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

6-1-1951

Volume 69, Number 06 ( June 1951)John Briggs

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Recommended CitationBriggs, John. "Volume 69, Number 06 ( June 1951)." , (1951). https://digitalcommons.gardner-webb.edu/etude/139

Childhood Days ofFamous Composers

A DELIGHTFUL SERIES BY

Lottie Ellsworth Coitand

Ruth BamptonMUSIC-ART-LITERATURE-DRAMA are allcombined in each book based on the childhood of afamous composer. For individual or class instruc-tion-or just for fun!-your students will not onlylove these little pieces but they will also gain under-standing and appreciation of the works of famouscomposers.There are biographies simply written, pictures of thecomposers and scenes from their lives. Easy-to-playpiano pieces (including a duet) have been arrangedso that they retain the essential elements of theoriginal composition. Something to sing, directionsfor constructing a miniature (cardboard) stage andsettings, suggestions for a musical playlet, plus alist of recordings, all have a special interest for chil-dren. Teachers may adapt the many uses of thisbook for children from 5 to 12. Whether in school,camp or at home the young musician will thoroughlyenjoy these books.

Price, subject tochange without notice.

EACH BOOK IS UNIFORM IN SIZEAND IS PRICED AT 40 CENTS.

Order number THE CHILD BACH410-40023 Piano Solos: 0 Saviour Sweet, Musette, Minuet

in G-minor, While Bagpipers Play (from the"Peasant" Cantata). Piano Duet: My Heort Ever

Faithful.

THE CHILD BEETHOVEN410-40024 Piano Solos: A Country Dance, Menuet in G.

Theme (from the Fifth Symphony), The Melro-nome Theme (from Ihe Eighth Symphony),Chorale (from the Ninth Symphony). PianoDuet: Allegretto (from Ihe Seventh Symphony). Piano Solos: Gypsy Rondo, Minuet and An-

dante (from the "Surprise" Symphony), An-dante (from the "Clack" Symphony), BeautyEverywhere (The Emperor's Hymn). Piano Duet:The "Toy" Symphany_

THE CHILD HAYDN410-40027

THE CHILD BRAHMS410-41014 Piano Solos: Favorite Waltz (from Waltz in Ab),

Waltz,lullaby, The little Sandman. Piano Duet:Hungarian Dance No.5.

THE CHILD MOZARTTHE CHILD CHOPIN 410-40028Piano Solos: Nocturne in Eb, Valse in A minor,Prelude, Theme (from the Sallade in Ab Major),"Butterfly" Etude. Piano Duet: Polonaise inA Major ..

Piano Solos: Allegra and Minuet in F (bothcomposed at age six), Minuef (Don Juan),Theme (from the Sonata No. 11 in A maior),Air (from Don Juan), Piano Duet is from No.39 in the workbook, composed at age eight.

410-40025

THE CHILD HANDEL THE CHILD SCHUBERTPiano Solos: Minuet in F, Air (from Rinaldo), 410-41003Hornpipe, The Harmonious Blacksmith, largo(from Xerxes). Piano Duet: Hallelujah Chorus(from The Messiah).

410-40026 Piano Solos: Hark! Harkl the lark, MomentMusical, Theme (from the "Unfinished" Sym-phony). Piano Duel: Military March fromMarche Militoire.

410-40029

THE CHILD TSCHAIKOWSKYPiano Solos: Theme- from the "Allegro" of Ihe "SixthSymphony:' Theme from "Marche Slav," Theme from"June" (Barcarolle), Theme from the Piano ConcerloNo.1. Piano Duet: Troika.

PB-25-51

THEODORE PRESSER CO. BRYN MAWR, PA.

The New York Philhar-monic-Symphony, followingthe conclusion of its regularseason on May 9, played a two-week engagement at the RoxyTheatre in New York. It was areturn engagement for the or-chestra and conductor DimitriMitropoulos after their suc-cessful appearance at the Roxylast September ... Mr. Mitro-poulos will be one of the fourconductors for the LewisohnStadium summer concerts, be-ginning June 28. Other Stadiumconductors are Pierre Mon-teux, Vladimir Golschntannand Alexander Smallens.Paul Hindemith: last month

was guest conductor of theU. S. Army Band in Wash·ington, where his Symphony inB-flat for Band had its firstperformance ... Eugene Or-mandy's new radio series, "AnHour with Ormandy," is thefirst broadcast to have the con-ductor of a major orchestra asits disc jockey. The programconsists of Philadelphia Orches-tra recordings, with commen-tary by Ormandy . . . The~Iarch of Time is planning aseries of ballet programs espe-cially created for television.Alan G. Langenus, for-

merly associated with well-known music publishing firms,has joined the Theodore

Presser Co. as vice-presidentin charge of sales, promotionand educational activities.

The National Associationof Amateur Chamber MusicPlayers wants new members,The non-profit organization hasno dues, and there is no ohliga-tion to members except to playin small ensembles wheneverpossible. Those interested shouldwrite to Miss Helen Rice, sec-retary, NAACMP, IS W. 67thSt., N. Y. C.K, L. M. Royal Dutch Air-

lines this summer offers an all-expense tour of European musicfestivals . . . Rudolf -Serkinand Adolf Busch head themusic faculty at IJ.1arlb"oroCollege, Vermont, this sum-mer . . . The Los AngelesOrchestral Society offers itsfifth annual music festival atthe Universil.y oj Californiathis summer, with Franz Wax·man conducting and StellaRoman, Eugene Conley,Katherine Hilgenberg, JohnFord, Andre Previn andJean Bonacorsi as soloists.

The 13th annual MusicFestival at Strasbourg willtake place this month, Ieatur-ing music of early and modernFrench and Italian composers,Charles Munch will conduct,and the list of soloists will beheaded by Robert Casadesus.

COIUPETITIONS (For details, write to sponsors listed)

• Choir Photo Contest. Open to non-professional choral groups only,First prize, $382.50; nine other prizes. Ends June 30, 1951. Sponsor:Choir Guide, 166 W. 48th St., N. Y. C.• Four-part a cappella anthem. Prize and closing date not announced.Sponsor: Chapel Choir Conductors' Guild, c/o Ellis E. Snyder, MeesConservatory, Capital University, Columbus 9, Ohio.• Rome Prize Fellowships, $3,000 for one year's study in Rome ofclassics and the fine arts. Closing date for 1952-53 scholarships, Jan. 1,1952. American Academy, 101 Park Avenue, N. Y. C.• Fulbright Scholarships for music study abroad, providing trans-portation, tuition and maintenance for one year. Closing date for1952-53 scholarships, Oct. 15, 1951. Institute of International Educa-tion, 2 West 45'th St., N. Y. C.• Gershwin Memorial Contest, IS-minute orchestral work hy an Amer-ican composer under 30. Prize, $1,000. Sponsor: B'nal B'rlth HillelFoundation, 165 W. 46th St., N. Y. C.L ETUDE-JUNE 1951

June wedding coming up in yourfamily? May we join the family councilto make a suggestion?Start the young couple off with abrand-new Wurlirzer Piano. It's a giftthat will make them proud andhappy now-and one they canenjoy throughout the years,It's cas)' to give a Wurl itzer, ForWurlitzer Pianos are made and pricedto give you the biggest piano valueanyone can buy. Wurlitzer putsmore into its pianos-yet sells themfor less-because Wurlitzer is theleader in its field. More people buyWuditzer Pianos than those ofany other name.

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ETUDE the music JIJaya%ifle

PUBLISHED MONTHLY BY THEODOR.E PRESSER CO.; PHILADELPHIA, PA.Editorial and Advertising Offices, Bryn Mawr, Po,

Founded 1883 by THEODORE PRESSER

JOHN BRIGGS, Editor

James Francis Cooke, Editor Emeritus(Editor, 1907.1950)

Dorothy F. Garretson, Managing Editor J. Clees McKray, Music EditorCharles J. Reed, Art Director

Harold Berkley Maurice Dumesnil ElizabethGuy Maier Alexander McCurdy

A. Gest Karl W. GehrkensWilliam D. Revelli

Vol. 69 No.6 CONTENTSFEATURES

THE SIDE OF THE ANGELS . . . . . . . . . . . . . WillilllH clmnmnHOW DO I GET A MANAGER?.. .. .. .. . ,Artftur Jud,ol/HOW TO GET STARTED ON YOUR CAREER AS A PIANO TEACIlER

Florence iU. PorterTEACHERS I HAVE KNOWN........... . . . . . . . . ....•... Henri TemiaukaHOW TO DRESS FOR A CONCERT _ ......•............. Pm.1 E ..gelMAKE THE MOST OF YOUR RECITAL DEBUT! Fra .. ci. D. Per ki .TOO MANY LANGUAGES ........................••.•..... ,Virgil ThomsonTHE GREAT KREISLER HOAX .....................•........ Fritz KreislerEUROPEAN FESTIVALS _ .•.......•..•.•..•.............. _..ASPEN ..........................•........................ Euerell JOlle,ADVENTURES OF THE TRILL _.... . Idft FrancoSTRICTLY FOR THE BIRDS AlbcrteJ M. CollillsMY FAULTS IN PIANO PLAYING ARE THESE 8e 1 K· IITEACH WITH FL .. . . . . . . . . . . .. rllar-( Ir, I Jll/{/II

ASI CARDS EtIH'1 J. M. COlmul

DEPARTItIENTS

LWORLD OF MUSIC _ _ .ETTERS .......•...... . - - .

MUSICAL ODDITIES .......•...•..•.....•......................NEW RECORDS. . ................•..•....•..•.•.... Nicololl Ilmilluky

MUSIC LOVER'S B()OKSHELF' George Gnsco_"lIeLET'S TUNE UP I' - ......••..•..•••• - .. Tlwmoll Faulkner-

WHAT EVERY Yi-ruNe ORGA."NIS·T !;Hoi.iLD· - William D. RerelliADVENTUI!ES OF A PIANO TE KNOW Alexander McCI1r-dyBACH, GAVOTTE-A MASTER L~~~~:············· _ Guy Mal ..ORGAN QUESTIONS Harold Berkley·JUNIOR ETUDE .............................•..... Free/erick 1>lIillifJ'TEACHER'S ROUNDTABLE· . . . . . . . . . . . . . . • . . . . • . . . . . . . E1i,a6.,,, A. GeMQUESTIONS AND ANSWERS' ....•...•.•...•.•....•...... Maur-ice Dume&llil

..................•.•..•.•... Karl W. Cc1lr-kcIIs

ltlUSIC

JUNE 1951

9II

12131<116H18192022516163

I34.672324252652545859

H • D ClaM8if> and Conten,porarll Con,poMUlon".ungarmn ancc. No.7 !o1Jullnell Brahm$ 27 . .

Lilac Time •••••••••••....•..... Don R. George 28 Sonatina In CMajor, Op. I68,No. 3 (Finl Jlo"cmcl1t)Waterfall.. •• ••• • 01. DIE A. Di(lbelti 34-B . ••. • • • . . . . . . • •• Ive ungan 30 mportant ,'cnl from" cenCti {rom Childhood,". omta ...•••.......•....•....... leno Donath 32 ThOP.I5, 0.6 Roherl S hllrllann 35Lullaby ••••••••••••••.•••.•.•• losel Holmann 33 F e AJrkanslis Travelcr (duel) .Arr. byllarl MrDon(lld 36

rere acqucs (duet) .Arr. by Sarah Loui,e Dillenhllr:er 38

1\I • H In.truD,ental and '1'6#'"_'Conrpodtlon(Jornmg )·ron. Op. 46. No.4 ••.•• George Hen,el,e1 40 p. I I (• • .IS oro e orglln) .........•.•.•• Willian! A. Wolf 42

Lasclateml Morire (vocal solo) •• Claudio Monteverde 41 Ga~~tI~, (rom Parlil.ll No. 3 (for naccompaniedIOhn) •........................ J. S. H(lch 43

D. F 1-/@ee8 £or Young 1*lag@rll

anclng awns... L - - ~l\lerril:,..Over Ihe W· ••• Vi . . . . .. a1vren,ce Keating 44 Elfin Horn .-S f R'd' aves eGo .•• Margaret Wigharn 45 I h A 8, .. _ ..•.•..... CD,hermf'! R"lIn I\e)·,or 4(,

ur I mg ••••••••••••• Berniece Ro'e Copeland 46 en I e IUL'~I.n ...•...•.•••• .-•..... John J'errall 4iorpora I lapoP. G.C.M Elliot GriDi. 48

E'ltered ItS second class matter January 16, 1884 at t .PreISer Co., U. S. A. and Great Britain. lnterllation~r ,P;,?" ab',Phlla"J

Pa., un.rJer the All of Alltrcb 3 J,,}ffg ucure. All rIghts reurvrd. ' 1879. Copyright 19JI,., Thlo Oft

L8TTeRST 0 THE

$3.50 a year in U. S. A. and Possessi . l' . •ragua, Panama, Republic of Hond ons. a so In the .Phllippines. Costa Rica C b D ". ..Newfoundland; $4.50 a year in ~lls. Sal~a~or, ~Jlam aJld alt South Americanuc~' nt <?mlnlCan RepublJc .• GuatefOab, Haiti. MC'xico. N10jby return postage. ETUDE assumes no re~oun r.b~j- Itgle copy price: 40 cents. Prin~edr!esUSl:xt 11C' GUla.nas; .$3.:-' a )"C'J.rin C2nada ~~

ponSI J Ity or return of unsolicitcd manuscriplsl~, a.rt:· anuscnpls or art shouJd be accompam

ETUDE-JUNE 1951 J---------------------_. --

i1Singing Can Be Simple"

Sir: It is from a grateful heartthat I send these lines. Mr. Wer-renrath certainly may "hope tohave been kind to some perplexedstudent" when he wrote his ar-ticle, "Singing Can Be Simple"(ETUDE, February '51). AI amost discouraged moment, myeye fell on that wonderful titleon the cover of ETUDE. I was ina local music store, purchasingmusic which had been orderedfor me, with the thought thatsince I had ordered it, I wouldpay for it, tear it up and nevertry to sing another note.Now, due to Mr. Werrenrath's

kindness, I am convinced that Ican express ideas through sing-ing. I treasure the article and amstill studying it gratefully.

(Name withheld)

"Technique and Musicianship"

Sir: I read with much enthu-siasm the article "Technique andMusicianship," by William Kapell(December, 1950). We have hada good many celebrities of thepiano in Sydney, but it would beinteresting to bring out a fewAmericans.

Gladys Irene MulcahySydney, Australia

April Issue

Sir: I am a new subscriber tothe ETUDE, and though I. havenever been one to write in com·ments to magazines, I can't resisttaking time to do it now. Thepostman delivered the April issueabout an hour ago, and I havebeen reading it ever since (dishesstill waiting in the kitchen!).During this hour I have had tolaugh out loud at least a dozentimes, must have had a hundrednew ideas and angles on teachingpiano, had my feet "set on solidfoundation" (musically speak-ing), and in general feel a newlove and enthusiasm for musicand teaching.

Mrs. Lorna MaxwellGlobe, Arizona

"Class Piano Teaching Gets Results"

Sir: I expect to get back intothe profession eventually and I'llrefer to Mrs. Rennick's article on"class work," because I do believe

ETUDE-JUNE 1951

E D· ITO R

that is the best way to teach aver-age children and keep them inter-ested until they learn to play.

lean M. KittrellChicago, Ill.

Sir: "Class Piano Teaching"emphasized a valuable point, thecorning together of friends andfellow students to share theirmusical experiences.

Mrs. Sidney H. VaughtFort Payne, Alabama

Sir: I found the article by Es-ther Rennick fascinating and en-joyable reading material. Beingan elementary teacher I felt Es-ther Rennick had many devicesfor. competition work which Iam sure are appealing to children.

Madeline GuertinPlainville, Conn.

Sir: Thank you so much for theinteresting article by Esther Ren-nick. In small towns it is not easyto attend clinics. or hear lectureson new methods. We have to de-pend on books and magazines.The article is timely, and writtenin an in formal manner that makesinteresting reading.

,Mrs. J. Tom FelkerCordele, Ga.

Sir: Hope you publish anotherarticle by this splendid writer.

Brnce F. HarringtonSan Ant.onio, Texas

Strauss Master Lesson

Sir: After my concert here, ayoung man came backstage witha magazine for me to autograph.It was the February ETUDE,containing my article on Strauss'"Morgen."

Elisabeth SchumannDurban, South Africa

Adult Beginner

Sir: I am an adult beginner inpiano, and find the ETUDE af-fords an enjoyable change ofregular routine practice. I tryall the music of my grade. I mustsay the features in the Aprilissue, "Sing with your Fingers,"and "How to Teach Adult Be-ginners," were very good. I wantto play the Lowrey Organo and(as Mr. Goodbrod put it) "Cleardo Loon" by Dabuzzy.

Mrs. John G. GreviousLouisville, Ky.

MANHATTAN SCHOOLOF MUSIC 33,dYEAR

JANET D. SCHENCK, directorBachelor of Music Degree

Master of Music Degree in Applied Music.Theory. Composition. Musicology. and

MUSICEducationSummer s",.. iort June l'l.Aug. 3

Fall session 0P'lRS Sept. 27238 East 105 Street New Yark 29, N. Y.

A SELECTED LIST OF GRADED TEACH-ING MATERIAL FOR THE PIANO compiled& copyrighted by George MacNabb. Includes:"How to Select Teaching MaterIal"; 1100Ustlngs from p re-Begirrnet's through GradeVI (college entrance) with subdivisIons Intostudies. Collections, Pieces, Scale & ArpeggioForms. etc. Attractively bound. Pre-Paid$2.10. Order from GEORGE MacNABB,Eastman School of Music, University ofRochester, Rochester 4. New York.

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1204 N. Delaware Street, Indianapolis 2, Indiana

THE ROCKWELL SCHOOL OF TUNING CL~~!1~:'~LD.OUerino a 26.week courS6 indudino oil IlhGS6S of piano tlmillJ/ and relloirintl •

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ROCKWELL SCHOOL OF TUNINGc. A. ROCKWELL315 MARKET STREET Phone Clearfield 5-3931 CLEARFIELD, PA.

PIANO TEACHERSThis is your invitation to ettend the Internotianol Piano TeachersAssociation 1951 Notional Convention, at the Hotel Stotler. (for'merly Hotel Pennsylvania), New York City, July 16, 17, 18. I'.Teachers Training Course, Student Piano Playing Examinations etc.For complete information end free catolag of clmcsf four dozenI.P.T.A. Teacher Aids write

ROBERT WHITFORD, Founder-President18 North Perry Square. Erie, Penna.

MUSICThree-year course in Sacred Music----:-withhighest aca-demic standards-c-offers majors in piano.iorgan, voice orcomposition. Includes instruction in orchestral instru-ments, music literature, and theory, as well as thoroughBible training. Unusual subjects are (1) Hymn Compo-sition and Arranging, (2) Mll5ic ill the Cburcb School,(3) Cburcb Music Organizationl (4) Service Playing(piano and organ), and (5).Music ill Radio Broad4

casting.Ninety semester hours requir~d for graduation--45 inmusic. 45 in religion and related work. All subjects illtbeor:y, applied music allli music literature are trallsfer.able. Practical experience in Chicago's many churches, aswell as the Institute's radio stations, Moody Choraie andorchestra. Christian Education-Music Course also offered.

MUSIC INSTRUCTORS

DONALD P. HUSTAD, A.B., M.Mus.-Director of Music Dc·partment

T. LEBARON BEARSE, B.D., M.Mus.-Piano, Music Literature

WILFRED L. BURTON, B.S.M.-Voice, Hymnology

FRANK EARNEST, M.Mus.-Piano, Organ, Theory

CLAYTON HALVORSEN, M.Mus.-Voice, Piano, Theory

J. HARRY JOHNSON-Piano, Organ

GUY C. LATCHAW, B.Mus., Ph. B.-Voice, Theory

HARRY DIXON 10105, B.Mus.-Voice, Theory

FRANCIS E. BARNARD, M.Mus.-Piano, Organ, Theotv.

J. MAURtCE DonBtNs, M.Mus.-Violin

SHELDON P: FARDIG, B.A.-Wind InstcumentS

IRA A. GERIG, RMus.-Piano

STELLA M. MEYER-Piano

DAVtD SMART-Piano TheoryWrite for catalog. Address registrar, Room ED-223

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By NICOLAS

BRUCKNER ARGUED with hispupil and friend, Fritz Eck-

stein, that the harp is not asymphonic instrument. "Beeth-oven never used the harp in hissymphonies, nor should any ofus," he said. Twenty yearselapsed and Bruckner b ganwork on his Eighth Symphony.In the Adagio (which, inci-dentally, is the longest sym-phonic slow movement beforeShostakovich) he inserted threeharps in unison. About thattime, Eckstein visited him inVienna. "I have news for you,my friend," said Bruckner withan air of mystery. "Rememberour conversation? \Vell, 1 de-cided that the ·harp is a sym-phonic instrument a-fter all."

The Duke of Meiningenwas present at a rehearsal fvon Billow's orchestra. TheDuke was particularly pleasedby the singing of the ladies inthe finale of Beethoven's NinthSymphony, and sent word tovon Bulow asking him to praisethem in public. Von Billow com-plied in his own perverse fash-ion. He turned to the chorus,and said in an affable tone ofvoice: "Ladies, I assure you,you sang abominably."

In one of his chauvinisticspeeches, Wilhelm II of Ger-many advised all those who arenot satisfied with the state ofaffairs in their respective fields,to shake off the dust of the Ger.man soil. On the day after thisspeech, Hans von BUlow, whosebiting sarcasm was a match tohis musicianship, had a re-hearsal with his orchestra, andwas annoyed by the inability ofthe players to follow his wishes_Out of patience, he took outa very large colored handker-chief, and, without a word, be-gan to dust his shoes. The or-chestra took the hint, and gave

~ __ 4 ...;.,,-. _

SLONUISKY

von Bulow all the nuanceshewanted.

•

INHI YOUTH, GeorgeBernardhaw made a detcrminedef.

fort to learn piano playing.Heruefully mplain , in the preiace to his piny, "Back to Me·thu clah": "The keyboardnfapiano is a device I have neverbeen able to master." In anen-tertaining article entitled "IbeR ligi n of the Piano," pub-lished in The Fortnightly Re·uielV of February 1894, Shawtells a detail d lory of his pi.uno education. He writes inpart:'.J. learnt my notes at the age

of 16 r th reabout l and sincethat lime J have inflicted un-toll uff ring on Ill)' neighbors,without having on a singleoe-co ion given the smallestpleas.ure to any human being exceptmy ell.

•. 1 the end of some monthsI had acquired a techniqueofmy OWI1, as a sample of whichImay offer my fingering of thescale of C major. Instead ofshifting my hand b)' turning thethumb under and fingering:

CDEFGABC

12312345

I passed my fourth finger overIlly fifth, and played:

CDEFGABC

12345454

"This method had the advan-tage of beiug applicable to allscales, diatonic or chromatIc;and to this day I ofleo fall backon it. Liszt and Chopin hit onit too; but they nc\'cr used it tothe extent that I did. I SODaacquired a terrible power ofstumbling through piaoo ar·rangements and vocal SCOfC5;

and my reward was that Igained penetrating experiences

ETUDE-JUNE 195/

of Victor Hugo and Schillerfrom Donizetti, Verdi, andBeethoven; of the Bible fromHandel; of Goethe from Schu-mann; of Beaumarchais and-Moliere from Mozart; and ofMerimee from Bizet, besidesfinding in Berlioz an uncon-scious interpreter of Edgar Al-lan Poe.HAn organ, an harmonium, a

vocalic», an aeolian, an or-chesn-ion or any instrumentupon which the full polyphonyof an opera or symphon y canbe given, may obviously replacethe piano; and so far as theplaying can be done, wholly orpartly, by perforated cards,barrels or other mechanicalmeans of execution, by allmeans let it so be done. A fin.gering mechanism so con-structed as to be well under theartistic control of the operatorwould be an unspeakable boon.Supply me with such a thingand I will make an end ofPaderewski. ,~

must remain a plausible legend.Or, as Rossini might have said,"Se non e vero, eben trovato"("If it is not true, it is wellinvented.")

•

DR. HUGO LEICHTENTRITT tellsthis interesting story about

Max Reger's marriage. Reger'sfiancee belonged to an aristo-cratic Polish family, and herparents hesitated to give theirblessings to a marriage with. amere musician of an unoertamreputation even in his own pro-fession. In 1902, Reger was go-ing to give his first importantconcert in Berlin, consisting en-tirely of his own works. Therewere 34 music critics in Berlinat the time. The family ofReger's fiancee decided that ifeven one out of the 34 wouldhave anything good to sayabout Reger's musiccthey wouldagree to the marriage. As luckwould have it, 33 reviews wereviciously critical, but the thirty-fourth critic, Hugo Lcichten-rritt. wrote a long and lauda-tory' account of the concert.Triumphantly, Reger sent acopy of Leichtentritt's review tohis fiancee's parents. The mar-riage was celebrated a fewweeks later, on December 7,1902.

11 is hurd to believe, butWagner's opera, "Meistersing·er," was regarded in the 1860'sas the latest word in musicalmodernism. Eduard Hanslick,the vitriolic anti- Wagnerite, toldthis story. He attended a per-formance of "Meistersinger'with the German painter \Vi]·helm von Kaulbach. Kaulbachsat silent through the first andsecond acts. But, during thethird act, when the two sus-tained C major chords aresounded in the orchestra justbefore Walther's prize song,Kaulbach turned to Hanslickand said warmly and earnestly:"Das ist schon !" ("That's beau-tiful! ")Another anti-Wagnerian an-

ecdote told by Hanslick is a suc-cinct opinion delivered by thedirector of the Vienna opera.He was asked what he thoughlof Wagner. In reply, he whis·tied the first four bars of the"Blue Danube" Waltz.

Von Biilotv bated grvmgout autographs. To keep theautograph hunters away, hehired au assistant, a Russiangirl, who signed for him inRussian: Von Biilow~ Prod-(lvschik Beetliovenn, whichrueane t "Von BUlow, a Bee-thoven salesman;"

•

THE ITALIAN COMPOSER Mer-. cad ante, visiting Rossini in

Paris about 1860, spoke enthu-siastically about Wagner, de-spite the fact that "Tannhauser"had just suffered a dreadful fi-asco at the Paris Opera. Whilethey were conversing, dinnerwas served. Rossini pouredsauce on Mercadante's plate,and passed it to him. A fewminutes elapsed. "Why don'tyou eat?" asked Rossini. "What. . . f?" "Iare you wamng or. amwaiting for the fish," replied theother. "The fish?P repeatedRossini. "Isn't the sauce enoughfood for you? I thought youliked music without melody."This anecdote was reported

to Wagner. When some yearslater, he visited Rossini, he men-tioned it to him as a jest. ButRossini vehemently denied anytruth in· it. Like so many musi-cal anecdotes, this one, too,

Martial Singher,distinguished French "bo ri-tone, checks on his phrasingwith the aid of a RevereTape Recorder, for his roleof Athanael in the recentrevival of Thais by thePhiladelphia Civic GrandOpera Company.

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Haydn: "London" Symphony

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BOOKSHELFBy THOMAS FAULKNER

Arnold VolpeBy Marie Volpe

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Undeterred, Volpe went toFlorida and organized the Uni-versity of Miami Symphony.He was conducting this orches-tra when he died. His last ap-pearance, a, week before hisdeath, was with Joseph Szigetias soloist in the Beethoven Vic-lin Concerto.

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8

MUSIC LOVER'S BOOKSHELF

(Continued from Page 7)

house of Belwin, l nc., came toAmerica in 1907 with nomoney, three shirts and a singlesuit with two buttons torn offthe vest. For days he trampedthe streets of New Yark insearch of work. Finally he tookout the fiddle he had broughtfrom Rumania and joined agroup of street musicians. Win-dows opened, coins showereddown. Later Winkler found apenny had lodged in his hatband.With the penny from Heaven,

Winkler bought a postcard toanswer an ad in the Suuus-Zeitung. He got the job. It wawith Carl Fischer, Inc. ""inkl rspent his first days on the jobcarrying ISO-pound bundl ofsheet music lip five flights fstairs. His salary : :-$6 a we k.Winkler spent 11 year at

Fischer's, learning music pub-lishing from the groUll 1 up. 1twas the peak of the silent ru ieera, and every theatre in Amer-ica had its orchestra, organistor pianist. Most of them wertoo busy playing to have m rcthan a hazy notion of what thmovie was about. \Veird talbegan circulating about moviscenes ruined by grot squelyinappropriate music from thpit. Why not, Winkler reasonedsupply a cue sheet with thmovie, telling the organi t whatto play?Universal Pictures liked lhe

idea and hired Winkler to ettheir films to music.Soon Winkler was in busi-

ness for himseH a CinemaMusic, Inc. The movies' de-llland for music was in atiable.Cinema Music sought compo.ers who could turn out musicfast, published reams of theirworks and still could not keepup with the demand. t n desper-ation Winkler set upon th?"reat masters. Their symphon-l~S were hacked up and pub.IIshed as "Sinister Mi terio OU

by Beethoven or "Weird M d.erato" by Tchaikovsky. 0

Cinema Music (now reclu;tened Bel win in honor of;original partners, Berc Le e

. O' vyand Winkler) flourished.Then came an invention thai

made movies talk, and Belwinwas out of business.Winkler sold 70 Ions of

printed music to a paper millfor 15 cents a hundredweighl'210 for the fruits of tea years:labor. A last ironic twist: themill went bankrupt beforeWinkler could cash his check.

ndaunt d, Winkler lookedfor a Il('W atalogue to replacehis worthle Iurio os and ns.t ri so . It was impossible tohuild a catalogue of good stand.nrd I11U i overnight. Instead,Wi nkl r I oked lor an estah.hshcd Eqrop an publisher wh,wont d n • representatil'e.Tl found it in the Engli,h firmof B os y & Hawkes.Th ow York branch was

in rp rnt d a Bcosey-Hask..a twin. 'inkl r wa madepr . i 1 01 Rnd general manager.Bo .) Hawkes' olicitorsh.doutlin d the general manager'sduri in a full pa e of smallI r int. '\ inkl r in i ted the pagebe str i knout and tepl,cedwith 0 new clause: CfMu WinkI r shaU be pr idenl and 1'"eml manager with fuU "",.live powers."

B 0, ·H.,.k ·BeI.in lasteduntil 19 . "hen Winkler b<-cam lobus)' with his OJ]

en talogu I worry ahoul a~'ers. lcanwhile he had lour'"m rica, talkin to music

teacber and deal .... learnin!about theu problems al fi"1hand. Then he gave them .haltb y ""ked for. BeI"in .as OIl

its f l a am. ., '.U P nny hom Hfa'-eu L:"

a slory Ulod",~y told.lIlr. in kl r rOCOrds hi, "1'and down mosl readably.

Appl~/(,"-C'nl"r1.crollJ, 13

THIS ltIONTD'S COVER

ETUDE-If.l!

s

SCHUMAN

'"""uvHESIDE OF THE ANGELS1hePresident of the ]uilliard Scho~l, one

of America's outstanding composers, tells

June graduates how to succeed in music.

By WILLIAM

I BELIEVE I CAN GIVE YOU a recipe whichwill assure for each and everyone of you success in theart of music.Perhaps I should add immediately that my recipe or

success mayor may not apply to that part of the mu-sician's life which is concerned with music as a business.As young musicians, you are already well aware that a

life in music involves extra-musical as well as musicalmatters. Music is studied as an art and practiced as abusiness. When I tell you that my recipe for success inmusic concerns the art part and not necessarily the busi-ness part, it ..does not mean that I underestimate the im-portance of the business or professional side of music.I cannot help feeling, however, that there is no such

thing as success for a musician unless his highest musicalpotentialities are realized. Surely, you must achieve asound social and economic base for your existence andmusic is certainly no different from any other normal pur-suit-it cannot take place in a vacuum as though it wereabove the practical. But, too many young musicians con-cern themselves with developing avenues for commercialexploitation at the expense of tbe time and energy neededfor their musical development. They often spend a dis-proportionate amount of time in seeking opportunities.Each of you will have opportunities to reach your goal.You will be auditioned for the orchestras, you will beinterviewed for teaching posts, you will sing and play forthe managers. The main thing is to be prepared when theopportunities arrive.Music has become so deeply associated with its com-

mercial practice that it is difficult, even as an exercise illfancy, to ignore the relationship. If, however, for the mo-ment, at least, you could imagine that such a separation

In colleges and conservatories allover merica. OUD~IDgj.

cians this month will receive diploma aft r four years' haNwork. Next question: HWher do W 0 {rom her ? .. To an:"'"tha.t question, ETUDE's edilors p 01 in thi pedal'"artIcles by well-known autboriti which give advice 011 II<most perplexing aspecls of launching a career.

-

ETUDE~JUNE 1951 9

actually existed, it would follow tha~ success in the mar-ketplace would have no bearing on success in the practiceof music. If we removed the competitive aspect of theprofession of music, we would arrive at a point where :1

musician would be evaluated byhis musical achievementsand not by the size of his pay check and we would be'returning to. musical fundamentals. After all, a man be-comes the best musician he is capable of becoming whenhe performs 01' composes with his deepest emotional, in-tellectual and physical powers.In purely musical terms, being a successful musician

is a continuing process-it is reaching for a goal thatmoves higher as each step is achieved. There is no sum-mit. In the art of music, no man is omnipotent. Everymusician has something more to learn about music andevidence for this is to be found in the lives of the greatmusicians. The great ones are never satisfied. They sup-ply ample evidence that for the musician musical growthis his very life process. They knew that if there is not tobe decay there Illust be the nourishment of study.

BASIC in the ability of the musiCian togrow is his understanding of the true nature of his art.He understands that music is the embodiment in tonalterms of the human intellect and spirit. He understandsthat this intellect and spirit is expressed by composersthrough compositional techniques which make up thelanguage of music. He understands that it is the perform-er's task"to master this language in order to discover whatthe composers are striving to express. lIe understandsthat the musician must give performances which revealmusical values and which are not used as mere vehicles

CONTINUED ON NUT PAGE

GHE SIDEOF THE ANGELS

for narcissistic display. He understands, too, that theliterature of music, i.e., the compositions themselves, isthe core of his art. The literature of music is the corebecause it is the focal point for the entire art of music.The very art of musical performance exists in order totranslate composition from musical symbols into thereality of actual sound. For this reason a fine performeris one who reveals the true nature of a composition byusing his abilities to make clear to his listeners the com-poser's thoughts. A key to the kind of performance whicha given ·piece of music requires can be discovered onlythrough an understanding of the musical qualities of thatpiece of music. It follows from this that the rendition of acomposition must be evaluated in terms of the perform-er's understanding of the language of that composition.In other words, .it is not possible to evaluate a perform-ance in the abstract by marveling at the manual dexter-ity of the performer, or remarkable breath control, or anyother isciated technical feature. These techniques areonly valid in terms of the musical demands the composi-tion makes upon them. This is the reason why every per-forming musician must have a thorough grounding in theliterature and materials of the art of musical composition.

The musician who understands the fundamental im-portance of com-position will have an attitude towardsthe choice of repertory which goes far beyond the super-ficial. Such a musician will comprehend, full well thenecessity of fighting the battle for creativity, He willhave convictions about musical works and furthermorehe will have the cpurage to perform those works whichsatisfy his innermost musical sympathies. He will per-form works which are not necessarily calculated to daz-zle, He will explore the repertory as a natural part of thetrue musician's insatiable curiosity about his art. As aresult of this way of musical life, he will serve the musicof the past and the present and consider his choice ofrepertory as a more serious process than the mere selec-tion of pieces to glorify his athleticism,

I SEEM to hear you saying, "This is all verygood, but it is too idealistic. What has it got to do withmy career?" Frankly, it may have a great deal to do withyour career. But career, or no career, the true musicianwill never lose sight of the values in which he believes andhe will bring to any task, however modest, an intensityof expressive purpose.

In considerillg the practical aspects of the market-ability of your music talents, nothing is to be o-ainedthrough a denial of the highly competitive world y~u willface. Naturally" you are concerned with economics andyou ,vish to achieve a satisfactory economic ~tatus andto do this through music, May I snggcst to you that it ispos~ible ~o .reach t.hi: goal without compromising yourbaSIC artlshc convlchons. Comprollrise, itself, need notnecessarily destroy values. It is only a lack of awareness

10

that a compromise has been made that makes inroadson one's musical integrity. It is possible to have musicalintegrity and to be commercially successful in music atthe same time, This can be achieved if the demands ofthemusic business are always understood objectively forwhat they are and if the musician never confuses thesewith the demands of the art of music.

A TRUE musician is one who remains faith-ful to his own highest artistic standard despite the prac-tical compromises he may be obliged to make. Such amusician docs not become the tired profc ionnl whosepersonality has been so warpe 1 and embitter d throughcommercial music-making tha t he no longer ha any liv-ing relationship with hi art. You can remain lrue mu-sicians if you will remember that rcgardle s of extra-musical pressures or unmu ical pre sur s you have thepower to maintain your own values in the private worldof your mind, and if you do not do so, you arc forfeitingthc rcalization of your highe l potent inlitie ,Thi real-ization is one of thc special joy re erv d for genuinelyimaginative people. If this, too, unds id nlistic, may Isay that to me it is most practical and supplie the mostreasonable approach for maintaining t h high t goals inthe face of the necessity for practica l e mpromi c. It ispractical because a musician who i leeply concernedwith standards will alway attempt to rni e the I vel ofmusic wherever he is. Inside himself he will n ver be ableto accept a shoddy performance or ho ldv materials, IIew~ll always try to raise the level because alway thereWill bc present a healthy conflict betwe n wbnt he maybe obliged to do and what he feel hould be done, This,I believe, is the road to progre s in music, lltimatelvmain~ainil~g one's private world of purely musical stand-ards .IS nellh~r idealistic nor private, but practical andpublic. Practical because it provides the only truly inde-p.endent aven~e for continued individual progre s in mu-~IC, and public because musicians who rcfu e in theirmnermost convictions to compromise will alwavs remaina force for raising the standards of the profcs,i~n,

The considerations that have been ct forth to you aspl:actICa.1 have concerned your indiv idua l relationship'~-Ith th~ art of music. I have tried to tell YOUwhv I con-Sider this relationshi t b f nri , . •. " rp 0 e a prrmarv Importance. evenIII the practlca.l Side of the musician's life. This does notIHeal.l that I am unaware that these indh'idual musicalconSiderations ofte. h J' I b' ,. . 1 ave Itt e earJllg on Olle s successm the musle world Th ' Id ' 'th. . . e musIc wor I concerned WI

c~mpetItlOn. Each of you will compete with each other,w~th the older musicians who are already in the fieldandWith lhosc of your "0 II 'I

' ., ungcr eo eagues who ,,-ill soon fol-ow you This COl tOtO ,

." 11pe I JOn IS often based on ,-alucswhich are only part' II I'd '• Ia y va I mUSically and sometimeson values which have nothing to d "th 'It'to b' 0 "J mUSIC. IS

o 0 VIOUS to require (Continued 0" Page 50)

I

UI"DE-JL'.Y£ 19;1 I

How Do I Get a Manager?By ARTHUR JUDSON

As Told To Rose Heylbut

Look at yourself from the manager's point of view ...

Have you something the public will buy?

ONCE IN A WHILE, some person ofkind heart and good faith tells the

heart-breaking story of a phenomenallygifted young friend who plays just likeHeifetz or Casadesus but, through horribletactics of one sort or another, cannot get amanager to put him across. That kindlyperson has been deluded. Don't let him de-lude you,

The fact is that any youngster can gela manager-if he convinces that managerthat he has something to say which the pub-lic will pay to hear.

The concert manager does not run anexperimental laboratory nor yet a Depart-ment of Culture. He is a business man. Hehas a commodity to sell. That commodityreveals itself through accomplishment onkeyboard and strings, but it consists onlypartly of an ability to play. Its much moreimportant ingredient is the agreeable pro-jection of mature musical thought.

The experienced manager does not allowhis preferences to interfere with his busi-ness. Personally, he may take a great lik-ing to a young performer. But if he be-lieves that the youngster cannot make thegrade in stiff public competition, he givesadvice but no contract.

Budding artists do well to realize thatthe concert bureaus are not trying to keepthem down. Quite the contrary. We man-agers have never yet had enough fine art·ists. With the splendid development of ournational concert field, the demand far ex-ceeds the supply-so much so that occa-sionally we find ourselves obliged to bookvery good artists of somewhat less thantop-quality performance value. We dislikedoing this, knowing quite well that onlytop quality can consistently hold public

ETUDE-JUNE 1951

interest (and fees). The artist with some-thing to say has no trouble finding a man-ager.

How does he go about it? At ColumbiaArtists, we audition everyone who applies,stating his credentials and his reasons forbelieving he merits an audition. When hisrecommendations come from unknownsources in which I have confidence-well-known teachers, local managers, etc.-Ihear him at once. I give some 300 auditionsa year, a stimulating task to one who lovesmusic and devoutl y hopes to discover top-rank new material.

How flo I jntlge? Musicianship mustbe evident, certainly; but there must alsobe a good stage presence; adequate tech-nique; something to say; and the ability toproject this something through the inde-finable yet unmistakable lift of a magneticpersonality. (Judge for yourself of the per-formers you most enjoy hearing.) The fel-low who rises to his best only when he isplaying alone, by candle-light, is not for usno matter how gifted he may be.

When artist and manager have foundeach other, their problems are by no means

. at an end. This business-man-managershuns nothing so much as getting stuckwith the quick-flash meteor who gives oneburst of flame and then peters out. Hewants a star of steady brilliance, uponwhose light he can depend.

Often young performers master one re-cital program and a couple of concerti, andthii-Ik they're ready for a career. They aremistaken-but worse things than that canhappen to them. If, by chance, they makea success with their slim equipment, theycan easily be ruined.

You can't take more out of the jar than

you put in, and you can't make a career oninadequate equipment. A manager advisessuch young artists to study and mature.If they cash in too' fast, they are apt to doneither. Then, in a season or two, theyare heard of no more, at which point theygenerally come back to the manager, to saythey wish they'd listened. It is no pleas.ure to recall the many cases-some withone-time "names"-to whom this applies.

The quick-success youngsters often saythey mean to go back and study later ou-after they've tasted a bit of success. ThenI ask them this: if they earned a milliondollars by over-playing at the wrong time,what would they do with it to salvage theircareers? Advertising and publicity arehelpful in letting people know you're thereto be heard-once. They never have andnever can make audiences want to go onhearing you.

Never have there been greater opportuni-ties than those now open to the performerwith something to say and the gift for say-ing it. Twenty years ago, American concertbusiness ran to about $500,000. Today, ourfirm alone does business between six andseven millions. That means a lot of money-more, it means that people are willing tospend such a sum for the stimulus of hear-ing the kind of performers they want tohear. And that's the thing to remember.

How does the manager determine thetype of tour a new artist is to have? En-tirely on the reactions that artist is capableof arousing. Heif~tz made his Americandebut in Carnegie Hall and from there,went all over the country. A less precociousperformer would be developed on the roadbefore entering New York. Corot, a finepianist, never warmed New York at all, andusually worked out of Chicago westwards.

New York appearances are not essen-tial to a career. More and more, New Yorkis regarded as a most helpful and apprecia-tive community but not as the gate toheaven. Its influence on a nationwide touris no longer what it once was. An experi-enced performer of European reputationcan tackle New York; the youngster whohas never played a larger town than Kala·mazoo had better wait. No one should playNew York without three to four years'concert experience. (Continued on Page 51)

11

l

How to get started on

Your Career as aPiano TeacherBy FLORENCE M. PORTER

"How DO I START?" you won-der. Your recital is a brilliant memory.Your conservatory graduation with all itsglamour is passed. Now, for new adven-ture, a career teaching piano.Starting is the easiest thing in the world,

just a matter of publicity and getting stu-dents. All your friends want a hand in yoursuccess. People in your church, your clubsand those who attended your recital willsend you students, if you ask them. Remem-ber your friends the mail man, the milkman, the news boy, the piano tuner, thepiano and music stores. Even the cornergrocer will help by putting your card inhis window.Dale Carnegie will help you "Win

Friends and Influence People" and Veron-ica Dengel will help with "Personality Un-limited," for in this c~reer personality isof utmost importance.Have you forgotten your neighbors?

They provide the students most help of all,so on with your prettiest dress, the perkyhat, the jaunty shoes and carry that slickpurse you got for graduation as you go tovisit your neighbors far and wide.

Ha·ve YOlt remembered to stock thatsnappy purse with those new cards you hadprinted with your name and "Teacher ofPiano" under it, your address and phonenumber in opposite lower corners? Now ifyou have any doubt that you are on yourway, just read your own cards! It will helpyour self-confidence.Have you a notebook for names, addres-

ses, phone numbers and appointments?Meet adventure with a smile. When your

neighbors come to the door, offer them

12

your card along with your smile! Say youare a graduate piano teacher and wouldenjoy teaching them or their children.Since you are just starting, your longer

lessons (40 minutes) and lower rates willappeal to parents. Since you are in theneighborhood, they save money and timenow spent taking children down town inheavy traffic just at the time when theyneed most to be at home cooking dinner.The children will benefit by the latestmethods as you have been in school morerecently than older teachers.

If peolJle say they have no children toteach, that is not the end! Do you knowadults have a "suppressed desire" to learnto play the piano, but are too timid to sayso and want to be invited? They oftenmake better progress than youngsters.They will be glad to know so many adultsare taking up piano that the stores are fullof beginners' books written just especiallyfor adults. Assure them that you wantfriends as well as students. This appeals tohousewives who are often lonely duringthe day. They want friends too and can,come for lessons before school children,when you are not so busy and can enjoy avisit. This saves them the embarrassrnentthey dread of having a child hear themplay simple things.No sale? Anyway they will start think.

ing, "Who needs a good piano teacher?"Did you leave your card, just in case?Many of the best teachers have startedtheir careers this way.You are just. too, too timid to 0"0 callinD'

" "on your neighbors? Well, try an easierway. Stick your cards into doors. Or hire

some small boy to do it for you. Or havea postal card printed and mailed to the"Occupant." Folders are nice but expen.sive.

How about putting an ad in the localnewspaper, under "Musical Instruction/l"Business Cards" and "Musical Instru.ments ?" People who buy pianos needteachers.You don't know how to write an ad?

Just begin with your name followed by"Teacher of Piano, Conservatory gradu,ate, beginners and adults,' your phonenumber and address last.

Have you a sign to put up on yourhouse? Try one about 12 by 18 inches,"Teacher of Piano" printed with the let.ters of "Piano" five inch high, so theword can be read from the treet. A neatblack picture frame with a glass will pro.teet it from the weath r and make it lastlonger.A mu ic teachers' club one morning

each month will be fun and help with man)'problems, difficult for one, but easy foranother teacher. Then too, these otherteachers may give you "headache" stu-dent. We all hav them. Teachers willsometime aive you their whole class readymade, when th ) take "maternity Jeave,"or when they m ve away. or even whenthey die! It ha been don ! Many teachersgot their start by uch a I gacy.Don't think you can k ep all these gift

students. It doe n t work that way. Youwill do well to keep half of them. so don'tbuy a class. orne tudents just resent anew teacher.Often voice, violin and dance teachers

are asked about a piano teacher. 50 makefriends with them too. Any other teachersin your neighborhood? You don't know?An ad saying) ou wi h to contact them willdo the trick.

"Nothing succeeds like success" youknow, so always appear La be busy. Teachstudents consecutively when they come toyour home. It takes only three students tofill the time from 4 to 6 at 40 minutes each.They naturally as ume that all )"our darsare so occupied.These same three students each playing

little "pieces" from their study books(they need not be sheet music) call have aIllusical tea some unday afternoon at yourhorne or theirs, and play for parents andfriends. You may be .. ked to play too·Lend the aHair a festive air by servingcandy or light refreshments. This workslike a charm and helps make friends andincrease popu· (Continued on Page 57)

ETUDE-JU,VE l~

2

TEACHERSI have known

By HENRI TEMIANKA

My FIHST Vl?LIN TEACHER was. aDutchman named Carel Blitz.

He lived in the heart of Rotterdam: Hot-land, on a big, flourishing thoroughfarefacin o- the zoo. You walked in through theostore, where violins and strings were soldover the counter by Mrs. Blitz and thedaughter, and you went upstairs for yourlessons. In the back of the house the sonran a violin repair shop.

It was a united family and the mosthospitable home in Rotterdam. Very soonI was staying to lunch and dinner and get-ting permission from my parents to stayovernight. Blitz started me when I wasseven and I stayed with him until I was 15.Right from the first lesson he won my

youthful confidence by taking my violinand balancing it on his forehead whileprecariously walking across the room. Hewould perform sleight of hand tricks thatleft me goggle-eyed, or sit down at thepiano with his violin tucked under his chinand improvise on both instruments at thesame time. This improbable feat was ac-complished by the occasional use of openstrings and left-hand pizaicatl, one freehand dexterously roaming across the piano.Once in a while both hands were used forthunderous tutti or a brilliant violin ca-denza.Blitz also took me sailing in his boat

on the lakes that ringed Rotterdam andtaught me to play billiards. He let me helphim when puttering around in his work-shop, where he made everything from furni-ture to ashtrays. Finally I even wrote thewords for .the popular song he composed.It was accepted by an American publisher.Recently I came across the lyrics and shud-dered.Last. and not least, my teacher gave me

an exc~llent technical and musical founda·

Reprinted from Texas String Hews, publishedby the College of f'ine Arts, The Uaiversityof Texas.

ETU DE-JUNE 1951

tion. He had a great deal to give, and Ieagerly accepted and absorbed all of it,for I adored him. He had fOlLll.d the leeyto my heart and that is the basic secret ojall good teactiin g. This, I discovered inlater years, when I in turn was faced withthe great responsibility of passing on toothers what l'had acquired, was the great-est lesson J had learned from him, and oneI have always tried to remember.When 1 was 15 T went to Berlin to con-

tinue my studies with Professor Willy Hess,one of Joachim's most prominent pupils.The contrast could not have been greater.Hess was as impersonal as my first teacherhad been warm-hearted. An extremely ableviolinist and a conscientious teacher, heknew by heart ali the Kreutzer, Dent, Rode,Gavinies and Paganini Etudes and hadthem all neatly indexed in his mind. "Kreut-zer No. 33 for next week," he would saywithout looking at the book and forthwithwould play it from memory.

lie had the hublt: of always playingalong with the student. using a very loudGuadagnini. We SOOIl learned the trick ofplaying softly when we were not well pre-pared. That was the way to have a "good"lesson.One was never allowed to change one

single bowing or fingering. "Do you thinkyou know better than Joachim?" was asquelcher to which none of us could finda reply. J n line with this type of thinking,Hess taught the old-fashioned Germanbowing: stick under the first joint of theforefinger, book held between body andelbow. All progress and initiative had cometo an end with Joachim.Hess, in short, seemed to ignore the vital

imparlance of developillg' his students' in-itiative and imagination, surely two essen-tial and desirable quafities. The indeliblememory of this fatal mistake on the partof an otherwise able teacher stlll rises upto \Varn me~ particularly ,vhen I am guid-

ing a sensitive and gifted student.I shall never forget the day we serenaded

Hess on the occasion of his sixty-fifth birth-day. We had taken great pains to make thisa memorable day for him. At seven o'clockin the morning all of us, both his violin andchamber music students, secretly assem-bled in the music room of his penthouseapartment in the Charlottenburg district ofBerlin. We had spent grueling hours re-hearsing and learning the Concerto ofBach for two violins and string orchestra.Stealthily we climbed up. the six Rights

of stairs, with our violins, violas, celli,double basses, folding chairs, music andstands. When we had finally assembled ourstands, our music, our chairs and our-selves, and everything was perfectly inplace, the maid was sent to call for HerrProfessor, who had just risen and was en-joying an early cup of coffee. Unsuepect-ingly, Hess walked toward the music room,pushed open the door and as he crossedthe threshold, the jubilant strains of Bach'sgreat Double Concerto burst forth.Hess did not lose his composure. He

stood there with folded arms while wefiddled away for half an hour. When theserenading had come to an end, Kulen-kampff, the oldest of the students, wholater became very prominent in Germanyand died a few years ago, made a meticu-lousl y-prepared speech.Finally it was Hess' turn to say some-

thing and we all waited with bated breath.Hess spoke, and after briefly thanking usfor our thoughtfulness, he advised us neveragain to use that particular edition of theBach Double Concerto, as he had observeda number of errors in it during our per-formance.From Berlin I went to Paris, where I

studied with Jules Boucherit of the Con-servatoire National. Boucher-it upheldsome of the finest tr~djtions of Frenchbowing technique. Among these must bementioned the fanatical pursuit of the"Serre," a bowing that digs deeply intothe string and has much to do with theintensity, charm and vitality, even in theminutest passages, which you will at oncerecognize in the playing of famous F rench-trained violinists like Kreisler, Thibaudand Francescatti.Eoucherit drove me so relentlessly in

the persistent study of these loathsomeexercises that I felt like Samson in thetreadmill. But wlien I look back today, Irealize that limited though Boucherit's ob-jectives were, I must thank him for the pre-cious lesson of a (Continued on Page 49)

13

{j

i 1!j;•.:4l1

'""

How todressfor a concert

Your evening gown should be

appropriate to your personality.

and to the music you are performing,

says this famous New York couturier

By PAUL ENGEL

A STRIKING APPEARANCE as she steps out and crossesthe stage to face her audience is one of the most

essential elements in the equipment of a woman artistnowadays and as important at her hundredth concert orr~cital as at her debut. A stunning visual impression pre-disposes favorably those who have come to listen to herbe she singer, pianist, violinist, cellist, harpist or trom-bonist. The days when talent alone was enough to insurethe woman musician a profitable career are over. Dowdyperformers are essentially unpopular in smaller citieswhere glamor is expected to play a part in the enter-tainment, no matter how high its artistic standards maybe. It goes without saying that no sensitive artist woulddream of appearing in a big city like New York inade-quately attired.Gowns should be created exclusively for the artist with

an eye to. the underscoring 01 her personality. The typeand quahty 01 the program should playa part in thedesigning 01 the gown. A program 01 light caliber de-mands a dress of an entirely different kind than one re-quired lor a serious list 01 offerings. A Robe de Style.IS prefer~bl~ for the most part for recital purposes tothe .~encll-hne gown since the former lends grace andnobility to the wearer and permits greater freedom ofmovement. A tight-fitti.ng skirt hampers the wearer'smovements especially upon entering and leaving thes~ag.e. Much of the success of a gown, no matter howdlstmgu~shed it may be in itself, depends, however, onthe carnage and deportment of its wearer. lVIany a d _., . eslgner s masterpIece. has been ruined by inept handling

14

I-

on the part 01 the artist lor whom it was created. Anartist must learn to arrange her gown unobtrusively toshow it to its best advantage upon her initial appear-ance; but a gown must never be touched during the inter--preta.Lio n of a number. This procedure, only too oftenencountered, is disturbing to the mood of the perform.ance,

Many an artist has been dismayed to find a member ofthe audience wearing a replica of the gown she is wearingor on seeing it duplicated by another performer whointends to appear in the same city. This sad state ofaffairs is unavoidable unless the exclusivene s guaran-teed by a personal designer is present. I was told by themost illustrious Wagnerian oprano of the past gener-ation that when she sang for the fir t time at Buck-ingham Palace for Edward VII, he was mortified tofind the gown. for which he had paid a small fortune,reproduced and being worn by a m rnber of the Royalhousehold!

Only the finest fabrics hould be used for thi hi"hlyspecialized purpose; since hardly any mu ical event, con-cert or recital, takes place nowadays for which fool-lights 01' spot-lights are not utilized. If pure silks arenot used, the color arc likely to be "wa bed-out" bythe spotlight and look cheap. For this reason pure-silkvelvets, satins, taffetas, brocad and lames arc thechoicest materials for rage-wear. ot only are theyfar handsomer but are of infinitely gr ater practicalvalue. They are marc durable. th y do not crease inpacking, and they are much more a ily and economi-cally handled by the arti t on tour. Man~' a cleaning andp,ressing bill will be saved by u ing only the best mate-r~als. Even the ruining of a gown may be thu avoided,smce cheaper fabrics often go to piece when cleanedafter undergoing the severe train to which thev are sub-mitted by musical performer of every kind.' Also thedramatic, intense shades which arc obtainable onlv inthese best quality materials are tho e best suited to'themaking of concert dresses.

A COUTURIER must understand theproblems encountered by the various type of musiciansfor WhODl he is working. Singers who face their audiencesco?stantly and who stand for the most part immobile.aSld.e from the movements caused by breathing, presenta chfferent problei tb ., .. n an piarnsts, or bow-instrumental-IStS~ or wind-players. .Iustrumentnli ts who do most oftheir practicing in "T" shirts which permit them the great-est amount 01 Ireedo f . dm a movement are often dismayewhen they attempt t I' .. do p ay in a creation WhICh seemesuperb whe? first viewed ill the sketch but they find bind-mg when difficul t t h . I '. . ec men stunts must be accomphshedWIth It as nn a t I't TI' .. c ua 'y. liS pomt must be thoroughlvIroned-out with the c t,' b I ..,'. au Uller e ore a deCISion IS madeas to Its practicab'l·t S '. I I y. orne artIsts are as comfort.'lblewltb sleeves as "tb I"lout t lem. Others prefer sleevelessgowns and plun d kl'hiah . ge nee Illes to those with sleeves andthO dne~;hnes. 01 course, tbe figure of the artist is often

e eCI mg factor in such matters.

L------------ ETUDE-JUNE 19;)

e

The lines of a gown can be made ineffective by aviolinist, cellist or flutist who thinks it necessary to af-fectionately clutch her instrument and press it to herheart as she comes out to bow her acknowledgment ofapplause received. Why they should think this necessaryis not clear, since no pianist would think of stroking thepiano-lid or of pushing the piano off-and-on-stage as sheexpresses her gratitude to her auditors.Many exquisite concert gowns have been rendered in-

effectual by an unbecoming coiffure or by the injudiciousaddition of flowers, used either on the gown or in thehair. Very olten it will be lound advantageous to ignorethe current fashion in hair-dosand to adopt a solt, becomingway of dressing the hair, onethat is both dignified andfeminine and avoids thesharp. sculptured look whichis more appropriate in thenight-club than the concert-platform. High-lights may beobtained by the discreet ap-plication of brilliantine. Mas-sive jewelry should be avoid-ed at all costs since it detractsimmeasurably from the dis-tinction of any musical artist.Especially distracting whenworn by singers are long,showy earrings and necklaces

with dangling pendants which hoh up and down withevery change of syllable. Naturally no pianist or violinistwould think of wearing bracelets 01' rings.

Make-up for concert and recital purposes differs con-siderably Irom that used lor theatrical objectives butis also different Irom that used lor purely social inten-tions. Lips should be colored unobtrusively to melt intothe basic make-up. The most expressive feature of anywoman performer's face is her eyes; therefore she mustlearn to flatter her cyes subtly with the correct eye-'shadow and clean pencil-lines to emphasize them. Possiblelighting effects should be taken into consideration when

making up the eyes sinceshadows resulting from thelights give the eyes a sunken,lusterless appearance.All of these-the gown it-

self, the poise with which it isworn, the appropriateness ofthe coiffure, the discretion inthe use of other decorativeaccessories enhance the art-ist's glamor, and if the eye isdazzled the aural satislac-tions are bound to prove moreeasily won. THE END

..Simplicity is the keynote of these gownscreated by Mr. Engel for three singing mem-'bers of vocal ensemble, the Bach Aria Group.

Four Paul Engel creations emphasize the difference between dressingfor the opera and for a concert. At left is the costume worn by Elea·nor Steber as the Marsc:hallin in "Oer Resenkeveller," So elaborate a.

creation would be inappropriate for the concert stage. Instead, tour·ing recitalists like (left to right) Stella Roman. Francine Falcon andRose Bampton find a simpler design to be flattering and practical.

ETUDE-JUNE 1951

L

Make the mostof yourrecital debut!A ioell-ch.osen. program can helpyour professional career to a good start

By FRANCIS D .. PERKINSMusic Editor, New York Herald Tribune

THE MOST IMPORTANT event in ayoung artist's career is his firstprofessional recital. A debut is not

to be undertaken lightly. If it is success-ful, well and good. If it is not successful,the artist would have been better advisednot to appear at all. It is relatively easier tomake a good first impression than to reoverse an original bad impression. Oneshould not plan his debut until he is con-fident that he is ready for it.A young artist planning his first recital

must inevitably be a target for all kinds ofadvice-from his teacher, his manager (ifhe has acquired one), family, friends anapossibly enemies-and it may seem un-necessary, to say the least, for me to addsome of my own. But I believe a few im-pressions gathered from many years ofprofessional concert-going may be inter-esting for the inexperienced musician whois considering his first professional pro-gram and wondering what will best please.his audience, including the critics.

There are, of course, certain fairlybasic principles in program· making. Oneis that the works chosen should be worthpresenting-which does not mean that allmust be intensely serious. A program ofaverage recital length needs variety ofmood and style, and yet should not bemerely miscellaneous; each item should beconsidered in its relation to the others andto the program as a whole. An ill-assortedlist is rather like a collection of canapes,

16

leaving a rather uncomfortable sense ofhaving eaten, but not dined, Then, ofcourse, there is the matter of the audience'spreferences.But a good program may be the wrong

one in individual cases. Any experiencedcritic has heard quite a few talented youngartists who devote much of the concert toshowing what they cannot play or singparticularly well. It often seems that theyare trying to give their hearers a cross.section of their talents in a comprehensiveprogram, revealing both assets and limi-tations, as if their audiences were judgesat an audition.A recital is not an audition, in which

you must play or sing what the judges askfor. In a recital, assuming that you .are. ready for public appearance and yourrepertory is not too narrow, you needoffer only music which you want to per ..form, which lies within your technicalpowers and which 'you believe that youunderstand. It should not be hard for anartist to make up his mind about his tech.nical ability, but I have heard perform-ances which suggest that either the artistor his teacher has been too optimistic.There are, most often, song recitals, whichsometimes are mainly a hunt for wen.produced tones, sometimes captured onlyto be lost again, throughout the program.But this represents a generally dubioustechnique, rather than one not yet ableto cope with certain exacting works.The question of interpretative under.

standing is much subtler. By understand.ina I do not mean knowing everything0' 0that there is to know about a particularwork, revealing the last word in what ithas to say. I doubt if any great artist feelsthat he has accomplished this. Imean bothto understand and to feel the music, itsatmosphere, style and expressive content,and to be able to communicate this feelingto your listeners. For certain works thiscalls for years of study and deepeningacquaintance, and in most cases the debutant would be wise to leave them to hisseniors. In any case, he is unlikely to beconvincing until his interpretation of awork has become distinctly his own, basedupon an earne t desire to realize the corn-poser's intention. In developing his inter-pretation, a young artist naturally seekshis teacher' advice and that of other ex-perienced musicians. He can learn by lis-tening to performances by great artists inthe concert hall or n record.But ideas gained in this way are valu-

able only if the artist finds them worthaccepting and assimilates them as contri-buting to his own under tanding of themusic. An imitative interpretation, no mat-ter how faithful to its original, usuallyseems unconvincing, not spontaneous orgenuine, ana the critic is likely to remarkthat the performance did not bring out theexpressive significance of the work.At the other extreine, there is the as-

piring artist who sets out deliberately to bepersonal-and different. Then we have dis-torted phrases, tempi which change frombar to bar and suggest the starts, spurts,crawls and stops of a bus in heavy metro-politan traffic. Both in imitative and con-sciously personal interpretations, the reosult is likely to be elocution rather thaneloquence.

A.mbition is natural, and so is a w-ishto follow prevailing fashions in your parti-cular field. This is where the question ofthe standard program comes in-the four-language vocal program, the piano pro·gram which runs from Bach or Scarlattivia Beethoven, Brahms, Schumann or Cho-pin to, say, Liszt, and the violin programwith its classic or romantic sonata or con-certo, its unaccompanied Bach and itsgroup of transcriptions. It is open both todefense and attack. From a general musi-cal point of view, its chief draw-back isthat it tends to limit the repertory' to Iamil-iar music. But the newcomer hears so oftenthat this kind (Continued on Page 62)

ETUDE-JUNE 1951

2

Too ManyLanguages Tradition forces young vocalists to

sing four languages and all of them. badly.

Such acrobatics should be discouraged.

By VIRGIL THOMSON

THE KIND OF PROGRAM ~hat vocalists, yartic.ularly. theyounger ones, feel obliged to offer III their recitalsis a formula that has long seemed to this reviewer

ill suited to advancing either musical or technical excellence.Its fault can be stated in three words-too many languages.Not long ago, speaking before a meeting of voice teachers,he reproached them with responsibility for its continuedobservance and asked why so stupid a violation o,r all sense,pedagogical and artistic, had ever become established incustom. They answered in unanimity, "We do not know, andwe do not approve it." Nevertheless, every aspiring singerin our midst feels obliged La offer in recital an Italian, aGerman, a French, and an English group of songs.Naturally, they sing all these languages badly, even, in

many cases, English. Often, having merely learned theirforeign songs phonetically, they have only an approximateidea of the texts' meaning. The communication of poetryunder such circumstances is quite impossible. It is not easy,either, to sing agreeably when the full content of the com-poser's feelings, as embodied in verbal values, is not clearto the interpreter. Moreover, nobody demands this monkey-like behavior. The public does not like it; the press doesnot like it ancTmanagements care only for what the audienceand the press like. Singing teachers, who are responsiblefor the tradition a~d its preservation, all know it is opposedto good artistic standa~ds. And yet they hesitate to do awaywith it. Several of them have suggested that since musicschools in America require of singers three languages be-sides English, if a degree is to be awarded, they themselvesare the victims of a circumstance. But it is the singingteachers who determine, finally, degree requirements forsingers. Surely they could demand revision of a faulty cur-riculum.Such a curriculum is faulty because it is not a prepara-

tion for professional life. Few professional vocalists of thefirst class ever sing four languages in public. The best usuaJlysing two, their own and one other. Knowing one foreign

• From MUSiC RIGHT AND LEFT, by Virgil Thomson. Reprinted by per-mission of Henry Holt & Co.,Inc. Copyright, 1951,by VirgilThomson.

ETUDE-JUNE 1951

language gives depth and discrimination to an artist's hand-ling of his own. Helen Traubel, by specializing in Germanrepertory, has had a great career. Mary Garden did the samewith French, Jan Peerce and Richard Tucker with "Italian. Alanguage means something in the mouths of these artists.They know its feel, its style, its nature, its relation to lifeand to music. A few singers have the gift of tongues; butfor every Jennie Tourel in the world, there are a dozenLotte Lehmanns, Pinzas, and Carusos, for whom a newlanguage has to be approached slowly, ci rcumspectlj _ oncein a lifetime.

A yonn.g singer needs to know, Ior studio purposes. theItalian vowels, because they are pure. He needs also to sing(and translation will do) enough French, German, andItalian songs to acquire an acquaintance with these musicalliteratures. Then he should choose one for his own. Heshould adopt a country, speak its language, read its books,live among its people, eat-its food. In this way he may learnto interpret its music with understanding. As he advancesin professional life, travels, and reads, he may find it use-ful" to pick up a smattering of other languages, includingSpanish and Russian. But he does not have to sing them, andhe should not sing them until he feels thoroughly at homewith their sound and with their sense. An occasional compli-ment to local audiences will be enough exception to provethe value of this rule.AU this time he should be singing his own language,

learning it, loving it, making its sounds behave, and makingthe farthest ticket-holder hear what he says. This is the waysingers work abroad, and jt is the right way. Any other isinjurious and silly. Requiring young vocalists to sing fourlanguages is like asking string players to be equally profi-cient on the violin, the viola, and the cello. Such acrobaticsshould be discouraged.If any person knows any reason why the four-language

formula should be further tolerated by teachers or by con.cert-goers, I hope he will correct my impatience. Tn my view,and the voice teachers met in convention did seem to agreewith me, it is unmusical, unintelligent, inartistic, and pede-gogically unsound. rur END

17

L

Music experts were red-faced when

'Frltz Kreisler reveoled thaf his "transcriptions'"

of Pugnaa;, Viv,aldi and other old masters

were in reali~y or;gi"a' compositions.

Here. in Mr. Kreisler's own words. are fold fhe

reasons for the hoax that for

25 years fooled musicians the world over.

By FRITZ KREISLERAS TOLD TO LOUIS 'b:IANCOLlI

MUSIC CRITIC, NEW YORK WORLD.TElEGRAM AND SUN

"I WAS AT THE BEGINNING of mycareer when it all started," Mr. Kreisler said. "For a whileI wasn't sure what I wanted to be. I had studied medi-cine and art. I also wanted to be an army officer and hadentered training.""You mean up to that time you had considered the

violin nothing more than a hobby?" I asked."Not quite. The violin was really my first love. I had

begun to study it when I was four. I entered the ViennaConservatory when I was seven and finished at ten withfirst prize. Then came the Pal'i~ Conservatory and theFrench gold medal at twelve. At fourteen I was alreadytouring America.""What made you undecided about continuing your

career as a violinist?""My father was a medical doctor, and at the time I

thought of becoming one, too. He himself had wanted tobe a violinist, but his parents wouldn't let him. Being aviolinist then was like going around in the streets witha hurdy-gurdy, unless, of course, you were a Wilhelmj,a Sarasate, or a Joachim. 'Veil, in spite of the risks, Idropped the idea of becoming a doctor and decided toremain a violinist.""I suppose by 'risks' you mean more than the dangers

of bucking competition with the spectacular personalitiesof that time.""Well, there was the problem of programs. To be a suc-

cess in those days you had to know how to make programs.The violinist's recital repertory was then very small.""I don't follow you," I interrupted. "How about all

the standard violin concertos?""Anybody playing a violin concerto with piano accom-

paniment at that time would have bcen "laughed off thestage.""How about Bach's unaccompanied onata P""They were not very popular.""Beethoven and Schubert?""There were some sonatas by Schubert. but Bee-

thoven's sonatas were out of the question. You had tobe big to do them and you needed a big piani t to col-laborate with you, a combination, let us say, equal toHorowitz and Elman or Rubinstein and Heifetz today.""Conldn't you hire an orchestra to play the concerto

accompaniments?" I asked."Scarcely, if you were poor and unknown. The result

was that if you were a concert beginner you never playeda concerto. And if you were poor and unknown, no greatpianist would appear with you. Therefore, no Beethovensonatas."HI begin to see why medicine and a military career

seemed more attractive to you than music.""So what did you do if you began to give concerts?"

Mr. Kreisler went on. "You fiddled around with Bach'sChaco nne or the 'Devil's Trill' of Tartini or sonatas byCarelli, Veracini and Geminiani. The rest of the.programwas made up of smaller pieces, like Ernst's 'Elegie', Rafl's'Cavatina', Wieniawski's 'Mazurka' and 'Polonaise', andVieuxtemps' 'Ballade'.""Odd bow so many of those titles have completely dis-

appeared from the repertory," I remarked. "People musthave moaned when they continued to reappear on pro-grams."

"They were all good pieces as far as they went, but Iwanted to play other things. And (Continued an page 56)

18ETUDE-JU.VE 1951

3

AUSTRIA.

Symphonic cycle, Vienna,from April 4 to May 10. Con-ductors will include Kielberg,Gui and Klecki.Salzburg Festival, Salzburg,

July 27 to August 31. Mozart's"Magic Flute" and "Idome-neo"; Alban Berg's "Woz-zeck's": Verdi's "Otello."

ACCOMMODATIONS ARE PLENTIFUL THIS YEAR AT THE

·1

EUROPEAN MUSIC FESTIVALS will again be in full swing thissummer. All the wartime casualties, like Salzburg and Bayreuth,are again operating, and there are new attractions, such as the CasalsFestival at Perpignan, to lure the music-loving traveler. Most Euro-pean countries are making it as simple as possible for the Americantourist to come and bring his dollars. In all but half a dozen countries,visas are no longer required. One still needs a passport and a smallpoxvaccination certificate. (Without the latter document, you can get outof the United States, but not back in.) Latest reports are that there isplenty of ship and plane space, no shortage of hotel accommodationsand adequate food, even in rationed countries. Prices are about thesame as last year's.

Leading SU1.uner lJ1.usic events in Europe include:

IREL.4..ND

Music Festival (Feis CoeiI) ,Dublin, May 7 to 12.

ITALY

Fifteenth annual May Fes-tival of the Arts, Florence,May 3 to 24.

HOLLAND

Three City Music and ArtFestival, Amsterdam, Scheven-ingen and The Hague, June 15to July 15. .

SWITZERLA.ND

Festival Weeks, Zurich, June5, 12, 19 and 26. Opera, con-certs and an international row-ing regatta.Lucerne International Music

Festival, August 8 to 26.

FRANCE

Bordeaux International Fes-tival of Music and Dancing,Bordeaux, May 16 to 27.Music Festival, Toulouse,

Juoe 1 to 10.Casals Festival, Perpignan,

June 10 to" Jnly 5. Wurld·famous cellist Pablo Casaleand other artists will performworks of Bach and Mozart.Music Festival, Aix-en-Pro-

vence, July 15 to 30.

ETUDE-JUNE 1951

SPAIN

Nineteenth annual Barce-lona Festival, June 10 to 25.

s"rEDEN

Open-air opera perform-ances, Ostersund, July.

GEn:lUANY

"Music of Our Times,"Duesseldorf, May 18 to 22.Lower Rhenish Music Fes-tival, with orchestras andchoirs from Aachen, Cologne,

Wuppertal and Duesseldorf.Songfest, Er ank lurt-am-

Main, J line 15 to 19. Concertsby the German General Sing-ing Association.International Music Festi-

val, Frankfort-am-Main andDarmstadt, June 23 to 30.Wagner Festival, Bayreuth,

July 29 to August 19. Festl-val programs will include"Parsifal," "Rheingold" and"G oetterdaemmerung. "

19

\ \I ' ,

Ajter only two seasons, this festival of music and art, high inthe Colorado Rockies, is a major summer event for musicians

A tow forRubinstein

20

By EVERETT JONES

Y E-·\RS AGO, America'smusic lovers who wanted to hearsummer music had to travel toEurope to find it.Today summer music events

are growing both in number andmusical excellence.One of the newest and best

summer festivals is the AspenInstitute at Aspen, Colorado,which is to open July 2 and con-tinue until August 26.Although it is only in its third

season, the Aspen Festival nowranks as one of America's topsummer music events.

It \Y<15 launched auspiciouslyin the summer of 1949 with aGoethe Bicentennial celebrationhaving 35 its guest of honor thefamous musician. music scholar,medical researcher and mission-ary, Dr. Albert Schweitzer.The first season also offered

concerts by the MinneapolisSymphony Orchestra, under thedirection of Dimitri Mitropoulos,with outstanding guest artistslike Nathan Milstein and GregorPiatigorsky. who made a jointappearance playing the BrahmsDouble Concerto (see cut).

FOLLO"'JNG the successof the first season, the AspenFestival continued in 1950 witha concert series by Saul Castonand the Denver Symphony, Anoutstanding feature was the all-'Vaguer program which hadHelen Traubel and Lauritz Mel-chior as soloists.

In addition. the Festival of-fered chamber music by thePaganini Quartet, the AlbeneriTrio and many solo performers.This summer, an even more

elaborate festival is scheduled totoke place.The French composer Darius

Milhaud will teach composition,and in addition will appear asguest conductor of his own andother music. The general musicdirector is Joseph Rosenstock. ofthe New York City Opera Com-pany's conducting staff. who alsohas led orchestras in Germanyand Japan. Mr. Rosenstock willdirect the Aspen orchestra. teachconducting and head the newStudio of Opera and DramaticArt.Rudolf Eirkusny heads the

piano department, and the duo-pianists Vronsky and Babin willbe on hand for part-time teach-mg.Roman Totenberg. violinist,

and Raya Gnrbousovn cellist,will be active both as performersand instructors.Aspen's chamber music activ-

ities will again be headed by thePaganini Quartet (Henri Temi-anka, Gustave Rosseels, CharlesFoidart and Adolphe Frezin)and the Alheneri Trio (ErichItOI' Kahn, Giorgio Ciompi andBenar- Heifetz). Both ensembleswill play and teach cham bel'music.The

Karinvocal faculty includesBranzelJ, Herta Glaz,

L..... _

Paula Lenchner, Leslie Chabay,Mack Harrell .and Martial Sin.gher.Woodwinds will be tought by

Albert Tipton, flute, Lois Wann,oboe, Reginald Kell, clarinet,Norman Herzberg, bassoon, andWalter Griffith, French horn.Other outstanding musicians

will attend the Festival as guestartists, h;red by Aspen's finemusic-making and its superb lo-cation high in thc ColoradoRockies, 200 miles from Denver,Despite its superb scenery, As-

pen was just another Westernghost town from silver-miningdays until] 935. when Swiss ex-ports declared it an ideal spotfor skiing. A ki low was in-stalled, and ski trains beganbringing in winter sportsmen inever-growing numbers.The expert' high opinion 01

Aspen as ski country was con-firmed in 1940, when thc Inter-national Skiing Championshipswere held in the f rrner ghosttown. It wa the first timc thisinternational event had beenstaged in America,Meanwhile. Woltcr P. Pnepcke

of Chicago. board chairman ofthe Container Corporation ofAmerica, had become interestedin Aspen. Paepcke, who alreadyowned a ranch ncar Larkspur,Colorado. loved thc Westerncountrv and believed Aspen hadpossibilities for developmentboth as a winter and summerrecreation cen ter.

IN 1046. with a group 01associa tes. Paepcke founded andincorporated the Aspen Com-pany. Their first objective wasto uia ke tbe town a WesternWilliamsburg. modernizing itbut retaining its flavor of bonan-za days.The Aspen Company first ac-

quired on a long-term lease theHotel J ercmc. a Victorian struc-ture which first opened its doorsat the height of the silver-min-ing boom in 1889. The HotelJerome was modernized inside.but its gingerbread facade re-mained intact.Other properties also were

leased by the COl11pan~' ond put

ETUDE-JUNE 1951

in shape to provide adequate ac-commodations for the expectedinflux of visitors. All moderniza-tion was carefully planned un-del' the supervision of artist-de-signer Herbert Bayer and Chi-cago Architect Walter Frazierto retain Aspen's mid-Victoriancharm, The metamorphosis ofthe community even includedan offer of free paint to anyhome owners who would painttheir houses in conformity withthe ideas of ti,e planning staff.Aspen thns was ready for the

winter skiing season. Paepcke'sideas, however, did not stop witha single season. The master planfor Aspen envisioned a year-round center for recreationagainst the background of theColorado Rockies,Already, knowing fishermen

had passed the word that troutwere plentiful in the nearbyRoaring Fork River. Deer andsmall game hunters were well

acquainted with the area,Then in 1949 came the ambi-

tious plans for the Goethe Bicen-tennial, presided over by Chan-cellor Robert M. Hntchins ofthe University of Chicago. Di-rectors of the event were seekinga festival location which wouldbe easily accessible from bothseaboards, and would avoid thedistractions of an urban me-tropolis.Aspen proved to be the an-

swer, and the Goethe Bicenten-nial attracted visitors from allparts of the U.S,With two successful seasons

behind it, the Aspen Institntethis year will offer an even moreambitious program than pre-viously. In addition to the musicfestival, the program will featurelectures and seminars on relig-ious, business, literary and gov-ernmental subjects, conductedby outstanding specialists.

THE END

Everybody goes to Aspen-Laurih: Melchior to fish, Igor Stra-vinsky to lead a concert of his own music, Nathan Milstein andGregor Piatigorsky to perform under Dimitri Mitropoulos.

ETUDE-JUNE 1951

The canvas amphitheatre at Aspen is dwarfed by its setting inthe Colorado Rockies. Inside, it is a commodious concert hall,with space for crowds like this one and with excellent acoustics.

21

l

Adventuresof the Trill

The vocal trill, which has ornamented

music since the days of Pythagoras, is subject now as

always to the public's taste and the style of the day.

LE TRILL is the old-est embellishment used in singing. We cantrace it as far back as the ancient Greeksingers of the sixth century B.C. Also, adefective execution can be traced into antiq-uity, when 2,300 years ago Aristotle vainlyfought for his doctrines on voice emissionagainst the scholars of his days.Here are the fundamental rules concern-

ing the basic trill as they were taught inAthens by Aristotle (ca. 350 B.C.) ; in med-ieval England, France, and Italy by GuidoAretinus (ca. 995-1050); two hundredyears later, in thirteenth-century Paris, byHieronymus of Moravia; at the end of theRenaissance, in papal Rome, by Conforti(1592) ; throughout eighteenth-centuryEurope by Tosi (1723); iu France by theAbbe Joseph La Cassague (1766); at theart-loving Austrian court in Vienna byMancini (1777); at the Conservatory ofParis by Garcia (1841); and so forthuntil the present day.

The human trill is not composed oftwo true, real notes as often was and isbelieved, but it is the equal vibration be-tween one note, the real or principal note,and another, the helping or auxiliary note,which is always higher in pitch than thereal, or principal, note. This equal vibra-tion between the real and the helping noteis achieved by moving the larynx regularlyup and down. The more regular these throb-bing movements are, the more birdlike willsound the trill. The throbbing starts on theauxiliary note after the principal note hasbeen produced and must come to an endalways on the principal note. The strongerand more flexible a throat and neck, themore perfect will be this movement, which

22

By IDA FRANCA

is the extreme limit of celerity in vocaliza-tion. According to Garcia's calculation itcan reach }:=200. He who is completemaster of his lower jaw, which has to bevery mobile in its sockets, can easilypossess a faultless trill.

There are many extremely differenttheories concerning the production of theauxiliary note, but there has never beenany doubt by serious scientists that forboth auxiliary note and real note the truevocal chords do not change shape-eitherin length, thickness, or tension-but al-ways assume the shape necessary for theproduction of the real note. Yet no singerever bothered about all this. Besides, noone before Garcia's invention of the laryn--goscope knew what shape the vocal cordsassumed during any vocal production.The trill always was-and always will

be-an artistry passed easily from singerto singing student, not through explana-tion but by imitation. Two factors onlyare essential: the teacher must have a per-fect trill j the student must have a freethroat. That is all there is to it!The str6bilos (our trill) was an ap-

preciated ornament in the singing of an-cient Greece. The sonus vibrans (our trill)was just as cherished in ancient Rome assoon as Rome started to imbibe the Greekculture. When after the collapse of theRoman Empire the Catholic Church be-came the center of all occidental art, thepressus (our trill) adorned medieval music ,until in the thirteenth century polyphonicsinging took undisputed possession of themusical compositions, and the Romanchant slowly lost its biggest value in pro-portion to the irresistible advancement of

the new style. The grace of the Gregorianchant vanished, and instead there appearedthe new and very hard harmonics of thediscant. Into this graceless music, whichpresents the first tentatives of the laterglorious counterpoint, the crude voicesof the Franco-Flemish papal singers trilledenthusiastically ... with the result thatthe musically sensitive Pope John XXIl(1316-1334) strictly forbade in a Brief"all melismatics of any kind." Even Rome'sschola canto rum gradually lost all splendorwith the unavoidable decline of its Gregor.ian music, for the reason that St. Peter'sChapel exclusively asked for singers whowere experts in the new descant. Vocalability had become unimportant.Ever so slowly and only after many a

setback this si tuation of vocal decadence.was changed: after the return of Pope Greg.ory XI from Avignon, in 1377; after thefusion of the Avignon Chapel, consistingof twelve singers (French, Flemish, andmusic-loving Spanish chaplains) with St.Peter's Chapel into the Collegia dei cappel-lani caruori pontificii; and after the con-struction and foundation of the SistineChapel by Pope Sistine IV, in 1473, whenthe Apostolic Chapel of the sixteenth cen-tury became the center of the Roman poliophonic school, which, finally having ma-tured into simplicity and beauty, claimedagain vocal perfection of her singers.And so we see in 1592 the rebirth of the

medieval pressus as trill (tr.) through itsintroduction into St. Peter's music byGiovanni Luca Conforti (1560-16?), wbowas the first known "Italian" contraltoin papal services.

With the stress on vocal virtuosity duroing the following centuries, it appearsonly natural that the trill also should be-come elaborated and brought to its extremeperfection. Pier t'rancesco Tosi, in histreatise of 1723, which is considered theBible of Bel Canto, distinguishes eightforms:

L The Major Trill: This is a trill be-tween two notes having an interval of awhole tone-a major second. The lower is,as previously explained, the real or prin-cipal note, the upper the helping or auxil-iary note. The throbbing starts on the auxil-iary note and ends on the principal note.

2. The Minor Trill: This trill is be-tween two notes having an interval of amajor semitone--a minor second. It can-not, of course, (Continued on Page 57)

ETUDE-JUNE 1951

IN THE SIMPLEST folk song or themost complex symphony, pure intonationis a vital necessity to our success as per-formers, teachers and conductors in achiev-ing a musically satisfying performance.Pure intonation is the ne plus ultra of themechanics of music.The aura] capacities of the average stu-

dent are limited, and it is necessary, there-fore, that his auditory sense be aroused byrelationship of tonal timbre, rather than byassociation or discrimination of pitch. Forexample, here are specific teaching tech-niques demonstrated with an elementarystudent ~f a brass instrument:We shall assume that this student tends

to play on the "flat side of the tone." In-stead of emphasizing his inability to playin tune, or his lack of pitch discrimination,we will proceed to arouse his interest- inthe quality of tone he is producing and itsrelationship to the tone he should haveproduced. Through this development of"quality concept" ~md timbre of tones ofvarious pitch, even the most immatureplayer will consciously begin to developlistening habits which will eventually re-sult in an improvement of intonation.

Assuming that our student continuesto play "under the tone," i.e., flat, insteadof telling him he is playing flat, we proceedto awaken his concept of the quality of theflat tone. We call his tone "flabby,""mushy," "thin," "anemic," "soggy,""dull," "lacking in support," "tired,""tubby," "veiled." By means of such asso-ciation, the student will soon begin todevelop tonal concepts which will eventu-ally be as vivid to his aural capacities a'sare the primary colors to his sight.Now, let us demonstrate with a student

who tends to· play on the "sharp side ofthe tone." We endeavor to awaken hisconcept of the timbre of the sharp tone;we call his tone "strident," "harsh,""forced," "rigid," "taut," "strained," and"pinched." By prescribing applicable studypieces we then try the factors responsiblefor the undesirable tones. By this meanswe will not only improve the tonal conceptsof the player, but his intonation as well.Such procedures, if begun early in the

player's career, tend to encourage active,intelligent listening, and serve to focusthe aural and mental powers in a specificdirection. And they chart the student'spracticing and progress more construc-tively than the. usual method of "thinkingand listening for him!"

ETUDE-JUNE 1951

BAND & ORCHESTRA DEPARTMENT

~'s tune up!THE FIRST OFTWO ARTICLES

Teaching techniques which deoelop tonal

concepts will encourage the student'« intelligent

listening and improve his pitch.

By WILLIAM D. REVELLI

To make use of the eye as well as theear in improving intonation, the teachermay draw a circle. This will serve as abull's eye. Next, place a dot in the lowerpart of the circle. (See Example A.) Thendemonstrate for the student that by focus-ins the breath into the lower part of theemouthpiece, and by placing the tongue in

the lower part of the mouth,the tone will be flat. If the stu-dent will listen he will hearthat the quality of tone is sim-ilar to that described in thefirst experiment as soggy.

Next place the dot in the upper part ofthe circle. (See Example B.) The studentdiscovers that by playing into the upperportion of the mouthpiece and placing thetonaue hish in the mouth, the tone be-o 0

comes sharp and the quality, as previouslydescribed, taut, pinched, squeezed, etc.Next, place the dot in the center of the

circle. (See Example C.) The comparabletone may be achieved by di-recting the breath into theproper spot in the mouthpiece,plus the tongue attacking inits proper position. The stu-dent will note that the toneis resonant; it rings, and is more brilliant

than the flat or sharp pitches.This is due somewhat to theovertones which are most valu-able in adding to the "creamyquality" of a tone that is onpitch. The student has now

scored a bull's eye. Such vivid pictures areof great value in helping to solve difficult

Ex.Ao

Ex.BoEx.C

8

problems that are related to intonation.Naturally, other factors enter into the

production of any tone. Such problemsas breathing, embouchure, and supporthave an influence upon the quality andpitch of all tones. Nevertheless, any meanswhich will serve to encourage and improvethe player's "quality concept" will alsoserve to improve his intonation.Here's another technique for developing

attentive listening:Ask a student of the class to playa lone

and the other class members to identifythe tone, not by its pitch, but rather byits timbre. Ask the students to raise theirhands-one finger if the tone is flat, two ifsharp. If it is in tune, no hands are raised.It is amazing how much you will discoverwith this experiment. Performers of sev-eral years' experience are frequently un-able to distinguish between the flat or sharptones. Some will indicate that the tone issharp, while others insist it is flat.At a recen t concert performance of a

high school group~ one conductor remarked,"May the Lord forgive them, for they knownot what they playeth!" Which one mightamplify by adding that their sin is not inplaying out of tune, but in not being awarethat they are out of tune.

JUST INTONATION

BEFORE THE INTRODUCTION of equaltemperament-the process by which allkeys become equally available for practicaluse-the scale of C Major was usuallytuned on keyboard instruments in what iscalled "Just Intona- (Continued on Page 64)

23

,.,

·i

What everyyoung organist

should know

[n ,his first church job, the new choir-

master faces both musical and non-musical problems

By ALEXANDER McCURDY

THOSE OF US who leach in collegesand conservatories know the signswhen graduation time is approach-

ing. The seniors nearing the end of theirfinal semester become unwontedly serious.They ask us all sorts of practical down-to-earth questions. For four years or morethey have led the sheltered life of a student.Now they are about to be on their own. Itis up to them to succeed or fail in theirchosen career. The prospect is both excit-ing nnd alarming.I tell my students that if they have

worked hard and taken advantage of whatthe college or conservatory had to offerthem, they have nothing to worry about.Opportunities come to everybody. Themain ·thing is to be prepared for the oppor-tunity when it arrives.

This is especially true of organists.Those who have made a specialty of pre-paring .themselves for church work aremore in demand than ever before. A goodorganist who also has a flair for choralconducting will find himself being soughtafter. A good organist who is only averageas a choirmaster can always find a place;and an unusually gifted choral conductoris even more in demand, though his skillas an organist may be moderate.All this assumes that the organist is

thoroughly prepared and can take over atshort notice. Church music committeesdon't want someone who will take the joband then spend three months learning tobe a church organist; they want someonewho can play the service next Sunday.

24

Of course it is impossible that a newgraduate will be as well prepared forchurch work as an organist with ten years'experience. There are, however, certainminimum requirements for any young or-ganist who undertakes a church job. Atthe start of his professional career, theorganist should at the very least be ableto show the following accomplishments:1. He should he ahle to play any hymn

in any hymnal expertly for choir and con-gregational singing.2. He should have 111 his repertoire

enough organ music for a complete churchyear.3. He should have an adequate supply

o~ organ music for all the festivals of thechurch year. .4. He should have at his fingertips as

many of the standard anthems as possible.He should know both voice parts andaccompaniments. His list should include atleast these anthems-"Rejoice in the LordAlway," Purcell; "The Heavens Are Tel.ling," Haydn; "Hallelujah Chorus," from"The Mount of Olives," Beethoven; "J esu,Joy of Man's Desiring," Bach; Gloria, from12th Mass, Mozart; "And the Glory of theLord," Handel; "Hallelujah Chorus," Han-del; 150th Psalm, Franck; "How Lovely isThy Dwelllng Place," Brahms; "Te Deum"in B-flat, Stanford; "Immortal, Invisible,"Thirnan ; "Praise," Rowley.5. He should have a repertoire of fre-

quently-performed vocal solos, includingat least the following-"O Rest in theLord," "But the Lord Is Mindful of HisOwn," "Then Shall the Righteous Shine,"

ORGANIST'S PAGE

"If With All Your Hearts" and "Lord Godof Abraham," all by Mendelssohn; "ComeUnto Him" and "I Know That My Re.deemer Liveth," Handel; "Clouds andDarkness" and "God Is My Shepherd/'Dvorak; "The Lord Is My Light," Allit.sen; "How Beautiful Upon the Mountain'1Harker; and "The Lord's Prayer," Malotl~,6. He should be thoroughly familiar

with at least the Iollowing cantataS-:-"ln.carnate Word," Elmore; "The Crucifixionl'Stainer; "The Seven Last Words," DuBoi's,

I must repeat that the above are mini.mum requirements. aturally, the largerthe young organist's repertoire, the better-prepared he is to begin his career.Meeting its musical requirements, how.

ever, is only half the battle. The youngorganist will face non-mu ical problemsaswell. His success in his new job will de-pend to a great extent on his skill in humanrelationships. He must secure the coopers-tion of every member of his choir. Hemust be able to get along with every mem-ber of the church tafl, from the ministerto the sexton. And he must work in har-mony with the congregation, who after allare the final judges of his work.

In my years as a church musician Ihave seen many young organists, splendidlyequipped musically, fail in the human sideof their jobs. The commonest mistake isto assume that because one is a new broom.one must make a clean sweep. Many youngpeople go into church positions with theidea that they are going to turn the worldupside down. They are disillusioned whenthey don't.

It is far better to appreciate what hasbeen done before and build on that. Workhard, and results are bound to come.Thereis nothing more true than the saying thatone gets out of something exactly what heputs into it.Be sure you are interested in what the

church is doing as a whole. One cannot puton a musical program in a church andexpect it to make a success independently,The program will fail if it is presented asan end in itself, rather than as a meansof furthering the aims and ideals of thechurch. The whole music program must. . .tie 111 with the religious and educationalprogram of the church.For this reason the young oruanis!,. c"

should be open-minded and willing to lis-ten to sugges· (Continued 011. Page 63)

ETUDE-}U.VE 19;1

Adventuresof a piano teacher

PART FIVE•

Only the most worthy should touch the keys to

Beethoven's "Waldstein" Sonata

By GUY MAIER

Wnever a husky pianist-male or female-sits down to play Bee-thoven's "Waldstein" Sonata (Opus 53)you know what is going to happen. Itdoesn't make any difference whether thepianist is an experienced professional orjust an advanced student with gobs of facil-ity. You know it's going to be a field dayfor virtuoso display.This is a great pity, for the sonata, dedi-

cated to Beethoven's friend, Count vonWaldstein, is one of the master's toweringcompositions-a sonata of huge canvas andtremendous scope. Even with its first andlast movements of almost unprecedentedlength, Beethoven put in another very longand prolix movement-the well-known"Andante Favori." When he played thesonata to a friend, the friend advised himto cut out this long andante. Beethovenwent into his usual uncontrolled rage, butimmediately excised it and substituted theshort andante we now know, which is nota movement, but a glowing, mystical intro-duction to the last movement.The first movement glorifies the mechan-

ical age. ·Science and industry sweep allbefore them. Everywhere there is the 're-lentless beat of the machine and the march-ing feet of the robots. The second theme ofthis first movement is a wonderful shock.It is in the unusual Key of E Major (in-stead of the Dominant Key, G Major), asthough one of the regimented robots sud-

ETUDE-JUNE 1951

denly saw a vision oI infinite happiness.The development which follows is full of

rolling thunder, flashes of lightning, andagain the drive of mechanized science. Thisextended development suddenly rushesheadlong into the returning first theme.(The entire movement is filled with glit-tering key-excursions.] A long coda fol-lows, half development, half cadenza.The slow movement, a Recitative and

Aria, is like the meditation of a prophet.The music is far removed from the drumbeats of human conflict. Whenever I hearit I like to think of the greatest Master'swords: "Come unto Me all ye that labour... and I will give you rest."The last movement, pure spirit, takes off

at once into the rarefied air of the highestsummits. It is like an eternal ascension-aseries of serene, spiralling convolutions.Where, in a composition of such con-

summate form and content, is there roomfor a virtuosic Roman holiday? Let's putthe "Waldstein" Sonata up on the moun-tain top where it belongs. Only those whoschool themselves to scale the heights areworthy to touch it.

A NOTE ON TIlE GRIEG CONCERTO

I am sick to death of hearing the GriegConcerto beaten to a pulp by today's pian-istic show-offs. Why don't they stick totheir Tchaikovskys, Rachmaninoffs and

PIANIST'S PAGE

Prokofieffs to show their percussive powers?You can't tackle Grieg; he is too frail,

too sensitive. Remember, he lived manyyears with only one lung j he was shy, mod-est, reticent. His music cannot survivethe shock treatment given to it by most ofour contemporary pianists. To be sure,when the youthful Percy Grainger first pro-claimed the Grieg Concerto to an enchantedworld he played it vigorously, and dynam-ically, but also richly and romantically.Today, the piece has degenerated into atechnical war-horse, its hard-as-nails meas-ures pounded out by every budding planoplayer.No virtuoso would dare to abuse Schu-

mann's Concerto in A Minor as they doGrieg's, yet I feel that in sincerity, ardorand romantic warmth Grieg's A MinorConcerto stands a close second to Schu-mann's in the repertoire. (Grieg and Schu-mann were warm Iriends.)So, please approach the Grieg piece as

fresh, lovely music, not as clacking clap-trap. Study it respectfully; play it freely,deeply and buoyantly.Do you remember Grieg's adventure with

Liszt? Edvard at 25, even with his sur-prising compositional skill and maturity,had not yet received much recognition orencouragement; so he was "bowled over"when he took the. manuscript of his con-certo to Liszt."Play it!" said Liszt."'1 cannot," answered Grieg."Well, I'll show you that I cannot, also!"

Whereupon Liszt sat down, read it su-perbly, all the time conversing.As he played the opening of the slow

movement he remarked, "Ah, this is one ofthe simplest and most direct moods of sad-. ness I have ever played." But his enthusi-asm broke all bounds when he reached theG-natural in the last movement's final mea-sures. Striding across the stage, arms liftedhigh, he roared out the theme. Then heshouted to Cr ieg. "Keep on and on-don'tlet them intimidate you-you have thegoods!"Grieg used to say, "Whenever disappoint.

ment or bitterness threatens me, I rernem-ber Liszt's words, which uphold me."When you study the Grieg-or any-

Concerto don't stop with one moveme~t.That's reprehensible! Learn to play thewhole composition. THE END

25

AICH l\1:USICAL EXPERIENCE is in store for the violinstudent when he begins to work on the unaccom-panied Sonatas and Partitas of Bach. No greater

music has ever been written for the violin than thesethree Sonatas and three Partitas. Think of the fugues inG minor, A minor, and C major-and above all of theChaconne! In the whole violin repertoire there is nomusic more sublime.

But you who are approaching the unaccompaniedworks of Bach for the first time should not attempt toscale these heights immediately; you should start in thefoothills-in the short movements. And of these, theGavotte we are now to discuss is probably the best tobegin with. Though it is not musically complex, it is inthe true Bach style,. and it demands from everyone thecontrol of the bow and the coordination between rightand left hands.

Let us consider this Gavotte. You will find that theproper apportionment of the bow stroke is not quite easyin the first eight measures. The tendency is always totake too much bow. The two introductory notes shouldbe taken with short, though very firm, bows near thefrog; the trilled seventh on the first beat of measure oneshould not use more than half the length of the bow.Then the two eighths on the second. quarter will betaken with short bows near the middle-but strictly intime!-and the two staccato quarters which follow ,villneed a half-bow stroke so that the bow is at the frogready for the half-note on the first beat of measure two.This half-note seventh calls for the fnll length of thebow, so that the following two-and-a-half measures maybe played delicately at the point.

The two pairs of slurred eighths in the second halves·of measnres ~ and 3 mnst be qnite sharply phrased; thatis, the stress must come on the first note of each pair

. and the second note played as if it were no longer thana sixteenth note. The two staccato, eighths in measure 3mnst be sharply detached, as mnst the eighths in 4.

l 26

VIOLINIST'S FORUM

GA VOTTE from theE Major Violin Sonata

A MASTER LESSON

By HAROLD BERKLEY

But don't take too much bow on them; short b w nearthe point will bring out the n ece sa ry IT L. The lasttwo eighths in 4 and the first in 5 ar 1 ell r takenstaccato in one bow, so that enough bow i: avnilable forthe next three notes in mea lire 5. A cr cndo beginhere which is carried through the mart 1\ ighth inthe second half of .5 to the who l -bow d ubl - lop (thehalf-note seventh) in measure 6. Thi hair-not balancethe half-note in measure ~ and mu b pIny I with thesame wholehearted enthusiasm. e an int n c vibratoon both double-stops. Don't lake mor than a third ofthe bow, from the frog. on the" ding qunrt rs;ratber slow, firm, and heavily detach d tr k , willbring out the meaning of the phra c.

The inherent bnoyull.Cy and "ilalily f th ~c fir lmeasures ean be given life if your left hand finger grip

-is strong and if you follow the bowing iudi ati n givenabove. If the finger grip is weak or if you u~ too muchbow a wishy-washy effect will result whi'h will pleaseneither you nor your listeners.

The last two notes of measure and the fir t of 9shonld be played as were the first three nol of themovement. But in the last half 'of 9 0 CUi n modulationto C sharp minor that at Once inlroduc a more intnrspectivc mood. The staccato note cannot b so accentednor the paired notcs so sharply phra ed. Thi~ moodholds until measure 14. when the re cndo b ~itl~whichleads to the restalellle t f II .. .n 0 le prt nClpal theme 111 mC8:;·nres 16 to 24. This repetition of th th m .honld beplayed exactly as was the first tatement of it.

Play the phrase from lhe last half of 24 lo the firsthalf of 3~ softly and with the utmost delicacy. playinthe staccato eIghths lightly near the middle o·f the bowal:d gently phrasing the pairs of slurred eighths. In~D and Q9 the I t th. -. as ree quarters ho"ld be played a>eIghths. WIth an . hth f· ... th I' . elg rest Ollowmg each qnarlu· ItIS e Ower strlUg which must (Colltintted 011 Page 6.1)Gavotte, from Sonota H 3 f

O. ot' Unoccompa"Jed ¥Ion., a".,..o" •• '0'. 41

ETUDE-It IE IIIiI

Hungarian Dance, No.7Ungar ischer Tanz

All his life Brahms was fascinated by the bold harmonies and free, original rhythms of Hungarian .mu s ic . Even his mo atformal works show traces of this influence, and in his folk songs and Hungarian dances he is frankly indebted to music ofthe Danube. This is one of the most charming of the Hungarian dances. Grade 5.

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tempo should be observed carefully but n~t exa~gerated. I~ overdone they will make one's playing Sound affected. The com.poser's metronome markings are a safe gUIde to Interpretation. Grade 31/2.

Larghetto (J ,92), .• 2

DON R. GEORGEA. s. C. A.P.

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1

No,130·41065 WaterfallHere is a ~rilliant) effective piece which is not beyond the reach of the average player: It i~based on a pattern of arpeggio

ated Ch?rds:lStudents ~ay find it helpful to begin by playing each phrase in chor~al form 11: or.der to see clearly the designof the piece. In performing the work, the upper melody line must be sustained, w h il e the rapid sixteenth notes must be playedHg-htly and with absolute evenness of touch. Grade 31/2.

Moderato OLIVE DUNGANliquid t011e A. s. C. A. P.

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No. 25180 Bonita. An inte~esfing and effective use of tango rhythm, in c;nt'emporary style. The work .al~o is. a valuable stud~ in octave ~lay.ing."\In the second section of the piece, in D Major, care should be taken to make the dIstinction between the s ix teenth, eighthand sixteenth note pattern and the triplet of eighths. which follows. Grade 4.

Moderato (J:72)Tango Tempo JEND DONAta

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LullabyBerceuseNo. 18692

The great piano virtuoso Josef Hofmann also is a prolific composer, having written for piano and various instrumental combina-tions. Many of his large works for orchestra appeared under the pseudonym of "Michel Dvorsky." This Lullaby is from a suite offive pieces entitled "Mignonettes." It is an excellent study in me lo d y-p l ayi ng and in the alternation of various touches. The w ide-ly-spaced skips in the left hand will aid in developing independence in that hand. Grade 3.

Mdt a tempo JOSEF HOFMANN0 era 0 espr_ 5 ,"A~>l 3!... . 3 -i'\ - - ~ ..' - 3 - ~, ~

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Copyright 1923 by Theodore .Presser CO.ETUDE-JUNE 1951 •

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•

No. 932 Sonatina in C Major~ntonio Diabelli (1781-1858), composer of many songs and piano works, is remembered today ch~ef1y. for the 33 Variations

w h ich Beethoven composed on one of his waltzes. Trained for the p r ie s t h o o d , DiabelJi settled In VIenna as a teacher andcomposer, and in 1824 established the firm of Diabelli & Co" which published works of Beethoven. Czerny, Lanne r and Schn.bert. This pleasant work is the opening movement of one of DiabeIti's nu me r-ou s sonatinas for piano. Grade 3.

Allegro moderato (J'120)A. DIABELLI, Op. 168, No.3

2 & s 51 1 4; a3

15 • 3 3 2 f 2

>-.P

--------. . .1•

----------. . . • 2 •

. bassolegato

dolce1 a 2 f~.• >- 2

>- . ..P .p cresco

.P

35

~ • --------2 3 ~___ 12 y---;, . . . • 353 .2 1 •1 • 1

--= :::=- f.--:---:---... 'C--

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34

~-------~~ ETUIJE·JUNE 1951

5~ ..~ . . . >; -~ . . ..

@. q-' ~~ ':' ~ #H~ ~. ,>-'-"'" 11if· r-n 3 ""'!'1 ,...,.., 1""'1""'1 1""'1""'1

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J1 1dolce .P . :I I I I I

~ f!Grade 3~.

Important Event("Scenes from Childhood")From "Kinderscenen"

Allegro deciso (J ,120)5 (224.1~ ~2 • A

5 ;•ROBERT SCHUMANN

Op 15, No 6(

A5•5

II Jl II .. .., A A ., A 21~""';A A 5 3 A A

···@. I...: , I U' - ... i -i -I ilJo!,!!·-I :1I~~~~~~~ ~ .. Af

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10-.:: I U ...... i ....,;;--,} .Ii.. :;~1 A poco rdard.

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.. ~ -<II ~ .~... .. ~ .. ~ :::t:e ...·#i .~ q~f .. F-, r:~'~.~~ ~f·tFromrfShort Classics Young People Like" edited by Ella Ketterer. ~. ~~.~'#~~Copyright 1948 by Theodore Presser Co. :-. -...:.:ETUDE-JUNE 1951 V V V 35V

•,

No. 23087The Arkansas Traveler

Old' American Fiddle TuneParaphrase

SECONDO HARL MC DONALD

Allegro con brio (J, 126)•1

.5 ,1 •

. 1P -==== ==-

mfpoco a JJOCO cresco

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British Copyright SecuredETUDF..JC,Y£ 1951

~

•

•

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No. 23087 The Arkansas TravelerOld Ame~ican Fiddle Tune

Paraphrase

Allegro con brio (J: 126)3 •

PRIMO HARL MC DONALD

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t. 0 3 ....1s

5

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No. 430 - 40121 Frere Jacques(Brother John)

Moderato (J ,112·116)SECONDO

t~

FRENCH FOLK TUNEArranged by S.L.D.

.:. ... P- 3 3..- --"if/ RH RH~ - , •:> :> :>

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3 3,

LH , r. = =-From "Let's Play Duets" by Sarah Louise Dittenhaver. 11 - Z-

1

Copyright 1947 by Oliver Ditson Company.

38

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ETUDE· JUNE i951

p

PRIMO

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.Frere Jacques(Brother John)No. 430·40121

PRIMO FRENCH FOLK TUNEArranged by S L DModerato (J -112 116)

~ Jl- -

t 3 3_

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@ 3 a r r '..:.IFrom llLet's Play Duets" by Sarah Louise Dlttenhaver.

ETUDE-JUNE 1951

:>L.H. 39

L

Morning-HymnROBERT REINICK

Molto Adagiopp

GEORG HENSCHELOp. 46, NO.4

R.H Soon night will pass; Through field and grass What 0 _dours sweet the morn-ing send - eth!

L.H

pp•

cresc: dim.

On vale and height "Let there be lighti"__ Thussaith the Lord,and dar k-nesC ---....

end - eth.~.~.

.~.11,.1+. poco a poco

. .~

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t.P~~~~ ~r~\ I .J~

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Cres cen do

in rap ture glo rio S1 UBi un-s light, un - f'ur ld ,

l~~~~~~~II,1I

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,1'1 II II I - I.

Lord, - J ef ~s- -,~t.. \ ff/ II95~" ILJb. /,.J r /. hj~ ...;] -- -i

lCJ -Ib~ ed allar t>~ ga" ~:<il"1v

do ~ #itl-'..... - - ~Oliver Ditson Company V

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1ETUDE-JUNE 1951

p

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andy ;.--;.

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ratl.

E'lIglish version byCharles Font ey-n: Manney

1'\ Lento

Lasciatemi Morire(Let Death Now Come)Lamento di Arianna

CLAUDIO MONTEVERDE (1568-1643)Transcribed by Pietro Floridia

-r p

La.sci a , te -Let death now

mi __c(~-me

rno - ri _ re!to claim me!

La - sciaLet -death

:>

te - minow co-ne

mo-to--- --

cresc.

- -¥ - _ 116P ,

---------- ....I I

P

'-------- --------Ie - te che mi-plore you, Could bri~lg

~ri . re!

claim, 1ne l

~E' che

wu«, Ican _ for - te1ne coni-Fort

In co c s i du-ra sor v te , In co v s iIn a fate so ap -pall-inEr, In suck a

va -i-ni -

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~ 3 ~ :e ~i ~~" rilen. mollo

motto c1'estMfrett. :>==-ppp

:: ~:~.. :;;;:~ .

l!- I

gran1nat' -

~

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I

La.sc ia - te -Let death nowatJr9ft. ,

. ? L I.mar. t1 - re. a - scta -tyr'5 _ tor-ment? Let death

1":"\ :>

te - miuow C01ne

rno- ri - re!to claim mel

mi _ roo - riC01ue_ to cla~'m>riten. malta

:t IIl1 r!. gt litpmotto cms·c.

. ...~= .'= jj~ .~~ ~

From "c~:si~iIt~~J~ongs,,7:Copyright 1923 by Oliver DitSQn CompanyETUDE -JUNE 1951

International Copyright Secured41

s--------------------------@J (10)00 4614100 Pastoralerm (11) 00 6204 000

Anda~J,#J. ~ ~. ~ %

WILLIAM A. WOLF

MANUALS Ch. [IDp ?'it. ..f~f'

PEDAL

Ped. 41 ~ ..'-J.

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dim.

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ICopyright 1040 by Theodore Presser Co.42 British Copyright Secured

ETUDE.JUNE }!15}

GavotteFrom Partita No.3 for Unaccompanied Violin

A Master Lesson on the Gavotte by Harold Berkley appears in this issue of ETUDE.

<,,1,69-7.3) t J.S.BACH. 'tr /"'.:=:- V" n V • :>

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85 ~:> •

'-' '-' --- - --- - 1""2 -=:::::::::::: :::.:::==-- ====- 3 .!92 "-,.,.... ~ " • ~

-ETUDE·JUNE 1951 43

No 26632Grade 21/2.

Allegretto grazioso (J 126)

Dancing FawnsLAWRENCE KE, ATING

~ RH.~H. J,J / RH.

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t: mp~ tD 2

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L.H. LH. LH

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a tempoRH.j,

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,

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No. 130~41068Grade 2 lIz.

Merrily OyetI"'15he'.:-WavesWe Go'Swinging <J 80) MARGARET WIG HAM

~~.= S

2 • /' a 2 , .......... '.~~ ~~·"i~ ..-~. ~··.i .-.. ... - .. -- H-

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5

,Last time to Coda -$- Gayly fa little faster)

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SoPyright 1951 by Oliver Ditson Companyr-TUDE'jUNE 1951

L.........JInternational Copyright Secured

45

!I ~

No. 26247Grade 2.

Surf Riding'. ,

BERN IECE ROSE COPELANn

Allegro ()1 132)

Teaching point: The chromatic scale

prepar~ation . I 3 23t321~~3 I! r.h.~ 31 . 12 3 I 3,2 3 , -'----.-_. _==~~

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,1 1 ,2

35 25 5Copyright 1935 by Theodore Presser Co.Briti h Copyright Secured

Elfin HornsGrade I. ,

Moderato2 3 CATHERINE RYAN KEYSOR

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ETUDE -lUXE 1951~ --';"' .....iioiiiiiii"""""""_

------------------- ..-.s•

a tempofLlf ~3 rt-. .--. , , , -2

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, • I. . I 1 5LH.

No.130 - 41050Grade 1.

In The Autumnh I

JOHN VERRALLRat er s ow

1

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~..5

Faster..A 4.~

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Rather slow

. v' "'. -e-•'- f/ .. ...ho p pp... n,

/,

COPyright 1951 by Oliver Ditson Company

ETUDE-JUNE 1.951

International Copyright Secured

47

• 1

everything else. One of Flesch's para-doxical maxims was, "I want you tostudy as little as possible." Whathe meant was that every technicalproblem should be intelligentlysolved in the shortest possible timeinstead of by stupid, mechanical,endless repetition. With the leisuregained one could make music, feelfresh physically and mentally in-stead of stale from excessivedrudgery.Unfortunately, immature as we

were, calculated practicing becamean end in itself and some of Flesch'sstudents seemed spiritually poorerwhen they ieft him than when theycame. The artistic growth of somewas arrested forever while othersfinally came to realize the basictruth that applied intelligence alonecannot solve all OUf problems forus. In every true musician there areforces at work of which he is noteven conscious. It is these subcon-scious forces which, given the op-portunity, take over where the con-scious intelligence leaves off. It isfor this reason that it is so importantfor every student La find time to makemusic for the sheer joy of it. Theargument advanced by so many stu-dents that they have no time formaking music, because of the pres-sure of classes, credit and home·work, is totally invalid. THE END

TEACHERS I HAVE KNOWN Scherzo Tarantelle of Wieniawski£"Nonetheless, Ysaye's words of wis-dom stayed with me and today, un-derstanding them, I know it was oneof the great lessons I learned.My last teacher and the one who

probably influenced me most wasCarl Flesch. He was a rationalistfirst and foremost and he believedthat no problem was insoluble onceyou put your mind to it. He taughtus to think for ourselves.Flesch was a remarkable diagnos-

tician, who detected, analyzed andcatalogued every quality and faultin a flash. When I went to auditionfor him in Holland, my briefcase washeavy with music. I remember begin-ning with the Rondo Capriccioso ofSaint-Soens. I never reached theend of the first page, for Fleschrose, stopped me and said, "Canyou come to America with me onSaturday?" After helter-skelter prep-arations I was on my way and re-ceived a scholarship at the CurtisInstitute, from which I graduatedthree years later.

•(Continued from Page 13)

To Miss E£leen StearnsNo. 130- 41067Grade 2.

that moment, an IS-year-old studentwell aware of all that was still lack:ing in my playing. I performed aBach unaccompanied sonata andPaganini's Moto Perpetuo. Ysayewas more than generous to me andso were all the other great violinistswho, each in turn, put his armaround my shoulders and took mein to the next room to give me pater-nal advice and encouragement. Itwas a great evening for me.

Ysaye was the first to attemptto give me an artistic philosophyby which to live. Putting my violinaside, he would say, "What museumhave you recently. visited, whatbooks have you read?" He tried tomake me understand, when r wasonly 18, that there was much more "tointerpreting music than just thetechnique of it; that one cannot be-come a great artist without develop-ing one's sensibilities as a humanbeing, or that perceptiveness andtrue inner intelligence comes fromthe heart as well as the mind.

Ysaye's advice at first puzzledme. As I stood uncomprehendinglyin front of the Mona Lisa in theLouvre, I said to myself, "Now whaton earth has this to do with the

Corporal Lollipop, G. C. :M.* lifetime. It is obvious to me todaythat without a certain amount of per-si-stentdrudgery it is impossible toacquire the adequate technical equip.ment without which, in the long run,all talent and creative imaginationremain unavailing. No "modern" ap-proach has been found, nor willit in my opinion ever be found, toact as a substitute for scales, etudes,exercises and all the other execrableforms of violinistic cod Iiver oil.I am afraid we shall always haveto ram them down the pupil's throat,but let us keep the dosage moderate.

ELLIOT GRIFFIS•I 2:>.::!.,

Stiffly, with much dignity (J: 126)'1 2 3 4. 5 1

,,. 885

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= ~. -:--/.dim.·•

, • 8 I • 8 ,•, 2~ I

W1lile still in Paris I had thegreat pleasure o l playing for Ysayeand subsequently was invited to playfor him a number of times. The firstoccasion was an un forgetta ble onefor me. Ysaye had come to Paris tohold a master course and the wholemusical elite at that moment in thecity wanted to pay homage to thegreat old master. Consequently, whenI entered the room to play for himI found myself facing not onlyYsaye, hut also Enesco, Thibaud,Selgeti and approximately 100 othermusical celebrities of the day. Iask you to imagine how I felt at

Flesch's lneietence on an intelli-gent and analytical approach totechnical and musical prohlemsmade thinking people out of mostof us. In fact, in many of us thescientific element gradually began1.0 predominate to the exclusion of

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• t ,5 • 3,., , • 1903 THE WORLD'S LARGEST HOME STUDY CONSERVATORY OF MUSIC 1951

WHAT PROGRESS ARE EQUIP YOURSELF FOR A BETTER POSITION This is YourOpportunity-Moil the Coupon Today!A proof of quality is important for one in-

YOU MAKING? terested in further musical training. OurYourmusical knowledge--your position and courses offer you the same high quality of

incometoday-ore the result of Ihe training preparation which bas developed and trainedyou have given your natural ability. Addi- many successful musicians and teachers inlionaltraining will open up new fields. new the past.opportunities. greater income and higher NATIONAL HOME STUDY COUNCILstandingin the musical world. The Council is an Association of which weThisvaluable training. through our Exten- are a member. It includes the outstanding

sienCourses..may be taken at home with no correspondence schools in the United Statesinterferencewith your regular work just by with headquarters at Washington, D. C. Mem·devotingto self-study the many minutes each bers are admitted only after rigid examinationday that ordinarily go to waste. The progres- of the training courses offered.sivemusician.as busy as he may be, realizes We are the only school giving instructionthe value of such study and finds the time for in music by the Home-Study Method, whichit. Well paid positions are available to those includes in its cuuiculum all the courseswho are ready for them. necessary to obtain the Degree of BachelorYOU YOUI of Music.can do it tool It's up to A Dip ..... II ,..., K.y t. So ..... !

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tion regarding course I have marked with an X below.o Piano, Teacher'. Normal Course 0 Voiceo Piano, Student's Course 0 Choral Conductingo Public School MUB.-Beqinner'. 0 Clarineto Public SchoolMUII.-Supenisor's 0 Dance Banel Arranqingo Ad"anced Composition 0 Violino Ear Training & Sight Singing 0 Guitaro Hislory and ADalysill of Music 0Mandolino Harmony 0 Saxophoneo Cornet-Trumpe. 0 Double Counterpointo Profeslional Corllet-Trumpet 0 BanjoName•••..•••.•.••••••.••.•..•.•.••... Aqe •••••••.••.Street No••.•••••••••••••••.••••••....•••••••••••••••.City•••••••••••••••••••••• '.' ••••• State•••••••••••••.•

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ETUDE-JUNE 1951 49ETUDE-JUNE 1951

•planorecital time is drawing near andteachers will demonstrate the successof their work through the use of re-cital numbers such as these ••. whichwill provide fresh and interestingprograms.

RECITAL NUMBERSGRADES 3, 4 and 5

3916 A Dream, Db.3-4. .Grieg3913 Adagio and eeuree. Om. F-3 Handel3914 Air (Water Musin), F-3 .. Handel3946 All Dressed Up, 0-3 Cowell3975A'r in G Major. SUite XIV, -3 .. Handel3910 Bagatelle, OP. 33, No.6 •• 3 Beethoven3980 Conlla~La Mano Abajo, F-3. Halsfeld3974 Folksong, Op. 12, No.5, F;;m·3 ... Grieg3947 The Good Old Days, Dm·S Cowell3948 Homesick Lilt. F-3 Cowell3999 Intermezzo, Op. 117, No. I, Eb·4 .. Br-ahms3972 Intermezzo fro Petite Suite, F-3 .Borodtn3907 La Poulo (The Hen). Gm-4. Rameeu3906 L'Hirondelle (The Swallow), 0·4 .. Dnquln3977 Menuetto, L'Arlesienne, Eb_4. Bizet3900 Moment Musical, Op. 94, No. I, C-4

Schubert3849 Narcissus, Ab·3 .rceu»3949 Pa Jigs Them All Down, G-3. Cowell3950 Peg leg Dance, Am.4. . Cowell3898 Polonaise, OP. 89, C-5. Beetho"en3912 Prelude in Bbm, -3. ..'. ,Llatlov3902 Rhapsody in Eb, OP. 119, No.4. -4 B,'ahms4000 Six Little Preludes. .Bach4004 Thais, Meditation, G.3 ~faSSCllCt3903 Tile Windmill, 0.4. Dagincourt

Century Edition is 20c a copyOur Graded-and-Classified-or ourcomplete catalog listing over 4000numbers is free at your dealer or onreq uest from us,

CENTURY MUSIC PUBLISHING CO.41 West 63rd St. New York 23, N.Y.

THE SIDE OF THE ANGELS

(Continued from Page 10)

any amount of proving that the mostpopular and well- paid artists of theday are not necessarily those withthe loftiest musical ideals, or thatthose with the loftiest ideals are notnecessarily those enjoying the mosthighly remunerative careers. Despitethese inequities which exist allaround us, I do not believe that per-formers and creators of singulargifts go unnoticed. Outstanding tal-ent is recognized. This recognitionmay not always be commensuratewith musical qualities, but the factremains that superior musical talentrs, in the overwhelming majority ofcases, recognized and its possessoris able not only to serve music, buthave music serve him through hisability to earn a livelihood by prac-ticing his art.

But it is true that the world of musi-cal competition is based on businessconsiderations. The artist is consid-ered a commodity and his talentsare exploited for profit. Some artistsare interested in profiting only ifthey can make music which satisfiesthem; others, and they include manybut not all of the most famous ones,are interested primarily in profitsand hardly at all in musical stand-ards. However, competition need notbother you unless you have falsegoals. You will not be disappointedif you determine to serve the art ofmusic.

Statistically, let us face the factthat only a few can have great ca.reers as soloists, but that doesn'tmean that every single one of youcannot serve music in a distin-guished manner and by so doing,lead useful and well-adjusted lives.This requires, as I have been tellingyou, a combination of the idealisticand the practical. You must have nofalse standards and understand thatthe alt of music has an enormous

appetite and needs many devotees toserve at many different levels. Thegifted teacher, church singer, orches-tral performer, are as much neededby music as the great singers andconductors and the others whosecareers are too frequently glamor-ized far beyond their intrinsic worth.Music in the United States is an ex-panding field. If sincerely you wishto serve it, you will find within itsbroad boundaries a constructive role.

Filially, to br-ing home to you oncemore the inescapable relationshipbetween the ideal and the practicalfor true success in music, I wouldlike to refer to the Greek way oflife. Recently, I had the pleasureof rereading a book which was pub-lished while I still attended college.It is Edith Hamilton's "The GreekWay." It will demonstrate for youthat the Greeks were above all thingspractical men, despite their absor-tion in the arts. The two princi palsubjects in the curriculum of theirschools were mathematics and mUSIC,and they were, in the words of Per-icles, "Lovers of beauty withouthaving lost the taste for simplicity,and lovers of wisdom without lossof manly vigor." And, again, theduaEty of the artistic and the prac-tical is shown in the words of thepoet Pindar, "With God's help mayI still love what is beautiful andstrive for what is attainable." If youlive your musical life in these tel·msand continue to love what is beauti-ful in the sense of the musical valueswe have been discussing, and if youstrive for what is attainable in thesense of being willing to serve inthe profession of music at that levelwhich fortune and ability dictate,you will indeed have your musicalheaven here on earth because youwill already be on the side of theangels. THE END

teachersare now planning piano recitals, Forthe kind of material which will makeparents beam with pride and cp-proval, we suggest you examine thesedelightful, little numbers.

RECITAL NUMBERSGRADES 1 and 2

3936 At Cllurch. C- I . •.•. . Drorlne3982 Tile Big Drum Ma/or, F.I. lIopklm3942 The Clown,. G-I...... .. Krcvlt3937 Oopo tile Donkey. G-I·2 Drorlne3909 Evening in the Country, ·2·].. Bartok3935 Four By Eight, - •......... J'ederson-Krlg3990 From My Garden, C-2 ..•......... Hupi3973 Th, Lalt Panne. Am·2 .•...... Grlnldgl3941 The Little LOlt Bur, Am·t. .. Krevlt3991 Little Val", C-2. ..... ~'oldeJ3938 Lonery Shore. Am_ •........... Drorlne3918 Lullaby. F-2 :'>lozITt3992 Marching Home. C·2. Foldel3993 Mllty Evening. C·2 SClrmolln3985 Ouldeor Song, G_L... Kurt3943 Picnic Party, F-r...... Krefll3994 Queen 01 tile Rolleo, G·2. ... Sielner3996 Rul!' and Tuff, Dm_2.... .•. Steiger3945 Soutllern Sonatina, C-2 Slone3939 Song 01 the Prairie, C·'·2 Drorlne3911 Sonatina. Am-2.a........ Kilialeuky3997 Squirrel,' Plenlc, Em-2 Eckharllt3989 Starry Way. C- •............... ltoptlnl3944 Trapeze Wain, C.2 Krevlt3979 Two Caprlcn, Om.F_I .Pannlnl-SteIMr

Century Edition is 20c • copy

Our Graded-ond·Clossified_or ourcomplete cotalog listing over 4000numbers is free at your dealer or onrequest from us.

CENTURY MUSIC PUBLISHING CO.41 West 63rd St. New York 23, N.Y.

FRANCES CLARKannounces two

PIANO WORKSHOPSFOR TEACHERS ANO STUDENTS. . . . . . . . . .

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Stoff: Louise Goss, Mrs. J. M. Hol-land, Richard Johnson, Dovid Milli-ken, Dorothy Munger, Mary Jarman

Nelson. Everett Stevens

JUNE 2S.30KALAMAZOO COLLEGE

KALAMAZOO. M/CH.

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AUGUST 13.17VIRGINIA INTERMONT COLLEGE

BRISTOL, VIRGINIA. . . . . .. ..Brochure will be sent on request

JAMES MILLIKIN UNIVERSITYSCHOOL OF MUSICDECATUR. ILLINOIS

ptTers Iborgugh tralnlll&" in music Cours.el lead-),rgslO ~re(!~ of: Bacbelor of .Mu~1c nachelor ofof \l~sle ~2~~~~~io~~aster or :'>luslc: and Master

:UemberoftheNatlOnalAuOClatlonScboolaOfYualCBulletin sent upon request

W. ST. CLARE MINTURN, Direetor

SCHOOLS - COLLEGES

KNOXCOLLEGE

DeDanment of xrusteGaleBbure. llllnoia

Thomu W. Williams, ChairmanCatalogue Bent upon request.

SHENANDOAH CONSERVATORYOF MUSiC

L. E. Hill. Pres.

Courses leading to the B. Mus. and B. Mus.Ed. degrees. Member NASM. In the heartot the Shenando;ih Valley, Payton, Vltgmla.

CARNEGIE COLLEGEOF FINE ARTS

DEPARTMENT OF MUSIC

• Instrumentol-solo,erchestrc. Vocol-solo andememble. Music education_leaching ond supervisingweal ond instrumental mu-lie. Composition-theorYond composition for public perform?nces -. Sfu-dents' full symphony orchestra. Publlc recltcls:individualend group. Chorus. Tecchers of no-lional end internotionol reputation. Graduateswithtop professional records. Coed. Catalog.CARNEGIE INSTITUTE OF TECHNOLOGY

Bo~ E Pittsburgh 13. Po.

Philadelphia Conservotoryof Music Founded 1877

MARIA EZERMAN DRAKE, DirectorEminent FacultyErpert ChUd Training

Courses leading to Degrees216 S. 20th St, LOcust 7-1877

BALDWIN·WALLACECONSERYATDRY OF MUSIC

BEREA, OHIO (Iuburb 01 Cleveland)At6Uated wIth • lIrat c1na I.Jberal ,\rt!College. Four Bnd lIve )'ear counel lcadln.:to d'lITeu. Faculty or Artht Teacheu. Sendror cataloeue or Inrormatlon 10:

HAROLO W. BALTZ. Dean, Berea, OhIo

SAROYA·ONOFREI STUDIOSVoice· RepertoireOpera Workshop

Beginners to finished artists200 West 58th St., New York 19. N. Y.

DILLER.QUAILESchool of Music

Teacher Training and GeneralMusicianship Caurses

66 East 80 St. New York 21, N. Y.

WESLEYAN CONSERVATORY

and SCHOOL of FINE ARTSA Divhion of Wesleyan Coftege

• IU'.'ul. degree: Piano. Violin, Or~an, Voice,CGmpolmon, Mu.ie Education. Art'llt f3culty.Member Nation"l Association of Schools of Mu-sic. Ailo B.F.A. in Theatre Arts, Radio, speechCerrection. Coed. G.I. jIl,pproved. Catalog.

Doria O. Jelkl, Dean483·E COllege st., Macon, Georgia

GREENSBORO COLLEGESCHOOL OF MUSIC

Greensboro. North CarolinaMember NASM

Four Year counu leading to B.A.. llnd B.lI.degreee. i'lICUlty of A.rtlst Teacheu

luther l. Gobbet Pretldut, Gustav Nelson, DeanBend for eo/aloalle ond brOl:lIurCI.

Addren: REGISTRAR

ETUDE-JUNE 1951

HOW DO I GET A MANAGER?

(Continued from Page 11)

Still, there is a prevalent desirefor New York appearances, and ithas led us to inaugurate a serviceof recital management. This meansthat, without necessarily taking theperformer under our wing on a con-tract-and-tour basis, we will arrangea New York recital for him. On theroad, artists are engaged by localmanagers who run the concerts. InNew York, artists pay their own re-citals-hall, publicity, etc. Therehave been managers who .bilk theirclients in arranging these businessdetails-there have been artists whobilk the managers. To make surenobody exploits anybody else, rep-utable managers will sell their serv-ice of experience and integrity inthe arrangement of single NewYork appearances.

Aml on this subject, let me saythat (except for New York recitals)the manager works .strictl y on acommission basis, I know of no rep-utable bureau which takes moneyfrom its artists for working out tours.

The artist isn't the only one withproblems. Managel·s have plenty.OUf greatest difficulty comes fromthe youngster who has been encour-aged to think he is a genius becausehis performances delight his fondrelatives. He is pushed on _and onby his folks, his friends, possiblyeven by the local teacher. These peo·pIe are not insincere-simply in-experienced. They often make enor-mous sacrifices-I know of caseswhere they have mortgaged theirhomes-to get the budding geniusto New York, to the Big Managers,who l·egard family loyalty as a beau-tiful thing but not too valuable asa business recommendation.

Then the managers (who are alsohuman) too often find themselv~sfaced with the distinctly nasty taskof shattering the dream and sendingthe group back to the now-mortgagedhome with broken hearts. All thegrief' could be spared by securing

competent opinions be/ore rushingto New York. It is possible, ofcourse, that a lad may come straightoff the farm with the powers ofa second Josef Hofmann; the man-agers will like it better, though, ifthat happy fact is confirmed bya record of progressive accomplish-ment through recommendations fromestablished teachers, local managers,radio stations and press cuttings.

Another odd thing is that a man-ager can handle just so many artists-e-not . because he wouldn't likemore, but because the public takesjust a certain number from him. Ihave no idea why this is so, butthe public seems to divide its busi-ness according to wishes of its own.For example, I can sell about 20pianists. There are more than dou blethat number playing, but the publictakes the others from my colleagues,Knowing this, I plan accordingly-r-so do my colleagues. Thus, the re-jection of any particular pianistimplies ljmited sales possibilities,and no "discrimination." The man-ager "discriminates" against no one;he wants to sell anyone whom thepublic will .buy.

In gen.eral, I should urge theyoung artist to study with the bestteacher he can get and to build asolid foundation of musicianshipand artistry. Then let him shuthimself up in a room alone and askhimself if he really has anythingto say to the public. Let him getsomeone to confirm his self-estimate.Let him compare his task with thatof the fellow studying law or medi-cine-the years of work, the intenseapplication, the chances of medioc-rity. If hard work and soul-searchingconvince him he has the right stuff,let him get experience. Only thenis he ready to apply to some hard-boiled manager-who will welcomehim if he has the spark. But don'tlet him listen to relatives exclusively

. ~and don't let him mortgage thefarm! THE END

STRICTLY FOR THE BIRDS

IN OUR ROME on the edge of the woods I was lis-tenino one day to WQXR. It happened to be tbe day of aneclips~ of the sun, and although it was only three in theafternoon, darkness began to fall. And the birds began ac-tive preparations for night. Then Artnr Rnbinstein playedChopin's E IV[i.norPiano Concerto.

ThrouO"h our open window l\'Ir. Rubinstein's music talkedto the bi;ds. When he entered on those thrnsh-like passagesin the Chopin Concerto, the wild thrnshes flew close to thehouse and sang their replies in chorus.

-Alberta M. Collins. Westfield. Moss.

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Such ,;tal'" as GINNY SIMMS," BARRY WOOD, GORDON MacRAE",,<1 others h"ve p,,," NORMAN

KLING thousands of dol1"r~ ror Unl"lnj:! their voIces .Now vou can have his [amous course In HOMESTU DY rorm for onl~' 31.00.

LEARN AT HOME In l'our spare time ... /low toVlllcc YOll' "oice, (,,(lothe correctly, to rei!,'" nnd"e"elop yOl" "ocal eord'" Lean' hoW to br",O Ollt!he clear ,.e~o'''''1t to"e~ which are the mark Of "f", .. sinj:!l'r.If ~'ou hav" slnr.-Inv; ambitions. don't wnste another

vrecious day. Mi\"E THE STAltT. which may br.!nl!you the rich rewards of " '"""ut,[ul trnlned ,·01Ce.Send $1.00 [or YOUR course now_TODAY. And reo~nr~J,i't~~t',,~~,,1"°,~nl~~t';:2to;;:g;t;~~~ ~~~; ~~~~e~~~~~",n~' return the course in nve days for ~·our moneyhnck.NORMAN KUNG e:I1.T Kimball Hall, Chieago 4, III.

(~'or personlll'lessons. phone WEl>stev 9_1188)

FOR ACCURACY

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FRANZ MANUFACTURING COMPANYNEW HAVEN. CONNECTICUT

51

ABOVE: Home Model Hommond'Orgon, used in mare homes than any other organ"Hammond Organ or ice. start ot $1285~ for Ihe Spinet Modellnot jIIu,lroled obove},

U'nat other ¥285* investment,

will pay sltch divide/leis?OF ALL TilE T!-lIN(;S that you can buyfor .~1285,* how lllany will bring youpleasure every day of your life, andlast you as long as yOll live?The Hammond Organ will.Compare what your money buys

when it buys a Hammond Organ:

A "ery personal way to relaxThe Hammond Organ oriel'S morethan music. It offers you a ,"cry per-sonal way to relax.You play - every kind of music to

suit your mood. All the great soundsof music come alive at your touch-from the whisper of strings to thebold beauty of brasses.

An easy way to enjoy musicAlthough the Hammond Organ re·sponds to Lhemost exacting demandsof Lhe profession aI artist, you. Gill

play simple but ef!eClivemusic 011 itin less than a month - without ever!l;1\-ing h;ld a lesson before. Thou-sands of O\l"llCrs h;lvc proved this.

A wonderful wayto enrich family life

A Hammond .organ enriches family

life, helps a Ctrllily create its recrea-Lion in the home.It can stimulate vourclutdren's in-

terest in music. I~can furnish youwith a lifetimc hobby tll,lt lets youfill your free time creatively.

A sure way to enhance your homeA Hammond Organ says fine Lhingsfor your way of life.Yet your home needn't be large: a

Sp;lCCani}' four feet squarc is all theHammond Organ requires. lnstalla-tion? Plug this organ into all electricoutlet and it's ready to play.i\lailllcllance costs? Forg-et Lhem,

This is the only organ in Lheworldthat never needs tuning,t requiresminimum upkeep. And modest pay-ments can be arran~ed.

Compare what your money buysill a Hammond Organ

Have a demonstration ,It your deal-er's this week. As you lisLen to Lhis.the lI'orld's most widel)' used org:lllin homes and churches, ask yourself:what other $1283 invcstment will paysuch dividends? For more dctailedinformation, mail the coupon now,

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r--------------------------------j1 Hnmmond Instrument Company I: 4210 '\'. Diverscy Ave., Chie<lgo 39, Illinois :I Withollt obligation, please send me information on the I: follOWing Hammond Organ models: :

I 0 Spinet Model 0 Church ~(odcl I: 0 Home ~lodel 0 Concert l\lodcl :

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t¢Prgan fluestionsAnswered by FREDERICK PHILLIPS

• TVe have a Baldwin two manualelectronic organ in our church.TVhile playing for the congregationto sing should the vibrato be used?

-Mrs. O. L. T., Oklahornc

Since the -eibrato is most effectivewith soft Slaps or combinations, andgenerally speaking a fairly full 01"'

gall is used for congregational sing-ing, the vibrato is better not us.edfor this purpose.

• Though. only 16, I have suuliedpiano, for a number of years, andrecently have been playing tlic 01"

gan. The transition was not di/Jiwltand I have acquired some degreeof nuuuuxi and pedal proficiency,t.hough not taking formal organ les-sons. I am familiar with the work-ings of the console, from two tosix manuals, bUI. am interested inthe mecluuiics of the organ~w/wthappens from manuals to pipes,cOltpler connections, wind supply.etc. Can you recommend a bookthat is not too technical that wouldhelp me? -J. G., New York

The Organ Method by Stajnerhas some preliminary chapters on theconstruction of the Organ which arepractical and easy to understand.We recommend "ContemporaryAmerican Organ" by Barnes, and"Organ Registration" by Truette.

.• I have been asked to play theorgan in our church. and while Ihave played a theatre organ I havenever had any experience with anytype of church organ. Those whohave played on this small organ saythe pedal is always too loud or toosoft. Since the electricity is not onJet I have no way oj knowing justhow the stops sound, but thoughtyou !night suggest a few stops thatcould be added.Could you give mc the names of

some companies who install stops,etc.-someone near here? On thisorgan is a round metal gage (neal'the crescendo pedal) that says"grand organ." Could you help meout there? I am not acquainted withthe "Sw. to Gr." or "Gr. to Ped,"mechanism, since these are not usedon the theatre organ; can you en.lighten me, or reconunend a book?

-TV. B .• New. Jersey

This organ is probably one of thetwo manual. pedal reed organs, Thevisibl'e pipes are probably for orna-mental purposes only, If there is no

chamber containing pipes other thanthese making up the "front," it willhe evidence that it is really a reedorgan, and the tones are producedby reeds contained within the con-sole itself. If this is the case, wedoubt the possibility of adding stops,hut in any event (either reed orpipe organ) the proper firm to con-sult would he Ihe makers themselves.The way to get a proper balance

in the pedal in conjunction withthe softer stops would be 10 usethe Pedal Dulciana. and then couplethc Pedal to the Swell by puttingon the "Swef l 10 Pedal" stops andusing the Saliciona l or Vox Celesteon the Swell manual. The PedalBou rdon should be used only whenthe louder manual stops are on,The gadgct marked "grand organ"is a device that you press with thefoot to put on all the stops in theorgan at one Lime. To help you ina general way get Nevin's "Primerof Organ Registration" from yOllrmusic dealer.

• Do you have anything on whatSl.ops 1.0 use for hymn playing inchurch. on a IVeaver reed organ, andalso a ff/ urlitzer one manllal elec-tronic organ?-Aliss R. Z., Virginia

WithOltL kUOfVi"g the exact stopson each organ it would be impos-sible to give deLailed suggestions.but yOli may follow the generalprinciples whkh foHow. FiTSt of alltryout each stop to ascertain itspitch and volume. When a tone cor-responds in pitch to the same noteplayed on the pjano, it is kno ......"1l

as 8-foot, or 8'. The same notesounding an octave higher than thepiano would be a 4' pitch, and anoctave lower than the same note onthe piano would be 16'.In checking for volume (loud or

soft) be sure to have the swell inthe same position for all stops-either entirely closed or entirelyopen, Now. for hymn playing forcongregational singing. it would bewell to use almost full organ (moslof the stops). except for the quieterhymns of a devotional character.where softer stops should he used.but allow sufficient volume to sup-port the congregation.Eight foot stops should predom.

inate, with ellough of the 4 foot stopsto add brightness. 16 foot stops (ifany) should he used sparingly.When playing a hymn over beforet.he congregation sjngs, only a mod.crate volume should be used.

~_52 _ETUDE-JUNE 1951

4

'" iolin fluesnonsBy HAROLD BERKLEY

A ROSIN ALLERGY

R. F" Virginia. So far as I havebeen able to find out, there is nosatisfactory substitute for the rosinused on violin bows. I would suggestthat your pupil consult her doctor,or several doctors. with the idea ol·finding out if there is some prepa-ration which would counteract herallergy to rosin dust. To be a violin-ist and to become allergic to rosinis bitterly ironic. Perhaps one ofour readers has had a similar ex-perience and can make a helpfulsuggestion.

PAOEREWSKI MINUET

Miss E. M. L., Massachusclts. Theturns in the violin arrangement ofPaderewski's Minuet should beplayed with five notes to the turn.That is, the written note. the noteabove it. the written note, the notebelow it and finally the written noteagain. That is the way Paderewskihimself used to play them on thepiano-and one may assume heknew what he wanted.

EVALUATING YOUR STRADMrs. E. C. K., Iowa. There are

literally hundreds of thousands ofviolins bearing a label inscribed':Antonius Stradivarius Cremonensisfaciebat ... (date)." About 600of these are genuine Strads; a fewhundred are good instruments intowhich Strad labels have been optj-mistically inserted; but the vastmajority are common. factory-madeviolins that are worth from 5 toaround 100. In which categoryyour violin belongs I can't say with-out seeing it.

H. J.. France. There are in theworld abollt 600 known Stradivariviolins. Great efforts have been madein the last few decades to track downand locate every genuine Strad. Inrecent years. Strads have sold inAmerica for prices ranging from110.000 to $50,000, according tocondition and quality. A few out-standing and historic specimenshave brought even higher prices.

FINGER INDICATIDNSV. S. F., Colorado. When finger~

ing is given for the playing of natu-ral harmonics. it makes no differ-ence wbether the figure indicatingthe finger to be used is above orbelow the zero sign.

ETUDE-JUNE 1951

THE SALZARD FAMILY

Mrs. 1M. L. 0., Illinois. Therewere several members of the Salzardfamily who made violins in Mire-court. France, during the nineteenthcentury. Their product was of anordinary commercial type, worth be-tween $100 and $200.

FIND A REPUTABLE DEALER

Fr. V. S., Iowa. You should takeyour violin to a reputable dealerand repairer, both to ascertain itsorigin and to have the bridge prop-erly cut. The fact that you oftenplay on two strings when you wishto play on only one may be due tofaulty bow technique, but morelikely because your bridge is too flat.

SELL IT YOURSELF

D. R., Wisconsin. You would dobeller. I think, to sell your Hopfviolin privately than to try to sellit through a dealer. There are somany violins of this type on themarket that dealers are over-stockedwith them. Its value is probably be-tween $60 and $150.

ABOUT BOW MOUNTINGS

Mrs. E. B. T.• Illinois. JohannCarol Klotz was a worthy represen-tative of a family of excellent violjnmakers though he favored a slightlysmaller' model than his relativesgenerally used. If in really goodcondjtion, one of his violins couldbe worth five or six hundred dollars.However facsimiles of his labelwere fr;quently put into inferiorviolins not of his make. violins notworth a quarter of the above figures.(2) Your Collin-~1"ezin bow can beworth anywhere from $25 to $100.accordina to its condition, its play-ing qualities, and its mounting. Allbow makers mount their best bowsin aold the intermediate grades insj]v~r. 'and the cheaper sticks inGerman silver or some other metal.As you tell me nothing about thebow, I can't help you fmther.

ON PUBLISHING YOUR MUSIC

K. S. G.• Wyoming. As your Mel·ody and Dance for violin and pianohas had such good success when youhave performed it, why do you n~tsubmit it to some reputable mUSICpublisher? I should like to see acopy of it myself.

The WUkanowskl ConS<lI·va.tol·yViolinNo. 7'l.73-Vlolm only ....•.• , .$125No. 7234-Comolete OuttlL .... $150

(Other Superb WilkanowsktModels to $175l

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A SUPERB VIOLINThe Wilkanowski "ConservatoryModel" Is a, slender. graceful modelwith well arched body. producing asmooth. rich tone. The sides, back,neck and scroll are old curly maple ofpronounced flame; the top is fine oldspruce of close even grain. Fine ebonyfingerboard, rosewood tailpiece. withhand carved coeobola pegs.

THE CASE-"Streamllne" modelwith sturdy laminated veneer .bo~y,covet-ed with simulated leather III liz-ard grain. Plush lining; silk bow rib-bons; solid brass hardware. THEBOW is genuine Pel·nambuco woodstick well balanced with full linedebony frog. ACCESSORIE.S inch~dean extra set of tested nr-tisf-qualitystrings; mute; chin .rest and E stringadjuster.

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53

II

Editell by Elisabeth: A. Gest

CAMP STAYHOMERSBY ELIZABETH SEARLE LAMB

PRI

SUMMER MUSIC CAMPS mean fun,inspiration, musical learning andincreased performing ability,sports, and all sorts of good times.But, if you can not go to a musiccamp .you need not miss all thosethings, just get busy and organizeyour own music camp at home.Talk it over with your family

and friends, your music teacher,school band leader, and the di-rector of the Junior Choir. Theywill all probably be delighted tocooperate and help you with yourplans; they will also have someideas to suggest and some help tooffer. Of course this would notmean you would have no choresto do at home, for even at a regu-lar camp there are chores to do,dormitory clean-up, inspection andmany other things.

If possible, the group shouldplan to meet for certain hours eachweek, perhaps every day or threetimes a week (morning or after,noon) with something special forSaturday evenings, such as asquare dance, or a get-togetherwith games. Individual music prac·tice would be done outside ofcamp.time but gold stars may begained for keeping a regular prac-tice schedule.For the group meetings, plan a

number of different events, depend.ing on the talents of the group andthe outside help you may be ableto have. Make a list of possibleevents and activities and then se-lect those receiving the most votes.Select a camp monitor for €achweek~ and members may taketurns being on the program com-mittee, whose duty is to arrangedetails of activities.Some activities might be: group

singing, instrumental groups, study

r--IIIIIIIIIIIIIIIIL__

54

of musical history, biography ofcomposers (all of which can bedone without a piano). If a pianois available include ear-training,keyboard harmony, hymn playing,playing at sight, informal recitalswith friendly criticisms. If thereare summer concerts in the neigh-borhood, plan to attend one in agroup. Radio programs may besubstituted; if they are good, anddiscussions of the" music and per-formers may follow. Include rec-reation, too, hiking, swimming (ifthere is water near), picnickingand bicycle riding. Play musicgames and have quizzes (whichyou may obtain in past issues ofyour Junior Etudes).Gold stars lllay be given for

merits, tallied up and a prizegiven at the end of camp; demerit.may also be counted, which some-times change the expected score!Gold stars may be given for everso many things.Set definite dates for the open-

ing and closing of camp. Thecamp schedule should be put onthe bulletin board every day andstrictly followed. Be very faithfulabout attendance and preparationfor study periods.The sessions may be held at dif·

ferent homes, in yards, in base-ment rumpus-rooms, etc., but if

Enigma

WHAT IS IT?By Mabel Irelle Huggins

My first is in BANJO, but neverin SONG; b

My second's in TRUMPET, utnever in GONG; .

My third is in TIMPANI, also 111

SPINET;My fourth is in VIOL, sweet-voiced as a linnet;

My fifth is in ORGAN, with toneshigh and low,

My sixth is in LYRE, but is notin OBOE.

My seventh's in BAGPIPE, andalso in FLUTE;

My eighth is in TROMBONE, aswell as in LUTE;

My ninth is in BUGLE, and alsoin HUM;

My tenth is in DULCIMER, alsoin DRUM;

My last is in REED, and also inSQUEAK;

My whole comes each month butwe'd like it each week.

Anewer s [uruor Ehtlle

Who Knows the Answer?Keep score. Oue lIundred i, IJcr/eel.

1. What is meant by Dal Segno(pronounced sane-yo)? (10points)

2. Dcflat is the third degree ofwhat minor scale? (5 points)

3. Which of these composers wasborn first: Schumann, Men-delssohn, Schubert? (15points)

What would be the time-sig-nature of a complete measurewhich contained two eighth-notes, one quarter-note, foursixteenth-notes, four thirty-second-notes and one eighth-

n te? (10 point)hat is a chorale? (10

pints)6. , hi h f the followingwords

r fer t mu ic: celendc, can,d r , anter, cantor, carillon,ar i 1, entabile, calamus?(1 points)

7. , hat i a chori ter? (10loin )

8. ~ hot "'0 aint- lien I firstname? (5 p ints]hat i the leuer name ofan

augm nied fifth Irem Charp? (15 points]

10.. rom "'hot i the themegiren" ith thi quiz token? (10points)

5.

9.

Anslvers 011 "ex' !Joge

there is a good place available allthe sessions could be held in oneplace. This has the advantafTe ofkeeping your equipment co~ven-iently located instead of taking itto different homes.Plan some special event for thc

closinl? of carnp, such as a party.to wInch you invite your family_

Drawn by Nelson Tandoe (age 15) 0- reg on. Prize winner in Class A

friends, music teach rs and otherswho may be inter led. bo.- themby a short program "hat youbJrebeen ac omplishing. II prizesueto be gi,' II for camp work tbi;;;the tim to ghe thenL locludeIshort recital. i\" til m a quilllreal hard 011 !). foUow .ilb p0p-Corn and pretuls and end .nih Ising-song for e,-el')bod)'.

0_ do not feel • rry for your'self if IOU caD DOl go to a ~musi camp thi . ear. 0rgaDJ")-our own ta -homers Camp. Theda}s "ill n . oIon ·ou.1I1"",a lot and ha' 0" ndorla! tiJa'doing it. Try it! d aft<rili;owr. writ and teU the JOIORETL DE ahout iL mall prUe!go to the three be.t ..Til""'!" ~a Camp ta·h mer. rJIi pJ

ETUDE-JPE fflI

.Junior Etude ContestJunior Etude will award three attractive prizes each month for

the neatest and best stories or essays and for answers to puzzles.Contestis open to all boys and girls under eighteen years of age.CIa" A-15 to 18; CIa ss B-12 to-15; CIa ss C-under 12.Names of prize winners will appear on this page in a future issue

of the ETUDE. The thirty next best contributors will receivehonorable mention.Put your name, age and class in which you enter on upper left

cornerof your paper and put your address on upper right corner ofyourpaper. Write on one side of paper only. Do not use typewritersand do not have anyone copy your work for you. .Choose your own essay topic this month. Contest closes July 1.

Results of Drawing and PaintingContest in February

• MallY very exeellcnt drawings and• paintingswere received in the fourthJunior Etude drawing contest held inFebruary.The last contest of this typewasheld in 1946 and it seems that thepictures submitted this year surpassedthoseof former years in excellence andin the variety of mediums used. For-merlythey were done in pencil, char-coal, pen.and.ink and crayon; this yearpastel, water-color, tempera and oilwereadded. Some of the pictures whichwill reproduce well will appear infuture issues of Junior Etude.

It is pleasant to find so many JuniorEtuders are doing such good work indrawingand painting, as the two arts,music and painting, often go hand inhand; Mendelssohn, for instance, wasa fine water-color painter and Mac-Dowellenjoyed doing portraits in oil,to mention two well-known composers.Severalcontestants forgot to give age,

one forgot to give name of State, andmanyenclosed no postage for return ofpictures. Since enclosing postage forthis purpose was mentioned in the rulesit is to be presumed those contestantsdo not desire to have their pictures re-turned. Anyone who did forget post-age but would like to have work re-turned may send postage immediately;otherwisethe pictures will be destroyed.

Honorable Mention for DrawingContest

(in alphabetical order)Ruth Alter, Roberta Bennett, Claud-ius Bernard, Jay Chambers, CharlesDaniels, Mary Jane Dawson, DonaldDirksen, Arline Dischler, Michele AnnFearing, Pat Fifield, Vicky Hall. JuliaHatch, Marjorie House, Jo Ann Henry,Grace Louise Johnson, Dorothy Moody,Carole Linn McComber, Carolyn JoMcReynolds,Thomas Nelson, Jobn Ny·berg, Nancy Anne Quick, David Roy-croft, Mary RU!3sitano, Mary Lou Ry·landSr Barbara Sherman, RaymondSmart, Heather Stone, Elaine MargaretSmith, Mary Anne Solomon, EleanorTregre, Jimmy Welsh.

*Answers to QillZ

1,Repeat from the sign; 2, B-Bat minor;3, Schubert (1797); 4, four·four; 5, aharmonized stately hymn tune; 6, calan-do,cantor, carillon, cantabile; 7. a choirsinger; 8, Camille; 9, G-double·sharp;10, Rondo in D Major by Mozart.

ETUDE-JUNE 1951

Prize Winners fo'r Drawing andPainting

(Please note ties in each class)Class A, Thomas Yancy (Age 18),Missouri; "String Quartet" (pen-and-ink).

Class A, Ronald Deeter (Age 17),Pennsylvania; Head of Toscanini(pencil) .

Class A, Nelson Tandoc (Age 15),Oregon; "Symphony Orchestra" (pen-and-ink).

Class B, Nicki Stamey (Age 13),North Carolina; "Here Comes theBand" (water-color and ink.)

Class B, Marilyn Daniels (Age 12),Kentucky: "Boy's Best Friends"(water-color) .

Class B, Ann Becker (Age 11), Ar-kansas; "Kitten on the Keys" (char-coal and pastel) .

Class C, Carole Daniels (Age 11),Kentucky, Chamber Music Group(pastel) _

Class C, Julie Burnham (Age 10),Wisconsin; Child playing flute (pas-tel).

Brenden Raymond, Massachusetts, andMartha Miller. New Mexico, mighthave won prizes, had they rememberedto give Class and Age.

Special Honorable Mention forDrawings:

Class A. Anne Marie Camire (Age 17),Canada; "Blue Birds" (colored pen-cils) •

Class A, Virginia Norton (Age 17),Iowa; "Kittens playing duets anddancing" (pencil).

Class B, Jan Wheeler (Age 10), Ken-tucky; "Minuet" (tempora).

Class B, Betty Andrus (Age 13). Can.ada' "The Singer" (pencil).

Class 'c, Robert Taylor (Age 10), Vir-ginia. Illustrations for Folksongs(crayon and pencil).

Class C, John H. Kern, Jr_ (Age 11),Massachusetts; "Dancers" (oils).

Letter BoxSend replies to Letters on this pagein care oj Junior Etude, and theywill be forwarded to the writers.

• I enjoy ETUDE very much. It isreally something to look forward to .. Iplay piano and trumpet and als~ tWIrlbaton, and plan to. make musIC mycareer. I would like to hear from otheryoung people.Janice Leazott (Age 14), New York

... from the date book of (season 1950-51)

LEO PODOLSKYPiano Refresher Courses-'Class Clinics-Student Auditions

NOVEMBER. 1950-Amorillo, Tyler and Son Antonio, Texas; toke Charles. louisiana.

JANUARY, 1951-Port Huron, Mkhigan; Jccksonvllle, Tempe, and Miomi, florida;Anderson, Indiana.

FEBRUARY-Arkansas City and Winfield, Kcmsasi Bremerton, Washington; Portland,Oregon.

MARCH-Son Francisco and los Angeles, California; Tucson, Arizona; Amorillo, rexcs.

MAY-Judging for Natio"nol Guild of Piano Teachers in Detroit and Allegan, Michigoniond in Roleigh ond Wilson, North Carolino.

JUNE, 1951-4 to 9: "Workshop" sponsored by Jeanne Foster Studios,Sandusky, Michigan. 11 to 16: Allison Music Colony, Way, Missis-sippi, one-week course for pianists and teachers; for informationwrite to Ted Russell, Director. 18 to 30: Musical Arts Conservatory,Amarillo, Texas, 9th annual Summer Seminar for students, pianistsand teachers; for information write to Gladys M. Glenn, Director.

Dr. Podolsky, a member of the Artist Faculty of the Sherwood MusicSchool, has been engaged for the third consecutive year as a memberof the piono faculty of the INTERNATIONAL SUMMER ACADEMY,THE MOZARTEUM, SALZBURG, to represent U.S.A.

ST. LOUIS INSTITUTE of MUSIC

JOHN PHILIP BLAKE, Jr., President

Bachelor of Music Degree in 24 FieldsMoster of Music Degree in 23 Fields

Preparatory School Courses

Institutional Member Natio,!of Association of Schools 0' MusicSt. Louis 5, Missouri7801 Bonhomme Avenue

ROOSEVELT COLLEGE of CHICAGOApplied and Theoretical Music, Composition, Musi-cology, and Music Education. Bachelor of Music andMaster of Music degrees.

Bulletin on Request430 So- Michigan Ave. Chicago 5, Illinois

CINCINNATI CONSERVATORY OF MUSICDr. hther A. Richman, Deon af Faculty

Estoblished 1867, Operated under ouspices Cincinnoti Institute of Fine Artsaffilioted with University of Cincinnati. Complete school of music-Degrees,Diplomas, Certificates-dormitories, 10 acre campus. For Catolog address.

Summer School, June l8-July 28Dept. E. T., Hi9hland A""e. on~ Oak St.,~. M. Benjamin, Registrar, CiNCiNNATI 19, OHIO

COSMOPOLITAN SCHOOL OF MUSICPreparatory, College, Special, and Graduate Departments. Courses leading toBachelor of Music, Bachelor of Music Education, Master of Music, and Teacher's

Certificates in Music and Theatre Arts.Clarence Eidam William Phillips

President Member NASM DeanEdwin L. Stephen-Mgr., 306 South Wabash, ChicagO' 4, illinois

AMERICAN CONSERVATORYOF MUSIC-CHICAGOOffers courses in aU branches of music and dramatic ari

65th year. Faculty of 135 artist teachersMember of National Association of Schools of Music

Send for a free catalog-Addl'css: John R. Hattstaedt. Pres., 518 Kimball Bldg., Chicago

Bachelor of Music Degree, Master af Music Degree, Artist DiplomaBERYL RUBINSTEIN. Mus. D., Director 3411 Euclid Ave., Cleveland, O.

Charter Member of the National AlllociatioD of Schools of Music

5.)

I

~

THE GREAT KREISLER HOAX

(Continued from Page 18)

there just weren't any.""How about arrangements of

compositions originally written forvoice or piano, which is such a grow-ing practice today?" I asked.

"That wasn't done then," repliedMr. Kreisler. "The great exceptionwas Chopin's Efiat Major Nocturnewhich was called 'The Virgin'~Prayer' in the violin version. Therewas also the 'Zigeunerweisen' ofSarasate."

"What about the 'HungarianDances' of Brahms?"

"Joachim and Brahms had beenplaying them together, and no onedared to compete with those twogiants."

"That left you with repertoryenough for about one concert-sizeprogram, complete with encores."

"That was why I resolved to createa repertory of my own." Mr. Kreis-ler leaned forward, his brow fur-rowed, as if he had reached thecrux of his defense. "I then beganto write music under other compos-ers' names. I took the names of littleknown composers like Pugnani andLouis Couperin, the grandfather ofFrancois Couperin.

"Not a single composition of Cou-perin's was known. Maybe in fara-way libraries there were pieces byhim, on yellow illegible manuscripts.You had to rummage around to findthem. So with Padre Martini. Nat-urally, Vivaldi was a bit different.Bach had made arrangements andtranscriptions and even borrowedideas from him. So had others. Andhis music was scattered aroundeverywhere."

rIIIIIIIIIIIIIIIIL

"Was it ever your idea toimitate the style of these compos-ers ?"

"Not for one moment did it entermy head to imitate them. I couldhave done a better job of copyingtheir style if I had intended it. Thatwasn't my plan at all. I [ust wantedsome pieces for myself ' ... and Iwrote them. I gave them these names.I was eighteen then and I wanted tobe a violinist, not a composer. Iwanted to give recitals and I couldn'tput several pieces on the programand sign them all 'Kreisler.' Itwould have looked arrogant.

"So I took those old forgottennames. Nobody knew anything aboutit. First I brought out a piece byPugnani. There is extant only onelittle piece by Pugnani."

"Was there anything i~ the com.position that might have given youaway?"

"A child could have seen Pugnaninever wrote it. There was a semi·cadenza in the middle of it com-pletely out of style with Pugnani'speriod. I played it and it was a hugesuccess."

56

"What about Francois Couperin'sgrandfather?" I asked. "How didyou manage to get away with him?"

"I played a 'Chanson Louis XIII'which I ascribed to Louis Couperin.Not a single note of his was known.Six bars of the 'Chanson' wereauthentic. There is a little story at-taching to them which might inter-est you.

"When I was ten a Jesuitpriest who was a fine organist andowned a library of old books andmanuscripts showed me the 'Chan-son' on a piece of old parchment.The six bars remained in my headfor years. 1 completed the piece inmy own way and gave Louis Cou-perin's name to it. The only advan-tage I derived from it all was thatI could fill my repertory with whatI wanted and have it accompaniedexactly as I wanted. Remember Iwas starting. I was only knownamong violinists. To my great aston-ishment the pieces were a tremen-dous success."

"What did you answer when peo-ple began to ask you where you hadfound these little pieces?"

"I was stumped. I didn't want tosay I had written them. I didn'twant to be known as a composer.Finally I said: 'I found them in li-braries and monasteries while visit-ing Rome, Florence, Venice andParis. They were in dusty old ~anu-scripts. I copied them on my cuffswhen they were shown to me bycustodians.' "

"Didn't they ask you to name thelibraries and monasteries?"

"Oh, yes, hut I told them to goaround and find out for themselves.I assured them there was plenty ofmaterial to choose from."

"Were you the only violinist toplay these pieces of yours?"

"For a couple of years I was.Then a colleague of mine asked

. 'Can I have that Pugnani piece toplay?' I replied, 'With pleasure.' Imade a copy and let him have it.Others began asking for copies. Iasked nothing in return except tomention in the program that thepiece was brought out from manu-script and edited by Fritz Kreislerwith bowing and fingering." ,

"How about the critics?""They were calling them 'little

masterpieces,' worthy of Bach, andso forth. A few violinists called meall kinds of names for not surrender_ing them as public property. 'Youlend them and then ask them back.That's not sportsmanlike!' one criticattacked me, saying 'every artist hasa right to play them.'"

"You must have been reallystumped when the publishers ap_proached you."

"I was ready to give the whole

thing away when they did. Theycame to me and said, 'Kreisler, wemust have these things.' I was in ahole. This time I had to take some-body into my confidence. I toldSchott, the publisher in Mainz, thewhole truth. The pieces were allmine, I said, but I didn't want myname appearing on them. Schottagreed."

"Were you paid very much forthem ?"

"He bought the whole set oftwenty- five pieces at ten dollarseach, bringing me exactly $250.That was all the revenue I ever de-rived from them in Europe. LaterI sold them to Carl Fischer's inAmerica and. earned some moneyon them."

"Did Schott profit from the deal?""Did he? He made a huge Ior-

tune from them. Hundreds of thou-sands of copies were sold."

"You must have had lots of funreading what the critics had to sayabout these 'old and forgotten' com-posers. Do you recall any quaintcomments from their reviews?"

"I remember one Germanreviewer in particular. He oncewrote as follows about me: 'Weheard Fritz Kreisler again last night.He played beautifully, but naturallyhis temperament lacks the strengthand maturity to reach the heightsof the Pugnani music.'"

"You didn't write him a little lovenote telling him the truth, did you?"

"No, but 1 did tell Eugene Ysaye,the great violinist, one day that thepieces were all mine."

"What was his reaction?""He smiled and said, 'You pig, so

you wrote all these things? Thenwhy do you let these fellows runaround playing your music withoutmentioning your name? I'd givethem hell if I were you.' "

"Did you tell any other cele-brated violinist?". "Jacques Thibaud, and his reac-

tron ",,:as the same as Ysaye's. ButI reminded Thibaud that he usedmy cad:nza in the Beethoven con-certo WIthout mentioning my name,so why should the others."

"I.'d li~e. to hear more about themUSIC CTltIcs, being one mysel£. Ifeel that there but for the grace ofGod, write I."

"L et me tell you the most b .fl' eautI·u Instance of all Once 1f . wrote aew special pieces for a V'. I I lennese

reclta . ·called them 'P IW 1 ' ost 1umoustha tz~s by 'Joseph Lanner.' I put

em In the same gro . I'C . V· up Wit 1 myapnce Jennois.' TI f II .d L 1e a oWlllg

ay, e0I.'0ld Schmidt, the critic ofthe Berlmer Tageblatt '

f I • accused meo tact essness. He raved abollLanner waltzes Th t theof Schubert, h~ sai~y ;ere dworthyb k . ow ared I

rac et my own littl I .'C . V e sa on pIeceapnce iennois' with I ."Sh 11 sue 1 gems?

h a I tell you what these 'Poc:;.umous Lanner Wahz' ~

The es were?y were my own 'L' b .'Ie esleJd,'

'Liebesfreud,' and 'Schoen Ros.marin.' I wrote to Dr. Schmidt. Isaid I was pained, but I felt Com.pelled, for once, to say that he was'not devoid of tactlessness' himselfI was terribly sorry, but if the Lan.ner pieces were 'worthy of Schubert'then I was Schubert, because I hadwritten them! The letter was reoprinted everywhere.

"Now don't you suppose criticsand musicians who saw that letterwould have said to themselves: 'IIthis is 50, then the same thing mustbe true of the Francoeur, CouperinVivaldi, and Pugnani pieces.' Alithey had to do was look at the piecesthemselves and read the inscriptionwhich almo t gave the whole thingaway."

"D id no one ever ask )'ou point.blank whether you had composedtho e pie e yourself?"

"Not until my sixtieth birthday.I was in Vienna. Yehudi Menuhinwas playing at the Brooklyn Acad.emy of Music, Olin Downes, thecritic of the ew York Times, wason the program 35 lecturer and com-mentator. Mr. Mcnuhin was payingme a tribute by including severalof my pieces. -lr. Downes wantedmaterial for hi talk. He came rcsee my publi her Fis her. He toldhim he wanted inf rmation aboutthe my terious 'clas ic manu cripts'and the change 1 had made in my'arrangements.'

"Fts h r hemmed and hawed. Hetold him he wasn't a hundred per"cent ure him If. Mr. Downes im-mediately smelled a story. He saidto Fischer: 'There' more here thanmeets the eye,' He cabled me inVienna for the information.

"That was really the very firsttime I wa ever asked directly. Idid not , ...ant to lie. 0 I cabledback: '1 composed them all myseli'and gave my reason: I had neededprogram material and thought itunwise to use my own name. :mestory appeared in t.he lew YorkTimes. That started the avalanche."

1\1r. Kreisler picked up a copyof his Can ertc in G and signalledme to come cv r and in peer it withhim. He conceded that the themesof the first and third mo\-ement5might be rightly t rmed uVivaldian"in style. Th n he pointed 10 the sud·den harmonic changes in the ~ondmovement. These, he said, werestrictly hubertian and BerHozian.

"It should ha\·e been ob\,ious IGanyone studying the ore carefullythat the rest is Kreisler," he re-marked.

"You may be right," I said. "'buton behalf of my fellow critics andmusician the world O\'er. I like 10feel that eyen nlonio Vivaldi mightbave been fooled."

"Or Fritz Kreisler himself." hereplied smiling. "that is, if some'one else had disco\""ered the concertoamong 'classic manuscripts' in 1monastery." THE [5D

HOW TO GET STARTED ON YOUR CAREER AS A PIANO TEACHER

larity. Everyone who comes helpsyouget students.

Have you forgotten your ownteacher? He may send you new5tudents and allow you to use hisname in advertising. Some teacherstake graduates into their studio asassistants. This is grand experience,but will delay you starting yourown class.

Is that brilliant graduation recital"OiDO"to waste? Why not repeat it~vbil;it is still fresh in your memorywherever you want a class. Noticesinyour local newspaper, your churchbulletin and at your clubs will helpgetan audience. Everyone who comeshelps you advertise. And be sureto put a note on your printed pro-grams giving your phone numberand stating, "Students Accepted."

"What do I do with them whenstudents come?" you wonder. Withall the help there is to be had, thatis easy.

Oh, there goes the phone. Haveyou a "voice with a smile?" Doesthe parent complain of the formerteacher? Of course, that is why sheis changing. She is being a big help.Her complaints tell you what toavoid and what to be particularabout. Have you noted them downon your file card? Did you put thestudent's name, age and phone num-ber on the top line? Address, gradein school and appointment go ontbe next line.

Don't forget the birthday, if youwant to make a big hit by sendinga birthday card!

A list of books studied and the

(Continued from Page 12)

number of lessons taken will helpyou in planning the new student'scourse. Has he a notebook of lessonassignments from his former teach-er? This shows what he has hadand what he has missed.

It may save you from guessingwrong in the selecting of a newbook if he brings his last books andpieces to play for you. If the childhas not made progress, you can takehim out of his old book and puthim into the same grade of Schaum.This series is so easy he will soonfinish one book and start another.He measures success by how fasthe finishes books.

The student has had no lessons?You can introduce him to music ineasy steps he will enjoy. See thelovely books for the youngest begin-ners? "Teaching Little Fingers To

. Play" by Thompson starts with mid-dle C, then five notes up and fivenotes down. A student can easilyname the notes, then count. Afterthis he loves to sing. A star on hisnotebook works wonders when hebrings a good lesson.

How to start the lesson for thosewho have had lessons before? Scaleslimber up the hands and collect thestudent's wits, we hope. Chords andarpeggios follow naturally. Now,what about the lesson practiced lastweek, or the last one with his for-mer teacher? Does he race throughas though he were haunted and playloud enough to split your ears? Hashe ever thought how it sounds? No,only how fast he can go and howmuch noise he can make! Red pencil

rings around expression marks mean-ing soft (P) warn him to calmdown, and blue for those loud ones(F) may make him listen to hismusic. He will pay more attentionto correct fingering and counting ifit is written in colors.

Now for next week's lesson. Hewill remember what you tell him ifyou write it down in his notebook.His parents can see what he has topractice. If you study difficult pas-sages with him, hands separately atfirst, marking fingers and counting,he will make good progress and notpractice wrong a whole week. Moreimportant, he will learn how tostudy. Easy sections will then takelittle time.

Save until last, his new piece, themost fun of all. This "dessert" partof the lesson helps arouse his flag-ging attention when he gets tired"Now is the time for sight-reading,new and easy.

Students like to choose a newpiece for themselves. It will be muchharder than you would select, butthey will work much harder too.

What about the student who wants.to skip a lesson, because he has notpracticed? Don't let him. Take upinstead the review work you -havelittle time for in a regular lesson.Review scales, chords, arpeggios andthe study book. Often pieces for-merly memorized slip away and needto be "dusted off." Sometimes thestudent has not practiced becausehe needs help with some difficulty,so give him a practice lesson. Hemay be just discouraged, so be jolly

and give him easier things. Keepit fun, easy and interesting.

Books? The music stores are fullof them. For brilliant students, theThompson books are excellent. Atthe back is a page outlining a courseof study including technique andpieces.

The John Schaum books are mostfun of all and take music by easiestpossible steps. They are a lifesaverfor the new teacher. as well as forthe student who finds music difficult.He gets a new book often. Have youseen the newer books by MichaelAaron, and Bernard Wagness? Ken-neth Aiken has written an easy bookof chords called "Modern Technic,"a help to those who play popularmusic on the side for the "gang."

You should see what the ladieshave written! -Leila Fletcher, EllaKetterer, Louise Robyn write prettythings. Ada Richter has simplifiedGershwin, Romberg and Victor Her-bert for you.

But what if you live far from amusic store? Did you know all themusic in the world is within yourreach, no further away than thecorner mail box? Just drop a cardto any of the music publishers, andyou can get catalogues, books andmusic to examine in your own homeat your convenience. Ask about "OnSale" and "On Account" privileges,lists of books on how to teach piano,and professional cards and signsfor your house.

Once you know how to get stu-dents and then what to do withthem, you can go forward with con-fidence on this great new adventure.As the Chinese say, "A journey ofa thousand miles begins with onestep," so let's get started! THE END

ADVENTURES OF THE TRILL

(Continued from Page 22)

be a minor semitone. It follows, likeall trills, the rules of l.

3. The Half Trill: Tbis is one ofthe first two trills, executed morerapidly, and must be detached soonafter it is heard. It is especiallysuited to lively arias, and gains incharm and brilliance if ended witha picchettatoor an echo picchettatoclosure.

4. The Ascending Trill: The voicetrills while ascending and glidingfrom comma to comma.

5. The Descending Trill: The,'oice trills while descending andgliding from comma to comma.

Both glissando trills (4 and 5)are rejected by Tosi 8S poor taste.Such skill must have sounded dis ..cordant, if we consider the ninecommas of the major second andthe fivecommas of the minor second'-

Instead of Tosi's glissando trills,Mancini, in 1777, later Garcia, i~

ETUDE-JUNE 1951

1841, and many others evaluatedmost highly the ascending and de-scending trills executed in perfecttonality over scales-over chromaticscales (Garcia) or over diatonicscales (Garcia and Mancini).

Besides, short and extremely rapidascending scales of trills were ofteninserted during the progress of aromance and were seldom missingin the closures of trills 1, 2, and 7.Such a minute, trilled scale wascalled volata (flight). Senesino(Tenducci), the Handel singer ~ndHandel conductor, could not do wlth.out volate. Flights were also muchin vogue with Mozart singers, butthere is no place for them today.

6. The Slow Trill (False Trill) :It is trill 1, or trill 2. executedslowly. For Tosi it is nothing butan affected tremolo-an unsteadytone. La Cassagne (1766) calls itmore correctly a ufalse" trill, be-cause it is no trill; it never throbs;

it quavers and trembles. When bestexecuted it is a rhythmical chainof half turns with upward movement,and is used often by those who arenot capable of trilling. To cultu;edears it has always sounded horrible.

7. The Double Trill: This is exe-cuted by breaking up the trill with-out taking breath and inserting afew embellishing notes between itssections, which suffices to make twoor more trills of this one trill, beit major or minor. It was sung verysmoothly-dolcissimo; all old mas-ters advised using it rarely. It bestsuits nowadays a soprano's notesabove D3 as replacement for a sin-gle long trill. Much care was givento its closure, which-as alreadymentioned-mostly consisted of somevolate. Mancini, who had success·fully taught eight archduchesses totrill. insists that it should be pre-ceded by a long messa di voce onthe real note_ Farinelli always pre-pared it in this· manner, and so didthe Mozart singer Vincenzo Prato.

8. The Mordent Trill: This is the

shortest of all trills and had to besung as quickly as a volata. It wasnever prepared. It should not beconfounded either with the realmordent of Bel Canto's time, whichaccording to Mancini is a throbbingbetween a real note and a helpingnote half a tone below, nor shouldit be confounded with the mordentas we understand it, which is noth-ing but a simple, double or triplehalf turn with downward movement.

Half trill, double trill, mordenttrill, and volata were consideredfragments of the trill.

Our modern compositions knowtrills, although they do not overflowwith them. And no artist will enda note signed "tr" with a closureif the modern composer has notmarked it so.

The style of music has entirelychanged since the triumphal proces-sion of the trill, but today, as al·most a thousand years ago, GuidoAretinus' wise advice concerning thetrill should he followed: uAvoid it,if yours is defective!" THE 'END

57

Ij

i i

5

7(Eeacher's","oundtable

MAURICE DUMESNIL, Mus. Doc., advisesreaders on practicing two scales at once andon the advisability of studying popular music.

MODERNISTIC SCALES C FLAT, PLEASE

Recently my teacher told me topractice the scale of C Major withthe right hand, and the C-sharpMajor Scale with the left hand atthe same time. !t sounds very badto my ears and I. am puzzled. Doyou think it is advisable to prac-tice scales that way?

-(Miss) L. E. ·W., Oklahoma.

So this sounds strange to yourears. Well, it isn't any more dis-cordant than what we currentlyread in new musical publications,or hear in concerts and over theair . If you persist in this practiceyour ears will become accustomedto the queer sounds of those con-secutive minor seconds. Is it ad-visable to do so? Why, certainly,and here's the reason: musicallyand mechanically speaking, thisprocess is "against the grain," it"rubs the wrong way"; thereforeit is valuable, because in orderto overcome this unusual difficultyone must develop great flexibilityof muscles and brain. After all,it's only one more application of.the old saying: "He who can domost, can do least."But I would go further than

these contrasting Minor seconds.While one hand plays the C Majorscale, why not play all other scaleswith the other hand, including theMinors. (Interesting, this fight be·tween Majors and Minors!) Thenyou can use an)' ke)' for your hasicscale; use the e Major fingeringeverywhere, regardless of blackkeys and awkward positions; oruse it only in one hand, with thenormal fingering for the other;play three against four (one handgoing up three octaves, the otherone four) ; cross hands; and neverforget that "variety" is the essenceof effective practicing.Naturally, the above is not rec-

ommended for the early grades.But ambitious advanced studentswill find it very profitable indeed.After some ten minutes of "poly-tonal" practice, just try a plainscale for fun:. your fingers willfairly fly over the keys!

58

I have heard different pianistsplay the "Golliwogg's cake walk"by"Debussy, and I play it myself.Now, I would like to know aboutthe left hand on page 4, secondline, last measure, first beat: is itB·flat, D·flat, C-flat; or should thislast C flat be a B·flat? I have heardit both ways. Which is correct?

-Miss AI. J. C., Pennsylvania

I am glad you sent this ques-tion, for this same experience hap-pens to me constantly. The con-fusion arises from a misprint inthe original album edition, repro-duced ever since by others. But

. let's refer to the greatest authority,Debussy himself. He played thee flat. Do likewise!

DOES HE LOVE MUSIC?

I come to you jar advice con-cerning a thirteen-year-old boy.He has studied with me [or threeyears and shows talent and dex-terity. However, he dislikes prac-ticing very much and seems to lackany desire to learn to play. Heagrees, under protest, to take les-sons because his mother insists.Would it be better to advise theparents not to give the boy lessons,or start giving him materials Jarrecreating his interest and rekind-ling a desire within him to learnto play?

-Mrs. A. B. F., Virginia

Your <ruestion is a difficultone to answer, but perhaps I amqualified to do so as I look backupon my early years and remem-ber the hard time my mother hadtrying to have me go to the piano.But now let's get to the point: Ihated practice, yes ... but I lovedMusic! I sat nearby when mymother played; I went to hear themilitary band on the square; I en-joyed the organ and the choir atchurch on Sunday. And it wasn'tso long until I realized how enjoy_able' practice can become.Were I in you~ place I would

try to determine where this young-ster stands as regards Music! If

the reaction is favorable, then tryto stimulate his desire by givinghim suitable arrangements of thetunes he hears at the picture show,or over the radio. This might workout very well. On the other hand,should you come to the conclu-sion that his makeup is decidedlyopposed to anything musical, thenit would be useless 'attempting theimpossible, for nothing can be at-tained without the enthusiasmwhich kindles the artistic flameand keeps it burning.

IS "BLUR" IN ORDER?

Would you tell me ij Ravel'smusic must be played like De-bussy's, and ij one can use asmuch pedal as in the latter's pianocompositions? Is there any bookand are there any rules dealingwith the above?

·-W. N., Washington.

Your question cannot be an-swered with precision. All de-pends upon which works you haveto deal with. In "Le Gibet" for in-stance (from the "Gaspard de laNuir' suite) you can use the samepedaling and general "blurred"approach as you would in De-bussy's "Violas." On the otherhand, the last movement of Ravel'sSonatina must sound crisp andclear, as must also Debussy's "Toc-cata," the second "Arabesque,"a.nd many others of his composi-ttons. There are altogether toomany people who, when the nameof Debussy is pronounced puttheir feet on the two pedal~ andlet them stay put while their fin.gers hardly touch the surface of

- the keys. Let's make it clear: sucha. concept, applies only in Occa-slOnal-almost exceptionaJ-cases.To exaggerate would be plainly de-structive! And I know of no bookwhich can clarify all instancesSumming up, the use of bOLh

pedals sh~uld be governed by theperformer 5 ear. He should lislencarefully and act accordingl f.

b '.. y, 01remem er: It 15 Impossible to relyon th~ same touch or pedaling onall planas and in all rOOI11Sorhalls. Acoustical conditionsf varyrom one to another alld 'I . , one s

p aymg must be adapted.The above reminds me of an

earnest teacher who came t·th 0 meWI a ,;opy of "Refleclions in theWater. He explained that all hewanted was to hear me pI . AI ay It. swas about to start he crept dun er

I~------------

the piano, laid his copy on thefloor; then as I went on he markedevery motion of my feet. But ther"fl . th ewas a y In e ointment": "Myfriend, I'm afraid you've lostyourtime," I said, "for if we go nowto my other studio you will findthat your pedaling notes don'thold good any more."That day he gained a clearer

vision of the pedaling problem,

POPULAR MUSIC

Will popular music, which Ihave studied jar a ,'ear, spoilother music which I still study?Popular music helps me with myold music very much. It Comesnatural: to me and J get a greatdeal of satis[action froln it. Myteacher said I haiJe a wonderfulear [or it, and don't have to countaloud either when playing it, can.trar-y to what happens when Iplay classical music Gild she insistsshe and I count together, whichconfuses m.e ami results in a poorlesson. fIowever, when at homeand counting /0 myself alone 1have no tr Dubie. hall I continuepopular, and counting alond?

-(l11iss) E. 0., low,"

Let's divide your questioninto two ection

1. I do not believe that thestudy 01 popular mu ic pail. theperformance of the classics in theleast. I loved to play ome myselfrears ago and I never noticedthatit did me any harm. However,SOme teachers fear it might keepstudents away £Tom the moreseriou repertoire and e"entuallydamage both their technique andsense of appreciation. Each teachershould find a middle·ol.the·wa)course which. while pre.~en-ingthestudent's musical welfare, \\~Ubring him the sali faction or yield-ing to i.uclinaLion.

2. Counting is indispensable.You say that at home 'ou do itsatisfactodly but when the teachercounts with you., you get confused.Are you sure when you are byyourself you actually counl ontime? 0 many students think theyCOunL They say the do and infact, ther reallr do. but tlleir beatsarc out oj time! Po~ibl)' that'swhy your teacller's counting along·~ide confuses you, because I lakr1t for granted he isn't wrong.

Iy suggestion is that whenpracticing alone. you check upyour time with a metronome.

ETUDE-jU,VE 19j1

Questions and Answers

Conducted hy KARL W. GEHRKENS, Mus. Doc.,Music Editor, Webster's New International Dictionary,and Prof. ROBERT A. MELCHER, Oberlin College

AN UNUSUAL SIGN

• In studying the Six FrenchSuitesby Bach, tlie Kalmus PianoSeries, edited by Hans Bischoff,my teacher·pointed out an unusualsign to me. Since he does not knowthe meaning of this sign, nor doany of the persons whom he hasasked,we are very curious aboutits /lameand meaning.It appears rather frequently

throughout the Suites, over IAe barlines nsually; it sometimes pre-cedes inverted mordents, and atother times it is use(l alone. It firstoccurs in Suite I, in the Courante,measnres number three and 15,and looks like this: -::;,Would you be able to help us

solve this problem?-Miss B. Z., Maryland

Your question is a very inter-esting one. This sign has evidentlypuzzledmany musicians, for quitea few people have asked me aboutit, but until your question arrivedIhadnever bothered to trace downthe real answer.I had supposed that this sign

was a "misplaced appoggiatura"and after consulting the Bach-De-sellschaft I felt confident that Iwas right. This symbol is one ofseveralthat were used in the Baro·que Period to indicate the appog-giatura, but it was always writtenright next to the principal note toindicatethe pitch of the appoggia-tura note; it did not appear any-whereon or above the staff as itdoesin this edition. In the Gesell-schaft this sign always appearsnext to the principal note, as itshould,but the use of this symbolin the Kalmus edition is not con-sistentwith its appearance in theGesell.chaft.

All this puzzled me greatly, andso before I prepared an answerfor you I wrote to Mr. Kalmus foran officialexplanation, and he has~'erykindly supplied the follow-mg:"The symbols in the third and

fifteenth bars of the Courante ofthe 'French' Suite No.1 mean thesame, namely an appoggiatura ofthe upper second. The execution

ETUDE-JUNE 1951

would be something like this:"

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I am sure that this explanationis exactly right, but it does notaccount for the promiscuous plac-ing of the sign nor its addition orsubtraction from the Gesellschaftversion. Why it does not appearin this edition as it does in theGesellschaft I do not know. Iu theGescllschaft the placing of the signalways indicated the pitch of theappoggiatura note. Since the plac-ing of the symbol in the Kalmusedition gives no such indication,I believe the following generalprinciples for the interpretationof this sign will hold:

1. The appoggiatura note al-ways moves stepwise into the prin-cipal note.

2. If the note immediately pre·ceding this sign is above the prin-cipal note, the appoggiatura notewill be either a half- or a whole-step above the principal note.

3. If the note immediately pre·ceding this sign is below the prin-cipal note, the appoggiatura notewill be either a half· or a whole-step below the principal note.

1£ you have access to Volume 45of the Gesellschaft, I would sug·gest that you study it very care-fully, that you place this sign inyour book just as it apl~ears 1~ th.eGesellschaft, and then mterpret 1taccordingly. But if you do nothave access to the Gesellschaft andare hesitant to follow the abovedirections, I suppose the safe th~ngwould be just to ignore the slgnentirely. I believe th~t this sig~does not appear at allw other edI-tions of the French Sultes, so ifyou choose to ignore it you willnot be really wrong.

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59

in Piano PlayingSUGGESTIONSMONTH

MUSIC BOOKFOR THE

My Faultsare These • • •

Use this handy check lisl 10 gelthe most: out o] each piano lesson.by Guy MaierPASTELSFOR PIANO, , ,

410.40182 .75

Twentynine charming, impressionistic tone pictures, designed forstudyand relaxation. Many of these selections have been composedby Dr. Maier. The Way want Brook, The Sounding Sea, Santa 'Bar-baraMission at Sundown as well as others plus artistic adaptationsoftheclassics and lieder. Schubert's little known but lovely The Starsand Brahms' The Ro.ses at Evening contribute to this outstandingcollection-all reflecting the contrast and varied color which oneexpectsfrom Dr. Maier. Grade 3.

By BERNARD KIRSHBAUM

SOLOSu:LITTLE PIANO:)0'1'

Try clapping them. Count aloud.and feel a steady pulse as youpractice.

1. I make stops here and there.2. I don't play in time.3. I have little expression.4. I stumble and repeat notes.5. Sometimes 'I {or get my notes.6. I don't have good rhythm.7. One hand drowns the other'smelody.8. I play faster and faster.9. The damper pedal blurs mynotes.

REFRESHINGSummer

by Bernard Wag ness

.75

MY WEEK IN CAMPGrade 1

I 10-27823 Ducks on the Pond. Arant .30(Bays, L. H. Melody)

130-40234 Glistening Glider . . . .. .. . .. .. . Hopson .30(Easy, Hands cross, Moves over kevboorc]

I 10-40000 Happy Little Wavelets . ... .... Stairs .30(Words, L. H. melody, Key F, % time)

I 10-27461 In a Canoe G'lb. .. , ert .30(Legato, Waltz)

I 10-27923 Joy Ride . . . . . . . . . . . . . . . . . . . . . . . Light .30(Broken chords)

130-41071 (A Little Prelude Wigham .30Single notes, Phrasing, Independence of fingers)

110-40037 (Mister Hop-Toad . . Robinson .30Staccato, Key of G, 4/4 Time)

I 10-40052 Nodding Buttercups . Stairs .30(L. H. melody, Easy chords)

130-41069 Now It's Time to Run and Play. Wigham .30(Staccato, Key of F, 4/4 time, New)

I 10·27822 Pretty Little Daisy . . . . ... . . . L'. . . .. eWlS .30(Five finger position, Easy, Key of C, %)

130-41073 Rain on the Leaves Keysor .30(Arpeggios, Interesting harmony, Adults, New)

I 10-27910 The Rooster's Serenade . Light .30(Melodious)

I 10-40096 The Sea Princess . . ... . . .. '.. . Hofstad .30(Words, Bath hands seldom together, Key G, 4/4)

I 10-27945 Song of the Swing . Ught .30(Easy chords)

I 10-27785 A Summer Morning Ught .30(Style, Easy chords)

I 10-40029 Summer Time(Words, Five finger position) Stairs .30

130-40605 Thistledown .( d

..... Bragdon .30In ependence of hands)

Grade 2

110-40128 Choose Your Partners ..... Milligan .30(Staccato, Arpeggios, L. H. melody)

1/ 0-40 130 Cowboy on the Trail .. Richter .30(Words, Chords)

110-27956 Drums From a Distance. ... .Stevens .30(Repeated staccato fifths in L.H., Indian)

I 10-40127 Happy Holiday . . . . . . .. Tillery .30(Pedal, Rhythm, Phrasing)

110-40151 March of the Scouts....... . Ketterer .30(Boys, Rhythm, Easy chords)

130-41070 On a Hayride . . . .. . ..... Stevens .30(Staccato, Legato, Folk melody, Style)

110-40152 The Merry-Go-Round DeVito .30. (Descriptive, Humorous, Chords, Rhythm)

110-27970 Wagon Trails. . II(Easily memorized, ;e~e~teciL~H: '~~;t~;~) .. Mi igan .30

130-40132 The Winding River .(5 I

.. Bentley .30tye, Arpeggios)

430-40057 7. Play the melody with a firmertouch, 'and lighten the other hand.

8. You pick up speed becauseyou are not feeling a steady pulse.Clap the rhythmic patterns. Ac-cent the main beats, using heavyor light accents according to ex-pression signs. A metronome isa good check.

9. Pay attention to pedal signs.

10. Listen to a good perform.ance of your piece, and try tofeel what the composer was try-ing to express. What. you feel,you must work to make othersfeel when you play. Make upan imaginary story to fit the moodof your piece, if you like. It. willhelp create the atmosphere.

II. Strengthen your fingers bypracticing exercises regularly.Whenever possible, tryout apiano before playing on it inpublic.

12. Practice phrasing exercisesand concentrate on proper use ofwrist and finger tips.

13. Be sure which hand goe ..,over or under the other. In brokenfigures, block the chordal outline.

14. Develop your "inner ear" [ortone by listening t.o concertartists, noting tone standards fO·I·

different types of compositions.Practice exercises in each type.and work to improve your ex-pression.

15. Use the fingering yourteacher or the editors havemarked on your music, even i[your own feels more comfortable.In complicated passages. ]H8C-

tice hands separately at first.Check the notes you are playingagainst the printed page to besure your ear isn't letting yOllprefer a beautiful major-conson·ant combination to a minor, ordissonant sound, intended by thecomposer. THE E.'i'1)

Girls and boys both will enjoy these. interesting and descriptive stud-ies for second grade. Each has words and an appropriate Litle. Defi-nite technical values, such as developing independence of hands,arpeggios and crossing of hands are mo t cieverly concealed as recrea-tional subjects. 10. I forget the mood of the

piece.11. I don't strike all the notes.12. 1 don't phrase well, and thestaccato touch gives me trouble.13. Crossing hands mixes me up.14. ~'rr touch is not as firm andaing.ng as I would like.15. I. often strike wrong notes.

AROUNDTHE YEAR WITH MUSIC-SUMMER......• 60410·40114

Dancing BUflerpies, The Carden Swing, Lawn Dance, Summer Dawnare a few of the fifteen sprightly titles selected (or their seasonalappeal. A summer timulant in grades two to four-to be taken onehalf to one hour a day! ! !

by Mary Bacon Mason.. 1.00

FAVORITE PIECES AND SONGS430·41005 THE REMEDIES,

Adapted for use in classes and with individual pupils, this book isaimed to Ioster a real love of music, widen the range of reading,build rhythmic sense, give strength and control to the fingers, andincrease practical knowledge of key 5. scales and harmony by con-secutive study in one key at a time. The first 32 pages constituteminimum requirements-no octaves, hard chords or intricate fingerwork. The remainder consists of supplem.entary pieces, studies andduets for recreation, recital or reading. Grades 2 to 21/2'

1. Practice and memorize thedifficult measures.

Grade 2'h

110-40153 Barn Dance . . . . . . . . . DeVito .30(F~lk tune, Rhythm, Scale 'p~ssages, Adults ~rchildren)

110-27964 Bya Quiet Stream(I' . . . . . Dungan .30nteresflnq harmony, Pedal, Phrasing)

I 10-40 149 ~weetlY Sings the Brooklet . . . . . .. .. Ketterer .30130-41068 ~ega!ol' L.H. melody, Finger technic, Hands cress]

. err! y Over the Waves We Go W' h 30(Pedal H d L . .. ,g am .

I an ~ cross, .H. melody sustained vs. R.H.110-40 144 ~~s~ageRplaYd,"g, New, Key A, 6/8 time)

eo oun -Up .....(Ped I L' I GI" . .. ... . . Burnam .30110-40147 Spe~d ~ve Yi issondos, New, Key C, 4/4 time]

(Hands cr:~, SStaccato, N~';,j~t~~I~c'ki~~ ih~d~in,on .30

2. Count aloud to be sure eachnote gets its true value. Learn tofeel how long to wait on eachnote.Practice waiting that long.

by William ScherFIfTEEN RECREATIVE ETUDES 3. With colored pencil put alight circle around each expres-sion sign.Try to imagine how the noteswould sound if you played themjust as the expression sign inthe circle tells you to. Then playthem that way. If you don't knowthe meaning of some of them,ask your teacher.

4. Go back a measure or twoand practice until you can gothrough without stumbling.

5. It's risky to memorize a pieceby just playing it over and over,for the slightest accident canthrow the fingers out of control.Analyze your music. Know whichmeasures are alike and whatslight changes occur in parts thatare almost alike.Then practice each part as aseparate unit. Correct fingeringwill give you added assurance.

6. Notice differences in rhyth-mic patterns (see cut).

430.41001 .60

A group of supplementary studies for second and third grade students.Emphasis falls upon alternating right and left hand scale passages,rhythm, legato and cantabile playing, staccato, broken chords, lefthand development, chord and pedal work, chr-omatic scale passages,and interlacing triads.

E-6-51THEODORE PRESSER CO.Bryn Mawr, Penna.

Enclosed $..D Charge to my account

---430-41001 Fifteen Recreative Etudes $ .60---430-41005 Favorite Pieces and Songs. . .. . .. , 1.00---410-40182 Pastels for Piano .75---430-40057 My Week in Camp. .75---410-40 114 Around the Year With M·usic-Summer. . .60

Grode 3

110-40056 Blue Hawaiian Moon(Chromatic passages) King .35

130-41038 Candle Light '" .(Chords, On three staves) Huerter .30

130-41054 Carefree Pea I(G

P e . . B . 30race notes Ph . H· . .. . ..... rownmg .110-40048 Frolicking W' raSing, ands crass, Thirds)

aves(Pedal Small r' ... ". '" ..... Oberg .35

130-41030 In an' Englisr~~:;~~: well under hand)(Dance form St . .. '" Paymer .30

130-41074 On Swan Lakeaccato, Passage playing)(Chord; Pedal Ph":'" '" . .Wig ham .30

110-40150 Valse Melodi'qu:aSlng, Imaginative, Adults)(Arpeggios Ch d P 'd' . ". . KeHerer .30

, or s, e 01, Phrasing)

Grade 1'/2

130-41050 A Melody of Long Ago. ..... '. V II(L M d

. .. erra .30egato, a ern, Phrasing, Easy chords)

I 10-4013 I On a Double-Decker Bus . Richter .30(Words, Finger technic, Key ofG, 4/4 time)

I 10-27460 On the Scooter(Crossing hands) .

130-41044 Pony Ride......... .(W d h

Erb .30or s, Prosing, 6/8 time)

I 10-40045 Red-Winged Blackbirds . . . . . . . . . .. . .... Stairs(Words, Staccato, Legato, Pedal, Key F, 4/4 time) .30

Please send me copies of "Piano Briefs" -our newthematics in Grade 1 to 2Vz or Higher Grades .. Hopson .30

NAME . .................................................................................

......................................................ADDRESS

ClTY & STATE . ................................(please print clearly)~_.60 _ 61

ETUDE-JUXE 195} ETUDE-JUNE 1951

WHERE SHALL I GO TO STUDY?PRIYATE TEACHERS (New Yo,k Cay) MME. GIOVANNA VIOLA (HULL)

Dramatic: SopranoIecchar of Singing-"Be! Canto"

HANS BARTH ExperIenced European trained ArtistCoaching Opera, Concert and Radio

Vocation-Study Correct voice production, defective singings-dcv Refresher Courses for Piano Teachers corrected.and Pianists, held at mountain and seashore Beginners occeptedresorts June to September, in New York and Phone: Trafalgar 7·8230 Mon., Tues., Wed., Thurs.other stctes, olso private lessons. Send postal 608 West End Ave. New York City

for full information toRoute 6, Box 76W. S. Jochonvllle, Florida

FRANK WILLGOOSEHELEN ANDERSON Piano Instruction

Concert PianistEspecially directed to on effective musical o p-

TRAINING FOR PROFESSIONAL CAREERTone, Interpretation-Moster's Technique

preach to the very young.

Special Courses for Teachers Many years of success in this field.and Non-Profesaionols. Tecchers ore invited for consultation,16&W. nnd St., N, Y. C. Tel. SC 4-8]85

eitherpersonally or by mail, regarding child studentproblems.

MARY BOXALLAddress:-29 Prime Avenue i

BOYD Huntington, Long Island, N. Y.(Pupil of Leschetlzky)

Pia nist-T eacher-Coach-Program BuildingPRIYATE TEACHERSSummer Classes (Western) IAddress-Steinwoy Hall-Nolo Studios-

113 W. 57th sr., New York City, N. Y.

L1VERETTEOPERA ACADEMYlucia Liverette, Dir. r

EDWIN HUGHES Samail off's Bel Canto Method

SUMMER MASTER CLASS FORWrite for intormction:

PIANISTS AND TEACHERS1833 W. Pica, Los Angeles 6·, Calif. S

JULY 9-AUGUST II338 West 89th Street, New York, N. Y. t

HAROLD HURLBUTSingers who have studied with him include I

(FRANK) (ERNESTO) NADINE CONNER HOWARD KEEL ,LA FORGE-BERUMEN STUDIOS James Parnell Henry Cordy

Voice-Pianoand others of stage, screen, opera and radio y

"'mong those w~o have studied with Mr. LaRes. 2150 N. Beachwood Dr., Hollywood 28, Calif. i

Forge are: Manon Anderson Lawrence Tib- ebett, Richard Crooks, and Mme. Matzenauer.

1040 Pork Ave., New York JEROME D. ROSENTel. Atwater 9-7470 tViolin Recitals-Artistic Violin Instruction

Founder "Ancient String Instrument Ensemble"Studios

EDWARD E. TREUMANN 650B Delmar Blvd. 2070 N. Kirkwood RoadSt. Louis 12, Mo. Kirkwood, Mo.

Concert Pionht-Artist-TeocherRecon:-mended by Emil Von Sauer, Mortiz MoS!·kowski and Joseph Hofmann.

EDNA GUNNARti

Studio, Carnegie Hall, Suite B37• .57th St. at PETERSON is7th Ave., New York City Tel. Columbus 5-4357Concert Pianist-Artist Teacher y

229 So. Harvard Blvd. los Angeles Calif.DU. 3-2597 ' 0

ALMA FAUST B.s. Music Education fPiono Teacher tLearn to Teach or Play for Pleasure ISABEL HUTCHESONSummer Course: July 5~August 2 t

baa West Illth. (Corner Broadway) Refresher Course for Piano Teachers'New York 25, N.Y. MO 2-6772 Modern Piano Technic: Cooch ing Concert Pi~nists: S

Group Work: For further information oddress: aStudio 202. 10051/2Elm St., Dallas Texas

August in New York ' a

WILLIAM FICHANDLERPionist, Composer, Teocher EVANGELINE LEHMAN a

314 West 75th St .• New York Su-7-]775Recent Compositions published by TEACHER OF SINGING

G. Schirmer, Inc. Opera-Operetta-Orotorio-Concert167 Elmhurst Av., Detroit 3. Mich. To. 5-8413

CRYSTAL WATERSSinger and Teacher DR. FRANCIS L. YORK

Concert, Opera, Stage, Radio, T.V.Many famous 5tudents. Advonced.Piano Interpretation and the Theory

Write for circular work reqUired by th~ degree~ a.f Mus, Bach.,405 East 54th St. New York 22, N. Y. and Mus. Mos. Special Chopin Interpretation.

DETROIT CONSERYATORY OF MUSICDetroit. Mich.

RICHARD McCLANAHAN SAN FRANCISCOM?Uhay exponent, formerly his representative. CONSERVA.Private Lessons, Teachers Courses, Forums- TORY OF MUSIC, INC.Summer closs~Southwest Harbor Me

801 Steinway Bldg. N.Y,C· 3435 Sacramento Street Walnut 1·]496(Tues.-Fri.) CI. 6-S950. othe; dayS, KI. 9-8034 Bachelor of Music Degree Opera DeportmentArtists Diploma Pedagogy Certificate

CECILE JAHIELApproved for veterons

Concert Pianist-ComposerChildren's Saturday morning Classes.

1st prize of the Paris ConservatoryFormer pupil of Cortot and Ravel

Master classes for concert pianists ALBANESEPrivate lessons, .Register now for summer classes. Piano Mus. D.

IS East 78th Street New York City. N. Y. Dial Dunkirk 2-7845REgent 7·7030 ·or RHinelander 4·1589 Los Angeles 600 So. New Hampshire

MAKE THE MOST OF YOUR RECITAL DEBUT

(Continued tram Page 16)

of program is expected of him, thathe is tempted to regard it as an in-violable custom, as mandatory asthe recitalist's formal evening dressfor an evening concert.

Before embarking on such a pro-gram, our hypothetical young artistmight be prudent in reflecting thatnot all musicians, even those withfamous names, are equally at homein all kinds of music. He might wellask himself if he has yet sufficientlyabsorbed the spirit of a certaincomposer's music, whether he isnot still some distance from home inthe music of a particular style orperiod. Why sing in four languages,f you hardly know them? The reo

sult is likely to be a series of rathermeaningless vocalises, so far as theistener is concerned. Why open with

eighteenth century or earlier music,unless you can meet its technicalequirements and show that you un-

derstand its style? Such works mayeem useful for warming up, but to

use them for this purpose can makehem sound remarkably dull. Why

perform works such as Beethoven'sast piano sonatas, for example,vhich are still expressively beyondou, when you can show a promisingnterpretative talent in somethinglse? Why conform to a standard

pattern, if a different choice meetshe requirements ~f good program-

making?

One probable reason for misj udg-ment is that of example and emula-

on, It is tempting to perform whatoffered by the foremost artists in

our field, hut in doing this you maynly show that your performanceaIls short of theirs. What suitshem may not suit you, at least forhe time being. It is wiser to try tohow that you are an individualrtist in your own right, rather thanwould-be Rubinstein or Heifetz.Then there is the question whether

t least subconsciously, you ar~

choosing a work for a not strictlymusical reason. An expert, whileimmature, young artist may be temp.ted to perform a composition which.gives him a good chance to demon.strate his technical powers--or ifhe is a pianist, to show how manydecibels he can get out of the suf-fering instrument without botheringabout technical display, and a hril.liant performance of these is exhll.arating. But if music composed withother intentions is offered mainly asa technical demonstration, the critic,at least, may feel inclined to Con.cede the technique as proved, andwish that the artist would go on tosomething else. I admit that an ex.ceptionally brilliant technique, evenwithout other basic qualifications,may take an aspiring musician acertain d i tance. The case is similarfor the pc essor of a fine, well.trained voice, and little else. But inthe long run, I think, such a per.former will not be ranked as a firstclass artist.

Finally, it might be well to lookaround beyond the stock favoritesin the field for your material, to can.eider, for example, whether you havea special aptitude for contemporarymusic. It is possible to work theestablished favorite to death by reolentlessly frequent performances.Your teacher can help you find sub·stitutes for old favorites which willbe equally e teemed a classics butnot so overworked, He may suggestworks he has known for many yearsand which he may have inheritedfrom his own teacher-who inheritedthem from Itis teacher.

As for the critics, it is wiser tobother about them as little as pos·sible, and concentrate on the bestpossible performance of the music.Otherwise, you will deprive thecritic of one of his chief pleasures-that of hailing a truly promisingyoung talent. THE£~D

}

"I never knew you liked opera."

ETUDE-lUXE 1951

WHAT EVERY YOUNG ORG(Continued Iron

. Recent graduates often feelDOns. hh know it all or that t e wayt ey '. I I·h have been taught 10 sc 100 ISteY . I·h nly way to playa service. t IStea . , h. to take the posruon t at

wiser "dh 1 knowledge IS tentative, ansc 00 b .b iect to modification on the as ISsUJ •

ofpracticalexperIence.Asa matter of fact, when he un-

dertakesan actual service. the youngganist'sprocedure should be j list

~~eoppositefrom that of his schooldays.As a student, ~le devoted allhis attention to playing the organ,in orderto get a good mark for thelesson.As a working organist, theinstrumentshould he the last thinghe thinks about. He should knowthehymns,anthems and solo accom-psnimentsso well that he hardlyhasto glance at the notes. 1£ he canplay the organ easily and withoutstrain,most of his attention can begivento choir and soloists. He is

TEACH WITH

By ETHEL J. M

TIME spent by a teacher atlessons explaining new ideas iswastedunless the pupil works onhis assignment during the week.Andpupils accomplish a great dealmore at home when their parentsshowan interest in the Icsson, Thequestionis: How can the teacherenlist the parents' support?

One way is through the use offlash cards. They are especiallyhandyfor teaching notation, and areeasyto make. Just use ordinary in-dex filing cards, draw the staff ontheplain side and use the ruled sidefOTquestions and answers.

When introducing new notes andsymbols,record them on cards. Thenmakesure the pupil takes the cardshome. During the week followingthe presentation of a new symbol,

FRONT

It doesn't take lon, to mak

ETUDE-JUNE 1951

ANIST SHOULD KNOW, Page 24)

hen alert for ihe missed cues, Jor the June graduate • • •rong entrances and sudden lapsesf memory that occur In even theest-rehearsed service. What nicer gift than a subscelptlon to

To make his services effective, the ETUDE. A one-year subscription is a gift of musicrganist should perform music ofII styles and periods. Bach, GuB· worth between $40 and $50 • plus articles andant and Hindemith are all excel-ent and all have their place, but stories arriving each month to keep alive your

ne should not be emphasized at the graduation congratulations •.xpense of the others. Congregationslave varied tastes, and though it ismpossible to please everybody all 1 year •••••••••••• $3.50*he time, the organist should try toilease everybody some of the time. 2 years •••••••••••• $6.00

Above all, the organist needs hu- 3 years •••••••••••• $8.00nility enough to remember alwayshat he is taking part in the serviceot as a means o[ sel f -glor ification ~:.Prices listed apply to U.S.A. and Possessions.r to advertise his technical skill,

but as a participant in Divine wor-ship. That is his function, and he

ETUDEshould endeavor to fill it worthily. the music magazineTHE END BRYN MAWR, PA.

ash Cards C LA 5 5 IF IE D A D 5HARIUONY. Composition, Orchestra- 'rONAL SHORTCO:UINGS in yourtion Musical 'I'rreory. Private or violin corrected by recent discoveryCon:espondence Instruction. Man\?-- produces .muslcal excellence. beyond

CONRAD scripts revised and corrected. MusIC your expectations. tn rorma tton free.nrr-nnged. Frank S. Butler, 32-46 107 V. L. Schwenk, Redwood Valley, Cali-St., Corona, N. Y. fornin.

and parents LEARN PIANO TIJNING-Simplified. BACK POPULAR SHEET lUUSICbrothers, sisters can to 1850.Ballads, Ragtime. everything.review it with the pupil, fixing it in

authentic instruction $4.00-Liter- Catalog 10¢.Fore's, E3151 High, Den-ature free. Prof. Hoss, 456 Beecher vel' 5. Colorado.his mind. Cards which appear to St., Elmira, N. Y.

trouble should be kept in a LE'rs YOU USED OPER"-_ sconES BOUGH'l',give KE\V PIANO lUu'rE also Ballets, Music Dictionaries, Vo-separate group and worked on par- PUAc'rlCI~ DAY OR NIGH'l' 'VITH- cal Anthologies, books about Operas.

OUT DISTURHING OTHERS, Mutes ("\Vecannot supply catalogs). RING'S,ticularly. piano about 85%. Easily attached or 1654 Cherokee, Hollywood 28, Cali·

detached without harming mec~an- fornia.ism. State upright, grand, or spilletlIt's easy for young children to Sold only on money bacl;;:guarantee. ARRANGING for Band~Orchestra·

Send $5.00for mute and full instruc- Piano Vocals. Manuscripts correctedstudy this way for 30 minutes each tion8. Richard Mayo, Dept. 004, 1120 and prepared for pUblication. vVords

day, 15 of which should be spent Latona Street, Phila. 47, Pa. set to music-school songs. Sendmanuscript for estimate. Prompt

with parents in reviewing the flash YOUR UN"'VANTEJ} IUUSIC ex- service. Val's Arranging Studio, P.O.changed piece for piec~, 5¢ e.ach; Box 2169,Daytona Beach, Florida.

cards_ Once the child is started, he quality matched. Burpee s SpecIalty "l'IOS..UCO YUCATECO." Most com-is capable of studying on his own Shoppe. Delton, Mich. plete lyric folklore for piano. Send[or the remaining 15 minutes, VIOl.I,,""S FOil. SALE: Fine hand registered airmail two dollars, and

Parents like flash cards because made violins. \Vonderful tone .. Made by returning plane you get your copy.from finest selected wood. \Vrlte for Print name and address correctly.

through them they can participate p'trticulars-George & Joseph Holl, Luis H. Espinosa, 58 St. 536 Merida,Gi7 East Main St., Louisville 2, Ky. Yucatan, Mexico.

in Lhe child's music study even

without prior knowledge of music. FOR SA-LE. Rare records. Lists. GRADED PIANO lUUSIC for techni-

the child's Collections bought. E. Hirschmann, cal studies and recital playing. Con-And their interest in 100 Duncan Ave., Jersey City, New tinental Publishing Company, 444

adds incentive to his wHI Jersey. Junction Ave., Detroit 10, Mich.progressto learn. THE END '\VRI'l'E SONGS: Read "Songwriter's FOR SALE: Must sell two violins,

Review" Magazine, 1650-ET Broad- Rageri and Cuypers. Ted 1'1archettiway, New York 19, 20¢ copy; $2.00 1275Westwood Ave., Columbus, Ohioyear.

BACK STR.ADIVARI VIOLIN for sale. De'VRI'I')oJRS.COIUPOSEUS: Your name tails on request. Leon Quat, 25on penny card brings price Ii.st, Broadway, New York 17, N.Y.

Ques.: WIUlt sharp <10 .ce 1'1agda.lene Kuhlman, ~84South POlllt

have here?Drive, Avon Lake, OhIO. POSI'I'JO~ 'VAN"'I'ED in college 0'

music school. Young woman, M.Mus.Ans.: F sharp. S'VIN"G PIANO-BY IUAIL. 30 self- Protestant, M.E.N.C., teaching, sym

teaching lessons, $3.00, OVER 50 phony, research experience. WilPUBLICATiONS-classical and pop- teach music education, histonr, vio

Ques.: What does the 3 ular. Order "boprhythmology." new lin, ensemble, etc. Box 25,c/o E'.rUDEprogressive piano solo $1.00.All new Bryn Mawr, Penna.

w.eau,? worl;:, Order free samples. PHIL

ADS.: 3 beats in. a JlI.eaSuTe. BRETON PUBLICATIONS, P. O. Box WHOLESALE: Genuine Italian1'102,Omaha 8, Neb., U.S.A, French, German Violins, Violas

Cellos and Bows. Historic material

Qucs. : What floes the 4 PIANO ACCOltlPANIMENTS RE- etc. R. Nuslnov, 2918 'V. North AyeCORDED. Send music and c:heck for Baltimore, Md.

lIIean.? $4.20. Music returned WIth UN-QUflTter note gets one BREAKABLE RECORD. Vincent ;Re- ACCORDION ALPHABET. New sys

ADS.: cording Service, P.O. Box 206, UnIOn, tern to overcome basses' trouble b

beat. N. J, temporarily coloring some accordiobuttons, compiled by the former N

FOR SALE: Scribner Radio Muslc- Y. City public school piano teac!lel

e flash cards like this one. 9 volumes-New-Never u':!ed-a bar· Frank Pinto, 752aMadison St., Brookgain-$GO. Mildred Nicholson, 412 S. lyn. N. Y.•Short course of correspondMain St., Kewanee, Illinois. euce mall le8sons given,

woh

oam

oeI

no

Fl

1

9

yn,

63

MASTER LESSON: BACH GAVOTTE

(Continued from Page 26)

be sustained, though each bow strokeneeds to be lightly phrased. In thecrescendo from the last half of 32to the first half of 34, don't phrasethe bowing but keep both stringssustained. This .broadening of styleenhances the crescendo and bringsout the dramatic quality of thephrase. It leads to the needed bril-liance in measures 34 and 35, whereyou must take plenty of bow on thefirst of each pair of eighths andless on the second, but at the sametime being careful to sustain thetone. There should be no breakbetween the bows. The phrase fromthe last half of 36 to the first halfof 40 is an imitation of the leadingtheme and must be played in thesame style-s-but, because it lieson the middle strings, with shorter,firmer, bow strokes. The fact thatthe first beat of 40 has been playedwith a full, broad tone is no reasonfor also playing the second beatforte. It is a very common error,and' you are hereby warned againstit. The indicated dynamics of thepassage-e-mezzoforte, piano, ere-scendo, forte-must be strictly ob-served.

Now we arrtve si the passage thatis, from a musical point of view,the most difficult in the movementto play well. Thoughtlessly played,these measures of eighths can soundlike an exercise; played with care,imagination, and a good control ofthe bow, they can take on an exqui-site and sensitive beauty. They area challenge to the player to callup all the resources of his musician.ship. From the last beat of 48 tothe first beat of 64 there shouldbe innumerable slight changes of

dynamics and tone color, changestoo subtle to be indicated in print.Take the detached eighths in 48

to 51 with delicate, semi-detachedstrokes near the point of the bow.These strokes must be singinglyplayed, so that each note has its fullmusical value. When the threeslurred eighths occur, throughout theentire passage, they should not bephrased, but played broadly thoughsoftly. When the staccato eighths areto be played in one bow, as in 52and 53 and later, don't make themtoo pointedly staccato. Play themwith a coaxing quality of tone thatallows each note to have a certainperceptible duration. Make the cre-scendo in 57 and 58 quite gradually:the real crescendo comes in 59, lead-ing to the first note in 60. Measure59 is the only one in the movementwhere a really free rubato can betaken. The E sharp should be noticea-bly stressed, and high D and C sharplengthened a little beyond theiractual time-values-the time can bemade up over the three notes whichfollow. The diminuendo begins onthe second eighth of measure 60, andcontinues, with increasing lightnessand delicacy, through the first halfof 62, the stress on the E sharp ofthis measure beginning the crescendoto the chord on the first beat of 64.The chord on the first quarter of

the second beat of 64 implies thatthis re-statement of the originaltheme can be taken more vigorouslythan it was earlier. Use a 'Strongforte from the second beat of 64 tothe first in 66, then immediately dropto a piano in 66 and continue as youhave previously.The phrase from the second beat

of measure 72 to the first beat in

80 calls for a very solid left-handtechnique, and it is this passagewhich keeps the Gavotte out of thehands of many students who couldeasily play the rest of it. Mor~ co~-centration on double-stop studies mthe earlier stages of advancementmight solve this problem.

The fortissimo thirds in measures72 to 74 must be brilliantly played,and the quarter notes held as longas possible considering the repeatedDown bow on the next beat. A verystrong finger grip is necessary forthis passage, in order that the thirdsmay ring out. Take the second beatof 74 and the next two measuresgently and with carefully phrasedbowing. A special left-hand problemappears on the last chord of 77,leading to the chord on the firsteighth of 78. The finger on the twolower notes of the first chord mustbe snapped across to the G and Dstrings to play the lowest notes ofthe next chord. This usually needsthoughtful practice. But give timeto it, for it is a thrilling harmonicprogression. The following phrase, tothe first beat of 80, also holds left-hand problems which must be care-fully solved. The F double-sharp andthe B sharp in measure 79 are al-most always played too low. Thehalf-note chord in 80 must ring,with an intense vibrato, for it isthe climax chord of the phrase-infact, of the movement.

After playing a ringing, round-toned chord on the first beat ofmeasure 80, you must drop at onceto piano for the second beat of themeasure, from whence a crescendobuilds immediately to the two meas-ures of forte in 82 and 83. Theeighth notes in these measures youshould play very broadly. The pairsof eighths in 84 and 85 must, how-eyer, be carefully phrased. This is

an echo effect which must be delib.erately brought out.

Sustain the bowing very thorough.ly in measures 86 to 90, stressingthe notes which are marked withaccents and building a crescendo tothe first beat of 92. This is the mostimportant crescendo in the move.ment. Measure 91 calls for someattention. You need to accent strong.ly the fourth eighth and each noteof the two triplets which follow, inorder to carry the crescendo throughto the half note in the next meas,ure.

The final statement of the prin-cipal theme must be forte through.out, with clearly defined bow strokesand a sharp martele on the detachedeighths. The quarter notes can heplayed with a more sustained tonethan in earlier appearances of thetheme, and a slight hut noticeableretard can be made on the last threenotes of the movement. This retardcannot be made earlier without par.odying the rhythmic values of thephrase.

COOiZ Intonation, rhythmic exact.ness, and a good tone are the threebases upon which an acceptable per.formance of this Gavotte must rest.But they do Oat guarantee an art.tis tie performance: they are but theIoundation upon which artistry canbe built. Your imagination musttake hold of the notes and transmutethem into an ex pres ion of variedhuman feelings. Sensitive phrasing.subtle tone-shading, varying tonecolors-all are needed if this musicis to carry its intended message.Nothing Bach wrote can be learnedin a hurry-it must be lived withand absorbed. And this absorbing ofgreat music can be a wonderful ex-perience for the student, if he willhave it so.

THE END

LET'S TUNE UP!

(Continued from Page 23)

tion." That is to say, the intervalswere accurate in so far as they af-fected the Key of C, and approxi-mately so for a very few other keyson either side of it. But with "JustIntonation" absolute purity was un-attainable in any two scales on akeyboard instrument unless the num-ber of keys was so greatly multi-plied as to add very materially tothe players' difficulties.

In "Just Intonation," successiveintervals between adjacent notes ofthe scales are actually of four kinds---:not the simple whole tone andsemitone to which the modern sys-tem of temperament has equalizedthem, but major, minor, diatonic,and chromatic semi tones. Since thechromatic semitone occurs in nonatural scale, let us con!iider theother three.

64

The accurate interval between thefirst and second notes of the majorscale is a major tone (see cut) ; the

Key of C: Major Minor SemiKey of F: Minor Major Semi

accurate interval between the secondand third notes is a minor tone. Thescale may be divided into two tetra-chords of apparently similar butactually different construction, forin the last four measures the in-tervals are successively: minor tone,major tone, and semi tone. It follows,therefore, that if the simplest pas-sage be referred first to one keyand then to another in the courseof modulation there must be an ap.preciable difference, in "Just Intona-tion," between what appears to be

the same interval in each scale. Thusin the example shown on this pagethe position of the note D must b~slightly higher in the first case thanin the second. Such a small differ.ence is perceptible only to a trainedear, but on instruments or voicescapable of performing in "Just In-tonation," the beauty of an un-tempered chord is unmistakable.

Instruments of theString Family

THE INSTRUMENTS of the stringfamily, on which the notes are notfixed, can be played in "Just Intong,tion," and the choirs which make ahabit of practicing without the aidof keyboard instruments can be madeto realize the difference and tomake. the intervals really' aCCurate.OccaSIOnally, solo singers can adapttheir voices to give the correct in-tervals. But in practice, frequentmodulations in modern music cau .ing delicate adjustments in' Pitcl~,

make it more and more difficult toobserve "Just Intonation."

Neither the keyboard of the pianonor the ordinary notation has anymeans of making such differencesclear. Yet we know that Bflat andA-sharp are not the same tone, A·sharp being almost but Dot quiteB'naturel, and Biflat almost but Dotexactly A-natural.

The truths of "Just Intonation"do not appear to be emphasized asmuch as they might be in teaching,but much may be done unconsciouslyin the training of the ear. "Just In-tonation" tends to remain an ex-tremely theoretical phase of music;nevertheless it. plays an importantpart in achievement of good intona-tion. THE END

ILLUSTRATION CREDITS,IS-James Abresch· Bruno20. 21-8er~o '

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