEW" SHEFTE to win battles PIANO WORKSHOPS RAPID COURSE in it takes strength for MODERN PIANO PLAYING and equipment in the right TEACHERS and STUDENTS National Music Week will ental Studies, 756 Seventh • QUICKEST • EASIEST JUNE 25·30 be held this year from May 6 Avenue, New York City. place at the right time KALAMAZOO COLLEGE • MOST MODERN to 13. Keynote of the nation- Leopold Stokowski will con- KALAMAZOO. MICH. wide observance of Music Week duct the opening concert of the • MOST THOROUGH Students at Bob Jones University ac- AUGUST 13·17 will be, "Enrich Your Living Lucerne lnternational Music Festival in August. Other con- Practical PianoCoursein quire knowledge, but in addition they VIRGINIA INTERMONT COLLEGE Through Music" ... Luigi Dal- BRISTOL, VIRGINIA lapiccola, Italian composer, will ductors for the Festival are Wil- Popular Music • • • teach composition this summer helm Furtwaengler, Carl Schu- receive Christian training which not Standard Music . • • STAFF: Frances CIClrk. Louise Goss. Mrs. at the Berkshire Music Center richt and Herbert von Kara- J. M. Holland, Richard Johnson, DClvid and Semi-Classical Music only strengthens their faith but also Milliken, Dorothy Munger, Mary Jarmgn ... ETUDE contributors Guy jan ... Rafael Kubellk, con- Nelson, and Eve,-e:-t Stevens. Maier, Maurice Dumesnil and ductor of the Chicago Sym- "arms" their characters for the battles Harold Berkley ail will teach phony Orchestra, will conduct Authorities are agreed that Workshops ;n~lude: master classes this summer. the 53rd annual music festival this "NEW" SHEFTE of life. INTENSIVE REFRESHER COURSE Dimitri Mitropoulos, Paul at Cornell College this month. COURSE is SHEFTE'S best FOR TEACHERS Hindemith and Otto Kinkeldy Soloists are Raya Garbousova, work and the greatest for- Methods, materials, basic technique, were speakers at the Fifth An- cellist, and Eileen Farrell, so- ward step in the nation- If it is possible for a young man to discussion groups, repertoire classes, nual Symposium held al Yale prano. wide movement to MOD· private and group lessons, recitals, University last month ... The Jepnie Tourel, mezzo-so- ERNIZE and SIMPLIFY have only one or two years of college etc. sixteenth season of concerts by prano, is invited to sing in the piano instruction. the SPECIAL PROGRAM FOR the New "Friends of Music in world premiere of Stravinsky's before going into the armed service STUDENTS Town HaH next year will fea- "Rake's Progress" at the Venice VOLUMES 1-2-3 "WORLD'S Creative piano study, basic musician- ture concert performances of Festival in September. Miss of his country, the one or two years' MOST UNUSUAL ship, practice skills, private lessons, Each volume $1.25 in U.S.A. repertoire classes, etc. operas by Purcell and Handel Tourel also will be heard at the On sale at all music stores training in Bob Jones University will UNIVERSITY" · .. R. Lloyd Adams of Chi- second Casals Festival in Per- • Brochure will be sent on request. cago is 1951 winner of the pignan, Francelin July. WRITE US FOR LITERATURE prepare him not only intellectually IS Write: Piano Worhhop Secretary, Kimball Award offered by the This month's Iourth annual MUSI' ~16S0 WABASH AVE above addresses. FORSTER PUBLlSHEIlINC. CHICAGO but also spiritually to meet success- Chicago Singing Teachers "Music in May" Festival spon- INTERDENOMINATION L Guild. sored by Pacific University will fully the emergencies of war as well COEDUCATIONAL Alexander Hilsberg, for 20 be broadcast over the Mutual years concertmaster of the network ... Impresario S. as the emergencies which follow war. ORTHODOX Philadelphia Orchestral has re- Hurok is visiting eight Euro- CHRISTIAN BERKSHIRE signed that post to devote all pean countries to search for @I his time to conducting ... new talent for American tours Dusolina Giannini, famous for ... Gregor Piatigorsky has reo MUSIC CENTER 'f.)J~- / her singing of the title role in signed as head of the cello de- -"'0 ~ .~\ SERGE KOUSSEVITZKY, Director "Aida':' made a surprise debut partment at the Curtis Institute as Amneris when the opera was of Music. t;:') staged by the New York City New York piano teachers this TANGLEWOOD Opera in March. season have launched an unus- \\{ ~.,;\ Lenox, Massachusetts Sigmund Spaeth, lecturer, ual experiment-a series of " ," critic and radio commentator, "Composers' Concerts." The se- proud little sheep ••• NINTH SESSION will guide a group of 50 tour- ries serves the double purpose provcJ of his musical July 2-AlI.gns,. 12, 1951 ists to the six major European of presenting students in recital ancestors ... the 100% wool music festivals this summer. and bringing new works before felt that's in the Stanr/arr/ Courses in The tour is under auspices of the public. To date, 35 new Piano Hammers. Orchestra Opera the Institute for Intercontin- works have been presented. The SH hammer that Chamber Music Theory guarantees Chorus Conducting *uniformity in the finest 100 % pure wool fel ts COIUPETITIONS (For details, write to sponsors listed) GREGOR PIATIGORSKY "uniformity in texture • Setting for solo voices of texts from the New Testament. Prizes, and firmness maintained music, WILLIAM KROLL $200. Contest doses June 1, 1951. Sponsor: Avenue of American by skilled craftsmen HUGH Ross and the newest of speech, Art, Box 174,-C, Pasadena, California. AARON COPLAND machinery • Ballet score commemorating life, explorations of Columbus. and art IVERSITY BORIS GoLDOVSKY ... that produces even- Prize, $1,000. Closing date, .lune 1, 1951. Sponsor: Columbian ness in true tone from without Twenty-two Members 0/ the pianissimo to fortissimo. Centennial Committee, Genoal Italy. BOSTON SYMPHONY ORCHESTRA The supreme test of a additional • Choir Photo Contest. Open to non-professional choral groups only. First prize, $382.50; nine other prizes. Ends June 30, 1951. superior cost Special Program for Music ""'/J; Sponsor: Choir Guide, 166 W. 48th St., N. Y. C. Send for booklet on the 'u., '" Education under the supervision interesting story of SH -..:;:, • Four-part a cappella anthem. Prize and closing date not an- above regular of AUGUST D. ZANZIG Piano Hammers. ..' , nounced. Sponsor: Chapel Choir Conductors' Guild, c/o Ellis E. academic tuition For further in/ormation, write Snyder, Mees Conservatory, Capital University, Columbus 9, Ohio. ~~D. STANDARD • Rome Prize Fellowships, $3,000 for one year's study in Rome •• ~() PIANO HA'l\1MER CO. Registrar Symphony Hall • '. Su~ing /lmerica'J leading ACADEMY in connection of classics and the fine arts. Closing date for 1952-53 scholarships, \.-,;i ; piano monujacl.ur:erJ and Boston 15, Massachusetts January 1, 1952. Sponsor: American Academy, 101 Park Ave" \.~" ';I.:'" {uner technlCianJ ~ ""Est 3220 W. Grand Ave. N. Y. C. Chicago 51
6 _ ETUDE-MAY 1951 1 When parents put you ETUDEa,c ,n((siC ,naga:hle on the SPOT PUBLISHED MONTHLY BY THEODORE PRESSERCO., PHILADELPHIA, PA, LeTTeRS :BallWin Flictronic 0Walt.- Editorial and Advertising Offices, Bryn Mawr, Pa.
JRlU<'!1 FraneiJ Cooke. 1!dit~ E...eritu~ k'fflt new i&imtiolL Founded lIHl3 I>y THEODORE PHESSER find the answer in this (EditD'. J90;."~) Music Section Swanson in the March issue is JOHN BRIGGS, Etlitor most interesting. Yes, I teach popular music to my students Garretson, Managing Editor Charles J. Reed, Arl Director Sir: I look forward to each Dorothy F. when that is what they ask for. to our c£rrc£ J. Clees l\lcKruy, Music Editor ETUDE and enjoy reading and valuable FREE playing the music. Each month Thank you, Mr. Swanson! Harold Berkley Maurice DllIuefnil Eliubeth A. Gal Gny Maier Karl W. Gehrke,," Ale,.-allder McCurdy '\'I;'ilfrid Pelletier William D. Reo'elll I find a Humber that merits work- Mrs. Olive Rendell ing on. Cuba, Kansas booklet! Mrs. T. E. Webb Ada, Oklahoma IlNotes of a Violin Maker" Vol. 69 No.5 CONTENTS MAY 1951 Sir: I feel so disappointed in Sir: Congratulations to Mr. FIL4.TURES the present ETUDE. I enjoy Orr upon his fine contribution in ETUDE. (March, 19SL) It would II Grade 3 and 4 numbers. also MUSIC AT THE FESTIVAL OF BRITAIN ...... •...... · - - .. be of great service to violin- lllll II piano duets, but 5th and 6th SINGING PATROLMEN ••.••••...... •....••.••.... RQ,u' U"r ' making if more people would THERE'S MUSIC IN YOUR I:>IANO _ !CQleltlml , . Oun,.n", 15 Grade numbers are lao difficult share their knowledge. I should A SINGER'S VOICE ANI) SINUSES ..•...... •.• AU"'r' r, "It"",.. ,11.0. 16 to be of any interest to me ... very much like to see and try TEACHING IS SELLING .. _.....•. , •.... _ FrtJnk ,.',I,.d,.I,.II 11 Mrs. L. R. Shuster THE ll\1i\10RTAL "TRIFLES" Ann M. Un" 20 Seneca Falls, N. Y. Mr. Orr's violins sometime. BEETHOVEN-A lUasll:r LcS801l ••••••••••••••••••• •• •• {ltualtl frn",., 2ft Larry Owen WE l\IAKE A GAME OF PlfACTICING ....•..• __ .... {"f.rI-II $/,I',.",tl 51 Sir: I want to tell you how Grand Rapids, Mich. PROGRAM NOTE for "AI)PlllliChillll Sl,rin#l:" ..... __ ..• , ..• DfJrltl MorU"i 51 much I enjoyed playing through BEWARE THE EDITOR _ .. _ .... , , •.•...... _ •.• I)f/U;'·' $,,.,rl/,f'r' h2 the February ETUDE's music "Music in Stamps" GET TOUCH WITH YQUB PUI'ILS! May Woad J\l.dllllu hI section. May I urge you to pre- hI HOW "SWEET ADELINE" GOT ITS NA.\IE K. e, J,.,Ofrlt' sent more of this type of music. Sir: Very interesting article especially music like the Buxte- this month (March)-"There's Music in Stamps." However, I DEl·"JlT~'.~NTS hude "Canzonena" and the Fre- scobaldi "Canzona." And please am surprised that you omitted LETTERS TO TilE EDITOR - . - - .. 3 do not forget Beethoven. Chopin, the stam p issued by the Vene- l\IUSICAL ODDITIES _ ...... •• , .•••• ,"l,.lwltl. ,\ ."What do you look for in a good piano?" 'm"tII~k,. MANUfLEX COMPANY zuelan government in 1938 in NEW RECORDS ...... •... , .• _ ..•.•.•...... C,."r.,. (;"."0'-"'" (, Bach, Mozart and the other old • "How do yo,", lell real musiccd excellence 21;)0 NE Klickitat, 'ortland 12,Ore. masters. Let this contemporary honor of the great pianist Teresa from short-lived brilliance or $Urfoce MUSIC LOVEn'S HOOKSUELF •....•...... TJwtJIt,. Ptmlkn'" • beauty?" THIS MONTH'S COVER ...... ••...•..•..•• 9 noise called music go. Carreno ... • "How con a mllsically untrained parent PLANNING A CHORAL REIIEAHSAL ...... •.. )0/", n"l,., ,r,Ilt,.,II.lJlI IR Walter Baird Vincent de Sola judge a pielno's quality?" LET'S TONE UP! ....••..•.....•..•..•... , ...•. , 1Illltm D. fCn,,.1tI 19 Double Springs, Ala. Kew Gardens, L. J •• N. Y. STOP, OPEN AND REED .; ...•. , •. , .•.•. AI"xltlll/,., M "rJ,. 23 It's up to you to answer these and other questions any time your students and their VIOLINIST'S FORUM , ...... •. 1J"rold O,.rkl,.,,. 21 Sir: I was very much interested • ETUDE's article omitted many parents decide they need a piano and ask ADVENTURES OF A PIAi"O TEACIIER .....•...... ,.;111 Haln 2:; to see works by student composers others besides the Carreno stamp. your advice. You want them to get fullest Everyone talked about it-everyone said what a ORGAN QUESTIONS , ••...... •...... FrNIt-rI"k PMUI/I$ h announced as "by no value for their money-yet you want to be .a in your March issue. It is an un- was £1i2fllJf:II, A. ;;$ difference it made in our Sunday service-what sure your recommendation is sound. JUNIOR ETUDE ...•...... •••••••••••••. .f'", usual and praiseworthy idea ... means a complete Jist, hut a rep- QUESTIONS AND ANSWERS ...... •••...•...• ,I\nrl • .,.'",k,.",. ;;1i The FREEbooklet offered here will help E. H. Bliss resentative cross-section:" ED. new beauty and inspiration seemed to fill our church TEACHER'S ROUNDTABLE .••.•.••....•. " .• _ .... Mallritce /),,,,t~$nll ;;9 you answer the important questions most Lake Placid, IV. Y. and I was amazed and delighted to find how well often asked by piano-minded families. And WORLD OF l\IUSIC .•.•...... •..••...... •...•... (oJ "How to Perform Bach" it will help them-e-end you-he SMe they I could play the Baldwin, even at the first service! choose rfght ! Send for your copy now! Sir: When J opened the March The effects achieved on the Bald win are so ;\. VSIC ETUDE to the music section, I Sir: Mr. Erno Balogh's article When Should a Child Start Lessons? wonderful! It is hard to believe that A famous child-care expert answers this Cln8llie (IIld COlllelll.porflry CO"'./JOII;tioll~ could not imagine what had hap· in the January ETUDE is highly and other questions parents ask you about commendable and shows that it costs so little and it occupies so small a Album Le.lf (Op. 12, No• 7) . .•.••...... •.••...... EJrarJ C";f:~ pened. I have no objection to their children, in our free booklet "Muslc 21 there are still people whose mu- IN YOUR CIHW'S DEVELOPMENT." Check Allegro di 1\101t0. . . . C , 1'1 .,. E your magazine conducting con· space in our church. When our organ ...... ••...... • fir II '1'1) ,"'ltll,,,1 Hocl, 28 the coupon for your copy. AdagiO C:lI1tabllc from Sonaln ill C ?lUnor 0 13 tests for your Juniors, but when sical feeling is not distorted by committee decided to buy ("Palhelit[Uc") ...... •• 0 II...... •...... L"J'(;'I; 1:0" J)fOc.thorf'n 30 you devote practically the entire scientific research ... As a vio- Stnll1ge Peol,lc (01). 40 No. 2) . . . the Baldwin, my own organ teacher 'I" .' .Il1orh",,.r Oro.fO'Jltll1 32 issue to immature compositions. linist, I want to point out that O H ear IOSC EVClIIllg Bells I and many others more expert D h D II' ...... •... _.••••...... llI"r&a,.~, JPi~hfHU 33 I as one of your subscribers can- similiar considerations apply to ule 0 s Dau,::c (Piano Duel). . . . • . 11 , • • • • • • • • • • • . •• f! ell ,~. Cro""" 31 Bach's works for stringed instru- assured me that we had Triumph of cncuelllenl not help but think that I have 1""rum~nt,,1 mul Jlond Composition, bc:.aul • tonal ;lnd struClIlni not received my money':. worth. ments. The reconstruction of the chosen the best, qu.lh,.. DiJlinlUilhed for old bow is suicidal. While this G"-nch l\:ledilatiOI1 Heligieuse (orgau)...... •• • Irving D. Bartley Ten f,SonsF The Lamh (vocal solo). • ...... 'Pillin", .4. IPoII 36 bUUliful PfOPOftio1'llJod bow enables us to play all the J7--- Durhant, N. H. Dream of Quito (,.joHu 15010) Cli60rfl ~hoP
THIS WILL BE ANSWERED IN OUR NEXT ADVERTISEMENT IN fTUDE. until the crowd began to cheer . I • 'What splendid runs l' said the . . . • To reach ncrrecuon of techulcaf movements of either haul! we cunllot allow one !:lingle wroug coucoun-auou-c-no mutter bow seemingly :sli;ht; Charles Lamb, great poet man at my right. 'Who made even a shallow of such COllccntl'utioil will prevent the greatest artist or as he was, was as completely 'em?' I asked.-'Shhhh'-Just technician rrcur reaching perfection. impervious to musical sensa· then a man with a high voice learn on a Steinway? '1'0 attain mastery of violin technique, we cuuuot nrrortt to waste time on tions, so totally indifferent to began to yell as if the ball had SOIllCoutdated stuutee or "modern" tnsamttcs. ('We do not wisb to he too melody, that his state could be hit him. 'He's out!' exclaimed strong but tllillg"S I$hOlihlbe called what tbe~' really are.) Every vf oltnis t 01' By NICOLAS SLONHISKY teacher should P0I:lI:lCSI:lenough iu tetltgcnce to make a correct judgment of described as amusia, a patho- the man on the left. 'Who put the existing couutttous of vlolin pedagogy. logical condition which kills off him out?' I asked.-'Shhhh!' -Then I had enough of it. I OUNon COMPLAINED to Ros· Hans Von Billow wasasked all appreciation of music. He MET R 0 POL I TAN MUS ICC o. alUIO ...... ,C$ lhe l'ubUcatiOl' of hadn't seen a ball; a catcher, an aini that the only popular how he managed to obtainsuch flaunted his indifference both G umpire and I wasn't in the game number in "Faust" was the a fine crescendo in his arches. seriously and in jest at his mu- at all; I got up and went out, Soldiers' Chorus, to the negl ct tra. 'IVery simple," he said.III sical friends. He also wrote a AlL VIOLIN TECHNIQUE poem in which he proclaimed and I don't write up any opera of musically superior part of hare my teeth. The pla)'erswork his anti-musicality in rhymed neither. " by ROBERT JUZEK the score. "It is just that your harder, and I get my crescendo," (aldlio1" Of '1'r{J
precise and c1eancut. (RCA- teens, is rarely heard in the op- Victor, one 45 rpm disc.] eratic theatre nowadays, there- fore a recorded performance of Dvorak: Piano Quil/tet it is especially welcome. The recording, made in Stuttgart, The Piano Quintet 10 A Germany, is under the direction Major, Op 81, is heard in a of Roll Reinhardt. The prin- well-played and well-recorded cipals are Kaethe Nentwig, By GEORGE GASCOYNE performance by the Chigi QUi~- Hetty Pluemacher and Gustav tet, an Italian group. Tbeir Neidinger. (Period Records, playing of the lush, romantic two LP discs.} 'Pnlestriua: J11iSSll Brevis; Jl1issfI performance by the Bavarian Dvorak work is quite effective. Aseendo (1(1 Pt~t,re", Radio Orchestra and Char". (London Records, one LP disc.) under the direction of Josei Strauss: "Die FledeTinaus" Two masses by Palestrina Kugler. n\1cl'cuf) ,one LP The new Howard Dietz- are sung with great power and "The Heart 0/ the Ballet" diac.] Garson Kanin version of "Die expressiveness on two LP discs Leopold Stokowski, con- Fledermaus," which was the big by the Welch Chorale. {Alle- ducting the orchestra especially Telemuuu . TtI/ellIIlI,ik success of last season a t the assembled by hi m for record. gro.) The group sings the Metropolitan Opera, is now re- org Philipp Telemenn ings, offers recorded excerpts 16th-century vocal mu ic of the leased on records. The perform- Bach' contemporary, was at from "Giselle," "Spectre de la great church compo er with uri- ance is conducted by Eugene his b st in work, like theTalel, Rose," "Les Sylphides," "Syl- derstanding and obviou sym- Ormandy, who led the work at musik" (.4Tnhlc \'Iusic\" or mu. via," "The Nutcracker" and �IIY f1 pathy. the Metropolitan. Principals are slc f r dining}. I t i~1I0W avail "Swan Lake." Mr. Stokowski Lily Pons, Martha Lipton, abl n B recording with the has a special affinity for exactly Beethoven: Coacert o No.3. Lj uha Welitch, Richard Tucker, H n 'nlb in Theatre Stile" of this type of music, and the re- Claudio Arrau is soloist Charles Kullman and J ohn NewWurlitzer Organ... MAl(C LABERTE oupcs-in. Both hork are cast cording is an effective one. with Eugene Ormandy and thr Brownlee. Though many of the 'MIRECOURT. FRANCE in pleasant )Hth. 'cntur) mold, (RCA.Viclor, one LP disc.] Philadelphia Orchestra in this singers are of European origin, and mnke agreeable listeeius. V/OH"*/lt performance of the ncerto they manage the English text H/I"tll/'N1t1e /I l\1olllcmezzi: "Love 0/ Three You can own it... ( apit l-Telr-lunken, one LP No.3, in C Major. ( olurnbie, of Mr. Dietz' libretto very ca- eli c.] Kings" "/lHo,,IIl1y eshl6/lsIJetl p,lee I one LP disc.) Mr. rrnu's play- pably. The performance as a Montemezzi's best-known ing of the Concerto i s ngful whole has true Viennese spar· opera, which is never in the ~ No need to guess at violin value! Lend your and poetic, and Mr. 01'1118n(l) kle. (Columbia, two LP discs.) You can play it._! _ ear to the tone quality, lend your eye to the regular repertory but is always \:::jI and the orchestra offer So) Ill) a- The ..'ring fluintet \\'hich workmanship ... and to the plainly marked being revived somewhere, has thetlc colla boral ion. . chuhcrl hn ..pd on his song Chabricl·: "Three Romantic Over 1000 different tonal pqce tag on every instrument! Marc Laberte violins, "Dir F orrlle" ,"The Trout") just been released in a full- Waltzes" effects-the lowest-priced length recording made in Italy. standard two-manual organ violas and cellos are built entirely by hand under the !\"lOZllI'l: "Ju.piter" ympllo/lY ha ... r(>Crnlh I-X'cn recorded for Chabrier's sparkling work Arturo Basile is the conductor, you can buy. personal supervision of Ma'rc Laberte and his son !\1ozal'l: Hl~rug"t'" "",phony t\\o onlp;nicl;. The Budapest for two pianos is admirably and Ihe orchestra and chorus l'hillipe ... members of a family which has taken pride unrle!. 8"...i"led by Georges played in a new recording by Both these works are reo are those of the Italian radio. in its workmanship for more than a hundred years. ~Iolru and )liccz),la" Hots· Robert and Gaby Casadesus. lt So easy to play, you corded by Sir Thoma Be h on Clara Petrella sings the soprano (:Every Marc Laberte instrument is made in the £0\\-:"1...\. hn", recorded it for Co· is hard to understand why these and the Royal Philharmonic role of Fiora with distinction. Marc Laberte workshop in Mirecourt, France ... never lumhi~. nnd Ihe iellna Concert charming, effective pieces are can teach yourself Orchestra. (Columbia, one LP Sesto Bruscantini, bass, is a "farmed out" to·horne industry. See your dealer today, II u~c uint t has recorded it not heard more often, especially disc.) Sir Thomas has long sonorous Archibaldo. Renata from this book! or write for illustrated Marc Laberte catalog. for e ..tminster. This lislener'3 in view of the limited reper- been outstanding as an inter- Capecchi, as Manfredo, and · ;~ . prE'ference i::: for the Budapest toire available for two pianos. This Wurlitzer Organ makes the most of your playing right preter of IVlozarL and the ne'\ Amedeo Berdini, as Avito, sing • Mr. and Mrs. Casadesus per· from the start. Even to beginners, playing comes easy. ESTAIIUSHED PRICES FROM COAST TO COAST! • recordings of these two favor· QUArtet \'er$ion: both. howC'o·er. with distinction. The whole per- • • form the Waltzes with sympa- You simply follow the easy instructions outlined in this • MARC LA~ERT-E VIOliNS MARC LAaERTE VIOLAS ite Mozart works are among are of hi~h C1ualit~. formance is well-paced and Model • thetic understanding. (Colum- book. Your Wurlitzer dealer has it now, • ModeJ I 10 ' ...... 146.20 spirited. (Cetra-Soria, two LP Model 2 44.00 Model 20 ... 52.80 • his best achic\rements. Loeillrt: bia, one LP disc.) Built in the tradition of the "Mighty Wurlitzer," here is • Model 40 ...... Rincl: ··O(lI,llIIi. a/lfl Chloe" Model 3 66.00 99.00 • Three Sonatas. discs.) a musical instrument the whole family can enjoy. Two full • Model 4~;:~ 82.50 Model 50 ...... 118.80 '''h;':''';';~': Model • These sonalas by Jean Bap- Boll, Raler, "'Oaphnisaud Model 5 '. "...... " 99,00 150 ...-..-...... 198.00 Beethoven: A-flat Sonata, Op. 26 61-note keyboards for your fingers. A full 25-note pedal • • DOllizetti: "Daughter of the • Model 6 '..;c ...,.,.: .'.~,.... 121.00 MARC lA8ERTE CellOS tiste LoeiHet. who lived in the hloe·· uil~. the familiar r\o. Walter Gieseking, playing keyboard for your feet . Model 14 .",." ...... ,148.50 • Regim.ent" • Model 100 ...... ,...181.50 early part of the 18th celllun. 2 and the le5<;;frequently heard at the height of his considerable i,' Model 15 ,..,.- ..~165.00 Model 400 ...... ,~,291.50 • • are the work of a minor COI~l. uite :\0. 1. are heard on this An imported recording of powers, is heard in a new re- • All are- Strad copies except Model 3, which is a VuillalJme. • poser, but the) are pleasant ne"' recording h~ Eugene D,f' you're the Maestro ... • • • • • • • •• • • • • • • • • • • • • • • • • • • "The Daughter of the Regi- cording of the Beethoven A-flat listening all the SRme. They are mandy and the Philadelphia ment" has just arrived frol11 Sonata. The performance is ad· v.o. admirably performed by Philip Or h~lra. The performance ha5 Italy. Lina Pagliughi sings the mirable for its power and claro A motion of your hand and the command and combine at will. ~ Sol. di,Uibuton " or a viola or cello! This organ is complete ... Kaplan and Lois chaefer, !!real ,i"or and e'{pressireness. coloratura title role with great voice of the clarinet sounds out ity. Five of Grieg's "Lyric -the piccolo and fife come in ready to plug in and play. And flutes, John Holmes. oboe. Th rec~rd;, ompletedby a stylistic elegance. Other prin- Pieces" round out the record- -YOll hear the harmony of it is the lowest_priced standard two_manual organ you can buy. Bu~geleisengJacobson.lnc. Samuel Mayes. cello, and Erwin ~en~iti'e_ th.oughtful, rea~~n,g~~ cipal roles are sung by Cesare ing. (Columbia, one LP disc.) diapason and strings. Twenty- five different and beautiful Available on easy terms, if de- 5-1-9 UNION SQUARE, NEW YORK 3. NEW YORK Bodk)'. harpsichord. (A lIel(1"o. choenber~ ~earl)' ,\ork. \er Valletti and Sesto Bruscantini. orchestral voices are yours to sired. See it. Hear it. Play it. ,,, IN CANADA; 12D BATHURST STREET. TORONTO 4. ONT. one LP disc.) laerte ~achl.·· IColumbia. one Mario Rossi conducts the re- Beelhoven: "Kreutzer" SOl/ata LP dbc., corded performance with vigor Zino Francescatti, most r------l I The Rudolph WlJrlilzer Company I )1ozUI·t: Yesperue and authority. (Cetra-Soria, So/enue. elegant of' violinists, has re- I Dept. E-5, North TonawandCl, N. Y. I PIANO TEACHERS two LP discs.) This is your invifation to ottend the International Piano Teachers This vesper service, which Ra\eI: ~~LoJlolse" corded a well·turnecl-out per- Yes, I'd like to know more about the New WurlitzerOrgan and Easy Course Booklet. I Association 1951 Na,tion?1 Convention, at the Hotel Statler (for- formance of the Beethoven W1URLIillZER merly Hotel. ~ennsy,v"nlo), New Y.ork City,. JLlly 16. 17. la. 19. Mozart wrote while in the serv- Th;" hectic "ork i, pia)" World',lorgeot Builder of Orgon, ond Piano, Please send me full details. I Teachers Troln~n~ Cou}e, Student P'ano PlaYIng Ellominations etc. Mozart: "Bastien and Bastienne" I ice of the Archbishop of alz. with !!Teal enerJTV and conric· Sonata in A Major, Op. 47 Under One Greot Nome I N I r.~~T~~~f~~~eh~~~id/~~i~eand free catalog 01 almost four dOlen • orne I '" e. Ch los "Bastien and Bastjenne," ("Kreutzer"). His collaborator burg, contains some of his most lion on a n w record b) aT I Street I ROB':RT WHITFORD, Founder.President the charming comedy with mu- at the piano is Robert Casade- Mail Coupon/or 18 Nol"lh Perry SqllClre. Erie, Penna. beautiful liturgical music. It is ~Junch and the Boston 5~~' Free Literature LI City Zone__ Stote___ ~I sus. (Columbia, one LP disc.) now recorded in a trikinrr phon Orch .. tra. Ensemble" sic which Mozart wrote in his 6 " ETL'DE-.lLAY 19j/ ETUDE-MAY 1951 7 H --,------..,., ------Music Love.·'s THE FIRST NAME IN PIANO METHODS 1IlVSIC LOVER'S ROOKSHELF BOOKSHELF (Continned from Page 7) By THOMAS FAULK;\TER nini's life added that had never with the New York Philhar- been printed before. monic-Symphony, the Minna- STERPIECES As a result, there appears for apolis Symphony and other the first time the real story of orchestras, has written an en- puccini guages and himself dabbled' . . In why Toscanini left the Metro- gaging volume on the flute. His ALBUMS By George Morek composrtion, was Puccini's dis. politan Opera; why he turned book traces the origin of the Albeniz. I. , Georae Marek, music edi- Albeniz, I.-Iberia Suite No. I o . coverer and lifelon« friend H instrument, the evolution of o . e his back on the NBC Symphony (Evocation. EI Puerto, Fete-Dieu tor of Good Housekeepmg ad "anced money to the Com. lor a year; and many other epi- flute technique, and the litera- (I Seville) Magazine, went to Italy in ~946 poser. in his earl) days, D"a'Ie sodes in the Maestro's career ture of music for the flute. A Albeniz. I.-Iberia Suile No. 2 to report on a concert gIven him constant advice and biographical section gives per- (Rondena. Almeria. Triana) ea. which earlier writers could only Albeniz. I.-Iberia Suite No.3 there by Toscanini. By pure couragcment, arranged for per. tinent data on outstanding per- (EI Albaicin. E1 Polo. Lavapiesl Perfect Uninterrupted Sequence-Natural Progression guess at. chance he discovered that some Iorma nces of his operas, and lVlr. Ewen's book suffers by formers. For anyone interested Debussy, C. five hundred letters from Gia- DohnanyL E. V• MICHAEL AARON PIANO PRIMER . .60 even lent a hand in wriuns the comparison, It is the sort of in the flute, the book will prob- Granados. E.-I2 Spanish Dances GRADE ONE .. 1.00 como Puccini,ignored or sup- libretto of "Manon Lesc~ut.\' hiography which could have ably rank as indispensable Medtner, N,-Fairy Tales. Op. 26. GRADE TWO .. 1.00 pressed by the composer's b.iog. As the friend and publisher of been written by almost anybody reading. Complete Prokofieff. S. GRADE THREE .. 1.00 raphers, had turned up smce Verdi, Puccini and a host of with a musical background who Citadel Press, $6 1.00 Rachmaninoff. S. GRADE FOUR .. the war. The idea of doing a le -famed composers, Ricordi had access to a good file of 13 Preludes (Op. 32) MICHAEL AARON ADULT PIANO COURSE . 1.00 Rachmaninoff, S. Priee $1.00 new book on Puccini OCCUlT d himself miaht well he worth\ newspaper clippings. The ma- MICHAEL AARON PIANO TECHNIC - Book One. .7S 10 Preludes (Op. 23) to Nil'. Marek, and when Simon f I i graphy, . terial is lively and well pre· each volume MICHAEL AARON PIANO TECHNIC - Book Two ... .75 OppOl·tunities in Music Ravel. M. & Schuster expressed 'intere t, Ahhounh Mr. Marek's nell sented, but it is a story that By SigmulHl Spuefh Scriabine, A. Scriabine, A,-12 Etudes (Op 8) has often been told before. ELEMENTARY TEACHING PIECES by MICHAEL AARON he set to work. book [I' aid J u cini·\\'orship,it This volume is one of Scriabine, A.-24 Preludes (Op II) To write the book, Mr. Mar k do n I go to the other extreme The Maestro: Grosset & Dunlap's Vocational Shoslakovich. D. ALL ABOARD 35 CLOWNING . •35 Stravinsky. I. first learned l ralian. H then of debunkine the composer, B} Simon. & Schuster, $5 Guidance Series. It tells the ICE CARNIVAL , 35 INDIA ... .35 Turina, J. read and appraised the Puc 1111 and larg Mr. Marek lets the Toscanini: Villa-Lobos. H.-The Baby's Family PRAIRIE RIDER... .30 STORY·BOOK WALTZ .30' young musician everything he letters, two hundred In re ) y f nets speak for themselves. Henry Holt & Co., $2.50 (Prole do Bebel Series 1 Comple1e TATTLETALE WHIMSY .. .35 needs to know in deciding (with words) . .35 WOODLAND CASCADE .40 Giulio Hioordi, Puccini's fl'i nd \Vhcn he introduces a personal whether to take up music as a EDWARD B. MARKS and publisher, and another hun- opinion he i careful to labelit. The Taming of the AI'ls profession. Dr. Spaeth itemizes dred written by Puccini' friend" (And hi p rsonal opiniors. By Juri Jelagin the various ways in which musi- MUSIC CORPORATION I~C. MILLS MUSIC~ and co-\V'orkers; sifted a mB g I'ithil) and forcefully slaled. Here is a first-hand ac- cians can make a living-as a 1619 BROADWAY, NEW YORK 19, N. Y. of other documentAry maLerial, lIrc worth 11 ling.} count of musical life in Soviel recitalist, playing in orchestras, R.C.A. BUILDING, NEW YORK including the counterpoint XCI" The ncw Puccini book i~ Russia. ML 1elagin, now a vio- teaching, composing and ar- cises Puccini wrote aL the Milan good read ing, and promisesto linist in the Houston Symphony, ranging, etc.-lists their aclvan- C Ih tages and disadvantages anel The 'Wilkanowski Conservator') and the news· I d finilh'C \\ork in its began his career in Moscow. Consel'\·(ltoryVioHn, Xo. i2i3-Violln onl~'$125 paper reviews of Puccini pre· fi I l. His playing in theatre and sym- tells the approximate income :Ko.i2.~4-ComDlele Outftt $150 to be derived from each. (OllIeI' SUl)Cl"b Wllkllllowskl mieres; and made five trips 10 imOIl & cllIIsfer, phony orchestras there brought STUDENTS! -'h)lll'].~ 10 S175i Italy to talk to people who had him in contact with Prokofieff, Grosset & Dltlllap, $1 known the composer personally. Shostakovilch, Khatchaturian, PLAY A FAMOUS The i\llIC:,II'O; The Ute oj Afler five years of such la· Arturo To~c(,"jtl; Kabalevsky and other Soviet WILKANOWSKI bars, Mr. Marek's book has IJy I-Iou:flnl TaublJlall composers. His account of what Schuber·t: A Musical Portrait VIOLIN IN YOUR HOME appeared. It is a remarkable Tbe IOI-y of Arturo Toscanini happens when art conflicts with By Alfred Ei"sfe;1I B)' /)(Il:itl bureaucracy and Marxist ideol- work. :Mr. Marek is a con cien- Eu;eu Many good biographies of tious researcher and a trained ogy is amusing and thought- Two new biographies of SchuberL are available, but provoking. Mr. lelagin tells his professional "Titer, neither o[ none of them approach the com- To::ocanini ha\'e just appeared, story in simple, straightforward which is universally true of poser and his work from quite CElEBRATED VIOLIN MAKER Heview copies, in facl, arrived terms, He is no propagandist, These d"ssic violins fire the master UNUSUAL musical biographers, His new the same point of view as Dr. almo t in the same mail. and manages to create the im· craftsmanship of Mr. W. Wilkanowski. book corrects a number of fac· Einstein's. ]n his new book, one of America's gTeatest living luth- 6-DAY Both are by well-known \Hit· pression Lhat he is reporting ic!'.';. As a result o( 1\11'. Wilkanowski's tual errors perpetuaLed by ear· Dr. Einstein traces the story of painstaking m"tlslJ'Y the violinist has ers specializing in musical sub- facts as dispassionately as is TRIAL OFFER lier writers. (So basic a fact Schubert's life in terms of his Ilvailable an instrnment of long ,lasting jects. fr. Taubman has written possible. benuly and brilliant tonalilualities. For as the date of Puccini's birth musical output and his spiritual the professional violin ist or the" talented Send No Money three books and a £Teat number E. P. Dutton, $3.50 student seeking a really fine instrument is given incorrectly in Grove's of macrazine articl~, Mr. Ewen~~ growth. Dr. Einstein's massive the)'e can be no finet' choice than a Dictionary. ) scholarship and his complete Now made in natural WILKANOWSKL name ~ppears as author or edi· wood exclusively. , , and Complete Outfit Complele Story of Ihe Flute grasp of the subject make the Mr. Marek also presenLs the tor on more than 20 voluJ]]~, kept in its native brown composer in a new light Puc. By Leollordo de Lorenzo volume a valuable one for serio color. Inner core grenadilla gives A SUPERB VIOLIN You (':111actually ha\'e a Wilkallow"ki The I\\0 new biographie5 Violin in yom' h:J.lIr1~ for eXHmin:ttion cini's earlier biographet,s have Mr. De Lorenzo, who has ous students of Schuber! and Martin Freres the world's most 'The Wilknnowski "Conservatory Motlel" on 6-dny TRIAL OFFER, HCI'e'g how therefore invile, e,eu demand: precise clarinet bore. Anchored No need '0 pa j;; a slender gYacefulmodel with well represented him as a lovable. just retired after a long and his music. more for ANY it work,.;; We'U ship C.O,D. with priv_ compari all. posts eliminate post "jitters", prevent nrehed body, 11I'odudng a smooth. rieh ilege of 6 days' exalllination in yoU!' Oxford University Press, $5 professional tone. The sides. neek :1nd scroll boyish character. open and sun. distinguished' career as flutist back. hOllle (II' studio. YOUI' money stnvs ill In th is case the honors are locked keys. See your dealer or CLARINEr, ~ll'e old curly maple of pronounced ExI)l"eSS COmpany.'s office rendY fOl' ny of disposition. The figure write for Martin Freres catalog flame; the top ill fmc olrl spruce of close 1'11'. Tauhman's. Last spring he IH'ompt "efund if you.decide to l'etul'n which emerges from Mr.l\1arek's showing Bb clarinets, alto even gntln; Fine ebony fingerboard, the merchandise.- Absolutely no l'isk! covered the tour by Toscanini l"osewood tailpiece. with h:md carved No chance for disftppointment! 100% pages is more complex, more and bass clarinet, oboe cocobola pegs, sntisfaction ()J:,thel'c's no sale. and the "BC )'mphony Orch~· ...-~ and English hom, human and more believable. THE CASE-"Streamline" model with trn. On the tour, '1T, Taubman . lID sturdy laminated veneet" body, covered TEACHERS!. Take Advantage of AnoLher fascinaLing personal- with simulated leathet' in lizard grain. had daily opportunity to disc",' THIS MONTH'S COVER ••• ~ e _ Sole distributors Plush lining; silk bow l'ibbons: solid Special Prices and Terms ity is that of Giulio Rieordi , brass hardware. THE BOW is gcnuin'e all sorts of matters, musical and Pernambuco wood stick well brilanced of the music publishing house personal, with the Maestro. Besides London concerts, visitors to the Festival of Britain Buegeleis~n &Jacobson.Jnc. with full lined ebony frog,' ACCES- THE FRED. GRETSCH MFG. CO. that brought out all Puccini's SORIES include :m extra set of tested ~1any doubtful points l~·ere this summer see historic shrines like the ancient abbey at MUI<'o/ 'nJ/,umenl M<:Ilrers S,",e I R83 will .5-7.9 UNION ~.9U>!'R-J;:, NJ;:W YOR-K 'artist-quality strings: mute; chin rest 0.t:'eras except "La Rondine." clarified and details of Tosc,' 'and E string adjuster. 60 BrO(ldw(lY. 6,(Ioklyn , 1, N. Y , Somerset (see cover) . Abbey was built in Middle Ages around -CANADAL ,7)0,.8 Il a.~ 0: 218 So W(lb(lsh Ayenue, Ch"OIlO. III Rlcordi, a brilliantly cultivated the I,OOO-ycarwold ruins of baths left by Roman occupation. • • • • • ••• • • • •• • • man who spoke half a dozen lan- CONTINuE.D OH HUT 'AGE 8 ETUDE-MAY 1951 9 l _ ETUDE-MAY 19j1 MUSIC AT THE cf}ouije Rot';fn 'j OUTSTANDING EDUCATIONAL MATERIALS for the PIANO
SUPPLEMENTARY STUDIES 430.40028 .•.. _ ... ROBYN-GURLITT ..•. ' . ,. $.75
85 Etudes 10 develop si ght-reeding, pedal technic KEYBOARD TOWN and rhythm. Selected and arranged as a time-saving, direct path to definite objectives. Annotations and 430.40097 , .. $.75 directions for the most advantageous practice. This Unique in content-a captivating introduction book can be introduced after 3 months study. to sight reading. 75 melodies covering 4 octaves. 430-40029 ....•...... ROBYN·HANON ...•••.•. , .. $.75 low C to high C. For pre-school child, 3 to 6. Imagine Hanon exercises with stories- woven around them! 25 are thus treated for a most successful fundamental technic training, Grade 2·3. . . HIGHWAYS IN ETUDE LAND. .. $.75 ROBYN ROTE CARDS 430-40051 12 exercises supply the fundamental technic trainin~, prcmete 430-40106 $.75 reiuxed condition in arms lind wriSls and ar so placed as to brin! Especially (or pre-school pupils, 3 to 6. Clever about steady advancement. 6 pages of deecrtpuve matter dearly pictures bring home unforgettably the notation describing each exercise cnd the hook. Hand action phololraphs. For grade 2-3 and adults. principles. Helps coordination of eyes. cars and fingers at keyboard. 430-40035 ,. BYWAYS IN ETUDE LAND " $,75 Etudes derived from Czerny, Lemoine. Kohler and Ilurmuller. Alternali ng with ten exercises from \Vieck'8 A Ibum of Piano Technic. Adjustment to hlack key position, with creeeende and decrescendo, Perform.ers (/lui liste ners TECHNIC TALES staccato, etc. Special annotattons. Hand position photo~raphs. for 430-40075 Book One.. . $.75 use after Highways and Technic Toles II. Grade 2·3. will gather i... England this mo ...tlt , ..r Superb introduction to necessary elements of piano 430-41002 .. , .••.... , .. , ORNAMENT FAMilY, $.75 :~.K~~;~~.~:,technic. Keyboard games entertain while teaching ~ ,". Quaint illustrations-charming story-book s ·lIing. Preparation for each principle. Among the 15 problems dealt with " adequate fluency and understanding of all Ornaments to be rnet with ar-e: Relaxation, Firmness of touch, Freedom of Illa- for a gala o...ce-i ....a·cen.tury celebrutio ... tion, etc. Specially adapted pieces-a novel method in the 2 and 3 part Inventions and The Well-Tempere.d Cbll'ichord ",-"'CO """,,, co~.. " for backward practicing and memorizing. Ideal for of Bach, as well as Pi(U1o onatos of Haydn. 10urt and Beethoven. beginners. 19 musical exercises illustrate different elllb Hishments. Annotations, teacher suggestions und a queerionnaire. rad 3. 437-40066 .... Teacher's Manual te Technic Tales-Book One ... $1.00 430·41006 .. , ... SHORT ETUDES WITH ORNAMENTS. , , ..... $.75 NE HUNDRED YEARS AGO, in May. 1351, Queen 430·40076 Book Two...... $.75 18 studies (rom the great masters Ir atin@; such basic ornaments IS Victoria and her Prince Consort drove to U:sing the s.am.e system this book provides thorough work in 15 grace notes combined with intervals and chords the acci.c.tura. different principles of technic. Finger staccato. the trill, repeated the appoggiatura, the mordent, inverted mord m, the turn and trill O Hyde Park to open the "Great Exhibition." notes, etc. Practice directions included. All provided with full explanatory notes. GrBde 3. It offered scientific and industrial displays,' and 437-40067 Teacher's Manual for Book Two $1.00 concerts in a great hall of glass, the "Crystal 430-40077 .. , Book Three-Chord Crafters.,.. : .. $.75 SUITES Palace" which, nervous experts predicted. would qeverlr int~rweaves the actions of builders' processes with technic 430-40072 THE SNOW QUEEN .•..... $.75 collapse at the first salvo of the Royal Salute. (As In m~slc-plctures of city area building-hoisters, steam shovels, In.genious interweaving of an Andersen Fair-y talc a matter of fact, the Crystal Palace stood until etc., Illustrate 12 fundamental chord attacks. Eliminates problems With Tchai kovsky music to iIIuslrate principles usually confronting the pupil. taught in Chord Crafters. Grade 3. leveled by Nazi bombers in World War IL)
430-40036 , . , ..... THE CHILD CHRIST ....•... .$.75 • This month, King George VI and Queen Eliza- A rev~rent, lovely sc.0re. OUbtanding scenes (rom beth will open another mammoth event, the HFestival ROBYN-HANKS HARMONY the childhood of Chnsl, Slor}' form-iIIustrations- carols. Appropriate for Christmas. Grade 34. of Britain," which is to continue throughout the 430-40067 Book One. , $.75 summer. It will be a music festival of international A junior course, for students of any age, in written importance, with celebrated artists from all over harmony, keyboard harmony and ear training. De- CONCERTI arranged by Robyn '0".:,.••"- signed to follow ROBYN ROTE CARDS, but can the world taking part. Music-lovers, too, will gather _...••.... 430·40052 .. , KINDER CONCERTO-HAYDN .• , .$.75 be used with any method. A teacher's Master Key from America and Europe to attend Festival con- is given at the end of the book. Arranged for two pianos. A carefully edited and most ~layab~e adaptation of Haydn"s spirited Con. certs. Except for England's music magazine, The certo III D, Ideal for recilal. Two copies necessaq' 430·40068 ... , .... , ... , .. ,. _Book Two.... _, .••..••. , •.. $.75 for performance. Grade 3-4. Strael, which sourly described it as "an ill-timed Co~tinues the deve~opment of the work begun in Book One, intro- 430-40053 .. _KINDER CONCERTO-MOZAIl:T .•• .$.75 festival which nobody wants," there appears to be ~UCIng Ihe harmo~IC and melodic minor scales, enharmonic chang- trran~d for two pianos. A real "classic" treat ror recitlll! Adapted general enthusiasm for the forthcoming Festival mg of noles and IIllervals up to and including Ihe octave. Written rom I. ~ C1oncerto in Bb, Ihe second piano music is a reduction or h of Britain. work, work at the keyboard and oral drills. A Master Kcy is included. I e ongllla orchestra. Gude 3.4. 430-40069 .,., •.•..... , .. ' .Book Three ...... ••...... • $.75 According to advance plans, the Festival will open This intelligcntly outlined series continues the fundamentals oC on May 3 with a concert by the BBe Symphony ha~mony (or eye, ear and keyboard in clear, easy lessons up to the Orchestra under the baton of Sir Malcolm Sargent. ~oml where the s~udenl is capable of 4·parl wriling. Oral drills, as Other orchestras scheduled to perform during the In lhe IWo precedlllg books, are impo['lant fealures. Festival site is bombed-out farmer slum area an south bank of River Thames, The London season are the London Philharmonic, Sir 01).,. 1-51 Prices subject to change without notice. large building at lower left is new Royal Festival Hall, focus of music events.
CONTINUED ON NEXT PAGE
I 10 11 l _ ETUDE-,IIAY 19;1 ETUDE-MAY 1951 Adrian Boult and Eduard van Beinum conducting; the The British tradition of choral singing will be upheld World-famolls performers will be heard London Symphony Orchestra, Sir Malcolm Sargent con. by four performances a week throughout the Festival season. ducting; the Philharmonia Orchestra, Rafael Kubelik COn. at concerts during the Festioai of Britain Choirs from London, Huddersfield, Glasgow, Wales and ducting; and the Royal Philharmonic Orchestra, Sir Thomas Yorkshire will participate. Choral works to be heard include Beecham conducting. Bach's '1St. Matthew Passion," "St. John Passion" and B Orchestras outside London are preparing special programs Minor Mass; Beethoven's "Missa Solernuis" in D Minor; the for the London season. They include the Bournemouth Brahms "Requiem"; "The Apostles," "The Kingdom" and Municipal Orchestra, the City of Birmingham Symphony "The Dream of Cerontius" by Elgar; Handel's "Messiah" Orchestra, the Halle Orchestra, the Liverpool Philharmonic and "Acis and Galatea"; Haydn's "Creation"; Mendels- Orchestra, and the Yorkshire Symphony Orchestra. sohn's "Hymn of Praise"; Verdi's "Manzone Requiem"; Chamber orchestras and string orchestras appearing at "Belshazzar's Feast," by Walton; and "Sancta Civitas" and the Festival include the Boyd Neel Orchestra, the Jacques "A Sea Symphony," by Vaughan Williams. String Orchestra, the London Charnbcr Orchestra, the
London Mozart Players, the lew London Orche tra, andthe ALLET WILL BE STAGED by the Sadler's Wells Company, Riddick String Orchestra. B headed by Margot Fonteyn, Robert Helpmann and Opera, too, will be represented at the Festival. Covent Moira Shearer. Garden will offer Wagner's "Parsifal" and his "Ring" During and after the London season, other Festival of cycle, with Kirsten Flagstad and t vanholm in leading Britain activities will be taking place in Aberdeen, Alde- roles; Gluck's "Alee t "; anc1the world pr mi re of Vaughan burgh, Bath, Bournemouth, Cambridge, Canterbury, Chelten- Will iams' "Pilgrim's Progress." ham, Liverpool, Norwich, Swansea, Worcester and Edin- Festival conductors will be headed by Sir Thomas Beecham, left, Sir John Barbirolli, right, and untitled maestro Bruno Walter, below. The Sadler's Wells Til ntre ofT rs "Don arlos" and burgh. "Simon Boccanegra," by Verdi; Vaughan Williams' "Hugh The Edinburgh Festival, one of Europe's leading summer the Drover"; Wolf·Ferrari's" cbocl f r roth rs" and "Dido music events, this year will present the leading English and Aeneas" by Purcell. orchestras and a guest appearance by the New York Phil- The Lyric Theatr of Hammersmith will present four harmonic-Symphony, conducted by Bruno Walter and
operas by Benjamin Britten: u lbert Herring"; 'The Rape Dimitri Mitropoulos, and with Robert Casadesus, Zino of Lucretia"; "Let's Make an Op fa"; and "The Beggar's Francescatti, Dame Myra Hess, Rudolf Serkin and Solomon Opera." as soloists. Other artists to be heard at Edinburgh are Kath- The Savoy Theatre will present it world-famous per- leen Ferrier, contralto (with Bruno Walter at the piano): formances of Gilbert and ull ivan operas, and at nearby Pierre Bernac, bad tone with composer-pianist Francis Glyndebourne, Mozart' "Don Cia' auni," "Marriage of Poulenc at the piano; and Mack Harrell, American bari- Figaro," "Cosi fan tutte" and "Idomeneo." tone. THE END A potent lure for travelers to the Festival of Britain are Engtand's -, historic churches, abbeys and castles, many dating back to the Middle I Ages. This is a river·front view of celebrated Worcester Cathedral.
Composer Benjamin Britten will be honored in a special presentation of four of his operas by the Lyric Theatre Company of Hammersmith . •
En91and's countryside is dotted with famous Cross~sec.tion of model shows . ' For over half a century, the Albert Hall has been London's Violinist Zino Francescatti is one of many' wer-ld-femeus artists to landmarks, like ancient Moot Hall at Aldeburgh. vibrations hall' " d construction of new restival concert hall. To minimizenOIsy be heard at Festival as recitalists or soloists with orchestras. • IS suspen ed" In. space l-Ike modern broadcastinC] studios in this country. finest concert hall. Top Festival events will be heard here.
12 ETUDE-MAY 1951 13 ~------ETUDE-MAY 195/ "New York's FinestH sing to
prevent traffic accidents, to welcome Theres the one and only objective. You, as a player, are therefore the impersonal intermediary • visiting dignitaries, OJul between the composer and the listener, even when the listener is only yourself. just for the fun of xingin" MUSIC Such a point of view will eliminate all foolish notions that your auditors are all agog to pounce upon your mistakes or be- By ROSE HEYLBUT little your interpretation. Those who have in your piano such an attitude in listening to you are either inconsequential musically, or un- friendl y personally. As a third obstacle, there is the belief Street, Glee Club work is strictly an extra- COMBATING juvenile delinquency that the ability you possess to recreate IN curricular hobby. A good instrument is a lasting source 0/ pleasure- as well as traffic hazards, New York City's the pages of a great master is so slender The Glee Club's greate t problem is fit- Police Department makes its strongest ap- that you are quite presumptuous to allow tins rehearsals in \ ith patrol duty. The Why buy one and then allow it to gather dust? peal through music. e others to hear your modest efforts. After nine rehearsals a month, held in the men's He-man cops from "New York's finest" hearing concerts, radio programs, and re- free time, must I chcdulcd according to visit the public schools, entertaining with cordings by famous concert artists, it is when they come ff th ir bats. Except for By ROWLAND W. DUNHAM songs and driving home their safety mes- natural to have such a feeling of timidity. school duty, civic iuauzurutions. municipal sage with special jingles. The children are Several considerations should be borne welcomes, cic., th ir public performances rapturous, the results are impressive, and in mind here. At a concert, the large audi- also ·omc out of th ir free time. the school authorities send in urgent reo NTHOUSANDS of American living rooms liest works are of such simplicity that torium obscures many of the finer details These public J rformnn ·cs are chiefly quests for more vocalising. there is an object designed and pur- shaky technical equipment can handle them of any pianist's art. Nearly any virtuoso departmental charitable functions. The The singing cops are chosen (rom among Ichased for a particular purpose. It costs adequately. Such varieties of moods and will tell you that under such conditions, Glee lub ent rtain ut the annual ball of the thi rty-nine members of The Glee Club about as much as a good automobile. It is styles are available that a lifetime is too the style has to be on a large scale, with the Pol! em n's en vol nt Association, at of the Police Department of the City of New usually a beautiful piece of furniture, fre- short to try them all. the nuances exaggerated in the hope that departmental affairs. It also' i its Veterans' York. Their average length of service on quently in a "period" design, with every There are curious reasons behind our they will get across reasonably well. These llospitals and ity Institutions. It he pro- the force is 15 years. The Glee Club itself appearance of being important in the life hesitation to explore this treasure of sound. artists would much prefer to play in an is nearl y 40 years old. vided mu ic nt Euchar i..tic ongresses. of the family. Only, this is not generally The first deterrent to the layman is the auditorium seating about 600, where a more The Department is sometimes asked Once a month it broadcasts o'er the City true. Music is seldom heard emanating fear of playing wrong notes. Here is a intimate type of playing is possible. whether the blue-coated, brass-buttoned Radio Station. I chief activity is 10 ing from its interior. nightmare that confronts even the greatest In performance, a virtuoso is sure to be warblers are stand-ins, dressed up for the al departmental religious fun 'lions of all The piano has long b~en the household virtuoso. When combined with the problem better than most amateur attempts. Re- sake of an effect; or, if they have depart- denominations. The lub sines in English. instrument. Many boys and most girls have of memorizing, the difficulty of avoiding member he is, after all, a professional, mental status,' whether they are reserved Latin, and Hebrew, Following xaclI~ the more or less reluctantly undergone periods such mistakes is almost insurmountable. keyed up to the very best effort he can exclusively for musical work. The answer prescribed services of the I rot tanto Cath- of lesson-taking for the purpose of learn- Such errors, however, need not be dis- give, and for a sizable fee. He is fully is a vehement negative. olic, and Jewish faith . Its r pertoire in- ing to play. Later, as heads of families, turbing. Some of the most brilliant artists prepared, as the amateur should be also. All Glee Club members are regular c1udes Requiem Ma ses, lIi-h Episcopal when they install pianos in their own are prone to misplace fingers. Paderew- When you play before an audience, be sure patrolmen, on beats from traffic or patrol services, and H brew memorial liturgies. homes, the skills acquired so laboriously ski's wrong notes were notorious. Yet his that your preparation has been adequate, squads of the various precincts. Some are I ts secular repertoire i made up of classi- are rarely applied to the piano they have ability to reflect the intention of the com- and that the composition is within your' trained singers with a background of choir cal, operatic, and popular song~. sung in bought or inherited. As their children be- poser with authority established his indis- ability. The fumbling essay by a layman and hoy-soprano work; a few are skilled English. come old enough, they in turn take lessons, putable supremacy as an artist. to wade through some piano piece far too musicinns ; most of them simply love to \Vhen the boy" bo dreams of becoming practice more or less regularly, and then When a wrong note is struck, there must difficult for him is uncomfortable for all sing. All of them joined the Glee Club be- a pol iceman gels old enough to join the proceed to forget what has been learned. be one of two reasons. Either the pianist concerned. Keep within your capacity. cause they find satisfying self-expression force, he fills out an admittance applica- Why is it that so many people buy pianos does not know what the note is, or he does Some of the finest music is simple and in a male chorus. Although many rehearsals not know where it is. If these errors are tion on which are que tions onceruing his and then proceed to ignore them? The an- unpretentious. take place in thc Police Academy on Hubert A fourth item is the question of speed. music interest. 1[ (Continued on Page 49) swer may be that most of us are lazy. It detected in practice, it is necessary to is so much simpler to turn on the radio determine the causes and correct them in- In preparing for concert playing, the pian. than it is to sit down at a keyboard to telligently. ist develops a superabundance of dexterity transform the characters of a printed page Secondly comes the matter of self-con- which he is tempted to show off at every to a musical result. Coupled with this in- sciousness, or stage fright. This handicap opportunity. In .concert playing, there is ertia is an understandable timidity in at- may be present in playing for a small a growing tendency to play at a breakneck tempting the performance of piano music group, even one's family. When playing speed proving the performer the equal, if so much more effectively available through alone, the possibility may occur that some- not the superior, of any other virtuoso. a mechanical medium. body is listening somewhere. For the amateur to try to approach these But this negative attitude robs us of Many timid pianists have the utterly velocities is absurd and inappropriate. many hours of pleasure. Piano music is in erroneous notion that to play a piece 00' There is music in your piano. Why not many ways the most satisfactory in all the piano is a sort of personal exhibition. help it to escape? You will give yourself literature. Almost every great composer Nothing could be farther from reality. To pleasure, and aid the cause of music. The has written great works for this responsive perform a beautiful piece of music is to hope of music in America lies in the and effective instrument. Some of the love- reveal the feelings of the composer. This is amateur. THE END
14 ETUDE-MAY 1951 15 ETUDE-.IIAY 19j1 Frank Friedrich is a salesman with more than 30 years of selling • all parts of the nasal cavity, including the experience. In his spare time he teaches piano. Here he describes how the The singer's VOIce sinuses, is a continuous layer of tissue. Another very frequent cause of swell. ina of the lining of the sinuses and of the basic principles of selling can be applied successfully to teaching. • e nose is the general condition known as all. and the SInuses ergy, of which hay fever is a familiar ex. ample. As a result of frequent repeated attacks o l allergic reaction, the lining of of the nose the nasopharynx and often also of the sinuses undergoes an overgrowth in the lEACHING IS SELLING form of tabs of tissue of various sizes, known as polyps. These polyps may multi. ply so that one or more of the sinuses is Healthful sinus conditions are essen- entirely filled by them, lind is obliterated. By FRANK FRIEDRICH Infections of the nose and throat often tial to a resonant, musical singing tone. extend within the sinuses, and the cnviti. tics so affe 'ted bee me lillf'cl \\ ith purulent By ALBERT P. SELTZER, M. D. secretions, or pus. If th draining passage- ways arc closed by J';\\clling. there is a con· STUDENT ill one of my piano classes showed 2. Know your product (the subject you are teaching). dition similar to ab s [ormation, as in A. unusual promise after only a few lessons. I was happy she other accumulati us f pUE'. had come to me for instruction. We were discussing her Most teachers, we may quite safely assume, are ade- Any infection in the nasopharynx and HERE ARE MANY INFLUENCES that the mea concerned is surrounded hy a progress one day when I learned why she had left her quately informed concerning the subj ect they are teaching. in the sinuses is always a threat to the wel- determine the qualities of the hu- complete ring of separated, air-filled cavi- previous teacher. This second principle need not worry them. But many fare of the larynx. and parrirularf to the Tman voice both in song and in ties. These cavities are the nasal sinuses. She had been receiving adequate instruction: she told me, teachers fail to understand the pupil's needs, or to look upon vocal cord. Th infected secretions tend speaking. All these factors are of special By means of narrow passages, or ducts, but with it there seemed to be little incentive to improve on the subject they are teaching from the student's point of view. to stream downward and tissues within the interest to the singer. the sinuses are directly in connection with her mistakes or to gain a background of musical knowledge. A third principle is just as important. ... Sound is the effect of vibrations on the the main cavity of the nose, which lies over larynx arc afT t d in this '\ny. This action I recognized from what she told me that her former teacher hearing apparatus of the ear, which is in the entire roof of the mouth. takes place rno t asily durine ~I ep, when had been what the selling profession calls an "order taker." 3. Keep control of the interview (lesson). th re i less coughing to remove excess turn closely connected with the brain. Some writers, apparently, without ade- This teacher had not been actively selling a music educa- No matter how much the customer (pupil) may wander secretions from th thr at. and they may Vibrations constituting voice are trans- quate study, have expressed the opinion tion. He was supplying information Trom his storehouse of from discussion of his problem, the salesman (teacher) Iall to drain into th so] hagus. as they mitted to hearers by air, but for the owner that these air pockets are too small to knowledge only upon demand ". must remember that the purpose of the interview (lesson) of the voice, if there is normal hearing, affect the voice. This attitude is not gen- normally do. The profession of selling has been greatly maligned in is to make a sale. Casually and diplomatically he must direct the effect on the auditory nerve is achieved erally held, however, and the reason for song and story: but actually, salesmanship is a necessary the train of thought back to the subject at hand, making both by air and by bone conduction. One this can be seen clearly by careful ana- Less (Jltell~ Iortunet Iy. the sinuses adjunct to all human relationships. It makes us want to do each point definite and making it in terms of the problem tomical examination. new may he entirely deaf for air vibrations and are invaded by malignant gro\\1h, the things that must be done, and it opens our eyes to new under discussion, no matter how far afield the conversation still hear his own voice naturally and dis- Averages of actual measurements of the familiarly known a an cr. The..1OCgrcwtbs possibilities for more abundant living. It creates goals may have strayed. tinctly through the vibrations transmitted sinuses demonstrate that these variously- may have the same effect of filling the sin- toward which we can work and adds pleasure to their And finally, when the customer has made up his mind .... by the hones of his skull. shaped pockets surrounding the naso- uses as the more harmless pol) ps do. accomplishment. pharynx amount altogether to about four When the sinuses are not normally air- III everything we attempt to do we are salesmen: selling 4. Know when to stop. These vibrations in vocalization arise cubic inches of air-filled space. They ac- filled, they lose their resonating power, our personalities in terms that are pleasurable to our asso- Many a sale has been lost because the salesman (teacher) in the larynx, where the vocal cords, under tually form a resonating chamber about and the singing voice becomes Aat and ciates. As teachers we are selling our knowledge as well as kept on with his sales talk long after the buyer (student) varying degrees of tension, respond to the the pharynx, into which the vibrating air colorless. When 3 vibrating tuning fork our personalities for cash. When we can make our students had accepted the point. passage of air from the lungs in breathing. passes from the larynx and vocal corcls is placed over an airless sinus. the vibra- want what we have to offer them as a means of achieving a The lungs act as bellows, forcing the air under pressure. There is some variation of lion is transmitted inward instead of being goal they believe to be their own, we are salesmen just as A good salesman (teacher) always studies his failures. upward, with the aid of the diaphragm, the size of the sinuses in different people, reflected outward as r onance. This change much as the person who is ringing doorbells or canvassing He learns more from them than from his successes. He through the larynx and vocal cords under and the effect on the voice must differ can be recognized by the singer. The writ- industry looking for sales and profits. should ask himself, "Where in our talk did I let the inter- varying degrees of pressure, all controlled accordingly. er's experience indicates that disorder in- Every man believes that his business is different from that view (lesson) get out of control? What indication of my by the singer. This consideration of the sinuses is volving frontal sinuses causes the great. of every other man, and hence his problems are a little differ- customer's (student's) interest in my product (subject) did The stream of air expelled in this way necessary to an understanding of the 'irn- est voice change; a normal condition of ent too. It is the salesman's job to discover each man's I fail to recognize? At what point had I made the importance through the larynx passes upward into the porLance of their being in a healthy con- them all is of particular importance in problem and then help to solve it: finding the way by which of my product (subject) clear? Should I have stopped pharynx, which is a continuous part of the dition for successful tone-production. voice production, to assure a resonant and his product or service may be applied toward the solution. talking about it then? How can I explain my product more respiratory tube, lying directly behind the musical quality. In doing this the salesman must make the buyer want the simply?" And so on ... always in terms of the customer's mouth and the inner cavity of the nose. The sinuses are subject to a number A singer should always seek early and product or service more than he wants the money it costs. (student's) needs, interests and goals. The stream of vibrating air, to pass out- of different abnormal conditions. When suitable treatment of any disorder arising When he has done this, he has made a sale. The teacher has an advantage not all salesmen have. He ward through the mouth, must be turned at one has a "cold", there is the familiar sen- in or about the nose and throat since the As the techniques of selling have evolved during the can make his student aspire to newer and more interesting right angles to its direction as it enters sation of stuffiness, which means swelling sinuses may become involved. A speedy course of many centuries, certain principles of salesmanship goals because he is working with a growing, questioning the pharynx. This means that it must of the lining of the cavity of the nose so cure leaves behind little if any enduring have become recognized as basic. And these may easily be and changing personality. He can help establish the new strike with added force upon the upper that the air does not pass through easily, effect, while delay in treatment may mean applied to teaching. goals and make the student believe they are his own. extremity, or vault, of the nasopharynx. or there may be complete obstruction. This a degree of tissue change that can perm· That kind of teaching is SUPER·SALESMANSHIP. This part of voice production is of state of swelling in the nose often extends 1. Take a genuine interest in your customer (student) anently alter the parts concerned with SUC' THE END particular significance in singing, since also into the sinuses, since the lining of and his problems. cessful voice production. THE E~iD
16 l _ ETUDE-MAY 1951 ETUDE-MAY 1951 ------~17 BAND AND ORCHESTRA DEPARTMENT URING THE PAST twenty years the D progress of school and community music programs has been a source of great pride and satisfaction to teachers, rehearsal students and patrons of music everywhere. Planning a choral Nevertheless, while acting in the capacity of guest conductor, adjudicator and clini- cian for instrumental festivals and con- rected by the leader, who calls attention to tests in most of the states of our nation, I FOR BEST RESULTS, EACH STEP SHOULD the fact that they are the same simple in- have found myself constantly asking this tervals the choir has sung in other numbers. question: BE CAREFULLY MAPPED OU,T IN ADVANCE. Next anthem No.4 is placed in the folder "What are the fundamental weaknesses and anthem No.3 is taken out. This is the in the performances of this country's thou- third rehearsal {or this number, and time sands of community bands and orchestras, By John Finley Williamson values and intervals have all been cor- and in which elements are they most con- rected. Now the diction hould be given sistently deficient?" The big problem facing most particular attention. 1£ the leader, on first A careful study and thorough diagnosis reading the text, was careful as to diction, of the results shows that they have come community bands and orchestras is he will find that the greater part of what far in their technical and interpretative he desires in diction will have already been achievements. Most of them are technically how to achieve good tone. Here's an o CONDUCTOR nor choir can get very shading and rhythm. Because the singers accomplished. All vowels should now be proficient, and such elements as notation, far without a definite rehearsal are so familiar with this number they soon sung with the exact pronunciation that the improvement program worth trying. N . plan, and since the functions of lose the weariness that comes at the end rhythm, articulation, dynamics and ensem- dictionary gives. consonant hould be the drill master and choir director, though of the day and begin the rehearsal with All ble have been greatly improved; yet all crisp. AU articles, conjunctions and un· very different, usually rest upon the same enthusiasm and verve. evidence points to the fact that the vagaries accented syllable should be subordinated. person we shall consider a plan for rehear- of tone production have yet to be conquered. Too many times we hear "Christ The Lord The most valuable asset of a musician's sals which will recognize that for one part The next anthem, to be considered is By WILLIAM D. REVELLI of a rehearsal period the individual in anthem No.5, which the choir has never is Risen Today," and "Holee, Holee, Holee, equipment is tone quality. Since no musical charge is the drill master and for the seen. Before the choir members take this Lord God Almighty." If the music the sound which is lacking in quality, purity choir is singing is good music the accents other part he is the conductor. number from the folders the leader (who and clarity can be considered a true musical I have always found that it is best for has now turned drill master), asks them to in the words and the accents in the music tone, it behooves us to give proper em- in our teaching and rehearsing is the fact stands or sits erect, both feet on the floor, singers to have particular chairs which they relax and close their eyes while he reads the will be in accord and a new under tanding phasis to this important element of our that no number of repetitions of a given chest high, and head up, he is able to occupy at every rehearsal. They should be text of the anthem with the moods he ex- of rhytlunic flow, ill come to the choir. performance. tone nor years of practice will improve its breathe freely and naturally. seated according to the parts they sing, and pects them to use when they sing the an- tone quality, unless there is evidence of Breath is the motive power of the wind because a choir is seen before it is heard them in service five weeks hence. After the Again anthem [o. 3 is placed back in Technical facility is primarily a me- concentrated listening and understanding instrument player, and good tone quality they should be seated according to their leader has finished reading, choir members, the folder and anthem o. 2 is taken out. chanical reaction which, through constant of the factors concerned with proper tone is largely dependent upon the player's height and the color of their hair. If the with eyes still closed, listen to the organist The leader here is certainly a conductor. repetition and practice, can become a sub- production. In view of these facts, Per- ability to properly control his breath. Just choir sings eight-part music it is wisest to play it with the same interpretation that He should begin reading the text with the conscious action. Yet, we must emphasize haps we might ask ourselves this question: as a violinist cannot adequately express have the octaves in the middle, the second will be used in performance. If the leader mood he will use when he conducts the to our students and all musicians under What are some of the ph ysical factors himself without control of the violin bow, basses in the rear, the first sopranos in and organist are two separate people, the number, and from then on the choir must our direction, that technical skill and rou- to be considered in the development of a neither can the wind player produce and front of the second basses and both to the leader must see that his organist is never watch his every movement and expression. tine knowledge is of no value if the tone tone of good quality, and which will serve control a tone without accurate control of right of center, the first tenors in the rear asked to sight-read a number but that he Up to this time he has been more or less is weak and of poor quality. as an aid in assisting us to produce the the breath stream. and the second altos in front of the first has ample time to prepare it. The choir is beating, or, if you wish, tapping time, but The problem of playing. with good tone tone which we see, hear and feel? An exercise in correct breathing follows: tenors and both to the left of the center, now prepared to take the music from the now he conducts. The choir mu t from his quality will best be solved if we will first Stand erect. Place the end of your thumb the baritones to the right of the second folder and sing through it softly following preparatory beat get the mood, breath and realize that proper tone production can be Selection of the Instrument. The first on the pit of your stomach. Exhale, grad. basses, the second sopranos to the right of the organ. pace. He does not lead them. he conducts achieved only through the development of factor necessary to the accomplishment of ually pressing the thumb in against the the first sopranos, the second tenors to the Upon the completion of the choir's sing- with them, and they sing with him. He is correct mental and physical concepts. It good tone quality is the certainty that the stomach while doing so. Now inhale slowly left of the first tenors and the first altos to ing of anthem No.5, it is returned to the neither ahead nor behind the group. They is of further importance that the performer student has chosen, or has had selected for and deeply, expanding the waistline-you the left of the second altos. Within this folder and anthem No. 4 is taken out. The are all moving together in the re-creation realize good tone quality can never be a him, the instrument to which he is best will notice your thumb being pressed out- seating each row should be arranged in a previous week this number became a sub- of the music as the composer intended it. part of his musical equipment until he has adapted both physically and mentally. This ward. Keep the chest high at all times, and pleasing curve. conscious p~rt of the singers as they heard The text suddenly takes on new meaning the ability to perceive and sense the color problem deserves serious consideration, for pay particular attention that it does not the text, and listened to the music. The to choir members because now they sing and image of the tone which he is about in many cases we find students attempting droop 'when exhaling. Each singer should find on his chair a approach to all music should be with the not the dictionary's meaning of the words to produce. It is only through this con- to perform upon instruments to which they Many players breathe from the chest folder marked with his name and contain- ears and not with the eyes. The drill master but the poet's meaning. ception and appreciation of tone that he are entirely unadapted. Granting that a and fail to properly support the breath line; ing the music for the next five weeks' re- now allows the choir to sing with a little This pattern covering five numbers can will improve the quality of his tone. student has selected that wind instrument as a result, the playing becomes laborious hearsals. We know psychologically that it fuller tone than he did the week before. just as well he expanded to ten or twelve, It is for this very reason that all musi- for which he is best physically adapted, and too much pressure is exerted upon the is always wise to work from the known to He is on the alert for mistakes in time and depending entirely upon how many numbers cians who would improve the quality of our second concern, then, is the develop. embouchure. It is most important that the the unknown. Therefore the first number intervals. If there are mistakes in time the are in preparation. The wise leader should their tone make every effort to hear the ment of breath control. performer be certain that the air pressure to be sung should be that which is to be section that makes them, or the entire choir know how to secure a var-iation in the re- finest performers and the best of music is not resting on the muscles of the chest, used at the next service. Naturally this is if all are at fault, claps the time values hearsal period so as to create the greatest as frequently as possible. It has been aptly Breath Control. Good posture and P?- but on those of the ribs and diaphragm. the fifth week this number has been reo vigorously to the organ accompaniment. interest to the choir members. It has al- stated that "a man is known by the com- sition are absolutely essential to the secur- This manner of breathing will in a short hearsed, so the leader will certainly be able As soon as the corrections are made they ways seemed to me that a two-hour rehear- pany he keeps"; likewise, "a musician ing of breath control. A slouchy, careless time enable the student to breathe auto- to conduct it since the choir is by this time should again tap the time-values without sal period proves most effective. It is might well be known by the tone he keeps." position is usually the first obstacle in the matically from the diaphragm. The student thoroughly conversant with music and text, the organ in a forward~moving rhythm. absolutel y necessary that the rehearsal start Another important point for emphasis production of good tone. If the student must be taught to (Continued on Page 48) and can follow his interpretation through If intervals are wrong they should be Cor- and stop at exactly (Continued on Page 56)
19 18 ETUDE-MAY 19j1 ETUDE-MAY 1951 --~---
THE IMMORTAL "TRIFLES" OF would never go over with Americans, Producer Montgomery Field staged Pinafore in Boston on November 25~ 1878, and touched off a fantastic mass craze. "At present there are 42 companies playing Pinafore about the country," an American GILBERT & newspaper reported a few months later, adding, "Companies formed after 6 p.m. yesterday are not included." Barrel organs were built to play noth- ing but Pinafore music. Scenes from the operas adorned china, women's apparel, advertisements. SULLIVAN People spoke in Pinafore quotations, the phrase HWhat never?" "Well, hardly ever!" becoming an obsession. One U.S. newspaper editor, finding "hardly ever" no less than 20 times in one evening edition, announced that any writer using it in the future would be fired on the spot. Neither time, tide nor the Luftwaffe could hlllt Bra all uJflsn't beer and skittles in the world the rollicking progress of the Savoy operas. of Gilbert and Sullivan. Author and composer were not exactly congenial. Although most people imagine Gilbert and Sul- BY ANN M. LINGG livan as jolly Siamese twins, having the time of Sir Arthur Sullivan their lives setting witty words to clever music, in William S. Gilbert reality their temperaments clashed from the start. Gilbert, a cynic, mocked everything in sight. It amused him especially to aim his waspish wit at the sensitive Sullivan, preferably in the presence caricature of Oscar Wilde). Ladie who appear in edver- OR ElGIIT SUCCESSIVE NIGHTS in May 1941, Nazi of others. Once, when Sullivan asked Gilbert's opin- tisements wiU probably always feel as unembarrassed about bombers set Liverpool's waterfront ablaze and pow. ion of a new song then in rehearsal, Gilbert re- being paid for their endor ements as d es the Duchess of Fdered its business district. Life in the city came to a plied, "I know nothing about music. I merely know Plaza Toro in The Gondoliers. And lines like '~I always voted virtual standstill as death rained down from the sky. Yet that there is composition and decomposition, in at my party's call, and I never thought of thinking for myself through those terrifying nights one bit of business went on other words, rot, and that's what your song is." like clockwork. London's D'Oyly Carte Opera Company at all," from H.M.S. Pinafore, seem likely 10 bring an ironic Sullivan, a recognized member of society's upper t ffl 4'" em" c was in town to do the comic operas of William Schwenk guffaw forever. Gilbert and Arthur Seymour Sullivan, and neither the un- The Gilbert and Sullivan partner hip had its start when CONTINUED ON NEXT PAGE Pro9ram souvenir from the Eighties showing principal charocters of "Patience" afraid actors nor the fun-starved audiences would be denied. Gilbert, disgusted at having had a brief opera text turned In the antic performances of Gilbert's witty lines and down by an impresario, encountered another impresario, Sullivan's sprightly times, reminders of Queen Victoria's Richard D'Oyly Carte, on a London street. Carte was hav- days of glory, the inhabitants of this battered city found ing his troubles, too. His next production, a French oper- comfort and hope. There would always be an England. etta, had turned out to run short. He needed a light cur- It looks as though there will always be Gilbert and Sul- rain-raiser, no longer than an hour's running time. Could livan, too. For 76 years parents have been taking their Gilbert produce something quickly? 1£ so, perhaps Arthur children, and children their parents to hear The Aljjkado, Sullivan, composer of "Onward Chri tie» Soldiers" and The Pirates of Pensance, H.M.S. Pinaiore, Patience and "The Lost Chord," could be persuaded to write music for the rest. Since Trial by ]nry, a breezy little item prepared it. Gilbert was skeptical. He and Sullivan already had done as a curtain-raiser for another production, stole the show a comic opera together and it had been a flop. in London's Royalty Theater on March 25, 1875, the rol- licking operas of this partnership have become the greatest A few flays later, however, Gilbert read his previously box-office success in stage history. Forgotten are the 70-odd rejected opus to Sullivan. Sullivan was delighted with it plays which Gilbert wrote by himself; forgotten are most and took just two weeks to put it to music. When the col- of Sullivan's tremendous output of serious music, while the laboration, Trial by Jury, proved immediately successful, operettas which they both considered "trifles" have become Carte felt he had hit upon a team proposition of unique classics, a tradition, a cult. promise. Part of the operas' appeal lies in what has been called Now Carte persuaded Gilbert and SuUivan to try a "The Gilbertian situation, an absurd state of affairs arrived full-length feature. The Sorcerer the collaborators' next at by logical argument." It has defied successful imitation. attempt, ran a resounding six mo~ths. H.M.S. Pinafore fol· Equally characteristic is the exposure of foibles and follies, lowed, and it had a phenomenal run of 100 performances. in settings as remote from real life as fairy tales, that have At this point, oddly enough, the people of the United States been peculiar to man since time immemorial. took over, and really got the Gilbert and Sullivan avalanche Bobby-soxers are sure to sympathize with the Rapturous rolling. fwo early Gilbert & Sullivan performances: left. at the Bijop Theatre in Boston; right, the quintet from "The Gondoliers" at the Savoy Theatre in London. Maidens in Patience who swoon over "esthetic" poets (a In defiance of British experts who predicted that G&S
'fAY 1951 ETUDE-ilIAl" 1%1 21 20 ETUDE-" ·1 h had decided where every actor shouldstano stage untI e h d . ment and how many steps e nee ed to reaclt at a gIven me , d each new POSIitiIon . Casts were rehearse to. exhaustion.' ORGANIST'S PAGE censored (if not fired), no gaggmg was per. reesbeurI tly milled. I hi k Stop, Open Gilbert was fairly polite as ong as IS actors nuckJed
under Oth erv. vise he could be bitterly sarcastic, HNeva The proper voice of the stop is a combina- . d· d ar" he once said to a self-satisfiedyounn ITIln ,my e , . . I " . ~ tion of pure organ-tone with a bright string- idn't follow 'inatr uctrons proper y. ObvlOus]j actress Wh 0 d • " tone in due subordination; the later impart. lttaesa. ka I dy to get it as I want It. . and Reed ing that richness to the foundation tone He was equally demanding about what hIS youngactresses which has won the stop universal approval did in their off-hours. During a performance of Jolanthe among German and English-speaking nen sent a note to the soubrette JessieBond organ builders and lovers. This compound f our young 1 " '. . .' as kimg h er to join them for supper. What IS. It, JessIe?') With this title, Dr. McCurdy joins the Pun voice: in which certain concordant upper Gilbert asked when he saw a messenger deliver the note partials are present, is extremely valuable backstage. "Read it yourself," ighed Jessie. . of the Month Club ... and describes the 20 organ in knitting together an ensemble. Before the unbelieving ey of a pa ked audience,Gil· HOHL FLUTE-This name, which means bert stormed into th young men's box. "There are three stops most frequently asked about by ETUDE readers hollow-toned flute, is used to designate an \vays for you to get ut f here! It h roared at the bewil· open stop of 8 ft., 4 fr., and sometimes, dered Don Juans. "Eith r you go of your own accord,or 2 ft. pitch, the pipes of which are of large I shall call the police, or Mi B n 1 "ill appear beforethe By ALEXANDER McCURDY scale, made, in the most charncteristic ex- curtain to announce that th show will not continuewhile amples, of wood: and voiced to yield a full, you are around!" somewhat dull: and hollow tone, which has Left: Program for "Iolanthe," as performed by the D'Oyly Carte ?pe:~ Compony at the Savoy Theatre in 1882; right. contemporary dra~k,n9d .. The gentlemen left, but "The avoy Boarding hoof' suggested its name.
II on "The MI a e, the trio. "Three Little Maids from School Are We , as seen I became juicy conversation f del r for London's youngbllch. HORN DIAPASON-The name that has has pipes of plain cylindrical form. This Meanwhile, the gentle ullivan wa something of a man EVERYBODY KNOWS that the title been used to designate a metal stop, of 3 stop is usually made of tin or alloy: and of mystery, Always ready f r a holiday, working only of this article covers the three main cate- ft. pitch: the pipes of' which resemble ill gories of organ pipes-stopped pipes, open when artistically voiced yields a string. formation and scaling those of the true & CONTINUED under pressure of a commi si n or hi expen ive tastes,he GILBERT SULLIWlN tone of great delicacy and charm, strongly was seen rarely around th th at r. He mode and lostfor· pipes and reed pipes. Nobody has the Diapason, but which are modified in tone 'I resemblina that of the old orchestral Viol tunes at the gaming table and the tra k , was prouderof slightest difficulty in identifying a Diapason o by being boldly slotted and slightly in- or Vox Humana. da Gamba. creased in length. The effect of the slotting !I crust, . which Gilbert was not, flinched under such crude- picking a winning horse than of The Mikado. Gilbert.who There are other stops, however, which, ECHO SALICIONAL-The name found on is to introduce certain harmonic upper par- ii ness. Monocle gleaming in his olive-skinned, chubby face, often had to trace hi composer to II swank Rivieraresort, to judge from the mail received in this many organs built in America: designating tials into the pure organ-tone belonging to sneered at such" nobbi hne I \ ith a mixture of jealou5Y he would run to Carte to complain. Carte would try to a stop of the Salicional class yielding a soft I department, are confusing to many organ- the normal Diapason: changing it into 3 soothe the composer and admonish the playwright, while and disdain. I ists. All sorts of queries come in regarding and clear string tone, useful in soft ensem- somewhat stringy quality. racking his brain for some scheme to keep his team in har- the terms used by builders these days. ble combinations. LARIGOT-A mutation, harmonic-corrob- ness. At last, he made them sign a partnership contract HAT THE TEAM di In't break up ooner than it did Many people are confused by the German ERZAHLER-This stop was invented by orating stop: of 1 1/3 ft. pitch on the man- which required them to supply a new opera to him, on was rema rkabl I for ev n Qu n Victoria took~ides, T names for stops. Others inquire about the Ernest M. Skinner the great American or- uals and 2 2/3 ft. pitch on the pedals. six months' notice, whenever he called for one. Looking on Sullivan a the p tcntial creator of natiensl sound of certain stops, the formation of ean builder of Boston. It is an open metal Lynnwood Farnam was so fond of this The collaborators developed an ingenious system of work- English opera, she dubl ed him a knight in 1883. Atthe o the pipes and the pitch of harmonics such stop of 8 ft. pitch. He invented the stop in particular harmonic that he often moved ing together with a minimum of personal contact. First, same time she made it clear that she was not amusedby as the Larigot. 1904. The Eraahler is similar to that of the the pipes of a 2 ft. piccolo along the chest Gilbert would write the plot like a story, sometimes re- Gilbert's nasty lines about middle-aged ladies and his o. With the classical organ coming into its Gemshorn in being conical in shape; but to speak the fifth. writing it a dozen times until it could be broken up into vious disrespect for British in titutions, A.fter all, hebad own again, we should see more rather than differs from it in having the diameter of its acts and scenes. Then he wrote the song texts and mailed mocked the law in Trial by Jury, the clergy in The Sorce,", QUINTATEN-The name is derived from fewer of these names coming into general top opening only one-fourth of the diameter them to Sullivan, who would reduce the verses into dots the army in The Pirates of Penzance, the House of Peer~ the Latin words quintam tenentes (holding usc. Organists who wish to keep up with at its mouth line: in being slotted near the the fifth), and properly is applied to cov- and dashes, memorizing the rhythm until the melody came. in l olanthe, women's colleges in Princess Ida. And in PiM" what is O"oinO"on may therefore find the o 0 top: and having a mouth width equal only ered stops which yield compound tones, in And while Gilbert labored at his dialogue, sometimes fore he had even ridiculed the Royal Na\'Y. Staid London following information useful. I am listing to one-fifth ef the larger circumference of which the second upper partial tone is al- sketching costumes in the margin, Sullivan would finish the was thunderstruck at Gilbert' thilll)'.,"eiled satire in thl5 the 20 stops most frequently asked about the body. The tone of the stop is compound most as pronoullced as the prime or ground score with flying pen. The only time the two really worked production, for the object of hi lUO t stinging barbsll"aE by readers. A It arc common enough to be and singularly bright. tone. An artistically voiced Quintaten is together was during rehearsal before premieres, and even none other than DisraeLi's newly appointed First Lord.of in general use, but uncommon enough to FLUTE OUYERTE-The general name one of the most valuable ensemble stops then the strange partners spoke only when forced to do so the Admiralty, W. H. Smith. Imagine having the Fmt be perplexing, apparently, to many organ- given by French organ-builders to large I know. by the business at hand. Lord sing lines like "Stick to your desk and ne,'ergo I~ ists. open stops, formed of wood or metal: and RANKET-An old lingual stop, of 16 ft. With the profits from the first four operas, D'Oyly Carte sea, and you may all be ruler of the Queen's Na\'ee~ BLOCKFLOTE-The name given to an yielding an indeterminate flute tone. The and 8 ft. pitch, the resonators of which are built London's Savoy Theater in 1881. It became the nucleus Small wonder that at a royal command performanceGIl· open metal stop of the ordinary cylindrical Flute Ouverte is of 32 ft., 16 ft., 8 ft., and short, and closed with the exception of a of the Gilbert and Sullivan tradition, for from here he dis~ bert's name wa omitted from the program. , form, of vcry large scale and usually of 4 4 ft. pitch. J n English nomenclature, these few small perforations near their lower patched touring groups of "Savoyards" to the English Carte's trouble became even more a ute after Sulhran ft. pitch. The tone of this stop is of normal four Pedal Organ stops would be labeled ends, necessary for the egress of sound. provinces, to the Continent, overseas. rose to knighthoOd and decided lhat two aHlietionsl\'ere Aute character. It varies in power in differ· Double Diapason, 32 ft., Diapason, 16 ft., RAUSCHFEIFE-A dual stop commonly Absolute ruler of the Savoyards was tall, handsome, wal- too much for him, an incurable kidney ailment, and Gilbert ent examples. Octave, 8 ft., Super-octave 4 ft. formed of two ranks of open metal pipes rus-mustached Gilbert. He would stand for no nonsense "I have come to the end of my tether." ullivan wrote10 BELL GAl\IBA-A metal stop of 8 ft. pitch, GEIGEN PRINCIPAL-A metal stop of 8 of 2 ft. and 1 1/3 ft. pitch, respectively. from his actors, fined them half a crown for each misquota- Carte. Henceforth, he said, he would devote himselfto tion or departure from stage business. His performances the pipes are in conical form, and of me- ft. pitch, that pipes of which are cylindri- SCHALl\IEI-The name given to a soft serious music, "unspoiled" by Gilbert' dialogue. were high-precision jobs; to figure out every detail in dium scale, surmounted by a slender bell. cal, and of medi urn scale. I ts tone is, as the toned lingual stop, commonly of 8 ft. pitch, A frantic Carte dined him expensively, but SulIil'an." advance, he moved small blocks of wood, three inches high The name was used to distinguish the stop name implies, a combination of organ-tone the voice of which imitates that of the obso- mame. d adamant. His music was too good for tbose n~ for the men, 2lj2 inches for the women, over a miniature from the ordinary German Gamba, which and string-tone, the former predominating. lete instrument (Continued on Page 57) lous fairytale-and-witchcraft (Cantinued an Page 611
22 ETUDE-MAY I' ETUDE-MAY 1951 23 PIANIST'S PAGE VIOLINIST'S FORUlfl Conducted by Hurold Berkley "1 hod rother speaK five words with my under- C Major Sonata (first movement). Condnct standing, that I mighf teach others olso, than first in quarter note loops, then in half 10,000 words in on unknown tongue." notes. Experiment with Chopin's Waltz in of your right hand. If yo.u are not using -I Corinthians 14:19 Do students benefit the Wrist-and Finger Motion (see ETUDE, A-flat, Opus 69, No.2, or any other waltz. November 1945 and April 1946), you Conduct in whole measure (d.) loops. And should acquire it, for it will ensure relaxa- try Chopin's Fantaisie Impromptu, first from class instruction? tion. If those issues of ETUDE are not few measures, using quarter note loops. available to you, try to get my book, "The Adventures Be sure both conducting and playing are Modern Technique of Violin Bowing," in free, flexible and easy. which the Motion is described in detail. But, if the results are to be good, t~e • " ... May 1 ask you how you look upo~" ETUDE for Jnne 1949 had a discussion UlITATIVE VOICES classes must not be too large. Some p.uplls class instruction of violin? As one expen- of the problems of relaxation which also of a plano teacher of mine who teach classes have a contmual enced in school music work, and as having might help you. IANO MU,8IC often contains "mirrors" in headache because they have to teach ten done a small amount of private teaching, As for your left hand, remember that Pwhich a theme, proceeding on its way, or a dozen youngsters in a 45-minute I am conscious of the negative attitude fast practicing breeds tension. I would is reflected or imitated in another voice. period. It is impossible for ~ teacher to many professional teachers have towards recommend that for a month or two you do justice to his pupils or to himself under PART FOUR Do you have trouble with a pupil whose Why do players--even artist-performers class lessons and towards music education practice really slowly, not allowing your- who ought to know better-insist on poking in schools. I have been in agreement many such condi tlons. self to play fa t m re than on e a week, I fully agree with you that class instruc- playing is accurate but doesn't "click?" Or a child who out or emphasizing such subsidiary voices? times with the professional, I hasten to and with, at first, quite a light finger grip. tion should last for only two years. That Have they forgotten that imitation is not add ! However, I believe the work in class Later the strength f the grip can be in- forgets to use both hands? Or a student who persists ui is for the talented and interested student. the real thing? Don't they realize that if instruction and music education is improv- creased. The sence f relaxation in the B~the end of two years the teacher will cer- ing and is showing increasingly good re- left hand consist in u ing only those emphasizing only one theme, ignoring new ones? they call attention to the imitation the con- tainly know what pupils need and deserve sults. . . . Would you or I, or any other muscles nceded {or making any particular tinuity of the melodic line" of the original private instruction, and he should urge teacher, be mercenary if we took, say four note, allowing all other to be relaxed. (and important) voice is disturbed or lost? the parents to provide it. If there are finan- youngsters in a class who might not other- That is, if your second finger i topping An imitation is just a reminder or reo cial objections, then he can with a free By GUY MAIER wise be studying because of finances? ... a note, then the first, third and fourth membrance of the original. Regard it as mind suggest lessons at which there are fin- I know you give master classes in violin, gers should be quit loose. If y u feel that such, and try to "soft pedal" it. It is often but this would be different; it would be two or three-at most four-in a class. There is a school of thought which holds you are making a fist when you play, you enough if you know it's there without with beginners, and only for the first two will certainly be ten e. DO YOU DO when yon have jor, Op. 117, Chopin's Preludes in A Major lambasting the hearer's ears with it. years of instruction .. _ .. I grant you the that class teaching may be successfully WHAT With patience and care your difficulty a student who plays a rapid piece or one and B-Flat Major. Take, for example, the following passage progress would be slower than with private carried on for eight years. I cannot go along with this. If a student is gifted he can surely be ov reo me, though it may of moderate pace accurately, up to tempo, beginning at measure 6 of the first move- instruction, but it would be under an ex- require a couple of month of thoughtful needs the undivided attention of the teacher by memory, with good time, tone and touch, CAN YOU DO THIS? ment' of Mozart's Sonata in F Major pert. What is your stand, may I ask?" practice. Al ove all-pra tice lowly. -A. W. W., Penna. long before eight years have elapsed. yet the piece does not "click"? There's no (K. 332): OW' OFTEN we see a student painfully The class teacher is doing fine work in lift, allure or swing. To accent strong beats, stimulating musical interest and directing On filing Let me say at once that I am whole- to use less pedal, or to play more softly H practicing a passage with one hand it along constructive lines. your IRnsie while the other is locked in a kind of rigor heartedly in favor of class instruction for sometimes helps, but not always. Can you advise ute as to the best way mortis! Indeed, the entire unused side of the elementary violin student. Many young The trouble is, of course, that the player players are now doing well with private A remedy for of -filing "'y music so that what I need is his body is in a vise-like grip of contraction. ready at hand? At present I have it filed isn't feeling the long, rhythmic curves. I teachers who would never have started at hand eraIRps I have found that one of the best ways to alphabetically under composers, but I don't have found it a good remedy to ask such a all had not class instruction been available. 1 have been bothered lately with hand release this serious tenseness and also to cramps. They usually develop after about feel this is satisfactory. I pwy quite a lot student to think and play in swings of two There are many parents who, realizing that msinuate relaxed control is occasionally to five minutes and they are painful. I think oj concerts in and around this tOlOn, and measures. The result is usually magtcal i their child is interested in playing the play passages lightly with one hand while violin, still hesitate to send him to a pri- they are caused by some ntis take in the I should like to have a system that is cen- the piece comes instantly to life. the other "conducts." The conducting hand, vate teacher until they are sure that his way I hold my bow. That this cramp often -uenieni and quick.-E. R. L., Michigan Waltzes, for example, will only "Iilt" with fingers, wrist and arm in smooth co- interest will justify the expense. develops in both hands has puzzled me, if every other measure is slightly accented. ordination moves through the loops of a To me, this is not logical reasoning, but though: The trouble seems to come when Every rnusrcran has his favorite (The even measures are the ones more often Practically every player bangs out that J am playing sixteeruh-note passages. method of filing music; I file by categon",. lying-down figure eight. it is very human reasoning, conditions stressed.} bass imitation, instead of letting the lovely -W. J. J., Wisconsin My music is arranaed on shelves in piles Have you ever tried it? Rest your back being what they are. My contention has al- Play the first half page of Mozart's right hand phrase be heard as it curves on ways been that if a child really wants to of varying height. The first pile is current against the back of your piano chair, pull "little" C Major Sonata, and try accenting its way toward the cadence. Play it softly study the violin he should be sent to the You have my sympathy, for such a repertoire-s-everything from concerti to the chair closer to the piano and repeat a slightly the fi rst beats of the even measures and unobtrusively and don't care a hang best available teacher, and that the parents distressing condition takes away all the joy short pieces; the second i concerti from simple exercise (see cut) several times with of violin playing. Without hearing you, Mozart to Prokofieff' the third consists of only (2,4,6, etc.). Then play it again, now whether anyone hears it or not. should be willing and glad to make the your left hand, slowly at first, then in mod- necessary sacrifice until or unless they and seeing what you are actually doing, classic sonatas and' concerti-Bach, Vi· stressing the odd ones (1, 3, 5, etc.). Which This exhortation goes also for all contra- erately fast speed, while your right hand realize the child is not trying to make the it is difficult for me to give you any de- valdi, Handel, Tartini, and so on; the way brings the rhythm and melody to life? puntal music. It is an insult to our intelli- conducts in quarter note loops. Then reverse most of his opportunities. tailed advice. fourth and fifth are duet sonatas from Don't you feel the rhythmic and musical gence to hear the fugal subject or some pet it, playing the exercise with the right hand Class instruction, however, offers an in- Obviously you are not relaxed when you Mozart to the Moderns. Theil there are circle moving toward measures 2, 4, 6, etc.? contrapuntal device continually thumped (two ocatives higher) while the left loops. ducement to the pupil that has nothing to play. Myfirst suggestion is that you con- piles for virtuoso "program-enders," for Examples of such two-measure curves can out after we have listened to it once or sult a good physician-preferably one who Not easy at first, is it? do with finances-COMPETITION. Each short pieces in the classic style, for roo be piled sky high-almost all first and last twice. Besides, the structural balance and youngster feels that he just must "keep up plays the violin-and explain your trouble mantic and modern short pieces, and for movements of Mozart's sonatas, almost all over-all color of the contrapuntal texture with the Ioneses." And if Johnny Jones to him, for there is evidence in your hand- books of studies. Beethoven's Scherzos (see especially the are destroyed by such harsh treatment. If tries unusually hard, he sets an example writing of great physical and mental ten- For many years I have found this sys- second movement, Allegretto, of the "Moon- you will try to give each contrapuntal for the whole class. sion. While this condition exists you can. tem eminently satisfactory. The works most light Sonata"). Even slow pieces often re- voice its own color-warm, cool or cold- Of course, the competitive factor will not easily relax when the violin is in your in demand will be near the top of each Test yourself with many other excerpts. not of itself produce the desired results; hand .. pile; others that are les used will natur· spond to the same treatment. See the second without too much dynamic assertiveness, it must be directed and encouraged by a As regards your actual practice, it would ally sift to the hottom. Try the system out movement of Beethoven's "Appassionata" Always play first with the left hand while you will be surprised by the clear and wise teacher. be good to check first on the flexibility for a while and see how it works. Sonata, Brahms' Intermezzo in E·Flat Ma- the right conducts. Try Mozart's "little" beautiful result.
24 ETUDE-MAY 19j1 ______ETUDE-MAY 1951 ~ 25 i Album Leaf No. 931 Albuniblatt .A useful' .study .in melody playing, both for right and left hands. Note that the composer, in order to achieve contrast in th~ ID14dlesect ion , Sh.lftS t,he mel?dy to the left hand and to the key of the relative major, G. This contrast of timbre and tonality should be emphaaized 10 p1a~lng.the work, The E minor section gives the Jeft hand valuable practice in playing- wide leaps in the bass. Grade4.Allegretto (.)',108) EDVARD GRIEG, Op.12, No.7 BEETHOVEN .. ::> 35 I 12 ~'" 2~
P "Sonata Pathehque" L_----'A'_ ----'AL --f',A~ ~A~ ____'A'___ ...J\.A -.1AL_~ __
(SLOW MOVEMENT) ~ J1 t! ~ •/1"+-r »> ~~~ .... -~::> . ~ ~ • . - ~ . A MASTER LESSON BY HAROLD BAUER , . t- • ;>- " If. (, r-~ r-~;U r-t r-t If.(; ~~(~ rt Iil · In the actual phrasing of this movement, how vcr. we ~ CONSIDERATIONOF Beethoven's "Sonata Pathe- Ped. simile A enter upon more highly contrcver ial territory. The tique." published in 1799 by the now-forgotten firm of question arises: how far are we to go in blin I obedience Eder in Vienna, leads tiS into several controversial paths t • :::, to the composer's indications? Are we ever ju tifi d in ~ 01 .l>r..". 1>-' ~ /1'-I-r • -r of musical thought. injecting into interpretation ideas of our \\'11 which First, there is the question of interpretation of the · may run counter to the composer's expressed wi hcs? - ... title. Unlike the "Appassionata" and the "Moonlight" @ .. • ~ ~ ~ ~ At the present time, opinion favors ding nly what "lI' ... Sonatas, which acquired their descriptive designations ---" the composer wished-nothing more, nothing le . noth- · • • • . :;--...---:::::,.. ,--- ..I ~~ apocryphally, this work carries the adjective "pathe- (~ .. ing else. To a large extent, this view i based upon the rt. rt. fi. r. tique" as part of its original title. This means that · · . Beethoven himself introduced an emotional concept into brilliant musicianship of Toscaniui, who ubscribes lo · it-and yet we sometimes fine To canini him elf laking rr- it, and may hence be thought to have desired emotional ~ il basso marcat;-f ~ • •• • certain tenvpi faster than indicated (notably in hi rendi- L----l colorings in its rendition. This brings us into conflict with the theory that music tion of Ravel's Bolero). • • • • consists exclusively of tonal architecture and has nothing to do with emotion. One mayor may not agree with this My feeling is that we must follow the composer's indications only so far as they adhere to elcfncnlary "'w - . view, yet-there it is. Stravinski stands high among those .. P" .. .. composers who reject emotion in music; Ravel, too, musical principles. In .lcarning to speak the language disliked having his compositions played "with senti- of music, we begin with universally accepted meanings. r'J.J· I J .J ment," as he frequently said. ",Ve learn what pitch means and we do not write D when we mean A. 'Ve learn the fixed J"neanings of rhythms. "'e Let us therefore decide on the purpose and scope of , t t music, so that our interpretations may result from ra· conform to accepted definitions-among which we under- • tional principles. To my mincl, music is a combination stand that the slur encloses a phrase and that the eud a tempo of the slur indicates the ever-so-slight ga.p at the end of ::>• • • .l>r..... ~ and succession of sounds, varied as to pitch, duration, 01 • 1• • • • • • . and intensity arranged in a preconceived form with the a phl'~se. Like the words in other languages, these basic { object of enabling the composer to project his emotional meanlllgs possess definite and livinll' value which must r . " @ it reactions to his environment. Without some sort of be accepted WIthout question. And it happen that this 1I~ ~ :; ~J:i:1 ~ i 1\ ~ animating feeling you may very well have tonal archi- occa..si?na~ly b.rings us into conflict with the composer's . ,~.t~ 2_rit. (~ ( ::>~ • ,--- tecture, b4t not complete music. Hence, the designation exphclt directIOns! .-- • • • til ~/e UPathetique" is important. Beethoven gave this work !he slow movement of the Pathctique i a case in . an emotional stamp; he wished it to reflect pathos, and pomt. Throughout, this movement may be con idered as I. , I ~ II its slow movement may be taken as the type of pathos a melody of melancholy (or pathetic) nature. sung abO,"e r-- - he intended to represent. So far, we are in complete an accompanIment. Now, the phrasinu of a melody is the ~. ,., J1 .... . ~ .1>.- •• ~ .. . ~ J-,. agreement with Beethoven. key to its meaning. Beethoven's text places the ~lurs so -~ - . that th.e first phrase ends with the second measure while · the thIrd measure has a slur all to itself. This" quite l :> dim. e rit. Shortly before his recent death, Jllf.1'. Bauer com- obVIOusly, defeats the vocal quality of the meloch". I pleted two Master Lesso1l' for ETUDE. The second will han extended th"s Ii t I . . (~ Pi:~ ., • 1 rs p uase thrall h the tlllrd meas- (~ (!: Iil (1-- (~ !i~(~ appear in a forthcol1ving issue. ure, endmg It On the E-flat at (0 t· d P '0) Ili~r. all. tnue Orl. age 0 · ... · THE SLOW MOVEMENT OF THE "SONAr A PATHErlqUE" APPEARS OH 'AGE 10.
ETUDE - MAY 1951- 27' 26 ETUDE-II 4Y 19j1 ,
Di~Molto , 5. J,~ Allegro 1~ 1 •• , , ~, No. 130- 40353 , I • • 1 • ---- . . Here is an .ex,?el1,e.~t tlechn~9al,s.tu4r, wh ic h affords _g~od practice in th e c r o s s irrg> over of hands, both left over right and ------right over le,ft. T.he s ix tee nthvnot e figuration,which,app.ears first in the t r eb l e , then in t he bass, should be executedclea·r_ ,t "i =:::::;;l t=::::;;l t::=== ~ ...- ;;;;;;;;;;l ==== ly and evenly" but ~houl~ rema ip sub o r d.i n at e d . Grade 3-, p cresco f~===-==. f . , CARL PHILIPP EMANUEL BACH A p .t~ .t~ ~ IL ... _...... ~ ,(J: 1'l~) _.. ,- .. .. . 0 - · ..' , ,. .. • • ., • .: ...... ~~. a ... IlR I, • 58 a ~, .. ~,k--~ ====~ p --- ~.. _ liiiiiiiiii -I!- ...... cresco - p P subiio P • • f ff ff ~ £•• ~. h._ •• , • ~ .. ~ JI. -( ., :> :>_- 0 , , , & •, • ...... 2. I ' . mf 5 A •'~
23'4.'8 2 .( t 2 • L.- ,L -.JA JA A..- ----' r '-' I!- . -t>.' p ff --===:=-- - p-======- &L .... f ' _----.. 'I I , ...... - : --- I 8 , - espr. t I 5' p---= f • • 5!=::::;;l~ 3-===.4- • • • =------_~:=~Ip • 1 • A • • p~===-- .--J I • •
2 I 2 2 2 -...... - ~ .---...... ---r ••••• ~ 4 8 ~ I 1'1 I -----.-.-.. • • • . .. 5 1 ,. 5 1 ~ • '-----" ~ I , I!- .~. T '-....T r sf-- 1 cresco , . ,.;!~-~ • • =:=-- p p~.q .C1'esc. f L.J~ k.J .J ~ ~L~.J 0 - f ~ . 5 v5~ ., • • • • 5 ' • - _.4- , 1 , , 5 I ~. • " • : , : • • '-...!' ~ 0 '-....: 0 '.;::::::::: l!- p p f - f ...... --_...... •.• .... a ...... ---:;;_ ...... a .... _...... ~ ~ .. .. • • • • •
:::::::====:::,--=:.-...:.------~· I5~ .~A 5 , • 5 , 5 2• L A A - , ~ , yt, •• =~~ -~ .~~- I!"- '- ~ten. 1 5~ 5~ 0 !: 0 !- F- b.~~ :!~~.~ten. ·v5'.•• 85251 fl I , . • • 0 - -u 0 '--" ...... '-...!1.: ~ ...... • . IJreSC, cresco ~ --~iioiIiiiiiiiil ===- =:::::-' =-- ~ ~ ~ ~ _-:----..if( ff .{- .P ~ ..~~~...... _.~ ...... A . 'I I ~ -e-:" *t~ : 0 0 0 fJ.o . 1.21- 6 'I ~ 1 5 =::::;;;;; .. - - 'l!. ~~1i ~. --+ - .,=6:, • (:;<; 0' ~ • '- -i.'- ...J.'-- ---iA'- ---iA'-- ~.'_ -.--J ~_ A I Copyright 1932 by Oliver Ditson Company 28 ETUDE-MAY 1951 ETUDE· MAY 1951 29 • .. Adagio Cantabile ( I from I Sonata in C Minor,Op.13, ("Pathetique") A -Master Lesson by Harold Bauer on the Adagio Cantabile appears in this issue. i 'pp Adagio cantabile \(~J~:!l~o~)_---:---:-.-r = - .------
• I • I •
3 -= - -- •...... , • . ' • ,~.. ',3, " • • s ''''1~ ~. it ,r- ~ • 2 •• ,~m",~ "I 2 • ~ .J IJcM . .'. 1-0 I" ' t::::l:::l::I I:::I:::::Cl ...... ·3 .,..r·,..r~ . ~ ~ :::::=:- ;:; .- _ r. -==-= ~ : I"" ..~ • I • I 41- 1"---__.3 I. r t ! ! 1 ~ ~' . " " " . . . . •
.....-- 3 h ;. • I j Qh'" ...... hbJ.. __ • • bJ• ~ ~ : - 3S12t~1 = =- t:::;=='. ~ """:"". ~. ~ -.::-. ~ ~ = poco rit. - ~ ~ 5 , mj =- -- cresco p j : . v~ . ~" I. , - ~~b~q!'!' , = cresco •
, • 5 5 5 5 I •I 2 •2 •• • s I ~ ~ poco rit. ~===I_==- : --- poco rit. r. -;» -:» : cresco <:: ~;rPsm. - 1-' __ -l~------~"--__ "_--- a tempo _------:---- • ( '1.-----.. ,( mf,"---- ( , 3~~i--J,...-~
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"'---- "--_--:'=---- 4'---...'_5 --" • ~ ..)A'--_ __ ---'A'-- __ -I '- ...J~ "---.J ..I -, L A 30 ETUDE.MAY 1951 ETUDE·MAY 1951 31 • poco rit. a tempO' 3 No. 130-41064 0 Hear Those Evening Bells! -3~~ ~__ An ..impressionistic piece . that conveys th e eff ec t 0 f a can '11on. It should be executed with sparing use of the damper pedal and .WIth meticulous.. attention to marks .0f p hr-asrasmgi an d expresaron. . Are you sure what "ate nt at.o" means? Look it up in your • musical dic t io na r y . Grade 3. MARGARETWIGHAM
Moderato (~.·80) 5 5 •~ ...;; 1\ :> >~ ,~ >- • >• . . . , 2 r t '-- ~A AL__ ---' ~ - :::=- -== - R·ll.'1b'~1 f = --= =- L.H. b.. ~ a tempo ~..rnJ3=i r':I ...- .. - ..- ~.q~r---II!~~I-- II!.;.~ ...~• ' . ----- : F-l: E: e 1 ~ ,,~. '->------= : . ------I • ~ ~ , , t ~ - - r ~-e- • • ,~ '-*"!i ' • • ..... I _ L.-.J .. • ~ - ~ .... .p poco rit. P]J • - - 71!T_ ==------=- 544. poco 'Pit. v >: :>:> · > •••2~ ._ 5~ ~_ --;;; r':I .' c-, ~ > .. :6 ..:. ::::- =: ... ~ l ... .. • :' • • ~ ...... , .. == ='== : : . 2 - ,...-/ t IO;l ... '-' ... 1--' , ~,~~ & .. ~';I --.. ~f~ i. r .-=--- ..... '''''''''''' 2 -- =-- --=== = ::::--=---- ·- - L.ll. People ---- No. 130-41061 , 2 ...- ~ ...... ~ • • • • • • ... - • 2 8 B 2 8 ,~ •t~ t~ t t ...... I 1'-= n I =- ~ ,Ill.• ...:..." ~. _ I'!. !!"! ~ .~ ~.. ~ II ..... 1'- p~1=-t~!=".-,?~__ ~ ~~ .--..", ~ ~I.f fP.------1 I IUVI..,' - 8 1 - nrf'f11 fl. I ,. " , 5 , , I, I 2 .. • • •• • , " 2 • I •• 5 . ~ • • I • • -b- '-4f-rJ• 'II! ~ ~ ~ ~fLfLfJ. :L~31 1 t t •, • 2 • a tempo I " A t jt''- I I I ~.. '.il fR.ll. I ~ >~ f C'J·esc. "!T'-==== hold back ~ ~!.f -!:it. 1#C I~ #e ;;; ~ .~-_l'+-_---- .: '1m I J • .. . : - ~l ---
2 2 t -,j' , , I• 2 • • • •, • • ~----- '----' •, • •A •, .. .. 1\ :> >~ ~, :::-~ ... ~~::-- ...... > . > . It : ~ -=:::;:::--'!!! ! L:,'. I\...... hold back L.N. Ur'" nif more motion s1lddenlyp - f ...... r..- ~ ~ . .- :.- I . 1 .- --- ~ "--..-...... I .. :> - ~ /--: ..:---:. ~ =: -~ .... .'-' -- - ..... > .. 1 I . # ~t4:::"t '"ower I I I .#~t.~e~ tl!.) ~t~.-.U* . " " -.J ... :. °t·iI ,i ...... Ii: -:i~ ~:1I ~/. I -- 'ff stentato I~ l-eu W IJ I..J' no retard rd, j '[-aunp _ sf sf sf mf f in first tempo '!!f-== =- .ff 1" - 34S(:l21 ',. ' r • ~J;J U.;J '"- ...... Io.J""I""I -v :
7 ~~'-~-----
!'Ia. 22630 Dutch Dolls' Dance -I- No. 22630 Dutch Dolls' Dance
PRIMO SECONDO Allegretto moderato (J': 108)' HELEN L. CRAMM, Op. 37" No.4 HELEN L. CRA.MM, Op. B), No, 1 Allegretto moderato (J: 108) ~ ,~ ( ,. <, a ':,;, ~ ~ ~ 1\ ,. 3 5 ~• ... ~ 3 ( 5 2 ( , 3 2 1'1 ...... • .,. ~ ~.t> <, --.'-...: .... <; I~ ,/ .~ +- I ~ ~ -- --- nif nif ~ .. '<, ,. , ~ 4~2 ..... - ': .~,. - " 5 , f\ !, ~ ~ ( , ( , ,. , ':(!: .:. z, ...~,. , .. , " . • • • • • • • .. -~ ...... 'i '-' -, I ...... I , ..~ '-... .~'-- -e..1/""-- • i- .~ / mp mf f mp- :- nll' r.·· . -- f\ ~ ,. , ,. -'---'" 1 ~ t ,.... a ,-- ::.-. ,.~ • . ------~ • ~ • • F,ne ------• FiJJe • • 8····..···········..· ·..·····················..·..···..··· .. • ,: 3 ,. , 5 , 5 3 ,. 3 , ,. f\ ...... ~3 t " 8 -...... 5~ 3 ~ ~ 5~ 2 , " • • • • • • • t I .. I~ .." -~ .. -.J 4 I~ 11",,1 1- f-.;;.,j I~_~ I ':d.___i 1 .... I~. • -.J q.-...... , 11 : 11 - ::: . 1\ ... - -...... ~ ~ -li_ -...... , ~. t .3 3 4- S 2 ~ , "'----./.5 '------'. "-- t , ,- , , ..... ,. • 2 , . ~ 5 "'-', 5 • • 5 • t~~ --- 8..·· ·..·· ··· · · · · · · .. 5 5 6 ,. • ~~ 3 , • , ~ • 1\ t , ! , 8 ... , ( , .;:. ~, • 3 --. • : • , . . 5 • .~ ,,~ f. ~ " : - - - • .... . ~ '-'~- Ie ...... 11 f p f nJ:I' ====- 11- f p f mf =- ..... ' ...' --...... - - ~:---. ... :-:.---.. '- -- ,-,'" '? . , , ~ . . '. , • 5 ,. , ~ -:, 5 , • , , , , ~~ 2 • . . . 2 • • •• • • • • • . 5 5 •=--• 8 · · ·..· · · · ·· ·..··· ·· · ...... -. >9- ~... ;;;:: . . f\ ...... ~ -...... 5""'- ,...... , . . -' .... *... I~J --:c - .... I~ 1''' • I~ ... ---.;;j \",I ~._.i '" "_:j)...... -:J. pp poco rail. ~ poco rail. ""'"'p - - p / .PP ;. ~ :---. ~ ::--.. -- ... .ll- ~. 0 \",I , 5 ~.1!Y' GI ~ '-J .,. , 5 • • ~------~ ~ - -- - D. C. al Fine --- D. C al Fmc Copyright 1925 by Theodore Presser Co, 34 British Copyright Secured ETUDE. MAY 1951 35 ETUDE.MAY 1951 - -, ---~-- - a tempo ~., 'S '.; - Sw. @ Meditation Religieuse Oboe . No. l1R-40008 H'a-man-orui Registration ,- (Memories of Dunfermline Abbey) . Sw . Strings, 4' Flute @ (to) 005761 540 ... . . en. Chimes G:!ID (10) 004800 000 ~ .. Gt. Diapason, 4' Flute [][] (11) 088800 000 ,., Ch. [I] ~ hA. . t..J .J ·1. & ~: Ped. 8', 16' J n ,no WILLIAM A. WOLF · . : • Andante · _. I . Chimes B ~ ~ ~ f\ . lm ~L~ t:f1 .. , r r~: . r _. , . - , I I - - l!. I • I" --. e iff: · . ... 1* p 'U' • Q. - (;/ • p. {t tempo. • MANUALS SW. c' 00 '\!JIII,=' --,:"l.. - . ,., <, f.\ ~, I~' ;;;;, ../-tH . . . .: .------. . 1 0 ---- . 10__ . . . . . Sw. to Ped. I e -, I' "1 II .. .J~celesta ~ , - PEDAL =1 --0-. =i ~ ~~ l-d 11. J , · lJ.. t e: 'i' J., ~: ~i: !~: :91: J · Ped.42 · c f\ J. ~ I', .--, I ...... »> [.~ ,~ ._., I · . . . f.\ ~ r' I r T I' 11 . D-Z * L -i r .. 1 -J , j r , (;/. r c.r ~. I , -.ft- • r.-" • a tempo . ~.J ..! = • I 1'"1 If • . • ·SW. @ · - IJ I .. l 'I I:J I r1 'I 1"'11 , ~ Oboe " ".!~~~: · ------. · . . , , I , It I I ., . ' \: ~ . r-it. .. Ch. [I] , f-<:: ~ IJ: ~~: J: ~: J J \ J. _0 f\ ",------== I I I--r------.. ,.-,~ , . , -, ----- · ..... f41~ =if" .~ ~ '-J I · • ~'I# f r$] • .~. 11 ~ ("if f . r II • W" f,-it. f.\ nt. "---' ~ ~ I.ft- ... J I~ ..ft. ... ~". ,9- ~c. .... l_ P : , . , u • .. - - - - ._. --- ,., ~ ~ · . :--- , ·0 . - . . a tf'mpo ... ----.- I ' '" J ,- r I . a te'mpo Il - .. .- f\ I . ~, I I -./:\ I~I I~' : , ~~. --- . ~ , ,., }-, ~J .~~- . . ------. . . IJ t~n ~J. U J ~.~.,IJ t e l' : ~ · - v 'V " Copynght 1950 by Theodore Presser Co, British Copyright Secured 36 ETUDE-MAY 1951 ETUD li . MAY 1951 37 Slightly faster No. 131-41041 The Lamb I nif William Blake (1757·1827) ~ From. "So-ng's of Iwnocence" (1789) Lit - tie lamb, I'll tell thee; CLIFFORD SHAW -J bn--0 J .; 1 - . J-I j"'J1 -[ 1---- ""':---.... 1 - - J. J J . Moderato Witht tender dev oiiot n and simplicity mp a tempo 1\ r . mp 1 I I ~ n!t' poco rit, n!t' ~.J-j :J J ,~ L Jh t. Lit - tIe lamb, who made thee? .. bn~,t 1 .J • i""1 ,---...... • ~ ~ 1':\ ,1" . ~ I I ~., , ,--- ~ P' . . r poco r-u. t. ~~r~ 1\ I -= mp -- ....:::=- r--4f r r r sempre legato = ~ poco rit. , mpr , 1':\ --- 1':\ . ~ Lit. tie Iamb, I'll tell thee; He is call. ed by thy name For He calls Him -se If a Iamb. c; p .. • 1 ..... , I- b~ 1\ I .. J. n I- .. J J ~I 8" .. .. ~q.. ~_.. "" 'I I . I I / <, I I poca r-u. :;J. 0 "' f: ~ - ~ ,J ~ t"----...... t. Dost thou know who made thee? Gave thee life, and bade thee feed By the stream and o'erthe mead; «: J~ ~.i <, 'I I .-- . ---1':\ 1 I I ~ I mp a tempo . t. oj v:: i .. ,~ -I li ":; r ~i ~ f' I..Jr i ! r .. n!f' , I 1':\ • -" @ · . He is meek,and He is mild, He be-came a lit. tie child, I a child and thou a lamb,--.... , 1- ...... ~ • • ...... : , I ~ . r I ., r r r r " , I v. pp @. 1 I I I I I .. -6 ~. 'I I P - .. , mp j i I I ---..... b}j ~ , .....--- • ~ b~ J I t.- Gave thee cloth-ing of de-light, Soft-est cloth-ing, wool.ly, bright; Gave thee such a ten-der voice, -6 ... • ... 1 f6 1 ----..- - 1 i 'I I 1- ma Ito n.'f ted0 n - mf--= . f >-. ,p I >--- . ---- . --- >- = , ~ t. I I I ... .. -6 I' • ppv I' P ~ We are call - ed by .His name Lit-tie l~mb,God bless thee! Lit - tie Iamb, God -, - : ~ J .. ~ b~-.J ~ ~ !: c. -,...... Lr:'! • .., . if ~ I - ~ ~ , 1---- . • - - · ------1-6 L I @. I r mf"=--='" • 1 '0' C 1 I -- } malta Tit. to end mf f 1:'\ ,p ] b~ ..J ~ ~ b~ , ..- .. --,. , ~-.; .J J------I -----.. -= 1':\ . . · I 'U · ' . "6- t. vales re-joice? Lit _ tie Iamb, who Mak -lOg all the made thee? Dost thou know who made thee? ~ I 1':\ ~ L.H 'II , - J --0, I' ~,I';\ 1';\ ---- - l ---- · bless i , thee! '- ". ... ~ I • i "0- I I v!. I'" P -- ~ u , Copyright 1950 by Oliver Ditson Company I nternational Copyright Secured • .. 38 ETUDE· MAY 1951 ETuDE,MAY 1951 -- 39 V r'I No. 11'1-40009 Dream of Quito - .•• 2_ , V , ?"-•••. .:.-.. '- ~ • r'I Suefio de Quito " . H MURRAY - JACOBY • I re 3 3 '3 --. I 3 3 Moderato 11if ~ II I " , -"3 -s> --=--. - VIOLIN ~ Co .-:; ~3 I~ ~ I.J --ii.c;. -11 @ 1\ I ~ ~ ~ ~ '3 s. , ~'1W ~i~i ~i~i 11ifi • fl~ t ~ ~ ~ n '-.-/ ~.,jJ -~ @ p-...- F",- rc... , I~_.,.~..* cr~ 'U' /7f' ry--... 3 ,,= 31>. Ie -.3 43 mftorV.~ ~ • 3 • 3 r'I_____. - r'I~ V------.. - r'I. r'I V " , V~-=- - ...... ~..J -:» -'~~ - V Cantabile (capriccioso) : if 1':'\. 3 v @ '3 '3 -=== f "If .. 3, '11, I~ ,3 ;-::r , fJ I "3' I "7f' 3 3 3 - n , 1"':\ ~. II I (3;;. F.l rr- ~ - 1 .~ .~ c;. .;.j.~ t IDlf.,jJ ~~ ~- ,0 _ v .. ~ 1~~~ I~~1~.-/ p-= l! •~ -&~ ,-&p"--.-" 1* -W 1'1'.: 'Z~ ~ -z 1"':\ ~ - 111!p H H H H J3J:J - ,J 3.J ,:J -,j~ ,J J'Yj J mf ~ ~ ~ ...... -- - U mad lib. U~-z:_ ...... __ ...... :..:.:.:. ~.: iJ,~ r'I ---- 8 ... '-"--.!.. I '-"----C '-=----'., --:!~ SuI E 1"':\ SuI A • V aR-- u n V___ f.\ V 1~" ~~ 012 n- . " I • b --.0-- • r'I ~.• V t - =-p dim, pp 3 '3 3 '3 p "7 f 3 r--a' =--"?P '3 '3 can sanore lIt: 1':'\ '3' ---- 3 f.\ 1"':\ j:;j:;: Ji:s 3 3 ~ " I - • ~. t -," Dol ID~ ~. dim~' J1 ntf p lP' "---- ~ ~ pp con sonore ,.0~ f 1"':\ ------...... '3' .--n"1 . · · ------: · · - ... - -:z: , . ... · ... · -- -~ Copyr:;;ht W50 by Theodore Presser Co International Copyright Secured 40 . ---- ETUDE-ftfAY 1951 4t ETUDE,MAY 1951 _'r No. 110- 40143 Grade 11/2. Hickory Dickory Dock I'm on My Way to Cal-i-forn-i-ay Stemsup R. H. from Stems down L. H. EVELYN LOUISE MASSA No. 114-40007 Two Pieces for Brass Quartet Moderato (~., 76) 3 (In American Folk Style) -~~=--~~=- GEORGE FREDERICK Me KAY Allegro moderato .... '" I . mf 3 1st Trumpet in B~" •• J • I r "'- • · -.J--.-/. • @.. mf¥ ..... '" I . 2nd Trumpet inB~ ~ I~· • I • · • .J -. 4!. --../ - n? t 5 · •• - - · 1st Trombone r or Horn in F I ~ \.00'" nJf -. - - 3~"-_ • · - · Hick- 0 _ ry Dick- 0 - ry Dock The 2nd Trombone r 5 3 1 I \.00'" · C onmo t 0 · rI I 1":\ -. · · 3 · - 5 A 4!. :; - >- nJf~ - • -.J' -6l- , f ...... - • • • t - • • -.-. -.J -d • .. .. C'l"esc. @ f 3 -.J.'-' • • --= g=- . . . mouse _ ran up the clock, The clock _ struck., one, the clock _ struck .; one, the 0 v: . . · · · · · · · ~ · . . · f ,...;:-=-- mf ~ 3 a tem 0 · · 3 · . . A ...... 3 2 \ """ol....J >-=- · · · · · · · · · Tempo I >- '" ' · · - .. r ~ · • --iiJJ • and down _ he __ ran, and @ ~ •• ?l >- •• .... clock_ struck ; one, And I ift >- mf 3 - f1'it 2 · · I r "- ...... -/ • • @.. •• "'73 >- ... ;t >- t . >- • - - - I··.. · · · .--... I ... 7 >- • - - · he __ · · · , down L, ran. mfatempo · f >- ... a 3 Con moto rI I 1":\ · . - · ~ ":-.J.' .- >- - ..... -& nrf - 2 5 @ '" , 3 - =- --- -"77 Wt r· ~ - f · .. .- @.. -:...-!:: .. ' mf .' -.J'73 • • • •• .-g • 3 --== q2>- ...... :t5 Rodeo Round Up The Merry -go- round No, 110- 40144 Mechanically ALBERT DE VITO Grade 2112. ~ EDNA MAE BURNAM .. 3 Lively: (J: SS) I ~ 2 5 4 3. ~3 3 1 . I · ~----r---..2 ~ . - . . , . >- ~ :.; . . ~ r ~FJ>- ::>- ::>- "--I - : f ::>- ::>-f- F,.;.. ~~ .. -=:::. ::>-.;..;. ::>-,# ,.;.. ~ ~ .;. ,# .;, . . . f I I , ::>- 3 I :::=- . . . I 5 5 2 : I. \ I t I...... " " >- >-~ >- sempref If to . . & ,,';' >-~" '1 dim. f ff liS >-- CODA .;.~ ~ :::0- ::>- ::>- ::>- . . ::::- · . " lI, (- =- I . ::: " ~. - 2-<11 ~ -6 ~ =:;i t#j~~ 1~ 5"i: :> --' 8-"" Copyright 1950 by Theodore Presser Co. COPYrighl1951 by Theodore Presser Co, Interna.tional Copyright secured International Copyright - ETUDE-MAY lfJ51 45 L 44 KTUDE·J{§ '- =------ No. 110-40145 Ramblin' Rabbit HUBERT TILLERY Grade 2. A Music Lover Appreciates Fast and crisp (d: 120) 5 ~: ~ A Musical Gift (~~g ~:S.~ ~m~~~~~~~~m~~~~m~'~' appropriate gifts and awards for end of the season ) f. occasions-recitals and eoncerts-attractively boxed • All articfes pictured are actual size unless otherwise specified. Pictured 1h size ~~: ~mf ~~~~~~~ pictured 1/2 size. CLASSIC AND AWARD PINS CHARM BRACELET 32 532 5 3 ~ 5 J·98 J·99 .1_70 J·190 • r.so Happy-talk reproductions ·in enamel to and gold or silver. Piano. Drum, Saxo- phone, Trombone, Guitar, Cello. Banjo, Violin and Cornet. lyre :j:l'y;re and Wreoth MEDAL BROOCH Enameled center *Brocelet with 9 Charms L.H. Specify whether to read "Music," "Choir" or blank. ).50A Gold Di'pped _ 6.00 . C1·esc. Name of recipient 01' date of presenta- J-50B Sterling .. _... _ 8.00 =---Fine tion may be engraved on bar of metal. + Individual name, 5 cents per letter. Engravings may also be made on the *Bracelet reverse side. 5 cents per letter. PI-ices for above pins are: J-20A Gold Plated ..... , . , . .75 10K Gold Sterling tl0K Gold. 3.00 Silver Ploted . .50 J.20B Sterling 1.50 1.20 M8-Medol .. 10.80 3.60 tSterling .85 tGold Filled . 1 3 1 1 *Motching Necklace • •I t J.99-Brooch 7.20 1.80 Gold Plated .. _ . .. .50 lyre pin in Red. Block. Blve or Green enamel J-21B Sterling 1,80 ( ~ Pins or Charms (specify which) A little slower 2 •1 BAR PINS , s 2 1 2 < t 2 ·2 3 2 1 • • • J-22A Gold Dipped - . .60 ~I tJ-22B Sterling .75 Black enamel design against Numbers B, C and Dare rninia- 'tJ.113BorE Sterling. 1.10 Highly polished design against .60 dull background. metal. . lures in bas-relief style. Num- J.113C Gold Plated .60 tJ.63B Sterling 1,10 ber E has the background filled J.1I3D Silver Plated . tJ.ll1A 10K Gold .4.80 in with hard enamel colored tJ.111 B Sterling 2_40 J.63C Gold Plated .60 tJ.ll1F GoldFiIled. 1.80 J-63D Silver Plated .. .60 Red, Black, Blue or Green. 3 I 5 3 2 3 1 i I CLEF PIN J·133 5 5 " LYRE PIN 5 • • MOTTO PINS 2 flOK Gold. 2..40 Gold Plated. .50 ~ t 1 •1 t J·60 tSterling .... .85 Silver Plated .....• .50 • • J.61. J·62 ~ J.120 • tEl tGold Filled. 1.20 ~ Each pin comes in 4 different metals. Specify which. SCATTER MUSICAL SYLLABLE PINS :> tlOK Gold 2.50 Gold Plated ,40 in Gold on Black Enamel >- s- s- Sterling __ .. .75 Silver Plated .40 DO, RE, MI or LA. Also plain ~ ~ black enamel notes. ~ :> in enameled field LYRE OR CROSS t J·95 .. _ .75 each The background of circle in .•J.90MU'kA · J.92MU'kO Lyre design is Ted with lower * GOLD LOCKET · J.93 Choir ... .::)·91Cho;,_ panel in black; in Cross design, For necklace or bracelet. Book- 3 , 2 , t 3 5 3 .... l~ blue with lower panel in white . 5 • 4 3 5 L-J shaped. 4 leaves mounted with 10 D. C. al Fille All other parts of pins are gold pictures of famous composers. Copyright Secured 110K Gold... 3.00 Gold Ploted. .60 or silver. J-2 .... 3.00 Copyright 1950 by Theodore Presser Co. International t5terling .85 Silver Plated .. _ .60 No. 130-41048 A Gay Jig * BAS-RELIEF PLAQUES Very fast JOHN~ YERRALL * BUSTS OF FAMOUS COMPOSERS , Ivory-finish plaster, 6 x 8 inches. Bach. Bee- Pressed white marble. Bach, Beethoven, thoven, Brahms, Chopin, Grieg, Handel, Haydn, Brahms, Chopin, Handel, Haydn, Liszt, Liszt, Mendelssohn, Mozart, Rubinstein, Schu- Mendelssohn, Mozart, Paderewski. Schu- bert. Schumann, Tschaikowsky, W.agner bert, Schumann, J. Strauss, Puccini. Tosca- .P (specify which): nini, Tschafkowskv, Verdi, Wagner (specify P.3 ...... •...... ·1.00 .• which). MB.2 "lAO ..... _....• 35 * SOLD ONLY IN U. S. A. * Plaster Busts A little slower 8" high of Beethoven, Padercwski, Mendelssohn, Mozart, Brahms. t SAFETY CATCH • • Verdi, Wagner, Schubert. TAX INCLUDED IN ALL TAXABLE ITEMS P8.8 Ivory finish .. ,..... 1.50 Bronze Finish ..... , ..•• •· 2.00 Send in !lour orders NOWto: * Plaster Busls THEODORE PRESSER CO. Fine f(boldly) 11" high of Beethoven, Liszt, Mozart, Wagner. PB.ll Ivory Finish ..... _ ... _ 2.50 Bronze Finish ...... •.• 3.00 Bryn Mawr, Penna. · al FiliI Copyright 1950 by Oliver Ditson Company D..' C. d International Copyright Secure 47 46 ETUDE-MAY 1951 ETUDE-MAY 1951 L l &\ • production. Insufficient breath, with- are made with one system of attack. SINGING PATROLMEN starts. Once, one of our best men present, and the program included LET'S TONE UP! out support or intensity, causes a release, and breath control, whil~ didn't appear. We checked with his religious music, and works by Bizet, the shorter tones are played with (Continued from Page 14) home and learned that he had Counod, Homer, Scott, Hadley, Mol- (Continued from Page 19) flat, nonresonant tone, whereas suf- ficient breath under proper control another system, or in some instances started for rehearsal. Later, he rang loy, and Rodgers. without method or forethought at all. Sergeant Dillen believes it would student is hurried and forced to play is a definite aid to production of a he expresses a liking for music, he needs; we have to work with the us up from a precinct not his own-s- "breathe from the toes", as it were, The real fault lies in the fact that be a good thing if policemen in other tones beyond his natural and normal good tone. is given an audition. Glee Club can- material we get, in the proportion' on his way to the subway, he'd spot- instead of from the chest. as the tone becomes shorter, the communities, large and small, in- range. This is injurious to his em- Thus, these factors which lead to didates are numerous. Not all are in which we get it-lyric and dra- ted something peculiar down a side The next important factor in se- player emphasizes the force of the vestigated the merits of choral sing- bouchure; it becomes taut, strained, true color and pitch can be achieved, accepted. matic tenors, high and bass bari- street, and ended by grabbing a curing the desired end is the prac- attack and plays with less breath. ing, both as a hobby and as a means and eventually weak. Embouchure, but only through the ear, mind and Admission depends solely on voiee tones, etc. In training them to blend, couple of burglars. Another man tice of long tones. Five minutes de- line. Consequently, a short sharp of livening up civic welfare pro- whether it be that of the brass or feeling of the student. -the elements of sight-reading, we try to develop the essential qual- missed rehearsal shooting it out with voted every day to this sort of snarly tone is produced. One ca~ grams-like the traffic safety work practice is extremely beneficial. Of woodwind player, should never be voiceproduction, and general musi- ity of the voice. The tenor is trained a trio elf hold-up men. Again, we easily see that too many marches or and the wiping out of juvenile de- forced out of its normal range, and Mouthpieces. The type of mouth- cianship are taught as part of the as a tenor, regardless of lyric or were a man shy when one of our course, this should not be overdone, fast-moving selections played at the linquency. There seems to be special for it tires the muscles and causes extension of range should be made piece used is significant in. the prob- Glee Club's program-and only the dramatic flavor; the baritone, as a baritones jumped into the East rapid tempo will have a had infln. value in a program which vigorous tension and stiffness. The procedure only with gain in strength of the lem of tone production. I do not be- best voices are taken in. baritone, neither high nor low. Thus, River to rescue a drowning man. A ence on the quality of tone of the embouchure to a point where the stu- lieve it is possible for any instructor our men learn how to reach both dozen or more of OUl· singers have policemen publicize through song. is this: young player. This is especially true Sergeallt EIIIVllTtl T. Dillen, a "There's only one difficulty," says Select a tone which you can pro- dent can produce a tone as easily as to prescribe definitely the type of extremities of range, naturally and been decorated for outstanding feats at the initial stages, when the stu. professional pianist turned police- Sergeant Dillen. "When you pick up duce easily and without strain upon he would hum or whistle H. mouthpiece that a student should without forcing. of duty." dent is just beginning to acquire the man after experience in accom parry- a driver hitting fifty miles an hour the embouchure. Inhale deeply from Tone quality and intonation, being use, whether the instrument be reed "Because a policeman's duty in- In May 1950, the Glee Club gave proper methods of tone production, ing and playing in theatre pits, and and get ready to hand him a ticket, the diaphragm. Attack each tone closely related, should be developed or brass. It is my recommendation cludes service whenever it is needed, its first Town Hall recital, at a Bene- I realized that we arc called upon the only organist on the New York gently but firmly, making a gradual together, with their relationship be- that the student, under the supervi- regardless of whether he's in uni- fit Concert commemorating t.he hun. and he looks at you warmly and to play for events requlriug uumer. police force is Su pervisor of the tells you how much he enjoyed your crescendo and then diminuendo, ing understood. Faulty intonation sion of his instructor, select from a form on his beat, we never know dredth anniversary of the St. Vin- cue rnurche«: yet it was just this sort Glee Club, in charge of admissions holding the tone only to the point reflects upon tone quality and vice number of mouthpieces the one best exactly how many will show up at cent's Hospital, with Eileen Farrell singing last week-well, it can be of situation which leads me 10 reo and general training. He also serves THE END where you can produce it with ease versa. Let us take an example: A suited to him. In the case of brass, it rehearsal until the rehearsal actually as soloist. Cardinal Spellman was an awkward moment." as accompanist, sings baritone, and and perfect control. Make the loudest young cornet student of limited ex- may .be that a shallow cup is best, or, hearse my band in "slow motion". For example. n march in 6/8 meter doubles as bass when need requires. point at the middle. In making the perience is required to play beyond again, it may be necessary to recom- Instructor Charles Lauria teaches crescendo or diminuendo you must his normal range. In his anxietv to mend a deep CUD. This depends uoon is first rehearsed in a moderate 6 J. avoid deviation from the true pitch produce the tone. he develops, with- the individual embouchure, and can beats to the measure. Tempo is in- and coaches classical music; In- of the t.one, for usually the crescendo out realizing it, an incorrect method be discovered only with experimen- creased as the improvement in per- structor Ilave Hingfe works out the brings about a tendency to sharp- of producing that tone. Due to lack tation. formances warrants; it being borne popular numbers, many of which ness, the note being thin and of breath support and resistence, the In the case of clarinets and saxo- in mind. however, that tone quality he also arranges. strained, whereas the diminuendo tone fails to respond. The student in- phones, the lay and facing of mouth- in the more rapid tempo must be just "Our regular rehearsals usually causes a flat and "tubby" tone. variably hardens the muscles of the pieces have much to do with the as pure as when playing in the slow last about three hours," Sergeant When making the crescendo, lis- chin, tightens throat and larynx mus- quality of tone. The medium-closed, tempo. We are thus using the march Dillen tells you. "each one covering ten intently to the tone quality. You cles or reduces -the opening of the short lay is usually good for the as a means to developing good tone, straight vocal drill, the reviewing will find that in a certain spot in the aperture, strains and squeezes, and small refined tone, while a more It is truly amazing what a few of familiar music both classical and OPPORTUNITIES crescendo the note reaches its very eventually produces a tone which is open lay aids in the production of 11 readings at this tempo will do in the popular, the learning of new songs, best quality. When you recognize that thin, harsh, dull. and sharp in pitch. large and more resonant tone. Each way of improving the band's general and some general musicianship. FOR YOU point, try to play with this quality On the other hand, the same tone, of these types of mouthpieces will ensemble as well as its IOIlC quality, "Our singing problems are typical at all times, and with varying de- as produced by a player whose meth- require reeds of var-ious strengths. Attacks and releases arc Icss likelv of the Amateur group. The men must grees of volume. The fault of inabil- ods of tone production have been Again, the determination of proper to be raspy or rough. and our alti. learn to follow direction. It's a mis- ity to maintain consistent tone qual- carefully guided and correctly estab- mouthpiece for the individual be- tude toward the manner of executing take to suppose that the best 50]0 ... in lhe ity is vividly demonstrated when we lished, will sound quite different. comes a matter of experiment and a march is rapidly changed. We be- voices make the best chorus. Choral THROUGH UNIVERSITY EXTENSION CONSERVATORY hear the average school band play Depending chiefly upon adequate study of one's individual problems. gin to see that there is something work needs choral material-men a selection which calls for varied and properly controlled breath sup- other than the mere technical prob- who will submit to discipline and combinations of tonal volumes and port of the rib and diaphragm mus- Aitls to Develo/JIlI,en.1 o] Good lem in good performance. and that direction. ADVANCED HOME STUDY COURSES color. In most cases the tone becomes cles, plus a properly developed em- TOlle QuuU,.y. A good tone 011 any our tone quality must be just as pure "Policemen are a disciplined lot, • Interesting positions are open in every part of the Musical Organization has to offer you. At increasingly sharp in pitch whenever bouchure, the tone is produced in a instrument is one that is pure, clear. and clear in the march as it is in any hut musical discipline is something field. Schools and Colleges are making it necessary for very small cost and no interference with your free and easy manner. The throat is bell-like, and without snarl or rouah- other selection. . every teacher to be equipped for his work; the Radio regular work, you, easily and Quickly can there is a crescendo, and the band's different. We spend half an hour of Qualify for higher and more profitable posi- relaxed. aperture is open. and a cor- ness. It matters not whether the tone is calling for highly specialized training and standard- tone becomes flat in the diminuendo. If we master and understand the each rehearsal on scales and vocal ized teaching makes competition keen even in small tions in the musical world. Naturally. this change in pitch ad- rect embouchure observed. The re- be short or long-its quality must element" which develop excellent exercises. We work on attacks and communities. DIPLOMA OR BACHELOR'S DEGREE verselv affects tone quality. sulting tone is open. resonant. fine in be without distortion. Most young tone quality. we have discovered the releases. With amateurs. the prob- Are you an ambitious musician~ We help you to earn mare and to prepare A fourth factor of prime import- quality and accurate of pitch. players seem to lose the quality in formula bv which we mav secure lem is not so much the learning of A successful musician is most always a busy one. Be- for bigger things in the teaching field or any ance to development of good tone This difference in the quality of proportion to the length of the tone: finer and \~·orlhier performances for music (which the men take to eas- branch of the musical profession. We award tone is due chiefly to method of tone cause of this very fact it is almost impossible for him quality is embouchure. Too often the the reason for this is that long notes our bauds und orchestras. IHI: rxn ily), as the mastery of complete to go away for additional instruction; yet he always the Degree of Bachelor of Music. With a obedience to the director's wishes. finds time to broaden his experience. To such as these diploma or Bachelor's Degree you can meet all competition. No two directors work in exactly the our Extension Courses are of greatest benefit. same way, and the men must get Digging out for yourself new ideas for the betterment of r _ ·Pill In and Mail This Coupon--- . used to following us all. your students is a wearisome I UNIVERSITY EXTENSiON CONSERVATORY, Dept. A-72] I "The surprise attack is helpful. time-taking task. When you : 28 East Jackson Blvd .., Chicogo 4, Illinois. : The director starts the singing, un- can affiliate with a school : coe;~:si h:~~~a~k~ta~~fo~I.lustrated lessons, and full information regarding : THAT'S FIT _ expectedly slops it, starts again, recommended by thousands of : 0 Piano, Teacher's Normal Course 0 Harmony 0 Viol'in : THE PAD successful teachers, you may . 8 Piano, Student's Course 0 Cornet-Trumpet 0 Cuitar I stops again: makes quick changes be sure that their confidence I Public School Music-Beginner's 0 Advanced Cornet 0 M d" , PRICE FOR A "STRAD" REISO B*D I 0 Public School Music_Advanced 0 Voice an 0 In • of tempo, etc. The men have to be justifies your confidence in I 0 Advanced Composition 0 Choral Conducting 0 Saxophone , $3,75 I Ear Trcrining & Sight Singing 0 Clarinet 0 Reed Ot'gan : REG right on their toes to catch all the new ideas or your work which 8 PA T PEND we make available to you. I History of Music: 0 Dance Band Arranging 0 Banjo I different surprise signals. I • "We work on diction. on the form· Look back over the past year! : Name.. . Adult or Juvenile, : What progress have you made? , . ing of pure vowels, ·on phrasing. • Street No.. I Cve,',.d violini6! 6/'0I'/"d /,a ve one. f If you are ambitious to make Also, we work for poise. The men , . A radically better shoulder d made . further progress, enjoy greater I City , , .. , .. , . State. I leather and fabric Wonderful! P . ttt. of ploshc:, rubber, are. told to stand straight; to keep : Are you teaching now?, ,If so, how many pupils have you? : Y f recognition, and increasing fi- Special design pe'rmits cleare orm- I 1n9 and light as (I feather. their hands out of their pockets; not nancial returns, then you owe I Do you hold a Teacher's Certificate?, .. , .Have you studied Harmony? I Jifetime of service and endors;Je b on or~hed violins: Mode for (I it to yourself to find out : Would you like to earn the Degree of Bachelor of Music? .. " , , , . .. : ually boxed in attractive elY leading profeSSionals. Individ- to.fiddle with their clothing; not to oor carton Fits c . I ' 'I' what this great Home Study '"'' - -.-..- - _ --_ -..~ case. Soun d .reflecting const.. dd' onvenlent y In VIO In shift or twitch. Thjs is as important instrument. rue Ion (I s to the resonance of the at rehearsal as at a public per· Available in 2 Styles-H' h d L formance. THE UN I V E R S IT y EXT ENS ION Condervalol''j • "T.J d" 19 an ow olore to shoulder for maximum comf t d b • Attaches securely .•. yet loose I hor an . est fit. Surprisingly light weight. "Another great problem of the 28 EAST JACKSON BLVD. (DEPT, A-723l, CHICAGO 4, ILL, y enoug to OVOid interf· • h ' , , ON SALE AT ALL LEADING erJng Wit VIOlin 50 carrying power. amateur chorus is the balanced d· t . MUSIC STORES blending of tlle voices. A professional HERSHMAN MUStCAL INSTRUMENT n~oted notionally by • ., INC .• 242 FOllrth Ave .• New York, New York. chorus engages just the voices it 49 4.8 ETUDE-MAY 1951 ETCDE-.ItAl' 195/ N- recital time is drawing near and the beginning of the fourth. Other that the right-hand accompaniment are now planning piano recitols. For Editor of Etude Pionists' Poge teachers will demonstrate the success slurs throughout the piece have been is subordinate to the melody, and the kind of material which will meke Tactful Guidance by Parents Can Take of their work through the use of re- similarly modified in conformity that the left-hand accom paniment parents beam with pride and c p- cital numbers such as these •.• which with normal vocal phrasing. It is is subordinate to both. Simply sing proval, we suggest you examine these Lomont School of Music 1'heDd ru gery 0 ut of Piano Practice. the melody, and the accompaniment delightful, little numbers. will provide fresh and interesting only fair to add that no experienced of the programs. musician is likely to follow Beetho- wil1 then fall naturally into place. ven's slur markings strictly as indio Again, there is no need for chang- RECITAL NUMBERS University of Denver RECITAL NUMBERS ing the tempo for the entrance of cated. By LOVELL SHERROD GRADES 3. 4 and 5 the two sub-themes. It is customary GRADES 1 and 2 The tempo should be slow-no to accelerate the tempo as the sub- 3936 At Ohur-e h, C.I. , D~otlne July 2 to AU9ust 3 3916 A Dream, Db-3-4. Grieg 3982 The Big Drum Major. F.I. 1I0pkim Handel themes appear (particularly the 3913 Adagio and acuree, Om, F-3. laster than it would take to sing the 3942 The Clowns. G·I. . .. Kre~H 3914 Air (Water Music). F-g .. Handel first phrase on one breath. And this more mobile second one). I disagree 393100110 the Donkey, G.I·2 .. ,Ihorlne 3946 All Dressed UP. 0.3 Cowell csststed by 3909 Evening in the Country .• 2·3 Bartok PARF;NTS 3975.Air in G Majnr. SUite XIV, -3. .. Han<.lel brings us to the very important con- with this. It is not necessary to MANY select a sons that could he worked up in 3935 Four By Eillht. -I Pederlon-l\ra~ Beethoycn 3~IO Bagatelle. OP. 33, No.6, .3 sideration of rhythm. The time-sig- change speed at any time, provided 3990 From My Garden. C·2 Healll good piano teacher, provide their that time. Bill set 7 :30 as a dead- Plays automatically ~11records, all netsretu 3980 Conga-La Mano Abajo. F-g. only that the original tempo be taken 3913 The Lut Pavane. Am·2 ... GranadOI DARYL DAYTON children with a first-rate instru- line for getting to the piano. sizes; all speeds-s-and shuts off after 3974 Folksong, OP. 12. No.5. F;;m.3 .Gricg nature is 2/4, which means two- 3941 The Little Lost Bear. Am" Kre"1t Cowef! so that the first phrase can be sung FRANCES CLARK ment, and feel they have done all There was no more urging and last record plays. Simple. one-knob 3947 The Good Old Days, Dm-S. part rhythm, with one stressed down- 3991 Little Valle. C-2 ~'oldel . Cowell control ••• superb amplifying 3~48 HlImesick lilt, F-3 beat and one unstressed upbeat in on one breath. The dr-amatic ele- 3938 Lonely Shore. Am·1 l)l"orlne that is necessary about music clock-watching for me. Bill took 3999 Internleno, OP. 117. No. I, Eb-4. Brahms LOUISE GOSS system .•• plugs into any AC out- 3918 Lullaby. F.2 .\lozaTt 3972 tntermeeee fr. Petite Suite. F·3 Bnrodl n each measure. This is exactly how it ments of the sub-themes can be study. They leave to chance the care of that. Usually he was 3992 Marching Hom~. C-2 ~·nhle. let ... ask for a demonstration at 3907 La Poule (The Hen), Gm-4 1I>WlC 50 51 ETUDE-MAY 195J ETUDE_MAY 1951 ,1 / / , / SCHOOLS - COLLEGES lfLlrgan lfauestions ~ iolin Uf1.uesnons 1Jepau! UNIVERSITY CONSERVftTORV OF MUSIC .L..... CHICAGO SHENANDOAH L. E. Hill, Pres. Courses leading to the B. Mus. and B. Mus. THE SCHOOL OF Answered by FREDERICK PHILLIPS Ed. degrees. Member NASM. In the heart By HAROLD BERKLEY of the Shenandoah Valley, Dayton, Virginia. 1nu4f,c, • We have a new W urlitzcr two gested by the composition itself, and 1M fIlVieN! Dra:~ili~fb~~~;nce Offers accredited courses in sometimes the type of service (fes- I... ,"4 Adult t.rnining-f"tll/,:e and manual pedal organ with the follow. Tele\"i~inn. ~c", Ynrk i'PPCllranccs scrcssce. Piano, Voice, Violin, Organ, tive occasions, etc.) calls for num. it)' 0 l tone. At the very most, your AllprOl.'ed tor vets. Annex fnr Chlhlr~n. Write ing stope: PEDAL-Major Bass 16', PLAY AS YOU WANT TO PLAY f; ,\I,·i~ne. 17811 n'way. :"'<. Y. ('.ity 10 Public School Music, Theory, Dolce Gedeckt 16', Open Flute 8', bel'S that are jubilant in character, violin could be worth $150.00. and Orchestral Instruments. requiring fuller organ. Spend a Miss V. Mel., Louisiana. I can Violina 4'. BALDWIN·WALLACE CDNSERVATORY DF MUSIC Confers degrees of B.M., A.B., SWELL-Bourdon 16', Stopped Di- lot of time experimenting with the well understand that the responsi- A SOCIAL ASSET different stops and combinations of BEREA, OHIO (suburb of Clenland) and M.M, apason 8', Viola 8', Dulciana 8'. bilities of -your present position Affiliated ",it.h a first elllSS Lltrernl Arts 2 stops for best results. maylead you to think you lose Ml:SS J. S., Ohio. (1) You have no Cnl1cJ:e. Four and ttvc year ceurses loarlinl': Diatinguished Faculty Flute 4', Violina 4', Twelft.h 2 /3'. will to degrees. Facults of Artist '.reachers. Send the playing ability you once had. reason at all to be discouraged. for l:ataloguc or tntormattnn to: Oboe 8'. HAROLD W. BALTZ. Dean. Berea. Ohio Summer School GREAT-Bow'don 16', Open Di- • (1) JI7 hat would be (L good specifi· Butthis need not he the case. Even For the short time you have studied June 25-August 1. apason 8', Flute 8', Viola 8', Dulci- cation for an organ to be installed if yon feel worn out, you can do you have made excellent advance- AdJrcH Registrar for Blllie/i" ana 8', Flute 4', Violina 4', Fiiceeiulv in a medium, large home-something some practice every day-if: you ment. But I don't think I can advise DILLER.QUAILE like a small theatre orgllll? (2) DePAUL UNIVERSITY 2', approach it with a scientific de- you to make music your life work. School of Music ffl'ou./d a three manual organ be too tachment.The first ten minutes may To make a success as a violinist in SCHOOL OF MUSIC Please suggest combinat.ions. for Teacher Training and General large for a horne? (3) Is it possible be hard, but after that things will these days of strong competition, one hymn playing with congregat.LOnal Musicianship Courses Room 401, 64 East Luke Street to bur Barnes' Amer· "0 ABOVE, Home Model Hammond Organ, used in more homes than any olher organ, singing; also to accompany a choir "Colllemportlry more easily. The first essential has to have an advanced teclmique Chicago 1, lllin ois 66 East 80 St. New York 21, N. Y. Hommond Organ prices lIar! at $1285" for the Spinet Model (not illustroted above}. of 12 members, play preludes, of- ican: Organ" and kinner's "Modem is to keel) your technique in good by the time one is 16. You should fertories, etc. Organ," and wh at are the prices? shape. You can do this if you prac- have started to study when you were .... GREENSBORO COLLEGE -Mrs. N. C. K. Alabama (4) Can an old tracker action pipe tice,carefully, an etude of Rorie or six 01' eight years old, for T am sure SCHOOL OF MUSIC CARNEGIE COLLEGE organ harll' SlOPS added? De Berict (op. 123) or Paganini you are tnlentcd. It is always diffi- Greensboro, North Carolina Your first step will be to test -J. V. z, Washington everyday. Whcn you have the time cult, if not impossihle, to advise a Member NASM OF FINE ARTS to do so, play over a movement of Four YeRr cour~o!' Icadinl': to ll.A. and R!If. each stop individually for volume, perRon one has never met, but I do STOP. OPEN AND REED SHERWOOD MUSIl: Sl:HOOL PLANNING A CHORAL REHEARSAL CINCINNATI CONSERVATORY OF MUSIC (Continued [rom: Page 18) (Colltinued from Page 23) Dr. Luther A. Richman, Dean of Faculty Distinguished since 1895 for the tratrrmg of professional Es.tablished 1867. Operated under auspices Cincinnati Institute of choir, I should advise that the leader Fine Arts affiliated with University of Cincinnati. Complete school musicians. Member of the National Association of Schools the appointed time. It is a poor con- ductor who contributes to the care- take up at least one selection in ailed the Shawm. the precursor of VIOLE DE CAMDE.- The name of the of music-Degrees, Diplomas, Certificates-dormitories, 10- acre of Music. Faculty of renowned American and European lessness of his choir members by choric speech with his groups. Ten ~heClarinet. When properly voiced stop is derived from the old Viola campus. For Catalog address artists. Degree, diploma, and certificate courses in piano, allowing them to be late. I have or twelve minutes of the rehearsal thisis a charming solo reed. cia Gamba, a large string instrument, C. M. BENJAMIN, Registrar, someti~es overcome this tendency given to choric speech will greatly and the precursor of the Violoncello. voice, violin, organ, 'cello, wind instruments, Public S~hool sharpen clarity of diction. . by charaina the late-comers 5 cents SCHWIEGEL-Theterm that has been Properly formed and artistically Dept. E. T., Hi9hland Ave. and Oak St. CINCINNATI 19, OHIO I believe it is wise to rehearse music, composition. In the heart of cultural Chicago. Liv- a minLlt~ f~r each minute late, the employed by old German organ- voiced. the stop should yield a tone all solos after the choir rehearsal is Summer School June 18-July 28. money to be paid at the time the buildersto designate a metal labial imitating that of the old Viola cia ing accommodations at moderate cost. over. Just before the end of the re- tardiness occurs. People hate pay- stop, It is a Flute and made at Gamba. a lighter quality than. that hearsal take up anthem No. I again. ol the Violoncello. ing for so simple a thing as being pitchesof 8 It., 4 ft., 2 ft., and 1 ft. This is the 5th week for this num- late. SUMMER SESSION BEGINS JUNE 18 ber. It should open and close the At the end of 50 minutes of re- VIOLE l)'OHCHES'l'H£-The name C\ ~~~t~,ReQ~,~.,TC:;S~~,~:,i~~' ~~,~;~~ rehearsal. The conductor should give SPlTZFI.OTE-A metal labial stop, * * hearsal, a IS-minute break is desir- given by Wflltam Thynne, organ .,; Intensive Summer Course, July 2-Augus{' I I everything he has to make this last of 8 ft.. 4 ft., and 2 ft. pitch: which builder of London, to a stop con- For free catalog, write Arthur Wildman, Musical Director. able. Perhaps during this IS-minute Hilda M. Schuster, Director interval the choir would enjoy open- singing of the number an inspiring, derivesits name from the form of structed by him, the tone of which TWENTIETH CENTURY MUSIC-PIANO PEDAGOGY-ANALYSIS ing the windows and taking a few uplifting and exhilarating experience its pipes. which is that of H slender is an 'imitation of that of the orches- well-chosen physical exercises so as for the choir. If this number is con- mmcated cone. open at the top. The tral Violin. Rhythmic Movement-Solfege-Improvisation-Harmony ducted properly, the choir members voice of the true Spitzfliite is com- to supply the blood stream with Alertness and Increment Credit more oxygen. During this break a11 will feel that the rehearsal has been pound, partaking of both flute and ·Z.\llTHASS-The stop is formed of announcements should be made both all too short because of the creative string tone; inclining to either one srnall-scaled open pipes, usually of Vocal and instrumental insfruction by Artist Teachers experience which has been theirs. to: by leader and choir members. The orthe other according to the manner wood, voiced to yield an extremely For informotion, apply DALCROZE SCHOOL OF MUSIC 1..._"""",,".. ~l~bM' second period should start exactly iu which the pipes are voiced. tender flut e-tone ; hence its name. 16t East 73rd Street, New York 21, N. Y. Trafalgor 9-03t6 at the end of the IS-minute break. If tile reheorsn ha been that of 1014 SO. MICHIGAN I\VENUE CHI CI\G0 :I ILLINOIS Two 50 minute rehearsals can ac- a church choir it hould close with ViOL.E cai.esrn-c-The name given to Z,\UHEHFLOTE {Magic fJute)-A complish more than 3 one hour re- a word of prayer. 1£ it is a choir a slopof the Viol class. of 8 fl. pitch, covered harmonic stop, invented by other than a church choir T still be- hearsals if every member in the the pipes of which arc tuned sharp William Thynue of London. The ST. LOUIS INSTITUTE of MUSIC choir is kept interested and alert. lieve it should close with prayer, but soas t.o produce a bright undulatory tone is very refined in character. In if that i not desirable there should Between the various anthems new effect ill combination with another artistic registration it is' of great JOHN PHILIP BLAKE, Jr., President responses should be studied. The be no announcement or loud talking unison stop (preferably of sfring value; it lends itself to the produc- to destroy the uplifting experience hymns for the Sunday service should tone) correctly tuned. As a dual tion of a series of effective tonal Bachelor of Music Degree in 24 Fields REGINALD STEWART, Diredor be rehearsed. However, new respon- that has come to the choir. Under step, it is properly formed of two colorings in combination with the ses and hymns should follow the such circumstance the choir mem- Master of Music Degree 23 Fields June 25 softly voiced Viols. of 8 ft. pitch, sorter string-toned labial and reed- tn same pattern and be in preparation bers are certain to have something SUMMER SESSION to.Aug .. 4 one of which is tuned a few beats toned lingual stops; imparting a dis- for at least three weeks. Responsive to remember and something to which sharp. sufficient to create an agree- tinctive harmonic structure to all Prepor ctorv School Courses Private Instruction in All Bronches of Music to look forward at the next rehearsal. readings should be studied and re- able tremolo. but not. sufficient 10 dual oomhinations in which itis in- THE E~D Institutional Member Notional Associotion of Schools or Music CREDITS GRANTED FOR CERTIFICATE hearsed. If the choir is not a church producean objectionable out-of-tune troduced and to which it gives a effect. special brilliancy. THE: END AND DEGREE COURSES 7801 Bonhomme Avenue St. louis 5,' Missouri ., ll' '. ',";'; ;<;'1' ,'. ROOSEVELT COLLEGE of CHICAGO APPROVED FOR VETERAN INSTRUCTION Applied and Theoretical Music, Composition, Musi- Modest tuition ... Catalogue on request COO' cology, and :Uusic Education. Bachelor of Music and OFF5KEY 5CHOOL , ' ':01", ' Mastel' of :Music degrees. BHlh,tin 011 IlI'c/II.est OF MU51C PROGRAM ,vOTE Inr Aaron Cnpland's I Fall Term Begins Oct. 1 I l ~ · nlllSIC .130 So. Michigan A'-e. Chicag;o ii, 1Ilinois WE SHOW "APPALACHIAN SPRING" PIUS X SCHOOL OF LITURGICAL MUSIC SUMMER SESSION PATIENCE Manhaltanville Colle~e 01 the Sa~rel1 Heart July 2-Aug. 10 WITH ALL OUR 13311 Street aild Convent Avenue. New York 27. N.Y. ;.L., By DAVID MORTON COURSES OPEN TO BOTH MEN AND WOMEN FALL TERM ~~Es~~~::~~:IRON~:l~~~~~GRADUATE DIVISIONS STUDENTS opens Sept. 19. o Veterans accepted under the G. l. Biltof Rights Balanced camp program under distinguished faculty. Co-educational Combines Greguri"" {'Il;llll _l;n'~"ri"l1 .\('r"'''I,,,nilMnt - ('huir C'on;cll'lO\ )!II~je - TI,~or)· - llllTllIony - COl'rltcrlloinl and co'nlati\'c sul>jl'N~. sound artistic experience with exhilarating camp life in the magnificent Adiron- Theyare here. coming, Organ-Piano-Voice Write for Booklet E Telephone: AUdubon 6-'1]00 dack mountains. CJ One after one, fentatiYe and slow, Of labor-with-you, of-something . • Chorus, Orchestra, ChamBer Music Groups. Theory. Modern Dance, Ballet, Butfaithlul and 1/ron9, Heayen offending, Opera Workshop. Drama Workshop; Art and Ceramics. Private lessons. Complete They take their stand in the green It may be . And the donee again, Sports Program; Canoe Trips, Mountain Climbing. Good food. dearing, for all. NGPT NGPT Write today JOT illustrated catalogue. Address: UnclerIhe wide sky. The fulure is in fheir eyes, the There is a singulority, 0 rife for SHERWOOD KAINS, Depf. E, Box 24, Wayne, Penna. labor, the love, one, N G PT NGPT And-something ... that may well be Bride of thot future, OFFSKEY SCHOOL Heeren's care, Whirled in the strings' ecstasy, All but consumed, selfless, OF MUSIC Or faith in Heeren's core. N G PT NGPT AMERICAN CONSERVATORY They dana, single, and strong; in dedicotion; OF MUSIC-CHICAGO • together, and s/rong, And 0 spelled silence. then Offers courses in all branches of music and dramatic art WE SHOW In the tall notes of horns. 65th year. Faculty of 135 artist teachers (n the slow mass of strings, Member of National Association of Schools of Music PATIENCE In the bursl of strings, In the full sound, the strong sound, Send for a free catalog-Address: John R. Hattstaedt, Pres., 577 Kimball Bldg., Chicago WITH ALL OUR Theyare Ihere, in agitation, The shape of living mores; the shope STUDENTS o ~otes in the strings' brightness, ;s men he speech, the loughter, the dancing, Turning the rich loom, and women I The folk of crops, on thin lips boking, The gooaneSSof God, lore: ' And Sundoy, ond children coming National Guild of Piano Teachers Bachelor of Music Degree, Master of Music Degree, Artist Diploma II ;s there, in the firing strings ..• the future coming: BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave., Cleveland, O. Ana the strings soHer thee In the horns, ·s/ow and strong, Irl Allison, M.A., Mus. D., Founder-Presiden! f " In the strings' sweetness, like love, Charter Member of the National Association of Schools of Music or the sfo'lr dance of two: stately, Box 1113 Austin, T~xos -.TOE GENOVESE- Enspelled, lost to the green clearing, like to the wide dy, fa the eyes 1001;ing- Something unending. 56 57 ETUDE-MAY 19;1 ETUDE-MAY 195/ .~ reacher'S '-Joundtable «l]uestions and 'Answers 1951 SUMMER NORMAL COURSE 1951 OBERLIN LOUISE ROBYN SYSTEM OF MUSICAL TRAINING MAURICE DUMESNIL, Mus, Doc., outlines FROM THE PRE-SCHOOL TO THE ADULT AGE. Conducted by KARL W. GEHRKENS, Mus, Doc., Music Editor, Webster's New International Dictionary, the values of aolfeggio and discusses an odd JULY 9th, 1951 to JULY 19th, 195' and Prof. ROBERT A. MELCHER, Oberlin College MORNING AND AFTERNOON SESSIONS CONSERVATORY sign now widely accepted in music orthography Direction-ETHEL LYON and associates Modern Methods of piano instruction as applied to children of all ages including pre-schaal will be presented. OF MUSIC The course is open to teachers as well as to advanced students who wish to prepare them- with a greater number of ccmpn. ABOUT JUDGING MUSIC think so, and sometimes I have selves to teach the Robyn System. CONTESTS sitions which he would normally HAIL SOLFEGGIO been shocked when hearinsr even For information regarding ctcss schedules, rates, etc.. write to APPLY NOW FOR ADMISSION have. It was because I myself en- ~ In.a past issue of ETUDE yOIl musicians or teachers who ouaht • Could you give me a chart jor countered so much bad feeling, , >0 AMERICAN CONSERVATORY OF MUSIC FOR THE SCHOOL YEAR wrote a pa.ragraph entitled "Hail to know better, call it "a Franco- grading contestants in a music con- poor sportsmanship, and unpsycho. /.01 KIMBALL HALL, CHICAGO, ILLINOIS OBERLIN 1951-1952 Italian invention which means test? At the risk oj sounding like logical teaching that I gave up ad. Soljeggio:' Whenever the word COLLEGE a prejudiced mother, here is my judicating many years ago-I "joljege" appears in print, f im- nothing hut a loss of time." Per Applicants will be auditioned mediately wish to follow Slut, for haps you could use some suitable problem. found that it was too hard on the in New York, Philadelphia, St. My nine-year-old daughter took judge! my whole life has been intimal,ely first and second grade pieces as COSMOPOLITAN SCHOOL OF MUSIC Louis, Chicago and other cen- bound with its Stllely, form.erly a disguised solfeggio exercise, the Preparatory, College, Special. and Graduate Departments. Courses leading to part in an instrumental contest last From the above you will prob. Bachelor of Music, Bachelor of Music Education, Master of Music, and Teacher's ters. Early application is neces- spring. She played Caprice of the ably have gathered that I cannot called Sight Singing. pupils singing and heating ti me Certificates in Music and Theatre Arts. Summer Term While teaching piano I realized while you play accompaniment Clarence Eidam William Phillips sary. Catalog and admission Gnomes by Eckstein jrom m-emor-y, "take sides" in the case of your President Member NASM Dean June IS-Aug. ,,,,Il"d of solfege learning for Indeed, solfeggio should be JO. data on request. Her grace notes were clean and daughter. Probably she played Edwin L. Stephen-Mgr .. 306 South Wabash, Chicago 4, Illinois Ask for snappy and her rhythm was ex- very well indeed-which is, after my students, so I began sneaking taught in childhood, for it is the a bit of it into each lesson. W hell foundation of sound musicianship, information Degrees: Bachelor of Music. cellent without being automatic or all, the important thing; and per- THE ROCKWELL. SCHOOL OF TUNING CL~~~~~~;LO, now. rigid. Bejore playing she announced [ leaTl/ed that in Europe no stu- whereas its absence results in lack Bachelor of Music Education; haps she should have received the ()f!Mi1l!) a ~/;-wee/,; eonree illelurJillfl all 1>ho8C8 of piana tlmi"" "",j. rliPoirill.'1 dent is accepled in the big music of the latter, plus instability and iIlODERN EQUIPMENT IN MODERN FIREPROOF BUILDING-EXPERT INDIVIDUAL IN- the title oj the composition and blue ribbon-I do not know. What STRUCTION-PLEASANT ENVIRONMENT AND ECONOMICAL LIVING CONDITIONS Master of Music, Master of The success being achieved by our graduates is our best recommendation. then played it with so much ex- I do know is that one must learn schools until he luu become pro- bungling. "ApprO'ved for G.1. Training" Music Education. Write 10<101/for 1'roSIJetll'8 to pression that it was a pleasure to to take the bitter with the sweet {tcielltin solfege, I become bolder ROCKWELL SCHOOL OF TUNING in my teaching 0/ it to my class. A PUZZLING SIGN C. A. ROCKWELL hear her. I had expected her to get both in music contest and i~ 315 MARKET STREET Phone Clearfield 5-3931 CLEARFIELD,PA. DAVID R. ROBERTSON,Director Member of the National Associ~ a red ribbon (second place), but human life in g neral. One must The music teaching in the pub- WOll,let you. please tell ·m.e Box 551, Oberlin. Ohio ction of Schools of Music. that night she played better than learn also that there will always lic schools of today lends more ever, and] was sure she had won and more to the singing 0/ songs what the sign r:1 really means? be some wrong and some injustice, Correspondence Course in a blue ribbon. However, the ad- for this is, after all earth and not rather lhan the learning 0/ note I know it is a stop, but how long? judicator gave her a red one, and heaven. -K. G. valuesand syllables. Formerly one Coulel you' also give me some in- C LAS S P I A N 0 and that would have been all right uru II. couldlean upon the child's know- [ormation. regarding its origin? DAARUD rried. .. rested ... us except that most of the others NAMING INTERVALS ledge 01 time and syllables, bUI Thank you, very much. STUDIO ADMINISTRATION TEACHER TRAINING also got red ribbons even though IIOW they have but liule under- -(Mrs.) C. D. E., Canada. and npU!Prpven!! many of them played badly and one • In Presser's "Player's Book" III standing of these musical terms . • Course covers first year Class Piano or Private boy played wretchedly. And the on page 37 the names are given So,what are we 10 do about this Tb e "-'I'CIlCh contemporary Study. Games and Progress Charts enhance the study only blue ribbon awarded went to for the intervals of a full tone very necessary alld /undamentally composer, Florent Schmitt, in his of piano. Sound business poliay and applied psychology a girl who has much stage appeal two full tones, etc., but noroI am asejul subject? At present, only piano quintet published in 1910, in the parent-teacher-pupil relationship. Parent ?'ecom- ~ut who used her notes while play- asked what a half-lane is called, pre.harmony students, or lhose used it with the following foot- mendations suppi'ied ,"hen you w?'ite, No tests to write mg, had a bad hand position, and and also what names are given to raking teacher's credenlials in our note: HThis sign, illVented by M. up and no expensive material to buy. played with no expression at all. three, four, alld five full ton.... I colleges, are laught solfege. This Pierre de Breville, indicates a hold (Time Payment $30.00. $10.00 dow·" But she is pretty, has long black can't seem to find lhese names in amounls to putting tlte cart before of short duration." $25.00 Cash. and ten dolla1"Spe?' month). Already the established favorite with thousands of leachers, students curls, and wore a red dress. I want rhe horse, for it is in childhood The staLement is questionable, and parents-continually growing bigger-because it is consistent with any book I have so I sholl appreci. Wl"ite: BERTHA DAARUD the best in music education and the ultimate in piano progressl to be fair about all this, and I shall ate your help. thai this subject should be lowrltt however, Ior this other footnote 404 Sauth Eureka Avenue, Columbus 4, Ohia BOOK ONE-The Beginner'5 Book...... ,. , .. 75. appreciate some suggestions jront -Mrs. W. Lynn, Florida il it is to fulfill its grealest neel can be found in Vincent d'Indy's BOOK TWO-The Follow-Up Book ...... •...... 75" you as to grading music contests. . I would wish for a revival 0/ piano suite, "Poeme des Montag- BOOK THREE-The Key Signature Book ...... •..••..••...... 7S, BOOK FOUR-The Scale and Chord Book ...... •.....••...... 75, -Mrs. L. V. M., Minnesota A hal/-tOile (or half-step) is a.spopularity, and some sugges- nes" (Poem of the Mountains), BOOK fiVE-The Dance Form Book 7S" called "minor second}'· three full lIOns a~ 10 how it ,nay be brought written and published in 1381: BOOK SIX-The Classics Book.... .75. "Cil (I,)' I don't believe there is any uni- tones (or whole steps)' would be earl~r.l1ltothe lives 0/ our young "The sign r:'1 indicates a slight ..ale ~ Lalla all d·tt s Jl IlCesta'ls " _=ni__ ~'","""""". versally accepted "chart," but usu- mUSlcrans. a new anthology of early keyboard music I I • I an augrnented fOlUlh; four full stop, much less important than ally the adjudicator has some sort Lones (or whole steps) would be -(~hs.) F. L. M., Califomia. that of the t:\." of a scheme on the basis of which an augmented fifth; and fi,e lull Vincent d'Indy was then thirty edited by Dr. Felix Guenther he judges the contestants-so many tones (or whole teps) would be You are COI-recl when you \ eal'S old. Piene de Breville was containing works by points for correctness, so lUany an augmented sixth. An)' book statethat in the large conserva- ~1l1ytwenty, and a pupil of Theo- fo~ interpretation, so lUany for J. S. Bach & sons Joseph Haydn .60~ Book Two . dealing with the ubjecl of h,,· tori~sof Europe, solfeO"emust be dore Dubois at the Paris Conserv- pOIse and appearance, etc. How- studled' o. John Bull Wolfgonq A. Mozart mony will give you further infor· . prevIOusto entennO" the atory. Later on he studied with ever, t~ese Hschemes" vary greatly. Francois Couperin Henry Purcell mation along this line. You will I~strumentalclasses, unless the as- Cesar Franck, and when d'Indy MUSIC contests have had and Giles Farn~by Samuel Scheidt also find a full explanation of all pirantI . demonstrates tIlroug h J'liS founded the Schola Cantorum, he are ~till having great value in stirn- GeorCJe F. Handel George Telemann such matter in my little book h a~lllg at the examination that appointed him as professor. of .1~D:i'0~U~B::;L~ETP;:;LA::Y7:===--::-:::c:-::=~D;:;U;:ET:,::S:,,:F;:0c:R,..:P='A::N~I::5T;=,-S ulatmg perfection in musical per~ & illustrations of old keyboard instruments Early grade duets to further develop note reading skill. Students are taught "Music NOlation and Terminol· e IS adequatelyequipped in that counterpoint. Therefore, I beh~ve to think by planning the fingering. formance, but they have I respect. b h' h a so ogy." -K. G. that the authorship of the Sign price-$LOO These duels may he used as a supplement to Book Two of the Course For roug tInt eir train a very large Pianists. 75¢ .Suggestions?Hum it is can be safely ascribed to Vincent amount of bad feeling, consider_ difficultt fl' o ormu ate any 10 our d'Indy. It has now become an able heartbreak, and an over- epoch ff· ' ASSOCIATED MUSIC PUBLISHERS, INC. AMERICAN ACADEMY OF MUSIC, INC. 16'9 B,oodway h . em- 0' 0 evensh rush, cut it short, accepted part of musical orthog- New York City 19, N. Y. Sole Selling Agents: MILLS MUSIC, INC, New York 19, N. Y. p aSIs on the contest numbers tl 25 West 45th Street d " h ' IUS To avoid deloy. 1:111queries ore olswertd" f,et therequick! Besides, has sol- raphy, and is widely used by epnvmg t e student of the contact individually_ Therefore. ple-oseilKl.d,.,owr eg, eVerbeen popular? I hardly composers everywhere. name I:Ind address ill yo.... letter. 58 59 ETUDE-,IIA.r J9;/ ETUDE_MAY 1951 "'--- 1 Music Book Suggestions for the Month Continued THE IMMORTAL "TRIFLES" - (Continned from Page 22) FAVORITE PIECES AND SONGS by ~lary Bacon Mason plots, he said. He resented subordi- a new opera and failed, the music 430-41005 1.00 nating melodic inspiration to Gil- lacked Sullivan's gifted touch. Carte bert's patter, in which every word produced Ivanhoe, Sullivan's attempt Adaptedfor use in classes and witl~ ind~vidual pupils, this book is was so important that the music at romantic opera. This, too, flopped. . d to foster a real love of mUsIC, WIden the r anze of rcadins anne . h d "" ese had to fit the lines with precision. Meekly Gilbert and Sullivan agreed buildrhythmic sense, gIVe strengt an control to the fingers, and , , , He resented Gilbert working the to "try again." . rease practical knowledge of keys, scales and harmony by con- actors so hard that they grew tired The result was Utopia, LI,d. After ecutive study in one key at a time. The first 32 pages constitute and sang out of tune. "I am a cipher its premiere the two shook hands in sec.'nimumreqmremcnts-no octaves, Idhd"131' c or s or rntmcate Iinger in the theater!" he shouted. front of the curtain, and the house ~~rk.The remainder consists of supplementary pieces, studies and It looked as if Carte's best at- stood and cheered. But their heyday duetsfor recreation, recital Or reading. Grades 2 to 2lh. tempts at reconciliation would be was over. That opera and The Grand THEMES FROM THE GREAT BALLETS useless. In desperation he reminded Duke, which followed, were -dispir- the wrathful musician of his con- ited rehashes of old hits. Gilbert and by Henry Levine New Music For May tract, then called on Gilbert to look Sullivan no longer bad anything ill 410-41016 1.25 common but the past. At a revival PIANO SOLOS 312-40087 God Is a Spirit...... Paul B.Ondey .15 for a fresh idea, words and music (Westminster, Lovely choral effects, New Setting, to be completed in six months. of The Sorcerer in 1896 they took Grade 1'/2 Musicians,ballet devotees, dance intcrp rcters and piano students Biblical text) will more than enjoy this collection of piano solos selected from At this edict Gilbert was mad, too. their bows from opposite sides of 130-41076 I Wonder Where the Robins Gal.·. Margaret Wigham $.30 orill'inalballets. Giselle, Co opeli« and The Red Poppy are just a He paced his studio in such fury the stage, and never met again. (Phrasing, Independence of fingers) 312-40094 God Rest Ye Merry Gentlemen Geo~ge Lynn .16 few which help to give a chronological over-all history of ballet that a curio on the wall, a Japanese Traditional English corol, A cappella fc;r Junlor- formore than 100 years. Approximatcly 41'h grade. For U. S. and sword, crashed to the floor. He Foul' years later Sullivan and Grade 2 \ unior High-High School and adult mixed] pos3essionsonly. looked at it thoughtfully. His mood Carte died in quick succession. Gil- 110-40156 In a Hansom Cab...... Ralph Milligan .30 brightened. Five days later he an- bert, already living in semi-retire- (Good LH study, Melodious easy chords) 312-40086 All Glory On High...... George Lynn .18 DITSON ALBUM OF PIANO DUETS nounced cheerfully that he had ment, was still awaiting knighthood. (Westminster) (Christmas, Based on Austnan Compiled and edited by J. Clees MeKray started a new story, a Japanese It was awarded him in 1907. Then, I 10-40155 The Rocking Cradle. . .Ella Ketterer .30 carol, A cappella crr., 5 solo) (Legato study, Use of dynamics, Interpretation) ~I~ I~ story, The Mikado. in 1911, came his end. It had a de- Had they written nothing else but cidedly Gilbertian twist. A young SAB Thiscollection contain.s classics \ViL~l\V1~ich young people s~ould be The Mik.ado, Gilbert and Sullivan lady who was swimming in his priv- Grade 2'/2 familial'-Sollg of Indw, Rnchmaniuoff e Prelude In C# Minor and Go Tell It On the Mountains George Lynn .18 would still be famous. Opening on ate lake shouted for help. The 74- Dungan .30 312-40089 130-41077 Soaring Gulls. Olive (Westminster, Excellent orr. of traditional Christmas Ileszkoweki's Spanish Dance, etc. It also contains folk songs such March 14, 1885, with genuine Japa- year-old gentleman swam to her res- (Arpeggios, Brilliant style, Interpretation) asDeep River and Vi.ennese ll'felorly, and lighter classics like the Spiritual, fine concert number) nese costumes, and two Japanese cue. As he reached her, she put her Hexentanz (Witches Dance) by MacDowelL Youug players will natives to advise on makeup and hand on his shoulder, and he Grade 3 enjoy,too, such novelty numbers as 'Tis Raining and Shadows of TTBB and staging, it created a furor that breathed his last. . . . . Hazel Martin .30 the Night. I 10-40157 May time in Vienna. 312-40090 To Thee We Turn ...... Bach-Lockwood .15 has not yet abated. The ,Mik.ado has Having survived violent discord, (Beautiful text, Fine a capella orr. of Bach Chorale) FIFTEEN RECREATIVE ETUDES had more performances than any the Savoy operas now proved invul- other musical show in theater his- nerable to death. The popularity of VIOLIN by William Seber- tory. By 1896 it had been performed their "innocent merriment" has I 14-400 II Cubcnclse , Charles Miller .70 .60 Secular SATB 430-41001 1000 times in London; by 1900, proved so constant over the years (Medium grade difficulty, Excellent recital piece) 312-40091 a Stay Sweet Love Farmer-Kermon .20 A group of supplementary studies for second and third gr-ade 5000 times in America. Attempts to that the D'Ovly Carte Opera Com- (Westminster a cappella) (Clever lyrics, Lovely students.Emphasis fulls upon altcrnating right and left hand scale continue the count have long since pany, sole inheritor of the Gilbert OCTAVO arr_ of 16th century Madrigal) passages,rhythm, legato and canlabile playing, staccato, broke:n been abandoned. As late as 1939 and Sullivan copyrights, has been Sacred SATB chords,left hand development, chord and pedal work, chromatlc a noisy "Baule of the Mikados" performing G&S in various parts of 312-40088 Now Glad of Heart Be Everyone. Praetorius-Kerman .18 312-40092 The Humpbacked Fiddler Brahms, edited Lynn .18 scalepassages, and interlacing triads. raged on Broadway when a Hot the world 48 weeks a year with only (Westminster) (Beautiful a cappella orr. of (Westminster, Fine edition of lively Rhenish Folksong, JlIJikado and a Swing 11tJikado were one interruption, 17 weeks at the be- 17th century melody, SAJB solos) Attractive concert number) PEDAL MASTERY put 011 by two Negro companies but ginning of World War II. In the by Rowland W. Dunham a few blocks apart. only to be out- United States the Savoy Opera Com- 410.41016 ... 2.50 shone by the "real" Mikado of the Pedal Mastery .is a b~~k all ~~'g~~jsls will find invaluable. Mr. D'Oyly Cartes at the Martin Beck Dunham,distimruis.hed oraanjst and teacher, skillfully presents a Theater. Opera is a mistake, since Music Book Suggestions For The Month IronicaJly, it was Carte, the part- clear and unde;standable 0pedal method which will assure ahso· the means of expression PIANO PARTNERS lute mastery of this difficult feature of the organ. In his book, the ner who had managed to pour oil by l\1olly Donaldson besttenets of the Enalish and French schools are preserved and over the stormiest ",,-aters, who final- (music) becomes an end in JUST OFF THE PRESS! 417-41002 61 weldedwith new pri~ci pIes used for the modern electric organs. ly struck the fatal blow to the ilself, while the end (drama) THE CHURCH ORGANIST'S GOLDEN TREASURY The problclll of holding the piano pupil's interest is often difficult Gilbert-and-Su llivan collahoration. becomes merely a means of He charged a new carpet for the bccause he is hored with thc easy- Again in 19511 Enjoy and study music: at its best with the I I TEMPLE UNIVERSITY tour to Paris, Italy WHERE SHALL I GO TO STUDY? or Scandinavia, and the great re detailedannotation. How- instrument. By comparison with 1110 id BEWARE THE EDITOR e\'er,two important ~onsl .era- previous or subsequent state- PRIVATE TEACHERS {New Yoel CHy) MME. GIOVANNA VIOLA (HULL) tions must be kept m mind: ments of the same material, we Dramatic Soprano Teacher of Singing-"Bel Canto" First, any sensitive perform- can infer with reasonable assur- Experienced European trained Artist ancerequiresa constant, though ance what the composer would U S I HANS BARTH Coaching Opera, Concert ond Radio Arbitrary and capricious alterations of CuMpeM .L..u Correct voice production, defective singing have done had his instrument Vocation-Study corrected. verysubtle fluctuation of ?y- Teachers b·day Refresher Courses for Piano . Beginners accepted namics,although our notation had the range of our modern and Pianists, held at mountain and seashore Phone: Trafalgar 7-8230 Mon., Tues.. Wed,. Thurs. a musical text often distort the composer's meaning, resorts June to September, in New York ond bOBWest End Ave. New York City . not adequate to symbolize instruments. In such cases, we other states, olso private lessons. Send postal s~ for full information to every• expressive III. Aectton.' may feel tempted to restore the Idameneo Route 8o. 76W, S, Jacksonville, Florida Magic Flute " Thus even the most profusely original line. But at this point Othello JULY 27 • AUGUS.T 30 FRANK WILLGOOSE By DANIEL STERNBERG anno~atedphrase will, for its extreme caution is indicated. Everyman $987 HELEN ANDERSON Piano Instruction • Concert Pianist fullrealization, depend on fine- True, the composer would prob- ind.20·25 tickets, travel, ~'1 Especially directed to an effective musical c c- TRAINING FOR PROFESSIONAL CAREER ly balanced dynami.c shading ably not have changed the music B~"Meistersinger hotel, meals, sightseeing MR. pnER DYKEMA proach to the very young. drives, lectures and sem- Tone, Interpretation-Master's Technique Rheingold past president, Music Ed· Specie! Courses for Teachers tooelusivefor notation. without the pressure of limited inars; registration and Many years of success in this field. Siegfried ucators Natl. Conf. o nd Non- Profesaiono Is. tuition (six credits) $100 either OST OF THE musical mas- (1) Corrections of apparent Consequently,additional ex- range. But when faced with the Parsifal 16(, W. 72nd st.. N. Y. C. Tel. 5C 4·8385 Teachers m, invited foe consultation, additional. MR. WILBERT HITCHNER personally or by mail, regarding child student M terworks we believe we errors on the part of composer, pression marks are often of problem, he dealt with .it by 0Ir., Music Education problems. copyist, or engraver: (2) Addi· selecting one of several posai- CJ~ Temple University know thoroughly actually have doubtfulvalue even when they Sadler's Wells MARY BOXALL BOYD Address:-29 Prime Avenue MR. LOUIS WERSEN (Pupil of Leschafiakv} come down to us in a form dis- ticnal indications of phrasing seemto carry out the compos- ble adjustments, thereby exer- Glyndebourne Opera Huntington. Long Island, N. -c. Dir., Music Education Pian ist- Teacher-Coach-Progra m BuiIding. london Philharmonic torted or overlaid with willful and dynamics where the com- er's intention. However, they cising his creative imagination. City of Philadelphia Summer Classes Myra Hess, ete., etc. Address-Steinway Hall-Nola Studios- additions, "corrections," and poser seems to have left toomuch frequentlydistort the compos- Tn a sense, all composition in- 113 W. 57th St., New York City, N. Y. PRIVATE TEACHERS (Western) "improvements." The conscien- to the imagination of the inter- er'sdesignand do actual harm. volves a struggle between the For information and enrollment write to: tious reader or player of 1110st preter: (3) Additions of notes Manya "subito f" or "subito composer's ideal and the fet- DEPARTMENT OF MUSIC, Teachers College, TEMPLE UNIVERSITY, Philadel.phia 22, Po. or STUDY ABROAD INC., 250 West 57 St., N. Y. C. EDWIN HUGHES UVERETTE OPERA ACADEMY available editions of Beethoven. (usuall y octove doublings or p" has been ruined by an ill- ters imposed by physical limi- SUMMER MASTER CLASS FOR Lucio Liverette, Dir. added chord tones) to enhance tations. The inventive genius PIANISTS AND TEACHERS SamoiloH's Bel Canto Method Mozart. or Schubert must be consideredcrescendo or dimin- information: JULY 9-AUGUST II Write for constantly plagued by a nag- the effect presumably intended overcomes these obstacles not 1833 w. Ptcc, Los Angeles e Calif. uendo. In Beethoven's "Son- 338 West B9th Street. New York, N. Y. ging doubt as to the authenticity, by the author: (4) Actual ata Patherique," Opus 13, the by ignoring them, but by ac- not only of the phrasing and changes of the text to correct downbeatof measure nine in cepting them as physical reali- CLASSIFIED ADS ANNE YAGO McGUFFEY HAROLD HURLBUT expression marks, but even of distortion believed to have ties and by striving to frame his Singers who have studied with him includ'e theAllegrodi molto enters with Teacher of Voice NADINE CONNER - Henry Cordy, the very notes in his text. been forced upon the composer a breath-taking"piano" follow- ideas within their bounds. The HAIC,.LUO.\'¥. Composition, Orches- A.CCORDION ALPHAllET. New sys- 1908 N Street, Northwest and singers of Metropolitan Opera-San Frcn- tration. xr.ustca.I Theory. Private or tem to overcome basses' trouble by Washington, D.C. District 4079 cisco, St. Louis end Havana Operas, Hoflv- Obviously, many master- by the limitations of his instru- ing four violent measures of result of such adjustment is as Correspondence Instruction. Manu- temporarily coloring some accordion wood Bowl-Radio etc. scr-Ipta revteed and corrected. Music buttons, compiled by the former N. Address: Hollywood. Calif. Tel. Gl 1056 works admit (and even reo ment: (5) Changes in finger. "crescendo". One edition of the much a manifestation of the a rr-ang erl. F'i-a.nk S. Butler, 32-46 107 Y. City public school piano teacher, Itlg or notaLioll, particularly St., Corona, N. Y. Frank Pinto, 752a M.adison St., Brook- (FRANK) {ERN ESIO I quire) commentary and clari- workdestroys this effect by in- creative imagination as the lyn, N. Y. :511ol'tcourse of correspond- STUDIOS fication; but what responsible concerninf't the distribution of original thought itself. 1,I~A.n N PJ.<\.NO TUNING-Simpli- encemail lessons given. LA FORGE-BERUMEN JEROME D. ROSEN sertingan unwarranted "dimin- fied, authentic instruction $4.00-Lit- Voice-Piano editor would dare to willfully passages. chords. and poly· erature free. Prof. Ross, 456 Beecher FAUL'l'Y VIOLI~S COlutEC'I'EU. uendol" thereby turninlT a dra· A.mong those who have studied with Mr. lo Violin Recitals-Artistic Violin Instruction 5. A very important prob- St., Elmira, N. Y. Practical experience of .10 years re- Forge are: Marian Anderson, lawrence Tib· Founder "Ancient String Instrument Ensemble" change the text of. say. a play phoni ~ettings bctween right veals "the secret." Satisfaction guar- maticl exciting passage into a bett, Richard Crooks, and Mme. Matzenauer. Sfudios lem is that of original finger- NE;\V PIA.NO jU'U'I'I~ LE'rs YOU anteed. Information free. V. L. 1100 Pork Ave .• Corner 89th St .• New York 6506 Delmar Blvd. 2070 N. Kirkwood Rood by Shakespeare or a poem by and left hand n the keyboard commonplaceprogression. The PllAU'I'ICB D.4..Y OR NIGHT 'VITH- Sell ",,-enI" Redwood Valley, California. Tel. Atwater 9·7470 St. Louis 12, Mo. Kirkwood, Mo. ing, pedaling and distribution OU'l' 1J1S'l'URRING O'I'HERS, Mutes Goethe, or venture to lav his supposed to clarify the com- editorwho feels called upon to piano about 85%. Easily attached or BACH: POPULAIl SHEE'l' ~IUS1C o[ hands, especially in cases detached without harming mechan- to 1850. Ballads, Ragtime. everything. brush upon a canvas of 'Rem- poser' int ntions or to facili· add ,uch directions should at ism. State upright, grand, or spinet! Catalog 10¢. Fore's, E3151 High, Den~ EDNA GUNNAR PETERSON where the composer was a per- Hold only on money bacl, guarantee. vel" 5, Colorado. EDWARD E. TREUMANN brandt? Yet, equivalents of this tate execution. leastidentify them as his own. Send $i'i.00 fol' mute and full instruc- Concert Pianist-Artist·Teacher fanner himself. It is a well· USED OPERA SCORI~S BOUGHT, Concert Pianist-Artist Teacher are often done by rnusic editors Counties instances can be tions. Richard Mayo. Dept. 004, 1120 also Ballets. Music Dictionaries, Vo- Recommended by Emil Von Sauer, Morliz Mosz· 229 So. Harvard Blvd. los Angeles, Calif. [,atona SU'eet, Phila. 47, Pa. kowski and Joseph Hofmann. known fact that a specific fin· ca:l Anthologies, bool,s about Operas. Studio, Carnegie Hall. Suite 837, 57th St. at DU. 3-2597 who not only feel called upon adduced where such proce· 3. Many editors and per- nVe cannot supply catalogs). RING'S, gering may serve one of two YOUR UN'VAN'I'EU lUUSIC ex- 1654 Cherokee. Hollywood 28, Cali- 7th Ave .. New York City Tel. Columbus 5-4357 to "improve" on the originals, dures seem justified. evenneces· formers feel Lhat occasional changed piece fOI' piece, 5¢ each; distinct purposes, and not neces- quality ma.tched. Burpee's Specialty fornia. ISABEL HUTCHESON but who do not hesitate to pass sary: but as many or morecan additionsof octave doublings Shoppe, Delton, Mich. ..UtRANGING for Band-Ol'chestl'a- sarily both at the same time: Piano Vocals. Manuscripts cOITected ALMA FAUST B.s, Music Education Teacher for Piano Teachers off the result as the texts of the be quoted which renal misun· andchord tones are called for VIOJ~IXS .FOR SALE: Fine hand and prepared for publication. vVords Piano Teacher Modern Piano Technic; Group Work; Coaching original composers. to suggest a "safe" and fluent made violins. Wonderful tone. Made set to music-school songs. Send Learn to Teach or Ploy for Pleasure Concert Pianists. Conducting Piano Teachers derstanding and arbitrarines3 in the interest of increased so- from finest selected ·wood. \Vrite for manuscript for estimate. Prompt Summer Course: July 5-August 2 Forum. In the case of Bach. his pred- on the part o( the editor. execution of a given passage, particulars-George & Joseph Hall, service. Val's Arranging Studio, P.O. 600 West II1th. (Corner 6roadway) Studio 202, 1005112 Elm St.. Dallas, Texas- norityor emphasis. Such addi· 1i17 East :i\:Iain St .• Louisville 2, Ky. Box 21G9, Daytona Beach, Florida. New York 25, N.Y. MO 2-6772 Ph. B.A. 6214 ecessors, and his contempo. tions,however, should be Sf't or to insul'e a particular mode 1. Some errors inevitably Ii'OR SALE. Rare records. Lists. FOR S_" I.,lj:: Mason & Hamlin Amplico raries, this practice is usually down in different print. J n o[ performance as to accent~ Collections bought. E. Hirschmann, 6'2" Grand Piano in excellent condi- occur. However. there hare phrasing, etc. Sometimes an ]00 Duncan Ave., Jersey City, New tion by private pal'ty. Collector's item WILLIAM FICHANDLER EVANGELINE LEHMAN less dangerous because the ori result the pupil can play the in- AS OF DECEMBER 31, 1950 strument. It affords pleasure and satisfaction, to him, and to others, " J~~eenlo~0~0~;V~L~RnJ'~~j;1. tx Get Tough With Your Pupils! tl'aineJ beautiful vo'ce can raise VOtl to uml"comt·of hei~hts--In I ONCE HEARD a group of art ~ocial success, "omane" and fame. 1"·lIn05 Such "tal'S as GINNY SIMMS. teachers discussing self-expression Gulhrtlnsen ~ B,Q,RRV wooo, GORDON MacRAE I and oth",'s haVe pauJ NORMAN By MAY WOOD KIXMILLER and technique. Several of them I>:LING thousands of dollOl'S for t,'"lnin~ lhe.ir vo,ces, I Now "OU can ha,'e his famoUS course In HOME 5TUOY [0"'" for ol\ly $1,00, had experimented with the method LEARN AT HOME In yow' SI",rc time, ' , 110w to I place yo," uojce, brenLlw correct/II, to rolf,., and Sold to Public Schools of develop yo"r vocal cord~, I.e"rn lIow ~o ur",g out of self-expression without previous U'" clear reSollollt tOlles which arc tlle mark or a I r,ne sing:cr, technical training. The result in If you ha,'c sjn~hlll" ambiUons. don't waste 'mot~e" ness and light" variety. The pupil I I"'ccious <1a~'. MAKE THE STAHl' wh'ch ,may bl',mf:' EVER since the first prehistoric vou thc rich ".,wa,' ~ ..:0"; ~ I =Zi. ..ro:l;.! SpecialTeacher's Co-operative Offer-Nome I o " • of nearest authorized dealer on request I go~.". Proof of Acceptance . I- How "Sweet Adeline" Got its Name thought they had something now, and :c >. ~ Z cc tried to sell " weet Rosalie:' But I V • W W TWO OF THE MOST WIDELY ACCEPTED ci~~ '6 0 ..... still no publisher wanted it. ARTIST-TYPE PIANOS. I > 0 0 :::> « .. ~ W America's favorite barber-shop quartet began as a sal- Then. one day. Armstrong and I c: ;1:.;:...... 1! V) 0 Gerard were walking down a street I Gulbransen pianos are accepted nation- .~ ~ E 0 ute to a touring prima donna. in New York. It was a day or two e 41 a Vi DO •- oJ: 0 before that concert by Adelina Patti. I wide by more than 2000 schools, vi'" •c: 41E They sa w the posters advertising I NO .. •C .... By K. F. JEROME V) M Ow 0 her appearance, Suddenly an in- I M Ow ~ colleges, conservatories of music, churches ~ ~ W Z spiration came to them. Perhaps I u ..• ~ :c'" « Z.E E a U it would he! p if they changed "Sweet I A 0 o and music teachers for their full 0'" « cc EFTY YEARS AGO, the cele- new lyrics for "My Old New England Rosalie" to "Sweet Adeline." _Vi·!!:-:: c 41 W I > ....- E .... 0 brated soprano Adelina Patti was Home" was Charles Lawlor. who had They changed the name and the Q~201 giving a recital in New York. Ad- written the big success. "The Side- song sold. It was the day of vaude- I volume, rich tone quality and superb per- ° • e DO z = ii.= vertising posters heralded the event walks of New York." But Lawlor's ville and male quartets. A number I « .~E·:E in bold black letters. Just because inspiration failed him with Ann. of these groups tried "Sweet Ade- C .. 0 c I formance through long years of service. c.:: GI U 41 of these posters, we have the most strong's song. He advised the young line." They took to it like ducks to o E~ A E r:: famous of all barber shop quartets, man from Massachusetts to forget it. wa ter. And so did the public. Gulbransen 6-1001 Masler Grand I ~~~.! i "Sweet Adeline." A superior Grand lonol quality of sonorous richness But Armstrong had faith in the I a:::'ii~a ~ ..,"""....., The tune had been written several tune. that haunted him. He appealed "810cet Af/cline" was the only hit and depth with the stability inherent in every ~.:: a ~ E• I o ~.! c 0 :g years earlier by a young man from to .Iimmy Walker, a Tin Pan Alley Gulbransen piano. This i5 the orlist's piano, superbly .... u.c.. a Z (; '""' "'".... that Harry Armstrong ever wrote, I '" "'" ~ Massachusetts named Harry Arm- song wnter who was later to be New But it soon sold more than a mil· beautiful ... 0 "modern grand. ... strong. Armstrong had called it "My Yo:k's mayor. Walker obliged by lion copies, and so great has been I Old New England Home," and had trymg, but that was as far as he its popularity that the income en· I come to New York to try to sell it. Gulbransen Minuet got. It looked as if "My Old New abled Arm trong to live in comfort But he soon found that no song I England Home" was destined never until his death a few months ago, Studio Piano publisher was interested in his old to go beyond the manuscript stage. Thus Adelina Patti unknowingly A funclionol design with I home in New England, The? Harry Armstrong made the launched our most popular barber· excellent workmanship I Young Armstrong still believed acquamtance of a man named Rich- shop quartet. THE E~D throughout to maintain that the melody ,vas a good one, ard Gera:d. Gerard had written Some long·time musical perfec. I and decided to find a collaborator to song lynes, .but was not so well tion, Equipped with direct I write new words, Meanwhile, he known as Armstrong's two previous blowaction end 5pedolly I played the piano in a New York collaborators, He fooled a.round . l designed scale to give I cafe to pay the rent. "N E wit 1 ILLUSTRATION CREDITS, fuller volume, richer tone ew ngland. Home" for a time makers of fine pianos for over 50 years quality. Easily moved, and came up wah something called Travel Association • II, 12, 13-British stays in tune, The first man to try his hand at "Sweet Rosalie." The two young men 20, 21, 22-The BeHmonn Archiye GULBRANSEN COMPANY 64 816 Norlh Kedzie Avenue, Chicago 51, Illinois ETUDE-MAY 1951 This Amazing Electronic Piano-Organ brings you a ~~ ~~ "" ~ Here's the same piano keyboard you've long been used to-the same familiar keys-but playing them now produces organ music! Those two unobtrusive units work this transformation-provide the featherweight key contacts and many combinations of tones and vibratos. That's the magic of the Lowrey ORGANO-amazing new electronic piano- organ. In addition to producing either piano music alone or organ music alone, it makes possible intriguing new combinations-organ and piano together. Here is something new-easy-unusual. The ORGANO is the answer to your organ music problem, whether it is one of experience-or space- or cost. LOW-REY You can't believe these state- ments until you listen to the ORGANO. Prove them for your- self-send the coupon for a free demonstration . o .... THE TONE CHAMBER ······································CHICAGO········· . -what it does GET COMPLETE INFORMATION IN THIS NEW ORGANO BOOKLET. The tone chamber of the Lowrey ORGANO creates and reproduces beautiful organ music Use handy coupon on page 64. This saves your Etude cover. by means of electronic tubes. Harnessed after many years of research, this tube system is as trouble free as your radio. Tuning to any LOWREYORGANDIVISION piano is accomplished quickly and easily. . Ceutral Commercial Industries, Inc. BI/ilt-in models by Janssen Piano Co. :\32 S. Michigan Ave., Chicago 4, Ill. ~L-~--=====---