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

1-1-1952

Volume 70, Number 01 ( January 1952)Guy McCoy

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Recommended CitationMcCoy, Guy. "Volume 70, Number 01 ( January 1952)." , (1952). https://digitalcommons.gardner-webb.edu/etude/133

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Sir: Though I have boughtonly a few copies of your mage-aine, I think it is a very goodmeans of musical education.Every musician should providethemselves with the ETUDE asit gives valuable information. Iencourage you to continue yourgood work.

Renii BouchardManitoba, Canada

Sir: The people who haveseen fit to criticize the ETUDEfor its new forlllat merely arenot progressive enough to movewith the times. I have just re-newed my subscription for 1952,and consider the quality of thecontents of your magazine to bebetter than ever before! I aman avid collector of classicalrecordings and therefore wishthat your column ev'aluating thecurrent crop of recordings couldbe enlarged somewhat. Such awealth of recorded literaturefor all instruments is beingmade available currently by thevarious companies that the list-ings in your record columnmerely scratch the surface inthis connection. Otherwise, morepower to the ETUDE-I find itto be just swell of late!

Donglas MorganNew York, N. Y.

Sir: After reading the letterscriticising the new ETUDE forseveral months I finally had towrite myself. I think the maga-zine has made a remarkable im-provement. I used to hesitate toask my students to subscribe tothe ETUDE since the articleswere either too general or tootechnical for them. Moreoverthe ETUDE seemed to have norelationship to musical life inAmerica. .

Your columns, articles, andeven a good part of your musicnow have real life and vitality.Now, if only you would havethe courage to drop the salonmusic that sees its birth anddeath in each issue of theETUDE, you would really havea fine magazine.

Martha M. MattsonMankato, Minn.

ETUDE-JANUARY 1952

EDITOR

Sir: I like the ETUDE maga-zine very much because it offersthe musical-layman 01" for onewho plays the piano {or his ownamusement (like myself) aworthwhile magazine of musicand reading material. I like theQuestions and Answers andMaurice Dumesuil's articles.

John R. KellerYork. Penna.

"The Pupils Talk it Over"

Sir: After reading the articlein Nov. 1951 ETUDE, entitled"The Pupils Talk 1t Over," Iwant to tell you that 1 think itwas a very fine article. I thinkthat this s'ort of informal WorkShop recital would do a lot inhelping each pupil analyze hisgood and bad habits in playingthe piano or any instrument.

I always enjoy the articlesin ETUDE, as they always seemto be appropriate. Being an ac-cordion player and teacher, Iwould appreciate seeing a solofor accordion in E'TUDE.

Thank you for a fine musicmagazine.

Janet, MavisCalifornia

"It's Time to Pay Tribute"

Sir: I would like to thankyou for printing the article "It'sTime to Pay 'Tribute"-byMaurice Dumesnll in your No-vember issue. It was very en-couraging to me and also Ithink more people should uri-derstand what we music teach-ers are up against.

In my opinion, the ETUDE isa must for all piano teachers.

Joan StratfordCraoenhurst, Onto

"Let's Teach the Child liow toPractice"

Sir: In your article, "Let'sTeach the Child How to Prac-tice" (August 1951), the sug-gestions made are very valu-able, I think.

More articles like that shouldbe printed, for following thebasic fundamentals, such as sug-gested in your article, make forbetter plano playing. If the

(Continued on Page 3)

PHClTOGRAPH 1IY AClRIAtl SIEGIL

Rudolf Serkin at the Steinway

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For almost a century Stein way'ssuperb craftsmanship has been un-equaled by any other piano. Theinitial cost of the Steinway may behigher, but in terms of abidingvalues, it is the most economical ofpianos. For a free copy of our help-ful booklet, "How to Choose YourPiano," write to Steinway & Sons,Steinway Hall, 109 West 57th Street,New York 19, N.Y.

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ETUDE the 'lI..sic "u,gn~i"eJust Publisbed_

Excerpts from the, PUBLISHED MONTHLY, BY THEODORE PRESSERCO" PHILADELPHIA, PA.

Editoriol and Advertising Offices, Bryn Mowr, Po. "FLEDERMAUSJI \\

(The Bat)

by Johann Strauss

Founded l883 by THEODORE PRESSER Jame; Francis Cocke, E,litor Emeritu~(EtUtor. 1907-J9~9)

Guy McCoy, Managing Editor: Shirley C. Jefferis, Business Manager

George Hochberg. Music Editor •Harold Rerkley Nichola~ Slollirn.ky Elizabelh A. Ce.l

Kurl W. Ce!nk<·". ,\I":,<",,oIer l\f,·C.urdyGuy M.ier

Easy arrangementfOT the piano

byCONTENTSVal. 70 No, I JANUARY 1952

•·..:~\TVIlESM PAGEODERN HARP TECHNIQUE. . _ . . . . _Cnrl06 Sul:;etlo 9

THE FLEXIBLE STAFF.PIANIST _ .}lJ¥epJl Kah" "10THE JOYS OF SONATA PLAyING ZiIlQ Prrmae. aui 11THE LOST lUUSIC OF YESTERDA Y. . .••....... }r1111f"6 Fran i, Cook,. 12~EW IDEA IN MUSIC EDUCATION _.... • '" Kir/: PQlkitlJ( '13HY NOT WOMEN IN ORCHESTRAS? . _ ..•••......... Uayllll)IlI1 /'oiI:6 ]4.

GENTLE GIANT ••.•••••••••..••••.•...•.•.••••••••• Celia autHier' 16THE POWER OF CONCENTRATION . If- 'T . '.' "'7MUSICAL C P . . . . . . . . .. .-11'1 """an,,',o W"ltIQI' JP(Jotl..r)tl 18lUUSIC EDUCATION IN ELEMENTARY SCHOOLS .. n'lYlIIOtltl GI;>",I L;>lltlit'j( 19SO YOUR CHILD WON'T PRACTICE ..... , . . . C C 20TEACHING MVSICIANSHII'.· . .. rore : N~..lIRIGOLETTO . . . . . . . . . . . . FrOll!.- FrretlrrcJl 22

. . . . . . .. . . . . . . - . . . . . . . . . . . .. ~/ltbel Lyon 59

ADARICHTER

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I.":,·.t\ II T~' ":NTSLETtERS TO THE EDITOR. ............ _ ..:MUSICAL ODDITIES. . . . . ......•...... , ...NEW RECORDS. . . . . . . . . . . . . . . . . . . . . . . .•.. Nicol.,. IDliinuky

MUSIC LOVER'S BOO·KSHELF·.·· . . . • . . • • • • • • .. . .... C~or8e CmcQYIUJ

TEACHER'S ROUNDTABLE ....•••....•......... Thoma~ FaulknerQUESTIONS AND ANSWE~S: ~:............ . /IItturice DUItI/J."ilTHE FINE ART OF PLAYING OR~~'~ ·1;ED~i..S· nur/ Cehrl.:ell.VIOLINIST'S FORUi\'[ . . .. Ale.t(wdPr McClfrd:rADVENTURES OF A PI~'~O ·'~.£~C·HER·. . . . . . . 1lnro/d BerkleyORGAN QUESTIONS ~ - Guy MaierVIOLIN QUESTIONS:············· - ........••... - . Fret/f'rick J~MJlip.

JUNIOR ETUDE ..... ···················•·•······ - .. Harold Berl.-Je,.

~ORLD OF l\1USIC_.::::·.::::::::~~::~~·······,··EIi:."bel1l A. Gc.t

14(,

721232425265253s',("

BOSTON UNIVERSITYCollege of Musk

All Branchol of Musicand Music: Education

Dean Worren S. freeman

IUUSICCIlIssientl.fl CQJltcm,'IDrtIT)' Compo.itionsTango (Adios iUuchachoil) (fTom "Pianor" . f I

World's Favorite Dances") • nM 0 I IeA Song of India (Chansoll Ind~~~): : : : : ~: : ~: : .. - .. - . S,mtler •• Agn:rThe Magic Pool N. Rimsk)·-Kor6l,I.:O'fl

~;:~~;::I:~.~I~~·~~i·~·~·~:.:.:.:.:.:.:.:.:::.:.:::::::::~::::::~;;;;;,/;;.A~:~;:'~7~Beneath A Southern 1\'[0011, Opus 163: ~: : : : : : . EII'I KettererSkatetil in the Starlight. . .. . . . • . . . . Frederick A. William ..Wild Horses.. . - !lobert S. DUllea"Scotch Heuther •('Pi~:~'~~~I).('f~~•• ",~:••• p' Sara Freed

nl luno Uttners") .I11olly Donn/d/foJll"$tr/llllclttal "ud VOCttl Conlpositiolls

A Little Swcel'nin' (Vocal) .The Sweetest Story Ever Told (Organ). : .. : .' .. : Glmly. Snell Davi.Chansonetle (Violin).............. . •....•...... S'ult.-A.verell. . ...•..•....... C/lttrles E. Over/'ollP'ecesfor YDung Pl,~yers .

The Chariot Race, Opus 17, No.5 .•••.••••.••Dream Tunc. . . . . . . . . . . . . • . . . . . . • ••••••••• Rob Roy Peery 45To The Hunt _ .....•.....• " . ' •....... Walter Rolfe 46

~:I~;::k::!~.I~~ : :·.:'.:'.::..'.:::~' -.,.:"t:~~Ai~~e~t~:: :~Vienne5e l\'Ielody ......•..•.... " .••......•..•..... France. ,U. Light 47

...••....••..... " .. Anne Robin.on 48

Courses leading 0 the degrees AAin Mus.; B. Mus.; M.M.; M.M. Ed. Inconjunction with he Graduate School-M.A.; Ph.D. In canjunc 'on wifh theSchool of Educatian--M.Ed.; Ed.D.

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Arthur Fiedler Roland HoyuAlbert Spalding

For informofion, colo/oque, ilJusfrafeafolaer, ....rite

DONALD L. OLIVERDirec/ar of AtimjujonsElltered ,tl srcolld C!IIU 1I111lterJatlllar 16

of ,\I(/reb 3, 1879. CoPyright 1951 'l 1·,£1884 III the P. O. at Phiht PIllfef}/(/tiollal copyright seci/red AIt' . Yh' ~eodore PreHU Co. U S ~' 4., tinder the Act• "g J reUtved. ' . • ...... and Greal Brililin. BOSTON UNIVERSITY$3.50.1. year in U. S. A. and Possessions· als . h ..Rep).lblrc. Guatemala, Haiti. },'!exico N' 0 In t e PhJlJppines. Costa Rica C ..Spam and :tIl South American countries eJ~~:a~~h' ~a~ama, Republic of H~oduba. DSommJunfoundland; $4.'0 :t year in all other countr.P 17 ulanu; $3.75 a yeat in C uras, alvador,Manuscripts or art should be accompanied bes. SIngle COpy pricc: 40 Cents pa!l:ldd ~nd New.for return of unsolicited manuscripts or art y return POstage. ETUDE assumes tlnte In u:.~.A.. no responsIbility

Room 115705 COMMONWEALTH AVENUE

BOSTON 15, MASSACHUSmS

l _ ETUDE-JANUARY 1951

Letters to the Edi tor

(Continued from Page 1)

pupil has worked from thepiano to the music, he shouldhave no trouble sight reading .I a111delighted with your

magazine, and I am eagerlyawaiting my next issue.

Barbara BrownWest Grove, Penna.

A Suggestion

Sir: Sitting listening to thesuite The Smoky Mountain byRichard Addinsell and it oc-curred to me that ETUDE doesnot offer anything about ourmodern contemporaries such asAddinsell, Victor Young, LeroyAnderson, and the like either inbiographical form or musicalexcerpts.I should think that becoming

familiar with these artists wouldbe just as inspiring to the risingyoung musicians in our schoolstoday as would the familiaritywith the old masters. One canbe more appreciative of some-one overcoming present-day ob-stacles than those of one or twohundred years ago.If Leroy Anderson is good

enough for Arthur Fiedler andthe Boston "Pops," I shouldthink he's good enough forETUDE.

Also, how about an article onDr, Clyde R. Dengler and allhis choral groups?

Patricia D. TaylorSpokane, Washington

Music Seclion

..;

I

Sir: I have had my ETUDEmagazine a few days now butI have not had an opportunityto play. Today I opened il upand played a few pieces. TheScherzo in B·Aat was studiedby my 13 year old cousin, soI have an incentive to study

Schubert.Please congratulate for me

Mr. Forest M. Shumaker forwriting his "Air Squadron" inthe grand old spirit of SOU:::3.Ihave some of Sousa's marches;all the way through the piece,Mr. Shumaker was Sousa again.It has that "fire" and "get-up-and-go" to it. I just felt likegetting up and marching.I have been meaning to write

you several times telling youhow much I enjoy your maga-zine. I look forward to it everymonth. Sometimes your musicisn't too good and other timesthe whole music section appealsto me. I wish you would put inmore Viennese waltzes, notStrauss. but others-some "un-knowns'" or "too-little- heard-ones." Thank you. and yourstaff for a fine magazine. Youdo a wonderful job.

Kathryn BottWoodbridge, N, 1.

Sir: I enjoy the ETVDE vel')'much, but I do believe it couldbe improved by having moremusic, especially for fourth andfifth grades, In past ETUDESthere was a lot of differentmUSIC.

Margaret J. FosterWest Grove, Pa.

"How to Start a Piano Studio"

Sir: Wish to thank theETUDE for Ihe ver)' good ar·ticle about '''How to Start aPiano Studio," written by F1or·ence Porter in the June maga-zine. It is helpful and-goodsense for old as well as newbeginners of Teachers of thePiano. Hope we hear more fromher pen.

R. BoesenDetroit, Mich.

HAPPY NEW YEAR

ETUDE extends greetings to its many

readers everywhere and wishes them a

HAPPY NEW YEAR

ETUDE~JANUARY 1952

SHERWOOD MUSIl: SI:HOOLDistinguished since 1895 for the training of professionalmusicians. Member of the National Association of Schoolsof Music. Faculty of renowned American and Europeanartists. Degree, diploma, and certi fieate courses in piano,voice, vio'lin, or~an,'ccllo~ wind instr'umen ts, Public Schoolmusic, composition. In the heart of cultural Chicago. Liv-

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Ea~y to play, easy 10 own" YOII'llIIII'm 10 teaching on rho wonderfullyexpressive Estey Symphonic Organ.Deep, rich organ notes, long sus-tained chord.", exciting tonal variety!Costs less than a piano. requires lessspace, never requires tuning.

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PIAno BOORS for Young Beginnersby LELA HOOVER WARD

JI~BIDY-~ APo!~A-C-E - A child's firs,t pianobook .. Slmpltc.lty and repetition are the key-notes In teaching the pupil to read music ac-cur~tely and easily, and to form good fingeringhabIts from the beginning, .75

THE THREE BEARS A Story in song for the veryyoun,g. The familiar story presented for easyreadtng, playing and singing. .60

zoo ~ONGS Collection of easy tunes to playand SlOg. Contents: The Lion; The Monkey;The Leopard; T~e Bear; The Kangaroo; TheElephant; The Hippopotamus.' .50

S~GAR. AND SPICE Rhythms and tunes for be-

1&gInners. Rhythm is first introduced to the stSCI dent by. clapping the hands and countin~:048 Th<: m.usic has been kept simple in order that

• ~~O I"l ~aslc tIme may be observed and correer finger-Qf)ICtr wg encnuraged. .65

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4

By NICOLAS SLONIMSKY

T lIE FInST CHURCH ORGAN that"ever pealed to the glory of

Cod in this country" was importedfrom London in 1713 by ThomasBrattle, one of the founders of theold Brattle Street Church in Bos-Ion, first .know» as the "ManifestoChurch." He left it to the churchafter his death, stipulating that thechurch should "within a year of Illydecease procure a 01> r p rsonthat can play skillfully thereonwith a loud noise." The ManifestoChurch could not fulfill the pro·visions of Braille's will, and ]0, nlLhe organ Lo King's Chapel whereit remained for eight monlhs. Achurch organ was a novelty illPuritan Boston, ami a widelyspread story had iL that the con.gregation at King's Chapel votedLa throw the organ into BostonHarbor because it was "a hox ofwhistles with a devil insid ." Thistale, picturesque as it is, seellls 10be apocryphal. Tn repl) to an ill-quiry, the Rev. Palfre) Perkins.minister of King's Chapel. \\ rites:::So f~r as I can find out. rhe' :--toryIS entirely false. The only pos~ihlcbasis for it is the fact that the fir..,torgan in King's Chapel was orio-_inally offered to the church ~lBrattlc Square. That church vole()in 1713 'that ~ley did not think itproper to use the same 'in the pub-lic worship of God.' In this waythe organ came to King's Chapel,and was lhe first m·o-an to he hearrl. N 0m 1 ew England. The storv ahout!t's being a 'box of Devil'~ ,~histles'13 an old one which J have lW8rdmany times about ·many churchesbut I think it has no pertinellc~with King's Chapel."Tn 1756 the Brattle organ was

sold to St. Paul's Church, New-buryport. In 1836, it was pur-chased for St. John's CI I. P lapem ortsmouth, New Hampshirewhere it remains to thi.s day. '

. On Ihe occasion of Ule 86thbIrthday of A b h" u er, t e composerof La Muette de Portici" "FD' I" ' raJavo 0 and other celebrated op-enlS, llc was serena dec] at I' P .~ lIS ans

home hy the National Guard.Theband played overture to c·LaMuettede Portici," and a march. Auberwas pleased with the performanceof his overture. He also likedthemarch, and asked the band leaderwho wrote it. lie \\8 very muchsurprts d \\ hen the band leaderreplied \ ith II "mile and a deepbow: "You (lid, cher maitre!"Thc 1ll1l"Tt:h \\U'I ind d Auber's

0\\ 11, hUI it \\ 0 ... laken froma piano"'Uitf' \\ rill(:Jl b) Auhcr at the a"euf 1o, amI nc\ cr publi ..hed.A mitI.'l!'y aide to \apolcon II/I General\lpJIinct, \\ho \\lIS an ardent music10v(:l", founrl the mallU rip! of,\ubcr'~ cart) piece in a Paris!,outiqu on Hut' ~Illznrine. an<1hud it tlrran~cd for hand in 1I11(ici·pillion of \uhcr':. forthcominghirlhe!tl). 'l'h(' epir.;ofleis reportetlill ··I.l~ \rl'nc ..tr 1" of FebrU8f)2,J f:6ft

•TilE F'OU.O\\ J\C nOllense lim-

erick appeor ill the Bab, Bal·lad of \. Gilhrrt:

"They Jlayee! him a ~onata-Ietme see:ledl/lln ohlag3ta-ke} of GjThen the) hegan 10 singThat extremely 100'el}thing:

Scherzando ma !lon (rOppOlppp."

I ncidentally. the triple pianissi.mo is nol the sofl('~1 dHamic usedby composers. T(;haikO\'~k)' endsthe Da"~t;e Arabe from the Nut·cracker uite WiUl a quintuplepianissimo. with five pls. And intile vocal score of Verdils Ofeliathere is a sexluple pianissimo, inDesnf"l1lona's scelle WiUlOtello inIhe first act!

Jlluflim; r de ParllllHtIl is reomembered more by his eccentrici·ties and well-calculated manner-isms than by his sensitive per·formances of romantic music. Hereare some additions to the dePachman lore. As he acknowledgedthe applause at 3 concert. he mo'

ETUDE-JANUARY 1952

tioned the audience to let himspeak: "Thank you, thank you,"he gushed. "1 want to tell yo~something. You see, Paderewskiplays this C-sharp (and he ran tothe piano to demonstrate the pas-sage) with the third finger-but I,I use the fourth finger-like this!Pretty: isn't it?"

•

VERDI USED TO STAY at a hotelin Milan where the owner kept

a huge Newfoundland dog, namedCaesar. When Verdi was on atour, he wrote to the hotel ownerrequesting him to give Caesar. adog biscuit and charge it to Verch'saccount. Accordingly, Verdi's nexthotel bill carried the notation inlarge letters: A BISCUIT FORCAESAR ON EXPRESS ORDERSOF THE MAESTRO-FIVECENTESIMI. Verdi was greatl yamused, and insisted on paying thefive centesimi in full.

•

WHEN SO?\'lE ONE asked dePachman lor an autograph,

he recoiled in honor. "Never,never!" he shouted. "I know )'Oll

will take my autograph and writeabove it -'pay the bearer $100;and take it to the bank." Thenhe paused for a moment, made asly grimace: and said: "Oh, I quiteforgot! I have no money in thebank." Whereupon he signed hisname with a Aourish for the auto-graph seeker.

In revolutionary times, musi·cians are often compelled to adoptthe florid and grandiloquent styleof political proclamation: evenwhen dealing with simple har-mony exercises. Gn::try, who livedthrough the French Revolution,was caught by the tremendous his-toric upheaval between the first andsecond volumes of his "Essais surla musique." The first volume waspublished just befnre the Revnlu-tion. In order to get the secondvolume out, Gn~try's friends peti-tioned the Committee of PublicInstruction, testifying to the greatworth of the essa ys. Jn a state-ment made during the month ofFrllctidnr of the Year II, Mi:hul,Cherubini, Gossec, and others de-clared: "An artist musician, citizenGretry, has completed a Treatiseon the Passions and Characters.The undersigned artists ask theNation to facilitate the printing ofthis manusctipt." The Committeeof Public Instruction discussed the

ETUDE-JANUARY 1952

petition on the first of Vende-mia ire of the Year III, and ruled:HWe have no doubt that this 'in-teresting work should redound tom-eat social betterment. The nameeof the author shall be placed on thelist of ci tizens who have a right tonational munificence." In the in-scrutable ways of all steering com-mittees, revolutionary or otherwise, the order to print Gn::try'svolume was not put through untila year later, on the 28th of Vande-ruin ire of the Year IV. The volumewas finally published in Pluvioseof the Year V.

•

THE FOLl.OWINCpea red in the

man" of London in

QUATRAIN ap-"New States-1950:

Johann StraussWrote "Die Ftedermaus,"But Richard wrote propel'erOpera.

This type of poem of four un-even-length lines )s whimsicallyreferred to as a "Clerihew," whichis the mjddle name of EdmundClerihew Bentley, the invenlor ofthe nonsense quatrain, and a mem-ber of the editorial staff of the"New Statesman."

Schunwnn wrole in his diaryin February 1838: "Composedsome pretty little pieces. On Sat·urday: the 17th, wrote 'Kinders-zenen'." Under the date of Febru·ary 24, 1838, Schumann notesHDas kleine Ding 'Traumerei'kotllponiert." The "little thing"has proved more durable thanmany a big thing \Hillen since1838!

•The foll.owing are quotations

from examination papers in a priv-ate school, guaranteed authentic:"A work for five instruments iscalled a Fiflet." "'The saxophonewas invented by Jimmy Dorsey.""The brass are coronets j the per-cussion are symbols; the wood-winds are picalos." "Schubert wasborn in Poland and died in Parisof T.B. His best work is the Unfin-ished Symphony, sometimes knownas Finlandia." "Chopin's Polishbirth appeared in him in Paris.""This music is of the Italian mod-ern nineteenth.century school whichis very emotional." "Schumann'steacher was trying to break up theromance between his daughter andhis pupil. Knowing this fact helpedme to enjoy the composition.""The selection showed the vitalityof Rossini who lived frolll 1792 to1868." THE END

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COMPLETE LIST5.13 Mozort5.1A Chopin5.15 Schubert5.165chumonn5.17 Gdeg5.18 TschoikowM5.19 Clown5.20 Boss Clef5.21 Brownies5.22 81ueBirds5.23 PuPpy5.2A flog5_25 Airplane

MILO WRIGHT

6

By GEORGE GASCOYNE

Debn ...s~·:Stri,,;,{ Quart.ct ill C ltli"orRaw ..l r Strillg Qrwrlet in F

These two French composers:considered by many as contem-porary (even though Ravel out-lived Debussy by nineteen years),are represented on this record bythe single quartet written by each,Those \\'ItO have delighted in com-paring the respective merits ofeach composer are given a fincopportunity with this new record-ing. The performance by the Stuy-vcsnnt Quartet (Sylvan Shulman,Bernard Robbins, Ralph Hersh,Alan Shulmun l is a vital one, andthe recording splendidly resonant.(Philhunuouin. one 12·int:h disc).

H» 1'1 lila 1'1 II : Syllf/,/rOlly No. 11

A composer not \ ery well knownin Atnericn is the writer of thisSYlllfJ!lOIlY. pla~'cd in this record-ing by the l\H. Symphony Or·chestra of Bru~sels, conducted bvFranz Andre. The German-bor;lKarl Amadeus Hartmann has hadconsiderable success in Germanyand throughout Europe, and hi~spllphony contains interesting mo-ments. The recording is adequate.(Capitol Telefunken, one lO-inchdisc) .

\~;iJ)ialll Bo~·cc: FOlLr Lit.tle S)'III-IJbollies

This eighteel1th·ccntury compos-er is gh'en rather belated recog-nition in this fine recordillg offour of the original set of EjerhtLittle Symphonies.. They ~resplell(lidly performed by the Lon-don Baroque Ensemble, led byKarl Haas. (V\Testminster disc).

JolUllln Chl'islian Bach: Sin/oil in~or Double OrcbeJjlru in E-/lfll, 11m-JOr.

This son of a famous father wasa .composer in his own right: asWill be at once recognized on hear-ing this recording of SOlue beau.tiful music br J. C. Bach as per-formed on records by the Cillcin-nati Symphony under the directionof Thor Johnson. The reverse sidecO~ltains Schubert's Symphony No.3 III D major, also played by theCincin nati Symphony, ably di.rected by Mr. Johnson .. (LondOllone lO·inch disc). '

Becrhovcn : "!UiSSll Soleml/;s"One of the greatest works of

this master, the '·~1issa Solerunis"has not been too kindly dealt within the past in the matter of reocorded versions. True. there havebeen several. but the) seemed notto be outstanding. '\ow comes arecording in which the distin-gu ishcd German conductor. OttoKlcmperer is the dominating forceat the c n lu trial post. The per.Iorrnanc i notable for its sin.ccrtty an 1 nobility, The vocalquart t is adcqunie. the t-ingcrsbing Honn Str-ingruber, ElseSchurrhofT. Ernst Ylajkut. andOtto Wein r. The Akademieehorof Vil'nna and the Vienna ym-phony rchest ra are the ensemblesemploy d. [Vox. two 12·inchdiscs) .

IlulH"lcI: Oil" for I.. CCilifl', DtlrHere is a ~pl(,lIdid recordillO"of

a choral \\ rk \\ hi 'h Ilrc!oiCnts alittle dilliclIlt) in one' attempt toc1as ify it. The rhoru~c(; and solosare chaTlI t riq ic of th ratorioform I lit the "tended orchestralpassag 5 arc for ign to lit ora·torio. Be this as it may. the worki an app aling horal pic e llnd ishere given a fine performance.The soloi-ts are Lore Hoffmannand Walter Lud\\ ig. Arthur Rotherdirects the Rudolf Lamf Choir andthe Radio Berlin Orchc'lra. (Ura·nia) .

Schumann: Concerto ill A m;'lOrThis is one of the excellent rec-

ords made b' Dinu LipaltiJ row1gRumanian pianist. a pupil of Cor·tot, who e career was cut shortby his untimely death last Decem·ber at the aoTe'of 33. Hi~ playinghad heen compared with that ofHorowitz and Gabrilo\\itseh. andit is fortunate that these record·ings had been made, otherwiseAmerica would ha\'e had nO op·portullity to hear him, The hu·mann work gi\-es opportunity fora display of his thorough technicalequipment. He is accompanied bythe PhiLharmonia Orchestra di·rected by Herbert ,·on Karajan.(Columbia) .

THE ESD

ETUDE-JAY ARY I~J

•

ltlusie Love!"' s

BOOKSHELFBy THOMAS FAULKNER

Opera for the PeopleBy Herbert G-ral

Here is a book that is justabout as timely as it could pos·sibly he; for it deals in a mostdetailed fashion with a develop-ment that is moving forwardwith ever increasing momen-tum. "Opera for the People"tells just about everything thereis to be told about the operasituation In America todayThere are three main divisionsin the volume: Part One. Operain Production j Part Two, Amer-ican Opera in the Making; andPart Three, Blueprint for theFuture. The subject matter ofthe sub-divisions reveals thethoroughness with which theauthor has penned his story:"Opera in English," "The Spon·sorship of Opera,': "From Re·hearsal to Curtain," "Operaon Broadway:'l "CommunityOpera," "Opera in the Schools,'land "Patterns for a People'sOpera. I:

The author calls upon a vastexperience in the operatic fieldand the language used is mostreadable and understandable.Dr. Graf gained his early musi-cal training in Viepna: his na·tive city. Since 1935, he hasbeen associated with the Metro·politan Opera Association. Atpresent he is stage director andartistic director of the "Met's"television department. He is alsodirector of the opera depart.ment of the Curtis Institute ofMusic in Philadelphia.University of Minnesota Press,

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Music and Dance in New YOl'kSlateEdited by Sigmrwtl S/meth

This book, from a series is-sued by the Bureau of MusicalResearch, is composed of a num-ber of short articles on can·temporary music and the dancein New York State written bynumerous New York teacherswith an introductory article byArnold Schoenberg. These arefollowed by a two hundred and

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Music Ior Elcmenmrv Teachers8')' Parks Gram

It should be remembered thatnotwithstanding the very wide-spread activity of trained musicsupervisors in America, thereare still thousands 0.£ childrenin public schools where thereare no music supervisors. Insuch schools the responsibilityfor musical training is in thehands of the grade teacher. Itis to such teachers that ParksGrant has addressed his verycompetent and helpful book.Any sensible educator with amodicum of musical trainingcan get from this work just thekind of information required tofit him for this important work.The book is one of 308 pageswith many notation illu!:'trations.Appleton-Cenl.ury-Cro!ls $3.00

The Al,t of O"cheslI'alioll8y Bl!rllflrtl Rogers

When Hector Berlioz wrote"Traite d:instrumentation" justabout one hundred years ago,he produced a book so advancedand so clear that it remainedthe foremost work in its fieldfQr many decades, and still is aclassic which will be long re-vered. But enormous changeshave come in orchestral treat·ment since the day of the dem-onstrative and sensation·lovingBerlioz ..If Berlioz were to spenda concert season in New Yorknow, he would be delirious overthe expanded richness of theorchestral palette.

Mr, Rogers1 who was trainedin music at the Institute ofMusical Art in Ne\\: York andby Ernest Bloch in Cleveland,has been the teacher of compo·sition at the Eastman Schoolsince 1929. His new book is asplendidly coordinated and illu-minating work upon the subject

(Continued on Page 57)

Use in firstlesson staffpresentation ...demonstrate noteprogressions.teach rapid noterecognition, in-tervals, patter-ns, scales and chordconstruction.Daily home study drills are out-lined in instruction booklet, "FioeMinutes a Day"Price (With instructions) \ .

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BILBRO'S KINOERGARTEN BOOKOne of the vcry best beginners study booksfor the piano! Writing lessons, finger-on-the-table exercises and rhythmic songs are com-bined with little pieces to help form a soundpianistic foundation. Finger agility and noterecognition are stressed. 410-40063 $.75

Gestures have a vital part In playing the harp

BILBRO'S MIODLE C KINOERGARTEN BOOKThese are verv first music studies with an in-troduction suggesting to the teacher how tobegin teaching youngsters. The directions,notations and fingering are simple enoughfor the child's mind to grasp quickly. Sorneof the numbers have words and titles to en-tice the pupil to practice. 410·40060 $.75

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A VISIT TO GRANOPA'S FARMAmusing words, sprightly melodies. Thechild's imn zinntion can run wild with suchpiano solos as The Fish J ought. killtJil1gthe Cat, and Lea] Burning. Dtligillfullyillustrated. ",I O·"'02"'b $.75

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things, it develops the muscles of the upperarm.

The proper angle of the elbows bringsabout the right curve to the wrist which,in turn, assures the necessary opening be-tween the thumb and second finger. Whenthis opening is correct, the fingers have theproper curve. The start of the whole pro-cedure therefore lies in the elbow position.

Occasionally, the elbow should be a littlelow, but this is the exception to the rule.

The question of finger-ourvings bringsan interesting point. Its interest resides inillustrating that harp-playing begins in themind rather than in the hand. To preventbuzzing, some harpists make it an invari-able rule always to curve the finger knuckles(first joint) in instead of out: I disagreewith this! It is ugly and unnatural-noother musical instrument requires in-curved knuckles-and, furthermore, thatposition is not helpful. It is the outwardrounded knuckle that makes for freer,stronger fingers. But-I do not make allabsolute law of outwardly curved fingers!To eliminate buzzing, I simply call atten-tion to that defect (mentally and aurally).b. general, outwardly curved knuckles canovercome the difficulty; in some cases, how-ever, it is necessary to curve knuckles in.

The action of the thumb is necessarilydifferent. After playing, the thumb shouldinstantly be bent over the second knuckleof the second finger.

Another example of mental independ-ence! I was taught (as most harpists were.or still are) that the right wrist should restalmost pressed against the edge of thesounding-board. As a basic principle, I havedeparted from this. When I was very young,I became suddenly conscious of what feltlike rheumatic (Continued on Page 56)

trcl. Once this ascending gesture has beenmastered, the perfectly controlled handsare then at your service for all kinds oftouches. When the hands react sensitivelyto the various rhythmical and emotional re-quirements of music, there is no difficultyin rendering a composition as intended bythe composer.

This slow, controlled raising of the handsgrows out of complete relaxation-firstmental, then musoular-c-aesthetically ac-complished. For example: to prevent tense-ness, some harpists recommend droppingthe hand wrist up. This is an ugly gesture.I cure tenseness by stressing no particulargesture as law, but by inviting mental reolaxation and, for a while, avoiding loud orfast playing.

Tone volume and speed should be ap-proached only after the young harpist hasmastered-or at least grasped-the slow,controlled, relaxed raising of the hands.

The first technical step is to pull all thefingers in the hand so that, after playing,the hand is completely closed, fingertipstouching the palm. This motion must becontrolled by the hand-joint (that is, thethird knuckles counting from the tips ofthe fingers inwards), and never by the firstor second knuckles. When this hand closingis accomplished with precision and com-mand, clear-cut tone results.

During the ascending gesture, thereshould be a slight relaxed motion of thewrist-in, comparable to wrist- motion at apiano keyboard.

The elbows are chiefly responsible fora singing tone and easy technique. Theproper angle of the elbows is .to be abso-lutely horizontal, and it is important thatthis position be thoroughly established foreverything depends upon it; among other

ALTHOUGH the fundamental playingposition of the harpist at the harp has

remained practically the same for some twohundred years, it is nonetheless necessaryto formulate one's approach to it in modernterms.

We are playing this beautiful instrumentin 1952-not in 1750, not even in 1900-and, remembering this, we should rid our"selves of some of the antiquated concep"tions which are still in favor with too manyharpists.

My own conception of approach to theharp, technically as well as artistically, isbased entirely on aesthetics.

Since the instrument does requ ire neces-sary gestures, these gestures should be cor-rect not only functionally but aestheticallyas well. Music is meant to be heard, butalso to be looked at-otherwise radio wouldlong ago have supplanted the concert stagewhich, fortunately, it has not. Like theorchestral conductor, the harpist must learnhow to externalize music. This he doesthrough his gestures which should be in-spiring and not dry; these gestures shouldemphasize-and not negate-the intent ofthe music.

On this basis, I give my students train-ing which permits them to play aestheticallyas well as musically. I explain to them thatthe harpist should consider himself likethe orchestra while his gesture-makinghands are the conductor who calls forthhis playing and depicts phrases throughmotion.

The basic harpistic gesture is the raisingof the hands slowly and with complete con-Carlos Salzedo, distinguished harp virtuosois famous also as a teacher, a composer, anr]an author. He is the founder-director of theSummer Harp Colony of America, which in1951 marked its 21st anniversary.

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ETUDE-JANUARY 1952l_8 _ 9ETUDE-JA.VU 4RY 1952

1

The Flexible Staff-PianistThe ",usical Iuuuiyman of the broadcasting studio-that's the staff-pianist

by Joseph Kahn

THE AVERAGE conception of a pianisticcareer 'inCludes playing with a major

symphony orchestra OR improvising with ajazz outfit. The only' field, I believe, whichrequires simultaneous proficiency in bothis 'the post of staff-pianist in radio and TV.Every network and most independent

stations employ one or more staff-pianistswhose duty it is to provide every possiblekind of sound that can be brought out ofa piano, in better than average style andat short notice. In my twenty-odd years asstaff-pianist with NBC, I have played withdance bands and popular singers, accom-panied world-famed vocal and instrumentalsoloists, tapped it out with the Basin Streetjazz organization, supplied solo passageswith the NBC Symphony under Toscanini,and joined Paderewski in the MoonlightSonata. These among other chores.To those who might cast a wishful eye The peculiarly fluent jazz technique grows

on similar work, I can say that the job is directly out of this knack of improvisation,not one for which you can train directly. of filling-in. If the often-tricky piano partsYou need wide and flexible experience in were written out, like the difficult passagesmany jobs. And the opening wedge is an in a classical work, I doubt if the averageability to play good jazz. It isn't all you jazz pianist could master them. In the earlyneed, but it stands as the test. days of jazz, the most fluent performersNot every competent pianist can play could scarcely read at all! That is no longer

jazz. He can read the notes and put down the case, of course; still, the fluency fol-the keys, of course, but it doesn't "sound." lows from the inner hearing of cfTects ratherWhile good jazz playing can be learned, it than from practiced drills. The jazz pianistdepends chiefly on an inborn knack which uses no special postures or drills; he prac-in its turn, has to do with the rhythm sense. rices (if at all) no differently from anyThe jazz pianist works like a conductor, serious piano student.developing tune and rhythm not as im- The jazz knack depends on doine th inasportant-melody-above-obbligato.accompani- instead of on learning about them,o~l1ld ~sment, but as two separate structural values best preparation is experience. I beganwhich offset each other as they blend. playing with little dance bands before I wasThe jazz pianist also develops a facility l~. M~father was a violinist who played

for improvising. Jazz scores are seldom WIth hIS OWn orchestra in motion picturewritten out. You get the tune, plus the theatres, and before I was 13, he took mechords, and the outline of the desired de- on as pianist. During the eight years Ivelopment; from that, you embellish (fill stayed with him, I had good experience inin) as you go, taking care never to inter- playing all kinds of music, in readinrr allfere with the balance of the orchestra. You ki d f . d . bIII S 0 mUSIC, an 111 turning out crafts.learn the knack of knowing how little to manlike performances with no rehearsals.play, as well as how much. At the same time, I got my solid pianoYou can perfect improvisation first by study and practice in the hours when I

listening and learning to associate tones, wasn't needed at the theatre,intervals, and sequences with their places The youngster who has no orchestra inon the keyboard. Next, make a careful the family can help himself by snatchingstudy of the styles you like best. Copy a at every chance to play~anything, any.style, for a start-analyze its elements, its where, with anybody. School or churchprogressions. Try to use what you find in p~rties are a start. Next, clubs, balls, wed-working out the arrangement of a new tune. dl.ngs offer good opportunities. Get togetherThen gradually practice improvisation, get- wIth other youngsters in combinations--ting away from models and developing piano and violin; piano, trumpet, saxo-methods and progressiOl~s of your own. phone, etc. Start a small combination. Play

l 10

---

with as many different combinations as youcan, in order to learn the characteristicsof the various instruments and the relationof the piano to them all. Amateur work ofthis kind can be started as early as the urgefor it asserts itself and lays a foundation'of experience before the quest for a jobbegins.And when the j b age comes, go ahead

slowly. Test yourself in your own commu.nity. Organize a combination in a localrestaurant r hotel. Play for dance. Tryto get on a local radio station. Try as many.typcs of popular work as y U C3n. All goingwell, you'll pr ntly be read)! to join aprofessional outfit. Then try to work under'as many conductors as possible, learningtheir individunfiti s of style, trying to an-ticipate what they have in mind.Radio and TV have room only for tried,

experienced perform rs. Every broadcastcarries the possibility of cmergencie orlast-minute changes-the program may runtoo long, or too short; the soloist may sud-denly skip a ·ouple of bars-and the pianistmust be resourceful enough to take hold.Naturally, he mu 11 e able to read any scoreat sight, and to transpose ony mu ic by ear.

Thus far, I have stre d the needs ofjazz playing be au the stafl-pianist can'tget along without it. But he must also havemastered the touch, the technique, andabove all the integrity of style of theclassical repertoire.As has been said, the radio pianist's pri-

vate practice is the arne as that of anyserious music student. I believe that scalesare the best drills for perfecting and main-taining fluency and evenness. Twenty min-utes of scales, every day. And I know ofno formal exercises more helpful than theChopin Etudes. The secret of all teehnicalwork is slow practicing. Never practice any-thing in its proper tempo until every note,every sequence of notes. is firmly fixed inthe mind and in the fingers. Don't accel-erate speed until you know in advance ex-actly which keys you are going to put downand exactly where you find them.Reading is perfected by reading. Practice

reading as you practice scales. Read newmusic every day-new types of music, newrhythmic forms. Try to get to the pointwhere your eyes pick up whole phrases in-stead of single notes. Practice reading withother instruments so that you get into thesecond·nature habit of blendina with them.o

Each of the skills I have mentioned findsits place, at one time or other, in playingfor rad;o and (Continued on Page 51)

ETUDE-JANUARY lY;1

•

The Joys ofSonata Playing

A ztmqu.e place !S occupied. by the sonata among the different forms of musical composition

THERE IS no musical form which ismore inspiringly and romantically

bound up with an artistic career than thesonata. It is unique in the place it occupiesamong the different forms of musical com-positions. Personally, I adore these works,with the instrumentation of a small sym-phony, and with their various movementsbound together by systematic construction,yet differing from one another like a suiteof short pieces, where in turn are foundAllegros, Prestos, Scherzos and Adagios.I cannot agree with the critic who re-

cently wrote, following one of my enjoy-.able appearances with Robert Casadeus:HWe are indebted to these artists, who haveset themselves the arduous task of defend-ing this ungrateful musical form (the so-nata). It reminds us of our years of tediousand laborious technical exercises, duringwhich the student, like the snake- dancer ofthe music hall, contorted himself in gym·nastics of little aesthetic value." I suspectthis critic of having as a child performedbadly in a Clementi sonata, and of havinghad his knuckles rapped with a ruler inconsequence.What a repertoire! What a,n immense

choice, both from the technical and musicalstandpoint, is available in the literature ofthe sonata! Every musical epoch is repre·sented; every stage of technical develop-ment can be found. There are easy works,

by UNO FRANCESCATTI

like the Sonatinas of Schubert and varioussonatas of Mozart and Handel, which donot go above the third position on the vio-lin. The classic violin sonatas of Leclair,Tartini, Corelll, Loeillet, written by menwho were themselves fine violinists, rarelygo beyond the fifth position; but they re-quire of the performer complete masteryof trills and double-stops, and perfect co-ordination between bow and fingers. Amongthese sonatas, the one called "The Devil'sTrill," by Tartini, is a favorite of concertviolinists. One must himself possess a dia-bolical trill to execute it properly.The ten sonatas of Beethoven are an in-

exhaustible source of joy and travail forthe musician. The first is. relatively easyto play, but the nine others are studdedwith passages which would tax the patienceof a Penelope. The 25th and 26th measuresof Op. 12, No. 2 with their prestissimosixteenth-notes, and with the theme an-nounced by the piano joined by the' violin

----=-

mastery and unshakeable rhythmic security.I recommend in particular, if one does

not possess in transcendent degree theagility necessary for most of these sonatas,the magnificent and poignant Adagio ofthe "Spring" Sonata (the Fifth), and theTempo di Minuelto of the Eighth, Op. 30,No.3.One can display all his virtuosity in the

more modern sonatas, those of Brahms,Strauss, Franck, Debussy, Faure, Proko-fieff and Casadesus. These demand a sov-ereign mastery of the instrument, facilityin advanced solfege and preparatory exer-cises in fingerings and bowings which arevery complex and quite different fromthose used in the classic sonata. A marvel-ous bowing exercise is found in theScherzo of the First Sonata of Faure. Thelightness of the sautille, and the precisionwith which it must be executed duringstring-crossings, makes this one of the mostperilous and difficult works to play bril-liantly and correctly.I remember well, at one of the numerous

and regular sessions of chamber musicwhich took place on Thursday afternoonsin our home at Marseilles, hearing mymother play sonatas of Sylvio Lazzari andVincent d'Indy with the composers at thepiano. These performances made a deepimpression on me and gave me my firstinsight into the (Continued on Page 49)

11ETUDE-JANUARY 1952,

I

in imitation in the following measure, de-mand of the executants perfect technical

The Lost Music

of YesterdayOne is staggered by the thousands ofcompositions which have notsurvived a decade.

ALARGE PART of the music of yesterday might as well neverhave been written, as it is either obviously inconsequential or

hopelessly outmoded. Even with the greatest of masterpieces, onlythose written in the rarest moments of high inspiration, stand achance of .survival. Many of the great composers it has been thewriter's honor to meet, have stressed their dependence upon inspir-ation. Richard Strauss said to the writer many times, "Music with.out Begeisterung (enthusiastic inspiration) is worth no more thanthe paper it is written on." .A competent composer may work for a lifetime and ignite the

sacred fire in only a few of his works. But that seductive chance togain fortune and immortality is so powerful that it has been theirresistible force which has brought about the transcendental glo-ries of the tone art-transcendental in the sense of the Emer-son ian school, "the soul's intuitive knowledge of things divine andhuman so far as they are known to man." This precious spark ofinspiration in a great composition, is like the heartbeat of a humanbeing, without which he ceases to exist. No matter how skilled thecreator, no art work can continue to exist without inspiration. Thelate John Philip Sousa used to say, "When one passes on, some-thing we call the soul leaves the body. Great music is written bythe soul."How do you determine the greatness of a work of art? Certainly

JOHN PHILIP SOUSA-

"Great Music is Written by the Soul."

not by the dimensions of the canvas, the le~gth. of a poem, or theheieht of a building. Perhaps the best crrterra are the humanbreadth of the art work's appeal, and the length of its survival, For.tunately, the vast majority of music "dies a 'bornin'." It neverreaches the dubious dignity of print. A work that by its own in.herent merits is in wide public demand over a very great numberof years, is surely of more significance than some "Kapellmeisterl'composition which after a relatively few years crawls into thecaves of oblivion. In this category we do not include of course,pieces which owe their survival to pol itical and national condi.tions. Stephen Foster's Old Follis at Home and James A. Bland'sCarr)' Me Back to Ol' Virginny are unquestionably masterpieces oftheir type, while Yankee' Doodle and George Cohan's Over Theredo not survive because of their mu ical worth. hut because of theirpolitical and patriotic associations. On the other hand a simpleSchubert melody such as his Serenade wr luen on the back of aSpeisekorte in that delightful little Weingarten of Grinzing inVienna, is just as much a classic as is the more complicated Bee.thoven Fifth Symphony or the travin ky "Fire Bird." The pro-portion. of a composer's work which remain in u varies enor-mously with the individual. Bach, Beethoven. Handel. Mozart,Haydn, Wagner, Brahms, Verdi, Puccini, Tchnikovsky, Grieg, De-bussy and some others are unusually fortunate in this respect. Butwhat about the works of a composer uch as Ludwig Louis Spohr(1784~1859)? As a violinist, conductor and teacher he stood inthe front rank. His compositions including his eleven operas. fouroratorios, nine symphonies and many other works have practicallydisappeared. But the world is still singing A1r Old Kentucky Hom.eof the humble Stephen Foster who was a contemporary of Spohr.One composer, Chopin, stands almost alone in the number of

his works written over one hundred years ago. but played withgreat frequency today. Hi A·F1at Polonaise dubbed in to thequasi-biographical moving picture "A ong to Remember" withCornel Wilde at the keyboard, but actually played by Iturbi, pro.duced sales which put the leading Broadway hils of the day toshame.Chopin with his incandescent emotional soul and his exquisite

taste wrote an unusually large number of works in which the flameof inspiration burns as brightly today as when they were first writ-ten. His average of survival of interest is surprisingly high. Com-pare Chopin's output with that of the egotistical and pompousFriederich Kalkbrenner (l788-1849) who volunteered to teachChopin. He was a voluminous composer of Etudes and other com-positions for the piano which had wide educational vogue in theirday, but which were hopelessly anemic in inspiration. Few stu-dents in this age ever heard of Kalkbrenner.Many c_omp~s~rs succeed in producing only one inspired work

that r::mams vl~lble for more than a few years. They are like themelodious EnglIsh poet of gentle melancholy Thomas Gra). (1716-1........1 1:1 ,'I ) who produced other poems of distinction. but is remem-

be~ed only by his "Elegy in a Country (lhurchyard.v-c-a kind ofbndge between the neo-classicism of the eighteenth century and theromanticism of the nineteenth.Let us take for instance the case of Joachim Raff (I822-1882)

who.se voluminous works were praised by Liszt and ~1endelssohn.He IS known today only by his Cavatina, and his Fareioeil March~om the Leonora Symphony, No.5, Opus 117. Alessandro Stra-ella (1645~1782) wrote six oratorios, twenty-one cantatas and

fiv H· . be operas. IS name IS est known however through the opera"St d 11" . ,ra e a wntten upon his life by Frederich Flotow (1812.1~83); but Flotow is known in these days almost exclusively byhIS tuneful opera "Martha." The famous (Continued on Page 59)

l_12 _ ETUDE-JANUARY 1952

$

French horn section of Cincinnati Conservatory orchestra Practice and study-both prime requirements in the student's life

New Idea in Music EducationThe Co-op plan of work and study helps the

student to help liimselj,

PAUL BYRON is a talented ancl ambitious IS·year old pianostudent who has wanted a career in music as long as he can

remember. Now at college age, he wants to start his career byearning a Bachelor of Music Degree. But it isn't that easy., A c?l-lege education costs something these days and Paul couldn t rarsethe needed funds. His father is a Rushville, Indiana farmer who,reaardless of what the city housewife might be saying about farm-ers and their incomes these days, still can't afford to put his sonthrough college. And because Paul is too young to have been aveteran, the G. I. Bill doesn't help.But the picture is clearing up for Paul bec~use of a new plan

set up by the Cincinnati Conservatory of MUSIC.To help solve the financial problems of such students as Byron,

the Conservatory established with its fall, 1951 term, the first Co-op Plan of work and study to he set up in .a~y ~usic school. .Under this plan, the student holds a pOSItIOn III a local business

firm and is paired with another student who takes ov~r the wo~kwhile he is attending classes. The jobs are by necessity those 111

which periodic changes of personnel will not. di~rupt the com-pany's established routine ... selling merchandise III a store, ca:h-iering for a supermarket, typing and gene~al o~~~ work for m-surance companies, department stores, public utilities.The current labor shortage is a fortunate partner to the co-

op idea. In fact, 97% 01 the firms contacted by the Conservatorywere glad to have the opportunity to be assur~d of a future laborforce in the jobs which individually are not Important, but col-lectively spell the difference between smooth management and afitful operation. As Mr. J. E. Meehan, Secretary of "the Westernand Southern Life Insurance Company put it~ "We have a numberof jobs.in an organization as large as ours t.hat ~an be handledeasily by co·op students. In fact, the level of mtellIgence of thesecollege students is more than welcome in this kind of job. We have

by Kirk Pol king

ETUDE-JANUARY 1952

used a number of co-ops from the University of Cincinnati andfound them very satisfactory. It's a little premature to know howthe Conservatory's plan will work out, but we certainly want totry it."A notable exception to the plan among employers -were some

banks who feIt that even their clerical jobs required a longer train-ing period than those in average business firms, and the necessityfor training two workers for the one job would not make the planas feasible for them as for many other industries.

Many Cincinnati firms had already become acquainted with theco-op plan through the University of Cincinnati, which introducedthe idea to American colleges. Their original thought was to givestudents in electrical engineering, for example, an opportunity towork in that industry for a certain period while they were study.ing. The work was related to the degree for which they were work-ing. The Conservatory's plan, however, is designed solely to pro-vide financial support. There are not enough jobs in the Cincinnatiarea for student musicians in the music field; and especially thosejobs which would allow them to maintain the high critical stand-ards which should be theirs while studying for a music degree.Surprisingly enough, music students are more than welcome at

a number of firms who commented that they had discovered someinteresting facts about musicians in non-musical jobs. One per-sonnel manager reported, "The best darn comptometer operator Iever had was a girl who studied piano. Her sensitive fingers seemto be just made for that machine as well as the piano." Other stu-dents seemed to be able to handle delicate parts in assembly workwith much greater facility than the average person.Most manufacturing concerns will hire co-op students for jobs

in their offices, but their factory labor is unionized, with strict regu·lations set up governing its member· (Continued on Page 58)

13

s

needs to be just as good as, even possiblya shade better, than the average man. Sheknows this, -and it has an effect on herwork. Also, she brings a certain innatedelicacy of tone, of attack, of approachwhich improves the ensemble. '

There are other considerations, too.Psychologically, when men and women ofequal ability play together, there arises ahealthy element of competition which isabsent from the. all-male or the aU·girlorchestra. Consciously or unconsciously,both grou ps hear the war-cry of "the battleof the sexes" and keep more on their toes.And the presence of women induces a kindof chivalry in the men which shows itselfinthe general disposition of the personnel._When a woman player 'Can bring all this

to an orchestra, she i a decided asset. Andfor this" she must be the right type ofwoman. In this ense, character is of equalvalue with musicianship, and auditions arecalculated to probe the candidate's self aswell as her playing. The girl who is outfor a gay time \\ on '1 get very far-neitherwill the one \ ith a pugnacious determina-tion to "put th III n in their place." Theright type is neither too \ ivacious nor tooaustere, but a I alnnced. r sponsible. right-thinking. right-acting human being withher, yes and her mind on her job.

Ideally, the girl who wants orchestralwork should be told to piny whichever in-strument she like best. 'In some cases, how-ever, the ideal IllU L be temp red with thepractical. Thi 111 ans that instruments reoquiring physical for ar a dubiou choice,partly becaus worn n lack the strength forthem, partly becau e the spectacle of agirl engaging ill u h physical exertionsis not attractive. There are women whoplay the heavier brass s. the contra-bass,the big drum. but their employment chances

THE GIRL instrumentalist who looksforward to employment in a ranking

symphonic organization to-day, win findthat the decisive factors are musicianshipand character and not at all the fact ofher being a girL

The taboo against women if} orchestrasis wearing itself out. One reason for thisis the general tendency toward humanequality based on merit; women are mak-ing careers in all sorts of professions (in-cluding the armed forces) which, a genera-tion ago, were not considered "woman'ssphere," and music is falling into step witha natural trend. Another reason is the mili-tary situation which makes it hazardousfor an orchestra manager to take on youngmen. The result is a new and excellent fieldfor women.

To me, this field is by no means new.My first commercial engagement was COll-

dueling a large theatre orchestra on theWest coast, in which the first two chairswere occupied by girls. Thus I find .it quitenormal to see women in orchestras-andnot only in, but heading sections. During\Vorld War II, I organized a mixed or-chestra, and as the draft claimed the youngmen, 1 replaced them with girls-withoutchange in the quality of the playing. Atpresent, the Radio City Music Hall orches-tra of fifty playing members (the full rosterof seventy takes in replacements I includessix women-two 'cellists. one violinist oneharpist, one clarinetist. 'and one pianist-which comes to 12 percent for the ladies..1 have always employed women: and havenever had reason to regret it.

An orchestra gains certain advantazesfrom the presence of women placers. !\1:si-cally, a woman represents the· proverbialnew broom. The prejudice against her isso recent that, in order to get in at all, she

your pay in terms of having an openingwhere you'll learn what. you need to know.Later, when you fill out an audition appli-cation, you'll have an extra item to writeinto the Experience column.

After a period of this preliminary expe-rience (which no big orchestra will giveyou and without which none will take you) ,try to improve flexibility by playing withas many organizations, under as many con-ductors, as you can. At this stage, don'tworry about being a rolling stone. Variedexperience is an asset to a beginner. Lookinto the possibilities of your local radiostation-of any small radio station. Lookinto the ballet orchestras which offer goodopportunities; their season is short, muchof it consists of touring, and since the moreexperienced men often prefer more per·manent engagements nearer home, balletcompanies are_ apt to welcome youngerplayers. Look into the seasonal touringorchestras (like the one with which thelate Sigmund Romberg toured the country).List yourself for substitute work.

The time to apply to the big organiza-tions comes after a period of varied expe·rience. To-day, the major orchestras aregiving auditions to women as well as to men,and the requirements are dependable musi-cianship: good character, and experience.

The girl who can supply aU three willnot be kept out because of her sex. Andonce she gets in, her chances for advance-ment will depend on herself. I can think,offhand, of at least twenty first desk posi-tions in major orchestras occupied bywomen (The RKO picture studio orchestra,in Hollywood, has a ccncertmietress ) andthe number is growing with every season.The field is open and the chances are there-for the right girls. THE END

jewelry, glittering decorations) whichwould distract the audience by calling at-tention to itself. But this roots in innategood taste-without which she probablywouldn't get into a good orchestra!

The big problem for the girl musicianis bridging the gap from her teacher'sstudio into professional playing. Assumingthat she has the necessary musicianshipand character, what she needs first andmost is experience. It is true that the preju-dice against w,omen is .lessening, that themajor orchestras are- auditioning womenas well as men-but it is also true that anorganization of standing seldom. if everengages inexperienced players of either sex.So the first question is, not where to finda job, but where to get the necessary ex-perience to be considered for one.

It cannot be too much stressed that mereplaying ability-even excellent solo ability-simply doesn't hold up in the orchestralroutine of reading, attacks, dynamics, fol-lowing the conductor's beat, even turningthe pages. There is no substitute for thisexperience, and teaching and playingchamber music does not impart it. It canbe developed only through playing with anorchestra, and to gain experience any kindof orchestra will do.The best: of course, is an early start in

high school or college orchestras. 1\10stconservatories maintain fine student orches-tras. Organizations like Leon Barzin's Na-tional Orchestral Society could-indeed,should !-be duplicated all over the coun-try. Don't shy away from a small begin-ning even if you have to organize an or-chestra, however humble, yourself.

And don't ·worry about pay! While youneed preliminary experience, put in a sea-son with an amateur orchestra; calculate

are slimmer. The orchestral manager, think-ing in terms of full audience enjoyment,is reluctant to hire a player whose appear-ance at her instrument gives off a feelingof forcing or of incongruity.

In general, women who want orchestralwork do better to avoid anything heavierthan the 'cello, the clarinet, and the Frenchhorn. On the other hand, their natural deli.cacy gives them an advantage with theviolin, the viola, the flute, and the oboe.

The harp provides a surprise. It is theone instrument that women have been tra-ditionally engaged to play, the old preju-dice does not attach to it, women harpistssit by themselves in the group, and lookparticularly well while playing-yet mostof the top harp posts in the larger orches-tras are in the hands of men!

As regards her manner of dress, thewoman player is in rather special compe-tition with her male colleagues whose for-mal concert attire is (happily!) prescribed.Audiences are accustomed to looking at anarray of white shirts and black clothes.To what extent shall a woman blend withthe prevailing effect, and to what extentshall she deviate from it? At present, theconvention is for women players to wearbecoming feminine evening gowns, but indarker colors and without extremes ofdecolletage or ornamentation. Personally Isee no objection to white or lovely pastelshades, but that is a matter of opinion.Certain it is that the woman player mustremember that she is not an individual,planning an effective ballroom entrance,but a member of a working group. As such,she does well to keep to her ensemble char-acter, restraining her dress as well as herplaying to fit in with the others. At notime should she ,wear anything (styling,

why

Not

women•In

orchestras?•

Opportunities forwomen players in our

symphony orchestrasare on the increase.

Elsa Hilger, first woman 'cellist in any major orchestra,and Lois Putlitz, violin, veteran members of the Philadel-phia Orchestra. Miss Putlitz also plays pia·no and celesta.

The distaff side of The Philadelphia Orchestra-Marilyn Costello. harp «left);Vida Reynolds. violin (center); and JiII- Bailiff, harp. shown chattinC) dur-inC) an intermission back stage at the Academy of Music in Philadelphia.

Ra.ymond Pai?e-born in Wisc;onsin. educated in Colifornia-begon his career as 0 violinist.Widely experienced in various fields, he is at pre,ent musical director, Rodio City Music. Hall.

by Raymond Paige

Il_14 _ ETUDE-JANUARY 1952 15ETUDE-JANUARY 1952

This over-size pupil,

under the magic spell of music,

became truly a

GENTLE GIANTHe reminded his teacher of Rachmaninoff,

the way he crouched over the keyboard.

. by CELIA SAUNDERS

BIG JIM looks down upon me from a A music teacher has too little time forconsiderable height. His piano lesson musing; Jim sits patiently waitin ; to be

follows that of Diane, a most diminutive unleashed.pupil. As I watch lim unlimber his great "All right, Jim," I say. A saucy elf sug·frame, arrange his knees with some diffi- gests that a giant should not be thus fa mi l-culty under the keyboard, and spread out iarly addressed by his first uamer-c-vYourgrgnntio paws over the same blacks-and- Highness" might be more appropnate.c-,whites that Diane's tiny fingers have just or "Mr. Colossus, pleesc.t'-c-or ~VIinyarelinquished, I marvel that there is such Tonka, or something else descriptively huge.magic in music that it can draw the same Hush, elf! Not so long ago I called himserious homage from a little Diane and a "Jimmy,"-and stop your giggling!big Jim. "All right, Jim." (I'm still your teacher,I also marvel that anything so large and I used to tell your mother what a sweet

could be so docile. . baby you were.} "All right, then, want to1 used to wonder what would happen if start with the Bach Fugue?"

Jim were to look me in the eye and say, "The alleged 'Little' one?" asks Jim"No, I won't!" amiably.

There'd be nothing much I could do "The Little one, yes." It won't be littleabout it;-perhaps back down meekly and by the time Jim has given it a treatment.say, "Yes, sir !" Wouldn't we both laugh at But, though oversized, it will be tasteful,such a notion! I'd even have to stand on a musical, impressive. Johann Sebastian him.chair to take him by the scruff of the neck! self might smile tolerantly, think of the-Not that I've ever taken anyone by the great, good organ in the Leipzig Thomas-scruff of the neck. kirche, and appreciate a 20th-century

Perhaps jim senses that because of the youth's feeling for spaciousness in even avery impressiveness of his mien he can af- "Little" fugue.ford' to be soft-spoken and agreeable. There How does a charioteer feel as he tries tohe sits, smilingly, waiting for me to sug- check the insistent tugging of his fourgest that he begin. I think of Rachmanin- straining stallions? What is it like to beoff, who reminded one of a great, kindly the engineer of a super-tr-ain, contr ollinc. ~bear, crouching over a concert grand as if the terrible inertia of a mile-eating mon-about to envelop the entire instrument in ster with a small valve?his adequate embrace. And, like a lesser I don't have to wonder very much.Rachmaninoff, Jim can summon the thun- There flashes an insistent notion of Jimders, or enticethe snowflakes from the keys. suddenly scooping out all the black-and.As he prances into a Rigaudon, a thousand white teeth of the piano and Ringing themping-pong balls dance rhythmically, so light riotously across the room. It never quiteis' his touch. On the other hand, sometimes happens, of course, any !110re than it hap-when he accumulates force for the final pens when Willy Kapell takes apart thestatement of a fugue, I glance uneasily at piano during the Khatchaturian, for in-the legs of the piano, half-expecting them stance. But it is a preview of the same sortto buckle and collapse under Jim's hercu- of Jovian abandon, and it's exciting!

llean onslaught. The fugue is gathering power. "Flight'~

16

--

is a good word for this sort of pace anddrive. May it continue to I e "per canon-cl11,"-"according t law!" ACter all, Jim,e en the sea submits to the law of tide. Ihave to risc and put out a restraining handin order to be noticed over the tumult.

But oh, what a joy it i to hear it. remcm-bering the monoton us mezzo-piano thathaunts a music tea her's hours, as the mild,the timid, or the merely unadventurcsomeamong pupil do their little stint, fraughtwith mistakes, Jacking an)' vision!

Big Jim has known the hammering, stag.gering blows of tragedy in his youthful life.For a while after it happened he did notcome to lessons at all. When he did return,he sat apathetically, his 'hands wanderingaimlessly over the piano, finding nothingthat made sense or reason or beauty. Justnotes, just notes. \Ve worried about him.but in my mind wa a persistent picture ofthe sublimation of disaster. achieved sooften by the great among I;,usiciam::. Wehad talked at some length of Beethovenand his deafness ... _

Finally I called Jim and said I wantedhim to try a piece that was too big for myown rather inadequate hands. He came. andI put the Bach-Liszt Fantasy and Fuguebefore him, asking him to read it. Duti-fully, numbly, he poked at it a little, andtook it home.

The next week he flung open the doorand stood waiting with tense impatience~vhjle little Diane, dawdling as m:ual. fin·Ished her trickles of small melody. He wasannoyed that Diane should dela),. repeat,chatter, do unessential things while he hadsomething momentous in his hands.

Finally Diane, smiling coyly at her fa-vorite giant, slid down, gathered her books,and melted out through the door.

(Continned on Page 62)

ETUDE-JANUARY 1952

•

The Power of ConcentrationMental indolence, not technical shortcomings, IS often the cause

of practice difficulties.

IRend Tcmianka, violin virtuoso and teacher,

was a pupil of Carl Flesch.

WE Il\STRUlVIENTAL student. andperformers are often inclined to

ascribe our difficulties to technical short-comings when the real culprit is mental in-dolence. B,,: mental indolence I mean thelack of complete concentration while prac-ticing.

We all know the phenomenon of the wan-deriug mind. Vt,Te start playing a passagein the hope of getting control of it in notime. At the twenty-fifth repetition ourthoughts have wandered far away from thesubject at hand, and while our fingers arestill mechanically running up and down thefingerboard or keyboard, our thoughts arewith Mrs. Jones' party or last night's tele-vision show. I remember how, as a student,I was one day rudely awakened from myreverie when a voice down below, whichI recognized as that of my teacher, CarlFlesch, brutally recalled me to reality withthe remark: HI just happened to be walkingpast your house and was interested in theway you practiced. Do you know how oftenyou repeated that last passage? 137times!"

I was ne\'-er the same after that 'experi-ence, fortunately. I began to take stocko~ myself and my methods of working~ andI began to draw certain conclusions. Forone thing, I discovered that endless me·chanical repetition is not an effective work-ing method. Take, for instance, in the case

ETUDE~JANUARY 1952

by Henri Temionka

of a string player, the matter of intonation.There are only three possibilities. Eitheryou are in tune, in which case no repetitionshould be needed at all, or you are sharpor flat. Now it must be obvious to any think-ing person that until you have clearly estab-lished which of the two sins you have com-milled, repetition can only be harmful. Playa certain note flat six or ten times in sue-cession and you have accomplished .the veryopposite of your intended purpose. Youhave actually trained your ear to hear thisparticular note flat and the chances areyOll will henceforth always play it flat. Thisis what 1 call working in reverse.

You must realize that your ear is a pre-cision instrument. The intelligent trainingof it \\'in make it as sensitive as the finestSwiss watch. Use it wisely, and within ashort time it will tell you instantly whatyour shortcomings are. To return to ourexample of a string player testing his in-tonation, the practicing proc_edure becomesas follows: At the very first try, when yourear tells you you are out of tune, stop andestablish clearly in your mind whether youwere sharp or .flat, if necessary by testingthe note with the open strings. Now makea careful menial correction, telling yourself,at the next try you are going to play higheror lower, as the case may be. I will vouchfor it that in nine cases out of ten you willnot have to repeat the same passage or pat-tern more than a maximum of twelve times.Beyond this number your fingers begin togo' stale and soun your mind follows.

Of course, there are certain passages thatultimately have to be played so rapidly thatthev are controlled entirely by automatic reoaction, Here, more frequent repetition maysometimes be unavoidable, particularly onthe piano, where fast passages occur morefrequently and at greater speeds than onstringed instruments.

However, don't try to see the grass grow.You cannot, at the very first try, expectto secure a difficult passage for all time.Let every day be sufficient unto itself. Becontent to make today's correction justfor tocla y, but as conscientiously as youcan. Tomorrow is another day, and if youwill proceed methodically day in, day out,you will soon have covered a great deal ofground for keeps.

Don't overlook one enormously impor-tant fact: When yOli come to the end of apractice period, your mind does not come

to a full stop. On the surface yOli may startthinking of other things, but below thatsurface the musical and technical problemsyou have been grappling with continue tochurn around in your subconscious mind.

lance had striking proof of this, when Iattempted to learn by, heart an extremelycomplicated modern work. Day after day 1slaved at it, but I would break down in ahundred places until I finally gave up indiscouragement. A full month later, on asudden impulse, I picked up my violin, cur-ious whether any vestige had remained ofmy earlier efforts. To my amazement Iplayed the entire piece by heart without ahitch! What I had been unable to do byconscious effort, my subconscious mind haddone for me.

The more complete the power of concen-tration is while practicing, the stronger thesubconscious mind reacts afterwards. Theabsent-minded humming and fingertappingof which some of my topnotch musicianfriends are guilty, even at gay dinner par-ties, are involuntary outward manifesta-tions of this unceasing subconscious pre-occupation with the clemands of their art.Who said slavery was abolished? It is theonly possible state for a true musician.

One of the great secrets of good practic-ing is to recognize your human frailty, yourhuman limitations. If, for instance, youhave been guilty of a wandering mind, youwill not: after reading this, suddenly findyourself capable of complete concentrationfor hours on encl. No matter how hard youtry, in the first days complete concentra-tion may be yours for only one minute at atime. Never mind. Face it. Recognize im-mediately the moment at which your mindbegins to leave your music and stop play-ing. It is infinitely better not to practice atall than to practice badly. Relax for a mo-ment. Walk, talk, smoke, read, lie down.Do anything except practice.

When you think that you have recoveredyour mental freshness, go back to yourstudy, and stop again as soon as you beginto lose it. Soon your powers of concentra-tion will grow. I think the maximum per-iod of uninterrupted concentrated prac-tice is perhaps one half hour. After that, ifyou are at all human, you are bound to startthinking about Mrs. Jones' party. By allmeans think about it, and after you haveseen the last guest depart, go back to an.other half (Continued on Page 64)

17

Lieutenant Delmar (Pop) Evans relaxing at thoO"gllll in hi~ Caliro"ni~ hOlllc.

INGLENDALE, Cnliforoia, ask most anyof its 100,000 citizens "and he will tell

you who Delmar (Pop) Evans is. The an-swers, however, will not all be the same,for one may reply that he is a retired lieu-tenant on the city's police force; another,an accomplished organist, pianist and solobaritone; still another, the community'sleading authority on juvenile problems;yet another, a homespun philosopher andalter-dinner speaker; and others, thefounder of the Glendale Police Boys' Band.Actually, all of the responses are correct,for his life is one of multiple interests.

As a lanky boy in Montana, however, hehad planned that he would be a musician,never dreaming that some day he wouldbe on a police force "and become kuowu asthe "musical cop." There on the sparselysettled plains lived an uncle, a country fid-dler, who had mastered his instrument bycar. When young Delmar Evans learned toplay certain pieces on the piano, he andhis uncle made an ideal combination atcountry dances.

From here, Delmar Evans graduated toplaying the piano in the nickelodeons, thoseearly-day theaters which offered the firstmotion pictures for five cents, or a nickel.This explains the origin of the name "nick-elodeon." Following the showing of thefilm, there was often a variety show, orvaudeville. When his fingers were not onthe keys to accompany the performers, orselected parts of the film, he would get apeep at the stage or screen. One of his fond-est memories is seeing that pioneer moviethriller, "The Great Train Robbery."

About this time, he was with the Mon-tana State Band. Once the band boarded atra in as it was on the verge of leaving the

'I

II

Policc Boys Band, Iounrlcd U:'T Licutcnant Delmar Evans, who llut'ing the early1'011'1H~'hi~em-eer, wns a profcsstouat 11IIIsi(·i"n.

·Musical COpThe [ouruler o] the Glendale Police Boy s' Band is

conoinced that music and iuuenile delinquency do not nux.

by Weldon D. Woodson

station. As the whistle blew and t.he trainstarted: they all noted with cousreruarionthat their Lass drummer-a big, fat Ger-man-with his huge bass drum had notgotten fully 011. The lurch of the train senthim sprawling backwards and onto therails, he beneath his drum. Someone pulledthe cord; the train stopped; and the cha-grined drummer, lugging his instrument,puffed his way up to the steps where hisamused fellows helped hi III on.With the nickelodeons growing into mo-

tion picture houses and ill some of thelarger cities the films being run in spaciousauditoriums, comparable to those in whichlegitimate stage plays were presented, Del-mar Evans found himself moving Ir0111Montana and into other western states;finally, into southern California. Besidesthis, there were always b~nds of one kindor another with which a versatile pianistcould work. Inspired by his wl le Sannio, hereligiously practiced and e-xpanded hismusical repertoire.

During the months of 1927, however, hemade the rounds in Los Angeles and vicin-ity, but there were JlO positions immediatelyopen. In fact, there seemed to be far moremusicians than jobs. Entertainers were ad-j usti ug themselves to the new medium of~adjo. Soon, "talkies" would replace alto-gether the silent film_ Already there wasthe fear that vaudeville was on the way out.So during November of that year he

joined the police department of Glendaleas a motorcycle officer; it to be only atemporary job, he consoled himself. Whentwo years later he was promoted to ser-geant, he decided to remain. In 1936, hewas given the rank of lieutenant. Fronl1944 to 194,9, "Pop," as he became known

l 18

~--

to the force, headed th juvenile bureau;then he was transferred t the detectivebureau. During the latter part of 1950, forsix months he was a watch commander inthe uniform division, where he finished outhis career at the age of 65.

Upon entering the department in 1927,however, he never rclinqui hcd his interestin music, lending his talent to various or-ganizations, as well as playing hi rgsn athome. Everyone knew that "Pop was morethan just another cop, and the)' unger menon the force often carne to him for hissage counsel.

He found thc city of Glcndalc to be richin cultural opportunities. With it- increasein population from 13,356 ill 1920 to 62.-736 in 1930, it was heralded in the nation'spress as the fastest growing city in Americafor its size. Accompanying its phenomenalmetamorphosis from a town to a city in adecade were the formation of musical or-ganizations; until today there are: ElksClub Band ; American Legion Post Band:Community Symphony Orchestra AS50cij-tion ; the Philharmonic & rtists Associ-ati~n; and Glendale Police Boys' Band.

1 he latter, of course, is Lieutenant Del-mar (Pop) Evans's very 0""'1. In 1939, hegot word that the local Y.l\1.C.A. band wasjust about ready to give up because or thelack of enthusiasm and the necc..."Saryfundsto keep it going_ As be reflected on this.. itoccurred to .him that the police departlll~lltcould contnbute somethulg in a posith-ewa~ to .the welfare of the community byta~lllg It over. Engaging youth's plasticlll~nd~ to p~rticipate in music definitely cur-tails Juvemle delinquency.

To help finance it, he suggestcdthat .someB1o11ey be taken (Continued on Page 62)

ETUDE-/A,VUAR1' 19jj

•Changing conditions demand

a new approach to

Music Education

THERE IS a definite need for a re-evalu-ation of some of. the problems facing

elementary school music teachers. Littlerecognition has been given to the outsideinfluences which demand a new approachto that education.The elementary school student of today

is the product of a radio and television age.This could be one of the greatest boons inthe history of music education, but, unfor-tunately for those who hold to the idealof teaching an appreciation of what is goodin music, it has proven to be more of adetriment. Good music, in this case, maybe defined as that music which has stoodthe test of time.Radio is essentially a selling medium.

Necessarily then, it appeals to the massesof the populace for its selling. Unfortu-nately the mass audience, from the stand-point of the aristocracy of the music educa-tional world, is sadly lacking in appreci-ation of good music. If the mass demandsand accepts mediocrity in musical fare,radio will bow to that demand and providethat mediocrity. There is, certainly, muchmusic of high caliber presented on the air,but little of this is intended for or listenedto by children.One unfortunate aspect of the situation

then, is that our children today are receiv-ing their greatest training in music appre·ciation through music which has little tooffer but a formless, simple melody, with100 often completely inane, but momen-tarily catchy lyrics. In opposition to thisthe llsllaHy inadequately supplied often in·adequately trained music teacher with alimited amount of time is expected, to coun-teract this evil and at the same time stimu-late a child's interest in learning more ofgood mu~ic.Another factor against the possibility of

achieving success in building an apprecia-alive music group lies in the fact that edu-cators in music, as well as other fields, fol-low trends. A recent trend in educationwas the one in which the child's desires andinterest were to be drawn out individually,and the child was to progress at his own

ETUDE-JANUARY 1952~

•In Elementary SchoolsThe influence of radio and television

on the child's musical taste is far reaching

by RAYMOND GLENN LEUNING

rate. The three R's were secondary andsupplementary. Words like integration andcorrelation were bandied about until theybecame almost meaningless. Fortunately thetrend is reversing itself and a middle roadis being found. Certainly the child's desiresand interests are important, but with thepresent generation of elementary schoolchildren who can neither spell nor cipheradequately, it has again been recognizedthat the three R's as such are important.During this period many musical text-

books were published and aeecpted bymusic educators with the idea of correlat-ing music and social studies, music andarithmetic, and music with almost -any·thing. Many of these books contain form-less melodies and meaningless texts on pen-guins at play, or crossing the street, whichpurportedly give the child a vicarious ex-perience. Coupled with some of the morepuerile radio novelties it is small wonderour children have litHe appreciation ofmusic.There are newer texts being published

which offer simplified and usable melodiesfrom works of the great masters. Many ofthese have' texts "of simplicity and beautywhich do not detract from the beauty of themusic. Not too many of these have foundacceptance as yet, usually because of alimited budget,A way must be found through which the

school music program grows from this en-vironment and offers a basis of growthfrom the child's level. The philosophy mustbe accepted that the primary aim of musiceducation is not to graduate a generationof musicians, but rather to develop in ourchildren the ability to difIerentiate betweenwhat is good in music and what is not. J:heideals of music education may remain thesame, hut the method of approaching thoseideals must be modernized.We cannot condemn popular music or

cowboy music as such. Rather let us buildan appreciation so that the student canrecognize the good from the bad. As adultsour children are going to continue listen-ing to popular tunes just as people have

through the ages. There were popular tunesin the days of Bach, Beethoven, or any ofthe other masters. What we must instill i.nthe mind of the pupil is that our musicalheritage is the great works of those mastersbecause they offered something of form andbeauty. They have stood the test of time.Since the child of today is exposed to vastlymore music than was his father,it is moreimperative that we teach our children howto recognize that which makes musiclasting.From the first through the fourth grade,

the essential idea is to develop in the childthe love of singing, listening, and respond.ing rhythmically to music. Let the theoreti-cal application of music be incidental to itsenjoyment. Children through the fourthgrade will respond with spontaneous bodymovements to rhythms. Encourage them tofeel. Let them do a great amount of sing-ing for the joy of singing. Guide that sing-ing, however, by choosing melodies ofworth.From the fifth grade through Junior

High School, in general music classes, chilodren can be given the theoretical applica-tion of music in much the same manner asthey are given theoretical application inany other subject. There is no need for clut-tering up our music teaching with walkingnotes and running notes. In the primarygrades let them walk or run to the music-because they feel that rhythm. There is nonecessity for using a crutch for a healthybody. Neither is t.here any object in usinga musical crutch which must be discardedand the material re-Iearned.There is a great amount of controversy

over the use 0.£ solfeggio or the use of num-bers in learning scales. Bolh practices areused. There again the use of solfeggioshould not be discarded (nor used in placeof keys). In too many "'hools we find (do)to mean middle C in the minds of children.Cast out that. application. Teach solfeggiofor what it is; a movable scale system whichenables the child to find intervals andmelodic lines.There are other (Continued on Page 51)

19

reason the chanter couldn't stick toone pitch and every Sunday hesang the Dumont Mass in a differentkey. But luckily the little reed organwas equipped with a "movable key-board" that slid sideways and placedthe "DO" wherever required. Itsaved the day, of course, for thesecond farmer who never had anyidea of how to transpose, thoughit never made him a real musician.

A more fitting conclusion is be-yond me.

according to the tradition handeddown to us through Georges Mathiasand Isidor Philipp. Probably evenhe didn't interpret these cadenzastwice alike, and let himself becarried on the wings of fantasy bythe inspiration of the moment.

Here you may suit yourself. Donot feel bound by any editor'spersonal idea. Instead, use yourown!

Il' eacher's '-~oundtab'e, ,THE LAST ROUND of applause couldstill be heard in the small concert hall

where three freckled-face boys were put-ting away their instruments.

"Gosh, we did all right!" said-Stan, theeleven-year-old, to his brothers.

"Fun, too:" said Gale, a,year y.ounger .~_as he tossed his music ,j~to "a folder.~ .. :; )'

"I say it was n.eat," said Roy, snappingthe lock on his half-size violin case. "Andnow, refreshments." He followed his broth-ers out to the reception lounge.

The program for the local Sunday Eve-ning Club was over. My husband and Iwere being surrounded.

The gentleman nearest my husbandbeamed. "I bet you never have to makethose boys practice!" he said.

"Indeed we do," replied my husband.The pleasure on the man's face changed

to surprise and curiosity. "But the waythey play, I thcught-c-"

"They're regular boys, full of the 'oldnick'. And practicing doesn't come anymore natural to them than washing theirears," answered my husband. "But bothare part of their daily schedule:"

Others crowded in, congratulating us onour three sons' performance as if it hadbeen something spectacular.

I couldn't understand. Was our familyconcert so unusual-s-playing music to-gether and in solo? This could have hap-pened in our living room. most any evening.

"How do you get your boys to prac-tice?" The question seemed to come fromseveral people.

I looked up at them, wondering how toanswer, when my husband spoke. "Weteach them to practice, the same way weteach them any habits-by daiLy repeti-tion."

"Yes," I added, "most boys and girlshave to be told to go to bed, to take theirbaths, and to practice. Our children areno exception."

"But they playas if they enjoy it," saidthe woman at my left.

"They do. After all, it's a form of self-expression. And playing for others givesthem an added sense of achievement. Butthat doesn't mean they like to practice.It's our job to see that they do practice.We help them."

"How?" came the blunt question.I thought of how difficult it would be

for a child to read and write by himself.Only through daily help and practice doesit become easy and natural .for him. Mu-sic is no different. But there are ways tomotivate this daily practice. I tried toexplain.

"First of all," I said, "we establish aregulation: one hour of practice each day,to be finished before 7 :30 P.M. I feel thatif children know what is expected of them,what they may and may not do, they havesomething concrete to hold to. It givesthem a feeling of security, which is essGn-

So Your Child',;Wion't Practice"~' ,.' ~ . ~. .

MAURICE DUMESNIL, Mus. Doc.,Advises Concerning Technical Prob-lems, a Practice Slogan, and Playing

Cadenzas.FIXED, OR MOVABLE DO~

I alit interested in learning some-thing about the "fixed DO", but Icannot find any material about it.Will you please give me the nwneoj a book or two about the system?Thank you very much for the in-formation.

Miss S. E. L., Colorado

Most children hooe to' be told CHOPIN, A SNOB~Recently I heard of a lecturer

who, while discussing the composersof the romantic school, referred toChopin as "a snob, full of uri-demo-cratic bias".

Say Mister, I take exception tothat. Chopin was a courteous, re-served, distinguished gentleman witha generous heart that prompted himto extend a helping hand to manya struggling young artist. Much ofthe money he derived from concertsor lessons went to Polish emigreswho sought refuge in Paris andwere in need. He was a devoutChristian and a man of high ideals.His devotion to his friends was un-failing. Could he be blamed forhis discreet attitude, for not want-ing to slap anyone's shoulder andcall him by his first name uponbeing introduced, and is it notnatural that being a composer ofutmost refinement, he had .a horrorfor rudeness, incivility, and ill-breed-ing?

Should Chopin be alive todaywhen vulgarity is so widespread, hewould have no commerce with those-and they are many-who find it"cute" to cultivate the manners andthe jargon of a certain beer gardenclientele.

Oh, for ·more Chopins, thousandsand thousands of them. They arebadly needed in our' day and age.If caring for utmost decency inall phases of a musical career, forscru pulous honesty at every turn ofan artist's life, for the supremacyof soul over mercantilism are whatconstitutes "snobbism", then let ustry and have more of it.

to go to bed, to take their baths,

to clean their teeth, and to PRACTICE upon anyone. I simply submit it asa result of my observations promptedby long experience.

TECHNICAL PROBLEMSHow much time of one's procrice

should 'be devoted to technic? Atpresent- I am studying both. Czcrnyand scales. Which is the way to ac-quire a good technic: through tech-nical drills (Czerny, Hanon, et,c.)or through fragments from. piecesmeeting the various problems asthey arise? I have heard so manyopinions from reliable sources onall sides, that I am coniused as towhich is the right solution: I wouldappreciate any advice or help yOllmay care to offer.

T. S., Pennsylvania

Sorry tllllt I cannot give you thename of such materials, and this,for a simple reason: there is nosuch thing as a "fixed DO system"!When you learn music the way it hasbeen and is being taught since timeimmemorial, you AR)..: studying the"fixed DO", meaning: the DO or"C", which is the Tonic in the keyof C, the Dominant in the key of F,the Fourth in the key of G, theThird in the key of A, and so forth.It's all very clear and if you fol-low the rational way of studyingmusic you will gradually assimilatewhat you call the "fixed DO".

Is the above a condemnation onmy part of the Movable DO Method?Not in the least, for in certaininstances and in a limited way itdoes some good. For example, Ihave heard choral music sung bypeople who had no knowledge ofmusic and still did a commendablejob owing to its lise. But here a lineshould be drawn, for-c-as the dis-tinguished theorist Charles Lagcur-gue points out-"the Movable DOwas originally intended to enablechildren to sing simple tunes atsight. It was a mechanical devicefor non-musicians, certainly not in-tended as a foundation for a musicaleducation. Consequently it would bea bad mistake to try and apply sucha method to more advanced train-ing. Those who study sol£eggio donot need anything else: through itthey become musicians." And Mr.Lagourgue elaborates further:

"No one would consider begin.ning the study of mathematics bya makeshift method which mustbe forgotten later, should one wishto master real mathematics in orderto become an engineer. We do notteach a child to walk a certain wayat one year old and another waywhen he is eight. There is no morereason to change the DO than thereis to call a C on the piano "F" be-cause the signature has six sharps".

All of which~to finish in lightertone-calls to my mind two sturdyfarmers of Normandy who benevo-lently took charge of the music ina village church. For some unknown

hy GRACE C. NASHWANTS PRACTICE SLOGANf would like to put up a sign

in my studio that would be aninspiration to my pupils for theirpractising. It should be forceful,short, and appealing to the imagina-tion. However, I am. at a loss forfinding the proper wording. Couldyou help me in tliis. I will appreciateit very much.

Miss t. W. L., New York

Mozart, Beethoven and many others, youwill find their training wa part of theirdaily schedule, and not because they choseit to be. Free choice, in rno t things, is notfor children.

We know our boys are not genius maoterial. They're normal, mischievous young-sters, full of energy and curiosity. And wewant to give them as much preparation fora good and happy life as we Call. Thismeans not only opening the doors to themany experiences ahead, but taking themby the hand and leading them. And oneof these doors leads to the enjoyment ofmusic.

Music, a language of the feelings, goesbeyond the printed or spoken word. Itholds no barrier of race, creed, or na-tionality .. One of the finest forms of self-expression for all ages, music is relaxing,uplifting, and always worth while. Whatbetter means of expression can we giveour children?

But to teach children music requires pa·tience and daily supervision. The latter isour job, .as parents-just as it's our jobto enforce a reasonable bedtime whether~ley approve or not. Yet many parents in-dulge in the belief that it is wrong to holda child to a daily practice period. If hewants music, he must do his practicingon his Own. Is it because they, as parents,are content to take the path of leastresistance? .

Let's look at it objectively. In a recentsurvey of our penal institutions, it wasfound that only a scattered few amoncr thethousands of criminals had ever rec:ivedany re~ular musical instruction or partici-pated III an orchestra or chorus durinlJ"their childhood. Music and delinquenc;seldom mix.

!o make the daily practice period moreenjoyable and worth while to both pupilsand parents, here are some suggestionsbased on the seven notes of the musicalalphahet: (Continued on Page 51)

tial to their happiness."Each of our boys has different hours

for working best. With Gale, the one whoplayed piano for you, it's early morning.As soon as his breakfast is; finished, hepractices until school time, getting mostof it done then. He doesn't . like to prac-tice, but twenty lessons marked good in hismusic notebook, brings reward. This yearit will be some special fishing tackle.

"With Roy, six years old, an hour ofviolin is too long. Two twenty-minute pe-riods for him. I always help him, and eachweek of good practicing brings an extraprivilege-an afternoon picnic, a trip tothe Zoo, or a new ball.

"Stan, eleven years old, has many after-school sports; He practices best' after din-ner. Radio and television programs comeonly after his hour is finished. A composi-tion well mastered merits a Saturday movie,hamburgers for the gang, or a new base-ball bat.

"If their Saturday practice is finishedbefore noon, fifty minutes instead of theusual sixty is the rule. But failure to com-plete their practice may prevent a familyouting, a trip to the beach, or a game ofCanasta."

"Do they watch the clock while theypractice?" came the question.

"We have no clock in the living room.They check the time when they start. Andafter fifteen or twenty minutes, they cellout, 'What time is it, Mom?'

"If they waste time, I simply add anextra five minutes and tell them it has beenadded. After the first few weeks it seldomh;ppens." '

"But I thought children should neverbe forced to practice. It might kill theirlove for music," said a feminine voice inthe group.

Let us look at it this way. Children arenot mature in their judgment. We, asparents, must enforce what is right forthem. If you review the early life of Haydn,

You:r idea is a good one, and whynot use Charles Reynolds Brown'ssrring of adverbs, advising them to

I have always obtained excellentresults from a division of practiceinto three equal parts: 1. Technic2. Etudes 3. Pieces. But-in «technic"I de not include Czerny, whosebooks ought to be classified amongthe Etudes, together with Clementi,Cramer, J. C. Kessler (these shouldbe better known), Chopin, andLiszt, though the latter two aregenuine music constantly featured on.recital programs.

Technic, in my mind, is anythingwhich deals with the purely gym-nastical drill of the fingers, suchas the exercises by Aloys Schmitt,Hanon, Philipp, Brahms, Tausig,Pischna, etc. But I also recommendthat pieces should be taken apartand studied with a technical ap-proach, that is: hands separately,with different rhythms and trans-positions, very slowly. This addsup to the "gymnastics" and worksin a cumulative way which meansbetter and faster results.

I know that some teachers dis-card exercises and say "Get yourtechnic out of your pieces." But Iam not one of them, for-this iseasy to demonstrate~certain waysof drilling the fingers in passingof the thumb, lateral action, andextension cannot be duplicated byanything taken out of even the mostarduous sonatas or cortcertos. Thinkof the ballet dancers who spendmuch time every morning workingat the "bar", before rehearsing onthe stage.

In conclusion: anyone has a rightto his opinion and be it far frommy thoughts to impose my own

Plj.ACTICE

"Quietly, easily, restfully,trustfully, patiently, serenely,peacefully, joyously, courage-ously, and confidently."

It sums it all up and I don'tthink anything better could be found.

SUIT YOURSELF!Can yOll let me know the correct

way to play the groupings betweenright and left hands in the caden-zas of Cho pin's Nocturne in Fsharp major, Op. 15 No.2. Thegrouping is marked differently byvarious editors; still, there must bea correct interpretation of thesenotes, which is what I would liketo know. IS THE CHORD CORRECT?

I have been running throngh theFaure Impromptu in F Minor, Op.31, No.2, edited by Henri Consett.

1f/ould you kindly tell me if thechord (see cut) is right? Somehow,it doesn't seem to "belong" as is.

""~

H. G. L, New York

There is no absolute rule govern-ing the interpretation of these ca-denzas and if you hear them playedby a dozen concert pianists it islikely that each one will place thebasses at a different point. Suchpassages ought to be played freely,for they are "ornamental" andtypical examples of Chopin's rubato.

Liszt compared this rubato to"the leaves waving gently in thebreeze"~while the tree itself re-mained steady. Likewise, let yourright hand play with the flexibilityof soft boughs while your left handremains stable. Such is the wayin which Chopin himself played,

III

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Slrould the E perhaps be flat? It ap-pears on Page 9, bars 4 and 5, andsubseqnently in bars 12 and 13.

M. A., CaliforniaThe edition you mention is wrong,

very hadly so, in every instance.You are right: it's an E flat!

20ETUnF:-/ lVI' rll)' /952

ETUDE-JANUARY 1952 21

Fortunate is the pupil

who finds himself under the guidance

of one who believes in

Teaching MusicianshipIt is highly important that pupils be taught

musicianship as well as the ability to read notes.

ONE THiNG that is probably retardingprogress in music education today is

the inability of so many piano teachers toteach MUSICIANSHIP as part of the musiclesson, especially in the beginning stages ofinstruction. Too often the teacher is unableto make the student see the forest becauseof the trees.Music is something that is HEARD and

it can never be anything else. But music isnot something heard only with the ears.Tones heard last only for the split secondthe ear drums are picking up the sound vi-brations, but these tones become relatedto a larger concept of the music which isforming in the mind. The one entrance tothe mind is through the senses and the moresenses used in helping the mind to formsuch a musical concept, the more definitethe memory concept developed.We should be teaching MUSIC and not

just the symbols that make music readingpossible. Establishing rhythmic patterns,pitch change patterns, notation patternsand the relationships of parts to a "whole"musical idea, should he the most importantthings taught.Perhaps we should always speak of

TONES in teaching music reading for thenotation is only a picture of tones and thepurpose of notation, for the performer, is toaid the memory of tones. The history ofmusic notation indicates this quite clearly.Notation started with a single line to indi-cate the pitch oj one particular tone. Thenotes were read in relation to. that tone,based upon the distance the neumes ap-peared above or below that one line, as anaid to the memory. When organum cameinto use, another line was added, a fifthabove, to start the second voice. Sometimelater someone added the line half way be-tween the fifth to give a definite pitch to

22

by FRANK FRIEDRICH

each tone used in this narrow range.As instruments were developed, other

lines were added, probably- as new keyswere added to the organ keyboards, for itis very apparent that the staff and keyboardgrew up together. When Guido d'Arezzoworked out a system of interlocking scales,music and notation began to progress rap-idly, but always in relation to the diatonicscale tones.If we can establish the scale tones in the

car and mind, we can teach notation as partof MUSIC because it follows the scale andthe keyboard. Many students in the earlygrades in music never come to realize this.They are presented with a completeGREAT STA FF divided into clefs of fivelines each. They learn the line names sepa-rately f;om the space names and with dif-ferent designations for the two five linestaffs. Many never realize that the GREATSTAFF is only a picture of a scale whichreads GABCDEFGABCDEFGABCDEFG. 1have come across many adults who studiedpiano for two or three years in their youthand never realized that the lines and spacesprogress upward in alphabetical sequence.They were so involved with EVERY GOODBOY DOES FINE and ALL COWS EATGRASS that they never got this essentialconnection between the scale, the keyboardand the staff.Teachers can avoid all of this if they

will work to make the concept or picture ofthe staff clear and the relationships ofscale, staff and keyboard realistic and inrelation to the TONES HEARD. The eyeshelp, the hauds at the keyboard help, andsinging also helps to establish the musicsymbolism in relation to the musical con.oept forming in the mind. To the perjormer,notation is essentially a m.emory aid. Thepatterns in the notes help the ear to rel11em_

her and understand the musical conceptforming in the brain.Toscanini has ph tographic In mory and

very poor eyesight. \Vhen he "sees" some-thing, he rerncmb rs it, wh ther it i P tryor music scores. He "see" and "h ers''with his mind. The sound 1 altern and thesight pattern become merged into a com-plete musical concept and he could spendhours ill bed reading sc r and memoriz-ing them. A wonderful a r, you SAY, buthe has a wonderful ey 01 hi mind'seye.Edward Isaacs, famou c n ert pianist

and teacher in Mauch ster, England. hasbeen completely blind sin e the age offorty. He says the greatest hindrance toblind persons learning to play the piano istheir inability to "vi ualize" the music.Visualizing supplies a way of organizingand rememberinc and understanding musicas a "whole," the way in which the corn-poser conceived it. "The entrance to visual-ization in the mind must be through theears, the eyes, and especially {or the blind.through the sense of kinesthesia or "touch ..'If a blind student can establish a mentalpicture of the keyboard and the notation.he can learn to perform. but Braille musicnotation uses a system of dots that is notessentially different from the way otherreading symbols are presented and thismakes such visualization difficult. We whohave eyes are fortunate, indeed. if we \\ illonly .learn to use them, {or OUf system ofnotation makes a very realistic "picture"?f the. tones, going up when the tones~oup,Jwnpll1g when the tones jump, repeatingwhen the tones repeat, and so on.. My ten year old daughter aud I are read-Ing (not practicing) Valse Caprice for fourhands by Grieg. Before we began to play welooked at the (Continued on Page 50)

ET DE-HVUARY 1'52 23

!Ouestions and Answers....

Condueted by KARL W. GEHR·KENS, Mus. Doo., Music Editor,Webster' s New InternationalDictionary, and Prof. ROBERTA. MELCHER, Oberlin College

PIANO OR VIOLIN?

• I have an eleven-year-old daugh-ter who is taking both piano andviolin, and both teachers tell meshe has great possibilities. I washer first teacher in piano but she hasnow been studying under anotherteacher for a year. She has alsohad enough violin so she is playingin the school orchestra, but as herschool work is getting heavier shewill not be able to carryon wi/.It bothinstruments much longer. Some ojthe time she thinks she likes pianobetter, but at other times she prefersthe violin. I would like her to haveequal training on both instrumetus,but how can this be done withoutputting too great a strain on thechild? My daughter's music is veryimportant to me, but her healthis even more important, and I feelthat every child ought to have timefor play and relaxation. This is avery perplexing question and anysuggestions you care to make will begreatly appreciated. Mrs. J. M.,Washington.

Congrotulotione on having sucha talented daughter, and congrat-ulations to her on having such awise mother! The problem you poseis an especially difficult one becauseboth piano and violin are "hardinstruments"-each requires a greatdeal of practice if it is to bemastered. As it happens, I also havea musical daughter, and she toostudied both violin and piano whenshe was a child. She began pianoat five, and after a year of it sheadded violin, carrying both violinand piano until she was seven. Bythat time she herself had decidedthat the violin was her great love,so from then on she concentratedon it and became an excellent violin-ist. She is now a highly successfulteacher of violin and viola, but be-cause during her many years ofviolin study she did not entirelydrop the piano, she is now able toplay the accompaniments for allbut a few of her most advancedpupils. This was done incidentally"on the side" as we call it; butit has proved a most valuable ad-junct both to her musicianship andher practical day by day work as ateacher.My suggestion is that your daugh-

1

rUDE-JANUARY 1952

ter continue with both piano andviolin for another year, and thatnext summer you ask her to tellyou frankly on which one she wantsto concentrate from that time on.Don't try to influence her, and byall means don't allow her teachersto sway her in her decision. If shechooses the violin, then it will notbe necessary to drop the pianoentirely even though she does notpractice regularly nor take lessons.But if she chooses piano, that willprobably mean that she will dropthe violin, for in order to becomea really good string player onemust study and practice indefatig-ably and continuously. The impor-tant thing so far as you areconcerned is the fact that you arelucky enough to have a child wholoves music and wants to work atit. But whether she decides on pianoor on violin as "her dearest love,"it should be left to her own feelingabout the matter. It -is after allher life that is being planned, ratherthan yours-or even the piano orviolin teacher's! -K.G.

, .~WHAT IS THE TEMPO?

Will you please give me som.ehelp with the Gigue from the"Sixth French Suite" by Bach? Thetempo is marked Moho allegro, andthe metronome marking in my oldPeters edition is J.:I04 which is veryfast. Is there, by chance, a misprintin this metronome marking?I also wonder about this trill.

1s it considered physically impos-sible to play the trill in the righthand faster than the sixteenth notesin the left hand? Does the trillend on or before the tied sixteenthnote F-sharp? -O.S., Canada

The metronome marking J."'104appears in other editions besidesPeters, but this is indeed a virtuosotempo. I much prefer the tempothat is given in the Bischoff edition,which is J. '"92 • The difficult six-teenth-note figurations make this

Gigue a real pitfall if played toofast. I think it is much better totake it a little more slowly and keepit clear and steady, than to haveit uneven and muddled as it no doubtwould be if you were to attempt itat a faster rate.The trill must start on G.sharp

(not on Fcsharp}, and should be inthirty-second" notes. While it is notphysically impossible to play itthus, it is very difficult to execute.But it must not be played merelyas sixteenth notes, synchronizingwith the left hand, for that wouldcreate most offensive parallelsevenths between the two voices. Ifyou cannot manage exact thirty-second notes, then just play thetrill freely, as rapidly and assmoothly as possible, without tryingto have an exact number of notesto .each beat. The trill ends on thetied sixteenth note Fvsharp, on whichnote there is no trill. So keep thetrill going all the way through thedotted quarter note, but stop im-mediately on the sixteenth note with-out any closing turn to complete thetriIl. -R.M.

I LIKE OPERA BUT I CAN'TSIGHT·REAO

I am a high school student andhave been playing the piano forseveral years. I greatly enjoy Bach,Brahms, and the other great sym-phonic composers, but my great loveis opera and I get great pleasureand satisfaction from listening tothe Metropolitan broadcasts onSaturday aiternoons. UnfortunatelyI am not a good sight reader, andI have been advised to improve itby following operatic scores. How-ever, the libraries in this vicinitydo not have many musical scores ofany kind, and I am wonderingwhether you could suggest anylibrary or library association fromwhich I might: borrow the scores.Thank you very much.

R.W.G., Connecticut

I myself like orchestras and stringquartets better than opera but ifyou happen to prefer opera to anyother sort of music I shall certainlynot criticize you for that. But itis not necessary to confine yourselfto opera scores in order to improveyour sight reading. As a matter offact you would do better to beginwith simple hymn tunes, folk songs,and easy piano pieces, requiringyourself to spend at least a halfhour every single day in sight-play.ing easy music that you have neverseen- before. Old issues of ETUDEare a wonderful source of sight-reading material, but I advise youto confine yourself to the very easiestpieces at first. Compel yourself to-play through the entire piece with-out stopping to correct a singlemistake. Now play it once more-with considerable improvement, Ihope; - and then go on to anolher

piece even though you may betempted to work on the same oneso as to play it more perfectly. Imyself played through all the hymntunes in some half dozen hymn-books when I was a boy, and I havealways attributed my skill in sightplaying to this experience.As for opera scores, any good

public Iibrarv will have at leasta little operatic material, and ifthere is demand for this sort ofthing they will probably be willingto buy more of it. But you willhave to ask them. Following thescore of an operatic performanceis excellent, but if you could manageto buy phonograph recordings of allor even a part of the opera and com-bine looking at the score with reopeated listenings, that would bestill better so far as helping youto improve your sight playing. Ishould like to warn you, however,that such a combination of lookingand listening is not as valuable asthe half-hour of actual sight playingthat I have recommended above.But do both if it is at all possibleto do so. -K.G.

HOW TO PROOUCE VIBRATOIN FLUTE PLAYING

I have been told that in playingthe flute the diaphragm vibrato is thebest method. If this is true, will» youtell me how such a vibrato may beproduced and developed?

Miss R. M. J., Iowa

1 (10 not happen to play the flute,but I am lucky enough to know aman who is an expert in playing andteaching all the woodwind instru-ments. His name is George WaIn,and he teaches at Oberlin but hasjust been doing some studying inNew York, and he has been goodenough to write me from there asfollows: "The diaphragm vibrato isunquestionably the best and the mostwidely used in playing the flute. Itis hard to describe without demon-strating it, but the method is some-thing like this: Through a relaxedthroat one starts by making a singlepulsation of the breath with a 'huh'sound as if grunting. This must begentle and not forced. The metro-nome is now set at 66, and this fur-nishes a definite measurement intowhich one should fit the pulsation asdescribed above. When the playercan do it regularly on each beat heattempts two, three, and finally sixof these pulsations to each click ofthe metronome. As the proper vi-brato speed is acquired the controlof these diaphragm vibrations ironsout into a beautiful warmth, and isgoverned by the throat. The numberof pulsations, that is, the speed ofthe vibrato, will vary with the mood,character, and intensity of the music,and the player must therefore ac-quire good judgment and good mu-sical feeling."I hope this will help you. -K.G.

I I, I

Il

ORGANIST'S PAGE

The Fine Art of

Playing Organ PedalsA sound pedal technique is just as

needful as dexterity on the manuals.

hy ALEXANDER McCURDY

ITHAS AL'VAYS been intriguing to meto note the manner in .which g~'eat

organists discuss organ playing, particu-larly with reference to the use of t~e pedals.Many of these men in their teaching, m~keuse of certain words or expressions whichimmediately make an impression on thepupil's mind. The particular point involve?seems to be driven home much more forci-bly by the use of pet words or phrases.For instance. Edward Shippen Barnes used

. d "Nto say of a well-execute passage: ow,that was slick," or "That was neat," or"That was done with the greatest of ease."It seems to me that one should have this

feeling about any organist's use of the ped-als. We should never be conscious of ef-fort. The organist's control should be socomplete that he can execute the most dif-ficult passages without apparent strain.Otherwise, the organist has a millstonearound his neck and this is sure to hamperhim, no matter what he is playing.

It is important that we cultivate a "slick"way of playing a troublesome passage (toborrow Mr. Barnes' expression). It canmake a' great difference in one's perform-ance of a piece. Take, for example, thefirstscale in the opening of the Bach Preludein D Major. There are many wrong waysof executing that half-bar, but only one"slick" way. If it is done correctly, it al-ways comes off well and the rest of thepiece is plain sailing. The passage is soconspicuous, however, that one cannot af-ford to make a mistake in performing it.Similarly, there are many ways of play-

ing the opening pedal solo in Bach's Toc-cata in F, but there is only one "neat" wayof doing it. Here again, it is an exposedpassage and wrong notes will spoil it com-pletely. Also, there are many ways of play-ing the pedal solos in the Cesar FranckFinale in B-flat, but only one right way-namely, with the notes all played accuratelyand in proper tempo.Organ literature is full of passages like

these which demand of the organist an

24

Rowland W. Dunham

absolutely unshakeable mastery of the ped-als. A sound pedal technique is as .indis-pensable to the organist as the ability toplaya scale on the manuals.

It is true that any technique is' only ameans to an end, and that the organistworks hard at mastering his instrument inorder to play effectively-but one musthave the technique to start with.What a pedal technique Bach must have

had! Those who heard him play said hisfeet "flew over the pedals as if they hadwings." The pedal passages in his worksrequire a performer who can play equallyas well with his feet as with his fingers.How he must have worked to develop hisown pedal technique, and also to see thathis sons had perfect mastery of the pedalsalso.Fortunately, this sort of pedal-playing

is far from being a lost art. M~n like PietroYon, Lynnwood Farnam, Marcel Dupre andtheir students have had amazing virtuosityin pedal·playing.For that matter, I have been amazed to

see Miss Rolande Fulcinelli, playing astrange instrument for the first time: exe-cuting the most difficult yassa?es WIth~utmissing a note-and tins while weannghiuh-heeled shoes! She can play absolutelyo diff I . Ilecato under these 1 cu t circumstances!OWe realize ~\'hat a pedal technique Miss

Jeanne Demessieux must possess when wesee the difficult pedal parts which she haswr-itten for her Etudes.These people all use their phenomenal

pedal technique as a mean.s to. a~l end. Butthey worked hard to acq u ICC It III the firstplace. One does not achieve mastery of thepedals by wishing.

On the other hand, some of us ill ourstudent days did just enough work on thepedals so Ihat we could put hands and feettozether and from that point 011 let pedalde~elopment fly out of the window. Howfoolish that is. and how short-sighted! Itis less damaging to technique to neglectfive-finger exercises than to slight our workat the pedals.They lcll me that at Obcrlin College a

Nilson Pedal Playing book is tied to themusic-rack 0·£ every organ on the campus.If a student is baffled by a problem in pedal.playing. the Nilson hook is ready for in-stant usc. No doubt this is one of the rea-SOilS why they produ so many goodorganists at Oberlin.The Nilsen book is a time-tested help to

pedal playing. Another us Iul book, whichhas just been' published, is "Pedal Mas-tery." It is by Howland W. Dunham, DeanEmeritus of the niversity of ColoradoMusic Department. Mr. Dunham knowswhat he is talking about, since he has hadmany years' experience leaching organ stu-dents in all stages of development. His bookpasses along many practical and usefulideas which are the result of Mr. Dunham'sown teaching exper-ience.

Mr. Dunham's approach to the problemof pedaling is systematic and thorough.His book begins at the level of the beginner,but before the end there are a number ofideas which even the advanced player willfind helpful.In an excellent and sensible iutroductiou,

Mr. Dunham discusses the general prob-lems of pedal playing, This is followed bychapters on Alternate Feet-Toes. Crossingthe Feet, Raised Keys, Use of the Heel,Staccato, Ilepcritlon, Glissando, Substitu·tion, Double Notes and Coordination.Following this detailed outline of the

mechanical problems of organ-playing, Mr.Dunham gi\'es a number of practical prob.lems taken fTom Bach's organ works. Theyintroduce the pro hi ems which always occurin actual pedormance--rapi.d playing, Ie·gato playing, the execution of mordcnts andother ornaments, the playing of t\\·o partson the pedals, scalewise passages, wideleaps, and so on.

A careful study of the exercises inl\ir. Dunham's (Continued 011. Page 50)

ETUDE-JASUARI'

\

\

". . _ and I would appreciate it i/ youwill give me your expert advice on theseproblems 0/ teaching that have con/rantedme: (1) For technical purposes wouldscales and arpeggios or the technical works0/ Sevcik be 0/ more advantage to studentswith limited practice time? (2) Is it pre]-erable to teach the natural or the controlledstaccato first? (3) Would it benefit thestudent to insert on the printed page nola-tions regarding the point of contact be-tween bow and string, or would you teachthe principles and leave the applying ofthem to the pupil's own imagination andunderstanding?" I. S., New York

We all know that scales and arpeggiosare the foundation of a solid techniqueon any instrument-except perhaps theukulele! But, for a violinist, so are mostof the Sevcik books. -If f knew the stage ofadvancement of the pupils you had inmind, it would be easier for me to giveyou a plain and succinct answer.

If they are still working in the first posi-tion, I would suggest that you assign onescale at each lesson together with the ar-peggio s~quence starting on the same key-note in Sevcik's Op. 1, Book 1. One lineof the first double-stop section' can begiven at the same time, for the earlier astudent becomes acquainted with double-stops the more fluent will be his latertechnique. _

If your pupils are already learning toshift, you can follow much the same pro-cednre. For them I would suggest theSchradieck Scale Studies (Schirmer edi-tion) and the third book of Sevcik Op. LThe way the scales are given in chromaticsequence in the Schradieck book makesthe teaching of shifting and the positionsquite an easy matter; while the use ~f sec-tions 3 and 4--later 5 and 7-in Sevcikwill train the student to move fluently fromone position to another. The idea that apupil must learn each position separately,and then, when he is familiar with them all,learn to shift between them, is quite ex-ploded. Nowadays we know that the soonera pupil begins to shift up to the fifth andseventh positions, given a good ear, thesooner he will acquire an easy familiaritywith the fingerboard.For a pupil who is playing in the posi-

tions but who has limited practice time,J suggest that you assign three scales-the major, and the parallel melodic andharmonic minors-for each lesson, andwith ",them the corresponding arpeggi.os inthe Sevcik book. Don't be upset if thisassignment is not thoroughly learned bythe next lesson; if it has been fairly wellprepared, assign the next key, for thestudy of any scale or arpeggio helps all theothers. By the time the student has gonethrough all the keys he will be playingscales and arpeggios very creditably. But

\ ETUDE-JANUARY 1952

VIOLINIST'S FORUM .•. Condncted by Harold Berkley

Concerning Scales,Arpeggios,and StaccatoBowing

I .do advise you to use the Schradieckmethod of starting wkh .the G scales andprogressing chromatically upward. It in-troduces the higher positions more natu-rally than any other method.

(2) If a student has no natural staccato,then it is better to teach him the controlledstaccato at first. While he is working on it,a natural, rapid staccato is likely to appearat any time. But be sure to let him learnthe staccato gradually. If this principle isfollowed, he will not be possessed by themental hazard that prevents many violin-ists from acquiring a good staccato.The Up-bow staccato is essentially the

result of two coordinated motions: (A) aseries of very small Up-bows made by theforearm, and (B) a coordinated series ofaccents made by the Rotary Motion of theforearm.The student must first gain control of

motion A. The bow should be placed onthe string not less than three inches fromthe point, and the forearm turned notice-ably inward, so that the bow may grip thestring firmly. Then, in a succession of short,evenly-spaced Up·bows, without relaxingthe preSJure on the string, the bow shouldmove slowly towards the middle. At firstthe notes may not be rhythmic and even;in that case, a slow tempo must be con-tinued until they are completely controlled.As soon as a fair degree of control isgained, the student's aim should be to de-crease gradually the amount of bow usedfor each note, in this way increasing thenumber of notes that can be played beforethe middle of the bow is reached.Motion B is nothing more than a series

of Up-bow accents identical with thosemade in the playing of the martele. Butthese accents must be coordinated with theshort Up-bows of Motion A, and thereinlies the nub of the difficulty in acquiring agood staccato.Very often a clearly· articulated and bril·

liant staccato will evolve of itself while thestudent is working on Motion A. If it does,

he can be thankful; if it doesn't, he mustproceed to Motion B-and be patient.Given patience and thoughtful practice, thegenuine staccato can be acquired. It maytake a week, a month, or a year; but whenthe student has a good staccato he won'tregret the time spent in acquiring it.(3) Personally, I would not mark on a

pupil's music whether he should play nearthe bridge or near the fingerboard. Thematter of tone-coloring is much too subtle,so much the result of the player's innatefeeling, to be pinned down so mechanically.And how could you indicate those innum-erable occasions when the bow must go ahalf-inch nearer the bridge for a note ortwo and then back to its original point ofcontact?Much better would be to arouse in the

student an interest in tone coloring, bydescription and demonstration; and then,after giving him a thorough grounding inthe necessary principles, to let him ex-periment for himself-subject to yourweekly check-up. After he has exploredthese principles for a week or two-scalepractice, a whole bow to each note, is thebest medium-give him one or two purelymelodic solos to work out by himself.When he brings them to you, you can checkon his awareness of the appropriate ex-pression and the means employed to bringit out. Then you have your chance reallyto go to town on the subject! But do it bymeans of words and demonstration, not bymarks on the music.

Pointers on SummerSchool Teaching"I'm in the middle of my first experience

of summer school teaching, and I'm upagainst some problems. It is a five-weeksession, a,nd a number of my pupils neverstudied with me be/ore and won't after thesession is over. I find I can't handle themas I would my regular pupils, the timebeing so short. How should I work withthem? .. J know (Continued on Page 63)

25

PIANIST'S PAGE

Adventures

Behold God exo/fefh by Hispower;' who feochefh like Him?

-Job 36:22

of a piano teacher

Rapid rotation,persistent resisters,

and other questions

A STUDENT ASKS: "When does apianist apply the attack' by stroke, at-

tack by weight or attack by pressure?"Never! No one should ever attack the

piano. Such hideous terms set up ugly im-ages which pave the way for unmusicalthumping. Instead of "attacking" our in-strument, why not apply weight approachor stroke touch? How many players thinkof pianistic stroke in its meaning of gentlyrubbing or caressing? It usually meansstriking or whacking. Yet, the most be-loved players of the past and present, Pade-rewski, Gabrilowitsch, de Pachmann, Hess,Novaes- to name a few-have always em·ployed such stroking in their matchlesscantabile playing ... Out with all thosedegrading tenns!Another pianist wants to know whether

D or D-sharp is "correct" in the right handof the last measure of Chopin's B MajorNocturne, Op. 32, No.1 ... This is one ofthe many disputed spots in Chopin's music.Some editions give D, others D.sharp. Thisstemsirorn Chopin's habit of sending manu-scripts of the same compositions to his vari·ous English, French and German publishers·with textual contradictions. Then later, toadd to the confusion, he frequently alteredcopies of these editions brought to hhl1 byhis students. So, since there is no finalauthority, you must make your own justi-fication. In this Nocturne I play D naturalsince the sudden dramatic (and tragic)recitative ·whichbegins five measures fromthe end completely disrupts the lovlinessand languor of the preceding B rnajor key.How would anyone want to finish the Noc-turne's harsh, fateful measures with a blandB Major triad?

RAPID ROTATION

A perplexed player wants to know "howit is possible to use rotary movement in the

26

rendition of rapid passages" ... scales,arpeggios, octaves, etc. He thinks rotationis only practical in slow playing.Well, that's too long an assignment for

this page; but almost any good pianistknows that well coordinated, smooth, fore-arm rotation makes playing easier, andgives better rhythmic flow and longer en-durance. Rapid rotation isn't necessarilyvisible to the onlooker, but can neverthe-less be applied in generous quantities.Poor pianists play perpendicularly-

that is, their arms and fingers "strike" thekeys straight down from above. The play-ing of good pianists, on the contrary, has aslight sideward approach to the key tops,almost like shaking marbles from the sleeve.Whenever one of those harsh, perpendi-

cular.hitting students hurt his ears ArturSchnabel used to say, "Your playing willsound much better if you approach thepiano this way" ... whereupon he wouldmake gentle, molding motions over thekeyboard, like kneading dough or pattingbutter.Pianists should study Matthay's treatises

all rotation to learn to apply it for speed.But beware! Excessive visible forearm rota-tion tends to substitute arm movementsfor finger tip control. The function of themuscles of the forearms and full arms is tofree and to reinforce the fingers. Whenarms supplant fingers the result is alwaysweakness, unevenness, insecurity.

PERSISTENT RESISTERS

Here are a few of the things I have foundthat piano practicing stu.dents resist. Theyapply to advanced pianists as well as begin-ners and intermediate graders:Pianists refuse to ..•1. Practice sitting comfortably in a

strong, squeakless straight-backed chair in-stead of trying to use those atrocious and

unhygienic benches. .2. Practice with the enure cover of a

brilliant grand piano closed. To play on astrident piano in a small room with thecover up invites false, distorted tone qual-ity and quantity. Often it is wise to shuteven the front portion of the cover. Takeout the music rack, close the entire top andput the rack outside over the cover.3. Start practicing immediately upon sit-

ting down before the instrument instead ofwasting ten minutes to an hour "warmingup." Concentrated practice periods shouldbe sharply separated from the times inwhich a pianist just "fools around" orplays.4. Practice almost always without using

pedal. The constant use of damper pedalwreaks infinite harm by substituting thick,messy sound for finger clarity and by creat-ing hazy instead of clean ut image of themusic. To "keep the music clear in yourear" (good slogan!) take your foot off thatdamper pedal. If n ccs ary fast n yourright leg by a belt strap to the leg of thechair. Otherwise it'll creep up to the pedalevery time!5. Practice without looking at hands or

keyboard ... If students did this for partof every practice period they would gain insecurity and ease, would not hit the keysand would hear the sound they produce. Inshort, practicing without looking gives reolaxed, listening security to a piani t's play-ing.6. Drop arms frequently to lap between

measures, phrases, repetitions, to rest there,clear the ears through silence and give timeto decide why and how a repetition i to bemade.7. Stand up, walk around the room every

five or ten minutes, inhaling deeply, exhal~ing sharply. This changes the posture andrelaxes mind and muscles.8. Memorize and practice the hands sep-

arately to hear the divided sound and knowthe texture of each hand. Students refuse todo this, especially after a piece is learnedwhen it is even more important to prac·tice hands singly. Again, this will "keep itclea r in your ear." 0 piece spoils or be·comes shaky if pianists form the habit ofpracticing the hands separately.

ATTENTION SPAS

It's high time somebody called the bluffof so-called educational authorities on thesubject of the attention spans of children.Why arbitrarlly limit primary school chiloclren to brief periods of concentrated enjoy·ment? A youngster will listen to musiccompletely absorbed so long as it is stir·ri'~g, stimulating and vital. The ialIae)' ofthe theory of short attention spans has beenproven over and over again in my classesfor young playerso Six and eight year oldchildren take the long sessions completelyin their stride. There are no very (Treatsiunso 0

of restlessness (Continued on Page 63)

~"""' """'iiiiiiiiiiiiIII _ETUDE-JANUARY 1952

Tango("Adios Muchachos")

We ll-m a rked , cl ea n-cu t rhythm should characterize this number. Observe all dynamic markings very carefully. A nice contrast intouch and tone is called for in the brief singing passage for left hand set against the staccato chords of the right hand. Grade 31/2.

No. 410-41015*

Allegretto (J,60)

~

JULIO SANDERS

By GUY MAIER

:> 5

~ I ---3 >3 - ~3===3 2 -~

t =:;;~ I""" ~ we I"~_ ..

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I~ -: = f(:i P -----;esc.•~ !: ~~

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-~

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~ ~:;j 'l:ti I " fl ~fii q.. ~ l,.;0....../ >ur. " . l--...-J , l---.J. L---J , I I I ! L' __ -I* From Planorama of the Worlds Favonte Dances·'arr. by Dennis Agay.Copyright 1951 by Theodore Presser Co.ETUDE-JANUARY 1952 27

II, I

A Song of IndiaChanson Indoue

A piano arrangement of a widely-known song, this number gives opportunity for some very expressive playing. Smo~thness and clarityshould prevail in the passages in thirds, while underneath always is the broken chord accompaniment of the left hand. bserve alldynamics Icarefully. Grade 5. N. RIMSKY· KORSAKOW

Andantino (J- 84) ---::::---... 3 3 3 -r:».lIu

-" 1""'1

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Copyright Hl22 by Theodore Presser Co.-28

ETODE,JANlJARY 1932

8························ ~ ', .: : non legato a

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---, 1

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ET(JIJE-JANlARY 1:1ii2

The Magic Pool-·This melodious number provides opportunity for very effective finger work. Wat-ch the dynamics carefully, and follow pedal

marks. Tone coloring is important here. Grade 4.

No. 130-40469

ALEXANDRE MEDNIKOFFAllegretto

jJT1 2~134r I ...,.., 5

ID V /' I

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II

1'\ I ~ ~ 4

------3 5 4 4 5 3 4" 3

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ETU]}E~JANUARY 1952

4 ~ 3.q ~ 32 1 2'~

, "2 34 52 31~2

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P,

1'1 f pochetto ritard.:

t ~--:C" ~ t ·~..f·~t··~qi'q?7 I;---r' I~fa tempo

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ETU c A •DE JANUARY 1902. - ~.~ __ --IA~ ___'

31

No 130·40459 Gardens by Moonlight· b t if u I "gardens by moonlight" and the. I h ce These are eau 1 ..One who is well drilled in scales should have no difficulty WIt 1 t IS pte . Pi i. osso section require ctanty and even.

. the left hand of the t'lt tntone picture should be properly descriptive. The broken chords In d f if ths Grade 4.ness to be effective. The same may be said of the measures with alternate fourths an 1 .

MARY W. HOTCHKISSAndante tranquillo

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5 a ,s Pili animato

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Tempo I a tempo3r~~ ~

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II

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3==-',np espy. cresc, poco a poco~.~ 2

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5Copyright 1937 by Oliver Dltson Company

32 International Copyright SecuredETUDE-JANUARY 1952

11

/1

2 3 4 2 3 '2 3 45 3 2 t 5 I 2

,.It -----1.-. . ---J"...-o 3....y dtm. poco apoco malta 50sle111110.>: ~.... ~ ~

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2

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AI ...- _r'"A agilafo

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5

Tempo I5 5

3f2S32Sy-~ 'r...'LId.. 2

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,

?'it,

2312341 2 3 t 5 -5 4I 2 3

______fi~f1' .... L -'.2 t

,,----------t

2 3 , 2' 3

ETUDE·JANUARY 1952 r;-- 33

No. 110-27158 SparklesAgile finger work and careful ped a l ing- are called .fo r in t~is little number, The interpretation should "sparkle." Grade 3

4

ELLA KETTERER

Allegro (J 120) 2 3:--.J

-4 2 1 I~> 41':'1 . '. 1 - . 3~1

Il! fl'JJ~' 123" qll ~5 .I =-, 2 5 .

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4~i~._._._4.:: 2 t~

===== ===~f "ZP

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'-------J''- -.J·AL__ --J

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4!. .."... ~

f ~ ~~1~ ~) ~ 2=f

2 33 L.H.

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34 British Copyright SecuredETUDE-JANUARY 1952

p

Beneath a Southern MoonA Serenade

Good practice in playing thirds is provided in this number in serenade style. Be ~ure to give a good accent and keep the rhythmsteady. Grade 3.

No. 110·26344

Allegretto (J 80)3, 5a FREDERICK A. WILLIAMS, Op. 163

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2 3 3I

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.•• ~ ~ 11 • -e' •• ~Co·pyright 1936 by Theodore Presser Co.ETUDE-JANUARY 1952

D. S. at FmcBritish Copyright Secured

35

p

No. 130- 41004 Skaters in the Starlight ...___-----3--1=:'1=::::::::=-~----!.:...--""':"""~..!...!....----3------'-' --:.--.-.:-'1

Moderuf,o, with graceful rhythm (J'116)

~34ji~~~f.\

ROBERT SYD DUNCANL.H.

~ 2~ - -;;;~ ,~ 2 ~3 --""1 ,

0 ,t t 4- :..-4 - I r C/o

j' 12poco rit.

~ ==-- : .-====~ ~ ~ ,~ ~ ~~~

,2 I ..........

- 12 3 • c;.f2 ,

-31234 2 3 ;;5 2

Note the direction, "moderato, with gracef~l rhythm," and let this guide the interpretation.' In the second section the chordc1ust~rs together with the left hand finger work should receive careful attention. Grade 3.

t3 'IJ.J.J ~ 3r-fj ::. J! 32- 1!:. 5:ja empo 2 21'\ • 5

,

t nif =-- ==-- ~ li~1J-; ) W }"' Wr;;;. ~~..#~ ~...! poco rit. f.\~~;.. = .. +- ... I: ...- ,~ - .. 17lf rubato-::' /1 -s::1 2 3 • 2 • 2 I I 2 ..; !! .;

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11f " . Ii 1'2 f:iH. 'I •.f. rit. JJOCO rit.

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;9:0

,

- .... 2 I I I 2 f 2 1 2 I! 1 ':'"' 12 I i---" 3 2

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'No. 130-41056Grade 3.

Allegro ("I '96)Wild Horses SARA FREED

4 ~ aternpo5

Last timeted -$-

1

5

to ------=-- • • • • ------.:.::. .. • .--v ----...:..::.....- •• '~ . •mf L>-

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International Copyright Securedl,. ETUDE- JANUARY 1952

rilliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiliiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiil__ .... _ __ .... _

Copyright 1949 by Oliver Ditson Company36 Copyright 1950 by Oliver Ditson Company

,ETUDE-JANUARY 1952,International C~pyright Se~ed

37

No. 410-41017* Scotch HeatherSECONDO

J MOLLY DONALDSONBrightly, in strict rhythm ( . 138)~5 a

~II If ~ i ----.... a 2 1 ,a

·•I .., .. .... - .. -4!

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--

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/lIlJII .. f... alittle softer

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", •-:>:. " ". From Plano PartnersI~-_........_---------38 Copyright 1951 by Theodore Presser Co. International Copyrip;ht secured ETllDE-JANlJARY 1952,

No. 114·40003 Ohansonette

,

2 poco rit: vo

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44 ETUDE-jANUARY 1952------------_ ...............

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No. 110·24$76 Dream TuneGrade 11/2. WALTER ROLFETempo di Valse (d. :5~) 5

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No. 130· 41081 To the Hunt!MAE· AILEEN ERB·Grade 11/2.

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No. 110-26092Grade 1112·

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Soldiers at Play5

LOUISE E. STAIRS

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1'VSun. ny days, hap. py days, lit . tIe sol. diers out to play; Hear the drum,

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1 2 ~ : 2 1Fzne 35 5 2

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It - • •here they come; Come on out and march to· day, come and march to the thrum,thrum,thrum,thrum.. i: .

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Copyright1934 by Theodore Presser Co. 3D.O. at Fzne

Bri t ish Copyright Secured

To Market!No.110-40072Grade 11/2. ~

Moderato (d. : 52)5

FRANCES M. LIGHT,., 3 1

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It ...............

O. S. al FineBritish Copyright Secured

47

Viennese MelodyNo. 110 - 4()16~Grade 2. _-------A-N-N_E ROBINSON

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~ ........._--------

The Joys of Sonata Playing(Continued from Page 11)

interpreting of this form of music.One of the first sonatas I played,

and for which I have an enduringaffection, is the Schubert Sonatinain D Major. It was at one of thesechamber music afternoons, when Iwas five or six years old, that I{rained "the pearl of great price,"becoming a new element in our mu-sical group by playing the Sonatinawith my mother at the piano.Another tender recollection is

bound up for me with the two-movement Sonata in E Minor ofMozart. My parents had invited asmy partner in this work a younggirl, twelve years old, daughter ofa professor of piano in Marseilleswho was a friend of my father. Myfirst reaction was one of scorn andanger. To expect me, who had joinedwith adult performers in playingsonatas and quartets-for already Ihad explored all forms of chambermusic-to expect me to perform withan infant was, I thought, to placea decidedly low value on my worth.But it so happened that, after sev-eral rehearsals with the very charm-ing and very gifted young a rtist. Ifell completely in love with her andmy only wish was to continue in.

definitely to play our sonatas, thatadorable form of music which en.abies two souls to join and com.municate.Another important date in my al-

ways intimate association with thesonata form occurrei:l several yearsago. In 1942, quite by chance, I wasspending the summer at Great Bar-rington, Massachusetts, where Rob-crt and Gaby Casadesus were hold-ing their Fontainebleau Classes. Twoneighboring houses, a violin and apiano, a mutual love of chambermusic, and in addition a friend-ship-thus began a collaborationwhich has brought the greatestpleasure.I remember well the hot and hu-

mid summer afternoon when wemade our debut with a sonata ofMozart, consigning to a thousanddevils the temperature of the dog-days, and cursing the fire of en-thusiasm which heated us still more.The Mozart sonata was followed byanother Mozart sonata. The Mozartsonatas were followed by Beethoven,by Schumann, Brahms, Franck, De-bussy. and our impressive final scene,after {our or five hours during whichwe had played 15 sonatas, found us

panting with fatigue and pleasureand dripping like "gargoulettes"(earthenware pots in which wateris cooled by evaporation and whichare always covered with large dropsof water).It was also during one of these

.summers, the year his daughterTherese was born, that Casudesuswrote the lovely sonata which hededicated to me, which I enjoy somuch and which will always evokefor me the memory of the delightfulsummers we passed at South Egre-mont in perfect musical and spiritualcommunion. We gave the first per-formance of t.he sonata before anenthusiastic and discerning audienceof students assembled in the con-cert hall of the school at Creat Bar-rington. The first New York per-formance took place at the Bohe-mian Club.I should now like to list the so-

natas which I love best, either formusical reasons or for the memoriesthey hold for me. What a difficultchoice it is, and how many thereare which could replace those whichI am putting in my list! I am notlisting them in order of merit, sinceI cannot and do not wish to eval-

uute them. There are dozens in theliterature of violin sonatas which areimmortal masterpieces. The follow-ing arc chosen rather for the mem-ories they hold and the emotionswhich they evoke for me:Sonatina in D Major-Schubert[My first sonata, recaJJing all myyouth)Sonata in E Minor-s-Mozart(My first love)Sonata "in A Major-Casadesus(The sonata of friendship)D Minor Sonata-c-BrahmsA Majer Sonata-c-FranckSonata-c-DehussySonata in G Major, No. 10-BeethovenA Major Sonata-c-Buch~'Deyil's Trill" Sonata-Tartini"Kreutzer" Sonata-BeethovenI force myself to stop, even though

I may be criticized {or passing overin silence all the others which comecrowding into my mind, adornedwith beauty and eloquence that makethem a galaxy of masterpieces.And now I urge you who love

music not 10 deprive yourselves ofthe marvellous joys of sonata-play-ing. If you do nut play a musicalinstrument, learn to play one asquickly as you can, in order to ex-perience the serene pleasure to bederived from chamber music. Thoseto whom this pleasure is unknownare shutting ofl from themselves aportion of the earthly Paradise.

THE END

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NATIONAL HOME STUDY COUNCILThe Council is an Association of which we

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UNIVERSITY EXTENSION28 EAST JACKSON BLVD. (DEPT, A-740l CHICAGO 4, ll.L.

•49

•"

MUSIC EDUCATION

IN ELEMENTARY SCHOOLS

(Colltinned from Page 19)

TEACHING MUSICIANSHIP his classmates what he has learnedof its history. It is a more practicalapproach than that in which the stu-dent assigned to give a report onsome composer, gives a dry state-ment. of birth and death dates andthe fact· that the composer wroteseveral operas or contatas, and a lotof other biographical material whichin such an application means noth-ing more to the student who is giv-ing the report than that he has com-pleted his assignment.Through using the materials sup-

plied by the student, the teacher isuncovering a vast wealth of other-wise unobtuinnble material.

If the school music library is atall adequate or if the nearest publiclibrary maintains a record collection,as many of them do, devote a periodof time to a listening program. Abrief summary of the mood of themusic, or the story, or an interest-ing anecdote concerning the life ofthe composer should accompanysuch listening programs.

The music period must be onethe child looks forward to, ratherthan one he dislikes. Give him goodmusic, let him be an active partici-pant, and consider that this is themodern age and a new approach isrequired. THE ENl)

(Continued from Page 22) from Century are always good news.This season we have the good fortune

to be a ble to include a useful group

of Organ Solos as well as a group of

charming Easy Duets. Be sure to see

them at your Century Deoler-soon.

season ... new r-uslc! Each year

for 51 years music teachers havefound new and interesting mot,!,riol

awaiting them at their Century Deaf-er. This year we should like especiallyto call your attention to the follow-

ing First and Second Grade Piano

material

just parts of it. They .left it up tome to get the overall grasp of thecomposer's intentions. .

Most piano teachers asstgn somuch material for practice that thestudent bogs down in notes, symbols,fingering, counting, to such an extent that the musical values eludehim. Wouldn't it be better to teachthe student to understand one ortwo small compositions completelyand in every way possible (exceptingonly harmonic analysis by chordname which is too involved for beginners), than to assign severalpieces to be figured out by letterspelling, arithmetical deciphering,numlaer watching (fingering) andthen leave the student to muddlethrough as best he can?

Our spectacles are right on theend of our noses if we can onlylearn to use them. Music is some-thing to be heard, but jf we canteach students to see notation musi-cally, they should be able to hearit better musically, and as a resultplay with more understanding andmusicianship.

THE END

notation for repeated visual patterns,found out how the patterns wererepeated in different pitch sequences,picked out the scale patterns, chordpatterns, rhythmic patterns andreally understood what we were go-ing to work with. I played the basicrhythmic patterns and the basicmelodic patterns, so that she wouldunderstand them in relation tocomplete musical "wholes" formingin her mind, and away we went.Only the last page caused trouble,not because it is harder to read, butbecause she could not manipulateher fingers fast enough to keep thetempo going; but she likes the com-position, feels the build-up musical-ly, and understands the constructionof the piece much as Grieg musthave thought it out as he was writingit.

Some teachers have always taughtin this way, but I was never fortunateenough to have one. I can't remem-ber any teacher ever analyzing acomposition hy patterns in sound."sight or otherwise, excepting inisolated examples. They never taughtme the "whole" composition, but

methodsof finding intervals, such asassociationwith intervals in familiarmelodies. Again we are employingthe use of a crutch. The do re misystemis good in that the syllablesare singable. It is good to use as ameansto an end, but it is assuredlynot an end in itself.

A problem in elementary educa-tionwhich gives considerable troubleis that of the monotone voice. Actu-ally a true monotone is rare as it ismore often merely a less sensitiveear. The usual answer to the prob-lem is to seat those who do not hearpitch too well toward the front ofthe room and let the rest of the classsing through them. This is probablyas good a practice as any. However,it the conscientious music teacherwill take those few children (thepercentage is not high) and givethem a few minutes' ear training,apart from the class, she will beamazed at fhe re~mltg. Too offenthesepupils are patiently blll"llC within the hope that Ihey will c\enlually.by some magic, illl prove. or 1hatthey will pass on to some otherteacher.

If the classroom teacher herselfis giving the music instruction. cor-relationoften works in quite neatly.It a special teacher handles onlymusicinstruction it is quite difficultto correlate the music program withthegrade teacher. It may be grantedthat there is value in correlation.hut wllether it is as valuable as ithas been purported to be is .a moutquestion.True, many historical songsmay he sung when tbe group isstud~ing a certain era in history,but J£ the song is good music in it-self, it is worth singing anytime.Then,too. the alen music teacher canquite oIten, with a bit of back-ground,create a correlated learninO'situation without waitioO' for it t~arise as a need of the clliJd.Correlation in music has its weak-

nesses. Let us recognize that thetruck driver is not going to listen toonly truck driver's music. nor is thephY~iciallgoing to list~n only tomUSICwith a medical theme. Occu-pationhas less to do with individualmusic appreciation than does theaestheticear of the ljstener.The aims and ideals of music edu-

calors are too often couched in too~eneralterms. Many music teachersare frustrated by the lack of can.cre.teness in presenting music ma-ter]al~ a con I. II~' creteness W llC 1 can be~ad in other fields of study. It muste Considered that most of OlUschoolsdo not have access La larueJn~sic libraries---either public :r~: ?ol owned-that facilities arelmlted, such as records and text-

books. Much is left to the initiativeof the individual teacher.. Here are a few suggestions whichIf adapted will yield fruitful results:Open each music period with sing-ing. Teach new songs both by roteand note, depending upon gradelevel Or ends to be achieved. Sched-ule your time. An interesting method?f adding zest to the music programIS to allow each class definite timein which they may have their owntalent shows in their own class.Manv otherwise non-participatingmembers wi.ll be eager to join ina Iter the first few such shows. Letthem sing what they choose, barringthe ridiculous. It is a. good placeto find out wherein their interestslie. Let it be entirely student di-rected.

Devote another section of time tothe theory of music from the fifthgrade up. Teach the fundamentalsnf music. It need not be dull, as somany of these classes are. A goodarithmetic teacher can make frac-tions interesting through application-why not note reading, dynamicsand the like?

Gi\'e another specific period tomusic analysis. In this let the stu-dent participate. Grant that the aver-nge student's jnterest lies in currentpopular and cowboy tunes. Startf"om that. Many music educatorsare horrified at the thought of let-ljng children sing such songs, andmaintain that since that is what thechild hears at home, his music pe-riod at school should be devoted toa study of the great music. Thatlllay be true, but we can spare afew minutes of our music time togo wbere the child is and grow withhim from there. Such a COLLrseis sureto pay dividends.

Encourage pupils to bring toschool copjes of their favorite music,even jf it be puerile. Let them bringthe brassy, (/jscordant records thatare so much a part of their lives.Tuell with the student, anaJyze thatmusic and together with h'im learnwhy it is not particularly good. Greatprogress can be made in the studyof form: style, and countless otherfacets of music, through this method.

:Many students wilJ bring reallygood music. Analyze it COI~lpara-ti\'ely. Whenever a student brmgs arecord or a song, make it a part ofthe assigned requirement that hegh'e an oral and written report oneither the composer or performer.That is your wedge into a stVdy ofmusic history and the great peopleof that history. Through such anassignment, the student feels he hassomething to offer: not only in hring-ing Ius fa\'orite music, but in telling

ORGAN SOLOS(Hammond Organ Registration

Included)PIANO SOLOS· GRADE 1

Arranged byKenneth Walton, A.A.G.O .. A.R.C.O.

3927 Arioso. G ..... . ... J. S. nlcb4005 Consolation. E... .\lendeluollQ3931 Cnrnatinn M.reh, Lfl l'cQptfll, Eb

Menrbeer3930 Eleglft. Em Mu~net3932 Evening St.r. TOllnhuer. G. Wagner4006 March nf the Prlutl, ,tUal/o. F

"'lelldelnohn4011 Meditation Irn", Thl •• 0 ....... bucoel4008 Old Cathedr.l, The. G .. 1I000klnl3928 Palms, The. ArJ Faure4009 SI.vonlc nenee. No.2. EIIl J)forak3929 Star or tile E'$I, E~ Kennttb·4007 T.mbourln. Em . Ibmuu4010 Waltzes Irom Ue Flnlerma ••• F Stuu ..

4025 Bagpille Capers. C-1-2. . ... 'nvonne4019 Bareback Rider. The. C Drorlne4017 Dreamland. C .... Drorine4024 Han Scotch, C-I-2. Wcdberg4020 La Conga. G... . .. Dvcrlne

*4021 My Bunny, F Hopkins4022 Puzzle Piece No. l, C Wedberg

*4018 Scissors Man, The. C. Dvorfne4023 Seesaw Up-Seesaw Down, C .. \\"edberg4034 Wilson Clog-Jelly Jig, D-F_E_2

arr. Guenther SO YOUR CHILD WON'T PRACTICE

(Conlimbed from Page 20)PIANO SOLOS. GRADE 2EASY DUETS • 1 PIANO-4 HANDS

4027 Blickin~ Bronco. D. ..Krevitt4035 cantatn Jinks, A ... an. Guenther4032 Invention. C .. Ircldea4030 Just scuuese. D.. . ..... Cadzow4036 Kate Kearney Waltz, C. urr. Guenther4031 Lullaby in the Dark Wind, C .. Cadzow4029 March for New Shoes, Eb Cadzow4013 Meditation. '/'!rais, snnn., C-2-3

Masscuet-Orubam4012 Narcissus. Simplified, G-2-3

Km-in-Hopklns.. flrr. 'Lambert

Krel'itt.Stelner

SEVEN KEYS THAT WILL OPENTHE DOORS TO MUSIC

Give interesting pieces, folk tunesand musical literature written forchildren. Each practice period willthen hold a continued interest and"not so much time will be spent allone tiresome piece.

4043 Buglll1 and Druml, G·I ....... Dforlne4044 Congratulation Minuet, F·2

1J~lhDnn-Guenlbel4042 Flal'hlp, Thl, C.l. ... Drorlne4041 Hay."d, C-I-2 ... Drorillt

ASSlSl: YOUl" child with his practicingBe gellhoLls with vonr interest and

praiseCredit each achievement with some

{arm of recognit.ionDevelop the habit of daily practiceEncourage note reading, rather thall

playing by earFacilitate note reading by a new

piece 10 read each day

PIANO SOLOS· GRADES 3 to S

4015 Conlutlliation Minuet, 0·91I~lbofCD·GumIJHol

4014 Marth. l.ocloJ TIl,ell Orlllll/rI,-4I'rokofteff-OuMllber

4038 Mazurka In F. Op. 68. NI. 3•• 3Cbopln4039 Mornenl MusEul, 00. 94, HI. 2, AO·4

Sthuhtrt4040 Momell! MUllul, 00. &4. NO.6, A,·4

Schuberl4016 S,brll D.nce, Oa."e Ballel. ·3-4

"'hl.lchatourl.n4037 Sonata In E MIJor. ·3" 8<'.rl.U.l

It may take all seven keys to un-lock your practice problem, but trythem before giving up.

Music is one thing your child wiHnever thank you for /lot giving him.

THE END

*4026 On TOil cf Old Smoky. C4028 Samba line. D.4033 Witchcraft. Am

·The pieces hove words for singing, ifd.sired.

Century Edition is 20c • copy!Century Edition is 20c • copy!Century catalogs or. fr •• on nquul 01your dealer ar from us.

THE FINE ART OF PLAYING ORGAN PEDALSOur graded-and-clossifted and our com-plete catalog lisfing over 4000 numbers isfree at your dealer or on requesf from us.

(Continned from Pa,ge 24)GENTURY MUSIC PUBLI~HING CO.41 West 63rd St. New York 23, N. Y. THE FLEXIBLE STAFF·PIANIST

supplement would benefit almost any'of us. If one goes through Mr. Dun-ham's exel·cises carefully and con-scientiously, and masters them oneafter another, he will have acquiredsufficient technical facility to copewith nearly any problem that· maycome up in performance.

Mr. Dunham's book is excellent

and helpful becau.se of its wide scopeand its clear, logical presentation ofthe problems of pedal-playing. It i~a worth-while addition to the litera-ture of OTgan-study books. I am surethat llU;ll1Y organists will have reasonto be grateful to Mr. Dunham for hislucid approach to pedal-playing.

THE END

HOW TO GET YOURBOOK PUBLISHED

(Continu.ed fro/l1, Page 10)

TV. AnJ alung with the skills them-selves, you need the flexibility of be-ing able to put to immediate useanything YOLl've ever tl-ied, often onthe spur of the moment.

During my early days in radio,when it was nut uncommon for thenetwork lines to break, I had a freehour between assignments and wentinto all. empty studio for a bit ofprivate practice. Running relaxedlythrough a piece, I happened to lookup and saw one of the announcerstiptoeing towards me. "Don't stop,"he ·whispered; "keep on going-something went wrong, we've openedthis mike, and ),ou're now on th.e air!"

When "In formation, Please" wason NBC, I was assigned to th{l show.That meant furnishing a piano ver-sion of any music that came LIp ona question. I was told in advancewhich selections I'd have to play,but never knew exactly how I'd playthem till the actual moment of theunrehear.sed broadcast. Several timesvoca I-celebrity guests would feel theurge to lift their voices, and if thekey in which I played was unsuitable,I'd have to transpose. Once when asinger sang with me, he was re-minded of another beautiful song,not on the prepared list, and sang

a hit of that to il highJy il1lpl·ovisedaccompaniment. If the question in·valved bits from symphonies, I'dhave to auange them fOl" piano.When ArtUl" Rubinstein was a guest,I always did extra practicing.

One of my most thrilling assign-ments occurred on the old HCA Vic-tor Magic Key IH·ogram. The broad-cast ill question involved a two-waypick-up from Europe. Paderewski,then abroad, began the MoonliglrtSOl/aUt and canied it to a givenpoint, at which I picked it up and fin-ished the Illo\'ement in the NBCstudio in New York. And in betweensessions ·with dance bands and popu-lar vocalists, I practice for my per-formances with Toscanini.

Since I came to the network, themechanical perfection of the lineshas reduced the cbance of breaksthe old stand-by pianist has becom~the .staff.pianist, be works five daysa week instead of seven on a betterorganized schedule, and he may beshifted at any moment from radioto TV and back again, But his basicrequirements remain the same. HestiJI needs the flexibility and the con-fidence to play any type of music,at any moment, in authorhative style .

THE END

Our basic policy is to encouraKe newaUlhon.If you are looking for a publi!lher of yournovel. ahort stories. play. poetry. scholarlywork. etc., perhaps we can help )·OU. Writetoday for Free Booklet ET.Vanlage Press. Inc•. 230 W•• 1~ SI., Ne. V.k II.

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50 ETUDE-JANUARY 1952 ETUDE-JANUARY 1952_________________ ...J...~ 51

III

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¢»rgan lIt!uestionsAnswered by FREDERICK PHILLIPS

• Last rear a gift of Carillonic Bellswas made to the church where J amorganist: The first set was rather un-satisfactory and was replaced by asecond set which doesn't seem to bemuch better, No matter how they areused they seem to lack something.Originally there was a hymn playedon the bells preceding the Prelude.and the" were used for two responsesduring the service. Now the con-gregcsion. wants to hear them more[requcnriy, What would you suggest?ln spite 0/ the fact that they can'tbe played with the organ on account0/ the discord. the majorit-y 0/ thecongregation can't seem to tell thetwo just don't go together. When Iuse the bells as a response I use

i very soft: organ and medium bells,Igenerally using Dulciana with 4 andj 16 foot couplers. The donors 0/ the1 bells take their complaints to othermembers 0/ -the church, and I onlyhear about the matter indirectly.

! The)', too, are not musical peopleand don't seem, to understand amusical answer. We are thinking 0/getting a new organ, and J wonderi/ the present bells could be set upin a new organ. Would the pitch 0/the bells be the sante as an elec-tronic organ? Could the organ betuned to the pitch 0/ the hells?

-E. 111. W., Illinois

would be necessary to more or lessdigest this entire study of bell tonesovertones and harmonics to properh:understand the peculiarities whicilmake the tones seem discordant, andto explain these matters to others.These books will help a lot. Therewould seem to be no reason why thepresent bells could not be installed ina new pipe organ, and many elec-tronic organs are built with pro.vision for chimes. so we do not be-lieve there would be any difficultythere. As to pitch, both the elec-tronic bells and organs are nowbeing macle on the arne standardpitch used by all instruments. sothere would he no necessity for spe-cial luning.

•. J flIn umndering i/ (lily book liasbeen published giving the pronunci-ation 0/ organ stops.

-K. H.,Michigan

JPc Iwve bee" unable to find a die-tionary giving the pronunciation oforgan stops. The Pocket Music Die-tionary. by Elson, gives the pronun-ciation of quite a few, but it is byno means complete.

• / would like to build a small homeorgan. Could )'ou send me a list ofbooks on the subject, and the names0/ companies who could suppl)' thenecessary materials.

-Po 1., illinois

The 0111,. book we know coveringthis subject is "How to Build a SmallTwo Manual Chamber Pipe Organ"by Milne, but this has been oul ofprint for years. and we doubt if aCOI)Y would be avajlable even in anyof the libraries to which you mighthave access. The American Organist(a magazine devoted to organ inter-ests) had a series of articles byFonnan whjch might help you tosome extent. They were as follows:September 1949, page 307 (Manualsand Stops); October 1949, page 344(Stop Control,); December 1949.page 444 (Costs, etc.); January1950, page 23 (Stop List) ; February1950, page 70 (Pipe,) ; March 1950.page 99 (Wiring). There was alsoan article on page 387 of the Novem·ber 1949 issue by Abbott on a ';HomeMade Organ." If these magazinesare not to be found in your locallibrary~ write to the publishers-Organ Interests Inc.. Richmond.Staten Island 6. New York City. Fororgan parts we suggest the firmswhose addresses we are sending yOll.

ETUDE-JANUARl' 1952

•

You. nrc prelly niuch. on the spotbecause one of the most technicalphases of music is the study of har-monics, and this question has itsbasis entirely on this subject ofharmonics, overtones and the like.Even to musicians it is not at alleasy to understand, and more thandifficult to explain to the laymenwith much degree of success. Ac-tually, it would take more spacethan is possible here to even givean intelligent summary, so we sug.gest that you refer to two books,which may be obtained either from'the Presser Co., your local musicor book dealel·, or possibly avail-able in your local library. In "OrganRegistration" .by Truette, there isa very excellent and complete chap.ter on the use of chimes in combina-tion with organ. which you wouldfind very useful. The other bookis ~'Chimes and Electronic Carillons"by Paul D. Peery, and containsamong many other things a completescientific analysis of the bell .tones.harmonics, etc., practical suggestionsfor most effective use of the bells.together with carillon arrangementsof 31 hymns and other music. It

'iolin l(l}uestionsBy HAROLD BERKLEY

DOUBLE TRILL IN PAGANINI

Miss K. K., Thailand. I was gladto hear from you, and I hope thatvery soon you will be receivingETUDE regularly. The double trillyou mention in Paganini's thirdCaprice can be accurately played byvery few people. If. as is likely, youhave a small hand, it is not prob-able that you can ever play it. Becontent to trill with the second fin-ger only.

TO DISPOSE OF A VIOLIN

Mrs. A. W. M., Michigan. Youshould take or send your Maggini-labeled violin for appraisal to Wil-liam Lewis & Son, 30 East AdamsStreet. Chicago. Ill. or Kenneth War-ren & Son, 28 E. Jackson Bh'd., Chi-cago. For a small fee, either firm willgiveyou a reliable appraisal and ad-viseyou on the best means of dispos-ing of the violin. I should warn youthat there is very little likelihoodthat the instrument is genuine. Fewreal Magglnls are 10 be found in theworld today.

E STRING WHISTLES

A. J. L., Alaine. It not infrequentlyhappens that the open E stringwhistles when one comes to it quick.[y from the A string. There are twoor three reasons for this. The mostcommon are (a) that the bow isnot touching the string quite firmlyenough at the moment of contact,and (b) 'bat 'be "ring i, old. Whena wire E string has been in use forsome months, its playing surfacebecomes unevenly worn. Some sec-tions of this surface are quite Aatwhile others remain fairly rounded.~t is not surprising that a stringIn this condition will not respondquickly. An E string that is in usefor two or three hours a day shouldbe replaced every three monthsor so.

SELF·HELP HINTS

F. W. B., New Jersey. I see 110reason at all why your ear conditionshould have any detrimental effecton your playing. The fact that oneear is better than normal offsetsthe fact that the other is weak.You ~ay have some little difficultydetectIng slight differences in tonecolor, for two ears give a "perspec-

ETUDE-JANUARY 1952

tive" of hearing in the same waythat two eyes give perspective insight, but for all practical pur-poses of true pitch and tone qualitythere is no need for you to worry.(2) Books that would help you are:"Practical Violin Study" by Fred-erick Hahn, "The Art of Violin Play-ing" by Carl Flesch, and my own"Modern Technique of Violin Bow-ing." But anyone as keen on violinplaying as you are should be takinglessons. Surely a man in your poai-tion could find the lime t.o take alesson from a good teacher once intwo weeks. As you are not concernedwith a soloist's career, that wouldbe sufficient. The books I mentionedabove can all be obtained from t.hepublishers of ETUDE.

PSYCHOLOGY OF TRUEVIOLIN PITCH

B. E. G., New York. Thank youfor your most interesting Jetter onthe psychology of true violin pitch.and related matters. It is too badthat I do not have sufficient spacein my columns to quote your letterat length. I believe, with you, thata violin ear can be developed by acareful teacher who uses a sensitiveapproach, for very few children whoare musical have no ear for relativepitch. As regards bowing, A. goodright arm technique is not hard todevelop if the teacher is willingto apply himself and give somethought to the problems of the in-dividual pupil.

LABELS EASILY IMITATEO

AIrs. S. j. C .• Pennsylvania. Thelabel inside a violin affords no rep.Ievidence of the origin or worth ofthe instrument. Labels can be 50

easily imitated. This is particularlytrue of the labels of Stradivarius.Facsimilies of his labels are to befound in violins not worth mo!ethan ten dollars; they are also found1I1 excellent copies worth two orthree t.housand dollars. In whichcategory your violin .belong3, I haveno means of knowing. The bestadvice I can give you is to take orsend the instrument to \Villiam1\10ennig & Sons, 2039 Locust Street,Philadelphia. For a small fee thisfirm will give you a completely re-liable appraisal, and will advise youon how you may best dispose ofthe violin.

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53

Edi'ed by Elizabeth A. Ges£

Violin Sound HolesBy Leonore Sill Ashton

THE MEMBERS of MissDay's music class were talkingabout their subject for the month,"Making Violins." Peter was toread his paper at the next meeting,and it was about the sound holeswhich give the tone to violins. Thisis what he wrote, and read at therrieeting :"All musicians know that on the

top of a violin are two holes, oneon each side of the bridge. Theseholes are of the greatest impor-tance because they control the airwhich is contained .in the body ofthe violin."When the bow is drawn across

the strings the "ibratio.115 are gov-erned and measured by these holes,which enable the vibrations to en-ter the instrument. Naturally, theyare called sound holes. The needfor sound-holes in stringed instru-ments was discovered longer agothan history is able to tell. On an-

Jtcient Egyptian monuments can'-ings are sometimes found of whatlook like guitars. These have smallrou nel holes close to the strings.Pictures of later stringed instru·ments show as many as six roundholes pierced in the top of a smallinstrument.'"Then, about the year 1500,

someone discovered that the shapeof the holes made a great differ-ence in the tone of the instruments,and experiments were made inshaping the holes. First, the holeswere made in the shape of a C,

sometimes turned outward andsometimes inward. Then they weremade in the shape of an F, and fin-ally like an S. This hole was called :the flaming sword hole."The greatest violin maker at

this time was Andreas Amati ofCremona, Italy. He was the onewho best understood what changesin tone were made by the differentshaped holes. He studied and ex-perimented to find out how largethe openings should be and whatshape to produce the best tone, andexactly where they were to beplaced. For instance, he discoveredthat the F·hole,. if placed too farapart, produced in the violin a veryweak tone."Then someone tried covering

the holes with paper to see wpateffect that would have, but it madeit weaker than before, and flat. Inthe latter part of the seventeenthcentury, after man}' more experi.ments had been made, appearedthe greatest violin m~ker who everlived, Antonio Stradivari (1644-1737) also in Cremona, Italy. Hehad studied violin making withAmati."Stradivari kept the F shaped

holes ~ut discovered th,at an F holewith the center cun'ed was the onethat. gave the perfect tone. He wasa fine mathematician and throughmore study, he discovered that thesize, shape and position of theholes must he governed by thelength, breadth, height and thick·ness of the wood in the body of theviolin. In addition to this, he ex-perimented with treating the woodwith varnish to increase its reso-nance. His pattern has been the

(Continued on next page)

VIOLIN SOUND HOLESFootwork III Music

HAVE YOU ever considered howimportant your footwork is in

music? You may be more apt tohear it mentioned in athletics; forinstance, in a newspaper accountof a tennis match, a reportermight say, referring to one of theplayers, "He has a very strongforearm drive but his footwork 15

not good." And you would readsomething similar about otherforms of athletics.But what about footwork in

music? A harpist must have ex-tremely skillful footwork. Eachstring on a harp is connected toone of seven pedals, and it is bymoving the pedals into notches.that flats and sharps are produced.An organist has a big job ill

footwork-an entirely separatefoot keyboard with large white

and black keys, and with a ''Va.rate staff for the pedal part on themusic page.

You have, no doubt, danced tothe rhythm of the drummer in adance band, who plays a drum.stick with a foot lever while hishands manage the sticks of a smalldrum.In piano playing the big job for

the foot is pedaling, and manymany pianists have a lazy righ~foot when it comes to pedal work.Critics o lten have reason to say,"He has very excellent technic buthis lack of skillful pedaling spoilshis performance;" OT, "Entirelvtoo m u h good piano playing i~r u inecl by be I pedal work."

Don't allow yourself to be criti-cized in thi way. Be sure you donot develop a lazy right foot.

Who Knows the An wer ?Oeograpb y

(Keep score. Due I"wtlrt>tl ;/1 perfect)

1. Was Saint-Saens born in Bel-gium or France? (5 points)

2. What city is the home of thefamous Sistine Choir? (15points)

3. In what country is the sceneof Verdi's opera, Ai·da, laid?(5 points)

4. Which was,he Unitedsymphonypoints)

5. Grieg was born in Bergen. In

the first city inStates to have aorchestra? (15

what country i this cit)'? (5pint)

6. I n which city in C rmany didBach tea h Latin? (\5point)

7. I n what cily i Handel bur·ied? (15 pint)

8. From ,\ hat ounlr)' does thefolk ng melody. (Tillen withthi quiz, come? (10 points)

9. J n whal country i Fingal'sCave locat d, for which Men·delssohn named his Oyerture?00 poin'-)

10. For what rhoer is a famou5Waltz named? £5 points)Auslcer, on "ex' page

Jl9 HAPPY NEW YEAR 52"Happy New Year to you:'

Said old Father Time."For I bring you a present today·

It's the year '52 .I'm bringing to yOU

With its lessons and practice and play.

If YOU count up the hoursThe days and the weeks'

You will lind there are plenty. indeed;So, do everything wellAnd practice each day;

You will have as much time as you need:'

l 54

---- ETl.:DE-J ~.\'LARY 19;2

•(con'inned)

model for violin-making ever since,and the instruments he made him-self have remained for over threehundred years the most perfectviolins that have ever been made.""That's fine, Pete," said Miss

Day, as he finished his paper onviolin making. "At our next meet-ing," she continued, "we will hearmore about Strndivat-i and his var-nishes,"

Letter Box

Send replies to letters in enre ofJunior Etude, Bryn Mawl', 1>:1.,and they will he Iorwurded tothe writers. Remember foreili;nmail requires five-cent postage.Foreign airmail, fiflecl1 cents.

Dear ]IHlior EtJule:

Recently we had a pupils' piano recitalhere in Palernbeng, and all who lookpari are my mother's pupils. 1Lwas thefirst of its kind ever given here andwe had a full house for an audience.I am enclosing a picture of the ~roUJ1.We are going to have a music theoryexam, and we arc studying hard for it.I thank you for sending me all the let-leu that came as a result of your pub-lishing my letters some t.ime ago inJunior Etude.

Evelyn Yap (Age 12), Indonesia

I am taking piano and singing lessonsand am working to gain a scholar,;hipwhich will take me la England 10 study.I also like to swim. 1 helong to a swim-ming club and am examiner of LifeSavin,!!:.f do a fair amounl of hicycleriding and play some tennis. T wouldlike 10 ,hear from Junior EttHle readersahoul my a~e.Patsy Boyd (Age 17), New Zealanil

No contest this 1lI0nLh. Kodak pic-tures will appear in future issues.

KODAK CONTESTPrize Winnct's

Class A,Helen R. Bober (Age 17),Canada

Class B,Melissa Haley (Age 12), Vir.ginia

Class C,Lee Louise Onyell (Age Ll ) ,Ohio

Honorable Menlion for kodakI,ictlll'es (in nlphabettcal order)

Dillie Jean Bender, Ella Bents, EdnaMae Black, Emily Cummings, AdrianBuck, Agnes Cline, Blanche Carson,Merril Dietz, Doris Drake, MarciaDrew, Ola Frank, Brenda Goza, MiriamHowells, George Jackson, Frieda Jeu-kens, Amy Lintz, J uanita Moylan,Ceorge Nelson, Sydney Oldham, EvelynOlsen, Beth Ponder, Mary Roc, Georgi-ana Smank, Evelyn Swan, Alicia Thorup-son, Allen Walker, Justine Williams,Carol \Vrighl, J\[erle Yales.

Answcrs 10 Quiz1. Frnnce ; 2, Rome; :":1, Eg ypt ; 4. NewYork; 5. Norway; 6. Lclpstg ; 7. Lon-don; 8. Wales (All Through theNight); 9. Scotlnnd ; 10. Danube (TheBeautiful Blne Danube, by JohannSu-ausa) ,

[ am interest cd in serious symphonicmus.ic unci chamht;l" I1lllsie. I play vio-lin ill several chamber and orchestralgrOUJlS; enjny cnll\l)using and wou]rllike lo do a great deal more. I wouldenjoy hearing from others.

Eric Salzman (Age 17), New York

I always used 10 go to Ollr town libraryto read ETUDE hut. now 1 have a suh·scription lo it. I think it is a swellma:razine. I'vc I,akcn piano lessons forfive years and play clarinet in our highschool hand.

Shirley Hagopian (Age 15), Calif·

Jnnior Pupils' Recitnl, Palemhang, Indonesia

Chan Loan Hiang, Chan Swan Hiang, Lim Siauw Hoen, Lim Ping I-ling, FoeChan Joe· Hiang, Sjam ha, Asma Soei :Ming, Deetje Gho, Tuui Akib,Wehab, Sti Rohany Soedarlo, Oey Giok l\:fientje Gho, Cho Ah Non, Nani Kas-Loen, Kay Sheldon, Elly Kassim, sim Bong Ah Djin. Theresia Lim,Thoeng Khin Van, Chua King Tjoen, Pbiiip Lim, Lis Asaari, Lie Tjin Djun,

Evelyn Yap, Ernest Yap.

ETUDE-JANUARY 1952

ST.LOUIS INSTITUTEof MUSICJOHN PHILIP BLAKE, Jr., President

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MODERN HARP TECHNIQUE

(Continued from Page 9)

symptoms in my right arm-notin my left. I asked myself why sucha sensation should be felt in one armand not in the other. Could the right-hand position, by causing pressure,be responsible? Experimenting, I be-gan to play with my right wrist free,that is, without touching the sound-ing board at alL The pain disap-peared. Do I ever make use of theold wrist position? Certainly I do!The point is that sometimes the rightwrist must touch the sounding board-and no harm if it does-hut thetouching (or non-touching) shouldnot be made an inviolable law.The development of agility at the

harp should take place ver-y grad-ually. Unfortunately, the harp posi-tion (with the two elbows out inthe air, at right angles) is the mostunnatural posture of all musical in-struments! Though the arms aresupported by the biceps, triceps,and deltoids, the support in such anawkward position is at first artificial,and time is needed to make it feelnatural and unetrained. Thus, wehave to get support. so to say, fromthe habit of the position. .This makes it dangerous to at-

tempt tone volume or speed toosoon. When the' correct position(elbows absolutely horizontal, wristscorrectly curved in, opening betweenthumb and second finger in goodorder, and fingers properly curvedout) begins to feel natural, digitaland dynamic facilities must be al-lowed to flow from it naturally, asit were. We ought to playas fastand as loudly as we can-not as wemight wish to!Unnatural strainings cause the

very tensions which ruin playing.Speed and tone begin with the po-sition. The best exercises are scalesand arpeggios practiced rather slow-ly and softly.It is by no means unusual for in-

experienced harpists suddenly todevelop a sort of cramp in the armswhile playing. As a rule, they hurryto the doctor who generally tellsthem to quit playing. This is notnecessary. When such a cramp oc-curs, I tell the pupil first to relaxmentally; stop worrying about prog-ress; take a walk; go to a movie'_get the mind off difficulties-no~with a guilty feeling of wastin 0"

time, but in a buoyant spirit of doingsomething helpful. Then, relaxed,

keep right on playing as pianissimoas possible, with the fullest actionof the fingers and 110 strength what.ever, With proper guidance, speedand strength assert themselves nat.urally-as they do in a baby learn.ing to walk.The piano keyboard is equipped

with fixed keys, black and white.The harp's 47 strings are ccmpar.able to the white keys; black keytones are produced through thepedals.As a rule, the pedals frighten

people. The proper proceeding isto begin their study one at a time.Such gradual work aids valid prog.ress and eliminates feelings of pedalfear.Mechanical noise can occur when

the pedals are put from pat 10 nat.ural (never from natural to sharp)but there should be no noise what.soever from the pedal shift. To elim-inate it, I recommend pushing thepedal vigorously from liar to naturaJon the outer part of the notch:purposely making noise; then bring.ing it slowly and silently into thenotch by relaxing the knee andmerely guiding the pedal with theball of the foot, without the leastnoise.The full beauty and usefulness of

the harp grows out of the manyvarying tonal effect of which it iscapable. \Vhen I composed myModern Snuiy o] the Harp (1918),I analyzed 37 different tonal colorsand effects. By now I have discov-ered many more. Among these harp.iatic inst rumentations we find, 10name but a few. harmonics, xylo-harmonics. guitaric. plectric. andxylophonic sounds. tam-tam sounds,tympanic sounds. whistling sounds,vibrant sounds: and the whole fam-ily of fluxes '(traditionally knownas glissandi and sounding like theflowing of water) which includesaeolian nux. oboic flux. falling-haileffect. gushing chord. aeolian chord,etc.-all of which may be comparedto a kind of orchestration. The pro-gressive harpist must, of course,learn them all under proper guid-ance, but such study must not beattempted until the basic positionhas become second nature; that is,when an adequate control of dy-namics and speed has erown out ofit, always naturally °and alwaysaesthetically. THE END

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ETUDE-JANUARY J~2

Music Lover's Bookshelf(Conl.inned from Page 7)

of orchestration and makes anexcellenttextbook. It is verypractical-and is filled withsensibleadvice. For instance,in speaking of French horns,i'lh. Rogers notes the adage,;'safetyin numbers" (or "mis-erylovescompany"), ever holdsin the case of this instrument.A fewhorns in unison will gen-erally perform with greaterdash and confidence than asingleplayer. But there is nosubstitute for the beautifullysubjectiveefIect of solo playing.Appletoll.Cellt.llry.Crofts 3.75

~rusicas a HobbyBr FredB. Bartol/.This is a revised edition of

a bookthat music teachers may. purchaseand read with profit.The author has written manybooksof the "tell how" typeandin this volume he recountsingenialfashion just the thingsthatthe practical music worker,teacher and amateur need.Whenwe realize that some ofthe greatest of masters werelargelysell-taught, the field 01the amateur musical hobbyistbecomesvast.Harperand Brothers 2.50

MCJlhisto WahzlJ~'AIIII M. LinggThis moralized biography of

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ETUDE-JANUARY J952

which he thanks Liszt for hiskindnesses but at the same timetells him that he could not ad-mire his compositions. At ameeting in Leipzig, Joachimexulted over the divine musicof Bach. Liszt did not like hisdidactic tone and said of afugue "Hm,-bones." Joachimsnapped back, "I prefer bonesto jelly."Henry Holt and Compa.ny, $3.50

Hurmonlc .....ucttccBy Roger SessiollsRoger Sessions, one of Amer-

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new approach to his subject.Tn fact, the volume does notlook at all like the ordinarytext-book on harmony with cutand dried definitions, but morelike a volume intended for cas-ual reading, making it perhaps,more acceptable to the averagestudent especially those obligedto study without a teacher 3S

did Sir Edward Elgar. A goodbook on harmony cannot, pro-ceed at too rapid a pace. Ittakes time to absorb the prin-ciples and apply them practi-cally. This calls for voluminous

I . Iexamples. The book las etghthundred such exercises, aboutthree times those found in theaverage book. Jn the last chap-ters. Mr. Sessions treats uponline~r impulsion, dissonantaltension and atonality. The bookhas 441 pages (nine and one-half by seven incbes). It is oneof the finest accomplishmentsof any modern writer on thesubject.Harcourt, Brace andCompany $5.50

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NEW IDEA IN MUSIC EDUCATION

(Continued from Page 13)

ship. Salle factories in Cincinnatiare considering the possibility ofallowing the students to do light as-sembly work, but this is subject tothe approval of their Policy Com-mittees. This same union restraintapplies to bus drivers and telephoneoperators. Jobs are available to thestudents in the offices of utilities butnot in positions held by union em-ployees.The course as now planned calls

for a five-year program made up oftwenty-two weeks of school eachyear and twenty-six weeks of work.The music student would be ableto continue his applied music studythroughout the year, however, tak-jng his voice, instrument. or com·position study without interruption.A sample year's program wouldbreak down like this:

8 weeks at work8 weeks at school2 weeks Xmas recess9 weeks work8 weeks school1 week Spring recess9 weeks work6 weeks school1 week Summer vacation

The year's classwork ,,,ould comprisethe equivalent of three semesters in-stead of the usual two, so that eachclass period would be a completeunit with no carryover through awork period into the next class worksession.Even using this method of com-

pleting classwork at one session be·fore beginning the work period. thestudent still has the worry: "WillI be able to do justice to my class-work with a nine-week break he·tween each session?" Shirley Zent-graf, a voice student who has ap-plied for the co·op course looks atit this way, "To me. it's the lesserof two evils, since i can't afford afull-time course. I've known a lotof student.s who tried working ayear and then goiilg to school for ayear; and so Blany times it justdidn't work oul. Many of themwould drop out of school completelyafter the first year."

Actually, because the jobs athose which can be transferred froone worker to another with the minmum work lag, they are also IIjobs with a minimum amount of 1sponsibility. When the student Jeavwork to reenter his classes he cado so with a free mind to concetrate on his studies."We feel that the incentive to pI'

duce is most effective in the co-oplan," reports Peter Kohl, BusinesManager of the Conservatory. whcontacted the Industries about t hnew plan and has helped hundrecof students find part-time work I

help them get their degrees.The co-op plan is open to talente

freshmen .who can meet the 01

servatory's entrance requiremenls ieducation and applied music. Thplan offers complete professionadegree courses leading to the degreBachelor of Music. The B.S. in Mlsical Education is closed 10 co-op::but the students have equal eligibility for scholarships with regulafull-time students.And unless Uncle Sam change

his mind a little later. co-op students have the same opportunity fo'draft deferment as those studentsin regular degree courses al colleges.Working only 26 weeks in one

year at a wage rate which in somecases will not ])e· much higher IlIUI

the current minimum, is not goingto offer complete financial independence to t.he out·oj-city student. Btlas Dr. Luther Richman. Dean of theConservatory points out. "We donot expect this to he the all-inclu5iveanswer to the problems of the student with limited finances. We dothink it will help offset some of thehigh costs involved in obtaining athorough musical education."Paul Byron is one of a number of

student.s who started the hall rollincrat the Conservatory this fall. "Be~fore t.his plan was announced." herecalls, "I t.hought I would have tgive up my ideas about college No\~all that's changed. I want a de~ree-an~ .this, is .the chance I have beenwaHmg for." THE: EXD

Howto Relieve Left Hand Strainby DOROTHY WALBRIDGE

IN PIANO solos such as Chopin'sEtude, Op. 10, No. 12 ("The Revo.lutionary"), the left hand is calledupon for a great. amount of thework, and is likely to become over-

~

. IUghlh'" (Righth'"

!,'~I~ \- . -

tired. To relieve it, let the right

I 586 _

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ET DE-JANUARY 1952

enor solofrom "Mart~la"-M'appari

IL'I. a Dream) is said to have sold~e . d'hundredsof thousands III recor mgsby Caruso,Oigli, John McCormack,

5· hi a Lanza and others. Flotowc IV ,wroteoyer thirty.five other operas.Whereare they? What happenedto the composer's fount of charm-ns andnaive melody? Opera COIll-, , .osers have been in many mstauces~erv long lived, but unfortunatelytheirworks have a very high rateof mortality.John Towers, Englishborn pianist, voice teacher andoiler. (who died at the PresserHomeforRetired 'Music Teachers inGermantown,Pa. in 1922) spentIwenll".fil'eyears of his life in com-pilinga "Dictionary of over Twent.y-[jaht Thousand Operas" that hudb~n produced. Yet scarcely morethanone hundred operas are in-cludedin the repertoires of the greatoperahousesof the world today. Thimeansthat unless you arc a super-2eniusin this field your opera st.ands;bout a 280·to-1 chance of beinganythingmore than a musicologist'scollectionitem. Yet 'here again the~takesare so high that if you area Verdi. a Puccini, or a RichardStraus~.you have a chance of be·comingnot merely an opera ty·coonbut an immortal master. Thesethreecomposersbecame enormouslywealthythrough their works.11 you strive to write operas inthemore popular class of JohannSirauss.Jli1locker, Cenee. Lococq,Gilbert and Sullivan, deKoven,Herbert.Kern, Rodgers, and others,your chance of winning quickerlame and larger returns are ofcourse.greater.If your opera should be lost toposterity.you most certainly haveillustriouscompany. Of the elevenoperas of Ruggiero Leonc3vallo{1858-1919) few are heard in thesed,aysexcept his masterpiece HPag.hacci." Pietro Mascagn i (1863.1945) wrote fifteen operas but hisnamewould be ]jterally unknown~,arefor his great emotional outburst"Cal'alleria Rusticana." Amilcare~onchjelli(1834-1886) composer of''La Gioconda," a standard work ofIheworld'so!)eratic repertoire, wrotetenuther operas. Can you name oneof. them? The incomparable GeorgesBizet(1838·1875) wrote five operas.bUI only one, his classic "Carmen"bee .ame Immortal. Jules Massenet(1342.1912) wrote over twenty· fivemOH melodious and theatrically ex.ccJl~ntoperas. He was fortunate in!lavlllgsome five of these retained~~ the international repertoire.M ~ "L .anon,' e Jongleur de NotreDam;:" "Don QUlchotte," "Thais"and ·Werther."When one scans the catalogs ofpllbli~hers f tl .~ 0 le past two centunes.

{CrUDE-JANUARY 1952

The Lost Music of Yesterday(Continued from Page 12)

representing the thousands of workswhich the publishers deemed worthyto put into print, it becomes obviousthat many of the editors and corn-posers made countless bad guesses.How much of the music bein s

written today will be heard £ift;years hence? Possibly ten percentmight be a gene-rous estimate. Butthe fascination of expressing one'sthoughts and emotions through mu-sic is irrepressible. \Vith the kissof Lady Luck. one may receive sur-prising rewards. Only the public.laking its own time to decide, candetermine whieh composition shallcontinue to live. Bach's D-MinorMass, Handel's "Messiah," Beetho-ven's Fifth Symphony and the manyinspired works of Mozart, Haydn.Schubert, Chopin, Schumann. Men-delssohn, Brahms and some hun-dreds of other compositions of othermaster composers, still ha\'e univer.sal appeal and ha\'e lasted over acent\lry. But one is staggered hy thethousands of compositions whichhave not survived a decade.The beautifully etched musical

jewels of the Danish Niels Gade(1817.1890) are. for instance, alltoo rarely heard. The melodies arechaste and finely finished. On theother hand they do not seem to havelhat (\jstinctive "something" thatmarks the haunting themes, withdeathless charm. of Cade's youngercolleague. the Norwegian EdvardCrieg.Even the simple folk-song forms

of Stephen Foster (1826.1864)-theOld Folks at Honl-€ type, seem des-tined to survive through the centur-ies_ as do the waltzes of JohannStrauss. and the marches of .J ohnPhjlip Sousa. In their field they havebecome quite definitely classics asthey outlive vast numbers of preten·tious works that have evaporated.What is it then. which gives a mu-

sical work the element of survival?Certainly it is not mere craftsman·ship. :Many of the 'finest Illusjcalcraftsmen the writer has known, menwho have been able Lo solve everyrhyt.hmlc, harmonic and contrapuntalproblem imaginable, have been in-capable of writing one page of in-t.eresting music. They spent t.heirimportant genius upon text books.However. when a master composersuch as Rimsky·Korsakoff or Tchai·kovsky writes upon the technicalphases of musical compositjol1. hisworks rarely become popular inclassrooms. Hector BerUoz wjth his"Traite d'instrumentation" is a pos·sible exception.Sir William H. Hadow, one of the

most dislil1guj~hed of British musicalscholars once said to the writer: "Ofcourse, there can be great musicwithout definitive melody such as

music to create moods and atmcs-phere, but the thing that lingers inthe human mind is melody. A sim-ple tune such as Marlborough s'enua {'en gueri'e (Marlborough is: go-ing to war) which was believed tohave heen brought back to Europeby a Crusader, may bob up centurieslater as For He's a lolly Good FeL-lour or We lVon't Get Hom~ UntilMorning, while a piece of atmos-pheric music often evaporates in afew hours like a summer mist."A wonderful melody such as Han-

del's Largo-Bach's MeLody for theC-sfring~Schubert's Ave Maria-Schumann's Trawnerci-Mendels·~ohn's Ani Fliigeln des Gesanges-Rubinstein's Melody in F-Wagner'sPrize Song-Verdi's Celeste A~d(tor Debussy's Au Clair de Lune-arefar more significant musical accom-plishments lhan all the excellent anderudite works of Sechter, Richter,Hauptmann, Prout or our own dearold Doctor Percy Goetschius. We inAmerica, while we have not pro·duced the volume of musical master-pieces on a par with the Europeanoperas, concertos, symphonies andworks in larger form that have com-manded long continued world atten·tjon_ we have however, given theworld an amazing number of beauti-ful nlelodies that have real signifi.cance. Melodies of the broad populartype such as those of Stephen Foster,James A. Bland, Ethelbert Nevin,John Philip Sousa. Reginald deKoven. Thurlow Lieurance, CharlesWakefield Cadman, Carrie JacobsBond, the Irish German-AmericanVictor Herbert, Raymond Hunting·ton Woodman, Oley Speaks, GeorgeGershwin, Irving Bedjn, Ferde Grofe,Richard Rodgers, and many othershave gained international currency.They are the weather vanes pointing1.0 our future musical development.Is the lost music of yesterday

hopelessly buried? Very probablythe opposite is true. Mendelssohn,despite enormous opposition, ex·Iwmed the S1. Matthew Passion ofJohann Sebastian Bach in 1829 forthe first time after Bach's death in1750. The works of Bach have con·tinued to grow in public admirationever since. For many years t.he re·nowned Italian composer, G_ Fran-cesco Malipiero has made an inten·sive study of the works of ClaudioMonteverdi (1567-1643) knowingthat the great wealth of musical in-vention of one of the foremost pre·Bach composers must command theinterest of the musical world.Is it not reasonable to assume t.hat

in the mountains of lost music, longlooked upon as rubbish, there maybe diamond mines of priceless un·recognized genius?John Philip Sousa however, in~

sisted that the thing that made musicpopular, whether it be a recent songhit or the Liebestod from "Tristanand Isolde," was its frequent and con-tinued repetition. "The public likesanything it hears over and overagain." Walter Damrosch was of thesame opinion. The gospel of tin-panalley is to have its wares repeatedin every conceivable arrangementuntil all possible hope for their sue-cess expires. No" ..' and then onemakes a resounding hit. Repetition,instead of prolonging the life of amelody, often exhausts public inter-est in a few weeks and the compo-sit.ions die an untimely but possiblywell-deserved death. The musical ar-chives of the world are filled withuntold thousands of pieces that ifplayed until doomsday might neverfind a permanent place in musicalhistory. This is by no means a pes·simistic aspect. The opportunitiesfor com posers deserving success werenever greater than they are at thepresent time.Certain types of music enjoy a

vogue [or certain periods and thenrecede in popular favor. The voguefor the Queen's Hall or drawingroom type of ballad developed byThomas Boosey of London, founderof the firm Boosey & Company (laterBoosey & Hawkes. Ltd.) producednumbers of beautiful songs of thetype of I Hear You Calling Me, TheKashmiri Song, Macushla, and 011.,Lovely Night. of which incrediblemillions of copies were sold. Thistype no longer enjoys the very greatfavor it once did, more's the pity.

A more serious decline in int.erestwas that which affected the classicalart song Ol" Lieder type. For over acentury Lieder recitals were enor-mously popular in the best musicaJcircles. Recitals such as those of MaxHeinrich, Sir George Henschel andhis lovely wife Lillian Bailey, Dr.Franz Wullner, Lotte Lehmann, John:McCormack and scores of similar ar·tjsts, singing the songs of Schubert,Schumann, Franz, Lowe, Wolf andthe exquisite works of the greatFrench, Italian, Russian, Scandi-navian and American song writers,unfortunately do not command largeaudiences in this day. Their neglectat the present time is pathetic as thepublic is deprived of works to whjchsome of our grealest masters devotedmuch of their lives. There can beno question that they will be restoredto us when the world huh-bub sub-sides and permits us again to enjoythe best in the arts.Just to be able to write one little

tune that will last through the cen-turies, is a kind of immortality givenonly to an amazingly few people.

James Francis CookeEditor Emeritus, ETUDE

59

An outstanding list

of Major Sacred Choral SelectionsLENTEN CANTATAS AND ORATORIOS For Mixed Voices

TITLE COMPOSER-ARRANGER CAT. NO. PRICE

BEHOLD THE CHRIST .... Nevin 432·40168 .75,(Holy Week or general use, Sop., Alt.,Ten., Bar., 40 minutes)

BEHOLD THE LAMB OF GODJones-McRae 332-15179 .30

(Alt., Ten., Bar., Voice speaking choir,Solo speaking parts, 30 minutes)

CALVARY .Shepperd 412.40061 .75(lent or Easter, Ten., BaL, Bass, 20minutes)

CRUCIFIXION .. Steiner 432-40128 .75(Ten., Bass, 1 hour)

CRUCIFIXION AND RESURREC.TION Berwald 432-40130 .75(Holy Week and Easter, Scp., Alt., Ten.,Bass, 30 minutes)

FROM DEATH TO LIFE ... Bartlett 432-40135 .75(Holy Week and Easter, Scp., Alt., Ten.,Bass, 40 minutes)

TITLE COMPOSER-ARRANGER CAT. NO. PRICE

xGALLIA (Motet} Gounod 412-40092 .bO(Sop., 20 minutes. Orchestra on rental)

LAST WORDS OF CHRIST.Spross 412-40044 .75(Ten., Bar., 45 minutes)

xtMESSAGE FROM THE CROSSBASED ON "THE SEVEN LASTWORDS OF CHRIST"

MocFarlone 422-40013 1.00(Sop or Ten., Bar. or Alt .. 45 minutes,Orchestra on rentnl I

PASSION ACCORDING TO ST.MATTHEW ~. Bach 432-40146 1.50(Lent or general. Sop .. Alt., Tcn., Bnr.,Bass, English only) .

tPENITENCE. PARDON ANDPEACE ..... Mounder 412-40149 .75(Advent and general use, Sup., or Tcn.,Bar., 35 minutes)

RABBONI .... Loveland 422-40014 .75(SOp., Alt., Ten., Bass, 40 minutes)

TITLE COMPOSER-ARRANGER CAT. NO. PRICE

xt*SEVEN LAST WORDS OFCHRiST Dubois-Dollty 41240172 100(Orchestra on rental, Sop., Ten., Bar., 4~ .minutes)

*SEVEN LAST WORDS OFCHRIST Dubois 432401511.00(Sop .. Ten .. Bar., 4) minutes, Englishand Latin text)

xSEVEN LAST WORDS OFCH RIST Monestel 432-401551.00(Sop .. AIL. Ten" Bass. I hour. En.l>lishand Latin te-xt)

STAB AT MATER (Tragedy ofCalvary) Op. 58. . .Dvorak 4)2-402171.50(SoP .• All .. Ten .. Il,l'''. q:z hours, Ene.·lish lind Latin text) .

STABAT MATER fTrib ...latioldRossini 412-401751.00

(Two Sop .. Ten .. Bass. I hour, Englivhand Luin text}

STORY OF CALVARY .. Sehnec~er 4)2-40156 .15(Bar .. 2) lllinuu,; ..}

FROM DEATH UNTO LIFE .. Stults 412-40091 .75(Sop., Alt., Ten., BaL, Bass, 30 minutes)

EASTER CANTATAS AND ORATORIOS For Mixed Voices

ALLELUIA ... Stults 412-40055 .75(Sop .. Alt., Ten., Bass, 35 minutes)

CHRIST IS RiSEN Thiman 432-40123 .75(Sop., Alt .. Ten .. Bar., 45 minutes)

tCON9UERING CHRIST.Keoting 412-40073 .75(Sop .. Alt .. Ten. and Bar. Duet, Easy,45 minutes)

CROSS AND CROWN (Pageant)Maynord 432-40126 .75

(Sop., AlL TEn., Bar.)

CRUCifiED Nevin 432-40127 .75(Alt., Bar., ·25 ·l~·i~~lt~~)·

THE CRUCIFIXION AND THERESURRECTION ... Berwald 432-40130 .75(Sop .. Alt., Ten .. B,lSS, 30 minutes, HolyWeek and Easter)

xDAUGHTER OF JAIRUS.Stainer 412-40078 .75(Sop .. Ten., Bass, 45 minutes)

DAWN OF THE KINGDOMWolcott 412-40081 .75

(Bar., Ten., Easy, 30 minutes)

tETERNAL MORNING.(Sop., Alt.. Ten.,minutes)

Stairs 412-40206 .75Bass, Easy, 45

GLORY OF THE RESURRECTIONSpross 422-40094 1.00

(Sop .. Alt., Ten., B3SS, 35 minutes)

GREATEST LOVE Petrie 412-40097 .75(Sop .. Alt .. Ten .. Bass, Easter or generaluse. of moderate difficulty. 40 minutes)

HAIL! KING OF GLORY .. Keoting 412-40098 .75(Sop., Alt.. Ten., Bar.. Bass, Easy, 40minutes)

HAIL THE ViCTOR Wooler 432-40137 .75(Sop., AIL Ten., 30 minutes)

IMMO~TALITY Stults 412-40110 .75(Sop" Ten., Bass. 35 minutes)

tKIN~ ALL GLORIOUS .... Stairs 412.40115 .75bop .. AIt.. Ten .. Bar., Easy, 50 minutes)

tKING OF GLORY Morrison 412-40195 .75(Sop .. Ten. and Bar. Duet, 35 minutes)

KING OF THE AGES Stults 412-40157 .75(Sop., Alt., Ten .. Bar., Easy. 35 minutes)

tLiFE ETERNAL Dole 412-40122 .75(Sop., Alt., Ten., Bass, 35 minutes)

LIVING CHRiST Stults 412-40131(Sop., Alt., Ten., Bar., Easy, 30 minutes)

tMATCHLESS MORN St .(Sop .• Alt .• Ten .• ·S·a·;··Ba1r-s £412-41004 .75

Lass, asy, '0minutes) .,

Solos indicated by Sop .• Soprono; Ten., Tenor etc,

t Words only ovoilable @ $2.50 per 100

Sendx Orchestration ovoilable.. Cannot be sold in Canada

THEODORE PRESSER CO .,60

.75

NEW LIFE.. . ....... Roger! 4)2-401~S .71(Sop .• 1'(:n .• 13:l~_. 2) minut(:-.}

PAGEANT OF THE RESURREC·TION .... , . . .. • Diley 432-40181 .75(Choir. Sund:lY hool .tnd ml::.rtl:).tlOnmay particiD:UC) ..

RESURRECTION ~ORN Keoting 412-40158.1S(Sop .. AIt_. Ten .. B.•r .• RC:-Adtr with mu\i-cal ac(omp;lnimenl. )0 minulf<I)

tRESURRECTlON SONG .. Stairs 412-40160.75(Sop., Alt.. Ten .• 8M .. £as)', 4) minutes

RISEN CHRIST(SoP .. ·Alt.. 'T<:n::minule~)

. Stairs 412-40164 ,11Bu.. BJ$..~.Ells)'. .i)

EVERLASTING LIFE.(Sop .. Ten .. Bar.,45 minutes)

.. Formon 412·40089 .75Alt. and Ten. Duct,

xRISEN KING ... _. Sehneeler 432-«1150J!(Alto. 2) minules}

RISEN KING ......•.•... Wooler 412-40166,JS(SoP .. Alt.. Ten •. Bar .. 30 minutb)

tTRAVAIL AND TRIUMPHKeating 412-40182.1\

(Sop .. Alt.. Ten_. Bar., B355. EaS\'. 40minutes) •

tTRIUMPH OF THE CRUCIFIEDKeot;ng 412-40185.11

4(SoP ... Alt.. Ten_. B;lr. OpliotUl. hsy.5 ITIlnUICS)

EVERLASTING LIGHT .. Fichthorn 432-40134 .75(Sop., Ten .• Bar., 45 minutes)

xFROM DEATH TO LIFE .. 8artlett 432-40135 .75(SOp., Alt., Ten., Bass, Holy Week andEaster, 40 minutes)

Bryn Mawr, Pennsylvania

l-------------- ETL DE-J f\l JRl l'i

The Metropolitan UperaCompany opened its 69th seasononNovember 13 with a perform-anceof "Aida" which had been"taD'edand redesigned along theres 0

linesset forth by the new managerRudolfBing in his first seasonlastyear. As in the opening "DonCarlo"last season, Mr. Bing againturned to Margaret Webster todirect the production of "Aida"and the result was a streamlinedversion which seemed to pleasethe opening·night audience. Twonew singers were in the cast-ElenaNikolaidi, Greek contralto,and George London, Canadianbaritone.The other leading roleswere taken by Zinka Milanov,MarioDel Monaco, Jerome Hines,LubomirVichcgenov and LucincAmara.The conductor was FaustoCleva.The ballet included as oneof its first dancers the ensationalNegrogirl, Janet Collins, the first01 her race to become a memberof the Metropolitan COfllpany.Therewas also a specially engagedchorusof Negro singers for theopeningperformance.

Guy Jllarriner, director ofmusic,The Franklin J nstitute, wasrecently given a certificate ofmerit,signed by hundreds of hisadmirers, Oil the occasion of his2001hpiano leclure-recital at theInstitute.Marriner is also lcctu mr

• III the University of Pennsylvaniaandconducts the television series"GreatMusic," a regular Sundaynightfeature on WPTZ.

Dimilri Mit.ropolLlos is sched-uledto go to Milan ill the springtoconduct four stage performancesof Berg's "Wosseck" at La Scala.Ii is quite likely that some of thesingerswill be the same ones who

THE WORLD OF

sang last season when the operawas given in concert form by theNew York Philharmonic-SymphonyOrchestra.

Gian-Carlo illenotti's "Apoca-Iypse~" the composer's first sym-phonic work for full orchestra,was given its first performanceearly in November by the Pitts-burgh Symphony Orchestra underVictor de Sabarn. '

Gregor l::Ji(f,;,go"'sk~y, worldfamous cellist and Reginald Stew-art. noted pianist and director ofthe Peabody Conservatory ofMusic in Baltimore, joined theirtalents in a Sonata recital in Bal.Limore in November. The programincluded Brahm's Sonata in EMinor. TTindernith's Sonata (1943),and Rachmaninoff's Sonata.

Clwrles Font-eyn l11anney,composer and editor, died October31 in New York at the age of 79.1 fc was widely known as a COlll-

poser of melodious cantatas, songsand piano pieces. For :i2 years hewas on the editorial stafT of theOliver Ditson Company.

The Boyel Neel Orchestra,organized in London in 1932 hyBoyd Necl, will make its first tourof the United States and Canadaill the fall of 1952. The trip willcelebrate the twentieth anniver-sary of England's noted small or-

CO~'PETITIONS (For details, write to sponsor listed)

• Rome Prize Fellowships. S3.000 for one year's study in Home ofclassics:-nd the fine arts. Closing date lor 1952-53 scholarships, Jan.1,1952: American Academy, 101 Park Avenue, N. Y. C.• Maflall Anderson Scholarships for vocal study. Closing date notannounced. Marian Anderson Scholarship Fund, c/o Miss AlyseAnderson, 762 S. l\hrtin St., Philadelphia 46, Pa.~l C~lonls for male voices by an American composer. Prize, $100.N.o~ng date, .Tan. 1, 1952. 1\Iendelssohn Glee Club, 154 W. 18th St.,

. C.• Purple Heart Songwriting Awards. Popular, standard or sacred~~ng~.First prize, SlOOO; second prize, 500; foul' prizes of 250 each.osmg date not announced. Order of the Purple Heart, 230 W.

5,1t1rSt., N. Y. C.• Sacred vocal solo, 5·10 minutes in lenoth ,~ith accompanjm~nt ofo)'a-an d I 0 , F I 1I" an one so 0 instrument. Prize, $100. Closing date, 'e). .152,~. W. Gray Co. will publish winning work. ChUTch of the• sc~nslOn,.Secretary Anthem Competition, 12 W. Ut,h St., N. Y. C.slcioour.vOl.cesetting for congregational singing, of Psalm 100. Prize

. Closmg date February 29 1952 Thomas H. Hamilton. Mon·mouth College, Monmouth, Illin~is.· .

Fru. UE-JANUARY 1952

chestra, which has attained an in-ternational reputation. It has ap-peared at the principal festivalsin Europe for the past few years.

Sigmund Romberg, Hunga-r ian-bom composer of operettaswhich brought him world fame.d-ied in New York City on Novem:bel' 10. His age was 64,. He was aprolific writer, his operettas num-

bering seventy-eight and his songsrunning over tile 2000 mark. Themost famous of his musical playswere perhaps "The StudentPrince," "The Desert Song,""Blossom Time" and "New Moon."Romberg was born in Nagykaniza,Hungary, and at an early age gaveevidence of unusual musical tal-ent. He came to New York ]n1909: and following several )'P,arsat various odd jobs, he found him-self engaged by J. 1. Schubert tocompose for him in 1913. His firstfull-fledged musical show was"The Whirl of the World." Hisfirst operetta was "The Blue Para-dise." He had been guest conduc-tor of many major orchestras insummer concerts, including theHobin Hood Dell Orchestra illPhiladelphia.

Th.e Arum,al SymposiulIl ofAmerican Orchestral Wgrks of theEastman School of Music was heldNovember 5-7 with Dr. HowardHanson conducting the EastmanRochester Symphony Orchestra .Twelve new works were given theirfi rst performances, the composersrepresented being NIarion Bauer)Paul Fetler, William Ward, Wal-'ter Hartley, Robert Wykes, Flo·

renee Anderson, Richard Morse,Carl Anton Wirth, Harold Brown,WHliam Parks 'Grant, and RobertMcBride.

UNDER THE PALMS ........ Rool 412~la7.~(Pro.~ram . for unday hoo!. Choir anJCon,gre.c:atlon participation)

tVICTORY DIVINE ........ Morh 412~la9.11(Sop .. Ten., fur. or BOl5S.1 hour)

WONDROUS CROSS Berg; 412..0041.11(Easter or general use p .. All", TffI~Bass) •

for the Presser Spring Choral Catalogs. ". Sacred or Secular, Dept. E·!·JI

Fred Patton, baritone, formermember of the Philadelphia CivicOpera Company and the Metro-politan Opera Company, died inDetroit on October 25 at the ageof 63. From 1932 to 1943 he wasprofessor of music at Mich iganState College. He appeared at. many festivals and with majororchestras throughout the U. S.

The late Arnold Schoenberg's"Ewartung" ("Expectancy") wasgiven its first American presenta-lion on November 15 by the NewYork Philharmonic-Symphony o-,chestra under the direction ofDimitri Mitropoulos. Called bysome an opera, by others a can-tata, it was given in a concert"version .. The composer himselfcalled it a "Monodrama" becauseof the fact that it contains but onesinging role. Schoenberg wrotethe work in 1909.

~fhe National Association fmo

~fll,sic Tlwra/JY held a conventionin Chicago on November 9, 10, 11.Under the direction of Ray Green,president of the association, a futIprogram of discussions, demon-strations and lectures made up theactivities of the three days.

The Cincinnati .sY'ltphortyOrchestra, conducted by ThorJohnson, and with Eileen Farrellas soloist, gave a concert in NewYork City on November 11, mark-ing the first appearance of theorchestra in that city since 192U.Included on the program was thefirst New York performance ofRoy Harris' Cumberland Con-certo, which had been commis-sioned by Mr. Johnson last April.

Mrs. Crosby A.tlmns, widely-known composer and plano teach-er, died in Montreat, N. c., onNovember 9: at the age of 93. Shewas the widow of Crosby Adams\\those death occurred on february27, 1951, also at the age of 93.Together they had made Illusictheir life work and they were affec-tionately known throughout alarge segment of the South. Mrs.Adams was active with her hus-band in various localities. Formany years she conducted a musicschool in Chicago and for fortyyears held annual summer sessionsfor music teachers. Til 1913 Mr .and Mrs. (Conlinncd on Page 64)

61

GENTLE GIANT

(Continned from Page 16)

WHERE· SHAll I GO TO STUDY?

PRIVATE TEACHERS [New Yerk Cayl lEOPOLD WOlFSOHN.Composer, Pianist cod Teacher

CECilE HODAM .B.ENZTeacher of Aron Copland, Elie Siegmeister

and mony orfists and teachers.Bachelor Fine Arts-FormerJy a College BEGINNING TO ARTISTIC FINISH

Instructor Hotel Anson.ia, B'way at 73rd St., New York CityTEACHER OF SING.JNG

Yclce-Plono Studio, 2 Hamilton Place, Merrick,Long Island, N. Y. Tet. FRee,porf '1-3764

HELEN ANDERSONALFRED JACOBS

Teacher Violin & Viola CoachConcert PianAst Highly Recommended by

Interesting course-plano, harmonyWm. Primrose, Otto Klemperer & Mishe! Piastro

Carnegie Hall Call CLoverdale 6-3701Many Successful Pupils Write to 7510-18th Ave., Brooklyn 14, N. Y.

166 W. 72nd St., N. Y. C. Tel. se 4-8385

MME, BOXALL BOYD lEilA TYNDAll MOSES(Leschelitky)

Pion ist- Taccher-c-Ccocb-c-Procrom B<Jilding Former Pupil & Assistant of Dr. Wm. MasonAddress-Steinway Hail-Nola Studios- (Pioneer Teacher of We!ght, Relaxation,

Rotary Mohon)113 W, 57th St., New York City, N. Y. Gives Ins!ruction (Closs, Private) ;" Mason's

"Touch and Technic."

EDWIN HUGHES 315 W. 86, N. Y. 24, N. Y. SC.4-6351

PIANISTS PREPARED FOR PUBLICPERFORMANCE AND FOR COLLEGE,

ANNE YAGOUNIVERSITY AND CONSERVATORY McGUFFEYTEACHING POSITIONS Teacher of Voice

338 West 89th Street, New York 24, N. Y. 1908 N Street, NorthwestWashington, D.C. Dis1rict 4079

(FRANK) (ERNESTO)

lA FORGE-BERUMEN STUDIOSVoice-Piano PRIVATE TEACHERS (Western)A.mong those who hove s1udied with Mr, Lo

Forge are: Marion Anderson, Lawrence Tib· ,beti, Richard Crooks, and Mme. Malzenauer.

1040 Pork Ave .. New YorkTel, Atwate~ 9-7470 DR: EVANGELINE lEHMAN

EDWARD E. TREUMANN '''T eacher of successful singers"167 Elmhurst Avenue Detroit 3, Michigan

Concert Pianist-Artist- Teacher Town.end 5-M13Recommended by Emil Von Sauer, Madiz Mosz·kawski and Joseph Hofmann.Studio, Cornegie Hall, Suite 837, 57th St. at7th Ave., New York City Tel. Columbus 5-4357 HAROLD HURLBUTALMA FAUST B,S. Music Education

Singers who have studied with him include IPiano Teacher NADINE CONNER HOWARD KEEL

Learn to Teach or Ploy for Pleasure James Parnell Henry Cordy,

Pupils teaching successfullv allover the U. S, and others of ~tage,screen, opera and radio600 West t 11th, (Corner Broadway) .Re~. 2150 N. Beachwood Dr., Hollvwood 28, Calif.New York 25, N,Y. MO 2-6772

WilLIAM FICHANDlER EDNA GUNNAR 'PETERSON )

Pianht, Composer, Teacher314 West 75th St., New York Su·7·)775 Concert Pianist-Artist TeocherRecent Compositions published b, 229 50. Haryard Blyd. Los Angeles, Calif.

G. Schirmer, Inc. DU. 3·2597

CHARLES LAGOURGUE 0.1, U JEROME D. ROSENi

VOICE p,RODUCT10N-SINGINGfor information: Violin Recital,-Artistic Violin Instruction

35 W. 57th St., New YorkFounder "Ancient String Instrument Ensemble"

Sfudios6508 Delmar Blyd. 2070 N, Kirkwood Rood

RICHARD McCLANAHANSt. Louis t2, Mo. Kirkwood, Mo.

Matthay exponent, formerly his representative.IPrivate Le,sons, Teachers Courses. Forums-

Summer class-Southwest Harbor, Me. ISABEL HUTCHESON a801 Steinway Bldg., N,Y.C.(Tues,·Fri.) CI. 6-8950, other days, KI. 9·8034 Refresher CourSe for Piano Teachers: !Modern Piano Techn ic:Coach ing Concert Pion isis:

Group Work: For further information address: C

CRYSTAL WATERS Studio 202, 10051/2Elm St" Dallas Texas

Teacher of singing.Augusf in New York '

Popular songs and Classics.T,V,-Radio-Stage-Concert.

405 Eo.I 54th St, New York 22, N. Y, DR. FRANCIS L. YORK sAdvanced Piono Interpretation and the Theory !

CAROL ROBINSON work required by the degrees af Mus. Bach, 1Concert Pianist-Artist Teacher

and Mus. Mos. Special Cnapin interpretation: 2DETROiT CQ-NSERVATORY OF MUSIC'OS East 54th 51. New York 22, N, Y. D.frait, Mich. ,

Plaza 5-5123 2

MME. GIOVANNA VIOLAr

(HULL) SAN FRANCISCO CONSERVA· ,Dramatic Soprano TORY OF MUSIC, INC. rTeacher of Singing-"Bel Canto ..

Experienced European trained Artist 3435 Socramento Street Walnut 1·3496 t'Coaching Opera, Concert and Radio

Correct voice production, defective singing Bachelor of Music Degree Opera Department Ccorrected, Artists Diploma Pedagogy t;ertificate fiBegTllllers ClcceptedPhane: Trafalqar 7·8230 Man" Tues., Wed., Thur•. Approved for veterans608 Wesl End Ave. New York City Children's Saturday morning Classes.

p

With tense mouth and scarcely agreeting, Jim charged into the Bach-Liszt.

I wrung my hands, pitying thesuffering instrument. the reverber-ating walls, the patient neighbors,but I let him go.

For three weeks I let him go.as he pummelled and punished andvent his own anguish upon the Fan-tasie, the piano. and the tympanicmembrane of all within hearing. 1bit my tongue, and hoped that aStein way could "take it."It could. and so. bless them. could

the neighbors.And so did Jim. And 1. And

finally the stor-m subsided. and oneday Jim said apologetically. "Ifound a little soft thing the otherday. Nothing speciaL but iI's kindasweet. ... "

He sat down. and with exquisite

gentleness began to play MacDow•ell's An Old Love Story, his handscaressing the phrases. calling backa lost voice. saying. "It's all rilThtnow; it's all right." eo

A lear went "ping" on my note-book.

Blessed Music! Dear. blessedcomforter, voice of Divine reassu-.a nee! It's all right now; it is, it is!

As long as there is one mind tofashion it. one hand. one voice tore-create. one ear to listen and un-derstand-then it's all right. it's allright. God be thanked!

The Giant drops his hands andrises-rises a long way up. "Any.thing else T can do for you today.teach r? ,. The old gentleness. theold humor j .. hack in his voice.

"TO. thank yOll. dear. NothinD"else loday." .,

THE E'lD

MUSICAL COP

(Continued from Page 18)

out of the treasury of the GlendalePolice Relief Association, A cer·ain percentage of each policematl's

salary goes into it every month. llsedto aid those of their ranks in need.At first, some were reluctant toconsent that a portion be allottedto the embryonic boys' bane!. butgave in at his urgings. Later. theybecame enthusiastic for it with theothers. In·all. the Relief Associationlas bought $5000 worth of inst ru-nent.s for the youths and paid Ollt$6000 for uniforms.

In addition to this. t.here havebeen the donations through the'ears-from a few cents given by a

chubby pre.school boy up to manydollars contributed by differentbusiness concerns. All along. how.ever, it has been a struggle to keept going, and for securing financial

help "Pop" Evans attributes greatcredit to Willjam E. Seidel. its man·agel' for twelve years. Rodney A.White now filling that position.

For its director, Lieutenant Evanslas Arthur .T. Beveridge. a violinistnd theater man in his fifties. fromhe Middle West. Beveridge alsoonducts the Los Angeles County

Band and the Glendale Elks Band.From a handful of youths. the

Glendale Police Boys' Band bios.omed until now it has 65 membershat being the maximum permittedor it. Their ages range from 14 to0: only a few being younger thanhiS. When a young man reaches1, or disassociates himself for othereasons? there are dozens anxious toake Ius .place. From the waiting1st a lew are culled. more audi-IOns held, and the lucky one be.o~es a member of Glendale's of.clal youth's band.Although no longer ,-',I h1. \'1 1 t e

l0 Ice department, "Pop" Evans still

62.-----

remain~ lose 10 it: Fir:)t. with hiscontinued intcrc"l in the policerang. he having for more Ihantwenty y an- ~ef\ed D range masterand pistol coach: and then, there isthe Boys' Band.

hould you ha\c been around thehendqunrler~ aboul Ihe time he wasclosing til hi .. 23 years as a lawen fOfcement ffi er, a perullal of tbedepartment' bl lIerlii h'ould hayerevealed ilem" in Ihis \'fin:

"Market mgr, al 201 W. Wilsonreports no n Ollnt check. Tilu~.

"Ofc. D. hrislianllen coming inwilh three for investigation."The day thai h look off his uni·

form. however. Ihere was this ex·traordinary enlfY on the blotter.written in his own familiar hand:

aLi fe is a book in \'olumes three.the past. the present. and the yetto be. The past we ha\'e read andlaid away. tbe present we are li"ingday b)' day. Ihe third and last wecannot see. Cod onl)' hold"' the key.

"This is the end of another oflife's mysterious chapters. To thosewho follow me 1 ,\'ish continued hap·piness and SUCCe5S. I sincerely hopethat when rour lurn comes to handin your badge and la)' down theworking 1001s. )OU can counl asmany friends in and oul of the de·partment as I do,

"'Humanity is m}' famiJ).. theworld is my country and to do goodis my religion."

That he Ih'ed up to his creed,«to do good.·' be has bundreds 01witnesses. including the boys andmen who as presenl and formermembers of the Glendale policeBoys Band h"e been !Wide<!by ,heman from )Iontana who. allhoughdonning and honoring a policeman:,uniform. could not erase from besoul his firet lo\-e-music. rRE E~D

ETUDE-lAS ·ARY 1952

CONCERNING SCALES, ARPEGGIOS, ANDSTACCATO BOWING

THE END

positions, hut the demon of spacelimitation prevents me from dealmawith them here. If they interest YOl~write to me again. •

Bowing problems are apt to bemore complex, but jf they are ap·preached from the fundamentalsmuch can be done in a few weeks.The first thing to develop is a flexibleright hand. This can be done by in-tensive study of the wrist-and-finger1110tion at the frog of the bow,coupled with work on the whole bowmartele. At the end of five weeksa pup.] who is moderately advancedshould be able to play fairly rapidstrokes at the frog. using the wristuud fingers only and keeping thearm mOl ion less j and he should beable 10 do the whole bow martelefl:lirl) "'ell. producing a good accentand w~ing a moderately last bowstroke. 1 f the pupil's bow techniqueis pour to begin with. this is themost you can expect to accomplishin fi\c weeks. But you will have thesatisfactiun of knowing that you havegiven him the foundation of a soundbow technique.If you have pupils with no out·

standing technical defects, you canconsider yourself lucky and can goahead and coach them on musicalinlerpretalion. Even wjth such stu·dents. however, you must be on thewatch. for very often weaknesseswill appear when the student is play-ing a solo that are not apparentwhen he is playing a study in hisown home.

Summer teaching is enjoyable be-C:Iuse one knows that the pupils\\ould not be studying during thehot weather if they were not sin-cerely interested in learning. It isalso a valuable training for thetepcher, who must develop tile abil-ity to get his ideas across in a mini.mum of tjme. THE ENI"l

~MUSICIANS ~Students, TeachersCHA~T of MODERN CHORDS. 204practical 9th. 11th, and 13th chords.$l.OOHARMONIZATION CHART, 372 waysto harmonize any melody note $l.OOCHORD CHART, 132 sheet musicchords $ .50POPULAR PIANO TEACHING.COURSE, how to teach breaks, runs,boss, tra~sposing, improvisation bysheet musrc chords. Used by success-ful te ochars in all States. 40 popularsongs Included , , $9.00

WALTER STUART MUSIC STUDIO1227B Monis Ave., Union, N. J.

(Continued [rom. Page 25)

/ can't get your answer before this. is over but hope to get some

seSSIOn· ,

t c,,'veideas that I can use nextcons Tn "summer,

-Miss A.S.C., California

Your letter brings up a very im-portant poi~t in. violin teaching:Pupilsstudymg with a new teacherforfiveor six weeks only cannot behandledin the same way as if theyweretaking lessons regularly.It is a matter of selection. The

teachermust perceive at the firstlessonthe weaknesses in the stu-dent'sperformance, and must giveconcentrated attention to a fewpointsof technique that can be defi·nitely improved in t.he short limeavailable,Ihave taught summer mas·ter classes for eighteen year:'l. andfromthis experience I have learnedIhat the points to watch for al thefirst lesson are the shaping of theleft hand, the technique w:ed forshifting,and the technical develop.mentof the boh' arm. This lasl Iba\'e usually found to be ill direneedof attention, Of couro::e. if thepupilplays badly out of tune. thenyourfirst job must be to train him,if possible,to listen to him ....elf and10 correcthis eHors. It is surpri~inghowmuchcan be accomplished alongthis line in the short space of fiveweeks.This matter of true intona-tionties in, naturally, with the shap-ing of the left hand and with theshiftingtechnique.

With regard to shifting. Manypupilshave a habit of swinging thehandoutwards when they go fromthe first to the third posilion. Somequite advanced pupils will do it.Thismust be immediatelv corrected·so that when the shift is made th~fourthfinger is over the string beingplayedon. There are problems con·nectedwith shifting into the higher

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I.EA IlN PL\.:\'O 'l'U:\'ING-Simplified,a 1Itil en I ic ill.'3truction $,l,OO-Liter-atlll'e fl'ee. PI·of. Ross, 456 BeecherSt., "81mil'a, N, y,

NE\\' ."IAXO lUU'l'E I~E'I.'S YOUPII.4.C'I'ICI:i ))AY ou. NI(~Il'l' \VI'I'H-(1)'1' UIS'I'IJHnING O'I'HI~H.S, Mutespi:lno ahout S5%. Easily attached ordetn.ched without harming mechan-ism. State upright, gTand, or spinet!Solf] only on money hn.cl~ guarantee.Send $a,OOfOl' mute and fllll instruc-tions. Hiclmrd ]\fayo, Dept. 00·1, 1120La.tona Rtreet, Phila. 47, Pa.

YOUn. U:\,\VAN"'l'EIJ :"IUS1C ex-challged piece for piece, 5¢ each;qU1l1ity Ill:lLched. BU1'pee's SpecialtyShoppe, DeltlJn, Mich.

"'HI'I'I:: ~n~f;S: Read "Songwriter'sReview" :M:lgazine. 16f,O-ET Broad-way, :--I"e\"Yo}'l\: 19, 25¢ copy; $2.00ye~JI'.

\VHI'I'I·:HS. CO,lPOSERS: Your nameon penny cal'll hrings price list,:MDgda.lene Kuhlman. 184 South Pointnl'i\·e. A\'()n La.I~e, Ohio.

S\V1Xf; prllXO-H\' ;'l.,l.-IL. 30 self-teHchin~ lessons, $3.00. OVER 50PUBLrC'ATTD:\TS- cbssicnl and pap-ubI'. AtlenLion artist.s and teachersonl.\': $30.00 of music for ~lO.OO.F'reesamples. (Introductory offer.) PHILBRETO)J PUBLICATIO)JS, P.O. Box] 402, Omaha 8, Nebr" U.S.A.

PI,\.XO A.CCO)IL"A.NIIUEN'I'S RE-con DEll. Send music and check for$4.10. l'1'1.u ...;ic returned with UN-BREAKABLE RECORD. Vincent Re-cording Service, P.O. Box 206, Union,N. J.

HACJ{ POPULA.R SHEB'r UUSIC TO18:-,0. B1l11nds, Rngtime, eyerything.Cn talog 10¢. ChI s!-;ics exc))a nged forpopu1al', Fore's, E3l5l High, Denver5, Colorado.

ask. "If there is no restlessness attwenty minutes may I continue?"they look at me incredulously, andreluctantly give permissjon. Result:I continue often UJl to an hour oreven longer, with no diminution ofattention.

Recently a six year old boy at·tended his first concert. "What didvou like best?" he \"las asked. "Iiiked the piece of Chopin best.,""Why?" "Because it was such alovely short piece." The artist hadplayed the Chopin Scherzo in C·Sharp Minor. You know how longthat is!

AUH.4..~'(;IXG for Band-Orchestra-Pia.no Voculs. Manu;:;cripts con'ectedand pl'epal"ed for publication. vVordsset to music-school songs. Sendmnnuscl'ipl fOl' est.imate. Promptservice. Val's Arranging _Studio, P.O.Box 21G9, Daytona Beach, Florida.

GRAIJEIJ PIA:\'O JIUSIC for techni-ca.l !5tudies and recital playing. Con-tinental Publishing Company, 4441Junction Ave., Detroit 10, Mich.

ADVENTURES OF A PIANO TEACHER

(Contil/ued from Page 26)

or squirming simply because theseyoung children have not yet beenspoiled by constant exposure toshort spans of attention and COIl-centration.

On the other hand the ten to, I 'weve year olders, long accustomedto swift changes in their schoolactivities,find it much more difficultto "t k" 1. a e t le classes. The sharpedgeof their concentration has beendulled by school practices.It' 1r IS t le same in concerts. Many

JJ~es.I have been asked by school~~lllclpalsnot to play longer than

teen or twenty minutes to firo!and ~second graders, Then when I

,ETUDE-JANUARY 1952

h

FOil SA1,E: Genuine "Amati" Violin.Lewis Certificate. $1,000. Cost $4,000.Ted lIIarcllertl, 31 E. 11th Ave., Co-lumbus,011io.

J,]~_4..UXPIAXO 'rUXI~G ~'r HO~IE.Course by Dr. Wm. Braid Willte,world's leading piano technIcian andteacher. 'Vrite Karl Bartenbach,100lA 'VeIls St., Lafayette, Ind.

SO~'G\\'nl'l'l~ns: Unique met,hod C?f-fers tune improvement and hlt \yrlt~ing Mailed songs free exammed.Son'gart, 3031 Edwin IE, Fort Lee,N. J.

OLD IUUSIC \VA~"rED, Have Y0l:l acollection of old musk gathenn,gdust in your attic or barn'r Turn.ltinto cash. Write to George GoodWill,Box 4!), New Yorl~ n, N. Y.

IlUPOH.'l'EIJ lUUSIC: Allldnds for alltns tr-uments. Imported r-eco r-ders (in-s tr-u me n ts ) . .raecket's Music House,3649 N. Southport, Chicago 13, Ill.

HO'V TO COl'U'O!SB :lIl1l AIU1ANGEa March for full militlU'y band a laHollywood style in H easy lessons.Write for Free sample lesson to Dr.E. H. Kleffman, 1100-13 South Gar·field Ave .. Alhambra, Cn.lif.

POPUI~AR pIANO LESSONS by mail.Beginners-At;1vanced. Free Booldet.Stuart Studios, 1227-C Morris, Union,New Jersey.

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VIOLIN~[AKERS -Amateurs - Pro·fessionals. Fine tone European wood,materials, supplies, patterns, instrtlc·tions. Illustrated catalog 10¢, refund-ed. Premier Violin Supplies, Dept.V.E., 430 S. Broadway, Los AngeleS13, California.

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P1A..'\"IS'l' \\'AX'rED to accompanymusic for violinist, concertos etc. forpractice benefH. Call evening·s. Sam-uel Levine, 2112·64th St., Brooklyn 4,N. Y. CL. 6-5398.

RECORDS - Regular listings im-ported and domestic, collectors'items multi-ling'ual folklore nowavailable. Latest Europe'an issues ob-tainable at short notice. Libraries,institutions supplied. Hoss, Court &Co. (Canada), 121 Simcoe Street,Toronto, Ontario,

CLASS PL\.l\'O. How to orangize aclass and hoW a.nd what to teach be-ginnel's at theil' own age level. Amimeogra.phed 'l'eacher TrainingCourse, NEW YEAR SPl!.:CIAL $15.00,closing out the present edition, (The1952 edition will be quoted at theoriginal price, $30.00). Save by send-ing checl~, money order 01' draft toMrs. Bertha 1\L Daal'lId's PianoStudio, 404 S. Ellrel~a, Columbus 4,Ohio.

PIANO niOltlES REPLACED bymail. Top quality pi;tno needs since1912. Polish HOC, Molh l(iller 70¢,Name Bon.rd Shield $1.50. Questionson organ 01' piano conl::ltr'uction an-swered 20e each, Bledsoe Organ &Piano Shop, 1202 W. Pawnee Road,Wichita 12, Kansas.

FOR SALE: NDVACHORDS, twodemonstrators, CLOSING OUT at bar-gain price. Phone, wire or writeCLARK MUSIC CO., 41G S. Salina St.,Syracuse 2, N. Y., leading HammondOrgan dealers.

ACCOIUP.4.NI1UEN'l'S RECOUDED ONRECORDS OR 'J'APB BY FII\"E ART-IS'I' for any and all vocal music. Forcircular, write ESflllire Recordings,G90 'Vashington St., Brookline, 1\hlSS-achusetts.

63

~

."'~;,•• v _.~,<u.'~''''''"~<T~'.'~"~'~'~A~"~T~'~'~''''~~i"i 1, STUENOTHEN lI<>ur voice ~hls test-'". - m ed, .«.",tijiD way. Yes-you mal' now,hi IW able to Improve tnc POWER of you,.111111, Bpenk,n!!: and slnf:"lnl!: vol .." •.. in theprivacy of ~'OUI' own rooITl1 Sclf·tralnin/r lossons,mostly silent. No music required. Write TODAY fOcEUll:ene Feuc\ltlnl!:~I"s ~eot booklct "How to Developa Succcs6fU! voice." It's abao]utell' FREEt You muststat" your age. Booklet mailed postpaid In pl~inwrapI''''', No salesman will cnll. Send ~'Ol"· ll~me andHll:e TUGHT NOW!

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,...Z '"w w0 .....:;:><t,...W

oi 1/)0E DO~.: ,...00 I/)

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i""",:, ....

'" -<::is "' ....~...

64

hour of conoentrared work in highgear, instead of in reverse.Another tremendous aid is deliber-

ate mental practicing away fromyour instrument. All players, eventhe best, must recognize sooner orlater that the instrument often actsas a hindrance instead of a help tothe realization of our mental andemotional intentions, Away from theinstrument. unencumbered by thethousand and one details of tech-nique, we can often think far moreclearly about what we are trying todo and how we should do it. Thisis obviously true {or phrasing, styleand expression. but more surpris-ingly, it is also true where the solu-tion of mechanical problems is. con-cerned.If you have never worked this

way, you may find it difficult tostart. At first your mind will be evenmore inclined to wander than whenyou play. But persist, and soon youwill begin to reap the fruits of yournew approach.There are various ways in which

you may begin to apply this newtechnique. I do my best work whenI am completely relaxed; for thisreason I like to lie down, in mystudy or in the garden, taking myscore with me. If I am about tolearn a composition I have notstudied before, I first examine theconstruction. Let us assume that the

THE POWER OF CONCENTRATION

(Continued from Page 17)

work in hand is a violin and pianosonata. Some kind of analysis isessential to an initial understandingof the piece: first subject, secondsubject, development section, re-capitulation, etc. I like to study thephrases, sing them to myself, a]-

ready establish in my mind thelength of a phrase, its character, itsintensity, its climactic note, themanner in which I am going to in-terpret a crescendo or accent, andt he technical approach I am goingto use in bringing that interpreta-tion to liie.In the course of time you will

become so proficient at this mannerof 'working without the instrument,that you ",HI find yourself puttingdown not only phrasing marks andbowing marks, but also the finger-ings!In the case of a chamber music

work like a sonata or a quartet, Ialso like to establish, in my pre-liminary analysis, when my part ispredominant and when it is not. Inthe latter case, there are still anumber of possibilities. Mine maybe a modest accompaniment, a meresuggestion' of harmonies; or a muchmore important counterpoint; or acounter theme, an obbligato of almostequal importance with the theme.By clarifying all these matters inadvance and marking them on themusic in a shorthand of my own, a

tremendous amount of practicedrudgery at the instrument isavoided. It enables one to arriveat the practical stage of one's workas well prepared as an able lawyer,who would not dream of going tocourt without having carefullybriefed himself in advance.If the composition in hand is one

that I have already practiced quitea good deal, or performed in publicI am likely to ponder over it, pencilin hand. whenever I discover a pas.sage that is still causing me troubleor has done so at the last perform:a nee. I swoop down on it with mypencil and mark it with a crossWhen I have finished. I Sci my pap;~graveyard up on the stand. lake myviolin atld practice exclusilJely themark d: places.

These are ani)' a few suggestions;you will find many more helpful de-vices a you proceed. As you beginto di over that )'OU are no longergoing stale in practicing. that youare effecting tremendous economiesin time and drudgery with your newmethods. you will also find thai yourpowers or con entration are steadilyincr asing. For the study methodsoutlined above con thule first ratetraining in good menial habits. Andgood menial habits breed completemental can entration. which. I be.Ileve. is the real ecrei or all accem-pl i hment. THE E:iD

"Where's My Violin? School's on fire!"

WORLD OF MUSIC

(Continued [rom Page 61)

Adams settled in Montreat and im-mediately established their homeasa center of mueie instruction forchildren. Irs. Adams was grantedan honorary degree of Doctor of1usic by Converse College, Shewasa life member of the Naucnal Feder-ation of Music Clubs. and a memberof the executive board or the jlcsieTeacher' ational ociation- TheCrosby Adams Fine Arts Buildingof Iontreat College was erected bl'friends a a tribute to their workinthe field of music.

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ETUDE-lASe ~RY19;2• U tp£

A CREDIT TO THEMUSIC DEPARTMENT

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