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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
4-1-1941 Volume 59, Number 04 (April 1941) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 59, Number 04 (April 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/251
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ANTHEM COLLECTIONS
P U B L IS HE D BY THEODOR EiMfi EE C O . T" X/ ' ^ XN '' Ur7 ' VA “' CHOIR YOUNG PEOPLE'S CHOIR BOOK UNISON THE CATHEDRAL | ANTHEM BOOK /Fotf Three-Part Mixed Voices (SJUB.) \ For Junior Choirs A Collection of Distinctive Anthems for Chbrus-Cht j,f ^ Compiled by Rob Roy Peery Selected, Edited, or Composed by Edward Shippen Barnes A collection of longer medium-difficult anthems' for Rene^ /use. In making /his. one of the very best collections for, the;, S.; A. B. glsJWgffishetl contribution to the sacred repertoire for unison Dignified and inspirational in character, these worsts, a fullSoozeiy in' choir, Ur. PeeW drew upon his own invaluable experience! \WitH 'special vqices. /Derived from classic and contemporary sources, the music number, will make a strong appeal to choirs of more thapNavfcrage regard fo^ theiyoung male voice, he has utilized in the section desig- has been adapted by a master of his craft. Besides sections. a generous assort- ability. Many of the numbers include solo Excellent ' nated as (Baritone, all the tenors and the basses, making! an ments works for general use, the seasons of the Christian Year have \ Price, 60 Cents balance between that section and the treble voices. been taken into account. Among the thirty-seven numbers will be Containing a number of sincerely devotional works, this book makes found works for Communion, Confirmation. Lenten, Easter. Christ- available to the church today the services of the many young singers mas, Children’s -Day, Thanksgiving. Ascensiontide, and New Year's who are receiving such excellent training in the public schools. Organ Day services. feature throughout. accompaniments are a Price, 75 Cents DISTINCTIVE ANTHEMS Price, 60 Cents Practical and Inspiring Church MuBic in Modern Style More than a dozen numbers from five to fifteen pages in length. JUNIOR COLLECTION OF ANTHEMS impressive composers reveals the names of such serious VOICES The list of CHOIR BOOK FOR WOMEN'S An invaluable Speaks, Spross. Demarest and collection! Made up of splendid arrangements musicians as Hawley, Hammond. Collection of Sacred Duets, Trios, and Quartets wn for A '.?" r e ‘ a d Jour-part work, it Brackett. The contents, intended for more accomplished groups, are ? I> contains a wide variety of short but highly effective quality. Edited by Edward Ellsworth Hipsher choruses for manv ' es. There are imbued throughout with a fine devotional nnmhprc in nil twenty-three Dr. Hipsher's very useful collection for the female choir generous- Price, 75 Cents ly encompasses a variety of subjects and arrangements. Included in the Price, 50 Cents twenty numbers for two, three, and four-part groups are many tuneful and engaging compositions of direct appeal. In his informative fore- word. the editor makes some sound and practical suggestions to newly THE CECILIAN CHOIR formed groups and to those without a regular leader. SACRED TWO-PART CHORUSES Price, 75 Cents For Junior Sacred Two-Part Songs for Treble Voices Choirs Arrangements and Adaptations Warhurst from Classic Composers Edited by I. C. with Original Numbers by Paul Bliss Mr. Warhurst's compositions and arrangements in this collection for WELL-KNOWN HYMNS ladies' voices will have many uses. The music is not difficult and the For Men's Voices ySyS' with limited number of rehearsals. Ei'rrss. tv various prepared a numbers can be S 1 h° 1 Frederick rl >’ •' h 1 book has many times contents throughout are notable for their melodic value and will By Wick C. over proven its worth The h o iV iTiH USed alike. There are twenty-one numbers wilh -distinct success and have appeal to choir and congregation Twenty-four standard hymns in fine, useful arrangements by an found specialP XM'Mfn TvT included. the use of men’s groups in church and else- classics. 3 adapUtions from thc authority. Designed for 1 n allTfiffeen^umbers areTneluded!^ Price, 75 Cents where. it fills a long felt need. The arrangements are in no way diffi- cult and can be rendered with a small amount of preparation. Price, 50 Cents Price, 50 Cents SACRED TRIOS SACRED CHORUSES FOR MEN'S CHOIR For Women's Voices BERWALD'S MEN'S VOICES Nineteen outstanding religious works for three-part women's voices. Composed and Arranged by W. Berwald mor ex P er ' e nced choir of male Made for the more experienced groups, this compilation includes for the of singersTachff /hZ'mim'/.-'' ? up A collection of proven merit use male choirs and for 1 1 s use individual excedent co " e ction has its own contributions from classic as well as modern sources. Seasonal num- Mr. Berwald has included one appeal anH t^TVki- !! . it various gatherings. While or two of ,abl,sh " d suc «ss Lent, Palm Sunday, Easter. Children's Day, understand The of the book is easy to bers for the New Year, lis own arrangements from other composers, the majority of comn'^:"P the in collections e nEer ,han 0Se usuallv found Thanksgiving, and Christmas make it an especially valuable collection. for maTe - lumbers- are of his own composition. Eight secular works are also voices and |h° mus,c ‘n provided throughout for proficient soloists. n»el.y superior ln a " cases is of a defi- Excellent work is ncluded. quality IncluiienTTncluded are . Christmas. a number each for Easter and Price, 75 Cents Price. 60 Cents 75 Cen,S *1* *•:* *1* *1* *fr 4*4* 4» 4*4* *1* 4*4* 4*4*4* 4* 4* 4* 4*4**1* 4*4*4» 4* 4* ** * * * 4* 4* 4*4* 4* **** 4** * *> > * * **** * *** * * * ** * 4> ***AAAAA ...... * * *********************** ANTHEM OFFERING VOICES OF PRAISE THE not-too-diflicult VOLUNTEER An altogether useful assortment of anthems. For the choir of average attainments. More than a dozen not- CHOIR The reverential style of the contents recommends it for many tpo-diflicult anthems by eleven successful contemporary com- ?' kind on uses, and without reserve, to choirs of varying proportions. A posers are here offered. They are notable for their the mark,,, marked contents seven- include ° n,ra ' netl singers, the number of solos and duets arc introduced throughout thc melodic content, while the range of subjects will cover a wide hvmn-anthems ^ The solos ant he, s included. variety of uses. Interesting incidental solo parts are so sinmle " for general use. teen works will be found e thathat n"r , unison hv nil .k„ . - .” preferred, they throughout. by a || the may be sung in Price, 35 Cents re respective ? included as well parts. Fifteen anthems Price, 35 Cents as a ot J- Truman Wolcott. sentences and responses by
STULTS' ANTHEM BOOK Price, 35 Cents endowed As his many admirers know. Robert M. Stults was ANTHEM DEVOTION with rare melodic gifts. And certainly these gifts have never been more apparent than in this fine collection of anthems. A splendid compilation of eighteen short and easy anthems anthem number service Singularly successful in the field of devotional music, Mr. Stults for general use A of hymn-anthems are included and with the true and constant spirit of worship. also some most effective arrangements from the posers, W ° rks touched his work classics Solos EhiHcolfection steadvT °f Present-day com- The dozen and one numbers in this collection include anthems for the various voices are introduced, and well chosen °“"try over faV° nte w,th registra - Made - choir leaders the have provided to up of an1hL, c for Thanksgiving, Christmas, and general use throughout the year. tions been for the organ accompaniments. eigh, pages, Var n in en lh it is * ! e one services constantly „2?„i *I Price, 35 Cents Price, 35 Cents where ,h, lime SS, special usefulness in Price, 35 Cents ANTHEM GLORY ANTHEM VOICES A collection of genuine value to the choir leader. Represented PULA well known and successful com- This collection contains a fine assortment of CH IR between its covers are many useful mtS.m, o?, . COLLECTION Morrison. adaptable to services throughout the , v„ posers of religious works, among them being R. S. year Fifteen outstanding 9 8 U P. A. Schnecker, E. S. Hosmer, works are here offered from the pens of gifted m b r T F. G. Rathbun, Eugene F. Marks presen t-dav rr, "„„° posers. solos duels "fii of it a n in”ividu al'nu°m- Sheppard, and Mrs. R. R. Forman. With such an The end are not beyond the scope „a°Vrf„“'' Ernest H. of aveTal!;; § e eC l0 Amo naturally taken its place as a choir singers, and the works will be for use" "« «« array in its favor, the book has found inspirational X!7/ r' at anv ,im r L' and Eas,er of the >’ a nd ear i and special best seller among anthem compilations. T k ThankscivmH tu SUnB 8 CaSy so los unison ' here again ' Price, 35 desiredaesired byy Th"ne - Price, 35 Cents Cents - enl,reentire respective sections, if Price, 3S Cents
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Heart 1 ) Davis 1 O, Mother of My (35 5 1 ... C. By Deane Shuro t D 4983) Price, 15c Text by Henry Van Dyke Treble Voices Candle Light (3 Part) (21232) Cadman... Mother (Unison or 2 Part) (D14163) SLUMBER SONGS OF THE MADONNA Hosmer-Manney For Women’s Voices—Three Part Men’s and Boys' Voices By May A. Strong Price. $1.00 O Little Mother of Mine (D 14499) Beautiful musical setting, for performance as a Geo. B. Nevin cantata by the proficient chorus of women’s O Little Mother of .Mine (D14366) voices, of a thrilling poem by Alfred Noyes. Nevin-Austin pT r ithographers yj f ^ Theodore Presser Co. Hi Write to us about anything in this line - /\ Distributors for the Publications of OLIVER D1TSON CO. and JOHN - E SEND FOR ITEMIZED PRICE LIST CHURCH CO. 1712 CHESTNUT STREET, PHILADELPHIA, PA.
217 APRIL, 1941 . ! — . c
True: to®: mmsGcs maiqjcDnGmcB M Published Monthly By Theodore Presser Co., Philadelphia, Pa. EDITORIAL BUT IVB/ITA 7f/R/iC//VF P/FFBBB/VCE AND ADVISORY STAFF DR. JAMES FRANCIS COOKE, Editor
Guy McCoy and Helen MacVichie, Assistant Editors William M. Felton, Music Editor Robert Braine Dr. Henry S. Fry Blanche Lemmon Peter Hugh Reed Pietro Dciro Karl W. Gchrkens Dr. Guy Maier William D Revelli Dr. Nicholas Douty Elisabeth Gest N. Clifford Page Henr^S Sawyer George C. Knck Dr. Rob Roy Peery FOUNDED 1883 BY THEODORE PRESSER
Contents for ~dnri(, 1941
VOLUME L1X, No. PRICE 23 CENTS
WORLD OF MUSIC . . EDITORIAL Blow! Joshua! Blow! YOUTH AND MUSIC Finnish Fighter ...Blanche Lemmon 220 MUSIC AND CULTURE Economizing Energy at the Ivevho-n-.i 1 , 1 tl Lan ' 1 ° f ,h «“ I'icns . . .Ruth Slcncsynski 222 LearningT ermine n ’wt ‘V - How to Compose . . ..Metric, Dumcsnil 223 “I Saw .Musical Vienna Fall" Ferde Grof 224 What Really Is Modern • Music? . Robert Stolz 225 • . . .Eugene MUSIC IN THE HOME Goossens 227 Schubert Again Enters the Fiinw Radio's Distinctive Musical , s •••••• Donald Martin Discs That Delight Music Lov.'rJ Aired Lindsay Moryan The Etude Music LoveiVs Bookshelf • • • Peter Iluyh Reed 230 MUSIC AND STUDY B. Meredith Cudmun 231 Go Back to the Piano '
• v-V,?"" Myers Dut ies • u ilbur Jnri.-ty In Organ Preludes Alonza Skill's . . Arnold lluyon E(heard ,1. Plank 237 • The • • 23S Viola Claims Its Rights Guy Maier Questions ami Answers • William D\ Revelli A NEJV world of music at your FINGERTIPS! •William Primrose &S : Earl IF. Gchrkens oboe, Leopold Such sc 243 Naturally your eyes will blink a little at first tiful effects of flute, violin, trumpet, Esther Jonsson 244 sight of the compact Solovox keyboard — clarinet, cello, and many more — a whole Ouy Maier 205 Pietro Deiro to MUSIC it’s so new, so different! But your fingers new world of lovely music for you enjoy Oeorye G. Erick Classic and Contem, ar —they’ll feel completely at home right from at your own piano 1 st y Select ioi Movement frv„„ ,,, Solo- I- male from 1st Easily attached to your piano, the Move n0r * the start, because you simply play the °p ' 35 Alleluia of'WmtUa - No ! • . Frederic Chopin its normal use or tone. Kisses of does not affect Spring . Solovox as a part ofyourpiano ! vox . .Joseph Haydn 247 Night in Vienna . . Mozart-Felton 24S for children Just See the Solovox . . . play it . . . today Mozelle Yes, it’s easy—even ! .... .Stanford 250 Gavotte Kitty Anei'enne’ • • pick your melody and begin — your left at your nearest piano dealer’s. Hammond • • Ralph Fcderer ’ Era L. Young Instrument Company, 2929 N. Western hand in its usual position on the piano . . °f'i“pt tromnnfan35e«“~< .Henri Wehrmann Chicago. your right hand on the Solovox keyboard. Avenue, 1 ™ 1 ™ (Vo«T lianas) “S (TSV II ttndel-Orem 254 of KilMer And as you play, every mellow measure HAMMOND ORGAN STUDIOS • New York: 50 West Morn (Ore!,,,', At Dawning Philip Qre.cly (Horn In p,' your piano music is thrillingly accented 57th Street. Los Angeles: 3328 Wilshire Boulevard ' Ward-Stepliens Delightful Pieces _ <'linis .S'. Mallard exquisite singing far v.. “" and enriched with the Easter Buunv 8 Pla> er* Flying tones of the Solovox. My for interesting, informative, ... • • “tone Write vn Myra Adler 201 At your fingertips, the marvelous Sswffisr* ; w Christ the Lord' • • • Huyli Arnold 201 controls” give you instant command of an FREE literature on the Solovox. is Rl'sen'Toiiuj. '"V:.';;--- Marie Techinc Reurl-Holst of the • • • beau- M0i • • Harold LockC amazing array of different “voices”— Glissamlo Stutlj" D'orn . . Lyra Daeidica- 263 • Based THE JUNIOR t Z01 ETUDE ‘Uy, Op. 30u ' No. 31 by Gay Maier 204 MISCELLANEOUS " Elizabeth A. Gcst 2S4 'V(,1'i‘(l Organ ami .
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THE PITTSBURGH SYMPHONY ORCHES- HERE, THERE AND EVERYWHERE IN THE POULTNEY MALE CHORUS, com- TRA also featured two American works posed of workers of Welsh descent in the in their concerts of March 7th and 9th, THE MUSICAL WORLD granite and slate quarries of the Metowee under the direction of Fritz Reiner. Elvin Valley in western Vermont, gave its first Etler’s “Symphonietta” was played for New York recital at Town Hall, New the first time, and the Bach choir took York City, on March 15th, for the bene- LEOPOLD STOKOWSKI has invited THE LEAGUE OF COMPOSERS gave its part in the performances of Randall fit of the British War Relief Society. American composers to submit orchestral second Young Composers’ Concert at the The Thompson’s “Americana.” chorus was founded in 1924 by scores to build up the repertoire of the New York Public Library on March 2nd. Charles Kitchell, a York singing All American Youth Orchestra. Short Five settings of famous American poems New teacher, FLORO M. UGARTE, who became interested in the natural Orchestral works will be particularly wel- by Charles Naginski, who was drowned director of the Teatro vocal resources and love of music of the comed. Mr. Stokowski will assume com- last summer while attending the Berk- of Buenos Aires, quarry workers. Colon plete responsibility for the return of the shire Festival, were among the featured the second largest opera scores, which should be sent to him at works. Others included compositions by house in the Western MARTIN GELDER, 1 West Sixty-seventh Street in New York Donald Fuller, Ben Gossick, Emil Koeh- US VAN pianist and Hemisphere, recently en- died his City. Composers are requested to write ler, Robert Laidlow and Harold Shapero. composer, at home in Philadel- gaged Lawrence Tibbett, their names and addresses clearly on the phia, February 27th. He was eighty-seven Marjorie Lawrence, Al- years of age. Marjorie envelopes in which they send their man- VLADIMIR HOROWITZ exander Kipnis, Salva- Lawrence uscripts, as well as on the manuscripts is soloist on the all- tore Baccaloni and sev- themselves. Tschaikowsky program WILLIAM MANSELL WILDER, leader in other singers for the coming season eral given by Arturo Tosca- musical circles in Portland, Oregon, died which begins in May and runs for seven THE BACH SOCIETY OF NEW JERSEY nini and the NBC Sym- there early in February. Until he retired months. He also signed Arturo Toscanini will present its eighth annual perform- phony Orchestra in Car- in 1932, Mr. Wilder served as musical di- to conduct six concerts with the Colon ance of Bach’s “Mass in B minor”, under negie Hall, New York rector and organist for the First Baptist Orchestra. the direction of Rodney Saylor, on April City, on April 19th, for Church, and later acted in a similar 29th, at the Mosque Theatre, Newark, the benefit of the Wel- Vladimir capacity for the Grace Methodist Church, A NATIONAL POLK FESTIVAL is to be New Jersey. fare Fund of the New Horowitz both of Portland. held May 1st. 2nd and 3rd, in Washing- York Junior League. Mr. Horowitz’s ton, D. C., in which Indians, Negroes, LEO SOWER BY’S “Symphony in F-sharp March 19 th concert was completely sold SIR HAMILTON HARTY, composer and cow'boys, lumberjacks, miners, sailors and minor”, written in celebration of the Chi- out when it was first announced in Jan- conductor, who toured the United States singers and dancers of British, French cago Symphony Orchestra’s fiftieth sea- uary. as a guest conductor of orchestras, passed and Spanish descent will participate. son, was given its first performances by away at his home in Brighton, England, the organization, under Dr. Frederick on February 19th. His most FEBRUARY FESTIVAL OF AMERI- important THE Stock, on March 6th and 7th, in Chicago’s compositions include: “Irish Symphony”, MUSIC, conducted by station WNYC CAN Orchestra Hall. With the Wild Geese, Comedy Overture York City and continuing for in New and various concertos for violin and days, included more than sixty (competition eleven SERGEI PROKOFIEFF, whose “Semyon piano. He was sixty years of age. concerts. Among the featured * * broadcast Kotko” was given its premiere in Moscow * * * Hunter College symphonic works at the last June, has completed the musical set- A ONE THOUSAND DOLLAR award F. ADDISON PORTER, for fifty-five one of the high points of the concert, ting to “The by play adjudged Duenna” Sheridan, which for the amateur musical years, until 1939, a teacher of piano at festival, were: An Outdoor Overture by will be given its first performance in the best work of the year by the Na- Conservatory “Piano Concerto in the New England of Music, Macklin Marrow, F” Moscow in tional Theatre Conference is offered by May. died at his home in Belmont early in by Geoi-ge Gershwin, Station WGZBX the American Society of Composers, Au- (ASCAP). Any resi- January. For many years he and his by Philip James, Spiritual for String MRS. MARY LOUISE thors and Publishers dent of the United States, eighteen or wife, the former Laura Huxtable of Bos- Choir and Orchestra by Morton Gould CURTIS BOK, founder over, may compete. All entries must be ton, conducted the Porter Pianoforte The Highwayman by Deems Taylor. and and President of The submitted not later than July 1st. For Summer School in Boston. wealth and variety of material The Curtis Institute, an- information write: Professor Barclay festival brought forth should which the nounces several changes Leathern, Secretary of the National Thea- communities to feature the ROBERT GOLDSAND, inspire other in the faculty of the tre Conference, Western Reserve Univer- own composers. Ohio. recent winner of the works of our school at the end of the sity, Cleveland, Town Hall Endowment present term. Mr. Efrem Series annual award for HARL MCDONALD’S recently composed Zimbalist has been ap- Efrem the outstanding young “Chameleon Variations”, designed to show pointed Director, to suc- Zimbalist artist of the season in both the growth of the orchestra and the ceed Dr. Randall Thomp- DR. EDGAR STILLMAN KELLEY, who New York City, is hold- development of orchestral compositions, son who resigned in February; and is soon to celebrate his eighty-fourth ing a seminar for ad- were played by members of the National Alexander Hilsberg will act as conductor birthday, was honored with a presenta- vanced pianists at the Robert Orchestral Association during Mr. Mc- of the student orchestra, following the tion of his greatest work, the musical Ralph Wolfe Conserva- C.oldsand Donald’s lecture on orchestral technic at resignation of Dr. Fritz Reiner. Other allegory, “Pilgrim’s Progress”, on March tory of Music in New Rochelle, New York. Carnegie Hall, New York City, on March appointments include: Richard Bonelli 4th, at the Waldorf-Astoria Hotel in as instructor Feuer- York City. Dr. John Warren Erb, 29th. in voice; Emanuel New mann, violoncello; Professor Carl Flesch, Chairman of Orchestra and Chamber ANDREW BARTON (BANJO) PATERSON, writer of many favorite Bush Ballads THE BERKSHIRE MUSIC CENTER at violin; Gian Carlo Menotti and Samuel Music for the National Federation of and verses, died in Sydney, New South Wales, Tanglewood, Lenox, Massachusetts, es- Barber to be associated with Rosario Music Clubs, conducted the performance by the Boston Scalero in composition, instrumentation in which a federated chorus of two- February 5th, at the age of seventy-six. tablished last summer Mr. Paterson’s collection of old svmphony Orchestra with Serge Kous- and orchestration; Jascha Brodsky, hundred and fifty, together with well- Bush open for its Charles Jaffe, Max Aronoff, Orlando Cole known soloists, participated. songs included Waltzing Matilda, which Svitzky as director, will Proceeds is now probably Australia’s best on Monday, ( the Curtis String Quartet) , as instruc- from the concert were used to augment known cpcond six-weeks’ session includes the three weeks tors in chamber music. All of these ap- the Edgar Stillman Kelley Junior song. He took his pen name, Banjo, from Tnlv 7th which annual Berkshire Sym- pointments are effective October 6th, scholarship of the National Federation a race horse he had owned. of the eighth 1941. of Music Clubs. (Continued on Page phonic Festival. 272 )
APRIL, 1941 219 . ^ e ’
Youth and Music
Finnish Fighter
i^fcinche r~Jltemu ion
pen to this boy, this greatly it, as through a veil, flames could be seen shoot- gifted violinist, her hus- ing upward. Everywhere there was destruction! band’s pupil, whom they It was too appalling even for tears; rather, it had adopted and loved as lought to its beholders a numbness of despair, as their own? How could she i nervesiici ves hadnaa been crushed, making them insensi- guard him, keep him from Diee to ^'^ °?pain.ain - Thele Sirnn®*r hnmo mo o o , P° home was demolished, ass was danger? And she must do uiso the conservatory. So were homes of friends. that. Somehow! le should they g0? safety? If As she watched him dur- onh, D , Where was ly Professor Sirpo. ing breakfast, she thought . . . That was it! Confusion “'nd oleared with of the honors that had the thought of him. They g him in °. ' Helsinki. If they hurried, they already come to him. A could ? catch him there. successful debut with the ng a bus Helsinki Philharmonic Or- th»°!!F was difficult, for the whole city, 1 chestra. Equal Population of the Isthmus in fact, acclaim when seempH + be fleeing fr man- he played in Sweden and aged °m the border. They ast t0 S[weeze and Norway. And just last May then t„ through the door to crowd their he had won the British way inside 1 ’ Council of Music an hour s traveling, their hope of prize reachi’no- ^ 1 among competitors elsinki met with frustra- from tion. , unexpected nineteen Thp US drew countries. That and UP to a small town station, all no sengers Hoover greeting the was really remarkable, for were requested to alight. In- stead of ^ prodigy, Heimo Haitto. all the other entrants n t0 leaving were Helslnki - was them here Tb° this bus older than Heimo, yet hey would another the one to have to wait for decision of the take t, judges was “ 011 t0 the cupital. unanimous. Maddening And now a d °lay o£ speed was so necessarv this sort, when FALLING for hours on the No! War must not rob the world of this f Sirpo NOW HAD BEEN wonder before tllem to reach Professor Isthmus. Viipuri, the home city of boy and his marvelous talent. He must he leFFo Karelian go on But baadness, anxiety, fear, doub looked Sibelius said, “carry on the —emotions S Heimo Haitto and his foster parents, tradition of Finnish so why nubilities in hours like these, in 1939 like the snow music.” The great composer loved indulge ? ' this late November morning Heimo almn t °Ca Mon ? Th ‘ S was war lvith disl that as much as they; he had and ’ scenes produced in those little glass balls loved him from the disnnptlon « he heard m the 01 human affairs following children to shake. To the city the snow lent ment him play, and had acted wake nf ^ love as his wi active were here. beauty. To those who counselor. How Heimo treasured and here thev horrors. They an air of safe and quiet this marvelnn!el0Us /bust friendship And, , remain as long as necessary- zone in —as well he might! like tv, r ' it, however, it was a danger ' inhabited thel s the ’ in find no peace. She watched Heimo now, little they rnust seek shelter which minds and hearts could as he glanced waiting , at tv,ttle s 00m packed Since clock, then went about as fun , which already looked Nor had they felt secure for many weeks. collecting his j. coat h tS rrui along mittens, cap and books. His ’ Heim - S box. September Soviet troops had been massing mind was not’n?°?, on fi and imminence of war, not on “ the 2 S mother crowd W the Russo-Finnish border a few miles away, past viollnistic door and* through the arhi ' ® edh‘ d eas government had been ments, but on quick action, for this m behind himself and his violin for some time the Finnish was a , he,. 11001 akUlgp » demands made by morning. And school and clocks Possible himself tall and thin pressed grant exorbitant ’ like til as to llme a How’, sessions, lepie- tide, wait for no man. bd m he wond they stay Moscow. Despite eight diplomatic this crush aw!’N ei'ed, must were no closei Not until moments later did 0t easy it coul governments either tv, become . for anyone, sentatives of the two verv f, and than they had been more » the boy realize that to-day 1 dure ng to his had e to agreement at present ’ there d so mother. She " wouMh™*'uia be much e, government school. For, long before t-v,theQ _ no the leady1 eady Soviet - than a month ago. Now the falling - And loolooked Sake* wearyweary. f,-igh,„f right* then as he excuse to bring turn Heimo into a snow man, couW his ened seemed bent on fabricating an as he r„n , heart £aces in the crowded sta that path, an air raid siren 011® the seemt„, were allegations cut ' matters to a climax: there through tn’ mcredulous ddenly to stop. He stared stillness like a pistol winter inv wf fired upon! shot . border troops had been through . room, lere sj Russian - midway the mother, The boy's hurrying 64 ro° stood p,-nr across To Mrs. Sirpo, Heimo Haitto’s foster feet halted and" m! es of bewilderment a tee How it SitPo! all things seemed, clouded his thi„V - ling coufd °i war—the most terrible of lg ot SlblyT n - them have thus came, not only warning? It could not be Why could t„n happened when news of the alleged incident real Mn and a strands U~ war. His “ as unless 11 ls such tent Not, of course, for a few gaze searched the not at that fatf of inevitable, but imminent. horizon oa5lly Weaves souk returned For just an instant , in Iortunes. They surely not before Professor Sirpo terror hurrvin . days, hand laid oute; g to him, him Helsinki, for the Russians upon him, then paral just as have passed from a business trip to awareness tw“fl&t Mng h govern- in fViothe distanceriie+nr-i/ia ttlg That they S0 easily missed 111 yet reply to the Finnish were growing Sp6ckspet*o Were have must make some large, hcf. FF-F committee investi- into a frenzy of action. led But llere was almost heV ment’s suggestion that a joint His mother Sf hl® it Was Fagf there was no violin—his Guarnerius! bhelter. .The wue! gate the incident. But it would come; He must ~ His joy of idox’ e it did, how long Those planes were that a ^°h And when coming ' M°ns blottedul,lcu uwiu*other now. too' • hope of avoiding it ™id SsnT ftor0r n u uuiout allail He ° tast g d brief10 be safe_ must get ' of Viipuri home in s° Mr , the citizens time. fast! ?^rs-s . tlmetime, botl would Viipuri and „? SilSirponn ! ' and then to her borne Hours later Heimo o? cam'r What might a possible invasion do and his moth lal Hie to the inescapable que He, ' nexi t, music? To her clear signal h ard n llC conservatory of and came the <:i ;1 To her husband’s up out of the all- hiind wisest move should t of per- f to \ how was no respecter er '' loved ones? Modern war ' Sno at Vei there quest! 5, - ha was no bombs chose cover as fast as -iX now brnr i mu°r rt “J . non-belligerent; brought sons—belligerent or »»possible the tt as if ^t do. The meet to himt last hour' would hap- and craters few indiscriminately. What left by the ana 011 their victims Russian Nibble 8 and ' decislr bombe . 8 back very fll m ls , - fight ? to v- Through *,th 1PUri FM oh ' t0 fi Sht £or 220 boys the m7g v Were 8llt there him. hi the s, was in ait>i y ; (Co pac/i ! ;
Editorial
HEN THE SEVEN PRIESTS of Joshua circled the the incessant needs of the radio, the broadcasting stations city of Jericho, the stronghold of the wicked Ca- were always hard pressed to get enough tunes that the naanites, and focused their dangerous shofars, or public would enjoy. During the recent controversy the ram’s horn trumpets, upon the ramparts, the first musical number of available tunes was tremendously reduced and battle of history was inaugurated. The walls of the fated therefore the jazz butcher spared nothing to make new city of the Moon God, the city of beautiful palms near the material. Surely no sound business man could think that shores of the Dead Sea, “all came tumbling down.” Then such mercenary trash could be used with any advertising- Joshua, whom Moses had made a general and his own suc- radio program without damaging his product rather than cessor as the leader of Israel, entered the city and conquered helping it. it. Thereafter, the Canaanites had to behave. Of course, the only motive behind this kind of musical It is high time for a modern Joshua to send his musical perversion is sheer commercialism. It is done in the hope warriors, armed with shofars of decency, around a new that the public taste can be lowered to find delight in be- citadel of musical iniquity. We refer to the group of mis- smirched tunes dished up by misguided performers. Educa- guided souls who have so misjudged the American people as tors may talk interminably about elevating the art to think that our citizens enjoy having their beloved melodies composers of the better class music may work seriously and earnestly to produce finer compositions representative pub- and spirituals caricatured. We have recently heard over the ; radio some of the most revered of all melodies distorted by lishers may do their part in holding up standards, but not arrangements so disgustingly vulgar that they offend any until the citadels of cheap commercialism in-.music “come person with a rational and respectable idea of the beautiful tumbling down” can American music be spared one of its in music. These crude disfigurations make one think of the most irritating evils. Again we say “Blow! Joshua! Blow!” penciled mustaches The very clever and goatees that a rrangements, “impossible” small known as “stream- boys used to draw line” settings, of ap- upon pictures in the propriate melodies family Bible. such as those made Imagine such a by Ferde Grofe and lovely melody as Andre Kostelanetz that to which our are quite a different colored brethren matter. Here a new, gave the words, fresh and novel art “Nobody knows the form is created, and trouble I’ve seen. the technical virtu- Nobody knows but osity required to Jesus,” jazzed up to play some of these sound like a dance arrangements is as for a jitterbug great as that de- party! Blow! manded by the most Joshua! Blow! Im- difficult classics agine Sir Henry Bis- played by our great hop’s exquisite Lo! symphony orches- Here the Gentle tras. Lark done in a It remains for the swing arrangement teachers of America resembles a to use their counsel that THE FALL OF JERICHO jamboree. and influence to wild followed by the players upon the shofar, the ram's horn Here we see the warriors of Joshua, point out to the Blow! Joshua! trumpet, then the Ark of the Covenant and finally, Joshua and the populace. In the Book of six Joshua, Chapter 6, the Lord tells Joshua to march around the enemy city, days, with youth of the Blow! Imagine our coming- Priests bearing shofars. On the seventh day the Priests were to march around seven times, mighty shout. generation those own charming songs blowing the rams' horns, and at the sign from Joshua they were to give a Then the walls crumbled to the earth and Canaan was conquered. simple and delight- of Stephen Foster ful principles polluted by arrange- of aesthetics which mark works of superior minds. ments that mimic the noise of a drunken spree. Blow Perhaps are we to expect next? A jazz arrange- teachers and leaders, to say nothing of parents, have done Joshua ! Blow! What altogether too much pussyfooting in meeting this ment of Nearer My God to Thee or a jive party on the Credo problem. The widespread assumption that all children have a kind from a Palestrina Mass? of insure variety for natural right to St. Vitus dance (Continued on Page 288) In order to provide enough melodies to
221 APRIL. 1941 '
Music and Culture power is transferred to the stronger muscles of the arm. “Again, watch the violinist’s wrists. r I HEN HAD THE PLEASURE Both are arched, the left, over the of talking to The Etude’s Economizing Energy strings (in higher positions) right , the "w;readers before, I was only wrist over the bow. This same relaxed eleven years old. Now, at sixteen, I arching is helpful in piano work, the have a great deal more to talk about fingers dropping easily and naturally and I am able to base it to a greater upon the keys. There is no tension, no extent upon personal experience. When at the Keyboard tightness, no fatigue, with the result you are eleven, you follow the instruc- that the pianist stays fresh at his work tions given, and no matter how good Conference with for a long time, and better are A produces they are, they the result of an- tone. other person’s thought. As you mature, “Approaching the tone, I however, you think for yourself, and matter of follow the same plan of the the methods used become your per- of thinking I^utL SLenczi.LjnA fingers merely as organs of contact reason U sonal property by of the thought and not as not expended upon them. performers. Tone does originate in the fingers at all. You can “I told you before that my father is Amazing SixteEn-Year-Old prove this by playing pure finger my only teacher; that he used to be a a Piann Virtunsn tone; that is, at the violinist and had to abandon his career a tone originating knuckle joint, join because of injuries sustained during where the fingers the hand. that the World War. I stated also that, in You will hear at once the tone teaching me, he developed certain so produced is thin, brittle, without then, theories on piano playing. To-day, I am depth or color. How, shall able to explain why these theories are one acquire a better tone? By Playing different from the usual pianistic ap- with what we call weight touch. full proach. Actually, my father took over A weight touch releases the body and certain fundamental principles of vio- weight through the fingers, that is expect- lin technic and applied them to piano a different thing from ing the work. These principles can be helpful the tone to be produced hy fingers let to every piano student, in producing alone. Relax your arm and its a a better technic with less fatigue. full weight fall upon the keys in s “The pianist must find ways of econ- °ft, deep, caressing stroke. This tone, you omizing energy. Finger work, if incor- will see, has entirely different qual- ity rectly approached, can prove very tir- from the finger tone. Never expend have ing; dynamic gradations can also use pressure upon a key after you struck grow up strength. And when strength is so it; never let your arm tight; used, the performer becomes fatigued, never strike harshly. The secret work. is to weight harming both himself and his think in terms of full body his released Thus, he must find ways of saving through the fingers. strength. Let me make it clear that I Value . do not mean ways of avoiding work! of Good Posture Individual hard work is the only means “Have you ever seen a person slump of discovering and developing one’s nj his ian°’ chair when he sits at the P self. But even the most intensive work allowing m his arm work to originate can be accomplished without fatigue Tha rounded, tired looking shoulders? or loss of strength, and the intelligent is one of the surest ways of becoming student will try to find out how this fatigued *es • ! I fi lld i a my may be done. that j p y RUTH SLENCZYNSKl 1 in na sit perfectly straight, . “The violinistic approach which my i al good posture, seek no supP0 father has incorporated into my piano and from the back Our back- spare fa- of my chair. method has done much to me bones ^ - AxVI^ are meant us, and tigue. In broad terms, it consists in to support SECured Expressly for The need nothing and re- using the entire arm while playing, in Etude more. Strength taxation posture a contrast to the more general pianistic spring Jrom erect by e GUNNAR ASELUND piano. The arms then able approach which tends to concentrate are a swing freely a« on the fingers alone. I have been from the shoulders ate er one natural!?- taught that the fingers are not actual- T„ y needs comes ly are merely the 1S better unhampe* the ‘players’; they rmif - and the which power, and use my fingers filing of fluent points of contact with the keys, through only as points nf the arm in technically tact with the keys. 011 ' " the pianist makes himself heard just as the In this way, I T 1 Comes — never never more freely ' - I tighten , ErS* singer makes himself heard through his mouth, up’ or become fatigued. do 6 Scales exercises- not consider*,!. anci formaI that the mouth “The same principle holds bem without justifying the impression true, of course - decause either necessary or help ’ a11 someti is involved in singing. passages of swift finger work m ‘ the most important organ The finsre, hab' Place betto can be found to organs which strike the e he keys, to be sure months a e Pl,pils work Violinist h,n rithey at scales E asked to Lessons from the are led there and fed with is after strength hv the , to ’ all? invari n develop n The answer arm, which rolls lelaxe n '®' “Watch violinist’s bowing arm. You will see and turns in l d =y eI a the master the ’ to stren gthen the finS or needed. In passages 011 eCt‘° passa v that he holds it relaxed, but not still. He turns, where the n ness 6 o£ thumb - the acquire must But no 5 thumb, to s he starts quickly passed under, I be pi a , 1 ’ rolls it slightly, showing the thumb when roll my relaxed „ as P’amst seeksS6eks ln goals inn, to master these W* he finishes it. direction of the thumb, the them’, 111 the bow, and the fifth finger when instead of str• r°ng 65 tech homf Angers ! We want fluent piano hand in ' This rolling of the arm is the basis of my and a fixed position and arm flu6 lb workmTSL der to e thumbs, even runs an example. I thumb alone. In th the play Ev ? and technic. Let us think of a trill, as passages where a ran e^? 0 fifth finger, ds ^positions. The tt&jt never still and move only the two the I roll my arm with in TT^ng Of sell hold my hand in the u- in itself es 6Ction and exercises is not I hold the fingers still the fifth finger, reaching 01 ri \ g trilling fingers. Instead, my “esriL t music. n ' U0t aid approach over notes are to strike, and roll (or trill more simply than I could °. ®uch “-now us in the they by flne er i da Si seve,- ali hand, all This method k aIon °® young students who with) my entire forearm, wrist, and produces a number e. real! Wonderful of hT aIes kept relaxed. Thus, I draw suits: the arm is kept ipIul re- without being three of which are relaxed f f and , cal n sources of deal of lost a gre and plest sonatina. find it ’ force for the trill from the stronger motion is avoided- and at e,f„ more I j ’ “ tne By n° source of to merge mical of enthusiasm 01 86 technicalteeh g music. drill the with 213’ (Continued on PdSe Music and Culture
Music in Peru, the Land of the Incas
First in a Series of Travelogues
aunce r^t)ume6nif
Eminent Pianist-Conductor
M. Maurice Dumesnil, whose articles are familiar to readers of The Etude, spent eight months in South America last year, making many highly success- ful appearances as a pianist and as a conductor. He has written a memorable series of four travelogues upon musical life in South America, bringing to Etude readers for the first time many very interesting facts.—Editor's Note.
here ARE TWO WAYS to take a round At Colon, the Eastern entrance, we see the trip by ship to the Spanish-speaking re- smoking ruins of no less than forty-two blocks T publics of South America. One can sail burned down a few days before in the great fire. directly from New York to Montevideo and “Terrible!” I comment to an optimistically in- Buenos Ayres down the Atlantic Ocean, then clined negro policeman. across the continent over the Andes to Santiago “No, suh. ’Tain't as bad as all dat. Jes’ the ol’ de Chile and come back from Valparaiso to New filthy part of our town. Now, we’re sure goin’ to have nice new buildings!” Colon is a lively place, full of Chinese (or are they Jap- anese?) souvenir and curio shops, saloons, and dance halls; from the latter emerges an extraordinary conglomera- The Cathedral on the Plaza de Armas in Lima, tion of barrel organ, radio, and Peru, in which the remains oi Francisco Pizarro. player-piano music. the founder of the city, are on view in a glass A few days longer on tropi- casket. cal seas; a call at Guayaquil, up the river; then one after- fight against indifference, plus hard work with noon we docked in the modern little reward. As regards its orchestra and despite port of Callao. its many years of existence, the Filarmonica re- Formerly, ships dropped mained in a pioneering state, due to the quantity anchor in the bay, and pas- of amateur members who came willingly to play sengers and freight were dis- at the concerts but ignored the meaning of the charged by ten- words discipline, formality, der; but now the and punctuality at re- seven - and - one- hearsals. half million dollar The A view of Arequipa, with the Andes in the port works have Symphony Orchestra distance. Arequipa is Peru's second city. been completed, is Established and that incon- In 1938, however, the situ- York by way of the Pacific Ocean and the venience has disappeared. Instead of ation changed completely. Panama canal, with a stop-over in Lima, the the primitive and dusty road which President Prado and Vice- attractive capital of Peru. The other way reverses also lingered in my memory, there President Rafael Larco exactly the preceding itinerary. Both have their are now two wide, paved, and lighted Herrera, two men of broad particular interest. In selecting the first route highways, nine miles in length, along vision and clear intelligence one travels from the modernism of a beautiful which speedy automobiles and street who lead their country with but somewhat impersonal metropolis, gradually cars make their way smoothly from remarkable psychological into the fabulous land once ruled by the Incas Callao to Lima. One enters the capital understanding, realized and overflowing with silver and gold; into cities through the new quarters distin- how valuable it would be to which still retain in many spots colorful land- guished by broad avenues attrac- create a government-subsi- marks of their glorious past. tively landscaped with trees, palms, dized orchestra. Thus the Anxious to plunge directly into “atmosphere”, and flowers of all descriptions. Orquesta Sinfonica Na- second itinerary and sailed from New Musically, Lima has progressed in tional was I chose the THEO BUCHWALD established by a stormy April day which put the sea- similar fashion. For many years the decree, and the York on Director of the "Orquesta Sin- musical of many an inexperienced traveler activities were limited to the concerts scene going capacity fonica Nacional" of Lima, Peru. assumed at once a test. Two days more of bad weather, given by the Sociedad Filarmonica, new aspect. to a severe of the Gulf of Mexico; a group which strove valiantly to foment the Consisting then the quiet waters of eighty professional members, the on; a call at Barranquilla, taste for orchestral and chamber music. Its pur- National Symphony deck sports going follows a strict schedule of with pose was disinterested and its aims purely ideal- Colombia, an interesting seaport bustling two rehearsals daily except Mondays, one weekly more heat; then the istic, and it certainly proved a valuable asset in broadcast, one tropical activity; heat, and fortnightly concert in the Munici- Uncle spreading musical culture at a time when panama canal, neat and orderly under appre- pal Theatre, and a series of summer free concerts guard. ciation was scarce and any undertaking meant a in the huge open Sam's watchful, military air (Continued on Page 280)
APRIL. >941 t
Music and Culture players that was absolutely unknown in his day. The possibilities of the instruments of the or- chestra did not begin to awaken the imagination of the great masters until the advent of Josef Haydn who was born in the same year as our own Learning How to Compose George Washington. His more brilliant and ver- satile pupil, Mozart, made further development, and Beethoven added still more colors to the or- chestral palette. It was not, however, until the coming An Address by the Noted American Composer of Hector Berlioz in 1803, and Richard Wagner in 1813, that the larger possibilities of the modern orchestra were explored. Meanwhile there had been a huge improvement ^JerJe Cjroj^e in most instruments. pro- Although no one has . duced a violin superior to the best examples-pf the Cremona Presented at the Griffith Foundation of Newark, New Jersey school, this is not at all the case with the wind instruments which are far better to-day than they were in the days of Haydn, Mozart, Beethoven, The opinion of the Editor of The Etude very capable organist and writer for instruments. Berlioz and Wagner. Improved instru- ments upon the achievements of Mr. Ferde Grofe On the other hand, however, practically all of made possible finer players. So great, has een the should be tempered by his high personal re- the great schools of painting, Italian, Flemish and advance that any one of the composers mentioned gard for the composer and his conviction Spanish, from Leonardo da Vinci (lay-o-nahr'- would probably have been astounded if doh dah veen-chee') who was e could that Mr. Grofe is already among the greatest , born in 1452, to have heard a modern orchestra under (Mu-reel'-yo) Stokowski, living writers of music. Despite the fact that Murillo who was born in 1617, were Koussevitzky or Toscanini. his busy life has prevented him from com- completed before a memorable date, 1685, when both Bach and Handel were born. That posing more than a relatively few original was really Impossible" Wagner works, musicians everywhere seem to be the beginning of the first step .in “modern music.” parts see all music is relatively Players often contended that his thrilled by the virility and freshness of his So you that recent, com- PnPlayable. and color- pared with most arts. Many still contend In fact, when “Tristan thought, the richness of his orchestral that T^rri e more was first attempted in 1861. ings, the appropriateness of his handling of there is nothing modern than Bach. In other in Vienna everything.” S Ven up as impossible fifty-seven rhythms, the fluidity of. 'his counterpoint words, “Bach had Nevertheless, I fbel rPhlo?. ! after; Sa S durin his melodies that if Bach were to sit for a few hours through S which the singers were literally and the wide human appeal of a worn U\ ’ and and harmonies. modern program he would find that the world had A^hough Wagner wrote much tTikpH° UC modesty, which progressed amazingly in musical matters. ^’ 116 ^ad comparatively little special Because of his personal Bach tech ni r*^i he lack any was a surprisingly versatile and progressive i concern about which amounts almost to humility, his of man was a the subject in ?colossal the attempt to exploit himself or his ivorks but genius. Not so, however, was case to let them go ahead because of their oion of Berlioz, whose “Instrumenta- merit, he has won the respect and admira- tion” was literally the standard text- book genera- tion of all his colleagues. upon the subject for skill' —Editor’s Note. tions. He was one of the most all ful writers for the orchestra of so times, and many of his works are clever though HEN I SAW THAT I HAD actually ac- that they sound as they the cepted an invitation to speak upon “Mu- had been written by one of s W sical Composition”, I wondered whether smartest orchestrators of to-day. for my audience would be reminded of the old saw: their intrinsic musical conten. they “Shoemaker, stick to your last,” for I am a maker however, few would claim that phrases. Wag- of musical phrases and not verbal approach those of Wagner. After was put upon the request to speak l ev thl When emphasis } and Berlioz, the giants in the limerick . upon modern music, I thought of held, come Brahms, Richard Straus which runs: Debussy, Ravel, Tschaikowsky, compose a sonata to-day cor To sky-Korsakoff and Stravinsky. I \ Don’t try the old-fashioned way. sider great** Stravinsky one of the Play the keys with your toes, of all masters of the mysteries with your nose, Or bang the orchestra. incompai’aD Stravinsky!” the critics will say. He is an “Like genius at counter modern music. It comes rhythm, natural There has always been Point the and orchestral color. up with every generation. Up to the end of . g world I must be excused from talk fifteenth century, most of the music of the not done about the works contemP was vocal, because inventive skill had of other instruments anes, particularly n1 very much in the way of making Americans, whom I I kI little above the primitive. You see, the admire immensely. » that were 01 t Andrea Amati, the nough not head - the Amati family, to “stick my s first of ie school of violin art of composite . father of the great Cremona musical 1530. The fa- learned one * makers was not born until about by composing. No not born unMl 1644 earned how working Lus Intonio Stradivari was to paint by e the landing of the Paint of j or twenty-four years after factory. True, some Weat rl Plymouth Rock. Painters of the past did S Pilgrims at ej prior to 1600 was Gio- ‘heir own kiN* The greatest composer pigments in their ’ (pee-an- oo-ee (Jov-ahn'-ee) Pierluigi m K estleS vanni th. with hand P ’.reS' Palestrina, Italy and ? 11 of ferde d ‘ d °f gee) born in the town grofe J that as a matter jj- Paiestrma. Palestrina sit therefrom he was known as eretore the student Piactieally ’ iiert died m 1594. and also an extremely practical Positin011 f and . was born in 1626 person ~ must keenly . t Apparently immensely He ... become gS wrote was for chorus interested in anything Was Vn “ everything he tw S are th<5 smartest and instruments. John^BuU of (even harpsichord tuning) Was new dotag he wrote nothing for and I am wnruhat ** jTtLat this 1563 and died he would have been SUre that is a moment. to however, who was born m thrilled with wh ser? England, ®L°me °m the First of all he one of the greatest com- “streamlined" modern American 01 the AiS? in 1628, and was easily » Wth the e “y has been He is known to have been which demand a virtuosity eertab kind. posers of his day, was open the Pait to do P ltlons that with ot his brain ’ of the musin u ,,oer' natural deVeloPed almost sr>P degreeee Tf in an 8) 224 - el H you do on (Continued m ,. Music cssid Culture
“I Saw Musical Vienna Fall”
A Conference with
Robert Stolz
The famous Viennese composer-conductor
Secured Expressly for The Etude by JAY MEDIA
and many famous works of this type. The theater is even more famous than the great State Opera at Vienna, and the post of director is one of the most coveted in Europe. Artur Bodanzky, long, a famous Wagnerian conductor at the Metropolitan in New York, was Mr. Stolz's immediate pre- decessor at the Theater an der Wien. Mr. Stolz is also the composer of the now famous THEATER AN DER WIEN waltz-fantasy, Nostalgia, which expresses his the Vienna of hallowed One of the world's most famous theaters. homesickness for Beethoven lived here from 1803 to 1805, and days. In addition to his work at the Theater his "Fidelio" was presented here for the first an der Wien, Mr. Stolz has conducted the time in 1805. Mr. Robert Stolz, author of the ac- world-famous Vienna Philharmonic Orches- companying article, conducted in this theater also many noted for many years. tra as guest conductor, and orchestras in various parts of Europe, in- cluding the renowned Orchestra of the EDITOR’S NOTE British Broadcasting Company in London. obert stolz is the composer of His sincere and fearless remarks at this thirty-eight highly successful operettas, time will win him the admiration of many R including the world famous “Two Hearts Etude readers. in Three-Quarter Time” and fifty-three musical settings for moving pictures, including the sen- sational hit, “Spring Parade”, in which Deanna “I am an Aryan, pure Aryan as they say. Durbin starred.. In his native land, Austria, he When the Nazis came to Vienna in 1938, I was looked upon as the lineal successor to the was considered one of the most successful famous Viennese composers who made Viennese operetta composers in. Europe. I had a fine operettas immortal and contributed so much to home and was very happy in my work. I that indefinable aroma of romance which for ROBERT STOLZ was proud of my Austrian ancestry and of over a century has made Vienna a dream city the great achievements in art and science, in Austria in for millions. tion for the symphonist. The elder Stolz con- and particularly in music, and written When Naziism came to Vienna many compos- ducted the first performance of Wagner’s Germany. Volumes have been upon the of Vienna, with ers, both Aryan and Semitic, realized that the “Tannhauser” in Vienna. Edward Hanslick, the splendid musical history its famous atmosphere which so inspired Beethoven, famous critic, referred to this performance, re- glorious array of great masters. Strauss, Brahms, Schubert, Haydn, Mahler, von garding the music, as “a most unpleasant noise.” “On March 12th, 1938, the Nazis entered the Suppe, Millocker, Lehar and many others had Robert studied with his father, then with the city. Economically, Vienna had been crushed literally evaporated. Therefore, Mr. Stolz, who is famous Robert Fuchs, Professor of Theory at the after the first World War. Hitler’s agents had pure Aryan, set out, at the very height of his Vienna Conservatory, and finally with Wagner’s taken such advantage of this that they entered were, success, to make his new home in America. protege, Engelbert Humperdinck. the city without bloodshed and in fact, Fifth Column which Mr. Stolz was born August 25th, 1886, at After engagements as a conductor in Bruenn, welcomed by a large the It was not a blitzkrieg Graz, Austria’s second city, which now has a Prague, Mannheim, and other cities, Robert Nazis had built up. (light- copulation of over 150,000. Graz is little visited became conductor of one of the most famous ning war), but the change in the musical life it is rich in the picturesque Theater an the city was like a stroke of lightning. I by tourists, but musical institutions in the world, the of characterizes Austrian cities. little Wien) realized at once that hardly in a generation beauty which der Wien (the theater on the river cathedral dating back to composers of comic could one expect the atmosphere of old Vienna There is a Gothic where most of the great sixteenth centuries and one opera Vienna, from Offenbach to this day, to return, and I made plans to leave immediately the fifteenth and in remained Paris. It is an injustice church which was built in the twelfth century. have presented their works. Mr. Stolz for to think that musically famous recently at the Theater an der Wien for twelve years. It Naziism dominates the soul of every The city has been Austrian heralded Bruckner Festivals. was there that he conducted the debuts of and German, because this is not because of its widely the case. an opera Lehar’s. “The Merry Widow”, Oskar Straus’ “The Millions resent it. The rule of Mr Stolz’s father, who was also the Gestapo has, pupil of Bruckner, and young Chocolate Soldier”, Berte and Romberg’s “Blos- however, cowed so many that it is hopeless director, was a to have a great admira- som-time” (a composite of Schubert’s melodies), expect them to do differently. They Robert was brought up to are the
APRIL: 1941 225 T
Music and Culture “Meanwhile, in my new home in the New incapable of finding a key. The world admires a World, I am (just as every American-born citi- revolutionary if, like Wagner, his works have an zen would be under similar circumstances) proud increasing human appeal which leads to perma- victims of Naziism just as much as the Jews, of my forebears, all industrious, peace-loving nent admiration. To Puccini such atonal music in- (though fearless) honest, happy artistic people but without the cruelties that have been , was abhorrent. He said: “The only way to de- objective was to bring as flicted upon the Jews. However, the people of whose great much joy scribe it is that it is music without any home. usefulness to the Vienna now know what Naziism means. and beauty and world as That is, it seems to start nowhere in particular, “I must confess, however, that it was largely possible. meanders over everything, and never reaches “The great scientific, literary and artistic the fact that the Jew has been blotted out of con- a satisfactory period of rest.’ With all due re- Vienna tributions of Austria and Germany have the artistic and interpretative life of won spect to Schoenberg, who developed this extreme to terrible decision to world-wide admiration, from all people of all which brought me my style between 1907 and 1911, it must be acknowl- has lands. There can, however, be no exile myself from my native land. Every race permanent edged that, in the thirty intervening years, if which come to it as peace save a peace based upon tolerance for certain characteristics atonal music had a genuine human appeal it everyone knows, are all people, and that means the end of the polit- natural gifts. The Jews, as would have come into far wider recognition wonderfully gifted in music. For years I had had ical and military regime at present in power. during this time. Music, whether it be a page Jewish librettists, and Jewish Mine is no single voice alone in the land. There of Jewish publishers, Strauss’ entrancing ‘Die Fledermaus’ or operettas. They worked exceedingly are millions who echo my statement. It would artists in my Stravinsky’s ‘The Fire Bird’, must have an the Aryan musicians, and there was be cowardly for me not to make this statement, emotional well with starting point, one or more melodic I do. thought of creed. Many were just as essential feeling as climaxes, no and then reach a definite point of to the musical life of Vienna as the repose; or, if the composer desires rain is to flowers. They added a to secure a feeling of suspense, as certain touch of technic, wit, clev- Schumann did at the end of his erness, and one might say oriental ethereal song, ‘Im wunderschosnsn charm. Then, in one day, they Monat Mai’, a note and harmony were tragically ousted from their indicating suspense are employed- life work. Take, for instance, the Puccini was right. Atonal music has case of the Vienna Philharmonic no home. It belongs in No Man’s Orchestra with a string section Land, out among the shell holes famed around the world. The con- and craters of dissonance. cert master, Arnold Rose, seventy- “Notwithstanding the vast num- one years old, had been with the ber of have been orchestra nearly fifty years—a life- melodies that written, distinctive tunes time—and was beloved by all. To new and appear fresh hai- remove a man like that, with one continually, and Bu day’s notice, was like killing his monic backgrounds are devised. these ar ® soul, yet out he went and with appear only when they musical him that fabulous string section the product of a genuinely that which may never be revived. Of and inspired mind. The idea course, all Jews were dismissed at anyone who studies enough the once. The decision was not artistic as you say in America, ‘knows rea a but purely political, and an artist game,’ can do this, is the 3 dunf cannot honestly tolerate such an why we have so much dry and action. music. Talent Lehar's "The Merry Widow" The Mystery of Musical INTERIOR OF THE VIENNA STATE OPERA HOUSE e it all a in tb “The inconsistency of has auditorium, formerly the “There is a great mystery In this iamous "Royal and Imnerir,i ^ 1 ' , rt.ft/rt 1 - taienw humorous as well as nna.nlin — — PGTQ' touch of the many first performances of great operatic masterpieces have occurrence of real musical been nian1 the tragic. The Fiihrer looks upon such for instance as that • “The Merry Widow” music, by the fested by Mozart and Schubei operetta, “Let us turn aside from the Aryan, Franz Lehar, as his favorite black clouds of °ne of most extraordinary have politics and war. I am asked exhihiHo and arrangements are repeatedly made to my opinions S °f musical ever ha upon the nrivu talent I have visits cities. But, mark you, modern music. We must define modern ge W it presented when he music 0t meetln was that possessed before an answer can be given. Angelo Ne, B as of the book of “The Merry Widow” If modern ann the author music a ‘1838-1910). I was engaged who means 'freak music' I don't like it. conduct brilliant Jewish writer, Victor Leon, If it in ch» ® was the m 01 Prague when he was in ago in a Stravinsky at his best, Ravel, Sibelius the on.! starved to death two or three months and other ra tllele e a businiL - Neumann started in W the age of eighty-seven. composers’ works which combine beauty ten Viennese attic, at charm 10' 11 strength and ’ bUt became an operatic never appears upon the program force, and real inspiration operatic’ Leon’s name ’that k lonB Lehar another thing. The world is directed During his in these Hitler days, yet I actually heard starved for melodi “one of his many parts of Europe. O: was Leon who gave him charm. That is why the magnificent strongest t, “ ard say one time that it flow of fuends and was Bicl a melody that came from the soul Wagner. admirers s start, it was Leon who made Lehar, of Puccini Thi his and ‘nan’s sensitivity into a world- always welcomed. His themes seem so astounding h musical simple military orchestra-leader, simple and husj" so lovely, but try to do what he office and* a telephone in his famous composer. did and vn e busU seventeen will realize that it is far easier affairs, he was conducting “All in all, I have conducted to write heard tn' ’ls mechanical fugue than a so be rehearsals. knew the op all parts of Europe, a Puccini aria well that He thousand performances in 11 bl with “One of the most fortunate defect e could pick up the sli in Vienna, and you can imagine friendships I i n th f s mostly hav6 Pe ( ° 1 had in my lifetime is lmance ’ whiIe city after that with rehearsing °nce - what deep heartache I left my lovely this illustri 8 Mar £ ued aChne ‘" ‘ indirectly, Italian operatic composer, Puccini, me from s Hai Heiling', he the musical black-out. I had offers, whose r?cb th^ n « and beautiful melodies ls e by 'vl return, make the Phone said: . Goebbels, asking me to his works a fourth i?° and t from Hitler and se“ Frenc 1 rest of my days of resplendent and colorful musical measure?’ t h horn in the twenty-* but I would rather spend the tapestrie as asto States, than in a We were once discussing atonal most “nded because only in attic, in the United music Atonal acute p a ,. e an C t present. Thanks music is music which has an were only ulti bave noticed that , palace in the Vienna of the entire lack f three ,2, friends m my new relationship to the tones of any central remained le missing horn player to the fine hospitality of my kevn t horn u necessary. Some or scale. It is reputed to have Wagner because Natural, home in America, this is not started would L of illness. « s world will limp Arnold Schoenberg, a really able Sift mire a m“ day the tired and war-worn musician wh„ like that musician with a and millions in endeavoring to devise back to the love of fellow man, something radirnii 0 on the Mount new, created a system based aeletung aph will again realize that the Sermon upon a twi y0^® had an uncanny **£ roads upon half-tone scale, each tone of lsln Ste and the Golden Rule are the only equal impnrlW B future With Prospects for a P‘°" Schoenberg does The6 may safely and successfully not like the thought (hot Barded volces were which the world as , he picked scale is without key, but w? progress. most musicians certain to n that they were aWft a he b£om 0 ! had an famous. Every Friday nj* auditm , audition at 226 ( Continued on Page ^ —
Music and Culture
four years has been concentrated on warlike acts; our music to-day does not mirror this at all. The What Really Is great inventions of the past two decades are now being perverted, used, as they are, for human slaughter; contemporary music mirrors no such perversion. Someone may ask: “How about the barbarities of ‘swing’?” I am not discussing a trick Modem Music? local manifestation such as “swing.” I am talking about the art of Bach, Beethoven, and Brahms. The processes of music cannot be made clear to the layman in the same way as one describes the operations of manufacturing Bessemer steel, ij Cinchene Cj
APRIL. 1941 , 1
Music in the Home
Schubert Again Enters the Films
< n./; dt)onald /hntin
his department has ical nature. It is this charming wonder OFTEN RECORDED and personable young Schubert T as to why Hollywood has THE ETUDE "FINEST MUSICAL FILM" AWARD whom Curtis brings to life. not explored the musical-plus- Binnie Barnes takes the part of all inherent in What will prove the best around upon present day musical life entertainment values in our a flighty and amusing Countess, musical film presented in America for country. Now you may decide which the life stories of great com- an- the first six months of 1941? Who can producer has made the most and Albert Basserman adds posers. The early spring weeks important determine this better than the readers contribution. other brilliant characterization will put this wonder to the test. of The Etude—the foremost American Balloting will be simple. When you to his list in the role of Bee- Gloria Pictures, Inc. is about to Musical Magazine? see a musical film which you believe is thoven. the no idea of giving an elab- valuable in your His resemblance to release its new opus, “New Wine”, We have musical life as a orate award to the motion picture pro- music-lover, a student, master is striking striking, in based on Actionized episodes in a performer, a —so ducers of Hollywood. It will be simply teacher or as a parent, just write the fact, that he goes through the the life of Franz Schubert. What certificate or a letter notifying the name on a postal a card and address part without make-up, save for a has wine to do with Schuberti- successful producer that he has won ar- that you, the readers of more stylistically accurate ana? Just as new wine grows the distinction "Musical Film Award" The Etude, have conferred upon him. rangement of hair. The direction sweeter, better, and more mellow The Etude this day knows of the Music Magazine Everybody in of the picture is in the capable with age, so the rich, sparkling, vast influence of the fine movie music Philadelphia, Pennsylvania hands who wistful melodies of Schubert grow of Reinhold Schunzel, directed (Metro- lovelier with the passing of years. “Balalaika” Goldwyn-Mayer) also a starring Schubert has long been a favorite , Scenery subject of dramatists, and the vehicle for Miss Massey. familiar with the. and kept in amazing amount of fact and legend about his oughly Schubert tradition. Dur- pv _ of costumes are being aCC offers of new mate- ing her residence in Vienna, she lived only d With tradition. interiors of colorful personality a wealth a few mqti B . ?^ The incidents. Dr. streets away from the locale in which the and homes are their Aus- rial upon which to base dramatic film is tria „ „ actual replicas of Pictures and pro- set. Alan Curtis has been selected to portray naIs: c°stumes character, William Sekely, head of Gloria the with„°t are strictly in role Schubert. Curtis is new Ut any ducer of “New Wine”, is a distinguished student of a type to essay the eflort toward Hollywood glamoriza- composer, generally tion of Schubertiana. This is his second picture woven young depicted as a stout Kreisler and a about the Viennese , cousin of Fritz Kreisler distinguished1 melodist; some years pianist in his own right, has m- ago, in Vienna, Dr. 5* ls s Massey and Mr. Curtis in those nicer ie^ . the ° f Plano the Sekely produced annearn technie that will give them successful “Un- ° f actuall eoordi- highly nates y Playing. Kreisler Symphony.” th pseud the finished alreadvA °-Playing of the stars with Since coming to Hol- ded Schu dividing his attentfnn K°! bert music, lywood three years etween Anger arm an shoulder m technic and ago, Dr. Sekely has °vements, educateeducated in Vienna a MrMr.- Kreisler was cherished the idea of d con tinued at the Paris Cnnl his musical studies further immortalizing en t0ire United ® * He has in the Stages n ? been Schubert on the 6 five years Schuber music. » specializing in screen. “New Wine” con- Up conjecture as to* another fictional cerns the sojourn of why ScbubeSch^ as unfinished rt’s romantic life remained Hungary, 01 Schubert in hlS great Schubert is the point symphony. where he met a lovely of Leno taK a ™omg his music in order to peasant girl, Anna, Position 10’ 1 teacher, sufflci® money to m,,,* to earn who inspired him to y such sacrifice Anna - Unwilling to permit write many of his best a... thoven, 68 her way privately to Bee- loved melodies. How- to shnL”^ llm tlle the tT ard Estabrook, Nicho- finished Svmnh manuscript of ny ” and to patronage- las Jory, and Arthur Beethoven , enlist his nil8G,i the sym Wimperis have pre- phony shall aid as soon as h, com can pared the script and round out thf P 1 eted. Before Schubert Problem w°rk, Beethoven and t Dr. Miklos Rozsa is in of rhn dies, teaching 0sin8 between and scb° charge of musical pro- k a „ music ' 1 Detei Dr. Rozsa has mined ever from solution. duction. William not to a inf Alan Curtis and Ilona Massey in Sekely's production of "New Wine." for W Scllub wisely decided to use her, ert to sacrifice his Anna Pr, ls left 8 eS Ut of Schllb his life - Thus the Schubert music exactlv a°* 4.u 1 modernizations squat, unattractive person. As curacy the point historical exactly as it was written, without a matter of font require^ where heard in Schubert was anything but ’ to be an The numbers sacrifice, - of love or reworkings of any sort. unattractive at th 0 f and the tale Marche Militaire, age of twenty-three, the period 6 the and the picture are: Ave Maria, in which “N typxcahy rollicking fun, ends Wine” is set. He was U , ) the Sym- personable, 14 Serenade, Impatience (Ungeduld , rather dashi is immensely Schubertian note. Unfinished and possessed of a personality Pc and the glorious sufficiently feature °ui'agmg full-le"8 , phony in C-major” attr ~ should A tha t a tive to triumph over al addition, there will be interpola- drawbacks of a purely the bbllt ar person Symphony.” In ph genius Of Fra?, ound the “Appassionata Sonata” (Bee- rather Sbhub 0" tions of Beethoven’s than the ert. It is the except" the characters in the deserves »> thoven appears as one of wholeheaA Hol>ywood offerings, and Bach. ed play) and bits of Mozart music-i enc the P , , 0Vi n nia, °uragement on 0 Ilona Massey plays the part of Anna. An alumna VCal 6 fans a form - “N™ Wine” shf Opera, Miss Massey is thor- msp„ °of ‘I of the Vienna State u-ati0nal entertainment that combing to the Catlonal fn“ greater values with , enrich-enricn 888 228 Continued on Pago .
Music in the Home
Radio’s Distinctive Musical Features
JOSEF MARAIS
You have heard his refreshingly new South African Bushveld Band ever since September 1939.
Bushveld OR A NUMBER OF YEARS Josef Marais and region; but the Dutch, Marais tells us, contributed Band. The song used as the signature his Bushveld Band have been heard over the perhaps the most; their influence has predomi- number has a strange resemblance to the famous Hawaiian Aloha FNBC-Blue network in one of radio’s most nated. Oe. This, however, is one of the interesting and novel programs. Beginning in The vast Bushveld region on the lower part of chief fascinations of the many songs he sings, for all September, 1939, with a fifteen-minute broadcast the African continent is primarily a farming possess reminiscences of other lands and of unsophisticated melodies of the Karoo, Zulu country. There are very few large cities. The coun- peoples, and frequently you feel that you should and other South African regions, Marais proved try is made up of generally flat expanses of land know the song and join in the chorus. If you have so popular that his program was extended to a broken only by small hills, and each expanse is not heard Josef Marais sing his Bushveld songs, half hour and elaborated to include dramatiza- known as a “veld” (pronounced felt). The so- we recommend you tune into the NBC-Blue net- tions as well as songs. called Bushveld covers great areas both of the work on a Sunday at 1:30 P.M., EST. (Marais has Marais, a South African, was born on the Bush- western and eastern states of the Transvaal and made an album of the Bushveld songs for Decca veld; his childhood days were spent on a lonely Natal. With the exception of the regions along —Set 113.) sheep farm. Daily he took long rides into a nearby the coasts and a few mountainous parts, South If you awake on Sunday mornings as early as town for his first schooling. Later he went to Africa, Marais says, is all veld country. Life has 8:05 (EST), you can enjoy a fine organ concert Capetown. There, at school, he showed such a been lonely there, naturally, and in order to re- given by Dr. Charles Courboin on the organ of marked aptitude for music that he won several lieve its monotony settlers have from the be- the American Academy of Arts and Letters in scholarships. At twenty he was sent to London, ginning come from miles about for periodic New York City. His concert runs until 8:30 (NBC- where he continued his musical training. He also tikkie-draais (get-togethers). They met at some Red network) studied on the continent. Later, in the English farmhouse, where they would dance and sing; Weekly Schedule capital, he became interested in radio, and for and from these meetings the many curious types A several years he gave a long series of musical pro- of South African songs were undoubtedly born. Looking down NBC’s calendar for the week, we grams over the network of the British Broadcast- Old songs of certain European countries were find that on Mondays there is a program pre- ing Corporation. Marais says he has always been appropriated and altered by different peoples and sented by Joe Emerson and his choir from 2:00 interested in folk music. He has spent a great deal given new flavor. Some got new rhythms and to 2:15 P.M EST (Red network) called “Hymns of time translating and arranging his native words through the colored races. The original of All Churches. We sometimes forget how much South African songs as well as those of other sentiment of many songs thus frequently was we like certain hymns until we hear them pre- lands. In this work he has been ably assisted by lost; for, to quote Marais, to the colored man a sented in an informal manner in the home. Then Albert Diggershof. Both strive to keep arrange- word is essential In a song because its sound there is the Rochester Civic Orchestra, which has ments close to the original, although they do ad- appeals, rather than its meaning. been heard of late in a series of matinee concerts Marais his mit that in many cases it has been quite impos- Since February 9th, Josef and loyal under the direction of Guy Fraser Harrison on sible to do full justice to certain subtle Afrikaans Bushveld friends have been on an adventure trek Mondays from 2:30 to 3:00 P.M., EST (Blue net- of missing expressions. But the aim has been to retain as in their broadcast—in pursuit a dia- work) . It’s a good broadcast to mark up on your much as possible of the naive simplicity and the mond, stolen from Marais’ grandfather many Monday schedule. peculiar piquancy that make these songs so at- years ago. This imaginary trek has permitted the Mondays bring also the Firestone Hour, which tractive. inclusion of factual geographical data and au- since February 17th has become known as the From the region of the Bushveld has come a thentic Bushveld characters, as well as folk lore traveling “Voice of Firestone Concert”, owing treasure trove of folk songs and folk lore, to which and folk songs. The continuity has been interest- to the fact that it is following its tenor soloist many races have contributed. For South Africa, ingly and effectively worked out. Frequently, Richard Crooks, across country in his coast-to- breaks into song when something reminds coast concert tour. Beginning like our own country, was a land where many Marais with the broadcast tune, his companions join February 17th, which races met and mingled. Home of the Hottentots, him of a familiar and of originated from Holly- Marais accompanies Crooks resumed Bushmen and other Negro tribes, it was settled him in the chorus. Often, wood, his guest appearances on by the Dutch, who established the himself on a guitar, but most of the time the in- this program. Alfred Wallenstein is as early as 1652 conducting all for ships strumental backgrounds are provided by his concerts, and since he is Cape of Good Hope as a halfway haven engaged in other broad the French Huguenots casts regularly from New York, trading with India. But it is assumed also came to South that he has to make connections who fled religious persecution each Mondav the Scots, the Ger- night with Mr. Crooks by plane. Africa and later the English, (Red network—. RADIO 8:30 to 9:00 P.M., mans and other Europeans. All these nationalities EST.) folk music of the Two young singers are < contributed to the folk lore and Continued on Page 288)
APRIL, 1941 229 , ^
Music in the Home
OUSSEVITZKY’S PERFORMANCE of Brahms’ “Symphony No. 4, in E minor, Op. Discs That Delight K 98” (Victor Album M-730) disproves all the Music Lovers old assertions that this music is melancholy and uncompromising. It would be impossible to im- agine a more clarified, more brilliant or more fin- Koussevitzky and the ished performance than iter famous Boston Symphony Orchestra turn in. From TL P —High f^cej the reproductive standpoint, this is the best ver- sion of the work on records. From the interpreta- tive aspect it is equally impressive, although those this score intimately may well feel that taneity of movement; occupying, as it does, three insight into who know Mozart’s music. Since Iturbi is the its projection. record faces. One unfortunate break disturbs the conductor there should be more warmth in of the Rochester Philharmonic Orches- version of the Tschai- continuity. From the recording side, this is the ra, it Unquestionably, the best was but natural that he should conduct in minor, Op. 74” most impressive version of the superb “tone poem” e kowsky “Symphony No. 6 B performance from the keyboard, as wrote for perhaps the first (Pathetique) on records is furnished by Furt- that Wagner most beauti- Mozart did in his day. The result is a brilliant Philharmonic Orchestra ful of all his music dramas; yet, it may well be peitormance wangler and the Berlin of this sparkling work, but one that is shaped with that those who own the Beecham recording will (Victor Album M-553) . The music oys a far lar ger in- find the freer flow f orchestra than Mozart care logic, and its ex- of his read- and Schnabel s, father also have ing, even though cramped on r!™ h and son, pressive qualities are fully 1 ed this concerto, two sides, more desirable and while their perform- exploited without emotional than 6 technicall y and expressively less impres- this newer and more realisti- ed ^ excess. The recording is wholly han that of to cally recorded . the Iturbis, there is much admirable, although not so version. Beethoven’s ^ Weighty accompaniment of their loud or forceful as some “Twelve Contra- orchestra Dances”, which Howard Bar- domestic issues. neW recordin low and the Columbia JLL g of Verdi’s forceful and mov- The latest version of the Broad- 1n casting Symphony Mass" (Victor Album M-734) was Cesar Franck “Symphony in D play in 1 yu 1939 in Rome at the Royal Opera, Columbia Album X-184, hardly , minor” (Columbia Set M-436), with tvf orcbestrai represent the composer and chorus of that eminent by Mitropoulos and the Minne- at his institu*-* 0n nd best. Pieces like these were ’„“ four o£ ttaly’s foremost singers apolis Symphony Orchestra, is under Nhe du' written by him at ectlon °f Tullio who, next somewhat disappointing. a publisher’s to TnD Serafin, behest. They the greatest con- When we consider that have little or no ductnr living Italian harmonic or rhythmic lngers are soprano; Beecham, the foremost con- variety; Ebe qh™ ! Maria Caniglia, being modeled mezzoso Gigli- records, on the country Prano; Beniamino ductor on Columbia tenor- andTT’Ezi dances of the ' ° pinza, been work for times. Yet the basso. There have has recorded this m BatiVe dances are of historical inter- criticisms written against the English Columbia in recent theatrir-1 u° est, for one of their number, Verdl but with months, it seems odd that the veaL (the seventh, in E-flat) eSe haVe gl' M°St , offers adually faded out domestic Columbia should People to-da a striking example of “how the acclaim this one of the have released the Mitropoulos greatest of Mi work as lesser and the greater of reading instead of the great Beetho- the Verdi set the liturgical text ven coalesce into mass as o conductor’s version. one.” This nbute to his close friend Manzoni, English dance the write, o i was later to be used for 14 in manner. Mitropoulos gives an admira- Had the his owl1 original the exuberant finale of comTe-fMSe of bly clean and straightforward the .’ sought to imitate the styles famous “Symphony Bach, Mozart’ marked by No. 3 in ° l Brahms would performance; one not - his "Requiem” E-flat”, the “Eroica.” have been intensity and superb precision, ance convineing; its Italian exuber- In 1922 Peter Warlock, and fire n° but it is hardly Gallic in spirit. the a re spontaneity and deep emotion English composer, wrote its chief recording, this new set a UteS ' Di As a foe is The imP act of the Serenade for strings for among thl u lacks the warmth and glow of the music; m°st comPelling things in all sixtieth birthday of his friend while tbTe the Stokowski version; and, flnal pages Libera me ere Frederick Delius. The Poignant in tn of the strangely, it compares very music! sorrow close to Delius in Schumann's no - the earlier mood and unfavorably with and ntet m E-flat major” (for piano workmanship, is sensitively strings) is „ Mitropoulos recordings, having its ne ^he of conceived. Constant form. It most popular works hardness Lambert is a much less bass and a and the le comPact work than most of his String Orchestra do composer’s i^° of string tone foreign to the rial nes mate- KOUSSEVITZKY notable justice is °. » and its thematic SERGE to this little a jov fmJ? orchestra. Symphony Orchestra beginnin mood is Conductor of the Boston work on Victor Disc 13554 Predominantlv rn g to end. Its The recording of Rimsky- ntic E. always > should Power Biggs, the organist be taken ,* and this quality Korsakoff’s Capriccio Espcig- for ac and Arthur Fiedler’s Sinfonietta unite to a successful ?°unt by its performers nol, made by Barbirolli and the Philharmonic- give us performance of Handel’s Schnabel 0Jec^°n of spirit- York (Columbia Set a worthy “Concerto No and the its inner Symphony Orchestra of New the several 13, in F major” for organ and orchestra, quintet a Alte Quartet recorded X-185) shows the fine musicianship of some- few vpeiv , S bac times known as the “Cuckoo Concerto” Performance ^> and a new performance it is not so because of Music in the Home MacDowell for Children The Etude A new biography of Edward MacDowell, liberal- ly illustrated with black and white original draw- ings by Mary Greenwalt, has just been issued from the pens of Opal Wheeler Music Lover’s Bookshelf and Sybil Deucher. The story is excellently told and should be easily comprehended by children of ten years of age. Selections from a few of his compositions are introduced. “Edward MacDowell and his Cabin in the Pines” Authors: Opal Wheeler and Sybil Deucher Pages: 144 Price: $2.00 Publisher: E. P. Dutton & Co., Inc. A Great American Singer One of the finest biographies written by an American, ranking possibly with those by Pres- cott, Ida Tarbell, John Hay, Albert J. Beveridge, Albert B. Paine and Hendrik van Loon, is the newly published “The Life of Emma Thursby”, by Beecher’s Plymouth Church in Brooklyn, New the world, one from the Emperor and Empress of Richard Gipson, McCandless and issued by the York, was particularly famous. It was believed Brazil who are alleged to have made her an offer New York Historical Society. Mr. Gipson was for- that Miss Thursby when she was a member of of $40,000 for a concert tour of their country. On tunate in having access to a large collection of this choir, drew as large crowds to the famous most of her tours she was accompanied by her unpublished reference material which gives his church as Beecher himself. faithful sister, Ina Love Thursby. book an authority which is most welcome. During the rest of her remarkable career she In her later years she gave much time to teach- It is with great pleasure that we greet this life devoted her art to church and concert singing, ing and philanthropy. Her best known pupil was story of one of the foremost American singers. notwithstanding incessant opportunities to go Geraldine Farrar. In 1903 she and her sister, Ina, This is particularly the case, because her art, alas, into opera. Even Gounod begged her to sing his made a tour of China and Japan. In Tientsin she like that of Jenny Lind and Patti, must remain gave a very successful concert. She was then aged largely a memory. In her singing years (she was fifty-eight. born in 1845 and died 1931) there was no means The writer of this review knew Emma Thursby of preserving those golden tones when they were for many years and was a guest in her apartment at their finest. The phonograph was invented in at 34 Gramercy Park, on different occasions. She 1877, but it was not until the past decade that the was a woman of extraordinary charm, personal- of high fidelity electrical methods recording were ity and mental vigor with a wide human outlook, perfected. Therefore, it is very fortunate that her blessed by unusual feminine sweetness. Mr. Gip- achievements have been great so excellently set son’s carefully documented and excellent biogra- in this new volume. forth phy gives this memorable musical figure the Brooklyn, Born in New York, her first teacher permanent recognition and record which other- was Julius Meyer of that city. Her next teacher wise might have been lost. was the noted Achille Errani, of New York. Then “The Life of Emma Thursby” she went to Boston to study with Mme. Ruders- By: Richard McCandless Gipson dorff. Mme. Rudersdorff was an extraordinary Pages: 430 personality in American musical history. Born in Price: $7.50 Russia (1822) she had been a pupil of the great Publisher: The New York Historical Society Bordogni in Paris. Rudersdorff had met with great success as an opera singer in Europe. In 1871 she came to America to sing at the Boston Jubilee. Music Lovers to the Front She then settled in America. Her son was the Here is a delightful short book by a British eminent American actor, Richard Mansfield. gentleman who holds the Rossiter Hoyle Chair of After studying with Mme. Rudersdorff, Emma Music at the University of Sheffield. From the Thursby went to Milan to study with Lamperti tone of the book, we could not have imagined and San Giovanni. These details are given be- anyone who could have done it more deftly in as cause they indicate that although she was thor- few pages. We have stressed the author as a oughly American her voice was developed strictly British gentleman because, since the earliest days along the lines of the Italian traditions of bel of music culture in England after the monastic canto. This possibly accounts for the fact that period, innumerable British gentlemen always her singing years lasted until comparatively late have taken a peculiar and sincere delight in be- in life. Although she sang as a little girl, her real coming amateur musicians. Following the models debut was at Plymouth Church, Brooklyn, New EMMA THURSBY About 1900 of Henry VIII and his turgid daughter, Elizabeth, York, in 1875. as well as his ill-fated Mary, English gentle- Pat Gilmore was at that time a real force in Marguerite. At first she was moved by moral women and gentlemen took to the virginals and American music and his band ranked in popular scruples, but later her vast success as a concert the recorders as a salmon does to a waterfall. To favor with the great symphony orchestras of that singer became so unusual that she reached a posi- them it was an exciting and interesting game could not afford to devote time to day. He engaged Emma Thursby for a national tion where she Quite naturally, the gentlemen of other lands Spain, concert tour which proved a tremendous success. the opera. In England, France, Germany, Frederick the Great, Esterhazy (esh'-ter-ha-ze) Denmark, Norway, Sweden, Belgium and other Razumovski, and Her voice, although not powerful, had a “deli- others, became fine amateurs countries, her appearances were sensationally and patrons of the art, but it cious” timbre, which led critics to compare it with remained for the successful. Offers came to her from all parts of Briton to make sport of it. Patti. Henry VIII, be it known, In those days much of the best singing known was, like Mary, able heard in church from the to play many instruments and, like Mussolini, in America was that was salaries were said to have practiced music many fine church choirs. Excellent daily. One writer were proud of claims that he composed almost paid and singers of real ability BOOKS the first purely The choir of Henry Ward instrumental compositions in England their choir positions. that have APR!I- 231 Music in the Home Thanks from Sibelius come down to us. In 1627, however, in Peacham’s The Hon. H. J. Procope, Minister of Finland, desires to thank American “Compleat Gentleman”, we read that restrictions admirers of the work of Jean Sibelius for their widespread tributes to were placed upon musical obligations. He writes, the master at the time of his recent seventy-fifth birthday. No nation in “I desire not that any Noble or Gentleman should the world stands higher in the estimation of all Americans than magnifi- (save at his private recreation at leisurable cent little Finland, and we are greatly honored to present this letter to hours) prove a Master in (music) or neglect his , our readers . —Editor of The Etude. more weighty employments. ... I desire no more in you than to sing your part true at first sight, withall to play the same upon your viol, and the exercise of the lute, privately to yourself.” The author has collected many quaint touches such as the following, relating to the ponderous Dr. Samuel Johnson: “Boswell, incidentally, had more sensibility, but not much greater knowledge. LEGATION OF FINLAND ‘I told him (Johnson) that (music) affected me WASHINGTON. D.C. to such a degree, as often to agitate my nerves HJP/RW painfully, producing in my mind alternate sensa- D-60 tions of pathetick dejection, so that I was ready 1103 to shed tears; and of daring resolution, so that I was inclined to rush into the thickest part of the battle. “Sir, (said he) I should never hear it, if it , February made me feel such a fool.” He was disappointed 27, 1941. to miss the ‘musical meeting in honour of Handel, in Westminster Abbey’ in 1784. He likes the sound of the organ, like many other of the untutored: My dear Dr. Cooke; ‘Tastes may differ,’ he writes, ‘as to the violin, the I have Just received a letter from Jean Sibelius In flute, the hautboy, in short all the lesser instru- powerful ments: but who can be insensible to the which he asked me to write in his behalf to those who had done so much ” impressions of the majestick organ?’ this country to honour him on his birthday, and to All and all, this book coming from England at in express for him a time when most of the nations of the world are his very heartfelt thanks for this tribute. He was deeply touched by at war or upon the threshold of war, is a delight- his music, as well ful-interlude in a -troubled world and at the same this appreciation for as by the honour thus paid time bespeaks - the equanimity of the British soul. to Finland, and he said in his letter to me that he “The Amateur in Music” would "so much Author: F. H. Shera, M.A., Mus.M., F. R. C. O., each and every one personally". like to thank But as this is imposs- Hon. A. R. C. M. 78' ible in view of the obvious postal transport difficulties Pages: (5yz x 8V2 ) in the Price: $1.25 present circumstances, he hoped you would believe him Publisher: Oxford University Press none the less grateful that I do It for him. I know how much these music celebrations Questions Musical meant to him as a recognition of his genius and token of friend- Many years ago, the famous musical historian, ship towards our country, and for him as well Hermann Ritter, a man of bx-oad sympathies, as for myself I send high and understanding, aesthetic sensitivity you warm greetings and deeply heartfelt thanks. wrote a six-volume “History of Music in Ques- tions” which the writer of this review studied Tours veiw' sin.caxeiV The style has been occa- with Professor Ritter. - sionally much briefer books, the latest copied in MiniijteJ of FinlamS* of which is “Handbook of Music History” by Dr. Hans Rosenwald, until quite recently a teacher in Dr. James Francis Cooke, Berlin. This is a series of questions and answers, history The Etude, a kind of catechism of facts of musical 1712-14 Chestnut Street, which, of course, owing to the compact nature of Philadelphia, Pennsylvania. the book, cannot be all comprehensive. Several distinguished men and women in contemporary music are necessarily omitted. The book will be found useful for question and answer contests. The writer’s style is concise and direct, and we trust that this work will meet with wide approval for the purpose for which it is designed. “Handbook of Music History” By: Hans Rosenwald Music As a Means to Price: $1.25 Speed Up Work-# m 112 9 Pages: V» fnnt/irioc holm home ovnn,.in,a«i.: ... (J U Santos British factories have been experimenting with Publisher: The Lee Stern Press swingy of music during music. the use working hours, as a means of increasing the efficiency of employees The Manchester Guard Weekly That Releases reports that The Art forty-seven factories of nine hundred and done by art, and seventy giving information about “I believe that much can be factory con- satisfaction ditions, in a survey conducted particularly the art of music, to give by the National for getting Institute of Industrial Psychology, to the natural and legitimate desire are using drudgery and music. EmXeTwtk ““ 5Peed °f away from unrelieved dullness and , ““the beat underlying it into Some of the comments from to lend the strong impulse the factory of- and ficials were: Ployees" work ' when singim fruitful instead of harmful, or even destructive, bettei^be talking, keeps then .” Employees doing hammer work and people channels —Otto Kahn. keep time to 'can WwfV*° cannot work rk *nd sing bu and talk ’ 232 Music and Study disgust when I played the “Appassionata Sonata” Go Back to the Piano! and the Second Hungarian Rhapsody. But had I seen their gesture of disapproval, I would not have been deterred. A lively article from a sensible mother My graduating recital stopped just short of my dream picture. The grand piano was there, and who found her own way back the audience. But the black velvet dress was miss- ing. I wore be-ruffled white organdie. When I went the following year to < New York to study under a famous teacher, the ego slowly Won* er6 Xh)auie5 oozed out of me. Self-confidence gave way to Bf m humility. This teacher was understanding and kind. When I told him that I had used up my money, he world is full of women he let me cry on his shoul- whom you might call “givers-up of der and ruin his collar T the piano.” If all the money spent with my tears. He said: on their music were put in one pile, it “Go home and teach for would look like the national debt. If a a while, and come back span of their practice hours were made, when you have enough it would extend to the crack of doom. money for living expenses. Some of these women had real talent. Don’t worry about money All learned to play the piano. And they for lessons. With your ca- have thrown away the priceless thing pacity for work, you’ll play they strove for. Many of them are rest- in Carnegie Hall one day.” less, groping for something to fill the Marriage Flies In, Music yawning gaps in their lives. Why don’t they take up music again? Ask them. Flies Out They will tell you they have not touched I came home and began the piano in years; their hands are too to teach. Then, like a stiff; they are ashamed of how much feather on a breeze, went they have forgotten. Every excuse in the my music. I fell in love and world. They are just a bunch of “dids” got married, and lived for who “don’t any more.” five years without a piano I understand these women, having in the house. When at last been one of them for thirty years. But I we bought one my hands have left them. I have gone back to the had become so toughened piano and am having the time of my by kneading dough, spank- life. Now I am possessed with the fervor ing babies, and grubbing of a crusader and want a host of women in a flower garden, that it to follow me. was hard for me to prac- My early childhood was without bene- tice. My husband did not fit of music lessons, and our old upright encourage me, so I let the piano stood neglected. No doubt this was music go. It amazes me because I had never divulged my secret even now to think how dream-picture in which I saw myself, quickly it went. grown up, seated at a grand piano, play- One night, three years ing, dressed in black velvet with a long ago, something happened train that spread like a fan upon the which changed my course floor. As the years went by I added an and steered me back into MONA MYERS DAVIES audience to the picture. But not until I music. I had what my old was twelve years old did I give voice to black mammy would have my desire to make music. cultural parlor trick, because she thought I needed called the “hibby-jibbies.” The radio was on, but A neighbor girl came to our house one day and something to sand me down to the smooth finish I was not listening. I was too busy contemplating played an elaborate piece with a lot of hand- she desired in her daughter. My father picked the my forlorn estate. For years I had looked forward crossing in it. It was wonderful! I immediately guitar, managed some really bird-like notes on to the time when I should have leisure and be added crossing of hands to my picture. Then a the flute, and whistled very beautifully. He also free from responsibilities. But now that I had dear little old lady came one evening and did the sang tenor in the church cho’r. He therefore en- reached that time, it held no flavor for me. My most amazing variations up and down the key- couraged me, but I think with his tongue in his children were married and no longer needed me. board. She wore rustling black taffeta, and her cheek, as he saw no sign of music in me. They sent I recognized my dangerous inclination to meddle discovered that white hair waved softly into a tight little biscuit me to an excellent teacher who I and knew I needed something to keep me “out of on the back of her head. She looked fragile had only a small talent for music but a stupen- their hair.” What I needed was a hobby. enough to fall to pieces when she perched herself dous and unsuspected talent for hard work. Hav- Suddenly my ear caught the opening phrase of on the wobbly plush stool. For a minute I was ing a temperament like the little dog named Rover the “Appassionata Sonata”, and I began to listen. lose I gave myself world famous afraid she would her balance, but I soon for- who, when he died, died all over, A pianist played a programme al- got about that, so delightful was her playing. I completely to music and practiced three to six most identical with the one I had played at my definitely decided that night to become a musician. hours a day. I made such rapid progress that my graduating recital nearly thirty-five years before At once I that I If music made old age so gracious and sweet, I felt parents were inordinately proud of me. knew should take up piano and that I should hurry and get ready to be old. In college I made plans for a serious career. I fill my life with music. The next day I went about became a show-off pupil and was unduly puffed doing it. Ugly Duckling Sets Cut To Be a Swan uncle, with The up over my accomplishment. It pleased me to My whom I live, was happy over the My father and mother consented with alacrity play in recitals, for I felt that it would be unfor- idea and bought for me a small upright piano. for lessons. I was an excep- tunate indeed other students denied the Just around the corner to my request music were lives a woman whose gift uneasy manners, privilege Besides, I liked the ap- for teaching is tionally homely child with a of hearing me. truly remarkable. I went to her genius for saying the plause. I daresay beloved Beethoven and Liszt, and said: prickly disposition, and a my “Teach me as you would teach a child. idea of in celestial orchestra, laid their in thing. My mother welcomed the a the down harps Maybe I can learn a ( Continued on wrong Page 270 > APRIL- 1941 233 — Music and Study what abstract to a certain type of pupil; it has that the soul became liberated from the body and proved valuable and successful on the whole. soared to higher realms* The drums were cov- The pupil with the quick ear, by having his ered with figure designs, illustrating scenes from consciousness touched with the impression and the mythology of the Lapps, as well as every- Acquiring a Light Thumb music understanding of coming from within day happenings in their life. Their mythology, himself, rather than from an outside source, has which is influenced by Christianity as well as by *11^1tinning J^u ^JJ-arofd been unconsciously made to penetrate the rea- old Norse beliefs, described the natural forces sons for the parts of music as differentiated the sun and the moon, the wind and thunder, 1. and from the whole, and to which hitherto he may lightning HE THUMB IS STRONG but heavy and snow storms—personified as gods, have given scant attention. clumsy. Therefore, special exercises to ac- while the gods of mountains, lakes, forests, and Tquire lightness, are needed, if the thumb To the opposite type of pupil, probably quite so on, were of a more local nature. is drag the other fingers. Here are as musical as the first, but with less spontaneous The 2.not to be a on Lapps for hundreds of years held on to one acquire a power of expression at the keyboard, the sugges- a few exercises that will enable to their drums, which they believed could not only tion has illumined his individual appreciation of influence light thumb. the world of spirits, but also reveal to Place the five fingers on five white keys. Now, music, and aided in drawing out the latent them where they should go to find grazing for without depressing the four keys on which the coordination of the forces of mind and hand and theii reindeer herds or the best places to fish four3. fingers lie, play the thumb note four times fingers which were necessary for his complete and hunt. Not until the end of the seventeenth very softly. Repeat the exercise several times but musical performance. century were the authorities successful in stamp- not often enough to cramp the wrist. The plan has helped to strengthen the weak- ing out —at least officially—the use of magic Play several scales, especially the scale of C, ness of both types of pupil, and to improve and drums among the Lapps. In secret, however, the and play the thumb notes much more softly than intensify the native gitfs of each. superstitious custom lived on for a long time, the other notes are played. This is an especially especially in southern Lapland. Only last year, valuable exercise in gaining a light thumb. It tor instance, Dr. Manker recalls that he met an serves another purpose, too, in that by practicing o app in the in The Queer One Tune Music Swedish province of Jemtland, it faithfully the student gains great facility no wel1 remembered v . his father’s drum, which turning the thumb under the hand. ne has of the Lapps seen used many times. Now, place the fifth finger on C and the thumb on the C below, which of course makes the octave span. Holding down the C with the dfj diof(jd' oCundhcrgh little finger, play a short chromatic scale with and fascinating collection the thumb, coming up one half step at a time. A rich of five hun- Eiano and fifty-eight ancient Lapp Practice as a Game This exercise also kills two birds with one stone, dred melodies, so- called “joikings”, has been gathered so to speak, for it is a valuable exercise in con- by Karl Swedish railway station traction and expansion. Tiren, a master turned 4 M*. £ /€ author-artist. Mr. Tiren, who is eighty years old, S has roamed the wastes of Lapland for more than Sma11 children and many teache. have° h^ri1 , three decades, and because of his friendship lle problem of making music lessonlessoi tpaiticularly(DarHmii(narHn^i a i with the Lapps and his understanding of their practicenranHoo Periods) interesting.^— MaMan; new dpi , 7 The Outer and the nature, he has amassed a wealth of information, haVe been rhymes music bnnt tried: nursery previously discovered. P lges not ’ gold and all the annrm j stars for merit, Inner Ear Mr. Tiren calls “joiking” heterophone ed meth0ds music, With of elementary schoc absolute so,.: cblu., and explains that it is monotone and dren they are successful, but the great r. Lapps’ way of a it Eu oCcC Sdtjhllon constitutes the expressing their ?° the Prac tice hour means eitT boredom m, l5 7 likes, and feelings. They can be 11 ‘ moods, divided 11 ' Xt iS make th realize the *? difflcult to The avowed aim of every music teacher should into migration tunes, marches, herdsman lays vaffie1 of Practice, parting songs, wooing Here far as possible, the supposed meeting and songs, revelry ew • be to eliminate, as little angle on this old problem. girK nrJ ^ , “drudgery” piano practice for his pupils; and tunes, and wedding and cradle songs. dressin “ma of believe.” ThPi^ S up” and playing their musical The very oldest of the “joikings” are the 1 COs to expedite the attainment of songs various tumes are Mother’s dresses world and to the «t Qrr proficiency to as great a degree as possible. to the spirit protective gods. ° f old age include Pair ’ and always melodies of greatest of her A plan which has been found successful with Among the enthnological in- wbich rig over her n«m daughter can wear that of explaining to terest collected by Mr. Tiren are the Most a number of pupils is “Beaver fans, children of to-day are ra< he heard from and k-P . them that, the music they play is received Songs”, which an aged Lapp a while broadcasting nterested in programs organs of hearing, woman, and the lullaby, Tomma, Tomma Fauro. tu ? by the listener through the y bttle girl invented a no method of - learn to play by two Most valuable of all his discoveries are probably comv? “ the ears, they themselves the dressing up,” practicing made in the northwestern piano and different methods; through the medium of the those Swedish prov- ake rai commentator believe,” by acting as inner ear. ince of Herjedalen, where he came across ^J outer ear, and that of the some broadcasting her lessons, Lapps, who remembered Mother’s Both of these “ears” have valuable assistants old fragments of the dres^^ »«•’ with a crude home-ms overcoming so-called “Bear Choruses.” They differ microphone which cooperate with each other in consider- ached to a plat from other Lapp music, and beside the bird cage stand, the difficulties which arise in piano practice. ably chants of Din a in typi she announced the broadc of music being similar type can, in fact, be found in India. cal f.°’ The outer ear hears a piece Danirosch ” Many prominent musicians have “My clear style: played. It catches and holds the impressions visited him child ^Gn as ’ * will play the sea cottage, “Nuoljalid”, in Mrs. Virgil f now that are made upon it by the rhythm, the mel- in his the Abisko National went eaches -” Then piano * Park in northern-most Sweden. over ,J at the ody and the phrasing; and it cooperates with Among them is and next the Scales up down. 1 Stokowski, who claims - and the fingers in helping them to keep the correct Leopold that the rhythm announcermf * «- Lapp music has no Play the Was: “ N°w, children, I ^ sing, and to mark of the counterpart chords i time, to make the melody in the three the begin- world. Crown Prince Gustaf Peated until Positions.” These she each phrase with a slight accent at Adolf—himself a °f all COldd Piay L at the end. skilled archaeologist—and Crown came them perfectly. ning, and a pause or breath Princess Louise snm lmp actually also have were * e httle pieces; but tl The inner ear hears a piece, not by of Sweden been his guests on several broadcast ,„?f7 Phony. 11 the sy it, but through mental occasions. Mr. Tiren in addition is As importance of a hearing someone play known as one a period p music of the best violin makers announcement honest work followed es received from looking at the in Sweden, . impressions and has and h ame with knowledge which has also made a name for himself as a earnest ? of radio commenta page, cooperating painter of pra ntufe of the different note. bined. hour were miraculously co been’ gained at the music lesson, repre- Another interesting The and the position of the keys they phase of Lapp music, idea was m-; . notes the Praise nal of the tempo of the symbolism of their ancient magic ’ ana with her but 1 8'ave ' on the keyboard; drums encour>fI > sent has a e nt marks which tell what its phrases just been investigated by a Stockholm ’“ d » was repea piece- of the scientist ones «me.Pe .l raps be. The inner ear Dr. Ernst Manker. This expert who many other bored H 1 tone should has found dread ,} . and shades of that by thp fingers to play the Lapps used these drums in Playing 410® hour enjoy then helps the hands and order to establish at broad???? ' might contact with the spirit an 41 world. While imaginary 6 ’ givlnB recital through musical understanding. drumming audience -? a a ' Try has appeared some- they fell in a trance, and it was supposed game, and m som e way to mi While this presentation then eome what Wasa an adventure. formerly a task will 234 Music and Study Some Fundamentals of Good Singing INGING IS REALLY SPEAKING set to music. It is speech with tones, latent in S the average spoken word, caught up, emo- By Willur -Atonza ShiLs tionalized, and sustained in flowing, melodic style. Vocal tones become musical in quality only when adequate freedom exists in physical per- formance. This freedom must originate through mental impulses of relaxation. All good singing silent exercises are helpful and, indeed, imperative. may first appear in embryonic form either in the is done first in the mind, where these imperative Not all singers have phenomenal voices. Caruso rear, middle or front part of the tongue. No mat- impulses of relaxation are conceived. Freedom is had. His method, however, was scientific in its ter where it begins, the important thing is where the foundation of good voice production either principles and natural in its basis; he had no it extends—how far and how deep in the tongue. in speaking or singing, and the speaking voice need to think of technicalities while he sang so Concerning the mind culture derived from this affords the perfect fundamental pattern from exuberantly, so beautifully. Caruso sang as his tongue exercise, let us say that as soon as the which to cultivate the singing voice and the great heart felt. All human emotions, perhaps, tongue can automatically assume this deep “vocal mind.” were experienced in his brief forty-eight years; groove, extending from rear to behind the tip, In order to produce both vowels and conso- he was, indeed, a versatile artist. without the use of the index finger, his mind nants according to their true cultural value, and In Dr. P. Mario Marafioti’s splendid book, will be well on its way to controlling the entire without loss of beauty and spontaneity in the “Caruso’s Method of Voice Production” (D. Apple- tongue and vocal performances, physically. That singing tone, the singer must obtain complete ton and Company), much is said concerning the is, the voice will respond to impulses of relaxa- command of his vocal organs, through subcon- right performances of the tongue, and there are tion which exist in the mind of the student. scious mental direction. To acquire this, the numerous fine pictures of Caruso’s tongue in These impulses cause the groove to appear in the student may use the following instructions safely action, which show the imperative groove in the tongue; and in this manner the way is paved, and advantageously. tongue as advocated by this great book. Caruso’s over which to travel safely to correct good First, he must train his tongue to obey the tongue behaved in phenomenal fashion. Cor- singing. This exercise is the major fundamental mind’s impulses of relaxation; this is imperative rectly and efficiently, his glossus responded to of good voice production. to good singing. This acquisition may be the his perfect mind pattern of tone and word, while Daily practice should be continued thus: means by which the young singer dispels short- his singing heart poured out its wealth of Starting with approximately ten groove comings and eventually finds the way to good emotion. promptings, the tongue should show signs of singing. To achieve this involuntary control over the relaxing. After the embryo groove is visible in The writer knows from personal experiences tongue and voice, and to insure correct tongue some one part of the tongue, about twenty for- that this important vocal organ can be brought action, the student will find these exercises for mations should be made daily. It is best, of to an appreciable degree of subjection and made the training of mind and tongue very helpful. course, at first, to practice only five minutes at to be the servant of the singer. Either the tongue Exercise 1 —Silent a time, making about five grooves during this will present an ultimatum to the singer, or the The student should stand before a mirror, look- period, thus twenty of these formations should singer to the tongue. It could be a case of spare ing closely into his loosely opened mouth, ob- appear in the tongue periodically within these the tongue and not be a singer. If any vocalist serving the tongue as he imagines his sensations twenty minutes during the first week. disputes this teaching, let him confront himself during a natural yawn. He should then strive to The number may be increased to about forty, with a mirror, at the critical moment when he realize these sensations—in the mouth, throat, sixty, one hundred, and so on, daily, after the is having difficulties in tone production or word head, nose, chest, and so on—as, with index student has acquainted his mind with the man- formation. Almost invariably he will find that his finger, he gently strokes the tongue’s center ner of making them without the use of the tongue is in a position quite unfavorable to from rear to behind the tip, repeating this strok- finger. Eventually, the tongue becomes spon- phonation. ing action about ten times consecutively. After a taneous in responding to the mind of the student. The back part of the tongue should always be few minutes, a decided desire will prompt the However, the tongue will not remain in this free in order to allow the larynx to sink and aspirant to yawn. The extrinsic muscles of the groove position permanently, but will lie loosely rise naturally, in automatic fashion, for the crea- throat and mouth, now relaxed, allow the in- at rest when not employed. Psychologically, from tion of just the right pitch for any particular trinsic muscles due opportunity to act; and it is the effects of those sensations which accompany note in the singer’s vocal range. It should, with- this condition by which good singing is, in turn, the creation of this groove, the mind follows out forcing, be down as far as possible, and as made possible, at least from a physical stand- the right path through being guided positively far as good vowel formation, tone support and point. by intrinsic feelings and impressions, physically comfort of the throat permit. The rear portion The visible result which comes from such ex- and mentally. Space does not permit detailed should never stiffen, nor should it rise up at the ercising, if practice is continued daily, is the discussion of this phase of the young singer’s tip or draw away from the front teeth at any tongue groove. This is a furrow in the tongue, development. time during vowel emission. For the most part, from extreme rear to just behind the tip, which Once the potential singer is making one thou- in singing, it must lie loosely on the floor of the results from the intrinsic action of those real sand grooves daily, encouraging results in the mouth. On the other hand, there are some ex- vocal muscles uniting the larynx, palate and voice itself will explain the details of the entire ceptions, in that it must not assume a too flat tongue into what we shall call a Voice Trinity, feat; the young mind will find rebirth, vocally. for the creation extrinsic muscles (those which per- position of the vowels “e” and while the Within a few weeks a distinct improvement will “a” of the English alphabet, and their relative form during the ordinary act of swallowing) re- be noticeable both in the student’s speaking and these, process, this Voice sounds. For the tongue is required to rise main dormant. By this coaxing singing voice; his tongue quality and word crea- in its center without stiffness or conscious con- Trinity is encouraged to perform in a greater tion will respond more spontaneously to his men- voices which are trol, and the tip must drop loosely behind the degree than it does in average tal impulses of relaxation which now have been front teeth of the lower jaw, touching the teeth intercepted by extrinsic interference. That is to cultivated to an appreciable degree. And another the tongue lightly. However, all such tongue positions and say: through this coaxing process, singer will be safely placed on the road to Par- performances must come about involuntarily; leads in isolating the entire vocal machine from nassus. groove itself the tongue must function as automatically in such dangerous interceptions. The Exercise 2—Silent speaking. With this singing as it does in good groove exercise well in hand, the po- must be coaxed to tential singer will In most cases the tongue find the following exercise relax; to assume a loose position within the useful: intelligible phonation and With a clean mouth favorable to VOICE cloth gently grasp the tip of the tone production. For this, tongue and it scientifically correct draw < Continued on Page 266) /I PRIf.. 1941 235 ^ Music and Study produce high frequency tones which would make the rocks vibrate, cause a precipitation of mois- ture and result in a small stream or spring. This seemingly far-fetched story savors of Munchaus- enism but Kellogg insisted that he had done it. Will Battleships And, fabulous as this seems, in the light of new and well-attested scientific discoveries relating to sound, and in the light of the seemingly mirac- ulous things that Kellogg did, it is not impossible that he could have performed the feat. by Sound? As long ago as Be Sunk 1926, the New York Fire Depart- ment was given a demonstration of the method of extinguishing flames with a tuning fork, but Musical Miracles of 1941 the idea was in its infancy and no practical devel- opment of the theory was advanced. However, some scientist at that time predicted that, one day, fires would be put out by radio. Certainly, t scientific Jj> ^QnioiJ ^JJhiracp.o miracles hardly less startling have been accomplished. In the field of supersonics the developments are quite as startling as those It well which have to do with ERE IS SOMETHING TO FIRE the imagina- is known that dogs can distinguish tones e photo-electric cell. By means of this cell, tion of the most lurid writers upon music. that the average human cannot hear. In fact, a sounds are “photographed on moving picture H Fortunately, there is a scientific back- well known sporting goods manufacturer has put m. making the finer talking movies possible: ground upon which a tonal Jules Verne or H. G. upon the market dog whistles used for calling dogs oois aie automatically opened entrances of Wells might speculate because great re- but inaudible to human beings. Kellogg gave at safely — ai load stations and of markets for patrons , search laboratories, representing interests run- many demonstrations in public, designed to indi- whose arms may be filled with bundles; and pho- ning into millions of dollars, are now engaged in cate that his range of hearing penetrated to the nograph records are supersonic and even the ultrasonic played by means of a mys- exploring the marvels of sound. What they have frequencies. lious beam of light. In the realm of supersonic found literally paralyzes the reader’s mental con- He also claimed to be able to create springs in the s° und territory east of ’ these physical mysteries, in within the desert Sacramento, where springs . ception of the past. It is now readily ’on 0 hilling germs and chemical province of the prophet to say that the time is had never been known. He exhibited photographs I' producing s m industrial probably battleship may be and local newspaper notices relating to these, but ® processes, are employed to coming when even a hH U he the writer has never had any definite coa&ula tion of suspended dust sunk with music, inasmuch as U. S. Navy experts scientific Dartipif»«-° . ^he air ’ so that workshops, made un- are now testing sound vibrations with a view to tenablp , y clouds of dust liable exploding bombs and torpedoes at a distance. nfl to cause dangerous nal diseases to workers, freed Everyone is familiar with the effect of rhythmic - may be SPECTRUM OF SOUND WAVES nomfrom thisth^ nuisance. for instance, THE vibrations upon material bodies, as, 16 VIBRATIONS PER SECOND ture of ^is supersonic generation soldiers marching over a bridge. The men are mawfp i!* f" k‘ nowi1, hut it always given the command to break step so that the cnnnpH°h has been cited that if INAUDIBLE mied with into the vibrations may not disturb the structure. contact^ “1. is brought 1 le lnstlumentw of i1 i c Perhaps all those who have been making fun audible so H . hsendsoutin- Ib rations musical therapeutics may have the laugh turned ,not Metric “• Ci~ TeVand, may upon them. Perhaps the doctor of the future may sense both Pain and heat, All this nn If f01 interestin come prancing into the room with a fife, or an as the B speculations “ Ppot-M™??'®°;log oboe, or a bassoon. In an article appearing in influence cal and pathological SUPERSONIC* ~ 15,000 TO *0,000 0 f llstenins : January which is reprinted here- lc ' Every tyro Newsweek last — is familiar wilh f \ musical permission the writer tells of sounds 3 ° f or with by — overtones, those harmonics or so that no one can hear “parSs^off sou are that are so high low found when a . nd which them, yet they are being used now to kill germs HANO CLAPP'NC- JINGLINC KEYS- 15,000 (APPROX.) ‘°ne is and, by their presence o? lb in milk and other products. Why not germs in BiTC Wality PICCOLO ~ HIGHEST NOTE — *,752 tone color to the sot; f/T"’ living human beings? Perhaps, some day, instead tones, were not for over ‘ - an octave an call in Piano- highest wore t and of engaging a doctor, we may a music taves, two a fifth, two oc- octaves nnH a ^th the flu. Will kindly ird teacher and say: “I have you SOPRANO SiNCEA- all , and so on, higher, voices «• and nil i Leybach’s Fifth Nocturne and kill my germs?” ruments would play The late Edward sound alike. LOCUST'S SCREECH - ^ About two decades ago, a remarkable person by -id emphatic WUh the writer the name of Charles Kellogg, who was known as when thaBheV"^Was oft the mind that; NEWBORN CHILD’S BAWLINCS- *35 he regularh, the “bird man,” toured the country in vaudeville. 63 the the Philadelphia Orchestrat concerts of to have a throat resembling a bird’s. ’ he He claimed 5553 his will, went a* first against because mi , In other words, he insisted that he possessed a and cared little for bollt music syrinx formation in his throat, through which he orehestr^stral music ?. that he gradually - However, he said imitated bird sounds. In the manner of a bird, he ^p e lenced was at first » from what he said lips apart. He made many aston- a kind f f, whistled with his markable rausical bath,” a very re- records which were manufac- sense nf resh. ishing “whistling” and ment, at times relaxing Company. at other time* by the Victor Talking Machine he 111 1 1116 tured felt secure ’ and in that way exhibitions, Mr. Kellogg displayed a msavfn ^ ^ his public at musi c, those At who merely exnn delssohn, Ave Maria by Schubert, and Melody in Music and Study A by Dawes, all are good, suggestions. Offertories Variety which are too long to syncronize with the ushers’ out. A more varied repertoire is created by using march make ideal preludes. Two cases in point suitable are Chopin’s Nocturne in E-flat and Rubinstein’s a. Operatic and symphonic transcriptions, Romance in E-flat. b. Organ transcriptions of appropriate piano IV. The symphonic Prelude is more dramatic in solos, in Organ a theatrical sense. For this purpose the sym- c. Oratorio and cantata transcriptions. phonic prelude may be considered Program Music. Operatic and symphonic transcriptions have been Well known pieces in this category include: Pil- already mentioned. Other effective numbers are grim’s Chorus from “Tannhauser”, by Wagner arrangements of the Introduction to Act III from (combination maestoso hymn type and sym- “Lohengrin and the Prelude to “Tristan and Preludes phonic effect) Liebestraume by Liszt-Gaul (dra- Isolde”, by Wagner. Noteworthy ; selections for b First Movement the are the Adagio Sostenuto matic tone poem) ; of from the “Moonlight “Unfinished Symphony”, by Schubert-Lemare Sonata” and the Adagio Cantabile from the for festival occasions) Andante “Sonata Pathetique”, by Beethoven. (dramatic pean ; Prerequisites from section c include the Bach aria, My Heart Ever Faithful and the Hallelujah Chorus from the “Messiah” by Handel. The two instrumental numbers from Gaul’s “The Holy City” are, of course, intended as organ solos. All types of preludes listed have their places in the worship service. The organist’s good taste T IS NOT NECESSARY for an organist to play must decide which type creates the musical mood the conventional type of prelude every Sun- for the pastor’s sermon. With services ranging I day. He can give as much variety to his pre- from evangelistic to fraternal (visiting lodges) ludes as he gives to the other musical numbers of many different types of preludes are required. the church service. There are at least six types of Also the church calendar (Christmas, Easter, and organ preludes at his disposal. While these classi- so on) decrees the appropriate variety of prelude. fications may sometimes overlap, each is in a National holidays, like Labor Day, Memorial Day, definite and distinct category. An outline of Thanksgiving Day, and Independence Day, also these possibilities follows: influence the service, and in turn the choice of I. The Standard Prelude. This type includes the prelude. commonplace numbers one usually .hears, bearing All in all, the organ prelude can and should be such general titles as Prelude, Meditation, Con- anything but conventional. templation, Consolation, or Reverie. The standard prelude is easy and churchly in effect. In style, the ordinary prelude has a melody that can be Intriguing Organ Lore readily followed and appreciated by the man in the pew. WitU Wartln II. The Hymn Type really has four sub-divi- sions, affording much variety in itself: T IS OF INTEREST TO KNOW that the first needed. Simple chorales, organ built by Johann Klemm a. Chorales are often I American was played softly on the Echo Organ, produce an of Philadelphia and was placed in Trinity ethereal atmosphere most conducive to worship. church, New York City in 1737. Eight years later Chorales are the proper prelude for Communion (1745) Edward Bromfield built an organ in Bos- Sunday. Preludes similar to the Evening Prayer The Great Organ in the Basijica at Guadalupe, Mexico ton. It was the intention of Mr. Bromfield to from “Hansel and Gretel”, by Humperdinck, and have twelve hundred pipes in the organ, but he the Andante Cantabile in B-flat, by Tschaikow- from “Fifth Symphony” by Tschaikowsky; In a died before the instrument was completed. sky, are also suitable for the Communion Service, Monastary Garden by Ketelby; and Caprice The first concert organ used in this country offering a change from the meditative choral. Viennois by Kreisler. was built by E. F. Walcker and Son of Ludivigs- burg, It built for the Music During the serving of Communion, simple hymns V. The Recital Type is composed, of course, of Germany. was Hall a cost of are more effective and in better taste than elabo- recital numbers demanding virtuoso ability. These in Boston, Massachusetts, at seventy rate variations on a hymn tune. masterpieces embrace the works of Bach, Buxte- thousand dollars. In 1884, it was sold to the Hon. presented it b. The Anthem Type is stronger, fuller, and a hude, Guilmant, and Handel. The master organ- William Grover who to the New England Conservatory of Music. Unfortunately, little more animated. One might actually play an ist also plays Mendelssohn’s “Organ Sonatas” anthem, such as Send Out Thy Light by Gounod. and Widor’s “Organ Symphonies.” Toccatas, the Conservatory could not house such an im- organ, and it was sold for the Protestant organists would gain an unusual fugues, carillons, sorties, fantasias, concerti, mense metal and it contained, at fifteen hundred repertoire by examining masses. The Sanctus canonic variations, and partitas, also have their lumber dollars. Opinion differs in regard to the from Gounod’s “Messe Solennelle (St. Cecilia)” is occasional use as a prelude. most noted juvenile prodigy in organ playing and sublime in any church. VI. The Grand Choeur Type. The organist often composi- tion. There are those who claim c. Handel’s Largo might be considered in the needs maestoso preludes of pomp and circum- the honor Mozart and others feel that hymn class, although it is “broader” and more stance. This kind of solo may be as difficult as belongs to this recog- an nition should go to William Crotch who imposing than anthem. The Choral from the above, but it emphasizes churchly dignity in became (Sibelius) also Dr. Crotch. At the age of two, he played “Finlandia” belongs in this sub- contrast to recital brilliance. There are countless the division. “Grand Choeurs” and “Grand Offertoires.” Elabo- organ and at four gave daily organ recitals. occasional medley The first organ to be operated by electric d. An of hymns is most rate paraphrases on hymn tunes belong in this power audience. organist was at the Centennial Exposition at pleasing to the An should ever section, too. Philadelphia bear in mind that his hearers prefer familiar CODA: Transcriptions, while not comprising a in 1876. As the mighty tones of the organ melodies to virtuoso feats. How we love to hear special category, merit a separate paragraph. calls to wor- hymns from the past like Shall We Gather at the Transcriptions must be used with discretion be- ship, let us repeat the words of Charles Wesley Jesus, look Thee, River? Playing a medley gives the organist an cause they do not supersede or displace original we to opportunity to improvise, modulate, and arrange. organ literature. However, there are certain Thy promised presence claim; Type. There are times, espe- Thou in the midst of us III. The Offertory transcriptions no organist can afford to be with- shall be, an organist becomes sa- Assembled in Thy name. cially in Summer, when something sweeter, No organist should be so tiated with chords. He craves absorbed in the mu- songlike than chords coupled sical service of the church that lighter, and more he forgets the note melody line will real service. That may sound «' 4' and 16'. The single ORGAN confusing, but there Spring Song by Men- are many who will understand give welcome relief. The and agree. APRIL, 1941 237 X ; Music and SIlady The Teacher’s Round Table Conducted Monthly Stops Between Measures I enjoy your Round Table discussions very much and I have a problem I would like to have solved. I am teaching piano ^}aicr to my son. eight years of age. We are using W. S. B. Mathews’ Grade I. 1. Practicing one-half hour a day. how long (approximately) should it take him Nuted Pianist to complete Grade I? and 2. How long would you advise studying Music Educatnr piano, before beginning violin or clarinet? —R. W. M., Iowa. 1. read this answer your boy Correspondent * When you with this I). port went an to One ted to limit Letters will probably be in long trousers—and Ilu, idrcd and Fifty Word: far beyond that first Mathews’ book! The time interval between question, an- interpretation. Nothing is more intoler- swer and publication is often so long no adult) ever does; but so long as you able than a long, loud composition on a that I hesitate to reply to some of the keep the flame of his enthusiasm fanned, poor instrument. The sense of utter frus- more pressing inquiries. It ought to take at the same time gently impressing him tration felt by the player is quickly com- at least a year for any eight year old with the necessity for concentrated prac- municated to his audience. If, however to get through Volume I. I hope that tice and musical discipline, you are doing you are careful to choose short composi- you are now feeding him a nourishing ail you can. tactics tions, emphasizing the virtues Your perfectionist addi- (if any) supply of supplementary fodder in will not help; if you crack down on him, and concealing the defects of the piano tion to the Mathews diet. He needs it! there is his and begrudge you will get by with flying always the danger of crushing preferably three you feel sorry for yourself, colors. 2. At least two, but Stick fresh, eager zeal for music. So, go easy all pain music exacts from you, then to your lengthy masterpieces years. the but on play them only to yourself him, won’t you? you cannot go on. But the fact that you and your in- took the trouble to write as you did shows timate musical friends. even more unhappy Trouble that you would be A Memory and troubled without music; and, there- Two-Piano Numbers I am twenty-two years old. I have been fore, something inside you will compel Can you recommend some recently published four practicing piano for many years. I took a hard life, my pieces for two pianos, you to carry on. It’s What would you do with hands, lessons some years ago. Lacking a com- a boy who not too difficult, but effective masters, but a grand one! plays the bassoon In the petent teacher now, I practice all alone high schnni numbers for recitals? T. D., New York. “Play- band, loves music, but — by myself and have done it very well. Do you know Lilias Mackinnon’s refuses to studv seriously anything except Bach-Maier, String, The only difficulty I have is in remem- ing by Heart”? It is by far the most what the hand Air on the G P ay So“e tlle Bach-Scionti, minor; bering all I learn. For instance. I study musical ,„ symphonies aSd “Little” Fugtie in G sensible, helpful, clear book on pieces the hand plays are a piece for months, again and again, much too al
The Future of
Instrumental Clinics
4 Wi/L.n 2). ttejli
of illness or problems of a positions of varying degrees of difficulty. While special type are studied, and these students are excellent high school musi- expert advice or treatment is cians, it is unreasonable to expect, under such given. This last meaning is conditions, a finished musical performance of the most general and the broad- various selections. est, and a broad use of the If our clinics are to be of real educational value, term “clinic” might encom- the students participating in the various groups pass clinical diagnosis, clin- should gain more from such an experience than ical lecture, or clinical psy- a hasty sight reading of material. It is impossible chology-all is part of a to see any real or lasting values to be derived for clinic program. either directors or students on this sort of pro- One can readily see the ap- plication of this term to the field of music education. Obviously clin- ics must have been originally organized as a gathering to- (Upper) Faculty of the gether of music students (in- 1940 High School Band Clinic, cluding teachers, directors, and University of Michigan, Ann Arbor, Michigan. Mr. others) for instructional pur- Revelli stands third from left, front row. (Lower) poses. From my observations, French Horn Section, 1940 High School Band Clinic. however, I feel that in many instances the music clinics have ROGRESS IS NOT MEASURED in terms of failed to follow primary objec- of repetition what has been done—it em- tives. A great many of our P braces the use of past knowledge and ex- clinics have been merely ses- perience, present trial, future experiment. I be- sions for the purpose of sight lieve that we are about to begin a new stage of reading contest material. progress in our instrumental clinics, and it is my purpose here to discuss the weaknesses of our The Reading Clinic present clinics, to propose ideas for evaluation of In the sense that we have future clinical objectives, and to suggest improve- previously defined, these sight ments. reading get-togethers are not This discourse does not have as its aim any true clinics. While the reading type of destructive criticism. Perhaps we would be of the various contest selections protected by following the “movie mode”: before large groups of instru- mental directors has many “Should any of the statements made herein definite benefits, there are num- associate themselves with the program of any erous factors which have a instrumental clinic—living or dead—the re- decided effect on the success or semblance is purely coincidental and unin- failure of the “Reading Clinic.” tentional.” For instance, no reading clinic can possibly accomplish its ob- however, Seriously, we do recognize the part jectives if the group detailed have played that clinics in the music program to do the reading is not of our educational system, and we simply wish to sufficiently prepared to perform deal with a forward step—to forecast what is to satisfactorily the material pro- come. gramed. Yet too often at our The term “clinic” as used in music education or or- clinics we find a band (Upper) Bassoon Section. directly from medical phraseology, is borrowed chestra composed of selected (Lower) Percussion Section field is certainly justifiable. and its use in our high school musicians assem- 1940 High School Band Clinic. find it But what is its meaning? We that can bled as a unit for the first time, gram. In this connection, I cover a number of meanings, most prominent of trying to play at sight a number of contest com- am reminded of a remark overheard which are: (a) The instruction of a class of medi- at the close of a clinic. One examination and treatment of the high school directors had sat cal students by the through a presence of the pupils. < b > somewhat disappointing reading of a of patients in the contest se- number of students at a BAND and ORCHESTRA lection by a clinic band, and at the The gathering of a Edited by William D. Revelli close he institution in which cases muttered: “Should have remained at clinical lecture, (c) An home and
/1PRIL, 1941 239 Music and Study great many musical selections with a orchestra can perform better than rective measures, it means that nine group whose proficiency was strictly the separate individuals who make selections instead of ten will be read unknown quantity. .While the sys- up its personnel. Since so of heard it done just as poorly by my an much —badly. In such situations how great- own group!” tem of sending the musical material our instrumental music education ly I have wanted to stop the group to the several students beforehand is program is one of wholesale or It is my feeling that a lot more mass and get down to the real bases of a distinct improvement, there still methods, it is certain that clinic would be accomplished if only a few a musicianship for the youngsters disadvantage of attempt- devoted to remedial treatment of there selections were read, with a truly remains the the gathered! It is with this in weld this group of young musi- weaknesses of our young musicians artistic performance, and with special ing to mind that I hopefully present the over two-day can contribute to the improve- emphasis upon the problems of inter- cians into a unit a much idea of a “teaching clinic.” It is this It experience ment of these students and to pretation, instrumentation, balance, period. has been my the type of clinic that fits more closely that these groups, really sincere and edification of the conductors and into the definition of and all the various elements of a a clinic that teachers. satisfying performance. In some in- willing in their efforts, begin to sound we tried to clarify earlier in this well together just at the time that In my opinion, the teaching clinic article. stances efforts have been made to clinic session has reached a con- and its possibilities have been some- Let us offset the obvious disadvantages of the try to picture a similarity time to neglected. Our clinics seem to unprepared readings, and those stu- clusion. It takes that much what between a musical and a medical secure balance, intonation, accurate have been slaves to the theory that clinic. At the medical ill dents selected for the clinic groups clinic an and clean ensemble. public performance is necessary to person is subjected to the diagnosis have been sent the material to be attack, Naturally, there is a place for an the success of a clinic session. While of a specialist before a group of doc- read in advance of the clinic dates. all-state band or orchestra in our this is occasionally true, I believe that tors and medical Thus they have had time to become students. He is clinic programs. They may well be we err in accepting the rule that treated familiar with the selections and the according to need, operated used to read over materials for each clinic must be climaxed by a upon if necessary result at the clinic has been corre- —and his symptoms, laboratory purposes, and also they public concert. It is more our con- spondingly better. Sometimes the lack the causes of his illness, the possibili- might be rehearsed for the playing cern to bring out of each clinic the ty of of preparedness extends to the clin- cure are more than likely all of a public concert with a program lasting educational values—to make touched ical conductor, who has not spent upon in lecture. If we draw of a few well-prepared selections. their functions worth while to stu- analogy, sufficient time in acquainting himself an we find that the “doctors” This can be done readily and well dent and director alike. Many of the of with the material. the musical clinic seem to be more enough to create a favorable impres- teaching problems which confront interested in the I cannot help but feel that the plan exploitation of the sion and give entertainment to the our entire wind, string, and percus- “patient” as of recruiting the clinical band and a concert-giver than in But a sight reading group sion sections can be successfully the nature orchestra from various schools should public. as of his weaknesses. We the real objectives cannot be realized, “diagnosed” and corrective “treat- appear to be superseded by the plan of using be showing off to the pub- and the guest conductor cannot give ment” prescribed by a teaching lic just what specific bands and orchestras chosen an excellent state of proper attention to interpretation, specialist. health our by the clinic program committee and “patient” enjoys, rather conducting, and the other elements Frequently I have conducted clinic than designated as the official clinic administering to his needs by groups. These groups could be rep- means of two or three days of inten- sive resentative of the various classifica- diagnosis, careful application and tions; for instance, if the clinic is a prescription of remedies to cor- rect state clinic, one of the state’s best his “illness.” high school bands or orchestras could Perhaps our public would be some- what be assigned to prepare for the read- surprised to get behind the scenes and ing of the Class “A” list; a Class “B” witness the hasty priming for band and orchestra could be assigned clinical concert—where weak- nesses to Class “B” material, and so forth must be tolerated and con- cealed, through groups “C”, “D”, and “E.” not uprooted and corrected. Such groups should be selected on the The Clinic for basis of their proficiency, and the Interpretation plan should be set up in such a way While the reading and teaching as to make use of different organiza- clinics are important and necessary tions each year, so that through a to the success of our educational music program, period of years all of the sections there is still another type of the state would have an oppor- of work to be done in our future clinics. tunity to send groups to the clinic. It is our belief that this third type of Under this plan, the bands and clinic will do more to raise orchestras selected to do the read- the levels and standards of public . school ing would have the opportunity to be- music, and be of greater bene- come thoroughly familiar with the fit to the status of school music con- uctors music on the assigned list through than any clinical gathering daily rehearsals for several weeks we have A HIGHLY SUCCESSFUL PIANO FESTIVAL known. Our school music prior to the clinic date. Thus, when educators might be said to fit into Nearly three thousand citizens of Battle Creek, Michigan, attended a recent performing under a guest conductor, three categories: Piano Festival at which four hundred pupils of members of the Battle Creek 1. Performers; 2. the performers would not be sacrific- Teachers; Music Teachers Club played. The Root Music Company supplied the bat- 3. Conductors. Very few satisfactory or even artistic musi- pianos in the large W. K. Kellogg ing tery of twenty-four Wurlitzer Auditorium. n^° the first . grouping, if we con- cal rendition to the “quest for notes,” sider that music educators have which is so often the primary con- usually limited abilities per- the heterogeneous clinical in the cern of formance of the desirable condition— of music education which are the groups whose purpose was to various instruments, group. Such a read ana a greater interesting phases festival materials, but number belong in the that of a really prepared clinical vital and most who would seeon grouping, while com- would be of further advan- both for educators and students. have profited a great deal more from again a group— paratively small the guest conductor a teaching instead of a reading group belong to the tage in that clin- category. The Demonstration or Teaching ic. Poor Yet, to contribute a great deal more performance was often the , be successful. could Clinic ® do result of a lack in i ustice to we ordinarily is possible. the fundamentals our jobs, than must be efficient under the old plan Another type of clinic which, from —tone production, intonation, in at least two and In some cases tech- f possible educational viewpoint, has totally nic, and so on an three of divisions, conductor was really of no an —and as a guest di- these a guest Ca rS clinic program, different objectives from that of the rector it was necessary ‘? ' “ w°uld perhaps be especial value to the to subdue my hftw . of group reading clinic is the “teaching clin- desire to “dig into” :° be excellent and simply because the efforts the real causes coon teachers in the at- ic.” The teaching clinic’s chief im- for poor performance, : f6W can be and conductor both were in favor of anistTe expect to rendition of portance is in its presentation of op- covering the ground performers on all instru- tainment of acceptable expected by the ments The con- portunities to study the problems of clinic organizers. Usually, a list of contest numbers. a clinic In his work our individual students. We recognize program has been eVeloping a status often found that timed to a “T” to, tn of conduc- ductor llost a the fact that no school band or and if ten minutes ’ important consisted of struggling through are lost on cor- i consideration (Continued on Page 275) 240 THE etude Music and Study
The Viola
Claims Its Rights
A Conference with
Wiltiam P.nmroie
Distinguished Violist-Founder of The
Primrose Quartet-First Desh Violist
of The NBC Symphony Orchestra
SEcured Expressly for The Etude By BURTON PAIGE
T IS GRATIFYING TO OBSERVE the unmis- takable awakening of interest in viola playing. WILLIAM PRIMROSE I There was a time, not too long ago, when the viola was not only neglected but thoroughly mis- The viola, like the harp, shows a dependent de- understood. Indeed, the misunderstanding caused velopment. That is to say, composers seem to have the neglect. A clearer comprehension of the uses, written less for the instrument itself than for technic and scope of the viola has already in- some specially gifted viola player, with the result creased its popularity and this fact also points to that spurts of interest in it have followed the tonal and technical demands are quite individual. a still deeper penetration into one of the richest careers of its more distinguished performers. This A Technic Its Own and most rewarding fields of musical activity. is clearly the case with Brahms. While there was In approaching the viola we must rid our minds no special viola trend during his early years, his While the viola uses the same finger positions as of several unwarranted preconceptions about it. compositions show so marked a personal enthusi- the violin, the means of approaching and leaving First of all, it need by no means be confined to the asm for it that one is led to think he was pleased them are quite different. It is nearly impossible to realm of the purely ground bass instruments. We with the instrument as it was revealed to him. describe such differences without demonstration, think of the viola chiefly as an orchestral and en- but we give one example. The violist uses the half semble instrument, because so much of its notable Understanding Means Appreciation shift, going out of his way to move his finger posi- music has been written for group playing. But it This matter of having the instrument revealed tions on half tones only, especially in descending is also possible to find a vast amount of distin- is perhaps the most important factor in under- passages. In preparing for a change of position, guished solo music for the viola. I have frequently standing the viola. The average music lover knows the violist will move from F to E, rather than from presented solo recitals of viola music, in many regrettably little of its use or possibilities. It re- G to F. Since the viola strings are thicker and less parts of the world, building as many as eight dif- sembles a violin, but it is of greater size; therefore responsive than those of the violin, there is the ferent programs, none of them including as many people regard it as a larger violin—with a tone risk that the very mechanics of the shift may pro- transcriptions or arrangements as are to be found somewhat inferior. These beliefs are quite incor- duce an audible sound. Hence, the smaller the on the average violin program. rect and account for the many misconceptions interval between tones during a shift of position Early in the eighteenth century it was consid- regarding the viola. the smaller the danger of these mechanical ered more “fashionable” to play the viola than It is a serious mistake to look upon the viola sounds. It is true that many violinists use this the violin, and much music dating from that merely as an alternate instrument for a violinist, method of shifting, but for them it is a matter of period is well worth investigating. Furthermore, probably the one who has not made good in his choice. For the violist it is practically obligatory, far music written for the viol da gamba and the viol own field. To assume that any violinist relinquish as as excellence of technical effect is con- cerned. I learned the principle da braccia is as legitimately performed upon the his instrument for the viola is to suppose that any of half shift moves studies with Ysaye, viola as on the violoncello, since those older in- pianist can manage an organ simply by sitting during my and have since de- veloped it into what I believe to struments are the ancestors of both modern ones. before it and trying to play. The viola requires an be at least the satisfactory system for Attractive programs of viola music range from J. entirely individual technic, and competent violin- most the viola. The violist would do well to S Bach, K. P. E. Bach, W. F. Bach, Rameau, ists, who take up its study, find that they must watch his left thumb. Since the instrument is Haydn, Mozart, Stamitz, Berlioz, and Brahms, to devote time to mastering a new and different large, there is a Bax, Delius, tendency to tighten the thumb in holding such moderns as Vaughn Williams, groundwork. It is more cumbersome than the it, with the result that certain Walton, Granville Bantock, Hindemith, and the violin, its tone is a fifth deeper (its strings, from a amount of leverage ten- and Samuel Barber. Bee- C, G, D, and A) and its sion is exerted on the neck of the Americans, Roy Harris the lowest upward, are , instrument. enough, he Since the least tension mars tone thoven played the viola, but, oddly and facility, the for it. The viola parts of his violist must be careful to avoid this wrote no solo music pressure on however, his familiarity with the neck. I always do some practicing later quartets show, VIOLIN without rank among the finest ex- using the left thumb at all. I qualify it as the instrument and Edited by Robert Braine “some” all chamber music. practicing; for it is not (Continued amples of the use of the viola in on Page 272)
APRIL, 1941 241 *
Music and Study A Good Contest Numbei
Q. 1. Is the Etude in D-flat major by Questions and Liszt a suitable piece to play for a piano How to Secure a Patent contest? 2. In the Schirmer edition of this etude, Q. Could you give me any Information do all the notes with downward stems in- about securing a patent on a musical dicate that they are to tr played with the device? What would be the best way to left hand? Especially in the first two get it on the market? I know there have measures, and similar they been many patents, aimed to aid in measures, may be played with the right teaching piano technic, and each one hand? Answers 3. At about what metronome tempo is thinks his is the best, but I have made a this played? model of an Idea and would like to have 4. Was Liszt’s Second Hungarian Rhap- it patented to see if other teachers find sody written originally for piano or for it helpful.—Mrs. S. W. S. orchestra?—Miss K. P. A. I have asked the Commissioner of Music Information Service A A. 1. This is an excellent number for Patents, Washington, D. C., for the in- this purpose. formation you desire, and he has sup- 2. The position of the stem of a note plied me with a pamphlet from which Conducted By does not indicate which hand plays that I have culled the following: note; in fact, it happens that on the 1. A patent is granted only upon a first two pages all notes with downward regularly filed application, complete in en& stems are played with the right hand. all respects, upon payment of the fees, You are always perfectly free change and only after a determination of utility to hands if by the and completeness of disclosure of the so doing you make passage easier invention and a search to determine its jCart for you. 3. — 69 novelty. J 4. “The Hungarian were 2. There must be a complete descrip- Rhapsodies” written originally Liszt tion of the invention, and it must be ac- for the piano. afterward arranged for companied by drawings suitably illus- Professor of School Music, several of them orchestra. trating the same, if it is of a machine Qberlin College or other device that can be illustrated. 3. An application for patent must be Single Note Scale Passages made by the inventor only, and no per- son who has not actually created a Q. 1. I like bravura music very much. will be answ.vered in THE ETUDE Long entitled to be No question ...... fast octave scales passages offer portion of the invention is , jul , ram and unless...... accompaniedh~"je d by the juu no initials, difficulties, but it Is when I come considered a joint inventor. and address of the inquirer. Only published. upon single note such as application or pseudonym siren, mil be scale passages, 4. The preparation of an are found In Mendelssohn's “Concerto in is a highly complex proceeding and gen- G minor”, that I falter. Would you select some from erally cannot be conducted properly this list that would be suitable this my technic? "Concerto No. 2 In except by an attorney trained in B-flat”, Brahms; "Concerto in D minor", specialized practice. The inventor, there- Brahms; How to Make a Trombone “Concerto in E-flat”, Liszt; fore, is advised to employ a competent Concerto In A major”, Liszt; “Concerto Vibrato n A minor”, patent attorney or agent who is regis- Schumann; “Concerto in tf-flat slide trombone minor”, Tschaikowsky. without skillfull preparation Q. My son is playing the tered, as He has been z. Are there any these patent In the high school band. other editions of of the specification and claims a playing the works besides given two methods for the Schirmer Edition? doubtful value. A register of him to /-*a b0°k by “Music grant is of tremolo. One Instructor directs n E. Markham Lee, the the Masters",f attorneys and agents is kept in this use the slide in accomplishing there is a reference to a wrong tnematic catalog not registered tremolo. Another claims this is all published by P. Jurgen- office. No attorney or agent son of use the lip in accom- it Moscow. This book published to pros- and directs him to trolled, since is more exterior in was in this office will be permitted give us your aDoiit 1915. Do plishing the tremolo. Please nature, done with the hand you know anything for and not the u l t ecute applications. opinion and tell us the best method _“ and where it can be secured? the vital breath. It can be ^} Application for letters patent must playing the tremolo or ri bra to on done or not, at 5. aie slide trombone, and if both methods will, and may therefore be treated made to the Commissioner of Patents as an A A1* of be player use ’ these diffi- be used, when should the embellishment as it should V, concertos are by the inventor. A to be. Further f and must be signed H. A. P. you can play and each?—Mrs. second method is ,) any of them application comprises (1) the the apt to cause the not the one complete wind by Mendelssohn, your tech- dollar A. I have asked the well known top and bottom of the vibrato pitch nic first fee of $30 plus an additional to is very one-sided, nstrument expert, Arthur L. Williams, be less resonant, since no adjustment and I suggest for each claim in excess of 20, (2) a is that you practice a questions, and he has made of the slide length great deal of light specification and claims, ;o answer your to compensate petition, (3) information: P'ay a lot of MoSrt. when jiven me the following for the lower and higher pitches sounded. SJjr? (4) an oath, and (5) a drawing 11 after answer to your question about Thus the top and bottom are y™ set started. papers filed in this office In apt to o? the concertose . needed. All (slide), there mentioned, the ones by printed in dbrato on the trombone be breathy. There are fine players who Sebum should be legibly written or - of thought on the use both methods, but the 2t IE fl at>. mid Tschai- language and in permanent ire two schools beginner is kowst the English vibrato should be d be suit»b'e. in natter. One says the much safer with the first than with the the m-a Take them glven ink. back - A you produced with a slight movement second, for few players can develop g°od number for embraced in the ap- a be , 6. All the papers slide, while pleasant the ‘‘Concerto of the trombone really fluctuation in the „ . in A minor” should be attached together; md forth breath b°y Grieg. plication changes the lips which can is being held. This and always be controlled letter must accompany each ,he tone 2. otherwise a manner as There are, but better, vibrating length in the same they are no part, accurately and clearly connecting 6 string players; that understand this out of application. ;hat employed by mint- book is it with the other parts of the changed above Does the C Clef Movief abso un actually • ’ der present conditions, arrangement s the pitch is it j. 7. The following order of the tone Q. On the Question and dlfficult the written pitch, but Answer naae of to say if the thematic should be observed in framing the speci- md below The Etude for September catalogmtoi good quality because 1940, you sav could be procured. the name nay always have that “Middle C” should always fication: (1) Preamble stating lost. Thus appear on resonance need not be a line, never on a space. I have residence of the applicant and the £e not been and even though it does able to determine why. Your General state- the pitch is true explanation title of the invention. (2) method is that would be very much appreciated.— Double vary slightly. A second w. B. Sharps ment of the object and nature of the and the slide in one position A. The “Movable C clef" a of the Df keeping is not really puzzled as to of invention. (3) Brief description with a fluc- doubh* 'cA the effect the lips to vibrate movable at all, (or it always P in n (if the allowing marks the the imposition whs several views of the drawings breath. Thus a ton?T , of the player’s same point, namely, Middle Sh ‘Uped ln slgnatui illustration). tuation c. Some- for examnfp the invention admit of such which may be due P ' Sharp dout pulsation is set up times move lines are added above sharp Wlth * (5) Claim or the c Se ltb seem (4) Detailed description. changes in volume than changes line, in which case Plaved r of s to me should more to the clef appears but claims. (6) Signature of applicant. the m the selectl pitch. Because this is done with lower on the stall. Sometimes, not be admitted except in on the Graded “5“ ln Mathe' 8. A model will and lips—the control of which is other hand, more lines ijj de breath are added below the chromatin '„? X ’ Jt would sp when called for. tone played upon the the line, Passages, wo vital to every c and in this case dering it t and I am not entirely answei the clef If these items do most players to-day feel seems to have should be B ab0l,t h°” your- instrument— moved to a higher line played.JSS your questions, I suggest that you o this second form of vibrato is Actually, however, it has The Commissioner ot that not moved at self write to in that it becomes habitual, it always remains 316 a copy o dangerous on the sbarP is understood tc Patents, Washington, D. C. for cannot play Middle dicatAbf and the player finds that he Z* Wh°le free. step WlS>er, the pamphlet. It is using the fluctuation of the The illogical use Z Trom t le without of the clef itere After securing a patent—or possibly on a SDare ‘i In o so cannot produce a good in music for the words™ 4 , youi breath, and tenor voice is hT that you take to be ex in the before—I suggest The first method is pre- plained in the signature publishers to straight tone. same way as the ana° 5lf Vdp~double oc device to various music common durine- ti-.*, sharp ferred because it is more easily con- use of he don’t” for be able to sell it. “he doesn’t.” “mPisition, this indicat see whether you may tone Ia doubie sharp higher than P. 242 the etude Music and Study as a matter of spiritual compulsion, the singer works to master a technic that will give greater scope to his voice. It is a very different approach, and it always makes itself felt. When the average singer reaches the stage, he is already a bit set Learning How to Act in his mold, a bit self-conscious and reticent. That is another reason why operatic acting is difficult to master. A third great difference between acting and operatic acting lies in the matter of spontaneity. in Opera Once an actor is entrusted with a part, he is quite free to play it according to the dictates of his mood. Indeed, he is not only free to do this, but his performance will probably gain by it. One A Conference with night, he may hasten his tempi; another, he may make a telling pause at a point where he never e did so before. The operatic actor enjoys no such S>ac\^ freedom. His performance must be regulated and timed to the conductor’s beat, with the pre- Stage Director of The cision of a railway train running on exact Metropolitan Opera Company—Member schedule. of Faculty, Juilliard Graduate School These, then, are some of the reasons why operatic acting deserves especial care. What, then, is the best approach? This approach comes through an attitude of mind. One must realize Especially lor THE ETUDE by Harvey Fowles Secured that the emphasis of all stage technic properly belongs, not upon mechanical accessories, but the perfect emission T IS DIFFICULT to get through a season of which would be harmful to upon the body, the heart, and the mind of the operatic actor is to grand opera anywhere, without finding a re- of tone. Thus, the task of the players. Too often one hears it said that this or freedom which actually I view of one performance (at least) wherein convey an impression of that marvel of dramatic verisimilitude could be some gifted young performer is censured for does not exist. accomplished if only one had a modern revolving- the actor and “wooden” or “undramatic” stage technic. The Again, the earliest ambitions of stage to work with, splendid sets, the newest audience does not enjoy such acting, and lighting effects, and the like. Now, I am certainly the young artist probably enjoys it even not averse to such riches of equipment. On the less. He feels that he has something to other hand, I insist that the best mechanical say; there are emotions rising within accessories are merely a frame. A group of tal- him to which he must give visible and ented and well trained artists can create more comprehensible expression—yet there he moving effects without them, than an indifferent stands, with all his thoughts and feel- company can with them. The supreme achieve- ings pent up within him and only a series ment, of course, results when these human and of well coached postures to convey them. mechanical forces combine. But the essential Probably every operatic performer goes flame of dramatic conviction is kindled, never through this unhappy period, if only in a machine, but in the heart and mind of an briefly, at one time or another in his actor. career. Normally, it belongs in his study How, then, shall our young operatic perform- years; and as our study methods ad- ers be trained, so that they may escape the vance, more and more attention is being stigma of “woodenness” when they try to evoke given 'to stage technic, so that when the other people’s emotions through a projection of young singer’s opportunity comes, it may their own? What shall they study? And who not find him dramatically unprepared. shall teach them?
The Difficult "Business" of Acting The Teacher Must Know the Singer's Needs Paradoxically enough, the business of Because of the very nature of opera, it should acting—which appears to be a mere imi- be taught only by a person who is as familiar tation of life experiences common to us with its musical and technically vocal founda- tions as he is with its actual stage work. all—is the most difficult both to learn The and to impart. You know what it is to stage director can impart life to a performance feel angry; you have observed people only when he understands the singers’ needs; who are angry; yet, to portray anger LEOPOLD SACHSE when he is able to conduct the score, play the convincingly, so that the force of its im- piano score, sing every part, give every cue, and pact strikes a theater full of people at utter every word—preferably from memory. He the same instant, requires the talent and the the singer are different. The actor, if he is truly himself must be perfectly sure of every note, training of an artist. Violinistic finger positions, an actor, feels the call of the stage in his blood word, and vocal medium in order to bring forth which are essentially unnatural, can be learned as soon as he is conscious of feeling at all. He an interpretation that rises above notes, words, more easily than this simulation of a general goes into the theater because he must, because and vocal media. emotional experience. At the outset, let me say his self realization lies there. The singer is first The opera, you observe, is full of paradoxes discover his voice only More, operatic director, or that gestures alone can never convey emotion. of all a musician. He may the teacher, must be operatic past. Then, it requires years a very practical psychologist, who That is the first maxim our student when adolescence is can adapt its possibilities and himself to the temperaments must learn. to train that voice, to discover of his coworkers adult, whose formative draw their best from them, and In approaching the matter of operatic acting, its limitations. Only as an fuse those indi- misconceptions years are passing, does he begin to think of the vidual efforts into that coordinated there are a number of which and convinc- chiefly as a means of ing whole which we call moving must be cleared away. It is a mistake to judge operatic stage, and then, a performance acting by the same stand- using his vocal instrument—much as a man The stage director who merely coaches acting and operatic gestures are both “acting”, true enough, but might decide to become a violinist solely because is like a man who would paint a picture by ards They past- Operatic acting is, and always his grandfather had left him a Stradivarius. Only ing an assortment of newspaper photographs v gtly different. on adjunct of singing. This places a when he finds that his powers fit him for the a canvas. It matters very little whether st be an a player upon it. The singer’s first projection of operatic music, and when he se- gestures with his right hand or his left, Infinite ’restraint whether voice. He cannot per- cures the necessary engagements, does the aver- he enters the stage from the front fhnueJjt normally, is of his wings or the age singer learn to act. Where the actor works back. The point is, gestures or expenditures of energy he ( Continued on Page 266) jnit himself
APRIL, 1941 243 7
Music and Study Orpheus casts an indefinable spell upon the musi- cian. Of course, we can only speculate as to how ancient Greek music sounded. Unquestionably, the Greeks paid an enormous amount of attention to music, and they fervently believed that music had a great moral influence upon character. Music in War-Tom Greece “Orpheus was regarded as the father of music. Thamyris, who was alleged to have been a pupil of this mythical character, and to have drawn his inspiration from the Elysian fields, built the Either onddon first school of music in Thrace and chose, as the 3- foundation stones of his school, the three prin- ciples: study, memory and singing. He placed music above literature. Gradually, the Miss Jpnssou, an American-horn pianist, who has toured from mythical Orpheus, Amphion, Euterpe, Olympus, gives an extraordinary picture Europe for seven years, Apollo and other members of the delightful of Greek musical life pantheistic heaven, we find music descending in Greek imagination until it is prac- ticed in some form by the Editor's Note: Miss Jonsson was born in Ish- humans, Terpander, Py- peming, Michigan. Her father was the organist thagoras (who invented the of the Swedish Lutheran Church in Chicago, and monochord and thus dis- Miss Jonsson did her first musical work with him. covered the relations of the When she was three years old she heard her octave, the fifth and the fourth) Aris- father play a Swedish chorale in church. There , Pindar, Plato, is a well authenticated record that she ioent totle (who wrote on ‘Ele- home and played the chorale with both hands, ments of Harmony’) and putting in her own bass. She had had no instruc- many others. Richard Wag- tion up to that time. Her father was a psycholo- ner went so far as to say, gist who did not believe in teaching a child by books before the age of seven or eight years. Esther, however, worked out, on her own accord, a method of reading notation by position, and played Mozart, Bach and Haydn when she ivas eight years old, although she had had no regular instruction. Her first teacher, after her father, did not believe this, and gave her fourth grade pieces. Her studies continued throughout her youth. Miss Jonsson graduated from the Univer- sity School of Music at Lincoln, Nebraska, receiv- ing her Bachelor of Music degree when she was seventeen. At Lincoln she was a pupil of Sidney Dancing girls in the Silber. She then went to New York where she national costumes of Thessaly. studied with Milan Blanchet and Sigismond Stojowski. This ivas folloioed by a residence in Sauer. She made her debut as a pianist in Paris Paris, where she studied with Nadia Boulanger. with the Conservatoire Orchestra, Philippe* Gau- After this she ioent to Vienna where she studied, bert conducting. Thereafter she made concert for three years-, with the famous Liszt pupil, Emil tours of nearly every country in Europe except Russia, Spain and Switzerland. She developed a great fondness for Mozart and was the chosen soloist at the Quarter-Century Mozart Festival at Salzburg. This was the first time
. an American had ever been invited to participate at this great Festival. Miss Jonsson’s playing has elicited the high approval of noted musicians, including Mr. Padereioski who said’: “Your playing has given me great pleasure, and you are ready to play anywhere in the world.” Her tours led her into the Balkans, where Dancmg Evzones she in their native dress discovered much remarkable music unknown to the western music world. our eflect ever ownTrt i' so lightly This will be described by Miss Jonsson without tion with its solid cot in a later article. She that of was playing ^id the However that ' il mu in Salonika, Greece, when the revolu- Wagner's ZZ w “ ent shollld be ‘ «h a grain of W tion started, and her account of her salt n! exactly how ai Se no one really k W experiences in Greece are exciting. ancient ?? ! there leek muslc is no Rosetta _,° sounded, 0 6 tion or 0 brldge the olcl 1 nomenclature W1? ,! The Greeks b ^he music of to unaueati °“ ! scientific ably made an invalt «/T\HE LURE OF GREECE _ contributin is in itself ° I describable. is derived The word, n The land of myth W the which in turn Greek word ‘moi the land of the epic, the is mmi V ^ land as d the nine Muses of the first music of our daughter??, h°l ! i‘'r civilized 8 °d Zeils Therefore, - - the world, the land of the ‘mousiki^ guarded ESTHER JONSSON fabulous singing, J n the Greek . sense incl playinoymg, dancing (Continued on Page 244 THE ETUDE CLASSIC AND CONTEMPORARY SELECTIONS
1st MOVEMENT PROM SCHERZO, IN El> MINOR FROM THE SONATA IN Bl? MINOR Heine said, “Chopin has a rainbow in his soul.” The beautifuJ musicaJ prismatic coJors achieved by the great PoJish-Freneh master through inspired chromatic changes was never more manifest than it is in this fragment of a famous scherzo which is also one of the finest octave studies extant. Better start studying this with great precision and innate observation of fingering, with the metronome at J -72 or three times slower than the speed marked and gradually work it up. You will learn it much better and quicker in this way. Grade 7. FREDERIC CHOPIN, Op. 35, No. 2 Allegro m.m. J- =
245 APRIL 1 FINALE from 1st MOVEMENT of SONATA COTTA EDITION No. 3 JOSEPH HAYDN 5 Allegro moderato M M. J = 6# ^ T—4 Pm - n ^ ... . d nrzET
2>
0 A £2 / m * —-• ALLELUIA! When, hearing this played for the first time, one would believe it to be an original piano piece by Mozart, ft is, however, a one of ^piano transcriptionJ of flip mnof nnnufnn numKonn f tin m U i r. \1a4p 4 /7* v «* / / rt 4 ft T II h il t O HpitHp A Copyright 1940 by Theodore Presser Co. 248 THE ETUD$ / 3 »..v.^-- 4 , = _^==. : -» — * m * * + m =ad f :_S A J J XIt «* 4b ^ J * J - -&- -4- -e- ^ t 1 249 APRIL 1941 KISSES OF SPRING A sprightly, happy waltz fall of the spirit of springtime and hope which should make a very desirable musical corrective in jittery pessimistic days. It is a waltz to be enjoyed with every note. The great ’cellist, Pablo Casals, was once described bya critic as inimitable because iie seemed to have delight in everything he did. Play the melodic line steadily but with light fingers, and enjoy it thoroughly. Grade 3t. A-llegro moderato = 60 STANFORD KING NIGHT IN VIENNA Vienna, the Vienna of sparkling wine, beautiful women, and infectious song, will never die. Ralph Federer, American composer, has caught this spirit in remarkable fashion. If you don’t know how to dream you can never play a Viennese waltz, because the very essence of the beauty is in its romance. They were never written for stiff, bungling fingers. Grade 3d. RALPH FEDERER Tempo diJValse M. M. J =U4 senza Fed. British Copyright secured Copyright"^ by Theodore Fresser Co. 251 apbil mi MOZELLE THE ETUI)* GAVOTTE ANCIENNE of Francois I and Louis XIV in France and that brilliant period of the French Court Gavotte Ancienne, while written Just year, has a touch of the ancient days which produced composers such as Couperin, Lully, and Rameau. Play it with“courtly” grace. Grade 3-i HENRI WEHRMANN British Copyright secured by Theodore Presser Co. Copyright 1940 253 APRIL 1941 EXCERPT FROM THE HALLELUJAH CHORUS Arranged by SECONDO Preston Ware Orem Allegro M.M. J = 176 G. F. HANDEL 1 fcY.fti j« -=-1 f non legato m ’ 51 j. a~z m *4^ 17 J ^"P r v =A if 1r »-* ,J EXCERPT PROM THE HALLELUJAH CHORUS Z55 APRIL 1941 LET ALL THE WORLD REJOICE FRANK BONNELLE A SONG FOR EASTER J. PHILIP GREELY 257 APRIL mi EASTER MORN DELIGHTFUL PIECES FOR YOUNG PLAYERS EASTER BUNNY FLYING MY KITE GRANDMOTHER’S DOLLY Grade 2. Copyright 1940 by Theodore Presser Co. British 262 Copyright secui'ed CHRIST THE LORD IS RISEN" TODAY Copyright 1937 by Theodore Presser Co. APRIL 1941 263 TECHNIC OF THE MONTH 2(>4 THE ETUDE — The Technic of the Month Conducted by The Glissando Here’s a concentrated dose of glissando the other—the third, sixth or octave If work for you. Within its twelve brief measures slides silently over its notes. you you have not only the simple form but thus with each finger—upper and lower of the glissando thirds, sixths and octaves. It is, in fact, separately, the "set” a "blitzando” which will probably scatter interval gets thoroughly established in skinned fingers and exasperation all your hand. Ascending thirds (M. 5) are difficult. ’round! Lucky, isn't it, that I have not better ihcluded a black key glissando—which Try 2, 4 and 1, 3 to see which is would have completed the annihilation for you. If these are too hard, try putting with the of those poor, abused fingers! the third on C, thumb on E, the rack. But, cheer up, anybody can play glis- forearm again parallel to music this solves the problem. sandos in thirds; and it takes only a For some hands descending moderately large hand to do those in The best combination for 4. This immediately sixths and octaves. Simple glissandos are thirds (M. 6) is 2, easy if the elbow is turned easy (M. 1-3) use second or third, right becomes ; forearm over the hand, ascending, thumb descending. In sharply out with the M. 4 I have directed the third for the keyboard. fingering for the sixths in M. 7-8 descent; for this the elbow must be Ahy comfort; I use 2 up and turned sharply out and held high, with gives cold 5, only these and the next ones the forearm parallel to the music rack. down. Oh, if octaves could be played with both Don’t neglect this third finger descend- in Just try ’em that way, and see ing glissando, for it makes a dashing hands! easy they are. Glissandos in thirds, effect. If more power is needed, use the how octaves sound better played second and fourth fingers on a line with sixths and with a slight lift of the hand the third to help in the terrific hand very fast, before the end drive. and a split second’s pause using a fresh impulse for In playing simple glissandos beware —almost like tones. of tightening the last finger joint, espe- the last slightly after the first notes in cially the thumb. You will play more Pause and be sure to turn both easily by keeping your hand flexible, M. 11 and 12; out over the keyboard in M. 11. letting the finger act merely as key con- forearms playing M. 12 as fingered, with the tact while the glissando is executed by an Try of using thumbs on the last easy, full arm movement. exception simple glissandos are sometimes And now, for the "compound” glissan- C’s; INCOMPARABLY dos. to ended this way. Don’t you think it might be wise < cMet neglect the rhythm of the ac- SUPERIOR! protect those tender finger tips with ad- Do not second beat slightly hesive companiment figure— Baldwin! Again I say it is tape or absorbent cotten fastened abundantly fulfills tlie three eighths played in incomparably supcrjor to all T1ie Baldwin on by rubber bands? Double glissandos emphasized, last unhurried staccato. Make a bril- Otlll exacting requirements of today s great occur occasionally—as in Beethoven’s strict, “ in 10 (if your fingers hold “Concerto in ‘Waldstein’ liant climax M. musicians. Tliere is no phrase too delicate, C Major”, the fade-out. out!) then a quick, convincing Sonata”, the Brahms-Paganini “Varia- no swift moving passage too intricate, no don’t forget^-I’m not responsible tions”, Liszt "Rhapsodies”, Paderewski's And epidermis and ruined dis- crescendo too powernil. Tlie Baldwin Polish Alborado del for that raw Fantasy, and Ravel’s pay position. A good “glissandist” must Gracioso. It is best to practice these first gives all tliat tlie pianist demands. the price! with only one of the tones sounding while Generations ot painstaking craftsmen Lave dedicated tlieir experience and skill to tlie creation of tlie Baldwin. But tliese years of endeavor were not solely devoted to building a piano for tlie great concert artists. Tlieirs was also tlie task to produce a piano which would endow JOSE ITURBI the simplest melodies with rich, colorful This dynamic, world-famous tone. A piano which woidd thrill the uiduetc composer and less accomplished pianist with the beauty Baldwin exclusively in his of bis own music. This is the Baldwin public appearances and in .—.Today s Great Piano. Us home. To him the Bald- win is "incomparably super- ior to all others.” Equally sweeping are the enthusi- astic comments of many other great artists who use palt! loin the Baldwin exclusively, is the reward for which $995 PIANOS lald,v n has labored. This This old melodeon and carried from town to was placed upon a spring wagon which town in before the Civil War. the recognition Iowa to furnish music for Lincoln's campaign THE BALDWIN PIANO CO. Compare must realize how rrowns long years of eflort this with the blaring amplifiers of today and we CINCINNATI repressed Abraham. The vith the satisfaction of com- were the campaign meetings of the days of 'Father Iowa. instrument is now owned by Mrs. Etta Schaeffer of Lenox, APRIL, 1941 265 ° Through perfect diction, a singer’s manner Some Fundamentals of as Charpentier’s Louise ? American true individuality may be orally students presently—it is por- Certainly not! They are both trayed. Linguistic young due to two causes. difficulties lie, for girls, they are both First, most oper- Good Singing in love, and they atic the most part, within the singer, not both themes are derived from Euro- have certain problems to ( Continued from Page 235) the language being over- pean source used. Clarity of come; yet a material, and many of slightly forward, century of thought being sure that the diction does not depend upon natural their activities are therefore part of changes and the frontiers mouth is open loosely of several and naturally, endowment, other than common the European’s personal tradition. lands lie between the two. as breath is inhaled simultaneously sense Such all Second, and phonetic intelligence. the European beginner is important distinctions can with the forward stretching of the Especially is never be. given this true in connection coached” by a more thorough grounding in tongue. No a stage director groove is necessary as this with the use of the English language, Thev just these matters must be felt and lived with of opera history performance takes place, and the which has a more distinct and com- bv the and dramatic players. That is why style. He is given a throat is allowed to expand freely. plex phonetical technic than the young as- most ra "‘ mU StUdy foundation in Mozart, regardless of ?’ ' not Now, exhale slowly, allowing the other languages used in singing; yet, merely roles, the but, the entire? complex current repertory of the local tongue to return gradually to its na- it is one of the most beautiful tongues mass of mu- opera sic history, world house. He is made to read tural position within the mouth, with in which to express our thoughts, history, and dra- matic history, Shakespeare, Moliere, Schiller, and the tip which still being slightly held and feelings and emotions. It is a joy to makes the Goethe. meaning back of the roles guided until it enters the mouth and sing in English, if the singing is what it is You have perceived, When the opera student has his all breath has been exhaled. This brought about through correct by this time that operatic body under control, mas- exercise is acting is not and has very helpful, when used in mental and physical activities, and is nearly so tered simple or so glamorous the essentials, at least, of dra- conjunction with the groove exercise, scientifically and phonetically cor- a matte? earnmg « matic style to build motions on a stage. differences, he should up subconscious mental con- rect. I Juki egin tell you many to work on roles, but always trol over the entire vocal perform- “English cannot spoil singing, interesting things about under the ance. After gestures and make-nn- guidance of an experi- practicing in this manner unless singers spoil English.” abou t the different ways enced coach, the for about three days, the student —Clara Kathleen Rogers. of usimAv, w,ho can teach him on the stage 865 musical should eliminate as" sources and dramatic patterns si- the cloth and But, oimm" unless you multaneously. Let six mentally guide the tongue forward have a i re him study much stage roles, of and out of the mouth experience such classic and modern reper- gradually, with gS ory, would be of little with his value, the inhalation of breath; then re- Learning Huw to Act value™n\nn coach (whose your problem of remember, turn the tongue with the exhalation how to prepare does not depend upon his more expressive fo? of the breath. As he learns in Opera acting. Portuimfl? and then begin to work to do this or outm unfortunately, the seventh ap- more efficiently, he will discover a glamour is noffn? role by himself, ( Continued from Page 243) P ying wonderful all that has been taught him, sensation of warmth com- must be convincing once he gets himself Steep T7 study watchful his ing into his throat, chest and most of “Tth^ of the deepening of there. that make for own his body—a feeling of perfect glaLurTate perceptions. poise di- ‘ The most accomplished stage T" ei e and balance. 3 0 ’ to my begin- It is well to use the rector in the world, however, can 3 mind, is the lisht ..! ni**rig of same method of practice with opLar^L ^^ acting ability. the stu- this draw no more from a performer understand "' 1 When that vocal ^. arrives exercise that is prescribed for the studf at the point where he performer has to give. ° ! than that mount it, in their ften rrn l0n8er tongue-groove exercise, but not the studSs taX needs to depend upon That is proven every day in com- k rnim same asyto_dm”ButK~ and from number of periods for both ex- panies where excellent coaches get ? S& b e&ms to draw ond Act, for instance 11 ercises. Caruso, there bimsel f> is to we are told, used this singers glori- oc ‘ he learning how poor results from with little dance on S 3 ar*f- a tongue-pulling the stage with d that can exercise at times to ous voices and no talent for acting. is why acting stage that reaches he npvver £be help him to relax. the completely taught; it can No one, certainly, can manufacture merely as a aMe " Every “pretty bit of SgeSted intrinsic vocal muscle within stag? ", ’ and it be rein- a talent that does not exist. But ness.” To g busi ~ fo, must the project tw S. with throat and mouth can be every ambitious student can put however, busines historical knowledge- the conscientio s”, Bm- t strengthened both for speaking and a ultima te value depends upon within his own grasp the fundamen- must find his way, Whnf for singing by the right use of these not merely' 16 player within tal tools of operatic acting. In ac- dancing position, ta?*"*to a dl'aws from scientifically but into the himself correct exercises, as- quiring those tools, the operatic S° of the dance itself-the Ulce suming that the vocal organs are old 1 h Udent a in coach can be of service to him only dia dell should learn, not arte, the prototype roZ t Utf normal good health. The quality of of1 an opera! become in an advisory capacity. The young ian opera, TLItal " fam’i, He should wherein set r the aspirant’s voice will be improved X W ‘ th singer must get the feel of them for terns 6 pat ' the Par‘s of the others occur, each chara^t lXhf but not made false or superficial, and A is himself. «* own gestures, 6d by traininXF difflc alt task, I find, the range will be pleasingly aug- and each the having the same 6 yolm B singer to listen to The Singing Actor's Tools definite the w,A^ mented. as sLniXX ° f 1118 st age His a classic mask. The nA, nce instinct partners. A second imperative need in good These tools consist of a flexible, vocal to llsten his own studios should the Part a only for singing is correct pronunciation and controlled body; a knowledge of make aVn d t0 watch the ough a study of test for cues. Yet enunciation. The student must take these oW nf ai ex operatic history; and a sufficient forms as they in-"Ce Pei’ienced artist is the do of the A. abilitv * ?- careful cognizance of right spelling of the various acting styles to 6 t0 3d " grasp their parts. ”1 id just thE °therS and Pagliac P- himsHf and of the phonetic accuracy of permit of a fluid translation from only when lf ?to blend them- you know y Finallv m, with syllables involved in words. To this physical train- whatwnat Xyou 6 one to the other. The about. opera ac- are quaint ’u- student should '‘ end the study of phonology is neces- ing is the simplest. Gymnastic exer- A 0pel singer need not a tic With as many sary, that the be a hm , . worXf',as student may readily cises (always taken under proper surely, to ™ Duse be can ld ones, new project a faifht ? > ones f-hno — see the legitimate way of analyzing supervision, so that no harm is done of historic forms reflection Whlch are performed and as ^ , those whirl words and thereby, in turn, have per- body through too much exercise, readily Ch 3re ' the accessible as as sic, not ' Study the mU fect that' anal diction. or the wrong kind), dancing, and is what is AnXthat their to meant by a stud-jX Phonographic stylei- listen Some of the words which are im- especially fencing are excellent atic history °Per - Phlc recordings their and stales h arias h„ of properly enunciated are: freedom of Onb me means of acquiring thao study can a performer ™ch famUiar with fell $ period anri° motion which makes the gestures from one Way manners of operatic "school” L their <,„*,? and dress expressive. Fur- ~ n 8 Proper Improper both graceful and other; from ° an ’ Such Mozart to uL more hpin* f knowledge Pronunciation Pronunciation ther, the student actor must learn Richard Strauss, to Ul han a year coach- making SX, ing gesturp °f chair S- » eternity-ity eter-nuty ta walk, to take his place on a tically accurate tylls ' no F°r tbe esture stands and conX- closer f S silent-e?if si -hint or upon a throne, to rise, to draw a stage A ° drama than director can coach X' d° breathi tic technic to pass a goblet. Next, he a Ug exerc heaven -eii heav-vim sword, or way of holding the each i ses to an aria. In head or of L cas must learn to project thoughts and mg a 1 X the ” message-age mess-eege bow. But a familiarit? goal must be ap with ?, Poached splend- or (er) emotions as fluently as simple bod- medieval guilds the of m an inner awarenesS gives the feelm meaning ° splen -dur for -door) ily gestures. Hans Sachs. B of this, however, age worship- ( er ) or-ship Before he can do he It is forei w sometimes said that Fee the Arnei^ gner still pictures war-ship for-vmr) must understand the thoughts and artists are more P6an tudent as a somewhat dramaticailv a shallow ? sound-ed soun -dud emotions he is to project. Will Mo- plished 1Vidual be than Americans. glad to > who would Zerlina “act” the HtXX exr*i ange mom-ent mo-munt zart’s in same so-and I shail have short-cut sei- ious study for a more to sly < o? .° SUccess. Nothing could l( cLcontinued 266 on Page 281) THE ETUDE i t f — Voice Ueestiuns -Answered lq Dfl. NICHOLAS DOUTY No question will be answeredin THE ETUDE unless accompanied by the full name ana address of the inquirer. Only initials, or pseudonym given, will be published. and scream either Again the Fourteen Year Old Singer mon sense. Do not shout when you sing or when you speak. Be content (J. 1. I am fourteen and I would like to to make haste slowly, instead of forcing your- 8 tart singing lessons. Am I too young? self along. You have not ruined your voice, 2. I have never sung before an audience; but in time, with the aid of a good throat consequently I have had no encouragement doctor and a good singing teacher you will be other than from my immediate friends. When able to get it back again. I am alone and no one is listening, I can sing If you have nasal catarrh, a crooked septum beeomr. panicky well. When I sing for people I and enlarged and Infected adenoids, you and thin and strained. Cun J my voice sounds cannot hope to do your best work until all overcome this? these things are remedied. Get them all at- 3. -I have a two octaves from mid- range of tended to by the best surgeon in your neigh- dle time, C up. When I sing higher for a long borhood. Your voice will be better when all my throat straining voice? feels tired. Am I my these things are done and your general health >i. I have studied the piano five, years. J will improve also. You will have more natural have a good read that in studying singing resonance, you will not need to force any a teacher is the most essential thing. I live in longer and your tone quality should be better. small city voice teachers here and none of the It takes more than a love of music and am- arc finding outstanding, llow should J go about bition to make a first class singer. First of all a good teacher it requires a sound, healthy, normal body, 5. Do you think J hare any chances of be- combined with a musical nature and a keen coming a singer —B. L. S. intelligence to be successful before the public. with these things in view. Prepare A. At fourteen a girl's voice Is seldom de- Study slowly and carefully. Do not neglect veloped enough to permit her to take strenu- yourself school education. Familiar- ous singing lessons. She should be willing to your common yourself with music and languages. Hear make haste slowly, to continue her usual ize singers you can, both over the school education and her piano lessons, to all the good in person. Above all get well and look well after her physical health and to air and never yield to discouragement. At sixteen you live the usual life of a girl of her age. She plenty of time and if you have the right still has plenty of time. Please read the many have stuff in your make rip, you will arrive some answers I have written to young people in recent Issues of Tiik Etude. day. 2. Of course you get nervous and tense the High Soprano 5 when you sing before people. It is the usual Should experience of vocal beginners and only sing- Chorus? young pupil of mm i Hears ing before an audience continually, will help (J. A old. has a range to the C an r a ho e the you. Keep at it and it usually remedies itself. C. The qua! ..:all and thread-like 3. good enough .Ugh A range of two octaves is register is good, 'jut sweet and cl \ Hr liddlc if all the tones are equally fine and if you can the h /•;, the first line, and form words tone. Do not try to but upon each next tone lower. ire forced and rough , the force out squeeze out your high ' ' a large tone, >• ••••' tnd untrue to pitch. J • > has- ones nor grunt out your low ones. Remember EDWARD ELLSWORTH HIPSHER, limit lira quality, and I would like some sug- that you are young; take your time and never i, MUS. DOC., A.R.A.M. to training it. She cannot stand practice time. icstions as Twenty Years Associate Editor The Etude more than twenty minutes at a voice went img periods of singing, and her Instruction by Correspondence 4. A good singing teacher is absolutely es- pieces after singing the first soprano part in Harmony, Counterpoint, Musical Form, sential. Only the most talented young people o Mainer's ‘Crucifixion" lust Spring. Heavy rc- Composition can do without one and even then they are Musical and Literary Manuscripts Criticised iearsals in cold and ill ventilated rooms may handicapped singing teacher and Prepared for Publication without one. The parity responsible for this, but her need reputation. in re been Club Papers Written not be one of international almost cracked and ruined as to However you how to nice was 249 Madison Ave., Marion, Ohio he must be able to show three months afterwards. She is very sing easily and comfortably, how to breathe, ,ileh for nil can i ll ; and how to form vowel and consonant sounds. ieal ne also pings the piano. Flic finished Vaccai 5. It is physically impossible for any Learn Piano Tuning At Home ml gear, and this year l am giving her Sicbcr, musician to give you an opinion concerning this type—scales, trills MUSIIC AWARDS farehrsi and others of The Tcmperameter makes it easy. The your voice and your talent without an audi- Class exercises for second year voice. Shall I Emblems piano business is destined to be better tion. singing ml Make contact with the best high keys altogether than ever with the advent of the small ire her sonys written in Attendance Awards teacher in your neighborhood, arrange for an upright. Secure yourself now by learn- them ? She had her tonsils removed four )) audition Editor r mix Catalogue on Request ing this paying profession. This and abide by his advice. The E. L. G. —our r fire years ago.—Mrs. 40th year teaching by mail. of Voice Questions wishes you every success. Chas. A. Winship & Co. Write was skillfully per- today for Free Booklet. A If the tonsilectomy entirely well 7I5M—30 W. Washington St. armed. her throat should be Bryant School, 57 B. B. Augusta, Michigan Nasal Catarrh and Enlarged Adenoids in a there is any doubt Chicago, III. fter four or five years. If Young Girl her examined by a com- i your mind, have la Q- I am sixteen, a girl, and up until etent throat doctor. Vear I sang straining- extraordinarily continually without 2 A young soprano with the had teachers an the small, auditions with several voice igh range you mention and Masterpieces of Piano Music two singers u and they all said I had a beaut if oread-like, but sweet tone quality always rich, lias been termed the library of Piano clear, strong soprano voice and that resents a problem. You say she cannot stand would in volume. The more some day make a great singer. Son eavv rehearsals; therefore, she should not at Music one than after these, low/ long time, composers auditions my voice became resent be allowed to sing for a 200 selections by great con- because tli of some mucus which dropped from in a chorus or even at her lessons. Ap- tained in its 536 pages, comprise 53 back ither should of my nose. A throat doctor diagnosed m arently her voice is a solo voice and Classic, 75 Modern, 38 Light. 25 Sacred In able rooked which allow her to sing sept e trained as such. To and 29 Operatic Compositions. This vol- stoppage, and part because she is a infection. He. removed ’cond soprano parts Just truly source of constant the bone, ume is a enjoy- and the stoppage is much less, but musician would be a great mistake and the ood ment and entertainment to the pianist drainage is only less. was last continued. You are quite a little That light hurt her if Kept ember of who delights in good music. and my nose should be well, bill it is give her Marchesi and other books not. to My doctor wauls to remove my adenoids in designed for the light and flexible For sale at your favorite music counter or sent August. fercises Will this help me and slop the drain- Be careful that her scales and POSTPAID upon receipt of price. Money re- age /ne of voice. does not meet or will it and funded if volume with your ap- hurt my mice and ruin its qual- cleanly produced without sliding ity. •Ills are proval (NOT SOLD IN CANADA). Illustrated Do you k„ow anything else that might of ith perfect intonation. folder with contents cheerfully sent upon help? j hare tried even suit her not to sing at all and Pick out songs for her that request. '• 3 <•'* /* It ,wl ir an, cworetM temperament, espe- *r« u alee her range and her at all ? iB. B. language MUM1L PUBLISHING CO., INC. — the Italian tongue, in which allv in 1140 Broadway, New York, N. Y. sounds are simple and the conso- A. From your letter I fear that you have ie vowel sung comparatively few. Some of the old Enclosed find § for which send post- too strenuously as a very young girl. ants paid Masterpieces of Piano Music. Some one classics are clearly indicated. Then should have explained to you that alian ( ) Paper Cloth simpler arias of Handel and ( ) no ghi 0 f yoU r age should be permitted to ,me of the satisfied not to scream slug too high, too low. too loud or too long [ozart She must be an attempt to make at a time. We shall answer your very last ad force her tones in be satisfied slowly to question here. Certainly you should not give er voice larger, but Street pleasant voice and to up practicing your voice." Nor should you be evelop her small but afraid the use of It, until In Edition Cloth Edition $3.00 City & State to speak. You are not a mute, and lerease her skill in Paper —$2.00 — you settled. should not act like one. Use your com- me It becomes more APRIL, 1941 267 him play, have hailed him as “more high-efficiency, low-cost Finnish Fighter instrument club bands, part in vaudeville, part than a prodigy.” And Heimo hails this to generate the oscillating impulses. in education. For two years I have as his new country of which he will ( Continued 220) “One of the most spectacular from Page uses taught at the Summer School of the become a citizen as soon as he is old of waves from such an instrument is Juilliard School his own brother, Lasse, was in the enough. concert of Music. The point His debut here in the to kill germs. Dr. Jenef revealed that, I wish to make is this: practically Viipuri division. And now he was go- States has not yet been made, al- because the vibrations literally shake every contact ing to fight, too. Finland him. I have had with music needed though he has made a few appear- the living daylights out of food-de- has taught me something. More than She needed every youth she could ances in the interest of Finnish Re- stioying bacteria, a canning company this it has kept me in touch with muster against an invader fifty times lief. His official debut will be made is using the soundless sounds on its life. her size. with the Philadelphia Orchestra in goods (ultrasonic waves have also Professor Sirpo heard the Creative ideas are the reactions we young New York City. And after that per- been tried to kill germs in milk) . The all get from patriot through, his feelings a mix- formance Heimo will make a tour of waves can also life. All musical crea- jar molecules of dif- ture of tions start with ideas. If I have an pride and love, and amuse- about twenty American cities. ferent substances as well as germs idea for ment, too, for Heimo was but thirteen. Fortunately everyone even those causing the a melody or a harmonic se- — particles to move so vio- quence that impresses interest- He so well understood this burning who cannot attend his concerts—will lently that they unite and me as form com- ing or eagerness to fight for country, this have a chance to see Heimo and hear pounds. original, I jot it down upon a This effect is already being scratch pad which fail to hot-blooded desire to lose life if need him play, for he will appear in a mo- tested to speed important I never processes have in be in avenging this unwarranted at- tion picture called “The Hard Boiled in the manufacture my pocket. I work it out in of plastics allovs ’ some tack on Finland. It was something Canary”, a long-awaited picture full and other products. detail at my next opportunity. Then I take try that stirred a man’s blood, be he of young people and of music, for it “Dr. Jenef has more than it to the piano and a dozen it in young or old. But to each passionate concerns the National Music Camp orders for the many variations. I know that newly developed in- argument that followed his refusal to at Interlochen, Michigan (The Etude: struments some people are prejudiced against which produce inaudible the idea of piano let the boy enlist, he countered with August, 1940), and was partially waves by a combination of the use of the two well in this one which Heimo, reluctantly and filmed there. It is not Heimo’s first known phenomena: way, but I have learned that changing mag- many finally, had to admit held possibil- screen appearance, for he made one netic fields which cause of the greatest composers, in- metal tubes cluding ities: “You must fight, yes. But not picture in Finland, Pikku Pelimanni to vibrate and Wagner himself, were virtu- alternating currents ally dependent for with guns and bombs. You must fight (The Little Musician), but it will be that produce similar behavior upon the piano in cer this purpose. for Finland as you can do it best and the first picture in which he ever tain chemical crystals. Other grouns After with your strongest weapon—your spoke English, a language which he interested in the rapidly this is done I check it up from expanding the talent.” knew not at all when he came to this field include Northwestern harmonic standpoint. You see, I Univer- have With talent and violin and bow as country. But Heimo learns quickly. sity, the Armour Research had a thorough training in har- Founda- rnony his implements of warfare, therefore, In only a few months he understood tion, and the and counterpoint, atti- University of Chicago" but my Heimo fight in That this tude toward subjects fought a good Finland, what Americans meant when they work may p,ay an these essential tant in Sweden and Norway, leaving on what said this was a “swell” country. role in national defense connection with actual composi- is indi- tion might be termed his battlefields cated by a recent report is quite different from that held that th by throngs of delighted listeners. To the Navy is testing the wares many musicians. When composing to explode I never Finnish Red Cross went the proceeds Will Battleships Be Sunk mines and torpedoes from think of them. Why should a UlidTs>- i- of his concerts—his spoils of war: tance.” When one is writing or making an three million dollars for the aid of his By Sound? address one never thinks of gram- niai. suffering countrymen. Moliere, play> 236) Learning How in his famous ( Continued from Page to As an ally he had a wealthy Fin- Compose The Would-be “Le ( Continued Gentleman” or from Page 224) Bourgois nish doctor who, in recognition of his are the deep reverberations of a large Gentilhomme”, delights his not think dle ability, loaned him a very valuable organ, which may have a frequency it is supernatural lce by presenting character just ^ i his violin. alas, or vibrations a second. examine some of ho has For Heimo, had made a of 16 cycles the works of hired a professor to teach Hozai t im grave mistake on that November day From there the audible range goes which he wrote before giammar. bubbles he was fifteen The poor man when he rushed home to his through the top effort of an and compare them over with save upward with those o l t surprise when he finds that mother and his Guarnerius the operatic soprano (768 cycles), a pic- of his adult Whenever from contemporaries. he speaks he is actually very puzzlmg It“ a ‘ndulgmg bombers. In the excitement colo’s highest note (4,752 cycles) , and thing in of that to find „ h W grammar. moment, before noises as the jingling of keys with a musical brain Learn all he dashed with them such and skill that you can about to shelter, cycles), which repre- finitely greater he had hastily picked up a (about 15,000 than men who 1 y ' harm°ny and counterpoint, case bearing upper hearing limit of the struggled for years 1Gn not his Guarnerius but sent the to attain you cornG to compose, for- grea? set i'? an inexpensive average person. ness and have failed. violin. And thus the The idea ' just as you forget scale that anyone that n ..-„, treasured instrument had perished “But there are many “sounds” who studies long 6 When Beethoven enough andd sore* you P'ay a along with the range of human senses. hard enough can 3" the Sirpo dwelling. lie beyond compose u , Then lf yoU is a h hare* ’ you feel that Following the Bats, for example, fly blind by mak- However, in these days boy’s successes in even ?h„ “F committed any heinous sins, g° whom ore,- Norway Mrs. J. Harriman, ing inaudible screeches and detecting God has granted and Borden rare ereF carefully revise it. To my rebounding from ob- must work very S ft mirL !v United States ambassador to that the “echoes” hard and ? he chie£ and Iona *t„ Set value of harmony country, jects, and dogs prick up their ears to very far. The fluency counterpomtcount communicated with Sibelius that com is that they provide you and together Mrs. other ‘soundless” sounds (a whistle acquire, which enables 6 the composer and them toroll Power to study the works of Harriman Mr. v hich produces some notes above the off works with 1 the Ho' worked out a plan with comparative H composers past. This already appeared often has is of the audibility range has behind it ' Herbert Hoover, head of Finnish Re- years la ' !KU of ! nnt. Some people like the pets) . These On the Warewn. lief in the United States, for Heimo on the market to call other hand?? have uns ’ Elgar no TT ky-K°r Lsako(r and and the America. ghost vibrations are called “super- that there are walking seem i F Sirpos to come to the streets aVe had the t0 d° their frequencies lie be- day men to this ability Finland, even after the war was over, sonics” when and women retuh°Ut with 6„ atI exte nsive theoretical his tween 15.000 and 40,000 cycles and musical gifts who studv w was full of sorrow for the boy have not ue m°ny counterpoint, vibrate from by fate “‘ed and own father had been “ultrasonics” when they to develop these however and brother g«ts must become second nature 40,000 to more than 5,000,000 times a are the tragic to reu killed in battle; of his mother and flowers of L djtbf you en 8'e the syn- second. ‘born to blush thetic 8 a in sister he could get no word after the unseen ocess and w! F° °f composition. Theory the area in “Ever since the World War, when their sweetness on the ancl ih civilian retreat from desert air « lleti Subjects W Rus- artificially produced waves of this I learned to called the “8™ which they lived; Viipuri was in compose “in Fscience the„ of or the engineering Conservatory a sort were sent through the water for trenches.” That is, musin sian hands, the Sirpo thanks to An ai'chitect must know all signaling and submarine musical y about tu . It seemed best to ship-to-ship mother and my thing of the past. grandfath“ cience and engineering' of in this detection, scientists have been seek- once a violoncellist his inh k ^ write finis to a painful chapter of ufe re ^ew^ he builds building ' ing ways to put the vibrations to Philharmonic-Symphony ba t in a young life. the OrcheLr ase of music and in paint- of this ac- commercial use. Last week Dr. Hein- I was literally tossed ins And so, in consequence overboard aVe flrst and fnto of a11 an art, in the United rich Von Jenef of Televiso Products, a sea of music at a science F tion, Heimo is now very early are haVe “nk the Inc. (a Chicago research laboratory), I have never into long since 5 States, and is as pleased with ceased swimmiH the sut)suh* such applications as that stage k conscious or instinctive States are pleased with described some sea. Part of it has ° as they been in the le real inspiration can be have heard he announced development of a new symphony orchestra, fluent! i, Heimo. Our critics, who part in permitted your nigh? efforts to guide 268 THE ETUDE will undoubtedly enjoy his interpre- Discs That Delight tation of it. Don't Stab Your Favorite Artists There is no doubt that Helen Trau- Lovers In The Back By Playing Record- Music bel is blessed with a naturally beau- ings That Are Worn and ( Continued from Page 230) tiful voice. It is a voice, however, Scratched that seems better suited to opera, nonetheless smoothly and expressive- particularly Wagner, than to the ly played. It is good to have a first- more intimate style of lieder singing. • Modernize your present rate recording work, one of the of this We find her projection of Schumann’s electrical phonograph by famous half-dozen that Mozart dedi- romantic song cycle, “Frauenliebe simple, inexpensive re- cated to his friend Haydn. und Leben”, lacking in the essential placement of conventional Robert Casadesus, the French pian- atmosphere which should character- ist, is one of the most subtle colorists ize these eight songs. The poems of playing arm with at the keyboard; indeed, one feels this cycle are definitely dated; its ASTATIC'S NEW LOW sometimes that his delicate phrases songs portray eight stages of a PRESSURE. CRYSTAL PICKUP. often have a slightly precious quality. woman’s life and love—a sheltered, But it can honestly be said that few retiring woman of the early nine- KEEP VALUED RECORDINGS Like New FOR YEARS can match his dynamic scale, or teenth century. Traubel brings to this ® Low, one ounce stylus pressure on record, one-third that of con- per- eclipse him in the molding and pol- cycle a fine radiance of tone and ventional weight, eliminates practically all wear and keeps recordings ishing of a phrase. His performances fect diction, but she does not succeed like new for years. of Mozart’s “Sonatas in F major, K. in conveying the story of a bygone STOP CHANGING NEEDLES 322, and in D major, K. 576” (Colum- period. Her approach is too modern. ° Permanent, built-in, genuine Sapphire Stylus does away bia Set enjoyable came closer to the entirely M-433) are most Lotte Lehmann with needle buying and changing. Tone quality greatly improved by from the listener’s standpoint, but spirit of the times in her less ad- elimination of surface noise and needle talk. perhaps models recorded version of the cycle. debatable in value as mirably Models FP-18 or FP-38 Low Pressure Crystal Pickup for the student. Iturbi’s performance One of the most delightful piano * Installation of this modern. Low Pressure Pickup will bring your present of was Myra Hess’ ar- electrical phonograph up to date, giv- the “F major” would seem to us a discs ever made ing you tone fidelity, record protection and playing preferable performance to emulate. rangement and performance of Bach’s convenience comparable with the newest equipment now on the market. The “Sonata in D major” is distin- Jesu, Joy of Man’s Desiring. Her first Have this replacement made now for guished by one of the loveliest slow (Columbia) recording of it attained phonograph movements composer’s popularity; a popularity the bet- performaneeat in all the wide its best. piano sonatas, and the fact that this ter recorded version by Gieseking re-re- is a first American recording will could not eclipse. Miss Hess’ (Victor Disc make it a “must have” with all true cording of this music Mozarteans. 4583) deserves an even greater pop- this Columbia’s Album of South Amer- ularity, for the pianist plays with ican Chamber Music (Set M-437) is inimitable little arrangement ASTATIC MICROPHONE LABORATORY, INC. polish. On the reverse 831 MARKET STREET somewhat of a mixture; it contains exquisite tonal YOUNGSTOWN. OHIO charmingly poised six songs as well as a half-dozen in- face she gives us a Scarlatti’s Sonata in strumental pieces. One may find, as performance of A SAFE Place REVIEW the Longo edition No. 387. present writer did, that he does G major, Authoritative Thomas’ performances ior Your Phonograph monthly not like all of the music in the set, John Charles RECORD! review from “Andrea Che- or ail new records. Impartially frank, it is of ines- and yet there is something of definite of the Monologo Records! timable value to music lovers. Issued first week of Credo from “Otello” Get one of the superbly-stylet every month—all twelve issues and handy, substantial interest discs. and the TONKabinets to guard on each of the four nier” ring binder only SI- Subscriptions start with January precious phonograph recce 17639) are among the issue. For sample copy send to Thus the Chords for violin and piano, (Victor Disc lection. Each TONKabin 10c rtly crafted to keep ri by is of these arias extant; _ The GRAMOPHONE SHOP, Dept. E Villa-Lobos, on the first disc, best recordings riler and to add real furnt- 18 East Street, New York magnificent voice. Marjorie lieauty to your music room, 48th rhythmically and technically fasci- he is in s and types for all periods nating; performances of Pfitzner’s aim all record collections Wi ito the six songs, second and Lawrence’s for free illustrated folder and Voice and St. name of nearest dealer. TONIC third discs, Averino, are The Yearning - - sung by Olga songs, MFG. CO. (Dent. 212). 1 9S.0 PIANO TUNING (Victor Disc 2142) N. Magnolia Ave.. Chicago A Str atmospheric and engaging, not alone Michael’s Square to pianists and other musicians for sung versions of unfamiliar School ofllcially approved by Steinway & their music but also for the offer well Sons, W. W. Kimball Co.. Baldwin Co., etc. Augustana Choir’s . singer’s charming style. Mignone’s lieder- and the TQNKdinets Write for information 0 Dr. William Braid White, Principal Ecce, > —for sheet music Caiicao especially performances of Palestrina’s Brasileira is an —for phonosrap/i records School of Pianoforte Technology Moritur and Durante’s beautiful song. Arabesque by Cruz, Quomodo 5149 AGATITE AVE., CHICAGO Domini are smoothly for violin and piano, is effective Misericordias examples of rich and im- music; and the first of two “Songs of contrived music (Victor Disc Peru” by Sas, called Sowing Time, has posing church PIANO TEACHERS! Make more money teaching swing piano. Complete a rai‘e This mood of primitive beauty. 17633). RECORD LIBRARY information sent vou free. Write today. (1746-1800) was album was arranged and selected by William Billings CHRISTENSEN STUDIOS, 31 Kimball Hail, Chicano composers. He was Nicholas Slonimsky, who officiates as one of our earliest in choral sing- pianist in many of the selections. especially interested a famous book of Twenty-One Grieg’s “Sonata No. 2 in G major, ing and wrote for chorales. His history is well °P- 13” is interesting in illustrating church IN MELODY LAND MELODIOUS SOLOS musical dic- the the skill looking up in a with which the composer worth Not an instruction book, but supplementary of the material m YOUNG of Positive Worth could translate the material of Nor- tionary. Not all “American Psalms VIOLINIST to the method in use. wegian folk-dance music into the Columbia’s album, By ROBERT W. GIBB (Set classic Fuguing Tunes”, by Billings form. The work is naive and and CONTENTS: Playing on the Open Strings: 1 A Wee Bit; 2 Little Indian; 3—On the Lake; e ua i importance; but 4 —Drummer Girl; 5 —Soldier Boy. Introducing the First Finger: 0 Raindrops; 7 ^The Swing; melodic, and full of bright and M-434)> Q 9- Introducing Second Finger: 10—Merry-Go-Round ; 11 When Jesus Wept and 8—Lullaby; —Roaring Lion. the The healthy sentiment. Jascha Heifetz such works as Cloister; 12 — Fireflies. Introducing the Third Finger: 13 —Chatterbox; 14—The Scooter; lo—Music Major) 18 Arrival of the and really impressive. The al- Box; 16 —Folk Dance; 17—The Princess (Founded on Scale of D ; — Prince; his accompanist, Emanuel Bay, Chester are 19 Peacock (Founded on Scale of G Major); 20 —Gavotte (Founded on Scale of A Major) —The ; investigation. The per- judiciously selected is a drill on the subject at hand, unite in Victor Album M-735 to give bum deserves 21—March. "Our Class." Each piece, if although to the pupil it is a " really truly” violin solo. a wholly of this music are by The admirable performance. formances application to any system of teaching—class or private—is facilitated by grouping of titles Chenkin, famous Practical Ossy Renardy, accompanied by Madrigalists. Victor under headings in the table of contents. For example: Where the lesson introduces the second finger, be made from numbers 10, 11, and 12 ; if the study is in the key of D major, and diseur, gives some the selection should assign Walter Robert, plays with amazing Jewish actor number 17. The piano parts hare been kept well within the scope of the average pianist to encourage characterizations performance in the home. technical facility, the Paganini “Ca- amazingly lifelike prices he made for Columbia PRICES: Violin & Piano (bound separately), $1; Violin Book alone (without cover), 30c; Nos. 13 to 24” (Victor Album in the album Piano Book alone (with cover), 75c. M-738) Had he been blessed . Apparently he revels in the (No. M-435). one suspects he WALTER JACOBS, INC. 120 Boylston St., Boston, Mass. manifold difficulties of these pieces, with more voice, second Chaliapin. and all those who admire this music might have been a APRIL, 1941 269 . . On perhaps fifty of these I have done keep half my mind on what I’m to the I have renewed an old friendship Gq Back concentrated work. The first time I doing, the other half on the economic with The Etude, and each month its played a phrase that made sense, my condition of the Piano! world. I practice pages of music furnish me with ex- teacher was almost as surprised as I; Debussy’s Reflections while my uncle cellent practice in reading. A ( Continued sight from Page 233) and when I did a cadenza with some- reflects aloud on how rapidly we are new batch of sheet music from few simple pieces.” It must have thing akin to abandon she told me going into the Dark Ages. The deli- Presser’s thrills me as a love letter amused her to see me settle my ample I was out of the woods and on my cate bits of Anitra’s Dance make a thrills a young girl. proportions on the bench and touch way back. That was a great moment. lovely accompaniment to stories of Until recently I believed that music the keys as though they were made of Two years ago I was so ill that a pioneer days in water-power develop- study in the fifties would be without spun glass. It took months to over- dangerous operation was necessary. ment. He likes to do a rat-a-tat-tat responsibility. What a delusion! Next come my fear of the keyboard, but From my bed I looked out of the on the table with his fingers when the week I am to give over the window at clear a recital finally my old enthusiasm for prac- the autumn sky and piece has marked rhythm, and is dis- radio, starting my programme with tice returned and I decided to see said aloud: “Dear God, please let me concerted when the rhythm suddenly Grieg’s “Sonata in E minor.” When how far I could go. live long enough to learn to play the changes. my teacher asked me if I would do It has been hard but always inter- piano again!” I do not know how well After he goes to bed at night, with it, I said : “No, I will not. I’m not go- esting, and the astonishing thing is I shall be able to play, but I do know his good ear against the pillow, I ing to spoil my fun.” Just the thought I that I shall play with greater enjoy- often work for that am getting back some of the four or five hours.’ If of it made me stiff with fright. Then old technic. My relaxation is good ment and a deeper understanding the cook is away I do five finger ex- I realized of ever she expected something and my hands are supple. My fingers, than before. ercises while the coffee “percs”, scales me and I must not fail her. Maybe stiffened by neuritis, respond nicely My uncle is eighty-seven years old while the soup simmers, passage work some other woman, fat and fiftyish, to hot water treatments and a daily and interested in many things. We while the cake bakes—occasionally will listen to stint of exercises. In three rattle around in a big old house, and till it burns. In in and be led back Hanon the spring there is music and my crusade will have be- years I have read more than one my practicing does not annoy him. always an untidy trail of dirt be- gun. We have move- hundred and fifty piano composi- He likes to sit close to the piano and tween the piano and the garden back to the farm door, ments; back why not tions, some of them very difficult; watch the gymnastics I put my hands because I will not stop to change to religion; my back to getting new hand patterns from each. through—and talk. I have learned to shoes. the piano? 7 x wm say tms. inum***- will ever pay you so large a divider as music in the joy of expression, tl' 0PP01TUNITIES release from monotony, and tl blessed satisfaction of doing a cor structive task. By all means have teacher, ^Yfjuslc i e tcl if you can, and let her 1 ...in the foreman on the job. If you canm have a teacher, then work by you: seif. ADVANCED COURSES OFFERED BY THE Don’t tell me you haven’t tl time to practice! Start out with te EXTENSION CONSERVATORY minutes UNIVERSITY lor flve-flnger exercises, te minutes for scales, and ten minuti BY THE HOME STUDY METHOD tor arpeggios. Then give a half hoi oi more to professions. There is easy pieces you used Music has always ranked high among ay. Make it as much a part of y Q1 never overcrowded field the well trained musician. ay as an for saying your prayers or wasl Tg your face, if you can’t do it • 9 Interesting positions are open in every part of the field. very small cost and no interference with ne your morning, then afte Schools and Colleges are making it necessary for every regular work, you, easily and quickly can do it in the qualify 01 and more profitable ?’ tf the teacher to be equipped for his work; the Radio is calling for higher positions in the P not in the afternoon, musical world. ni for highly specialized training, and standardized teaching : but i . for Heaven’s sake do T ? , makes competition keen even in small communities. save DIPLOMA OR BACHELOR'S you from that dead Are you an ambitious musician? DEGREE ^ke-fire-and-sew stage eve: earn w We help you to more and to prepare for bigger woman dreads. A successful musician is most always a busy one. Because things in the teaching field or any branch of If of this very fact it is almost impossible for him to go away the ou are profession. award too closely attached musical We the Degree of / for additional instruction; yet he always finds time to y ur family, di Bachelor of Music. With a diploma or Bachelor’s music will serve to broaden his experience. To such as these our Extension C Degree you can meet all competition. you tl Courses are of greatest benefit. „ ?, - you are alone in music , will serve as a mediu: This ough Digging out for yourself new ideas Fill In and Mail Coupon whlch you may attach you: for the betterment of your students UNIVERSITY EXTENSION CONSERVATORY, Dept. A-238 0 others. In of wor task. 1525 E. 53rd Street, Chicago, Illinois. fi; these days is a wearisome time-taking t S music affiliate with a school Please send me catalog, illustrated lessons, and full information regarding wil1 give you courag When you can course Its yfaf I have marked below. ra1 recommended by thousands of suc- ’ mathematical laws w Harmony Violin str«« ;? cessful teachers, you may be sure Piano, Teacher' s Normal Cours gthen Piano, Student's course Cornet—Trumpet Cuitar your faith in a balance that their confidence justifies your Advanced Cornet woriH ln Public School Music— Beginner’s Mandolin wlllch love, truth, and justi< confidence in new ideas for your Music Advanced Voice Saxophone will Y-> j Public School — P ail work which we make available to Advanced Composition Choral Conducting Piano Accordion over chaos and enter* Clarinet Reed triumphanttri „ m r Singing Organ you. Ear Training Cr Sight at last. History of Music Dance Band Arranging Banjo l0nS 1 as 1 live and am able Look back over the past year! What wwi Name Adult or juvenile n er prai ,"® ’ 1 am So*ng to progress Have you made? tice t l Street No a 1 be a sweet old lady wl you are ambitious to make further Uliv f? If City State. . . P‘ a no like old lady i progress, enjoy greater recognition, the pupils have 1 Are you teaching now? If so, how many you?. . tih increasing financial returns, then 00d - 1 shan l00k substanti and inst« i . hold a Teacher's Certificate? Have you studied Harmony?. ' ° f ' 1 it to yourself to find out Do you fl aSiIe; wa you owe into my hair will great Home Study Musical Would you like to earn the Degree of Bachelor of Music? a tail°‘ what this ed bob instead oi a tigl Organization has to offer you. At littie blSCUlt;h but 1 sha" d° amazir vari»tanations, and sonatas, and rhapsi a Extension Co nAeri/citor ”d down the keyboard. Whe T H E University I meet V 4 ' Peter at the pearly gat' I pa t 53RD STREET (DEPT. A-238) CHICAGO, ill. ,° be hands to 15 2 5 EAST L t me the key h te house with a grand piar in it i^ t osteacj of a harp. And no win! JUSt a hiaok velvet dress. 270 THE ETUDE ? t AN HISTORIC MUSIC EVENT/ Organ and Choir Questions MAMMOTH JlnswerJLf HENRY S. FRY, Mus. Doc. Ex-Dean of the Pennsylvania Chapter of the A. G. O. COLLECTION OF AMSR0CAIM S©NGS No questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be pub- lished. Naturally, in fairness to all friends and advertisers, we can express no opinions as to the relative qualities of various instruments. MAMMOTH1MU. Q. Will you yirc we the address of some with a pipe organ mechanic (we are sending on/on firm who might have the plans for you information by mail) who can give you turning a manually operated organ into a an estimate of the cost of installation and mechanically operated one, and who might repairs and advise you as to the replacing of furnish some parts for repairing the bellows the pedal board. We do not know the history H. O. M. of the organ, but if the publication of your A. We suggest that you address the mak- question brings us information we will ad- ers of the organ, asking them to name some- vise you. one in your territory who can give your organ the attention you desire. 0. Kindly advise me in reference to pur- chasing and installing the pipes included in Q. My nephew has announced that lie enclosed list. Must they be purchased from the wishes to begin the stadg of the pipe organ, builders of the organ f If so, what would yon lie plays piano music of about the fourth grade consider a fair estimate of the cost of the pipes, An unusually fine, small Wicks Organ, especially music. has what is the usual such re- plays seventh position violin JIc and fee charged for voiced and tone-balanced, is this instrument For the Titles • 256 Pages and 229 to pair work f decorator destroyed pipes had orchestra experience. He expects study A the residence of H. William Hawke, Mus. Bac. Organist year on a Jlammond electric organ, under listed, and we are trying to get some idea as to Edited by Hugo Frey this and Choirmaster for St. Mark's Church, Philadelphia. the direction of a piano teacher. You hare men- the expense and the possibility of purchasing The inset of this organ's interior illustrates its compact tioned a practice pedal key board that may be them in the shortest possible time.—L. J. pa- and unusual arrangement of pipe ranks. Contains national songs, attached to a piano. Recently I wrote to the Motor and Organ Company. The reply A. The matching of newly installed pipes blower are complete in this instrument, as shown, and triotic songs, folk songs and stated that the company neither makes nor with the undamaged ones is quite a problem, operate with no noticeable sound. many copyrighted hits plus handles one. Will you direct me to one or more and for that reason we would suggest the We hope you ore gelling Wicks mailings. T, organ firms that you know will furnish such pipes be secured from the original builders of >*£ -£X: If not, clip this ad and return with your 5G- The Declaration Of Indepen- skill the instrument, if possible, stating the pedal boards f Does pipe organ study and num- v- name and address. j prepare one for playing a Jlammond instru- ber of the organ. The builders may have a dence, The Bill Of Rights, ment t That is, except in pedal work, docs the record of the scales used and so forth. If they have record Lincoln's Gettysburg Address, organist have, any advantage orcr a mere do not a of the scales, it might be pianist when taking up the Hammond f Con- advisable to send them some pipes from each etc. Excellent for homes, versely docs study and skill in playing a Ham- set involved, choosing those nearest the dam- mond organ prepare one for playing the pipe aged ones. We cannot tell you the cost of this etc. WICKS schools, singing groups, organ ?—G. E. D. work. An experienced organ man would prob- ably be needed to assure success in matching Price $1.00 A. Practice pedal keyboards might be of the pipes. available through some organ builders or ORDER TODAY organ might be Q. Is there such an arrangement as attach- ORGANS through some mechanic who able to supply and Install one. We do not know ing a pedal keyboard to a piano t Our piano in- from your dealer or direct HIGHLAND • ILLINOIS of any firm who makes a specialty of supply- cludes a player attachment. Would this have CORPORATION ing them. Pipe organ study and skill would to be removed to allow the pedal attachment ROBBINS MUSIC be helpful in playing the Hammond instru- What would be the cost of such an arrange- ment. Of course, registration on the Ham- ment t I expect to take organ lessons. Would Americas Smartest Piano Fashions mond would have to be studied especially. this arrangement be advisable, and provide Using the late Model Hammond would serve sufficient pedal practice when I can get an as a practicing instrument for the organ stu- organ for practice only twice a weekt—D. A. Do You dent, and pipe organ registration would then TEACHERS have to receive special attention. The early A. Pedal keyboards are installed in pianos WANT MORE PUPILS? model Hammond pedal board included only for practice purposes. We cannot give you in- to whether your piano player WRITE FOR OUR PLAN twenty-five pedal keys which Is not sufficient formation as for legitimate organ study. suggest that, action would have to be removed. We suggest St.. New York We Instructor Geo. C. Webb, 326 W. 113 securing an opinion from some organ City writes. "I heartily recommend your plan to whatever Instrument Is used, the instructor your ALL PROGRESSIVE TEACHERS." be preferably an organ teacher rather than a mechanic who might also secure and install would include Box 2048 Sta. A purely piano instructor. the pedals. The cost the pedal ) CHARLESTON, W. VA. board and installation which cost we cannot Q. Will you send me the same information give you. You should make progress under about two manual reed organs that was given the conditions you name, though the use of frequently than twice a to C. T. in the Organist's section of The an organ more week SPECIAL NOTICES & Etude ?—G. J. E. would be preferable. A. We are sending you information about reed organs by mail. ANNOUNCEMENTS / Exceptional Opportunity \ Our Methodist Music Teachers: for special proposilic Q. Church has purchased Ll quite an old pipe organ, about which J would for SPECIAL NOTICES like to secure, some information. The name plate reads “A. Pomplitz, Balto. Md. Xo. 123.” PIANO TEACHERS GUILMANT ORGAN SCHOOL FOR SAFE : State accredited music The instrument contains eight stops and one in thriving: mid-west city SUMMER COURSE—JULY school of fifty manual. The pedal board consists of very small Seldom in musical history has any Instrument 8 Excellent equipment and pres- dramatic and sustained a rise in popu- thousand. pedals which are very close together. The enjoyed so Write 12 WEST 12th STREET, NEW YORK tige. President desires to retire. Address lar favor as that which the marimba is enjoying sound chest is in very good c/o Etude. condition. This today. 123, organ will have to be taken down and put up Indeed, so great has been the swing to this in by an expert, and I would like to know the cost strumem and so widespread its influence, that ANNOUNCEMENTS many of our dealers are confronted with a serious NEW GAMES FOR NURSERY | | of installing an electric blower; also whether situation: the demand for marimba instruction, it would be possible and MUSICAL KINDERGARTEN SINGER! .Secrets of Europe’s to have an up to date pedal they report, far exceeds the supply of competent SCHOOLS BE A Brightly colored and intensely interesting greatest teachers in "Singing Made Easy!” board to replace the old type. I would like to instructors. L. Studio, C-hara- have is that C. CARD Details for stamp. Eastern some of the history of this organ, too, if The resultant opportunity one belongs logically to you; for all our experience indicates 116 Edna Ave. Bridgeport, bersburg, Penna. possible. Do you happen to know in Conn. of anyone piano teachers may quickly and easily adapt dance and the city Hint PLAY PIANO JAZZ like of Richmond, Virginia, or Baltimore, themselves to marimba instruction. Botli instru- Informa- radio players. Quick mail course Maryland, who could more the organ, reas- ments are of (lie percussive type, with a remark Dept. B, 22-8 able keyboard similarity. Regular piano music tion free. Erskine Studio, semble it and do all incidental repair work Oakland, C alif. and studies may be used In marimba instruction. Ifosedale Ave., necessary t—W. M. C. “HARMONY BY MAILED teachers interested In adding substantially CARL’S LIGHT N I N G H A R M O N Y To to their income, we have an interesting story to tell. A practical and thorough course of -10 COURSE Book $1.00. Carl Publications, lessons A. The instrument, no doubt. Is very old Please address a small fraction of the Dept. E, G2 New York Avenue, Brooklyn, cost of personal instructioi and on low wind pressure. It probably will not New York. Small monthly payments. Send for ‘ particular Have require a large expensive motor. but the J. C. DEAGAN, Inc. SONGS NOW IN BIG DEMAND! chests and bellows and Music composed to your words. yours revised and arranged by Ix-n Flem- so forth should be tight so that no leakage is present. We cannot Dept. 5154, 1770 Berteau Ave. ing, Wellsboro, Penna., an expert for 30 HARRY WOOLER, B.Mus. years! Also melodies com- give you definite information as to cost of lyrics written; CHICAGO 11206 Harborview posed. installation and suggest that you get in touch \ Drive Cleveland, Oh APRIL , 1941 271 ^ r bring them to light and develop bowing arm causes Economizing Energy a thin, nasal right place them. Do you remember the lovely old sound, he on the string. Indeed, be- will find that just this extra legend about Theseus? His cause of the greater thickness the at the Keyboard father had pressure spoils his tone. of In teaching I viola string, died, and he was left with his mother. stress the words the overtones are richer, ( Continued from Page 222) "pull" and Each year, his “weight” and the resulting mother took him to a eschewing at all harmonic even bet- times "pressure”’ ter “My own method is to read through shrine, outside of which there lay a This than on the violin. Again, the incorrect handling of the a new piece, separating great, heavy instru- crux of the easy passages stone. When he was ment is responsible matter is to understand for the equally the from difficult ones. I reserve the easy only six, his mother told him to try to incorrect nature of the instrument, and to impression that the ones for later study, lift the viola approach and get to work stone. He tugged at it, but gives forth only it within its own scope. thin, nasal sounds. on the difficult parts. There could not budge it. are two The following Actually, it is the player and not the good ways of using such passages. year, when he had spent much time instrument A Personality in Itself who must shoulder One is to take them in strengthening the Left out of their con- his muscles, his biame The hand technical facility is per- instrument is capable text and practice them as exercises, mother bade him try again splendid, of haps the only —and rich, full tones field where the viola quite as they are again he failed. when and written. Another Each year, his mother properly played. the violin are alike. violist And, to play The way is to build new exercises upon urged him to try to move the Tt builds stone, property the performer must his finger technic exactly as the difficult and each year his remem- the measures. Take Chopin’s efforts were fruit- ber that he is violinist does, must working on a viola except that he Waltz in D-flat, for example, The less. When he was eighteen, and Pay more they not a violin. His bowing arm attention to percussion. Minute Waltz. came again to the must Any The opening measures shrine, and The- remain relaxed and phase of playing that requires a are seus again free. He must excellent exercises in themselves. made an attempt to lift never force the downward the tone on the action of the finger on A more advanced student can carry the stone, with the usual result. Dis- lower thfck string Strings. He must not comes under the heading of their drill value still further by build- couraged, he said it was useless to them in attack percussion. the same way Trill work is percussion try a vi „f, , ing exercises upon them. The first again since he could not do it. does; taken for the violin, being at fast speed. measures Sadly, more™ are for the right hand his mother shook her head. sponsive, will Whenever “ answer even to „ we hear it said that the alone. Shortly ‘You must lift the stone,’ after the left hand en- she said. attack. The viola, like viola ranks the violoncello among the less expressive ters, the repeated little turn about’ ‘You will never discover who you are may be fiercely instruments, attacked ’ we that the figure until but it h may be sure resolves itself into a run, or you do!’ fends itself. Thus, speaker the lower strin has not had the instrument scale. A good technical exercise can “Rousing himself almost to unbear- must be managed Properly more aftS revealed to him, and that his be made from these measures; begin able effort, then, Theseus tugged at manner of the opinion the violoncellist has been formed by listening with the repeated figure and carry the stone, and felt it give way; only completely relaxed 1* o inferior wrists andand™ playing. A vicious circle of the run as far as the passing-under a little at first, then more. When at trace of forcing. no thought surrounds the viola. One of the thumb; again, carrying the run last he had dislodged it, he found be- oears it badly played, one is well as far as the thumb and the next neath it golden sandals, a golden Unrecognized awaie Possibilities that it sounds unpleasant, and note; then again, as far as the next sword, and a letter saying that these The same one draws condition armu„ . the conclusion that such two notes, and so on until the upper- gifts were his, left there for his dis- very high the n positions on \° instrument limited. most note covery by his th? * must be highly of the run has been father, who had been It has been mistakenly trinS- P°int said tt , ° f fact Lmited. reached. > is nofc Thei'e are several advan- King of Greece. tend to produce Evpen a a thin tone c^ eaP viola produces a pleas- tages: you are “I think there is much in that leg- Ind in o applying technical it was long considered ^ Violin Questions ^Indiuered hj ROBERT BRAINE unless accompanied by the jull name No questions will be answered in THE ETUDE be published. and address not an expert at all. and was only guessing Beei ni violin. rather late start for that the violin was a "French” The N F ?l-NlS“l „ extremely old expects to become a correct details concerning these a violin student who known rf violins are lost in antiquity. 3.—You say that symphony player. However, I hove only In the violin has a beautiful tone, and that you where it was hone, hut instances _ not wish to sell it. It seems to me. that student possessed remarK do cases of where the case, you have nothing to offers, try to Bet such being the 9 able talent. If opportunity enjoy the beautiful tones of ^ examine you regarding worry about, so. I 5*A COPVjs a great violinist to your violin without worrying about who made tell you nothing without your talent. I can especially as It is impossible to not find your old it. and when, CENTURY music, beau- hearins you play. 2.-I do facts of the case. gives you the world’s best noted violins, find out the exact tifully printed on the best paper, every bar in tho Mittenwald violin listed among standard size, each note certitled to be correct, as opinion without seeing the I give you an master wrote it! Wliat more can sheet music bel nor cS good. To Sell a Genuine Strati There If the violin Is really are over 3.000 compositions in the Century the Instrument. j. w.—It is very difficult to buy or sell catalog, price ‘ • all 15c— (20e in Canada). one hundred dollars Is a fair genuine Stradivarlus. or other rare violins "'hen you buy music, tell your dealer what selec- in Germany. 3. You These violins were made to advantage. If. as you say. you have a want nnd be sure to say. “In the CENTURA four hours a day. EDITION, please." will pay only vou can practice only certificate from Hill’s, in London, that your That means you sav time. Many “C—less than half what you usually pay. And you well, that Is ample Stradivari, they stand can If you practice two violins are genuine t buy better music any price. profession, do not at nupils destined for the a good chance of being so. The prices you THOUSANDS OF SUCCESSFUL TEACHERS uso 4.-Do not spend a,™ more than that. ask. $30,000 and $40,000 are pretty steep, ex- -recommend "CENTURY CERTIFIED EDI- nractlce the greater HON ’ Is alt that on a violin. Keep collector, or a great violinist. exclusively—because they know it alT your money cept for a rich PIANOS Eood Its a. nu, s | c or less. the start, ean he a , , mlf „ le price to spend on lessons. For Probably your best chance to sell them would modest price aids them in enrolling more pupils, and part dol- thirty-five to forty dealer in rare violins. You might also Parents greatly appreciate tho saving. violin costing from be to a The ever-increasing choice of mem- violins in the leading musical lars will answer. advertize the Century Piano Solos, 15^ each journals. bers of the profession, conservatories (Capital letter Indicates key number, tho grade) and schools. Lester Pianos offer the — Singlngjmd playtoB js nvil " vloUn J?JJ Chorus (II Trov ) G- A Trade Name 5 is in superb tone un- *3064 Clayton’s Grand March. Op. 10U. I> -3 Blake to a vocalist. It I should judge that the label. maximum and 3123 of great assistance C. H. S.— Country Gardens. :: Traditional often of F- Talley, soprano, formerly Louis Spohr Guadagninl Violin.” in durability, insured 3053 Cradle Sana. l>— 3 Brahms said that Marlon “The questioned by a *902 I’onchlclll In New mark, and that Dance of Hours, C- I Opera Company your violin is only a trade 190 the Metropolitan Ten Year Guarantee. Write for your Doll’s Dream. Op 2«2. No t. C- playing them violinist, and Guadagninl. ’33 l.irhncf learns her songs by Spohr. a famous Dreaming. Meditation. I- 2 York C‘ty l.nbltzky them. violin maker, had nothing to do catalog Lester Grand Pianos and I"'3 Dream of Shepherdess. <>p. 45. O 1 violin before singing a famous of V.inderlieck on the 2^05 - . instrument. Edelweiss Glide. (Simp) C with the manufacture of the Spinets. *204 Etude. ... Wollcnhane’. Betsy Ross Op. 23. No l, A- A articles are made under the - Beethoven All kinds of |5?S farewell to tho Piano. I I laid Flower Song, simplified. K -• I.ango there^is'o future for violon- names of famous personages, when these in- Over half a century of continuous fine piano build- 53G Beethoven °Id °c"lc—Indeed Gertrude’s Driam. Waltz. iJo -i dividuals had nothing whatever to do with 521 Golden (.’—2 Streablmg ing under the original ownership and management Star Waltz. articles or lending their names .627 1 0 making the Gypsy Dance. Dm 3 c, i.’ I n‘ ! 222 held > r seen of the violins Humming Bird. Waltz. I 2 to them. I have never any " Hungarian Rhapsody No. 2. Cm I-*' zt you name, and could give only a guess as to Lester PScaim© Mtfg. Co. Hungarian Dance No. 5. Easy, Cm— 2 Brahms 2251 Schubert their quality. Many trade violins of very Impromptu In Ah A — } INCORPORATED 5 r a ,5;” Invitation to the Dance. Op. U5-Db— S rSl£es°V'p5rtsh™h doubtful quality are labeled. “Paganini", J 3 Hopkins «“'°-f»o avn Pa"esc Lantern. A—C— I “Sarasate". "Joachim". “Corelli", 270 La Paloma. Yradier TuBehel Choose an instltu- “Ole Bull". LESTER, PENNA. Bp- 1 is near your home). 272 Largo. H " lei ?whlch orches- “Ysaye", and so on. Some are better than G— 3 has an excellent students’ Llobestraum (lime i'r. ims) t! 3. Kusv Liszt !tnn which course, but most of them are 78 have the opportunity others, of Lily of the Valley, o,. I i. you will , . . in which good mediocre. L tt!c French Doll. A. 1 Hopkins to have studied a '613 C— 3—You seem Little Rondo. ( I to Play ov ® Of«mi (Wall/.). Ah irTT b Full or Tliree-Quarler Size • l?I* March of the Boy Scouts. C- tone amazing car- ™ a cannot state the exact age when 1 Rare beauty—glorious — > 1 i B. P. I TriSs 1 R. — M illtary March. Schubert I rying power. The longest guaranty offered Nn 1 . I child should change from a three- lot of bad habits a growing violin. Praised by concert soloists. Moonlightmoomigiit Sonata (simp).(Simp). Cm- 3 .. Beethoven Sent, but a 1 on any ii 7 c have depends •>/nnil •» vou size violin to a full size. It Nocturne i ... . : . I impin £t quarter illustrated booklet. Nocturne, rn, u x ( you cannot teachers, students. Free 9. v, 2. Ei— — eliminated. 5 .-If | Norwegian Cradle -3 Morel vf.vH must benee child, the length of his Son 0 . I which large on the size of the inis Ucliner and enroll In a Revoicing, Refinishing, Repairing ,he Meadow. Op. IT,. No. 2. 0—2 ought to ac- 358vo R? S° t° would be fingers and arms. The child Pizzlcati (Sjhla)! E- 3 Delibes thethVnextn best thing ' rvatofv of fingers M.V.M. r£,u(l, « hoplll conservatory commodate his stretching capacity CHELSEA FRASER, l«f n s - °P 28. No. 7 r week Spend tUe Pf'osts’ 1 Mn..lcl-s"hu violin, it f 1 . size March AMn.ll 1 E and arms to the larger and Stark Street Saginaw, Michigan Hure Ln«B® funds on lessons from 1 2025 as Snow. Op. 31. Eh 3 . portlon*of your for in ' mafor must not lead to too much strain, 0b * 3 Fisher lain 5 n s Return. The ISluip) O— 2 2 0 Romance ! -3 Stnablrog rate teacher. case a proper technic cannot be at- Sans Paroles. a first that FINE VIOLINS—OLD and NEW § calcs and Chords. 2 must experiment with fine l.l-z tained. The teacher Price-list free un nuttiest Serenade (Stacndchen).Dm- C..scimbitt- Avo.. Evanstt 9 , 0? positions of DOBING. 1322 Hinnjan Screnado Schubert the child to see that the proper . N. (Siaen.h hen l 3. oiiJrzz nh- . Dm- Books available 25c for copy of l ntque Pub Ilea l io *>55 Shepherd Wilson several books correct, with the larger Send Boy. The, G—3 fingers and arms are “VIOLINS and VIOLINISTS” violin. Piano Duets, 15 (; eaelh would SSstrong. either of which (4 Hands) hy fculB -Martin Bunch (Valse) . C- 1 i^Bt £ of Daisies WANTED > • Amaryllis, XIII. F '-''V* COURSES R9 c Gee 273 APRIL, 1941 any other. The old Greeks Music in War-Torn thought ple. The classic laurel wreaths from that even a flute times visit the men’s was violent and un- the mountains are simply cafes. Occa- duly unforget- sionally, as in GreecE exciting, and they also thought table. Quaker meeting in that America, the it disfigured the player’s face. “If the flowers spirit moves the men ( Continued that follow from Page 244) “Strangely a concert not to prayer enough, even the sheep are colorful, they but to dance. It is an are matched by the astonishing and also, the fine art of oratory. seem to understand this music and thing to see a Greek newspaper criticisms which are “Strictly speaking, are writ- army officer all ancient Greek apparently influenced by it. In ten in highly suddenly rise from his florid style. The ex- music was monodic or one the morning the gioup and, quite melody in music is gay and tremely spiritual nature unconsciously and type. of these all That is, there was practically no festive. The day is starting. The lambs by himself, go to the middle of the newspaper notes, in which the harmony or counterpoint. gambol artist floor and There are merrily over each other, in is credited with improvise a dance in classic not more and having secret con- Greek than a dozen or so authentic among the crags. The picturesque tacts with style after the manner of the the great cosmos, are ancient Greek melodies shepherd boys, of Isadora in existence. with long crooks and course, very gratifying Duncan dancers. He gives the They are to the Hper- supposed to have been writ- shaggy woolen coats, are tired when former. impression that there was something ten in a scale with intervals less than evening comes and pipe he had to get a plaintive, “There is a very fine out of his system, and our half-tone. Philharmonic he This is so uncertain lullaby-like tune, as they slowly lead Oichestra expressed it through dancing. Im- in Athens which plays that there is no way of knowing the flock homeward. at agine an just During the day, eleven o-clock on Sunday American business man how they sounded. the little morning doing shepherd’s pastime is play- General concerts this in the grill of the Waldorf- take place in the “It has been my pleasure to tour ing, and many times we have seen evening Astoria! While sitting at six o’clock, just before in a Greek cafe, Greece as a concert the sheep standing din- do not pianist for over about like an ner. This is not be surprised if an itinerant a bad idea, because three years. Greece (49,912 audience, apparently listening musician square intent- many a concert (after comes in and starts to play miles) dinner) has is just a little larger than the ly. They actually seem to understand been ruined, upon the pipes of not because of the Pan or the syrinx, state of Pennsylvania (45,126 square what it is all about. ar- .which he tists, but as a result of the plays with astonishing miles). The state audience speed. of Texas is five having been over-fed. times Love of Culture Dmitri Mitro as big as all of Greece. Its poulos, who The Greek has conducted widely dance rhythms are per- population (about six and a quarter “In the ravishingly beautiful Vale America in haps more and is now at the complicated, more ‘tricky’ million) is not of Tempe, head of as great as that of in the shadow of Mt. the Minneapolis than those of tin-pan are Orchestra, was for alley. They New York City. This is extraordinary Olympus, one may see from the train merly the characterized conductor of the Athens by all kinds of queer when we realize its military unforgettable pictures of these poetic accents. achieve- Philharmonic Orchestra. The Kalamatianos, which is The city has ments against Italy with a population shepherd boys playing as they prob- seveial line m seven-eight theaters, in one rhythm, is one of the of over ably did in the of which 41,000,000. Greece is largely days of Socrates and opera is given. The most popular. popular theaters The trata imitates the mountainous. These mountains are Aeschylus. Socrates is still the great where everyone fishermen sits out of doors pulling in their nets. The an unforgettable idol of Greece. in i brown in color. Every little urchin is summertime, start evolutionary at ten o'clock dances of Crete are There are not many trees, and there apparently named after this hero, night at often and last far into the m five-eight time. is in wee sma’ still a kind of austere bareness to and the villages one may hear hours I never Was could figure out scheduled to play in Salonika the terrain. In Crete, in the south, mothers everywhere calling, ‘Socrat! the Athenian when m the,l sleeps. He always very year in which the revolu- the foliage is more verdant. There are Socrat!’ It is a great shock to the glad of the seeZ ion broke opportunity to stay up Si out. Martial law was de- few rivers, but, as in Norway, many American to hear a mother say in night. He must an< make up for * aP concerts were can- inlets Greek to her little ?his r from the sea. Greece, of course, boy, ‘Here, Per- however, by a kind celed. Foreigners of Greek siesta were not allowed to like much of Finland, is a country of icles, run down and get a loaf of leave the country. I finally boarded islands, hundreds and hundreds of bread.’ It just doesn’t seem real. An Excellent a troop Conservatory train in arrived “In of Athens and them, some mere clumps of rock. The the Greece to-day, there are “There is a very m Salonika fine conservatory for my concert which had country is about six sizable cities, where y a yachtsman’s paradise mod- in Athens, and it pos is mv tP° ned twice because of mar- since fog is practically unknown. ern music is appreciated. They are that in the future tirrMlai law. we may On my arrival that Athens, Salonika, Volos, Corfu, Can- many famous look C- I was told artists from this probabl post- Music of the Shepherds dia, and Cavalla. There are also many U first! nnn'lriX^ y have to be D C r the third “If other towns, like tessor tim e. I shall never you should go out into the fields Corinth and Canea, Aekonoi5des There ^° fnrero lu he seemingly endless thud of in Greece and hear the shepherd where there is marked musical inter- trained and able thJ J A composers^n others’ boots play est. Greece^ .. . as they marched upon his pipe, you would find One of the most gifted Past tlle is 0 , hotel at midnight. that it resembles a small oboe. Now "The modern Greek takes a definite Evanghelatos. 00 He has written there is pride in his appreciation of western ? no question that this is a symphonies as well as Music and smaller o? „ Martial Law descendant of the ancient Greek culture. There is no more cultivated chestral works- and u songs J°° ' surprise the martial law Aulus. This symbolizes the spirit of person in Europe than the Greek gen- “In the time of the ted ancient Greeks the next da and the con- Greek tleman has had the advantages a cert , y music. The shepherd’s figura- who gentleman was expected a8 quickl to be able y announced over the tions that is, his ornamented of modern cultural experience. He to lead his radin — tones community or people to his 4?a 'e were so relieved natural feeling for beauty in a have mil ' —seem to be the voices of the trees, has a deep dance. In fact, a tal man was not y contro1 ‘called off that the flowers, the birds and the streams. inherited from his illustrious past. He considered well thev ian‘ educated unless d the When critical intelli- could he I concert hall. Pan himself comes to life in this pas- adds to this a keen play an instrument went? Ule and lead a haU f°r rehearsal, in toral fairyland. Moreover, if your ears gence and a remarkable power of dance. To-day the the aftX° same trarm-i armed llard was are quick, you will find that the inter- analysis. It is always a delight to play holds true. With a stationed aro"’ S handkerelfief the During vals for a Greek audience. Their taste is his right hand, " the buildlng. are not our intervals, but are less and with concert « . his left L ’ that pro- thoroughly catholic although it in- poised high gram evening, the than a half-tone, and it iff very easy in the air, ‘ “ he impi v oontinually punctuated by to imagine that there is a direct con- clines toward romanticism. Here are many fancy steps file sound for the line sh°ts from cannons nection this primitive in- numbers, for instance, which were dancers who endeavor m °n the the between to imitate m X0 program in Athens: him * UUs; defending the strument and the primitive ancient included in my Can you imagine the Evzone city against ?, or GreX th® ene my- Never have music of Greece. “Ca-price sur les airs du Ballet Al- soldier in his skirt, I had a stX made from 801 ceste, Gluck-Saint-Saens; “Sonata in yards for? experience. “Moreover, these tunes vary greatly of cloth, gaily dancing "There w? stens a terrlfic contrast be- in different parts of Greece. For in- D”, Mozart; “Papillons”, Schumann; which have come P tween the directly down fr t?°PS a group of Chopin; Nocturne Ragusa, ™ w ay 011 train, on the stance, the music of the Aegean Is- the time of Alexander back- t toe™ rea 8 rain Schelling; Elfentanz, MacDowell; tha ’ and ‘ ha ‘ lands is quite dissimilar to that of the Evidently, on the battle ‘ brought front, these f?™ n Pieces”, MacDowell; the 6m to Salonika ’ ° Ionian Islands. This is unquestionably “Sea Echo de dances have not interfered way out i with the sol going Vienne, ' ’ diers were due to the influence of the Orient. Sauer. VaI° 1 °f thSSe grimly inf n ^ remai‘hable ttle the outcome of The Ionian Islands, to the west, have “At the end of the concert the per- troops which could "°‘f ?be is usually literally hot foretold. They did a music which we are told is more former buried in “This, one can see in Sing the cafes nor the very sweet and flowers, and nowhere have I played Every Greek first smoke. It was purely Greek. It is cafe is a kind of time T h male owu the ioyoU8 is the mildest, most where I have had such a thrill. The forum. The spirited !“ ,’ gentle. Indeed, it Greek ladies do not Greeks? visit a to be silent. They had gentle music I have ever heard. I flowers of Greece seem to be larger, the cafes. They go to the look of JfiT® better tea 1688 and determination have a strong feeling, after much brighter and more vivid than any- rooms in the big hotels. which was uni The ubiqui f ettabIe in the world. wild back, - °n the way study, that this is more directly de- where A anemone tous American woman, tourist howevei °ro who Even ey sang incessantly. scended from the ancient Greek than from the fields is as large as an ap- wants to see everything, does the wn„v!d™ some deci 80ldlers sang jubi- Co™ntmued on 274 Pa(le 283) THE etude . keeping abreast of developments he The Future Df has a group of films covering the games his team has played, and the Instrumental Clinics games played in the past by other outstanding teams. Through the (Continued from Page 240) medium of the camera, he can analyze plays, show graphically where to the educator is that of Interpreta- errors were made, show the difference tion. While a great many clinical in- between good and bad play. Some- strumental groups play the necessary times team improvements under such notes, achieve the necessary dynam- balance, careful analysis have been spectacu- ics, and even the proper lar and amazing. there is in many cases little or no The application of this idea to heed to conducting or interpretation. music education comes in the use of The music fails to live, and the con- recordings. For example, a recording tact between conductor and group can be made of a clarinet playing A second indispensable book for music lov- audience is often negative. It is ers by the author of OUR AMERICAN Springs run down, their tension weak- and of a certain passage from one MUSIC . . . ens, that re- poorly the tick-tock of the old-fashioned in observing this condition like a the festival numbers. Then the same metronome becomes irregular, suggestion that a greater OUR worn-out clock. But the controlled elec- sults in the devoted passage can be performed either by tric impulse of ELECTRONOME can’t the clinic program be part of player after careful im- go wrong. It must always beat time at of the the same to the musical interpretation CONTEMPORARY the exact tempo for which it is set. It provement has been effected, or by an or festival selections. has no springs, nothing to wind; simply various contest Differences plug accomplished clarinetist. COMPOSERS it given to in and follow its rhythm with Closer attention should be perfect confidence. can be noted, reasons for failures problems of proper con- Tasker the many signs of improvement By John HOWARD Ask your Dealer about FREE instance, that diagnosed, ducting. I think, for story. American composers trial offer, or write direct to pointed out and the whole rendition HE complete of incalculable good could come from a T and American music since 1900. It covers the discussed from every viewpoint. For every significant personality, trend, and per- discussion, at which in music, popular as well as serious, round-table individual player we have a new formance FRED. GRETSCH MFG. CO. preside, touch- the during the past forty years. About 500 pages, guest conductor would completely indexed for easy reference. S3. 50 at Musical Instrument Makers Since 1883 type of lesson—the “listening” lesson and interpreta- all bookstores or by mail from ing upon conducting individual 160 BROADWAY. BROOKLYN. N. Y. —and I know that when an THOMAS Y. CROWELL COMPANY only in general, but in the tion, not himself play he learns far Dept. E., 432 Fourth Ave.. New York. N. Y. the separate listens to specific, as applied to present more rapidly than before. selections. Bach conductor The idea is not too new; it has been before him a score of the would have used effectively for almost the last discussed in order that composition decade in the teaching of voice cul- discussion would have meaning the ture and radio speech. And what is and practicability. 1941 P-A good for the individual can be de- To Master, this New the best aids to a conduc- Improvements One of helpful to a group. Recordings 21 Major is the use cidedly • Just touch n key and blow normaUy round-table discussion tors’ can be made of the entire ensemble, to compm <-• or at least an accom- tlfuf'tone^NothinK rum of a recording, *> P-A SaxeB, Clarinets, . I either band or orchestra, and the type instru- whereby actual pets, and other P-A paniment of piano, ments. Fully guaranteed: of thing that teachers and directors bee can be dem- vour success assured, methods of conducting your music dealer oroi write present have been trying to point out for HAVE direct for beautiful Each director onstrated. brought to the YOU TRIED FREE BOOK actually con- years can be home No obligation. Easy terms. a baton and A P-A IN easiest with could have with real effectiveness. Greatest fun, being studied. student THE LAST . composition F A duct the The cheapening of costs of record- 30 DAYS? PAN-AMERICAN possible for the Elkhart, Ind. would be 408 P-A Bldg., I ater it ing in the past year or two with ,the to use the full clinic guest conductor appearance of recording and playing for active actual application of his ensemble as phonographs in the lower-price of a musical selec- ideas. The study market makes such a plan feasible far ahead of ordinary PIANO TEACHERS tion can go entire music education sys- with the score, for our casual acquaintance serious con- only that a cer- tem. For the minded not enough to know it is such ductor and teacher it is a tangible a composition was written by FREE: “The Sluilenl Pianist”, tain means of devising methods of im- Orchestra Instruments composer; it is more im- 36-page booklet containing the 11 and such a provement and of measuring progress. have a first hand knowl- easy transcriptions for portant to too, at clinics, there may be history and Then, PIANO every num* edge of its structure, its listed below, inten- put into practice the idea of record- ber re- the composer's absolutely complete but background, ing festival numbers which can be phrasing, nuances, and a duced in size. tion, its used by the assembled directors for intrinsic beauties. Such YOUR PLAYING grasp of its interpretation. Such re- IMPROVE To receive booklet, you must would help study of this 36-pace analysis and study - ' Pianists—Sen for tree booklet show- establish status, careful cordings could be made by a qualified ing bow you may greatly improve your with us your professional vital, living, therefore cartF the composition a technic, accuracy, memorizing, sight- enclose your professional make group to show what can be done with IF roacUng ami playing thru rnenial- - director, and, etterhead, of identifies work for the museutar co-ordination. Quick results. Practice effort or other means beautiful but this need not be the pianists, teachers tIon each number, minimized. Vscd by famous and , or prominent will inspire and refer to one or two all, it is he who students. No obligation. Rtusic after rule, for the expansive possibilities of publishers by whom you are recog- organization Broadwell Studios. Dept. 61-D Covina. California direct his musical nized as a teacher. conduct- the recording idea are unlimited. through artistic interpretive rhythmic music by well-known American com- nobcrs. tm-iii/ii riirnr/or. U1 Future Clinics: Conclusion PIANO! profitable SWING inspiring and Learn to play real Swing Piano. Send for free Home What an lor Fake does tills There are many aspects of future Folder. TF.ACHF.RS: write business offer miieh i n aroiislne tlio nuii l's Interest, clinic would be Study h type of 52 Kimball Hall, ns , cen attention, the editions session this CHRISTENSEN STUDIOS. Cbicaao ,’ Rhen careful carryjL 0 could be great- •> "8 clinic programs which Binart, modern designs in attractive colors. doctor, that is just what I were the H ly enlarged upon—especially that of Bigelow Play piano same stylo 1 ' order! MiiSH™ M»r* would as dance and radio giyONiL EMBLEM, Mnr.h BallW I solo and ensemble material, and solo play- BiKelow ers. Put in snappy for Clinics of runs, breaks and tills. ‘ Wejdl Recordings and chamber music. But by way A N STREET ot Play all WU . Moroh The Future the late song HU hits at following is suggested: sight. It i s easy .Bolfo done to date summary the TINTS,' ! ! been with our Wall-/ Very little has JAZZ new, guaran- LI Kolfe our future clinics be ar- Mail tho coupon or post card today 888?, J RIHPLES. Barcarolle with the science of 1. That 0' E ““C Da"“ our clinics CANZONETS Rolf. in in divisions, each representa- : has been over- ranged recording; in fact, it degree in our tive of definite objectives. ooked to a remarkable to empha- 2. That the types of clinics be bet- cents for methods. Again, IS are 35 teaching or have less diversifica- scounl to Teachers. should like to bor- ter classified, size the point, X Namo Enclose this of function. The aim would be ad or refer > The Etude fields of interest Let tion from other Address row to accomplish a definite objective in Walter ine. the football coach, and we Jacobs, us visit City. Stnto progressive and ( Continued on Page 281) 20 hoylolon if he is I- Si. boston, mass. and that 27 5 /IPRIL, 1941 southeastern “I Saw Musical Vienna Europe^ is possessed of the rich charm which has made it the Fall” magnet for so many of the world’s famous masters of music? me it AMERICAN ( Continued To from Page 226) which he is in the spirit of Vienna and the sat like a king in his court, attended by young Viennese. It is a city of illusion. The singers who came Danube from all over the is not blue; it is yellow, a CONSERVATORY world to sing for muddy him. One day a young yellow, but the Viennese can American see tenor, Allred Picaver, no other color but blue. There attended this cnxle. After you have it. The see every- e^MUSIC singing eight measures people thing through the beautiful colored stopped him. CHICAGO 55th SEASON Have I failed? glasses of the There is asked the frightened imagination. youth. No,' said a sweetness, a kindness, a gentleness Neumann, ‘you are Accredited courses in piano, vocal, violin, organ engaged.' and a else- and all other branches of Picaver became the conviviality unequaled Music and Dramatic Art lead leading to °* the Vienna where. The wine may not be better, °- a tor but DEGREE—BACHELOR OF MUSIC it tastes better; the women may “Wagner not be pr^' DEGREE—MASTER OF MUSIC himself had, of prettier, but they seem course tier; fabulous musical gifts. the music beau- To him, music may not be more Under Authority State of Illinois was a matter tiful, of personal develon but it sounds more beautiful- ment, because he The simple, the Unsurpassed faculty of artist instructors, had developed easy life, the flowers, many of national and self in him" international that way. His trees, the air, reputation. musicaHn s hills, the sparkling Ste tnm" the Ut circling snow-clad Alps, make Thorough preparation for concert, radio, opera and teaching posi- “s fir°s^bS° —si the city which a kind of dreamland tions. Weekly recitals, lectures, school of opera, training in students’ eft°rt ‘Rienzi’, he was obviously ' stays of symphony orchestra, bureau for securing positions. ‘n fl forever in the imagination by Meyerbeer all It whom he later who have known old Vienna. so miserably. “S After that, however is this which Johann Strauss caught Stiuck ’ be SUMMER MASTER out for himself in the waltzes. SCHOOL and martCe an intoxicating lilt of his art of his own. While Three mu y ot Summer Sessions—May 15 to June 25, composers, of her course h A Spirit Undying June 26 to August 7 and August 8 to September 18 new harmonic d evisetl treatment™ „ d Vienna locality. orchestral effects new is not merely a Special Summer Courses in Public School Music, School of shic!* Acting, Chil- w ’ 1 Passing, no agner s ls a spirit wher- dren’s Musical Training (Robyn System), Class Piano Method (Oxford) composer has which is revived a radical mLade suc ever the com- advance as h music of the Viennese Member of the National Association of Schools of Music a vast d *“ SUCh posers is can- amount of m?t heard. The Viennese lifetime. ! ln one not leave it home- Send for free catalog. Address John R. Ilattstaedt, President Wagner, a great ip, without profound sickness, icb perhaps not ’ Was wh as represents1 and it is that quality home-loving ° f the endeavored waltz- Germanic ‘mr,? to put into my AMERICAN CONSERVATORY OF MUSIC his * 3S fantasy.J s protege, Humperdinck Was Nostalgia. Vienna, glor»°« lenna! agajj1 - 575 Kimball Hall, Chicago, III. Some day it will live The Siory No of "Hansel ^ wonder the cinema continually 8 t0 ronianCe Vienna^ capture the witt^thedovely to-day istic cl ara cinema great Oemiitlichkeif ? cter- points to a dinck’s % um f a defi of musi g)ljp QlpfaplanJi 'Hansel and ^ Per- com °^ nite school JnHlttulp of(Quotr perdinck, composition, in itself when x H«m- it is an art all ^ and calls di® him, 1 as Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma told me how ® With for a kind of skill this d* and ” Faculty of Nationally Known Musicians work came into "Homing complicated as anyth being on! demandeddon BERYL time. CbriStmas from the writer of ope® RUBINSTEIN, Director, 3411 Euclid Avenue, Cleveland, Ohio Humperdinck , was v ayi" u sister, who had Sitin8 his ph°nies. The art of film ® a m,, is ° f daughter. Humperdinck and nctly different from that m The »c rangement P6ra - tlw Established 1857 of an an ar- This is shown by old f0 t that song. S lry ' UP He then tal8 t0 tbis time, 110 rand °5 arranged has t, B to ral 6611 CONSERVATORY for the children to s °ngs successfully transferred sing m ,! thehe fli y ® ' the theater. 6U h fltas. The if BALTIMORE, MD. With other ° me reason is that PEABODY neShn c dren they S ra ORTMANN, Director made chi>- ‘ transfer. it seems P® OTTO up a Ucallv »e mas Opera Company Christ- y thipossible to carry over One of the Oldest and Most Noted Music Schools in America. He h!Y fla!n of writing an ?° ‘dea f the dramatic story ** opera' bu! hi out L°, were so charmed fr>ends ltlonal which ''“ with In music jo - spoil ?h — JUILLIARD SCHOOL OF MUSIC= that they urged 16 tunes the creation master- him to a* fact of a sister exclaiming: ®° so, St writej ~ The Piano Accordion S AMOILOFF Hints to Accordionists Tcachur nf World Famous on Right Hand Fingering Singers and Teachers will hold Summer Master Pietro ot)eiro Classes for singers, teach- As Told to ElVera Collins another. ers, and beginners at his OST ACCORDIONISTS are in- dionist may be awkward for however, certain rules terested in developing techni- There are, for fingering which should be ob- Bel Canto Studios and M cal skill. We wonder if they they do not concern fully realize the important part that served although finger on a certain fingering plays in building perfect putting a certain Opera Academy until with the subject as a technic. Velocity can never be ac- key. They deal rule when arrang- quired while fingers stumble over whole. The first August 9th. look at the music each other and seem confused as to ing fingering is to be sure that the finger- where they should go. Beautiful ahead and Beginning August 18th Dr. Samoiloff with the notes properly inter- ing will fit correctly themes cannot be will hold three weeks of classes at the been which follow. Fingering should be preted if the fingers have not thought of in groups and according ELLISON-WHITE PORTLAND, trained for quick response to the CONSERVATORY, OREGON musical phrases. An awkward fin- player’s every whim. to gering may cause enough hesitancy On September 9th Dr. Samoilolf will re-open his Elementary students are taught to ruin a phrase and break up a certain definite fingering for the Los Angeles Studios melodic line. various exercises given to them. The Write for catalog and information about arrangement of the notes in such Ex l Alluerctto M.M. 104 exercises is simple, and the correct the two remaining half-scholarships fingers naturally upon the keys. fall 610 South Van Ness Avenue Los Angeles, California Such exercises are followed by scales, the fingering for which has likewise been standardized. The selections in have the lesson assignments usually HAVE v TUNE HEAD? fingering marked, but after a while CRUSADER MUSIC CAMP r But can’t write it down difficult Combine Study and Play in the Ozarks — the approaches more Is Unique student excerpt from my Here your opportunity. method. No pre- must Example 1 is an vious experience necessary. We have engaged Geoffrey music in he finds that he Band—Orchestra—Piano—Voice—Accordion O'Hara, composer. "K-K-Katy"— "Give which de Ballet in the text a Man a Sug- composition Air Nine Nationally Known Instructors Horse He Can Ride" (300 more songs and operettas). give some thought to fingering. Division Dexterity.” It proves Also College Credi.t H’rife tor particulars book, “Finger to August 1941 gestions be given by the in- July 13 24, PINE may of looking ahead for Write /or descriptive brochure PEAK MUSIC CAMP the importance Croton, New Hampshire structor, but the student should I9I3E Classen Blvil. Oklahoma City, Okla. guidance in finger arrangement. The really be put on his own so that he tendency would be to begin may fingering which natural learn to select the thumb, instead will the measure with RIVERDRIVE SCHOOL OF MUSIC & ARTS is best for He naturally him. finger, which of course flKJiene X Theatre regular pas- of the second 84 Riverside Drive have no difficulty with in fingering STAGE, would cause difficulty New York City SCREEN , sages as he will revert to the stand- later in the measure. FREDERICK G. KOEHLER, Director ardized fingering to which he is ac- that careful atten- Dormitories encounters It is essential customed, but when he plan for Catalogue on request Special Summer Session be given to the first tricky cadenzas and other compli- tion a difficult passage, because have to give fingering cated passages he will toward muscular care- we are all inclined Excellent merchandising opportunities are to be found in Etude advertising columns the subject of fingering more change and it is not easy to ful memory attention. been used for See THE SUPER A fingering after it has LEARN "SWING" This brings us to the point where in MUSIC while. We suggest that, when Quick course to players of nf we rules for finger- a « opbllBaio must state that student try out the finger- embellishments, figurations, b! students doubt, the Philadelphia Agents MODERN DANCE ARRANCINC ing are essential to start of the PIETRO DEIRO ACCORDION the piano keyboard Duets, trios, quartettes and ensembles—special is no ing on HEADQUARTERS choruses correctly but after that there so —moduluttng to other keys—suspensions—anticipations with the bellows closed —organ points—color effects— stringy “correct accordion backgrounds such thing as a set rule for Write today. there is no sound. too many fingering.” There are practice, five finger this Scale arpeggio things to be considered to make work exercises and other technical possible. there is the dif- First of all, student up to a certain you live of the prepare a If further ference in the shape and size the problem point, but do not solve JUST OUT! than convenient hands of also the diffei- players and difficult passages because traveling the of fingering distance ence in the distance to which routine 1941 'ACCORDION follow too much of a from any of fingers stretching. they our are capable of practice material is pattern. Special MUSIC CATALOG two branches this Then, too, stature of accordion- the to learn fingering will their just as necessary interest you. ists, compared to the size of OF any other phase of accordion has compiled two individual hes some in- as for con- accordions, should be cise and easily Such exercises _ under- fluence fcX)sition of study. 1200 ARRANGE- upon the playing should have no stood correspondence courses that will rather difficult and the arm and in turn upon the wrist MENTS AND 150 FOLIOS. bring into your very home his popular pattern but should range up and and ap- set SENT FOR 5c POSTAGE system of instruction. Write today for hand. These points are not constant the keyboard with ADDRESS DEPT. E information. parent in the playing of regular pas- down full of the distance of intervals PIETRO DEIRO ACCORDION HEADQUARTERS sages but only in changing O. PAGAN! & BRO. reveal themselves accidental sharps particularly and with many 289 Bleeckeh St., New York. TV. V. tricky spots. Fingering in the flats. Those which are which is convenient for one accor- and 277 4PRIL, 1941 remote keys are particularly bene- The simple rule for the playing of ficial. Example 2 shows a few meas- intervals of a third calls for the first ures from an exercis'e of the type and third fingers, second and fourth, we mention. or third and fifth; while the interval of a fourth calls for the first and OBERLIN fourth fingers, or second and fifth. These, are not fast rules, however, €®MSil¥lTOi¥ @F MUSIC because they must often be altered A DIVISION OF OBERLIN COLLEGE and different fingering employed, because of the notes which follow. Accented notes influence fingering Graduates are prominent in the musical world and must be taken into considera- as concert artists, music teachers and super- tion, so that a finger is used which visors in public and private schools, directors can clearly enunciate the accent. ' of conservatories, deans of college music de- When I broken chords and arpeggios present difficulties, first ; partments. they should be played as solid chords so that the Thorough instruction in all branches of music correct fingering may be established. Many are ... 46 specialist teachers . . . excellent equip- stumbling places, which attributed ment modern to lack of technic, may i (over 200 practice rooms, 23 be ! traced to Ac- organs, including two large recital instruments) awkward fingering. cordionists should form the habit of . . . inspiring concerts by world-famous mu- analyzing the fingering of difficult sicians organizations . . . weekly student and passages before practicing them, so that recitals . . . for these reasons Oberlin Con- they may find the fingering 1 which servatory attracts talented and ambitious stu- is best suited for them. They should dents from 39 states and 6 foreign countries. also remember that their in- stiument does not the legato : Degrees: Bachelor of Music, Bachelor of School have Pedal as major does the piano and there- Music, and Bachelor of Arts, with in oi j e correct fingering must be made music. Oberlin College, on the same campus, 0 help the | produce legato effects on rassages.” Constant makes possible excellent combination courses. TA aleri accordion. exercise 3 For catalog address oTthSkfnd Tdtf Who practices ? for a few months -‘Cindenwood FRANK H. SHAW. Director. Box 541. OBERLIN. OHIO will s00n becon so expert at fingering L that hbl WI seldom encounter OF MUSIC a Passann! CONSERVATORY Se t trouble him. Divisional L indcitwoodCoUcOe tor Women. Thorough prep»» Regular fingering tipii for careers In music u®|j for scale, ' the 3V01C a distinguished faculty. “•* placing 01 ' of the degree, certificate and dip* thumb , org ' black In piano, voice, violin, “. key, but there a?°“ pu“ arouen* are . harp, other instruments. mheaton inst ' WHEATON. ILLINOIS passage playing where He school music, theory. found it wnf J mony, history and appreciate BENEFITS and convenient. This ’! of music. Well-equipped is n dlos, beautiful buildings Seliool PLEASURES lariy true with Summer where 138 St. Louis a similar acres near of opera9 - The Conservatory of Music is a member of the National Associati notes is c Its frequent concerts, repeated in other attractions. Schools of Music and includes on its faculty outstanding men and women. various „ T musical Sltl0ri write effective work and rapid progress because of a on the P catalog and view book, Unusual opportunities for keyboard, and * inspiring setting and religious-cultural influences. Educa- the strong personnel, tern of fingering’ tion Courses, Applied Music, Theory, etc. Attractive opportunities for added may^ Liberal Arts subjects ...in Language, Speech, Philosophy, and Scier™j from each a fo . .. group . . . . .1 r- whether jrr'iculum. Interesting bulletin free. Writey/r today. it h..™Sms black or 011 “A College Address: Director, Box EM-41, Wheaton Callege, Wheaton, Illinois white key Enock C. Dyrness, COKER of Dislin Repeated borough r • notes may (1 n degree be m. „ !;> Piano, voicc" w°!7 co,lr9es leading lo A.B. I 0 llnln music- fectively by ^ ef eachem* '' "'Kan,"''Ban. public school changing W cen'in,.conin',...,UM( „V" ates.atefi . Liberal th/n Arts-is amiin,. i s5M„,. . Also,AG,, degree,i. courses in in the US I ' ll,ra educa- manner «eereUr ' ry science? physical shown in a! i Summer - 1941 - Sessions ttractivo courses. Beautiful campus, E^pTe" 00*' Pre-School ^mloived. i" ,i,s Gym. P Tritininc Courses for Teachers of Piano Including Sessiok '!? - sports. Intensive Ex. 3 sno0 1 COURSE, and Supplementary Materials Sylvester Green'een pj'' .--." ''ito for catalog. „ Music, OXFORD PIANO . Allegro President. Box M, Hartsville.S.C. Correspondence Courses for those who cannot attend resident courses (M.M.J> = U4) Detailed information may be had on request All courses accredited in GAIL MARTIN HAAKE American conservatory of music Chicago. Ill- KIM 11AI.D UADI.. cn U o?LDWINWfl LLflCE ““"seimtohy OF MUSIC ° HI ° Affiliated (suburb of Cleveland) ” rst Colle !>'• and flveyoar c,a9a Liberal Arts f aos Fact ,°. Artist lea dlng to degrees. „ Teachne.-^vacners. J , t'on to; Send infosi There are for catalogue or instances when RIEMe it , NSCHMC| DER> Dean Berea, 0 found . LOW COST SUMMER COURSES best to change the SHERWOOD’S flnJe note which is being “? he i d ENROLL NOW that the notes K C BEGIN JUNE 23— which follow i^L °NSERV'ATORY OF MUS "it Ec fingered with facility ATUR, ILLINOIS clas Off ... obtain- Private and 0r° opportunity . contains nin( Here is your . an „ illustration Bachelor o n mu » Under Auspices Cincinnati Institute of Fine Arts or Salesman? Affiliated with University of Cincinnati Teacher Institutional Member National Association of Schools of Music J3ij Cjeorge C\ J El Misti, (The Gentleman). Sanchez seum which shelters a priceless col- pre-Inca relics; Malaga is also an excellent choral lection of Inca and former director and pedagog. Several more and Torre-Tagle palace, the -fit Coxxese It is de- are worthy of mention, such as Jose residence of several viceroys. cfomes moonlight along Maria Valle Riestra (1858-1925), lightful to roam by quarter, lined Pablo Chavez Aguilar, Teodoro Val- the streets of the old some of the most beautiful ex- carcel, y Rosa Mercedes Ayarza de with rackto jjrog^rami — concert•rti — recitaii Spanish colonial architec- Morales; each one has contributed amples of on the continent. If you feel it is much to enrich the national reper- ture — orcitorioi day, why not enter one of toire. your lucky shops and buy a The Academia Nacional has been the little lottery for “la grande,’’ the big one? for center of ticket afford students many years the official attention, And if you wish to attract tuition in Peru. Modeled somewhat at the just walk along Union Street along the lines of European con- busy hour, carrying your umbrella. servatories, it is a non-profit institu- with per- You will not fail to get it, tion. The staff includes a number of innocent haps a few additional and excellent native and foreign-born the gorgeous jokes. For Lima, city of teachers; and for over thirty years the capital flowers, nevertheless is Federico Gerdes, born in Lima and where rain is unknown! educated in Germany, has been at the helm. Gerdes, an all-around mu- com- sician, is equally at ease as a The Future of poser, conductor, pianist, accompanist and teacher. Some nationally known Instrumental Clinics musicians have come under his guid- (Continued from Page 275) ance, and his name is inseparable to attempt to from Lima’s artistic life during the ach clinic, and not what should re- last quarter of a century. over in one clinic There was a time, not so long ago, uire several clinics. would have the when the capital lacked a proper hall For example, we Clinic for musical manifestations from op- (a) Reading Clinic era to recitals. There were, naturally, (b) Teaching Clinic several theaters, but these were either (c) Interpretive Ensemble Clinic antiquated or deficient in acoustics (d) Solo and Clinic and material. This situation was set- (e) Recording many opportunities for public appearance, some in asso- time disadvantages of tled with the rebuilding of the Teatro The natural ciation -with prominent guest artists. clinic are such that Municipal, several years ago. It has a one or two-day vague, hasty, scatte1 seating hundred , have a Voice, piano, pipe organ, orchestra, and choral training capacity of sixteen e Directors do^ Of objectives. and is fitted with the most modern Duelling do iuithout additional cost above regular tuition. learn what “not to scenic and devices. A spe- ot warn to electrical the lesson is time their groups— Bolt Jones College in its musical training as well as in all its cial shell-shaped setting, with built- ,ith clinic costly. Let the in recently onsum ng and fields, is developing Christian leaders young people lighting equipment, was sense of this other — in all the full installed for the symphony concerts "id who have an abiding faith in the Lord Jesus Christ as their at imported orrowed term! which the orchestra uses personal Saviour. Bob Jones College believes that talent is chairs and stands of the type used by gift from God to be invested for His glory. the Orchestra. a N. B. C. Symphony to Act But an How keyboard virtuosi still miss Learning Bob Jones College has added to its other music courses adequate strangely instrument and, Opera a special course in the ministry of music leading to a a in enough, there is not in all Lima 266) Bachelor of Arts degree and affording a splendid oppor- concert of that from Page grand piano worthy ( continued tunity for students interested in becoming choir direc' name, the only approach being an U t y £urth < °id sent to the 6 shows them tors, evangelistic singers, etc. Bechstein periodically with Amevicans workshop for re-conditioning. How- survey showed that every graduate of Bob Jones College has cver, the matter under dis- A recent has come modest s d cussion, action nd tunity to position. Bob Jones College graduates have leadership, poise, and it is likely that opporP a good will soon be provide visiting WW elveswithan culture. taken to theySevappytdemsapp and Pianists of ex- jam, f The same with a proper medium mui atin g. rd°r the Department and other phases pressing their ‘ performer. Further information about Music of artistry. nf the American > tru ap- It is also desirable that similar ac- ®. correct Pperceptual the wor\ of Bob Jones College will be sent you upon request. For Bob . ive him the h0w tion be certain q matter school. It is a Liberal Arts college, taken concerning to a 10 ^ Jones College is not just a music roach , he is Phases of well-being. DUbiic, the travelers’ he has su and the wide variety of courses offered includes: four'year college 0 ma- ften g down his old make a digression into more willing course . . . four-year secondary teachers more . . four'year high school er ar * than is course . ialistic considerations, may I ex- nd afresh C St- elementary teachers course . . . . two-year and four'year . Press here my astonishment and that ~n who has course . ° every the : business and secretarial course. foreigner at finding that S“stardom. one'year ained American’s ementary comfort of innerspring stood m the A has fact Tennessee Valley section of the Old South, attresses from What the Located in the beautiful is entirely absent a hU in institution la under- - gM taught acting Bob Jones College is fully accredited as a four'year by the 7 hotels. It is difficult to u has been st hat he tions rathei Tennessee. Credits are bow an otherwise magnificent ext i mo Department of Education of the State of ac' hn ^ he form of “" Naturally, of- ings . in all sections y ’ such Bolivar, can leading universities and graduate schools of the . as the innei cepted by fert han of nce suffers its distinguished guests a bed- forma din«T a reS fault is country. equipmenfc which would be s But the reip% rom externalfprnalism. American d by th cheapest tourist once the Address inquiries to Plan e not his. innate ®s al lively h llis t °ng the American highways! break rtist casts aside BOB JONES, JR., Acting President visitor ought to leave Lima an(i DR. With motional reti meanings, he visiting the twin-towered Bob Jones College Cleveland, Tennessee cath^ great- la sec that of beside the Mevi!/ !' ond only to TtSe his Piaoe City as in the of the world. Lath-, ° being the finest actors _ fl . ? inSng Americas; the National Mu- 281 4PrJL, mi R ' glades, of splashing waterfalls, of of . a great craftsman. If the effect Their v * . ... What Really Is wind through must be ascribed to the trees, of waves • on of his music on the untutored listener harmnniJ ol the seashore, of the play of light is often bewildering, that individual Modern Music? father^ than to any filtering through the clouds it, (yes, nevertheless can not help being- ( Continued from Page m!i r* 227) too, held music for him) of the music , caught up the d,ynantic Leap of encounters them but more often of the highways and byways. And it, sChmfles t — he _ £ men o emulate "" ^ Sibelius8—-1the most finds himself a willing listener caught this sensitive colorist found his Stravinsky’s methods unaccountably ~and device^ frwnencuess ^of „ up in the toils of a beguiling web of medium in something called the None have a11 his works—owe their produced more than a rather sound. The whole-tone scale, which sinister reputation in this truth of the matter is the Russians pale imitation of them. He remains (whose country not to new that he is actually a child of his age, music he loved) had used be- to-day the unrivaled Old any terrifying Master devices, but and that, in listening to a fine piece fore him, though sparingly. True, it isolated, but secure rather to a masterly re- in his isolation straint and of “modern”n” work, he recognizes in- was something of a radical departure ContemporaryContemnorarv with th Q economy of means exer- with the appYaraT***1C6 cised stinctively a tonal reflection of the from familiar idioms. (I watched my of Stravinsky, by their aloof composer. (We another statue' listened age in which he lives and finds it grandfather— great musician in his figure to the “Fourth Symphony” not a loomed on the horizon -p * An-Md gland at all unpalatable. Mozart and day—solemnly walk out of the hall Schoenberg, ‘ thirty years ago with Haydn now living in Amer ”d . are infinitely more difficult for at the first performanceperrormance ofot The But whereas, f^u-ation•*«***«* won andana affection, but no be- him because ofnf itsit* ' t 1 6 ilderm to assimilate. Their old world classic Afternoon of a Faun in Liverpool as vitality, the’the ent - But that ls probabIy dUe music of StravinskyStravif ^ ^ _ a mark of protest. to the cZlte!) subtlety eludes him and, frankly, in I could not under- struck a responsive note ^ among m t Many stand why, for the music to me, its . of many cases, bores him. I have sat in was of hearers, that of - contemporary names Schoenbeig; essei restaurants, marveling at the indif- even then, crystal-clear and allur- the prophetnrnnhet nfof atonalism, . » importance- — vautc compared withww» at first nev tnose ference of an average mg.) Not for Debussy were the formal plexed and I have in- diner to the antagonized those wh mentioned could be blatancy of the prescriptions of sonatas and sym- heard jected at this crudest jazz projected works such as “tt point. But they would, the link, by a ten-piece band, and I have phonies. Dry as dust forms had noth- Orchestral Pieces Op. 16” “p merely serve to confuse the ie ssue. watched this mg- in common with the new and Lunaire”, in same tperson —squirming1 — Q , and the pianopicuiu war-torn* UU1UJJCEurope there are— ^pieces v°*Ypt* et m>nU 1-1 iirwacjoilfr in Viic. i- 4-1, „ exquisitepxmiisit.e palettenfllet.f.e helip hadhnri devised,devised andnnH evenpvon thnnnh „ P obably uneasily in his seat during the course though many of us > at the most, three or four never reali °fJ of a Beethoven symphony, obviously we youngsters saw in him at the warmed to these earlyeariv these men tryingtrvine- to cnrrv nn in manifesta-1 to carry on much beginning of the century the prophet tions, ^'*' te ° f less at ease following its clear- Schoenberg attracted”!!) ,T condi tions Yet a Vaughan of a new era in music, and hailed him self Wllllanis cut lines. Not that I am bracketing and his theories . a De or many arri t Falla a Prokofieff e ld free us from what V n jazz With contemporary music. Far as °n who «“ disciples. It was mostly a Shostakovich it a cerehvi !j l would find from it. Jazz we then considered the heavy yoke attraction, for cult to is fun in the dance hall few will deny that m produce significan t music (where it belongs), of German romanticism. Undoubt- music is more of 311 atm but we can dis- the mind than It I? °sphere such as exists on pense edl he influenced music from 1900 the heart. 16 otber with it on the symphony plat- V Volumes have been side of the Atlantic at the writt Present form, except occasionally in the onward more than any other man of on the theory and time. application nf kneth shapecViono nf „ „ ; , „ „ a : his time.timp ThereTliprp is nonn composernomnnser livingliving* twelve-t-nma-cnni.twelve-tone-scale u:... of a piece of Amei'icana. But idiom as exempli- the debt he owes to Conti jazz—and here is the point—often who can deny fied in his work and that emporary to of hisIS> f , Music Looks exceedspvnonrin ..rvii — 4.i__ the subtle influence ofnf the music of lowerslnwprs—Berg,pvo- American in ugliness anything the Wellesz, Hindemith Compo this great Frenchman. (the latter modernists are capable of. So that by far the most r tl g^ed clus^ erefore forced to the con- whenever some of my non-musical and prolific of them all) fK l -but bat> short of cir- Stravinsky Startles the enm c+„ .. unforeseen friends trot out the time-worn fallacy no room here to ^ cumstances comment , s it of foment upon ’ ls to the composers of Musical World them.thpm Rnffipp it tm this o-,. 7 about “modern” music being ugly, Suffice it to say that g eat c Schoen t ountry that we rmustUSt look I reply hardly had the impact of De- berg’s music deals to ca that day after day they toler- But with the *'vy on i ? « " P ° tradltlon SI ®”' ate bussy’s genius made itself felt on linear contrapuntal f ant of much worse under the guise of devices .-!.ti ? contemnm-= Gr 3rt ' of tl6 popular music. contemporary musical art, than than with the harmonic indee Some tone clnst d are alre ‘J . v Russia of Debussy, e ’ S ady doln6 thls ve * y along comes—this time from Ravel, and Delius A A count Debussy the Father of Contemporary Music - x __ People often ask: “When did music gentle spirit, like the retiring De- v**—***, lg llKJnd “‘leglanceto^auegiance ho* w*upso™PSon, to n , Sessin fixed tonality;™!l nm ? n ogerS “fndand begin to bussy, but a vigorous objectivist who in other many ’. take on a ‘modern’ com- words others . atonal i To-day c ° is %fair way t0 plex?” I rocked the boat of new music so vio- Schoenberg i s mp answer with the aforemen- possi’blv u-! fishing ’its d ' groW tioned Picasso: lently as almost to capsize it in a most erudite living ° f crea Stmy The “There is no past or teacher althnnoi! tive efWf - .. of which his creative the m Amenca dar future in music. If a piece of music series of tidal waves the like output is Pas t unfortunate^ueiy twen tv !?p ji y years isa* ofui tne cannot. ii vo n in,n„» v> * d npwr been known. Tidal wave moremoie than ever limited,limits mostiost rev , . uucone cannot live always in the present, it had never been rem -i 6 must Fire Bird”, (b) Pe So far I have tor things ln the his- not be considered at all. The (a) “The named onlv y of musieaf" , th°se can art of Beethoven, trouchka”, (c) “Le Sacre du Prin three men whose genius to this When 1 flrst of Scarlatti, of the w 0oi,mtry. “I* ‘ fob -adically m °St ln 1923 really iro great temps”, and many more which influenced the portant ’ musicians who lived in other lanvi.o conite. music 86 ° f “porai'y work was con- times, is not music of per- lowed. nusic since 1900.190n Twowo spicu ous the past; other out-out, bvy lts haps describe the emotion standing figures there absence. What little it is more alive to-day than it I wish I could remain. The wL ro- cons *st pale ever was.” So concession, of listening in those far-distant days mantic Strauss, immortal imitation M mostly of a that, as a tone nopt the first performance of the 1890’s, still fashions latest European let us refer to “contemporary” rather of 1911-1912 to the works in the snf6 h0Ut ° f than of these works. Their stunning origi- isolation of the Bavarian apy the least trace “modern” music. If by the word Alps. Hi indigenin US complete newnessneioness music continues to s older qualities. True, the “modern” theth P questionernnoct.innor refersrefer® totn ap nality,nalitv. vitality, and win friends scho ? anri ° f " type of left one gasping at the audacity of influence people—chiefly Dowell comPosers -Mac- music which presents out- other com Foote ~ . composer who, more than any of posers—and, so far " °onvers( Gilbert, Chadwick. wardly a greater complexity of idio- a as the mai Hadie- 4-1-.,., ^ V. Hill, Nevin matin i. ,7 „ 4-i,nn Viio predecessors,nroHpfossnrs hadiififi ripficddefied tradition portionnortion of it is cnnnpmo/fconcerned, ...m ~7*—hadad x,orDer,Herbert,s matic characteristics than does the his will nrnh' Produced'’:] into ably go on doing ® SOdnd on td jolted a complacent world so for hole and . music of, let the 18th century, and a long . us say, time' Worthy nf ’ dynamic in- The granite Sibelius, el ature for the or then I will name Debussy as the the realization that his equally fhestra, of f remote ' the J novations had come to stay. In what in his beloved Finland, 3n ‘ 1 examination as to their fitness to folk melody completely unexplored thereby protecting the public by native composers. It is not a ques- teach, unscrupulous charlatans. In tion of discovering newer tonal de- against the meantime it behooves all con- MUSIC vices for the full expression of the EASTMAN SCHOOL OF scientious men and women engaged American spirit—all music has virtu- teaching of fretted instru- ally impasse in this in the of arrived at an the ments to bring these matters to respect—but rather of infusing a new of the people in their re- spirit which will reflect the emotions attention of Rochester in this cam- The University great people. spective localities; and and characteristics of a Banjo- paign the American Guild of Howard Hanson, Director America is destined to be the scene Mandolinists and Guitarists may Raymond Wilson, Assistant Director of practically all creative activity ists, leading part. until after the war ends. Amer- well take a long Eastman School broadcasts of “Mile- RCA Victor has released eleven compo- will be responsible ican composers Music” sitions by American Composers record- Most stones in the History of for by far the major part of it. Orches- heard over NBC Network each ed by the Eastman-Rochester of it will be really significant. in War-Torn Musi: Saturday 12:00-12:30 P.M. E.S.T. tra, Dr. Howard Hanson, Conductor. Whether the public will develop a proportionately shrewd comprehen- Greece Eastman School Publications by members of the faculty include: place, to en- Page 274) sion of what is taking ( Continued from between good “Answers to Some Vocal Questions,” I Austin-Ball; able it to discriminate peasant women in the whether ritly. The Gleason; and bad, depends entirely on the road, tossed “Method of Organ Playing,” Harold illages, all along it can set aside certain preconceived carnages, Gustave Soderlund owers and laurel into the “Examples of Counterpoint,” seriously influ- ideas which to-day picture of the sturdy of Conducting,” Karl Van Hoesen; of his gives some “Handbook ence its musical judgment. One who have oggedness of the Greeks, “Modern Method for Double Bass,” Nelson Watson; the of these is the music al- most prevalent the world. Here was is mazed “Chorale Collections,” Elvera Wonderlicli. fallacy that all “modern” music Certainly mst up to the battle front. camouflaged behind a screen of tech- war cannot us proved to me that For further information address: the compre- of vital nicalities utterly beyond music and that music is other is op moiale H. LARSON, Secretary-Registrar hension of the layman. The in keeping up the ARTHUR whole nportance that American composers as a during war time. Eastman School of Music f a people are writing music equi- homes music incapable of the cultured Greek Rochester, New York that of their 4 does in the valent in significance to great a part as it hope lays as Educated European contemporaries. I homes in all lands. that both Stured music a that my readers will agree parents still consider with- meek is College of Fine Arts these prejudices are completely see that music study McCLANAHAN ecessecessitvy and RICHARD out foundation. villages, how- Syracuse University 0t Matthay Representative most of the Bachelor of Music seem to do TV . "t'he'men6 LfCgrCCbP(rrpP <; dancing. Nearly Two Summer Courses in New York . Master of Music SUBsingings ^bd laving . Course Training, Voice, laying, , instrument 1. June 16-Jiily 4—Morning Piano, Piano Teacher Daily classes, 10 to 12 A.M. Violin, Organ, Cello, Harp, Composition, Teacher or Salesman? Public School Music Evening Course 2. July 7-August 15— advantages of large University. Special 279) All the a ( Continued from Page Two and three classes a week dormitory, with 35 practice pianos for women 8 to 10 P.M. music students, 5 pipe organs hundred cents in value for every SUMMER SESSION-juiy? to Aug. 15 dollar The same siHssss" paid lessons. bulletin address for checkers. Each Course includes 12 lectures on For teachers who loes or Dean H. L. BUTLER rules should apply to Technic, 2 on Musical Expression, Playing conditions Room 3 5, College of Fine Arts are compelled by various Joyous Season and Criticism Classes. for A Syracuse, N. Y. to carry a stock of instruments Private lessons by appointment at any time the convenience of their pupils. “In -err from June 9th. of P “S coming Our main is that teach- he is a very For further particulars address contention commen here Six Weeks’ Summer Session ers should sight of the eason ts an dur- 806 Steinway Bldg., New York City lose 1941 . never ^ “ beginning July 7, . . Courses in fact instru- teid f enormous that the teaching of any It Easter, for T n ThenTh MUSIC0L0GY& HARMONY Lent. , and the SCHOOL OF MUSIC | ment is a responsible profession, ng where , SUMMER given - are . leading to degree of Bachelor of Music which they should have natural abil- easts The na SMITH 23 to August 3 h cos- Intensive graduate (leading to M.A. SCHOOL ofMUSIC ity of intensive nusic colorful | EMPLE and ' many years cifu and ;ree) and undergraduate courses T ^V 1526 Pine Sf. training; or selling ives, in de ballet COLLEGE Theory and Composition, and the selection a corps Philo., I UNIVERSITY Literature, Musical Pedagogy, and Prac- look 1 The sical of considered umes, yusides. violin, viola, cello, organ, instruments should be tical Music—piano, on ht College staff supple- °hly service to their lerforming boats brig voice, ensemble. Smith MUSIC as additional “ specialists in certain fields. Academic SUMMER COURSE pan girls of mented by ishermen ty in Music Pedagogy. Coeduca- Presentations are Joyous Patrons. Thhe pret credit, certificate Surprises B^te - for n Bulletin'. Parents for whom the ;0 l°rs mt tional. 1. Five Courses, Chicago, July 7 to 19 of children Hall, Northampton, Mass. in- WHson T. Moog, Director. II Sage 2. Free Short Course, New York City Purchase is , i. of an instrument TiJ^r/whilethey-n^mensit course, seven subjects con- tended should by all means first Special c rhythm WANTED: A REPRESENTATIVE t'Z inging, piai s ult in a world is born a reliable teacher, who is rywher^'TTthe TRAIN CHILDREN’S VOICES 1 "" EFFA ELLIS PERFIElD Position in the High Grade Work— Excellent Remunr—' to give his advice WEIGESTEB. 160 W. 73rd St.. New York 103 East 86th Sf. New York City igain. the Greek LOUISE selection instrument . cess of r of the proper 1 — ama the =_ JUILLIARD SCHOOL OF MUSIC *nd one Just as a “The f“ngagements with of the right size. Jtst a m 5 national en- lf or three quarter sized violin is irmy ? raised ERNEST HUTCHESON, President 1 point- This selected one for a tail* bursting as the proper to the£ the dd .husiasm e£fect upon six to old, so should ^ ten years to hav a great INSTITUTE OF MUSICAL ART guit selected s bound We hear ar of similar size be " m A. WEDGE, Dean fo 3-reece of t0 heroism and GEORGE children S of the of these ages, 4lin‘heP Teekmen,but lit- s a bes vocal instrumental instruction. Classes in Theory, Com- v successful teacher is off1tlie; G have Individual and ~ turdiness h0 aiso Wn r6 all branches of music education. by the u ils wh0 have ?“ Jomen,wh position, and ceiv . P P ho«tthe # £am ed pros- a degrees in instruction from him, a of Courses leading to diploma and B. S. and M. S. instru- r,Pf>t Spartan bl°° women lVe would bout the departments. (- applicant lessons singing, and public school music for Jreek song Turks had de- mental, to and after meet some of them who, man m Catalog on request. hea^u 6 3ouli aand every em sincerely h0 vrU*5“ their play - We ? the with that «r the itroyed chain Room 122, 120 Claremont Avenue, New York time will when all a^ong 0f a stat* • come mem, formed ^ ^ b ipk 111 the laws to comnL union will pass mre Page 238. heensing teach- * Znnmued on er s of all music 283 ’ Squiring them to pass rigid r The Minuet Gf WL (j. JUU “Oh, a lovely minuet!” whispered “That’s fine," said Sue. “What Carol to Sue, sitting in their seats about mentioning at the some famous movies, as a group in colonial minuets?” costumes appeared on the screen. “Of course; I forgot said After the movie was over that,” the girls Carol, raising her began to talk about eyebrows. the minuet. “I Begin wonder where with the Minuet from ‘Don and when the minuet Juan’ by Mozart,” suggested Sue. began, said Carol. “I have no idea ” But Haydn should come before answered Sue, “but I know I have Mozart,” said learned several.” Carol, “for he had minuets in his symphonies.” Let’s stop in at the library and I suppose look it up,” suggested we should really begin Carol. with Bach, “All right,” agreed Sue, because he wrote minu- “and then ets too.” one of us can “And don’t skip Beetho- read something about vens it at the next club Minuet in G,” said Carol; meeting.” who’s After reading next?” and writing for an Aeolian Harp hour, this was the result: The Minuet “The minuet Qert,•uJe QreUJJ WJL originated in the French province Minuet of Poitou in the in G, Beethoven middle of the Betty had just started a new sub- it out on the porch and hung it up, seventeenth century Boccherini’s Celebrated Minuet Its name is derived ana Schubert’s ject in school, Greek Mythology, and and the breeze blew through the from menu Minuet in B minor. meaning small, as the e *nber she loved the interesting stories it strings. steps of the ifc because it . I heard on ^ dance are small and thp?the radio contained. At the dinner table she How surprised Betty was. “D£ddy,” mincing, its dis last night.” tinguishing characteristic ClOSe was telling her parents about Aeolus, she exclaimed, “it is making music. is a slow ski^ the list with Paderew- God of the Winds. What do you call it?” a L’Antique. Then we canan asko for “That just reminds me,” said her “It is an Aeolian Harp,” he ex- more to add to the list at the father, “of something I made when plained; “and it is called for Aeolus, club meeting.” Minuet in G. Bach 6 I was in school. Maybe I can find it. of the Winds, because the wind, yet ’” said God a mi!? ! Carol, “let’s have I' think like it, sets the strings stately grace. Many people G you will it, if I can.” blowing through think it program and have every- came from England, bodvt>ody piar,i After dinner he went up to the in vibration, and they make this and it is often y a minuet.” spoken of as an attic to an old trunk where he kept pleasing little musical murmur. Take English dance Said Sue; but Beptvwf’" “PH Play the week, and this is because it became ei some of his old mementos, and there it to school with you next a great Minuet in G because I favorite in know H \ it class; they will find England in the 3 was—a little sound box with show it to your eight ^' 1 Played 14 at thC eenth century and was last recitah” strings stretched across it. He took it interesting, too.” */«-. well suited to the polished formal customs of English life at that time, in our country it is Musical Curlicues identified with Colonial times, powdered wigs and lace ”taUe ‘ ruffles " G ' Pade'6W S ki WcJton , Bu BeJal “As a dance, it has '•TV gone out of 11 6 afe WOrkins 011 a And are you sure you know quite well practical use, but as a musical form duet'Tow ^ Mlnuet 1 » E-flat by g**- Exactly what .they mean to tell? it is still popular, it was used Mozart We'll? CV> /Np •% X bv haVe them on the prff' Bach, Handel, Haydn and Mozart gram, tom” and reached its full In music .all the curlicues development 6 Can A with Beethoven. °f flnd 50me pictures And straight special use. It is written in people J lines have a X three Clng Mil™ets, ‘00” four time and usually “It consists W«I , of two be l 6 ° periods of eight °f the £ the best meetings measures each, fol- season” Matching Partners Game lowed by a second subject of 1 think a it , more +t0 lyric character. The second s «e. And ' °’ answered subject is it w as Cj,'( l ? Qertrnde U9 WJL often called the trio, because in the drawing an- Prepare beforehand as many slips ask them, and those olden days, if the minuet was played each of paper with musical questions writ- swers will tell them, matching by the orchestra, three instruments inr question. ten on them as there are to be play- answer with its proper played the trio part.” and answer are ers; and on an equal number of When the question “I never heard that about a trio two players slips write the answers. Shake them correctly matched, these before,” interrupted Sue. the next game in a box and have each player draw become partners for “Quiet,” said Carol, as she con- minuET one out. Those drawing questions will or for refreshments. tinued to whisper her essay to Sue. “Considered as a dance form in musical art, the minuet ????]How Old Are You???? must con- form to the general about this, too, in case they do not character of the Be sure to notice the change of age dance itself, yet it may also express limits announced for The Junior notice it. and any emotion or thought Etude month. So now, get out your pencils connected Contests this the dance get ready to enter the contests this with or the time and Class A will henceforth be from especially those of you who scene. It has changed a good deal age fifteen to eighteen. month, have not been eligible before, on ac- with the passing of years, reflecting Class B will be from age twelve to limit. Remember, eight- the times in which it was produced fifteen, and Class C will be under count of age limit now, instead of as well as the personality of twelve years of age een is the top the composer.” And be sure to tell your friends sixteen. 284 the etude . E ” ! : : The Junior Etude will Glass A, fifteen Puzzle You Pronounce It? to eight- Umbrella How Do award three worth while of Junior Etude een years age ; Qass By Stella HI. Hadden of speak- prizes each for the You know there are many ways month B, twelve to fifteen ; Qass Each spoke of the umbrella is a nine- ing the English language, some of which most interesting and C, under twelve years. letter word, and around the rim is are good, and some not so good. original stories or essays Names of all of the prize are many on a given subject, and Contest winners, together with also a nine -letter word. Answers In the study of music there frequently used, that are not often for correct answers to their contributions, will must give all words. words all boys appear this used in other connections, and the music puzzles. Contest is open to and on page in a future issue of student should know and use the correct girls under eighteen years of age, whether The Etude. The thirty next best contribu- pronunciation of such words. a Junior Club member or not. Contestants tors will be given a rating of. honorable For instance, “accompanist.” A very are grouped according to age as follows mention. times out of ten (or simple word, but nine SUBJECT FOR THIS MONTH maybe ten times, or eleven) it is incor- rectly called “accompany-ist." And it is not Juniors only who make this mistake Mick is more fun to picuj, so L or duets ? “Pianist” should have the accent on the juries be received at the Junior Etude Office. 17X2 Chestnut Street. Philadelphia, Pa., second syllable. later than April 22nd. Winners will appear in the July issue. " t w Do you say legato and “staccato, or - CONTEST RULES - “legata” and “staccata”? The first is cor- 1. Contributions must contain not over one hundred and fifty wot 2. Name, ago and class (A, », or C) must appear in upper left < Who wrote To a IVild Rose, MacDowell, the upper right corner of your paper. If you need more tl sure to do this on each sheet. The first is correct. or “MicDowell”? 3. Write on one side of paper only and do not use a typewriter. “clarionet”? Do you say “clarinet” or 4. Do not have anyone copy your work for you. or schools arc requested to hold a preliminary contest and to submit r correct. (This is frequently 5. Clubs 1-2, books containing songs; 1-3, The first is six entries (two for each class). seniors as well as Entries which do not meet these requirements will not he eligible for prizes. sharps or flats indicating the key; mis-pronounced by 6. 1-4, one lady’s Juniors, too.) who sings under a mean to Do you say “piana,” when you window; 1-5, a popular wind-instru- Boys Music “piano”? and y . f ment of various sizes; 1-6, the piece with E rhym- (Prize winner in Class B) “Etude” is pronounced one the rhyming with How I enjoy my music period in school! chooses to sing or play; 1-7, with day, and “tude” g studying music and therefore I ap- term voice; 1-8, equally accented. I am meaning in subdued lude," the syllables preciate music and the composers of music. the name of one of Wagner’s operas; The boys’ band offers us boys a chance to go people 1-9, places and see things and meet in the term in England for a S “trom- every part of the country, besides offering a svllable do you accent in whole-note; 1-10, feathered song- Whfch" great deal of enjoyment. Boys who study should be equally jone”? The syllables music are happier than those who do not. sters; 2-10 is what 1-4 does. the same in “prog™”- It also makes them quicker thinkers and iccented : and . ? the hrs. more alert mentally than those who do not you say “tune" or 'toon Dbau Junior Do it. So therefore it is an advantage to Etude : study ine JUNIOR MUSIC CLUB Philippine Islands is n musical country, study music as well as a pleasure. do not Claremont, Iowa “y opinion. Wherever there are people, * Hyoifare going to a “musicale" Louis Bonelli (Age 12), there is music. We have many musical instru- Washington aents, though of course the common ones are Boys and p a no ilUl1 violin. famous band is “ 'about “Prelude" ? Music h , .! . Our most And’” -iat Mippine this pro (Prize in Constabulary Hand. I think prelood . winner Class C) mud went Frau- 'nre'-lude.” “prel'-ude, to the Worlds Fair at San choose from b Sun- ? Lots to Boys have always enjoyed music, especially «t I am not sure. We hear every ’ or “prav-lood" wy on ood correct. when it Is snappy and peppy. We open our the radio the Luneta Hand. is cons.dered but “prelude" club meeting with a peppy song. ?ur school, music forms an important “re nn'at„f prommc.at.on. of °ur our school . carefully for Oh. we like to play piano. ! program, and winter , last in it. practice from day an a cantata. Every girl took part We hard to day Earned Beethoven's Contra Dance front Because we like to learn to play tude, it. hut iff® and at lirst I did not like The piano. .,®9 !t is Played I like it very r with expression Have you ever stopped to think that m 1 1 1 '. a"' but soon Hon,! studying piano now. January nearly all the great composers were men? t0 aLll THIS MONTH This THE COVER FOR — Many other outstanding works, includ- month The Etude has adapted an H. ing cantatas, anthems, carols, vocal Armstrong Roberts’ photograph of mis- solos, and organ solos are listed in sion bells to an Easter dawn cover. Presser’s Lenten and Easter Music Folder Many educators are very partial toward (P-1). Your request for a Free copy will anything that helps them to guide the receive immediate attention. youth under their direction to analyze things and to give their imaginations LET S some play. STAY WELL ! —Songs of Good Health In analyzing this cover “the morn’s for School and Home, by Lysbcth Boyd roseate hues” in the sky indicate the Boric and Ada Richter—No one really likes to dawn of a new day. The scroll showing be sick. It’s disagreeable, and so is a portion of a favorite Easter hymn re- most of the medicine; nor is it always easy minds us of the dawn of the first Easter to pay the doctor bills. Is it any day on which came the Resurrection, wonder, then, that our universal resolve, with its great and significant message uttered or unspoken, is “Let’s stay well!"? to all mankind for ages following; and This new and interesting book, in easy what could be a better completing song form, gives health suggestions so thought than the mission bells which simple and practical that they appeal instantly remind us that throughout the world not only to young but to old as there are Christian disciples devoting well. No doubt these same suggestions mission of spreading abound their lives to the in many books, but it is human nature the story of the Saviour. to feel the strength of the appeal better when they are presented in a SUGGESTIONS FOR SPRING—Last-minute novel form. suggestions be welcomed by music ing materials will The may of any specified type Co., and the John Church Co. catalogs practical philosophy of Lysbeth supervisors and instrumental teachers be sent on request and our experienced may be Boyd Borie examined in your own home has never shown to better who still need material for the numerous music clerks will be happy to assist you without obligation advantage beyond the cost of than in these whimsical lyrics, musicales scheduled for the near future. in making a selection. Catalogs and de- postage. Once a choice given extra is made, the de- strength and interest through works in several of the scriptive lists will be forwarded on re- sired number of the clever Including a few copies of each number musical settings by Ada Rich- various classifications used for com- quest. will come forward ter. Mrs. upon receipt of the Borie’s book, Poems for Peter, programs, Spring festivals, “Presser’s” is also the place for the definite order, is wen mencement and the examination known, as are Ada Richter’s books student recitals, etc., this list is repre- musical awards and gifts you will be copies may be returned oi children’s for credit songs, a Child’s Journey, sentative of what is available in the needing. Medallions, pins, pendants, For the mixed choir oems for of average’ abilitv Peter, also her numerous catalogs of the Theodore Presser Co., plaques, busts, pictures, and musical di- we can recommend 1 an° Mrs. R. r. Forman’s compositions and books for young available from this source. lovely Oliver Ditson Co., and The John Church plomas are In Remembrance (Catalog No students. Co. The jewelry in various metals, including 21453) (5c), from her cantata, “Christ’s foUowing song titles suggest 1 habits, rpm which we ought always to CHORUS ember; Sunshine Unison Line; Just Soapos- $ .10 Tha7lk 20276 Fealty Song D. Spooner You’ Mrs- Cow!; Nibble = ^s^lcfucui ce J^i f l iication Mii’™e of Offers Mouse; Xtrasize; Sleep-a-lot 2 Part Treble Voices T„™ UcKoeen -12 Tooth 35020 Recessional Reginald ’ Brush Drill; Chew Chew 10 APRIL 1941 Trn i n> OD13542 O Music! Alfred Wooler Bresh Air in Wilson -12 m, Your Tires!; Sneezy OD13561 Daybreak G. F. 6 A9ain! >' Hey! and ntwf ?, Back Up!; 3 Part Treble Voices All of the books in this list are in preparation for f 0st of .12 tbe fourteen songs are OD12542 Merry June— Vinccnt-H illon . . short f, publication. The low Advance Offer Cash Prices ap- OD14889 A Song of Spring lixissell Veraes san e Delivery mider the Hancock Miles -15 ply only to orders placed NOW. (postpaid) melody fine *5? ! > Tbe range of the songs suits 35077 Invocation to Life C. G. Spross .15 will be made when the books are published. Paragraphs the i,,,, f' Life Be Music— 6 Voice 3510.' Let All My describing each publication follow on these pages. ’ while an of the piano if088 -IS accoml? C. G. S in ents are very Clever 35019 Recessional Reginald DeKoccn .15 drawing l simple. Cathedral— Let’s Stay °f youthful 35038 The Green Welll-Children’s Songs, tlie appeal illustrate Hahn 15 book Carl Borie and Richter 35036 Maytime Clara Ross Ricci.... .15 - My Piano Book . . WeU! 20133 Leafy June Is Her.- in Beauty Richter leas^? wiU be ready for re- C -S. Hosmer 12 Once-Upon-a-Time Stories of the Great 11 y date ’ We suggest tliat Masters— Easy Piano Collection you place vmf Men’s Voices (TTBB) order now for single Robinson copies . 21377 The New Day-’Aeckwcr-Endera .15 in der to avail of the OD 7873 To Thee. O Country !— low advnnn yourself Julius Eichberg 12 of 1° publication cash price 50 cents ° ’ P stpaid> to be soon Mixed Voices as printed sent as OD 4210 Invitation (SAB) Morning — priced as low as 15c; the plaques, Words from the Cross"; Rob George A Veazie .10 gold, is Roy Peerv’s are priced from 35c Cross of Sorrow (Catalog 10834 Alma Mater (May be sung in busts, and medallions No. D15045) R unison or 2 parts) — and all (10c), adapted to a NSCR1PT,ON to $4.00. Complete descriptions fine melody by ITE S OF favor- J. W. Bishoff .06 si ^mT[Vs p0r free “Musical belius; and Lawrence /,ian0 *.,..1- 20258 Anthem to Spring prices are included in the Keating’s spirited n. a„n ’ ** !!one’of tU William Baines .12 Novelties” catalog, which may be Sing Alleluias! (Catalog No. 21455) m°st consistent and Jewelry (15C ) steady 10725 A Song of Spring 1(. M. Stulls .15 demandsdpiro,^™ requesting a copy of cata- The two-part choir will upon our 138 Come to the Gay Feast of Song had by simply encounter no Mail Order problems in Three Easter “ Department R. E. DcRecf log V-15. Carols (Bells is for piano 35334 I Am Music C. G. Spross of Easter, Glorious Easter, transcriptions OD14702 Morning Hymn— and Easter of sacred Morn ) by Mrs. songs George IJenschel .12 LENTEN AND EASTER MUSIC—With the Forman (Catalog No especially adapted OD14722 A Song of Spring (8 part madri- at hand and Easter 21139) (12c); Hallelujah! Sing to to Church gal, a cappella) — final days of Lent Jesus and Sunday .25 has come when by Lcuise E. Stairs (Catalog School of Frances McCollin close upon us, the time No. 21284) needs. It is whose plans are (10c); and Nature’s Eastertide by course required such Plays for Recitals the church musician, Wil- that and Sketches liam Baines (Catalog No. In the Candy Shop (Dialog, still incomplete, must 21137) (12c) arrangements be pianistic songs, a recitation, a piano both quickly and Three distinguished vocal solos enough dance) — act are H to hold the inter- solo, a duet, and a Alexander Matthews’ est Hg Mildred Adair .60 wisely. To these mu- masterly adapta- of the congregation Birds of All Feathers (Music for do tion of Sibelius’ beloved and sicians especially ‘’Finlandia” not at the same time be piano, piano ensemble, voice, so elahm-Q * that it is theme in O Morn of Beauty violin and toy symphony with we suggest (50c), for the usually dazzling virtuoso transcrint? dances, dialog and a musical too late. A High Voice; Songs of Joy by 4 not yet William ,™' “ Was wltl1 UWS reading) --Bg Mildred Adair. .60 special or a brief Hodson, for High Voice needs and ! Musical Playlets for Young post card (Catalog No that ^ 1 equu*ements in mind 27101) (60c Mr. ciar (Sketches based on inci- describing your ) ; and Charles Gilbert nCe Folks note Spross’ series K°hlmann this of ten fa- of new Q made dents in the lives needs and addressed fervent Alleluia! (Catalog Nos. 30677 mous composers) — and man’s 15 ’ This gentle- .60 30678) for High and success Bu Janes Francis Cooke, Theodore Presser Co., Philadel- Low Voices, respec- taTn®™ ' to the “oned, ana fleW ls unc|Ue6 bring an immediate re- tively, (50c) again^n Band phia. Pa., will pletely ‘he r6SUlt iS C Symphonic Order De- The organist will find real gratifying March Carillon. our justly famous joy in ’ °T 3.00 sponse from his tried Some twenty of the Band—By Howard Hanson. . anthems, portion of the Easter service and , partment. There are many easy with J. Se- e Specif ,” included ’ solos, and easy-to- bastian Matthews’ Christe vafue Orchestra not-too-difficult vocal Redemptor these S in the fact that Grand Processional at Avignon, <50c>: William Hodson excellent tvo play organ works which can be very ade- ’s Easter Dawn anscri Full Orchestra adapted to hnm Ptlons are equally Francis Cooke 2.00 prepared within a short time. (Catalog No. 26804) (40c); and Cyrus 6 B ii James quately S. difficulty &nd Caching uses. In from the Mallard’s Easter Recessional thev . Any of these numbers, chosen (Catalog three anse grades Any of these may be examined “On and four between Presser Co., the Oliver Ditson No. 26539) (40c). a land Approval.” Additional program or teach- Theodore the contents °m glance through Al>\ ERTISEM ENT t reveals such favorite 286 the etude — — — M: r titles as Saviour, Like a Shepherd Lead thoroughly revised and greatly enlarged, not quite ready for the standard first see the great and noble in the triumph of Us; Sweet Hour of Prayer; Sun of My and the publishing rights taken over grade method. perseverance in the face of physical Soul; Onward, Christian Soldiers; I Love by the Theodore Presser Co. Games of This book starts with five finger posi- weakness. This booklet will be published tion work followed by lessons which in the same manner as the above-men- to Tell the Story; Day is Dying in the doubtful value and waning interest have ad- West; The Promised Land, and My Jesus, been eliminated, their place being filled vance very easily and slowly to the next tioned Foster booklet and the previously- of progress. published numbers in series. Price, I Love Thee. with an abundance of new and worth- step the con- Some rhythmic difficulties peculiar to 20 cents. With sincere pride we offer this volume while matter. All ages, climates, and considera- the grade have been overcome by the on our pre-publication lists. Single copies ditions have been given due over use of familiar melodies which always may be ordered at the advance of pub- tion. In short, the new edition, now CHANGE OF ADDRESS—Where the ad- standard help to smooth the way when some try- dress of is changed, lication cash price of 40 cents, postpaid. 400 pages, should become the a subscriber we dances, and ing rhythmic figures are first encoun- notified least four in Copyright restrictions limit the sale of authority on school games, should be at weeks tered. advance of the change, giving both old this album to the U. S. A. and Its pos- kindred activities. Nine short studies are included at the sessions. A few of the different subjects and and new addresses. Notification at the classifications follow: Games, contests, end of the book, with the necessary in- post office is for first class mail only. games and dances, stunts, mimetic structions as to just where they are to Magazines are not forwarded and if not THE song ONCE-UPON-A-TIME STORIES OF games, track and field events, rhythmic be introduced. deliverable at the first address given, are Pi- pieces commemorating all GREAT MUSIC MASTERS, For Young activities, achievement standards, dem- Attractive destroyed. anists, by Grace Elizabeth Robinson—In de- onstration activities, also a pageant with of the important holidays from Septem- Please advise promptly of any address scribing would empha- staging, ber on, have been included as a regular changes so there will be no interruption this new work, we full instructions as to content, es- of the lessons. in service. size the fact that it is costumes, and equipment. part sentially a book of easy Along with the dances are suggestions A dictionary, covering all of the mu- with records sical terms and symbols used in the FRAUD AGENTS ARE WORKING—The an- grade piano music, for the music or phonograph about music book, has been included: also a quiz, nual crop of complaints is now coming fascinating stories most suitable, in many cases the It will help to recall any of the in from music lovers who have paid out the selections included. itself being printed in the book. which important fundamentals which may have their good money for The Etude at bar- is not biographical in the Finally, a selected bibliography is given the pupil. gain rates. With few exceptions, do not sense that it contains his- covering national team games and sports. escaped that Single copies of this work be accept a special offer from a stranger and torical dates and facts. The book is thoroughly indexed so may of ordered in advance of publication at the pay no money to any one unless you are Rather, it is a book any subject can be quickly located. special cash price of 25 cents, postpaid. willing to assume the responsibility of piecestfor the young piano student to The advance of publication special cash post- loss. Representatives of The Etude carry play, with interest in the pieces intensi- price of Games and Dances is $2.00, ADVANCE OF PUBLICATION OFFERS reference copy the official receipt of the Theodore fied by the story which introduces each paid, for which a single WITHDRAWN—Music educators, espe- of printed. Presser Co. but if in doubt, take the name piece. An added feature are portraits will be mailed when cially those having in charge the instruc- and address of the agent, send the money the composers and illustrations from the tion of pupils of the primary ages, junior- to us and we will give him credit for his stories of their lives. MASTERS DUET BOOK. For the music club counselors and thousands of CLASSIC if any is due him. twelve commission Help us A chapter is devoted to each of Leopold Beer—Excellent prog- mothers who delight in supervising the Piano, by J. to protect you from loss. thirty-six selec- preparation of classic masters, and the ress is being made in the home study of their offspring, are ac- tions are as follows not be long before from these composers this work and it will quainted with the celebrated series of SECURE FINE MERCHANDISE BY TAKING March, and will re- Beethoven Pastoral, Turkish advance subscribers Thomas Tapper’s entitled, The Child’s SUBSCRIPTIONS FOR THE ETUDE—Many a short the Moonlight Son- their copies. Book of Great Musicians. The sev- excerpt from ceive Own of our musical friends obtain splendid, ata. Music, Intermezzo, the time the piano enteen previously published booklets in Handel—Wafer By serviceable, useful as well as ornamental and Blacksmith. Bach—My reaches grades series have been used for years in The Jolly student the articles by securing subscriptions to The and Pol- four he is ready and educational institutions. Heart Ever Faithful, Minuet, three and many homes Etude Music Magazine. Each subscription a Sonata, serious study than simply-told stories, the combination onaise. Mozart Theme from for more The obtained counts as one point credit Andante rhythmic and charac- work and play element and, not Minuet, and Alleluia! Haydn the of the toward any merchandise listed in our cat- and compositions that least, the opportunity afforded young- from the “Surprise” Symphony teristic the alog. The following are a few selected ar- Schubert teachers find neces- sters for original work, all have con- Theme from a “String Quartet.” many ticles which may be obtained by securing Hedge Roses, beginners. If the young tributed to the popularity of these book- —Hark! Hark! the Lark!, sarv to use with subscriptions to The Etude, new or re- from rhythm has not been lets. All of the greatest composers are Marche Militaire, and Intermezzo student's sense of newal: Nocturne, at this stage of represented by individual booklets in- “Rosamunde.” Mendelssohn — any too well developed Carving Set: This high quality carving Piece. Chopin duets, as in the earlier cluding our own American composer- Consolation, and Children’s his^progress, piano set, with genuine matched stag handles, Wish, assistance. genius, Edward MacDowell. —Valse Brillante, The Maiden’s grades, will prove of makes an excellent gift. The knife has and Book unites the the past few months we have had Theme from the “Minute” Waltz, Classic Masters Duet For an 8" finely tempered, stainless steel ” Soldiers practice that is found preparation booklets in this series cov- "Butterfly Etude. Schumann— value of rhythmic in blade. The fork also is made of stainless Hunting earlier grades con- two noted American composers. Our March, The Happy Farmer, and L duet books in the ering steel with guard attached. Stag handles Favorite a lighter character Publishing Department announces that Song. Brahms Cradle Song, taining materials of are fitted with nickel silver caps. Each “Symphony No. musicianship that are now ready for distribution to Waltz, and Theme from with the training in these set is packed in an individual display box. March from Lo- only by acquaintance advance subscribers and accordingly the for securing eight 1” Wagner—Wedding Tan be acquired Your reward subscrip- Chorus from the great music mas- special cash prices at which they have hengrin” and Pilgrims’ w“h the works of tions. -Minuetto, Anvil been offered are withdrawn. Copies may Tray: The graceful design Verdi t6 Bread of this “amhauser” interesting your local music dealer and addition to selecting be obtained from Bread Tray will appeal to many—will add Caoras from "Trovatore" » in Cou- tian^ Handel, Mozart or from the publisher. note of charm to any table. It is V&" “Aida”. All are newly compositions of a 13 March from othel writ- experienced Scarlatti, Rameau and long and 7 Vi" wide. Your reward for se- cribed by arrangers perin, Beei has Stephen Collins Foster, in the Child’s classic school, Mr. curing three subscriptions. needs limitations of young P« ers of the Book Great Musicians Series by and of these duets interesting Own of Leather Wallet: This fine leather reference copies contrived to make simple language, Wal- Teachers desiring the Secondo Thomas Tapper tells in place the parts, the Primo and let is obtainable either with or without this are urged to in both child can understand, the fas- unusual book during the cunent that any a zipper fastener and includes an at the 1 There is still time genius open orders now for a single copy copies cinating story of this unassuming price, place orders for single face pocket for license cards, a coin advance publication cash month to contributed so much to American of at the special advance who pocket, another pocket for calling cards cents, o publication literature. Pictures of Foster postpaid. “S folk-song etc. Your choice of black or 35 cents, postpaid. brown for cash price, and of scenes and events that were and securing one subscription. GA Exercise in his life are included in a MES AND DANCES, For noteworthy Utility Dish: A novel design Dish which Stfchcr and Ada Rid, ! less blare only worthy of a barroom, in War-Torn Gershwin, and Harl McDonald^—in Music turn the dial to something better.' the latter part. There is almost always Greece something Aside from the broadcasts of the better. Moreover, if you hear a fine NBC-Symphony ( Continued from Page 283) Orchestra and the old tune perverted by jazz, flext write to Metropolitan Opera, Saturday has precipice where they dropped off, one your radio station and state that you two programs from musical schools by one, rather than surrender to the do not like it, and do not want it. that are well worth hearing. The enemy. The radio station values your good Eastman School of a will; Music has “I have never been in a country your personal favor is radio’s broadcast from 12:00 to 12:30 P.M., where the urge for Democracy greatest business asset. and WontL Anything and the Curtis Institute of Music has is that affects commercial Freedom so strong, and I am con- interest is of a broadcast from concern 5:30 to 6:00 P.M. vinced that Democracy in Greece to the station. (both EST) can never be put down. Many of the The Etude audience has great and finest folksongs of Greece have come THE ETUDE SALUTES wide influence when aroused. Not only out of its age-old struggles for liberty. THE JOY OF MAY should you write, yourself, but These are taught you should encourage all your Schubert Again Enters to the Greeks from Out of the night of winter springs the family babyhood. Most of them are handed your friends and your associates glorious month of May as a reminder to the from write. It takes only a penny Films down father to son. These songs that, after all struggle and darkness, postal ( Continued defy all enemies, The important thing is to do it from Page 228) like the songs of the beauty, peace and joy must surely fol- now Musical people ment of Klephts who chant: ‘I have a right to both; a real achievement have no low. Therefore, The Etude for May is a de- mand good music Some feathers in my pillow. My head rests joyous from the radio. seven years ago, produce; issue. ou upon the nervous arm holding my When the broadcasters hear the Brock aroused considerabli shofars blowing, they consternation weapon.’ When liberty is again re- will remember in the hearts of hi; the walls of Jericho usmess stored to Europe, let us all look for- and what hap- chiefs by introducing nev ward to pened to them. Blow! Joshua! mes and new visiting marvelous Greece.” Blow' . ideas in his picture ™ ying Down to Rio.” Specifically e brought in an unknown younf gn from Blow! Joshua! Blow! Radio’s Distinctive Independence, Missouri and a lad {.Continued from Page 221) from Omaha who put.taf dancing Musical Features on a dramatic level. In du< is absurd. The idea that, unless music time, the unknown girl turned out tc is eternally spasmodic, it is ‘‘out of {Continued from Page 229) 1' H °sers, the tap-dancinf date”, is ridiculous. The need for vmnliJA' heard on Tuesdays over the Urned out t0 be poise and repose was never greater NBC net- ^a,J Fred Astaire works in song ana the consternation than recitals which offer turned out tc it is now, and a part of the a mis pleasant interludes for the musical _ take. Since which time music teacher’s obligation at this nonT Brock's minded. Glen Darwin, baritone, innovations were heard strenuous period in history is sings world ’ Bre over the Blue network from ter confldence. RKO Radio’s to acquaint children with the endur- 12 to ''Titi ?. 12:15 P.M., and Ruth Peters, soprano et in Argentina" brings ing charm of real classics. fnrfhL *i over the Red network from Ck inspirations the Take, 1-00 tn screen to for instance, the simple 1:15 P.M. (EST). -j” " Tk°Th“ tlme, , Mr. Brock is star- Minuet in G by Beethoven. Let the On Wednesdays nbmber from 1:00 to Ms 01 performers who are child play it or hear it and then call MAKE SURE OF YOUR SONG comrfP P.M. (EST) over the Red network 1Vely new to Hollywood emi- attention to the wonderful balance Frank La Forge, teacher of Lawrence nenc e M there has been recently some Maureen O’Hara, Elli- Tlbbett and many famous artists, gives divert- James of the work, the lack of any l’ unneces- a series of vocal "tips” are price- ing piano recitals by dd Ebsen that noted young- ’ Joseph Buloff (of sary notes, the sense of satisfaction less to singers. the’ w ? pianists. And then there is W rk Theater the pro- GuUd) ’ and it conveys, its splendidly rounded gram of the Sberto Vllavu° United ’ Sln States Navy Amertc gmg Star of South melodic curves. Call attention to its THE PLACE OF TECHNIC IN Band, directed by Lt. screen Charles Benter and radio. The fa'r mom « . permanent value—to the fact that it MUSIC STUDY on the Blue network ng-Writinf from 2-30 tn = team of Rich- was written ard RnJ over a century and one You have heard Robert Casadesus, the 3:00 P.M. (EST). SCrS and Horenz Hart have famous French virtuoso pianist, on the creatert t half ago and that it is played by in- On Thursdays (2:30 to new air. You have noted his fresh, clear, 3:00 Pm songs for the picture. finitely M more people to-day than clean technic. tells students EST) is heard another ° d - He how band concert ™yn Mayer is releasing this may be acquired in a very read- “Ziegfeld when it was written. Then play a for those who like them. ° 1 This ’ a eoiorful able Etude article. time song n, score and popular jazz piece of the present. it is the United States Marine Pr Bram Band furfher ' dedicated to the Make a prophesy to the child that in directed by William ^ F. Santelman. 3 *'' 011 of OUR FRIENDS, THE MUSIC it glorifierthvJ'tb the man wb0 one year’s piece will be is also heard on time the the Blue network AmeiiCan girl CRITICS offers - The story wholly Friday is the elimn forgotten. Make the analogy NBC Music Apprecia- SeS be hmd the scenes You will laugh when you read Sefior over a ifn J!? of cheap tinsel jewelry, a passing tion day (2:00 to 3:00 P.M., Gr ° f ye Jonas' keen, smart article upon the EST of product ars and a number fad Blue network) . This ’ and quick to tarnish, as con- critics, and you will be edified by his month Dr. Dam- renz zlegfeId s advice. The famous Spanish famous trasted with real gold, silver, dia- sound rosch is scheduled to conduct "Fontes °T?°The piano virtuoso knows from experience! two story nrusic, like the monds, rubies and sapphires which concerts on the fourth and the follow! he tim 25th Picture httu J es. Thus, the grow in value with age. Any reason- of April. The first broadcast is divided SS back I'm ROMANCE IN CHILE ing Rninh Ahcays Chas- MUSICAL — ! able child may be trained to like between Series A and B “Orchestral Adult pianists of limited Phan© Students of more ma- the attainments, or with lit- ture years, who have tle time to practice, here completed the first books Years “Grown-Up” Music Beginners Felt That an have a fine group of se- For of instruction and pieces, lections, including melo- Instrument Calling for Single Note Reading was Their Only. can get a lot of fun out dies known to them as of playing these num- and Chance to Enjoy Making Music. To-day, Through These Spe- radio “signatures” bers. There are arrange- movie “theme music.” Greater Advantages of the cially-Prepared Books, They Find the ments of folk songs and None of the arrange- Piano, From Which Melody, Rhythm, and Harmony May be ballads, gems from the ments requires more operas and overtures, technical proficiency a Single Performer, Are Opened to Them. Brought Forth by selections from the clas- than that acquired by sics, and pieces in light the pianist able to play rhythmic style. Piano Teachers Everywhere Are Enlarging Their grade three music. Pupil Lists In Using These Books. — CONTENTS — PBESSEB CO. Air, from Traviata Verdi Marche Pontificale Gounod THE0D0BE Barcarolle, from Oberon Weber Mazurka, Op. 17, No. 1 Chopin The Bat Strauss Military March Schubert Everything in Music Publications . . Gounod Beautiful Dreamer ._ Foster Nazareth Cavalry Ride, from Light Cavalry Suppe Norwegian Dance Grieg 1712 CHESTNUT STREET. PHILADELPHIA. PA. Ciribiribin Pestalozza On the Alma Tyrolean Folk Song Coronation March, from The On Wings of Song Mendelssohn Prophet Meyerbeer Peter, Go Ring Dem Bells. .. .Negro Spiritual Dance of the Hours, from Poeme Fibich La Gioconda Ponchielli Qui Vive Gan: Espana Waldtcufcl Sailing Marks Evening Prayer, from Hansel Selections, from Chimes of GROWN-UP BEGINNER’S BOOK and Gretel Humperdinck Normandy Planquette The Fair Maid of Serenade d’Amour Blon For the Piano Sorrento Neapolitan Folk Song Slavonic Dance No. 8 Dvorak Forget-Me-Not Macbeth Sounds from the Vienna Woods Strauss Gems, from The Mikado Sullivan Spanish Dance, No. 1 Moszkowski By WILLIAM M. FELTON Gypsy Song, from Carmen Bizet The Swallow Serradell Happy and Light of Heart, Tell Me, Mary, How to Woo Thee. .. .Hodson from -Bohemian Girl Balfe Theme, from Finlandia Sibelius In the Gloaming Harrison Two Guitars Russian Gypsy Melody Jeanie with the Light Brown Hair Foster Valse, Op. 70, No. 1 ..Chopin This helpful book for Everything in the book The Kerry Dance Molloy Valse Triste Sibelius Kiss Waltz Arditi Waltz, from Poet and Peasant Suppe adult beginners at the is designed for the adult The Loch Lomond Scottish Melody Waltz, from The Merry Widow Lehar will piano begins with the student—the music Love’s Old Sweet Song Molloy Waltz Motives, from Girofle-Girofla. . . .Lecocq rudiments, but quickly appeal to the adult in- March des Petits Pierrots Bose Were You There? Negro Spiritual Kowalski has the pupil playing in- telligence, the pieces Marche Hongroise teresting melodies while and exercises are ar- PRICE, ONE DOLLAR making rapid acquaint- ranged for playing by ance with fundamental fully-matured hands. technical problems. Key- This work also should board illustrations as- prove especially valu- MELODIES sist in correlating the able to “out of practice” notes of the printed pianists who wish to EVERYONE LOVES page with the keys of “brush-up” on funda- the piano. mentals. An Album of Piano Pieces for the Grown-Up Music Lover college Compiled and Arranged Here is a book of piano instruction material for grown-ups. high school age pupils and ot young men and women, that really leads towards a definite goal —not the digital dexterity and tne the virtuoso—but the ability to play the many fine compositions of intermediate grade, M. FELTON inten By WILLIAM playable arrangements of classic and standard compositions, that are available. While for explanations are so clear and easily understood that tne dinge use with a teacher, the With his rare genius for giving melodic gems piano of it. self-help student may get much assistance from the study settings “under the hands”, Mr. Felton has prepared over 50 numbers for this collection that will prove a grade PRICE, ONE DOLLAR real joy to those able to play third and fourth music. Favorite songs, operatic and orchestra selections, piano, violin, and organ numbers are all included. CONTENTS Chaminade The Little Brown Church in the Vale . . PROGRESSING PIANO STUDIES Air de Ballet .Pit18 Alleluia! Mozart Liebestraum (A Dream of Love) Liszt Student Arioso Handel The Lost Chord Sullivan For the Grown-Up Bridal Song, from Rustic Wedding Love’s Young Dream Irish Folk Song Symphony Goldmark March, from The Awakening of the FELTON Caro Nome, from Rigoletto Verdi Lion de Kontski By WILLIAM M. Cavatina, from Les Huguenots ... .Meyerbeer Mazurka, Op. 67, No. 2 Chopin Charming Marguerite French Folk Song Menuetto, from Serenade Mozart Piano Serenade F ea The Mill in the Forest Eilenberg A "Follow-Up" to Grown-Up Beginner's Book for the Chinese },) f Chorus of Angels Moment of Melody . .Arr. from Tschaikowsky Clayton’s Grand March Blake Morning Tyrolean Folk Song fair amount When the adult student has completed the first instruction book a La Clochette Beaulieu-Ghys My Normandy BPrat of playing are satisfied to rest content witn Come Where My Love Lies! Dreaming . .Foster Pavane Ravel ability has been acquired. But few e * , : r»_ I , . ....Brahms Prelude ---in G- Minor - Racli 'iianihoff this meagre accomplishment, then teachers are faced with the problem Cradle Song and Dance of Death Saint-Saens Procession of the Sardur . . . . Ippolitoff-lvanoff of supplying the proper study material. Dancing Marquise ...... Lemaxre The Return Marie Antoinette Traditional Hebrew Melody The Rose of Tralee Glover Here in this book etudes that have all the characteristics Eili, Eili! are gathered together Gavotte Gillet Selections from The Gondoliers Sullivan that employed in the authors Entr'acte appeal to adults; the same type of material Estrellita (Mexican Serenade) Ponce Serenade Drioo progressive Skaters Grown-Up Beginner’s Book. They have been carefully graded in Fifth Nocturne • .Lcybach The Waldteufel Jakobou ski Songs My Mother Taught Mo order, the fingering plainly marked and the editing has been most thorough. Gems, from Erminie Dvoreik Beethoven Spanish Dance. Op. 12. No. 4 . . . . under German Dance, No. 9 Moszhowski Teachers will be delighted with so comprehensive a course of studies Gypsy Dance de Sarasate Spring Song, Op. 74 Chopin one cover. Adult pupils will welcome the economy effected and will appreciate Hornpipe, from Water Music Handel Valse Bluette Drigo Negro Spiritual Valse Fantaisie Schubert the opportunity of perfecting their technique to a point where they can play It’s Me, O Lord Jesu, Joy of Man's Desiring (Chorale) . .Bach Voices of Spring Strauss the not-so-difficult Schumann, Mozart and Haydn Flowers, from Naila pieces of composers such as Joyful Serenade Gabriel-Marie Waltz of the Delibes Kern Seventeen . . . .Swedish Folk among the classic writers and Nevin, MacDowell, Engelmann, Cadman, Juliet’s Waltz, from Romeo and Juliet. Gounod When I Was Song Kjerulf William Tell (Finale from Overture) . .Rossini and others too numerous to mention among the moderns. Last Night PRICE, ONE DOLLAR PRICE, ONE DOLLAR 1 A Great Dollar's Worth PiAM© CLASSICS A VOLUME OF OVER 220 PAGES OF SUPERB MUSIC AND IT IS PUBLISHED BY OLIVER DITSON CO., WHICH MEANS THAT YOU GET THE BENEFIT OF THE SUPERIOR EDITINGS ON THESE NUMBERS AS MADE FOR THE DITSON CO., HIGHLY- FAVORED SHEET MUSIC EDITIONS OF THE BEST IN STANDARD AND CLASSICAL COMPOSITIONS—THESE EDITINGS ARE BY SUCH ESTEEMED MUSIC AUTHORITIES AS KARL BENKER, H. CLOUGH- LEIGHTER, WM. ARMS FISHER, PERCY GOETSCHIUS, RAFAEL JO- SEFFY, HEINRICH KIEHL, JOHN ORTH, ISIDOR PHILIPP, AUGUST SPANUTH, AND OTHERS. A 91/4 x 121/4 VOLUME—Sewed Binding with Black Cloth Just Read This Contents List and Note All Strip Rc-inforcing the back the Fine Numbers This Volume Carries for You Price, $1.00 ”••••' »•*•••' A la Bien-Aimce (To My Dearest) Scbuett Gipsy Rondo (Ungarisches Rondo) Haydn R.vina Second Mazurka Godard >'cra Aragonaise (From "Ballet du Cid”) . .Massenet Habanera . Cbabrier Pla Serenade Rachmaninoff At the Brook (Au Ruisseau) Kargano) Kamennoi-Ostrow Rubinstein P” 11' 1""' 11 ' Raclmmimtl Solfeggietto C.P. E. Bacb Ave Maria Bacb-Gounod "Xerxes") Handel Prelude, in A-flat Major Largo (From Cui Sparks Moszkoviski Arensky (Iitincelles) Capriccio, in A Minor (Peons) F-sharp Minor Debussy Prelude, in D-flat (The Raindrop) Mazurka, in Chopin Spinning Song (Song Without Words. Capriccio Brahms Paderewski Procession of the Menuet in G (A L’Antique) Sardar (From N°- 34) Mendelssohn Chaconne Durand Unsen "Caucasian Miihle) Sketches") . Turkish The Mill (Die . . .Ippolitoff-lvanolJ March (Alla Turca) Mozart Dream of Love (No. 3 from Minuet, in G Beethoven Romance, in E-Bat Valse. in A-flat Brahms "Liebestraume") Liszt Rubinstein ..Liadow Salut d ^alse The Music Box Amour (Love’s Greeting) Karganoft Erotik (Poeme Erotique) Grieg Flgar Chopin Valse Triste (From Evening Song (Abcndlied) Schumann Nocturne, in E-Bat the Drama Grieg Scherzo I, in "Kuolcma") Sibelius (Butterfly) B-Rat . Elise (Filr tflise) Beethoven Papillon , For Valse. Chaminade Scherzo or Capriccio, in C-sharp Minor Chopin Giguc (Danse Antique) Godard Pas Des Amphores in E Minor. .Mndelnob. Waltz in A Major Dvorak price PIANO CLASSICS Published Remember, only $1.00 is the for by OLIVER DITSON CO Have You Secured a BOOK A Novelty KINDERGARTEN for Cornet Solo Cornet Copy (or of RHYTHMS—SONGS no) With Piano — nostalgba GAMES— Accompaniment Price, ANNIi PIANO SOLO By DOROTHY BELL BRICCS $1.00 LAURIE A LA MODERNS by By CUYLER lot of material HERSHEY LEONARD ROBERT STOLZ This is a very attractive and useful for kindergarten age groups of children. There are (Wrote Famous Viennese Composer a dozen and one numbers for rhythm activities In Three-Quarter these "Two Hearts within the grasp of little children and may be , Dur- lha< k “ f-- the music for Deanna efforts. Then there W *jSo KW u7ri, ; Time”, utilized for first rhythm band L °.vK and '’“L'l- "Spring Parade , ^Ci'K hit which the children S bin’s film are numbers to the playing of ss '•n some 39 Parts operettas, across speedP j List stepping other successful activities, imodating highways, and PiaPiano"° many imitate animals. Others care for game selection* minaKPsakes^a r^ this 'excele xceilentC | nf or 5 e , solos 10 < C°" duc ’ trio,trio. Itt hashi* or°r splendidsnlendi. etc.) . . attractive little songs such been and then there are some pro Br -fn?" 1 l! Parti—$2.000 0 those compositions which the Goldman TrioffJS,^ no less than This is one of childhood musical txrra pans, playing of the as will add to the delights of Elsa ' Smitl'- Fr k everybody from the first ”' a "J Ned Mahoney “ each an un- 1 5 cents manuscript immediately ,dent, ^s a s efforts. Every number in this book has proved Its appealing qualities Solo with usual inspiration. its worth in use with children. Plano Accompaniment, describe but .there ts an Price 75 cents are difficult to r this com- ° With Piano undeniable charm to be found in Accompaniment, Price $1.25 motive based position with its bewitching colorful harmonies. on unusual intervals and has become The composer, who recently with musical productions in New affiliated one of and Hollywood, was for years York and conductors .Up i„ n ranking composers city of glorious musical In Vienna, the traditions. Pricc 60 cents piano SOLO - n r °’"°> ‘" d Oliver for V Ditson Arrangements ”?i . Co. 1712 , p£Press1 Piano, and Orchestra in „< Nostalgia CHESTNUT ST., A popular orchestra version l.nodman has been re- THEODORE PRESSER CO., Distributors as played by Benny PHILADELPHIA, PA. (Record #3559 1 1 corded by Columbia.