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

5-1-1952

Volume 70, Number 05 (May 1952)Guy McCoy

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Recommended CitationMcCoy, Guy. "Volume 70, Number 05 (May 1952)." , (1952). https://digitalcommons.gardner-webb.edu/etude/129

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Sir: First allow me to thank youfor the ETUDE. I am just a youngmusic teacher and find the maga-zine invaluable.

Besides teaching private pupils,I am a full time school musicteacher, and therefore have beenenjoying the articles in this field.Let's have more of them!

Thank you again for theETUDE.

Genevieve ArchibaldNova Scotia, Canada

UThe Covered Tone"

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Sir: I ha~e only now come intothe possession of your Decemberissue containing Viktor Fuchs'article about "The Covered Tone."

Prof. Fuchs has long been knownto me as an outstanding authorityon voice and voice production.Therefore I am not surprised tofind this article full of revelationsbrought forth in the simplest andmost practical way. As a concertand opera singer of many years'experience and now also as ateacher I can only underwrite theimportance and necessity of the"Covered Tone" as explained anddescribed by Prof. Fuchs, whichI have found to he really and trulythe beautifier and "guardian angel"of the singing voice.

I want to congratulate ETUDEon the great service it does inbringing articles of such import.ance and practical value "to its widecircle of readers. I think I speakfor all who devote their lives to theart of singing, if I request you tobring more from the pen andwealth of experience of ViktorFuchs.

Suzanne StenNew York City

Tribute to Schnabel

Sir: Just a note to say neverhas the ETUDE contained such awonderful article as the one inhonor of Mr. Schnabel by MaryBoyd (February, 1952). It is awonderful inspiring lift to would-be pianists. May such writers con-

ETUDE-MAY 1952

EDITOR

tinue and best wishes to theETUDE.

Pat FlowersDetroit, Mich.

"Your Voice After fifty Years"

Sir: I have just recently sub-scribed to your magazine. TheMarch edition of ETUDE was thefourth copy I -have received but Ifind already that I enjoy every er-ticle and read the book in its en-tirety.

Although your magazine hadbeen recommended to me severaltimes by various people, it seemedthat I never really got down to sub-scribing. Now that I have, I amonly sorry I had not done sosooner.

Music has already been of ex-treme interest to me. Up-to-date, Ihave studied piano for live years

.and singing for two and one-halfyears. I am still studying singingand wish some day to enter the0l~era field.

I find your magazine to be quiteeducational. From reading it, Ihave been enlightened on manysubjects of music of which I knewnothing.

The article which Mr. GunnarAsklund wrote concerning "YourVoice After Fifty Years?" was ofspecial interest to me. I agree withMr. Hothier's theory regarding thecare of your voice. The only pointI disagree on is concerning the art-ists of today in comparison withthe artists of yesterday. I believe,and this is only my humble opin-ion, that we do have some reallygood opera stars in this age.

I grant Mr. Rothier this, to acertain extent he is probably right,for I, like many others, have onlyheard those artists of the past onrecords that had been producedand reproduced several times. But,since we only have records to rep-resent their voices, how about put.ting them to one side of our mindsas just great artists of the past, andgive the stars of today a chance toprove themselves.

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Chopin: F(lIltasy Improm.tuDebussy: Clair lie LUlieEnthusiasts of the harp and harp

music will find much to admire inthis record made by Edward Vito.Under the title, "The Harp", thisrecord includes the two numberslisted above with others, one of

these being a composition by Vito,himself. The lovely harp soundsare reproduced with effective real-ism. (Sounds of OUf Times, one10-inch disc.)

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Richanl Strause: Violill Concerto,Op. 8, Oboe Concerto ,Here are two Strauss works

which present interesting studymaterial for the musical historianin the fact that their creation spansa period of sixty-three years in thecomposer's life. The violin workwas written in 1882 and the oboepiece in 1945. The two works aregiven excellent recordings, bothSiegfried Borr ies, the violinist andErich Ertel, the oboe virtuoso reovealing themselves as completemasters of their respective instru-ments. The soloists are given

(Continned on Page 7)

THE COMPOSER OF THE MONTH

This month ETUDE inaugurates a featurewhich it is hoped will prove of interest andvalue to music teachers, students. and othersdesirous of knowing about some of the greatpersonalities in musical hislory. We plan topresent each month a brief biography of acomposer, and in the music section of the sameissue, a composition by this composer.To begin the series we have selected Ales·

sandro Scarlatti, one of the greatest of earlyItalian composers, known as the founder ofthe "Neapolitan School of Music.'~ Scarlattj~s

early life is shrouded in mystery-there being not even a reliablerecord of his early training. The year of his hhth is given variouslyby different authorities as 1658, 1659, and 1660. He filled many im-portant posts as maestro di cappella and as a teacher in variousconservatories. Included among his pupils were Durante~ Hasse,and POl'pora. He was a most prolific composer, being credited with115 operas, 14 oratorios, over 200 Masses, over 600 cantatas andnumerous miscellaneous works. On Page 31 of the music section""HI be found an Aria from Scarlatti's Toccata Secondo.

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By NICOLAS SLONIIUSKY

THE YOUNGEST OPERA CO:M-POSER of aU time, certainly

the youngest of the femininesex, was Lucile Gn~try. Heropera "Mariage d'Antonio" wasproduced in Paris on ] uly 9_1786, when she was thirteenyears old. Her celebrated fatherwrote a long, sentimental de-scription of Lucile's musicaltraining, adm itting the obvioussurmise that the opera was putin shape by himself from thmelodic material which Lucileimprovised on her harp. Hereis a part o£ Cretry's accountpublished in "Journal deParis": "Since I do not wi h togive a false imp resai on. I mustsay that I have written the score,which she was not in a positionto do, but that she herself corn-posed all the arias with thebasses and a light harp aCCOITl-paniment. The choral ensembleswere corrected by me. Tote thelittle bravura air in 'Mariaged'Antonio;' Pergolesi himselfwould not be ashamed of it.... She plucked her harp withanger when she could not im-provise something worthwhile_Then I would tell her: 'Nevermind! This is proof that youdo not wish to compose any-thing mediocre.'" -

•

IN BYGONE TIMES when kingsand lesser royalty were the

chief support of the arts, Com-posers and musicians had a dif-ficult time handling their im-perial friends. particularly whenthey dabbled in music them-selve::s. \\Then Boccherini WllS

a court musician in Madrid.Charles IV, the Prince of the~sturias, played a violin partIII one of Boccherini's quintets.In the firs! movement he had atremolo of hvo notes Tcpeatedfor nearly a whole page, andhe expressed his annoyance to

Boccherini at this. When Roc-cherini explained that the mel.ody was played b)' anotherinstrument. the Prince of LiteAstur-ia n w into a rage. Beingil p w rful man. he seized Bee-cherini by the scruff of the neckand held him with outstretchedann out of the window, threat-ening to drop him to the ground.This experience wa Loo muchfor B eh riui, nnd he fled1aclrid to enter the service ofa 1110rc civiliz d prince, Fred-cri ·k th rear, at Potsdam,

Bocrh erini l/inuel.j waskn wn for his explosive temper.When musician plnyed his mu-sic n t to hi liking. he wouldfrighten the neighbors by shout-ing: "Th y are killing m),chilodrcn!" In hi mild r moments,he would appeal to the musi-c iuus : '-0 II" lio!"-"A littleoil." In identally. this exdama-t ion. reported by a contempo-rary biograph r. gives a clue10 Boccherini's mus.ical style,alway gentle in it melody andharmony, subdued in rhythmand d)TJ1amics. and soothinglylyrical in its inspiration. ButBoccherini's oil was tastefullyapplied; there was nothing inits sub tance that suggested thequality of fatly degenerationnow known as hlllsitz.

A pl/.l'il could not under·stand the difference betweena. I and (l'. The teacher. a manof considerable learning, ex·plained: "But it is so simple;:l'l is a three-foot trochee. andfi~ I~ a two-fOOL dactyl!"

•

THE CELEBRATED ;.\U.EUEL,

inventor of the metronomeand various musical machinC5.belonged in the traditioa ofscientific charlatans. such asCount t. Germain, Caglio5tro.

ETUDE-.I/:4l' 19j1

..

and Mesmer. Many people he-lieved that Maelzel's famous au-tomatic chess player was indeeda marvel of the new mechanicalage, rather than a clever con-traption with collapsible wheels,behind which a dwarfish chessmaster was ingeniously en-sconced. H. Berton, who borethe proud distinction, "Membrede L'Institut," reports his con-versation with Maelzel in awould-be scientific pamphlet,"De la musique mecanique etde la musique philosophique,"puhlished in Paris 'in 1826. Heasked Maelzel: "Inasmuch asyou have calculated all the com-binations of the chessboard,'and inasmuch as they are muchmore numerous than the num-ber of possible chords in ourmusical system, you could per-haps construct a machine tocompose music." To this Mael-zel replied : "Yes, I could builda machine that would composemusic like Mr. X., but notone that could produce worksworthy of Mozart, Cimarosa, orSacchini." The Mr. X. referredto was, surprisingly enough,Rossini, who was regarded atthat early age of the opera assomething of a revolutionaryand a musical law-breaker. Ber-ton was one of the anti-Rossiniclique. It is interesting to notealso that Beethoven is nowherementioned in Berton's pamphlet,published a year before Bee-thoven's death. And where isSacchini nowadays?

•TALES OF MUSICAL SPIDER~

are encountered time andagain in the anecdotal history ofmusic and musicians, withoutever shaking the credulity of bi-ographers or editors. The "Allge-meine Musikalische Zeitung" ofthe year 1800 reports a vividspider story from a learnedFrench journal of araneology:

"A boy was destined by hisparents to be a musician, and inhis eighth year already aston-ished the listeners with his vio-lin playing. He practiced usu-ally in his little attic room,alone. Well, not quite aione-for the little room sheltered alsoan uncommonly large spider.The boy· noticed that as soonas he began to fiddle, the spiderstopped spinning its web, andcame nearer to him. It did thatevery time. By and by, theplayer and the listener became

ETUDE-MAY 1952

so friendly, that the spiderwould come down on the desk,from the desk onto the player,and finally settle on his rightarm ... One day, his aunt cameinto the room to judge his prog-ress. As he began to play, thespider came down on his arm.Suddenly, she stepped forward,brushed the spider off the boy'sarm onto the floor with herslipper, and stepped on it. Theboy was so shocked that hefainted." The report adds dra-matically: "The erstwhile youngmaster is the now famous Bee-thoven." Beethoven did play theviolin as a youngster, and thisis about the only factual ele-ment in the story.

III tile same issue of the"Allgemeine Musikalische Zei-tung," Friedrich Rochlitz, itsfounder and a well-knownwriter on musical matters, con-tributes his own spider story.Every time he improvised onthe piano or glass harmonica,Rochlitz recounts, a friendlyspider hovered a few feet abovethe instrument. When Rochlitzimprovised well, the spiderevinced interest. But one day,Rochlitz was not in the t-ightmood, and his harmonic inven-tion suffered in consequence.The spider seemed highly dis-spirited. He went away andnever returned. "The musicpleased the spider as little asmyself," Rochlitz concludesphilosophically.

A recent biography of Pad-erewski features a musicalspider whose taste was so dis-criminating that he entertaineddefinite preferences among Cho-pin's etudes, his favorite beingthe difficult one in double thirds,in G-sharp minor. Paderewski'sspider was so t~mperamentalthat he would go away in dis-gust when he played somethingthe spider did not like. Theseinterpretations of a spider's re-actions to different kinds of mu-sic remind one of a well·knownnon-musical story. An archae-ologist discovered a piece ofwire among ancient ruins, andpublishe'd a paper arguing thatthe ancients must have inventedtelegraph)'. Then, poking aboutin a nearby ruined city, hefound no wire. This led him tobelieve that its culture was evengreater, for its people had ob-viously made use of wirelesscommunication.

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5

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BOOKSHELFBy DALE ANDERSON

This 'Moflent l\'lusicBy Gerald. Abrah",u-

This is the second Americanprinting of a work publishedoriginally in England in 1930under the somewhat contemptu-ous title of, "This ModernStuff. -, But music keeps advanc-ing or retrogressing alongrarlical or rational lines withe\-CI") tick of the clock and ithas 'been-necessary for the au-thor to make many revisions tokeep the book up-to-date. Yourreview ('I' several years ago criti-cized :c\lr. Abraham for ignor-iug Auu-rica n composers in an-other of his books. It is inter-esting to note that in the prcs·ont \ olume he has given re-spectful anent.ion to ten Amer-ican modern ists. H is new vol-ume is a highly intelligent anduseful work in a field which isnttradillg much polemical dis-cussion. 1\'1 llsic, of cou r c, haheen gro\\-ing progressivelymore ·:modern" ever since Mon-te"erdi 11567·1643) dared tointroduce the dominant seventhwithout preparation.

Right <It the start of "This\Iodern \fusic." the author\\Tites_ "Even the Sacre lluPrintemps I Stravinsky. 1913)and Schoenberg's Five Orches-tra! P;eccs (1913) are fortyyears old. so that consideringthe tininess. e\'en now, of theminority \\"ho can accept thelllas norlllal 1l1USlC, we mustreckon thal the musical worldas a Klwle (that vast majorityof musicians and music-lovers,\\"hose ta~tes are intelljrrent\\-ithout heing intellectual)° isnearly half a century behindthe cOlllposers." 1any musicalobseiTers feel that Schoenberg'saposlasy from the normal to-nality of the great mastersreaJ]~, began with his Drei Kla-~£erstiicke. Opus 1j_publishedll1 1909, and not his later or-cheslral work (1913\.It is a bsu rd to aSSume that

music must be obscure or in.comprehensible when it is writ-ten, in order to be masterly.Surely. the B Minor Mass "TheMessiah," The Surprise' Sym.phony. or Hark, Hark th.e Larl.-

did not have to wait for fiftyyears to meet success. Mozart's"Le Nozze de Figaro" and Bee.thoven's "Fidelia" were imme.diate triumphs when given atPrague. The public instantlyidentified these works, writtenover one hundred years ago, asimmortal. 1any progressivemusician today feci that thosecia i will exist far longerthan mu h of th so-called mod-ern mu ic of these unsettledlimes. Among such musiciansof Ihis com iction \\ re GustaveMahler, Hi shard trauss andSergei Ruchmnninofl, who reoiter-at d this opinion to yourJ' .\ ic« cr. Yes, today the greatermusical \\ orfd stands in amaze-m I1t at the very small coterie0)( musicians nnd dilettante in-:-.i ting upon in CS.Bntcacaph-ny-an uninterrupted diet oft nal Liml urger. N"everlheless,rnallY £ th('~e modern experi-ments will unquestionably reo\ cal me I ment which wlUpr ve invalunble in the musicof lh fUlure.

1t is imp rtant for music\\ orker- (todo\' to becomefamiliar \\ith su"11 a book asthat f Ir. \braham beeaus:all creative workers of signi6-'an e are incessantly seekingnew id~als. new idioms, newvocabularies. It is their respon-sibility to determine what ispermanently valuable to the art.Becau5e a thought or theme isnew or different does not neces-Soarily make it important. nordo the execrations of the psy·chopathic souls.. who try to pic·ture the horr rs of a worldtornwith the chao of warSl contrib·ule anything of lasting valuetoman_

1\'Ir. braham discusses mod-ern harmony and the relathenature of discord with unusualclarity. He points oul thatusome modern ears are so usedto a high degree of dissonancethat they accept as satisfactory(or 'normal' or 'coilsonant') agreat many chords which ourout-of-date- textbooh classify asdic:cords_ "W. W. Norton &C _?rnompany JIJ

ETUDE-JIAY 19;) I

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ETUDE-MAY 1952

New Records(Continned from Page 3)

splendid support by Arthur Rother,conducting the Symphony Orches-tra of Radio Berlin. (Urania oneLP disc.)

Liszt: Hungarian RhapsOlly No.2,GrwlIlenreigell, Etude in D-flat, Bal-lade in B minor, Polonaise in. E,Berceuse

A veritable Liszt recital is pro-vided by this recording in whichEarl Wild does some superior play-ing, and also playing which forsome strange reason does not meas-ure up to the high standard of therest. However, the artist standshigh among the younger pianistsof the present and on the strengthof what he does with the Hungar-ian Rhapsody, this record can begiven a high rating. (Stradivari,one LP disc.)

Henry Cowell: Piano MusicAnyone looking for something

out of the ordinary in piano musicwill be sure to find it in this re-cording of some of Cowell's pianocreations played by the composerhimself. If one seeks the rhyme orreason for some of the weirdsounds which at times are heard,he may find it in the explanatorynotes by Cowell himself on an ac-companying small disc. It's allrather amazing, especially in viewof the fact that every now and thena rather intrigu.ing melody is al-lowed to creep in. (Circle, one 10-inch disc.)

l\-1artinu: Sorwtina for Two Violinsand Piano

The Czech composer, BohuslavMartinu, now resident in thiscountry, composed this work in1931. It is given an entirely ade-quate performance in the presentrecording by Willy and MargareteSchweda, and Jan Behr. Mechani-cally the record is excellent andthe instrumental balance is wellmaintained throughout. (Uraniaone lO-inch disc.)

Chausson: Symphony in B-flat, Op.20The San Francisco Symphony,

under the veteran conductor,Pierre Monteux, gives this worka clearly defined and sympatheticperformance. (Victor, one 12-inchdisc.)

Lully: Operatic AriasHere is a recording of twelve

arias from several different operasby this early seventeenth centurycomposer, which gives one a prettygood cross section of the operaticfare of the day. The arias are cap-ably sung-a-eight of them by Gene-vieve Rowe, soprano and four byAlbert Linville, bass, with AchilleDuvernay furnishing harpsichordacompaniment. (Lyrichord, oneIz-inch disc.)

Mozart: Six Quartets Detlicated toHay tinThe Roth String Quartet, that

excellent ensemble founded thirtyyears ago by Feri Roth who is stillthe first violinist, gives a splendidaccount of itself in this album ofMozart music. These quartets haveall been previously issued sepa-rately, but they are now assembledin one album and as played bythe Roth Quartet prove to be awelcome addition to the recordlibrary. The members of the quar-tet, in addition to their founder,are: leno Antal, second violin;Nicolas Harsanyi, viola; and JanosStarker, cello~all sterling artistson their respective instruments.(Mercury, three 12·inch discs.)

Schubert: Eleven SongsSome of Schubert's finest songs

are represented on this splendidrecord made by Heinrich Schlus-nus, one of the really great Germanbaritones. His artistry is unques-tioned and his singing in theseSchubert gems is something thatmany of our present-day singerswould do well to emulate. Amongthe numbers are several of theWinterreise songs: Der Musen·sohn, Sei mir gegruesst, and others.The accompanying artist at thepiano is Sebastian Peschko. (Lon-don, one disc.)

Grieg: Cutten, Fra Monte Pillcio,Yed Rontlerne, Yare'l, Eros, andEn SV(llJe.Kirsten Flagstad's magnificent

artistry is much in evidence inthis recording of six of the Norw

wegian master's finest songs. Miss. Flagstad is a Grieg specialist andshe presents these numbers in amost satis.£ying manner. She is ac-companied by the PhilharmonicOrchestra. (Victor, one lO-inchdisc. )

OgJebay In~t;fufe Announces

THE OPERA WORKSHOPBoris Goldovsl<y, Director

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August 10·30, 1952Courses to be offered include a variety ofsubjects connected with the theory andpractice of opero, including mise en scene,languages. diction, make-lip, and sceneryconstruction and lighting. Students willhave opportunity for practical training inall phases of opera, lncludinq participa-tion in publie performances by the NewEnclcnd Opera Theatre. In addition toregularly enrolled stlldents, classes andlecturers will be open to oudifors on a persession basis.

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8ETUDE-MAY 1952

.40

.40

4

"In every finger

stroke, there should bedefinite fingercontrol in theactual stroke

·itself·"

by Mary Homan Boxall Boyd

Theodore Leschctiekr-master technician

The Hammer-Fingeror "Perfect-Finger")")

CONCURRENT with the so-called "sing-ing-finger" (see "Sing with Your

Fingers," by the author, ETUDE, April,1951) is the strongly developed, individual• hammer-finger, defined by Leschetizky as"the perfect-finger," without which therapid, provocative playing of passageswherein one simply releases the keys, can-not be successfully accomplished. One de-velops the hammer-finger in order not touse it as such, paradoxical as this may seem.All the great pianists of today are mas-

ters in the art of finger dexterity, as thosewho preceded them were; although, at theirparticular point of achievement, havingwon their goal, some of them have fer-gotten the strenuous years of their earlytraining-the dull routine-the drudgeryof acquiring a "perfect-finger." However,at one time or another, they had beenthrough the mill. "Technical perfection,"said Liszt, "is nothing more than an artist'saccursed duty, but not a special merit." Onthis foundation, Leschetizky turned out thegreatest array of prominent pianists sincethe time of Liszt. No pupil of this master,regardless of how far advanced he mighthave been as a pianist at the time he ap·plied for lessons, ever escaped certain tech-nical preparation, consisting of variousfinger exercises, followed by scales, arpeg-gios, trills, thirds, etc., and finaUy by thefirst three studies by Carl Czerny, Op. 740.

ETUDE~MAY 1952

Paderewski was one of these. Yet Paderew-ski's hands in performance showed no la-borious effort; he hardly raised his fingerswhen playing, although, individually theywere so strong it was said that he couldbreak a pane of glass with a blow of histhird finger raised and struck independentof wrist or ann. His handshake was his-toric. When he grasped your hand, you feltthe strength of one who might have beenengaged in heavy mechanical labor.

It is proverbial that advanced studentsof the piano, those lacking a well-developedfinger technique, cannot discourse consecu-tive passages occurring in any given workso clearly or so eloquently as those whohave attained it. The use of daily technicalexercises is also a great saving of time inthe study of various kinds and types ofcompositions. Due to weak fingers, the stu-dent may hear much of his warmth of feel-ing going into wrong notes!Without a good finger technique, it is

not possible to play rhythmically, the weakfingers being liable to lag behind where thepassages are difficult, and to increase intempo where they are comparatively easy.Regardless of the fact that many pianistshave what is known as natural facility,still, the wise one, in the privacy of theworkroom will give plenty of time to theexercise of his individual fingers, in orderto keep the joints as flexible as' possible,

and the fingers as strong as possible. Forthis purpose some have used a Virgil Prac-tice Clavier. One such dumb clavier wasused 'by Liszt, and still remains to be seenamong his possessions in his house in Wei-mar. Paderewski used a Virgil Claviermuch as a gymnast would use a piece ofapparatus in a gymnasium. The sarne pia.nist once said: "In this way, in thirty orforty minutes, I can put my hands in bettercondition than by practicing two hours onthe music of my programs."

It is necessary to become finger con-scious, in order to gain sufficient controlof each individual finger. Then, as thegeneral condition of the fingers grows instrength, precision and independence, theyneed no longer be individually dealt within the final playing of pieces, for they arenow becoming more elastic, more pliable,and can be more easily manipulated closeto the keys, performing a kind of rebound-a certain releasing of the keys, throughwhich the fingers, without being intention-ally raised, are always free to take overthe next requirement-a kind of jugglery,one might say, that only a resilient fingercould conspire. In keeping the fingers closeto the keys, learn to think of musical fig-ures, or phrases, not of single notes. J nspeaking, one never thinks of words asseparate letters of the alphabet. Rigid,tightly curved fingers are too literal, andare a handicap to the ultimate musicalperformance of any good piano composi-tion. Nor should passages, obviously full ofmusical meaning, encroach upon the listen-ing ear as mere conventionalized feats ofvirtuosity, since the ultimate performanceof any good piano work should be purelythe expression of music, this final accom-plishment demanding the complete ab-sence of finger consciousness, excepting inmarcato effects, wherein the wrist and arm,as well as the fingers, take an active part.In every fi nger stroke, there should be

definite tempo control in the actual strokeitself. Begin with simple, slow finger action.After placing the fingers over the keys,CDEFG above middle C, hold down thekeys with light pressure of the fingers andthumb.I The arm should be light; not in astate of dead- weight relaxation; the handvaulted; the wrist low (level of keyboardbase); the fingers moderately curved, sothat the flesh of the finger is in contactwith the key. Now slowly raise the third ormiddle finger, concentrating on the tempoof the finger action. Do not, in exercisingthe finger, change its contour. In otherwords, do not extend the finger while rais-ing it from the key, or while putting itdown. Exert the finger independently fromthe highest knuckle j oint, keeping the handas stationary as possible while playing. Re-peat the stroke ad libitum with each finger,and with the thumb. Unlike the fingers, thethumb is sc-arcely .raised above the key.Alternate the (Continzted on Page 62)

9

Your opinion of your own

vocal ability might suffer a

severe disillusionment, ij you could

Hear Yourself

A leading Metropolitan Opera star gives in£or-Illation of great value to the aspiring singer.

by Astrid Varnay as told to.Annabel Comfort

~stri~ Varnay, the first American to sing Bruennlulde in Goucl'dammcl'ung at the Wagner Fes,tlval ID Bnvreuth last summer, Her- pcrf'ormunce was a brilliant hi ...hliuht f tit f '. I

. '" '" 0 e canv a •

How OFTEN we hear people say afterthey have listened to a child, "he has

no ear for music," or after hearing a youngsinger interpret a song, "she can't sing,she was off pitch most of the time." Itseems to me that it is most unfair to passjudgment upon these young people. Onemust have the opportunity to grow andmature before the ear and the mentalprocesses have coordinated. Then is thetime to pass judgment.

When a person sings off pitch, it usuallycan be attributed either to a fault of theear or to faulty vocal production. 'Weshould not always blame the ear because'. 'In so many Instances the voice is not cor-rectly placed. This brings to mind a well.known concert singer who sings off pitch.He has a fine ear, and is gifted with "ab-solute pitch," but he has never been ableto correct certain bad habits of voice pro-duction. . .

10

Why then: does one sing sharp or flat?There are four general causes for singingsharp: (1) on overdose of breath; (2)pressing out the tones; (3) tightness andconstriction; (4) high nerve tension. Ingeneral, there are three reasons for sing-ing flat: (1) not enough overtone in thevoice (not sufficient head resonance or useof the upper cavities); (2) darkening ofthe tone; (3) lack of breath support. Cor.rect breathing has everything to do with"sagging': pitch. It regulates the wholevocal appar-atus.

Here are five steps that you may prec-tice each day that will help free your voice,and keep it on pitch.

(1) A straight spine holds up the ribsso that you can breathe properly. Standcorrectly. Inbale by lifting the ribs, par-ticularly the lowest ribs. and expand thewaistline. Exhale by maintaining the liftedribs, and pulling in at the waist. Inhalequickly, and silently, and exhale vigorously.

(2) Imagine that you are "drinking inthe air" when you breathe deeply. Have arelaxed open throat. To induce this, yawngenerously. and roll the h ad, back, right,forward. and left.

(3) Open the amplifying pa e for reso-nance. Re onnnce is sympathetic vibration.It enriches the quality of the voice. Tofind your low voice, experiment with grunt-ing, and notice the body action. To smoothout roughne , hum with the same vigor.ous quality as that of the grunt. Alter-nately grunt and hum until you can com-bine the body action with a 100 e openthroat, which will emit smooth low tones.

(4) Open the mouth to let the voice out.When the mouth i clo ed. the tongue isrelaxed to the front of the teeth. Open thejaw, still keeping the relaxed tongue tothe front of the teeth.

(5) Sit at a table with elbows restingon the table, fists under the chin. Chewdownward on the fists.

These exercises give the singer a re-laxed open throat. The vocal cords are freeto follow a listening ear. and the tonguewhich is the base of the tension is free,and does not press down on the vocal cords.The singer does not "scoop" or "reach"for a tone, nor does he try to make tones:he lets them come freely from the throatThe singer goes off pitch when he reachesfor a high note, or presses down in thethroat for a low note. Both of these faultsinj ure the quality of the tone. There is 110

elevator in your throat, no "ups anddowns."

People who speak a guttural type oflanguage, or throaty speech darken thetone and sing Bat. The voice is pitchedso low that the quality of the overtone isdiminished. It is the opposite with aresonant language. The Italian language~as ,a pleasant quality, and those speak.mg It usually emit sufficient overtones.

In the 'first act of the opera "Lobengrin,"where the principals (Continnedon Page 5i)

ETUDE-MAY 1952

•

WHAT

WERE THEY

DOING.,

DADDY?

by

Frank

Friedrich

oNE DAY, not so long ago~ my seven-year-old daughter .nnd I stopped in

at the music studio of an old friend. An-other teacher was at the piano with a ten-year-old girl and we waited at the dooruntil she had a moment to answer our in-quiry.

The lesson was not going so well. Theteacher sat on the student's right with apencil in her hand which followed everynote along the staff as the child decipheredit. "No, Jane, that quarter note comes 011

three. What is the name of that note? Whatfinger do you put on it? Curve your fin-gers, dear (three-four-one). ""rong note,Jane. You must count. What is the nameof that note?" and so on. Once, Jane spokeup to say that she could play her otherpiece better, but the teacher ignored her.At the end of the two-line composition theteacher gave us information about ourfriend and we left. Outside, my daughter,who had made music at the piano sinceshe was four, looked up at me with a puz-zled expression and asked, "What werethey doing, Daddy?"

Well, presumably the little girl was tak-ing a "music" lesson and the teacherthought she was giving one. But it seemedto me that the teacher was teaching thealphabet, a little arithmetic, hand position:some music symbolism-in short, almosteverything excepting music. What wasplayed had no rhythm, no melodic con-tinuity, no unity that the mind could grasp.

-ETUDF'-MAY 1952

What we heard were just some isolatedtones produced without relation to eachother or to any "whole" musical idea thatthe student might have been able to under-stand and remember. (It is· obviously un-fair to condemn a teacher because of onlyone short sample of her teaching, but per se,her pedagogy was certainly questionable.)

Someone has said: "Music is all abstrac-tion. Young players have to learn a vastamount of unfamiliar stuff all at once:designations apparently unrelated to themusical concept "itself-c-the clef signs, thevalues of notes and rests, names of linesand spaces on the staff: and the pidgin-Italian tempo and expression marks--.The great difficulty is how to get aroundthis."

This is stating the problem in a nut-shell. How can we teach music withouthaving the symbols that represent the musicget in the way of the child's understanding

ing. And the good teacher also teaches thereading of music, not be merely stressingthe alphabetical names of the notes, butby establishing in the student's mind theexact location on the keyboard of each tonecalled for by the notes.

A note sitting on a line of the staff is, tothe pianist, only an Indication of the exactlocation of that sound upon the keyboard.For the beginner, a note on the short linebelow the treble staff means "push thewhite key that lies to the left of the twoblack keys in the center of the keyboard."The name of the note at this stage of thegame is not too important. 'We only learnthe names so that we can converse witheach other about a particular note or key ifit becomes necessary. The name is second-ary. The sound is primary and must beestablished with relation to the position onboth the staff and the keyboard.

I repeat, for the beginner a note sitting

The teacher seemed to be having a di fficul:time ..vith her pupil-one wondered, hOlVe'ver,how much music actually was being taught.

of the musical idea involved?We might learn something about modern

pedagogy at the piano by finding out howour schools now teach the reading of words,phrases and sentences. They do not troublechildren with spelling, derivations, punc·tuation marks: peragraphings, literary style,figures of speech, and so on, in their be-ginning approach. They just let them readby forming a meaningful association be-tween a word-symbol and a sound whichmeans an idea to them. Unless the childforms an idea from what is read, the pur·pose of the reading is lost; the child maylearn only to read words without any com-prehension of what the words mean aspart of a meaningful sentence or idea.In the same way, music reading must

be tanght as an association between a set0/ symbols and a series oj sounds or asimultaneous group 0/ sounds that makea meaningful musical idea to the student.

Many successful piano teachers havebeen doing this for years. They are theteachers who have always taught playingthe piano as a means of making music.The emphasis is on the sounds that issuefrom the piano; the symbolism, arithmetic,alphabet, counting, hand position and therest are incidental and secondary to themusic-making and not primary to it.

The good teacher realizes that music isan abstraction. She accordingly first estab-lishes acceptance of the tune by the stu-dent's ear. She teaches rhythm through anactivity that allows the child to feel itwith his body, or some portions of it, be-fore she introduces the arithmetic of count-

on a line should mean "push a certain whitekey." Chords written 011 three lines meanto push three white keys (every other one).Five white keys ascending or descendingscale-wise make a pattern which can heplayed by using the fingers of the hand insequence. The actual finger numbers againhave nothing to do with the music or evenhow to make the music. (We always calledsuch a group of five keys "candy': at ourhouse because that happened to be the firstfive-letter word my daughter learned tospell. It remains "candy" to this day nomatter where the pattern appears on thestaff. Any other five-letter word might do aswell.)

Sharps and flats appearing in the nota-tion as accidentals can mean to a begin-ner, "playa black key in place of the usualwhite one." Sharps and flats in a keysignature can be taught as necessary "tomake the piece sound right."

Tunes should be learned as "wholes"with the knowledge that "the 'whole' inmusic is more than the sum of the parts."How else can we expect the student to dis-tinguish between Mary Had a Little Lomband Yankee Doodle? The "w'llOle" is that'which makes each tune a unit of musicalthought that distinguishes it from someother musical idea,

If we use tunes that are already famil-iar to the child, or tunes that can be veryeasily learned, the battle is half won. Wepoint out that the tune is made up of pat-tern-groups that often repeat themselves.We .find the parts that are the same andthen concentrate on the places where the

11

(Continued from Page 11)

tune or pattern varies. Each of these pat-terns makes a "picture" in the notes. Eachpattern makes a "feel" on the keyboard.Each group of tones makes a "sound pat-tern" that is distinctive in some way. Thesecan all be related, not as separate ideas,but as a means of making a musical"whole." .When the child can read and play tunes

"by location," we are ready for both handsat once. Parallel motion is the easiest toread because we can "see" the direction inwhich the notes travel on both staffs-up ordown. If both parts go up, the sounds alsogo up and the direction of travel on thekeyboard is to the r-ight. Contrary motionusually is easier to play, but harder to readunless the child first "sees" the directionof travel in the notes as a guide to actionon the keyboard.Chords are easier to read and play if

they are taught complete in the beginning,and notes in the melody should be ex-plained as part of the chord played by theother hand. Probably the easiest ,vay to dothis is to use a composition that calls for achord in one hand followed by some melodynotes made up of the tones of the samechord, played by the other hand. Once theyget the relationship they read and play bothhands at once quite easily. .Tone letter-designations can be intro-

duced quite casually at first, beginningwith the names of the white piano keyswhich can be learned in a few minutes. Thechild can then name the piano keys afterhe plays a passage, which establishes thenote letter-names at the same time. But wemust make very clear the connection be-tween a line on the staff and a key on thepiano, for too many students in the pasthave "taken" lessons for years and neverrealized that, as Sir John Stainer said along time ago, "The staff is only a pictureof the keyboard." If tone- naming is taughtfrom the keyboard to the staff, any difficultyof reading in the separate clefs and onledger lines is eliminated.Beginning material should probably be

singable and as rhythmic as possible. Itshould stay pretty well in five finger posi-tion at first, but not necessarily in anyonepart of the keyboard or staff. Harmoniesshould lie under the hands. Fingeringshould not be stressed as "numbers," butas a way of getting over the keyboard inthe easiest way to make the music comeforth, and as a 'means of forming a corre-lated response between fingers and notes.It is the teacher's responsibility to select

and present study material in an understand-able sequence that will permit the child'smusical understanding to grow alongwith his ability to read the notation andplay upon the keyboard. This is a difficulttask. The material must not jump suddenlyin difficulty beyond the child's understand-ing of how the music is constructed out offamiliar patterns. The patterns must in-crease (Continued on Page 52)

12

A unique event

of great

significance both

to the industrial and

the musical wor-ld

Miss Karen Keres is congl'ululated byErich Leinsdorf', conductor of the Ito-chester (N.Y.) Phl lhur-monic O,·chcelra.

• MusicAmerican Industry

DOES AMERICAN industryhave a place in American

music? Erich Leinsdorf, peClna-nent conductor of the RochesterPhilharmonic Orchestra, says yes.On a Thursday night, last No-

vember, while Leinsdorf was atthe Eastman Theater to conductthe opening of the Philharmonic's1951·52 season, elsewhere. at adowntown Rochester jewelry store,Karen Keyes, a 19-year-old pia-nist and scholarship student at theEastman School of Music crave a,0recital before nearly 600 personswho listened appreciatively.Later, when conductor Leins-

dorf took time out to congr atu-late his "competition," he toldMiss Keyes that the importance oftie-ups between industry and mu-sic cannot be overestimated. "Get.ling people to hear good music,"he said, "is of tremendous im-portance to students of music andindeed, to the music profession."The unique debut of the young

lady from Oklahoma City, whichcritics termed "brilliant," was thefirst of the "silver concerts" spon-sored by one of America's oldestsilvermakers-the Gorham Com-pany of Providence, Rhode Island.The 120-year-old firm is planninga series of such concerts acrossthe country.Why should silvercraftsmen be

interested in j music? To the Gor-

In

ham Company. nlU~IC means finersilver.

It aU began not I ng ago. whenthe firm set out to find n sterlingsilver pattern most lesired byAmerican women. After num rousurveys, Gorham d signer turnedto Classical music for their in pira-t ion, and the firm's lat t pattern"Rondo" is named for that clas icmusical form.

In attempting to capture thefeeling of fine music in silver,Gorham craftsmen strove for therhythmic flow of musical rondoon the silver shafts of their flat-ware: theme repeated three timesin classical simplicity and r-ichness.with an alternating theme insertedat the shaft end for contrast.

The result has been (1) a deeprespect by Gorham designers forthe elements of fine music and (2)the growth of a new art-form forthe expression of these qualities.To foster this ne« form of ex-

pression, the Gorham Companyhas embarked on a program whichth~y hope will make people con-SCIOUS of the combined arts ofmusic and silvermak insr0-. Not only is the company plan-

nlllg more "silver concerts" butthrough the auspices of f;mousmusic schools. the firm also hasbegun to sponsor prize awards fororiginal pieces by young compos-ers. THE EXD

ETCDE-.lIAY 19;)

4

by Manfred Hecht One who has been "through the mill" tells about

That New York Debut RecitalA. look behind the scenes of an important event

in. the life of the budding artist.

"WILL WE be able to hear you in NewYork this winter ?"-"Yes, I am

planning Illy New York debut this season.May I send you an announcement?" It allsounded so simple after that summer musi-cale, and there was a note of proud antici-pation in the young artist's voice. Quicklywinter has come. The music season is in fullswing and again, as in years before, young"hopefuls" are about to take the plunge.For better or for worse they will presentthemselves for judgment to New York can-certgoers and music critics, the severest andmost powerful audience in America.Even seasoned Broadwayites tremble at

the thought of a New York "First Night."And yet, for one short "first" afternoonor evening the debut artist finds himselfhis own producer, director, performer, andoften also his own "Angel," all in one.It is all his show, and next morning's ver-dict can make or destroy his life as anartist.Let us take a look behind the scene of

the "Debut Drama." Often a colleague'ssuccessful recital has conditioned the youngsinger or instrumentalist for the bite ofthe Debut-Bug. He has felt challenged.("I can do anything you can do better; Ican do anything better than you!") Hisdreams suddenly abound with headlinesfeaturing himself, while the grey dawn isfilled with misgivings.-Reason prevails!Our "candidate" is a conscientious ar-

tist. Aware of how portentous a venturehe is about to embark upon, he knows hehad better do some sober thinking and self-.evaluating in time. He has come to the con-clusion that according to his honest opin-ion he feels technically and musicallyready. Next he proceeds to approach histeacher and other musicians of his acquain-tance, in whose judgment he has faith. Hewants them to confirm or disprove his ownfindings, for, alas, he is aware how· de-ceiving that sensational success at aunt

Betty's birthday party may be. Technicalflaws and lack of performing experiencemay well escape his enthusiastic family,and yet, they may lead even the most prom·ising talent into trouble. Also, if thesemusicians still remain on talking termswith him, he may well solicit valuable ad-vice on the choice of his program even atthis early planning stage.The next phase may well be called the

"Blues and Confusion" period. Dur novice'smind is overwhelmed by qualms about theterrible odds against an outstanding suc-cess; the only kind of success that willreally do good. The effort involved appearsforbidding. A funny feeling in his stomachkeeps reminding him that he too is humanand subject to 'unforeseen circumstances,which may spoil even the most perfectlyplanned concert. Mysteriously, his thoughtsrevert to John Doe who gave his recitalduring the blizzard of 1943-and managedto induce all of eleven people to brave thestorm. A few sleepless nights, however,help our man to banish these dark thoughtsto an outlying corner of his consciousness.The decks are almost cleared now. All hehas to do, is to dig up the notorious rootof all evil.Success or failure are high stakes to

play for. Financial considerations onlyseem a mere trifle by comparison. (The totalexpenses for a well-organized evening orweekend recital at Town Hall amountto approximately $1400_) And yet, to manya young artist the financing of his debutrepresents an almost unsurmountable ob-stacle. To raise the money required he isfrequently forced to accept far-reachingobligations, Once this problem is solved,the stage is set for action.A recital management must be procured.

Here is just one of a great number of im-portant decisions our man will have tomake on his own. Should he take advantageof the smooth running routine characteris-

ETUDE-MAY 1952

tic for the recital divisions of the majoragencies? Perhaps he may achieve betterresults through the more individualized at-tention of an independent manager. Everywrong step matters and all is up to him.Which hall shall he choose? Can he ob-

tain a date which does not coincide withthree or four major musical events intown? Early or late in the season he rnavget more attention and his reviewers mavhave an easier time with their professionalstruggle against musical saturation. Thatmay make them more receptive. Shall hesettle for a less desirable date or shallhe change the hall he had originally pickedafter lengthy consideration? There seemsto be no end to the problems on hand.He really should have done it before.

but anyway it is high time now to ·worryabout the prC!gralll. Much depends uponhis choice and the taste level he displays.If our artist is conscientious, he is facedwith a gruelling task! Back he goes toteachers, coaches, musical friends, libraryfiles and programs of past recitals. Onhis way from libraries to music stores andvice-versa he would gladly sell his birth-right for a few unhackneyed and musicallyrewarding works that are not too far abovethe heads of his lay audience. He knowsthat the program he chooses must be closeto his heart; last, not least, it should showhis special gifts to the best advantage.~Tisely, he therefore tries to avoid numbersbeyond his present limitations, while hebears in mind that he as a novice hasnothing to gain by choosing well-knownpieces that are associated in the public'smind with certain star performers. ("Nice... , but remember what Chaliapine orHeifetz did with this? 1")A good deal of his time is spent in the

different music branches of New York'sPublic Library. These Music Librar-ies notonly contain a wealth of fascinating materialwhich can be (Continued on Page 63)

13

A colorful uiord-picture

of the amazing personality whose

genius gave the 'World some of its

greatest musicai works, including

"The Messiah," written in twenty-one days.

TheMan. • •

Handel

by Georgia M. BI/.cldngllllm

14

THE WOULD knows that Geol~g Friedrich Handel was one of1 test musicians of all tune; that he wrote some of thetne grea . f hi

ificent music ever written; but what 0 rm as a man?most magm . _He was born in Halle, Germany, February 23, .168::>,and later

moved to London. In appearance he was so gigantic and had sucht hape that he was often called the Great Bear. He wasa gro esque 5

1 d d f t with biz hands and enormous feet. He was bow-)1"08 an aD.. . .legged and walked with a heavy rolhng gmt, very erect. \\~lth .Iushead in its huge white wig, thrown back and t~e curls TIpplingheavilv over his shoulders. His large nose was thick and straight;his ears. red and long.

In spite of this unusual outward appcara~lce, that made ~eoplelaugh just to look at him, he was the merriest and. most ff1en~lyman imaginable. He looked straight at people \\"It.h a mockl~lgtwist at the corner of his wide generous mouth. HIS personalitywas impressive and when he smiled, his stern. face was radi~ntwith the flash of a keen mind and good humor, like the sun cOllllngout from behind a cloud. No one ever told a story better. Hishappy way of saying the simplest Ihil~g 3musc.d everyone. withhis French, English, German and Italian all mixed up together.

Like all yOUl1fYmen Handel had several love affairs. In hish ,

youth he travelled through the countries of western Europe andthese wanderings were full of adventure and romance. [n Ham.burg, while he was playing: second violin in the opera orchestra,he fell in love with one of his attractive pupils and wanted tomarry her. but her hard-hearted mother said she would neverconsent to her daughter's marrlage with "a cal gut scraper." Afterthe unkind mother had died and Hand I h[l(] br-oome famous,friends sll~gested that his chances with the girl had improved,but he said the tl me had gone hy. Histor-y tells us that thr youngladv "Tell into a decline and so ended her day~.". 111f"~{'arslaterin London. Handel wanted to marry another of hi~ young pupils.Beine; of an aristocratic family. she wanted him to gi\'e up hismusical career. so Handel broke orr with her. \Vc hat to think "hata loss it would have heen 10 the world had he done as she wanted.

People have accused Hnndel of heing unsociable because henever married. His closest friend has said that probably the reasonfor his unhappy love affairs was his frllntic ('faving fOf independ-ence and frcCfloll1. whieh made him afraid of bein~ lied in an)'way. Even though he ne\'cr marricd. hie; life wac; full of lme. forhe practiced faithfully the arl: of fripnclship and counted manyloving friends wherevpr he wenL The 011(' Illos-t falllou~ wasSchmidt, who deserted his own country and family to followHanflel in 1726 and never left him until the (lay of hi5 death.in 17S9.

The greate~t love oJ his life. next to his rr("ation of Illu:::ic. washis love of the poor and unforlunate pf"ople of the world. He ga\"egenerously of his time, money all(] talents to Ihe SOCif'h- of ~1U!:;i·cians and the Fnundling T-To~l)italin London. He C5tablh:hedtheFoundling Hospital and'in 17S0 when he was eleded iL'" gO\f·rnor.11e gave them an organ. On the register of the F'oundlin!ZHomewas the name Maria Augu:::ta Handel. horn Anril V>. 1758. Hehad given his own name to a deserted little child. He "rote oneof his mo!"t heautiful anthems {or the Home. Hi!' great oratorio,the "MESSJ AH" was fir~t performed and a11110~tentireh- re: fycdfor the.c:echarity homes not only in London hut in Duhlin aswell. The profits of its performances were dividcrl hCl\"ccn hi5 favor·ite charities for several years. It was not until 1763. four \"earsafter his death. that the HMESSIA H" was printed and made ~\'ail.able to the public.

Though Handel was merry and lovable he a150 had thl? ailt ofC?'.11I11an:1.His .violent domineering mannef 0\ crcallH' all °OPllO'

8]t1011\\'Ith a wltty good nature: his scoldinfYs \\ere full of man\'funny expressions, which softened their sting~ When he conducteda~lorchestra ..he was a "mass of nesh shaken by fils of fUfY:whenhIS g~:eat whltC. peri\~ig,:as, Sf"ell to quiver. the mu~i('ia~o:trpm-bled: Wh~n Ins chOIrs dlcln t pay attention he \\ ould shout in 3terflble VOIce' "Cl I" d I" "'. lOrus. an e\ren tle audience would Jump.Rehearsals of h1S oratorios w~re held at (Continued 011 Poge Sl)

4

DISCJOCKEYS

and

American MusicOne of the most famous American musi.cal personalities here calls attention. tothe important place which the disc-jockeyhas come to occupy in the music pictureof the listening public of the present day.

fro:.u a conference withPAUL WHITEMAN

as told to Rose Heylbut

THE DISC·JOCKEY is one who puts together a musical pro·gram by playing already existing records, interspersing

them with his personal brand of patter and talk. He may becompared with a news commentator: neither one actually origi-nates the material he uses, both depend on something that thelistener might get elsewhere, yet each one attracts a certainfollowing by the way in which he presents that already-existingmaterial. Your favorite news commentator gives you nothingdifferent from what a dozen other commentators could give you,but you turn to him rather than to those dozen others becauseof something you like in his way of presentation. There, per-haps, you have the complete story of the disc·jockey! His fieldof selection is somewhat wider than that of the news-castersince he depends only partially on the newest, headlined tunes;still, the records he gives you are no different from what adozcn other disc·jockeys might play. The reasons you turn tohim rather than to the dozen others have to do with the personalqualities of the disc·jockey ... his talk, his taste, his discretion,his ability to give you what you want to hear. In a word, then,the ultimate success of a disc·jockey is established first by hispersonality and in second place by his records.

That leads us at once to the important question of who getsto be a disc-jockey and what he needs to get there. Hundreds ofyoungsters in our schools and studios listen to the dozens of

ETUDE-MAY 1952

Paul Whiteman with a teen-age fan.

recorded programs on the air and, quite naturally, wonderwhat their own chances may be of getting out into the worldand setting up a program of their own. The truth is that thedisc-jockey has a harder job of getting started from a coldstart, than anyone else in music! The reason for this lies in thefact that he makes no music of his own. His tone, his technique,his interpretative nuancings count for exactly nothing; he playsonly what other people have recorded. Hence, he needs a per·sonal sornething that will induce his audience to listen to hischoic~ of records rather than to someone else's. And the some-thing that he needs has a number of facets. First, he needssound, solid musical taste-the kind that will enable him tosearch through thousands upon thousands of different records;to classify them according to their strong and their weak points;to select from them the ones that will be the most likely to enter~tain the particular type of audience he is trying to reach. Insecond place, he should have a wide acquaintanceship amongplayers and band leaders so that he may know the exact char-acteristics of all of them. He should bc quite at home amongall styles of music, from the symphonic to the hot Bop. Andlastly-and possibly most importantly-he should keej) awayfrom the turn· tables (regardless of his knowledge) until he hasbuilt up a kind of following that knows him to possess somekind of qualities that will be welcomed. Most of the successfuldisc·jockeys are 'personalities' in their own right, and associatedwith some kind of musical or talking style that has alreadyfound favor. Deems Taylor, Martin Block, Barry Gray, ArthurGodfrey, Rush Hughes, Dave Garroway-to mention but a few-are all men who already stand for something in the minds ofthe folks who tune them in. Boiling the mattcr down, then, topractical reali.ty, I should think that the first step in strikingout for a job as a disc-jockey would be to build up a follow-ing. If you have served as Master of Ceremonies in your owncommunity, if you can command a spot on some local station-if you can in some way prove to people that you can offerwhat is necessary to entertain (Continued on Page 64)

15

ETUDE deems it

a privilege

to present tltis conference

toith. one ioh.o

has been so closely identified

uiith. a field of

musical endeavor in iohich.

the opportunity }OI' service

is sure to give

both musical and

.spiritual satisfaction.

Careers of Servicefrom a conference with George Beverly Shea as told to Cedric Lar on

THE INSPIRING career story of George Beverly Shea mirrorsfar more than the mere success of an American singer in the

field of sacred music. The facts eloquently underscore the immenseinterest-c-one might almost say hunger-that exists in Americaand everywhere today for spiritual reassurance in a time ofanxiety and disillusionment.

The trend is unmistakable, for the enthusiastic response ac-corded to men like Shea by the American public finds its exactcounterpart in the world of literature, on the stage and screen,and even in politics. A half-dozen of the post-war best sellershave not been works of fiction but books in the field of religionsuch as "Peace of Mind," the "Greatest Story Ever Told" andmany others. On the screen, plays like "Quo Vadis" and "Davidand Bathsheba" have played to the largest audiences.

According to published figures in the Christian Herald theyear 1951 set a new high for church attendance and church mem-bership in America. The facts of life plainly are that in an ageof frustration and uncertainty the nation has taken a renewedinterest in religion and all things connected with it.

These facts might well be pondered by students in music; andyoung people on the threshold of careers in music, and particu-larly singing, might do well to seriously consider what rewardsa career in the field of sacred song has to offer. It might beargued that Shea may have exceptional talent which led to hisoutstanding accomplishments as soloist and composer. But thetruth is that there are hundreds, if not thousands of people, aUpossessing varying degrees of talent and ability, in America todaywho are finding a satisfying and challenging livelihood in the ~

16

rapidly growing field of religious music.The career of George Beverly Shea merely illustrates in a

striking way the possibilities which this wide-open field holds.His career dramatically portrays how a combination of ability,training and a sense of dedication can carry the voice of a maninto the vety heart of a nation.It is always a considerable advantage when the student learns

the fundamentals of music and song at an early age, and in hisown home environment. That cannot be controlled. of course; itis just a bit of good fortune. Shea had that good fortwle.

George Beverly Shea was born in Winchester, Ontario, Canada,and as a lad did his first singing in the choir of his father'sMethodist Church in Ottawa. Later he sang in the Glee Club atHoughton College in Western New York.

When his father took a pastorate near New York City, "Bev"found here an opportunity to study under teachers who alsotaught and coached for opera. All of this cost money. of course,so to help defray expenses, Shea worked in an insurance officea few years, all the while studying voice. In ew York City, hehad .the best vocal teachers, and he now modestly attributes mostof his success to his excellent teachers.

In 1937 he auditioned for radio network singing, and' twicetur~ed do.wn opportunities to sing popular songs with famedradio choirs, sensing that his real chance would come soon inthe field of sac.red song. And come it did. In 1939 an opportunitycam;: from Chicago to join the staff of WMBI, the Moody BibleInstitute radio broadcasting station. He accepted promptly andworked for five years as announcer and staff soloist, singing the

ETUDE-.lIAY 19j2

•

• SacredSona

•

during the past eight years on a coast-to-coast network.It was in the early 40's also that "Bev'' Shea and Billy Craham-c-

today America's N~. 1 evangelist-first met in Chicago. Grahamhad then recently been graduated from Wheaton College and hisfirst pastorate was in a small church in a Chicago suburb. AsGraham branched out a few years later on his evangelistic work,he needed the services of a top-ranking soloist, and one whosesense of dedication was unquestionable. Shea seemed to be theman. and has now been with Graham for some five years. Choirleading and song-leading in the Graham Crusades is taken careof entirely by song-leader Cliff Barrows.

For students who are studying sacred music. and particularlyvoice, "Bev" Shea has some words of advice.

First of all, he feels that young people who are seriously con-sidering sacred music as a career need the inescapable qualifi-cations of dedication. A sincere desire to use one's talents bring-ing cheer, consolation and hope to others and to brighten thelife's pathway of others through music and song must be themotivating force.

In this connection, one is reminded of the words of HomerRodeheaver, of Billy Sunday fame: "We can bring you thousandsof illustrations of individuals whose lives have actually beenchanged by the message of the gospel song_ and who have be-come assets in their communities where they were liabilitiesbefore. These songs are not written for prayer meetings, but tochallenge the attention of people on the outside who have notbeen interested .in any form of church work or worship. They areused simply as a step from nothing to something."

The field of hymn and gospel music in which Shea has madehis reputation is one that cannot be precisely blueprinted. andthen reproduced by thousands of practitioners who are carboncopies of a single prototype. First of all, it calls for careful basicpreparation and training such as any other field of music wouldrequire. Experience has shown that careers in church music varywidely. After basic training has been accomplished. careers forservice can be worked out along lines of individual capabilitiesand doors of opportunity that may be opened.

"Bev" Shea stresses the great care a beginner needs 'in select-ing the proper teacher. "Make sure that your teacher understandsyou, and your voice problems," says Shea. "Above all. choosea teacher who will inspire you to do your very best." He recallsone of his own voice teachers in the early days whose consumingambition was to get him to hit high Fvsharp. That particularitem was in Shea's mind the thing he was least concerned over,and after a few futile lessons he decided to find a new teacher.Undoubtedly that voice teacher may be still trying to get vocalneophytes to hit that elusive high note when .hc should be con-centrating on more fundamental points. Actually all during hismany years of voice training, he studied under the best voiceteachers in New York City. Later he studied under Cino Monacoof Chicago. recommended to him bv John Charles Thomas, aclose mu~ic'al friend. .

Shea also advises young people interested in sacred music toread widely in the field of hymnology. They should read a numberof good books dealing with the history of hymns and sacred musicgenerally. There are at least a dozen good books in this generalfield. Books on the subject of music and worship (of which thereare a score or more) would also be very helpful. he believes. Alsobiographies of men who have spent their lives in the field of sacredmusic-vocal or instrumental-should he studied. One might evenread books setting forth the careers of outstanding evangelists andministers and note the usually decisive part that song and musichave played in their successful ministry.

Shea also suggests that young people with ambitions in sacredmusic should attend a church where they would find not onlytheir spiritual needs met, but where a song leader or director ofsome talent directs the music. By participating .in church music,even in a small part of a fifty-voice [Continued on Page 56)

tn

hymns and gospel songs he had known all his life.Bev's voice almost from the very first: obtained favorable

notice from critics in radio columns in Chicago. Here was anew voice of real promise, in what in professional jargon is called"religiose singing." "Bev" was an obliging singer, and he wasfrequently guest soloist at religious gatherings, conferences andservices of aU types with which Chicago abounds. In the early40's besides his WMBI work: his voice was featured on a lateSunday night radio service from one of Chicago's large stations,called "Voices in the Night." 1t was not long before his was awell-known name everywhere in the Chicago metropolitan area.

Then a large manufacturer got the idea of broadcasting anation-wide program geared to the primary pattern of inspiringhymns and classic sacred selections. Shea was offered the chanceto be the singer, and he accepted it, on a program known asClub Time which has carried his voice year in and year out

George Beverly Shea, with a radio and television audience estimatedat around 20 million people, is probably America's best-knowngospel singer of the day. Beginning as a singer in his minister-father's church choir in Ottawa, Canada. Shea progressed throughvarious steps, finally finding himself in the gospel singing fieldvia the Moody Bible Institute broadcasting studio. In the earlyforties he first met Billy Graham, the dynamic evangelist, and since1947, he has been the featured gospel singer in the GrahamCrusades. He is the composer of a number of highly-successfulgospel songs, including I'd Rather Have Jesus than Anything,which has sold more than a million copies.

ETUDE~MAY 1952 17

••

THEOBALD BOHM-a TributeHow his work influenced the

development of the modern

orchestra, and widened the scope

of the composer.

THOSE WHO enter the field of music bytheir interest in, and enthusiasm for

the wood-wind family, and in particularthe flute, owe a tremendous debt of grati-tude to Theobald Bohm, of Munich, the sonof a jeweler and trained in that trade, forhis thorough work in improving the flute.J list how painstaking and correct he was, isshown by the fact that although the bulkof his work was carried out between 1823and 1846~ the design of the modern flutediffers basically hardly at all from thosehe made and pla yed himself. He established,once and for all, the correct position ofthe note-holes, and his ideas for operatingthe keys have remained almost unchangedwith only comparatively slight modifica-tions.Up to the time that Bohm began work on

the flute, the instrument had been crudein the extreme. Other wind instrumentswere vastly different from those played to-day. Intonation in more than one or twokeys was intolerable and the execution ofrapid passages in certain keys was next toimpossible. Tone too, particularly in thelower register on the old 8-keyed, flutes,was usually difficult to' produce and feeblein power.The ideas of key mechanism and opera-

tion, which Bchm perfected, have also tosome extent been applied to the clarinetand other instruments, and his calculationsof the acoustical basis of wind instruments,have been applied to practically all windinstruments.The orchestral repertoire, when we come

to think of it, might have been very dif-ferent today, if it had not been for theimprovement of the flute and other memobers of the wind family. In prehistorictimes and later in the middle ages, andright up through the time of Bach, Mozart,and Schubert, all wind instruments werevery crude. Behm perfected his flute anddemonstrated it in 1832, the year beforeBrahms was born. This model had a conicalbore and was absolutely revolutionary. Itwas met with great disfavor among players;

18

a fact easy to understand, since they hadmastered the old simple system, and hadovercome some, at least, of its defects withremarkable skill.Composers up to that time were some-

what discouraged from writing orchestralmusic which employed the flute in the lowregister to any extent, and which requiredit to play in any great variety of keys. Thewind parts of much of our modern orches-tral music, if played on the old instru-ments, would be intolerable, 1£ it were poss·ible to play them at all. In a sense then, itwould not exist for us, since music, unlikethe visual arts, to be known by the public,demands recreating by the player or play-ers. The full service that Theobald Bohmmade therefore to music as a whole, is infact much more tremendous than he himselfprobably ever realized.We have some very interesting informa-

tion about Bchm in a paper written by Dr.Carl von Schafhautl, also of Munich, withwhom Bohm lived for 52 years, studyingthe acoustics of wind instruments and reodesigning the flute. Bohm, after playing formany years on simple-system .instrumentswhich he had improved in many ways him-self, set up a flute-making factory in Mu-nich r~und about the year 1828, and pro-d,uced instruments of an improved design.1 hese he played professionally with greatsuccess in Munich and Switzerland, andlater, in Paris and London.It was in London that he heard Nichol.

son play, and was greatly impressed by theextraordinarily powerful tone that this ar-tist produced. Bohm made his acquaintanceand found that the secret of Nicholson'sh~g~ tone was the extra large note-holes ofhIS instrument, which he had designed him,~elf. B~t there were still many defects, andmtonation was definitely worse than thatof Behm's latest model.Boh~l l~ad long been harboring the idea

or deslgmng a flute in which fullness oftone was combine8' with accuracy of i _t . . II 1 nonatlOn ll1 a keys and in which all keyscould be fingered with almost equal facil-

by FRED O. STEAD

ity. This was a big ta k, when we considerthe crude stale of even Bobm's instrumentof that date which was the result of simplymaking improvement to the old crude in-strument of six holes and one key as thenplayed.He realized, too, that if he hould ac-

complish this highly interesting and chal-lenging task of producing the perfect flute,musicians already accu tomed to the oldsystem would not be very likely to takekindly to any new system which was toorevolutionary.During his visit to London, however,

when he heard '\'icholson, he decided to setto work. His love for the art of music andflute playing and the desire for perfection,stimulated him to work inten ely. althoughhe could foresee that the immediate com-mercial gain would be negligible.He returned to Munich and developed

ideas and theories he had in mind. and by1832 his new flute was finished. His owndemonstration of the in trument createdquite a stir in flute-playing circles. Pas-sages in all keys could be fingered with al-most equal facility and intonation nearlyperfect in all keys. This first, really iJ1]·proved model of Bohrn's was a conical-boreinstrument. like those already in use: butlater he decided, as a re ull of his studiesof acoustics with Dr. Schafhautl. that toobtain a full tone on the flute. with per-fect intonation throughout. the body shouldbe cylindrical and the head conical i thuscreating a part of a parabolic curve.By 1846 he had produced his improved

flute with cylindrical body: and this isreally the flute as we know it today, with~everal. minor differences in key mechen-rsm. Different materials have been used forthe .making of flutes: wood, silver. gold.platinum ebon ite, plastic: and variouscombinations of materials have been triedfor the head alld body. etc. Bohrn advo·ca~ed a wood head on a silver body, asbemg the best, but he favored the silverinstrument. also. However. he recom·mended the wood instrument, for some, de·

ETUDE-.lJAY 1952

pending on the type of lip of the playerand his personal taste.As might be well imagined, the over-

whelming improvement which Bchrn af-fected to the instrument's mechanism andits tone range and intonation, gave rise toa huge crop of rather exhibitionist musicfor the flute, composed more for the sakeof displaying technique and virtuosity ofthe performer than for anything else.This, no doubt, caused many to consider

the flute suitable only for musical acro-batics and trivialities, and not for seriousmusic at all. For it must be kept in mindthat up to that time none of the great mas-ters had composed much of worth for theinstrument, or, in fact, for any wind in-strument.Naturally, even simple music sounds

more effective when played by a competentartist using a more perfect instrument thanon a crude, out-of-tune model; and hencethe music, for example, of Bach and Mozart(wind parts) can be played today withmuch greater artistry and technical perfec-tion, thanks to Bchm. His ideas for keymanipulation and the synchronizing of sev-eral keys together have in some instancesbeen adapted to other instruments, but thereal value of his work lies in the workingout of the acoustics of wind instrumentsfrom existing incomplete data at the time.There is one modification to the Bohm

flute worth mentioning and that is thepatent taken out in 1867 by Richard Carte,than a member of the firm of Rudall Rose,of London and which is still used by manyprofessionals and amateurs all over theworld. Apart from this, flutes played noware almost identical with hardly an excep-tion to those which Bchm built and playedin 1846. Which goes to prove, if proof isneeded, how correct in theory and practicalin designing he was.Inaccuracies in intonation between wood-

wind instruments is usually less tolerablethan in a large body of strings in whichslight imperfections of intonation are cov-ered up by weight of numbers and the simi-larity of the tone quality. Owing to thevery difficult physical constitution of thesound waves produced by different types ofwind instruments and the greater difficultyin making adjustments to the intonationand tone power of defective notes whileplaying, compared with strings, the neces-sity for theoretical accuracy in the spacingand size of note-holes is very real in thedesigning of all wood-wind instruments.Ingenuity of a high order is often requiredto design key mechanisms which can beoperated smoothly.Bohm, by designing the modern flute

and demonstrating its capabilities himself,made the instrument more perfect and ver·satile, and in fact, created almost a newinstrument of much greater tonal rangeand almost faultless intonation. In addi·tion, his work on the acoustical theory of

ETUDE-MAY 1952

wind instruments and his invention of keymechanisms substantially helped forwardthe design of all wind instruments, whichwere at that time comparatively crude.Thus his momentous development not only

broadened considerably the artistic scopeof the flute, but might be said to haveaffected the whole trend in modern orches-tral and wind instrument music.

THE END

Their Time-Isn't Your TimeTeachers should remember thatthe pnpil's time also is valuable.

by Grace C. Nash

JIM STOMPED into the house andbanged the door. "I'm not going to

take another lesson. I'm not! I'm not! II

I wiped the cookie flour from my handsand hurried into the hall. "What is it, Jim?Why so upset?"He threw the music folder onto the table

and slumped into a chair. "1 waited thirty-five minutes for my lesson. And it's not thefirst time. She's always late. I've missed allmy playtime now. I'm through with piano.That's what!"Trying to calm his anger, I poured a

glass of milk and gave him a plate of cook-ies even though it was near dinner time.His lesson should have been finished atfour-thirty. It was now five forty-five.Again, his after-school playtime had beenlost.Each week I had made excuses for the

laxness of his teacher. She was a fine mu-sician and a good teacher, but she had noidea of clock time. Her pupils were dis-traught and angry before the lesson everstarted because they always had to wait.It might be a telephone call, a chat with aparent-friend, or simply delay in gettingstarted on her day's schedule.'Vhether it's music or arithmetic, prompt-

ness and holding to a definite schedule arefundamental to a pupil's success. And tothe teacher's success.

If the teacher is prompt, the pupil willbe prompt. A few times of cutting his les-son the number of minutes that he is latewill soon overcome any laxness on the stu-dent's part.But what about the teacher?A pupil is at the mercy of his instruc-

tor. The pupil can wait thirty-five minutesfor his lesson, but the fee is not cut. Timeis just as important to a youngster as toan adult. He learns to be on time to school.And he can depend on his class roomteacher. What would he think if she ar-rlved a half·hour late?Teaching music is no different. Self-

respect and integrity demand adherence toschedule. But there is a~other reason forbeing prompt. Besides wasting Jim's time,

his feelings were hurt because his teacherhad shown no consideration.The prime human value for living and

getting along with people is considerationof others. Wasting another person's time isinconsiderate.Of all the arts, music offers the greatest

opportunity to the teacher for sharing andfurthering a language that is universal.Music unites people, lifts up their heartsand relieves the tensions.But not for Jim. As talented and eager

as he was when he started piano, he nowhated it because his teacher had been ruth-lessly inconsiderate.The first year, his lesson period came

before school, at 3:15 each Tuesday morn-ing. Often he had stood outside the musicbuilding in zero temperatures, waiting forher to come. She had the key. And he hadfrosted fingers. In addition, he would belate for regular school and miss his mostprized gym period. His enthusiasm formusic lessons faded noticeably.Now we had arranged his lesson after

school, thinking it would solve the prob-lem. He still had to wait for his lesson.Jim did not go back for his next lesson.

My pr-evious talks with Miss Brown hadnot changed her unfailing habit of laxness.Jim is not the first pupil she's lost, nor willhe be the last. All her fine musicianshipand teaching ability do not make up forher lack of consideration of another's time.But now I've found a teacher for Jim

who keeps to her schedule. If a pupil islate, which is seldom, the next pupil is notmade to wait while the lesson is finished.Her lessons are forty minutes in" length,with five minutes lee-way between eachlesson; and no time is wasted.Jim is back in the swing again, thanks

to a good and business-like teacher. Helooks forward to his music class.He's just come in the door now. "Gee,

is she swell! How 'bout a cookie and glassof milk? Then I'm going roller skatingwith Dick. AIter dinner I'll show you thenew piece she gave me. S' long, Mom."

THE END

19

Improving

Orchestral

Musicianshipfrom a Conference with

EFREM KURTZas told to Stephen West

20

The distinguished conductor of theHouston (Texas) Symphony tellspertinent facts concerning the statusof the personnel of the symphony orchestrain America at the present time

THE ORCHESTRA, as everyone knows, is a complex instru-ment; although it is composed of many individual persons

(with many personal individualitiesl ] , it must sound as one in-strument, under the hands of its player, the conductor. It is theonly instrument, perhaps, which must be built as well as pla}edupon by its conductor-pedormer. Thus, the entire question oforchestral values actually depends on two sets of musical accom-plishment-the accomplishment of the conductor and the accom-plishment of the men.

"Just at present, all is not well with the instrument (or men)element of the American orchestra, and the trouble lies with thestrings. Today, when a young violinist or violist come for anaudition, he seems pretty well satisfied with him elf if he canmove his fingers across the strings and do a bit of bowing. If youask him questions about his musical background, he often hesi-tates. If you put a complicated piece of mu i· before him to beread at sight, he often-alas, too [ten !-gets stuck. I have en-countered numbers of such poorly equipped string players andwhen I ask them why they come for auditions when they areobviously unfit for the posts they seek, they say they need thejob to earn money. Then, if ] suggest t hat they earn their moneyby taking some clerical or commercial work by day and con-tinuing their studies in their spare time, they look astonished.And yet there is a big problem developing in the Ie a-than-adequatecondition of American strings.

"Even among the strings, the 'cellos and the ba es seem tobe better equipped than the violins and the violas. And the woodwinds and brasses are also .in good order-c-doubrles becausethese member~ .of an orchestra are often called upon for solopassages .requIrm~ t~le. alertness, musicianship, and accomplish-m~nt which the VJOJ.H1lstwho sits at the fifth stand mistakenly~hlllks he can do WIthout. All this, I believe, grows out of theac.t that, some years ago, when there was a large supply of good

stnngs and a small supply of wood winds and brasses. youngpeople were encouraged to devote themselves to the rarer instru-I~lents in order to find employment. Be that as it ma)', the situa-tIon. has changed today, and the present need is for good. well.equipped, musicianly string players. . .

"What are the r~q~isit~s of a good string player-c-or of a?"ood orchestral mUSICIan 1I1 any choir? First he must know hismstr~l11ent-knO\~- it thoroughly-and he must he capable ofdrawll1? any desired effect hom it. This is a rather differentmatter from mere finaerine and bowing! <Wh t ' ,

h..... e . \V a IS even more Im-

portant I oush he t I . .. 1\.{. ' .. 0 '. .IUUS re a musicran ..... ow, learning (or teach-mg) musiciansh ip IS vaguer and more diffic It th I ' h, u an earnlllg owbe put one s finger on a given place on the string. Still, it must

e mastered. Some of the 111e fl··· .. .. ans 0 ac uevmg tins mastery m·elude much lIstenIng to good ' h. ... musIc; muc and frequent prac·tICe 111 <::lght-readlllg' tl I· f Ih d¥ , Ie p aymg 0 clamber music of all kinds·t e stu. y of scores; and the study of parts other than one's own:If, for lIlstance, a young violinist gels a f fro d thI.. group 0 len s toge er~o ~ ay a trIO or a qUintette of Schubert. he should make it his

u:lIle~s to study the other parts as well as his own.It IS good to remember th t ' I 'I ",not . I _ a IllUSIC, w 11 e entertawlIl(T. lSSImp y an entertamment It is a part of I'f t (0 It f . I e, a par 0 cu-

ure,. a part fO our traditional human heritage As such itreqUIres care ul preparat!· .,I I· . on--qulte as careful as science itseH.

11 earlllng ,nnsl.C (not J. list fi db', h Id ngers au ows) the yOUllO'mus)-CIan s ou master first hi '0the whole work-then th s Own part; then other parl.8; thensible really to I feBwhole composer. It is hardly pos·

earn one 0 e th '(C 'e oven s ontl.nued on Page 49)

ETUDE-MAY 19;2

•

HAIL SOLFEGGIOWhen six years ago I decided to go back

to teaching, I was debating ij I would useSoljeggio, knowing it would not be "com-mercial," not being popular. I decided"pro" and gave it to all my students start-ing from scratch, or when I found insu]-ficient musicianship in pupils who hadhad piano training before coming to me.Up to this day, I have given over onehundred books 0/ "Solfege des Soljeges."Bad for business? Not at all; jor my sched-ule is pretty lull the past jew years, and asfor as I can see, the value oj this trainingis understood by my pupils. Could yougive me some names oj more recent sol-Jeggio books, for one and more voices ifpossible? Thank you. very much.

H. N., New York

Goocl for you! I am glad to hear whatyou have to say, and I hope it will en-courage many teachers to give solfeggio totheir pupils. If approached and studied inthe right way there is nothing especiallyhard about it, and just think how muchstumbling, wrong counting, in short, poorplaying could be avoided by a few monthsof preparation along that line.

Solfeggio is greatly honored in France,as I have mentioned here several times.The Conservatoire National de Paris andits branches in many provincial cities makeit an essential requirement for admission.Consequentl y there are many books pub·lished over there, apart from the perennialones by Dannhauser, and Lemoine. Amongthem I can highly recommend these:

Lucien Niverd: 285 Dictations in oneand two voices (graded progressively fromvery easy to very difficult) .-25 Lessonsof Elementary Solfeggio, unaccompanied

A. de Caraude: Solfege des EnfantsC, Dandelot: 100 Nouvelle Dictees Mu-

sicales (one voice)Charles Koechlin: Solfege Progressi f in

two voices; small "a cappella" duets .Solfege Progressif in

three voices; 20 "a cappella trios"

ETUDE-MAY 1952

f'eacher's '-~oundtab'e

MAURICE DUMESNIL, Mus, Doc"Advises Concerning Solfeggio andWrist Movements, and gives bio-graphical information.

Ambitious young students should musterup their courage, and study the differentclefs. Once proficient in them they couldtake up the "Complete Treatise on Trans-position" by Charles Lagourgue. Thenapart from the satisfaction of havingreached a high degree of musicianship,they would be well equipped for a careeras top flight accompanists, or who knows•.. perhaps the possibility of a great futureas orchestral conductors.,CECILE CHAMINAOE

Will. yon kindly let me know somethingof the lile and musical career of CecileChaminade? I have been unable to secureany facts about her and, as an admirer ofher music, would very much like to havethem. J find that most students take a greatinterest in hearing something aboni the lifeof the composer of a pianoforte piece whichthey are studying. Your "Teachers Round-table" and all other pages 0/ ETUDE areinvaluable [or keeping us teachers, in themore remote corners of the world, au faitwith all things musical.

Thanking you.D, W, N, Transvaal, SOIi/h A/rica

Your letter is welcome, for I too aman admirer of Cecile Chaminade. You willbe pleased to hear that her works are heardfrequently over the radio in the UnitedStates and are still used extensively by theteaching profession. Though less familiarthan her popular piano pieces, her songsare remarkable. She has written composi-tions in larger forms. such as the Trio forpiano, violin and 'cello, a Concertstiick forpiano and orchestra, and the lovely Con-certino for Rute which is a "must" in therepertoire of that instrument. However itwas with such numbers as Autumn. TheFauns. The Flatterer, Pas des Ech~rpes,and other equally delightrul piano piecesthat she attained a lasting popularity.

Chamillade was born in Paris in 1857and she studied piano and harmony at theConservatoire, subsequently coming underthe guidance of Benjamin Godard. Shegained considerable recognition during herlifetime, both in France and abroad, andher tours of the United States were so suc-

cessful that many Chaminade Clubs werenamed in her honor. In Paris she devotedmuch time to teaching, apart from her num-erous engagements as a concert pianist per~forming principally her own works.

Rather late in life Chaminade married M.Charbonel, a music dealer at Marseilles inSouthern France. After his death she movedto the"Riviera where unfortunately her lastyears were saddened by illness and financialreverses. The enormous sales of her com-positions throughout the world ought tohave made her a millionaire; but like Mosz-kowski to whom she was distantly related,she signed a life contract with her publisherin exchange for a fixed yearly remittance.Much of this substantial income, however,was wiped out by the growing inflationwhich followed World War I.

Chaminade's name will remain as a be-loved one among the composers of lightclassics. She never engaged in experimenta-tion and if her musical curiosity could nothelp taking interest in the twelve-tone scaleand other ultra-modernistic innovations,she cautiously kept them out of her ownmusic. She remained herseH, for she had"something to say," and she expressed itwith charm, elegance, and a sincerity thatreached the heart of everyone.

QUIET, OR MOVING WRISTS?

Kindly tell me the answer to this ques-tion. Is piano playing done with quietwrists, or wrists brought up and down? Oneteacher believes in perfectly quiet wristsand the other one doesn't. Thank you.

Miss F. S., Illinois

In my opinion both teachers are right,or wrong! By this I mean: keeping thewrists quiet, or moving them up and down,cannot be made a general rule and can-not apply to every phase of perfomance.It all depends upon what you play: cer-tain passages require an absolutely quietwrist, while others must be done with plentyof wrist action.

What is wrong is for a teacher to adoptone system and use it all the time in every-thing. This amounts to nothing more thana "gag" and shows an obvious lack of peda-gogic experience. I know there are someteachers who teach motions instead of mu-sic, probably because they once heard a lec-ture on the subject and picked up the idea.They probably didn't hear the lecturer de-clare that it should not be taken "en bloc"and generalized; instead, they went homeand used the system, convinced that theyhad discovered a new panacea.

Remember: the best teacher is one whoknows how to apply different methods todifferent problems, texts, and students; onewho takes full cognizance of various re-quirements and appraises the technical pos-sibilities of his pupils first, then devises thebest personalized way of overcoming alldifficulties, THE END

;'lI

21

The American composer

has a golden

opportunity for service

in answering the call

of the many

school and college orchestras

for new works

for their repertoires.

New Fields for the ComposerFrom a conference with MORTON GOULD as told to Harriet Bartlett

THE AMERICAN COMPOSER has avery definite role to play in OUf schools

and colleges. There is a need for creativeworks that can be played by our schoolorchestras and bands. Is there any reasonwhy the composer cannot extend the vari-ous aspects of his art to include writingfor the young people of this country? It istrue that there are certain limitations towhich the composer must conform; but thisis not necessarily a detriment; on the con-trary it can stimulate new approaches. Thefact that a piece of music is simple, direct,and "playable" should not make it lessvalid as a piece of art, anymore than itsbeing complex, and obtuse necessarilymakes it good art.The responsibility of the composer is

to contribute to the younger generation'smusical and aesthetic experience. Ouryounger generation is exposed to contem-porary currents in living, music, art andliterature because they are part of theseelements. The potentialities of using aspectsof the American idiom creatively for youngplayers are very great.Our schools need a stimulus, works that

are created out of common denominators of

22

our daily experiences. They need composersof distinctive development. They need theprofessional composer.There are a growing number of super-

visors who can talk about the latest devel-opment of jazz rhythms and structures orother current popular trends, and have anobjective evaluation of them; but usuallyeducators are apt to become stereotyped.They absorb a certain amount. and thenstop once they start to transmit· knowledgeto others. A sincere, and valid approachon the part of both tbe educator and thecomposer, can bring out surprising abilitiesfrom even the average student performer.Within certain basic practical limitations,there is a wide latitude of variety, color,and experimentation to be done. The com-poser as a craftsman, must create music ofvitality and interest for our young people.He must conceive works that these peoplecan hand.le. The educator must encouragethe meeting, and the mutuality of thesetwo elements, and should be aware of allkinds of music and trends.It has been my-personal experience that

certain music supposedly too difficult forthe average school performance according

to previous concept) have been overcomeand accepted as practical. This requirescertain beliefs on the part of a numberof people. Assuming of course that a com-poser has a vital creative talent, he mustthen have faith in the potential capabili-ties of our young people in the schools.The educator must have faith not only inthe composer and the students, but also inthe importance of making available themutual stimulation of the creator and theyoung performer.Composers need a practi al xposure to

the problems of performance in the schoolsand colleges. Thi of Course takes in sucha basic technique as orchestration. Thereare many functioning musicians who havecompleted academic cou.rses in orchestra-tion, and yet, only with the greatest diffi-culty could they function in this art. Onemust have the ability to use orchestrationas a means to project musical patternswith clarity.The art of music is predicated on sound

and rhythm. These are made through physi-cal means, such as the human voice or in-struments. The respective blends of diHerenlinstruments and (Continu.ed on Page 58)

•

f'

I[]uestions and Answers-c

Conducted hy KARL W. GEHR.KENS, Mus. Doc., Music Editor,Webster's New International Dic-tionnry, assisted hy Prof. Rob-ert A .. Melcher, Oberlin College

low these suggestions you will be fairlyclose to the conventional path: (1) Punc-tuate the words carefully by meanc of com-mas, periods, etc. (2) Use slurs in the voicepart only when two or more notes are tobe sung to a single syllable of text; (3)Employ the slur in the piano part onlywhen short series of notes are to be playedwith especial legato. -K.G.

ABOUT EOITIONS OF MOZAR·T

• 1. , have a two-piano score of AI/ozart'sConcerto in D Minor, K.466 (Schirmeredition). , was always under the impres-sion that the soloist's parts were printedin larger notes than the other parts, andthat rests were used where the second pianoor orchestra played alone. ln. this editionwhere "Tutti" occurs, the soloist's score isprinted in small notes. Does the soloist playthis too? On pages 40 and 41, rneasnres17 and 18, 25 through 28, the two scoresare not alike.2. Are the cadenzas by Hummel always

played?3. In playing wlth an orchestra, does the

conductor indicate when the soloist shouldcome, or does the conductor somewhat fol-low the soloist?

-Mrs. W.B.B., New York

1. I have three different editions ofthis concerto, but not the particular editionvou mention. In some editions the solo partis printed in larger notes; in other editionsall the notes are the same size. During the"Tutti" passages it is not expected that thesoloist shall play, though he may occasion-ally do so if he wishes. Since I do not haveaccess to your edition, I cannot answeryour specific questions. But J might saythat practically any edition which is a Ye-duction of a full orchestral score is likel yto be questionable in spots, and one shouldalways check with the full score if possible.I would therefore recommend that you buya regular score of this concerto so thatyou can see exactly what notes the solopiano plays and exactly what notes theorchestra plays. You can obtain a score forthis concerto (or for any of the Mozartpiano concertos) in an edition publishedby Braude Brothers for a very small price.2. Mozart wrote out cadenzas to quite

a few of his piano concertos, and of coursewhen the original Mozart cadenzas are avail-able they should he used. In the case ofthose concertos for which Mozart did notwrite out cadenzas, performers usually playthe cadenzas by Hummel or by Reinecke.Unfortunatel y there are no Mozart cadenzasfor this D minor concerto, so you will haveto use the ones printed in your edition.If you do much teaching or playing ofthe Mozart concertos, I believe you willbe interested in owning the Mozart caden-zas, which are published in one volume byBroude Brothers.

ETUDE-MAY 1952ETUDE-MAY 19;! .... _

CAN A WOMAN LEARN TOTUNE PIANOS?

• I live in a small mining town hundreds0/ miles [toni any large city, and I have asmall class of piano pupils. It seems to beimpossible to get a tuner to come out here,and both my own piano and the pianos inthe homes of my pupils are terribly out oftune, so I have been toorulering whether Imyself might learn to tune a piano. 1 homesent for literature to the people who adver-tise piano tuning correspondence courses,but I'd like your opinion beiore I go into it.

-Mrs. L.F., Nevada

My anSlver to your question is "Whynot?" Women do all sorts of other thingsthat used to be considered "a man's work,"so if you have reasonably strong hands andarms, and if you are "good at fixingthings"-that is, if you are fairly intelli-gent about mechanical things, I see no rea-son why you should not learn to tune apiano. -K.G.

HOW TO USE THE SLUR INVOCAL MUSIC

• I have been doing some composing dur-ing the past year or two, mostly vocal solos,and my question is this: Should the phras-ing be indicated throughout the- song byphrase marks over the words or the accom-paniment or should no such marks be usedunless a word is assigned to several notes?It seems to me that it clutters up the pagetoo much to use so many phrase marks.

-W.A., Indiana

Composers vary considerably in theirhabits of notation, but if you will fol-

3. It is the conductor's duty to weld theentire performance, both orchestra and solopart, into a single unit. The conductor,therefore, is the chief "boss" at the actualperformance and all must follow him. Heshould however cooperate with the soloistby wo~king out'tempi, retards, dynamics,and so forth. ahead of time and at rehear-sals, and by attempting to follow the soloistas nearly as possible at the performance.During cadenzas the conductor does notbeat time, and the soloist is completely treeto playas he wishes. It is conventional torcadenzas to end with trills as a signal tothe orchestra that it is time for them toplay again. Near the end of the cadenzathe conductor raises his baton and sees toit that the players are ready to begin atthe proper moment. The soloist shouldknow not only his own solo part but theorchestral part as well. If he has studiedhis score thoroughly, it should be unneces-sary for the conductor to indicate whenthe soloist is to come in, though it is per-missible for the conductor to indicate tothe soloist when the various orchestral in-terludes are almost over if the soloist wisheshim 10 do this. -R.M.

WHAT IS PLAGIARISM IN MUSIC?

• Please tell me what constitutes plagiar-ism in music. I have many song and in-strumental collections both classical andpopular, and I note the recurrence of melo-dies. In one popular song the melody isso pronounced that an entire chorus oj non-classical words can be sung to it, and yetit is actually a classical piece. John PhilipSousa uses Onward Christian Soldiers inone oj his marches, and even SigmundRomberg swings into the last eight meas-ures oj Battle Hymn of the Republic in hisoperetta called "My Maryland." As I un-derstand it these are purposeful adaptationsand are not considered to be plagiarisms,but where is the line to be drawn? Musta writer be dead to insure a living com-poser against plagiarism charges when hetakes a small or a great quantity from thewritings of another?

-Miss M.B-S., New York

Technically, this is a matter of copy·right laws, but actually it is a matter oftaste and conscience. In my opinion thematter of taste and conscience is the moreimportant, but if you wish to find outabout copyright laws I suggest that youlook 011 page 400 of the July, 1949, issueof this magazine. -K.G.

PRICE CORRECTIONIn the September 1951 issue the price of

a list of books about music, published bythe National Association of Schools of Mu-sic, was given as $1.50; a recent changemakes the price now $1. 75. -K.G.

23

rHere are practical suggestions

for the serious organist 'seeking

help in securing a repertoire of

ORGAN MUSIC FOR THE CHURCH YEAR

A representative list of pieces

[rom the library of a mid-uiesterrc

organist and brought to our readers

"WHAT SHALL I play for Palm Sun-o day?"

"What shall I play for Easter?""What about Thanksgiving?""Is there any Christmas music that hasn't

been done a thousand times already?"If this sounds familiar, it is because you

are a church organist with a good- musicalbackground, experience enough to haveplayed most of the familiar things and con-scientious enough not to want your congre-gation to grow tired of hearing them.

This is an ever-recurrent problem withorganists. This department has had grati-fying comments on the helpfulness of re-pertoire suggestions in recent months. Ibelieve that in the course of a year moreorganists write for suggestions on reper-toire than on any other topic. Queries ofthis sort are in fact so frequent that, to fa-cilitate matters all around, I have prepareda mimeographed list several pages in lengthwhich I send out in answer to such requests.

Last month I promised readers to givethem the excellent list of repertoire for thechurch year prepared by Foster Hotchkissof Girard, Ohio. It seems to me that Mr.Hotchkiss has done an outstanding piece ofwork on this repertoire. I have heard himplay most of this material, and it is as effec-tive in performance as it looks on paper.

Incidentally, it is interesting to learn thatan important church in Kansas City hasrecognized the excellence of Mr. Hotchkiss'work and has engaged him as organist andchoirmaster for next season.

It shonld be emphasized that Mr. Hotch-kiss' repertoire is presented as an out-standinglist, not as the outstanding list. IfyOll were to assemble the ten most famousorganists in America today and ask theirviews on repertoire for the church year,you would probably end with ten differentopinions.

by ALEXANDER McCURDY

On the other hand, there are broad gen-eral areas of agreement, and it is safe toconclude that many of the works which fol-low would be included in any representativelist of repertoire.

Thc importance of acquiring a goodworking repertoire and keeping it in trimcannot be emphasized too strongly. Thetime is past when an organist could walkin at the last minute, play anything whichhappened to be at hand as a prelude, an"dperhaps sight-read something for the offer-tory.

Music listeners today are more sophisti-cated, thanks to such factors as the radioand the wide distribution of music on rec-ords~ Nowadays it is imperative that wehave the right piece for the right occasion,and that it is thoroughly polished for per-formance.

FOSTER HOTCHKISS

l~: 24~~---

Naturally this means advance prepara-tion. It is seldom possible to do a goodjob on any piece at the last minute. Andthere are so many other details of the servoice which engage the organi t's anention-c-rehearsing the choir, preparing the hymnsand so on-that it seem only commonsense to prepare ahead of time that part ofthe music which can be done in advance,

For most organists the ummer monthsoffer more leisure time than the busy win-ter season. Summer i the ref re the idealtime to give the repertoire a thorough over-hauling. With a Jist such a that preparedby Mr. Hotchkiss a a guide, thc thought.Iul organist can organize a urumer studyproject. He can set aside a certain numberof pieces to be mastered for the needs ofthe coming season.

If the major work of preparation is donein advance, during the relatively unhurriedsummer months, the time for actual per-formance will require only a brushing-upof works already in the memory and in thefingers, Such careful advance preparationwill ease the organist's burden of last-min-ute preparation, and will make his wholeyear a delight.

A good church organist shoulders manyresponsibilities, but no one of them is moreimportant than playing the organ as well ashe knows how. There is no use blinking thefact that. many people merely sit thr~ughthe organ part of the service. Many of ushave found this to be the case and it is theres~lt of one thing only; routine, unimagi-natIve playing by routine unimaeinativeor-aa ni I h '0gamsts. t as caused some churcbzoersto conclude that it is not possible to makeorgan music interesting. It is up to all of us to show such skep-

~lCS I~ow ~nistaken they are. The remedy}S quite s'imple, (Continued on. Page SO)

ETUDE-.lJAY /952

•

THE INDEXFINGER

and

THE BOWSTROI{E

" ... It is Iny belief that the second jointof the index finger should be in direct con-tact with the bow-stick at all times, evenwhen producing the wrist-and-finger M0-

tion. I have a pupil, however, who is quiteunable to rnaintain contact at this jointwhen she is doing the Motion .... On theUp stroke her finger slides along the stickso that at the completion oj the strolce thestick is near the tip of the finger; andon the Down stroke the stick ends up nearthe knuckle: Would appreciate your ad-vice. (2) When teaching Laoureusc Il, Iusu,ally omit the middle section dealingwith double stops an.d trills, as 1 feel thesepoints are better presented elsewhere. Doyou agree with this approach?"

-F. F. C.,Ohio

It is by no means rare to find a pupilwho has the fault you describe. I havehad a number of such pupils. There aretwo main reasons why this sliding of thefinger occurs. The first is that the fingeris not well wrapped around the stick tobegin with, and the second is that the first-finger knuckle is not relaxed.

It goes without saying that the indexfinger must be wrapped firmly around thestick-s-otherwise how can a" round tonebe produced?· But many pupils tend tostraighten the finger as the frog is ap-proached on an Up bow. If your pupil hasthis habit, you should help her to over-come it as soon as posible. Keep after herabout it.

This brings us to the first-finger knuckle-relaxed or otherwise. The hands of al-most every child under the age .of fourteenare as supple as the paws of a cat, andcan easily be trained to be relaxed yetfirm. The trouble is that most teachers ofelementary students don't realize this. Thisfirst- finger knuckle should "give" as theUp stroke is being completed, so that at

ETUDE-MAY 1952

by Harold Berkley

the end of the stroke the first phalanx ofthe finger is in practically a straight linewith the back of the hand. By the firstphalanx I mean that part of the finger thatis nearest to the hand. If this "give," this"collapsing," of the knuckle is allowed totake place, there is little likelihood thatthe bow-stick will slide along the finger.

The Down stroke presents a differentbut simple problem. It must not be so longthat the fourth finger loses contact withthe stick, and if this finger remains onthe stick-and the knuckle is flexible-itis not probable that the finger will slide.

Suggest to your pupil that she imaginea round pin through the second joint ofthe first finger into the bow-stick, and thatthe finger pivots on this pin, moves aroundit. In other words, the angle of the fingerto the bow changes as the stroke is b.eingmade.

However, the nub of the problem regard-ing the sliding first finger lies in theflexibility of the knuckle. Get that knuckleflexible and the problem is usually solved.

(2) Personally, I like the double-stopand trill studies in Laoureux II, and havealways used them at the appropriate time-which may be earlier or later than theyappear in the book, generally earlier. Bythis I mean that it is often possible to by-pass some of the single-note shifting exer-cises in order to come sooner to thedouble-stop studies. Of course, elementaryexercises in thirds should be given to thepupil while he is still working in the thirdposition, but these exercises in thirds,sixths, and octaves in Laoureux II arereally fundamental and should not beslighted. And there are some valuablestudies in the Supplement to Book II.

As regards the trill exercises, I'd say"Use them-and as early as possible."For they will develop not merely the trill,but also the all-essential equality of fingerpressure. I do not mean to imply that thepupil shonld plough ~rough them one afterthe other. He shonld take perhaps two ofthem, then forget about them for a coupleof weeks, then take two more. The exer-

VIOLINIST'S FORUM

cises are valuable but dry, and the teachermust be ingenious in finding means ofholding the pupil's interest in them.

To Slur or Not to Slur"Here are two questions concerning trip-

lets in violin playing: (1) The curved line,like a slur, does not mean-or does it?-that the notes of the triplet are tied in thesame bow. Is there any way to kn.ow whenand if they really should be slurred? (2)In the first movement oj the MendelssohnConcerto, about the l07th measure, howcan a player keep the bow steady in thatrapid string crossing on those triplets?"

-A. c., Pennsvloonia

The old-fashioned and conventionalmeans of indicating a triplet was to printan italic figure 3 over or under the groupwith a small slur above or below the figure.In carefully printed editions this little slurnever touches the first and third notes ofthe group and therefore can never be mis-taken for a bowing indication. In editionsless carefully prepared the little slur issometimes too long and could be mistakenfor a bowing mark. In modern editions thetriplet sign is not used very much.

A rough and ready rule is to observethe position of the italic 3: if it is insidethe slur, then the slur means triplets andnot bowing. But even this rule is not fool-proof, for some editions print the 3 outsidethe slur! The best rule is the rule of goodtaste: when you come to a triplet that hasno indication except the 3 and the littleslur, play the notes with separate bows. Ifthis does not sound well, slur the triplet.The only true criterion is what sounds best.

(2) This passage in the MendelssohnConcerto is a Mite noire of many violinists.To make it sound as it should is extremelydifficult. The passage calls for a firm bowstroke coupled with an agile and con-trolled wrist movement, a movement thatis strong while being flexible.

Providing that the player has a well-developed bow technique, there is no spe-cial exercise that will help him-he mustpractice the passage slowly, until he gainsthe touch and the control that are neces-sary. If his bow arm is not adequatelytrained, then he must build the necessarytechnique, starting with firm half-bowstrokes from middle to point and usingsuch a study as the 7th in Kreutzer or the3rd in my "12 Studies in Modern Bowing."In other words, a study that skips strings.This should be practiced with a stronglyaccented bow stroke, but not too staccato;that is to say, each stroke should be fairlywell sustained. Without knowing the play-er's abilities and shortcomings, it is diffi-cnlt to say what should follow this. THE END

25

PIANIST'S PAGE

Adventuresof a PianoTeacher

Questions on playing Chopin

and Bach, Sight Reading Books,

and Y outhjul M ozartists

By GUY MAIER

CHOPIN AND BACH

INSPITE of Chopin's adoration of Bachit is curious that the style of Johann

Sebastian has left no trace of a mark inall his music. How much Bach influencedChopin can only be guessed. Perhaps hisinfluence may he likened to the creationof a new precious metal' in which Chopin'smiraculous silver amalgamates with an in-tense bit of Each's gold to give it resilienceand polish ... In the finished product allvisible trace of the gold has completelydisappeared.Chopin studied Bach's works intensely

throughout his life, and set all his pupilsto work at the Suites, PaTtitas, Preludesand Fugues. He often said, "To work for-ever at Each is the best means of makingprogress." When he journeyed on that long,dreary winter's trip to Majorca, the onlycomposer whose works he took with himwas Bach ... And he used to say, "For twoweeks before a concert of my own composi.tions I shut myself up and practice Bach.That is my preparation." Chopin walkedann-in-arm with Bach To a friend hewrote: "I make my own corrections of theseFrench editions of Bach ... not only theengravers' errors but the many others,even harmonic ones committed by thosewho pretend to understand Bach. I don'tpretend to understand him better than they,but just from a conviction that I some·times guess how it ought to be."

It is interesting to note, too, that the.two finest sets of musical studies for. thepiano have been created by Bach andChopin-the "Old Testament," the 48 Pre-ludes and Fugues of the Well-TemperedClavichord, and the "New Testament,"Chopin's 24 Etudes, Op. 10 and 25.

26

Both Chopin and Bach flourish under"tempo rubato" treatment. Tempo rubatois not an expression of time license, but ofsubtle rhythmic freedom within the "beat"of the measure itself. Older composers needthe rubato treatment as well as the laterones; the flexibility required by theirlavish embellishments and ornaments area guarantee that they themselves playedwith much freedom. Perhaps the old fellowswould have startled us with their rhythmicflexibleness! . . . (Remember how theViennese critics roasted Mozart's playing?They accused beloved Wolfgang Amadeusof not being able to play in timel ]I am certain that Chopin played Bach

with "rubato" and that Bach himself playedhis own magnificarit slow pieces freely.Rubato is just another way of saying

that a player is letting the air into hismusic to breathe the breath of life intoit, to warm it and to waft it off theground

SIGHT READING BOOKS

"I have seen advertised many newelementary sight-reading books. Which onesdo you recommend?All of them! Each writer is trying in

his own way to break down the complicatedprocess of piano reading; so, I can saysomething good about all of the recentbooks. Why not try them all, then decidefor yourself which you think turns thetrick for your students?Here are some I especially like:

AZ,na Fran/din-Sight Reading With Acesis Easy ... a unified, pattern approach-especially good for young students.Hazel Cobb-Look and Learn ... also ex.cellent ... makes good remedial reading,too.Frances Clark-Reading Technique ... athoughtful, logical approach ... Studentsusing it make fin€f_reading progress.Margaret Dee-F'ace the Music (2 books). .. another sure approach ... good for

readers of all ages ... better not to tackleit before the second year.

YOUTHFUL MOZARTISTS

Some of the finest Mozart praying todayis being done by our young 'teen agepianists. In fact, many of these youngstersplay their piano solos and concertos betterthan most of the popular virtuosos beforethe public.Why is this? More teachers who com.

prehend the Mozartean message? Perhapsso : but 1 believe that our present youngO'e;leration of realists understands perfectlyMozart's simple, direct, compositional ap-proach. His genius in sheering ofTall non-essentials appeal to them; they feel thathis music vis not cluttered up with notes,and that, unlike many other composers, hethins out the notes 'from his creations in-stead of throwing in more 10 oll\'cy hismessage __ . Compare the pure. immaculatetexture of Mozart's original scores withthat of almost any ornpo er and )'ou willsee what I mean.In his compositions he cut thr ugh at

once to the th rol bing heart of the mu ic;consequently. when his mu ic i well playedit goes sLraight from MozarL t the li tenet'sheart.Our young pe ple feel thi intuitively;

and consequently play his mu ic with as-tonishing understanding. They do not findhim inaccessible and, unlike the oldergenerations. do not care a whit how muchhe exposes them ... Looks like we mightsoon have a valiant ar111)' of youthfulMozartists. doesn't it?

A xort O:\' CHOPI'!

How can painists expect to recreate sucha sensitjve spirit as Chopin when their ap-proach to his music is 0 insensitive? Theexcessi"ely dynamic playing of Chopin'smusic by many pre ent·day pianists mur-ders his spirit. The percussive style of themodern pianistic approach is Chopin'sdeath. When ~fOU play Chopin. don't be toopositive. rough or excessive. Don't "attack:;him-a horrid word used nowadays bymany piano teachers and write!"s of pianomaterials.Let Chopin's elusive spirit sing through

you from the instrumenl. Do not try totell him how to sing. Chopin's music mustbe evoked from the instrument. not imposedon it by the player. You lllllst yield to him:you must receive from him. Chopin'sphrases must often emerge as though theyare the result of improvisation. The mas'tery of his music should never be self·conscious or forced.The wayward., tentative. often hesilant

quality of Chopin's music eludes manymale players. But what is e,'en morelamentable is that many women pianist.5failto capture its essence. Is it because mostwomen have been (Continued on Poge 51)

ET UDE-.lfA l' 19j)

q

Prelude in F minor .130-40281 _ am oser and teacher, this piece provides opportunity

An interesting number from the pen of a Widely-known c~nlte~p~~ar.y flowof the right hand should be projected without afor deve lup ment of accuracy in finger placement. The grace u ,r y mrc ABRAM CHASINS

break of any kind. G;l;:;'ro con grazia (J :96-108) 8- si,~iie·········: -----: OP~~~~~~=.::..~L;~;-=-~;;-:----. ~ ,.- _ f ,_ i., ~

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D, C. al Cod"Copyright 1928by Oliver Ditson CompanyETUDE-MAY 1952

International Copyright Secured27

Theme from Piano Ooncerto in 0 minor. t It uires a pure legato touch in the right handThis lovely melody is taken from Rachmaninoff's best known plano concer o. req .. t Ph' d pedaling are most Important here.with clearly articulated finger passages in the left hand a ccomp anrmen t . rasing an

Grade 31/2.

Moderato (J66).~ 4-~

S. RACHMANINOFFArt'. by Henry Levi'lle

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Copyright 1947 by Theodore Presser Co.~., 28~----- British Copyright Secured

ETUDE· MAY 1952

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ETUDE" MAY 1952

r Mcnuettofrom the "Haffner" Symphony W. A. MOZART

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5 If 5 23 l1fellltetto D.C.1 ,

International Copyright SecuredETUDE-MAY 1952

Ariafrom Toccata Seconda

A short biographical sketch of Alessandro Scarlatti will be found on Page 3 of this issue. ALESSANDRO SCARLATTI_(1660-1725)

Harmon.ieed by M. EspositoG e

PIANO

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6 7--

6 6~3 5--4

4 #3 4 35

4.. The figures have been added to the bass by the editor.

From "Early Italian Piano Music:' edited by M. Esposito [430-40023]Copyright 1906 by Oliver Ditson CompanyETlJDF.-MAY 1952

International Copyright Secured

31

Dreams to RememberI

The first two of a set of four numbers are presented here. In No.1 the melody should be well sustained and smooth flowing,Care must be taken that the repeated chords in the accompaniment do not become blurred. No.2 is, by c~ntrast, considerablymore lively than No. 1. In the right hand, the inner part must be fingered clearly. Fine for developing control. Grade 3·4.

130- 41097

Andante con moto (J: 72) FRANCIS HENDRIKS

PIANO flUff UUu Up melody well sustained -=

•

UUff utrtr

uuupp

uuup r,...:'....l.=;:::::=

a tempo a tempo

. '

dim. e rit. poco a poco

Allegretto (J 126 1B2) IIJ.L II

:

~ I ------- ~

e. ~ II- ~n I~I . I E.:= r ...~- 1..-0:1 I T ......' I-.

IDr" I [;:~ r ,1,*p =J J I J j I J ~ IJ ~J" t I i I J

~ I ~ 1 (0- f ... I (0- ... I I ... I~fI'i J.L II . .--- ~

~..L-.d , ~ ~ b.

4!. ~ rl" 1C!d r I- I~I ".

~ r'" .,.. I~I I ........ I-mp : c.:::=r • Ie::~ [',jr.. J 1 J I I I J J l.col jjJ. I~. L I I • PJco ritJ J..

(0- I ~ I ~ f I ... I ~ I I- ... (0- I

ate~

tempo r Last time to Coda A~ ~v

a-

a temp~o~ _-- -----....-------.;:,----------------$- CODA

II If

I~[...I';:.'J J J.

I ~ r,j~ 1,.;;.::1 I I'

-=J J ,J. J

I

Jr'" :rYi"I rit. I

C::~ [' I- [::~ n-- ~ I"PJ -I I I I I

"

(0- 1 (0- I ~r ...I e 1

GavotteI~ I

A dance form by an early composer, which provides excellent pract ice in the staccato touch. The rhythm must be steady and well co n .trolled. Grade 3. 1Andantino (. : 'a) ARCANGELO CORELLI

~~5~ (:;;: ....;... ...;._ (:;;-"':'" r...;..:,.,' .~ >- >-fI I 3 • =. ...:...;..:;;. .,...;.. ' ..• ";".'tr 2 ..

~.14!. :pgra~ ~ ~ ------- JfO I~ 1-; f marcato

3J.J.~•.U ~n ..JJ..JJ Ir~ (~i:. .:>*.5 5

~~;.*;.:...*>- >- >- .rnhR .~ ~~

2",. .' t , -. ..... .:.. , ~ ... :a• ..;.. f. 4~ t '. • '. ..;.. ..

~ .It I ... - , -r# !he;. p

~~,... >- .. ,... >- .. .. . ;..' .:...:.. ~.>-~ >-~ •

PIANO

I2 2 f I

12 I I ..... ~ >-:> 'p f marcato>->~ ~~t-...) 1\ ... ;.

It fsempre _

~CDCopynght 1901 by 01,'¥er DItson Company32

~L'~~.p'7 5 24 3 f - >- 3r From IIPianorama of the \Vorld's Favorite Dances," compiled and arr. by Denes Agay [410-41015JInternational Copyright Secured Copyright 1951 by Theodore Presser Co.

ETUDE. MAY 1952 ..... R_T_UD_E_-_.M_A_Y_l_9_5_2

I 2

:>

2 t 2 t

33

...

110-40178Grade 3..

The Ride of.Paul Revere A: LOUIS SCAR1ll0LINA.S.C.A.P.Allegro agitato (J: 126)

4 3

PIANO

• • , --- ..----'; it. lI~~~l,lh.;.'. ~ .;. . , •"- , 2' 2:

Ie - -. - .. '-' .~-~J~ r- - ... -~=- ~~ mf dim.pp - p :::::-= --;;;;-' -: .• ; • 2 -.r; ___; -.r ; -.r 2 -.r;-.r 2 --- i .2 • ; .. , 2 , 2 3 ; rr~ 3

, 2 • t . I2 56 5 •121512152 •25 5, , 3 2 ~> I~» ,

I': ~~~!?~~~ ..~ -.~~~~ IH~» »>'-"~

~!.---==-.---' mf tip ~.;. h:- --- .- - - .- .- . ..;. .

: ., 2 , . 2 . I 2 , , -- .... .... .... ... .. .. ..

5 • 5 2 2 I 2

~•~5 ~ 3 2 , • 3 2 \.!. '", --.... 2 ,';:;;;; ""- ' :;;;;;;0 ...... ,~ !pl..Ie e______ •

~f - -=:;:=1.00" r t::::I::!::l ~ ,..;. it- IH"'b... ~..;.h':' '" .... . it .~~ .it.i>- i>- .1i. . t: .~t: . it. .# ... ~: .

... , ....2 ....., ~, 2 , 2 3 , • 2 3 5 , !;; .2 , .12 5 ,5Ii" ~t2 2:t> 3,~:::~ ??>, .. , 1 ,

t 3 I

, e. .j.IT·.'"Jj: :t ~·IT • 'Jt t ._~·tr··.·~tI.-.-." ~tllf·--....J.~"

Ip.~· . ,,----,. , ---- ---'""'"' > > (subilo) C'l'esc.e accel.:

~ »>1 »>1 = ~ l!.~!#~ -. #!. ~ E- ft'... ~3 32 3 32 .. ... - ~ :4 ...

" 1 2 ..., , 5_ --....I, 3 t

r.~

.------ :: ------.. - -- Iii -f_ =

: - - - ~

~ I -.r , ---'.; ~ ~!t2 "! 7f . 7f.. 2 , ,

2 , 7f I ~,

~ I~,~,~ I5 • 5· /':',:

> > >" '» .1'./1. »>L> 5, ~ 2:r;:S 1JlZ::' • bI ~H;' 3 I 23~3

> >• .t*- , 3 , 2 t~. -tIe. i{;: 17\ - ·v 'il- l!"

> f accel. Hit.: ll'" b... ~.. .2 '-' 2• • ....- .. .. •

I2 24J, 2 2 I 2 b

L-.O __ ---------'8"-.- ..-..-..- :--,..., .

I>- >-

I~ !..b./l.#t~ 1..b.#tb~~~ 5~ .. .. •••• I A A$.5.~6"". 2' it-»

Ie. :

h.:. O7';sc.e acael. ~. .:. ~.:. ~ Ii- it ~ f.ff -~: . . . f.f.... 2 ...

I -2 .... ' ..' ....'-1- , , '-'- - - '!'>- >- >- •• 5.V

110-40078 Olouds at SunsetA melodious piece in waltz rhythm. Note the rub at o followed by the eighth note staccato at the end of the phrase. Follow all

dynamic markings closely. Grade 3. DONALD LEE MOOREModerato (J. '56) ~ a-

PIANO

· a tempo 3 . I I \ ... ,--..1\ I 3~'l 5 »> • ---• . . ·. . · .·~ TS=: ~qrt ~bff I~l'rr :·d·~rr;JS--;;; · I~ rl=-- -<I

mp~o rubaio::=-I. _.,;. I ... 1= poco aocel. kJ'J r-, I. l..-i~ I~A. . . .

3 , G • --' 3 5..9-' 5~ -<l • 5"" e ~, 325 .,~r. .,., .• ••, , ,

lempo

--------~" a tempo

-------I ~ • B ____3 • 54

· ,.It DO'r r ID W: 1<:. I I Pi i~rr ITT~ f~

i ~z.r r~~ If ~qrtITT~brr I~,rr~ ~ 111p-= =- ~-=~ -=:: poco ril .I~-::~~I~. ~1= '=I-

~. · · ., <: ' ''''--~~~r , -" · -- -<! .'----' ! , , A A

a tempo 54

..l~ 3-- 5________2 ,~ 2 ..---4 3

3 5 2I 3 5 I 2 11

. ,. ~rt ~ff~~.r r--,V FineIt -=6 '11 IV" ' I -6 • inf. ~(:- I' , .....~

-= -=== poco "it. =-~~~ I~~~~--:;-;.. P ril. e dim. PP--- ." ..

"q -6 " • 2 , 4 3 2 I ~ 2 3 5e , 2

•• "~A • .,.. . ,

~'--_----i~L_~~

alempo'-_--' '-_~'L -"-"_-'

a tempo5 3• 3 ~, ~~I ""1?*:'" ...,----:--;..~ 2 : I ~ , I I ,

. .It fconforza

... I I =- poco rilf (2.....

~~~ P dolce r:~rc-t:; r:-e Ii=: -- . ~ I -,9-' 11l;." fC"l.,. ~-

,2 ~5 3 I • L-J '----l , ! ~ • ,, • I , ,

a tempo............3

f\ I ~ ,~! r I J I ~".,9 ~;;; ~ , I. .... ~ 2 • 2 , .. . .,I@ J.-mf I P' ' .. I "Z , - -- ..

~

,rL;e ~e ~

~pdolce =I~ (2. I~~----"""'" poco rit. .... ~ . """.~ 5 3 " ?f , = ,

~ espressivo, , , II 3 "Z

espress

a tempo~;;;- 9-'

23

•

- . '?'~Jl.32, • ,~ 1 . ;;,., I 4 3 2 31 • I. . .

@.

f p-== -- poco ril. f.\~ ~~ ~~~

rit. e d~lD C =:;-=- ri:"f: r;;-e +~ ~: 51' .. a tne• -,9-' 11,., • I. icc,~ .'.

,~ 5 I 7J' " :6lCopyright 1952 by Theodore Presser Co.

34» V2 I 8vabassa

International Copyright Secured Copyright 1949 by Theodore Presser Co.ETUDE· MAY 1952 ETUDE-MAY 1952_......,jh _

\'" 3'-----'.L-~.L--_~.L __ ~"'A'-;=---n-....JA'-' "-----.J

British Copyright Secured35

110 -26025 Gopak

SECONDO M. MOUSSORGSKY'Allegretto scherzando (J: 108)

4

APIANO mf ifz

A

, 4 A :>> > 2 > >

-=:: fzp

p f 2_ -> > A

5~. . f r<::>

3,> > > b .

sfz:>

poco C1'Bsc. _ ..

r r • • - 3

3 >. > .>. >. >

sf sf mf

~ ----../ > >3 > , > >

4~

> > > > :> > > > >

f cresco sfz p cresco poco a poco>

f.f

:>.> ,5.>

Copyright 1933 by Theodore Presser Co.36

ETunE-MAY 1952

+

110-26025 Gopak

PRIMO M. MOUSSORGSKYAllegretto scherzando (J:108) ,

3 ~8 : _ :

A

PIANO

~ II r~~";:;... ~ ~ r~c: .. .fl. ~ A ~--;-..,..--;---... . -

@.ifzmfA A

1'1 II - ez>. - ;;;;;;;----- ..~ . s>; .

~ ~, r '-.-'3

5~ c> A ~-AII f:.' fl. .. .;. .. ~ ,:A;' .- R- • J: .".;..;. ... ria ..~. .. }.".

t...

p f -=fz p~ II

A A ~

· .·~ ,~ . ": ": ~ ": • <::> . ~;:. ~,

,

3

5

b ~ . b 8·························. JI I r.;. .:L""-. I '

},i. .~, }.... ~~ ~ ID,ii. +- 'F }.... I.~ ~II ~~ ~ •4.. 3

~ = sfz sfzpoco cresco , >1'1 JI ~ 1/r;----I..~ ~. 4 > . . . . - 3 v • . . . _'I~ ,

4

8 _ :o2

>.l' A~ II ,..--. . :.~-ll~ .. ~..; ~ f:.,f:. h ~ fl... .;. .. ,... +- ~ ""~ia~ . . -TT · .~

sf sf if if mfJI ...~ > -- ...... ~- -- -.

t .IT • . IT ________ . . . · 3--------->3 > > "J '-' "J '-,

~- 8 ··..·····..·· · ········-·..···..·······..········~ ..JI ...". l! ..--;---... . . ..~ r-: >/7,

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

--------i . ..~ ...... ..... 1"..00 - - - - -

f cresco f.f sfz p creso. poco a pocoII r:::;--- - ""i - - -, - - - ...,

t • • • '.,4

3

Ib:

ETUDE,MAY 1952 37

SECONDOt t 4

: f p eresc: f>- - - -- - - -

- - - - -4 t t 2

5 53• 2 3• >- t

>-2 >-

mf Pdim.>-

t t 3 t2 2 3 3

• a224 2 5 5 2 5 3 5 3

pi" piano

a32 t 3 24 3

2.5 a5 3 t

t

130·41092 Hopi Wigwam DanceSECONDO

Allegro (J: 152) HAROLD WANSBOROUGH

PIANO sempre staee.mf f

..

dim.

a-tempo

. >->->->-p poco 7'lt.ff simile u>-

-e->-

International Copyright SecuredETUDE-MAY 1952

»»Copyright 1951 by Oliver Dilson Company38

T

PRIMO--_ .-_ _---- _---- --8 ,....-------::

>- >-/'":: >- 3 ~-I I :;.~ s:-:>- iI"'\ ""'- 0I!!!'!l.. -- - .[L~ .. .'--..--. "--' -----' -- ....... -I @ f p cresc. f

I >- >- - ~I - -- ~IJl.

-----' -----. I I I I I I! r ...... I...

8--_ .------_ _--_ _._-- ..__ _ _ - .............. -- ,- I J,. II'-~- ..

I .n<c:> .

!..- ::..-----' ~ - ".

Pdim. = mf -- ,. ,J" . . •Jl.

~ 1 c~ ~ ~ <c:>@

•8 ·························3····:·:

2r-. -------..

=- pp!'-

pi" piano

3

130·41092 Hopi Wigwam DancePRIMO

HAROLD WANSBOROUGHAllegro (J:152)

() II .

\"

, .mf f

II

77 :g lJ Itti' 77 :g :g Ii~l!.

PIANO

~~~ ~~ ---- .... ... ~~~.~_I Jl • •.

dim .!11'11~,

.... ~ ~! ~ ~•........-_ ........•.............................•......... _-_ __ -:8······································

a-tempoJl .£.. >->->->- >- .. n. .

ff' , >->->- >->->->- >-. I!P rit. - sempre marcato

n:;'; I -- >- ....II >-

>- >- ,@ .., ,

ETUDE-MAY 1952 39

CO}lyright 1951 by The John Church Company fl

10 International Cop,yright securedET{JIJE·,IHY 1952 •

•• .... _~ET~[f=DE·AHY 19,5:!

• h

No.121- 40020

Mabel LivingstoneA. S.G.AP. Andante Con rubato

~

SilenceOLIVE DUNGAN

A. s. G.A.P.

1'1 ~.~ b~ ~I ........-;-1 , ------

t-.

111 .. rr ·r Jtco:r 7.~< 71:/

I I I ".a. - ---.. .Oi r ~--- :---'...... ~~I if

?fcon~ressfJ 1J1,

• ,1:'\.. f. .. r .. .... q.. ' ~~ ... r

J loved you with a love so deep, It seem'd theso true, ver·y stars in• 1':\

.tl J -~

-> [1, b~fJ J r I ~/1 r 11- III~:

~

· .·f. ·... • --.r 11.1':f - 1':\

~ ~..( ......, /I: ~.. .". ...~ .> ,.. :~..

., Oi .. f - c:;....--- r"'1 -,/'-II

·t- r I ·rheav'n must know, There was new mean· ing the aft

~~

III . er - glow,fJ ~~=t~,I b,!, ~~· • .. • ...·I ·t- ·I.., ..

------- - ... Ii... .". ~bl ~,ba. ..e ---- -. I - ._ ... I

~.

~J •II

f., r ·

And twi·light sang her sym·pho.nies for you,

II . b~ .fl., b.. 1.- I I... ~~ b~ ~ b,lll· I j::: l- ..· ,f. ~~ · LI

,

b~ f -:!~ II .11>.. • ..- - I I ~ Ib...~ ftL~. - ••. -

""D-lI

9

81/\ I '" ower ,

.'t ~' -,t' ... - I

; ~~brAnd there was mu-sic in the 5' • lent things:

II If. I , «: .. ~ ~~~8'==:---'~t

,

f· , • -- ~~ ......;iblt. P -bl ~i. • " .. lI.~~ ..

" -~..·· ,~j,ooo"" q't,...~ , ,- i1'1 • cresco accei.. .

It .. - r I

The wind and wave that stirr\:! the burn . mg sands,

8- ..... ·~ ~ ..---- -'~~ 8i.~fII- 8-····························

1'1 L" 'Ii- • - l- • l:: .. l,Je,. 1._ I :

It -- •< -~ C7VJ8C. .e aced.b..1;. .ffs~~.~;-. • • It I ... ij:

·:4 .---- ol .. i b~ --c::;;;- Oi....

Tempo I 81~ 1n~ 1":\ ower

t ....' r .. .....~; j~gs,

..'The lone .Iy flight of white and sil . The gen-tle

1":\~ ... .J j =:::::::::-----II ~ ~ , I II

~

.It ..... D I-' 1;11 1ry;..... 1':\

0 "ill. r --. 11p,::-orit-

~n ..I. _ ...---r: .- .. h .. ---:

t vo i J ~' Oi .- .. V...... .. ~J, FVi 81

I

,PFrit. /,ery ow

· .t

~ -touch of your be . lov . ed hands.8..···....··;;=:,--:

b•. ~~~ ~Q&.. 8-··..··n...... --.~ ..,

tJ "/ IIfO'" ~ •• J;: 01_ 9..---....~:··

It '1' I • moltodim. PnJPPrit.PPP b~e fII- ~ ..b~ ~.e -~:::;;;; /, I

· .·'."' " 3' ~J I"" .... j,ooo_ .. "ill-

·11

113-40011Hammond Registration@ 008712000

® 106871530~ 30 7735 312 Allegro moderato

Postlude inGJOHN BLACKBURN

MANUALS

PEDALPed.62

5010 Sw. Reed ®

mpChoir [fl]

mf =--

0J,ff

Gt. to Ped.-==

Ped.62 a tempo( Olo)Fl.@Ch.orGl.'lr

r..-Ped.42

semprestacc.

D. C. al Fine

rCopyright 1951 by Theodore Presser Co42. .

+

114-40012 Wonderland Waltz.Tempo~di"Yalse (J: 13S)

.~

JULIUS KRANZ

11

PIANO

• 11- .. ~ .~• · .

· .. .0- "~

------../ ~ --d=,

mp =--" Ll

I~ a tempo

··,- mP Ir~r r' I~r· I~r' f· r' r . r • It·-~. I.;~t ". II,". I fL' I -,9-' =--:

. -. ~.• ·

VIOLIN

II 2nd and 3rd endi ngu rit .-~ -. .. . . ·

I-, <c:> <; ----

v' mf~ u ...----;---. I I I

· ·r: I f'" .."f'" • f ..~r qr~it ~f r'T~ r ~r·

..... ...... ..... ..I. ,,". I": . . .··

Last timeII Last time only

Il to Fine 0 - ~ ~-:---- a tempo

· .It. din!. --- ~. ~ .• '-:J. v' ~.

rt1':\ /- .. m{tempo -,---- , / '<,.

. . .I- qr- f· 'rc:..:. 1- L·

... .. ~ : , ,- Fine mf ____dim. .':'

: .. - 4('# ....·

u - ~

-.t .• '"Ji -0. ..... ---- - ""- - I

u ----- 2' .:. _l!'-_~ fT' 12-' (2.'

I"

~,. . ..I I... - - .. ... - .- .... ...... -- ... • C ... ...

:

11

~ u ". ...~ - I.

ItT - f iim:-""e~

rit.

- ../'"

. . .- ~~--r ~p" p,~~rf ~ff ~.,.~- ./.... •• - - dim, 1'.' .D.f.al Fille. ..

IT

112

1International Copyright Secured

43International Copyright Secured Copyright 1951 by Theodore Presser Co.ETUDE. MAY 1952 ...L__E_TUDE-MAY1952

110-40174Grade 2.

The Pixie and the Fairy~;;r=I F_L_O_R_E_N_C_E~F.ENDERBINKLEY

2 3 4 3 434 fi

f dim.mfPIANO

,3

cresco

l>---45432

2 3 4l~ --------'

pff

I 2 3

'-- -'''--.J 4 2 t

p ore. C. poco a poco1. 2 3 ff f

2 t

4 ''------------------------- --Ja tempo

mff mf

~ ~'---'m (.\

L.H.

ff

Copyright 1951 by Theodore Presser Co.44

L--J

International Copyright SecuredETUDE-MAY 1952.

+

'130-41091Grade 2. Night in Bagdad

Moderato misterioso (J: 10")3

MARTHA BECK

5

PIANO

1 " 3~ 3 --~ .. 1.1 , -- ..

p legato cantabile "!f =- mpp pp--- --- - ~·· ,, , , ,35~5 5 5~5,.. ~~r,ll. it- ~ ... ~. ~... .~.1

t .."!f p legato

- ~ .;. .:. .:. ..t.,/ -· . .·

"5 5 1 2 .~~ ~~ 5 2, 1

3__________ ;;;---------

5~ ~~ ~ . . <,.t

mf1l rit."!f

/ .... /L , /' I. ,/L ~./'• .• .

5 .., . . yI! tempo :i~. rr. 5e----~:- • • .:.. 2:II •

·t <, f--' - ...---------

. . .----p cantabile 11!1' p~: ~'(:\ f- ,;. • if. ~. ~.• .• .

'5 1 5 -e- .,.;'

Copyright 1~51 by Oliver Ditson Company

5 ____

International Copyr-ight Secured

The Drum Major110-40173Grade l1J2.

Vivace (rI60)3 2 3

~IAE - AILEEN ERB5 40 Last time to Coda + 1

PIANO

1 1 1 3 2 ~ : 2 1 2 1

t- ~ ~H~ ~ ~;:> ~ ~H~'~~~;:> ~~~ . .4 i..... • ..e-;:> •• ;:> p -======;:> ;:> lI!1'--= f;:>f . ---. --- ------ --- . ;-. r . ..---.... . . . .· . .

· . . . · .1 2 1 I" 1 2 1 5 1 3 2 I, 13 I I5 5

-$- CODA5 53

132 /' 2"" 1 · . . ;:>.

· .•

, .., !: .! ....~ fl7\P " .p "!f-==--••• . ". ..... ~ , :;;

· .• .. OJ . • 1 3 12 3

"l!. ~J I~ : ..... .. >

"!f~ p-= 1!if~ f;:>• ..·

I, I~I I2 1 3" 5International Copyright Secured

45D. C. al Coda

y~--

The Bicycle RidersGrade 2.

Not too fast (J: 80) MAXWELL POWERS

3--12-2 -3--5------ 3

:>PIANO fz> :>

•.1 15 5

3 .-- --- ---- --- 2 1 2 3 '<

5

••

12 r;).f

>-

1 2 3123 2 1

mp

1 3 2 1~

2~

1 3 2 1 2 1 2 35

•3 3 1 2 3 l'1~5 2'-...--3 15 5

3 3123,< 3

••

f;:>

15

1 3 1 2

fc- >1"£t.••

From "Piano Fun with Theory." by Maxwell Powers [430·41011]l'll Copyright 1951 by Oliver Ditson Company

1s_46

-------

International Copyright SecuredETUDE-MAY 1952

5

,'110- 40177Grade 1. Little Green Gnomes

Moderato (~ -80) LOUISE E STAIRS

PIANO

-

" 5/ 3 -.......... ~2 3 ------- ~

'- mfT:p,.

\toe,( • ... \ . .

toe, tip, Lit-tie green gnomes are at play in the for - est, Tip, toe,I ... . .. .. .fl. ..··2 5 1

........ /'" '< -.......... 2 »> 5, 3 ------ 2~

.'-

tJ

, .,j.F'ine '.P

down eV-'r: moon-light ~ail,I~ .

tip, , Nev-er a mo-ment to rest. Hop, skip, Tip, toe,;,. ... .... t .fl. ..··

1

3 ............... --- 2

.'- ..... ~ '\ . • • • I ... • ••

lit- tie green fair - y land. Hop, skip, dane-ing the whole night through, All hand in hand L,." t .. u • . '-· . .·2 1 2 '< 5. JJ. O.al Fine

International Copyright SecuredCopyright 1952 by Theodore Presser Co.

130-41096Grade 1. Here's the Ohurch!

LOUISE CHRISTINE REBEAllegro d: 126) 5 R.H.3

PIANO

R.H. 2 ....., I '< 2 1 R.H. R.H.

'- lV' ~ f2 ra- 11 ~U f' r r

L.H. L.H. L.H. L.H.Here's the church and this is the steep -Ie, O-pen the door and see all the peo-pl e .Here's the church and

•• -R.H·

3 a tempo L.H.3 2- I '< 2 1 '< 1 '< 3

'-L.H.' L.H.~

rit. .J • e;,I .Pthis is the steep - Ie , O-pen the door and see all the pea - pIe. First we sing, then we pray,

n -(:T • • n .. -(:T·•a tempo 2 335 '< 3 '< 5 5

,1'- rit. e cresc. £- ., u .P f malta rit. • '5'-

Jhen we SloW&IY walk a - way. First we sing, then we pray, Then we slow-ly walk a - way.

~. • .fl. 1. • • .. n - • -(:T I·· -I

Copyright 1951 by Oliver Ditson CompanyETUDE-MAY 1952

International Copyright Secured47

h

•his remarkable start}. But speakingof the rule rather than of the ex-ception, the best path forward is tobegin at a lower level and go upgradually, step by step. At the be-ginning of my own career, I longedto be a symphony conductor andrebelled at the need of working myway up through the opera; I fOcalizedit was necessary, however, and did it.

"But this is a good distance fromthe present needs of the Americanorchestra which we were consider-ing. And so I come back to the realand pressing demand for good, mu-sicianly, well-trained strings. Ourschools and conservatories can be ofenormous aid here, hath in encour-aging students to study instrumentsfor which there are opportunities,and in stimulating them to feel theresponsibility, not merely of 'gettinga paying job,' but of taking theirplaces in the furthering of nationalart. THE END

IMPROVING public, how to control that public-s-how to control everything. Such ex-perience can never he mastered ina teacher's studio. Let me cite theexample of young Jacob Lateiner, agifted and first-class pianist. Whenfirst I heard him, I was enormouslyimpressed with his abilities. For thatvery reason, I encouraged him tostay out of New York! I took himto Kansas City where he made afine success. Next I introduced himto a manager who worked out forhim a large tour of Australia. On hisreturn he made records. Then heappeared at Tanglewood. It was notuntil he had worked three years inthis way that he ventured upon NewYork-and as he then had someyears of experience with which tofortify his native talent, he naturalf ymade a prompt and great success.That is the wise way to go to work."Actually, the same is necessary

for the conductor himself. Of course,

the future conductor must Sl10W anatural and unmistakable aptitudefor conducting as well as for music,and he must prepare himself withthe soundest possible background ofmusicianship in all its branches.\Vhen he has done all this, however,he is by no means ready to directthe Philharmonic! The best start forthe young conductor is in the theater-as chor repeticeur in a small operacompany, as assistant in a ballettheater. When he has mastered thedisciplines of this kind of work, lethim go on as assistant in the' sym-phony orchestra of a small city,gradually working his way up tobigger things in bigger communities.Naturally, it can happen that anenormously gifted young man mayassert himself almost at the start-and a case .in point is that of Leon-ard Bernstein (who, I may say hadproven abilities as a pianist and acomposer to aid him in launching

ORCHESTRAL

MUSICIANSHIPAirSecond. French Suite in C minor J. S. BACH----------from

Allegretto (J: 8S)

(Continued from Page 20)

sonatas until one has a more thanpassing acquaintanceship with hisothersonatas, his quartet.s, his sym-phonies.Of course, it is wisest tobegin the study of repertoire withHaydn and Mozart, working one's1I'a}' up to Beethoven, Schumann,Brahms, to the more complicatedmoderns. A 'liking' for the morecomplicated music is not a reasonfor beginning with it. The aspiringorchestralmusician should know theliterature of his instrument so wellthat, at an audition, he can demon-stratemusical understanding of theworkshe has prepared; and so thathe can playoff a page of sight-readingwithout stuttering! Further,he must prove his familiarity withcarying musical styles (regardless ofhis own preferences) and, most im-portant of all, perhaps, he shouldapproach his task with the feelingthat he is an artist as well as aplayer-and this feeling should growout of his background and not outof his vanity!"An interesting phenomenon to be

observedtoday is that girl playersshow,in general, a greater conscien-tiousnessthan do the men. Girls willapplyfor an audition only when theyare honestly convinced that they areprepared for it. And. on the whole,theyacquit themselves of their dut.ieswith greater responsibility. For thisreason, the place of the woman inan orchestra should be clarified.Actually,there is no sensible reasonwhy women should not hold orches-tral posts. I have long welcomedthem. I realize, of course, that insomeparts the doors are still closedagainst them. My feeling in suchcases is that the situation shouldbe thoroughly examined and thenreasonably dealt with: that is tosay,girl players should be welcomedwherever possible, but wherever theyare not welcomed, they should nothe encouraged to study. It is waste-ful and cruel to raise up hopes andillusions before their eyes if theyare not to be allowed to profess theart for which they have prepared.. "One of the most important pointsin the young musician's career is thelaunching of his start. Whether hebe soloist or orchestral player, my?est advice is not to attem pt a start~nNewYork. It is far wiser to begin~na very small city, gradually work-mg one's way up to larger cities,~ndgradually coming into metro pol-rtan centers like Detroit and Chi.cage. After Chicago there is timeenough for New York! The per-former who dreams of conqueringthe largest city in the world mustbe able to do more than merely toplay.He must know how to meet his

43 ,

f (2da volta p), ,PIANO

2 '.,1~1-.-----------~112s5

12,

-- ~

2 2 3 •4 5

3_ -----2____ ::n3 3 ------- .. ~! OPPORTUNITIES

FOR YOU... in lhe mUjic ~iefJ

THROUGH UNIVERSITY EXTENSION CONSERVATORYADVANCED HOME STUDY COURSES

crescomf

23 ,4

~••MUSical Organization has to offer you. Atvery small cost and no interference with yourregular work, you, easily and quickly canqualify for higher and more profitable posi-tions in the musical world.

• Interesting positions are open in every part of thefield. Schools and Colleges are making it necessary forevery teacher to be equipped for his work; the Radiois calling for highly specialized training and standard-ized teaching makes competition keen even in smallcommunities. DIPLOMA OR BACHELOR'S DEGREE

We help you to earn more and' to preparefor bigger things in the teaching field or anybranch of the musical profession. We awardthe Degree of Bachelor of Music. With adiploma or Bachelor's Degree you can meetall competition. ~

Are you an ambitious musician?A successful musician is most always a busy one. Be-cause of this very fact it is almost impossible for himto go away far additional instruction; yet he alwaysfinds time to broaden his experience. To such as theseour Extension Courses are of greatest benefit.Digging out for yourself newideas for the- betterment ofyour students is a wearisometime-taking task. When youcan affiliate with a schoolrecommended by thousands ofsuccessful teachers, you maybe sure that their confidencejustifies your confidence innew ideas or your work whichwe make available to you.Look back over the past year!What progress have you made?If you are ambitious to makefurther progress, enjoy greaterrecognition, and increasing fi-nancial returns, then you oweit to yourself to find outwhat this great Home Study

5~ 5 ---4--4~- ~5t 5~ 4 4 <,

,2

...-_ .... .. _·FiIL In and Mail This COUpOll- .. _-- .. _ ...... _ .... ~

UNIVERSITY EXTENSiON CONSERVATORY. Dept. A·748 •28 East Ja<:ksan Blvd., Chi<:ago 4, Illinois. •

Please send me catalog. illustrated lessons. and full information regardingcourse I have marked below.o Piano, Teacher's Normal Course 0 Harmony 0 Violino Piano, Student's Course 0 Cornet-Trumpet 0 Cuitaro Public;: School Music-Beginner's 0 Advanced Cornet 0 M d I"o Public School Music-Advanced 0 Voice an 0 Ino Advanced Composition 0 Choral Conducting 0 Saxophone

BEar Training & Sight Singing B Clarinet 0 Reed OrganHistory of Music Donee Bond Arranging 0 Banjo

it basso ,n::.rcato 4 5 .. Adult or Juvenile.Name.

Street No..---2 '

, 3City. . . . . State.

Are you teaching now?... .If so, how many pupils have you?Do you hold a Teacher's Certificate? .... Have you studied Harmony?Would you like to earn the Degree of Bachelor of Music?

cresco 3 ......--.._-~-.- _ _ _.~.-_ ~ - ..-THE UNIVERS}TY EXTENSION c.onjervalor'j28 EAST JACKSON BLVD. (DEP T. A-748L CHICAGO 4. ILL.,

From"Piano Compositions of J.8, Bach," Vol. I, edited by E. Prout.Copyrig-ht 1907 by Oliver Ditson Company48 International Copyright Sectlftd

ETUDE.lJ1P 1952 ETUDE_MAY 1952 49

ORGAN MUSIC FOR THE CHURCH YEAR

(Continued from Page 24)

Get some new music, learn it well, make itinteresting, and then try it on your congre-gation.And in my judgment the list of repertoire

prepared by Mr. Hotchkiss is an excellentstarting-point:

AdventWake, Awake for Night Is FlyingBach (Schubler) Ditson

Wake, Awake for Night Is FlyingKrebs (with trumpet) Music Press

Aus Meines Herzens GrundeKarg-Elert (char-imp. I) Marks

PastoraleFranck (selected works) G. Schirmer

PastoraleRowley (Five Improv.) Novello

Pastoral SymphonyHandel (Messiah) G. Schirmer

Pastorale on "Thou Faithful Shepherd". Handel-Biggs GrayBenedictus Reger MarksFantasie on "Veni Emanuel"Rowley Novello

Prelude Improvisation on "Venl Emanuel"Egerton Concordia

:1

ChristmasNoel in G D'AquinThis Day So Full of JoyBuxtehude Lit. Mus. Press

Blessed Be Thou, Jesus ChristBuxtehude Lit. Mus. Press

MagnificatJ. C. Bach (Organ Series I) Concordia

Magnificat J. S. Bach (Schubler) DitsonMagnificat Dupre (Antiphons) GrayVon Himmel Kamm der Engel ShaarBach (Lit. Year)

In Dulei Jubilo Bach (Lit. Year)In Dulci Jubilo DupreLo, How a Rose E'er BloomingBrahms (chor. pre.)

Adeste FidelisKarg-Elert (Cathedral Windows)

Elkan-Vogel

Gray

DitsonDitsonGray

Gray

Scherzo on "In Dulei Jubilo"Candlvn

Commu~ion on a NoelReverie on "Picardy"Puer Natus EsGreensleevesDivinum MysteriumCarol RhapsodyLa NativiteLa Nativite

DitsonGrayGrayWoodLeedsLeedsLeeds

HerelleMarks

HureBedell

TitcombPurvisPurvisPurvis

LanglaisMessiaen

EpiphanyHow Brightly ShinesPachelbel (Organ Series I)

How Brightly ShinesBuxtehude (chor. pre.)

Salvation Now Is Cpme to UsBuxtehude

How Brightly ShinesPeeters (chor. pre. I)

Chartres PurvisMarch of the Magi Kings DuboisMarch of the MagiDickinson (with violin, 'cello, harp)

Concordia

Peters

Peters

PetersLeedsDitson

Gray

50

LentAs Jesus Stood Beside the CrossScheidt (His. Organ I)

Passion ChoraleKuhnau (His. Organ I)

Passion Chorale (2 settings)Brahms (chor. pre.)o Lamb of God, Most HolyBach (Leipsig]

a Lamb of God, Most HolyKarg-Elert {chor.vimp. II)

Prelude and Fugue in F minorBach (Widor-Schweitzer IV) G. Schirmer

By the Waters of BabylonBach (Leipsig )

By the Waters of BabylonKatg-Elert (Chor.-imp. II)o Man, Bewail Thy Grievous FallBach (Lit. Year)

When Adam Fell, The Human RaceBach (Lit. Year)

Hark, A Voice Saith All Are MortalBach (Lit. Year)

Two Lenten PreludesAria PeetersHamburgMcKinley (Hymn-Tune Fan)

Rathbon Bingham (Hymn-Pre. 2)

G. Schirmer

G. Schirmer

Gray

Bornemann

Marks

Bornemann

Marks

Ditson

Ditson

DltsonDouglas Gray

Elkan-Vogel

GrayGray

Palm SundayBenedictus Rowley (Five Improv.)Osanna DuboisMarch on a Theme by HandelGuilmant

Toccata on "St. Theodulph"St. TheodulphMcKinley (Hymn-Tune Fan)

Truro Bingham (Hymn-pre. 1)Les RameauxLanglais (Poemes Evan)

Wunderbar Konig (with brass)Karg-Elert (chor.-imp. VI)

Cortege and Litany DupreProcessional ShawVexilla Regis PurvisHosanna Weinberger (Bible Poems)

NovelloSchmidt

. G. SchirmerDlggle Cray

GrayGray

Marks

MarksDurandCramerLeedsGray

Maundy ThursdayToccata at the ElevationFrescohaldi (His. argo I)

a Lamh of God, Most HolyBach (Leipsig)

LitanaeKarg-Elert (Semper Simplice)

Thee Will I LoveKarg-Elert (CllOL-imp. II)

The Last SupperWeinberger (Bible Poems)

Ajalon Bingham (Hymn-pre. 1)Bread of Life Bingham (Hymn-pre. 1)The Celestial BanquetMessia.en Elkan-Vogel

CommunlOn Purvis L dee s

G. Schirmer

Bornemann

Paxton

Marks

GrayGrayGray

Good FridayThe Stations of the Cross Dupre DurandCrucifixusKarg-Elert (Semper Simplice) Paxton

TenebraeKarg-Elert (Semper Simplice) p

a Bl' axton

essed Jesu, How Hast Thou Offended

Karg-Elert (chor.-imp. II)Actus TrigicusWeinberger (Religious pre.)

March Funebre GuilmantPassion ChoraleKuhnau (His. Organ I)

Passion ChOI"aleKarg-Elert [chor.vimp. II)

Passion ChoraleBrahms (ohor. pre.]

Marks

GrayG. Schirmer

G. Schirmer

Marks

Gray

EasterTrumpet Voluntaries (with trumpet)Purcell Music Press

Christ Lag in T odesbandenBach (Lit. Year) Ditson

Fanfare Fugue Bach-Biggs WoodToccata on "0 Filii" Farnam PresserToccata Widor (Symphony V) MarksAlleluja Fuulkes ovelloAlleluia, Pascha ostra Titcomb WoodEaster Moen Caul 1. FischerResurgam Rowley GrayCarillon (0 Fillii t Ftliae)Biggs

FanfareGwalshmai

werbyPurvis

J. Fischer-CrayLeeds

AscensionWe Thank Thee, LordBuxtehude Lit. Mus. Press

L'Ascension Suite Messiaen BaronAu Soir de L'Ascen i n B noit J. Fischer

117hit stwdayWe Now Implore the HolyBuxtehude

Come, Holy GhostBach (Leipsig)

Come, Cod, Creator, Holy ho tBach (Leipsig)

Come, Holy Ghost, Lord odBuxtehude

hostLit. Mus. Press

Bornemann

Bornemann

Lit Mus. Press

Trinity undoyEh Fugues (St. Ann)Bach (Widor-Schweitzer Ill) C. hirmer

We All Believe in One True GodBach (Catechism) Bornemann

National Do)'sa God Our HelpMatthews (l2 char. pre.) DitsoD

Jesus Shall ReignMatthews (12 chor. pre.) Ditson

Ton-y·botelPurvis (char. pre.) Carl Fischer

All SainlsBlessed Are Ye Faithful ouJsBrahms (char. pre.)o What the Joy and the GloryMatthews (12 chor. pre.)

Gaudeamus TitcombCaudeamus Rowley (five improv.)Requiescat in Pace Sowerby

Gray

DilsonWoodNo\"elloGray

Church AnniversaryThou Art the Rock ~luJet ~IarksL'Apparition de I'Eglise ElernelMessiaen Baron

Faith of Our FathersMcKinley (Hymn-tune Fan) Gray

Grand Choeur on "Austria"Purvis (chor. pre.) Carl Fiscber

(Continued on Page 52)

ETUDE-J/Ar 19;2

4f

ADVENTURES OF A PIANO TEACHER

(Continued from Page 26)

laughtby men teachers? Why hasn'tthe distaff side rebelled against thegenerations of smug male "artist-teache;rs"who have forced the womeninto the masculine mold with itsmanly freedoms, rubatos, colors?Sensitive,wen-trained women have awaywith Chopin's music. If they arepermittedthis way with him they arcfrequently right ... So, let's havesomehealthy, womanly Chopin for achange!

It would he idiotic to say thatChopin is not heroic, or does notcomposein the grand manner. It issimplya different kind of grandeurfrom the dvnamic heroics of Schu-mann, Brahms or Liszt-e-more nO\~-

ing.flexible and rioher in substance.Chopin needs to be practiced

deeply in the keys with finger. keycontact, at moderate speed and withmuch conscious relaxation. The con-trasting activity- repose, inhale-ex-hale, masculine-feminine aspects ofhis phrases must be carefully studied.Yet, his music should never

sound studied. Often the pianistmust seem to be playing withoutauthority, and to be as surprised anddelighted as the listener at what heis a ble to evoke from the instru-ment.. Recently I suggested "to an aggres-sive male student that it might makea good credo for him 1:0 repeat daily:"My Chopin wlll he an evocation

rather than a proclamation;a persuasion rather than an impo

sition." THE: END

THE MAN ..• HANDEL

(Coniil/ned from Page 14)

Carlton House before the Prince ofWales. If the Prince and Princessdid not come on time. he made noeffortto hide his anger: if the ladiesof the court dared to talk during therehearsal, he called each one [ut-i-ously by name. Then the Princesswould say: "Chut. ChUL! Handel isspiteful.' This: was quite untrue.Through this violent independenceandneed for freedom. a terrible waragainstHandel developed in London,whichlasted from 1720 to 1759 theyear of his death. and was causeddirectly by his failure to accept pa-tronage from the nobles or 10 con-sider them in any way. His attitudesoantagonized them that they formedanorganizedmovement to defeat himand to throw him into hankruptcy.Oneauthor writes that "he was sur-roundedby a crowd of bulldoO's withterrible fangs. by unmusical ~nen ofletterswhowere likewise able to biteby jealolls colleagues, arrogant vir:tuosos.cannibalislic theatrical com-panies.fashionable cliques. feminineplots,and nationalistic leagues." Thiswasa pretty strong foe for one man'and such a man as Handel was. wh~loved to do good in the world andwanted only to help people.El'en though his enemies fouO'ht

unfairly and heat him to his kn:esi~nner gave in or asked for favors:.ey resort.ed to all sorts of mean

tricks to humiliate him. They stayedaway from his concerts. and hiredboys in the Hrcet to te;r down theadvertising; they gave teas and en-tertainment!', even during Lent tokeep I 'peop e away from his perform-ances. They put on hearfights andshows of all kinds to kill his con-f.erts. When he returned from Dub·In, where he spent a quiet yearamonghis people who respected himand I' .liS musIC. the persecution be-camemore vicious than before. Evenafter the success of his great master-

ETUDE_MAY 1952

pieces such as "The Messiah"-"Samson't-c-t'Belehazaar" and "Her-cules;' and he was acclaimed by therest of the world as a great genius,in London he was ruined. Twicebankrupt. once stricken by apoplexyin the middle of a season. his eyesight failing and his mind sometimesgiving way under the terrific strain,he never gave concessions or com-promised with the aristocrats whowere his enemies. If he came to givea concert to an empty house hewOllld say: ":My music will soundbet.ter so."In spite of this cruel perseculjon,

Handel was victorious in the endHe became, in 1746, what Beethovenbecame in 1313-a national bardThis meant that his cause was gainedand his enemies had to keep silence,because now he was a part of EngIand's history and the Brit.ish lionwalked beside him. They made himbuy his fame dearly however. HeWOll1d have died in his poverty andmortification had he not. had a supreme self-control. When he wasdown to the lowest ebb of his for-tune:::_ his great mind strained to thebreaking point and his eyes failillg,be wrote some of his most beautifuland serene music. Tn 1737 his friendsthought he had permanently lost hismind. But he would never allow anyof his earthly misfortunes to enterinto his mw::ic.All the characteristics of this great

man are contained in his immortalmusic-humor. Jove, friendship, in-dependence. kindness, charity, gran-deur. simplicity and £aithin Godand the triumph of good in the world.His music will always remind us thathe was a great teacher of mankindalso, and as long as the world lasts,people will he heard singing theinspiring solos and choruses of hjsmagnificent oratorio.,; and operas.

TIlE END

GUY MAIER WORKSHOPAND MASTER CLASSES

NEW YORK CtTY-STEtNWAY HALL

PIANO TEACHER'S WORKSHOP AND YOUNG PIANIST'SREPERTOIRE CLASSES

July 21-25 ... 5 mornings

FEES: Teachers-$35.00 .. Yaung Pianists (age 6-17)-$10.00

ADVANCED PIANIST'S REPERTOIRE CLASSES

July 21-Augusf 8 ... 12 afternoons or evenings

FEES: Players or auditors-$50. .One week-$25.00. Inclusivelee lor one week (July 21-25) lor Workshop and AdvancedRepertoire Classes-$50.00

PRIVATE LESSONS-July 2b-Augus+ 8 .$20.00 per hour

Address: Secretory Guy Moier cressesSteinwClY HolI, 109 West 57th StreetNew York 19, N. Y.

MINNEAPOLtS, MACPHAtL COLLEGE OF MUSIC

TEACHER'S WORKSHOP. YOUNG PIANIST'S REPERTOIRE CLASSES ANDADVANCED PIANIST'S REPERTOIRE CLASS

June 30 through July 4

FEES: For Workshop, as above: lor Repertoire Class-$25.00;Inclusive class lee -$50.00

PRIVATE LESSONS-July 5-11 .. " ..... " .. $20.00 per hour

Address: MocPhoil Colleqe of MusicLClSolle ot Twelfth St., MinneopoJis, Minn.

EASTMAN SCHOOL OF MUSICof

The University of Rochester

HOWARD HANSON, DirectorRAYMOND WILSON, Assistant Director

Undergraduate and G.raduate Departments

SUMMER SESSIONJune 23-August I, 1952

FALL SESSIONSeptember 22, 1952-June I, 1953

For further information address

ARTHUR H. LARSON, Secretary-Registrar

EASTMAN SCHOOL OF MUSICRochester, New York

~eabobp CONSERVATORYOF MUSICBaltimore 2. Md.•

Reginald Stewart, DirectorINSTRUCTION IN ALL BRANCHES OF MUSIC

Member, National Auodalion 01 Schools of MusicEst. 1868 SUM SCatalog on Request MER ESSIONJune 2].Aug. 2

51

1}Jiolin IflluestionsWHAT WERE THEY DOING, DADDY?

(Continued tram Page 12)

. in difficulty as to reading, playingand understanding, with great care.The requirements of the music shouldnot exceed the child's growing abilityto re-create this music on the key-board. The patterns must grow andchange very' gradually so that "oldfriends" in the sound and the nota-tion are at once apparent to the child.

Dr. Helen Blair Sullivan, Directorof the Educational Clinic, BostonUniversity, has said of word reading:"Information should be organized sothat it becomes an integrated part ofthe student's personality. Childrenmust learn to read at their own levelor they are constantly working at afrustration level. The selection ofmaterial must be purposeful. Theteacher must select the material withthe specific end in sight. No teach-ing "method" can be used withoutsupplementary material and discrim-ination on the part of the teacher,and no sel: of books can possibly solveall of the problems. No book regard-less of how well it may be arrangedas to sequence, can ever be anythingbut an outline of what should bedone. There are always differences instudents' visual and auditory dis-crimination and kinesthetic response.It is up to the teacher to be able toanalyze the student and determinethe cause of his difficulty. The cor-reotion of reading difficulties dependsin the the final analysis upon howmuch the teacher knows about thesubject."

Manv fine minds are now at worktrying 'to correlate the teaching ofmusic reading with the fine researchalready done in the field of wordreading. The problem of how toteach children most efficiently to

read music notation in relation tokeyboard performance is not entirelysol ved and a thorough study of mostof our beginning instruction booksin the light of what is known aboutword reading will indicate quiteclearly the work still to be done. Butevery teacher can learn somethingabout how music reading might beimproved by making a study of theresearch and practical experimentsconducted by modern educators."Educational Psychology," by Pro-fessor Arthur I. Gates, TeachersCollege, Columbia University, andthree other eminent educators, mightmake a good starting place. "Amer-ican Reading Instruction," by NilaBenton Smith, Whittier College, and"Teaching the Child to Read," byGuy Bond and Eva Bond Wagner,University of Minnesota and Na-tional Research Council, will give afair summary of what has been go-ing on in educational methods inword reading. "Education for Musi-cal Growth," by James L. Mursell,should help to bridge the gap be-tween methods of teaching wordreading and the teaching of musicreading.

Most of all we piano teachersshould realize that the problem ofteaching children to read music in-telligently and efficiently presents areal challenge to music education.The problem may be stated simply.The solution is not so simple and itwill probably always remain a Ias-cinating subject for study, but we al-ready know enough so that no stu-dent should ever have to ask of amusic lesson overhead, "What werethey doing, Daddy?"

THE END

By HAROLD BERKLEY

CANNOT RECOMMEND

E. R. L, Indiana. I cannot con-scientiously recommend to you thebook on violin technique of whichyou send me the advertisement. Theauthor is not a trained violinist.The results he glowingly describescan better and more quickly beattained by following the classicalcurriculum of violin study. You out-line such a course in your letter.

AN EXPERT APPRAISAL NEEDED

J. V. J., Pennsylvania, and R. P.R., Mexico. A genuine Stradivariuscan be worth today anywhere be-tween $10,000 and $75,000. Thereis no way to describe in words thedifference between a genuine Stradand a good imitation. An expert cantell the difference because he hashandled and carefully examinedvery many genuine instruments andmany more copies, and has cometo recognize the subtle differencesin workmanship and so on. But ittakes years of training to acquirethis insight.

AN INTERESTING VIOLIN

Mrs. A. 1. D., Ohio. It is possiblethat you have an interesting violinin your possession. Carl Lipinskiwas not a maker, but was a famousviolinist a hundred years ago. Hewas Concertmaster of the RoyalOpera in Dresden in 1850, as thelabel states. It is just possible heowned the violin-some artists havehad their names put inside theirviolins. On the other hand it isjust as possible that the instrumentis a commonplace factory productin which the label has been insertedto give it an aura of authenticity.However, I would advise you to taket~e vi~li.n to a reputable expert forhIS OpInIOn and appraisal.

ReformationEin Feste Burg

Bach (Dupre XI) BornemannEin Feste Burg Faulkes Novello

ThanksgivingWe Thank Thee, Lord Jesus

Buxtehude Lit. Mus. PressNun danket aUe gott

Bach (Dupre XII) BornemannNun danket aIle Gott

Karg-Elert (chor.-imp. VI) Marks

Key to abbreviations in listchor..imp-chorale improvisationschor. pre.-chorale preludes (collec-

tions of)

52

five improv.-Five Improvisations(Alec Rowley)

His. Organ I-Historical Organ Re-cital Series(Bonnet, editor) Volume I

Hymn pre.-Hymn PreludesHymn-tune fan.-Hymn Tune Fan-

tasiesLeipsig-Great Eighteen Leipsig

Chorales of BachLit. Mus. Press-Liturgical Music

PressLit. Year-Bach Liturgical Year

(Riemenschneider edition)Organ Series I-Anthology of Sa-

cred Music Organ SeriesPoemes Evan. -Les Poemes Evan-

geliques THE END

NOT AN AMATI

Mrs. T. E. J., New Jersey. I'msorry, hut. neither I nor anyone elsecould estimate the value of.]. 'h yourVlO In wIt out first examining the in-strument. Howeverl I can say that .ifyou have transcribed the label _reedy, the violin was not made c~yA. and H. Amati. It is not correctlworded, and the date (1757) . yh I IS moret .an a 1undred years after they I ddIed. 1a

INCORRECT DATE

A. R .• Nebraska. As Stradivariusdied in 1737, a three-quarter·sizedviolin bearing his label dated 1740is not likely to be genuine. Whomade it cannot even he guessedatby the most learned expert withoutseeing the violin.

A LABEL MEANS NOTHING

J. K. I., Virginia. No one can tellyou the origin or value of a violinwithout having personally examinedit. But the chance against yourfriend's violin being a genuine Stradare simply enormous-about three-quarters of u million to one. Butthere are some quite good violins,not trad. which have a trad labelinside th m, and it may be this violinis one of them. 1f you or your friendha rea on to think the violin isgood. you hould send or lake it toone of the violin firms that advertisein ET DE. For a small fee youwould get a reliable appraisal.

IT MAY BE GENUINE

A. L), flO Jersey. A violin labeled'[athiaa Ieuner might be worth any·

where hom 35.00 to $350.00, ae-cording to whether he made tbe in-strument him If or whether it wasmade by the apprentices in his wop.You should bring the violin to NewYork and have it appraised by areputable dealer. 0 ODecan eralu·ale a violin without seeing it.

ON VIOLIN MAKING

F. H. C., We r firginia. The bsavailable book on violin makingisE. Heron-Allen's "Violin ~Iakinga)it Wa and Is." Tools and materi~you can obtain from the Metropo~itan Iuaic Co .. 222 Fourth Me~New York Cit '.

MERELY A LABEL

H. G.. New Jcrsc)'. As )"OLl area mature person. and playing oclrfor your own enjo)'menl I see~Dreason why rou should not al:Dstudy the piano. It ~-ou.ldnot JwIlIyour violin playing. The only qu~tion in my mind is ~·hel.beryoUhave the time to do jU5tict to ~instruments. ]f 'our practice tiDltis limited. then fd adn:;e yOll tostick to the violin.

ETUDE-.II.lf 19"

a;;

~rgan lfC!uesffonsAnswered by FREDERICK PHILLIPS

• Forthe past six weeks I have beensubstitute organist in a church nearmy home. Each day, including Sun-days,after starting the motor, I haveto wait at least 15 to 20 minutes be-jore I can use the organ, becauseoj a sort of irregular skipping whichcauses the tones to go off and onwhileplaying. This might go on fora succession of 15 or 20 skips asecond apart. I have checked allstops and mechanical accessoriesbut cannot find out what is wrong.It sounds like poor contacts; canyou enlighten me?

- l, 1'., M assach-usetts

YOlLr description suggests thatthe trouble is probably caused bytrouble in the generator-if youuse that type of electric action.Dirtybrushes would cause the "skip-ping"you mention in all probability.Wesuggest that you have an electri-cian look over the motor and otherelectrical parts.

• We are considering replacing ourchurchpipe organ. The auditorium,seatsabout 900 people. The presentorganis a three manual, about 25years old, and must be either re-built or replaced. An organ of thissize is necessary to take care ofcongregationalsinging, etc. (1) Whatwould you think oj an electronicorgan? (2) Do you think the ba-roquetype of organ is desirable forchurch use? (3) If not, do youthink the organ should have a fewof the baroque stops for brilliancy?(4) Do you think the trend towardthe classic organ is a good one andis it permanent? (5) Please list fiveor six of the best organ makes inthis country. (6) Also a list of stopsand their quality, or tell us wheresU~ha list may be had. (7) Do J'OU

thmk a rebuilding program is aprogressiveone providing we can geta long guarantee on it?

-L. B. S., Ohio

ORGAN MUSIC FOR THE CHURCH YEAR

(Continued tram Page 50)

(1) We believe this question isbest answered by an article by Dr.McCurdy in the January 1949 issueof ETUDE, a copy of which we aresending you. (2) This is somewhatof a controversial subject, and is·to some extent a matter of indjvidual?pinion. There were a couple ofJ.nterestingcommentaries on the sub-Ject in the December 1944 Diapason,page 691 (Baroque Style Exempli.fied), and Diapason October 1943,page 645 (Baroque Style in Ameri-c~n Organ Building). For the Utur-glcal type of service a moderate ba-

ETUDE_MAY 1952

roque organ would probably be ef-fective, but for the more informalservices the so-called "romantic"type is often preferred, though thistoo should be kept within modera-tion. This really covers also Ques-tions 3 and 4. Question 5- We aresending you a representative list ofreliable organ manufacturers, withany of whom you may correspondwith full confidence of fair treat-ment. (6) This would be ratherimpractical in the space permitted.but the matter is treated very com-pletely in "Organ Stops" by Audsley,and an excellent condensed sum-mary is to be found in "Organ Reg-istration" by Truette. (7) This Ques-tion could best be answered by themanufacturer of your particular or-gan, or by such builder as you maydecide upon to do the work. A greatdeal would depend on the conditionof the instrument, the action. etc.Ordinarily, an organ 25 years old,if it was good to begin with, wouldseem to justify the rebuilding plan.

• At the present time we have ourorgan chamber on the balcony overthe entrance to the auditorium, andthe console down in front next tothe altar. Our balcony is. also onboth sides of the church. The con-gregation would like to see theconsole removed; it is quite largeand some think it is an eyesore.Where would be the correct locationfor. the console? The organ is allelectric.

-w. B., WinoisOur suggestion would be that

both the console and the choir bemoved to the gallery where the pres-ent organ chamber is, if there issufficient room. Many churches, in-cluding some of the important citychurches, have this arrangement andit proves very satisfactory. You donot state the length of the church,but if the console is placed anywherein the front of the church and tbereis more than about 30 feet betweenthe organ itself and the consolethere would be a time lag betweenthe striking of the key and the hear-ing of the sound which could bequite detrimental in its effect. Thiswould be an added reason for plac.ing it in the rear balcony. The or-ganist could easily keep track ofoperations jn the auditorium, suchas taking the offering, etc., hy meansof mirrors, and by some it mighteven be an. advantage to have thechoir in the rear of the church.

THE END

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53

Edited by Elizllbeth A. Gest

Walking Rhythms

MANY of you go to school inbuses or automobiles, hut otherslive near enough to school to walk.Did you ever practice your mu-

sic lesson as you walk to school.or to any other place? Funny?No, not at all. It's very sensible.J list use your footsteps as a me-

tronome, or time-keeper, and humor whistle the melodies of yourpieces to your foot-steps. Do someextra whistling or humming on the

spots in the pieces that are themost difficult to play on the piano.YOll will be surprised to find howthis will straighten out some un-certain places in your keyboardrhythm. The next time you prac-tice on the piano, those pieces willhe played much smoother. Youwill be pI-eased with the good re-sults this easy method brings, andthe fact that no extra practicetime was required.

Who Knows the Answers?(Keep score. One tuuidred. is perfect)

1. What is meant by the word"acoustics?" (15 points)

2. The operas "La Boheme,""Don Giovanni," "Traviata"

and "The Flying Dutchman"were composed by Mozart,Wagner, Puccini and Verdi.Who wrote which? (10points)

3. What was Debussy's firstname? (5 points)

4. What is the difference he-tween an opera and an ora-torio? (10 points)

5. In what country is the sceneof the opera "Carmen" laid?(10 points)

6. Is a Bergerette an Italiandance, a Swiss yodel or a typeof French folk-song? (15points)

7. Who is called the "father ofthe symphony"? (5 points)

8. Which of these composers

54

died after 1850: Brahms,Mendelssohn, Schubert, Schu-mann? (10 points)

9. The composer of one of themost famous symphonies diedbefore the symphony wascompleted-What was hisname and what is the sym-phony called? 00 points)From what is the theme givenwith this quiz taken? (10points)

10.

Answers on next page

Drums, Drums, Drumsby Leonora Sill Ashton

THE SATURDAYJunior Club wasstudying the different musical in-struments and for the next meetingMalcolm and Meg were to arrangea program on the drum. "Insteadof just telling about drums," saidMalcolm, "why not show how theyare made?""Good idea!" agreed Meg.So, when the boys and girls ar-

rived for the meeting they founda tableful of strange looking ob-jects-paper, string, boxes, a largealuminum kettle, a sponge, an oldclock key, and other articles.Malcolm began by explaining to

the group, "The drum is one of theoldest musical instruments in theworld," at the same time pickingup a large hat box from which theends had been removed, andstretching a piece of brown paperover each end and fastening it witha cord. ~'When a real drum ismade;' he continued, as eager eyeswatched him, "a piece of vellum isstretched over the open ends ofthe round frame, usually a woodenframe, though sometimes metal,and the vellum is held in placewith braces (here he curved asmall piece of wire over the edgeof the box) by which the vellumcan be made tighter or looser toproduce the desired quality ofsound. The drum is generallyplayed with a pair of sticks likethis, (holding up a drum stick),having one end covered with apiece of felt, or tipped with a smallwooden ball. In many primitivecountries drums are played withthe hands."Meg then moved the kettle

where all could see it and placeda wooden hoop covered with~row~yal?er, over the top. explain.mg, ThIS represents the kettledrum, or timpani, which is of Af-ncan origin and was introduced

Snare Drum Tambourine Bass Drum Timpani

into Europe in the thirteenth cen.tur y. A large copper bowl coveredwith skin forms the real one andthe hoop is held in place with iron

, "nngs.Malcolm took up the story with

"The iron rings have screws inthem like this (holding up theclock key against leg's hoop,andturning it). "There are from fourto eight of these which tightenorloosen the vellum and by thismeans the vellum gives forth adefinite pitch. The kettle-drum, ortimpani, i therefore tuned to thet ni , dominant and other tonesofthe key in which the orchestraisplaying. You can see the man tun-ing his drum in th middle of 11composition. Thi takes a very sen-siti ve car an I he bends downsohisear will 1 lose 10 th drum headand he an do his tuning quietly."Then M g continued-liThe keto

tIe-drum is [ten playedpianusimoand r r this the drummer uses apair of sti ks with sponge-coveredtip. The n xt time you attend anorchestra cone rt, be sure to watchthe kettle- hummer. lie usually hasa set of thr [rum lind his sticksAy quickly from one to the other,in order to play the tone the her-mony requires."

Text. {elcclrn held up a circleof cardboard (or corrugated carton) "This represents a snaredrum." he explained. "It is muchshallower in proportion to itswidth than a side drum or bass

t Continued on next page)

THE BOX OF ~L\GICBy Fronces Gormrm Rjuer

In m)' pianos there's a boxThai holds such magic sounas!

The voices oj 'he barT/yardfoil;The mirlh 0/ circlis c/OICns.

Birds warble in Ihe leafy IrW;Bees bu:: ami babies cry:

Bells tinkle; rain-drops gently lap;A train goes rushing hr·

A sa vage beast grou:ls i1l his aen;Some thllllder booms. ajar;

Then angel voices so/II)' chantBeyond a dislanl star.

I hellr the beat oj juagle drums'The whisper oj a bre.":

That box ojllwgic / unlockWith my puma keys!

+Juuio~ Etude Poetry Contest

This month the Junior Etnde willhold a contest for original poems.Theymay be of any length or stylebut must relate in some way tomusic. Anyone may enter,whethera subscriber to ETUDE ornot-even if not a good poet!Put your name, age and class in

which you enter on upper left cor-

ner of page, and your address onupper right corner. Class A fif-teen to eighteen years of 'age;Class B, twelve to fifteen years;Class C, under twelve.Entries must be received at Iun

ior Etude Office, Bryn Mawr, Penn-sylvania, by May S'Lst. Results willbe published in later issues.

DrUIDS- (Call tinned)

drum. Also,it has strings of catgutor wirestretched across its underside whichare called snares. Thesegive it a distinctive sound whenplayed as they rattle with thedrum's vibrations.""The bass drum is the largest ofall drums" Meg told the audience."You have seen these monsters inparadesand wherever such handsare used. When the player ismarching it is strapped over hisshoulders.When seated, this drum-meroften plays the bass drum witha root pedal while also playing thesnaredrum."Malcolm closed the program by

telling about the American In-

Letter Box

Sendreplies to letters in care ofJunior Etude, Bryn Mawr, Pu.,and they will be forwarded to thewriters. Remember foreign mail re-quires five-cent postage; foreign airmail, 15 cents. Do not ask for ad-dresses.

Dear Junior Etude:

The unme of our music dub is"Ihe Musical Kid's Club," and wemeet e~ch Saturday at a differentmember's home. We have kept goingwithout any adult help and gave aprogram for our school class, hadourpin-presenting ceremony and held

BMusicalKids--Rose Blessingookh' J 'II' II elm, oan Espenschied,o (Age 10 to 11)

GraceDiana

~:o contests, all within six months., we closed our season with a

~Ot~amand party attended by ourina er~ and friends. We are endos·g \Plcturc of our few but interestedrncmers.Joan.Espen.schied, New Jersey

- _, ETUDE_MAY 1952ETU DE-,If.ll' 19.--

diens. "These people are very skill-ful drummers and are noted fort~leir unusual rhythms. All primi-tive peoples have their own typesof drums, some being carved outof solid wood.""And 1would like to add." said

Meg, "that some African' tribeshave a regular drum languagewhich can be heard and under-stood miles away.""That's right," agreed Malcolm

"Even the Eskimos have theirdrums-in fact it's about the ~nlyinstrument they use, and they decorate their drums with carveddeer-horn. ""Even our little tambourine,

which was spread over the andent world, is a useful member ofthe drum family."After much applause, the club

members decided it would be funto go in a body to a band or orches-tra concert and pay particular at-tention to the drummers.

Dear Junior Euules

I am a new subscriber to ETUDE. Ihave been studying piano for severalyears and also I play the organ in our~hurch. I would like to hear from otherreaders. French readers are also wel-come as I can write French.

Remi Beucliord: (Age 15), Canada

Answer-s to Who Knows

1. The branch of science that treats ofsound, tone, tone·production, vibrationsand conditions governing them. 2. "LaBoheme," Puccini; "Don Giovanni,"Mozart; «La Traviata," Verdi; "FlyingDutchman," Wagner. 3. Claude Achille;4. Opera is an extended compositionproduced by solo singing, acting, andchorus accompanied by orchestra, stagedwith scenery and costumes, usually ona dramatic or semi-dramatic story. Or-atorio is an extended composition on areI:gious topic, also produced with solosinging, chorus and orchestra but with.out acting, scenery or costumes. 5.Spain; 6. A French folk-song some-times accompanied by dancing. 7.Haydn. 8. Brahms (1897), Schumann(1856). 9. Schubert, the "Unfinished"Symphony. 10. The Hebrides or Fin-gal's Cave Overture, by Mendelssohn.

Helen and Boyd Ringoagain announce their

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Member of National Association of Schools of MusicSend for a free catalog-Address: John R. Hattstaedt, Pres., 577Kimball Bldg., Chicago

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Address: Genevieve Lyngby, Rm. 50S, 38 S. Dearborn. Chicago 3, Illinois

BOSTON CONSERVATORY of MUSICALBERTALPHIN. Dir. 26 FENWAY BOSTON MASS

A Complete School of MUSIC. DRAMA and DANCE' •Degree. Diploma, Certificate Courses. Faculty of 60'

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Estoblished 1867, Operated under auspices Cincinnati Institute of F- A'ffil' t d lth U' -t f C" . me r so I la e WI nlversl y a lnclnnatl. Complete school of music-DD- I C ,'fi t -d -t' egrees,lp amos, er 1 Ica es armlOrleS, 10 acre camp.us. Free Catolog.

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(8.S. In Ed. by arrangement with Kent Stote University!

BERYL RUBINSTEIN, Mus.D., Director3411 Euclid Ave .. Cleveland 15, Ohio

Member of the National Association of Schools of Music

COSMOPOLITAN SCHOOL OF MUSICPreporatory, College, Special, and Graduate Departments Courses lead' tBachelor of Music, 8achelor of Music Education Maste, of -M' d T "9h ,0

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CAREERS OF SERVICE IN SACRED SONG

(Continned from Page l'Z)music, here would be a good fieldtotry it out. says Shea. If you plaYamusical instrument, so much better,

In a career in religious musicabove all else. "Bev" warns, "Don';lose the common touch!" What doeshe mean by this bit of advice? Re.ligion is not a mass phenomenon, itis an individual experience. Whenitceases to be individualistic. there isdanger that it will lapse into a purelvceremonial affair. devoid of meaning.

Singers and directors in sacredmusic should go out of their wavtoget to know and make friend~ oftheir listeners. he believes. At theclose of every service or huge evan.gelist ic gathering where Shea mightbe soloi t, he likes to meet membersof the audience, talk with them, andfind out what hymns and songs the\'like best and why. Whether his \'hi.tors be eight or eighty, Shea inrari.ably gives each one courteous endgenuine personal attention. He hasprobably given hi~ autograph 50.000times in the pa -t five or ix yearstoteenagers al ne, it i" e..tirnated. [udg-ing from hi fan mail of SO to 100letters a day detiv r d to hi-, homein ~\Vestern priugs. Illinois. a sua.urb of Chi ugo, there is ~light dan.ger that hea will ever lose the"common touch!"

Anolher pint 'IB y" would cau·tion young ter about. who hllveam·bition~ in the field of !locred nlU'.ic:Be your:5eJf. Don'l Iry to be JohnCharles Thomas, or Ezio Pinz8.orJessi Bjoerling, or (the autboradds!) Beverly hea. Just be ~·our·self and don't tn' to imilO.te8m- one.Nature has end~wed eacb one'ofusdifferently. and when we tf}' to besomeone ehe. and COD)' their man·nerisms and di"-tinclivc .....ays. theef·fort in the majority of cases fammiserabl\-.

"Bev" 'iUu~trate~ this in a personalway in his own ~inging. hea i~na·tionalh' known for his inimitablerenditi~n .. of Xegro spirituals. Yethe never trie ....10 5ing Roll. JordonRoll (Billy Graham's peffi)nal fa\"·orite ~egro spiritual) : Deep Riw:Yes. He Did!: Hush, SomrboJisCalling illy Vamt: Bolm in Gilead-Or any olher ~egro spiritual b)'"aping" a real colored singer's renodition o[ s:uch a piece. I05lead.hegives it hi:, own interpre18lion. andmake~ an effecti"e rendition of it.Shea belie\-e~ if he tried to sing them"Mammy 5t)'le" or lried to impeffiln·ate a Negro. tbe effort would f~lOat.

When Be\' began to sing. he feltthat he should limit himself in thefield of sacred rnu~ic. and not eD'deayor to double as choir director.song leader. or wbate'fer else camealong. By wisely re~tricting him5e~:he S3'-es himself much nen'e-1fT!Cing worry and other pitIal15 of car·rying too hea"," a load. althOu!bon

(Continu~d on Pose 61)

choir on Sunday mornings, the youngperson is going to gain a great dealof direct contact with sacred songsand hymns that he or she wouldnever gain in any other way. Thereis no substitute for the church asthe training ground for basic sacredmusic education.Many 'young people are constantly

asking Shea how they can "breakinto" the field of sacred music. Tothem "Bev" answers that the first re-quirement is to be ready ,f~OIU thestandpoint of technical trammg andalso willingness, when the op por tu n-ity arises. We must be practicalabout such things as basic training.but Shea.is a great believer thatsacred music is a sacred calling, andonce preparation is com plete, thealert young person will find a doorof opportunity opening quickly.

Like any other field, we do notlike people who attempt to pushthemselves to the fore, and thereseems to be an especial temptationfor showmanship in this particularfield, Shea finds. It is better to waitand make absolutely certain in yourmind that a particular opening isthe one for which you are cut out.Because Shea waited until what heconsidered to be the proper oppor-tunity arrived, he has been far hap-pier and success has been almost anatural consequence.

But it is hard to generalize aboutthese matters of opportunity, how-ever, and in the last analysis eachyoung person must make his own de·cisions as to what he will or will notaccept in the way of work or assign.ments in music, honestly probing hisown mind and motives.

If you are in the upper grades ofhigh school or in college, Shea be.lieves that young people can find anexcellent training ground right intheir home churches to test them-selves out. There is always need fora young person of some talent andserious purpose to train a juniorchoir or lead groups eight or tenyears younger in musical activitiesof varying types. This can all bed~ne very naturally and effectivelyWIthout the danger of "spotlightitis"or similar diseases which too oftenbeset the amateur music leader orperformer.

Another excellent traininO" groundShea points out is the sum~ler con-ference or summer religious campsfo: young people. It is no exagger-atJOn to say that there are hundred'"?f them scattered throughout A mer~Ica and Canada. They are uSlialh.co~petently organized and one ;ftheIr great drawing points is musicand ~inging. The young who areespecI~lly attracted to this kind ofgatherIng are full of exllUh. . eran~and the JOy of living. and they natur_ally want to shout and sinO" IIf I h O' youee t at you have talent in the fi IIf r' e (o re IglOUS song-leading or sacred

*

ETUDE-.IIAY 19j)

HEAR YOURSELF AS OTHERS HEAR YOU

(Continued from Page 10)

. ,,-to,,-etherwithout orchestral ac-Sill" " id blpanl'ment for a consi era ecoDl •length of time, the r~sonant voicesd the throaty VOIces must be

an . h dblended.The low VOIces ave a ten -encr to pull the pitch down, w~ilethe highvoices tend t.o pull the pitch

At the MetropolItan Opera, theup·-problem has been solved by care-fully placing the ~one o.f the lo.w\'oices,while the high voices retainthe pitch in. as light a color as pos-sible.The sound would be horrible10 the ear, and this a cap pella effectruined, if the artists did not strivefor perfect tonal balance and pitch.Theyhave only their ears and theirmentalconcepts upon which to rely.It is not difficult to sing on pitch jfyou have the accompaniment of apiano,or an orchestral backgroundhelping,but once you start singingwithoutthis you are completely "onyourown."Youmust hear what you want to

produce, and what the ear cannothearmust be assured by ones' mentalconcept. Drill the ears until theyholda concept of what you consideris goodsinging. Let us assume thatyouare trying to listen to the over-tonesin your voice as you sing. Atthe same time, your ear may not beable to pick up the sound of theovertonesin its entirety while lhesoundis going on. A wooden doorwill reflect the sound of the voice.Standwith your face against a door,and sing against it, and you willhearyour true voice.AgainImust stress that you must

listen to your own singing. The fa·mousRussian basso Chaliapin said,"A singer is two people. The onewhois listening, and the one who isdoingit." You must feel the inner,and the ouler you. It is like placingyourears three feet away, and thenlistening to them. It has to he animaginativething. Of course one can-not remove the ear from himself;hut the ear, and the doing of it musthe separated. Let us compare thehearing, and the doing, to a set ofweighingscales, Assuming that theear fills one side of the scale, andthe doing of the singing fills theother side, eventually equalizationmust he the result. It lakes slowthorough practice, and is a matterofyme and hard work, and throughthISthe student of voice will attainSOmekind of balance.There have been great artists, who

have never been able to fill bothsides of the scale satisfactorily, Forthem, the simplest procedure wasthe hardest to master. It is the greatartist who finally fills both sides,and obtains a true halance in a splitsecond. He masters the techniqueof voice production, and thinks andfeels the tone to such an extent,that he is free to hear the result ofthe sound he produces. He is not

ETUDE_MAY 1952

......b _

troubled. When he sings a tone, ora melodic line, his ear forgets tolisten. His attention is focused onbreathing, muscles, and resonancecavities, and they come into play onany vowel that he uses.

The artist may be likened to apicture camera, The mechanism ofthe camera must be set before youcan take the picture. The eye andthe finger must coordinate. Every.thing is set beforehand, and is men-tally adj listed. Then comes the final"click" and there is the picture.It is a great asset to hear and

sing intervals and skips correctly.Today, the singer must be able tosing the simplest and the most dif-ficult modern music. Begin by imi-tating the sound of the piano. Playthe interval C to D on the piano.Listen to it, hum it, and then singit. Then C to E, C to F, C to G, C toA and C to B natural. Test your earand see if you can sing these sameintervals without the aid of thepiano. Can you think seven tonesaway from middle C, and sing amajor seventh with unfailing pitch?Play the same intervals on the

piano, and see if you can sing themwithout a "break" in your voice, andwithout changing color. Blend thebottom note of the interval with thetop note in a smooth, flowing, vocalline.

There is one definite tone in eachvoice that is a halancing point. Findthis tone in your own voice. LillianNordica had C above middle C forthis point; but it is not always inthe center of a voice. At one time Ihad B-flat .above middle C, and nowI have B natural. Singing intervalsfrom this point, will give the eara set point from which to start.

In the beginning of the last actof "Tristan and Isolde," Wagnerwrote a solo for the English horn.There are many difficult intervalsand skips in this solo, and at re-hearsal I used to practice them.First I thought that I "wuld do it forfun .and then I found that I wasuna'ble to keep the vocal line with·out a "break." This proved to me thenecessity of practicing intervals andskips within my own range.

The training of pitch is a normalthing. Either you can hear a toneor you can't; but most people havea basic tendency to hear music cor-rectly. In many people this tendencyis latent, and could stand develop-ment. Unless you have a good nat-lUal ear why struggle with the prob-lem of trying to learn to sing? Itis like trying to sing when youhaven't a natural voice.

The study of any stringed jnstru-ment is wonderful training for theear. The sound is already made onthe piano; hut on the violin you ~laveto create the tone yourself. LIsten

(Continued on Page 58)

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07

HEAR YOURSELF AS OTHERS HEAR YOU

(Continued from Page 57)

to the violinist-how he phrases, concept of what he wants to achi~ve.how he plays intervals, his intona- Replay the tones, judge your smg-tion, and how he plays the melodic ing and if it is not what you want,line. If you want to be a singer", and you can erase the tape, and. startit is at all possible, take up the study over again. Listen to the qua lity ofof the violin. It is the finest thing I the tone the melodic line, and howknow of for ear training. Music ap- you have phrased the music. If itpreciation and listening are good ear does not sound good, or if it is nottraining; but the actual doing of it artistic, do it again and again. Itmakes the contact, and makes one gives the singer a chance to festconcentrate more. Suppose a singer physically while his mental. proc-were eventually to become a com- esses are still engaged. You will findposer. He would be lost if he had not that a few minutes rest for the vocalstudied the theory of music, and ear cords will add to their efficiency. Itraining. was amazed to hear my voice come

In the past there have been great hack to me the same way that I hadsingers who were without all of this sunz into the recorder.training; but our standards have Train your ear and your voice un-increased. Today, an artist is a pub- til it expresses your wishes andlie figure in his community, and to moods. Become vocally conscious ofbe equipped for all occasions, he your feelings, and notice how themust have all kinds of knowledge. opera, concert, radio, and movie

I have found the use of a tape re- stars handle their voices. Each fieldcorder valuable, and I have learned has its own specific technic. andhow to listen to it. It will not help problems; but the stars all haveyou merely to record your voice un- vigor, and expression, and rise andless you take the time to analyze, fall in their voices. For success inand criticize your own mistakes. their chosen fields, they must singA-gain, one has to have a mental on pitch. THE END

-BOSTON UNIVERSITY

SUMMER TERM

groups of instruments can best belearned and absorbed through theactual contact with these means. Acomposer who has the privilege ofcontact with a functioning collegeor high school band and orchestrawould be experiencing more restric-tions than possibilities; but the re-strictions are important in develop-ing a rooted fundamental practical-ity. He should have access to themechanics of performance, in orderto know the mechanics of projectinghis ideas.

It was actual contact with the or-chestra that gave me a foundationfor my orchestration. Conductingand arranging for radio, in a sense,served as my workshop. It also de-manded elements that are importantin school music: clarity and direct-ness in projecting musical ideas.

I would like to see a plan organ-ized whereby composers would bekept in residence in as many schoolsand colleges throughout the countryas could possibly sponsor such aproject. Along with their largerworks, these composers would writea certain number of compositionsdirected toward the needs of theseinstitutions. These could compriseband and orchestra works of varyingkinds, pageants, operettas, marchesfor the football team, and choralworks for the glee clubs. Composerattendance, if only as observers,should be invited. ~Composers, ontheir part, should 'be eager to revie~school band and orchestra rehear-sals. This is the only way that they

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58

will have the opportunity to dis-cover the negative as well as thepositive qualities of our music educa-tional system, and the way it func-tions in the schools today.

A composer who is honest in hisapproach to. school music will findout that once he has established him-self as a factor in this field, he candevelop and formulate certain sub-tleties. As an example, not too longago, I wrote a work for band entitled"Ballad for Band." This compositionrequires a greatly developed sense ofcontrol and subtlety of phrasingfrom the wood wind and brass sec-tions. There are a lot of resonancesthat require impeccable intonationand the opposite of the usual tonaiqualities associated with bands. Afew years back a work posing thesecomplexities would have met withopposition. The usability of thiswork, whe.n compared to some of my~o~e obvIOUS compositions, is stilJlImIted, but there is a surprisingnumber of school organizations whohave ta.ckled the "Ballad" jf only be.ca~se It sets certain musical goalswhIch when achieved, are applica.ble ~o many r,nore advanced kinds ofmUSIC. Here IS a case where a workf~rces the players to develop tech_n?~al and musical control, and sensi.tIVlty. Equally ~s important, it putsthe .conduct?~ III a position of be-~~mmg senSItIve to these same qual.It~es, as he must develop a stick tech-llIq~e wh!ch will enable him toprOject thiS coloration.

(Continued on Page 59)

MANHATTAN SCHOOLOF MUSIC

Janet D. Schenck. DirectorSUMMER SESSION

June 9 to August I, 1952Darrell Peter, Director

238 East 105 Street, N. Y. C., N. Y.

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ETUDE-JIAY 19j2

'f

NEW FIELDS FOR THE COMPOSER

(Continued from ·Page 58)

Notehowever, that any problem at-. I passages must be the result oflca '" .

, lear creative expreSSIOn, rather~ha~lthe result of a confused idea

technique on the part of the com-or . h dposer. This of course us ar. todescribein words. One o~ t~le dl£?--cultiesof music is that It IS. validuntoitself, and it is always difficultI trv to prove through words, a~rece'ptthat has truth only in sound.] Taking these indefinables for"ranted there are certain complica-tions1I;at the composer must avoidwhenhe is writing a piece for wides-hool usage. (1) Extreme range ofinstruments must be bypassed asmuch as possible. For instance, acontinuoushigh range of playing onan instrument will tire the averagevoungplayer very quickly. (2) Ifthe composer wants as wide an ac-ceplance as possible, there shouldhe in his works a combination ofrhl'thmic, harmonic, and melodicmovement-as against 11 static, cere-bral.andtheoretically interesting butdullkind of writing. (3) Contrapun-tal lines should not become too in-volvedor diffuse. It is important torememberthat a good part of theas-emulage of a school ensembleconsists of players who are firstlearning their instruments. There-lore, secondary voices, and insidevoicesin the harmony, have a tend.-encyto be on the weak side, andnot'too&pendable for handling solopassages.This would apply to bothhandand orchestra compositions.

Agoodexample of how composersmighthelp to stimulate and nurturemusicas a living art might be sightedat this point. for some time pastthere has been a dearth of goodSiringplayers throughout the coun-try,Manyschools and conservatorieshave found it difficult to maintainanorchestra because of the difficultyof findingyoung string players whohad real ability as performers. Anumberof articles have been writtenabout this situation by critics, edu-cators,and conductors. who feel thatthis present lack will' endanger thefuture of our orchestral ensembles.

For many different reasons wood\I'ind and brass instruments haveheen stressed in the schools. Onereasonis the wide usage of the sym·phonichand. It not only serves thepurpose of playing concerts; butwhat is equally important. it lendscolor and inspiration to footballgames,other athletic activities, andgeneral school functions. Also. theglamourheroes of our present' daypopular music have been wind andbrass players. The most obvious areBenny Goodman. Artie Shaw, andHarry James, without naminer anyof the exponents of the latest i~ jazzrhythms.

We also know that the majorityof Our popular music is scored interms of bra1's and reed combina-

ETUDE_MAY 1952

b

tions. Therefore, we find the stringrepertoire lacking in enough suitablematerial to stimulate young peopleto want to play a stringed instru-ment. The composer should try tocreate utility works that will com-bine interest with good taste, andthat would hel p fill this particulargap in the school music field. Inother words, a composer has a revsponsibility to the soil that nourisheshis art, and that soil is music inall of its phases, not the least ofwhich are the young performers andfuture listeners.

Composing music for the schoolsand colleges is one of the few fieldsthat will bring the composer a fairfinancial return. This is a- most im-portant Iactor, since creative artistshave landlords and stomachs in com-mon with other people. It. is hardto realize the cold fact that musicwritten for a professional symphonyand orchestra performance (the so-called "serious music"). does notbring a financial return. On the con-trary, either the writer or the pub-lisher has to invest large sums ofmoney to have the orchestral partscopied, duplicate scores made, andmaterial made available for per-formance.

The influential contemporary Eu-ropean composer has contributed interms of his own culture, functionaland educational music, and our na-tive composers can also conquerthis vast field. It is true that {or everygood composition, you will find anumber of mediocre works; but bothare part of the whole.

Music has become a highly spe-cialized system in tlte country andthe professional musician has atendency to lose sight of the jmpor-tance of the amateur, or non.profes-sional. Music is written to be heard,and listeners are on a whole non·pro-fessionals. For every professionalperformer, there are thousands ofamateurs who play for their ownpleasure, because music is their wayof life.

A large segment of these partici-pants are in our schools. They playin bands, orchestras. and sing inchoruses. Some of these students willbecome professionals; but the greatmajority will remain non-profes.sional. They form the foundation ofour musically sensitized audiences ofthe futw·e. As young people in ourschools, taking part in musical per-formances of various kinds, they con-stitute a very vit.a] part of our mu-sjcal activity. They are literallyconsumers of music.

Both educators and composersmust feel the responsibility of con-tributing to the growth of the wou-derful musical possibilities that wehave in this country in terms of ouryoung people, for the bettermentand growth of our music as a potentart. THE END

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Eighteen J. S.Bach

(Continued from Page 22)

Edited by ALFRED RIEMENSCHNEIDER

o ne of the outstanding B"ch exponents of "IItimes has edited [or Organ this authoritative andmasterful presentation of the Eighteen Large ChoralePreludes. With consummate scholarship and thoroughmusicianship, Mr. Riemenschneider has prepareda volume which every church organist and studentof the organ will definitely want for his library. Inaddition lO soh-ing problems of pedaling and fingering,he has suggested interpretations, and given tempoindications as they appear in the standard editions ofthis work. 433-4IOOb $3.00

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CONCERTO GROSSO #8by Arcangelo Corelli

WEDDING MUSIC FOR ORGAN with Hammond RegistrationCompiled and edited by George Walter Anthony

This collection has been edited for the convenience of organists sothat they will have at their disposal the most frequently used selectionsof wedding music. The pieces are of medium difficult)'. Included arethe two wedding marches, by 'Vaguer and Mendelssohn; "0 PromiseMe" by Reginald DeKoven (with text); "At Dawning" by Cadman; "ADream" by Bartlett; "I Love You" by Grieg; and "The Sweetest StoryEver Told" by Stults.List Price $1.00 Advance of Publication Price $.80

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Christmas ConcertoTranscribed for Organ by

Giuseppi MoschetliCorelli's inspiring Christmas concerto is perhaps one of the mostbeau.tiful examples of the concertan te style. This prCSCnLedition is thefruit of ten years' thought and work and in transcribing it every ellonhas been made to remain within the purc spirit of Corclli's originalconception. Effectively transcribed it is superb for organ recital.list Price $1.00 Advance of Publication Price$,80

Cat. No.433-41007

CHRISTMAS IN MEXICO Arranged by Marie Westervelt English lyrics and illustrations by lane FlaryThis unique book presents twelve easy-to-play arrangements of traditional songs used ill the Christmas cclebrndon in Mexico.It is delightful material for a pageant or recital in schools and clubs as well as being appealing and practical for individual pianoinstruction. Clever illustrations show the typical costumes of the people and add to its attractiveness.list Price $.85 Final Advance of Publication Price $.70 Cat. No, 430-41012

AMERICAN TRAVELER Arranged by Marie Westervelt Illustrations by lane FlaryAn unusual and clever collection of piano solos with words for the young pianist of grade two or grade three level. With delightfulillustrations as well as good musical arrangements this book combines a series of unrelated Folk Songs and Ballads with theearly modes of travel such as the horse and buggy, steamboat, bicycle and canal boats.list Price $.85 Final Advance of Publication Price $.70

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MUSIC ORIENTATION by Clel SilveyWith an excellent foreword by Dr. Claude Rosenberry, Supervisor of Music for the State of Pennsylvania, this bock.Is {ortheperson interested in gaining an appreciation of music. It is mainly directed to this appreciation and imcrcsr through melodicappeal. Divided into three main parts, the first section is devoted to popular songs, the second to folk songs and their regionalorigins, and the third to the classics.

Mr. Silvey believes that true appreciation comes through listening to melodies and discussing their quality and form. For thosetaking courses in music appreciation and for those studying on their own, this is a very worthwhile guide to a true enjoyment ofmelodic music!I II

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EASY GERMAN CLASSIC SONGS Compiled and edited by Walter GoldeEnglish translations by Constance Wardle

Songs from the pens of the greatest German lieder composers-Schubert, Schumann, Beethoven, Mendelssohn and others. Eachissuitable for study material, for recital and concert performance. This collection will have great value for the )Ollllgcr singer. Hereare songs of great beauty presented in their original form.List Price $1.50 Final Advance of Publication Price $1.20 Cot. No. 431-41002I'

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WHOO'S WHOO?A. Louis Scarmolin

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THREE MOUNTAIN BALLADS front "Carnten"(N Georges Bizet 131.40014 50ew reprint edition with th,·ce Iana \ E texts. The original French, Ital11( a new nglish translation.)

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~I 60h, _ ETUDE-MAY 1952

9

Igor Stravinsky's new opera,"The Rake's Progress," will be pre-sentedduring the 1952-53 season ofh Metropoli"tanOpera Company. Itted· dwill be the first new pro ucnon un erthe management of Rudolf Bing. Ithad its world premiere last Septem-ber in Venice with the composerconducting.Names of the cast haveot yet been announced, but it is:nderstood the conductor will beFritz Reiner.

Alexander Hilsberg, former con-cert master and assistant conductorof the Philadelphia Orchestra, hasbeen appointed conductor of theNew Orleans Symphony Orchestra.jlr. Hilsberg has been much in de-mandas a guest conductor of variousmajor orchestras and it was follow-ing a successful appearance withthe New Orleans group that he wasoffered the position as permanentconductor.

The Junger Maennerchor ofPhiladelphia celebrated its 100thanniversaryon February 22 with agala concert in which the famousMetropolitanOpera soprano, EleanorSteber, appeared as guest artist.The veteran conductor, LeopoldSyre, now in his 25th year as theclub's leader, directed the chorusof 100 and a symphony orchestrain a highly-diversified program.

/ascha Hei/etz, noted violinist,haspresented to the Library of Con-gress a collection of autographedmusical scores, letters, and earlyeditions of musical compositions.It is Heifetz's wish that they bemadeavailable for use by scholarsand exhibited as much as possibleto the public: Included in the manu-scripts are Sir William Walton'sViolin Concerto and Louis Cruen-berg's Violin Concerto, both workscommissionedby the famous violinist.

~asEhaHeifetz shows Dr. Luther. ·vans, Librarian of Congress

som fh 'leo t e manuscripts and let.Cers presented to the Library ofongress.

ETUDE_MAY 1952

TJ:IE WORLD OF

Pablo Casals will direct the thirdannual music festival at PrudesFrance June 15-2·9. The progra~this year will be confined to cham.ber music.

George F. McKay's new sym-phony had a most successful pre.mlere in February when it wasperformed by the Seattle Sym phonyOrchestra.

Granville English, well-knownAmerican composer, has won thecash prize of $100 and a Certificateof Award for the best Male Choruscomposition in the annual contestof the Mendelssohn Glee Club ofNew York City. The winning chorus,Law, 1f7est 0/ th.e Pecos, was givenits premiere at the spring concertor the Glee Club in April.

Boris Koutaen'e new concerto forViolin and Orchestra was given itsworld premiere on February 22 bythe Philadelphia Orchestra con-ducted by Eugene Ormandy, withthe composer's own daughter, NadiaKoutzen, as the soloist. Koutzen, nowhead of the violin department ofthe Philadelphia' Conservatory andat Vassar College, is a former mem-ber of the Philadelphia Orchestra.Miss Koutzen, a talented violinistin her own right, had a most success-ful New York debut last October.

The Berkshire Music Center atTanglewood, Lenox, Mass., will openits tenth season on June 30 and con-tinue for six weeks. Maintained bythe Boston Symphony Orchestra, thefaculty is made up largely of mem-bers of the orchestra, with the ad-dition this summer of Aaron Cop-land, Leonard Bernstein, WilliamKroll, Hugh Ross, and Boris Coldov-sky.

Nicolas Slonimsky conducted, onFebruary 6 and 7, the Louisville Or-chestra in a program exclusively de-voted to 20th century music, glorify-ing modern inventions; the movingpictures in Schoenberg's "Accom-paniment to a Onema Scene;" thephonograph in "4 Minutes and 20Seconds" by Roy Harris; the modernlocomotive in Honegger's "Pacific231'" the airplane in Gardnel' Read's"Ni~ht Flight," and atomic fissionin Varese's "Ionization" scored forpercussion instruments and .tw.osirens. On the same program, VIrgilThomson conducted the world pre-miere of his "Five Poems AfterWilliam Blake," with Mack Harrell,as soloist.

The Music Educators NationalConference held its biennial con-vention in Philadelphia March 21-26.Meeting at the same time were vari-ous affiliated groups active in themusic educational field. The five daysand evenings were crowded withdiscussions, lectures, demonstrations,and concerts. Some of the outstand-ing school and college musical organ-izations from various parts of theUnited States were present andgave concerts demonstrating the highstandard of work being done in thisfield. The committee in charge ofarrangements was headed by Mar-guerite V. Hood, president of theMENC. Among the outstandingmusical events were the openingnight concert by the WestminsterChoir and the University of MichiganBand, the concert by the combinedorchestra of the Diocesan Girls' HighSchool of Philadelphia, directed byDr. J eno Donath, and the concertby the All-City Junior String Quartetfrom the public schools of Detroit,Michigan. A dramatic highlight ofthe convention was the appearanceof Dr. Frances Elliott Clark, whoat 92 years of age is the only livingfounder of the MENC. She was theprincipal speaker at one of the earlymorning conferences and her keenintellect and complete mastery ofher subject provided a real thrill forher audience. She was given a well-deserved ovation at the conclusionof her address.

The Violin Teoch-ers Guilll ofNew York City held a most success-ful String Festival and Conventionin that city on March 29, 30, 31. The3-day program was crowded withlectures, demonstrations and con-certs. Louis Persinger is presidentof the Guild.

The University of Te.'tas held itsfirst annual Symposium of Contem-porary American Music on March20·22. The program listed perform-ances of 38 unpublished compositions-11 orchestral, 6 choral scores, and21 chamber music selections. Thepurpose of the symposium is to giveencouragement to the American com-poser. The 38 compositions per-formed were selected from a totalof 112 manuscripts submitted.

lsidor Philipp, the great Frenchmaster of the piano, will play atTown Hall May 10 during a festivalgiven to honor the memory of RaoulLaparra, victim of bombings duringWorld War IL Proceeds from theconcert will be used to erect a monu-ment on his grave, which remainedunmarked.

On this occasion, I. Philipp's in-numerable friends will also paytribute to him, for 1952 marks hisninetieth birthday, and the eightiethanniversary of his public debut inParis.

William R. Smith has been a p-pointed assistant conductor of thePhiladelphia Orchestra, effective atthe beginning of next season. Smith,a graduate of the University ofPenney lvania, has held a number ofconductorial posts in Philadelphia.At present he is assistant conductorof the American Opera Companyin Phi1adelphia.

COltlPETITIONS (For details, write to sponsor listed)

• Seventh annual Ernest Bloch Award. Sponsored by The UnitedTemple Chorus. Composition Contest open to all composers. Prize$150 and publication. Closing date October 15, 1952. UnitedTemple Chorus, Box 18, Hewlett, N. Y.

• Bernard Ravitch Music Foundation, Inc. Contest for two-pianocompositions. Prize of $100. Closing date June 30. Details fromS_M. Blinken, Suite 604, Fort Washington Ave., New York 33, N. Y_

• Capital University Chapel Choir Conductors' Guild annual anthemcompetition. Open to all composers. Contest closes August 31, ]952.Complete rules from Everett Mehrley, Contest Secretary, Mees Con-servatory, Capital University, Columbus 9, Ohio.

• Marian Anderson Scholarships for vocal study. Closing date notannounced. Marian Anderson Scholarship Fund, c/o Miss AlyseAnderson, 762 S. Martin St., Philadelphia 46, Pa.

• Purple Heart Songwriting Awards. Popular, standard or sacredsongs. First prize, $1000; second prize, $500; four prizes of $250 each_Closing date not announced. Order of the Purple Heart, 230 W.54th St., N. Y. C.

• International Competition for Musical Performers, for voice,piano, harpsichord, violin, oboe, saxophone. Prizes in all classifi-cations. Closing date for appJi.cations, J LIly 15, 1952. Secretariat ofthe International Competition for Musical Performers, Geneva Cons.of Music, Geneva, Switzerland.

61

THE HAMMER.FINGERO.R "PERFECT.FINGER"

~"_,._"_"_"_"_<,_"_"_,,_"_"_.,_"_"_"_"_"_"_"_"_"_"_""4j i,. TEACHERS. .• Write for information abo.t the ,, ETUDE TEACHERS' CLUB !"'-"-"-"-"-<>_0_0_"-"-"-"-"1 Addressinquiryfo: ,.

Miss Shirley C. Jefferis, Executive Sec-_retary. ,.

COMPLETECOURSEIN HARMONY I ETUDETEACHERS'CL~B" - ETUDE the musIc magazine I

A SELF INSTRUCTOR" by Joseph A. Hajen I Bryn Mawr, PennsylVClniaFormerly Editor oi MflSkal Theory for ,,_D_"_"_"_"_<>_"_"_-"-"

"The International Musician"

(Continued from Page 9)

exercise with the right and lefthands. Proceed to play all finger andthumb combinations in triplets with-out accent, as follows: CDC; DED;EFE; FGF;-CEC; DFD; EFE;-CFC; DGD;-CGC;-CDE, DEF;EFG;-CDF; DEG;-CEF; DFG;-CDG; CEG; CFG;-CDEF; DE·FG;CDEG;CDFG;CEFG;DEFG;-CDEFG.

The above combinations playedwith slow finger action are the basicrequirement in acquiring a "perfect-finger," strongly advocated by Les-chetizky and practiced daily by someof his most famous pupils.

There should at first be littleenergy exerted il} the actual fingerstroke. Do not, however, play effort-lessly. As the finger becomes moreindependent, the stroke should pro-ceed with intensified energy, amount-ing to some rigidity of the finger-but, imagine a finger of hard, flexiblerubber, not one of the rigidity ofstee1.

In the actual producing of onesingle tone, let the tip of the fingersomewhat slightly sweep the key,thus releasing the key through thisgreatly modified use of the are, orsliding, circular motion at the endof the finger stroke. In this manner,an important cel·tainty is realized.namely, the attainment of a tone ofresonant quality' in place of one.sharp and unsympathetic; commonin general use and due to carelesslytrained fingers which hit the keys.

The particulal' character of anygiven piece, or passage, should de-termine the tempo of the individualfinger stroke. For example, in theplaying of a slow movement by Bee-thoven, one in which the tempo no.tation is adagio, the actual fingerstroke used in playing should beslow. Hence, the tone wm be broad.sonorous, and in character. Whereas.a quick finger stroke a pplied to thesame themes, even when sustainedby the use of the pedal, will spoilthe best of musical intentions. Tryboth ways. The difference in beautyand in fitness, accom plished by theslow finger stroke, is marked. Ex.ceptions occur where the composerhas placed a staccato point over anote or chord to indicate emphasisHowever, the very character of ~slow movement should temper theabruptness of such notation. The ef.fect should not be so sharp as th'.. esame notatlOn 1U a pIece of liveliercharacter might require,

In the first stages of practicinga .new piece, choose a tempo whichWIll allow for certain weaknessePlay only so fast as your abi}jt~to hold the same tempo throughoutcan be guaranteed. Slow, measureby ~easure listening, carried throughpatIently f.rom t~e beginning to theend of a pIece wIll bring the student

To comply witb many requests for" f,;elf·ln·str\l~tor II KEl" has been IIoded to this cOurse to"lirnll,ate> tbe need of a teaCher. B,' ehed..,n", thework done On tbe exercises with 'the completedwork in the key. the sam" benefits as tbo~e ob-tained In mdivldual instruction will be deth·.,d.

torsl~"~\"~lll~:n?~~to';~b!,:r\'Vrif:?o~·~~,~TISm;~~money back gua.,."lee.

PLAY MODERN PIANO BY MAIL30 LESSONS - $2

Sensational, new chord detector indi-cates over 150 chords ot 0 glonce .

Included Absolutely Free!

KARL BERRYJOSEPH A. HAGEN70 Webster Avenue. Paterson. N. J. P. O. Box 2363, Solt loke City, Utah

WHERE SHAll I GO TO STUDY?

PRIVATE TEACHERS [New Yo" Cay) I MME. GIOVANNA VIOLA, IHULL)Dramatic Soprano

Teacher of Singing~"Bel Canto"Experienced European trained Artist

Coaching Opera, Concert and RadioCorrect voice production, defective singingcorrected.

Beginners acceptedPhone: Trafolaar 7-8230Mon., Tues. Wed., Thur$.608 West End Ave. New YOrkCity

HELEN ANDERSON

ISABEL HUTCHESON

Concert PianistInteresting course-piano, harmony

Many Successful Pupils16&W. nnd St.. N. Y. C. Tel. Sc 4-8385

MME. BOXALL BOYD(LeschetizkYl

Pianist- Teacher-Coach-Proqra m BuildingAddress-Steinwoy Hall-Nola 5tudios-113 W. 57th St., New York City. N. Y.

LEOPOlD WOLFSOHNComposer, Pianist and Teacher

Teacher of Aron Copland, Elie Siegmeisterand many artists and teochers.

BEGINNING TO ARTISTIC FINISHHotel Ansonia, B'way at nrd St., New York Cif'{EDWIN HUGHES

SUMMER MASTER CLASS FORPIANISTS AND TEACHERSJULY 7-AUGUST 16

For full information address Secretary338 West 89th Street, New York, N. Y.

ALFRED JACOBSTeacher Violin & Viola Coach

Highlv Recommended byWm. Primrose, Otto Klemperer & Mishel Piastro

Cornegie Hal! Coli CLoverdale 6-3701Write to 7510-18th Ave., Brooklyn 14, N. Y.

Method Leimer-Giesekingfor beginners & advanced studentsVEliZAR GODJEVATZ

Pupil of Karl Leimer(teacher of Gieseking)

Box #131 New York 19. N. Y.P.O.PRIVATE TEACHERS (W"t",)

(FRANK] (ERNESTO)

LA FORGE-BERUMEN STUDIOSVoice-Piano

I\mong those w~o hove studied with Mr. LaForge ':Ire: Marlon Anderson, lawrence Tib-bett, Richard Crooh, and Mme. Matlenauer.

1040Park Ave.• New YorkTel. Atwater 9-7470

EVANGElINE LEHMANMus. Doc.

Teacher of VoiceSingers prepared for public recitols

Special traininq for choir ortd choral directorsStudio address: 167 Elmhurst Ave.

Detroit 3, MichiganTelephone: Townsend 5·8413

EDWARD E. TREUMANNConcert Pianist-Artist-Teacher

Recon:mended by Emil Von Sauer, Mort;': Mosz·kowskt and Joseph Hofmann.Studio, Carnegie Hall, Suite 837. 57th St. at7th Ave.. New York City Tel. Columbus 5-4357 HAROLD HURLBUT

Singers who have studied with him includeNADINE CONNER- HOWARD KEEL

and others of Metropolitan Opera-San Frart-cisco, St. Lauis ?nd Havana Operas,· Holly-wood Bowl-Radio, Stage, Screen, Television

Address: 2150 N. Beochwood Dr.Hollywood, Calif. Tel. GL 1056

WILLIAM FICHANDLERPianist, Composer, Teacher

3!4 West 75th St., New York Su·7·3775Recent Compositions published by

G. Schirmer. Inc.

CHARLES LAGOURGUE O. I. 0VOICE PRODUCTION-SINGING

for information:35 W. 57th St., New York

EDNA GUNNAR PETERSONConcert Pianist-Artist Teacher

17447Castellammare Pacific Palisades. Calif.DU. 3-2597

RICHARD McCLANAHANM9tthay exponent, formerly his representative.Private Lessons. Teachers Courses. Seminars-Summer closs-Southwest Harbor, Me.

801 Steinway Bldg. N.Y.C(Tues.-Fri.) CI. 6-8950, othe~ days, kl. 9-8034

Refresher Cour$e for Piano Teachers:Modern Piano Technic:Cooch ing Concert Pianists:Group Work: For further information address:

Studio 202,1005112 Elm St., Dallas, TexasAugust in New YorkCRYSTAL WATERS

Teacher of singing.Popular songs and Classics.T.V.-Radio~Stage-Conce rt,

405 East 54th St. New York 22. N. Y.SAN FRANCISCO CONSERVA-

TORY OF MUSIC, INC.3435 Sacramento Street Walnut 1·3496

Bachelor of Music Degree Opera DeportmentArtists Diploma Pedagogy Certificate

Approved for veteransChildren's Saturday morrting Classes.

CAROL ROBINSONConcert Pianist-Artist Teacher

'105 East 54th St. New York 22 N. Y.Plaza 5·5123 .

l_62 _

closer to a successful final perform.ance than hours of erratic wander.ings full of inaccuracies and irregu.larities of tempo, which amount onlyto the perfecting of mistakes. Plavalways with perfect evenness, ob.serving the metrical pattern withprecision. Later you can safely makevariations of rubato-but always withmetronomic background. One shouldnever make the same careless mis.takes twice. "Think twice, and playonce." Inaccuracies in evenness andclarity of execution are usually dueto unwillingness on the part of thelearner to practice slowly. Practicingslowly docs not mean practicing me.chanically. On the contrary, oneshould always practice musically.One's repertoire can, in this manner.be successfully retained, Even thedaily slow playing through of oneor two recital pi ces will keep one'srepertoire in lively readiness for fu·ture performsn e. "Practicing should.be always creative," aid ArturSchnabel.

In this manner of slow practice.passages bee me articulate and clear.from every standpoint. Gradually thetempo can be increased, and cerlaHlweak places improved by applicallonand attention to the specific han-dling of lhet"'e weaknesses. Improvisean exercise with the same notes.just where the weakness occurs. If.for instance, the fourth and the fifthfingers included in the playing ofa difficult passage, are not synchro-nous in tone volume and evennesswith the other sections of the pas·sage in hand. practice a slow. eventrill counted in triplets (without ac·cent) made up of the same notesand in the same register of the key·board. or just where the weaknessin the passage lies. One gains gen·erally in the even playing of pas·sages by practicing such exercises.made up of excerpts taken from anygiven passage in the piece at hand.If the passing under of the thumbis the difficulty. compose a shortexercise including tbis passing under-always just where the weaknessOCCUrs.

Much time can be wasted on thedaily repetition of sections of a piecealready mastered. Arduous repeti.tion of the musical substance of apiece can steal all freshness fromit; hence the desire to pass quicklyfrom one piece to another before oneentire piece is mastered both techni·cally and musically. As the fingersgrow stronger by the daily use ofthe hammer-finger etercise, less andstill time need be spent on weak·nesses occurring in the difficult pas·sages of a piece.

A certain method of practicingquick passages by addition wiU 8S-

certain complete freedom in the finalexecution of them. Begin with two

ETUDE-MAY 1952

I yed consecutively, a tempo.notespa . I I I

thar is satIsfied t iat tne p ay-

Ifee . J. f the tWOnotes rs perfect y even,In""0 J. Iadd anothernote, thus p aymg t iree

uccessfully in the same man-noless ffortv iner Pauseafter each e ort, mcreas-. . the length to four notes-thenJ~ • h .to"five-tosix, etc" until t e entire

." ge is completed. There shouldpassabeno relaxing of tempo no matter

I many notes are added afterlOW •eachpause. If weak sections occur, the longer phrases, take them out~nthe form of short 'exercises, andill k .practicethem until the wea ' secttousre brought up to the volume of

a . dtoneand to the evenness requireforthe entire passage. In this laststepof quick practicing by addition,detailed,or individual finger con-Eciousnessis forgotten. Each groupof notes, short or long, instead ofindividualnotes is conceived men-tally at once before playing. Onenowthinksand plays in curves, how-everslight, however prodigious. Iti5 through the development of this

particular skill that the finzer isignored, the 'successful fulfillm'='ent ofwhich depends upon the lightnessof the arm. At this point of effortlessplaying, the infinitude of virtuositybegins. It was in this particular artof great, but easeful pianism thatArtur Schnabel excelled.

To the writer's undertsandinc ofa cosmic approach to the key beard,the player of great piano works, ac-cording to the laws of motion, com-bined with lightness and freedomfrom body stiffness, should be ableto suspend tonal effects as Ny-jinski seemed to suspend his bodyin the air through the medium ofthe dance. A great pianist should beable to disport the intricacies ofdifficult octave and chord passagesoccurring in any great piano work,without laborious effort 01' fatigue-to the ear, completely musical andaccurate-to the eye, natural andcomely. With George Eliot one mightsay: "Tis God gives skill, but notwithout man's hands." THE END

THAT NEW YORK DEBUT RECITAL

(Continued from Page 13)

examinedat no cost, but they alsoprovideanother most valuable serv-ice,For a moderate fee they willmakephotostatic copies of musicnol available in the open marketandnot protected by copyright.

A sound trend in the music lifeoftodaybids our man pay attentionto works by contemporary com-posers.

In performing these compositionshe will not only contribute towardhelping a good, perhaps a greatworkon its way to publication androcognition,but he will add con·siderableprestige to his concert.

Oncethe program stands and thehero of our story has chosen theprintingmaterial he and his pocket.booklike best, he really should con·centrateon practicing his selectionsandliving with them until they arepart of himself. Of course, he can·not afford to neglect his technicalproficiency.At the date of his con.certhe is expected to give the bestperformance possible. It is' there·~ore,imperative that he k~ep' polish.I~gand improving the purely tech.llicalaspects of his artistic condition.-That is, if he can manage to t~kee.noug~time out from his preoccupa.tlonWithselling tickets and "fillingthe house."

Unfortunately,you see, our friend'snamealone will, as a rule, not yetfill a New York auditorium. It ison~of the objects of his debut tog:m, a reputation that will do just

dt.at In the future. Following extraor.mary .

D' reViews of his New York'hut he h ., opes to attract a major

~anagement, which may book himmt~ full concert halls across thenahon In th ., e meantIme, he needs

ETUDE_MAY 1952

itn

a proper setting for his New Yorkconcert. To achjeve that, and, per~haps to recover a small part of hisexpenses, he is forced to embark onan intense campaign to mobilize anaudience. With the help of familyand management, his friends, theirfriends, and anyone rash enough tohave expressed approval of his artat any time are subjected to merci~less pressure, announcements, phonecalls, letters, etc. The reader hardlycan have escaped the outlined pro-cedure at one time or another.

D-Day is approaching npidly.-The ads have appeared, Our aaist'sphotograph has graced several news-papers; leaflets showing his programand likeness clutter the propershelves on 57th Street and in themusic stores. He has performed andtested his program before invitedaudiences, and is now relatively freeof worry ... _

The last note of the last encorehas sounded, the applause has dieddown. Several hundred enthusiastichands have been shaken, and thefinal agony is here. His tired mindis haunted by memories of recitals,when the applause and the lines ofcongratulating fans had proven quitemisleading by the time the negativereviews had finally appeared. Oh,when will those papers come out?

Then, there is the pink haze ofthe morning after. When the head·lines are right, the criticisms favor·able, when the telephone does notstop ringing and everybody "reallyhad known it all along"; why, thenaU anxiety and worry just neverseem to have existed at all. The onlyreality that matters, is: "He hasmade it!" THE· END

\ -

~j: PIANO TEACHERSThis is your invitation to attond the INTERNATiONALPIANO TEACH-ERS ASSOCIATION 1952 National Convention at the Hetel starter.

Washington. D. C.. July 7, 8, 9, 10. cenventtcn will feature four dayTeacher Training Course, National Student Piano Playing E~aminations.and many other events. For ecmurete information and catalog of over 65I.P.T.A. 'teaeher Aids write

ROBERT WHITFORD, Founder.President204 N.E: 31st St., Miami ]7, Fla.

THE SCHOOL OF PIANOFORTE TECHNOLOGYDr. William Braid White

Endorsed and approvedlFourteenth year}

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Offers a 6,monfhs course in piano tuning and technology, training men and women for thisundermanned field, where demand exceeds supply.Write for free informotion to

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63

ACCORDIONISTS! - Teachers!For the finest in accordion music (allgrado5), write hday ter our free eata-log whj~h lists over 1,000 enmaesr-tions arranged especially for accordion.

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64

DISC.JOCKEYS AND AMERICAN MUSIC

(Continued from Page 15)

them, you stand a much betterchance than you would with a com-pletely unknown name.The easiest part of a disc-jockey's

job is his complete freedom from mu-sical worries. His material is there,proven, perfect. He need neverwatch out for the intonation of hisstrinas or the state of his trumpetJ)lay;r'~ lips. The hardest part ofhis job is the fact that. it takes a10110" time for him to assert lurnself.Except for rabid record fans, theaverage radio listener hardly eversets out deliberately to tune in arecord program-the first time. \Vhatseems 1.0 happen is that many aver-age listeners get a bit tired of theirregular radio fare (especially dur-ing the daytime hours), and turn tomusic as an escape or an experi-ment. People fiddle around with thedials in search of something new;housewives. busy at. work, try a re-lief from soap operas. Maybe thefirst time they tune in a record show,they do so by sheer accident. Thebusiness 01 the disc-jockey, then,is to make that. first chance taste soattractive that the listener will comeagain.What, then. makes a record show

attractive? That's almost an impos-sible thing 10 say! The first trick,perhaps, is to aim at some special-ized type of nudience-e-that is tosay, if you want t.o build up a fol-lowing among people who like theclassics, don't spread yourself allaround the musical scene wit.hmarches. jazz, 01' hop. Then, withinthe legitimate limits of yom chosenfield, try for Yariety.The recorded program with which

I was associated was a bit differentfrom the usual disc·jockey show inthat it had nothing of the chanceelement. We had an hour of time,every day, and that hOLlI' was dividedinto fifteen-minute periods. The wholething was carefully worked out, ac-cording to play; the program wasbuilt. for yariety and climax; and wespent bet.ween lour and five hoursevery day rehearsing for to-morrow.We had a regular production sched-ule, with the most careful timing. Idon't for a moment sllgge"t. that thisis the 'Nay to set up a disc-jockeyshow-many enormous successes inthe field are deliberately plannedalong different lines. with no particu-lar timing Oil the records and plentyof scope for ad·libbing. We had towork OllI' show as we did becauseof advertising commitments. Sinceit was a product.ion show. we builtboth for variety and climax. No twoshows were ever the same in plan,but I can give you an example ofwhat I mean by planning of thiskind. Let's say we wanted a brightopen ing; well, for that we might useone or more Bing Crosby records. Tointroduce variety into the next fif-teen minntes of the program, we

might switch to an album of old-time favorites. (And here let mepause a moment to comment on thevitality of come-backs shown by old-time hits like Strawberry Blonde, IWonder /Pho's Kissing Her Now, etc.One reason for this is that radio,juke-boxes, and the like, use up tunes0:0 much faster than new ones areproduced that we have to fall backon old ones. Another reason may bethat our nme-srniths are not writingwith the same appeal.) The thirdfifteen-minute period might be de-voted to the foul' most popular rec-ords of the current week; and theclimax might come (always at theend) with either a prediction of whatthe next week's favorites would be.or with a big production-number likean "Oklahoma!" album. This, ofcourse, is just a sample. The mainthing is to use the variety and towork lip to a climax at the end.There are, of course. endless ways

of introducing variety and climaxinto a program of records; and[or that very reason, the disc-jockeyshould have the widest possibleknowledge of styles, types. and exist-ing recordings. And out of thisknowledge he displays his goodnessor badness of taste. My observationsincline me to believe that t.he bet-t.er the taste, the better the program!The disc-jockey doesn't need to prac-tice an instrument, certainly; but ifhe isn't well fortified with a solidmusical background (to which heconstantly keeps adding), his chancesof success will turn out to be as thinas his taste!The talking part of a disc-jockey

program is as important as the mu·sical part. It is rather difficult. to sayjust what is going t.o prove popularhere; there's a chance for prettymuch any type or style of patter, solong as it is sincere. friendly, andreflective of goodwil1. Some of theboys 'razz' each other, I know; buteven the razzing is in a spirit of funrather t.han of critical sourness.Barry Gray is a great one to poke funat players and singers, but it is al.ways done in a spirit of fun. No onelikes to listen to edged bitterness,even if it seems humorous. Somedisc-jockeys lntroduce man-and-wifepalter; some invite their listeners tosend in requests for music they wantto hear; some -use the comedy line.All of these styles-and a dozenmore-are legifimate. My only real'hate' is the disc·jockey 'who startsout by playing a record and thenstops to tell his listeners how poora record it is. There's no sense inthat, and no excuse for it-if hethinks the record's a pOor one, heshouldn't play it in the first place!I think that the disc·jockey show

has come to stay, and I'm O"lad ofit; lhe very existence of such""a formof entertainment shows how muchinterested people are in music, how

eager they are to turn to music as arespite from other forms of listeningfun. People are eager to be titillatedby the thrill of the next tune. What.ever it turns out to be, there's thedement of surprise in waiting to seewhat's corning-and if that one isn'ta particular favorite, the next onemay be. Maybe it'll be a popular bal.lad; maybe it'll be followed up by arecord of John McCormack singingthat same ballad thirty years ago.It's all good fun-just the suspenseof waiting for the next number isfun! Maybe that's the secret of thisdisc-jockey popularity. And it showsthe vitality of music. Each disc.jockey has his own style, his Owntaste, his own following-but takena11 together, they point to-----andpoint up-the importance of Amer-ica's music interest. THE END

CAREERS OF SERVICE

(Continued from Page 56)

some days, particularly on Sundays,with a series of services, radio andtelevision commitments, he may singas many as fifteen solos. He sincerelyfeels however, that in spite of manytemptation to lead 500· or 1000·voice choirs, he was not cut out to di-rect massed choirs or lead congre-gational singing, and there he drawsthe line."Rev" advises young people to try

to cultivate friendships with othersinterested in the same musical pur·suits to which they aspire. Oneshould have friends in a number ofdifferent spheres of activity for awell4rounded life, hut a few closeones in your own special field maybe the difference between suece~sand failure over the years.Perhaps a few words should be

said of Shea as a composer. He haswritten a number of sacred songs.but the one for which he is bestknown, as already mentioned, wasI'd Rather Have Jesus Than Any·thing. The words to this now famoHSsong were written back in 1922 hyMrs. Rhea H. Miller. Bev's mot!Ierhad stumbled upon the poem and itmade a profound impression uponher_ She drew it to the attention ofher son, and one afternoon in the late30's, id a flair of inspiration. Bev satdown and composed the music toit. It was the idential music which isn,?w used, and he has never altereda note. That song today has becomethe favorite of milLons. Bev calls ithis "theme song." THE END

ILLUSTRATION CREDITS

13-Bruno

I6--Apex Photograph Co.Il-leo friedman22-Alfredo Valente24-0rren Jacr Turner61-Library of Congress

ETUDE-MAY 1952

PRIH1£D 1M lHE u. S. 0\. 11' THE CUlIiO HESS. I~'·

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To Pick Up and Maintain the Interest of the Student.

Good MaterialTo Give the Student and the Teacherfor Recitals, Pageants and Plays.

--Here are nine individual books, each one pre-senting musical compositions and a story of thechildhood of a famous composer. Their purposeis to create and develop in children a deep andabiding love of music. That is a "tall order" foryoungsters but this is a unique method-and soappealing to the child!First of all, a scene is given from the life of thecomposer and instructions for constructing amodel stage or scene setting. The correlation ofthe selling, the story of the composer, and themusic and compositions truly combine to furnishinterest and variety.The facts and the music to be learned from eachof these little books are not apt to be forgottenvery quickly for the child sees pictures, hears themusic, plays the music and makes settings. Inother words, he uses all of his senses (a greathelp to memorization) and has lots of fun doingit! What beller way to learn!

ComposerJ includ.:

SocII ..... .410-40023

Beelhoven .410-40024

Brohmi .. ,410-41014

Chopin ••. ~10-40025

Hondel .. ,410-40026

Hoydn .. 410-40027

MOlort ... .410-40028

Schubert .. 410-41003

Tichaikowsky

410-40029

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• CHILDHOOD DAYS OFFAMOUS COMPOSERS

Lottie Ellsworth Coitand Ruth Bampton

• CONCERTTRANSCRIPTIONS OF FAVORITE HYMNS

,...cQNClRl"

TlANSCRlP1'Pl'o'S01

f/'.VORI1£HYM"l<'.., ,,, ..

Clarence Kohlmann

The hymns are a never-ending source of enjoy-ment for the player, for the family group and ofcourse for church singing or for the SundaySchool. Here are twenty skilHul arrangementswhich are written in the same original keys foundin hymn books. They are definitely pieces whichshould add a great deal to your library of pianocollections.For the third and fourth grade pianist, Ihe selec-tions include such favorites as "What a FriendWe Have in Jesus," "Onward, Christian Soldiers,""Fling Out the Banner," and "I Love to Tell theStory."~10-40137 .... $ .75

• PIANO SOLO ALBUM-Ralph Federer

For Ihose who are seeking a collection of goodrecreational piano music by a co~petent cc:'m-poser this offers a wealth of interestmg matenal.The twelve pieces offer a variety of tempi andrhythms and range in difficulty from grades 311210 5.The selections are excellent for program materialand Ihe titles will catch the pupil's interest andthe melodious music will hold his aUention.410-40186 ... $1.00

• ONCE-UPON-A-TIME STORIESOF THE GREAT MUSIC MASTERS

Grace Elizabeth RobinsonArranged by

Henry S. Sawyer and Rob Roy Peery

This collection of 36 compositions for the pianooffers an appealing and simply-told little story abouteach of twelve master composers. As the life of thecomposer unfolds a few examples of his pieces aregiven, simply and easily arranged for the youngchild. Here is a wonderful way to present the greatcomposers' lives and music in a fascinating way!The composers covered are:

Beethoven MozartHandel HaydnBach Schubert

41D--40179

MendeluohnChopinSchumann

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• OUR NATIVE AMERICAN AIRSArranged by William Scher and Compiled by Ruth Bampton

These songs are enjoyed by both children and adultsas well as being good examples of our songs as theyprogress through American history. There are twentypieces in all and each one is an "easy-to-play" ar-rangement.The songs are not only appealing but also have apractical use, In connection with American Historythey will tie in very nicely with dramatizations orpageants on such subjects as pioneer life, negro lifeon the plantations, and other phases of Americandevelopment. There are sea chanteys, negro songs,mountain ballads. and cowboy songs such as "Blowthe Man Down," "Git Along, Little Dogies," "Downin the VaHey" and "Go Down Moses." Short anno-tations precede each song. A Ditson Publication.43D--40060 ....... $ .50

• STANFORD KING'S PARTY PIANO BOOK

THEODORE PRESSER CO.,

Here is a collection of "round-the-piano" songs thatare not only fun for all but are very easy to play.Mr. King is known for his charming compositionsand pianistic arrangements, and this is a marvelousassortment of tunes. There are novelty numbers, col-lege and humorous airs, old time ballads, serviceand patriotic songs, favorites from the Gay Nineties,southern and mountain melodies, and a few nostalgicbits.Complete with lyrics, this is the type book to haveat the piano when friends gather round! Fun forall!41 D--41 007 $1.00

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