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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
12-1954 Volume 72, Number 12 (December 1954) Guy McCoy
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Recommended Citation McCoy, Guy. "Volume 72, Number 12 (December 1954)." , (1954). https://digitalcommons.gardner-webb.edu/etude/73
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T 0 TilE EDITOR
"Piano Recitals of 'remerrew'' work out all approach that will lay Sir: I have been reading the ar- a groundwork of musical under- PIANO SOLOS ticle on "Recitals of Tomorrow" standing similar to the way in which (March 1954), and heartily agree reading and writing are taught. No ELVES ANO THE SHOEMAKER school teaches all children to read EUe Siegmeister with the facts stated. In fact, a re- FOLK.WAYS, U.S.A., Book II . A story with music by Marie Westervelt andlaneFlory cital was already planned in which and write as if they were going to . . music based on American folk tunes. the pupils were to use their music, be professional journalists and writ- ers, yet the few that do make their Contains twenty-seven titles. all .' tastefully harmonized . f'ry tale set to mu ic by Marie Westervelt, with words and not because they were unable to A charrmng 31 Many have words. Grade 2-2Yz" ~ach piece IS. 1 de both familiar memorize their numbers, but due to living from writing might profit from . b Jane Flory We are certain that teachers and pupils a study of semantics in their early and has a note descri~ing its ong CO~:le~~~:~p~ulin broadening illustrations Y . the fact that I wished them to spend l;. more time in- sight reading, ear years. The comparison with the Eu- and unfamiliar melodies and there .ore WI . be used will welcome this addition 10 our catalog. Grade 2-3. training and chord drill. I am not ropean professional approach seems the pupil's knowledge of our musical heritage. Each piece may Advonce of Publication $.65 Somewhere. " . in a studio. . a very young List Price $.85 against memorizing as I think some obvious. We seem to need some com- for some technical purpose. of it is a good thing for their own mon sense in fitting music education lady is seated at a piano playing "Silent Night." Advance of publication $.80 training. But to spend most of a into every day life and activities. Millions listen and dream their old dreams. List Price $1.00 Frank Friedrich HAPPY TIMES Berenlc« Benson Bentley year's time learning one number for a contest, or what have you, binders Ohio And somewhere parents who cannot conceal Twenty-five short pieces lor developing technic andstyle pupils from doing a lot of things PIANORAMA OF· AMERICAN CLASSICS their happiness are listening, too. . on their Ihat would aid in making better mu- "A Judge's Dilemma" Compiled, arranged and edited by Denes A gay · many with word running from early throughimer- sicians out of them at any age. Sir: As I renew my subscription lips a prayer of gratitude for a Great Gift. And T unefuI pIece I - • Throughout the year, one week and have the ETUDE sent to one somewhere, not too far away, a pardonably Twenty-five tuneful pieces, many with words, running from ea,rly mediate grade (1-3). upplementnry materi I. Covers manyphases was set aside for sight reading and of my students for next year, I wish proud musie teacher sits very close to the radio through intermediate grades (11/2 -3). Ideal as supplementa? teach 109 of keyboard technic: ch rd • arpeggi , t ccat<:legato touch, black ear training only. Also some reading to tell you that the fine article by or TV set. . smiling the same smile of aterial the book covers many phases of keyboard technic, chords, keys, trill, etc. Welcome adjunct to re cher looking for newrnateral, was done at each lesson. This took Dr. Maier (April 1954) made me encouragement that today must remain unseen. m , k t 'II t A welcome away from memorizing time but the realize more than ever just how in- arpeggios staccato-legato touch, black eys, n s, e c. ". . . $1 00 Ad",once of Pub1ico~on $.65 List Price " pupils seemed to play with more dispensable this wonderful magazine addition for the teacher looking for fresh, new and highly imaginative .. To these, and coun tless thousands Iike them- understanding and progressed faster. is to a teacher. material. With two pianos in my studio, they This article was timely. Probably students, parents, teachers-may we extend our Advance of Publication $.95 can also play toget her which gives thousands of teachers in the United most sincere wishes for the List Price $1.50 ONE PIANO, FOUR HANDS- them a source of enjoyment. States are preparing students for the Parents also appreciated the pro- National Piano Playing Auditions. cedure as they could see a definite and there comes a time in prepara- AMERICAN HERITAGE DUETS OF THE CLASSICAL PER100 improvement in their children. One tion when teacher and student both mcrr~ Q:hristmas illustrations by Jane Flory or two had mentioned the fact that arranged by Marie Westervelt edited by Douglas TowMend need a lift-they wonder what can you so AIIIPrica could not be played with- I do now to improve the program richly deserve for loving and sharing your music A folk festival of songs and dances. Marie Westervelt and Jane Flory our a struggle. to be played. This ediuon presents four-hand mu ic of THE WORLD OF ~.UDE the$4.00 A YEAR the things ~ music IIlaglfziJle CARILLONIC BELLS or E • CATHEDRAL CHIMES? Edilorial and Business Offices, Bryn Mawr, Pa • that money • KEEP THE SOUNDS J ames Francis Cooke. Editor Emeritus YOU WANT TO REMEMBER can't buy mnns Fou"ded 1883 by THEODOHE I'RESSEH (Editor. 1907-19491 The Conccrtgebouw Orchestra of program honoring; his 20th anniversary MAKES BOTH! Just push a button and the RCA Holland, under the direction of its regu- as soloist with the orchestra with which Guy l\lcCoy, ltla.naging Edit,or Tape Recorder captures every note lar conductor Eduard van Belnum, and he made his American debut under SINGLE BELLS • PEALS Lt'.II· ....C HUI·hhen!. IlJlI.~I/· r,,Jtlor every sound. Press the button agai~ with Rafael Kubellk taking over some of Hans Lange. Casadesus' appearance as CARILLONIC SETS ~ .. and. it plaY.8 back with true RCA the conducting, has been making its soloist with the Orchestra has become fideh~y _ se It to record parties, music. first American tour. Opening in New an annual event. Harold Berkley Maurice Dumcsnil PaId N. Elhin Karl W. Cehrkeus Whether you prefer Try It now at your RCA Dealer's. Haven on October 12, it is scheduled Elizabeth A. Cost George Howerton Guy _\Iaipr Alexander McCurdy electronic bells or the mellow to give 43 concerts in 42 cities before Rafael Kubelik, Czech-born orches- tones of genuine cathedral William D. Revell! Italph E. Rush Nicolas Slouilll"ky the close of the tour on December 3. tra conductor, has been appointed mu- chimes, you'll find the finest mI!JDCHJ[!]DDt:l1ll The orchestra personnel was given a sical director of the Covent Garden in either made by Maas. RCA TAPE RECORDERS reception following the opening concert (London) Opera Company. Mr. Kubelik The more than 25,000 Priced from $169,95· by the members of the New York Phil- will begin his duties in October 1955, installations of Vol. 72 No. f2 CONTENTS December f954 '~"r~'.U~_ harmonic-Symphony. - The company has been without a mu. slcal director since 1951. Mr. Kubelik Maas-Rcwe chimes, The Nettonal Assoctatton of Schools was formerly conductor of the Chicago carillons and bell FEATURES of Music will hold its thirtieth annual Symphony Orchestra. systems attest TIlE WORLJ)'S ?lIOST HOLY UQUR-I'OEi\I. . Jmll~ F,,,,,I';. Cooke , A CHALLENGE TO AJUEHICA _ Dmwld /)ic.boll JO meeting at Los Angeles, December 29- to their "CHRISTMAS CONCERTO" _ Nfl,,,,,, 1t,·lfJlHI C",rn I I 31. The president of the Association is 1\I1's. Herbert Withcrspoon, who superiority. l\1JNUIt;lU INSTRUl\IENTAL PERFOHtUAi'CE IlEQUIREMENTS FOil, f SIC Harrison Keller of the New England since 1935 has been actively associated EDUCATION lHAJons , _ ,h,·i,,(: CI"'Y"IU! I:.! LILLIAN Hi\.LDWll" AND Tr-IE CLEVELANU STOU'!I' ' .. CI(lrl,.,. JUtlPlllrtl J:I Conservatory of Music. An interesting with the Metropolitan Opera Guild. and THE AMERICAN ACADEl\IY OF' TEACUEns OJ.' SINGING ., .. I.NUI CM.r.rl I J feature of the program will be a demon. more recently as director, has resigned CHHISTMAS WITH TElE COMPOSERS...... , V"""I Arr"y IIi aAO'o CO.1'OltAfION 01 AMftlC-' srration of television technique. to enter the field of music. theatre and DEAR PIANO TEACI:lEH , .. , , •.... , , ' , II, J. 5"1'11. 2) lecture management in Denver. During . , . come into your home with a SCHOOLS CAN THAIN IllANO ACCOl\j1·ANISTS. ,.eliDorll ,P. "'11"'/1 (i0 THE BUlLE SINGS ' . , . , .• , .C,,'; UI';", 60 The New YOI·k City Opes-a Com- Mrs. Witherspoon's association with the SLO-Wr DOWN ' . .. ,/o.'(I;lIt JI"III/III(I'IIII It pany following its fall season at the Guild. its membership increased to ABILITY f. hur mUlf, lC,uralefy City Center, made a tour of a number of 60,000. J) E I' A I~ '1'ill I, N 'I' S bUrl dire't1y .n leading cities of the East and :Midwest STEINWAY LETTERS TO Tn E EOITon...... , , , . ' ...... 'J during the month of November. The Alcxandcl' Grelchaninoff, noted WORLD OF MUSIC, , .. , . , .. , . :" ABILITY TD PERFORM 1\1USICAL ODDITIES " .. , , . ·""I'nl';"· ;;ifl~,';;,,~j(;' I tour opened on November 1 in Wor- Russian composer, for a number of ABfllTY TO MEMORfZE pointing beyond distractions of Write for MUSIC LOVER'S HOOKSHELf'. , . , , , , . , , .. , , , , •.• ,Dtd" l'trtll'''iH, cester, Massachusetts, with a perform- years resident in New York City. was 'You cannot measure, in dollars catalog THE li\lI)ORTAl''T ROLE OF TnE STIHNG OHCIIESTICi\ II SCHOOL MUSIC ABILITY TD WRITE MUSIC ance of "La Boheme." In addition to honored in October on the occasion of and cents, the overtones of value the gadget age to strength and Ufllpl. E. IllU,l, I!) this opera, thirteen other operatic works his 90th birthday hy a conr'crt of his Dept. £2.3015 CASITAS AVE. PROGRAM BUILDING, PART I: PHOGI1Al\I OUTLlNES ANI) 1'£UF'OH\IA 'el" in a Steinway, There is the glory sufficiency in things of beauty, lOS ANGELES 39, CALI F. 'ractlce 'l~\ 0'. 0 •• , 01 ",lle. plpel were presented, including this season's music presented in Town Hall. Featured . PERSONNEL , , ...... , ,C"orJ;:t' limen,,:: 17 /llp.crollr d.,~gn.d '0' .-If lIt,p III tor of tone that uplifts listeners; the Values like these do not come NEW HECOHDS , . , , , ,J"1U1 1\'. ElIJi" '1n tro'nlng newly restaged "Tales of Hoffmann," on the program were three groups of THE HAND'S REI'ERTOIRE , . .,. , ,Willillm O. u£"c,.m 19 vocal works snn~ by :Maria Kurenko power the Stcin\vay has to enrich automatically, The Steinway, PI~NIST'S PAGE. , ,. ., ' ••. " _ .. r.uJ' ,utIiN· 21 W,U, lOt" ··CUi" ID UN ., 't'lChu 'I~' Roy Hanis' new orchestral work, and the Trio No. 2 played by the the home, to release tensions and which depreciates so little over AND QUESTIONS AND ANSWERS. . .. .•. ••.. . ., .. , ,K",., , . (;"J"h""11 22 WRITE PLAY TEACHER'S ROUNDTABLE...... • . .•• •• . lIJllllri,·" I)lltllf>Jlllil 23 ROBIN PRACTICE PIPES "Symphonic Epigram," based on the Mannes-Gimpel·Silva Trio, calm cares; and the pleasure you the years, is an investment in the THE LEGACY FRO1\'[ CARNEGn~ .. , .....••.•• , , ,A'/~.xfjlul"r Mrf;",IIy 21 letters CBS, and written in hOllor of the D.pt, E have in creating pleasure. Above inner wealth that life shares so ~lOL1~IST'S ~FOIU!i\I, .. , . . . /larolll /lnl ..l,.y 2:> 25th year of the New York Philhar- The Eighlh Annual Mi(I·West Na- IOLlN QUE~TIONS...... , , , , , •. /l"roltl 1I,.rM,., :;2 4H. W.-r' tnll AYli,. C.ltIl .. 2•• Il SCALES AND CHORDS monic-Symphuny broadcasts on CBS tional Band Clinic will be held in Chi. all, there is the gentle authority abundantly with those who look ?~J'i~~~~~5~IOIR QUESTIONS. , .. , F':.,..tI"r;,.h I"'I'ilii/111 :;:\ ~ . , . . , - .. EI,~'./'e,1I A. CPIII 51 radio, was played on the program of cago, December 15·18. A number of out- the Steinway holds for the child, for its treasure. Sunday, November 14, conducted by standing bands will he in attendance illUSIC Dimitri l\'litropoulos. The work is dedi- including the Cass Technical Hil!h COIIIJJosi/iorujlor PitlllQ (Solo fUlIl Dllet) rated to the Columbia Broadcasting School Band of Detroit; t.he Unit.ed Ehule ill D"utinor, OI'II!! 29, No, 7 (from "'Tweh'" Ma,.ler System "in gratitude for its distin· States Air Force Band; the Greensboro. Etlllle~ ) .': , .....•..... , , .. , Fr"'ll-ill::'l'h Z-nd",rn 27 PLAY IT SAFE! He SI.mll Feed }Ill'! Flock (from "The illessi .. h") (from "TJ.,..nu's guished services to the American peo- North Carolina. Senior High School Jrom The Grcat Or:ltol·ios"), . . . . J1 I I I . ple," Band: the Band of the Royal Canadian 1':lsloral Symphony (from "The Mc~si:II;''')' (il'~;l; ·':'l:I;C·I~l~~ alII I'· :A'l'IIIC 28 Support- Air Force Training Command and . ~r~nl The ~rc:lt Ora~orios"). , , . , . . . . , 1l'''lflcl-I~f'ri .. ,. THE RRI1IRIlIS ~Oll.itlll'\ (fron. IlIlro,llIcholl and S'HI:lliJ1'l") III Jp. 29 Robel·t Casarlesus, distinguished others, Dr. Edwin Franko Goldman, fhe Green Cuthedr:11 (from "Yonr F;,,'orilc ·SOI~;!!;·)· ,.,.. l"I:'j;('; I:!l~'"'' :<0 RHO RHEUMATISM :$1 French pianist. appeared as soloist with noted bandma:;:tPr. will he a guest con- l\Iight)· Lak' a Rose (£rolll "Yom· Favorite S~II"'S")" .. '. II ~"- . ~ "i'r FOUHDATIDN Ihe New York Philharmonic-Symphony Silcllt Night (Ducl) (frOIll "Twcnh" PhilO Du~t T': .. : : . : .. _... /V"r;IIl-U,rl,t", :~3 ductor. and also a ~uest speaker. of Fa"oritc Hvmns") .' r.lIlsCrlllllHn" Orchestra on October 21, in a special (Continned on Page 8) "~il'rllmc,,'al aJl,1 V~cal CO';'~;)~i~;·o~,~·.... , .. , . , ., .. C,,,I"'r-l{olrllllfllll' 31 V,vncc lind Allegro (from "COllcerto GI"";;"o No 8" CI ._ COllcerlo) (Organ) - '. lrl,.tnHlll WIJ:lt Child Is This? (S.A: ~;)d·;,i~'~I~)). (·f~;'. ';'S: .. ·I·S C",,,'lIi ..Ha,,c./li'lIi "AMAHL AND THE NIGHT VISITORS" by MAXWEll ECKSTEIN for Junior Choir") , .. _ I~' ~~r~~.. ~~~~b" • God Rcst Y~u ]\Jerry, GcnllclHen (Voe;lI) (frolll "C' I . ttl. J. TlvlJIIllmll We honestly believe that this for Chrlshnlls") .11'0 s ET DE dverlisiug 1LLI?NS of tel~visjon viewers witnessed musical hist.ory in the The First, Nowell hoc~i)' (·f~~I~I·';C.;1:0·rs'~;r· .. A,,_ by AlltflO"y Crlllllrl"ri i makIng on Chnstmas Eve 1951 when Gian-Carlo Menotti's opera simplified formula will give , Chrlstluas") _ ..•.. , _ _ . R pl'C"eJllu lives M your students a fuller under- P,ece, lor YOllng Plwrers .. An. b:,.AlIllItHI.'- Ca'1I1rlv,; "Amahl and the Night Visitors" was given its premiere telecast by the standing of chord and scale 1'00luita (from "chrislmas in l\le~ieo") National Broadcasting Company as a presentation of the NBC Tele- In llen~diction (from "Christmas iu i\le~i ' ~;) _.. , .1Ill/,i.c WC~'j'rf:e" 12 • .\C\\ )orL. construction, as well as make AdoratIOn (from "Chrislll1as ill lUc.xico") co -... . 11/1/,,1' Wc.lp,cpll ·12 vision Opera Theatre. The opera had been commissioned by NBC. -.-adl·r &. Sllng ..tun .\ .....·;,ocial~ teaching eosier and faster. It ~c:lnl~erillg PlIllllicll _ - .....•.••.• , lIfllr;e JPe#err;elr 43 the first. operatic work ever to be commissioned especially for televi- I leading _ , .....• , , , .. , .. , , . , .•• , ..•. - . , •. Hol,b. Trnr:-i. 41 3012 )Iadi ..ou .rht'. shows the pupil how he can el",,,11 lUII,sic ' •.•...•. JP;lIiam 110'1.-;", ...., .\hlrrn lIill 2-1432 sion. It proved to be an immediate sensational success and it has been actually construct all the most Chrishna" .i\lorn, , .. repeated at each Christmas season ever since. It will be given this year .. , .•...•..... - ••.. ,Cltr"lc" Cordon Ilc.'t THE BE...UTlFUl BABYGRAND-tlll.s the glowing ~Iden tone and maje~tic pre~ence thai telong only to Ihe Sleinway. II can be frequently used chords in a 45 on December 19. • delivered 10 yom home by yOUI Sieinw~y dealer for i1 lillte dow" a~ ... $271 QQ liberal telms. Slightly higher in tile We~t manner that makes study hir3il:o The opera tells the story of the Three Wise Men on their way to Published monthly by Theodore Presser Co.• 1712 C • ' YirFil 'f~ldu:r. interesting and creative. Elllered as seco1/d class nit/tier ]((11uary 16 1884 h he_tnut St., Phi1a .. Pa, Bethlehem to adore the Christ child and their meeting with a 10-year 0/ Ai(ll'~b 3, 1879, CoPJl"igbt 1954 b' Tb al , e P. O. at Phi/d, P, J b off 430 ~. 'Ii('hj~an he. old crippled boy and his mother. The opera unfolds the story of the Most of the world's great C1rtish use the Stcinw£ly 03913 $1.25 l}JlenwtlO1/fll cO/J)'rigbt secured, All 'rights ,e~~,~::J. PreSler Co" U. s, A. ;,,':1 Grr~~ '8:r,,,;~~ Dela\\an> ;.().;12 exclusively-Among them are Artur Ruhinst'ein, boy's miraculous cure. The production this year will again have Rose. Order your eopy today The name "ETUDE" is refl"istered in the U S p 0 pidured at right, and great names like Bruchol1el'ic, o ... atent Rice. mary Kuhlmann as the mother and Bill McIver as Amahl. Cantelli. L'dcincr, Duroth,y j\la~'nor, j\'\ilstein, Pasad{'na.• Calif. Mitropoulos, I'lorlcy & Gearhart, Novaes. Solomon, CARL FISCHER, INC. $4,00 ~ year in U. S. A. :lnd Possessi . I' .. ETUDE is privileged to present on its cover this month a scene from S:wll, Tureck .. ,also nearlYI'll of the nation's Rcp.ubllc, Guatemala, Haiti, lIofex- onN·a so In the PllJllppines, Costa Ria C b ' • l~('ph W. Couro". 62 COOPER 59UARE tltis famous television opera, this through the courtesy of the National leading orchestras, radio and television stations. ?paJl~llan1, :l$ll South Amc~ic:ln COt'I~~~i'esc~c~~r;tg~~~ta~am~~ $Republic of Hond~r:~ I~~~:r:r.n Il7S WoodhllTV Road NEW YORK 3, N. Y. oun anu. 5.00 a ye:u In ail other t S· Ulan:lS. 1.25 a ye:lr in C:l d' d or. S)"l~a.mort" i:~~ Broadcasting Company. The photographer of the excellent shot used ra~useriPts or a~t .should be aceomr~~~d rb~s. ;;P,le COpy price: 50 cent>.. P/i~~ed ::-n U~;r;.: as a cover subject is Fred Hermanski. Our booklet. "How fo Choose rour Piano:' Iii or Icturn of unsolloted manuscripts or art. y rc rn postage, ETUllE assumes no res~n5ibiiitY will be sent free if ~·Oll write Stein way & Sons, - " • Steinwa~' Hall, 109 West 57th Street, N,Y. __ 2 I ETUDE-DECEMBER 1954 b ~ ETUDE-DECE:1f8£R 19;1 3 6 .. F. Meritis (Felix Mendelssohn). At 5 :30 an agent of Minnie Not only did Schumann use the Hank arrived in the theater. Find- name of the Society of David as a ing that her dresses were removed title in his music, but he intro- from the room of the absolute duced its imaginary members into prima donna, he replaced them, his reviews, which were often in and put Marie Roze's dresses in the form of a colloquy. [n this the other room. To make this ar- persistence of an adolescent fancy rangement final, he had the room padlocked. At 6:00 Marie Hoze The Slieles lies the key to the entire character The Arrews I/lelica'e the arrived for the performance. Un- Peint ID the of Schumann, the most personal fingers to be Keys! deterred by the padlock, she called Unel. composer of the romantic era. By NICOLAS SLO I~(SKY As a youth of twenty-two, a locksmith, opened the door, reo Schumann wrote about himself in moved Minnie Hank's dresses once the third person singular: "With- more, and took personal possession t----1±t1ft1:fj~Hft±fB.±8m"'h M,d.d .. dO'· III ADAME ROSINE STOLTZ, from the Opera as a result. She ont attempting to draw limits to of the disputed room. At 6:30, " 011<>"0 'i,nple, ,wilt and .Iimul"ting "Thi' i' Ihe aMwe•. lo g"of Mojo. ond Mino' ~'""'~" fo' Ihe unde"taodiog ond ployio9 of ,Tanding ond plOY"d d nd mode.o Hoge.- protested against the insinuations Minnie Hauk arrived. Furious that ,~ ~ d d" d Scale, io balh .lao or • aa teachers will be M the French opera star, had a human greatness, I would not maio' and minor ,c"le' In bolh 'tan. '''. n ing. 1 om ,u'he ,:,anYlh?:o~xcelientSlide Rule morbid addiction to highSQunding in a letter to the press, in which place Schumann among quite or- she was outwitted; she refused to mode'n linge.lng,. Piono leoche" w,11,Iond,n groTeful 10. ov,ng.' ~_p!ool m.eo0ll'} I 110 cu,e 10' ,cale ,tumbling a' :--el ,,0' 0, to aid them in p,e.enhng fe;,;;.'~ titles. She signed her name "Rosa, she incidentally revealed a COD. dinary people. His personal pecu]- appear on the stage and returned genuine bo.il I", ,olid .cale ~hn,qUe leaching 'cale"" MARVIN KAHN siderable pol mical capacity. H" iar ities set him apart from the to her hotel. It took a lot of di- 00"0' of Mu.i, nnd Edl.n. GUY M I yeu. li.t el en· Duchesse de Lesignano, Princes e . plonl"" Pogo,UU_d._0,,"1n' "Yeu may add my na~e aScale Ilook and ambition to be known as a writer crowd. His temperament is mel- plomacy on the part of the man- do"e" of you, ,ngen'oU' ~ examined 'he de Bassano, de Godoy et de la e "Bolh... [Speed 0,;11.and ~lidem~"dl:1in'lh~' S\\de Rule 10' Scale". llh7m 'e .... d with Ihe Paix, baronne et comtessc de as w II a an arti t reached a ancholy. His sense of artistic im- agement, coupled with threats of .how Ihe ene,mou' pr09'~". b,elng,_". "~ .tu. male,ial ond am e.peclal y 1'•. Ihe fingers . I b - p"nc,pe. ~ ~ 'mode,n linge,lng' Idea, g,oup,ng, d jleng. Ketschendorf, nee marqui e d' AI. ludicrous limax when he pili> agination resides in his sentiment legal action, to persuade Minnie pre,e"lelien e "SlcHad ,uch -, een n 10' "ale ployln.9 ~nlo'~he" g,o~. en ~ den" el au' dey. child lea' g Ie a g.eup •.' Splendid ,dea. A'K NEVIN lish d, 118 Prin de Lesignano. rather than in contemplation, and Hauk to sing. The feud finally exillencewhen I wa' ~ , eesle e tavilla, Stoltz." Thepiene weuld ha'/e een'O " le"'ho. a"d Educa'O"S'al' Chol'~O"of a velum mitled H onlOlilulionsol he is, therefore, more subjective subsided when Etelka Gerster re- 10 muchme.e plea,u,able f ~ ~ Compo.l.lonfa. N. J. fed. of MUll'(Iu'" Not all of these titles were jus- EVERETTI EvENS II all iv ilized ountri ." The book than objective in his judgment and covered. Her claim to the room ___ -" "Aller reading Ihe Scale Bookca,~lully, ! lu .ft tied. She was not b In a mar IUlse j was not disputed by either Marie "I am 1000d/olor a~I;~:in~u;~a:e~~::'I;:a,~n~:~ ,eallze whal a warlhdwhl:el:"::;~~~~:n:' ;;h her parents were humble janit fS \ as. in r alit \\ ritt n for her by a in his work His imagination is ea,ier, on yo~. bl bl 10 do lhi' In be lor the young .Iu en k" Roze or Minnie Hauk. de!inlTelyClnd,ndi~pulO Y 0 e la'fl;Jtne' g." the modern flnge.lng In ,cole w~ of a Paris house. H r real name \\ lI·kno\\ n 11llthorit) on constitu· vivid, but it is not spontaneous and ",o.d Ie bolh enClen.la"d m~_,_nlJ ...... I /U{' "'.... Co",ert 1'1""i" on~ 'ea,hM, .t:£5::;;~:-.z ti nul S)~t 1l1~. requires an external stimulus. He p•••lden' NolionolGu,1 IRLALLISON AoI\ud"a'o lJ'rrsic Lover'. A.llegro (J. makes all 6f his ideas very lucid posers listed who have now passed and easily grasped. Sueh a book on are looked upon as immor- lal1 is often as good as a score of tals: Charpentier, Debussy, Dukas, 1' o ~ BOOKSHELF Faure, d'Indy, Ravel, Saint-Saens, lessons. ~:~.~~~~'8~0~')'~~~~~~~~Altgener, Ltd . Price $1.25' R. Strauss, Mascagni, Montemezzi, . .:::--,...:: By DALE ANDERSON Puccini, Respighi, Sinding, Glazu- J nov, Prokofieff, Scrlabin, Albenie, Music of the Ancient Neal' East by Claire C. J. Polin Granados. How many of the others will survive the test of time and Dr. Froelich Rainey, of the Uni- be looked upon as masters in 2054 versity of Pennsylvania, in his in- is anybody's guess. Just what will You can depend on- troduction to Claire Polin's nota- The Music 0/ Ralph Vauglwn Wil. Jl1allY tiJ:1CS. H~ then arranged 10 happen to the "ist" composers is limlls by Frank Howes ble book on "Music of the Ancient have a trio of blind musicians (til' also conjectural. The aroueilists the accuracy of Near East," writes: Mr. Howes states in his preface mandolins and a guitar) COmeto (Sati), the atonalists (Berg and "Claire Polin, in this book on the writer's hotel (Washingto~ Wcbern), the neomysticists (Mes- to this important book, "It is the antiquity of music instruments, METRONOME de Maelzel Irving) at 10 P.M. They playePhiladelphia,it will pay him to Ninclcenlh CCllfuI'Y Piano Music went for a time to the Akadcmic recognized until many critics hare visit the University of Pennsyl- * th @4U' by Klltllll'Cn DlIle ;'Ie ~it~SI~EACHERS and A~L 0 der Kunste in Berlin (1896), where com t bcli \Ie Ihat he is Ihegreat. vania, if only to view the famous he studied under Max BI"uch. Later c I of m cJcrn Ilrilish composers. harp dating from 2500 B.C., which This excellent critical search· "ARIETY ~ND SPICE fOil PIAN hr stud.ied under lVJaurice Ravel in H is long li~t of ompo ilion range was supposed to belong to Queen light into the best known piano THE musical excellence of a Wurlitzer Piano is the ' Shubad, who closed her eyes over compositions of the last century Pal·is. Vaughan Williams wa then Irom si $ mph Ili~.rlUlked with by Hazel Cobb . . forty-four centuries ago. The head cannot fail to be a very valuable perfect foundation on which to develop the most de, sic for the young .Pl~nl~t. threc years older than Ravel, but Lhc best III d rn \\'ork!, 10 n large collection of modern mU d for "fun in musIc with he recognized the brilliant orches- number f eh ral work of dislinc· of the harp is shaped like a help to the music teacher and the A gsters demon ' g sirable aspects of a child's persoriality. Answers th: youn, popular styles, boogie or pS":'ln$'1 00 tral technic of the YOU.Llger com- tive int r sl. CHtl\·c ou heard his bearded cow, probably a European a·dvanced sludent. The hook is a \ 1 piano pIeces to rice· poser. In 1901, after 5i.:.\': years' HFive Tudor on ..?U It is a stimu· bison or aurochs. well-balanced, sound, engaging The author follows his introduc- Full, glorious tone ... evenly balanced touch. intensive training in music, he rec. Jating cxpcri nec.) He ha writlen discussion of the things that are Newest Piano Bo?k I ceived the degree of D. M·us. at music for the singe including two tion with chapters upon Mesopo· really essentiaL Your reviewer and many other Wurlitzer features of genuine merit in the Modern IdIom. tamia (the genesis of Semitic cul- Cambridge. opera (one comic). many striking recommends this work very enlhu· ture) , Egypt, Palestine, Arabia, siastically. The work is very highly provide the youngster with the satisfaction and lTI- MODERN MELO~IES With this !'olid preparation he songs. and also quite a list of musi· Assyria, Abyssinia. While the endorsed by the eminent Engli~h For popular Piano Playing joined the Folk-Song Society III cal scttings lor moving pictures. spiration necessary for rapid progress. chief appeal of the book is to the pianist, Dame Myra Hess. It will . favorite songs especlal~y ~r. 1904 and explored the beauty of Frank Howes' new book discu5...~ archeologist, there is much of cuI· prove a very pract'ical studio airl AIl·tlme I . termediale pianist. the songs of Norfolk as did Ceeil these works wiLh a keen analytical ranged for the ear yIn Wea. tural value which will interest the to both students and teachers. Simplified (lrrange~ents -A~tM~rove _ Sharp in those of Somerset. fl.- pen and read readabilit},. average reader. Attention of the Oxford Univer- th - Sweet Lorraine - - d One might say that since the be- Oxforcl U"it'ersil)' Press 6.00 Mer I _ and others illustrating mo • 11a.nlage Press, Illc. $3.00 sity Press, famed {or its careful ginning of musical composition, WURLllZER PIANOS er~O~;y~;ms and idioms.. supple:~~::~ editing, should he called to the The Rudolph Wurlitzer Company, DeKalb, Illinois composers have felt free to adapt A RenJjslic llvroadl 10 Piano Play· by Marvin with drills, analysis, praChC~~{(O:$1.00 European Composers Today Co",. Homeric nod. on page 43, relating the hU~llble folk tunes of other days ing b,· George Wootl',olf,e piled mul Edited by /)lIllid Ewell to Weber's Opus 1 which states, ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Kahn to their work. Once at Granada The late George Woodhouse of "This Opu5cule written in 1898~ Manuel da Falla lold your reviewe; This biographical dictionary of The Rudolph Wurlitzer Company, Dept. E,10, DeKalb, Illinois, MODERN TECHNIQUE OF THE rEDA~ LondOll, one of the distinguished Weber's only piano composition in that he had employed the irresisti. European composers living in Eu· A piano Pedal Study) by K. U. Schnabe . British pupils and exponents of the 'severe' style .. ," Weber Please send me your full color literature and the name of your ( . . . d of Pedal Technique hIe folk melodies of Andalusia rope or passed on, who have com· Theodore Le'ehetizky, has for died in 1826. Another phrose, "A nearest authorized Wvrlitzer dealer. Newest and most deflndtl~~ s~eJeloped as a descisive posed works since 1900, has been in which the pi~no pe ~a~~ technique. Detailed ex- yea rs been held in high regard for excellently done by a competent most useful guide to anyone want- influence in ultImate Ph tudy of how and when to use "'In most reference books Vaughan his work in th field of piano pia}'· writer. It also includes many Eu· ing to enlarge their musical ex· Williams' name appears under "V" NAME .. ing in London. His recent death perience," might have been more amplesdan\ d tdrUtl~~;f~O~r;ves complete performpa~ce. $1 00 rather than "W." Possibly this may be ropean.born composers who have o Teacher o Parenf o Student the pe a on m;;e . because there .are so many musicians of came as a blow to m311\' Amer· in later years made their home grammatically expressed "to any· Welsh extractIOn cauler than English. ican Iollowers. . permanently in the U. S. A. The one seeking a larger musical ex- STREET _ _ .. _.. ._._ perience." Funny how fly specks *~'During the first World War V h .l\1.r. \VoodllOU~C was gifted \\;th work supplements in many ways W·ll· d aug an always stand out. I . lams serve as a Ilrivat . h a very graphic way of expre .."srng previous musical autobiographical CiTV ~ .. _ _ _ __ .__ ZONE " ..STATL_ _._ B··t" I A' e In I e < ,I.' 151 rmy III ,Macedonia and in his ideas upon piano performance dictionaries with more recently un· Oxford University Press $3.40 France, where he rose 10 officer's rank. and piano teaclling. The author covered facts. Many of the com· THE END ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 6 I ETUDE-DECEMBER /954. ETUDE-DECEMBER 1951 7 I ~ ...... _------:+ outlining step by step the proced other works arc a cantata. "Ro,?e~t organization, the booklet eXPlai~t01 WORLD OF MUSIC Herreck," by Jan Meyerowrtz ; DI- · d " by benefits and pleasures a ciVicband the vcrtlmento eor W In s, Robert Na-" (Continued from Page 3) gel; "Concerto for Oboe and Bassoon, provide its community. The booll ~ by Paul Csonka; "Concerto a tr~ for available on request from theAm:. IS Music Conference, 332 So. Mich;~ Marian Andersoll~ Philadelphia- Clarinet, trumpet and trombo~e. by r Robert Starer; and "Short Piece for Boulevard, Chicago 4, IUinois. g born, world-famous Negro contralto, has bl'" Orchestra," by Julia Perry. accepted a contract with the Metro- Henri Temianka, concert violini politan Opera Association to sing the . B d" and leader of the Paganini QUart~ Ulrica "Masked "Organizing a Cornmumty an. L':..-~ role of ill Verdi's Ball" has been appointed to the facultyoj ,- during the current season in New York is the name of a highly informative, illustrated booklet prepared for free the Royal Con<;erv~.to~of Music,Tor. City. This will mark Miss Anderson's onto, Canada. ~Ir. Iemianke will divid ...... ' ~., debut with the "Met" as wen as her distribution by the American Music Conference. Citing examples of success- his time bel ween the PaganiniQUart~ first appearance on any operatic stage. and the Royal Conservetcry. The opera will be conducted by Dimitri Injoommunitv music organizations and HtA~MO~tWITH ESPfy· Mitropoulos, also making his first ap- pearance with the Metropolitan Opera. The Symphony of the Air~ con- ducted by Charles Munch, and the Schola Cantonun, directed by Hugh C01UPETITIONS (For details. write 10 sponsor listed) Ross, provided the musical program for • Compoaition Contest for an anthem for mixed voices. ponsored by ... '- the United Nations Day celebration on the First Methodist Church of Hollywood. alHornia. For Details October 24, marking the ninth annual observation of U. N, Day. The Sym- write Dr. Norman Soreng \Vrighl. Organist-director. Fir ..1 ~[elhO C• Musical Fund Soeiet you f PI'Ia deIpI'lIa International, CoIDI:t051110[l.. The Littlc Orchestra Society (New c~nt.esl. 1000 award for a choral work [or rnhed voices and orchestra, York), conducted by Thomas Scherman osmg d~te December 31, 1954. Detail8 from Dr. F. William Sunder- is including six new "orks, among then:: man. ChaIrman, 1025 Walnut Streel, PbiJadelphia 7, Pa. MANUFACTURINGCO./lne. an opera, in its eighth season of sub- scription concerts which began on Octo- 530BE. 71nd St., New'York21, N.Y. • .Br08 dcaSl l\Iusic, Inc. Student composers Radio Awa.rds. TolaJ ."::.:-..:....;-~.:'-=-':-":''''.;'._' '~.,. ber 25. The opera is "Archy and Mehi- pr.lZes, S7,500 (first prize, $2,000). Closing date. Dec. 31. ]954, De- .. MAKERS OFfINE RADIOS ~DIO tabel," written by two young Americans tNatls yfrom Russell Sanjek, director. 580 Fifth Avenue. Fifth Floor, I £QUIPMENT.;SINCEfl928 Joe Darion and George Kleinsinger. Th; ew or k19, New York. I 8 h _ ETUDE-DECEMBER 1954 ETUDE-DECEMBER 1954 9 , situation exists and Ly talking it out, I (Donald Dickson, beloved American bar~. tone, whose appearances with the Metr0J;0h- hope that other minds may become suffi- tan Opera, the La Scala, San Francisco, ciently inflamed by this curious paradox Chicago, and Philadelphia operas, .to!J.ethe.r to do something about it. One of the most popular with countless performances as recitalist: m After the jolt I got at the UNESCO meet. radio, on television, and as soloist wi~h the ings, I began to give closer attention to leading symphony orchestras have deLLghted of the younger singers little phenomena of everyday living and millions, speaks of American music from a .thinking ; and out of them grows my sus. novel point of view.-Ed. Note) picion that perhaps something has gone of the present day HE MOST SERIOUS problem, perhaps, wrong with the American way of life. How T confronting American musicians to-day often one hears that expression! Have you comes up with ideas that has nothing to do with musical techniques. ever asked an average citizen to define it? Rather, it is the problem of being accepted I have--often. And the answer, 1 find, in- may well constitute ... into American life, not as an alien group volves "freedom," "r-ights," and the pes- purveying "culture," but as an integral session of security and material comforts, and necessary element. In other words, Our progress, I've been told, consists in for all our advancement in art, the Amer- higher wages than a re I und elsewhere, ican artist still needs to feel himself as more leisure, more schools and books, integrated a part of our national living as more radios, TV sets, refrigerators. and the baseball player or the movie star. automobiles. rill ashamed to say that I've This need made itself startlingly deal' never heard a word about the Amcrican to me during UNESCO conferences in New way of life in onne tion with the life of A Challenge York a few years ago. Here was an in tel" the mind or the spirit. In the years since 1943 [wnr years, it national forum for the discussion of world PctCI' Hvieh Tchniko\'~ky"'" trends in education and art. I was some- is true), we have had n kind of rctro- what dismayed when rny friend Richard gression in our mu ical life. Thi docs McKeon~ Professor of Philosophy at the not mean that we have no good music. or to America University of Chicago and a delegate to that many individuals arc n t interested by Norma Ryland Craves the conference, told me that United States in it. I'm talking about the hold of good participation was confined to educational music on the people in general, in their representatives, without one from the ranks daily live. 1 II 1943, J r example, it was of creative or interpretative artists. \Vhat- possible to sing ehumann, Respighi, 'lous- The story 01 the famous B-flat minor Piano Concerto, ever the thought behind this situation, sourgsky, on d finitely popular radio pro- based on incidents in the life of its noted composer, Peter llvich. Tchaikovsky the inescapable conclusion is that we do grams-anel arli t like J hn Charles not consider our artists sufficiently neces- Thomas, Robert Weede. and eI 00 Eddy sary to our life to include them in discus- had regular programs of their own. These However for some months now, Rubin- sions on education-not even in discussions things entered into the life f the people 4. S MOSCOW'S deep-throated hells ping the roll under his arm significantly- stein's continued antagonism had made it touching their own field of work. in a way that doesn't seem to exist to-dar. a sounded the noon hour its winter sun "I have important business. My first piano difficult to work. Still he must never forget Professor McKeon invited me to go The change n"lay be due partly to com- had almost completely disappeared, bring- concerto. Rubinstein has agreed to hear it." that Rubinstein had taken him under his along to the conference, quite unofficially mercial rea ons hut even more, 1 think. to ing twilight early on this Christmas Eve, "'Agreed,' Petia?" There was scorn in roof when he, Tohaikoveky, had arrived of course, and I was further startled to our paradoxical habits I thought. t the 1874. Along snow-carpeted streets, city the other's voice. "Why the condescension almost penniless in Moscow nearly eight note that the artist-delegates from abroad same time that we peak proudly of our traffic was muffled to holiday quietness. on Rubinstein's part? You with your sym- (composers, performers, artists) could ex- superior educational Iccilities, we still Occasionally groups of young people, their phonies, your operas. You are entirely too years ago. His father, Major-General Tchaikovsky, change views with only those of their clutch tightly to the "highbrow" handicap, voices high above jingling troika bells, modest, Peter Jlyich." Throwing out his had opposed his giving up his position American colleagues as were also engaged which shows itself in a kind of shy fear skimmed lightly over new-fallen snow. Here hands, in mock exasperation, Cielinski in the Ministry of Justice at 51. Petersburg in teaching. William Schumann, for in. of anything above the comic-book stage of and there stolid-faced peasants shuffled aim- stepped back into the troika, to devote his life to music. One of his stance, was present as the head of the intellectuality. The average man-e-even the lessly along, their feet wrapped in dirty "Perhaps you are right," Tchaikovsky teachers frankly declared that he possessed ] uiIliard Institute; as an educator he was college graduate-will speak freely enough rags and papers. answered slowly. "But don't forget I am little talent. recalled thc weary years welcomed-as a composer he had no status. of jazz or best-sellers ; but he feels bis Striding along Boulevard Rojdestvensky still somewhat of a beggar-dependent He The foreign delegates probably went way before admitting 'a 10\ e for Jozart was a slender young man, his head bent in upon my small salary and the little that since coming to Moscow. Now at 34, he home convinced that art has no vital part or Santayana. He's afraid of being thought deep thought. As he turned into a side comes in from my compositions," was still struggling. 'Vere his father and Waving his friend on his way the mu- his teacher right? Was he wasting time in ~meric.an life. It may show itself spo- "~jghbrow." The average Italian, or Bel- street near the Moscow Conservatory of sician turned in the opposite direction, that might better be spent otherwise? radically ]J1 the form of occasional com- gran, or Swede, absorbs good music as Music, he abruptly halted to shift the Beset by conflicting emotions he paused posers or interpreters who happen to un-self-consciousjv as he does the air he bulky manuscript carefully cradled under covering the remaining squares at a much please and through that chance gain stature. one arm. Then, oblivious to the greetings slower pace. Gregor's outspoken comment at the Conservatory door. Then hurrying breathes. ~re, with OUI great facilities for in he hung up his fur coat before enter- But the arts themselves, and for themselves hearing music, make distincti ns between of passers-by, he again resumed his rapid had but intensified his own doubts. Was ing a small practice room. He held his sim?ly aren't important enough to count: "IonglalrI·" an d"l slOl'thair." Certainly, we stride. In the years that Peter Ilyich Tchai- Nicholas Rubinstein the hest judge for benumbed fingers close to the oil lamp, It IS regrettahle that mature foreicrners don't go to COncerts as we go to ball games. kovsky had been professor of theory at his concerto? from an interview with slowly rubbing them back into life_ should carry away such impressions of our I come back to this comparison to stress the Conservatory, he was recognized by From its first conception the young com- poser had felt strangely attached La this "Is it you, Peter Jlyich?" Unceremoni- artistic conditions. It is far more regret- the distinction betwcen making art avail- many although known to few. Donald Dickson concerto-as if it were his first-born ously the door burst open on a rumpled table that the conditions themselves exist able, and incorporatiI10" it anIon"" our Suddenly a troika drew up.a few paces here at home. needs for living. " " ahead of the rapidly moving musician. child, Unlike mallY of his other "works, mane of black hair-Rubinstein---elosely as told to Rose Heylbut Wby do they? How is it possible that "Petia! I say, Petia 1" A young man flung he had found its writing difficult. Now followed by a mutual friend. Later the But this, you say, roots ill the foreign- himself out. that it was finished he needed a virtuoso's three planned to attend a party at the we go on thllI~ing in terms of progress yet er's heritage of good music. I don't think at the same tIme rooting from our lives "Gregor Cielinsky!" the greeting was opinion on its technical passages. Unques- home of a faculty member. that quite covers the case. For that heri- the authority of art? I confess I don't warmly returned. ~'I was just thinking .... " tionably Nicholas R~binstein was Moscow's "So it's a piano concerto this time, tage,. at one time or other. , had to be k~l~W the answer-although I have a sus~ "Forget your thinking and join us to- ranking pianist. Furthermore, hjs chief Petia?" Rubinstein glanced hastily through given shape, and its shape was cast as plClon of what it may be. Neither am I night for supper." would he deeply offended if it were not first a few pages, flipped others apart care- a veneration of what is beautiful and able to offer a glib solution. Still, the "Thanks, Gregor, but as you see"-tap- submitted to him .... lessly. "UIll ... (Continned on Page 56) good. So far (Continued on Page 62) 10 ETUDE-DECEMBER 1954 11 ~-._------ETUDE-DECEMBER 1954 .... Sounds like a hive of music loving bees b. Sight Reading: Hymns or Bach Chor. It t;dH~" Ill.llI.' Read what an authority ales; Folk Songs with easy accompanying buses 10 hnu l the lines. hundreds of children in his field c. Scales and Arpeggios: Multiple oc- taves in keys through 4 sharps and 4 flats, including the relative minors, quarter note has to say regarding equal to 72MM. d. Improvisation: Such characteristic rhythms as are found in the march, waltz, sk.ip, hop, gallop, utilizing rhythms such as are found in nursery rhymes or familiar Minimum Instrumental game songs; setting nursery rhymes and game songs to new melodies employing har- monized accompaniment with the I, IV and V7 chords in accompanying patterns that Performance Requirements suit the rhythm and mood of the song. e. Sight Harmonization: tilizing the primary chords in simple but appropriate rhythms for mel di s chosen from music For texts for the pr-irnar y grades. f. Tran posiu n: Whol or half step in either direction and providing a harmon- Lillian Baldwin ized accompaniment for either ex rcises or simple solo f r B-not, F' r Eflat ln. Music Education Majors struments, reading from the solo pari and transposing 10 the onccrt key. g. Play by car in appropriate keys: and the Cleveland Story by IRVING CHEYETTE Star Spangled Banner, America, America the Beautiful, and a grou] of selected com- munity songs. What the city of Cleveland has (Irving Clieyeue, Professor of Music Edu- ticipation with inaccurate information; in- The u-ing Sondra Bianca, pianist, and Paul Lazure presenting a copy of the Musical Sound cation, Syracuse University, is a Fulbright correct skill techniques often referred to as There has been a woeful neglect of tring done for the musical development of its voung Books recording of Haydn's Toy Symphony Lecturer at the Tokyo University oj Arts for "bad" habits; poor tone quality; or poor performers (during the pa t len year L 10 school pupils in Humburg, Germany. the current academic rear.-Ed. Note) choice of materials resulting in lack of due largely to th demand for bands in people may well serve as a model for other cities to follow musical growth and comprehension. the schools a ervice organization for T ]S to be assumed that the majority of The Voice athletic and patriotic purpo ; thi in I our graduates in music education will spite of the fact that a con umer of mu· Since all music education begins funda- by Clarke Maynard enter teaching positions in schools where sic, students in the h Is are exposed via mentally with the one instrument possessed they will be the music teacher. They will radio, televisi n and motion pictures to be responsible not only for the basic pro- by all. every student in music education orchestras rather than bands. We arc not ALTHOUGH the music education pro- serve the needs of young people. One sum- began to play for him and the Cleveland gram in vocal or general music, but also should be given a minimum of at least one preparing our students to know what to gram in Cleveland, Ohio, was and is mer day in 1918, Mrs. Hughes was attend- Symphony Orchestra was born. For this for whatever instrumental organizations year of voice education, or two years of listen for in orche teal mu ic. known as an excellently halanced one, the ing a meeting of Ohio Music Teachers in organization, founded primarily to help the are developed. class preparation discovering for himself the potential of his own voice and its There is varying opinion as to the mini- emphasis in this story will be placed on the Cincinnati. She heard young Nikolai schools, became the great present-dey In addition, it is known that many mum performance standard to be required schools employ two music teachers, one in proper usage. . listening phase. For listening is so peculiar- Sokoloff present a program at the Zoo for Cleveland Orchestra which serves not only on the strings. but the violin is recognized vocal or general music, and an instrumental He should become acquainted with (a) ly personal and so intangible that the de- the orphans who were resident in homes. its home city but is an important and dis- as the basic instrument to be studied in teacher who will work only with the stu- proper techniques of voice placement; (b) velopment of sincere, intelligent and musi- The concert went well; the children were tinguished contributor to the musical cul- vocalizes for proper development of range; most teacher education programs. cal attitudes toward it constitutes one of intrigued and inspired. Mrs. Hughes was ture of the entire United States. Beautiful dents in the hand and orchestra program. Suggested skill to be developed on the However, in many such schools, the general enunciation and pronunciation commonly the major aims and obligations of a pro· moved and she, too, was inspired. She Severance Hall, gift of John Severance, is violin and the other stringed instruments music teacher may be called upon to assist referred to as diction; (c) literature avail. gram of music education. And Cleveland decided then and there that a program of now the home of the orchestra and head- are: in a growing instrumental program at the able for voice classes in schools; and (d) has for many years been meeting the chal- public school music should contain more quarters of the educational work of the a. Ability to bow properly rhythms elementary level, working with beginners a repertoire of materials suitable for grades lenge and building a link between young than singing and that she was going to Symphony directed by Lillian Baldwin. through the 16tb notes. on string, wood-wind and percussion in- and secondary schools. people and music that has meant much to see that such was the case in Cleveland. Lillian Baldwin-a magic name in the b. Left hand facility through at least struments. The Piano the Cleveland Orchestra and to the integra- She realized that such development was not Cleveland Story! It was in 1929 that she four finger patterns in the first position, tion of the musical life of the city and of only important but would also lead to the came to the city schools to head the work Conversely, it is also true that the in- The piano is essential for the full real. taking the student through scales of C, G, its suburban area. strumental major may be called upon to ization of the harmonic background of building of an instrumental program as in music appreciation through listening. assist in the general music program. tak- D, A, E, F, B-Rat, E-nat, and A·f1at and The greatest ideas frequently emerge well. So Mrs. Hughes went home to' Cleve- And from then on, the Cleveland story music. It is the medium which ~lables the their relative minors. ing over either general music classes in musician to become acquainted with the from a desire to be of service to others. land and set to work. takes on new power and meaning. For LiI· c. Facility in dynamic control either the junior high school, or assisting in ele- accompaniment for melodic music; or with In Cleveland until recently lived Adelia She went to a friend, John Severance, lian Baldwin has the gift of words: they through bowing (sui ponticetlo or sul mentary music classes requiring some fa- the contrapuntal devices used by com. Prentiss Hughes. She knew what service devoted to the cause of music and generous flow; they are perfect for the mood to be Laslo), near the bridge or near the finger- cility at the piano and a knowledge of posers; or for the full harmonic treatment to others meant; she knew how music could with his large. fortune. Mr. Sokoloff was expressed or evoked; they are natural as board; pressure control of U1C bow with proper vocal usage. of choral or instrumental compositions. engaged for a one year survey of the rnn- they describe, or thrilling as they build the index finger. If we accept the foregoing, it behooves Therefore, all music education majors eical situation in Cleveland; he was to look the climax to a story. Furthermore, Lillian d ".Knowledge of the development of the the teacher education institution to initiate should be able to demonstrate through per. over the condition of and potential for in- Baldwin has the researcher's mind with pOSILJons and the finzer ina in at least five a progra!ll of preparation which will enable formance the following skills: •. 0 0 (Mr. Maynard is widely known in school strumental music in the schools j he was to no dullness in it. All of her research adds pOSItIOns. the young teacher to handle such situations a. Accompaniments (prepared): Chosen organize an orchestra of local musicians to charm and accuracy to the thrilling mu- e. Performance with reasonably good music educational. fields. He is at present su- adequately without starting children on from Junior High Vocal Texts; Instrument. present concerts in the schools to stimulate sical adventures through which she leads tone of a grade II solo in first position. pervisor of Music Education, Board of Public the road to musical performance and par. al Solos with piano paTt about Grade 2.3. good listening an'd to build interest in the her listening multitudes. For in the work I. Acquaintance (Continued on Page 62) Education, Wilmington, Delaware.-Ed. Note) study of instruments. Fifty local musicians of Lillian (Continued on Page 20) I ETUDE-DECEMBER 1954 ETUDE-DECEMBER 1954 13 l__1_2 _ • ORCllES1'RA DEPARTJl'IEln:· The American Academy The Important -, of Teachers of Singing Role of the Its place in the world of mUSLC- Past and Present String Orchestra by Leon Carson In School Music the protection and advancement of the pro- OVER A PERIOD of approximately States. Only male citizens of this country- Ill' RALPH E. RUSH thirty-three years, the role played by teachers of singing-are eligible for mem- fession. A few of these important activities the society known as the American Acad- bership. The charter members were \Valter may be here mentioned: It was in 1922 emy of Teachers of Singing in the field of L. Bogert, William S. Brady, Dudley Buck, that the American Academy organized and vocal teaching has been an unostentatious George Fergusson, Yeatman Griffith, George led a successful movement 10 prevent the but vital one. Since its inception in 1922, Hamlin, Frederick H. Haywood, Sergei licensing of teachers of singing by the PPARENTLY too few school adminis- second violins, two violas, two cellos and ability to support it both financially and the functioning of the Academy has been Klibansky, Gardner Lamson, Francis Rog- municipal author itie in New York. In A trators and school music teachers one or two double basses. However, by in terms of the new recruits it can pro- typical of an organization dedicated in a ers, Oscar Saenger, Oscar Seagle, George 1928 it secured financial aid from the Car- realize the importance of the string orches- the beginning of the 19th century, the vide to replace each year's graduating quietly compelling manner to service in E. Shea, Percy Rector Stephens and Her- negie Corporation to further the inve li- tra in the total school music program. custom had developed of writing for four members. the world of vocal art, with never ceas- bert Witherspoon. The objectives of the gation of Profes or . Oscar Russell of When faced with the analysis of problems pairs of wood winds with a pair each of The proportion of instruments needed ing earnestness and effectiveness. Although Academy were, and still are three-fold: To Ohio State University into the physical pertaining to orchestra development, al- horns and trumpets and some percussion. to form the well balanced string orchestra not an institution with an aggressive policy establish a Code which will improve the causation of voice phenomena, and enlisted most immediately one senses how really Hence, a string orchestra of fifteen players was established near the end of the 17th of power and publicity, the ethical and ethical principles and practice of the pro- the aid of famous singer for dernonstra- important the string choir and its attendant was no longer powerful enough to balance century and has changed very. little since professional influence of the Academy to- fession-to further knowledge and culture tion in this inve tigation. Over a period of problems become. The very first section the sound produced by the added wind that time. Neither Haydn nor Mozart had day, as formerly, is reflected in musical, -to promote co-operation and good fellow- three years (1927-30) the Academy as- that should be developed in order to pro- and percussion performers. This called for much difficulty in preserving a fine bal- educational and cultural circles through. ship. The Academy also remains steadfast sistcd the Federal Trade rnrni sion with duce a playing orchestra, of necessity, must a string orchestra of at least thirty or ance in their small string orchestra which out the country, and its widely disseminated to its original purpose of. encouraging the advice and information of a professional be the string section. Without adequate more players since the addition of each was used with only a few wind players. literature covering general and specific use of the English language and the devel- nature in the c nduct of the commission's strings, no type of orchestra is possible. wind player could not be balanced by add- Schubert and Beethoven found more diffi- phases of vocal information is in constant opment of the American singer. case again t "The Perfect Voice Institute" In a consideration of the growth and de- ing the same number of strings. Eight culty in keeping their equilibrium, due and increasing demand among teachers, The founders were motivated in the for- of Chicago, which resulted in an order for- velopment of orchestras, it is all important First violins, seven Second violins, six to the growing brass section in the or- singers, students and in the principal cen- mation of the organization by a desire to bidding the respondents to continue their to realize that balance within the string violas, five celli and four basses was chestra of their day. Berlioz and Wagner ters of music. make contributions to the improvement of false and misleading statements and their choir is the starting point. Regardless of hardly sufficient to balance two flutes, two faced much greater problems of balance Its labors have been pointed always along the practice .of the profession from the unfair methods of competition. size, be it small, medium or large, the full oboes, two clarinets (the new wood winds since orchestras of 90 or 100 were in com- the lines of comprehensive, discriminative standpoints of hoth teaching and ethics- One of the most important projects un- orchestra can only sound like an orchestra of the period), and two bassoons with mon use during their careers and public and tolerant consideration and discussion such contributions as they could not hope dertaken was the sponsorship of voice if the string section is in good balance four or more brasses and percussion. Then concerts in large halls had taken the of the many complex and debatable sub- to make individually, and such as a large classes in the public schools. This was and adequate in strength to balance the during the first half of the 19th century place of the small private chamber concert jects abounding within the sphere of the organization might not find practical to started in 1930 when the Academy held the other choirs of wood winds, brass and when the brass choir was expanded, a for the prince and his court. An ever- teaching of singing, vocal repertory and undertake. They took for their province first of a series of public contests in New percussion. further increase in strings was required. growing audience of subscribers for larger other closely associated features. The serv- such matters as, in their opinion, could York solo singing by high school students With a brass section of four or more horns, concert halls was an important factor in ices of Academy members as adjudicators best be handled by a small group, with One needs only to turn to the history from various cities. This initial demon- two or three trumpets, three trombones requiring the larger string orchestra to of vocal auditions and competitions, and as a limited membership. They believed that of orchestral development to note how very stration and the contests which followed and a tuba plus a large percussion section balance the larger symphony orchestra. advisers to teachers .and singers alike in the a small body of men inspired by a common important the string orchestra has been were so successful that after three years from the very beginning. Before 1700 and both the wood winds and strings needed During his busy life of producing music voice field are being constantly sought motive, pledged to a spirit of selflessness, the holding of such contests was transferred after. From its membership, also have come the flowering of the violin family, orches- augmentation to provide a proper balance. and drama, Richard Wagner was continu- and banded together for the purpose of to the Music Educators 1 ational Confer- leaders in other major organizations of tration and orchestral groups in the mod- With the more weighty brass tone a string ally expanding his orchestra and it was he initiating and furthering constructive ac- ence, with an agreement to co-operate. vocal teachers in the United States. Olin ern sense did not exist. After the master orchestra of fifty or sixty was hardly who finally produced a formula for balanc- tivities might well justify the existence of The Academy, in 1933, sponsored ten Downes, eminent music critic, once re- craftsmen of Cremona had produced the ample to secure the needed balance and ing the string orchestra with the other en- an organization such as the American nation-wide broadcasts over the NBC net- marked of the Academy-HIts intelligent family of violins, experimentation soon blend of the symphonic orchestral sound. larged choirs of the full ensemble. The Academy of Teachers of Singing. The suc- work on "Singing, the Wellspring of Mu· and constructive activities are proving of produced the beginnings of our modern It is hardly necessary to remind our read- modern practice of requiring approximately cessors of the original fifteen have striven sic," by j ohn Erskine, A. Walter Kramer, value to art in America." orchestra. The early 18th century com- ers that a similar problem of correct an equal number of violas, violoncellos to remain aware of the tradition of service Peggy Wood, Marshall Bartholomew. A. Membership in the American Academy posers generally wrote for three or four balance should be the objective of every and double basses to match the number of established by the founders and to measure Atwater Kent, Edward J obuson, P. V. R. which, by the way, is a national organiza- up to its responsibilities. wind players only, and therefore had little school orchestra director. The size of the violins in the orchestra was a result of tion, is by invitation and, in accordance Key. Otis Skinner, Herbert Witherspoon difficulty in securing a good balance of school orchestra should be suited to the his experimentation. His Bayreuth for. During the intervening years between and Walter Butterfield. From 1932 to 1944 with the provisions of its constitution, the the date of its founding and the present tone and blend between these few winds size of the room in which rehearsals are mula was 4-4-3-3-2. Of course the playing it conducted the voice forums at the annual total number of members at anyone time day, the Academy has been in the forefront and the "grand quintet" of strings, often to be held and, of course, should be ability, quality and power of tone is al- conventions of the Music Teachers National cannot exceed forty for the entire United in taking action in matters pertaining to including about twelve or fifteen strings, decided upon by school officials based ways to be considered, but this Wagner Association. (Continued on Page 51) as follows: four or five first violins, four on a study of the community needs, and formula can be (Continued on Page 48) I 14 ETUDE-DECEMBER 1954 ETUDE-DECEMBER 1954 15 h IIIIIIIiIIIIIII ~ • CHORAL DEPARTMENT Program Building johanuce Bruhme ((brt~tma5with the Composers Part One: Progranl Outlines Many composers-past and present- have sought inspiration in the story of Christmas for and Performance Personnel musical works-great and small by JI erna Arvey by GEORGE HOWEItTON sinh," whi h is usually ..ung at hristmas ! S THE CHRISTMAS season comes near, time all v r fit r1 11 h8, interestingly d our ears are full' of the sound of Victor Herbert cnough, n l III ant for hristma at all! carols, made sweeter by each repetition. Its c mp r wr I it for th Lent n season, NE OF THE GREATEST problems hand, when the interval extends much he- Consequently, the concluding number or This is Christmas music that will never be at \ hich time it \\ R during O which a choral director faces is that yond twelve minutes, the period of waiting the first group frequently offers a suitable outmoded or outdated. But there is other performed of program building. To select material tends to produce the impression of undue point for placing such a selection. music, no less appealing, which also has the ight nth C(,llhH). raduallj , ince part of it deal \\ ith th Nnti\"it)" it VlIl.S successfully and put it together in an in- delay with consequent restlessness on the If the first and last items of a five- a" meaning for the holiday season-some- teresting sequence constitutes a task which part of the audience. Even with an inter- number group are selected according to times not fully appreciated in that particu- taken \I r b nnd be .am fixture of the to many directors is the bane of their ex- mission, the over-all elapsed lime should this plan, the third number should be lar connection. uletid as n. istence. It is not enough merely to locate seldom exceed ninety minutes, except in bright in tone, usually crisp and rhythmic Take, for instance, Brahms' "Academic Thus, one mighl "'0, L1un it . only I a series of individual items; if that were the case of performances of professional in character, but not as massive or bril- Festival Overture," Opus 80. True, its pro- coin ·id nc that 1ron I I' "'I ltiah" is B!' all which were involved, the matter would calibre and with audiences musically liant as either the first or last number. gram notes say that it was written to ac- so iated \\ ith hri ..tanoll, and that Brahms be comparatively simple. Each item must sophisticated. The second and fourth selections should knowledge the degree of Doctor of Phi- dcl iberntcl g '\ a hri ..lmn meaning 10 be interesting in itself, but, more than The typical choral work takes about be generally relaxed and quiet in order losophy, which had been bestowed upon the "Academi ti'l\1 verture.' There that, each must be so related to the others three minutes for performance. This would Brahms by the University of Breslau. True, arc, h wev r, man oth r cUlUpo$itions to offer contrast to the remainder of the it admittedly utilized several well-known definitely a oeiatcd w ith II Chri-tmas that the resultant program possesses con- mean that within each fifteen-minute group, group. The dynamic levels of these num- trast and variety and at the same time some five selections could be included. German college songs (the composer him- en on. 1n ilk If, lhi i...n 1 urprUng, bers should be comparatively low and the self called it "a very jolly potpourri of sin man rup r...\\ rt regular!) em- enough of a thread of continuity that it Naturally, if some of them run consider- rhythmic movement usually less intense. Wolfgang A. l\Iozat'l students' songs"), climaxed by an old Latin pi ycd a In\ r durins their lif.ti.... hangs together as a unified whole, ably longer, the group will have to be The basic principles indicated above An economy in the expenditure of both lengthened or the number of compositions also hold good for the middle, or third, song of Europe's wandering scholars, and, in th f' ur,"" (thi mpl i1nc.nl.they called Let Us Then Rejoice. It may have were expected t \\ rit tllu"ic 10 fit ~ari'lU$ time and effort can he effected by devis- reduced. This is obviously a matter for group of a five-group program. The open- been the latter joyful theme that caused celebraLion onni\"c~ri. holida)~ and ing a set of basic principles to serve as judgment on the part of the director. ing number of this group, however, should Brahms to associate the "Academic FesLi· so on. guides in developing a program skeleton. There is no hard and fast rule; the esti- be less massive than that of the first group val Overture" with the holiday season, for Corelli. wholn Ih Italian 1l«lI,le caIkd For a full evening's concert, a sequence mates given above are intended to indicate and the concluding number correspond- of five groups constitutes a convenient in actual fact he sent it as a musical gilt to "11 \ irtuosi .:.im di \ iolino: @8\C 'lfeekly a desirable frame of reference, not an ingly less spectacular than the final com- F-Ierzogenberg on December 24, I8BO: wish· concert at the pala or hb patron. Car· scheme for the provision of continuity arbitrary restriction. position of the concert. The saine principles ing him meanwhile "a good Christmas!" dinal Pi tro lIobonL in Rome. For one of and contrast, with these groups divided The most strategic points [Ire the open- of contrast cited above will apply to the somewhat as follows: So it happened that on December 28th these con efl,!;. \\ hi h \\ere highlight:! iD ing and closing numbers of the program second and fourth numbers of the third Group I-Full chorus of that year, Elizabeth von Herzogenberg Ihe eu.llural Iii of th cit, relli wroIe and the concluding selection of the first group although probably to a less extreme wrote to Brahms to express thanks. "What (1712 his On rto ro> in G ~linor, Group IT-Small ensemble or solo group. The opening work should be gener- degree. Group lIT-Full chorus ally massive and more or less full-bodied a very great pleasure to have your over- Op. 6 I o. 8. Th • ore 01 the "or\; ...... The second and fourth groups offer op- Group IV-Small ensemble or soJo ture drop from the skies half an hour be. the in riplion ··Fano per 18 :\oUe di in character. The dynamic level should portunity for the introduction oJ small Group V-Full chorus fore we lit our Christmas tree. My maid Natale," and its tun rut l11aj tic grarity be reasonably high and the rhythmic move- groups or sololsts as contrast to the groups Each group should represent about fif- ment fairly vigorous in order to capture ~)rought i~.in, all unsuspecting and J, spy- has convinced mU5i ologisb lballt i.!! real for full Ghorus. Discussion of these groups lI1g the Roder stamp, at once surmised the teen minutes of singing, which would mean the attention of the audience at the be- S. Coleridge-Taylor sheph rd InU ie, int nded for ptrlormao« will be taken up later on in this article. a total of seventy-five minutes for the ginning of the program. Contrary to what whole truth. I carried the roll to Heinz so on Chrislmas \e. A typical assembly or convocation pro- whole program. For any longer period of is frequently a prevailing concept, the E. HUllll'crdinck ~s not t? spoil my own fun and he propped ChriMJlla5 mus.i caUl from the pcu of gram, or the part program which is com- continuous listening, audience attention It up WIth due solemnity (i.e. doubtless on Giovanni Pal trina too: Hodi. C/triJlAl most difficult composition usually should bined with some other type of offering, one of the tables reserved for Christm is likely to flag. If a longer program not be placed first. The excitement which customarily requires about forty-five min- I . G M alus est and 0 Bone J~u. That ~ ~urdy gl ts III erl11a~ hom.es) where it outshone is contemplated, an intermission should is characteristic of most performers at utes of singing. A convenient o-utline for to have b 11 xpecte 16 ETUDE-DECEMBER 1954 UUD£_DfX£VBU III 17 .~ Dedicated ToThe Promotion Of World Friendship Through The UniverJ!lal~anguage Of The Arts ....."".,...... rt' ¥ .f9. ..- ...... ,r...,'!' .il ,'"4. cords Heviewed by PAUL N. ELBIN The 1954 Michigan AII-St:llcBand, Willhull D. Rc"clli, conductor present for th right hild. ( I·C·M Eo D"or;:l.k: Symphony ill. E Minor, No.5, 0". 3114) 9.> Sou lid-rich, full, satisfy! ng, d istin- Shupero . J'IIIp/'Oll,' lor C1MIl;cfll Ord,rdrll. guishes this latest "From the New ,,"T~rld." lIarold hap r '~" lnssica!" ymphony The performance of the London Pb ilhar- had its first New ork performance unday The BaDd~sRepertoire monia under Alceo Galliera is all excellent, a ltcruo II, March 29, ] 9,)., at a oncert right, and so are several other recordings honoring the tenth Rl1l1h 1'80qf of the "In recent years .... bandsmen have become much encouraged with the of this oft-recorded symphony. But not Kouascvit ky lusic Foundation. A few many symphonic recordings can equal the days later th S) mphony \\BS r orded in interest shown by composers in writing for the concert band." cohesive, balanced sound achieved by An- Columbia's Fatuous 3 rh Street studio. the gel's technicians in this instance. Like a Dr. Paul N. Elhin former Armcniun Prest yt ri u burch, and good vocal scale, the reproduction is even by William D. Revelli your review r \'8S pres 'I1t r r one of the from top to bottom. Surfaces are equally session. Le na rd Bernstein, friend and good. (Angel 35085) faculty ollcazu I th omposcr. con- BAND as it is known today has been university and college bands, as well as composers' indifferent attitude toward the Christmas Organ Music ducted the Columbia ) mph "y. Perform- THE "Sounds of Out' Times" in existence for more than a century. the long awaited and richly deserved recog- band is understood if we will study the If the title suggests Silent Night to you, ance and reproduction of hapero' Bee- Under this title Cook Laboratories has During this period, it has undergone many nition of our better Service bands, have all various problems which they were certain skip the rest of the paragraph, for this is a thovcn.inspircd work are both id a]. (Co- been making hi-fi recordings of everything changes; particularly in reference to its contributed to the casting of a more sympa- to encounter when composing for the band recital by the late Fritz Heitmann in which lumbia 1L 41389) from- noises of the New York Central Rail- musical status, functional objectives, reper- thetic and enthusiastic attitude toward the of that time. Bach predominates. There are three Bach road to Beethoven's Fifth Symphony. One toire, and instrumentation. In the early band and its function as a worth while me- First, there was the major problem of chorale-preludes, the Pastorale in F, canonic BCI'thoVCII: 1';0110 OUIIIClI' of the latest Cook "Sounds" is the string days of its existence, the band was an in- diun: of musical expression. instrumentation; wind instruments of that variation on Vom Himmel hoch, do komm' \Vith the release of six 12·inch LP's ensemble of the Orchestral Society of Bos- strument whose voice was called upon to That the band has succeeded in achiev- period were of inferior quality and li!11ited icli her, plus chorale-inspired works by containing 11 Booth v n piano sonatas, ton directed by ,,"Tillis Page. The third inspire armies to victory, or soothe their ing its present musical status is, in itself in range. The intonation was quite imper- Bohm, Walther and Buxtehude. The organ London Records h:H~ omp)ctcpianists is a ehari1ber ensemble di.rected entertaining, and educational as well. band remained for many years in a static teenth Century_ conditions began to change eminent masters of the an ielll instrumenL tuoso, Penna rio this time shows artistry by Izler Solomon. The orirrinal chamb The mushroom growth of the school state insofar as its instrumentation and and considerable improvements were noted , I h 0 er If I wanted one gujlar disc to represent that makes his Pictures one of the best on verSIOn las een recorded with a dry, close- band movement plus the slow hut gradual repertoire were concerned. in the construction anel design of wood- the instrumcntin a record lihrar)". my records. Crisp, full piano tone completes up, hi-fi technique that serves the hum _ growth in both numbers and quality of The reasons for the Nhleteenth Century wjncl and brass (Contil/lIer! 011 Pal!.e 47) ,· I H" 0) choice would be Luise Walker's recital rOT the specifications. (Capitol LAL-8266) deIJCIOUS y. ere s a SUItable Chrisbnas Epic (LC 3055). (Continued on Page 61) I ETUDE-DECEMBER 1954 .....L _ 19 ~-..o-_18 _ ETUDE-DECEIIBER JCjjj • I I·IA.NIST'S PA.GE 1 . aift of writing grams in three volumes entititAi, In consequence, rer ~l "Music for Young Listeners" ad has served her well and her progra~ "Music to Remember" for the Juni:r notes and letters have gone out to ad High school age. These are a Wo . schools to be looked for and lo.v~ derful collection of literary O1aHe~, by teacheI's and boys and grr s. Are We Demanding pieces which interpret magnificentl, These letters are always pointed to- to young people and adults the lllU. ward leading someone sor:newhere sic they describe. along the pathways of muslc~l an~ But there were not enoughretards personal growth, as indicated 10 this brief quotation from a wonder~ullet. nOT the right ones. However,all at tel' which tells how to deal WIth the once a letter from .Iiss BaldWinID her boys and girls, written April matter of manners. Too Much of 6, 1953, gives them and the whole "Dear Boys and Girls: "The beginning of' a new term is educational and musical world the like another New Year to school peo- best of news: pie. Besides with so much of 1950 "Dear Girls and Boys: ahead of us, it doesn't seem too ?ate "Tn a Sunday Plain Dealer, Jurins to wish you a Happy New Year. . your pring vacation, ~Ir. Herbert Our Pupils? "With my wish comes a oompli- EI well, the music critic, had a sIan ment. So many times visitors at our about some new phonograph reror~ children's concerts have said that ing ailed "~lu ..leal Sound I300L hy GUY MAIER you are the most interesting audi- for Young Listener ..," made IlU.. jhle ence they have ever seen becau e you by the Kulas Foundation. It was I are so interested. And they are quit go d story. But ev n ~Ir, Elwell did right in thinking that you are in- not know that it was )'Ollf sten HE SEASON'S first slump-time is upon to be exacted, not even too much cxpres- terested because you seem to know That j why Iam writing 10 )OU. " Tus. Toward the end of December even sion, just accurate, quiet, fluent fun-play- Kindergarten G"oup-Good listeners begin early so much about the music you arc "You mal have heard jour learher the best students run our patience ragged. ing. Lots of music! ... Several pieces each hearing. soy that in the I,a'il few lear!) ~he Reasons for this depression are obvious- week. No lengthy study. Enjoy the music- doing pretty much as I was trying to do- "While your heads are swelling has nOI b en able to gel the Ilhooo- those first dark, tired winter days, increased that's all. work out everything all the time. The grn ph re ording-, for )our rlli\llren'l Lillian Baldwin and the Cleveland Story with this compliment, remember that school pressures, holiday excitement, but What a stimulating way this is to begin reason I've tried a different way is that con crt pr pamtlon and llllUl~other some of it belongs to the teacher above all the unwise demands we make the new season! The antidote comes from I wondered if the results wouldn't be big- who have helped you to get ready f I' rnusicu l n ·cdR. You kno", IlUlI lie on our pupils. What has happened to that a thorough work-out on broken chords ger and better if the student focused a II the concert.. None of us were born have U.8 d old recording .. mer and (Continued [roui Page 13) concert preparation should be a part September resolution to hold piano study and arpeggios, a much neglected branch his efforts on one or two things at a time. knowing about music. All o( us have ver until Ihe ore ,",orn oul. ~ me Baldwin is proof of what is generally of the school program and she fur· of early intermediate grade technic. For A student wants to play everything he has had to learn. We've had to learn con- new chool.., didn't e'en ha\e leh· to a happy "release" basis? Why are we accepted: without the creative per- ther determined that a rich and prop- overs. Mo~t of Ih recording.,we trying to cover so many points in each this I use "Thinking Fingers" (Vol. 2) been practicing. The teacher lries lo give sonal touch, without good taste, with- erly prepared series of materials for cert manners too. "Manners are just the pattern want and an pia) on our -chool lesson? Wouldn't it be wiser to plan the pages 34·48. For adolescents and college him a variety of things to do-and thcn out musicianship, no music can be the boys and girls and for their phonograph ha\' be II ('ul 011\ 01 year's work into separate divisions of four age students I know nothing better for the hasn't time to hear it all. I believed that recreated whether it be by condllC- teachers should be ready for each of different things we do, the catalog. The f"~'Ihat are left or six weeks, during each of which we season's first technical work. Why? So variety can be achieved just as wcll by tor, by individual or by teacher! experience. And what we call 'good manners' Because of the tremendous success 3. She recognized that she needed -the kind we want for you- have b n IllIt inlo albums 100 ex· teach only one or two essentials of piano much music is buHt on broken chords- changing points of emphasis, and by rc- of the early youth concerts in Cleve- a "Concert Week" late enough in Are all the little, pleasant ways pensive for hool.., 10 bul'. playing? just examine your Haydn, Mozart and garding the music as material for develop- land and because the Directing Su- the semester so that the preparation which every child should know U ne doy Ir. Ringwall and I For all the years of my life I have ad· Beethoven compositions and see how true ing different skills. Some music is for pervisor of Music, Russell V. 1\'lor- could be given thoroughly and fair- Will make him liked and welcome were talking about our lildreo', vocated just the opposite, i.e. in each les· this is. Yet, we seldom offer students any learning lo read easily and independently gan, and Mrs. Hughes realized that ly; otherwise some schools ~ould go wherever he may go. concerl and how we miglu ha\e l~ son try to get in short, concentrated doses adequate broken-chord technic. The broken -not for finish but for the fun of playillg "How many different manners' give up planning ur programs continued growth demanded proper to concerts so early in the term that re of everything-chords, scales, arpeggios, chords 'naturally widen out into arpeggios. it aU for lhe teacher. At such lessons he they could not prepare. "Concert patterns there are for the many dif- cause th re l\-ere no r ordings lor direction, Miss Baldwin was urged etudes, review pieces, new pieces, sight For teen agel'S with growing and often is marked simply on how well he did it.. to create the position as Supervisor '~leek" has grown from eight con- ferent thjngs we do! What would be the fine preparalion lOU and your playing, ear·training. Result: inadequate awkward hands such wjde-spread finger so he has an incentive to grow the nexl of Music Appreciation for the certs in the early years to thirty. four perfectly good manners at a Hal· I achers mok at hool. he couldn't practice, playing confusion, slump. But technic is invaluable. week. schools of the city and Consultant to at present and still the number is in- lowe'en party would be shocking at bear 10 think of IIch good Ii-lenell the Cleveland Symphony Orchestra sufficient! church. And again, the whistling not ho\ ing the r ording;; theyneed, worse than these, the students become so Then, for the following four week peri- HOther music is for understanding, for on Educational matters. So with an 4. Furthermore she took care of and shouting you do at a ball game so $:he usked tit Kula;;; Foundatiol fed up with the teacher's insistence on ods I suggest three or four short Chopin building our hands, some for our emo- office at the Board of Education and the timing of the concerts so that would be so out of place at a sym· to hell) the und Book Pre's mastery of all the points that the true pieces (from "Your Chopin Book':) to be tions; so we learn to express in concrete one at Severance Hall the talented, it co-ordinated with the transporta· phony concert that people would ci ty make rec()rding~ of Ihl"mllii~ objective of piano study, joyous music memorized; and perhaps a thorough duo- terms what the music is for us. Why jumble energetic and adventurous Lillian tion management. Chartered buses think you an ignoramus. ('Vho you nnd hildren e\ef)l\-herr eDjO! making, is lost. Consequently, droves of mated scale drill; see "Thinking Fingers" all these together while we are learning Baldwin began her associatio'n with and careful scheduling mean that the knows 'what that means?) The well. at hooJ and at children'il ronrem pupils discontinue lessons and never study (Vol. 2) pages 4 to 15. Or a classic them? the Cleveland Story. concerts begin on the dot of 10:15 so mannered person is one who knows ". Ow do )'OU 5ee l\'b)' I "Jid Ihil again. sonata-entire, not only one or two move- "So, I started the year wilh 4 to 6 weeks as to escape the peak of the morning Now that the millionth young per- what to do-and does it-wherever ""il~ your stoT1-? RealI)' Ihe:'e ne~ I think I've learned better now. My out- ments, with perhaps a good technical work- for sight playing. Here's the report. I'm son has entered Severance Hall un· traffic and are over before the peak he goes. recordings a.re a wonderful rompl~ line for period-training consists of some~ out in octaves; "Thinking Fingers," (Vol. truly sold now! Such concentration from del' the auspices of the Cleveland of the noon hour traffic creates a Cordially yours, mcnl to tile )nunl! 1i~tener·~nJ thing like this: first four weeks, concen- 1) pages 25·36. the kids I wouldn't have believed possible. Plan of concerts and concert prepa- menace. LiJIian Baldwin" telichE-rs of Greater CI \'tlano. hu tration on sight playing and anyone And so it goes for the entire season. Out of 22 youngsters, 16 showed marked ration, it might be interesting to 5. Finally came the matter of con- Miss Baldwin had always used re~ s.hould fe I proud ond gralelul1nd cert manners. These are all.impor- species of technic. For the technic I have Whenever there is a slump I do not show improvement and interest. 6 fell by the know just how this has been done. cOl'dings as a part of the work in ver), lis PP)". To look at the plan and its philos- tanto She knew this, too, They don't used broken chords and arpeggios. For impatience or disappointment, but change wayside, that is, made· no improvement. audience preparation and for lhose incerel)' youl'& ophy as developed by Miss Baldwin just happen; they must be encour~ who did not go to the Concerts. After LiUian Bald~·in. upeoi~r sight reading the student borrows a book over again to a month's light reading rou- The first week the number of lines of mu- it is discovered that: aged and insisted upon or the entire the war many items in the record ~Iusi Apvrec.iationr or two from my loan library each week. tine or a simple, clear tryout on "popular sic correctly read varied from 2 to 21: 1. She believed that programs purpose of the program is ruined catalogs were discontinued and her .\nd SO it h85 ("ome aooutlhll all The pieces in it, easier than the pupil's music" playing. the second week from "2 to 46. The first should be carefully planned and ar- for all of the participants; for those person~l preference for 78 rpm type of the mu ...ieal ~election;; inrlLldt'1lin musical and technical grade, are read ac~ How do I know that this is a wise pro- week the mean was 10; lhe second it -was ranged in seven years sequences. who manage as well as for those who recordmgs for educational work th three ~m31J book~_ -~fu·ic for cording to procedures prescribed by the cedure? Because this is the plan I use in 13. Aside from the figures the whole level This planning meant that from the don't. Concert attendance is volun- made the long playing recordings Young Li~t ner~:' are no~ afJilable teacher. These library books are, of course, my large piano classes of the University of reading was so incomparably improved fourth grade through high school a tary and so when you have a ticket less v?luable for her pm pose. She in phonograph recordings kn'l~ ~ chosen by the pupil and may consist of of California. Also, several of the best that I couldn't believe it after .just two genuine listening repertory would you would be foolish to talk, or to let was dIscouraged about the fUlure. «~[usical uud Books for ,~ light popular, or more serious classic or teachers I know have been following it weeks. Although many lines were almost have been built. The benefits here some one else ruin what you went to Under the auspices of the Kulas are obvious. If programs were assem- hear! Li~teneN<::' £adl record jacLet I' romantic numbers. The student is also with conspicuous success. Here is just a perfect, I didn't let down, because I Fo~?datjon two great volumes of her co]or'"'Cued to Lb green, cri(I1O()1lor bled out of current repertoire only, Cleveland is a city of nearly one wntll~gs had heen produced: uLi_ given another book (his own) of good, bit of Mrs. Louise Guhl's (Minn.) enthu- want them to learn how to play so slow. blue co~er of the book ,,-hirh ldli or from what is familiar and easy to million inhabitants, and Miss Bald~ tener.s Anthologies," Volume I and attractive music which is to be learned for siasm for lhe plan: ly and relaxedly that there will be no about that particuJar piece. The til'" prepare, there could be seven years win could not get to all of the II, Silver Burdett New Y ·k P J pleasure only ... no memorization or finish "It seems to me that most teachers are mistakes at all. (Continued on Page 59) of the Minuet from "Don Giovanni.'" "schools nor to all of the places to . I ' 01. U )~ lire repertory of "~fu.ic To R~ JJS lers. Silver Burdett 1 . 2. Additionally she bel ieved that which she would like to have gone. bIas Since ber'~ is al~o recordf"d. In ad_ rought out all of her major pro. (Conlinued on Page 57) ETUDE-DECEMBER 1954 2/ l' 20 ETUDE-DECEllBER 19ii... _ 1JIh-'--'------_ L • ANSWERS MAURICE DUMESNJL, MilS. QUESTIONS AND TEACHER"S Doc., tells abo lit the music of Villa Lobos, gives suggestions for teaching a four-rear-old, and ROUNDTABLE discusses De Falla's Fire Dance. Both devices are well enough for tempo. catalogues. I suggest G. Schirmer, 3 East rary purposes, but both should be dropped 43rd Street, New York City 17; Theodore as soon as possible, being used only when Presser Company, Bryn Mawr, Penna.'; there is "a tough spot" in the rhythm. Clayton F. Summy Co., Wabash Avenue, They are merely crutches, and of Course Chicago 4; and any others with which you a crutch has it u es, but if the injury is are familiar. After studying the catalogues only temporary it would be silly to get into you will probably want to write to one or the habit of u ing crutch when it is no more of the publishers, asking each to send a ·"OA I" longer nece sary. Trying to beat time with vou a package 0f mUSIC n pprova. FOR THE YOUNG ,0 f the foot while playing the piaao is not HEITOR VILLA LOBOS rively easy, and replete with con/cur locale (3) Suggest to the parents of some o. your and typical Brazilian atmosphere. Of the pupils that they study the want ads m the merely silly, it is ridiculou ! K. G. Of course most of our fellow Round Tn- six pieces of Album No.9-slightly more My little 100tr and a hall year old girl local papers for second-hand pianos that shows an unusual disposition for music. Conducted by KARL W. GEHRKENS, biers know the name of this Brazilian mod- difficult than the preceding one-I make are for sale. They might go to a piano TPhen I have a good concert on radio or Music Editor, Webster's New International WHERE IS THE MELoon ernist, imbued with a tremendous creative special mention of: Pombinlut, Rolinlui store too, asking to see some old-fashioned (Little Dove, Tiny Dove); 0 Cirarula, 0 television she always comes and listens at- Dictionary, assisted by Prof. Robert A. 1. In Ravel's Jcux d'eau is the melody force which manifests itself ill indigenous upright pianos. In many cases these are forms of striking power and originality. Cirandinha (Circle Dance); and A Velha tentiveiy, She also goes to our piano and Melclwr. Oberlin. College. better than the smaller modern pianos in certain chord and fiftlls, with the rum Largely self-taught, he is a remarkably pro· qne tinha Nove Filhas (The old Woman tries to make oiu Wnes aLthou.gh she has which people like because they take Up ill. the right hauel representing the water? lific composer, having written around fifteen that had nine Daughters). The same re- had no instruction as yet. Do yOlL tliinle 2. Will yOlt please give the eorrea meuo- less space. (Before buying a second-hand hundred works ranging from orchestra, marks apply to their character. I should get her started and if so could yon piano it is a good idea to have it checked no"'e markings lor the lollowing compo· chamber music, various instruments and in- In proficient to advanced grades-4 and recommend materials which would be snit- over by a piano tuner.] (4) Begin to think sitions : Chopin. Preludes Nos. 1. 3, 23, strumental combinations, to collections of 5~1 recommend the following three: able for that early age? Tlumk yon very of undertaking some study yourself, either and 24; Chopin, Impromptu, Op. 36; Men· ADVICE TO A TEACHER Brazilian folk-music, a series of "serestas" A Manha do Pierrete (Pierrette's Hand), much in ad-vance. private lessons under a fine teacher, or delssohn-Liszt, n \' ing of ng. evoking traditional songs of his country, from "Carnaval dus Criaucas"; and from (JUrs.) I. W. E., Virginia 1 am a widow with time on my hands. I one of the many "refresher courses" or several operas, and the famous "Choros't-c- the same suite, 0 Chicote do Diabinho studied piano with an excellent teacher "piano workshops" that are being offered M". E. G.P. fourteen of them-e-having an essential (The Devil's Whip), a lively, bouncing lit- Four and a half is indeed an early age, about thirty years ago and thonght of malt- in so many places now-a-days. (5) Divide 1. I supp se you might say that tbere is rhythmic basis and utilizing melodies of tie number worthy of its title. Moreninha but if you·r child shows unmistakable signs ing music my career but changed my mind. your pupils into two groups-a younger a certain melodic line in the chords and popular character which are always trans- (The Little Paper Doll) from "Prole do of musical inclination 1 wouldn't hesitate to I now live in a neighborhood with people one and an older one ; then have these fifths of the opening m a ures of leu:< formed according to the composer's indi- Bebe," is built around a popular tune a]- get her started. As long as there is interest of modest means, and most of them cannot groups meet in alternate weeks at your d'eau, though no real melody appears until vidual temperament. The latter works, often ready used by the author in his famous and receptivity 1 would say: the earlier, the afford to buy a piano. One 0/ these neigh- home for a sort of lesson in elementary measure fifteen. Thi piece is a virtuoso featured 011 concert programs, have been ·'Punch"; and, what a splendid etude for better. bors asl,ed me to start her daughter on the theory. Such a class saves a good deal of display composition which presents, in an recorded and thus have greatly contributed swift performance of broken thirds and You could investigate Ada Richter's piano, and 1 finally agreed because other- \'aluable lesson time, and because all chil- impressioni tic manner, the splashing wa· to the diffusion of Villa Lobos' name. Now fifths, in both hands. "Kindergarten Class Book," written for wise the child would have no music at all. dren ought to learn scales, key signatures, ters of a 'fountain, and both hands con· in his early seventies, he has lost IIone of Winding up the list and ranging from children who do not know their letters yet. Widtin three days I had six pupils-all transposing, and other similar items, these tribute about equally to this general e6",t. his enormous vitality, and his personality advanced to virtuoso grades, I will first It is based on the story of the Three Bears, practicing on my piano because there were classes will help your pupils greatly. (6) 2. I think J'ou will find the following remains a~ intensely romantic as it ever mention Alma Brasileim (Soul of Brazil), which they love. No time signatures are no pianos in their homes. I gave each one finally, plan to have a little pupils' recital metronome marking satisfactory: was. a truly beautHul number, both sensitive used, in the beginning in order not to con- two forty-five minute lessons a. week, and every month or two, asking all the pupils Chopin: Prelude o. 1 =88, o. It is therefore welcome news that an im- and powerful, in romantic style; and four fuse the pupil. He plays as he would sing each one practices three-qnarters of an to attend, and inviting the mothers to come. 3 .)=80, o. 23 J=69, portant sedes of his piano compositions in others of great brilliancy and suitable for or~in the case of the bass cleI-sa y the honr a day in my horne. I nse the older o. 24 .=76, Impromptu K. G. various grades were l'ecently puhlished by recital and concert work: words. The notes are read 110tby naming materials which 1 m,yself learned from, but Op. 36 .)=66 the Villa Lobos Music Corporation 0. J. Dansa. lvliudinll.O (Dance) from "Bachi- them, but by the way they move frum the I want to be up-to-date so I'm wondering TO BEAT OR NOT TO BEAT! Mendelssohn-Liszt: 0" Wings 01 anas Brasileiras No.4," also a remarkable if I should change to some of the more Hobbins, New York). Although the entire starting note; i.e. up or down, skip one, Song .=48. list is worthy of investigation, here are etude for finger independence in both skip two, etc. Along with this book and mac/ern material. May I have yonl" advice? I am a. piano teacher. and several of my You must remember, however, that the pur· some numbers which could be classified pre· hands. about the fifth lesson, "My First Note Mrs. E. G. S. pupils play in school orchestras or ba.nds. pose of a metr nome marking is not to , paratory to intermediate~approxirnately Dansa do Indio branco (Dance of the Book" by the same author can be started. t They have been told by the director that cause the performer to maintain an abso· Grades to 4--and which belieye will ! You have given me "a very large order" they should beat time with the foot, but 2 I White Indian), another excellent etude in This~ of course, can be introduced at any lutely rigid tempo, but merely to gh"e him pruve oJ great interest to teachers and stu- and I cannot fill it completely, but here this of course interferes with good pedaling staccato playing. time earlier or later, depending upon the a general indication of the correct speed, dents alike: Anu standing at the top, Festa no Sertao are some suggestions that may help you at in playing the piano. I often tell them to pupil's ability. so that he does not err by performing the "Guia Pratico," Album No.1: Acordei (Jungle Festival), an authentic virtuoso- least a little. (l) I like the idea of your connt softly to themselves if the rhythm is I believe the above will ease your child composition much too slowly or much too de Madl'l/.fada (Dawn): A Mare encILeu, like number in the grand style, probably teaching your neighbors' children, and 1 h~rd. but I. can't :'iee how they could pos- into the study of the instrument and for fast. Various performer adopt different (Full Tide); Monquinha (Little Lame the most effective-and di.rricult~of all her, as for others, music study will become a believe you are doing it on sound prin- Sibly beat tune wah the loot. Will yon tell tempi, especially when the composer him· ciples. The older materials that you men- me what to do? Girl) ; Na Corda da Viola (On the strings mentioned. What a closing piece for a pleasure instead of a burden. self did not give a metronome marking. of a Violin). Selections two and four group, or a program! tion are as good as ever, but I advise you Mrs. E. C. B. and what is right for a great artist will not to hm'e each pupil buy his own brand-new (above) are most effective. In his native country, beautiful Brazil, THE FIRE DANCE necessarily be the best tempo .for a less copy so that he may write his name on Same title, Albulll No.8: 0 Limao (Oh, Heilor Villa Lobos is not only the outstand- Band and orchestra leaders often urge skilled performer. And in none of these •• it and so that it will be new rather than their. players to "keep time with the foot" Lemon); Car amhoIa (Goodness! ); Pai ing musical figure: he is a sort of hero_ a May I C01ne to you. for information compositions is an absolutely steady tempo Francisco (Father Francis); Xo! Passa· second-hand. (2) If you cannot go to a so as t? keep the rhythm steady, just as Berlioz of the New World. Those looking about the Fire Dance by De fulla? What is to be main tained throughout. rinhol (Dy! Little Bird); Sinh' Aninha for something new, refreshblg, invigorating the best fingering for the opening trill? Is large music store to look over materials, many plano teachers insist that their pupils R.A.M. l then write to several publishers for their (Farmers' Daughters) , and VestidinILo and picturesque will surely find it in the it beller to trill with both hands until the always count aloud for the same purpose. ~ THE END l Branco (Little White Dress) are short, rela- above mentioned works. lelt hand has to (Continlte VIOLINIST'S FORUItI tl Curnc.,ic Hall organ Marshall Bidwell at the canso Icolef eo Concerning a Straight Thumb, a Stiff Wrist, and a Too Fast Vibrato appear. Apart from the fact that it is uu- musical, an overly-fast ann vibrato is a technical hazard. It is usually produced by Alexander McCurdy by stiffening the upper arm, which in time often leads to a stiffening of the entire left-arm technique. It is well, therefore, to eradicate it as soon as possible and build by HAROLD BERKLEY up a relaxed wrist vibrato. When this has been acquired, the arm can be brought into use again to give additional intensity to the tone. 1£ a player has a good wrist Legacy vibrato, there is little danger of stiffeni ng when the arm is used. This straightening and flexing of the If, on the other hand, it is a wrist vibrato The unique and inspiring story fingers is the basis of all good bowing. that your pupil is already using, she must One can go further and say that a flexible learn to play without any vibrato at all. from of the organ recitals which HI have a pnpil who has had previous wrist depends on the flexibility of the little This will not be easy at first, but it is the instruction and who has so much trouble finger. If this finger is held rigid, a supple only way to solve the problem. When she have continued for nem:lY 60 with the bow hand. She was keeping her hand and wrist is impossible, agility of can play a lengthy melodic passage with thumb straight, which naturally made her bowing and tonal beauty suffering in con- a relaxed hand and arm, and no vibrato, years in Pittsburgh's Carneaie Hall. wrist very SliD. I have tried 7nany things, sequence. Stiffness in the wrist is much then she should begin to practice a really Carnegie bus nothing seems to help; so I would ap- a more frequently caused by rigid fourth slow vibrato in the third position. As soon preciate any advice you can give m.e. 1 finger than by a straight rhumb. as she can do it with complete evenness, also have a pupil"with a too fast vibrato. In my opinion, some interssive work on she should vibrate a little faster in the third Have tried having her practice it slowly, 'HE GREAT PIPE· ORGAN at Carnegie organist in 1932. Mr. Bidwell in these re- It is a big and versatile instrument, con- the Wrist-and-Finger at the frog (see position and slowly in the first position. l Hall in Pittsburgh, Pennsylvania, is, to citals has ably carried on the great tradi- taining 8.600 pipe in 130 top. The origi- but she cannot seem to strike a happy nie- ETUDE for April 1946, May 1952, and Then, as she gains control, she can vibrate say the least, an aristocrat alllong concert tion established by his predecessors. nal instrument has been rebuilt several ilium. .... " December 1952) would soon free up your still faster, until the vibrato is fast enough organs. While there are instruments in It was Frederick Archer who inaugurated times, most rccently by Ae lien- kinuer. Miss F. t.. Wisconsin pupil's bowing. But make sure she under- to be musically expressive. this country which contain more manuals, the then new organ with a recital in Car- At each rebuilding the builders have wisely stands that when she is practicing it there Re-making a faulty vibrato is a slow a greater number of stops and a bigger negie Hall, and who later became the first incorporated the best of the old stops along A straight thumb is not by any means must be no arm movement whatsoever. process and calls for patience on the part total of pipes, the Carnegie organ is not regular organist. During his six years' in- with the new. Thus, as it stands today the the evil thing it was long thought to be. (See Chapter HI of my book, "The Modern of both teacher and pupil; but when your far behind and in terms of fine music cumbency, Mr. Archer presented 451 re- organ contains some pipes only a few years There are many violinists who keep the Technique of Violin Bowing,"] As soon pupil has attained the desirecl results she brought to vast audiences over the years, citals and lectures. old, others which have been in continuous thumb straight all the time and who lack as progress is apparent: the Motion should will feel a sense of accomplishment that it is second to none. His successor was Edwin H. Lemere, use since 1895. nothing of agility of bowing or beauty of be incorporated with full-length bow will give a big lift to her morale. Carnegie Hall was built by Andrew Car- whose Andante for organ was fitted with a Now brought up to date mechanicallr tone. It all depends on the length of the strokes, the wrist and fingers being wholly There have been remarks and comments negie in 1895, and in the fifty-nine years set of Tin Pan Alley words and became and tonally, the instrument i one on which thumb in relation to the first finger. responsible for the last two or three inches on various aspects of the vibrato in a num- since then men and women in all walks of widely known under the title of 111oonlight music of any style can be effectively played. The average thumb reaches to the middle of the Up bow, the fingers remaining ber of issues of ETUDE during the past life have been able to hear the finest in and Roses. Mr. Lemare held the post from There is a flue ensemble on every manual joint of the finger. If it is noticeably curved throughout the succeeding Down few years; especially an article in October organ music played on an excellent in- 1902 to 1905, during which time he played and an adequate pedal; thus the music of shorter than this: it should be straight bow and then straightening somewhat as 1947~ and Forum page comments in De- strument by outstanding performers. The 170 recitals. Bach and his contrapuntal predecessors most of the time: bending slightly only the change is made to the next Up bow. cember 1948, April 1949, August 1950, men who have performed there have had a He was followed for a season and a half can be performed with wonderful clarity when the change from Up bow to Down It can be said that the \"Vrist-and·Finger September 1952: and September and Oc- sense of responsibility to their audiences; by guest organists, until Dr. Charles Heiu- and with independence in all the parts. For bow is being made. If a short thumb is Motion, discreetly used, is the essential tober 1953. Perhaps you can obtain these the aim has been to meet each listener at roth began his tenure of office in October Guilmant. Widor and other orchestral- bent all the time it pulls the bow too much element of good bowing, and that the flexi- back numbers from the publishers of the his own level and gradually inculcate in 1907. For a quarter of a century there: minded composer of organ music. there towards the palm of the hand, which less- bility of the little finger is the key to the magazine. him a taste for the finest in musical per· after, this outstanding virtuoso presented is a wealth of colorful solo and orchestral ens the [lexibility of the fingers and makes Wrist-and.Finger Motion. formance. programs of high artistic excellence. stops to dr-aw upon. The instrument has it difficult for the first finger to maintain With regard to the pupil whose vibrato THE CURLING LITTLE FINGER I When one observes the rapt attention of Since Mr. Bidwell became organist in a wide variety of percussion stops; in this its function as a tone-producing agent. is too fast, you do not say whether she ,~ an audience at Carnegie Hall, and reflects 1932, all sorts of innovations have taken category is even included a Chickering An unusually long thumb will be curved vibrates from the arm or from the wrist. Most teachers have in their classes at least that this is part of a continuing process place. He has instituted choral programs grand piano which may be played from nearly all the time, for if it is straightened If the former, then you should eliminate a few pupils whose left-hand little fingers which has been going on nearly sixty years, I with the organ, orchestral programs with the organ console. it will push the bow towards the tips of the arm movement-s-so that the arm is still curl up when not in use. It is a bad fault, its importance in furthering the develop· l the organ, ~nd this year is launching an It is an education for an organist to the fingers, and this too impedes flexibility. but not rigid-s-and work towards a slow for it retards and weakens the general tech- I merit of musical taste is seen in its proper adult educational program which it can be drop in unannounced at one of Marshall The thumb of average length should and even wrist vibrato. This may take a nique, and it is one that is by no means perspective. predicted will be a model of its kind. Bidwell's programs. A typical recent pro' straighten when the fingers straighten and little time, but if hoth you and your pupil confined to elementary pupils. Recently a Last October 3, Marshall Bidwell ob- "Mr. Bidwell's comprehensive pr ogr ams gram included magnificent performances of hend when they bend. are patient, good results will eventually quite advanced (Continued on Page 59) I served a milestone by playing his 1,457th serve among other things to displa~ the t the Bach Toccata in F, Debussy's Prel~e recital since he assumed the post of regular vast tonal resources of the Carnegie organ. , to the Afternoon (Continued on Page 58) ETUDE-DECEMBER 1954 25 ~ __ 2_4 _ ETUDE-DECEMBER 1954 I J - Grade. 4: Etude in D minor FRANCISZEK ZACIIARA Allegro agitato M.M., 3 -.J 2 thoughts cOllce.·ningt',e ...2-- I a ~ ..!. 4 - s',ortcoII,ings of sotne teache.·s ~~t!~. It. by H. J. SACHS : !!;.~ ~ -: : \ t. 3 --' I - I 3 "Let's start all over," says the new teacher, 4,. The teacher has imprncticol goals amI !ii""" , 'r"1 ILL YOU ALLOW a layman to sug· inipracticai methods. There nrc certain W gest what he thinks is wrong with Hand do it right." This starting all over usually does not teaching methods which arc excellent {or ~~~ l. e ~ many teachers of piano? 4 make sense. a fourth grade school the remarkably gi £ted child who is going ~ it r :: :: = t. u 3 I am a college teacher of English. During If to be an outstanding or n profc sionel mu- the past few years I have taken an inven- teacher finds that her pupils do not read ~ well, she does not start all over with sen- sician. These methods have come to us from tory of hundreds of my students who have European conservatories which specialize It. / had piano lessons. The great majority say tences like, "I see the cat. Do you see the in training concert pianists. nlortunetely =-~ that they rarely go to the piano, that they cat?" The piano teacher who goes back to Ii they arc the worst possible methods for thc ~ F"'" have serious difficulty in reading even very very elementary drills and materials often typical child. And unfortunately th yare !!a simple music, and that they are not fond bores the child to distrnction, hurts the the methods whi h larn numb r of teach- ~ of classical music. child's ego, and loses her in a short rime. I I en still use {or all their pupil. ~ ';: In the old days we would have said that 3. The teoclier does not m.ake the child They a sume that th child has great ,5 these students had no talent. Today we her friend. Consider the child in the grade ability and an eagerness to put in unlimited know that a good instructor can teach school. If he is exceptionally bright, he time in completely mastering every detail. ~ almost any child of normal intelligence to always learns a good deal, whether his ---- play fairly well and to enjoy good music. teachers are good or bad, whether he likes Therefore the teacher str-ive for p rfection Why, then, did these students fail to the teachers or not. If he is average he gets from the first. Endless drills and scales. learn to play or to appreciate good music? discouraged when his teachers are unskilled Insistence on exact position for hands. From my questioning them and from my or unfriendly, and 1:E he had his way he fingers. and wri ts. Vast amounts of Bach observations over many years I have found would quit school. But practically no par- and Czcrny. The utmost meticulosity in the followlug four points to be the most ents these flays will allow a child to stop tempo. Refusal to leave any piece until it is serious and most frequent causes of failure. going to elementary school. completely mastered. Horror at the child's .. 2 I 5 3 2 1. Too much time is spent preparing the However. most parents will allow chil- interest in popular music. And so on. child for recitals. A great many teachers dren to give up their music lessons if the Few of your pupils are going to play the give recitals every six months and nearly children are consistently and extremely Apassionata or play it well. Let them enjoy all of them give recitals at least once a year. unhappy about the lessons. Too many their music. Let them play simple pieces For several months before the recital the teachers fail to remember that the typical almost from the start. rather than after the child practices almost exclusively on the child of modest talent yearns to be out of first six months. Let them have some voice recital pieces. Frequently she becomes so doors after a day at school, and unless the in the choice of pieces to be studied. Instead tired of her pieces that her annoyance and teacher can make music lessons moderately of endless, dull, dreary exercises [or the 5~ 2 boredom extend to all her music. Many enjoyable it is only a mattcr of time before ~e£t hand, for runs, for ~rpeggios. for train· children worry themselves and their parents the child's nagging or failures persuade the mg the weak fingers. substitute interesting to a nervous frenzy in their dread of public parents to give up the music lessons.. The p1eces which will give practice in these appearance. Granted that recitals ma y do s~ern or nervous or unfriendly teacher matters. Usc the c1evic('~ listed in the best good, make sure that your recitals do not SImply canllot succeed with the child of music magazines to make the lessons varied. do more harm than good. Do not have them average talent. The child is tense durinoo interesting, and enjoyable. And if it will often. Keep most of them highly informal. lessons; her fingers grow stiff; her mind increase her interest in pianislic skills. let ~ Avoid preparing too long for them. Do goes blank; she plays much worse than she the child play some light popular music not put pressure on the timid child to does during her practice periods. And of the day. particiflate. almost always whjle she is practicin0-, she Such methods are not necessary, of 2. The new teacher insists on "starting is thinking of "crabby old Miss Jon;s." It course. for the child who has unusual talent all A large number of teachers who is not necess~ry for the teacher to gain over:' a~l~ who may become a professional IllU- have had one or more predecessors will cheap ~)oplilanty by praising slipshod work slc~an. But how many of your pupils are insist that nearly everything the preceding or havlllg very low standards, but she must g0lllg. to become professionals? Adjust your teacher did ·was wrong. They say the child's ret~lel11ber that. the. teacher who is fond of teachmg to the needs and interests and hand position is wrong, his counting wrong, chIldren, who IS kmd, patient, and tactful abilities of your pupils. That is the best his practice methods wrong, and so on. has ·won half the battle £ron1 the start. rule in any kind of teaching. THE El D From "Twelve Master Etudes;l by F. Zachara. [110·26951] Copyright 1940 by Theodore Presser CO. British Copyright secured ETUDE-DECEMBER 1054 .27 26 ETUDE-DECEMBER 1954 ~ ...... _------e Pastoral Symphony He Shall Feed His Flock Grade 3}z (from "The Messiah") GEORGE FRIDERIC HANDEL (Alto Solo from "The Messiah") • GEORGE FRIDERIC HANDEL Larghetto (.I) , 132) Arra?/ged by Hen1'Y Levine Grade 8 A1'f'a1tg~d by Hen"y Leoine i 5 3 i 5 i ir 3~t 2 4: _ ~ 2 25 iK' 2 ~ i Larghetto () - 11.2) 3~il t';.~: ';,3 2 3 , 2 :..... ,32 "0 _ 2~J i l I':I.J 3 0 ~ 3 i 5 ~• - ~ i 3 5 r ~ 4: 3 5 : 2 3 45 ~ is 4- ~~, J, 't\ 1 "" 0 . - ~ . 0 ~ f. r 2 r'~ .~ ...... '2 r'1 · 0 · 0 · P ~2 ~. 11~1 i~~''''''~' . 0 . .. tl-~2 ~ r ~r 0 pfl R ~r-p _. II ~f :;So . PIANO i-=-i "~!E ,..fi};-I 1\. ::-::- -e-' ~'~ ~o - /- - ~ ,,-;- - , . --- 0 . 0 . . . ~o e _---:--_'ir q...____e, I~I '--' "'---- ~o 5 3 l/ 2 '2' ~ 2 t-----=- "'~ t "- 2 I 2~tf;lil~'::i creso. dim. , ,.,., =~P ~ A • A i 1 i 2 2 2 ••• 2 3 t - ...... , , - r 5 i 5 cresc. i\' i 5 i .. . =t·.... ,. c,' -6' -6' -::::::...... 11 ~ • -A 4_ 2 4 23 ~~. ~ "t , 2~, i~ 2 i ~ - r-::~ :J:: t 2 ~3 t It';'.~: 0 _ 2 1 2 3 i 011 11 , 'I ~ V n =-- ~.I,m, mf dim, sempreppal fille , ~ 54 5 "-%34 t t t • 77, ------ A A ,~~5 . t~.. .1.. 3 % -3 • %-0 i -- , , • . r ~----!~t ' r...... r' I 5~ t 3 -= 5 i5 3 3 ~~~-.:....~ ~ , :;:-' o ~~~:::::::::::::;:==~~i==~~--:-~:::-~~;-;u~';;:::!.~::::~ r ~'--k---'--_/h., ---.....,' If 1·, , , - 3t ~.,) e' =' -- .~o :;s --=-- _~.:::::;s , -~A-AfL--A.-Jo..A...A--Jo..,-_"--A.----l, ~ , A ----=-::=--:--:-_c--_1II='_~ From "Themes from the Great Oratorioe~' arranged and edited by Henry Levine [410.41021J From "Theme~ from the Great Orat·orio~" arranged and edited by Henry LeVine [410.41021J ~ Copyright 1952 by Theodore Press'er Co: Copyright 1952 by Theodore Pre•• er Co. International Gopyright Secured ETUDE - DECEMBER 1954 International Copyright Secured 28 l!TUDl! _DECEMBER 1954 29 -$-CODA a te111;JJO >- Grade 4 Sonatina ~ 1 f.., ::;- (From Introduction and Sonatina) MARGARET WIGHAM 1'1 u . . "'"' Allegro. ".------' -'---../ 'f. 1':,:::] ~ ••• • .-:iI T . .. mf,·it. p r-, f lii~.R~' ! II';" . J':.J:':' ~ ~ , " ~'l'" : ~ ...... - - '---' ,---,' '7- 5 R.H. 1 5 5 4 1 4 3 2 Last ti",e to Coda ~ <:» Ii [.~r:l".;, #~ . .~, ~ " F . '" t:) a I , 5 4 3 I~ I I -../ f I·i .; I~J~ "- ~.,. ~ it- if. ;. ;. jL t;t ~rit. i , , ....-/ - .1:/ ...... :::±.,.** .. ..r> Gordon Johnstone The Green Cathedral CARL HAlIN 3 2 412 Andante (J=88l An'. by Ada Rrc at er GI"ade3 ~ 3 l' 2 2 3:'.~ 3 ~ ,," .ji.f:,. ']...... ----..• 'fL • r.l 3 "..-: 5 5 . --.::::::--..~ r:~ ~, - ....--.:.~ r: - f. R.H. P ~,. t I- ~~:J ..... ,.. :I- ;~ • I' - • 5 3' 2 5 4 2 I 7 5 4 ... 5 3 , I Pcd. si,,,-ite ",,~ -s: ------...... 1~ 3 --...... -. ~ a tempo / . I~ I i k,;ow a gTeen ea - the -d ral, A , , p ~ _ f:. _ ... :s: ... .~ •• 'r I • rit. /I. I 2 , T 5 5 4 2 1 ! , -2 5 I , 2 3 1 ~If. Ii -. 3 1 , I , 3 ;---...., ~ ,r--' Tempo I . . I '>'.. =:> =:> mi~ .bJJJ ~J1~.f1~1~fi ~.Jj ~. I =:>~ I ~ • JI· . I I J "1 u .... ~..L • shad-ow'd for-cst shrine, 'Where leaves in lovejoin hands a-bove And arch your pray'r and mIne; Wi t h· • , ~ ~ • • • • fl- I'- .~ ,Rtf,. ~ ~ __ _i_ ~ f. II I I .1!rr-.-..V *~"* • >.:..:..:.=:>' ..;. f P =:> pp=:> >#H>" -~-:: --:.. It.. - f~_ J ~ ..- 3 2 , l.P 4 T -. , ... " '--_--JI '------' ~ .... ,J . .. ~ ...... - From"Your Favorite Songs," arranged by Ada Richter. [410-1t04-4] lJ i CoPyright 1921 by The Juhn Church Company - >- Copyright 1953 by Oliver Ditson Company nS.alCoda Coy,ynght 1954 by Theodore Presser Co. International Copyrigllt secured "" - International Copyright secured ETUDE· DECEMBER 1954 30 31 ETCIJE-DECEJIBER 1951 Mighty Lak' a Rose • • • I • Frank L.Stallton ETHELBERT NEVIN" _------AeL.r!:.r.!:;hy~LAda Ri eMer arms di-vine Un- Andante (J=72) And the fir and pine lift 3 , ,3 in its cool depths sa-cred, The priest-ly " 1":\ 2~ , 2 " 't'-- "------t. -&- # .. I .. 1·- .. ------Dun-no what to call him,But he might-y 1:1<'a PIANO Sweet-est li'-1' fel-ler, Ev-'ry-bod-y knows; :;;bl PI":\ .-.... h-'-= _ ~,;:==- Ped, simil e .- Poco pill 1lI0SS0 L--J 12 5 [ ! I I ! '---' Ped, simile 1 , 2 1 ('J 2 1 I l s e a t And L.LH. is aflow-er'd to the pure blue skies. . In my dear g'Tecn ca - the - dra~ There I ~. .. I t. .. .. #- .. .. -.- .. .. i-. :;0; 1'000 rall. Look-in' at his Mam-my Wid eyes so shin-y blue, Mck' you think that hcavn Is com-in' cl ost tor you! 2 1 '1 .----...... ---..... 2 , l..------J 3 s l..------J ------I ----- , L-J , " '----'" " I v 5 4 " ({,t~ s 4 3 2 ,------.' _____51 I ______I , , cr ('J 1 51 , 2 2 " ------~------J~I I I . r ~ "I 1 I /3 I "I I I branc h-e d croft, Where son~ of bird hymns sweet; II And I melo,ly choir loft in ~--'-~=-- ~ P 3 2 1 2 = poco rit. W'enny he's dar a-sleep - in; In his l i'- l' place, Think I sec de an - gels Look-in' thro' de lace, ~~ .. .. ~~ .. .. 3 2 1 - ,5 2 1 5 ,5 - r , 1 I '------J 1 1 '------.I '------' '---' Iped. simile Un poco pili 1lI0SS0 2, ~ - I I cool.calm pcaceof -.....: 0 cve~ning','Vhcn the stars its archcs light, It: ~ • .. .. W'en de dark is fall - in', W'en------de shad-ders creep, Den dey comes on tip-toe Tel' kiss'im in his sleep._ g g ~ hj~1 o. h. 5 I I 1 a tem,po .t...fl#.~_:;: ~ ....--.. i i ~, J.1~ ~ ~ ~ .-i\ ------0 !~ .. #_ .. I ...... I 1 I .. I L. H.'1 .. .. 1"---1 t. P Sweet-cst Ii'- I' fel-Ier, night, That my Lord and God treads its hal-low'd sod,In the cool,calm pea.ce of Ev!ry-bod-y ------knows; Dun-no what to call 'im,But 110 might-y lak' a rose!_ ni~ pp po~ _------...... , :--.... _---..... h'.- --.~;; .fl- • fl.~fl-~ ~~~~~ ~ • .11. , ,'It ~ , 2 2 5 u,.... 3 ! I ~ 5 2.1 4 u- I I I f.\ ------I~ , 0 ~ ---: ---: fL~fl..~ ... ~ •• fL_ ~ ~ ...... j-o 0 .. "Jl fJ -. . .. -~ Look-in' at his Mam-my Wid' eyes so shin-y blue, Mek' you think that heav'n , ----- _------.... Is com-in' clost ter you! ~ -V 1 0 .---... ~ 1":\ , I 0 .------j.ll: ...... ,. •• l·1 . ~.. :e- l ~ ~.I: ...... , :& , From "1' F . . [ • = . our avonte Songs;'arranged by Ada RIchter 410-41044] .:;j I 7T ~ I Ped.Stmile COPYrIght 1901 by The John Church Co. Copyright 1954 by Theodore Presser Co. Interna.tiona.l Copyright secured 32 ETCDE- DECEMBER 1954 ETUDE- DECEMBER 1954 33 Silent Night Silent Night Grade 4 Molto moderato PRIMO FRANZ GRUBER SECONDO FRANZ GRUBER Transcribed by Clarence Kohlmanll ¥~;---Uf--,-;-,~---~~~/:~::~;':~::"~~:::~;" Molto moderato Andante pastorale ~ I 'I r-, -.' -e', ~ ~ ~. u' u~'U: ~-r----u'' . 0 (Chime effeet) 1\ 0 . , ~f s m ..m ..m--:.:.. m m.m-:;mm.mm ".:.-'"' __''' ..______:: .. __hn 0 PIANO< _ e--...... ' : , . . . , . . ' . · . · · 1\ ,., · 'l;I-' --· ~. , , , , Io!"" (Chi':'" effebO 1tif ( . . 17ft ...... ,,;' tr. PIANO 11;1 -r ~ .... 12' ~ If- 17' 11:/ {.\ j9-' f9-' 0 . f-r.., · Andante pastorale . ~ 5 '. . · · · " . . . . - I 5 ~~ 2 2 t:.~ 2,,2 _. 0 -e-' -e-' r ez>. e- -' -.' 1\ -f--F- ...~ J::~~ke ...~ . :------~ ~ =~~~~ ~~~~.. -', -', · i mp A «:». t:.~ c:-; «>: . ---, · r l t- 1 2 3 4 3 1 2 3 5 2 I I r s' fl.' ---"'f!!- Il .,i -t a:: .... .rz::-; ~ ~ ~.~,!- (l:.' "., ~~ ~: ~o , . 0 0 . '------'IL' __ ---' I I t- 5 3 1\ 123532123482 1 ~ ~ . 1 2 3 4 1353131235"32 . . . . ------. . ----- 0 1 . . . , · I , , t- I I r I I r r Like shimmering frost erystals 8 ····..·..····..· ···..·--· ·· ··..·..··· ···· -- .-_.---_P.P.-.---- ._---- ...... -..... 5 • 12421 42 1~ 5~ 5 5 5 5 ~ 1'-44.f-l~,a~li2 ".~~232 42 43 3 ....-- 1 1 1_ 12 " 2 '.';',3, ...... -- j9-', ?7. t.p m1!.- _____ I -----...... --. I~ &- .n.. : ---- · , ., t I r 8..·..·..·....·--..._---_.- ...... ---.0 .. ____------...... -.------...... __ ...... ------_ ..------_. ----....._------....----- ...._-_.- ..._------5 5 4 5 5 4 5~ 2 32 5 2 3 " ~~ 1\ r., ;2, ~~1 2 1.1 2 lj, 2~1 4, 2 1 2 1 ~~1 2 1 i 1 I~'~ 1 2~.; 1 Ni4- +-':'~1-11=1;'~~2 , , . t- ~. ~ '------', ,'-----' 1'--_-----" L'_-----' '------', '------' I\.,~ . ---- .: &.. ••. ~I '~ .. ~ ~ . .0 0 ~ · . . , - . t . ------0 ------,- . . · 0 -- ...... 0 , · . - -- . , · 8 ..-..-.------_._------...------...-_----- .._------..--- ...... _--- ..-- •• 0 ______------..._--_ .._--, ' • ... -lI · · . , t- -6 ...... ~. • · ~ .,,;, 6' 5 "1iI ~ : 5~ <:;. ~ 5 4 1 2 4 • 3 2 .~ 2 ~- ~ 2 4 - fI F 1 1 f= 1 :. 1 ~, 1 2 1 ... 1 5 1 2 1 ~,2 1 2 1 1 3 1 2 1 : = 'j)lj'J S'lno1'zando 0: ~~l~: rail. pP : I ,- !9-' .... c 0 , , t 0 ==- T I r ~ f- . . , , mf · · . slnorzando .PPralt. Ippp -GO • '" . ~ fI --::: , ~. ~. , , , '------' '-----' ;st. :0' , -e: --, , ! -I J '----' '------' , ~. . . , '--""" ...J I - 0 From "Twenty_ Piano Duet Transcriptions of Favori te Hymns"b CI _ ~,-----', ~Jd:,--. -.J · I t- · Copyright 1945 by Theodore Pl'esser Co. I y arence Kohlmann. (410·40046] I I 34 ETUDE· DECEMBER 1951 ETlIIJE·IJECEMBER 1951 35 ~ • HmnmondRegistration I I , I .:. . • I I 1 I I .;.. . , I , llJJ @OO 6871510 Vivace and Allegro h.1 it .. I ARCA 'GELO CaRELLI it- ". @10 UU432 (from Christmas Concerto) -----!'rallscrl'bed by Giuseppe Mosclltlfi . [:Q] 20 8756 323 • I. ~sw.@ ::--..[f.\] Sw.@ .. Sw.@ ·Sw.@ ~:J~j . ~ s",@ Sw.@ ·~w.® q~'~ I .. ~IJ 00 00 7661000. VivaccrJ=104J ~. tr. r" ~S . Ir : : ~ , , !', I .- G-r Gt.@JLf .. Gt.[i[I Gt.~r Ii-' Gt~' If ..... -- ~- ~ I . I I ;j I -d A A " " PEDAL, [@] Ped '8'&31' i6' . Sw.@ SoloG; tr~f2.' , A A l 1", " I ;,. •. a* . .. !r;-:-6-' La~ J) I ~J-1 r.J.• ~;;~ iJ . : • It,tJ II - glGt ~~h. (2: "-:. 6-' .....: .\ , re ~: . . '): .'~"'" a 1 : . Llln poco piu mossoJ Sw,@ I I :;;. A ;;;;;; R R r r I r "~ J R , I" ... RFi ~ ~ R ~ ;;;;;;;; R ~ ... - ~l:J=:~ . .. I, I .. T.. t ~ , I t ~L , I I '!" • '!" r -.r '- ,,~ Gr- a ~.&lPreseJ ::::: ba[eresc) [All area ndo l ' o'I'i~ I~a~ .. I'!~~~ [ . l -= - tr [ . ! a, ~ • , • . [Tempo I] .-4.~- :;;;;:;;;;R R , ", , ~ ~ A R A RL R R I AI- I I J jj:J -];, LJ J i i 1 L~ to I ilcresc.] q!'" ~ f~"-:A Ie: Sw.@ 1., ,.t--~ qt 'I q~ :l: G~~~ T I' ,~. All TO • II J I :t a~1 Lj d i i I ~ ~-~ j II j ~I J -ifl J i i i ~ f1:i '"' =J = h :3 r"r<--j -- '1 I • • •• A ~ [ScherzandoJ • - fsw@ ririJr '~ Sw,@ i C!D . G~l@r Itr~L'T ISw.@ f-r,.. iit. ~h r i ~ rllj j J J JJ ~I J I I , , i~.J ihri~ . .J iJ--J ~ :ii- ~,J---rr---J ~ . . • I I I- I , ~ II J. I r 1 1"1 ~~JL . I I IT Sw.@ r. 1 ~ i. Y Glt.~ ~ S,,:~ ~r@r r ~ 'J/7 J ~-.::.. ,,---... /"~ ~ 1,,-:::'-- I~' * I -.9- fl fit n:'--~ f2. Ie n- Fed. 52 i: Jfi...-& r:f -.J_ 8- I I I f1~~A I a ...... -- 1 }) r.l ~------.. r F.lB B F5 f5f5 Lr QL~ a r:~t . ----- I ~. I I IT I Gt:1[ill I ~-6- -d 1 L' I I r I [Allargando] Sw.@ I L' I' r --ulTJ--,J - A 1\ -...... 1\ f.\ a---"" ~ J 11. ..J. Gt[(Z] Gt.@ "' ~ nJ Sw.@ ---- I' I I I I I~ r-/F 'f' f' In~ r' tt 1 L*,J.-.J --- r"---1 I r ~ -(2.- IE!.it[r~ Frfft . a_V - :"~ r, r'-r-:lr~: ~'Oi 1' " ~ ...... - ~ .,... -,..~ ~ f.\ ...-:-, , - , I • , I I ' ."it "- , ~ r':\ I ' From ."Concerto Grosso No. 8,n Chnstmas Concerto, b) A. Corell] lranscrib d -' Copynght Hl52 by Oliv.er Ditson Company----- ,e by G..Moschett i. [433 -41007] --- I ,. "'---' "--" I r 36 Interna.tionaL Copyright secured V :it T 171 ETUDE·DECEMBER 195-1 ETCDE.DECEMBER 195J 37 What Child is This? mif I .:.- --. f GREENSLEEVES (English) ------· -. -. Traditional Arranged by ftfargaret [ones HOffmaJJIO · · · shall_ Joyfully, not too fast t ah ah Nails I f ~ 11!f , SOPRANO '--/ · . · . i · What Child is this,who,laid to rest, On Ma rys lap_is It <::» feed. :g? Good Christ-i~ns fear t- for sin .ners here., The si lent "Wo'-::.'t.rd.. is plead _ ing, Ah m I , ~. . · · . . ALTO · . · i · Joyfully, not too fast What Child is this,who,laid to rest, On Ma r ys lap., is It. ·. .... I '[ f ...... fl..,. .,.' . • . .,.' ~.,. 1 · · / , . . . . ",p t ' , '---" ~;~ p pierce Him th~h,TheerossHc'11 b';;tr~ for me and you.... H;.il, hail. the Word made flesh,The Babe,the Son of Ma . ry. I . , '-----" . an vthcms sweet .Whi lc shop-herds wa tch c. ar e keep. iug? This, this is , sleep _ ing?Whom an - gels greet with , t .... · • ~ I Hail, haiLthe \\'O;d made flesh, Son of Ma. ry . I - . . . . , . sleep. ing? Whom an _ gels greet with an-themssweet,While shep herds watch? I , , I C- .: 'r-~. I .. - . ,". · 1 . p lip - ...... unison f . . ' H·r. I ~ ~ Sbo rIng rrn in-cense, go d.and myrrh.Corne peas.ant.King to own Him,Thc.. · ~. ~: ~: <::» '-!-- . - , · Christ the King,Whom shcp-hcrdsguard while an igc ls sing! 11!f . · .. · I . , . · -----./ . · Haste, haste to praise Him there,The Babe,the Son_of c. • ". -6' ~. ':G' ~. f I . b'--" L '-" King bf kings sa I - va _ t iori nngs, et lov . ing 1~'ar1:;en-throne Him. Raise, raise the song on high.The I n. t: ... . I I 1':\ P..-; ------· f t- Ah ah 1· , 1':\1!if "'. -6' "'. r I I" t- · ~ Ma _ ry. Why lies Be • I -..:.- 0 I I , In_Sueh me~n es.t~teWhere ox and ass.are I 1':\ . """ ~ . . . . ' :-C' · . Vir-gin si¥ her lull. a-bye; Joy, JOY,-· for Ch'nst IS. b----orn,_Thc . . . I Babe, the 'S~~of Ma - ry! · r , I ---- t- ....~. . . : 1':\ mf ' . · - · ... . :- .. .,.·ft ...... ~ • '¥ •...... , ~ . . I' -~ 1 r-.' (.,.> , . - • - I From "Sacred Songs for JUnIor Cholf;' selected and arranged by M.J. Hoffmann [412.41007J - 1 · I Copyrigh t Hl54 by Theodore Presser Co. • . , International Copyright Secured ...... • ·. ~t;. 38 ETUDE-DECEMBER 1954 ETUDE-DECEMBER 1954 - ~~------39 - , t' ~ Merry, Gentlemen The First Nowell Trad£ t io wal God Res ..l 0U, Traditio .. l Ha.rmonized by Sir John Stainer Hammond Registration Hammond Registration A rr; by AnlllO'y Ca.d,lori Words tradit iocai .An: by Anthony Candelori r;m 20 87fJ5 432 Edit ed by G,IV A,/j"J r:m 20 87SfJ312 Edited by O. W. Antho"y J.I -_. -. ..-- -- Voicc' - - Voice, you dis - may, Re. ! • -:..--- ,-::--' I men, Let not h- ing 1. The_ first_ Now - God rest you mer - ry, gen - tIe was born, And ell the_ an - gel did say, Was to 1. ry, This bless - ed Babe 2. They_ ed__ - saw__ Jew -- look - up and_ a star 2. In Beth· Ie - hem in gel came; And Shin- ing ble ss > ed An - star __ God our Heav'n-ly Fa ther A 3. This_ drew.; nigh to __ the __ north west, O'er.L; I 3. From noth· ing you ai- fright, This - 4:. "Fear not then;' said the An gel, "Let ~. Then- en - terd _ in there,.. Wise - men three, Full_ ,..---. I ~ ~ ~ ---- - Piano _ojor ~- I" I Gt·01"!f or Gt: r r -~ Organ r 0Inff-., r Organ ~. - n r:< .,j Ped.42 , P.d.42 , ' 11 ..---.. ..--- ..- '---' -_ ... - mem- ber Christ our Sav iour Was born on Christ-mas Day, To save UB all from bless-ed morn; The which His Moth-er laid with - in a man - ger Up - on this It , <:»: same: How that in Beth- Ie· cer - tain poor .' '-- -~ un - to cer - tain Shep - herds Brought ti - dings of the shep.herds in fields as they lay; In_ f'ie lds c, where they in __ lay_- day is born a Sav - iour Of a pure Vir - gin bright, To free al! those who the East,_ be - yond__ them far, And- to __ the_ earth it __ Beth . Ie . hem_ it took __ its rest, And_ the re.,., it __ did both.; rev - Jrent _ ly_ up - on their knee, And.; of - f'er'd.; there in __ fiJi -I , . 1.---.... ----- ~ loJ I ---.. ~ I r I"'__ r r J (II. J".....--J F' .. .. ~ ...--. ffCHORUS .. , , I , Sa - tan's pow'r \Vhen we were gone a - stray. ------Ma ry Did noth - ing take in scorn. II ..-...... -- . 0__ fort and --- .-. ----.. hem was born The Son of God by Name. ti - dings of com - -- trust in Him From Sa - tan's pow'r , and might." r ' ' , r-- keep - ing their sheep On a cold win- ters night_ that was__ so deep. gave_ great light, And_ so it con . tin - ued both day and night. stop_ and stay Right o - ver the place where Je . sus lay. His_ . pres enee, Their gold_ and myrrh and frank . in - cense. fill I , I r-- ---.1 I loJ I ...... - I ~ ~ I - ..J. J n J .J J n .J - J J 0__ '. l • joy, com- fort and joy, - t, - dings of com - fort and joy. I I - " J.I ~, ------CHORUS 11+ ~ 1_.___· • 1L~ .If - 'v I, .,--" "lI if. r ,. ,..-.... ~. . - j '-- , , ~ -,,-, .'. - Now - ell,_ ell, Now - ell, . , Now - Now - ell, Born is the King_ of Is - ra - e1. .. r------~. ~ ,- 6 6 ~ I , , L The shepherds at those tidings And when they came to Bethlehem 7 Now to the Lord sing pra.ises, . Rejoiced much in mind, Where our dear Saviour lay, All you within this place, d ~ And left their flocks a-feeding .They found Him in a manger, I" I , I And with true love and brotherhoo If r I In tempest, storm, and wind: Where oxen feed on ha.y; ffij, , -" Each other now embrace; .-:-. ~ ~ I&- ~ ~ \a I J J And went to Bethlehem straightway His Mother Mary kneeling down, - .•. This holy tide of Christmas The Son of Godto find. Unto the Lord did pray. , All other doth deface. I o tidings, lie c. 0 tidings, 8< c. I a tidings, Ie c. From llCarols for Christmas;' by Anthony Can dclori; Edited by G. W. Anthony. [411-4100.iJ From "Carols for Christmas;' by AnthonyCandeloTlj Edited by G. W. Anthony. [411-41004] Copyright 1954 by Theodore Presser Co. Copyright 1954 by Theodore Presser Co. International Copyright secured Interna.tiona.l Copyright secured ETUDE· DECEMBER 1954 40 ETUDE-DECEMBER 1954 41 • I 2~ 4 I 1":\ , 5 poquita '1jj 1 3 ~ -----a 5 . Grade 2t ------I r I Tradi tional Mexican II!. -W -W • hon-or, Arr: by Marie Weslertlt/{ Left their flocks and hUT - ried toward the ho= - ly light; So we came to 1 2 mp~ I, 3, , ~-, 2 t I. 1 l 1":\ I~I With spirit (J= 132) • 3 3 t , 2 5 4 . . 1 2 3 5 4 3 2 4 2 . 1 , 5 ~ I, I I ... 2 L"...J8 3 15 2 5 r~r' .!. _ -5 1I!f 5 , sempro staccato mp PIANO mf ____ 5 , jj ------. '------s , I , -I!. '- fIT T r poco rit. I 2 ' 5 t bow'd our heads to pray, '" Like the hum - ble shep-herds, wor-ship where He loy. • 2 -I I------.---- I 1 --::-- 5 .>: ~ ,--- 3 2 , . '~,. . . • . -- ,,-. e- I~r 1--'------r . ~r mp >- '':/' Grade 2 Adoration [one Flory Traditional Mcx ic a n 2 1 Arr. by Marie Westerv c it fJ JO Smoct hly flowing ( = IlG) 5 .r ~ ------, 6 o I!- • • Come, all ye souls who 10 v e them. Come, sec the ho-ly PlANO p scmprc lcg ato J.l ~. ;;;;:---. ~, ~, ~. mp 5 2 I 2 I 5 From "Christmas in Mexico;' by Marie Wc st e r vel t and Jane El or y. [430· 41012J 5._____ --::-- Interna.tionaJ Copyright !&eured fJ ~ II ""----"'1 ,----- 5 Copyright 1952 by Oliver Dltsc n Company ------. It 06- In Benediction fam - 'ly. Come, see the lit-tic man - goer. Kneel now and see them there. Jane Flory Tradi t iona l Mex ican --- , Arl: by Marie lVestufJelt ~. ;;;;:;;---- ~. ;;;;;;;----. ~. Serenely (J = 7ti) 5 1 -:::;:; f' 3 ~1 ------3 I 2 , 2 5 '.3 S 1 May this love ly hearts, For the bless - ed Ba-by 1\ J.l II ----... PIANO mp~2 2 t 3~3 , ------I!. '" • • • 06- E - ven the hum-ble don - key, Dends down his head in won - der. ;------~. ~. ~. ~, ~. ~, " , Poco agitato 4_ 'I jj ~ 1 3 5 1 8 5 , I ~jj II I!- ...... jI. ?f' -- "7----...... I ------we have play'd our parts. ,As. the shep-herds wateh.ing . m.t in the field at night, [@ -- 11 2~ ~4 - 2'---- . 2, " 2, Lambs with the shep-herd wor- ship, Dow down their heads in pr ,,-y'r, poco "it. ~. ~ ~, ~, ~, . , r . 1 '8 4 15 5 --=-r 2 '8 1 5 2 t -- 3 2 I From "Christmas in Mexico,'~ by Marie Wcstervelt and Jane Flory. [430 -41 ) Copyright 1'352 by Oliver Dason Company 012 - From llChristmas in Mcxico:' by Marie \Vcstcrvelt and Jane Flory. [4-30 -41012] 42 International Copyright seeure3 COPYrigh.t 1952by Oliver Ditson Company Internationa.l Copyright l!lecul'ed ~ .. •••••••• E_T_l7_D_E_-_D_E_CE_M_B_E_R_1.95.l ...... E.T.U.D.E••• D.E.C.E•••M.B.E.R_19.5.4______43 p - No. 110-40331 Scampering puppies • , • - ]~ • Grade '1~ .!!: 0 BaBBS TRAVIS • 0;" ~~ ], !---~ 00 - .. .., "' • 00• .\ 0 .\ .d • PlayfullyeJ=120) < ...~~~ < +--~ ~" <" .. ... • ~~ ,!!, • .. ~- 3 ~ 1 2 ~ bE bE bE , s .s .~ .s 1>-, e &. , , • • • .!!: • • ~ ~'" eo eo • .d mp ~. 0 0 ~ 1>-' • PIANO f-~ '" -::;" • • b,!:, .. ~ ~ ~ "• .S ~ 'i' .. ~ ~ 1i , • 1 2 1 - '- .~"" ,10 .!!' +--- 3 2 3 I 4 5 .:: 0 0 0 •- ... . .,;, .,;, .:!l 0 2. -e , • IILast time only IJ. O. at Fin, • f--- e !>- ' lIst time only •0 e --::::--..... ~ e 2- ,\'" s, .9..~ b .~ .. :::::------. rn ~:'! .::~ • .. <:'l -c , , ------~• ~ ~ ~ L..-:> ~ ~ !--- ""1 » } 'i' 'ril S 0 • • -• ..., Si bii '- lip rn ~ • ~ 0...- ~ = ..... p ~ 0 0 · .9 ~. • - ~ 0 ~ ... " )~ 2-· -"~ ~ ~ '" ~ ~ i~.. " ..." .:: ... ~• .. 0 0 1:' .9 !--- ""1 1 5 3 5 2 1 5 International Copyright secured ~, ~ Copyright 1954 by Theodore Presser Co. '---7' ~ • d ~ ) ~ ~ 0 ;:: ;:: oj I-- ---; 0 • ~ .. l- 0 ~ ~~ ~~" -• ...... d ""<" ~ "" -:i ;, No. 110-40337 ~'" '" - ~" -::; " < i'--- - Pleading ~• ~ j~ 'i' Grade 2! c iOl < r,) < tOJ WILLIAM JIOSKI"S ~ ? ...'"~- ..- 2 1 3 2 .~ 3 2 - • " E ~~ '"...~ ""~ :a ~ >• 0 ; ~ .,0 +-- - " " .. .. PIANO mp ~==-==--===~ c iOl c iOl c iOl I, < fOl In 3 -g 0" -::: 0 ~ (l tmnpo • • 3 4~2 1G- tem'·o 1 3 '0 ~ '0 .... A 1 3 2 2 • • :;:.," ;;:," A :;:.," A :;:.," J, 0 ~ c:: c:: ~ ..~I • " -• .. c:: .. <:f .. .. If" . 1ttH<'; <.i <.i <.i <5 '" ~-' ritenuto 0" fii" fii fii" .. <::i I:i <::i I:i cresco l- l- " 0" -======-- '" ~ ( I E• i'- . -• , , -"• , -.] +-- · <.l 0 • ~ ~- "0 - " ~ " a te'mpo 3 a tempo • '0 :5 .. f- '- - 3 2 1 - • ..;------. 0 I I , " • "- rl .. If · 0 0 t-- L -E "E- 1"tOtenuto fii • • l;l, l;l, ~ ------= ==-=-=- cresco ~ , ~ .. :f , i'- • • E, • 0 • ~ I • r • , • E E " • ;] +-- , , ~• ~• " <.l 0 0 .~ .~• I , • • • • I ... I ... I-- - <.l- <.l "0 ~ - g •0 ~ -• --' ,., ;] ~ • , =. '0 '--- .... - ~ >~ " - -• . . If If 0 0 • • • , ~) 0 0 ~ I " ------fii~ fii ... " " .. ... 0 '- ...... • • ,;; ) " " • " l!' . .. -:: -==- dim. rit. 7 3"/ E E• .J • - - (."\ -" fii fii -.. ~ ..--;;---... • ,;; ,;; ~ Pr .. I · '0 - ~~J :n ... -• -• • • • • ------~ <.l , j ~-f ~ 0 • - .;;• • .~ "• 0 - ( 0 -" •0 ] -" - - I .. 0 " - <.l <.l c c c c ~<.l , Copyright 1054 by Theodore Presser Co. ~ c ~ ~ iOl International Copyright secured • • • --..-- • ETUDE-DECEMBER 1951 ETUDE -DECEMBER 1954 45 b,---_----,4=4--= =~ ...... iiiiiiiiiiiiiiioiiiiiiiiiio ...... __ THE BAND'S REPERTOIRE For more than a century, 'the his- and attention of our foremost com- tory of-the band is oue of constant posers. ~ I:> e ::> .~ ~ .~. e I::> e (Continued from Page 19) experimentation. Even today within Perhaps the solution to the instru- .. i:> e i:>~' e ;>j our own county, state, and national mentation problem can hest be found to .. e F> UJe If!! . UJ " ~ \' o· ~ -•0 boundaries, the band's insrrumenta- " in the establishment of the hand's .... -e ¥ instruments. As these improvements ~ t:- .... o· J:: + e" • ," The repertoire of music written tion remains in a rather chaotic con- repertory. Since our bands can be "" o· were added and the efforts of such specifically for band continues to ~ "0 "~ dition. In one Instance, there is the classified into three separate and 'f' "0, • ;;. master craftsmen as Theobald Boehm grow not only in quantity but, for- advocate of the "large band," who distinct categoriea: namely, (a) the .. 0 and Adolph Sax were accepted, wind tunately, in quality as well. I!. could include every type instrument school band, (h) the university 0- instruments "began to attract talented -0 'll Man y superior compositions are band, and (c) the military band; "" 0 ~ ~ ..... ever made, as well as a few still to '-- ." ..... ~ ~ ~ ~ 0 ct 0, ~nd serious students and perform- " ~ 0 , finding their way on band programs, be designed; next, there is the "small perhaps a separate and distinct 'in- 0" 0 ~ • ers; as a result, wind playing be- and with more of our top-flight com- :; 5: "" "e band" advocate, who would reduce strumentation and repertory are es- 0;. ,.. · , "~ came more artistic- and acceptable posers discovering in the band a new the band's instrumentation to a mere sential to its universal development. " 10 even the most elite concert audio a • 0"" instrument for reaching great audi- chamber music ensemble. The school band must have a rep- l- f • • ences. ences, the band's future continues to • " Regardless as to who is correct ill ertary that is commensurate with its a \ c With such skilled performers look brighter with each ensuing experience, proficiency, and com- a 0 " ~ ~"' his concepts, the fact' remains that I- 0 ~ "c • , available, it was only natural that year. jl jl " " o· the composer or arranger, as well munity and school commitments. c, composers began 1.0 write for the One of t.hc band's most powerful as the pub'lishel· and the 'hand's audio l1Jis repertory, by necessity, must UJ UJ .... UJ winds: and .later such mast.ers as influences [or the future of our na· - ;. ~. ~. ence, is in the middle. be restricted in its grade of difficulty " Webe;, Berlioz, Rirnsky·Korsakovl tional music program lies in its uni· "" • ~ The same situal"ion prevails ill Eu· and its musieal demands upon the 0 0 Tchaikovsky, Wagner, and many versal appeal. In tile past, the l)and young musicians. Also since tllc t " ". • • rope where the French, Italian, Cer- t . ? ~ :> ~. if ~I )~ others began to give more impor- bas heen responsible for int.roducing man, and Belgiuul bands likewise function of the school band is ver- I!. I!. I!. 1 ~ • :> tance to the winds. In fact, all of many people to music and frequently • • ~ ~~ have failed through the years t.o satile, its Tepertory must, l)y neces· 0 0 ~~ V~~· tile above mentioned composers were has stimulated their desires for the 0 lr+ ;; V •" •. V agree upon an internat.ional justru· sity, be unlike t.hat of our military • V" so taken with the winds that they expansion of their musical apprecia· mentation. As a result of these con· bands. 0" "0 "0 - :; " ~cored works specifically for lhe lion und interests. Bands have al· ditions, the com poser. when asked On the other hand, the repertory I- 0;. "." ". ~ wind band. ways performed to the masses. Find ,.. ""t ""t ....g; to compose a work for the band., oJ our university and college bands a • dol Since that time, the instruments me, if you can, a person who has not asks-"Which band?" The arranger a a • ~ demands considerably more hom , • 0 0 flf the band have continued to be been inspired by a fine rendition of " •" " "" y also is in a state of confusion. {nr both the composer and the conduc· a 0:.- improved, until today, they afe quite a stirring march. Perhaps it is true he does not know the jnstrumcnta- tor. Here we are likely to find mu- a a 0 i!. ~( eapable of meeting the demands of that band audiences are somewhat lion of the bands which will perform sicians with added experience, pro· 0 F - ? ~: •0 composers and performers alike. As less sophisticated than those to be f- his arrangements. The conductor ficiency and comprehension. In many l-~- UJ a result of these advancements our found attending orchestral concerts; also finds it dilflClilt to know just colleges, the band membership is ~ ~ ~ ~ ~0 I-- "'5· 0 0 "if modern bands no longer are reo however. they receive great satisfac· 1-'::~ , and on Christmas Eve we are going mas Tree Suite) for piano; Dohn- WITH THE COMPOSERS over and sing Holy Night, Peaceful anyi's "Pastorale on a Hungarian CHRISTMAS Night and I hope there will be snow Christmas Carol," also for piano; GULBRANSEN all around. as the lights from the . , (Continned from Page 16) and the "Christmas Symphonies" by Received wifh enfhugiagfic ace/simi america s church will be so pretty. Then we Manuel Rosenthal, contemporary terest a wakened and at last he Was ee what she go on into the church and the chil- French composer. The latter work is smartest asked in advance to s . d reconcil~d to the subject. He COm. dren have their Christmas tree. ices were held regularly each wee~, . . cr Mozart, pique dedicated to the Philadelphia Or- was gomg to SIn,=,' . pleted the first draft on July 7, 1891. ·t~ while at Christmas, Easter and WhIt- Christmas morning we will have chestra. piano by her distrust, presented tlhree a;r: The story of "Casse Noisette" is suntide, the services were performed quite an extensive service in the Not to be forgotten are the Ene- When she tried t iem, s 1 built around a Christmas Party given fashions for three consecutive days, the morn- to Iier. I 1 church. I have bought a little tree Iish composers. who have been mo;e found them so charming that s,lort Y by the President and his wife. After :~-=\4DARICHTER ing services beginning a half. hour f Mozart s ene- for Paul and some pretty tree things than aware, musically. of the yule- afterward, W Ilen one 0 - di d later than usual because of their fes- the party, the host's daughter dreams to PUt on it, and a little Kris tide season. To the credit of Ralph mies tried to persuade her to word tive nature. Hence, Bach's famous that the toys come to life and that Kringle. May he enjoy the delight- Vaughan- Williams is an orchestral MElT Mozart's music and sing the wor s "Christmas Oratorio," 'dated 1734, her beloved Nutcracker has changed ful excitement of a Kris Kringle as "Fantasia on Christmas Carols," MY of the Cigna-Santi libretto, set ~o into a handsome boy! The traditional PIANO COU_RSE___ i was intended·to be used on just such long and as much as did his father while Sir Arnold Bax wrote '"A DAUGIiTlR, music by someone else (Abbe Oaspa- series of character dances which 101· and motM.L and uncles and aunts! an occasion. rini of Turin), she and her accom- Christmas Carel." Gustav Holst's What has been termed Bach's low i ec ompanied by the mu~ic Then I have a little sheep which contribution was "Christmas Song," a teacher writes: J"'.J~t&dJ(};;;, panist flatly refused to do so. . I "Shepherd's Christmas Music" is to we hear most ft n on the concert unfortunately does not baa. The and that of Samuel Coleridge. Tay- Some day she'll walk up the aisle The opera was rehearsed Wit 1 «One of the best elements in 1r/,Y m-indis he found in this oratorio. As a whole, program today. to 'your Wedding March. orchestra first on -December 12th ~nd tree will be in the nursery and all lor was a "Christmas Overture." the fact that the distances of the skips But first I want her to know it tells the story of the Nativity as This tilling hri ImGSballet music Iater on December 17th, dispelling the dear little 'Christ children' will All in all, there is a great array how to play your Spring Song. found in the Gospels of Matthew by HlI~~ia'8 Tchuikcv ky ine\ilably have greens around tbem. Then I of Christmas music that is well. are within east; range of the eye and hand I want everything that's all doubts as to Ivlozart's ability. Th,e and Luke. It is composed of six Can- I rings t mind ETUDE-DECEMBER 1954 50 ET DE_DfXEIIBtR I~ 51 Says DAVE GARROWAY ... Star of NBC's popular TV Show "TODAY" ideal ~ iolin I(lluestions ~rgan and ¢boir Chri~!mos Gilt "I LEARNED TO PLAY MY By HAROLD BERKLEY FRANK SAAM'S WURLITZER ORGAN Concerning Chinrest Pressur~ Questions Reputable A"lisans H E E V crnw.t. Leopold Auer s THE FIRST EVENING" "'3;' -'3'~" Miss O. A. N., Calijornia. Marc ~"lE~' NO.150'9'9 fam~L1s·di~t.um about the vlo lin being Answered by FREDERICK PHILLIPS A godsend 10 beginners Clnd sludenls Laberte is an honored name in Mire- supported by the left. t.humb and not o lime saver lor teachers & professionals .. court, France, where he not only Prove it to yourself, mail the b . " held by the jaw-bone and A lew minute, daily will greolly benefit made many excellent violins but al.so emg 1· I 1 ' We have a three manual pipe or- ARTICULATION .. INTONATION. , TRillS shoulder has, I think, reen WH e) not blocking the organist's view over coupon below for a formed a collection of fine old 111- VIBRATO flEXIBILITY AND TONE. mis-understood. The concensu~ ?f gan in the church of which I am the the back of the organ. Do you know struments that have served as models FREE, EASY LESSON Endorsed by Berkley, Dounis, Mischakoff, opinion seems to be that the viofin organist"and plan to have som.e re- where this may be had? Where can end mony others. for the instruments made by his firm. MUSIC ARRANGED •.• pair work done, including a new con- J get information about "Tune-De-c" ... "To my mind, your "Finger-Flex" is should be "steadied" by the thll~l1b His own violins have sold for as ueve ..'rittl'n arr.nlffrnent, fOr Groups sole. One organ fi'rm suggests a con- Ihe only meugh tndllin:: In lOllSIe. Courses leBd· ShlP varied and the wood he used will inform you fully regarding the OF THE ill" III de~rees or: Bachelor of Muslc. BaChelor of graduation piece for a violin major, Suggest? I understand some finn is AddrcOi ~I~~ic 1';1I,,0,,1.\un, !\laster or :Muslc, lind MBster was not always of the beH. Really best use of the stops on organs of uMIGHTY WURLITZER" I I don't think the Scene de Ballet. ~I ~l\lsi(' I'~d"':l\ti!"'. manu.factu.ring a special light for the this sort. Both books may be had ~lembernrU,e Nal iOI,al AS8odo.UonSchoolsolMulic fine examples of bjs work have sold would be accepted by any college I C/ly. .•.....••..... Zonc .• 1l1l1lci.;11"Cnt HllOllreQUest for as much as 1500. but the aver_ tuBERCULOSIS Hammond organ, which fastens on from the publishers of this magazine, W. ST. CLARE MINTURN. Oireetor having high standards. Ihe base of the music rack, thereby age value today is around 800. the price of each being $1.50. I CO'Ully...... Stmc. 52 ETUDE-DECEMBER J954 £TUD£_DfX£IIBER l~ 53 » 1 FRANZ GRUBER (sadly): Some- ~elody down b:fore you forget It. And here IS your guitar, thing dreadful has ha~pened NO CONTEST THIS MONTH Musical (Hands paper and instrument [ and I am afraid there WIll not to him: He, writes for a mo. be much of a Christmas Carol ~---- News Items ment.) Service to-night, after all! Christmas Carol Game MR. GRUBER (playing and ,ing. PASTOR MOHR: Mr. Gruber! by Ilia n. Purdue From Abroad ing a few measures): This might What do you mean? do for tonight, at least. [Anon. The titles of ten well-known The Kings Came upon a Town; 3. FRANZ GRUBER (paci~g the Christmas Carols have been jum- Hark, Three Midnight Angels; 4. floor slowly): When I tr-ied the stage picnc may be usedlQliile The Arena of Verona, Italy, has been the guitar appears to be played.) bled. Can you rewrite them cor- Deck the Tree with Boughs; 5. Oh, the locale this season for several operatic organ, it would not play! ~ou rectly? Do not omit any of the Herald Sing It; 6. Away to a Man- performances of outstanding magnitude. LITE for PIANOS and ORGANS . 1 t been work inz PASTOR MOHR: I like thatmel. know It las no 0 jumbled words. The player who ger of Bethlehem; 7. Christmas The ancient Roman amphitheater has a The Key Note Lite really lights the very well lately. I finally Found ody. It is so simple and calm,lt seating capacity of 30,000. The orches- music-no glare or eye strain from reminds me of last night \l'hen makes the correct list first is win- Night; 8. We are in the Clear tra for the operas given numbered 150, shielded fluorescent light. When used out wby-some mice had eaten on organs it lights the keys and stop I was walking home. ner. Hulls; 9. First Holly 01 Noel; 10. and the chorus and "extras" totaled tablets as Easily attached wlrh- a part of the bellows. It would well. 2,000. The three works provided abun- out tools to any organ or spinet-type MR. GRUBER: Let us all tryil0' I. The Silent World 01 Joy; 2. Oh, Little Orient. nat play. dant opportunity for elaborate staging: piano. Universal attachment clamp I have written it. (He plays anti (Allslvers on. this pngc) fils any size music rack, Attractive PASTOR MOHR: Mice ate the "Mefisrofele," "Turandot," and "A'ida," ebony finish harmonizes with black bellows! And the Christmas pro- sings the first verse, then rhe the last named especially being given keys. The perfect Xmas gift Ioe pianist Project of the Month for LETTER BOX NOTICE highly spectacular treatment. The operas or organist. Shipped prepaid 527.50 «ram coming tonight! What will others join in the repetition.) December were staged by Herbert Graf who made Check or MO, Money-back guarantee. ~'e do for music if the organ MRS. GRlJBEn: Somehow,1 feel Letter Boxers, do not send any more The Key Note Cc., 662E So. Catalina the most of every opportunity to provide St., Los Angeles 5, California, this song will be well likedhI" Learn and memorize six of your letters to be forwarded to George won't play? original settings. The musical director Song from Heaven everyone, and will be reman favorite Christmas Carols and play So wade, in Germany as letters re- for "Mefistofele" and "Turandot" was MRS GRUBER (placing the meal . I W cently sent to him have been re- Anronino Votto, distinguished Italian (Christmas playlet) on the table): Cheer up. e bered through the years! them for your family and friends MR. GRUBEn: Give me a lillie 10 sing Oil Christmas Day. turned by his post office. He must conductor, and for "Aida," Fausto Cleva, by C'artfU11 St.ctvart Buchman will think of something. have moved away without leaving making his first conductorial appearance time to myself now and I'll write PASTOR MOHR: I wonder- his new address with his post office. in Verona. Le-e-perfect, and beautiful. And Scene: Interior with table and maybe-e-No, I guess not. But- the voice parts. So, write to some one else instead. last night I had a wonderfully I~etterDox chairs. some food on table; also Mr. Gruber. last night I wrote a PASTOR MOHR: Now, I haven. 'Vcrne .. Egk, German composer, has beautiful experience myself. I guitar: paper and pen. :rhe year Christmas poem. Do you think fear about the program tonight. • completed an opera, "Irish Legend" was walking home from the which is scheduled to have its first per- 1n18 A.D. in Bavaria. you could set it to music and because my good friends, the S.;lul replies to letters in cure of Dear Junior Etude: church, thinking about the true JIIII;III' Etude, Bryn lUawr, Pu., I enjoy ETUDE very much and just formance at the 1955 Salzburg Festival. Characters: Franz Gruber, village play it on your guitar? Perhaps Crubers, have solved the prcl- all. I they will be forwarded to the could not hel p writing to you. I eepe- organist and schoolmaster; his meaning of Christmas, when lem. But, Mr. Gruber beforeyou it would help with the program. writers. Do 1I0t ask Jor- addresses. cia1ly enjoy the violinist's page as wife, and Pastor Mohr, of the suddenly, the Good Lord put 'in- go to do the voice parts, letm Foreign mail is 8 eents ; some lor- The Pasenu (Germany) Music The Lord put the words of the I am majoring in violin and hope to Illy mind the words of a all sing it again. (Mr. Gruber eign Hil'mailis 15 cents alld SOUIC is Feslh'al, in September, was presented village church. poem into my mind. 25 cents. Consult yOlll' l'ost Office to be a concert soloist. I would like Christmas poem! I rushed home with great success under what seemed t. RAN flash_Beat Electranome MRS. GRUBER: See, Franz, I turns toward audience, step! hCl"OI'l: ,;Iatlll)ing fOl'cigJl ..iI· IlHlil. to hear from others who are inter· MRS. GnUBER (Setting table for and at midnight I wrote down at first insurmountable handicaps. Just Underwriters fJpproved efedrk knew something would work forward and conducts themin ested in, at· majoring in violin. two mOllths before opening date the lunch and lalk£ng to herself).- the words of t.he poem. • singing)- Darlene J. Charnberlain Danube floods had inundated the city beat you can SEE and HEAR! There, tho' table is set and every- out! • MRS. GRUBER: Really! That (Age IS) Cfl.lijomia up to second story windows, and cut anurate, convenient, dependable thing is ready for Mr. Gruber MR. GRUBER: Well, let me see SILENT NIGHT was wonderful. (Mr. Gruber en· DearJUlliur Etude: off electricity and gas for three weeks. • light visible from .all sides and Pastor Mohr when they the poem. (He takes it from Pas- Curtain Yet somehow the city was cleaned up • 5 yegr written gUlJrgntee ters slowly, seemingly tired and Beingtwo ~ets of identical twins, our • tor llJohr and begins reading it in time and the Festival was put on as An invalugble aid for teochers, students. come for lunch. They should be lwlwppy.) mutual interest in duo-piano work Dear J uniO!' Etude: oland.) Silent Night-Holy planned. Contributing greatly to the performers. Write for our booklet, here very soon. PASTOR MOHR: Good morning, inspired us to give two joint duo I have studied piano three years. My N ight-A 11 is calm-A 11 is success of the event was the American PASTOR MOHR (Knocks and en- Mr. Gruber. concerts, from which we derived favorite hobby is playing badminton. Seventh Army Symphony Orchestra, un- FRANZ MFG. CO. l. ters): Good morning, Mrs. Gru- MRS. GRUBER: Well, Franz, we're brif!.h (He starts to hwn the much happiness. We are all mem- I also like to colIect stamps and der the direction of Staff Sergeant 53 WglIgce St. New Hoven, Conn. ber. You are kind to invite me glad t.o see you. We expected melody.) bers of the National Piano Guild correspond and would like to hear Kenneth Schermerhorn, which played in -for lunch. With the Christ- you earlier. (She go~s to the MRS. GRUBER: Here is some pa· WHO KNOWS THE and -lake an active interest in the from other parts of the world. for the ballets and two opera perfonn- Carol Freeman (Age 11), ances hesides giving a concert. STOP UGLY HEEL HOLES Illas Eve program at the church oven.) per, Franz. Write that lovely ANSWERS ABOUT High Schools and communities in t:o-nig-ht and all the prepara- whicbwe live, so our days are busy Canada SAV·A.RUG and h 54 ETUDE-DECEM BER 1954 55 , rein had promised to feature-not Hardly bad the words been uttered CHRISTMAS CONCERTO - S I I " - a word."I cannot get at t ie trut I, than Rubinstein was Oil his feet wav- ...... , •. he '!','fotehis beloved Nadejda. "Some ing for silence. "I have done little (Continned from Page 11) of the newspapers say my composi- to deserve that honor," his face was tionswere a great success in Paris. serious. "Here is the man who merits won't change a single note, and I Otherssay they failed." your pralse-s-Pcter Hyich Tchaikov- rather a simple little melody :or . Nothmg will print it exactly as it is now.~ There was little doubt about how sky! " your second movement. . . . . \ Seizing a pen he scratched out the Mo~cowfelt the day Nicholas Rubin- After tile deafening applause had .. 1 \ But go ahead WIt 1 ongma lel·e .... dedication to Rubinstein, "I have stein returned, early in October. An somewhat subsided, Nicholas Rubjn- it We'll listen." ? A discovered," he said coldly, "that elaborate banquet was arranged to stein told a story, simply ... sincere- .He could go ahead, could he. my concerto no longer needs a dedi. which all officialdom and leading Iy. The story of the B-flat Concerto OF MUSIC mad desire seized Peter Ilyich to calion." citizens were invited. So important Nor did he mjnimize' the part h~ grab his music and l'ush out. A~y- Dedicated to the Superior Training American Talent "Perla, you know I have always was the occasion that Peter Ilyich played that Christmas Eve, 1874. "I of where, to get away hom the vO.lce been terribly fond of you. , . ." dared not absent himsel f although • Intensiv~ professional study of MUSIC, bal- that suddenly embodied everyt.hll1g was wholly to blame for not recogniz- "Enough of that," muttered the ordinarily he avoided crowds, ing its beauty," he acknowledged anced with a liberal arts program in Amer- he most dialiked here in Moscow. other. Then abruptly: lilt will be As he dressed that October eve- frankly. Instead he dropped down on the ica's first coeducational college. Dormitories, irnpos ible for me to go with youto ninghe had no premonition anything piano stool. Mechanically his tr~m- "It is this same concerto, my concert s·eries by guest and Oberlin artists, unusual was about to happen. III at bling fingers struck the open~ng Albrecht's. Will you kindly present friends," he concluded, "that has excellent practice facilities, faculty of 55. chords and he was lost to everylhmg my regrets? And now let me bid ease in his dress suit, he slipped occasioned tremendous enthusiasm eminent musicians. save his music .... In a tremendous you goodnight." B wing formallyhe into the banquet room behind a in Paris. I hope I may have the honor burst of speed he finished the first waited until til ether left the room group of civic and military leaders of playing it marry more years. What before r suming his seat. resplendentin uniform. would "Russian music be without our Member Notional Associotion of Schools of Music movement and jumped up to face Out sld , b lis were heralding "Petia, where have you been bid- Tchaikovsky ?" Rubinstein. anoth I' hrlatmaa. but 10 Peter ing?" Powerful hands whirled him Hours later as the composer sat at Write for: In the flickering light his Chief's face was expressionless. In the mo- llyich Tchnikovsky th y sounded but around. "We have been looking ev- his desk, he glanced at the words Conservatory catalog describing de- ments that Peter Ilyich waited fOI' 011 III -sagc. D ! 81. "You are a erywherefor you." he had just written his brother Mo- grees a warded him to say something he lived nn failure. T haikcvsky," the)' mocked. "Gregor Cielinski," Tchaikovsky deste: "Perhaps J will give pleasure Bulletin on admission and audition eternity. Finally, with a sharp intake "A failure." Like steel mallets lhe\' affectionately embraced his friend. to some with my concerto. At last procedures of breath-almost a sob-s-the young cndtcselv hammered hi'! weary brai~, "Butwhere are you taking me?" he it is recognized .... I must confess MlUion& Hamlin plenofortee have merited the unqualified praise If Ih ) would -top If only. cried in sudden alarm as he felt I misjudged Rubinstein. Tonight he Calendar of music events for the cur- professor dropped down again to of teachers for general icne. On6 hundred years of craftsmanship y play the last two movements. This th would stup . strongarms propelling him forward admitted his criticism was hasty .... give them unsurpassed tone, performance, stamina and beauty, rent year 1\Iu h can hapil n in a few}'ears, time he did not wait for Rubinstein. to the head table. I'No, not there," But he was right about one or two Your put.cbar;e or a l\fason & Hamlin is an inVe5tn:lenl in prciHige Programs of concerts and recitals "Well?" he demanded, his cheeks Although TchaiJ..o\·~ky ompleledor, he remonstrated. passages. I must revise them .... and good laE:lleIhat wHl return dividends for a lj(elillll~. given during past season vivjd spots of color. heSlration of his oncertD early in HAndwhy 110t?" smiled his friend. More than ever I am sure that music Ponderously Rubinstein opened Februar).1875, IIch wa the impact "Hereis where you belong!" is man's greatest gift to man, poor The World's Finest and Costlie.'l Pianoforte I Director of Admissions, Oberlin College his lips. Tchaikovsky braced himself of I ul inslein' Blhing criticism Comingtoward him the musician wanderer in the dark that he is ... _" against the piano. Ihat h aband ned all major proj· glimpsedthe well known mane of His fingers slipped from his pen, Box 5124 Oberlin: Ohio "Tchaikovsky, your whole con· eets frill ntht'o lot untillwo }'ears black hair-his chief, Rubinstein. his head feU forward. Light was be- mmmn &: llamHn certo has so little merit that no mu- latcr, Decemb r. 1876, when he reo "We have been waiting for you, gjllnjng to flood the golden domes Division of Aeolian American Corporation • East Rochester, N. Y...... _r • sician would attempt it," he began ceived th finon isl help from his Petia," the latter said simply as he of Moscow as Peter Ilyich Tchaikov- L l harshly. "It is worthless, clumsy, «beloved !ri nd. ' 'ad jda \'on )Ieck. escortedthe composer to Ids seat be- sky fell into a profound sleep. """""""""""""""'-1 jmpossible to play. You, a professor Ihat !'lub~ (IU nlly nabled him 10 sidehim. But no dream, however fantastic, ~ MUSIC CAREERS ~ in my conservatory, attempting to nband n I Q hin~. did he swinginto Throughout the elaborate-coursed could convey to the musician the im- ~ PIANO-VOICE-INSTRUMENTAL ~ tdck me into thinking it originall" tli prolific 01llllut that character· dinner that followed Tchaikovsky mense popularity which future years ~ P~blic School Music - Church Music • ~ His voice crescendoed angrily. "This ized his lUI r " ars. constantlyfidgeted, obsessed by the would bring his beloved concerto. Robert Whitford theme is borrowed. So is this. Not Like a Ihr ad of d ·t.iny, hiscon' ideato escalJe as soon as possible. Favorite alike of musicians and mil- PIANO METHODS .::::r.~.::·~;;;::';;;:::' !l more than two or three measures of certo was wo,'cn inlO the event501 Morethan once he started up only lions who have sung, whistled or III~ I this page can be salvaged. If you the next {e",' "ears. Hans \on Billow, tobe restrained by his chief. Finally played its popular version-uTo- Represent a New Movement in Piano Education had only come to me first, Tchai- to whom the ~oncerto was nowdedi· came the first toast. "To Nicholas night We Love"- it has deservedly You will be plea~ed with the innovations Mr. Whitford hos 7807 Bonhomme Avenue-St. Louis 5, Mo. ,; kovsky. But why go into details? cated. gave it its world premierein Grigorievich,"the roOtl.l rocked with become the world's most frequently brought to pre~ent day piano teoch;ng. Yes ihere hove been ,; W lome worthwhile chonges mode. The whole thing disgusts me!" America on October 25. 1875.al applause, "who has rendered our played concerto. ~ A non-profit educational ins~itution of higher learning approved, for ~ ~ non-immigrant students under Sec,tlOll 101 (A). (15) (F), or, the Immlgra- ~ For a full minute the composer's BOSlon's i\lll~icHall. enthu5ia5tic countrysuch great patriotjc service." THE END Write now for a free copy of PIANO TEACHING TODAY ~ tiOll. and Natil?na.1ity Act, and for G.~. Trallllllg. InstitutIOnal Member ~ eyes burned with suppressed fury. were meri an audienc~ Ihal aher which reveals Robert Whitford's personal method for teoching ~ National AssocIatIOn of Schools of MUSIC. .. Then without a word he left the cfJildren and his method for teaching adults. With your copy each perforlllan e the artiSl waf of Piano Teaching Today you will also be sent complimentar·", room, slowly mounting the stairs to l.;.,.""--,--""'--,--""'-----~ compelled to r peat me en'lirc finale. Robert Whitford Mr. Whitford's moster lesson on MUSIC'S MOST UNUSUAL an upper studio. Wjth each step his Europe. howe\-er. remained ~lfange· LILLIAN BALDWIN Founder-President CHORD. Just send your name and address and state whether International Piano you are a piano teocher. a student or a parent and we wilt thoughts had become more bitter. I)' 81Jathetic to the concerto, aDd Teachers As~ociation AND THE CLEVELAND STORY send you the above. Mail to: AMERICAN CONSERVATORY Now he knew he was a fajIure. like an ugly duckling. it seemed OF MUSIC-CHICAGO Some time later Rubinstein's destined to languhh in Ob5Cure cor· (Continued from Page 20) Robert Whitford Publications. 204 N. E. 31st St .• Miami 37. Fla. Offers coursu In all branches of music stocky figure outlined itsel f in the ners. Til n "'uddenly e\-enlS of we For the pianist desiring to build a refreshingly new reper·toire here are Robert Whitford compositions far the piana that ore excitingly different. Am~rican Rhapsody. grade 5; 'I 68th year. Faculty of 130 artist teachers doorway. Tchaikovsky did not move year {OOU~_ world attention Member of National Association of Schools of Music 1878 d there are piano recordinrrs of Mac- ce:ss of the recordings is Sondra Moderne, grode 4; Enchantm.ent, grade 3; Autumn, grade 3; Morning Mood, grade 3; from his seat by the window. Serenade, grade 3; In a PenSIve Mood, grade 3; and The Clock and the Piono, grade 2. Send for a free catalog-Address: John R. Hattstaedt. Pres .• 584 Kimball Bldg., Chicago on the neglect d conce.rto. Dowell'~lively music and, for very Bianca of New York Gty who made '.'~etia, I have not ,changed my Early in llti year while the corn· r.0~nglisteners, a growing series of a most successful European debut opmlOn of your concerto." His voice poser "8 tra\' ling in Ituh. he'685 ,Tmy :Masterpieces." These record- with the Philharmonia Orchestra in was noticeably softer. "If you will BUTLER UNIVERSITY notified of hi .. appointment as Ru~ mgs have been made jn Europe by Hamburg durjng the period of the re-work the places I mentioned 1 sis's official mu~ical delegale to we the Philharmonia Orchestra of Ham- recording sessions. The recordings .JORDAN COLLEGE OF MUSIC wm play your concerto at my spring Paris Expo~ition. To the higbl)'fie[l·· hurg, conducted by Hans-Jurgen were popular at the Albrecht Thier TEACHERS A rich tradition. a progressive philosophy, on outstanding faculty, complete accred- recital." ous T('haiko\~k f !oucha po...itionlil~ Walther, and produced by Paul La- School in Hamburg, Germany, as itation. Baccalaureate degrees in Dance, Dramo, Music, Music Education, Radio. Tchaikovsky said nothing. Write for catalogue and desired information impossible t.o accepl. for beside: zare and Miller McClintock of the can be seen by the photograph on for ExIra Profils and $$$ Savings Rubinstein fidgeted nervously JORDAN COLLEGE OF MUSIC (Box El, 1204 North Delaware Street heaV)- conducting dutiC5 it alsoen· Sound Book Press and the Kulas page 13. What is fine for Cleveland Indianapolis 2. Indiona around the room, finally pickin ... up tailed a crowded ~ial program.~! ~oundation. The pjanist whose art- boys and girls is fine in Hamburg or BE AN AGENT ~he manuscript from the corner wllere imllledjate1)' wrote hi:; chief ded~· Istrycontributes so much to the suc- any place in the world. THE END it }lad been flung. "Here are the ing the honor. and altboug~ RUb~ For ETUDE Subscriptions places. I mean, Petia." he began CINCINNATI CONSERVATORY OF MUSIC stein at fir~t angrily rtJIflDl8Dd ~ "\Villiiull S. 1\'ll~·lor.Ph.D., Director :uul De:ul of Fnclllty placatmgly, spreading t.he pages on for details, write to him. in the end be agreed 10 $I A diJlillf,fliJhed profeJsiOll:lf uhool of ml/sic and the allied tl'U, the table before which Tchaikovsky DEGREE COURSES WITH MAJORS IN PIANO, VOICE, ORCHESTRAL INSTRUMENTS stitute for the compo~r. k ILLUSTRATION CREDITS BUSINESS MANAGER . ORGAN, COMPOSITION. MUSIC EDUCATION. • sat. Affiliated with the University of Cincinnati. Member of the National Association of Schools of Mul, During the summer Tchti~Of~ c/o ETUDE the music m090zine .uAn~ thi~ is my answer to you. Cover-Fred Hermanski Ca/alog will be senl 011re'l"e~l received vague reporn conetfmng Bryn Mowr, Po. . \-\ldle Dellt. J~.Hil,;;hhIlUI A.l·e.:ul(l O:lk St. Cincillllutl10. Ohio NIkolaI Gngorievich." Angrily the 13-Dr. Ernst Schmacke chi f 5 succcss_ But of bis 01fD. ~u' composer rose from his chair. "'I 55-Wiaemire sic-and tbe concerto which Rub!D' 56 ETUDE-DEGEI/BfR j9il --ETUDE-DECEMBER 1954 57 VIOLINIST'S FORUM LEGACY FROM CARNEGIE (Continued Irom Page 25) 39,886 piano pupjf~ received National Guild Certificates ana Awards ;n 7954. (Continued from Page 24) player came to me whose finger one note at the top of the seale with 1· Ir n the frequently during the season jU'1 F the Passaca L-...... -58 __ ET DE-DECEI/BER 19~ ETUDE-DECEMBER 1954 59 piano can be used during rehearsal NEW RECORDS couracred to play for other children H and when it will help in the learn~ for, don't be surprised if you are strated by various instruments. The individually and for the wh.ole c1?s.s knocked off your feet when you hear second disc, recently released, has ing of the vocal score, This present (Continued from Page 13) in singing, during rhythmIc acu~l- a very frui~ful learning situationfo~ this record "at full room volume" as no lecture material but is a recital ties, for dancing, and to accompe y the polent181 accompanist because the jacket notes urge. The show starts on three notable Aeolian-Skinner Not only is the reproduction suo chestral version of La Boheme Co. the plastic instruments and hell.s. he or she "will be getting valuable with a 32-£00t organ note and before organs demonstrating registrations perior,but the recital covers the most Iumhia's second best-seller in 1953 Schools Can Train This means that the teacher In accompanying experience Without it ends you hear everything in spec- suitable for music from Bach to ground-from SOt (b. ] 778) to may only be guessed. The Carmen the school, in addition to all ~ler the strain of public performance, tacular audio that a huee orchestra Langlais. The Boston Symphony Santorsola (b. 1904) and both solo opera·for·orchestra sequel was also other duties, must help the bllddmg Third. accompanying opportuni. is capable 01 creating. {RCA Victor HaH organ, the organ in the Cathe- . t Ceuin 62 ETUDE-DECEMBER 1954 ETUDE-DECE.I1BER 19" 63 h ~ ------• - WHERE SHALL I GO TO STUDY? 1954 Index of ETUDE for RICHARD McCLANAHAN ALFRED TROEMEL • Ttachtr of Piano . LEOPOLD AUER'S violin principles pre. Coming Tn ETUDE M tt~ay exponent, farmerly his repre~en~ltve. sented in an original way. Faculty member: ri~ote lessens, technic cour~es.:. evcflc e as In the Cllapel }Itrcb 29 MANHATTAN SCHOOL OF MUSIC Mexicall 8cans Sept. fn/roductioll ~ilitiog lecture-recita.list, or ~r1bc.teocher. lllrcoak JUllIpiu{J ~o.. lr Degrees lIIorini-Praetieing and Teaeh}t}~C8(mYi 'xor. 25 Aug. 11 1'lIppet MI.c~id Feb. 31 Si.-Day P,ana Seminars 8.M. & M,M. ARTICLES Blow ChucoJl March 33 Wigham Oon/e"Ime"t { lIelrollPecl'oli }h~ 31) Interesting and Informative articles that will "1IIr. Opcra" 'rakee a Curtnin CooT!.:May 14 RriC(! ]l,1ay 801St.inway Bldg., 113 W. 51th St., N.Y,C. 238 E. IOSth St., N. Y. C. Amcrtcan Academy of Teachers of Browning Commoli"l1 sa 80"all"l1 Dee. :w Singing . Garso/i Dec. 14 Music and the Mechanically Mindeo Outlir Space gr-pt. " RlImmlce }larch 30 Student Moses Sellt. 10 uueu \V1l6Ol1 "And Swcet.ly 'rnuec the Fipple Cadllu.n- make valuable additions to your musical library. r'intc-' Doni/. May 12 MTNA. The Story of Jones Oct. 13 Nov. 35 jttchtcr A/llI/wlli/'f' 32 Be/III d.((olllh~ VIIIICII J<'eb. 32 EDWIN HUGHES Aller. Leopold. Magic of RlIbiowf Aug, 15 MTNA, The Story of--Part 2 Jones Nov. 14 T'rellH/e ill r; I\H110T Sept. Music at Ocean nrove liJddowes June 11 \\'rlght { (;lor, 10 God Apr!! 28 Bach, J. S., Use or mutce 10 Wbrks of cnastns l'relude'ill 131> Mhwr Sther;;() ApIIl :l3 PIANISTS PREPARED FOR PUBLIC ALFRED MIROVITCH rUemCllSM'IICider March 11 Music Comes tu the «Little !ted Feb. 11 { Aug. (OpUS J2, teo. 2) Elude in """lIr NOf. Bach. J. S.. Use of ]'lutes In Works of c 33 PERfORMANCE AND FOR COLLEGE, IN JANUARY lI,,~~~°'Ma:~~n~~~' Work Load June 15 ChOIJin- 1;lulle in D MiNor Del. 2; Eminent Pianist Part 2 Riemcllschllcidcr April :~~:fg,~ "BllllerIlY" ('}Iu"e Aug. Zachara Music?, Imporlant Is Kersla~'e Aug , 10 J~i1I1l11tOll EllIrlc~" (j-l!brll UNIVERSITYAND CONSERVATORY Bach. J. S" Use of mutes in Worh of now Na/ $11l{, 8111 G/ad ,\prH j Teoching in New York xrusrc Lovees Bookshelf Am/ersol! Each -:<1ullo.h Copeland Mfllor Part? Uiememscllllcider May 14 CUTCHl8el Jan. TEACHING POSITIONS nac», On 'reaching Leonard i'\o\". , Music. Xcw Llfe for Old OI~B"S Jan. 21 Davis Sallm,y/he Soi/or ~larch 117East 79th St., New York, N. Y, Bach's I"ugue in C-Sharp "Minor, Music. Rural: It's Not Ali limbJi~~~es Aug. 14 I 23 Edgecliff Terrace 2G Dunga"- THE GRAND YOUNG MAN OF ENGLISH MUSIC- MaSler Lesson Jon08 Juno l1lchter fJ!eT!Hlt Life No\,. 3' BartlCr Shop Brotherhood, '1'he Antrim 1'0", 11 Music Teacher, :'.lakinr: Good as a I A_Ullb_A_lJllb :Fob. Piana Duets YO 3-2637 C~ake Aug. 16 .. Yonkers, New York R. Vaughan Williams by S, Gordon Joseph Bayreuth-TodllY and Yesterday Groves June 20 Erl) GUY TurU111ella. June l 42 HELEN ANDERSON Boe~ham. Sir Thomas- Music Teaehcr, Thc Credit of the Cooke .luly 12 I Swinf!i11fJ Nov. " AuIT,lm April 15 I"iell3ndler June 46 "Teacher af Successful Pianists" "'uslcal Philcnthropist l My Siladw; lladl-Orem (JlJrolla~n II MIMr Dr. R, Vaughan Williams, who celebrated his 82nd birthday on BcNhonll. An Approach to A.rra'I' l'eb. 9 Music's ]{oyal Herita/le ,irrey Pcb. 10 July' 45 SepL SG HAROLD BRADLEY 1:I0rCUrOTTe Crul)er. Bootho"on and Bubble GUill Alia" Aug. 11 lIlusleal Crcation in Edueatioll, July 45 Master's Technique- Tone-I nterpretation Frane[} Kohlmann SIIcnl .\'f1J~1 Dee. ~1 October 12, has been in America since September as alec· Bells Ii'rom Across the Sells Graces Aug. 12 Contelllllorars Gawell Sept. 11 { f.!~~;r~lt/ Oct, 4~ Special Courses: Harmony, Improvisation Assistant to ISIDOR PHILIPP Jan .. Feb., Mar .. Musical Ghosta Linger Xot Here! '!j:'~ l\hrl;h J1a~',ln MenNCI tfMIlI "1I1ll11")' GO(J(Jlllan M)mpboll)") turer at Cornell University and throughout the United States. Violinist's l"onllll April, June, Aug., Blmllelt ~uly 15 46.', tiM. 36 166 W. 72nd St., N. Y. C. TIl. Sc 4-8385 Berkley l :,~U;;::I1/'S IJU1ICe .lan. "/IIIWIII .'4111/1111 ! ETUDE-DECE.IIBtR 1954 .;;,;;~;~;;;o:-::,:-::_c,.Coo-co-. -.-.--.-.=7"C.C.~,,;;-; • • once agaIn its time- J -- provide with music CHRISTMAS CAROLS CAROLS FOR WE LOVE TO SING CHRISTMAS (with stories of the carols) S.A.T.B. Arranged by Anthony Candelori Edited by George Walter Anthony #312-21130 (words and music) .20 each This hook provides a practical two-stave accompani- #412-40045 (words only) 4.00 per hundred ment for "Christmas Carols \Ve Love To Sing:' May be used for the piano, pipe organ or Hammond organ. fmiJ0k6: If the singers in your group read music, give them #312-21130 above. If not, provide them with words only (#412-40045), and your accompanist with this FORTY CHRISTMAS CAROLS companion book. Or, this book alone provides both Clever, easy arrangements of traditional carols, for words and music for group singing around the piano the pianist of average ability (about Grade 3). Verses or organ. given for singing. .50 .75 THEODORE PRESSER COMPANY Bryn Ma-wr. Pennsylvania