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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
7-1-1949 Volume 67, Number 07 (July 1949) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 67, Number 07 (July 1949)." , (1949). https://digitalcommons.gardner-webb.edu/etude/160
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July 1949 .
EMILIO DE GOGORZA, widely known head PHILADELPHIA ORCHESTRA baritone and from 1926 to 1940, THE Curtis in its department of the has enjoyed sensational success of the vocal Music in Philadelphia, triumphant tour of England. At its first Institute of New York City, at London concert in Royal Albert Hall on died May 11, in was present of seventy-six. Mr. de Gogorza May 24, Queen Elizabeth the age was Brooklyn and studied m and the playing of the Orchestra was born in England. He made recital acclaimed by the critics and the wildly France and than six the country with Mar- for classes enthusiastic audience of more tours throughout later became the first textbooks thousand. The tour marks the first visit cella Sembrich, and Orchestra of the Victor Talking to England by an American artistic director the coming season Among his pupils during in twenty years. Machine Company. were Conrad Thibault, John Brownlee, THE BETHLEHEM and Margaret Speaks. under EPOCHS IN MUSICAL PROGRESS BACH CHOIR, the direction of I for FIFTH AN- PUBLIC SCHOOLS his- THE INSTRUMENTAL MUSIC IN THE by Clarence G. Hamilton Jones, made musical Philadelphia MUSIC NUAL Normann FUNDAMENTALS OF tory with its 1949 Festi- staged by by Theodore F. THE Part of the Federation Course, this book gives Music Festival the val in that it was given bird's-eye view of the whole the Philadelphia In- trends in education this by Karl W. Gehrkens reader a expanse In keeping with modern of two successive weekends Inc., and rapidly scans the quirer Charities, develops the subject of instru- musical endeavor, evolution of the one Fri- authoritative book subjects of Nota- of instead at the Mu- and readable, treating cries of was held fundamental basis and treats Concise the art from the savages to our modern, day and Saturday—this mental hnusic from a Harmonic and Polyphonic nicipal Stadium on the logic, tion; Rhythm; Melodic, system. The different the g^at
Enrich Our 'Vacation Se)eadon
find an enticing and friendly, creative environment, rewarding experience. Chautauqua’s great Amphitheatre with a seating gracious building, acous- capacity of 6,500 persons is a natural bowl which serves for tically perfect. It is a worship services, and all musical events, lectures, special events. Great Music at Chautauqua The Chautauqua Symphony Orchestra, which pre- season in Chautau- sents twenty-four concerts each averaging more than qua’s Amphitheater to audiences of the Institutions 6,000 persons, is the keystone an opera musical programs. During one week-end Opera Depart- Sym- may be heard on Friday evening, the Student phony Orchestra Saturday morning, the Chautauqua ment, Berkshire Symphony Orchestra with a noted soloist on Saturday important Music Center evening and again Sunday afternoon, an String- choral event Sunday evening, the Mischakoff per- Quartet on Monday afternoon, and a repeat formance of the opera Monday evening. In addition, and recitals by faculty provides the there will be demonstrations cial music for the Chaplain’s Hour, and bett, Josephine Antoine, Suzanne Fisher, as well as and students of the School of Music. accompaniment for the Choir. under the outstanding concert singers and radio artists. The Chautauqua Symphony Orchestra is The development of the Chautauqua Student Sym- Autori The Musical organization longest established at direction of and conducted by Franco in recent years, under the direction musical Choir. The Choir sings at the phony Orchestra the finest orchestral Chautauqua is the important He has in his ensemble some of of Edward Murphy, has added still another United worship services each Sunday morning and provides from the leading orchestras in the organization which has won immense favor. players Sacred Song Service each Sunday eve- musical SYMPHONY Symphony Orchestra an outstanding in Chautauqua’s States. Mischa Mischakoff, NBC of the young artists study SUMMER of the season. Programs are presented with the Many THE master for the Chautauqua ning of the Chautauqua concert concert master, is the Student School of Music, attend rehearsals simi- Chautauqua Symphony Orchestra and nearly 13,000. First-chair men in all sections occupy and participate actively in the was a record attendance o! orchestra. outstanding merit appeal at Symphony Orchestra, :oncert there orchestras. Except Symphony. Soloists of 95,000. lar positions in other important of Chautauqua. William D. Revelli attendance was about is occasionally joined by program America are rapidly acquir- by Dr. The total presented at each each choral event. The Choir a UMMER vacations in held us second term for the opening concert, a soloist is Preceding and following the orchestral season nor mere Berkshire Music Center Boychoir and the Chautauqua Youth is no small wonder, The the concerts the Columbus by ing new vistas. It enrollment aggregate attendance at is presented in the Amphitheater 7 to August 17. The concert. The visiting choral groups series of recitals summer music festivals and sym- bought af six weeks, |uly Orchestra during the and Children’s Choirs and by and S accident, that Boston banker and merchant, who various depart- of the Chautauqua Symphony pianists, singers and violinists. Artists her Tappan, a and forty. 1 he noted up with Mother Nature at Hawthorne was three hundred 150,000. Heard from the area. relation- ilionies have teamed for the purpose. Nathaniel reorganization, and 1948 season totalled approximately Chautauqua enjoy a unique the lives several farms retained with some Volkel, one of New York audiences at thus are serving to enrich 1851-1853, staying ments were vocalists and in- Dr. George Williams with olorful best and Tanglewood in the years under the with the orchestra are distinguished Nowhere is a talented artist received everywhere. Among lived at department of chamber music was added leading organists, presents a series of organ ship. of summer vacationists of what is now a seasons these have in- City’s >£ millions little red cottage on the edge strumental artists. In recent greater warmth and appreciation. symphonies is in a of Gregor Piatigorsky. summer at Chautauqua, directs the spe- summer festivals and center of supervision , as Lawrence Tib- recitals each sum- he most noted Street, which runs through the both oper- cluded Metropolitan members such Resident at Chautauqua for six weeks each Festival located Hawthorne Theatre-Concert Hall, adaptable for internationally famous Berkshire down June 22, A Chautauqua In- he the estate. The cottage was burned and sealing twelve mer in special quarters provided by Massachusetts. atic111, anddliu concertivim-vik performancesI'v-* * • it Tanglewood, Hawthorne planned “Tangle- Boychoir has come 1890. It was here that Music Hall^seaung“ stitution, the famous. Columbus lundred. aiicEa smaller1I.UIU ChamberV. — .. . “The Wonder Book,” and as- Chautauqua s musical History wood Tales,” wrote small studios, were mi o to occupy a major role in A Brief Seven liveive hundred,nunctrea, likewislikewise five sembled the material for “The House of the two audi- activity. Tanglewood were given by an School in this season. I he The first festivals at the use of the English the Gables.” Operas at Chautauqua are all presented in sixty-five selected performers from designed by Eliel Saarinen. orchestra of expanses of lawn and meadow' toriums were Valenti, and with conducted by Tanglewood has the abando under the able direction of Alfredo York Philharmonic Orchestra, In 1942. war-time conditions dictated New off to advantage its many magnificent trees most promising young singers were in 1934 and 1935. in which set many of the nation’s Hadley. These of the Festival. .. - i Henrv K and birches. It is related that a tribe rnent of young Metro- to resign owing —elms, pines, Music Festival in leading roles. Each year a number when Mr. Hadley was forced In October of 1945, the Berkshire 1936, Mohican Indians once settled upon the shores of artists sing in Chautauqua’s operas, permanent orchestra of high distinc- of Robinson Smith, tna politan Opera to ill health, a Indian arrow- Committee. Miss Gertrude experi- thereupon the lake under their chief, Konkspot. an and each year young artists who have gained sought. The Berkshire trustees presented the Music Shed tion was been found there. man. generously the leading opera com- Orchestra under the heads have to the no ence at Chautauqua go into secured the Boston Symphony control of future festivals at Tanglewood The Shed was inaugurated on August 4, 1938, when panies of the country. A standard repertoire of light direction of Serge Koussevitzky. Orchestra. of six concerts was given. The program con- ton Symphony fllu in recent years Tanglewood the first its 1 and grand opera is presented, and the winter of 1936, the estate of Music Festival, on In of Bach’s Chorale Ein Feste Burg and Bee- In 1946, the Berkshire sold-out houses at Norton Boston Symphony Orchestra by sisted ytnp this lias been sung always to was presented to the (the seventh season of Boston Hepburn) thoven’s Ninth Symphony. The test of actual concerts pre-war scale Hall. (now Mrs. Andrew t e Memorial Mrs. Gorham Brooks Orchestra participation), was resumed under I he showed that the acoustics of the Shed were ideal with Aspinwall Tappan. ‘ and her aunt, Miss Mary Koussevitzky. with nine c0 a full audience, the slightest pianissimo carrying dis- ductorship of Serge The Red Rocks Music Festival of the Festival was increased from « chamber ore scope farthest seat. The resonance did not as before. Maintaining the idea of given. The Shell was tinctly to the artists, concerts by the Denver two, and six concerts were prectc m„ Music by famous to by him in the , close to the lose on account of the surrounding colonnades being concerts established _ of incom- set up at Tanglewood, two Symphony Orchestra, in a natural setting improved and presented , a ten open; in fact, the music could be clearly heard for summers, Dr. Koussevitzky theater, of the Theatre-Concert Hall, and parably thrilling scenic grandeur—an outdoor present site in before the of the second a considerable distance upon the lawn which stretches Mozart festival programs July, unrivaled in the was again used. At the first concert which in sheer dramatic structure is at the back of the Shed. The attendance reached weeks. August 12, an all-Wagner program cf,h sea- the musical fare presented for vaca- week, Thursday, the twenty-nun world—such is be broadcast. A heavy 38.000. The 1949 Festival will climax was announced, which was to conductor o tioning visitors to Colorado. stop In 1939, again six concerts were given through a son of Serge Koussevitzky as the downpour of rain compelled the Orchestra to Locale of the Red Rocks Music Festival is the of two weeks, with an increased Orchestra. a considerable part of period attendance. Boston Symphony . performance of “La Mer,” De- with no other, FTER the first youth. With him, as they can [or bussy asked Erik Satie which movement he smiling valle? s, trip along brisk hill romp through — best. “The first. From Dawn to Noon,” red glades by laughing A— liked rest in gcec..-— about quarter tops, and replied Satie, "particularly the place youngsters enjoyjoy their Schubert right brooks. Let the a-« Musical Miscellany grade when they play Etude horn the early intermediate the and landler (the more the merrier!) now short waltzes Record” of February 1, 1899, has ’ The “Musical sets ; and they will in many different want available description of the famous composer of 1 he Page delightful "Schubert Album lor the this Nicolas Slonimsky Pianist’s dip into the “Carl Czerny was a man of by The to offers School ol Velocity”: (Presser edition) which an almost Pianoforte” malicious mind, who could not endure little to Schubert. Many simple, un- wicked nerfect introduction therefore constantly wrote exercises for Schubert's serious children and adorned arrangements of songs the two examples The “Musikalischer Almanach” to be studied like on the is left for him but should also Maier, Mus. Doc. month’s ETUDE, or several in by Johann Friedrich Reichardt, by Guy and those fulsom g S music page of this ballerina romance harm to benSchubert. von Billow had a large picture of a in 1796, con- and . . See also Hans published in Berlin Noted Pianist have done inestimable Schubert volume. the Stars affairs which ^ the Presser in an opera theater. “You must be of arranged by Maier). hung in his office tains an anecdote about Bach that Probably the best estimate Ave Maria—(both friend Music Educator volume of and great admirer of her dancing, remarked a entered at X“™tv the two Moments Musicaux in a seems authentic. Bach found in the “Schubert original After the dances, so,” replied von . from came to see von Biilow. “Quite at the mo- compiledX'vDeutschby Deu Nos. 6 and 2 and the Impromptu, who a party in his honor one thousand pages t Opus 94, who Excellently Biilow, “She is the only member of the company the guests was lrom many A-fiat, and the Minuet in B Minor ment when one of letters and documents it 14° No 2 in ;ii ustrated, Opus’ sing out of tune.” and 78)-all of these are in does not improvising at the harpsichord. He translated by Eric Blom the Fantasia Op. the ihh times (from improvisa- of Schubert anaS sky s the limit! * * * was in the middle of his for the study here on the Try is invaluable Presser volume. From Schubert sustained reading. J; Impromptus from both tion when he noticed Bach, and Franz dull _ longer harder -flat -but makes of the r of Tchaikovsky s famous B Schu some The w orld premiere greet the master, leaving biographical pamphle , isolated movements from rose to Cooke’s brief 90 and 142 and then place in Boston oil October 25, 1875. to write a list of and tlie circum Opus Concerto took Bach was so F almost any pianist were asked ” the facts of his life don't forget the shorter piano off on a dissonance. bert presents . . And piano part and B. which he has entertaining the sonatas Hans von Bulow played the J. unresolved chord compositions by Franz Schubert his compositions y Marche Mihtane and the perturbed by the stances of some of for fun. The familiar conducted. One rubs his eyes in amazement studied, 1 11 wager the it warmly to aU duets Lang to the harpsichord I played in public or actually sentimentality. I recommend admirable recital pieces that he rushed without stirring marches make the reviews of the performance. Dwight’s short. Moment Musi- little biographies o other reading resolved the discord list would be disappointingly A with Dr. Cooke s piano, four hand version, and quickly students, along played in the original one “Journal of Music” commented as follows: “This ex- Impromptu, perhaps a Liszt arrange- into a proper harmony. Only then cal or two, an twenty-five other composers. two pianos The two voluma of song ultra-modern Russian not at a or performed on tremely difficult, strange, wild, one of the songs, and possibly (but did he approach his host, bow to ment of by Liszt are also invaluable and should composition of a young professor at from one of the Neglect arrangements Concerto is the guests. certainly) a movement or two Schubert’s several entire sonatas him, and meet the other . . Finally, of Rubinstein it? be neglected . the Conservatory of Moscow, a pupil revealing and depressing, isn't- reason for Schuberts not The same little book tells an amus- sonatas . . . Quite another I sure, too, that such as Opus 120 in A Major and not a few suggestions his teachers did am Lrg should be studied (indeed the work contained Furthermore, he would confess that glibly offered-that hn ing story about the composer Abel. neglect is not the one 9 Minor. The longer and more profound had the wild Cossack fire and for these few Schubert uncoordinated Opus 4 in A of the master). We performance of one not stir up any enthusiasm are so meandering and the two posthu- At a London compositions like Ojms 53 (D Major) and impetus without stint, extremely brilliant and excit- during his professional career cannot be .played sonatas his overtures, Abel was dis- pieces, and that later formally that they be last to of technically and flat and A Ma|or should the ever learn to lose such music?” The study or even to ex- just an mous ones in H ing. but could we he did not take the trouble to That, I am sure, is pleased with the tempi. His com- “effectively” in public. Evening Traveller” wrote: “The first of the great* Fantasias, the take be tackled. . „ . “Daily the amine the ten Sonatas, the two lazy pianists who will not , panion asked him the name of alibi invented by the Dream song, (See Music Section) a movements, and the same remark would apply in a Nicolas Slonimsky and His Family Impromptus and Moments Musrcaux, woiks They The I.et Me conductor. “Cain,” replied Abel. lesser known to study the great Schubert example of a hundreds of the trouble Musical” in miniature, is an more general manner to the entire work, leaves daughter, Eleclra, he didn’t even look at the superficial approach with “Moment “Cain?” repeated the other incred- The author with bis wife, Dorothy Adlow, and his and of course excuse themselves and their on Page 441) listener’s mind. dances, he Schubert’s familiar thick, rich (Continued general impression ol vagueness in the School. delightful waltzes, landler, and German they can afford to play only ulously. “Of course. Cain. Didn’t who is attending the Colorado College Summer won- the glib answer that Andantino, though lacking in color, is bizarre, playing over those volumes ol appeal. The murder my music?” never thought of which have sure-fire audience that you hear him miscellaneous piano pieces and suggests at times Chopin, though wanting derful four-hand duets and other low ideal they are replied Abel. explained that he was a musician on a visit, and that Yet, even with such a depth, even in simplicity. On the whole that composer’s * * * trust him pieces. . . gives the lie to he had lost his wallet. Would the owner , , unwise. Artur Schnabel destined we think to become that teachers and pianists the concerto is hardly It is only too evident fifty years he has the whole world sang the with the money? The proprietor of Maxim's was a worn-out contention. For fully Dr. von Bulow to insure For two generations, trouble to understand Schubert’s classical, and requires have not taken the Schubert everywhere. His audiences Evening popular aria Then l go to Maxim’s from Lehar’s music lover, and he told Lehar to consider the meal probably the played it an enthusiastic reception.” The “Boston glorious piano music. Artur Schnabel, breath- as complimentary. Leluir in his turn promised to the immortal melodies, hang is “Merry Widow,” and the little Paris restaurant on aptly calls the drink in Journal” contributed this estimate: “Tchaikovsky greatest Schubert interpreter of all time, of write aria in Maxim’s restaurant would be onto every note, and beg for more his the Rue de la Paix became a center of tourist attrac- an which I would go lessly unmistakably a disciple of the ‘new school,’ and sonatas “a supply of happiness. promise. publicity value Schubert “diffuse” 'sonatas. It is gratifying to quaint- tion. Thereby hangs a tale. When Lehar was in Paris, mentioned. He kept his The treasure house those work is strongly tinged with the wildness and farther and include ’Schubert’s Entire too of Lehar's song was well worth the free meal. observe that a few other pianists (alas! as a whole, he went to have a meal at Maxim’s, and to his horror this category. But to extract ness of the music of the North. Taken * * * of piano compositions in an occasional lost or stolen. few) are beginning to risk interesting chiefly as a nov- discovered that his wallet was gone— from this ample supply requires intense the concerto appeared the happiness Sonata, and are surprised by the The waiter looked at him quizzically, while Lehar In the 1870’s Wagner conducted at the Vienna intelligent approach Schubert elty. It would not soon supplant the massive produc- concentration, years of study, and contract called for a fee of twenty thou- warmth of the public’s reception. compositions of searched his pockets for money. Then the proprietor Opera. His . . . Yes, or even the fiery the composer’s structural and textual style tion ol Beethoven, to what about that common accusation came in, and inquired what was the trouble. Lehar sand florins and hotel expenses. Wagner took along takes pains! And Liszt, Raff, and Rubinstein.” truly to understand Schubert little just beginning to of excessive length? That, too, is a fiction. his son Siegfried, who was pianists taken the necessary care Why then, haven’t learn to read write. day he was left alone If a Schubert sonata is spun out five minutes and One bring Schubert’s works to adequate fruition? First, to than some musicians think necessary, in the hotel room for a few minutes, and when Wag- the cheap, sentimental “operet- longer I think it is because of ner returned, he found Siegfried busily engaged in Schuberts the audiences don’t seem to mind a bit: in ta” fiction which has always surrounded oblivious to it. And why? Be- tracing his name on the blue satin coverings of the insouciant young blade, pen- fact they are life Franz, the gay, in ink. cause the interpreter is recreating Schubert furniture with a finger dipped The damage, the backs of cafe menus while he ning his songs on estimated at eight hundred florins, was duly added the Viennese faithfully. That’s all that is necessary. and his convivial cronies whoop it up in Then, you ask, if Schnabel and a few to the hotel bill, and charged to the Vienna Ojjera. of wine, woman and song; therefore lus tradition It was paid by the management of the opera, without obvious froth-Viennese others can play the Schubert sonatas “effec- music is inconsequential and tively,” why can’t most of the present day objection. whipped cream-not to be taken seriously. Generation- harmed performers enter into the spirit of these long dissemination of such silly nonsense has pieces? Simply because, being essentially per- The conductor Michael Costa, who was also a com- estimate of Schubert’s piano creations. His brief our poser of sorts, sent to Rossini from London one of his in an unrelieved atmos- cussionists they cannot understand this su- life, on the contrary, was lived hunger and preme master of the melodic shape, fluid orchestral scores and some Stilton cheese. Rossini’s phere of tragedy, with despair, illness, bewitching curve. succinct comment was; “The cheese was wonderful.” forever stalking his steps. line, and They do not disappointment * * # . completely lacked know how to treat with such unaccustomed Yet, strangely enough, his life Even his matter. Schubert's rich, round, three dimen- In his children’s opera, "L’Enfant et les Sortileges,” any shattering or significant external events. One year was sional patterns, effortlessly revolving and dis- Ravel has a duo for a tomcat and a she-cat. The cats love affairs scarcely rippled its surface. childhood to solving, his soft contours and subtle rhythms meow glissando, and the manner of voice production like another from his poverty-stricken thirty-one years later. Only are destroyed by percussive and dynamic ac- is marked nasal. This was not the first cat piece. his poverty-hounded death pleasures of his ’ centuation—which is the only approach these Antony Philip Heinrich, the Bohemian-American com- the simple, sometimes questionable, hunger, torturing hammerers know. Such treatment may be poser (1781-1861) published a piece in 1830 with this bohemian life relieved the gnawing “ he suffered effective at times with Beethoven or Bach title: The Four-Pawed Kitten Dance, a Afem-sical physical pain, and bitter failures. For years took its spiritual toll but not with Schubert. Strains and stresses jest. Purr-formed with E-claw at the Caf-eaton Street from a virulent malady which wasting. He was forever faced by immediately obliterate the heavenly radiance assemblies, by- Miss Cnlherine Grimalkin with a feline as W ell as its physical even during the of the Schubertian phrase. Until these purr-oration, dedicated to all Afeie-sical (M/alogues.” the haunting spectre of this disease, plavers "become as little children” then there was of course, Scarlatti’s periods when he was not actively tormented by and re-educate And Cat Fugue. brief * * * was the fountain of his inspiration their physical and spiritual approach to it His only surcease or night piano playing and music making We are all familiar with pictures which apparently never ceased to flow, day thev will of Beethoven Schubert’s “Doppelganger miss the Schubertian thrill. Untii they walking in the fields absorbed in his thoughts, his hair If you will re-examine learn his life-long siege of how to produce plain, heart-warming unkempt, his hat in his hands. This is song you will begin to understand impression ody,— his longn curving— a phrasesr — will uuucelude them. confirmed by the German painter, von Klober. who From a wood engraving by an unknown artist, circa 1880. been able to write an absorbing large- always recommend a good stiff course of wrote in “The Musical World” of London, in the ^No one has Conducting a Concert there is so little to write Schubert—especially the sonatas— Hans von Bulow issue of July 16, 1864: “In my walks about Mddling, scale life of Scubert befcause as to sink his the best ways to develop Schubert equally as the conductor the great I have something or in Vienna virtuoso, was noted of met Beethoven more than once, . it about. A biographer must improve the Environ: of Von Biilow, despite his fame as a piano and was very fill a book with such imponder- ist’s lyric style. famous Orchestra. interesting to note how at (Continued teeth into! Fie cannot The great Austrian composer u role mans of his Meiningen on Page 441) hunger, and Musical children unmentionable disease, chronic should be “brought up’ works Austrian ables as while walking in the hills sun oundine the defraudations of publishers. Nothing on Schubert, for he is preeminently the interminable the com JULY, 1949 405 404 etude ^ A Momentous Work “THE ITALIAN MADRIGAL.” By Alfred Einstein. 11”). Pages, (circa) 1300. Price, Bookshelf Three Volumes (8” x Etude Music Lover’s Television Publisher, Princeton University Press. Radio and $30.00. on work is by the I rofessor of Notes Thi« truly magnificent Some Einstein, whose name are beginning to at Smith College, Alfred the bills of radio act up Music who pay7 some with that of Professor almost impossible to interest been confounded by are told, it is his Tnd we at Princeton. Professor Alfred Tin- radio program unless it has television Albert Einstein Morgan a sponsor in a books upon music, both in Alfred Lindsay Crosby, writing in the New York stein has written many by Labilities.” John this work “Broadcasting and English. The publication of Tribune recently stated: in its German Herald possible by grants from The American certainly a confusing business. Ac- was made Present state is (from a fund provided prevailing in the Council of Learned Societies Opinion the curious ethics Indus- side of the picture. that the see- cording to Carnegie Foundation) and the Wesley Wey- really good r me „t to sound confident, to issue bv the report that the most arem J is forced FCENTLY we read a the singing, and « the first, trv every one University. It was translated than greatest display of assurance.” man Fund at Harvard broadcast offered better predictions with the Krappe, Roger ond . the Toscanini German by Alexander H. alway^heardt| predictions, contradictions pre- from the the we have as in case of all There are numerous por- RHl In P^, ^ But about Sessions, and Oliver Strunk. in the ^ to do or not to do music on broadcasts ’ tele- lust what operatic , 0 f vail’ pages of music. | way traits, illustrations, and the best musical programs, is a chose to well especially meticulous musical event we not too television, I is devoted to a lengthy and light. Volume the other hand, half o The televised symphony concert Meredith Cadman ishine in number. On vision. The first interesting debatable question. the works of Italian composers from about by B. serious m _.,q ded some as many as they have review of have increased. To the but the sec0 have displeased period from programs televised, Jp Orosethose Lm the studio programs 1480 to the seventeenth century. The were - be lamentable i£ it conductor Which°oonly.Tv seems to be the ideal medium for the this°condition would views Of the pleased Radio Ysaac to Claudio Monteverdi, when music country wh.ch br xd television cannot be dented Heinrich throughout the past could have J listener. But the local stations an in times third act over serious music literature blossomed so glamorously in Italy, was cities there are s tenor i. the t pleasing to the and recordings. In the larger the soprano a picture pattern, ma- history of Art. cast to watch Ino and someday the richest cycles in the entire various tor to real. * music programs. one of chamber music, opera and shoulder of the conduc worked out for serious uncover operas in this first series are II Before Beethoven s Day phony, the ^ ioritv will be Dr. Einstein, in the pre-War days was able to translations. The recordings. People o concentrating on sports, the hours made up from they watched the television is manuscripts for- “Rigoletto,” "La Traviata,” and The tal various local votedly ved distracting lust now in European libraries many precious Trovatore,” By Ruth Halle bulletins put out by shifting c'- 1 of program, theater, film, “EARLY CHAMBER MUSIC.” to the monthly7 ^ vision, with its p vaudeville type placed in the possession of Seville.” whether d tions old time gotten for centuries. These he Barber Price, $3.50. Publisher, Kings record program P mus . ^ radio. I he serious Rowen. Pages, 188. stations, giving them the occasion from the 4 material revamped from of the work resem- these plannea on { the and some of Smith College. Indeed, much part o£ most ot between. Very little Crown Press. for the treriod. The best are few and far archeologists, in that for music s music programs bles the masterly excavations of Observations the accent on music has existed, but Musical recording broadcasts is in television programming evidences of a culture long suspected but encounter programs of specific originality it reveals Musicological excavations have a profound interest sake Seldom does one be done about this. In a move to set MUSIC,” By Laura Howell Norden. on ourselves ,0 to lend something is to unknown in this day. “JUST ABOUT they have a functional value thus throwing a spotlight program development, just as Publisher, The Author. for serious students and ards’ts concerts “e"‘fouS t pace in television The work is so important that ETUDE’S reviewer Pages, 171. Price, $2.50. past cen- these broadcast record the revealing the evolution of music from our contention that e radio programming, the Columbia review, Wilmington Printing Company. in a wider 0 Broadcsring it has in original apologizes to its readers for this very sketchy Printed by the Relation- influential in developing So"»l appointment turies. “Early Chamber Music’’ traces the have been most 'spSf!n8%? .a™“' System has announced the has made necessary. The beauty coun„, '°™ Meuom to Congo* Broadcasting which lack of space Disposition of Instruments, Char- appreciation in thi. ^missioned CianCarlo create a number of original interesting observations ship of Styles, the faithtuls ru Co C in writing staff, to of the Italian madrigal, with the study of the con- This is a collection of very Back of a new scores, and the old for television. acteristics o£ the Instruments, Fashion ot Composition, works modern the first original opera will be under the general super- made by a North Carolina ot Menom "crams The work trapuntal art upon which it is developed, is always and anecdotes about music Ele- often than not. The manages Broadcasting Co. commissioned Program Solo Instrumentation, and Consolidation of the elbows more the National M. Underhill. CBS-TV congratulate the American They concern music in general and concerts tell I he vision of Charles a fascinating study. We violin teacher. including the stations featuring record opera for radio- OMM™ ments into the Classical Chamber Style, number of to write the first this action, Mr. L nderhill have made this work state of tire author. Written grace- and interesting. its premiere Director. In revealing educational institutions which music in the home It is a wel- response is most gratifying which was given p period of Haydn and his contemporaries. the oublic the Thief,” * will find a place in repetition of and fame c» # (originally designed for publication by the Oxford fully and unostentatiously, they are received for 1939. Mqpotti has attained g tCCL addition to the musician’s library. A great man/requests duction on April 22, creative writing and program the come works. with his operas, “The need for more University Press in London but prevented by many musical homes. unusual and unfamiliar on an international scale problem. both since then ” has been a constant possible in America. the reduction of the better “The Island God The originality in television War), now Perhaps the reason for “Amelia Goes to the Ball has been adapted from Historic Opera House wide networks has to date, most video material London’s programs on the nation and The Telephone. To aim A Mozart Gem music been Medium," theater, film, and so on. Our listener tests that have been mounted mthe theater other sources—radio, By Desmond Shawe-Taylor. do with the results from and the Thief” has also features, half-hour VEILCHEN” (“THE “COVENT GARDEN.” or direct listener Opera C creation of a dozen major MOZART-GOETHE “DAS broadcasters. The silent winter by the City Center is the How Father Mozart Taught Pages, 71. Price, $2.50. Publisher, Chanticleer Press. made by or —this past material to freshen other current The History of a Song. By Dr. Paul minority, while the indirect Menotti complete freedom and hours, and new VIOLET”). seems to be in the York. NBC has given mtrodueed 14" 9”). Price, $7.50. Pub- majority. People the new of the new shows will be TREATISE ON THE FUNDAMENTAL PRIN- Nettl. Pages, 21 (Size x occupied listener is in the length and formi of programs. Many “A Garden” is another of the charming pub- otherwise his choice of subject, of them as Publishers. “Covent quietly throughout the folks will hate the next several months, many CIPLES OF VIOLIN PLAYING.” By Leopold lishers, Storm to concerts and sit us hope that a lot more during lications of the Chanticleer Press. With its hand- who go to work. Let scries taking summer Knocker. Pages, 231. do likewise while listening promised premiere takes replacements for commercial Mozart, Translated by Editha delightful addition to program do not always television sets when this beautifully bound and some colored plates it makes a happy freedom Price, $9.00. Publisher, Oxford University Press. This luxurious publication, Perhaps it is the < ^tio broadcast. ' a fac- the musician’s library. a stray re- Hubbell Robinson, printed and illustrated, contains a that prompts those P is on. Whether other side of the fence, handsomely one’s own home life conflict of radio and television On the Covent Garden is the leading opera house of the of relegating The oi Programs in unusual simple Mozart song, Ein Veilchen auf into a conversation function indefinitely is a Vice President and Director Dr. Alfred Einstein, in his preface to this simile of the marks which soon grow will continue to Jr CBS fre- British Empire and, inasmuch as there is no court enjoy the the two must give crea- stand, which is still one of the most For those who the upper hand the broadcasting industry book, notes that were it not for the name of Wolfgang der Wiese music to the background. question. Just now, radio has radio, says opera, it is merely a theater which has had many even a moot room before possess no quently heard of the master’s compositions. It is a are unthinkable against of “time and elbow Amadeus, Leopold Mozart’s name “would ’ best in music, distractions 82.000,000 sets throughout the country tive talent plenty private managers. The name “Covent is derived from prevails in a with he ex- for connoisseurs. Dr. Nettl’s relation of silence seldom advertising sponsors new frontiers can be rc more significance than that of a hundred other rare gift book home but the law television sets. But the new ideas and »'^’T origin a convent or nunnery once attached to Westminster of opinion or 1,000,000 the broadca century.” His the romantic story of the song and its household where there are differences challenge of television has awakened cellent musicians of the eighteenth of Singspiel, “Erwin und Elmire’ Abbey. So it is understandable new enurtamnietit book, “A Treatise on the Fundamental Principles of in Goethe’s early unforeseeable distractions. to new activity. By creating Wake- There have been three buildings of the name; the prevail. They do not producers months after the (founded upon Oliver Goldsmith’s “Vicar of lighter musical concerts personalities, Mr. Robinson contends, Violin Playing,” was finished six why7 the new first was erected in 1732, and in this notable edifice formula for such is most engaging and informing. lengthy concentration. The new frontiers. birth of his fabulous son. field”), ask for can open up „„„,; ps found most of the great works of Handel were performed, instrumental selection but som m and met with sur- The original manuscript, it is thought, was is seldom varied-an does not die,” he says, The book was published in 1756, programs “Great talent autographs which as well as the plays of Shakespeare, Goldsmith, and featured vocalist or 1 pub- collection of hundreds of orchestra, a song by the imagination and resourcefulness p prising success for the times. Four editions were in the bv the the producers’ in 1800. Sheridan. In 1792 the theater was rebuilt at a cost 7 instrumentalist, another song surprising that the work Mozart’s widow sold to Johann Anton Andre -» a guest its edge." lished before 1800. It is piece by senting that talent can lose , twenty-five thousand pounds. In 1808 this structure on. ’ was published in 1789 by of with choral background, and so stimulate and resti never appeared in English until the present publi- The song, written in 1785, perhaps It takes competition to manuscript and in was destroyed by a fire thought to be brought about P these are plentiful. By counting logica of presentation reveals the elder Artaria & Comp., Vienna. In the Such programs as has the widest audience so it is cation. His method from radio Radio the melody for the singer was by a smouldering bit of gun cotton wadding the serious musical broadcasts, listeners, Mozart as a real pedagog, and it will be read with the original edition them in with would make every effort to keep its theater was re- dominates the clef. a gun used in the performance. The able to say that music anytlu profit and pleasure by violinists at this date. written in the soprano officials are relates itself to g r auspi- ever, all of the above built in the following year and w as designed for the the fare is not quite as an airways. It does, only just do not get y I’ the loss everything but music. We ^_ presentation of Grand Opera. This was a much finer to be. We are still lamenting to gc " u cious as it used musical programs. I ry and worthwhile ises of unusual ndl and larger theater and the number of operatic pre- extraordinarily interesting broadcasts a of that licity on prevailing serious musical Libretti that took place in the building form a con- Invitation to Music. Condensed Size mieres broadcast, you Ian • CBS and see where . the to materialize is or six weeks ahead spicuous part of English musical history. In 1856 light music shows > Latest of the radio notes we could tel POCKET LIBRETTO LIBRARY. Translated by a bal Music For A Half Hour, which we first began our second theater was destroyed by fire during Mutual Broadcasting’s appearing on vario P Five imitation leather-bound book- Light vance the names of artists Edward J. Dent. masque. It was rebuilt for the third time in 1858, May 15 (3:00 to 3:30 p.m.). " Sunday, wa I cents began on often what music g lets (4i4" x 5i/ ") in a box. Price, $2.50, or 65 selections make up these grams for the month and a and was opened with a performance of "Les Hugue- musical comedy 1 opera and taken to re® single volume. Publishers, Allen, Towne & Heath, great musical to be performed. Lately, we have : a nots,” with Mario and Grisi in the leading roles. It each of which presents two K programs, them well "*/ Inc. (Mutual’s New York station) about musical events—many of ^ inaugurated one of the most important eras in the notables with the WOR final, Emerson Buckley. As such calling to mind. There is something so history of the great opera house. From Patti to the Orchestra, conducted by presented in excel- summer plctcly annihilating about that radio knob " These handsome little booklets, a veritable pageant of stars, this one promises pleasant rt De Rcszkes, Melba, and broadcasts go, or the typography with a story of the opera and its thing you can listen to on turns off a broadcast. In the theater lent down to the present. Covent Garden, about which diversion. It’s the sort of on texts memories as ^ composer, are both practical and attractive. 1 he one of on the porch, in a canoe or in the hall one has a few lingering many volumes have been written, has been a portable radio turl ^ one of England s fore- by poor orches- out of the building. But the radio knob have been done in English by operatic centers of the world. Mr. Shawe- not feel you’ve been cheated an(j the foremost rar and environme most scholars, Edward Dent. An ingenious method Metropolitan Opera tenor Mario Benin leaves one face to face with familiar J. Taylor’s little volume, handsomely illustrated with tral balance. here and there, on the senes in silence. Congenia of cuing in the original language story Covent Garden concert pianist, A1 Fanelli, opened a strange, often unwanted colored prints, epitomizes the of I ’ the cus- and about . the margins -of the page, dispensing with s Rhapsody in Blue. pany sometimes for conversation nrogram featuring Gershwin makes £ admirably. a helps to tomary parallel libretto in an alien tongue which not musical event of the year was the presen- gram (so quickly dispersed) which Opera lovers and, in fact, music lovers in general T he big thought. Dr. Dent last two broadcasts of one in a thousand reads, is a happy this story of one Verdi’s “Aida” in the longer in mind. ... will find much to interest them in tation of kce nest in rationalizing many Toscanini, the N - whi has made a real achievement winter season by Arturo But tomorrow's events are anticipated d Goethe Listening to Beethoven of the most famous opera houses in the world. the •)nne English The veteran radio of the absurdities which appeared in former Svmphony Orchestra, soloists and chorus. pleasure, and for this reason one wishes p the orchestral on "ag did a memorable job with or at least publicized its (Continued 407 conducted JULY, 1949 ETUDE ' ' expect to be somewhat handicapped by flexibility in the arms a lack of and fin. gers which have long been definitely “set.” Not so for young children, when opposite! it is just the remarks apply also Table The above to the Round of arpeggios. Here the passage Teacher’s study of The is more extended, of the thumb course, is the but the principle same and re- quires an identical supple, lithe per- Conducted by wrist and fore-arm. Prolific Albeniz Doc. formance of where Dumesnil, Mus. With careful practice, during which Would you kindly advise me Maurice y works position of the elbows must be one might locate the complete the con- French-American progress of Albeniz? Eminent stantly watched, should be -S. M. M., Illinois. Lecturer, steady and smoothness developed in Pianist, Conductor, minimum time. try to and Teacher I could hardly advise you to Albeniz, secure the complete works ot Precocious Thundermaster of his life for during the earlier part the type of he selecting An amusing note comes from Mildred arid mostly for commercial purposes of e aPP Pr writes Southall of Los Angeles, whose pre- hundred pieces, many is one who wrote several best physician Orchestras of History The pattern work was conspicuous at One of the Great void of any personality, Spanish for each kindergarten them wfo^i presxrtption Orchestra under the marvels the MENU national meeting last year: f§*S%5iS« hundred and six-year-old Gewandhaus character, or any hint of telling him to go The world-famous two Felix Mendelssohn instead of were in a Bach were a ' Tutor"’- few days ago we Rain- in 11A3, when that were to come later. Ihere patent medianes. Unto "A Leipzig Conservatory the distinguished Arthur Nikisch. The orchestra was formed store and buy three The oil portrait 1831. however, and you will happens that some drop project, age level and a half. auditorium was built in 1881. Vernefs famous of few exceptions, however, it April 1843. was Cantor the Thomasschule. The '‘new” tunately, shouted: ‘I Original building opened 3, of below, next to his mas- books and book A very large ‘three’ don’t find them listed young teachers read their eagerness want to be a raindrop. I want to be all ter work, “Iberia.” on piano pedagogy. In was an incorrigible their con- the thunder in the world!’ How would Poor Albdniz. He they fail to assimilate in to learn that one in a group?" “bohemian,” traveling right and left misunderstand the author s you have handled tents. They “book city” of Leipzig was graced by francs, ' Little Jupiter go to it N 1835 the the hope of earning a few pesetas, grasp what he had Well, I’d let purpose and fail to of an engaging young man who had very much. he means by that. I hope the arrival or shillings which he needed they teach motions m- and see what in mind. Then I come to conduct its already-famous Gewandhaus of Yesterday Occasionally, when he ran short oh sometimes their he doesn’t jump on the piano or pound Musical Leipzig stead of music and This was Felix Mendelssohn, who in his same piece in it with his fists. Later on, concerts. money, he would sell the through ridiculous gesticu- the life out of name students go twenty-six years of life had become an outstanding another country under a different them squirm like he ought to become a first class tym- lations that make conductor, and pianist. Leipzig seemed to Asturias—elsewhere pub- who knows, perhaps a great composer, Highlights on the Origins of the (Leyenda de dancers, writhe hke willow panist, and Cantos de Javanese him like Paradise, and at once took him to its heart. los . . just think what he lished as Preludio de resemble the puppets conductor. My . trees in a gale, or beauty (Thackeray thought his Saeta, and others). Tell" over- Blessed with talent, Espana. Also Cadiz, course, real artistry could do with the "William Musical Center One Hundred Years Ago in a side show. Of beautiful face” he ever saw), wealth, and a Famous case the publishers were good- with this Depart- the “most In this Correspondents overboard. ture! that made be done requested to limit letters goes winning charm) he had soon a following heartecl and besides, what could ment are spe- Hundred and Fifty Words. conclusion: there should be no the day. Felix musician? to One In Leipzig the leading musical center of to an impecunious at the piano. Ev- Fingerings, and Shoes Virginia O. Behrs cial way of practicing Of of wit, liveliness, and cleverness than by Finally he landed in Paris. I remem- is more full done in the right 1 have of Liszt's new the mistake erything is good when In the edition wrote his friend and former teacher, Moscheles, ber him listening attentively to the of them might have made ever,” at the right place. We should Ricordanza ("Transcendental Etudes") that concerts of the by a certain name, way and when he, then a famous pianist, visited Leipzig icy reserve and often music presented at the of calling a method passage in which the young man. affectionate advances with prepare students tor every phase and there occurs a the home who was impressed by the promising He was way that unwarranted fall. They delighted in musical evenings at to help me. ... It is Society Nationale de Musique. and it is in this fingering is given: with tre- wound and repel those who wish angle of our difficult art, knowing following his Mendelssohn’s engagement was received same it happened with every Wieck, the piano instructor, where atten- and rather stocky, with the legends are created. So of Friedrich that I fail to appreciate the very smallest short and every approach will popular favor in Leipzig. On a concert pro- not Debussy. It who never had well' that any Clara played for them. This precocious girl mendous and flabbiness so characteristic of tlie famous Leschetizkv, daughter tion: ... It is a fatal something in my words time. And if a question insisted upon including Beethoven’s his tech- jokingly remarked that be of use at some already had six years’ experience as a gram his “public” Schu- wiis then, that having perfected a method and of sixteen had Has manner which belie me.” When Wagner met regarding which “method" a chorus from “Fidelio,” Whoe’er a Lovely Bride wrote the ad- method, it consists chietty comes up pianist. disgust, “When nic of composition! he “If I do have a concert made the mann in Dresden later he declared in one teacher uses, isn’t the best answer pro- Then standing and cheering, they which made him none.” I remember It was here, on the night before Mendelssohn's Won. good as “Iberia,” . . having remained as mirable suite, of a form of im- I came to see Schumann ... he I by Isidor Philipp himself when fiance improvise on the theme, an English girl whom vided at the Gewandhaus, that they met Robert Schu- young go on famous. of his disciples, debut in that dumb for nearly an hour. Now. one cannot years at he simply says: "I have no method. of promptu composition exceedingly popular list representative during my student a “retiring but interesting young man” be one Here is a selected met in Paris mann, 1837. talking quite alone. An impossible man! 1 . . March 28, played for each There is no ‘Philipp Method.’ I just . a compelling am- day. The wedding took place on his talent at his best: the Conservatoire. We twenty-five. Schumann had once had Schumann w'as always voluble was of that this finger- time in the midst of his tur- subject upon which to tell me was. teach piano!” The cdilor claims which inspired him Schumann was at this “Iberia,” twelve pieces, four volumes other and all she found and bition to become a piano virtuoso, Mendelssohn’s music, of which he could will tiling out the phrasing knowing Clara Wieck since a defense of tremen- got this,” while ing become a pupil of bulent courtship. After (very difficult and sometimes “Too bad you haven’t left to give up his law studies and superlatives. Mendelssohn did not, in Scale Practice make room for the chords in the eventually came to realize that she speak only in approachable ones grappled with an orange and her • with a crippled right hand, ruined her childhood, he dously so). The most she hand. Do you agree with this? Wieck. But now, more return, have any great admiration for Schumann’s mus- My daughter eight years old has been up and that his feeling for her was Puerto, Almena, El fingers went through all kinds of — York by a device he had designed to strengthen it, he was had grown are Evocacidh, El L. J. P.. New works. taking lessons for four months and her friendship. But with Wieck’s flat refusal even to cular contortions. We got into a tech- concentrating instead upon composition and on the than Albaicin, and Triana. At this time it was Madame Schumann who reigned teacher had her begin the study of see his daughter, the distraught young man the earlier pieces suitable for nical argument and I not only laughed agree with the critical music journal which he had begun several let him Among scales about one month ago. A friend of Yes, I feel inclined to musically, rather than her shy, retiring husband, irony that he would lose his mind. He used to pray are: but broke into a bit of familiar of those cases years before with the cooperation of Wieck. In this felt After teaching mine tells me that it is too soon. I editor, but this is one without his w'hose genius was for some time unrecognized. case as en- for nightly that one more night would pass Asturias Granada ; Se- that made her dismiss my the finger- “Neue Zeitschrift fur Musik,” or “New Review Leyenda de ; would appreciate your opinion in this where experimentation with certain one of her piano concerts in the palace of a German she returned losing his reason. For he could not even be Malaguena; the suite, tirely hopeless. Later on matter, and I thank you very much in the selection Music,” (which he called the organ of the youth move- villa; Cordoba; ings is advisable and where occa- Prince, the Prince, having heard that Schumann was studio, and her love had not cooled, until the joyous Tangos in D major and in A to her native Wales, set up a advance for any advice you will give size an ment), he urged a breaking away from the bonds of that Espana; must be made according to the he attended musical, asked, “And what instrument do you play?” herself as teach- me. (Mrs.) sion when she played at a recital which Cadiz; and Seguidillas. sure enough, advertised — J. S., Montreal. classical form, looking toward the music of the future. minor, shape of individual hands. it Schumann, infuriated, left the palace. His wife was sim- in F-sharp minor, explaining later that notable are Navarra; La Vega; ing the “Leschetizky Method.” She without of radically different temperament from Men- his Sonata Also In the above example it goes He was inmost one of the greatest champions of his music. She ap- prin- Your little daughter’s teacher is chance of showing you my the Rapsodie Espagnole, orches- ply had misunderstood the master’s abso- be held delssohn, but the two were drawn together by the was “my only and saying that the right wrist must courts, peared on the Gewandhaus concert programs and was isolated. Poor, lutely right and I heartily approve of Finally Schumann took the case to the Georges Enesco. I doubt ciples. This case is not s ‘“e became close friends, heart.” trated by the fingers playing n’ similarity of age and interest and popular performer at musical “evenings,” often have her method. Scales high, with father declared that he was a drunk- a latter is obtainable except great Leschetizky! How he would should be given as \'hen daily. where the irate whether the keyboard and near the lid- for a time having dinner together playing duets with Mendelssohn or visiting pianists. the way in which early as possible and not only on one or the unable to support a wife. Schumann’s friends in manuscript. All the other numbers suffered had he known the sec When Frederic Chopin came from Paris for a short ard and passing the third finger above charge, but in the through the publish- his ideals were sometimes represented by two octaves but on four octaves or even ro him to rose to clear him of this slanderous can be purchased extended, and a visit in September, Mendelssohn introduced A Festival Year followers. more. Too ond, it ought to be wrote, “I hardly think I shall live to well-meaning but over-zealous many teachers hesitate too flint as “the boldest and meantime he ers of ETUDE. accompany Schumann, who later wrote of their circle was Ferdinand occurred with To- long before beginning tation of the hand should Court’s decision in our case ... my grief is Another member of A similar instance the study of proudest poetic spirit of the times.” Mendelssohn hear the in order to insure a good David, the violinist and composer who had come to Isidor Philipp recounts scales and it is a serious motion was finally vindicated and married Clara Methods bias Matthay. mistake, for any "St- his to Chopin, and between the tw'o frantic.” He other fin gen played “St. Paul” a concertmaster in 1836 at the re- visiting at his country pupil wffio has and avoid a break. But 1840. the Gewandhaus that while him mastered the passing of parts Chopin performed several of his own composi- on August 1, How' should one practice at the also with the hand '8 Men- quest of his friend Mendelssohn. He was highly cul- London, the eminent peda- the thumb on the first are possible, Ferdinand Hiller visited his friend com- home near octave will have tions. delighted by Clara Wieck’s interpreta- When piano? With only finger energy He was of music for its own sake, genial and at the exaggerations with no trouble in repeating in Leipzig the preceding winter he wrote tured, a lover knuckles, or with a ro- gog laughed the same process (or 2/5 tion of his and some of his etudes, but delssohn ing from the 5.-4 (or 5) 2 1 2.-1 4 3) piano concerto the Leipzig ’ a recluse, scarcely ever gay. and an inveterate cigar smoker. At forearm and wrist? I've been which his theories are sometimes brought on all the others. too capricious. that Schumann was practically tating 1 2.-1 (or 2/5 she thought his playing “altogether 5.-3 3 4 3) contrast to the festival in 1840, celebrating the four hundredth anni- studying with different teachers and before the public. He, too, constantly Why is it so desirable to start at an leaving his room, which was a sharp 1. -(glide) 1 (or 3) UP method. 5.-4 3 2 4 Even after versary of the invention of the printing press, he each one teaches a different claimed that he had no particular sys- early age? Simply because the joints and Eventful Years gaiety of his host and his popular wife. rotation 1 "-- in conducting a double chorus One put me on the so-called tem; that he only carried out what the muscles are finger Schumann had a reticence which was of- joined Mendelssohn then very flexible, very That makes a total of seven years that were important ones in the his marriage Another one had me put a The followed for men’s voices, which the latter had composed for exercises. seemed to him logical and profitable for pliable, very receptive. now. suppo^ fensive to many, though he loved people and was a Therefore it is all slightly different. And personal life of both Mendelssohn and Schumann, penny on the back of my hand in order the occasion. Part of this work is now used as the an all-around piano study. the right time to begin footwear, devoted friend. Often he would sit without speaking wrist quiet. Most methods drilling them in you are in need of new bearing a full measure of both stress and joy. For to keep my pad’ a music for Hark! the Herald Angels Sing, though Men- Years ago when I was in Isidor Phil- order to maintain and try seven in the midst of a lively group. He once entered seem artificial. I wish to keep on study- further develop go to a shoe sto_-store and soon after his arrival, Mendelssohn was deeply grieved tn.w said, “It is not a should never ipp’s class he emphasized—he still does— this favorable butit whistling quietly, nodded to his friend, delssbhn had hymn and ing, and I seek your advice. condition. Think of the (the clerk may get impatient father. But the following friend’s house by the sudden death of his His of Praise,” com- -U. C. T„ Texas. that adopting and carrying any “one sys- ballet dancers; our sto ^ to the piano, played a few chords and modula- be sung to sacred words.” “Hymn of the acrobats in the matters little for the good of year he to the charming Cecile Jean- went became engaged festival, such a sensation tem” to the extreme is invariably harm- circus. I w'as again, and went out without speaking. posed for part of the caused told once that their work There surely will be a time when y renaud. whom he met while in Frankfort conducting tions, nodded teachers under ful. insists that tuition n are often at a that a group of students formed a torch light proces- 1 believe that the He must be indi- starts at the age ot three feds had He said of himself in despair: “People and precisely exclaim: . . . this one a chorus for friend was ill. While there he “Oh a who that night (Continued on Page 446) you studied did their level best vidual, that no two pupils are alike, that for the reasons Well, do great loss to understand me, and no wonder! I meet sion to his home whom mentioned above. When Of course you will buy it. seen much of Hiller and had met the great Rossini, you and tried to devise a tech- a teacher must observe carefully the phys- an adult takes Rite ^ to help up piano study—many of same with the fingerings, and might overcome what- ical aptitudes of each student, the 409 nical diet which shape them do so and it stick is gratifying to know leering a comfortable one, JULY, 1949 ever troubles you had. However, some of his fingers, the size of his hand, before that their number is increasing-he can by all means. 408 ETUDE Wherever there are radios, people appreciate the Co., 223 Summer Symphony sunrisec,,„rise Pictures The Black, who over the years, Silverman v. eminence of Dr. Frank (, the (Continued from Page 403) first rank, perhaps, for maintaining F. 9°9 especially in has taken >V copyright, broadcast music. As a musi- of Operetta Music fut os- highest standards of Charms Copyright The with P The How to JP.imorl » Tmusicmusic, pregnantP s Dr. Black in the rase ot realm, of to series of concerts which director for both NBC and ABC, Com held that the are felt as Another has cal Page 400) ,o it This decision Already, present- (iContinued from 18 s 043). , summer months and for planning and sibilities. r0yalty sys- enhanced the vaca- has been responsible A Conference with possible llca“°"‘, ir- hundreds of thousands of distinguished musical programs than quality than of quail “PP performing tions of folks ing more more a question of Nation’s considered n •« oi bis hire" and about our Capital is the other conductor. Born in Philadelphia, Dr. what is to be in any tity as to The la ore series of Black, Mus. Doc. elc lists. • contention Watergate symphony pianist, after com- Frank use. > to famed his career as a connection with “fair of the other party 0 £ the Black began par- the property to be the - wdio concerts presented each composition, be when seems nrt j s t, orchestra sum- Raphael Joseffy. He soon American Conductor “meat” of the he is living n pleting lus studies with Distinguished whole the contract, and if that the Potomac music, maybe thei advanced 1 ertaniment for on the historic River at production, ticularly as to popular renew Ite must the entt mer transferred his 'interests to musical Carnegie Hall Hour comes to to . Conductor, ABC’s sequence the time contributes ub of The Lincoln Memorial. The contained in a single musical agreement. It is to e ^wUl g Fj the base however, and became musical director of the carry out the the publ c were its unauthorized be which onate Watergate Concerts founded in of short duration, and that the author must Brunswick Phonograph Company. After serving noted, however, erally, should can Kindler, former regardless the num year arrives, tor Whether this 1935 by Dr. Hans con- reproduction, the renewal that pay me Director of the Ampico Company, living when in • as Recording undoubtedly be an in- upon he share structure of ductor of the National Symphony Or- by Rupert Holdern of* bars, would “ is not binding Broadcasting Company of a agreement are the only series he founded" the World fringement. Mere acknowledgement * top.he.rs;, chestra. They of taken a presented and, subsequently, joined NBC. In addition to source may not be \\ here mere concerts in the world front a copyrighted to carry it out. splendid step- reproduction of compelled scores of listeners ’activities in the world of radio, he has ap- I can see, operetta is a for substantial composers, any floating barge, with in his but little that could tire.” As far as a license several authors or tance and emphasis provided essential. V\ litre are ' bulk of the listeners guest conductor with most of the stand- other types of work. (Occasionally we the work. Permission is register the renewal, canoes? and the on peared as Business Man. Hence, our variety ping stone to safe one of them may please the Tired other types of work the only symphonic organizations, and has served as find a singer who has succeeded in it cannot be obtained, whose name S land. ard along the lines ol faster pacing, person in >1« . , of operetta developed use of t but the renditions end T> but that is the exception rather action is to avoid account o the or later,,r t«, » barge is on the Potomac River conductor the Cleveland Symphony. He so forth, appearing in operetta, course of stands must require us,‘“““Vsooner The chief of the introduction of jokes, situations, and Miration lists will to the rule. An example, however, is lua composers in P™P° the site of the gateway shrine counts among the highlights of his versatile their own right, without than the general mort- other authors or at that would be amusing in Metropolitan Opera be assigned or work. answer. The barge faces stepped from the "^Copyright may lawful share in the of Abraham Lincoln. career the composing and presenting of the m usic familiar points of national background Petina, who writing tion to their reference to of Norway.” John instrument in columns that sur- into the leading role of “Song gaged by an the lighted marble D'uer Miller’s poem, “The White Cliffs for example, the immensely popular the copy- for Alice or habits. Take, in operetta, but not by the proprietor of figure of this great American Schubert, Charles Thomas has appeared signed rounefthe Dover” and Edna St. Vincent Millay’s “Blossom Time.” As a story about Franz bequeathed • of for for this may be found in the right, or may be y Directly across the river from at least, of the peren- as a career.) One reason should martyr. “The Murder of Lidice,” and the production, this work looks in the direction, of copyright is Every assignment where the audience is silting the home Aus- Office within with Arthur Hopkins, of “Remember This Day,” nial German and recorded in the Copyright T. Lee. Last summer Howard “ exec of Robert trian favorite, 'S Drei- months aftei its the the program honoring V-J Day. Dr. Black speaks three calendar Mitchell was Musical Director of Wa- also Partial rights, maederl-Haus” which in the United States. and conducted eleven to ETUDE readers on the characteristics of oper- tion Musicianship tergate Concerts with Schubert. As I picture, radio, oi te Building —Editor’s Note. dealt such as motion twelve concerts in the scries. etta. two disposed of sepa- of the plays, however, the vision rights may be Page 401) the (iContinued from are entirely different! under license agreements, and rately, docu- The German version Office will record such do we need here, my Copyright cellent. “But what Municipal ev- but because (almost regard- make us bet- Saga of the St. Louis builds directly upon ments. tural laws, questioner continued, “to still able to reach erybody’s knowledge of less of laws) they are “Only one thing-two Opera ter?” I answered, his This, I believe, is enor- S a form, the operetta occupies a peculiar place Schubert—his life, Status us and move us. more centuries'. Personal Property centuries or three Thirty-four years ago a “Masque and his melodies; it mously important. If, through then, requires in the world of music. Essentially, it is closely times, • build musicianship, Art Hill in find these de To Pageant” was presented on k even brings in the singer and, forms, we I he bes A allied to opera, in that it involves the study- property, of changing book-learning. Copyright is personal and the more than mere Forest Park, celebrating the name and descend of the ear, the mind, found m beautiful ing of roles, staging, and a mastery of stage deport- Grisi, whose of the owner, mands this, perhaps, is to be upon the death it proof of of the City of St. Louis. every- test of great music, sesqui-centennial it It is also closely allied to the rank are known to representatives following heart to be the of young artists who ment—yet isn’t opera. personal - public criticisms successful, to his deviate too wil the star-lit presentation was one. In America, all this the State of the should teach us not to and learned The theater, without being pure theater. And it is closely laws of succession of have passed all their classes of that night, the agreeable to ear, mind, anil during the moments relinquishing had to be changed! Schu- the time of his fully from what is are still found to be allied to pure entertainment, without owner’s residence at meet all their lessons, and lilting melodies dis- all means, let us when gentle breezes and confusion exists as to what bert was by no means a makes a will, he may and heart. By musical thought Musician- its values as art. A certain death. If he (or devel- lacking in natural beauty of one at the time other needs with changing wafted across the operetta actually is! What, exactly, are the distinctions familiar figure his copyrights as of any changing acquisition of this musical pose of careful how ship—the charming settings, first ap- the let us be of the world's most it light musical comedy? “Blossom Time” is no will, then oping) forms-but book-subjects, all that mark from opera and property. If there recent thought-takes all the imagination, per- un- adminis- study of the more an idea which through as by getting that confusion out peared; Grisi was are the subject of we proceed. A for granted, using them We might well begin copyrights that their the techniques, of its cit- orig- property composers shows us severance and determination light opera are actually the known; many of the like other personal great basis of departure from of the way. Operetta and tration, with the simply as a is the re- situations or both, w ill of form did not break izens grew into what today thing. best examples ol this form are the inal jokes and the widow or children, novelties release a continuity of musical same The and it. Debussy which to Opera, a rather, grew out of St. Louis Municipal later productions were pointless. And so past but, built by study, plus the nowned works of Victor Herbert, and the S learned in the meaning. It is of the stage American version a different foot- was probably as deeply reach- where the greatest names of Kern, such as “Sweet Adeline,” "Roberta,” new Renewal rights are on severest kind of self-discipline in Jerome That is why he of enchantment to be built, based on stands, a right ot classics as was Brahms. sulli* meet to create a world in Air,” and "Show Boat.” Here we find had ing As the law now towards perfection. I cannot “Music the the in a way that allows him ing for 12.000 persons comedy that Americans into existence during could develop that merely under the stars definite characteristics—more music as such (especially renewal comes despite ciently stress the point year as a modern “classic, could understand. Also, twenty-eight to live on, . of music, a greater the original errors nightly. , , for the orchestra), a better type and last year of reading through a score without m.Q the proper non-classical individualities. To know in the pride which many of the melodies of copyright, and, it his The correctly played The secret lies integration of music with dramatic values. Musical term from it (or is not musicianship! the mu- altered. registration made m classic form and to depart in the success of lacks integration, were rhythmically are taken and life the essence of Louisans share comedy, on the other hand, such steps very different notes must bring to \heycaUit. that year, a it) purposely is a Opera,” Pretty much the same the Copyright Office during alter reading of a Bach nicipal opera. “Our offers a brasher type of music (especially of songs), the background ot the composer. The the peo- with the twenty-eight years may thing from ignoring arc all St. Louis-all Alley rather than to thing happened second term of for instance, implies perform- And they and traces its roots to Tin Pan as a means ot Concerto, is a Franz classes of persons en- music, or tossing it aside, lor here publicly as Americanization of obtained. The I he player s ple in the community, the classics. While both forms appear be Only time can de- ance values as well as notes. Allein,” the plate for a second being “individual!” in the enjoyment represent entirely dif- Lchar’s “Endlich titled to “pass must be grounded on a sure civic enterprise, stage-activities-plus-music, they the pro- the music that will live—but I rhythm which as “Alone at Last” are strictly limited by termine all these people share. ferent musical values. helping” music as knowdedge of the rhythms of Bach’s time. which Dr. Frank Black Prima- it will be only such sun out to be an en- the copyright statute. am certain their meeting place on turned visions of continuity His tone, his emphasis of melody, his Here is has this right based upon the unbroken c.it • tirely different (and to the author or composer is evenings— place of exciting rily tradition. phrasing must be rooted in an exact mer a From the European Operette 11 > less satis- the time comes. of musical and human c i • me, at least, a is living when and women and if he understanding of what Bach meant. Such where men original. nature of operetta itself; another, perhaps, in the fact the right goes to his the S factory) production from the German he is dead, then can lose themselves in American operetta is a descendant of the European Tradition Plays a Part knowdedge and such understanding can too. operetta is enor- that operetta is about the only form of stage produc- absence of s. Whatever its source, American children. In the footltgh however, it shows widow or simply poring over inarv world across the operette. Like most of us Americans, Stage of the acquiring of musi- never be obtained by well liked, and there is a tremendous audi- tion that does not thrive on the star system. children, the executor A final step in the walks o 1 ’. he typ- mously widow or details finger- people from all marked deviations from the ancestral type. T is of tradition. In a score and mastering of come city maintains its and opera audiences wish, for the most part, to see and if there is a recognition J ence for it. Almost every American author's will may renew, cianship the stars and ] ical European operette (and the best example, per- quite ing. It can 'grow only out of a penetra- sit together under People a definite star, almost regardless of the work in which of renewal goes to the Vienna, I remember, tve were season of light opera, and all are successful. will, the right haps, is Strauss’ Fledermaus”), stood as a mu- no tion of Bach, in Bach’s own tradition. I beauty. “Die (I offer no the goodness in the direct heritage of that cannot hear enough of works like “Show Boat,” “Blos- he appears. comments on next of kin. steeped sical-dramatic presentation of traits, people, and hap- tradition—the have used Bach merely as an example; This means, of or badness of this system; it simply exists.) In oper- circumstance may, and frequently city’s glorious musical som Time,” “The Student Prince.” One penings, all of which were closely familiar to the life of Mozart, the same is true for every composer’s in operetta. etta, the work itself is what the people go to hear. which will prevent the com- direct, continued influence course, that there are career opportunities does occur Figures and habits of the people who came to see them. 1 here enjoying these Brahms; not to men- every work. Facts and a distinction between the “Blossom Time” (and the others) can command audi- or his family from Haydn, Beethoven, inflexible) Here again, we must make poser to was a rather fixed (though by no means author was em- lesser luminaries who had When the music student has begun lj’ 9 European variety of career. In ences, almost regardless of who appears in them. “second fruits.” If the tion a host of Municipal Opera has thrilled more than not towards American and the the communicating penetrate, not merely correct notes, but |gg line of acting which tended with a As a stepping stone, or training ground, then, op- hire to write or compose lived and worked there, years a • Europe, as I have just said, a fine musician ployed for 076 persons in twenty-nine broad comedy. And, depending upon familiar types goes to as a living thing, musical meaning, he has taken his first career in operette- eretta is well worth investigating. Its first require- then the right to renew their musical essence, separate er fine voice could make a successful work, performances of 319 °P . or situations, as well as upon this fixed line of acting, person after step along the road toward musicianship. j however, is intelligence—musical intelligence, dramatic “proprietor”; that is, to the to those who knew them or came just operette and nothing else. In America, ment the light operas, and , at a leisurely if is lucky, comic and the performances could amble along to write the was the great And, he he will have found ‘ I hardly counsel intelligence, intelligence of approach. Naturally, a hired the composer them. In my day, Brahms premie it is hardly -a field in itself. should who plays. Ten notable world pace. This, was the over-all picture of the person. In at the Con- the one road for him to follow through- een in general, “1 voice is essential singing career; but in or the assignee of such influence. I often saw him aVC b an earnest young beginner to say to himself, m fine to any work eight American premieres h classic operetta, and it offered a rich field the pro- feeling that here out the rest of his life. There are no 29- European operetta; operetta there is opportunity for smaller, less tough case of “composite works,” servatory, and the very going in for operetta; I’m going to stay in a the resented. Attendance total £« to performers. Musicians of the stamp of Richard likewise take out the re- Brahms gave a very special atmos- short cuts, no easy aids. Even great P . aton with operetta, I’m going to re- vocal equipment. Sheer opulence of voice is less essen- prietor may was ,/-* a need when I get through 5 , 644 -1 career in operette, without today’s talent, while a necessary year period includes j, Tauber built a full in his own name. phere to our work. Certainly, prerequisite for c tial in operetta than in opera, and hence a smaller newal scats set asl “progressing” to other activities. under the direct muscianship, is not musicianship itself. who occupied 1.500 „ or a thought for less a better students cannot work u 0 (though certainly not a pleasing) voice has charge to the p In America, the operetta developed somewhat dif- of Brahms—many cannot work Only by study, self-discipline, and a night without o£ chance. The chief emphasis in operetta, however, is on Question tradition ° prin- An Important first-come, first-served basis. A ferently. American operetta took over, not the directly under any great tradition. Yet, reverent regard for musical tradition can a stage work. The performer must equip himself with a e™>"* variety, but the actual books is the tradition of great one acquire the musicianship 704,271 underprivileged P ciple of the European act- author s ability for all, there without uesti thorough knowledge of stage deportment, gestures, question of the • b that the The which Municipal Opera both and scores—and immediately it was found rights “in fu- music itself. On my first visit to America, book learning and score reading attended ing, and so on. The style of (Continued on Page 442) sign away his renewal through pointy of impor- to I thought of her music, must remain the of the management and leisurely pace and the continental time comes I was asked what mere mechanical sound- that is. long before the ture” sincerely, that it was ex- ing forth of meaningless Page 430) had been a matter of and I replied, notes. ( Continued on 411 for their exercise, jULY, 1949 ETUDt 410 HERE have been numerous letters recently in over the counter, without the buyer (England) Times written by some , u handed the London that trite saying above a organists to follow few the most prominent and clergymen be obliged T0 f measures, "Try tins on your piano.” on the subject of the playing of cer- mrl ssample Great Britain pnntcd f may not always hi compositions mean of hymns. In the true English tradition Play Z e,eC tain types Shall We R * submitted. Hymns was The Edi- the most polite manner, but What . nte material were all written in that U ' * eS tiiev ",, accepted musical forms along some were rather “tart.” < have or another, 1 mav still in one way plan is to linTIecently and' their give th? wish that ETUDE could print some of the Ihetme I often McCurdy, Mus. Doc. Instinct to me from all of you in the far by Alexander Creative letters which come the It needs careful appreciative ol them child. addi- I ant so Phases of ''Tmelodvis hke aliule corners of the earth. Nurse it along until one. Space limitations becoming simplicity. it and enjoy answering every must be sung to a tune which u.ions and all churches often do. to a given service and feet. Dress it up in various pat- the printing of these interesting communi- unaccompanied, as and play Frieda Peycke . n its own prohibit I think we should go ahead by andE)iseuse “n E. M. Ellis-Gruffydd.” is not excellent, mnis , It may start Composer, 1 colors of harmony. out if we play it well Widely Known ns and tone cauons^ric that hymn and do it well. Surely, a good Tarantella. Learn whom we know so well and yet finish like ^ Thiman, it well, perhaps we can hit ike a waltz, the most distin- and have our choirs sing interesting and easy to read on in this country because of his excel- “Dr. Eric Thiman is, I suppose it look admire so much “its horrible pit. h°w\ mto make small group ol first-class the tune up out of thri • before you know it, you will writes an answer to an article guished of the lamentably is no greater true! and lent compositions, years when Dr. Floyd 1 omp- that there That is churches as I like to think of the mus l creativ^ something worthwhile London Times. Dr. Thiman musicians who serve the Congregational Frieda Peycke, ™ human faculty-the By the composition which says which appeared in the Kinder served together at Holy Miss this tacaculty? J with kins and Ralph was 't us y CveT and it was therefore by many ar'Zlists? know one has and choirmaster of a Congregational organists and choirmasters, that there been used successfully How does one is organist Church in Philadelphia. I suppose have a desire I read his forthright opin- Trinity .^jducatedjd from within as England. There seem to be only a few of particular satisfaction that or- Omaha, Nebraska, and urge that comes Church in was a happier combination of rector and born at she «' that country who play in so- ion regarding the playing of a type of hymn-tune never Illinois. Later “»<£>' ray ».* the better organists in idea was to minister Knoxville, . ideas whole School, oneself. , this, for their St Mary’s Through ‘is an affront to the dig- ganist than tory and recognize that^u S«ed written it. Acknowledgef churches.” Dr. 1 himan, a pro- which, as he so rightly says, Chicago Conserve, How does one _g hat is a stranger had called “nonconformist conditions of men. 1 hey never stu died ^rnus ic at the w it as if music.’ to “all sorts and teacher themselves. a S do something about the Royal Academy of Music and an exam- nity of Church jn anot present spots and fessor at the “side way down Conservatory Her which ' which •f and weak years, forgot the old lady who sat on at the American ° Organists, writes as I myself have been saying the same thing for the universal creati of music to better advantage! at the Royal College of back pew. she studied theory called o£ its univer- your language iner nor the old man who sat in the teas Walter Perkins and God. £ them! Use but my protests are usually met with a semi-scornful, front, to Cali- sensitive musicians call parts follows: can to encourage con- her removal oppos i t e that such must do everything we Adolph Weidig. Following times PP Editor’s Task ‘Oh, but that’s your opinion,’ and the fact We sality is that many P P one The Hymn singing is one of ; ai a nd is gregational participation. she became a pupil m or re same article by the Reverend Frank Jen- an opinion is based on training and experience fornia, of the world receive action, realize that the editors of successful “I read, in an the congregation can Oxford, Eng- immediate many of us sure, would wish the most important ways that Stevenson, formerly of puts tins idea How organists ‘regarding it an affront to conveniently ignored. No one, I am Frederick of these people dailies spent years prepar- nings . . of men and women art re creative nintelligence? and well-known this opinion con- take part in a service. Sometimes developed the of prepare lot thisi magazines dignity’ to be asked to play to deny the gratification of having land. Miss Peycke has How does one learning the language through their musical ability and by anything else in to a ^ ^ ^ themselves in Music, a professor are helped more by this than musical accompaniment Intelligence telling refrain like Hiding in Thee, Thou firmed by one who is a Doctor of ing poetry set to Bv listening to <_ . K 1 hey lea ned how to a hvmn with a keeping one^concon they express themselves? examiner the service. ability as a pian other words, Shell ages, I’m hiding in Thee. As one who at the Royal Academy of Music, and an very high standard. Her own what we have. In to set it up. what types of blest Rock of rector asked me to play a re a"‘ the news, how I am sure that if my part in the success winch awareness alert, actl ' Pl evaluate Congregational church organist since boy- at the Roval College of Organists. played no small sciousness or sc rving attention. 1 hey learned the has been a the best of my ability, re- has ;n 0b to use to attract Leonard Mead.” hymn, I would play it to print 1 should certainly refuse impressive stage < lhey I write to say that attained with her f ol their reading public, con- hood days, personal preference. she has ikes and dislikes affront gardless of my her musical readtnp as instinct by doing plav any such hymn, not because it is an entalions. She refers to exercised their creative to chorus stantly dignity, but such a hymn “I should like to say a word in defense of the Music That S peaks. T winch came to he relayed to my' musical ability or “Poems That Sing and about the ideas to enhance the musical tts* something to the dignity of Church music. . . . Mr. hymn. A hymn is not chosen Peycke’s own creations rs big moment came to accept is an affront popularity of Miss srsr When their folk into the wide descriptive, and artistic. to the public. of the improvement in mu- prestige of the church, but to bring subject. beautiful, _ Jennings seems unaware speak on her chosen instinct to come were ready for it. than well qualifies her to of the creative an editorship, they since the unfortunate of God. The gospel implies more 7 How are ideas does not sical taste which has taken place Kingdom —Editor s Note. spoken sign put creative instinct or urge use, the written or This fascinating which makes such correct accompaniment. The Holy Spirit can forth > Only through plays, books, stones, 1917 Hymnary was published, recreated . n wood to music, poetry, (and here Through piper in design and then confine itself impossible lor those with any mu- and does use, the chorus hymn. The point Christian Upsurge down on music, architecture or adver is.ng- hymns and tunes plastics, pamLngs arts, painting, musician) moulded handcraft Fortunately, in the new I use the words of a well known Methodist metals, ceramics, Interpretation. In that sical intelligence or taste. Music results in budding , in the Art of but rather, books, architectural it is also found temptations for mu- is not ‘Is this hymn musically worthy?’ inventions, singing, instru- Hymnal there will be no such forms of • choral and so on-a11 it includes solo and capable of conveying a spiritual mes- automobiles, furniture branch illiterates. ‘Is this hymn by Lloyd F. Sunderman, Ph.D. instinct gives is In speech sical . the urge of the creative one s head. I orchestral direction. The BEYING Suppose a melody pops into mental playing, and Eric H. Thiman. sage which will bring a soul nearer to Christ? College of Music of buoyancy and satis- listens keen imagination, Director, Arthur Jordan one the keenest feeling several times, then one ns forms its foundation is can be very great. says hummed-or whistled and all value of the chorus hymn Fue, the playwright, its pat to glean the purest faction. Charles J. direction of its rhythm, words, and a striving Roland Holt.” protestant church records more com- O for further a study of very next clay we find these letters: ODAY the line of poetry The unfolding design. One to the sentence or before in its history. 1 his tern, its timing, its meaning with regard Tmunicants than ever improvise on Here, too a dtscrimmat- the piano perhaps to one is working. a mu- be carried on for the benefit Christian vigor is due to many reasons. goes to upon which “I have every respect for Dr. Thiman as “Is our worship to upsurge in development in sequences judge the pitch of voice, its worship? particularly since this melody to a ear is necessary to music at its best and music, or is music to be for a help in our During the last two decades and ing the sician. I, too, can appreciate of from the voices in chords The tonal color expresses helpful or otherwise in increasing evidences ol man’s and responses quality and quantity. forms, but during nearly fifty years of re- Is the question of what is Pearl Harbor there are the soprano convey, and one highest not always be in picture which the words I have solely to the organist? emotional instability. Millions which may thought or sponsibility for selecting tunes and other music our hymns to be left spiritual, moral, and work out into a pcrtect o„l Sound ««. « E. Ingall.” battlefields were en- melody. It may not must repeat^ rc,*,u *c gentle persuasion and gradual introduc- C. of men who were sent to foreign twen- recording facts, found that the first of fifth or even instinct aids us in the which left them groping in composition true. I lie creative tion will accomjtlish more than by adopting compassed by experiences thrill is there performance. time one plays it, yet the to a more realistic, natural deeper remind the organists who find wide human disaster. Many of these tieth it urges us on ‘strike’ method. The matter, however, goes “I would like to a morass of world express an idea. see all and r one is awakened to behind the words to values. Is a lowbrow that the many Christians to the church and Christianity as because It helps one get than this. It becomes one of relative Rock of Ages too same men turned are some of the necessary steps he to-n. to comfort in that world of intrigue And here tLu.L author »« when hymn which may contain vital truth, or conveys who have found consolation and the only means of seeking calm in a completion of the musical idea: into the few we musical standard toward the scene, his viewpoint, his soliloquy, help, and has hallowed associations, to hymn were not concerned with the and corruption. melody. comfort and ear that loves a flowing or line o p<> Y- music good music in our churches, greater than him- 1. An chosen words of his sentence be turned down even temporally because the of the tune. Let us have Man generally resorts to a power out the voice- of tone!***j 2. An ear that searches in the shades below’ some paid our organists to play the is being spiritually ground down are lightning-like changes to which it is usually sung is considered but I thought we self when he feels he leading in chords or rolling accompani- and myriad Y doubt- most helpful to the con- face a mechanistic a speaking voice can record, rather indefinite standard? This is setting up a hymns the minister thought by his own materialism. He cannot heighten ‘ in ments. which the facial expression can precedent and seems to me to be approaching gregation. society with a materialistic philosophy. Then too, the Lan- ful 3. workable knowledge of Great mmio Mere Church Member. re- A what the voice desires to impart. musical pedantry. While music may be a fine and A this whole scene Christian thinking men have of chords ^ guage of Music. I his consists conditions s beings their creative urge in expressing gracious servant to the Church’s work, it can become doubled their efforts to help drifting human key, also and” their inversions in every sligh is much food for thought church a shrug of the shoulders, or the master. It seems to me that there find an answer to spiritual problems. The fascinating glance, think a bad uncountable numbers of purpose. Mnnics Tarry. in these letters printed above. quarter of a century ment to suggest or portray a A. W. for every organist clergy for the first time in over a precede or suc- combinations which may t >a can agree, and there is think their ideas so clearly, There is a lot with which we have become aggressively positive about Christianity’s Some- deeply, and ceed these chords harmoniously. us think a t, assesses cannot agree. of man. them with delight because they make “I would like to ask Dr. 1 himan how he much with which we hope for mankind through the brotherhood times one finds startling effects to use they are statements in these columns regard- of man’s the value of hymns and the tunes to which I have made The shiftlessness and unanchored condition delicious with them. for expressing intense drama, judged by which in my mind leave no doubt great set. If hymns and tunes are going to be ing certain hymns spiritual life has brought to Protestantism humor or pathos, placid reflection or Urge for most services. I Obeying the Creative musical standards of excruciating modulations of har- that they are not appropriate growth and an even greater challenge. tragedy, and many more words re- grim of congregational all sorts of comments pro and con, signs of a spiritual rebirth. creative urge, one monies, then I am afraid the end have received Today there are definite which express other moods in music and When one obeys the wJJ particular hymn. t statements on some is to meet this new challenge, it must imitate others! One will think singing is in sight. garding my If the church poetry, but of a fitting and harmonic be forced to of the hymns sung in reason an ability of an organist to appreciate Sankey There is no doubt that some have a dynamic music program. Music is inextricably them, and have 1 The construction. thoughts, believe ^ worthy of a service of brings assurance and Bach, and to make both artistic, is one of those churches do not seem to be interwoven with the divine nature of church worship. must also know the various for o lie’s belief. This ultimately 4. One , of all God. However, the more one 1 sought after by ministers worship of Almighty late nineteenth and early twentieth century confidence in the final delivery of ideas. rare qualities much The rhythms which express the many moods. nd all over the world, who Develop! B denominations. To play a hymn even with a chorus reads letters from individuals church revivals were largely successful because of the be honest sincere in this is not accomplished overnight! 5. One must and J p musical their opinions, the more one or is affront to an organist s have a perfect right to spiritualizing force of music. Religion is indebted to life-time: refrain not an desire to say something worth- obeying the creative instinct is a j • one’s ^ spirit and undoubtedly these hymns help many 1 1 ability or dignity, if it is done in the right believes that and music to religion. From early biblical times but it pays glorious music while through this Language of Music, demands much from us, '^ edu- 1 even the least church worship. achievement! Each day with understanding which leads music played a significant part in be it an involved or a simple in happiness and a we must keep our standards hen you n cated person to Jesus Christ. \ye a re musicians and Music- in the church implements devotion and mate- composition. indeed with blessings of ideas, h ^ our congregations, 1 Bennett not servants of in E. R. hi«dt. But are we rially aids the communicant in attaining the correct I am always filled with awe as well as de- bed, make it look like a photograph . is help- j ‘’J A.R.C.O.)” know how? If a hymn loaf ot ” (A.R.C.M., to do the best job we mind set for communion with his God. light when a theme comes, even if it never Garden.” you bake a delicious When or if certain words are appropriate a slice ful to someone, Much music in the church today does not establish sees publication when completed! In fact cut into it and say to yourself, “Ah! pc “Dr. Eric H. Thiman writes that if he were asked correct atmosphere for worship. The church has compositions I love best a protect the many and have had creative urge!" Even building in Thee, to play a hymn with a refrain like Hiding been greatly hampered by neglect on the part of in- the greatest thrill in developing will never fence, grow better, or so the lawn will .^'Y'rniture in Thee, he 11 Thou blest ages, I’m hiding higher education in preparing trained publisher. all the Rock of stitutions of be sent to a In the years during dress the “New Look.” or changing g0 quite ours< would certainly refuse to play. I wish to say directors of religious music. Then, too. the church one hundred and fifty expressing ‘ ORGAN which compositions about the room is all part of , j n a hymn son g sincerely that if I particularly wished such clergy have failed to provide (Continued on Page 444) have been accepted for publication, 1 have let’s stir all lines. Bring up our talent along j ts sung tn u and he refused to play, I would simply have it gleaned a wee bit of what-t is meant by the and enjoy Frieda Peycke — worthwhile into actual being, 413 sales appeal” necessary in a composition to the utmost! JULY, 1949 etudb 412 f the lower; upper part and Group Two on the next lower part to Group One sons B, assign the and the (Please note upper to Group Two. that the terms “upper” and "lower” are used rather than “soprano” should and "alto”). Similar assignments be made with three part songs. Many voices ha\e been virtually Sing!” poor judgment in “Sing, Boys, ruined by a teacher’s voice-p art assignments. Some children have a strong harmonic Morgan sense and are capable of singing the second part with by Haydn assurance and success, often carrying it alone. Too many teachers take advantage of this talent and assign that child or children to the second and with consistently comfortable posture child, complimented assuming an erect but part in all songs. The by this singing an alert mind, so that the recognition and anxious to prove this trust, imme- and true o pi • pleasing in tone quality, diately and with vigorous enthusiasm lustily sings singing habrts. The sate develop right and proper strong, and forced quality of tone. This S P below Middle C with heavy, ngs to b e used is from B of singing the light head tones range of so once abuse, and the lack in the treble staff, and at to G or G-sharp above upper range, soon causes the tone quality to young ch ldren the stated that all teachers of or intonation insecure, it should be become strident, the pitch and frequent nse° £ tones mth should wisely direct the the voice to lose the natural blending quality. Usually the lo 0 ‘ upper range, and less often those of not temporarily, but permanently. » children_ the voice is ruined, Teachers of grade school the voice range. The vast number of people who are responsible for responsibility in establishing ‘ have a grave early vocal training should be cognizant of this serious in carrying out these and should be most insistent problem. This group includes elementary school singing of all children, vocal ideals. This applies to the “Singing Sergeants” of the USAF Band The United States Air Force Band. B-36. Members of the Glee Club. Pictured with a We are happy to present the following story of America’s mili- Haydn Morgan the development of one of finest tary bands. Although this organization is the Service Bands it has, in the brief Mr. Haydn Morgan is the head of the youngest of the The United States Air Force Band as Department of Music at Michigan State period of its existence, become known one of Michigan. versatile and artistic organizations Normal College, Ypsilanti, the most of Lieutenant Alfred Zealley His training includes Bachelor and Mas- our Armed Service's. by Commander ter Degrees from New York University Through the medium of its numerous perform- Formerly of the British Navy and his musical career includes experi- ances, radio broadcasts and tours, the United ence as Supervisor of Public School Mu- States Air Force Band is certain to contribute sic, Findlay, Ohio; Grand Rapids, Mich- much to the development of our future Armed ested in the high school bands and orchestras of Amer- these figures; The band can resolve itself into a one igan; and Newton, Massachusetts. Service bands. —Editor’s Note. ica and believes that a musical education has a greater hundred piece marching band, a ninety piece sym- Mr. Morgan has served as a member of influence on the lives of young people than any other phonic orchestra, a thirty-five voice glee club, five of cultural development. Before entering the dance units, and several chamber music groups. Here the faculty of the New England Con- type Service in 1945, he had already had a background of we have a band that can supply music for all occa- servatory of Music and as visiting in- twenty years’ experience in the field of music educa- sions and that is worthy of taking its place with the structor at Boston University, University T is not surprising to learn that the finest and tion; and under his direction, thousands of young best bands of America. of Southern California, and Harvard greatest air force in the world can boast of a band people have learned to love and appreciate music, In addition to its Concert and Marching Bands the University. —Editor’s Note. I that has no superiors. According to outstanding and have chosen musical careers which have brought Air Force maintains a school of music where some musical critics, the United States Air Force Band at them success and happiness. hundred musicians are being trained to fill vacancies Bolling Air Force Base, Washington, D. C., can justly Recruiting for the present Air Force Band was ac- in the fifty-five smaller bands of the Air Force in the HE following commentary upon “Sing, Boys, claim such a distinction. The writer well remembers is subject of the singing tually begun in October, 1945. Colonel Howard was interior and overseas. All of this work comes under Sing!” directed to the its wonderful wartime band, made up of the cream adolescent boys. This is a period when group still on leave of absence from Pennsylvania State Col- the direction of Colonel ( Continued on Page 450) T of of symphony professional men, when it played in by inspirational teacher who lege, where previous to the war lie was director of singing, if directed an Toronto, Canada, in the summer of 1944, prior to cooperative participation, can propagate orchestra, band, and chorus. He could very easily stimulates proceeding overseas. At the time the writer was di- social development, emotional have done what practically everyone else did—call it worthy qualities of rector o£ music at The Royal Canadian Naval School vocal accomplishment, with notable a day and attribute what happened in the past to expression, and of Music in Toronto, and had the pleasure of meeting results. something that only a war could produce. The fact Captain Howard, leader of this famous band. That is logical to support the thought that the boy that only five men of the hundred-piece wartime band It afternoon concert can never be forgotten; such ar- should use his singing voice during the adolescent were willing to re-enlist in this new permanent air tistry by a military band was something to astonish period, but it is essential that great care be exercised force band was not very encouraging, to say the least, at the University of Michigan Canadians and even today it is often referred to as in protecting and preserving the voice and vocal Band Boys but Colonel Howard felt that the betterment of the finest concert band ever to visit Canada. But, of interest through singing a variety of songs with correct music in the Services was not only imperative but In a little "barber shop” singing. course, it was a wartime band, and professional men habits and expressive interpretation. No area in the was also in the realm of possibility. So he set out oil who were liable for draft into the services at that vocal field provides more interest and stimulates a his superhuman task—that of building a musical or- time readily enlisted in any of the staff bands that parents, recr greater challenge, nor is there an area which for the whether in the home, school, church, or elsewhere. music teachers, grade school teachers, had ganization which would compare favorably with the directors, vacancies. Hence, we were not surprised that such teacher requires more methodical preparation, gifted Because the early training is so extremely vital tion directors, scout leaders, church choir other senior service bands in Washington, all of which an a band should create a furore in musical Europe, teaching skill, shrewd tact, human understanding, and such a decided influence adolescent Sunday school teachers, directors of boys' choirs, been in existence for many years and enjoyed a and has upon where the cream of military bands have been in ex- had alert imaginative guidance. Intensive research and vocal practices, mention should be of part others. national reputation. Thus it will readily be seen that made , istence boy w e for more than a century. actual experience with many adolescent voices will assignments in two and three-part songs. In the grade Adolescence is the period in the life of a this new organization had to measure up to a high In 1945, the war ended and this great air force that, although it is a challenging responsi- and em' No 35 in D orchestra on the Esterhazy ol Schubert s sic in Philadelphia and of the Juilliard School ab- The poignant brooding reason, however. Haffner, burgomaster of fond of the teacher and trust him. This trust is vitally to grant Haydn a leave o of he special patron was reluctant the nickname 'j'"! Music in New York. During the summer as phony gave this work , one of Mozart’s patrons and the work of important. The pupil must have faith that whatever orchestrated the l 1,ns Salzburg, was sence, the composer-conductor, qualities prompted teaches in his own music school same darkly majestic « his family. Because Mozart intro months he at tells to is for his best good. Often individual j dedicated to the teacher him do movement of the symphony so that the but least popular com was one of his best-known 38 in Major in Prague in Westport, New York. —Editor’s Note. are candles iy 1 1 name Symphony No. D a teacher must assign studies or exercises that mu- members could snuff the Op. »- S< duced his orchestra Tragic Overture, city. leav- positions the . is named after the loi like sically uninteresting. If the pupil does not have faith, one by one, ; composition music racks and steal from the stage any particular 1787 the known, neither man had 36 in C Major is called But dark preparing also to de- '™fsLme reasons, his Symphony No. his practicing of them will not be conscientious. ing Haydn alone in the writing his composition, motif was not mind when “Linz.” if he does trust his teacher and likes him, he will do “farewell' . significance of the was inspire > the . . , . part. The authorities conjecture that Bralnm Ludwig, good-naturedly yielded to in the early 1700 s, Christian mar- T has been said that there are no good teachers, his best with these dry exercises and benefit from lost upon Esterhazy, and he Medea, or Macbeth, depending Back story of Faust, Hamlet, concertos with all the grave of Brandenburg, collected only good pupils. Whoever said it must have been them. read. you . nicknames of on whom • r »r. small hoy rounding up marbles. He I a cynic, but there is a little truth in it, neverthe teacher should never become angry with a pupil; all the . A for romance, not Sextet in G > jealous zeal of a Unfortunately Speaking of Johannes Brahms, his roots sue t six from a certain Johann Sebastian less— germ of truth. A teacher can only be recognized if does, it is not good for him or his pupil. I think well-known compositions have their m “Agathe” as a result ordered a set of a he is known as the ’ jar. 36, the Moonlight Op. “Brandenburg Concertos” are among as good if he is lucky enough to have outstanding I been twice, and each time 1 have re- 1 interest. For example, this one wii Bach. Today the have angry earthy human his romantic attachments, E-Sharp one of many works. 1 think, is upon Beethoven’s Sonata in that Brahms, the composer’s most-played pupils. This, the meaning behind the gretted it later. But I have pretended to be angry title bestowed Agathe von Siebold. His biographers say ghostly reflection of the last number in a suite epigram. Further, if a pupil has exceptional talent it to be educationally nec- 27. No. 2, was not a the aspects o a “Finlandia,” originally many times, when seemed Minor, Op. retreating from what began to assume working habits. It developed Sibelius as a protest against Russian it often does not matter with whom he studies, always essary. On this point I would say—Never become angry the' composer's nocturnal wrote the sextet as a farewell written by Jean critic, major engagement, names in its early a descriptive bit written by the German laslnon the notes despotism, was known by several provided that the teacher has certain qualifications when you are really angry; hut only when you think from for Agathe. He contrived to movement ot the token the l inns’ name for Rellstab, who likened the opening of our B Natural), years Sibelius called it “Suomi,” for his work. Perhaps this is another shade of mean- it may do some good. A, FI (German equivalent Lucerne. A, G, it played as to moonlight streaming upon Lake in the first homeland. The French heard ing in the mot which at first sounds so strange. While I am talking about what I conceive to be sonata into a phrase of the principal theme their his publisher, who and E it was “Vaterland.” ft not Beethoven but Cranz, while to the Germans What are the qualifications of a good violin teacher? the duties of the teacher, I should like, with all hu- was mATtpmf'n t “Patrie,” the eloquent Sonata breaking the lsars was moved to originate a title for Only after the Finns succeeded in This is not hard to answer. He must know music, he mility, to say one thing more: The teacher must be the Appa- Berlioz and Tchaikovsky Minor. Op. 27. Cranz aptly called it their national life was this thundering work must understand thoroughly the technique of violin conscientious. Not merely conscientious in the in- in F to write grip upon invented also inspired Hector Berlioz pres- So. too, other Beethoven admirers A love affair performance in Finland under its playing, he must love teaching, he must have control struction he gives, hut in all his relations with the sionata.” which he permitted Ivan Galamian works. They called his Trio Symphonie Fantastique, Op. 14a, nicknames for the master's his flaming ent name. of his temperament, and he must be a psychologist. pupil. He must be honest. II he has a pupil who is Artist. , „ , . trio because of the subtitled “Episode in the Life of an in D, Op. 70, No. 1, the “Ghost” frankly Russian farrago over the decadent These qualities are not so very rare, but let us ex- ambitious for a concert career but whom he knows Irish actress, The recent the second movement. His episode was his violent love for an have brought a mysterious opening of The proclivities of Soviet composers must amine them more closely to see just what they imply. ented students often seem so more from psychological not to have enough talent, it is his duty to tell him first saw on the stage E-Flat, Op. 74 became the “Harp Henrietta Smithson, whom he For lie String Quartet in blush to the guilty face ol Sergtt Prokofieff. To know music with the head is not enough; the difficulties than from any real lack of violinistic abil- exactly what he thinks and to guide him towards a pizzicato arpeggios m time she ignored him, in the beginning the harp-like in 1827. For a >. the Classi- quartet, owing to his Symphony in D Major. Op. 2 teacher must know it with his heart and his instinct, ity. To overcome these difficulties means more work field for which he is better fitted. of his adulation. He called because she was utterly unaware according to his the first movement. cal” symphony, because lie wrote it. be aware of its innate meaning, and sensitive to its for the brain and more joy when they have been con- Conscientiousness extends, too, to the conduct of chose the title and a generous portion of lus it was Beethoven himself who poured all his passion have. But as thought Mozart would various styles. His approach to the pupil cannot be quered. be successful— by this I to the lessons themselves. If he wishes to keep the re- staining his light biographers, he To and mean do his massive Third Symphony. Here was brilliant color into his symphony, leave a “Eroica” for not the only composer to the same if he is teaching Mozart as it would be if really the teacher spect of his pupils, the teacher should always be harlot. Later he Schubert was good work— must be always looking work, and he dedicated it to the man of love with the crimson hue of the Austrian a truly heroic Anton Bruckner, the he were giving a lesson concerto. all. his sweet- symphony unfinished. on a Vieuxtemps lor new problems to solve. He must use his brain, punctual and always well-mannered. Above he to be of heroic proportions—Napoleon professed his error in musically depicting mo'e- he considered composer, was working on a fourth That, of course, is an extreme example, but it will keep it agile. For the better his brain functions, the must be patient. An impatient teacher is not a Emperor, they were married, lived teacher and good Bonaparte. After Napoleon declared himself heart as a courtesan. And so Sym- ntent for his weighty and amazingly involved illustrate what I mean about the necessity for a better teacher he will be. teacher. One often forgets that what is easy now was Beethoven for a time, and parted. Thus endeth Beethoven bitterly regretted the dedication. most unhappily 1896. Sel- I) Minor when lie died in teacher to he sensitively aware of musical style. Fur- In order to have his brain work at its best, once difficult, and is still difficult for the young the “PathG phony No. 9 in he must also named his Sonata No. 8 in C Minor the episode. “Unfinished. it is nicknamed his ther, his appreciation of music always be grow- have a complete control of his natural temperament. student. His Sonata for brother, after hearing the first dom played today, must ticiue” because of its passionate depths. Peter Tchaikovsky’s E-Flat. is his Symphony in ing. If he teaches the is troubles Then there is other point that is became the Symphony No. 6 in B Mi- Much more popular Fourth Bach Sonatas when he forty Private or upsets should never interfere with one worth a com- Violin and Piano in A Major, Op. 47, playing of the composer’s a years after he wrote it. Bruckner invented as he did when he was thirty, there is something the relationship between teacher and pupil. I knew ment: the habit some teachers have of generalizing. to violinist suggested that it be named the “Tragic.” Two “Kreutzer” sonata because it was dedicated nor in 1893, story for the music, a highly imaginative wrong with him. a teacher once who had a very uneven domestic life, There are not so many general, inclusive rules for who never, so far as is known, the Russian composer this seemed too stark and program Rodolphe Kreutzer To the composi- that despite the The brother then offered which prompted him also to nickname to say the least. If things were going well at home, violin playing as some people think. And what rules played the work in public. It is said grim, and he refused. Always Ideas tion the “Romantic” symphony. New he was an excellent teacher; hut if there had been dif- there are must be flexible. They must be adapted to dedication, Beethoven actually wrote the sonata for a “Pathetique,” and by that name is this brooding, sen- A thorough knowledge of violin technique is to be ficulties, he was a bear! He took his exasperation out the pupil, not the pupil to the rules. mulatto violinist, Bridgetower, with whom he played sitive work known today. Many believe that Tchai- Symphony a la Hollywood expected of performance in 1803. to the nickname because he had a any well-trained teacher. But I think on his pupils in a most unjustifiable manner. This the work in its initial public kovsky agreed The Pupil’s Responsibilities extraordinary Symphony that this, too, is not enough. If one has taught con- meant, of course, that his pupils never knew svhat Dedication also enters into the nicknaming of El- presentiment of death. He died a few weeks after the Gustav Mahler wrote his 3 It is liter y scientiously, new thoughts, ideas occurred. sort of they would they went for But we have talked enough about the Variations on an Original Theme. Each of the premiere. No. 8 in the best Hollywood manner. new have man meet when responsibil- gar’s olten in 1910 but not very Each should be examined and tested. It may be a their lessons. An unstable relationship of this sort is ities of the teacher; those of the pupil must be con- fourteen variations is dedicated to a friend, and the The wintriness of Russia runs with chilling notes a colossus. First presented por- of two hundred an clearer way of explaining to a beginner how to hold obviously very bad—bad for the teacher and certainly sidered. If the results of teaching are to be the music w'as written as a series of tone poems which through the immaturity of Tchaikovsky’s First Sym- since, it required two choruses good, three hundre his left hand, or it -of overcom- pupil. pupil must carry certain very definite trayed the unnamed individuals honored. The guess- phony in G Minor. I-lence the nickname, “Winter fifty voices each, a children’s choir of may be an easier way bad for the responsibilties, hundred am ing a difficulty in chiefly concerning nature of the dedication soon led to the nick- Daydreams.” His Second Symphony in C Minor, rip- and fifty, an augmented orchestra of one the Paganini Caprices. If it proves his attitude towards his teacher agaiil aS that it " valuable, the Understanding the Pupil and his approach to his name, “Enigma Variations.” pling with Ukranian melodic nuances, has earned the forty-six, and seven soloists. Small wonder teacher should keep it in his mind ready work. We have agreed that them for use nickname “Little Russia.” dubbed the “Symphony of a Thousand." Add when an occasion may again require it. Every I said something just now about the psychological the pupil must have faith, for if this is lacking, the thoughtful Schubert and Schumann Because the opening subject in Bach’s Prelude and yourself. ... teacher can add to the sum total of teach- difficulties of pupils. Seven out of ten pupils have teacher works at a great disadvantage. Regarding his is entff ing knowledge. approach to E-Flat Major is the same as the first line of Lalo’s “Norwegian Rhapsody” actually them, and the teacher must be a psychologist to deal music, his first concern must be always It was posterity, of course, and not Schubert who Fugue in ^ Lalo had inclmiei The teacher must love teaching for its own sake; with them successfully. This does not mean that he to play better, to make more and more of the music entitled his Symphony No. 8 in B Minor the “Unfin- a hymn ascribed to an organist of St. Anne’s church Rhapsody for Orchestra. However. ' 0 not for is composition, its financial rewards. If these are his chief must read many ponderous volumes on psychology— he is studying, to understand it better, and to give it ished.” Brought to public light many years alter Schu- in London, this composition known as “St. Anne’s” in the work parts of an earlier phrase, incidentally, wide populaiit)- interest in teaching he will never do the best work. though reading a few would not do any harm; it more eloquence. There are too many students bert’s death, the lyrical Eighth was considered unfin- Fugue. The same has been used wegian Fantasie, which had enjoyed who o i He carried the has to teach because it is his mission. It must be, means, rather, that lie must “feel” psychology and are more interested in the money they will in that it had only two movements instead of by many other composers, among them Handel. Gravity, seeking something specific, make ished, to him, an Art in itself, secondary, sense the subtleties of the relationship betsveen one than in anything else. Such pupils the customary four. Sketches of the third and fourth The lyusical term “Largo” identifies one of Handel’s name forward into the new work. not something cannot do their of man, not a side issue. human being and another. Then he must apply what best, for concern with movements were found, but as yet there has been no best known works, probably because “Largo” is easier World travels have prompted nicknames Teaching is too absorbing to be given financial results is always poi- Amenc . a second place in his work with his pupils. Every pupil complete unanimity of critical opinion as to whether to say than “Ombra Mai Fu.” The composition ac- compositions. For example, after he visited in a man’s artistic life. If the applause he feels has sonous to artistic development. When I was a student ,n ol large audiences different only after the teacher discovers Schubert realized they were superfluous and so dis- tually is an aria by that name and was originally sung Antonin Dvorak wrote his Symphony No. 5 means more to him. then he had a psyche and at the Conservatory in Moscow 1 never heard any dis- 1 better scene of “Xerxes,” not teach, for it can he really lead the pupil. Every pupil is differ- cussion of artist’s fees, carded them, or whether he did plan eventually to in the opening Handel’s opera Minor and called it “From the New World. he cannot be successful. To the teacher’s salaries, or the money sojour real teacher is teaching develop them for inclusion in the work. which was produced in London in 1738. String Quartet, Op. 96, also inspired by his each pupil opens a new horizon, each ent—that what makes interesting and so the students hoped to make when they entered pro- return to Amt'i lesson is a new fun. fessional life. Not posterity, but Robert Schumann, was responsi- To Haydn, an obvious misnomer among in the United States, is otherwise known as the adventure. And it is not only the much But what long discussions there were Schubert’s No. 7 the nicknames of his many symphonies is the exceptionally talented a about this artist’s ble for conferring upon Symphony “Lon- ican” quartet. > pupils that stimulate man interpretations, as compared with an to do lus in C the fulsome title, “Symphony of Heavenly don” subtitle joined to his -Symphony No. 104 in D Mendelssohn, too, used the locale of his wide best; there is the joy of solving the prob- the interpretations of that one! Major. is d'os lems of the Length.” Finished the year of Schubert’s death, 1828, Minor and This only one of twelve sym- frequent travels to identify the compositions less talented. Often these seem impossible VIOLIN This brings up another point. The pupil should n to solve, played once and then forgotten until Schumann phonies Haydn wrote for Salomon, the vio- Syinph° . but if one hear as many concerts as possible; it was London travels inspired. His Symphony No. 3 and succeeds—and generally one can— Edited by Harold Berkley not only of vio- manuscripts by linist and impresario, and any r the sense of found the score in a pile of owned one of them has an No. 4 are known as the “Scotch" and "Italian achievement is exhilarating. The less tal- linists, but also pianists, (Continued on Page 447) brother. equal right to the nickname decorating No. Page * Schubert’s 104. spectively. While in Scotland ( Continued on JULY, 1949 417 416 ETUDE 1 , to should decide work in an entirely different field, don’t be heart-broken-! feel either About Stage Manners and don’t that you have your money. Music wasted enriches life tell me about stage by giving your son this fine Q. 1. Please and mi! They Called Him “Skid Row Tchaikovsky” twelve yeats manners for children six to sical training you are providing a richer leaving the old, as to approaching and Answers life for him—whether he finer becomes they and piano at a class recital. Should Questions a professional musician or an amateur N a sticky June night several years ago a Healing bow (or curtsy) either or both when A Symphony of one. human derelict from a teeming midwest city’s they come on and leave the stage? to the what should be 3. I am glad you were able to get the Skid Row was admitted violent mental 2. In a trio or duet, O I feel certain General Hospital in the order in approaching and leaving Conducted by new piano, and that the ward of the Wayne County the stage? satisfaction that all of you are deriving Detroit, a pronounced alcoholic. by Ray Freedman give me some suggestions will more than repay or canned heat addict, he 3. Will you from it you for A chronic “Wino,” met in the teacher s Mus.Doc. about class recitals Karl W. Gehrkens, whatever sacrifice you and your husband nemesis when he mixed a quart of canned heat home? his Music Teachers National Asso- have had to make in order to buy it, "nitro” with a pint of rubbing alcohol and A years ago our country was greatly excited members of the method, or books do und wine few 4. What plan, at Detroit. 4. suggestion is that K 1 of aspirin, and swallowed the foul contents. about the the piano performances of ciation, then in convention you recommend for an eight-year-old Professor Emeritus My postpone box news of piano study, but organ lessons for a few years—perhaps later they carried him away a raving, delirium- General Hos- It was extremely difficult for him to collect his girl who is to begin College Hours Maestro X at the Wayne County alone Oberlin locked him securely in a Dr. who cannot seem to carry a tune until after his graduation from high wracked madman and pital and Infirmary at Dearborn, Michigan. thoughts and to utter simple words, but she has sung with other chil- Editor, Webster’s New the Wayne County General Hospital although Music school. padded cell at Your Editor was present at this performance and Altschuler made clear that his improvement dren in both school and church? Dictionary 5. You are fortunate to have so fine a undergo treatment. been extraor- -D. A. R. International to was astonished by the playing of the anonymous since taking music lessons had man-teacher available. An adolescent boy- For months the small Skid Row habitue squatted pianist. According to a statement by his mother, dinary. The pianist had formerly been a reader needs the guidance of men as well as of behind bars fighting a battle of alcoholic madness . . . A. There are no set rules, but I my- His mother introduced the writer of awakening. began he entered the hospital in a distressing mental of ETUDE. naturally women, and usually he has too many until the sudden dawn Then self like to see the child walk. condition. He previously had been a musician as Editor of ETUDE. After about a minute, the women teachers. The fact that this teach- the long, drawnout battle against liquor, cheap liq- to the piano chair, turn to the audience, with keen delight and to concert dregs of Skid Row. A bum, an alcoholic and teacher, but had been unable lo play for patient’s face lighted up . . the down. er took his pupil a where the uor . and nod or smile before sitting tears to be played of fifteen (when he left his overcrowded some time. After help from a music teacher on he muttered “ETUDE.” His mother, with After playing he should turn again to- boy’s own piece was puts from the age lost said that only a months before, Assisted by very high in my regard. I to cast his lot with other homeless souls), the staff the hospital, he resumed playing and in her voice, few ward the audience as they applaud, and the teacher home of and an anti-social, foul-mouthed, fighting bit he ivas incapable saying any words. cither whisper “Thank you” as he nods Professor Robert A. Melcher wish more teachers—both men wom- a petty thief, performed works of Chopin, Liszt, Mozart, and of girl, curtsy would take this sort of intelligent of humanity, as he had been in the past, he wanted Rachmaninoff before an audience composed —Editor’s Note. his head or bows; or if it is a Oberlin College en— of the lost years. —if the teacher or the girl herself prefers interest in their pupils. (I wish also now only to redeem teachers!) sit for hours, listening intently to the this. The details are merely a matter of that there were more men He would be- of as it poured forth from a taste, certainly all children who per- pieces any Along this same line 1 advise you to luring strains music, but it so we don't buy such piece they as possible to purchase radio loud speaker just outside his barred cell in the form in public should, as a minimum, more, but if some one has a gin as soon sian composer, he discovered after a fashion, was the it in his soul. Even in weaknesses . . . the same kind of shortcomings that learn to face the audience and smile be- especially want to hear, he will play phonograph recordings of fine composi- hospital. There was always music demand fqt forth from the bordered on his own, the same emotional instability. little patient’s standard of comparison for everything fore playing; then turn toward them for them. There is such a tions, so that while your son is learning his sodden moments, music poured that we wonder if lor He began to write, write, and write, lor hours on in life—musical or otherwise. Things were like or again for a moment with either a popular music now to play a certain composition he may back of his mind, crying for release. He begged not to play more of it instead end. His doctors became interested. Dr. Ira Altshuler, unlike Tchaikovsky. He had a theme written much “Thank you” and a nod or a more he ought sometimes have a chance to hear it per- a pencil and paper. Nurses \vere reluctant, but the of sticking to classical music all the of group and musical therapy departments in the style of Tchaikovsky and it represented to him formal bow, before leaving the stage. formed by a great artist. doctor assigned to his case ordered that he be given head the time. Will you advise us? at least his mixed emotions toward his mother. elaborate bows, and music, I think your both, for there was a glimmer of hope for him. at the Wayne County General Hospital, became Boys hate to make D. F. 6. As for popular -Mrs. H. ’ It back, Dr. Altshuler explained, as them to about it, an acquainted with the little Skid Row patient and kept coming I am not in favor of compelling son is being very sensible or tinkered at a in the that seem to them to be silly; require him to play A Common Ground talked with him for many hours. When he discovered the patient hummed piano do things A. I am of course delighted with your I urge you not to should begin at the small is fear, too must learn at least a deportment the composer Tchaikov- the patient’s avid interest in Tchaikovsky, he knew ward. Thus the man who inhibited through but they letter—just as anyone would naturally be it if he doesn’t want to. He had always worshipped the social graces, and if they recital. having a music for his great music, but because he had found a bridge that might let him find the shame, or pride, and tries to cover his emotions, re- modicum of to that his advice has been 7. I like the idea of sky. Not particularly suggest that you use one of the pleased know all public performers do 4. I high true soul of his patient. The nineteenth century Rus- veals his real thoughts and emotions if he happens are told that first of included as a part of the of the tragic story behind the composer and his known grade” books now available lollowed—and that it worked! So school these things, they will usually cooperate many “first are available to be a composer. In the wake of that discovery, it all I want to thank' you for taking the school, and if fine teachers that have words accompanying even the great task to interpret the Skid patient’s —especially if the teacher knows how to advantage to the was no Row trouble to write me such a fine long it might be a great grim very simplest pieces, and that you teach personality, to find what he struggled vainly to hide. tell them with a smile instead of a of the closer correlation the very beginning, to letter. (Few people seem to take the student because must.” your pupil, from sub- “You to thank-you these days!) I between music study and academic well as to play. trouble say A Gradual Awakening 2. It depends on the sort of trio it is. sing as would be have had to abbreviate your letter some- jects. On the other hand, it If one of the three is a woman or girl, his work Dr. Altshuler began with the simplest of melodies what, but I have asked Dr. Cooke to too bad if your son had to stop she always comes out first, and at the Advice for a Talented Boy seems to and advanced his patient into the field of harmonics. More print at least the main points in it be- with a teacher under whom he close of the performance the men stand children As the patient advanced musically, he also advanced cause it seems to me that many other be doing so well. (Talented aside so that she may leave the stage About a year ago I wrote you con- anse.) emotionally, and was more and more able to see for Q. parents might profit by the extremely often cause difficult problems to ahead of them. If there are three women cerning our son, who was at that time himself where his troubles in a large part reposed. doing very well intelligent way in which this boy’s par- or three men, and if some of the instru- fourteen years old and Then from the nerve-shattering discords of mid- He is note a year older, ents are directing his musical career. If ments (such as the ’cello) require special with Iris music. About Piano night on Skid Row came the symphonic picture of grown so rapidly that he is space were available I could write an en- Is There a Book or if one or more and has adjusting of position, a haunting melody . . . and only recently it was played six feet tall, but his weight is in good tire page in reply, but because I must Teaching? must use a music stand, then these play- by eighty skilled musicians, composing the Detroit proportion to his height. Following also provide answers to dozens of other pianist fol- ers come out first and the got him a new piano, yours m Symphony Orchestra, who rendered the first move- your advice we questions, I will merely list a few of I used to be a student of one of the performers in either Q. lows. If put him in charge of a man teacher, Music department at Obei- ment of the symphony known as “Eloise.” important than the high spots by means of brief com- the School a duet or a trio is more and did not push the trombone myself teaching Composed in a large part by the violent little man ments and very short answers. lin, but now 1 find then that person usually very well with it in and the others, although he does, piano in Nevada. I am married who was once known as the scourge of Skid Row. 1. I am glad that K. is continuing to first and leaves first. But if a school band. His teacher tells 11s but I hare comes out his have three lovely children, but who now has fully recovered his sanity, it will perform to- our son has a real musical career play in the school band, not only be- piano pupils, man and a woman are to that been asked to take some be a tonal picture of what happens when the normal if wants it, and we cause the ensemble musical training is teachmg as if is the soloist, the ahead of him he should like to tlo die gether, even the man and 1 and abnormal in the mind of normal man clash. As that by this time he ought to know. worth something, but because any sugges out first, and at the end feel he needs well as possible. Have you woman comes tie it the admiration of all For the spring recital this boy. is social experience, compares music has won musicians who the stands aside so that she may and belonging to the tions as to a book that man of the Saint have heard it. Moreover, as a demonstration of the playing the first movement school band will make to various methods?—Mrs. A. R. B. precede him as they leave the stage. up a certain Concerto in G Minor, with his powers of musical therapy, it has the interest Saens extent for the fact that he will won However, if a woman plays an accom- orchestra part on probably teacher playing the ou of psychiatrists and scientists in many sections of rise not be able to play baseball or football I have to tell Y paniment for a man. she does not the organ. Our son thinks lie would A. am sorry to ot the nation. because of the danger to his fingers. I is no book bow unless he nods to her or takes like to take some organ lessons, but his so far as I know there and the most part, the music tells the story of the urge you also to plent I On her hand for a joint bow. piano teacher advises against it, and use your influence to sort you ask about. There are , inner conflict. the four vou think. The boy induce your son to attend of corns Only one of formal movements 3. I greatly approve of frequent class we wonder what school affairs books about piano teaching, school and has been on of various all eiuiu of the symphony was presented, but in the ten or recitals in the teacher’s own home or does well in sorts, and to learn to asso- but the ones I have seen are the honor roll five times this year. A ciate easily with sy s *- twelve minutes it required, the story was well launched. studio, and I believe that the same rules other people. Many mu- connected with some particular weeks ago his piano teacher took It simple little I few else . opens with a theme, the World War of courtesy should prevail here as at the sicians are not well-adjusted, normal or series of pupils’ books, or him to Pittsburgh to hear a concert be- people because during adolescence author’s own1 song, Pack Up Your Troubles ... a number used larger public performance—just as I the concerto that he they represent merely the which included frequently in music therapy at the hospital; sweet, should be taught were pushed into giving all their time are eviden y gay, lieve that all children himself is working on, and we think and methods. What you and thought to a musical ara and rhythmical, the very title has a decided lilting good table manners in their own homes, that was a fine experience for him. career, and looking for is a book of comp , advice much as I myself love it "° air which is good therapy. even though no “company” may be We should like any further music, I do not methods and materials, but . offer, and I to w It is morning, and the patients are awakening. present. One of the things for which I that you may have to feel that it is rvise for a boy to withdraw take a very broad-minded person should like especially to know what you himself entirely ever Then come the strange mutterings, the confused clash- most grateful to my own mother is from other people and such a book, and I doubt if it p>, am attending Music Therapists at Work think of a high school boy other w 1 ings, the angry protests, the wailing of despair, as the that she taught her children to be courte- types of activity. written. Probably your best bet conservatory' We may be moving soon a 2. I think it the disturbed patients fight against reality. There are ous to older people whether “at home or is still a little early for to through all the Eludes of Michigan. to a town where there is a music go This picture was made at the Wayne County General Hospital at Eloise. your boy to m>e fear and terror and hate in the symphonic picture abroad;” and when I went to college decide definitely to devote few years, reading not only the school at the high school, with lessons It shows a group music therapists at work with mental and neurotic’ raw inexperienced his life to music. By all also of against which the little theme must fight, call and although I was and after regular school hours. I should like means continue tides on piano teaching but patients. does not permit the publication of portraits of patients. table to give " The law coax, offer help and peace . . . in all sorts of ways, I had as good also to know whether you think we him the chance to study it in- answers to questions that have been tensively, There is small doubt that ( Continued on Page 442) manners as anyone. And just as true ought to insist on our boy playing as you have been doing. But ten by the heads of the different courtesy begins at home, so good stage popular music. He isn’t interested in if, when he is a few years older, he partments. ( JULY, 1949 419 418 ETUDB . 1 — 1 — pianist is a good HE first “must” for the young at three, 1 start. Since my own start was made it. but my mother CRIMSON T don't remember much about Pianist CARNATIONS Young valse melody, which will be around the piano. the intriguing sure to please third grade pupils. The dotted lines indicate the direction of the melody. Always make the tells me that I was always playing, of An its Problems listen intently to as legato as possible. I would press down one key and melody distinct, and Grade 3. I never sound before going on to the next. It seems MILO STEVENS group. When with slapped down a number of keys in a A Conference Tempo di Valse moderato (J-=52) pitch, she legan my mother found I had absolute teaching me, using elementary books. A year later Paulena Carter who lound Pianist and she took me to James Woodward King, Sensational Young Composer these years, me ready for more advanced work. During practice Mother always practiced with me, making good practice a pleasure. She felt-and so do I—that Royce feeling by Jennifer habits can be established by eliminating the 1 worked, of loneliness. Talking about my work while help and and feeling that my mother was there to Philharmonic Young Artists in the Los Angeles wonderful thing. Pajlena Carter encourage me, was a in California in i 3°> appearing as soloist with that Born 9 her Competition, age three, with Small Hand gan mime study at the of under Alfred Wallenstein; earned a first The Problem of a the Mims group mother, a capable pianist. At four, her composition, problem grew out of the size prize and performance for My greatest technical study under James Wood- not span an octave, ready for advanced Suite"; was graduated from high of my hands. At the start. 1 could that yeai Cinderella her first broadcast By the time I began to ward King, and gave scholastic average of 99.2; and and so octaves were avoided. at seven, school with a technique was she wrote her first composition; she play octaves, the rest of my general At five, entered professional music. At fifteen, had Stockton Municipal Sym- well developed. To compensate. I stretched my was soloist with the program. Miss Carter has appeared fairly Scholarship her own radio and index finger (also at nine, won the Hood hand by pressing the thumb phony; and as soloist xvitli leading orchestras, Nat- Music (the as- recitalist, fifth finger) against any flat surface. Philadelphia Conservatory of thumb and at the featured star on many network radio to stiff- coach- and as urally, this need to stretch inclined my wrists youngest competitoi was seventeen), next in addition to working as a member of " this by keeping my wrists as same shows, ness. I have overcome and winning the jjveo rit. ing with Olga Samara/) Symphony, and composing. 1 ^ by centering hand movement the California Junior relaxed as possible, and year. She studied harmony, t): > > t > > 1 — — > > scholarship the next > — -> > • — starred on ABC’s Meredith 7Z wrist only— not in the arm. The She was recently — J —* and . — in the hand composition - j counterpoint, orchestration, and with > b l b b * —b b *— double-thirds—a dif- Miss Carter lives her 7 * — only other problem has been Willson program. -J ' Carr Moore, and coaches with -m “jumping thumb” is always with Dr. Alary Her liobhy is fencing. ficulty to all pianists! The Carter parents, in California. a ? thirteen, Miss r 1 uneven. Here my chief Rabinowitsch. At ' 1 a A ready to make double-thirds Max Editor’s Note, 1 A double-third she won First Prize aid has been frequent repetition of accomplished several feats: F Gen- scales, especially chromatic minor double-thirds. tech- erally speaking, the acquiring of a smooth, even rotating, the whole nique is aided by turning, or runs, and arpeggios, in the di- work on your parents or friends. This hand, during scales, reserve each-hand-alone memorized tic reading. At present, I realize were the passage is going. This makes an bring out weak spots you did not rection in which of fingerings or special will of practice for the figuring out been thor- immediate improvement in the equality of sound there. When these passages have again effects. in the early days, it seems necessary to practiced, one feels much surer about playing all the notes, best practice efforts. oughly improves I keep the mornings for my practice each hand separately; but as technic the work in public. After warming up with scales and arpeggios, I begin and interpretation grows increasingly important, too serious work on pieces. And I feel that problem Musicianship practice of this kind tends to produce a pedan- Building much from the works themselves passages” of I think the greatest purely technical problem offer the best material for technical the young pianist today is the tendency to become study. After all, each new piece con- to play all works, even lyric lines, with A -A tains literally dozens of “exercises,” if percussive— _ A its touch. 1 he percussive tone has they are recognized and studied as a hard and brittle place, of course—but there seem to be fewer and 5] 3 such. When each new piece is explored * 31 '£ 2 :i 1 2 . "J 1 $ pianists can play Mozart, Scarlatti, Chopin, 2j-> for such exercises, the technical re- fewer who frag- similar composers, with the delicate, almost t'P 1 > I V sources acquired, after a period of and f f —- the cure lies • C C unlimited. Cer- ile interpretation they require. Here t time, are practically • but in the ear and the brain. r cxxfi \ tainly, scales and other basic techniques not in the lingers alone, technique— but there are 1 must be thoroughly mastered—but in I have spoken thus far of ol r other matters to keep in mind. Most important addition, each new piece should be 1 1 musicianship. No mat- - regarded as a potential gold mine of these is the building of sound J -0^ — musician t v- - I—* > - pianist is not a > > > 1: — further valuable drills. ter how iluent his fingers, a —— > — — coun- - —£ £ • - - until he has a thorough knowledge of harmony, -±_. 0 „b b— b- b b—b— own method of learning new II ii. My ant —J -J. M terpoint, canon and fugue, form and analysis, 1 1 works is to begin by sightreading the a L J 1 Ibis requires \ .1 — 1 — composition. — — orchestration piece as a whole (or the full first sec- some and listening-out for what tion or movement of a longer com- not only study, but an aware in Bach, Beethoven, ant position). This gives me an over-all one can hear and absorb of musicianship, picture of the musical and technical other great music. The acquiring a separate thing, to be ex- problems involved. I then select the however, is by no means out in playing- most difficult passages and practice plored apart from playing. It comes musical problem them as exercises. After the hard places In my opinion, the greatest purely building, rounding, are mastered, I read through the whole is the perfecting of phrasing—the technique is on) work several times more. By then 1 and shaping of phrases. Alter all. and mean usually have it pretty well blocked in, the means of expressing musical thought are made to sounc and it remains only to polish it. for ing—the thought and meaning linen evenness, phrasing, and nuancing. Also through the phrase. Therefore, no matter how remains to give an by then, 1 usually find that 1 have your technique may be, it still beauty an memorized the work. When works are artistic interpretation of the notes, for not so readily memorized, I find it use- effect. reading,a study them section by section, Another help to musicianship is sight ful to "or away from the piano, memorizing which enables you not only to master your own acquain chord formations, melody line, and so more intelligently, but also to win a wider of music. on. The best memory aid, though, is anceship with all sorts, types, and "schools” to learn concentrated repetition. One should al- The value of being able to sight read and to m ways know exactly from where one new pieces quickly, has been brought home Meredi moves, and to where one is going. How- by my work, these past three years, with a stanc ever. I think the real problem in mem- Willson. On his program I played not only s orizing is not actual memory so much ard concert repertoire, but also classical arrangemen arrange as what can happen to even a well- of semi-popular and popular tunes. These did u memorized piece when one plays it be- ments were written for me each week, hut I of the Paulena Carter fore an audience. Hence I think it get them until the afternoon or the evening 4a very important to “try out” a newly day before the broadcast. ( Continued on Page etude 420 = l POLONAISE ... , composi 10 ^ s * Tl0thirde lr note at the beginning of dramatic work sets the scene for one of Chopins most exciting Dr.Guy Maier has made these The fiery, trumpet-like this very themes. expressively to t e en provides a of pacifying lighthearted repose, which must be performed very nNDBR.THBUNI.aSS Me Dream, a strict. in D-flat, kind and comment. In Let movement, ial FR. CHOPIN, ^ i. ^ ^ p On. of the greatest «WUU FRANZ SCHUBERT Allegro appassionato (J=i08) organ.Gr.de • into valuable .pen the by Guy Maier arrangements ».r. being played Arr. ,. degata »u«t be purred, g o|J 66) l.h. 2 '3 poco rit i ^ tdh. 4 3 — 1* g p~r ff £ h Tf^rf rrjr ft 1 4 ^fa 1^= 3^ din > p s' "| , 3 "Ml • 4 l h-aJL ..^1 bA-a j — i f- 1 r r-=^ ^ =t=- 1 5 1 3 4 1 1 L_J r British Copyright secured Presser Co. Copyright 1942 by Theodore FRANZ SCHUBERT LET ME DREAM Arr. by Guy Maier Andante (J 52j>§] 4 i 3 poco r ten^^ 24 1 3 2 ~1T~~ 2 34 3 . 8 i i — 0 • tH- - -r -p 7 f • - ^ ,vW T r-=^»lil. I* ^ m — m 1 SScfe -. - Copyright 423 Co. British JULY 1949 Copyright 1942 by Theodore Presser €22 424 etuds PIANO CONCERTO IN B-FLAT MINOR THEME FROM (2nd MOVER all marks of expression with great care.. we o a Watch melodies and lends itself peculiarly is one of Tschaikowskys loveliest This ^ j TSCHAIKOWSKY t I \ / Copyright 1947 by Theodore Presser Co. British Copyright secured 426 STUDS JULY 1049 . — SOUTHERN AIR though reciting it. A „lacently, as an, ld com DANCER the fingers. Play the work easi y NAUTCH are so facile that they seem to fall under “** ip-ht’s compositions par, w.th the «.*.•«* “““*“ MlsS W S ..tractive little ...e,„lay the let. hand ' Before playing the right hand par. of this P WRIGHT Grade 3 N . LOUISE Grade 3*. WALiE OD NNELL chords, until the background becomes habitual. - ^ -^ 3 i ^ 3 Allegretto (d-=69)i '1st time m i i mp oresc. / 1 i i \ i i Mi ^ M IMA. IMM : £ 5> e Gaily f L,ast time 2=± x. ^rrrh^ 131 - O' & 1 m ppg 1 mj) cresc. f Fine nf J+ hAA * itJe I Ik & fo±iA I a e i m 3 i -J Li w.r^m J - ,J-^J gg J | | £ P r mf fWjp cresc. ./; j»j» X J»J» X fU ii*Je UeJe i i <[J* J* i &>• = I g i 1 j t_ Copyright 1949 by Theodore Presser Co, British Copyright securea (Copyright 1948 by Theodore Presser Co. 439 43S STUDS JULY 1949 — ——- — — — — — - — 1 — - SALUTE TO THE COLORS COLORS MARCH TO THE BERT R. ANTHONY SALUTE MARCH PRIMO BERT R. ANTHONY Tempo di Marcia (J = 120) SECONDO ( J = 120) Tempo di Marcia ,1 1 1 it i f m t 11.. —— \- /«li p**]1 -I— _ f AC. r /*<• 1 4 - \&¥= Up "it bp * a%T=fn * * < * 4 — 1 = —&—-o f — 5 .^_[. j S T“V 5>5 —e ife EP=E£ 1— £ ! _ .... — = -l (*?* p-4=S#=— ^ T=T~' i V P > > > :> > > > - r~ , »— 1 'TV-' ^ > 1 — e— IJ 1 — — 1 — IT ^s 4^=—0 o r A- 5 TRIO #- r» i $=-- l * / — u > fa»gp 4=*=*= 1 » i « * ! HS | =5=5=> j—c 1 r--A— f —^ sf=f 4" r i r p T= ff _ -g== [7 1 i-L M-- 1 J 3 * l L=M= J (P — m ff o 2 3 1 2 p. A f 1 • • » • -A—A— > «* > ]l l -A “ • *' A-P P— -A A- =f^f=h e— 5m _ P | 1 t= * ] • * - 1 1 > 1 ^ , \ -A > > =*= J l=E —p— rfr~ 1 — r — — , —£ ^ ^ r —A i=*=*=«tm=T-a -P — [d^J= -J J- . ' ~Ph 2 It ! x t R Q 4 5 431 red Theodore Presser Co. Copyright secu Copyright 1922 by British JULY 1949 430 PRIMO SECONDO OP PRAYER SWEET HOUR OF PRAYER SWEET HOUR WILLIAM B. BRADBURY William W. Walford PRIMO Arr. by Ada Richter 2 3 — — — —p— —rrT^F^ -• rj=^—r,— r j- rF ,-f f, p' 1 r •. ..f..— /./ . — "'-V. V — -U— [ M=^=t=*=-+ of care. And /-* a world » t - -a That calls me from — Sweet hour of pray’r! Sweet h our o f pray’r! m P g wo v J m iB=g V> ^ £ A i 1 3 ^ 2 J*. - 1 3 f # f 2 r\ 1 r m p r 35 .^n p £ P 1 | ^=i=g iii £ 3 e soul has oft - en found re -lief; And oft es-caped the tempt-er’s snare, By thy re-turn, sweet hour of prayr! re-turn, sweet hour of prayr! es-caped the tempt-er’s snare, By thy /Ts soul re- lief; And oft /CN has oft-en found /T\ ^ J [ 5^3=5 J ^ Je mi p p r ^ c P o * * £ Copyright 1944 by Theodore Presser Co. 433 432 July 1949 STUDS come again ABOUT FROGS days ARE CECIL BURLEIGH, Op. 69, No. 3 the summer GEORGE BLAKE With humor (J = 104 ) Samuel Longfellow # Mol to moderate mum 1 g^dT^earlh yields _ T ThT” Once mote thc-wmg; V dI7s arc come cm— T^hT^sum come a gam, ^ - days are 2 The sum mer --hjzzzgb ~ .f " M . — 9 g • ^ ^ ^ ^ ^ ^ And deep-’ning shade oi_ \Vc k now who giv - eth^ PPPP S£' - 1 " 00 - thoughts,^^d hap P^ air, A^d wing ing And glow of sum- mer field and wood,^ "^^PnieTvmods, _ sum - mer joy in doth our cup o er- brim, For ^ all the ernod That Company. % By permission of the Houghton Mifflin Copyright. MCMXL1X by Oliver Ditson Company 434 4 1 ^ = along * Ll 1 . — W drifting CLEO ALLEN H1BBS l ^ 4 W pEfE3EE2EEE t l \ T=f= m m : m 44^ aae 1 . n — (d- = 6()> 4 Moderato 3 f »1 ! iEjL-4= »/ ______^ - -&• — m rj . T - ^ -G -9 f~T 1 21 2 • -Gh- p-‘ ^== flZ 2 3 4 5 l 3 4 i 2 9- * I I -Art m * L Z>.G zz: £ DRESS PARADE ANNA CHRISTENSEN Grade 2. 2 British Copyright secured. Copyright 19 47 by Theodore Presser Co. THE DANCING ELF THOMAS" Grade 2 j.j. Moderate (d*iJ-= 601 5 2 >"'3 -O Copyright 1947 by Anna Parker Christensen d British Copyright secured secU Copyright 1949 Co. British Copyright by Theodore Presser Presser Co. ^ 439 Copyright 1947 hy Theodore £TUJ>* JULY 1949 o ) Franz Schubert (iContinued from Page 404) trail As the melody soars gently to give the full flavor of the original the rhordal style. down harmony, the poet sings po.gn- song, which consists of three repetitions riding "ver the ° premature ageing which of the excerpt, (one partly in minor) ANNE ROBINSON v o£ the Irief has brought to him, with gently rustling accompaniment and deep constant yearning to remain forever a surprising climax— all of which Schu- Grade 2-|. ond of his its sorrow it remains bert treats with extraordinary subtlety. Moderate < J = S41 o With all that it is sings the tree stand- serene, aspiring. Note He of faithful, old preserved underground — 3 le,' major tonality as is also the tragic ing by the well, a comfort in times of 1 in the . . by TELEFUf* sorrow, an inspiration for happy moods bombings of Europe I*' linden tree. Dream, taken from . . . and even now, old and worn, exiled * .EH The text of Let Me brought to you in new pressings % — “Wilhelm Meister” has always and forced to wander in darkness, the A3 rnethe's \ t=3 up of Schu- poet still hears its gentle rustling as it denied to me a summing from the original masters life. The original song con- murmurs, “Come back here, beloved 1‘ bert’s bitter CAPITOL A of one repetition of the companion, for here you shall find ...by 9- sists simply .The piano score is peace.” stanza here given. Schubert wrote it; In playing the excerpt be sure to avoid A*== nractically intact as 9P excessively articulating the melody. Gen- Hi sings along with the top voice i — singer the “tenderize” those repeated B’s and 5 2 1 accompaniment. Be sure to over- tly telefunken albums 2.1. , of the new s first measures ng. all longer notes, especially G’s . . . “Inhale” the two Pony jogging alo hold slightly YOU’LL WANT TO HEAR . change clamper of each phrase strongly, then “exhale” the dotted quarters . . play the pianis- the third and fourth softly. Play all the pedal scrupulously . . . in every fourth HINDEMITH faintly and dreamily . . . pianissimos which appear simo very Mathis der Maler (Matthias the Painter . . . Take measure like soft rustlings. The final Orchestra * Broaden out in the climax Berlin Philharmonic -0— Conducted by the Composer 5- final phrase . . . measures, too, should emerge as faint, *-•- m 1 plenty of time for the Album ECL-2503 (three 12-inch records)-$5.00 To develop an adequate top melody tone distant bell tones, scarcely audible. practicing the piece with- To create a more complete effect, I I recommend BRUCKNER only the top advise pupils to play the excerpt to the out pedal, and playing Mass in E Minor other to repeat the first eight meas- Orchestra of the Hamburg Slate Opera tone very strongly legato; the notes end, then Choir and Conducted by Max Thurn played staccatissimo ures softly (with soft pedal!) and finally, of the chords are 12-inch records)-$7 .50 the eighth measure Album EEL-2504 (five and leggierissimo. instead of continuing (after the first half note, “E”) to play BEETHOVEN Linden Tree” last two echo-bell measures of 55 "The again the E roica Symphony No. 3 in E-flat, Op. Amsterdam . . - Next Orchestra of . this Concertgebouw simplified for inclusion the piece . . time ppp. This excerpt, Conducted by Willem Mengelberg month . . . more Schubert. Album EFL-2502 (six 12-inch records)-$8.75 ANTONIO VIVALDI Concerto Grosso in G-Minor, Op. 3, No. 2 Orchestra of Maggio Musicale Fiorenttno Etude Musical Miscellany Conducted by Antonio Guarnieri Album EBL-8005 (two 12-inch rccords)-$3.75 (Continued from Page 405) MAX REGER The Bocklin Suite, Op. 128 Handel Prague piece of music The chorus sang their best but German Philharmonic Orchestra of times he stood still, a Keilbcrth got so excited that he forgot to Conducted by Joseph and a pencil in his hand, as if listening, himself records)-$S.OO He stopped abruptly Album ECL-8007 (three 12-inch how he looked up and down, and then beat time properly. blurted out: “I am a blundering wrote something on the music paper . . . and MOZART Once when I was sketching a woodland, fool!” Symphony No. 40 in G-klinor # # * Amsterdam that Concertgebouw Orchestra of I saw him climbing up a height Eugen Jochum Gounod had the greatest admiration Conducted by separated us, his large, broad-brimmed, Album ECL-S015 (three 12-inch records)-$5.00 “In early days,” Gounod grey felt hat under his arm. Having for Mozart. my “I used to say, I and reached the top, he threw himself down confided to a friend, FRANZ LEHAR say, Mozart long Mozart; later on, I would Operettas from Vienna under a pine tree, and gazed for a aganim say simply, Mozart.” Merry Widow-Count of Luxembourg-P time at the sky.” and I. Now I Album ECL-2501 (three 12-inch records)-$5.0Q * * * # # # Laziness and industry are relative con- A novel way of cultivating the sense of DEBUSSY cepts. When Donizetti was told that it rhythm in young pupils, was suggested La Mer and Review” Brussels Radio Symphony Orchestra took Rossini two weeks to write the in the “Musical Magazine Conducted by Franz Andre score of the “Barber of Seville” he said: in 1827, when electricity was the new Album ECL-8006 (three 12-inch records)-$5.00 mj' espressivo “I am not surprised: he always was a and exciting experimental science. It sug- lazy fellow.” gested that instead of a metronome, an LATEST ’SINGLE ’ CLASSICS * * * electrical machine should give the pupil The biggest double-bass ever made a non-lethal shock at the beginning of OVERTURE TO ALCESTE was manufactured in 1906 by one Otto each bar, so as to contract the finger THE BERLIN PHILHARMONIC ORCHESTRA Roth of Markneukirchen. It was four- muscles. Under the Direction of WILHELM FURTWANGLER teen feet * * * feet high; its body was seven Record No. 81001—$1.25 high, conducted the first per- and the top of the body three feet When Handel NVRNBERG and lour inches across. “The Musical formance of “The Messiah” 'in Dublin, Prelude to DIE MEISTERSINGER von the poor sight ( Wagner) Courier” of July 4, 1906, which reports he was disgusted with MENGELBERG to the WILLEM the story, states that the monstrous in- reading of the chorus. He turned Conducting the you strument was intended for use by the manager and asked angrily, “Didn’t CONCERTGEBOUW ORCHESTRA at AMSTERDAM Chicago Symphony Orchestra. assure me that the chorus could read of replied the other, Record No. 89-80036—$1 .25 # * # sioht?” “Och, yes,” niver told ye FEDERAL. STATE OR LOCAL TAXES “Faith and I did, but I PRICES DO NOT INCLUDE In 1885, an Arab chief attended a that they could read at first sight. performance of “Faust” in Paris. “What # * * amused me most,” he said in an inter- CAPITOL’S MARK OF MUSICAL MERIT view, “was one of the musicians, seated Jaques-Dalcroze tells about a young a little of music higher than the rest, who played composer who wrote a piece on Prelude an invisible instrument with a stick.” that sounded too much like a it? Or * # * by Debussy. What to do? Rewrite " hen the whole thing out? Suddenly, a Handel was rehearsing his Te throw ^ . . a symbol that marks a new standard took Haim idea came to his mind. He PEG U S PAT. OFF, for the first time, he cried aloud in brilliant recording. and wrote in large letters of quality in classical excitement, “Gentlemen, he who makes the manuscript RECORDS the it Debussy.” first mistake is a blundering fool!” “Hommage HOLLYWOOD 44'1 .JULY, 1949 & ^ ? ? £ a ’ °. TECHNIQUES” the conductor °P" 'XpS the ^iTRONOME Voice The Charms of by Frederick Franz Questions AMERICAN 5 x 8 - $1 Postpaid Operetta 52 pgs- NOW written describing many s book ever The, rI metronom . bee how ? methods„L-h„ds ofI Cusing a CONSERVATORY Page 411) practical ducators and other serious (iContinued from conductors, for the rapid nrus the metronome IS THE sludentsof ning of 00mp ii c ated and tricky that of the dramatic instrument. Lj EH. NICHOLAS DOUTY is closer to “LS rhythms on any 1.J acting nat- chapters' contain hints, MUSIC opera-more information-filled of that of material for next fall! stage than to t0 examine U answers to many questions con- ?°. don ts, auu.and. TIME gestures, and so forth Century Edition teaching do's. Tlle book is crammed full of ILLINOIS wide Interesting ural, fewer cen S examples. Old and new- Tone Deafness. What Is It and How Is Are Many Methods of Singing Unnatural? CHICAGO are of af\liustraUonsuiusi and of the stage pieces await you at your favorite practical'Hc the metronome, not and the techniques f using It Cured? What Is a Good Method of Singing? fall. 111 difficult rhythms material for next appear- store. Use our new graded and f'^to^ipfine tempos but to master —to examine importance. Personal music 0B, t Your money re- whole teaching greatest 7 Pj;Zn beautiful expression. (3. IVhat is meant by the term "tone deaf- Q. Don’t you believe that on the Sixty-third Year Interesting Century Edition counts for classfied catalogue as a convenient d d Send one dollar today to thing that if not satisfied. voice is another * 1 tarned ness” and how lias this physical defect been a great many so-called methods of you at your favorite mu- ance stone. M pieces await opera By this it as a stepping auide. control piano, voice, violin, in operetta than in proach F. FRANZ detected? There is no known cure, is there? production are unnatural and try to Offers courses in new graded and more say. ^ below is typical of the store. Use our who can • . sample sic great beauties will bring, The her I have been convenient mean that only vision St. New Haven 11, Conn. What can a teacher do for a student in the tongue, lips, and larynx/ and all those branches of catalogue as a ] do not .s ^harming listing used in this cata- Wallace organ, theory, classified mean, operetta method of 51 action for an opportunity. I actual present, chorus who is found to be tone deaf, other under the impression that the of guide. can hope leave. loaue. music leading to degrees: be and-alas!-to account of the U.N. help responsible jobs in is the work of illusion must to love z evnantinnal rarity. On than give the student these parts the anatomy the the general thing GRADE PIANO SOLOS of ® of below is typical of rather, that SECOND Fecords £* Danish Orrhesra conducted by H.M. The cample in h oval programs and operettasf I shall nerves and muscles, and there- cata- it is on the stage, TRANSCRIPTIONS OF STANDARD lias recorded his fav-uirite melo- producing involuntary * OF MUSIC listing used in this preserved, quite as EASY inn^Frederik of Denmark BACHELOR method of PIECES offer the rnmnlete collection of considera- direction of the I used TEACHING ^enn a few discs. I greatly appreciate your careful fore, with no conscious clays in Philadelphia Mozart-Rolfe beautiful rases, against a second hand OF MUSIC logue. Jny young 3453 Alla Turca. Am big records in MASTER house, Sven or best bid. tion of these questions.—O. R. mind. the old opera Aragonaise, Le Cid, G. . . . Massenet-Rolfe mr In good condition, often to go into 3214 Advertising Agency, Copenhagen. about finding a good 6332° Polack’s . go SOLOS Study C • Dore-Rolfe 2 How does one artist teach- FIRST GRADE PIANO across the street from Music 3538 Blue Butterflies. Box Outstanding faculty of 140 which was just Summer the Shepherdess, The, 8r be safest to go to a con- 2515 Dream of term “tone deaf” is used to de- teacherf Would it alternating hands _ forget the Lnbilzky A. The we lived. I shall never well known to the world ers including: ^K5-r..Scarm.in where Open COMPANY that aural disability that prevents a servatory which is the . ... Gounod HAYNES scribe ^Bo Traviata saw in 2154 rausFaust Waltzes. G WM. S. there • • “La • • • conservatory • . of 3588 Bushy Tail, C. . _ performance mI STUDIES accurately I understand that in a T ^onerPnrter r HYTH C singer or instrumentalist from _ *3682 Down by Merry Matanne. C the Violetta, 5th Symph., Distinction their own Rolte Mine. Tetrazzini sang Page 399) 3428 Andante con Moto, G Flutes ot his chosen are many different teachers with Stephen Foster, F G.Arr. there. (Continued from producing with his voice or upon PIANO *3531 Gems of it was Beethoven choice?—A. P. the role gloriously—but of a com- methods. How can one make a finger staccato and sang the Squirrels. G Reed - GOLD - PLATINUM instrument, the different intervals to ac- countries, and 1438 Chasing STIRLING SILVER Rudolf Reuter Galop, C stretch of the imagination foreign March, Simp., C .Meyerbeer is singing or playing. In simpler 2074 Firecracker Hookins quite a has spread to most -3740 Coronation position he •3677 Grandpa's Clock, (T generously have flou Estudiantina, Simplified. on request classify the lips H J the illusion of that most centers abroad 3644 Catalog words, “lie cannot carry a tune.” This de- A. One would scarcely Edward Collins *2981 Hallowe'en Night, Am cept some of the ArmourA°£„ ur consump- have not but involuntary muscles. Dutch Dance, F lady’s dying of their promoters SCALE PASSAGES Boston Mass. fect varies greatly with the individual, and tlie tongue as 3145 Little proportioned ished, where 108 Massachusetts Avenue. 15. Kurt Wanieck t by ... Schwab large ex- certainly lie controlled, STACCATO STUDIES operetta, Tetrazzini wouldn American students 3694 At The Playground. C we have never met, in a rather Their action can tion! In tried to exploit June. Simp.. Am Tscha.kowsky *3589 Busy Little Clock, F. the times 3667 Barcarolle. healthy, normal idiosyncratic peculiarity discovered Heniot Hookins The illusion of fees, many Kolling-Rolfe perience, aiLy otherwise and any Hans had a chance! extortionate Leaves. Simo. . C 3800 Mystery Story, A, C have charging 3758 Fluttering tyitW and) deaf. looking in a mirror. The Armour outranked thei Simplified, C. neins-Rolte 14 Pictures of Composers qq person, who was completely tone and studied, by *3150 Nannette, F would have 7 ordinarily charge 3391 Silver Nymph, 1 Bruno Glade show-as-a-whole would Pictures of Old Instruments \ a collec- what they Valse Chromotique. Simp.. r 7 Infinite patience, tact, and perseverance larynx is not a muscle alone, but FOREARM DEVELOPMENT 3555 Calls $1.00 2. even her superb voice. nationals. 0^.^ 45 Songs and Special Bird cartilages with, of Indian Boy, Em own are required to improve a singer (for you tion of muscles and Earl Blair *3452 (frlSkim start every KEY STUDIES Piano Pieces for Reading or Brave, Am Hopk ns music camps BLACK 65 Rote control them. *2984 Little ln|un Many new Sterner 51.00 writing of singers) who is abnormally course, nerves to guide and Hopkins 3527 March on the Black Keys. Gri Rote .. are *3101 Little Redskin, Dm Necessary impractical to by Musicianship it is therefore Old Chinatown, Gb. -Steiner Book, Special for proper intervals. It can- The pitch of a tone can be governed Thorough vear and 35263524 Sonqsong From I Play Myself slow in finding the DOUBLE NOTES every STUDIES VOICE list. Almost LEGATO Reading $1.00 in a chorus alone, any normal human being whose hearing . f singing ... comprehensive be done by IMarch, C operetta, not *3007 Big Soldier, The, {£>[*!"* for print a • Hopkins As to the background 1694 Cedar Brook Waltz C _ recognize Harrison Lake, The, Barcarolle, C_ now offers summer .Mendelssohn help, but requires the aid is sufficiently acute to accurately Theodore *2999 Fairy it and a and college Consolation, Simplified. F I EFFA ELLIS PERFIELD though tiiis may F Greenwald difference between university *3665 J *3074 Little Blue Eyes, Waltz, there is no call their Waltz, G .John City the desired pitch and to avoid variations work. arid many of them 1864 Dream of the 103 East 86th St. (Park Ave.) New York of an experienced teacher. Charles LaBerge STUDIES for opera or concert music study, Simp. C flat. CHORD background how- 3359 Fontasie Impromptu, you write sings from it, whether they be sharp or Just “camps. These, Chopin-Rolfe 3. If the student of whom 3403 At Vespers, C must have a fine voice, summer schools left to the AtIZIZ The candidate isolated out of tune that he annoys his neighbors how this is done might be Frances Grund 3404 Consolation, F uT?Un quite different from the DOUBLE NOTES so Martin trained; a wide knowledge ever, are .Grieg.RoIfe good effect, scientist, instead of the singing teacher. The Song, C thoroughly Death. Simplified Am - SCALES, BREAKS. chorus, and impairs the 1408 Cuckoo for instance, 3664 Ase’s Self teaching method. CHORDS, in your Louis Rousseau and lake settings of, Simplified C.Merkel-Ro fe Douglas LEFT HAND MELODY and musical schools, types, sylvan and 3357 Butterfly, The. M should not be allowed to sing. Whether works of Dr. Carl Seashore and Dr. of music directed by Simp., G ggggg: $£ <88 fie The C as that Christmas Eve. l , it *2750 Big Bass Fiddle and dis- great camp 3358 GUARANTE D - eP of pro- explain this phenomenon, and Barre Hill ChillerSchiller impeccable musicianship; such a Barcarolle. En Hopkins or not he should lie given the job Stanley Melody, C so on; with *3053 Dreaming. L | Efi fH uS i ASTS 1214 Bluebird, at Interlochen, ^ i|s C^ if your edu- Armour gestures, and Maddy . .$ 2.00 acting as an might help you to read them, Rose Time, F— Bb control over voice, Dr. Joseph Piano concerio No. ducing programs, operettas, *3154 In ciplined . . 1.00 B. Fred Wise from every state words for singing, if de- Keyboard tricks * advanced for . . 1.00 sufficiently are many thousand students, •These pieces have Spring Sunset so forth, or just attend to the cation in science is cooperation. There three i usher, and • . 1.00 have words for singing, if de- ensemble petite Valso in C Minor • * * . These pieces foreign countries. 1 FOR LIST. question. you to understand them. artists in tins coun- and half a dozen and classified or our complete MUSIC DEALERS WRITE heater fire, is another sired. students and young Our^'araded original work by Phil Breton readers to is free at All of singing is good when it VIOLIN complete advises all of its listing over 3900 numbers 2. A method Our graded and classified or our possess these qualifications, and ETUDE catalogue PHIL BRETON PUBLICATIONS free at try who or on request from us. Nebr..__USA. according to the laws of nature listing over 3900 numbers is dependable information your dealers P.o. Box 1402, Omaha S, Hold Her Music When She proceeds Weicher catalogue is to break into secure the most Should She John on request from us. suggestion to them PUBLISHING CO. the pupil’s voice improves by its your dealers or my camps they plan CENTURY MUSIC Sings in Public? and when company, there to possible about the York 23. N. Y. Willits some small operetta West 63rd St. New soloists use. It is bad when it is unnatural and the Scott CENTURY MUSIC PUBLISHING CO. information, with refer- 47 -WESLEYAN CONSERVATORY— Q. Please give me your opinion on learn, to rub off the corners, attending. This deteriorates by using it. New York 23, N. Y. work, to music to sing from. I pupil’s voice Stella Roberts 47 West 43rd St. opera or be willingly given by the and of FINE ARTS holding a copy of prepare generally for ences, should SCHOOL 3. A well known conservatory usually has and to secure sing a great deal and can fill more engage- authorities. If you can, connected with it. If it work. camp A Division of Wesleyan College I hold a copy in some good teachers concert ments on short notice if ORGAN good start! of the camp. degree: piano, did not, it would soon have to go out of Radio operetta is not a pictures SPRENGER • Four-year courses lead to B. Mus. hands. Have studied with several good GIRLS violin or organ, voice: composition, music ed. Out- my If wish to is so essen- CAMP FOR BOYS AND business for lack of pupils. you acting ability which PIANO standing faculty. Excellent equipment. Full member and they allowed me to do it, but Frank Van Dusen Sacred Music Here the teachers of Company Presents New summer ot Cape Cod of the National Association of Schools of Music. Coed. choose a singing teacher, listen to some New Brid^ stage, is rather a Study and play this it was just to please me. Have LnmonU.Han-SOc^.The groomed tial on the operetta G.l. Jelks, Dean. Wesleyan 1 wonder if passion Recreation approved. Catalog. Doris 0. his pupils. If they sing well, he is a Edward Eigenschenk is not Supervised Conservatory, 451 Macon. Ga. singing in a. best Hymns lor the Glory of God asset. Acting that -E College St., always held my music when ?ltaiia» ULy?fc»)-50c; New liability than an instruction is not. 5 Individual piano good teacher; if they sing badly he ' taha upon the music 1 indeed, it can even “Skid lar Through Music Christian Upsurge Unusual Bass Voices Page 413) (iContinued from me Organ and Choir Questions by Dr. Alvin C. White telligent Christians if they find it dif- Successful make the position $4 budget to listen to the music which is sufficient at ficult to the male church music,an has HE bass voice, the lowest of attractive. The performed in the church. n voices, is generally divided into bass The church will be forced to provide T W Pb” e ranges ooe will be in iy FREDERICK and basso profundo. These two Thc deifTS a music program that keeping _y:LwerJ PHILLIPS needs»«rTof mod-'i‘ rival cases the compass of the am (cwn£ . meet the spiritual experiences of its parishioners. in some in u *Pi schools with the have the divinity will encourage sopranos and tenors. This is rather -sur- 'em man Wl.M Expanded music budgets is contemplating the pur- the case. Tremulant consider the good musicians to prepare for careers as O Our church The should not be prising, especially when we organ, and would like in- used with stops, for solo musicians. Even though there are hase of a new these loud even heavier organisms in the former cases. NEW! church church ,s and suggestions. The purposes, and the solo passages should C**-' THE budgets, special training must be made formation (1650-1733), Cental 5°*“* ART OF MUSIC FOR structure until a seating capacity The Rev. John Gostling THE Institutions of higher learning n frame be of such a nature as would be effective BEGINNER available. and seventy-five. I would was the first bass to have a compass of ADULT nf one hundred if played by trumpet. Full information oduR must provide curricula which will equip manufacturers, a for use by on ,L names of reputable recorded historical note. The most fa- fA This book is intended the regarding The Diapason may be ob- ^pV.ed °\ from a musicians for careers as organists to registration. We do and heorY ot least some help prop- young a suggestion as his was a gentle- ot °n will hove establishing a and mous singer of time, he c0' ' Voice. w ho for religious music. in service tained by writing to their offices: 1511 !ietds • tdu ; in ad a" t°9® greatest medium directors of There solo stops our , ’ C r Therefore it has the and require many IAo 5 '° teacher. devotion? The not of the Chapel Royal, London, Eng- Miusic. *",*h rn0 Oiche*' bafflingJ' for spiritual number of music de- selection of flutes. Kimball Building, Wabash Ave. & Jack- man . „a being complicated w.th cental set are but a limited but want a good of not continue giving L. land, a sub-dean of St. Paul’s Cathedral. devices which tend ill afford to institutions of higher learn- —Rev. O. son Boulevard, Chicago 4, Illinois. looking directions and church can partments in to such a medium easily to CC, things seem difficult. emphasis who have the staff, phys- His range extended down make simple a secondary emotion- ing in America *> has incalculable designed to train the names of music a wedding on the second ledger line below the bass Price, $1.25 as music which ical plant, or curricula A. We are sending you Q. I am to play the for religious music. It is more organ manufacturers, in- on a small, one-manual reed organ in a staff. Henry Purcell who wrote for him al1 in- directors of some reputable THE FOUNDATION is religiously small church. The music is to be played Today’s Communicant reasonable to expect that denomina- the one you mention. We sug- his anthem. They Who Go Down to the those emo- cluding the wed- SONGS AND CLASSICS FOR he demands and objective very softly, with the exception of ue cr FOLK telligent, but tional colleges by tradition that you write to several of these Sea in Ships, wrote down to EE and DD. 0nia - Core ^jo.OO music gest organ contains the fol- BEGINNING PIANISTS of which ditig marches. The * le *° tional experiences j® qualified to establish such pro- the size of your structure, deliver- fut valued 4ob his are better firms, giving Diapason 8’, Harp Ae- This was inspired by Gostling’s ov°j follow "Where keeping with lowing stops: Pipe a,e #( a Foundation is intended to and are in professional music school specifica- Scholar^ vear , , The capable grams. The will submit suitable 2', Viola 4', overtook him approxi and they oline I iolina 2', Sub Bass 16', ance from a storm which *° Live" or any preparatory experience, lor $300-0° p Jen**- nV the Tone Folk intellectual affiliated with, or is a division of building, and prices. 6\ a that is for such a Viola Dolce 4’, Octave Complex, Vox Hu- in Charles II’s yacht. ’ for older children the radio has tions while on a voyage oualiRf* Uco material. It is o book three decades that has a divinity . APP approach matelv a college or university After examining these, you could con- mana, ’Cello 16’, Cremona 16’, Flute 4', favorite at the ,p too mature for the juvenile increasing amount of Gostling was a prime Scholar under who are an ever more fortunate 8', Flute 2’, poured school would be an even centrate on two or three who came near- Violetta 4', Clarabella Magic in the preceding book. listening.audi- court of Charles II. Later he partici- doY- used music into the ears of its establishing a good depart- and possibly Pipe Mrlodia 8' (One stop I have not in- situation for est to your requirements, toved 19*9 Price, $1.00 period of time pated in the coronation ceremonies of APP „ 346 • , oo this same cluded because the name has been torn off). ' ence. During of religious music. for consultation with their rep- La 20-J “ V has had more ment arrange should be It public lone ^49 LIVE entire civilized world Music must be Could you list the stops which James II and of William and Mary. WHERE THE TONE FOLK die Director of Religious resentatives. One recognized authority 8 its conscious- playing the following: Rosary, So"’"' ' drummed into It used when is stated that Charles was so partial to Book 1, "The good music position in the church. must specifications for tsln.^”^ introductory book to of an official suggests the following I l.ove You 4e««* An before in the history Nevin; Sweetest Story, Stults; foil of s°r> S ness than ever leadership. The director Gostling’s voice that he once said, “You Foundation." A collection 9 have mu- be a position of an organ of small dimensions: Truly, Bond; Indian Love Call, Friml; the child Millions of people organ- please of your which the teacher sings with civilization. be prepared to act both as March, Mendelssohn; Ave Maria, may talk as much as you which were un- must Open Diapason 8’, Chimney Wedding him to play upon the sical experiences today An appropriate Great: nightingales, I have a gosling who and teaches ist and choir director. 4'. Schubert; Wedding March, Wagner? but her. ago except to but a Flute 8', Dulciana 8', Har. Flute piano, at first by imitating known a century should qualify him to -C. D. all.” one occasion the More good course of study J. excels them On group of dilettanti. 8', Chimney Flute 8', j&enftot ^ensenvatenu Price, $1.00 very small both. No real success will attend the Swell: Diapason king gave him a silver Easter egg with than ever beiore. do music is heard today position unless he is Salicional 8', Dulciana 8', Harmonic O F CHICAGO peo- candidate for this A. In an organ of this sort the stops a remark to the effect that he had heard have so many church 8'. Never before performer. His academic Flute 4', Cornopean usually affect the music outside a competent on the left of center that eggs were good fqr the voice. The For further information regarding ap- pie heard so much good should be | music study 16', Lieblich Bourdon Middle-C downwards, plication write today to Dept. &». standard of com- and theoretical Pedal: Bourdon keyboard from egg was full of golden guineas. WILLIS MUSIC I the church. By any intel- Office of the Dean OJhe. of a nature as to make him 8'. the right of center affect than that ex- of such 16', Gedeckt and those on Central Conservatory of Chicago FOURTH STREET I parison it is far better the church and The most celebrated basso of the 124 EAST lectually acceptable to the keyboard from Middle-C upwards, Suite 927, Kimball Bldg. by most of them a decade or eighteenth century was "probably Giu- CINCINNATI 1, OHIO I perienced profession. He should have a high of knowing whether Chicago 4, Illinois to his 0. I should like to know of a simplified but we have no way I century ago. should seppe Boschi. It was for this singer that a musical competency. He modulating from one key apply to your instrument. Robert L. Hudson, Mus. Doc., President have developed a degree of rule or plan for this would Many worshipers is theologi- was said to have written a “sere- Alton M. Cronk, A. M., Dean trained so that he for example, from C major to mind, it is probable that Handel church worship, be- be broadly to another— With this in definite resistance to to envision the —B- M. P. nata” entitled “Aci, Galatea, e Polifemo,” cally articulate and able E-flat minor. first named stops—down to Viola terrible musical perform- the cause of some religious art and all lower part of the which was produced in Naples in 1709. churches ol interrelatedness of Dolce—would cover the ances found in countless fine forms. He must be a you obtain a copy from 'Cello on would It contains a most remarkable bass solo PIANISTS morning. Much ol its manifested A. We suggest that keyboard, and JAMES MILLIKIN UNIVERSITY America on Sunday and one who covers keyboard. comparison with musician, a dynamic leader, of Peery's “Modulation,” which affect the upper part of the with a range of two and a half octaves, SCHOOL OF MUSIC the choir singing is, by force of in the spiritualizing this subject very concisely and prac- Better check on this first to see just what to above the second ledger DECATUR, ILLINOIS playing radio singing heard on believes from CC F your gospel hillbilly mankind Offers thorough training In music. Courses leading to Improve a medium for helping tically. are sending you an example each stop covers. We notice a dis- ex- music as We range line over the bass staff. Boschi is said to of Muaic a most unfortunate musical degrees of: Bachelor Music. Bachelor of Sunday, through the Omni- as Education. Master of Music, and Master of Music to search the good life showing one form of modulation from tinct lack of 8 foot stops, compared part of perience. The church cannot expect have later sung the Polyphemus Education. 4, and 16 Technique in- potent Father. C to E-flat minor. with an over-abundance of 2, Member of the National Association Schools of Music Broadwell discriminative and in Handel’s cantata, “Acis and Galatea,” free upon request musically Bulletin sent by attract balance, feet. This gives you very little at Canons near Lon- W. ST. CLARE MINTURN. Director any which was produced and makes it very difficult to get Q. Here is a list of the stops on an organ don, in 1721. He also created the bass effects. It is to be hoped that and Playing. I organ is in a satisfactory technique. Memorizing, Sightreading use (stops are listed). This parts in many of Handel’s earlier operas. improve your Accuracy, not listed is an 8 foot Sight-Reading Helps church, but it has no couplers. The man- the one you have needed for REDUCE PRACTICE EFFORT—10 TO 1 uals are labeled Swell and Great, like tile Dulciana, which is definitely Certain Russian singers are carefully by Mrs. R. Doorenbos regular organ, and not in the manner of should hardly like to set trained to produce the extreme low Vour piano S3& soft effects. We how one practice repetition cm do^re makes memo- note-reading, as the theater organ. The Clarion is strong, arbitrary formula of stops for the contrabassi of the Russian De Learn Broadwell System gets a pupil he is just slow to learn up any tones, and C t 0 e P VERY teacher sometimes it as rapid and accurate process. and l would like to know how to use numbers you expect to play, akes §ghtreading a naturaL he probably is with arithmetic. the several Church known as octaven descend to rf^^autornaUc. M who shrinks from reading notes. a solo reed. What combination for accom- Paul E with suggestion might be great deal of patience but a little general In 1843, when three generations RESULTS Many of these children soon get discour- 1 have a paniment? Do you use Tremulant with GGG. UNIVERSITY GAIN IMMEDIATE very hard for useful. The Harp Aeoline makes little these youngsters, and work Clarion? in more of Russian Jews performed in London, 1 CHICAGO Broadwell Methods aged and quit music lessons. A I have used it to good effect Value of ‘he l^oTemtnt^intch- of the other 111 very nice background for a solo stop b P if they have most !, Handel’s “Hallelujah Chorus,’’ but haven’t a of the party descended the improved quality of j j noticed. Improved mastery analysis of their problem might salvage them j the grandfather ™P™rizin etc become staff drill Clarabella, but the Harp THE SCHOOL OF aC unmistakably devised a discovered it a solo. Also such as the qU octa& passages, chord skips, is quite a number of these non-readers. In sical gifts. I have how to use as to AAA. of skms suchls ” play tie would should be played one I like information on the magazine Aeoline so used first ten days. three possible card which is like a game. evident after the considering this question har- eminent physician, lecturing be- they write the Diapason. — R. B. or even two octaves lower than the An for the difficulty present them- notes they know while l/Ku&ic TEACHER-PIANISTS reasons just In the Schu- the of Medicine in Paris, ADOPTED BY FAMOUS out to notes monies call for in the score. fore Academy selves. The first is defective vision, which on the staff, working already Maria, the 'Cello or Cremona declared that the bass voice requires Offers accredited courses in nerve and below those they have A. In listing the stops you neglected bert Ave causes persistent eye strain and above part, but from east, we to say just which were on each of the could be used for the melody more energy than any other. He found Piano, Voice, Violin, Organ, strain in following a line of music. Such memorized. Last, but far (:SSt Dulciana, you would of each l two manuals, so that our suggestion re- unless you have a in investigating the work of singers and Public School Theory, a child may misread a note and play it devote perhaps a third Music, ul garding to use the Viola Dolce years by thousands of pianists. things ff an accompaniment for the Clar- be obliged orators that in order to produce the same twenty as he sees it—wrong. The remedy for period tQ easy sight-reading— ^ and Orchestral Instruments. ” ion octave lower) for the har- hands, but requiring might run into the possibility of (played an impression upon the ears of an audience this trouble rests with the oculist. simple for the Diapason would prob- TECHNIQUE the te-i those stops being on the same manual monies. The Pipe voice requires about Confers degrees of B.M., A.B., BROADWELL PIANO The second reason is the tendency of youngster to note-read under in a hall, a bass to as the heavy, but you might experi- will get used Clarion, in which case of course ably be too eighteen times more power than that of and M.M. obligation for some people to want to read from right er’s watchful eye. He the selections Mail Coupon—No you would have to follow the general ment with it. In playing . tenor. also to left. Unless such a child showed un- in time. . u* the baritone or the He found Distinguished Faculty , special solo effects), s idea, choosing other “straight” (without I had on this g similar stops on the -"TECHNIQUE" usual musical gifts, it would be best not One boy whom 8 foot that men are always more fatigued than FREE BOOK _ > manual. well always to use the years ago plans The Clarion being particularly it would be to bother him with music lessons until reading diet seven brilliancy, women and children by similar vocal ’ strong, foot stops for Address Registrar Bulletin STUDIOS. DEPT. 69-G majoring in it would be necessary to balance stops, add the 4 for BROADWELL he had been in school a year or two or enter college next fall sparingly. None effort. n u m the stops that and the 16 foot stops Covina. California girls have been salvaged accompaniment by three, and had the left-to-right eye move- Two little are have listed would songs are said DePAUL UNIVERSITY point w not too soft. We would suggest the of the selections you The following three to Ge m quickly improve my Technique, Accuracy, fairly well established. will reach the Technique” showing how I may ment recently and stops, except s"eld me your FREE Book Viol d’Orchestre to warrant the 2 foot be written in the lowest possible register SCHOOL OF MUSIC is obligation. pleasur 8', Viol Celeste 8', Flute seem I understand there no a Memorizing, Sightreading and Playing. The third cause is simply that a child music will be useful and full organ 8 and 4'. mentioned above. The the bass voice: Mozart’s Isis and If the Clarion 4' is used also, as for O Room 401, 64 East Lake Street is slow to learn his lines and spaces. He themselves and others. it you the Mendelssohn NAME an s might add the Octave 4' in the ac- could be used on Osiris in “The Magic Flute;” Gounod’s may have fine rhythm, a natural feel for The problem is psychological Lohengrin March should Chicago 1, Illinois an companiment. Even the Open Diapason March, and the Slumber Song in “Philemon et Baucis;” ADDRESS. harmony, absolute pitch, and a nearly for much patience, kindness volume, and not might be used in the accompaniment be of about medium STATE photographic memory for melodies. But genuity. and Lehman’s Myself When Young. CITY “ it is to the 8 foot stops. fairly subdued, as is sometimes much added etude JULY, 445 444 194Q — tions to produce different colors and in- duties in Berlin be- ptaC SaCfattut The Basis of Fine Violin • As Mendelssohn’s tensities of tone. he again made his VIOLINISTS came less demanding SCHOOL of MODERN MUSIC Some pupils need purely technical ex- Leipzig and was Playing b^ause^of^s home in his beloved ercises, but personally, I give them as and all Players of String a 1 0 3-year Diploma Courses Concentrating But he belonged^ greeted with the usual enthusiastic ap- Full-time sparingly as possible. For one thing, they Piano, Voice, Instruments INSTRUCTION themor^conv ^ ^ the Popular Field: Arranging, {Continued from Page INDIVIDUAL music from ^^ when he returned to the Gewand- j n 417) are always unmusical, and, for another, or plause Workshops in Song Writing, Ra- offerings in for CLASS ^ Musical Theatre, will be interested in current October, 1845. During that sea- there is different feeling Schu- haus in School Orchestra, Theatrical Pro- an altogether cellos, and their bows. lost upon therm dio Production, fine violins, violas, showmanship was Lind, whose friendship with chamber music groups, in the one is playing an son Jenny Broadcasts, Chorus, Recitals. Individual and so on. He hand when Every instrument listed is an authentic ex- his c n P ductions. wrote of begun in Berlin, made should listen is the per- mann T‘ Mendelssohn had Limited to 100 musical High School intently, endeavoring to exercise-pattern than there in in fine condition, and selected with nnpattentL° im . be-b guidance. ample, &ceut& flaming meteor, in Leipzig, and judge “like a her first appearance Graduates. Veteran-approved. the good and bad effects and try- formance of a passage from a concerto tonal qualities in mind. for a concert, ing Clara Schumann returned 16th year begins Sept. 15. to discover how they are caused. But or a sonata. Exercises may develop ac- Violins husband’s Pianoforte Con. he must not let himself inter- curate intonation but they do little to Milano, 1757, playin'* her Admissions Dean for Catalog copy an J. B. Guadagnini, made her Write certo in A minor, which pretation. There is no musical growth promote fluency. Etudes, now, are some- a masterpiece $8,500.00 the mere thought of Florence, 1776, a BY |CJ “happy as a king at 284 Commonwealth Ave„ in that. After hearing a concert that thing else. The Etudes of Kreutzer, Fi- J. B. Gabrielli, orchestra. perfect example 2,500.00 playing it with the Boston 15, Mass. has interested him, he should talk it orillo. Rode, Dont, Gavinies, and Pa- Vangelisti of Florence, good con- worid over in detail with his teacher. This will ganini build technique constructively, II this world-hts dition, fine tone 1,000.00 SERIES - Book this. But, Clarchen, help him to evaluate his they build it js it is used in solos. And COMPANION as You Last Days impressions and best no longer mine. Art, Mendelssohn’s Soffritti Ettore, one of the student- Useful I mean-is will sharpen his critical scales, course. Scales, legato and for any second grade compose judgment. of makers 600.00 Additional study repertoire as I do when 1 modern Italian material u practice it, and his sister Fanny’s One quality detache, in various rhythms, to develop books be, used. The I the shock of most necessary to the pu- Agidius Klotz, Mittenwald, a fine pupils regardless of basic ng this tender intimacy After with all at the piano, Men- Child pil is automatic sense of progressive. 1.00 splendour death in May, 1847, Has Your patience. He cannot be in a hurry. in the fingers an example of this maker's work. . 400.00 carefully graded and gradually give for all his sudden well balanced, would not struck with his advantage of piano study with Learning, timing. This timing is essential: a slug- much tinsel delssohn’s friends were the like culture, grows slowly. Cellos indeed there is too a member of the and he conducted oi played, Many American students, I afraid, gish-sounding technique is often due en- Milano, 1690, time Mendelssohn paleness when am Giovanni Grancino, AT THE PIANO about it.” At another more BEGINNING affect him fingering. . 2,800.00 to are in too tirely to badly-timed fine. . . play and smg w lamentable mis- everything seemed NATIONAL GUILD much of a hurry. They are ex-Hill Collection, very Book of thirty-two pieces to “all sorts of Preparatory regretted before.” In the fall he trying to acquire quickly the musical In the twelve years I have been teach- Matthew Hordie, Edinburgh, a committed by Liszt, in t intensely than TEACHERS demeanors” winter of PIANO noticed a marked perfect example, prof, calibre. 900.00 II# HI# forward to a “glorious Inc. background that took generations to de- ing in America I have \, ^ ., . not only with looked at THE PIANO — BOOKS a- pranks he played Leipzig, for any AT Children or older beg, tomfool the cello impre- velop in Europe. It increase in musical awareness through- W. H. Hammig, At The Piano". matter—but his friend Rietz, goal of achievement for every student suitable is as though they books to follow "Beginning which doesn t with A or talented ama- Succeed^ the public— the Gowand- to his age and advancement. Opportunities for the professional superior to any system of p,ano liberties to conduct at do not give themselves time to digest the out the country. course captivating and itself,” taking sario engaged (NOT A CONTEST) 500.00 ners will find this with the music musical ac- violinist are many and increasing. teur Carefully a full schedule of food they have swallowed. This is de- young music is maintained. the great masters. haus, and The Better Teachers Are Members instruction. Technic through with the works of his old stage. Bows But he lacked center structive to inner personal growth, and And not only on the concert The tivity before him. Chapters In every large music perfect 225.00 stroke on are searching F. N. Voirin, Paris, all books. Come True the end came after a FOR INFORMATION WRITE it may be one of the reasons why so many symphony orchestras A Dream fire, and Hill and Sons, model #5400 musical Leipzig talented violinsts, more and more for young players who Conserva- November 4, with IRL ALLISON, M. A. many expert technical- 225.00 . Leipzig (finest) PLAYERS AT THE PIANO opening of the ancl TWO of the pieces The panic of distress. FOUNDER AND PRESIDENT ly, exhibit so little individuality. Their can really handle their instruments, gold musical and pianistic importance > Mendelssohn thrown into a Hill and Sons cello bow, preparatory Duet Book. The in April, 1843, was for increasingly A ^s.ght tory composed Ennnerung m Box 1113 AUSTIN, TEXAS inner selves have not developed. The the well-trained teacher is 225.00 sensibility, rhythmic response and had urged Schumann mounted increases the pupil's aural dream come true, for he past his tem- chosen a his friend During the talented student, like the mature artist, in demand. Whatever may J>e Albert Nurnberger, pre-war, gold < memory of as early as 1840. 0n reading ability creation . had been strained needs much time alone with himself. Not perament and ambition, the young vio- trim 90.00 Schumann, David, Haupt- vear their relationship with him were of an article linist need have no fear for the future, E. Herrmann, silver mounted, spring because of the appearance merely to practice, but to think, to medi- SERIES - Book I Pohlenz, and Becker. That 55.00 COMPANION man, Mendelssohn in the Neue tate, to bring his inner forces again into provided always that he studies intelli- choice Compositions ,,vu their musical circle, criticizing Classics - Folk tunes - Original a newcomer joined was ENTER an UNCROWDED PROFESSION gives the best of himself to Even though Schumann focus with his life and his work. Long gently and quotations on any type of violin, Leipzig by the promising young Zeitschrift.” Write for lured to that journal the largest school in the country the music. or accessory. Our stock holds only first YOUR EXAMINATION Joachim, longer connected with walks in the country, to come close to bow, COPIES SENT FOR institution. This was Joseph no class instruments, modestly priced. hardly have circulated a dis- Nature, can do much for the student. years old but already dis- and could Enroll Any Time only twelve concerning one whom Technical problems? WARREN talent that was creditable story” Veteran Approved The vibrato, of KENNETH playing the exceptional felt Mendelssohn apparently course! It is always of first interest to Together 28 East Jackson Chicago 4, III. leading violin virtuoso he idolized, Chromatic Stroboscope Instruction Hands [o make him the and the mis- at once at- he was responsible, every ambitious student, for he knows, his day. Mendelssohn was that COMPANY of been c 1 am Bernice B. Steinel MUSIC never or instinctively feels, that through it his by BOSTON earnest youth and became understanding had tracted to the of 16, MASS. felt the loss intensely PHILADELPHIA SCHOOL own personality finds its way into his STREET BOSTON friend. The boy also became up. Schumann 116 BOYLSTON his close all. A yea GOOD many pupils have come to me and Clara Schu- “him who was the best of tone. Some pupils have no vibrato; Learn Violin by Mail intimate with Robert Men- unmistakable mark of the anniversary of others have a vibrato that is stiff and A with that at Mendelssohn s later, on the OF PIAHO TUNING New invention makes it possible. Recommended mann. One evening playing the left the Leipzig group held not control. ideal vibrato, of amateur, the habit of by world's greatest violinists. Violin loaned while playing the “Kreutzer So- delssohn’s death, under The house, after every- before the right. Usu- learning. at which is combination of arm, wrist, hand a split second sat down beside a service in his memory, AHD REPAIR, IHC. course, a nata with his host, he listening habits 7-6674 finger movements; but with students ally, they have such poor Finney Violin Keyboard System quiet and pen- wore mourning. . Phone MArket and Schumann, who had been one . felt the 763-765 S. 8th St. Philadelphia. Pa. not even know they play 47E, III. after this Leipzig such as I have mentioned, I find it better that they do 2537 N. Bernard St. Chicago all evening. Then the composer Not long sive ance s first. correct the fault political upheaval, for Fi to begin by teaching a purely wrist the left hand To his knee and, pointing to the impress of patted repercussions them carefully play the right hand you think they Revolution of 1848 had vibrato. When this is mastered, the arm I have of Yesterday stars, asked gently, “Do con- Musical Leipzig Musical activity be studied. While he is work- first. This makes them immediately there that a little boy has been throughout Germany. vibrato can know up perform- that the left hand has upon benefit ing on it, the student should avoid any scious of the fact playing down here with Mendelssohn?” was concentrated MAY ETTS Page 409) artists and on the hand. can do been leading. After a short time they find (iContinued from Schumann’s health was increasingly ances for impoverished participation by He or- ASSOCIATE OF GUY MAIER their hands ex- the members of the this by locking the wrist and bending it natural to play with poor, with foreshadowings of that men- raising funds for pay. Ar together. So far, this method has years. were receiving no it backwards a little towards the scroll actly tal break that was to mar his last chestra, who other would take it in hand, failed. and singing the Then the less guard was organized m PRIVATE LESSONS—CLASS LESSONS of the violin. As soon as he can produce never calling for Mendelssohn develop The doctors insisted that he hear A volunteer start it on classical lines, and reached equivalent of For He’s a Jolly “went through my Leipzig, as activities in Dresden an arm vibrato that is even and smooth, German erudition, until per- music, which he said it with profound wrote with his wrist, then Fellow. knife.” In Leipzig that was a high pitch. Moscheles PRINCIPLES of MAIER TECHNIC he should straighten and Good joining together in new nerves like a haps the two a Richard will cer- Moscheles visited the Mendelssohns at the end of the year alarm: “A Schroder-Devrient, the two types of vibrato almost forms, would triumph- impossible, so that year and and brilliant the Dresden peo- SUMMER CLASSES in NEW YORK blend in one movement. for eight days in October of 1844 he gave up the editorship of “Neue Wagner, haranguing tainly it off to other spheres whirl of social antly carry Alas! we were vibrato is really nothing sent liis wife notes on the Zeitschrift” and moved to Dresden, ple! What can it lead to? July 18-19-20-21 August 8-9-10-11 The finger One eve- sound.” when joints of the and musical activity in Leipzig. where he wrote, “one can get back the soon able to answer that question more than flexibility in the together to a party at in Leipzig, particularly in the first joint of ning they went old lost longing for music, there is so the barricades were raised 719 Stein way Building fingers; the Gewandhaus concert Moscheles home, where “Madame At worthiest citizens and D3 finger. It is never used by itself, the Schumanns’ of Men- little to hear! It just suits my condition.” and one of the West 57th Street New York 19. N. Y. each in “ecstasies” because a played my trio and Men- was Leipzig, was shot dead by Tel. TAylor 7-7728 except perhaps in fairly rapid passages Schumann over the orchestia, He did not much mind leaving our excellent friend, consummate way; David delssohn’s influence time to use a wrist or delssohn's in a and for Mendelssohn was at that time in ruffian.” when there is no it the fire, tenderness, _ asutSxm finale I was made which “gave v\ agner the fin- IVMumv <£eivib- accompanied, and as a he had been called to Life became so precarious for arm vibrato. This “nibbling of ‘nuances.’ ” Finally, Men- Berlin, where Dinner parties requisite writings life to — III. to play some Studies.” of Prussia. Although Dres- of his revolutionary gers on the string can often give 30 E. Adams St. Chicago 3, a Fete in the Gewandhaus serve the King because KARAY D assign the boy to the advise tones, he should partially tenor. Then there will be Lastly, let us consider the factor of period, to counsel, unless the presence of nd tested exnloritorv ‘ next lower part, voices have changed who are diction. Distinct qualities of diction are should be formally s whose The voices consideration to and P^P provoked by loud I V and give color or a condition to the baritone or bass as essential in singing at the beginning of each Here a assigned as in speaking. Sing, Boys, Sing! or classified vocat.of is t0 be tion for such worthy or incorrect usage causing safe ranges are hearings as nec- assist in cheering The approximate Therefore, vocal teachers should stress semester, with as many teacher can this by al-t Where the music difficulty. One detects a the term. Discussion program the follows: and develop correct habits, in speech and essary throughout important guidance and by a strident as with the d e very strained expression song. They should give attention pure (Continued from Page 414) explanation of this subject, comprised of both to COMPOSERS and class must not allow the MUSIC the music tone. We results of correct usage, In quality of vowels, distinct consonants, and proper advantages and should fi ' d girls and boys we continue on that part, and no encouraged by the teacher. find boy boy to accentuation; from this practice refined ANNIVERSARY same time gain should be each part. We will teacher will do so. LORENZ'S 60TH uppertones and at the ot a hne sio-ned to conscientious articulation, enunciation and pronuncia- ot Importance and desirability here will term the ones. This is a consequence sopranos, whom we class should be the boys glee lower as well as a beautiful voices If the tion will result. We should sing as we which must speaking voice, will find boys whose voices which have no nature, a natural condition, with first part; we we will find COMPETITION voice, should be discussed club speak. CHURCH MUSIC concurrently. singing i. «*« be as- he respected and heeded the Kopped slightly .»»£ of change. These should They are all aware of wii signs effective maintained these pupils. the second part We (sopranos). (Some practices are An vocal program for the Constant checking should be in the best suited for to the first part Correct singing particu- opportunities for young men made a signed adolescent boys surely will include a voice part fine voices have call tenors.) $1000 is assigned to the others whose incorrectly them in the training of the TOTALING after a boy pictures, visual find directors larly necessary 12 PRIZES field of radio, motion on the third part, wide selection of materials. The follow- which his changing condition sug- more noticeable drop, will show only slight signs voice. As mentioned before, to and yes, the pulpit, Other voices adolescent Voluntary Prize $60.00 should and audio aids, voices are changed, on ing types should be used: (a) Secular: 1st Anthem Prize 5250.0D 1st Organ gests. A free and friendly feeling other and those whose they are boy-altos and should but comfortable posture is to be the school, and many mentioned of change; erect folk other organ voluntary prizes between courtroom, bass part. As Others songs, patriotic songs, sea chantys, 7 other anthem prizes 3 be developed and maintained vocations are the baritone or placed on the second part. encouraged; deep, diaphragmatic breath- positions. These attractive should always in- be songs of the cowboys, humorous songs, teacher. Each singer, at any previously, the teacher signs of change and exercised, and flexibility re- Closing date October 15, 1949 boy and with erect carriage, pos- will show definite ing is to be Publication guaranteed. consult his available to men counsel with him if and work songs, and songs of sentiment; (b) time, should feel free to voices, vite the boys to assigned to the third part as alto- from a relaxed throat, jaw, and sessing well placed and resonant uncomforta- will be sulting Sacred: hymns, chorales, spirituals, SEND FOR RULES AND CONDITIONS his vocal condition, part is becoming indicates that the and teacher relative to distinct and proper when the tenors This term tongue is to be gained. If these practices and who speak with the testing, the seasonal songs of Thanksgiving, Christ- well he will be given kind and to sing. If, during will be partially alto CO. Dayton 1. Ohio knowing better time can be ble range and quality are consistently employed, no strained LORENZ PUBLISHING part enunciation. No difficulty in producina mas, Easter, and other church days. correct advice about his voice and teacher detects will arise. The than the adolescent period, the or forced condition found Directors have admitted they were un- assignment. “break” in the voice, which is so often able to interest young singers in certain mentioned and awaited by many teach- types of songs; this is fin admission of ers, will not appear, and the boy will failure to make the presentation inter- continue to sing with ease and satis- esting and real to the singers. They MUSIC and ARTS INSTITUTE of SAN FRANCISCO faction. failed to arouse the emotional and imag- College of MUSIC - DRAMA — OPERA Returning to the subject of posture: inative powers; they did not “see the ROSS McKEE, director (^reciter is an erect, but comfortable pos- SESSION — JUNE 27 to AUGUST 20, 1949 what picture,” “feel the spirit,” or “live the SUMMER 1° uccedS ture? Both feet on the floor, chest high song.” dramatic and expressive spirit FRIEDA HEMPEL l^our A with credit (not shoulders), chin slightly drawn in Class in Advanced Vocal Music—Intensive Courses Literature was not present. in all departments — Approved for Veterans — Free and somewhat downward, and sitting FALL TERM Or-ENS SEPTEMBER 6,1943 Give the boys a variety of songs with San Francisco, Calif. forward away from the back of the chair 2622 Jackson Street an interesting text, well set to music, will result in the correct position. When presented in a sincere and inspirational standing, exactly the same position manner, making sure they perform well should be used above the waist-line, but Teachers Diploma vocally, and the effect will be awe-inspir- CLASSIFIED ADS A with one foot slightly ahead of the other, ing when the conductor or teacher an- to give flexibility and poise to the entire nounces “Sing, boys, sing!” or body. This position is not only condu- YOUR. UNWANTED MUSIC exchanged MUSICAL PERSONALIZED STATION- piece for piece, 5c each: quality matched. ERY. Beautifully printed with YOUR cive to good singing, hut it is desirable Burpee's Specialty Shoppe, Delton, Mich. name and Photocut of ANY Instrument for health’s sake. 100 Letterheads — 75 Envelopes, Both Degree 11 1 1 $2.00 Postpaid. WONDERFUL Christmas Bachelor’s breathing should be —Birthday GIFTS. TERMINAL, 4818 \ A Diaphragmatic Some Notes on Radio y2 HARMONY, Composition, Orchestration, Kimball, Chicago 25. EARN natural and free, causing an expansion or Correspondence Musical Theory. Private around the entire waist line. A good and Television Instruction. Manuscripts revised and cor- Home Butler, Time at breathing rected. Music arranged. Frank S. FOR SALE: Robt. Moupr£ Conservatory Spare practice in establishing deep In^Vour (Continued from Page 406) 32-46 107 St., Corona, N. Y. System Oboe. Good Condition. Plays eas- is to ask the class to sing a prolonged ily and well in tune. Original owner tone with the feeling of lifting, flatten- musical events farther ahead. $150. If interested please write: Janet au- Smith, Box 5392, N.T.S.C., Denton, Texas. ing of the abdomen, or feeding air stead- Among recent programs that remain LEARN PIANO TUNING—Simplified, thentic instruction $4.00—Literature free. ily to the tone. When the full breath has Incomes in mind is one we hope the majority of Prof. Ross, 456 Beecher St., Elmira, N. Y. mmand Better the Jerry Juzek. Metropolitan Music Co., Musicians Co been used, direct the singer to stop our readers heard. We refer to the all- Chmseuvatory-trainep endorses Violin Tonepost fitting $15.00. OF tone abruptly allow the tone to sag — MEMBER and American program broadcast by the CBS 150 “Old/New” Masters $35.00— $42.00. THE LEARN PIANO TUNING AT HOME. Revolutionizing! (Tonepost) THIS TRAINING AT HOME THROUGH or fade away until all breath is gone, Symphony Orchestra on Sunday, May 15. PATMOR YOU CAN OBTAIN Course by Dr. Wm. Braid White. Pay as FIDDLERY, Zion, 111. for then the body loses its tonicity. The This was the concert that brought to you learn. Write Karl Bartenbach, 1001A breath is the power or potency in sing- Wells St., Lafayette, Ind. a close the week-long fifth annual Fes- MUSIC LOVERS KNOW MORE ABOUT Conservatory ing. University Extension tival of Contemporary American Music, MUSIC! Unique correspondence course comprehending harmony, counterpoint, Relaxation of the throat, jaw, and sponsored by the Alice M. Ditson Fund PRACTICING ANNOYING OTH- STUDY CONSERVATORY OF MUSIC PIANO analysis, etc. Write for information. Gold- WORLD'S FINEST HOME Device Easily At- r SINCE 1903. THE tongue can be established in various in cooperation with Columbia Univer- ERS? Mayo's Muting ner, 85 Barrow, New Y ork City. tached or Detached by Anyone without CONSIDER THESE ADVANTAGES ways: first, by placing two fingers, one sity’s Department of Music. The orches- harming mechanism. State upright, grand Advanced Let Us Show You How—Catalog and above the sec- this occasion by or spinet. Send $5.00 for mute, full instruc- Prepares you Previous Work Evaluated— other, between the teeth: tra was conducted on “I BUY USED MUSIC. Opera, miniature Bachelor of Music Our Extension Method— sent without obli- v tions. Money back guarantee. Richard Degree of easily earned by using your illustrated lessons ond, by having the singers speak or winner of this year’s scores, symphonies, sheet music, books, better positions through study at credits Aw Thor Johnson, Mayo, Piano Technician, Dept. 003, 1120 —Diplomas+hrough extension for gation to you. song collections, everything. Send list or spare time. suggest the half-yawn position. Such a SI. 000 Alice M. Ditson Award for dis- Latona Street, Phila. 47, Pa. courses by noted teachers. your convenience. general description. Prompt reply. R. Mail_ Coupon Today! position, with the chin down and slight- tinguished work of furthering American MacCallum, 492 44th Street, Oakland 9, This is Your Opportunity— California.” ly in, devised program in- t, automatically causes the jaw and music. The well Guaranteed pipe TK, high... -I Training Dept. A B75 ORGANS FOR SALE: UNIVERSITY EXTENSION CONSERVATORY, tongue to be relaxed for effective sing- cluded Daniel Gregory Mason’s Chanti- organs, reed organs and pianos. Cannarsa - - “« ~“ h Illinois Organ Company, Hollidaysburg, Pa. - — 28 East Jackson Blvd., Chicago 4, ing. When and if the above-mentioned cleer Overture (it was played in honor MUSIC COMPOSED. Orchestrated — songs arranged at small cost. Zygmund Partial listing of courses below. lessons and full in: '-na- habits are seventy-fifth birthday); ing of this great Conservatory. Please send me catalog, sample established, no child will run of the composer’s Rondomanski, 912 Main, Independence, [ with an X belcw. the tion regarding course I have marked danger of harming his voice, but in- Randall Thompson’s Third Symphony; OBOE REEDS. Hand Made. Tuned and Missouri. Written by two of the finest theorists course in- HARMONY:— stead, his Concerto for Elute, each: $15.00 dozen. C. Robison, CHORAL CONDUCTING:—Brand new Piano, Teacher's Normal Course Voice singing will be free, buoyant, Paul Hindemith’s Tested. $1.50 country. Simple, yet thorough in every way. Marion, Ind. techniques—even radio broad- in the and of Bassoon, Harp and 216 W. 41st St., Virgil Clavier for sale. cludes all the modern through to Counter- Piano, Student's Course Choral Conducting pleasant tone quality. Oboe, Clarinet, Excellent condi- From bosic fundamentals right tion. Dorothy Hess, 143 W. Bryn Mawr casting. Clarinet Having Orchestra; and Bernard Rogers’ Sym- point and Orchestration. Public School Mus.—Beginner's treated the desirable physical Ave., Lansdowne, Pennsylvania. Dance Band Arranging habits, phony No. 4. The Thompson symphony, POPULAR SHEET MUSIC to designed for teachers Public School Mus.—Supervisor's we will turn our attention to the BACK NORMAL PIANO:— Especially commissioned by the Alice M. 1850. Ballads, Ragtime, Everything. List solves every problem Advanced Composition Violin emotional side. Effective singing is pos- originally future teachers. Treats and of P 10*. Classics exchanged for Popular. C. MEISEL, INC., 4 St. Marks Place, New or HISTORY: A modern course including all types sible only Ditson Fund in 1944, has since been progressive teacher. — Ear Training & Sight Singing Guitar when the singers know, feel, Fore’s, E3151 High, Denver 5, Colo. York City 3, N. Y. Sottnek Master Tuner of the ancient origins fo 20th Century. Interest- times music from Mandolin and live the song. performed about five hundred Tailpiece for Violin together with Cathe- collection of facts. History and Analysis of Music text-mood of the The ing and analytical— not a dull dral Chromespun Strings Set Complete All the tricks of modern arranging teacher, a throughout the United States, Europe, ARRANGING: Harmony Saxophone pupil or the class should read 10 . 00 . SALE. Beautiful re- $ experiences of the biggest name aloud America. Mason’s overture MELODEONS FOR drawn from the Cornet—Trumpet n Double Counterpoint the text of the song to be learned, and South conditioned instruments. C Sharp Hobby in the country. delightful score-one it arrangers Fits you for actual work making sure the proved to be a Shop, 415 South Diamond, Grand Rapids, PUBLIC SCHOOL MUSIC:— Professional Cornet—Trumpet Banjo reading is expressive Play piano by ear! A “sound” system. origi- and heard more frequently Mich. school room. Our model lessons develop the spirit of the text understood. To is hoped will be Booklet free. Joe Boucher, Box 12, Ottawa, TRAINING:—Designed to give you the ability in the Name Age EAR give you an excellent guide for teaching successfully concert hall. Mr. Johnson, who Canada. (Back numbers popular songs transpose and to transcribe. In- nality and render a song, a singer must in the for to read at sight, to the sale. Old songs wanted. List 10? coin.) work. others. Street No. feel the spirit,” has been permanent conductor of GRAND, 6'-2", ebo- valuable training for vocal or instrumental “see the picture," and MASON-HAMLIN hve the Symphony Orchestra since nized finish, reasonable. Joseph C. Holstad, City State song.” The potential emotional Cincinnati Minneapolis, Minn. per- 337 Oak Grove, I will show you how to get more stu- power of most 1946, was justly praised for his fine Are pupils have singers is tremendous, and dents, make more monev, and put vour you teaching now? If so, how many herein only more pro- lies the secret of successful vocal formances. If there were personality across. Call LOcust 7-3091. 'v air- Conservatory you? Do you held a Teacher's Certificate? °rk. Please better orams of this kind presented on the TW O-PIANO EIGHT-HAND ARRANGE- remember there is no Extension any Symphonic works used University me to programs heralded in advance— MENTS of — Have you studied Harmony? Would you like to earn ! arouse and exercise the emo- ways— music needed. Please write list WRITE SONGS: Read “Songwriter' 4, ILL, radio or new BLVD. (DEPT. A-G75) CHICAGO tional attributes than during the ado- wp would be keeping dates with Review” Magazine, 1650—ET Broad wa 28 EAST JACKSON the Degree of Bachelor of Music? New York 19. 20* copy; year. lescent period. $2.00 449 JULY, I94g 448 Award. Compositions must be ring with melody is fifty dollars. The closing Bloch Fidd again will THE HELEN L. WEISS FOUNDA- second prize Old Testament, band. If a band is not d informa- based on a text from the any service of nearly 100,000 peo- TION of Philadelphia is sponsoring a date is September 1, and full of l an audience three-part women’s cho- the parade ground, it imme- a The Helen and suitable for effective on be united in song. The Chicago- competition for composers up to thirty- tion may be secured from irrespective of iV will rus. award is one hundred and fifty States loses prestige, how sponsored by the five Foundation, 2459 76th Avenue, The The United diately Music Festival, years of age for a chamber music Weiss by concert organization. The P ?d dollars and guaranteed publication fine it is as a Charities, Inc., started work not less than ten minutes nor more Philadelphia 38, Pa. Tribune closing date is STUDY? military bands of today are the rfiicaeo Carl Fischer, Inc. The I TO leading en masse, and today the than twenty minutes in length. The GO Band singing details may be se- WHERE SHALL Air Force perfection, both on the march America of October 15, and full acme of richer because of these composition may be Svritten for instru- THE UNITED TEMPLE CHORUS whole world is United Temple Chorus, The the concert stage, and when it York, Isadore Freed, cured from and on chords. More than 1,800.000 peo- ments up to eight in number and may Long Island, New Hewlett, Page 415) it has no equal. Snnt Ernest Bloch Award, Box 726, (iContinued from to deportment, first announces the sixth annual YoA city) comes every state in the union and include one or two voices. The director, Private Teachers (New of the United States Air ple from Ernest Long Island, New York. Teachers (Western! The duties witnessed the last prize is two hundred dollars and the composition competition for the Private ien lands have assisted Band and Orchestra are to play of course is ably Force festivals, and nearly 100,000 ROY CAMPBELL Howard who, perform radio and television Sen HURLBUT concerts, participated in the casts. HAROLD Teacher of Successful Singers of I provide music for important neople have York-Hollywood Per broadcasts, 1 its unsurpassed Paris-New 0 , ° with "old-time religion" n9 Rod!0 T Angeles— Jones University stands without apology for the i Assn, of Teachers of S '"?' for^RodicTand'^the Theatre I state functions, and repre- Los 0 Bob Member Natl. hi- ,NG^ military and ropolitan Operan U"C "i?YLE!,Z Bowl presents outstanding Developer of Singers a Me -Studl Air Force mu- Hollywood R^dio, °“ York City I the United States Bowl. . New sent cago Opera. Hollywood - m HallMoll of Californians and the Bible Bro..j, N. yr. 607-8 Carnegie to thousands and the absolute authority of J. F'seher & _, two weekly broadcasts, concerts •'VOICE FUNDAMENTALS" e| 5 w ~~ Ernest Williams Schoo sically It presents J. H n | well-known the entire world. Pub.) was endorsed by W. ^®7° i of the band, and one by tourists from f and otherslh rs 0otf thai member of by the military Y. Sun), Amato. Bispham, Journet, DUNCAN was formerly a one Philadelphia Or- LUCIUS of -Music, he average, it Philadelphia—The real Wasl concert orchestra. On an 8 Calif. Teacher Army Band m the Dell have for Beachwood Dr.. Hollywood. Concert Violinist— the United States year. and Robin Hood Schradieck during three concert tours every Dur- chestra Pupil of was a band leader does a summer series m„n He months the military seasons offered BUREAU was in charge of ina the summer many * WESTCHESTER CONCERT II and edification of Philadel- World War feature in the va- the musical HURLBUT Infantry Division band concerts are a for HAROLD 7th and 77th the many visitors. YORK-HOLLYWOOD Se Pacific. Washington. As for state phians and PARIS—NEW "BBftr- South and West rious centers of with Him Include LO bands in the affairs, Who Have Studied White Plains 9-7808 is the ceremonial the Singers | Officer Yesulaitis functions and NADINE CONNER Chief Warrant attendance when for- Opera I the ba - usually in Distinguished Soprano Metropolitan EDWIN HUGHES member in band is Operas I decorated City Center & Havana pi iki ictc for public PERFORMANCE most partici or royalty happen to be HENRY CORDY. N Y lcc PREPARED landing and ei Junior Etude Contest Music History and Patty Junior Etude will award three at- you enter Gertrude Greenhalgh Walker The on upper left corner of your by each month for the JOAQUIN FOSTER tractive prizes neatest paper and put your address on upper stories or essays and for answers right right. Now, why do we call and best corner of your 'paper. Renowned Spanish concert pianist, mem, Patty s mu- “That’s a bright afternoon, clef?” puzzles. Contest is open to all boys Write on one side TT was the G clef the treble to of paper only. Do day, but she came home under eighteen years of age. not ber of the Artist Faculty of the Piano De- I sic lesson have no idea,” answered Patty. “I and girls use typewriters and do not have any- frown on her face “I eighteen from school with a any connection between Class A, fifteen to years of one copy your work for you. partment. asked her really don’t see the matter, Patty? B, twelve to fifteen; Class C, Essay “What is treble clef and three. None what- age; Class must contain not over one hun- look like- well, the mother. ‘‘You certainly twelve years. dred and fifty ever. under words and must be re- sick?” of prize winners will appear ceived are you , “That’s one interesting little thing I Names at the Junior Etude Office, 1712 of history and Instruction from eminent Artist Teach- ‘‘Yes I am, I’m sick You see, years this page in a future issue of the Chestnut Street, learned in music history. on Philadelphia (1) Pa., by a test in it tomor- we’re going to have was the custom, in four- The thirty next best contrib- August first. Results in ers is available to talented students at study and years ago, it ETUDE. November. Sub- I’m glad we don’t have to receive honorable mention. row. part writing, to put the bass voice, or utors will ject for essay this month, “A Pleasant Sherwood, from the beginning of their music history, anyway!” which is now fre- your name, age and class in which Musical Experience.” idea. part on the F clef, Put that is a mistaken studies. Certificate, Diploma, Degree ‘‘Oh, my dear, the bass clef, and to put music history, quently called Of course you will study parts, the tenor, courses in Piano, Voice, Violin, Organ, the other three voices or too. I liked it when and you will like it, clef, which alto, and soprano, on the G Cello, Wind Instruments, Public School what I am talk- I studied it, so I know A.GEST teacher will Recordings for Teen-age Picture Puzzle ELIZABETH ing about. And your music Music, Conducting, Theory, Composi- feel sure. soon start you in it, I Junior Readers By J. B. Tweeter tion. Dormitory accommodations at moderate cost. Courses for “Music history? Why mother! How lessons. bought a record, Spell the objects portrayed on the upper, veterans under G.I. Bill of Rights. Fall Semester opens Sep- can that help me with music How many of you or or plus row. Do the same with the objects Her mother mentioned a few reasons. asked for one for a birthday or graduation tember 12. For free catalog, write Arthur Wildman, Musical Trainers last month? If on the lower, or minus row. Subtract or Circus Learners and you an understanding .of present, as was suggested you ‘‘It will give cancel all the identical letters in both rows. Director, 1014 South Michigan Avenue, Chicago Illinois. started your collection, or added to one al- 5, lives and times of the great com- the will some day have a list treble clef because ready started, you Jordan posers, how their compositions should be came to be called the by Lillie M. of records to be proud of. the develop- three voice parts.” played; it will tell you of it carried the to add to your recom- schooling and practice to learn Here are some more going over and plenty of the earliest times, interesting!” exclaimed Patty. NLY by patiently ment of music from “How mended list. MUSIC SCHOOL ride horseback smoking a pipe! How over the same task are skill and to how some things have changed a great “As you know, we do not write lour- O it? did he learn to do in gained anywhere in the not much; it will tell about that way now. Look COLUMBIA knowledge animals are pupils deal, others part harmony Yes, even the circus differ- is worth remembering. of instruments, the book and notice the Member of National Association of Schools of Music world. That and hours, and the development your hymn their and have to spend hours tenor Violoncello solo: Orientate, by Cui, with Even the circus animals must, in origin of opera and oratorio, the differ- ence. You will see the bass and weeks and years, through a long course Tango by Allxniz, played by Feuermann. be made to realize this, 01 ent forms and styles of compositions, the F clef and the alto and soprano own way, with constant drilling on (No. lyijSD) to excite of instruction, things like, bass clef, they could never be trained do- and oh, just so many interesting on the G clef, or, if you Solo Mio, with Santa Lucia, skillful, patient teachers, and Folk-songs: O SOUTHERN CALIFORNIA SCHOOL of MUSIC and ARTS people who under all. let’s go back to and delight the throngs of I could not begin to mention them and treble clef. Now, sung by Nino Martini. (No. 17197D) the same task, over and over again. perform under "the big ing You had better sign in our sight read- HAL D. CRAIN. Director go to see them their teachers for But look at the clock. that treble clef Orchestra: Prelude to the First Art of Wag- They are rewarded by A school of serious purpose and high integrity. Unsurpassed teaching staff includes ERNST off to your lesson or you'll be late.” ner’s opera, "Lohengrin,” played by the top.” are punished dash iiig.” KRENEK, ERIK ZEISL, DR. S. R. STEIN, HAL D. CRAIN. ROBERT A. YOST, WOLFGANG FRAENKEL. good work, and sometimes “1 Patty had a good lesson and was doing Patty said to her mother, had Pittsburgh Symphony Orchestra. (No. Graded courses — Beginning to finished artistry. just as the boys and girls Later for laziness, 11986-D) properly ar- some sight reading, but got into a little very interesting lesson today. Miss The remaining letters, when Approved for Veterans expect to learn any skill. a who music his- ranged in the ladder, will give the name Address Registrar, 3173 Wilshlre Blvd., Los Angeles 5, Calif. practice and difficulty. “Look carefully, Patty. You Brown gave me a very short And think of the endless RCA VICTOR of a well-known composer. (Remember there circus overlooked a sign.” tory lesson and she’s going to give me rehearsing required of the human is another name for an arrow, and another “I didn’t notice that treble clef sign. every week.” Fantasy-Impromptu, with Nocturne performers—the clowns and acrobats some Piano, for a bowl.) but fun! That tells me to cross left hand over the “All history is fun, Patty. And when in E-flat, Chopin, played by Alexander who seem to be having nothing AMERICAN CONSERVATORY or some per- Brailowskv. (No. 12-0016) Whenever you get tired of doing the right, in this spot.” you read about some event Dear Junior Etude: the way, Patty,” began Miss just imagine you were Voice, My Name is Mimi, with Mimi's Fare- lessons for of finger exercises, remember “By son of long ago, I have been taking piano OF MUSIC—CHICAGO same kind well, from Puccini’s opera, "La Boheme,” required over the Brown, “do you know what treble living at the same time.” about three years and I love to practice. I Offers courses in all branches of music and dramatic art the endless practice Kirsten. ' sung by Dorothy (No. 11-9694) clarinet to take 62nd year. Faculty of 135 artist the skill- means?” “And’Mother, if Miss Brown gives m also play the and plan teachers years before you see and enjoy Orchestra, Poltta and Fugue from the opera, Member of National Association of Schools of Music lessons soon. I sing in die choir at “I think it means three,” Patty an- history book, will ’cello catalog Address: John R. Hattstaedt. Pres.. 578 Kimball Bldg., Chicago ful tricks performed under the Big 1 op. the name of a music “Schwanda” by Weinberger, played by the Send for a free — church and also am first tenor in the Boys’ swered promptly. you get it for me?” Minneapolis Symphony Orchestra. (No. Glee Club at school. I have been asked to “I certainly will. You can tell that to 12-0019). join the Apollo Boys Choir. My piano Panther Brown.” Black Lullaby Miss teacher is giving me pointers on composi- practicing his tricks I enjoy reading ETUDE very much by Martha V. Binde Some July Birthdays and Letter Boxers tion. CHICAGO MUSICAL COLLEGE and would like to hear from other Junior Founded 1867 by Dr. F. Ziegfeld RUDOLPH GANZ, President ele- doubt you have watched an are singing the birds to No The tall trees Anniversaries readers. CONFERS DEGREES OF B.MUS.. B.MUS. ED., M.MUS., M.MUS.ED. around the ring, (Replies to Idlers appearing on tills page phant march sedately sleep, From your friend, Member of North Central Association and National Association of Schools of Music will he forwarded when sent in care of the step with the music of the band, July 2 is the birthday of Christoph Wil- Sarner ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS keeping So soothingly, so drowsily; Junior Etude) William Robin (Age 12) .Texas. certain distance one of keeping his trunk a libald Ritter von Gluck (1714), Address Registrar, 60 E. Van Buren St., Chicago 5, Illinois soft and deep in front of him. Y'ou A murmuring lullaby, great opera composers. Dear from tlie elephant the Junior Etude: I play cornet in our band, sing in our heavy ev’ning sky. I have may have watched him raise his That fills the twilight, July 3 is the birthday of Theodore been thinking of writing to you for church Junior Choir and take piano lessons. learn a long time. My teacher takes ETUDE and we body on his hind legs. How did he Presser (1848). All Junior Etude read- I enjoy the Junior Etude very much. both enjoy reading it. I would like to enter tricks? wind rocks the birds in their cradle ers should be interested in Theodore Larry Rankin (Age to), Oklahoma PHILADELPHIA MUSICAL ACADEMY to do these The the monthly competitions we receive but Pennsylvania’s Perhaps you have seen a lion climb up nest, Presser who founded ETUDE the mu- ETUDE too late here for the closing date. I Oldest Music School think have been Founded 1870 Jani Szanto, President-Director Chartered sit on a pedestal. You might quietly. sic magazine, in 1883. studying piano for several years. and So carefully, so 1617 Spruce Street • never does. My mother also plays the piano and my brother Prize Winners for Philadelphia 3, Pa. would topple oft, but he July 3 also commemorates the date .when DISTINGUISHED FACULTY — COURSES LEADING TO he joins in the song as they’re soothed plays the violin but plays nothing. DIPLOMAS AND DEGREES that trick in a And my father did not learn to do George Washington took command of I Special Department for Opera and Stage Direction He to rest; would like to hear from some friends about Essay, “The Symphony” hurry. No, indeed! the Continental Army. my own age. Write for particulars and catalogue lullaby. is, needed It is their bedtime last November’s That monkey, smart as he July 4 is the “Fourth of July” and of From your friend, This title was given for Judy Gollon Australia course you all know that celebrates (Age 14), West essay contest but due to late delivery of the closing date came the signing of the Declaration of In- ETUDE that month, be received on Quiz No. dependence. Dear Junior Etude: too soon for most entries to 45 in QbbrlatdiTnBlitntr nf(Push I would like to hear from some music lovers time. Therefore, the title was repeated hundred is perfect. July 4 is also the birthday of Stephen Keep score. One like myself. I study piano and also play trumpet the March issue, as promised. of Bachelor of Music Degree, Master of Music Degree, tone” in the What is a symphonic poem? (15 Foster (1826), composer Swanee m our High School Band. Artist Diploma 1. What is the “leading River, Folks so Hitting High C Bonnie Marie Scamihorn Indiana six sharps in its points) Old at Home, and (Age 15), Prize Winners were: BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid major key that has By Sallie Lierance, Nebraska Ave., Cleveland, O. is given with the Quiz? forth. points) What theme contest Charter Member of the National Association of Schools of signature? (5 Prize winner. Class B, kodak Class A. Gladys Doris Guyton (Age 17). Music some (10 points) July 9 is the birthday of Ottorino 2. Schubert wrote ten symphonies, North Carolina. coloratura soprano? (15 Respighi an Italian composer Answers to Quiz Theresa Gregory (Age 13), which were incomplete. What is What is a (1879), Class B. Mary of The Wise Little Bird District of Columbia. » “Unfin- well known for his compositions for 1. E-sharp: the number of the famous 2. No. 8: 3. Italian: 4. Class C. Carolyn Ruth Letb (Age 10), Texas. CINCINNATI CONSERVATORY OF orchestras, The Pines and (Prize winner in Class C, Chopin MUSIC Symphony? points) of Rome and Mendelssohn: 5. Ritardando ished” (20 Special Poetry Contest) Dr. Luther A. Richman, Dean of Faculty of the orches- The Fountains of Rome. He died in and meno Honorable Mention for 3. What is the nationality mosso: 6. A composition in 1936. one Established 1867, Operated under auspices Cincinnati Institute of Fine Arts affiliated with conductor, Toscanini? (5 points) A little birdie in the tree movement of irregular form, to be “Symphony” essays tra University of Cincinnati. Complete school of music—Faculty of international reputation. composers points) July 26 is the birthday of the excellent Cocked his eye and winked at me. played by 4. Which of the following a symphony orchestra, the Vernon F. Deane, Degrees, Diplomas, Certificates dormitories, 10 little song key Lyle Gillman, Ruth Kumin, — acre campus. Address. orchestra, to which class of former conductor of the Boston Sym- A in a merry muslc died before 1850: Chopin, Brahms, 9 . In the supposed to describe or relate to Audrey Miller, Louetta Masters, Doris Keene, This little birdie sang to me. Box E. T., C. M. BENJAMIN, Registrar points) instruments does the triangle be- phony Orchestra, Serge Koussevitzky a poetic Sydney Jameson, Ronald Lentz, Pauline Curtiss, CINCINNATI 19, OHIO Mendelssohn, Wagner? (15 idea, or an event or storv; 7. Rose Traubman, Jean recently retired. Marianna Pollock, Mary terms relate long? points) (1874), His little song— it like this: Waltz in Mildred 5. Which of the following (5 went A-flat, by Brahms; 8. A so- Gordon, Ella Meyers, Dorothy Wieder, letter names of the July 27 is the birthday of Enrique Gra- Just practice daily, never miss. prano Jolce Elson, Cornelia Gray, Marta 2nd EDITION. COMPLETE TREATISE ON ritardando 10 . What are the voice Thornton, to a change in tempo: of flexible quality capable Grube, Loret- triad in nados composer of Then, in the end, in front of all, 0 O'Keef. Wallace Newcome, May JACK EPSTEIN crescendo meno mosso? tones of the subdominant (1867), Spanish op- performing Stella Wise, Eugene TRANSPOSITION diminuendo , , You play Hall. trills, runs, and other ta Davidson, Marian Plum, eras, lost may in Carnegie Covering ALL problems of Transposition BARITONE the key of F-sharp minor? (5 points) who was at sea in 1916, when ornamental Niehorn, Anna Jorgensen. Edna Mae Walter. hunt. ties points) Billy Keane (Age 10), passages; 9. Percussion; 10. to (5 Stapler, Jeanne Wolft, Send for folder or send $2.00 for book 1401 Steinway his ship was torpedoed. Buny McDade, Georgia _ Bldg.. New York City Answers on next page Columbia. Lagourgue, W. 57th Street, New York 19 District of L-sharp-E-sharp-G-sharp. Lisbeth Cristman. Charles 35 452 etude JULY, 194Q 453 _ SONGS CHORAL PRELUDES AND CLASSIC ITALIAN ADVANCE OF PUBLICATION TEN Volume II ORGAN MUSINGS A FANTASY OFFERS WITHDRAWN Compositions High and Low Keys Greatly improved service from the of Original Organ Medium A Collection For Glenn Transcriptions for the Organ Edited by Mabelle and printers and at the bindery again enable and by H. Alexander Matthews this book are ex Bernard U. Taylor our Publication Department Many of the works in supple- this month Excellent ' the original < practical value to produce three new works, copies of • • clusives! Among mentary material for -phe cworiteS composers as roven by such CLASSIC ITAL- which soon will be sent to advance sub- lions are works any organist, these of Overholt, Paul K °ePk®’ SONGS. Vol- scribers. Readers of these Publisher’s Charles E. preludes, offertories IAN F. Bedhead MRcgtc, m- the pro- Notes, who for years availed Ernest H. Sheppard, G. are ume I, in have them- the and postl udes Pynn. A few of work ol selves of the opportunities to become ac- and Norris A. based on well-known Y fessional especially made are singing quainted with new publications through new arrangements hymn tunes and singers and and Tscha.kow- private the advantageous advance of publication Haydn's Allegretto; the abil- teachers in registrations adapted to Hammond institutions through- offers, will be glad to know that in the fk^s Legende ities of the average country, has future all works here offered will be throughout. church organist. The out the so firmly estab- scheduled for publication within six collection is especial- been PIANO addi- months from the date of the first an- IVOR PETERSON’S that it lished that this i BOOK ly valuable in ACCORDION special volume will be . . nouncement. The special advance of contains numbers for various tional M!BE^ will be interested m Interesting prices are withdrawn L. Gaynor's welcomed. modern- publication now Jessie Accordionists occasions and seasons of the church year. widely unusual group o£ arrange- accompaniments have been utilized, on the following books. Lovers having this When Morning Gilds the Skies is the ized of Interest to All Music virtuoso. Some ot phrasing, correct Monthly Bulletin ments by the Swedish included in the col- as before, and proper A are in- hymn-tune-fantasy Peterson’s own compositions registrations are markings and dynamic signs Songs of Worship—Two volumes, High Mr. lection. Hammond metronome Brahms’ Hungarian assure artistic in- Voice— compilation of cluded and also The Advance of Publication Cash are clearly indicated to Voice and Low A BOOKS FOR July, 1949 Dance, given PIANO Invitation to the reper- detailed song-study has vocal solos for the church singer, each Dance. No. 5; for this "lift” to tired organ terpretation. A Tschaikowsky s Price by Weber -.Theme from cents, postpaid. been prepared together with the Italian volume is identical in contents. All of OF PUBLICATION OFFERS the toires is only 60 ADVANCE “Sixth Symphony”; Sounds from pronunciation table, English translations the sacred songs included have proved publication. CHILDREN in this list are in preparation for by Strauss; and the Rus- published in sheet music form LITTLE All of the books Vienna Woods, STANFORD KING'S PARTY of the songs, notes on each song and successful Cash Prices apply only to sing e Two Guitars. Single inspirations of mod- The low Advance of Publication sian Folk Song PIANO BOOK biographical sketches of the composers. and represent the Delivery {postpaid) will reserved at the Advance composers. These orders placed prior to publication. copies may be and entertaining, this un- The fifteen songs from early Italian com- ern and contemporary copy 65 cents, Intriguing Send order to Publication Cash Price of and Bononcini: L’espcrto noc- solos will not be found in any other col- be made when the books are ready. of usual publication will please young posers are postpaid. numbers, old-time bal- Caldara: Alma del core and lection. Price, 75 cents, each. PRESSER CO. old alike. Novelty chieroi FIRST PEDAL STUDIES THEODORE service and patriotic alias, Gay Come raggio di sol; Carissimi: Deli, con- TACTICS lads, 64 TECHNIC songs, etc., contrib- tentatevi: Casti: Ah! quanto i veto and Second Piano Part to Streabbog’s Op. from the very beginning! Bryn Mawr, Pennsylvania Piano Nineties tunes, folk How to use the pedal Twenty-One Short Studies for of fun at the T’ageirt; Durante: Dnnza. danza (Twelve Easy and Melodious Studies) by ute to many an evening E dove keen Peterson's Piano Accordion Book 45 Stevens dozen re- habits ore established and o Year-Twelve Character- Ivor by Milo of all sorts will gentile; Falconieri: O beUissimi Basil D. Gauntlett supplies a Proper pedal AM Through the Such piano. Social gatherings fanciidla Ketterer .30 For book lor second graders! numbers that will be wel- istic Pieces for Piano |_jtt|e Pieces from the Classic Masters— The this easv to-play Legrcnzi: Che fiero costume; cital and study carefully de- find interest high when capelli; sense of hearing developed in these Beer 30 scale passages divided be- studios. These are the • as in Assembly Band Book—A First Book for Piano Soio matters (arranged for about grade two- Mazzaferrata: Presto, presto io rn'inna- comed many interlocking arpeggios; and-sing Parts, each .20 tween the hands; compositions of Mr. Gauntlett Elementary Bands. . .Gordon of to such nos- Provenzale: Deh, redetemi; Rosa: original signed studies. o rgan Musings groups; and-one-half) volume moro; Conductor s Score chords; rapid five-note and harmon- .40 For Piano broken numbers as A vicino; Scarlatti: Non vogl'io se non which amplify, melodically short Etocj es w |j|, Ornaments— talgic and reminiscent Star chords; crossing of hand; wrist studies, making of Price 60 cents Chapel Choir Book-For Three-Port Robyn .40 staccato Two: Little Annie vederti and Sento nel core; Stradella: ically, the standard The double thirds; Bicycle Built for with Organ Ac- rotation; chromatic scales; excellent program material for stu- Mixed Voices (S.A.B.), Party Piano Book 60 The Man Col mio sangue comprerei. Published in them Stanford King's well- Rooney; Ta-re-re- Boom-der-e; the trill and mordent are equal ability. The second companiment • and FI inky Dinky low and medium high keys, dents of about xechnic Tactics-Twenty-one Short Studies on the Flying Trapeze: medium major and minor modes cents) are not issued in Volume II Stevens .25 covered. The Rain No Volume II piano parts (75 Classic Italion Songs— )of p ian0 Voo; It Ain’t Gonna CLASSIC ITALIAN SONGS, variety of easier keys pro- Parley Glenn Taylor .60 are used in a Advance of high standards score; therefore, for performance a copy MINIATURE MELODIES Choral Preludes and a Fantasy For More. Yours at the special continues to uphold the viding a sound technical foundation and of'Streabbog, Op. 64 Presser of Organ Solos 50 Matthews .60 Price of 60 cents, post- of the famed Ditson Art Song Series. is required The Difson Album Organ single copy Publication Cash melodic interest. Order your No. 112 (75 cents) or any Young Pianist In 3 Volumes Scher .35 Part III— A Book now. At the special Advance of Publication Collection For the Fifteen Recreative Etudes for Piano.. you Can Ploy the Piano, Publica- paid, if you order at the special Advance of edition. Beginner Richter .35 now Price of 60 cents, postpaid, this other standard Reading. Schluer .80 for the Older Cash supplementary material (only 8 measures] An Introduction to Score tion Cash Price, 25 cents, postpaid. Very first SCORE is an excellent value. AN INTRODUCTION TO are progressively ar- Ark. A Story with Music, starts Volume I. These pieces ETUDES READING Noah and the FIFTEEN RECREATIVE Richter is a book in the familiar and 3 the selections reach LITTLE PIECES FROM THE by Carl G. Schluer ALL THROUGH THE YEAR by Ada ranged and. in Volumes 2 THE CHAPEL CHOIR ROOK FOR THE PIANO in her pop- CLASSIC MASTERS the art Ella Ketterer style Mrs. Richter employed Mixed Voices Here is a clarified* account of by into the second grade. Time values, tone rela- For Three-Part by William Scher tale stories, Cinder- well For Piano Solo prac- A monthly piece for daily practice! ular books of fairy Alto, and Baritone) for of following a vocal score; reading Soprano , supplementary studies etc. The technical exercises are stressed. ( Arranged Excellent pieces for ella. Jack and the Beanstalk, tionships and Compiled and the alto, tenor and soprano clefs; Here are twelve characteristic with Organ Accompaniment of second and third grades. Each tice in children from Leopold Beer pupils transposing practice time. piece ably represents Bible story, well known to and Arranged by J. special combinations of the C clef; Each Price 75 cents each Compiled etude is short and devoted to a should prove most book will set the reader in a a title music the Sunday School, Rob Roy Peery This subjects instruments; miscellaneous orchestral month in and mood. The by expertly edited phase of technic. Among the with the interpolation of fas- music dancing mood. It is an playing a full orches- covers grades 2 and 2]/i, and the com- interesting This new collection ot sacred alternating right and left combinations, and reflecting treated are: little musical compositions. collection of simple classics from poser has prepared it with a view to the cinating S.A.B. voices has the baritone part and canta- tral score at the piano. Excerpts MELODY PICTURES A PIANO METHOD lor early dances hand scale passages, legato simple language the story may se- the charm and grace of the suites, overtures, student’s progress. The directions are in Told in so arranged that a portion in each rhythmic studies, string quartets, sonatas, Little Players In 2 Volumes Couperin, bile playing, staccato, as a playlet for a recital For FOR LITTLE CHILDREN basses. of Bach, Francois and Louis symphonies are story form and the illustrations are de- be produced lection combines both tenors and left hand development, oratorios, concertos, and Jessie L. Gaynor Handel, Kuhnau, Purcell and broken chords, program novelty. The illustrations are by Ear training and the use of hand Original compositions, seasonal anthems, Gluck, pedal included. Among the composers repre- lightful. Reserve a single copy now at student. interlacing triads, chord and work may be colored by and Margaret R. Martin hymns Rameau. For the third grade Handel, the special Advance of Publication Cash line drawings which symbols in pitch identification, hand choral transcriptions of favorite scale passages. Given de- sented are Bach, Beethoven. of Publication Cash and chromatic pupil. Price, 60 cents. Immediate use of the bass clef and sale of this book will Special Advance Mozart. Palestrina, Price, 30 cents, postpaid. the clapping (rhythm), note reading and are included. The scriptive titles, these appealing little Haydn, Mendelssohn, Price, 30 cents postpaid. the basic element of rhythm, devel- be limited to the United States and its and amuse simulta- Schumann, Wagner and Weber. Single first work at the keyboard, together pieces will educate inter- your single copy- now reserved at the special Ad- oping powers of expression and possessions. Reserve BOOK neously. Advance of Publication Cash copies may be with suitable duets for pupil and Advance of Publication ASSEMBLY BAND Price, 80 pretation, comprise these complete, at the Special Price of 35 cents postpaid will now be vance of Publication Cash teacher, make an easy, intelligent A First Book for Elementary Bands Cash Price, 40 cents, postpaid. reservation of your single cents, postpaid. short and simple musical phrases. Compiled and Arranged accepted for approach to first work at the piano. Price 60 cents each Philip Gordon copy. SOUSA'S SHORT ETUDES WITH by YOU CAN PLAY THE PIANO! Price $1.00 A book to satisfy a long-felt need: MINIATURE DUETS ORNAMENTS DITSON ALBUM OF Part Three Easy pieces an elementary band can use THE MARCHES MINIATURE MELODIES For Piano Beginner FAMOUS FOR instruc- ORGAN SOLOS A Book for the Older Compiled and Edited after one semester. One term’s FOR TWO organists! Other instru- by Ada Richter BANDS TEACHER AND PUPIL tion prepares the student for this vol- A boon to ADAPTED FOR SCHOOL by Louise Robyn oblige—so sight-reading mate- For Players of Equal Grade adaptability to the mentalists have been blessed by the fa- Mrs. Richter continues to Supplementary lume. Curtailed for Educators national Conference Almost a sequel to popular Instrumentation as Approved by Music to her primarily within Sixteen I elementary group, instrumentation in- mous “Ditson Albums,” now we offer one here is a third part rial on both clefs, duet arrangements, grades The Ornament Fam- of the older B-flat Clarinet A; B-flat for the “king of instruments.” This al- method for the instruction each 40 cents the five-finger position. Pupils play and 2, evenly divided as to parts. these eighteen cludes: C Flute; 36 Parts, ily, general style student. Interest is sustained by attrac- Clarinet B; B-flat Cornet A; B-flat bum follows the employed Conductor's Score $1.25 Primo, some Secundo, all in spe- Melodious and serving nicely as re- short etudes follow the some B-flat in previous volumes of the series; some tively presented material whereby Cornet B; E-flat Alto Saxophone; cial large-size notes. Gay, rhythmic cital numbers, they are so planned the presentation of at ihe E-flat Alto Horn A; numbers composed especially for this pupil is taught and entertained CONTENTS Tenor Saxophone; offer excellent training -in that players can interchange at will. that volume. Music will find melodies Horn B; E-flat Alto Horn C book and special arrangements of others, same time. The adult student INVINCIBLE EAGLE selected from the E-flat Alto THE STARS AND STRIPES WASHINGTON POST THE technic. Price 75 cents Price 75 cents is Trombones A & B; Trom- such best-sellers as Cadman’s At Dawn- himself acquiring a playable repertoire well-known etudes of (optional); FOREVER HIGH SCHOOL CADETS Basses; ing; and A Dream by Bartlett, are in- while mastering technical phases and EL CAPITAN Le- bone C; Baritone (treble clef); FAIREST OF THE FAIR Bertini, Czerny, Nevin s SEMPER FIDELIS and Drums and two-staff Conductor s cluded. Broadhead’s Verset; Enel of Sum- developing a skilled approach. LIBERTY BELL MANHATTAN BEACH moine, Wieck, Bee- Car- ACROSS THE SEA Score (Piano). Some of the numbers are; mer by Marrvott; and a transcription of Narcissus; the Toreador Song from THE THUNDERER KING COTTON HANDS thoven. Explanatory Dekoven; THE JOHN CHURCH COMPANY Excerpts from Symphony No. 2 by Schu- March Maestoso by Purcell contribute to men”; Oh, Promise Me, by notes are provided; I March, Song the contents. Hammond organ registra- Rachmaninoff’s Prelude (all in special COMPANY THEODORE PRESSER CO., Distributors illustrated bert; Schumann’s Soldier’s THE JOHN CHURCH ornaments familiar intervals the Pines by Mildred Adair; Heigh- tion also is provided. The Advance of arrangements) are some of the are grace notes combined with of Theodore Presser Co., Distributors Rolfe; and two compo- Publication Cash Price is a “steal” for favorites. Several original compositions Bryn Mawr, Pennsylvania and chords, the acciacatura, appoggia- Ho! by Walter of Pub- so valuable an addition to the music is time to reserve Pennsylvania mordent, inverted mordent, turn sitions by the author. Advance are included. Now the Bryn Mawr, tura, library; 50 cents, postpaid. of Pub" Publication Cash lication Cash Price, each part, is 20 cents. Sold only in your copy at the special Advance and trill. Advance of 40 cents, postpaid. the United States and its possessions. lication Cash Price of 35 cents, postpaid. 40 cents, postpaid. Conductor’s Score, Price, JULY, 455 ETUDE 194Q 454 — i at the age of seven, of my life came to me talked with Sergei Rach- Other Name when I met and By Any memorable maninoff, after one of his PRESSCR Francisco. My mother PUBLICATIONS Continued, from Page 416) concerts in San ( with took me backstage, and he talked huge cavern I remem-, he visited Fingal’s Cave, a me for about fifteen minutes. of the He- hands, and on the billow-lashed coast ber that he looked at my the mighty great things if NEW RELEASES of accomplish brides. From the surge said I could cavernous for them! I can never breakers in and out of the I worked hard for his inspiration of that meeting depths he developed the mood forget the variously as one of my favorite pianists and Overture, Op. 26, known with Cave. “The Hebrides” and “Fingal’s composers. Schu- Another musical painter, Robert No. 3 m Difficulties in Gaining Recognition mann, called his Symphony because he and practice, though, E-Flat the "Rhenish” simply For all his work the pianist must still meet the for All—from it to portray life along the young 73 Possible Goals. Auditions intended enormous difficulty of getting himself to Concert Pianists Rhine. ** Beginners Little go to play an audition with 44 not strictly a nickname, heard. You Although it is and hopes-and then also refers to hicrh confidence the title Kamennoi-Ostrow have you are asked what experience you A S, visited by the composer, Rubin- "V »«, TEACHERS a scene experience is insufficient, m„!(c f GUILD of PIANO in had! If your NATIONAL Kamennoi-Ostrow is an island Texas stein. will not be given the position. So ““ Box 1113 Austin. Here at you ***»*. Allison. Mus. D.. Founder-President River near Leningrad. de- familiar M. the Neva the problem is to gain experience 8;bJ; resort Rubinstein wrote a set being a summer spite the few opportunities of Opus 10, and of twenty-four pieces, heard and proving yourselfl Even after !"^i3 by in the set. Kamennoi-Ostrow is No. 22 one big opportunity, you are hardly del- Returning briefly to Mendelssohn, bis uged with the kind of offers you long Colleges is sub- can gain ex- Schools— Symphony in D Minor, Op. 107, for. Other instrumentalists and for dr lder sfud °™atizar° enf°a s because it was in orchestral groups; but the kl ‘ titled the “Reformation” perience W°' ‘ 1 - Price, *»l n cl uded.ud° festival and be- can do little in a symphony un- g "h, a no 7 d written for a religious pianist perfZZ‘iT°rmo : “SC to be invited as nce 0 f CONVERSE COLLEGE use of Luther’s Reformation less he is soloist. And C. cause of the Edwin Gerscbcfski, Dean. Sparunbure. S. best way I know to God, soloist. . . .! The hymn, A Mighty Fortress is Our Department of Music break into professional music is to win KNOX Galesburg, Illinois in the last movement. Thomas W. Williams. Chairman some kind of competition, preferably one upon request. COLLEGE Catalogue sent performance as its reward. Chopin Also with a public The reason I recommend this method, roof of the The patter of rain on the it is the way I began SHENANDOAH perhaps, is that and B. Mus. Valdemosa, one of his years, Courses leading to the B. Mus.,S monastery at myself. Although I had played for NASM. In the heart Ity -Qmetican Ed degrees. Member said to account for the orchestras, it "Twelve Compositions Dayton, Virginia. Student Residents many refuges, is both in recital and with I Shenandoah Valley, of the Harmony Ttieory— Piano Voice—Viorn—Cello— — “Raindrop” subtitle affixed to Chopin’s of the Los Angeles 1 Stfeech-Drama the winning Composition Art 1 Teachers was 3001 Pacific Avenue No. 15. His MRS WII.L1AM HENNE Prelude in D-Flat, Op. 28, Philharmonic Young Artists Competition @'omposets 10, is called the “Rev- Etude No. 12, Op. (when I was thirteen) that really started radical olutionary,” not because it was a me on my professional career. And play- customary musical DILLER-QU AILE departure from his ing with that organization under Alfred was not—but be- For Organ with Bells of Music form—which it certainly Wallenstein in a regular season concert, School the cause it was supposed to represent thrilling experiences was one of the most This collection of hitherto unpublished works, contains Norma! Course for those wishing to become Polish composer’s feelings upon learning I think all young and for teachers who wish to mod- I have ever had. teachers by Russia, the prize-winning compositions in a contest sponsored ernize their teaching methods. of the butchering of Poland pianists feel grateful for the increasing service to organists and Germany. His Nocturne, by a leading manufacturer as a Adult classes in Theory, Sight Singing Austria, and number of worthwhile competitions that Training, Keyboard Harmony, Written repertoire and recital material for this unique Ear Op. 62, No. 1 in B Major, is sometimes appearances with orchestras as seeking and Counterpoint, Composition. offer solo Harmony nocturne because combination. Instructive study notes by called the “Tuberose” well as recital debuts to their winners. and modern NEW FEATURE be likened to a the opening notes can If you have a career at heart, you will do Dr. Alexander McCurdy are included. Price, $1.25. Special 10 week course tuberose lacing its leafy way up a trellis. exactly the names, dates, for training in well to find out Finally, Chopin's Etude in G-Flat, Op. Pre-School Music Teaching terms, and so on, of these contests. 10, is called the “Black Keys,” for rea- Catalogue on request. anyone who has tried sons obvious to Value of Ensemble Playing 80th St., New York 21. N. Y. 66 E. to finger the score for the right hand. approach such a contest with con- Incidentally, if you have had your pian- To fidence, however, one needs a sound —The DUNNING COURSE istic skill proved wanting by this etude, playing all kinds of of IMPROVED MUSIC STUDY you may be comforted to learn that background in M.A., Mus.D., Gladys M. Glenn, B.Mus., pianists music, under all sorts of conditions. Dean of Education Faculty many of the most accomplished CLASS music, accompanying oes ANNUAL CONVENTION of Chopin’s day indignantly pronounced Playing chamber /»] Colorado Springs, Colo., Aug. 1, 1949 playing OU difficult.” other instruments and voices, l/;.l guest artist for after- this opus “outrageously *nna Dr. Maurice Dumesnil, orchestral noon Lecture Series and Clinic (5 days and duets, and the piano parts in open to all non-Dunning Course teachers) (if a small, or a school, for information and class dates address scores only with expe- EXECUTIVE HEADQUARTERS Amarillo, Texas I orchestra), all provide necessary rience. It is also good to practice the professional music school . A Problems of the sightreading I spoke of before, just as v OBERLIN_ _ in an attractive college town. ISpecial train- Thorough instruction in all branches of musk*. you would any other technical problem. teachers, unsur ing in band and choir direction. 46 artist passed equpinient 200 practice rooms, 23 modern organs, etc.) This is especially valuable for pianists, ( Young Pianist A.B... with music major Degrees: Mus.B.. School Mus.B.. ’ Oberhn. Ohio. there is instrument, I be- Catalog Frank H. Shaw. Dir.. Box 579, since no other '*P quick percep- r:c (Continued from Page 42Q) lieve, that requires such tion in seeing so many notes at the same Est. ^ ICe flKfiene TKeatre 1894 Since the orchestral and script rehearsals time, and in coordinating them into and Dramatic, Lyric ami Dance Arts t took up most of the day of the broad- hand action and correct sound. For any SUMMER COURSES A&TSS, cast, I bad only a few hours the night kind of public playing, though, there is Technical and practical training essential to a pro- Before lorn in which to prepare solo no substitute for experience. fessional career, teaching and directing at JNcw before my (sometimes sixteen pages long) for a thinking of professional status, one TIVOLI PLAYHOUSE, 40 miles out. L. I. City 19. musically Write Sec’y. Shubert, 1780 Broadway, N. Y. nation-wide performance. And, of course, should take advantage of every worthy opportunity for playing in pub- I never knew what the orchestral part lic— none is too small! This conditions THE MANNES of the arrangement would sound like you to the extra nervous energy required until I heard it at rehearsal. MUSK SCHOOL in playing even the smallest, simplest ~Theod.ote Also, the young musician learns musi- more you Professionals • Non-Professionals • Children piece before an audience. The Instruction cianship by hearing great pianists in Class and Individual con- play for people, the more you learn to Pennsylvania Artist Teachers /?tyn Mawi, certs. Comparing various notable inter- brain. And Scholarships for Orchestral Instruments control your fingers and your is a DAVID & LEOPOLD MANNES. Directors pretations of the same work an edu- that is exactly what it means to be St., New York 21. N. Y, Room 33, 157 East 74lh cation in itself. One of the greatest thrills musician! ETUDE 456 x — be Just imagine — adding two small attachments is more unusual, both organ and piano can pushing a switch and played together . . . YOU CAN ACTUALLY 'ffalfaOtiBWMtb to your piano — and — playing organ music on your own piano keyboard! PLAY AN ORGAN -PIANO DUET WITH The Lowrey ORGANO is a completely YOURSELF! And there are other interesting electronic instrument. The tone source is With the New Lowrey ORGANO, it’s as easy the electronic (radio) tube— specially musical effects. as that! You can enjoy good organ music in your harnessed to provide organ tones of unbelievable depth and richness. Only home, your church, or school —anywhere there is Anyone can play and enjoy this newest idea moving parts are the individual key switches a piano! But that is not all. This amazing new in music. Hear it—play it. which are actuated by the piano keys. Key Switch Frame and Control Panel are instrument: easily attached to any standard piano in such a way that piano finish is not marred. GET COMPLETE TION • INFORMA Tone chamber requires very little space /.TyijeiZ (25 10H'). Now organ music is possible in this new ORGANO booklet. in even the smallest homes or apartments. 0R6M pGfiN' ^WANO- Use handy coupon on page xx. Yet ORGANO expression control —with its 0 range from a whisper to a mighty chorus ptANO ALONE/ This saves your Etide cover. has the volume to fill a large church or hall. • ORGANO provides a full 60-note ORGANO is the product of The Lowrey Organ Division, Central Commercial organ, with a wide selection of tonalities. LOWREY ORGAN DIVISION Company, Chicago, widely recognized for The piano, of course, can still be played its leadership in electronic research in CENTRAL COMMERCIAL COMPANY the design of fine electronic organs. as a piano without interference. But what 332 South Michigan Avenue, Chicago 4, Illinois h