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

4-1-1953

Volume 71, Number 04 (April 1953)Guy McCoy

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Recommended CitationMcCoy, Guy. "Volume 71, Number 04 (April 1953)." , (1953). https://digitalcommons.gardner-webb.edu/etude/119

rWilliam M. Felton

*tAT THE CONSOLE. I' ti and contemporaryFamiliar transcriptions of c assic, roman IC~13_40004 $1.50writers, for ~o manual organ.

*AT THE CONSOLE William M.Felton(Registration for the 2E and 2D connsonata.)

413-40009 $1.50

*tCHANCEL ECHOES William M. FeltonForty-two transcriptions for two manual organ, mostly secular.

413-40005 $1.50

*CHANCELECHOES William M. Felton(Registration for the 2E and 2D Connsonata.)

. . 413-41010 $1.50

*tWEDDING MUSICFOR ORGANGeorge Walter Anthony

These pieces of medium difficulty include: The Wagner andMendelssohn Wedding Marches, «0 Promise Me" by DeKoven(with text), "At Dawning" hy Cadman, "A Dream" by Bart-lett, "I Love You" by Grieg, and «Sweetest Story Ever Told"by Stults. 433-41008 S1.00

tCONCERTO GROSSO No. 8 (Christmas Concerto)Carelli-Moschetti

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tORGAN VISTASTwenty-nine easy, transcribed and original compositions.

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tEIGHTEEN LARGE CHORALESJ. S. Bach-Riemenschneider

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LITURGICAL YEAR (Orgel Buchlein)J. S. Bach-Riemenschneider

Forty-five organ chorales, each preceded by the vocal arrangement-with scholarly annotations on interpretation. -

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*MODERN FRE CD ORGA TRowland W. Dunham

Fifteen French compo itions of medium difficultywithori .inal registration and phrasing. Fingering and pedaling adde~.

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Two small but distinct contributi to the literatureof organmu ic and II tudent lh r r.tTE FOR OR

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THEODORE PRESSER COMPA70 Years of Music Service

Y BRY MAWR, PA.

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12.00

L8TTeRST 0 T D E EDITOR

1 mean pounding out the notes,singing along with them, etc.)numbers they were going to per-form-and their universal wailwas: "Oh, if only I had learnedto read music." And not only isit the soloists; choir-membershave the same problems. Manytimes when helping singers, I havefound that they can't even recog-nize that when a note stays on thesame line or space, their voicestays on the same pitch. It is suchelementary things as this that I amteaching my intermediate choir;when they should have learned ityears ago in school.And that leads me to ask Miss

Nash this question: "If childrenaren't taught these things in school,where should they be taught?"From at least the third grade up,if presented in the right manner,children can be taught to learnmusic-reading. At this time oftheir lives, learning is easy. Theyare in a class where {hill is easy.As for using the syllable teach-

ing of do-re-mi or A, B, C, I can'tsee the difference. But since thedo-re-mi is the accepted and uni-versal system used in all English-speaking countries (as you canlearn from your English or Welshfriends); why not use it? Andthen, if by the time a pupil is in ahigh-school or adult choir, he hasforgotten the names, and reads byposition-what difference does itmake? He has retained the basicknowledge that he needs.All through Miss Nash's article

runs the thought that you can'tenjoy singing if you know how toread it. It would be interesting tomake a survey of well-known per-formers to see how many of themgot part or all of their musicaltraining in school. No one wouldquarrel with her that school singsare a lot of fun; and no one wouldsuggest that in community singingof any kind note- reading should betaught; and no one would wantthe fun and delight taken out ofclass room singing, or the fun oflearning some rote-songs be takenaway from school children-butfor goodness' sake (and for goodmusic's sake) let us put note read-ing back in our public schools.

Esther R. MeilyBirmingham, Mich.

(Continued on Page 3)

let Them SingDear Sir: Now, my real reason

for writing this letter was the ar-ticle by Grace C. Nash, "Let ThemSing," in the August 1952 issue.Miss Nash touched on a subjectthat has been close to my heartfor many years; and frankly, itmade me heart-sick as I read herarticle. And I was surprised at theETUDE for apparently supportingsuch an attitude. In the first placewhy do you have to "take the do-re-mi out of music to let the pupilssing," as Miss Nash suggests inher closing sentence. Statisticsshow that 80% of all children aremusical. I think I am qualified tospeak. First, because I went toschool in a city where the do-re-mi's were taught 'and a great dealmore about the fundamentals ofmusic; secondly I taught public-school music in that same schoolsystem; and thirdly (and most im-portant), 1 now have three musicaldaughters coming along-the twoeldest. 15 and 12, who were nottaught to read music in school. Ialso am the director of the inter-mediate choir in our church (FirstBaptist Church, Birmingham,.Michigan); and since I am anorganist, too, do a great deal ofaccompanying. I have also di-rected adult choirs.I can remember no occasion of

"tenseness, fear; no stiffenedshoulders, or long faces" (QuotingMiss Nash again) either when Iwas in school as a music pupil, oras a teacher. When I taught, some-times the pupils came to me in a"music-room," and sometimes Iwent to them right in their ownroom. In either case, they hadtheir "music-seats" and of coursea variety of music books. Theywere always ready for music class.I never had any discipline prob-lems, because, as Miss Nash says,children love to sing. We alwaysbegan the class by singing favoritesongs. Usually then came note-reading and theory. This part ofthe class was fun, too.Miss Nash says' that only if

studying an instrument is it neces-sary to study note-reading. I havealways considered the human voicethe most valuable instrument ofall. I have helped many, manysingers-from young beginners tohighly paid soloists-to learn (and

ETUDE-APRIL 1953 1

ETUDE",c Letters to the Editor "My TON~ahin~tis indispensable

to me"

MANHATTANSCHOOL OF MUSIC ,"".de ~oga=ine (Continued from Page 1)

ing from the field even while pu-pils are still coming. And how Ihave enjoyed these many years;and even now some pupils insiston staying until they can establishmutually satisfactory connectionselsewhere.All this leads up to what I wish

to say with regard to ETUDEwhich has proved of inestimablevalue not only to the writer but toall who happen to have fallen intomy category. You have done agreat service for us. The many in-spiring articles, the sympathy andencouragement you extended to usoperating at lower levels; the helpyou extended in the selection ofsuitable music, the special offers,the music supplements, and let mestate the almost 100% in account-ing. All these I would say reflectthe spirit of the founder, Mr.Theodore Presser and his associ-ates, especially Dr. James FrancisCooke. Now I am ready to saygoodby.Thanking you very kindly in-

deed and wishing you continuedsuccess in your noble endeavors.

Hiram V. JohnsonAppleton, Wise.

ArticlesDear Sir: My subscription to

ETUDE expired with the Octoberissue. I began in 1896 and havereceived it without interruptionthese 56 years, and until I came tomy present 'quarters a few monthsago, I think I might say I had acomplete file.You will not find me in WHO'S

WHO, but if I were listed it prob-ably would be as a country musicteacher. I began as a privateteacher of piano and reed organin 1894. My first pupil lived atthe cit)' limits, the second in thecountry, the third from well with-in the city, all coming unsolicited;they as well as the writer fromhumble ranks. However, the classgrew and grew and for a genera-tion it numbered about 50, reach-ing as high as 70, and for sometime I was unable to accommodateall applicants. In the year 1929 Iregistered my 1000th pupil manyof whom took five to eight years,the limit which I set. From 1900to 1915 I played the pipe organhut discontinued it as the workbecame too heavy. And now, after58 years in music, I am withdraw.

d BtlSl'ness Offices, Bryn ,;\Iawf·, Pa.Editorial an,Janet D. Schenck, Director

James Francis Cooke, Editor EmeritusFounded 1883 hy THEODORE PHE55ER e (Editor, 1907./919)

Guy McCoy, Managing Editorl\'Iarjorie E. Mosher, Business JlIatlfl{{('r

M , D neenll Karl \V Gehrkens Elizabeth A. eatHarold Berkley n' a urtce ur - .Guy Maier Alexander .:\IcCurdy Nicolas Slonim ..L:.y

SUMMER SESSION says MARGUERITE PIAZZADarrell Peter, Director

June 8th to July 31st, 1953

Songs From

HANS CHRISTIAN ~~~mJmBy Frank Loesse,

BACHELOR and MASTERof MUSIC DEGREES CONTENTS "It keeps my mus!c all sorted out Bud

neatly filed in those clever drawer-n-ays," S<lYSMiss Piazza. "I never needwaste time searching for the music Iwant. It's ahHI,·s there aI my fingcl·tipss--eo handy! Protects all my musicagainst loss 01' damage."

April 1953Vol..71 No.4MASTER in MUSIC

EDUCATIONFEA'I'URES

AMERICA INVOLVED IN l\IUSIC, IS BECOMING GREAT IN MI·. '. A«,.Q,," QPltmtl

HOW TO BEGIN PRACTICING A PIECE ••....... MtI,.y 11#-'",01'1 fln:cull 114,·11lUUSIC SHOULD SERVE THE COMMUNITY _ /,,1'1)" Il~rslnWHY NOT A COl\1l\lUNITY BOY CHOIR? , ............•... CI"or." JlmnATTACK AND El\lISSJON IN SINGING ..........••.... , ,JM#'/~/' A. /loll#'THE GREATNESS OF PAOLO CASALS •.........•........... 'Ins £tut,;umTHE LAST LIVJNG PUPIL OF FRANZ L1SZT .••.••.. _ .. Junn IIt"'.u Ii ",'~J.RADIO CITY'S UNSEEN EXPERTS ••••••••..••••.. , •.•..• ft,..1i II",-iblltDECENTRALIZATION IN MUSIC]S NECESSARY •.•. 11":0'1 (;},/i:"rltHI • kif".THE GENIUS OF LEOPOLD GODOWSKY •••••••...... jiHtI/'. Fnturl~ ft-I,klj

Arranged ByADA RICHTER

6 Song Hils from the picturefor the early grade pianist..

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D EPA R T "I EN 'I' SLE'ITERS TO THE EDITOR , _ . _ , . . • . . . • • 1COMPOSER OF THE MONTH .................• , . , • . • . . . . . . • . . . • . . . ;lMUSICAL ODDITIES, . . • . . . . . . . . • • . • • . • . . NErol", $1()IlllII,ky II:MUSIC LOVER'S BOOKSHELF _ _l)liltl A,.tlt-',{m "WORLD OF 1\IUSIC ...........•...•.........•...•..... , , .• _ . .. •• . . HNEW RECORDS-THE PHONOGRAPH DISCOVErt THE OHCA

/·'(",1 • Elf,I/1 J 7PIANIST'S PAGE , .•..•...... f;",. Mtllrr 2JTEACHER'S ROUNDTABLE ..............•....•... _ . M(IIulr" 1)""''''/111 2QUESTIONS AND ANSWEHS •........••.••••.•....... Am'l W. /"IJrke/14 23IN CASE OF EMERGENCY (part II) ..•.••..•••.. , .... Ali!XflntJ", Murdy 2 ~VIOLINIST'S FORUM ..................•.•....•.....•• lIorold lIerkl~y 25VIOLIN QUESTIONS ..•..... - .....•..•..•••••........ 111"0'" n,.rkl"y 52ORGAN QUESTIONS ..•..•...•..••.•..•••..•....... f"n·d,.r/('k Phillip, 53JUNIOR ETUDE.. ... . .•. .. . . . . . . . . . . . . ......•. E"U:IIf,,.,h A. C(!" 51

For Summer School catalogwrite to:

~ONK b· t FOR YOUR1. 1 a Ine S SHEET MUSIC

MANHATTAN SCHOOL OF MUSIC238 East I05th St., N. Y. C. 29, N. Y.

Book:J lor music IOl/er~

o THE LANGUAGEOF MUSIC

Klaus LiepmannMasstlcbusetts l/lstititte of T echl1oJogy

Just Published-a practical guide tothe enjoyment of music offering newinsight into the nature of musicalcomposition and performance. Whatyou should know about ear training,score reading, musical theory and an-alysis. Includes a wealth of sugges-tions for listening. Discussions forti-fied with hundreds of musical ex-cerpts. 363 ills., 430 pp. $5.00

Buy aWICKS PIPE ORGAN... not an imitation

THE COMPOSER OF THE MONTH

ETUDE'S composer of the month is noneother than that giant of the keyboard andsuccessful composer·conductor, the lateSergei Rachmaninoff who was born at Oneg,Novgorod, Russia, April 1, 1873 and died atBeverly Hills, CalHornia, March 28. 1943.Rachmaninoff was tuined in Russia but forthe last 25 years of his Hfe he had Hvedin America, and had become an Americancitizen only two months before his passing.

His first training was received from hismother at the age of four. Later he studiedat the College of Music in St. Petersburgand then with Nikolai SverelI at the Moscow Conservatory. Hefollowed this with composition work with Arensky and Taneieff andfurther piano study with Alexander Silot1. At 20 he composed theC-sharp minor Prelude, the piece that brought him into ·worldprominence but which also became very distasteful to him becaueeof its sensational popularity. In 1898 he successfully conducted aprogram of hh own works in London. In 1905 and 1906 we find himconducting the Imperial Opera at Moscow.In 1909 following seveml years residence in Dresden devoted to

composing, he came to America lor a concert tour. His success wasgreat. He appeared as pianist-conductor with the Boston Symphonyand was offered the post of conductOl" to succeed Max Fiedler. Herefused the oIler (also a later one in 1918) and returned to Moscowwhere he remained until the revolution of 1917. With the outbreakof the revolution he escaped to Switzerland and 1n 1918 came againto America to resume his concert career. He appeared with all of themajor symphony orchestras, his relations with the PhiladelphiaOrchestra being especially cordiaL Many of his major works havebeen given frequent performances with the latter organization ..His works cover a wide range, songs, piano pieces, choral works

(some with orchestra) symphonies, and piano concertos. The Melodiewill be found on Page 32 of this month's music section.

"IUSIC Arranged ByWILMA MOORE

Compositions lor Pit/II a (Sofa fwd Duel)

Third :!\lovenwnl (from "SOIl:lliIlU") .....•.. _ __ •. Jf!.illl JJ r.er 27In Deepesl Grief (from "Themes frolH the Creal Oralorios'") 8ac./t-l.e.riTlt' 29The Billboard (~larch).... . ..•...........• Klohr_ ~challm 31Melodic .......••.....•...................... _ Rac/lllloTl;noff 32Spider Dance (T:tr:lDlClIa) ...........•.. _ ..•.....•....... 11. L. CTamm 3 ~I\ledilatiol) (from "Your Favorite Ductg") ..... _ .......•..• 1Iorrisoll-A",h,,"J' 36

Instrunlenwl and Jlocfll Compositions

Nocturne (French Horn) (from "The Dilgon Album ofFrench Horn Solos") .....

- lttetldel,f<of'".PfI/leOverlure in E Minor (Organ) (from "The ",les,,·,I,") ,

IT •••• lIutltlel.l1JoschettiPlea (Bille) (Vocal) ...............................•..... Frtll,;-Colrl~

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PLEASE WRITE DEPT. E - 1

The most populor 'erie'published! The HitPorade in

easy arrangements.Conleftlso THE BALLAD TREE

Evelyn Kendrick WellsWellesley College

The simple charm and beauty of theever popular ballad unfolded andmade more meaningful in lively, col-orful prose. Includes text and melo-dies of 60 traditional ballads alongwith intriguing discussions of theirliterary and musical history. 17 ills.,370 pp. $4.50"Emdite aud absol·bjllg.n~ETUDE

YOU BELONG TO MEJAMBALAYA

GOODNIGHT, IRENEHALF AS MUCH

HAVE A GOOD TIMEWALKIN' TO MISSOURIBLUES IN ADVANCE

Price 7S1

404J43

PiecelJ lor Young Players

A H.ttle Bear Cub Sees the World on His Own \ .•••.•••••..•... lilllr"d Iloj,lad 41

i\Jr. Show-off (frolll "The Hare and the Tortoise")" .TI T . H W ..•••.•.....•. Ada R"/ller 4-1Ie orlOlse as on (from "The Hare and the Tortoi-c") 'd I"~h

D r h G G h .. • 0 He ler 45ance 0 1 e reen rass °PI)ers ••••.•.. _ • IP' _T T T . . •......•••• -. ,ll'um Scher 46opsy. urvy oy ......•....••••••...•••••.•.• " ... Eli:obl'fh E 1'6Poor Lillie Zizi (from "Mardi Gras") • Ro~r"G· ••••••.... , ...•...•. WeJ<Ierveh_f'lo 47avolle Gracleusc (frolll "Minialure Classic .. ) - ry

8 •••••••••.•• JlIozurt-AtllhonJ' 48- - - 'USE THIS FORM Ta ORDER- - -~. ,SEND BOOKS CHECKED ABOVE_ I(We pay postage when remittance accom_ :panics order. Books returnable for credit Iif not satisfactory.) I

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Published monthly by Theodore Presser Co., 1712 Che;::lnlll 51 P .EII/ered. <IS secolld c1aJJ mqlfer !mJltary /6. /884 at th p ..' hila .. P3.of Jl.1'lrch 3, 1879, CoP)'rlght 1953 hy Th .. d l'. O. al Phl/4 .. PII .• under lhl' AnInlfl'll<lliollH! cop),right Il'(ured. All ;ighli rese:'.t:d.e PrfJJer Co .• U. S . .A. und G"4t Brita",.

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Cat. No.52-HOW TO HARMONIZEMElO·

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41-HOW TO TRANSPOSE MUSIC,including special exeecises topractice transposing at sight ... $1.50

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40-HOW TO WRITE MUSICMANUSCRIPT. A study methodfor the music copyist... . .. $1.25

16-HOW TO PLAY BE·BOP. Fullanalysis, theory ond many ex-amples $1.50

47_IMPROVISING and HOT PLAY·ING. Hundreds of improvisationpatterns shown on 011 chords. Achord index Iccctes many Ionphrases for any chord combino-Hens .. $1.00

04_MODERN CHORD SUBSTITU-TIONS, chart of chords that maybe used in place of any regularmajor, minor, and 7th chords.. .50

99-MANUAL OF SYNCOPATEDRHYTHMS. 78 study exercisesthat teach syncopation .50

902_PROGRESSIVE JAZZ PAS-SAGES. Typical Be-Bop ex-amples in all popular keys... .50

43-CHORD CON,STKUCTION ANDANALYSIS. How to use chordsas fill-ins, background for cor-rect improvising, etc $1.50

67-MODERN BREAKS. Up-to-datebreaks in all popular keys. (Forall treble <:Ief instruments) .50

6l-DICTIONARY OF 6·PART HAR-MONY .50

58-BASS IMPROYISING BYCHORDS. How to find the cor-rect bass notes from popularsheet music diagrams .50

OS_TRANSPOSING CHART. chang-ing music to all keys $1.00

03-CHAR'r OF MODERN CHORDS,204 practical 9th 11th and 13thchords ' $1.00

02-HARMONIZATION CHART, 372ways to harmonize any melodynote $1.00

01-CHORD CHART. 132 popularsheet music chords .50

53-SONGWRITERS CHORD PRO-GRESSION SYSTEM. How tofind the correct chords forpopular songs, Complete textwith over 60 written-out ex-amples ... $1.25

54----:MANUAL OF HARMONY. Basicmusic theory covering scales.chords, inversions, cadences, in-cluding many exercise. .50

35-MUSICAL DICTIONARY, 64pages of musicol terms. .50

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82-HOW TO ARRANGE LATIN.AMERICAN MUSIC. Authenticfully scored examples $2.00

81_SPECIAL TONAL CO,LORSAND EFFECTS. Interesting,tested effects, fully scored ..... $1.25

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Cat. No. h19_PIANO TECHNIC. analyzing, f e

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50_LATIN-AMERICAN RHYTHMS.Authentic versions of the 39 mosto ulcr rhythms ?nd h.ow to~I~y latin_American Instru~$1.25ments .. ' .

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903-HOW TO USE 11th AND 13thCHORDS. Examples of modernchords applied to popular .50songs

66_PROGRESSIVE PIANO HdAR.MONIZATIONS. The mo ernway of harmonizing ?ny melodynote using uncenventicnc! chordformations .50

63_PROGRESSIONS IN 13thCHORDS. Examples ?n~ exer-cises showing all. va~lohons of13th chords as used In modernmusic .50

65_MODERN PARALLEL CHOR.DPROGRESSIONS. The harm~nlcbackground for modern planostyles How to create the "NewSound" in harmonizing basicscoles .50

64-NEW CHORD STRUCTURES.This chart shows the basis for1152 unorthodox modern chor.dstructures that can be used ,nplace of conventional chords.. .50

69_P1ANO BASS PATTERNS. Avariety of left-hand figures anall chords .75

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33-COMPLETE DICTIONARY OFHAMMOND STOPS, correct in.terpretation of organ sounds. .75

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4

By N I CO LAS S I, 0 N I IIISKY

WHEN JOSEF HOFMANNtoured Russia in 1908, he

visited the great novelist Leo Tol-stoy in his country estate southof Moscow. They talked about mu-sic-Tolstoy himself wa an ama-teur musician and once compo eda waltz. Hofmann asked Tolstoyto name three essential qualitiesfor a musician. Tolstoy replied:"Sincerity, sincerity, and incer-ity! "

Rossini distrusted modern in-ventions. He feared the railroads,and continued to travel by thestagecoach even when trains be-came the accepted mode of tran -portation during his old age.Dwight's Journal 0/ Music 01 July7, 1885 reports the detail of Ros-sini's anachronistic journey fromFlorence to Paris, which took himforty days: "Within the last twelveyears~ all the roads wh ich wereformerly mail routes between Flor-ence and Paris have been furrowedwith railroads. No more inns, nomore relays, no more post.horsesin readiness on the way. Rossinitrusted to luck. He sometimeswaited for two days in a little townto procure two quadrupeds and apostillion. When he reached Aix,it was impossible to go any far-ther; there was a total absence ofstables and horses. His friendswished to take him to a stationand show him that he was need-lessly alarmed at these winged car-riages which flew across space withthe swiftness of an arrow. He sawthe smoke issuing from the engineand fainted." .

•HEINRICH HEINE was tre-

mendously impressed with thegigantic 'dimensions of Berlioz'smusical designs. Yet he felt thatmelody was not sacrificed to sizein these large structures of har-mony. He said that Berlioz was "a

huge nightingale."

Jr/hen the fatUOUS Frenchtenor Ad Iph 'ourrit ang thetitle role in the first p rformanceI Meycrb r' 01 rn "Robert IeDiabl " in 1831, he became sooverwrought that h forgot hisstage dire iti ns. In the 1851~ct ofthe pera, th aS nt of alan Jumpsdown the trap door into the in-fernal reg! n . Distrn I d, ~our-rit loll w d him to l lndcs instead01 depnrling t glory through th,open 1 r I the nlhcdr.1.

I". (Ill. oltl rman opera, thebaritone, imprisoned in a dungeonby hi n mi ,der, th m tocau c him to cry out under tor·ture. uring a performance of theopera, a piece I Ihe scenery felldown and tru k the baritone onIhe head. He gave out. cry 01angui h thnt utlerll' belied thewords of his aria. The curtain W35

qui kly run down. the baritone'shead was 6alldarred up. and thescene promptly repented.

•AT PERFOIUL>L,CE o(··La·

hengrin·· in frankfort in1884, the leading tenor becameindisposed. and the managementsummoned the singer Goetze fromCologne 8 a substitute. Go.et2C

took the expres train and arrl\"edin Fraokfort jut in time ,for 8hasty make-up and Ilis ride U1 t~eswan boat. s he held Elsa in hISarms, he fell it necCS5ary to in~o-duce him If fomtallr to the pnmadonna. He bo"·ed politely "dwhispered: .:.I am honored by theoccasion. Permit me to presentmyself: Goetze 01 Cologne."

The m.usie of Ma.x Reger i5rarely performed nowadays, buleady in the century he was reogarded a a leader of the modern:ist school, and c\-err new work

ETUDE-APRIL 19;J

from his pen was a major musicalevent.For all his modernism, Reger

stuck pretty closely to the aca-demic rules of composition. Hepoked gentle fun at ultra-modern-ists. In' 1906, he published aparody on extreme modernism, apiano piece entitled "Ewig Dein,"marked opus number 17,523. Heindicated the tempo: "Faster thanpossible," and in a footnote herecommended that the piece beplayed backwards "in order toplease those who hate dissonanceand love harmony." The piece in-deed sounded more normal whenperformed in reverse.

Max Rege,. was Iamous as ateacher. During his classes at theMunich Conservatory he noticedthat one of" his students was busyreading a pamphlet. "What have\ ou there ?': asked Reger. "A cat-.dogue 01 works by RichardStrauss," the student replied,J leger was stunned into silence, forStrauss was generally consideredas Reger's greatest rival. Finallyhe remarked: "The catalogue iswell put together."

Al1l0ng musical curiosa there isan arrangement for three hands ofLiszt's "Rakoczy March" made byCount Zichy. Why for three hands?Because Zichy lost hls right armin a hunting accident. Liszt him-self played this arrangement withZichy, who took the bass part withhis left hand. THE END 1 , _

ity. The scheme will not work ifthe package is returned to thecomposer unopened.

•PREDI CTION 01 future ferne

for child prodigies is a hazard-ous occupation. But in one aignalcase. a music critic made a prettygood prophecy in the followingdispatch from St. Petersburg, pub-lished in "Musical America" ofMay 25, 1912:"Our celebrated violin teacher

Leopold Auer is again favored bychance. To the list of his manypupils, such as Zimbalist, Parlowand Elman, is now added a younggenius named Yasche Chaifetz,who is only eleven years old, andwho bids fall" to rank with thegreatest. In his recital a short timeago, Chaifetz took the musical pub-lie by storm. The boy's fatherfortunately proposes 10 give his sonthe widest possible musical educa-tion." Chaifetzi:-. of course, aphonetic spelling for Heifetz.

In a collection of glees,"Social Harmony," published inLondon in 1813. there is a malequartet with individual partsmarked yawning. sneezing, sob-bing. and laughing. The yawningwas represented by a slow down·ward progression; the sneezing bydescending octave skip~: the sob-bing by quick grace notes, and thelaughing by staccato passages .. AlIof this was neatly encompassedwithin the framework of G major.

The sent;"nenlal attachmentthat Brahms felt for Cla-ra Schu-mann was a matter of COlllment inVienna in the 1870's. AlthoughBrahms was fourteen years youngerthan Clara, he liked to feel that hewas the protective spirit in thisfriendship. When Brahms grew hispatriarchal heard, Hanslick quippedthat Brahms made this change inhis appearance in order to pose asClara's father.

A m.usie love,. sent invitationsto lunch to several friends~ witha cryptic note: ~:TlIesday, Gmajor." The guests understood,and arrived for IUllch at one sharp.

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•A'LTHOUGH REGER himself

wrote music of heavenly length,replete with academic elaborations,he advised his students to cut downthe development section in theirlarge works. "People listen fasternowadays than in the nineteenth(;"cnLury," he commented.

Anwng Reger's students were:identical twins. One of them wrotean exercise in which he used a pairof consecutive fifths-a dire of-fense in those days. "Which oneof you is the first born?" askedReger. "I am," replied the olle whohad sinned. "Then tell your fatherto change his wHl, and leave hismoney to your brother," saidReger. ayour brother is moredescrving."

A pieee of gratuitous advice ishereby offered to desperate com·posers who send their scores tocelebrated conductors: furnisheach symphony with a pop·upmechanism, the kind that is usedin children's picture books. Whenthe conductor, or the orchestralibrarian opens the package, the~core will pop up open, too. Theconductor will be so startled_ byl'his phenomenon that he will becompelled to look at the music,and may even perform it as aLrihute to the composer's ingenu-

In her studio work, and in personal appearances,Rosemary Clooney has sung 10 the accompani-ment of many different pianos. Hearing them allin action, her final choice for her own home isJesse French! See why. Inspect and play the newJesse French Crescendo. Let your dealer explainits many outstanding quality features ... and theconvenient budget terms which will put this newvalue triumph in your home. now!

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ETUDE-APRIL 1953

I-============--THE

PIANO METHOD

KEYBOARD FUNDAMENTALSby BEATRICE HATTON FISK

The purpose of this new approach to piano playing is to acquaint"

the beginner with the fundamentals of reading and playing from

the printed page. The pupil develops a skill to play the more

difficult pieces with ease.

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Students of music and dancingknow the importance of correcttiming. That is why so manydepend on the ~nest precisioninstrument nvailablc - Metro-nome de Maelzel.This fine mechanism is made

by .Seth Th?mas,. famous fo~precision time lUstrume,ntssince 1813. It measures timeboth audibly and visibl~-w.itha definite tick and oscillating .pendulum. Tempos are easily a~Just.able from 40 to 208 beats per OUllute.The workmanship of master crafts-

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6

-1llt1Si,C L"ver's

•

BOOKSHELFDALE ANDERSONBy

The Flagstad l\1a" uscriptAn AUlObiogl·aphy. II'

L .. BloIICO INllrrated 10 OUlI; . l Nor

This is the story of a lu.t e .. . 1 who was born at Oslo,

wegJJ3;' g;~ 1395 and lived to be-an u Y , f the' world's greatestcome one 0. H father was an amateursingers- er a

. . d her mother wasmUSICIan an d ls. 1 Her sran parenprojessiou a - . 1:1 k If 11

were sturdy Viking stoe. yof ' dauahlcr on a rail hare a armer 5 1:1 .11 "

., fT hch md them thar hi S. way 0 I kr i'f you are a salesgirl, a ro . to r achor a waitress who a pircthe topmost height of an I rnor concert career, it will bchoovyou to invest ..4.00 in this n wbook if only to have y u r.. y

d I 1 a prod,gl usopene to W 'in .amount of labor and cxpcncnis demanded by su h a car cr. 10293 pages NIL Binn 'olli ~a , ' ithgreat clarity, put down In Mm .Flagstacl's own words what it toke.to aet to the top an 1 stay lh r

" d .Mme. Kir~ten Flag~ta 1S 1I1\qu •

tionably the greatest f a~(h.navian singers ~inc Jenn)' Lind.Indeed. her huge rcpcrt ry and h rglorious art pUl her in an ntir ~different category from th l lOwhich we find Jenny Lind. ~ oninstance o( this take just n ofFlagstad's famous: roles, thal ofisolde. which requires lrem nd uphysical and cmotional ncrgy anda consummate musical under~tand·ing. Flagstad has given Wogn r~masterpiece over one hundred andeighty-three performances in thLpowerful role of hold ,On per-formance of such a part puts morstrain upon the singer than a dozensuch roles as Jenny Lind sang. Infact, Mme. F\agstod ll1u<o;t heranked among the topmost sin~er~of musical history such a5 Gric"Patti, Galli-Curci. ~l Iba~ .. ~1ll.brich, Mary Card n. humnnn·Heink. Loui~e Ilomcr. ~1oterun,Ternina. Gac1ski. Lilti lA:.-hman.Lablache_ ~Iatt ia BnHistini~ 1""\1<0;0.

Chaliapin. Jean de Re~zke~PinUl~Bispham. and olher~. Th· l11('r('

task of rnemorizing fih '-two opcr~such as she sang in her early )eat'~and th.e solo rolC5 of cleH'n majororatonos and choral work~ ie.. initself. a huge arti~ti(' operalion.

In the fin;t part of her life t'lof)she tells of the more or 1~ U"~

tomary acti\ it)" of the) oung ~in~er

"a--IlWI>

r

At the Metropolitan she becamethe leading Wagnerian sopranoand won even greater success thanTernina, Nordica, Gadski, andLehman. She sang all of the greatWagnerian music-dramas in NewYork many times 1In 1940 when hostilities broke

out in Germany, she was "allpacked up" ready to return to herhome in Oslo. She expected to de-vote the rest of her life to herhome and to occasional opera andconcert appearances. Her devotedhusband, a prosperous business.man of Oslo, was anxious to havetheir home life restored.However, the war situation be-

came very grave. Her husband inprewar days had belonged to theparty of the Norwegian traitor,Quisling. When Quisling becamethe dupe of Hitler, Mr. Johansonresigned in disgust and repudiatedQuisling. He was instantly put inprison and Mme. Flagstad foughtall obstacles to go back to be withhim. He contracted a fatal maladyin prison. His wife was not per·mitted to see him and was inccn-solably crushed when he died afew days later. Worst of all, sen-sational papers in America madeit appear that she and her husbandwere anti·Semitic. The contrarywas true as she was then givingher services free for Jewish char·itable concerts in London.On her return to America for a

concert tour she was abominablytreated by those ·who sought topersecute her. Her concerts werepicketed in different cities. Grad-ually she proved to the world thejnnocence of her husband and her-self. The injustice of the cabalsand the frustrations resulting had

a very severe effect upon herhealth. Naturally the discussion ofher treatment makes many excit-ing pages in the book.After much persuasion, Mme.

Flagstad returned to the Metro-politan in New York and closedher career by a series of triumphswhich sent New York critics intorhapsodies. May we hope that herretirement may be like that ofPatti and Bernhardt-the overtureto another tour.G. P. Putnam.'s Sons $4.00

Bulgai-iau-Macedontan Folk Music

by Boris A. Kremeljfiev

The largest linguistic group inEurope today is made up of theSlavic speaking peoples and num-bers 200~OOO,OOO.The Bulgariansare an important part of this group.Most Americans are very slightlyinformed about the Mid-East coun-try bordering on Houmania, Yugo-slavia, Greece, Turkey, and theBlack Sea. Its largest city 1S Sofiawith a population of over four-hundred thousand (slightly largerthan Pittsburgh, Pa.}. Macedoniais a region on the north- west bor-ders of the Aegean Sea, and theMaceclonians as a people reachinto Greece and Bulgaria.Mr. Kremenliev's volume 1S a

rare dissertation upon the subjectwith a particularly readable andilluminating text. The instrumentsof the region are accurately cle·scribed. Most important, however,are the 219 notation exampleswhich should prove inspiring tocomposers in search of melodicideas.University of California Press $5.00

FROM THE ETUDE OF 1883

IN a column entitled "Cautions for Pianists," performers are warned:1. Against any showy and unsuitable display. Why should you wish

to attract attention and to create an effect by foppishness and all sortsof grimaces~ or by curious and marvellous exhibitions of virtuoso·ship? You have only to play musically and beautifully, and to deportyourself with modesty and propriety. Direct your whole attention tothe business in hand-that is, to your performance; and endeavor tosecure for it the interest of the public, who are so easily rendered inat·tentive. We want no more public performances from eccentric geniuses.

2. Do not devote yourself exclusively to pieces calculated to showthe skill of the performer. Why desire always to show off your powerin octave passages, your trills, your facility in skips, your unprece.dented stretches, or other fantastic feats? You only produce weari.ness, satiety, and disgust, or, at least, yOli make yourseH ridiculous.3. Play good music in a musical and rational manner. The public

are tired of hearing Potpourris, made up of odds and ends, tediousEtudes, Rhapsodies, Fantasias, without fancy, dismal monotonies andendless cheap silly cadences that mean nothing. Learn to understandthe age in which you live.

ETUDE-APRIL 1953

GUY MAIER- MOZART PIANO RECITAL

TWO 10"LONG PLAYING

RECORDS

Guy Maier's dramatic recorded performance of favorite MOlort selections ceo-tained in his own piano text - "YOUR MOZART BOOK." Students can nowhear the subtleties of technique which are illustrated in Guy Maier's classicpiano book.

TWO 10" LONG PLAYING RECORDS

Catalogue No. BC-l00l " 3.95Includes: Sonata In C Major (K·330) (3 movements); Minuet In 0 Major (K-594);Gigue in G Major (K·574); Fantasia in C Minor (K·3961.

Catalogue No. 8C-1002 3.95Includes: Variations on "Ah vovs Dirai-je Momon" (K.265); Allegro fromSonata in C Maior (K·545); Fantasia in 0 Minor (K·397l; Sonata in Eb Major(K·282l (3 movements).

AND. YOUR MOZART BOOKHere's the book itself! These Mozart compositions, include favorite shorter andlighter works. Guy Maier has added fll1gering and suggestions for e xecufinqembellishments - and discloses the subtle techniques necessary to faithfulinterpretation of Mozort 1.50

OTHER PIANO BOOKS BY GUY MAIER

• YOUR BACH BOOK1.50

• THINKING FINGERS(written with Herbert 8radshaw)

1.00• YOUR CHOPIN BOOK

1.00

• IT'S EASY TO READ!(written with Memo Beyers)

A new simplified approach to notereading. A most enjoyable way forbeginners to leorn fluent reading.

1.50

books by ~ ~a4HBEGINNER'S GUIDE TO POPULAR PIANO PLAyiNG 1.2S

CHORD CONSTRUCTION AND HINTSFOR POPULAR PIANO PLAyiNG 1.2S

MODERN STYLES AND HARMONIC CONSTRUCTIONFOR POPULAR PIANO PLAyiNG , 1.2S

PRACTICAL TECHNIC FOR POPULAR PIANO PLAyiNG 1.2SIn ,,..o<.,i.n/- BREAKS, FILLERS,ENDINGS & INTRODUCTIONS

written with MURRAY ARNOLD

~

. Look and Learn Workbooks' & "~ .' .' (written with EUGENIA ROBINSON). Workbook One teaches note·readi!l9 in as direct ood effective

a way as possible.Workbook Two offers a more progressive method for note count·ing and reading. Includes voluable charls and diagrams.

.75 each

NEW PIANO BOOKS by E~ ieeHlfid,MERRILY WE PLAY AND SINGBesl loved sacred and seculor songs on five finger patlerns for piano (withwo.rds). Contents include: , Would Be True - Onward, Christian Soldiers-Slctp To My 101/- When You and , Were Young - All Through The Nightand many others.

HYMN TUNES FOR BEGINNERSA c.ollection of bero~ed and familiar hymn tunes for Ihe enjoyment of the~egmners, arranged In five finger pollerns for piano· (with words). ContentsInclude: Jesus love Me - Rock Of Ages - Faith Of Our Fathers - AmericaThe Beoutiful- Blessed Be The Tie That Binds and many others. '

Price 60~ eoch

7

B. F. WOOD"IUJ«~ /V<eu"t4

Shows direct relationship betweenvisual ncte and pig no key. A wealthof illustrations with (I minimum oftext m(lke these lenons wonderfullyeleer . for individual and closs ses-sions. "MAGIC KEYS" open the doorto elementory piano proving - askany teacher .....•..... ·$1.00 each

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MAGIC KEYSFIRST & SECONDPIANO BOOKSby Louise Curcio

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READING TIMEby George Loudenbock

& Guy MaierA progressive method which reduces sightreading to lts simplest form. The extremesimplicity of its mork-counting (unl,es pupilsgood focility in .reading elementary pianomusic ..•.•••••••••.•••.•.•...•.. $ .85

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An introduction 10 music for children - avariety of musicol eJilperiences which lepd too solid fO\.lndotion in piano playing ... $ .75

B f WOOD MUSIC C I 24 Brookline Avenue• • 0., nco BasIon' 5, Mass.

The Bach Choir of Bethlehemwill present its 46th annual festivalon May 14, 15, and 16, 'with a repeti-tion of the programs on May 22, 23,and 24. The first three programs willbe devoted to cantatas, the fourthwill be featured by Bach's keyboardmusic, while the final program willbe given over to the B minor Mass.Ifor Jones will again conduct.

Marjorie Lawrence who nowlives in Hot Springs, Ark. recentlysang the role of Madame Flora intwo performances of Gian CarloMenotti's "The Medium." One wasin Hot Springs and the other inLittle Rock. The performances weredirected by Sydney Palmer with theArkansas State Symphony. MissLawrence sang from a wheel chair.

COl\olPETITIONS (For details, write to sponsor listed)• United Temple Chorus: The Eighth competition for Ernest BlochAward, $150, for best composition for women's chorus set to text fromOld Testament. Closing date October 15, 1953. Details, the UnitedTemple Chorus, Box 18, Hewlett, New York.

• Ohio University Prize contest for a New American Opera. Award$250.00. Closing date May 1, 1953. Address: Hollace E. Arment,School of Music, Ohio University, Athens, Ohio.

• Cambridge String Choir Award of $50.00 for the best arrangementfor string orchestra. Closing date, June 15,.1953. Details from Mrs.Robert Conners, 524 No. 10th St., Cambridge, Ohio.

• Composition Contest, for women composers, sponsored by I?eltaOmicron. Award $150.00. Winner to be announced at Delta OmicronNational Convention in 1953. No closing date announced. AddressLela Hanmer, Contest Chairman, American Conservatory of :Music,Kimball Building, Chicago 4, Illinois.

• Eastman School of Music Alumni Association, New York Chapter,$50 prize Choral Composition Contest. Closing date June 1, 1953.Details from Darrell Peter, 64 East 34th Street, New York 16, N. Y.

• Young Composers Radio Awards for 1953. Instrumental and vocalworks. Closing date December 31, 1953. For details address YoungComposers Radio Awards, 580 Fifth Avenue, New York 36, N. Y.

• The Queen Elizabeth of Belgium International Musical Competition1953. Open to composers of all nationalities. Twelve prizes. Closingdate June 1. Details from M. Marcel Cuvelier, Directeur general duConcours musical international Reine Elizabeth de Belgique, Palaisdes Beaux-Arts, 11 rue Baron Horta, Bruxelles.

• Artists' Advisory Council, composition contest for American com.posers. $rooo award. Closing date September 1, 1953. Details, Mrs.William Cowen, 55 East Washington Street, Room 201, Chicago 2,Illinois.

8

THE WORLD OF

Music Week this year will beobserved from May 3-10. The key-note for this year is "Enrich YourLife With Music." A Letter of Sug-gestions has been prepa:ed by t~eNational and Imer-Amer ican MUSIC

Week Committee, for distribution toorganizations planning programs forthe occasion. A copy may be ob-tained by sending a three-cent stampto cover postage to T. E. Rivers,Secretary, National Recreation As-sociation, 315 Fourth Avenue, ewYork 10, N. Y.

Wilfrid Pelletier, former Met-ropolitan Opera conductor, has be It

appointed musical director of theYoung Peoples' Concerts of the NewYork Philharmonic-Symphony 0-

ciety for the season 1953-54. Mr.Pelletier succeeds Igor BuketofT whoresigned to devote more time to hisother activities, including that ofmusical director of the Fort \Vayne(Indiana) Philharmonic.

Howard Ferguson's Concerto forPiano and String Orche tra wagiven jts American premiere onFebruary 5 when it was played byDame Myra Hess with the ew YorkPhilharmonic·Sym phony Orchestraconducted by Efrem Kurtz.

Cetra-Soria Records, which inthe past five years has specializedin issuing complete recordings ofgrand operas has been consolidatedwith Capitol Records, Inc. EffectiveApril 1, the latter company will alsomanufacture and sell in America therecordings of the Italian companyCetra. The American Cetra-Soriacompany has issued to date a totalof 46 complete operas.

The second an'llual Southwest-ern Symposium of contemporaryAmerican Music, held at the Uni.versity of Texas March 23·25 had aregistration of more than 200 manu-scripts which were submitted forpossible performance. Halsey Stevensof the University of Southern Cali-fornia was guest conductor andmoderator. Dr. Edwin Franko Gold.man was symphonic band guest con-ductor. Guy Fraser Harrison andEzra Rachlin were co-conductors ofthe Symposium Symphony Orchestra.

I_n a song contest conducted inVeterans Administration hospitalsby Br~adcast :Music, Inc. the threetop wmners were: Buddy Traina ofthe Bronx, N.Y. (first prize) ; BlakeSherwood of Chicago (second

prize); and Tommy Berard. Jr.(third prize). They received a totalof 500 in U.S. Savings Bonds andalso their songs will be published bymembers of the B.M.-I. group.

The Boston ymphouy Orches-tra, Charles Munch, music director,will make a trunscontinentaltour be.ginning April 21, tit fir t such tourin its 72 y ars' history. The arches-tre wil l play 29 concerts in 26 cities.Pierre Monteux will share the con.ducting honors a gu t.

For th fir t lime in the historyof music education in the Unitedtate the Eastman hool of :\Iusic

or the uiveraity or Roeh tee willoffer a pror iona1 degree Doctoror Mu i al Ar beginning in the1953-54 acad mic year. This actienmarks the culmination of 20 rearof study of the problem by the N.·tiona] A social ion of hoo! ofMusic.

"The Rake 8 Progres ," Stre-vinsky' much di us.sed new operawhi h had its world premiere inVienna on pt mber 11, 1951, wasgiven its Ameri an Premiere onFebruary 14 by the )Ietrojl<llitaoOpera mpany. To quote the NewYork Time, "the production was inevery .respect first class." Frill Reinerwas lhe conductor a.nd the principalsincluded Hilde Gueden, BlancheThebom, i\(unha Lipton, EugeneConley, lack Harrell. NormanScott, Paul Franke. and LawrenceDavid on.

The ational Association ofChamher l\lusic PJa}'ers im'ites per·formers on Iring, wind. and brll5Sinstruments to become members ofthe AC IP, a national organizationdevoted to the promotion of chambermusic activities of its members. Nodues are charged, the group depend·ing on voluntary contributions tocover its running expenses. Inter·ested individuals should "'Tile to?\'1iss Helen Rice. NAc.~rp ecrelllry.15 W. 67th lreet, New York 23,. Y.

The Violin, Viola and Violon·cello Teachers Guild will hold it51953 ationaJ String Festival andConvention in ew York Cit}', April18 and 19. World famed artists, con·duclors and educators will pa.rtici·pate in the concens and discussions.There will be exhibits and forumsand a junior chamber music festi\"aL

THE END

ETUDE-APRIL 19;3

AARON COPLAND, one of America'sdistinguished contemporary composers

and a leading spirit in the Berkshire MusicCenter. thinks that in many respects theyoungmusician of today has a golden op·portunity for practicing his art such as themusician of fifty years ago never dreamed.In some respects, states Mr. Copland, his lotis perhaps a harder one, but comJ~ensationsoutweizh any increase in difficulties.. . ."The lot of the concert artist IS more

exacting than ever before," explained Mr.Copland. "Audiences are more c~itical,musical regimentation goes farther III theway of managers' bureaus and ?ther orga~l-izations. and the field" has not increased III

proportion to the increase in population.To become a concert artist one must possessthe utmost in talent, even genius: he mustpossess the utmost in self-dedication to hisaft: he must possess the utmost in the abil-ity to sell his art to managers and to thepublic."On the other hand, there are thousands

of devoted and talented young people whoperhaps do not possess the will, or thegenius, to become concert performers or togo into opera or a major symphony. Yet,there is a field for them also. In the pastfifty years America has become music con-scious as never before. J am told that whenI was horn at the turn of the century therewere perhaps no more than half a dozenfine orchestras in the Union, if that many.Today. almost every city of a hundred thou-sand or more inhabitants boasLs an orches-tra of merit, probably a lllunicipal chorusalld a band which perform great musjcand perform it well."This means that every young mUSICIan

willing to work as one must '\'ark in musiccan fit into his own community's musicallife. He may phly, sing, teach, be his talentwhat it may. he can use it and he can makea livjng fr~l~it if he wilL"It should be observed in this connection

that Mr. Copland's worcls are in no sensewords idly uttered, for he has made a suc-cess jn the most difficult field of all, the fieldof composition.AtteJl(Eng the Berkshire Music Festival

at Tanglewood jn the lovely Berkshire hillsof Massachusetts a bit over a hundred milesalmost due ,,"est of Boston, listening to thework of the young musicians who attendthe summer school which is conducted inconnect jon with the festi\'al, of which schoolMr. Copland is the assistant director, listen-ing to the Boston Symphony Orchestrawhich played Copland's Third Symphonyto the great delight of over 6,000 auditor~who attended the concert, talking to AaronCopland in the studio where, from time totime, he has medjtated or actually workedon some of the music he has given America-doing all these things, [ say that if I hadhad lingering doubts about the future ofmusic in America (which I emphaticallystate I never entertained) they would have

ETCDf:-APRIT, 1953

L

been dissipated in such an atmosphere.From a dozen or more foreign countriesyoung people had come to study-in Amer-ica! Altogether, 404 young people had cometo spend a summer studying music, inAmerica. During the course of the summerat Tanglewood more than 150,000 paid ad-mission to concerts and bore trumpetingtestimony that America is now a musicalnation: bore testimony that the foundationslaid so long ago by Billings, by Hopkinson,by Lowell Mason and the distinguished lineof Masons that followed him, are this day,and for all the days to come, hearing fruitin the music that is America.The musical talent in America today

compares most favorably with that of Eu-rope, so believes Mr. Copland .. "1" recentlyspent six months traveling and observingin Europe, including the great musical cen-ters of Rome, Par is, London," he stated,"The musical talent of America is as great.as that in any European center. And in thematter of composition I feel that we arethis day producing as great music as thatof the young Continental composers."This statement needed amplification, l

felt, since it is one so contrary to the ideasusually held, to-wit, that America lacks the"divine spark" which (in the minds of theself-styled inlelligensia) has been reservedfor those born on the eastern shore of theAtlantic. MI". Copland explained that "thevery law of averages" must produce firstrank composers. "Twenty-five years ago ateacher might have had 10 compositionpupils. Today he would ha\'e at least ahundred, there are that many more peopleinterested in creative music. ]f out of thefirst 10 one of merit was discovered~ outof the 100 there must be 10 of merit. Ifthis be a generalization it is at least bas·ically true. Now mark: today in Europe thepopulace is most of all concerned withwhere the next meal is to be found. Andagain mark: one must eat before one cancompose. It is much easier to eat here thanin Europe. Therefore, there is more time tocompose. No, one need have no worriesabout the musical potential of America."Despite the fact that America has not

been regarded by her own people as a greatmusical nation, Mr. Copland feels she iswell on the way to becoming one. "For anation to become great musically she mustcome to understand the meaning of music,the importance of it in the daily lives ofthe people. We are coming rapidly to thatpoint in our thinking, as witness the greatnumber of school bands and orchestras andchoruses. It seems to me that all the young-sters sing or play today, or almost all,because they become involved in music.Involvement in music is the basis Iorgreatness in music."I spoke of the lnadcquacy of many public

school and private teachers of music as aseriolls factor in the musical future of ourcountry. Respect- (Con.tinned on Page 57)

Involved

i,. ~Iusic~

Great

in Music

Front (Ill. interviewlVith Aaron CoplandSecured IJy LeRoy V. Brant

(This is the jourth in a natab/pseries of conferences with out·standing musical person.alities.)

9

by Mary Homan Boxall Boyd

How to beginPracticing a Piece

A number of important steps are

here suggested to ease the burden

of beginning practice.

W HEN YOU begin to practice a newpiece, what do you see, hear and feel?

Do you perhaps take for granted that youintuitively know how it should sound, andconsequently pay no attention to the correctnotation on the printed page? Do you thenmake quick and enthusiastic inroads intothe composition, and finally play it throughvery badly?J list so is it that many a fine piano work

is brought into confusion in its first stagesof development, and seldom recovers fromsome such repetitious, abortive attempt tohurry it into manifestation.Examination of any musical work dis-

closes three separate factors: rhythm, har-mony, and melody. "In the beginning wasrhythm," wrote Hans von BUlow. That any

~usical ~Ol.nposition remains .incornpr-ehen,~Ible until-its rhythmic form is understood,IS a fact of everyday experience..Try readin.g the first page of a new piece

without playmg at alL Begin by mentallynoting the mathematically perfect time pat-tern worked out in each separate measureeach ~lOte st~n?ing for its own time valu~and time ~mt In relation to the other notesand rests In the measure. Observe the restsas carefully as you observe th tB he no es_eet oven, when asked what l,e c 'd d. - onSI eremost Important in playing his workplied: "The rests!" s, re-In Webster's Dictionary J sell. "E . . orne

wntes: . very germinal musical thought,o~ te~hmcally speaking, motive, consistingo a ew notes, or of notes and rests, and

10

more or less outlined by means of a caesurais a rhythm." (A caesura in music denotesa pause marking a rhythmic point of divi.sion in a melody.)All notation appearing in each separate

measure should be studied and theoreticallyunderstood, and only after grasping thatwhich appears on the printed page 8houldone proceed to play the piece tbrough-andthen only in slow tempo the first time.Test the tempo and rhythmical accuracy

with the metronome; then, at intervalsstopplaying altogether, and listen only to thetick of the metronome. \Vhen in completerapport with the lilt of the time and beat,and auricular to the mu i 81 contents ofthepiece in hand, try mentally carrying themusical figur or phra in each consece.rive measure to th m tronomic beat bysilent concentrntl n only. In ord r to attainan even fl w of In asure b)' measure play.ing, it is e cnt ial to Ii ten for accuracyoftime value within the mea ure itself. Avoidfor a while the use of an)' ac entuatioawhat oever. Holding n note for too long,orfor too short a p ri d f duration, will dis.turb the rhythmic bon sty of the measure,and result ina m I y f false tim. valuesthroughout the ntire piece.True rhythmical fluen y i metimes

dist rted by verempha is of accent. Donot mistake rhythm for accent. For exam-ple, in playing c n utive quart r notesin 4/4 time, th ount f one, If over-stressed, will have prolonged i legitimatetime unit to the lighting of th time periodbetween it and the on oming second heat,or second quarter note. By theseme token,the third quarter note, if 01 a prolongedbyexaggerated accent, will have the samedis-rupting effect upon the time period betweenit and the fourth beat, or fourth quarternote. These are error which. if not cor-rected will, regardle of accent. amounttoa general misreport of time values.It is sometime remarked that a per-

former much given to the use of the accent,manifests a good sense of rhythm, whereas,in believing that accent is rhythm. he dis-closes (to a cultivated Ii tening ear) a poorsense of rhythm.Accent can easily become too assertive,

thereby eulogizing itself to first place inrhythmical propriety. Truly speaking. ac-cent should be ubrui sive to true rh)um,not rhythm the lave of a cent. Prior toman's conception of melody, his sense ofrhythm became higWy developed. ny kindo~ crude time beating or monotonous noisestImulated his varied emotions as he dancedor prepared for war. Tben gradnally,through the growth of a more spiritualizedelement pervading high forms of musicalcompositiou, the accent w8s reduced to itsproper place in rhythmitonal patterns.In a sense, rhythm is liquid. It is

not the rhythm of the assertire, repeti·tlOUS• be~t, but the rhythm that fla.-sOn m Its (Continued on Page 49)

ETUDE-APRIL 19;3

The conductor of the National Orchestral

Association tells why he believes that

Music Should Serve the Community

From an interview with Leon Barzin

Secured by Allison Paget

IN1930, the National Or~hestral Associa.lion was founded to bridge the gap be-

tween the student graduate and the profes-sional musician. The Association serves thevery real need of providing training andjobs for inexperienced players, of sendingthem on as seasoned musicians, and ofpresenting well performed concerts of goodmusic. Having had opportunity to observethe educational background of the youngplayers during my years of this work, Ibelieve there still remain gaps to be bridgedbeiore the professional level is reached.We need an approach to the entire field

of musical education which, reaching be-yond finger manipulation and textbookstudies, will raise music to its proper placein relation to current world conditions.For example: At a recent educational

conference, I heard a number of collegedeans discuss teaching methods. They wereproud of the fact that their schools of en-gineering, science, and business adminis-tration invited the best trained, most for-ward-looking practitioners in those fieldsto come in and give advice and demonstra-tions to the students. I asked these gentle-men whether similar methods are used inthe field of art, and silence ensued. It seemsthat music courses still follow the patternset around 1900, adding a smattering of

ETUDE-APRIL 1953

more recent "names," hut taking no stepsto give the students practical participationin the musical forms and mechanical de-vices which play so large a part in today'sprofessional music. In the "practical" sub-jects our schools are ahead of the times; inart, they lag behind which gives our stu-dents a seriously unrealistic approach tothe world they must live ill.This is not an exclusively American

phenomenon. On my recent tour with theNew York City Ballet I conducted twelveorchestras in eight different Europeancountries. Our repertoire consisted largelyof contemporary works. To my astonish-ment, the European orchestras were far lessskilled in reading and adjusting to theseworks than the average American orchestra.Whatever the cause-c-lack of contact withcontemporary literature, a gap in the con-temporary age group resulting from twowars-the result is that Europe's orchestrashave not kept pace with today's musicaldevelopments. They tend to rely on past'glories, contenting themselves with the tra-ditions of their organization, and showinglittle interest in developments outside thattradition.Now, the fact is that, for better or worse,

very definite developments have alreadytaken place in the world of professional

music. One doesn't change that fact byignoring it; one simply sets oneself outsidethe needs of the contemporary world. Onereason why so many graduates with degreesin music find difficulty in making a properliving is that they have been trained to theneeds of the past!The kind of music education I advocate

(and which I have applied on a limitedscale, but with results of unlimited enthusi-asm) aims at preparing both future mu-sicians and future audiences for the musicalconditions they may expect to encounter,not in Brahms' time but in our own.To begin at the lowest level (where edu-

cation should proper1 y begin), I suggestthat 'we utilize the natural adaptability ofsmall children so as to give them a taste forcontemporary art along with their heritageof the past. Kindergarten classrooms mightdisplay copies of Cezanne along with printsof Rembrandt. Kindergarten records mightincl ude Bartok along with Mozart. Littlechildren will absorb what is given them.Why not enlarge their educational field tothe full perspective they will find in theworld ahout them? Whether or not the in-dividual teacher "likes" contemporary artis beside the point; these art forms exist,they are there. The youngster who growsup without knowl· (Continll,ed on Page 50)

11

..

The Rosebud Foyer of the Texas State College for Women makes an appropriate Betting for th boir,

A challenging story of the founding of a boy choir

that has won great fame in a comparatively short time.

Why not a Co~munity Boy CI,oi,'?by George Bragg

George Bragg, Founder-Director

WE BEGAN the Denton Civic BoyChoir in March, 1946 as an oppor-

tunity for the musically interested boys(ages 8-15) in the city of Denton, Texas.The idea of a boy choir, though new tothe people of the town, caught on like wildfire with both the parents and the boys; theparents being grateful for an educationaland recreational project aside from theboys' routine public school work, and theboys happy in a work which challengedthem at every turn.Life for these novices in the Denton Civic

Boy Choir became a challenge to their per-sonal abilities and advancements, for theysuddenly found themselves in a strange·world of stranger criteria, surrounded by

a confusion of sound which seemed at firstto the child mind overwhelming.Presto! Legato! Pianissimo! F orte!

Sounds of mah, koo, 100, and bay; the beatof 1-2-3-4 resounding over the constancyof sounds, and the sounds increasina be-fore dyi~g away to such a degree t1~at itseemed sdenc~ was part of something. Be-fore the novice stood the director whospoke a language with his hands and madeever varied expressions of face, which onemoment disc~urage~ and the next compli-mented the smger 10 magnified degreeThese 37 boys two weeks before had

lived in a world of the usual. Suddenlyt~ey fo.und themselves part of musicalhlstory-m-the-making, building toward a

goal yet unseen by their ~Gung eves. andstriving for that understanding not yetgrasped by their inquiring minds.Half a dozen aturday Kiddie Matinees

had been mi ed because of rehearsals.andstill the cloud of mystery veiled the ideaof the importance of 8 boy choir and mu-sic, for yet no visible progress could beseen. Then, in a nearby town. another boychoir was to appear, and 811 the Dentonboys went as a group to listen to their firstConcert. Suddenly, the idea \\8S seen. thestrange world became familiar. its languageunderstood; four-four equaled rhythm, andsilence was golden.From that moment, progress \fa~ the

agreed order by lessons accomphshed.

~, 12.------ ETUDE-APRiL 1953

Learning music by rote and note becall1.eapleasure. Their exercises developed skl~ls,ranges increased, quality produced qualityand, finally, control was so conditioned thatno lonzer was the staccato stabbed, but itbecam; as resilient as a bouncing ball.Skill in the performance of music was

the ultimate desire in developing the Den-ton Civic Boy Choir. To nurture the neces-sities of exactness and confidence of per-formance on the part of the boys, theprivilege of singing for their parents wasextended to them. Having been taught tothink ahead in singing so that the singerwould always be prepared, this principlewas now put into practice, and proved tobe a real test. In this brief encounter of"supreme trial" (for it is a maxim that thechorister will always respond to the direc-tions of the doting kindred in the audiencerather than to the directions of his choir-master on the stage), the weaknesses weremagnified, but the confidences were health-ily strengthened, not only for the boys, butf~l' the parents alike.These little boys of sometimes boyish

destruction became, in their time, creative.They steadily assured themselves of theirplace in a creative world, knowing con-stantly that the best they could do withgreat music was the least which could beacceptable. Music by the great composerswho had lived past their time was recre-ated by boys who, unitedly, would livepast their time.A sincere respect for the present day

artists and their work was realized fromthe boys' deep respect for their own work.Time became a valuable commodity, ex-pendable to either work or play, but neverto both at once. As slowly as when light isrealized on an overcast day, discriminationbetween good and bad music was made;and, as suddenly as when dawn is discov-ered on a crystalline day, the boys seemedto realize that quality made the difference.Within a year and a half, the group be-

gan to travel to neighboring towns to enter-tain. Since that time they have enjoyed therare experiences which come only to thetroupers of the entertainment world. SunValley, Salt Lake City, Flagstaff, Albu-querque, Houston, New Orleans and Mo.bile are lasting remembrances. Washington,Philadelphia, New York City and Cincin-nati were each a world of accomplishment.Within a four year period, the choir had

traveled twenty thousand miles throughtwenty-five states and Mexico. It had be-come associated with the InternationalArtists Corporation of New York. It hadappeared over major radio networks, in-cluding a coast-to-coast broadcast over theNational Broadcasting Company and theDuNIont Television Network. It televisedwith Loraine Day and Johnny Johnston atthe Polo Grounds in New York City wherethe boys were the guests of the New YorkGiants. By special invitation the group sang

ETUDE-APRIL 1953

for the Salt Lake City Tabernacle Choirand received as a gift from its director anarranaement made especially for the boy

oS' ,choir of the famous Latter-Day amtshymn, Come, Come Ye Saints.They have been entertained on the rustic.

ranches of the West, and on the extrava-gant estates of the East. They have at-tended leas, buffet suppers, receptions andbanquets and known the thrill of the ap-plause of an audience of 20,000 people andthe intimacy of private concerts.In the minds of the some one hundred

fifty boys who have enjoyed the privilegesof the Denton Civic Boy Choir the pastseven years, there will continuously be astorehouse of rich experiences from whichthey may draw to enliven their daily living.In their travels they have come to know

many of the great personages of the con-cert and entertainment world among whomare Martha Graham, Ted Shawn, CharlesLaughton, Robert Shaw, J. Spencer Corn-wall, Don Gillis, Salvatore Baccaloni, Fran-ces Yeend and Frances Magnes. The boyslook upon the privilege of knowing per·sonally such outstanding persons as one ofthe blessings derived from their choir work.The results of such positive work are in

keeping with the design of the group bythe ones who guide its existence-that ofdeveloping fullness in youth. We see in themedium of boy choir a means of develop-ing character, a means by which a boycomes to know himself, thereby preparinghis life for nobler things to come; an en-riching process in overtones which will giveresonance to his living, for through theboy choir organization many seeminglyunrelated subjects unitedly flow.By means of the boy choir, its travels

and its studies, history comes alive, geog-raphy transcends its pages, physical educe-tion has new meaning, language has afreshness, and even the subject of everydayconversation is important. Neatness, aquality most foreign to the usual nine orten rear old boy, finds a paramount placein his daily routine of living, a neatnesswhich carries over into his school life, hishome life, as well as his public life.We have seen, time and again, boys who

consistently made "C's" and "D's" changewithin a two-year period to the new thrillof a "straight A" report card. We believethat when you give people high standardsby which to live, you always get results.The only time we question what the resultswilt be is when the standards are too low.Interested persons have asked us through

the years just what we did to get certainresults in order to put a non-professionalgroup of boys on a professional basis. Weinvestigated and found that, actually, it isquite elementary in its basic understanding.We have learned in working with the vary-ing group in years past that we mustalways see clearly these aspects of thechoir's being. (Continued on Page 56)

Ernst von Dohnanyi (right) and GeorgeBrngg discuss a wor-k recently commissionedfor the Boy Choir by Mr. Bragg.

J. Spencer COI·nwali (centCl·) talks to theboys of the ehoh- prior to un 31lpcurunce inSalt Lake City.

Traveling about the cou nn-y by buspr-ovides a great tln-i ll for the boys.

A rebellious sbocsu-Ing rcquires atten-tion beCOI·Cthe choir makes its entr-ance,

13

Attack

and

Emission

•In

Singing

by

JOSEPH A. BOLLEW

N°EXT IN IMPORTANCE to correctbreathing and breath control in voice

training and singing is the correct attackand emission of the voice. Attack is definedas the phonation of a single note, of theinitial note in any musical phrase, and ofany new note after a breath. Emission isdefined as the flow of the voice followingattack. .

I ncorrect attack and emission has manyqueer and offensive vocal results. Who hasnot heard singers who ,slide or climb up tonotes and, upon reaching them, if they areto be sustained, sag about halfway throughand go flat and anaemic; and often, in aneffort to amend the deflection, suddenlyshoot up as if stuck by a pin, and go sharpand shrill? And who has not heard singerswho never seem abl.e to hit notes accuratelyand nearly always sound sharp or flat?

The latter is believed to manifest defec-tive musical hearing. However, tests revealthat the great majority who consistentlysing off-pitch can immediately detect off-pitch singing in others. More interesting isthe fact that very many trained musicians,conductors, composers and instrumental-ists, among them some of our world famousartists, are also gullty of being off-pitchwhen attempting to sing. Trained musicianscan hardly be accused of having a faulty

Another highly important phase

of vocal study is here discussed in detail

by a well. known authority in his field.

sense of pitch. Conductors in particularcannot be accused of this defect. Why thenare they also off-pitch when using theirvoices? The explanation is to be found inimproper vocal production, in a lack ofknowledge of what is involved in correctattack and emission.

As a means to curing off-pitch singingmany teachers advocate "thinking" a notebefore attacking it. Others advocate "think-ing the note in the right place," believingit helps to cure off-pitch singing and in-correct placement at one and the sametime. They forget that it is impossible toknow whether the pupil is thinking a noteon pitch or thinking it in the right position.Asking such pupas to think notes all pitchcannot in itself ensure accuracy of pitch,just as asking them to think correct place-ment cannot ensure proper vocal poise. Be-fore either can be effected it is essential forthem to know what is involved in correcta~tack and emission. As soon as its p-in-ciples are understood and mastered singing, con pitch and correct placement present nodifficulties.

Then there are singers whose voicesburgeon anew on every note, or almostevery note; who execute each note more orless softly and then swell in volume reogardless of the dynamic requirements of themusic. Sometimes it is not their fault. Therear.e some teachers who advocate this queertrIck of vocal production. This is how theirinstru~tio~ go.es: think the note, lllentallyplace It, Sll1g It on piano and then swell ton~ez~a.voce o~ forte. Now, to crescendo anddImmuendo o~ al~ notes of the range is anexcellent exerCIse In vocal dynamics, but asa method of attack and emission it is in-correct and its aural effect is not unlik. " e ape.rson gro~mng 111 the convulsions of im-mInent seaSIckness.

And there are also si ngers some of tlo II '1emvelY we known, who have almost a dObl

f'l b u 1 egaps 0 SI ence etween notes Theo b . Y seem1I1capa Ie of merging consonants andI d vow-e s, an not even vowels with vo\vel .

b k s, Intoan un ro 'en, even flow of voice It .. bl . . ]S mostnotIcea e In legato singing . t Ib k ' JUS W 1ere an

un ro. en, even flow is most desirableAnd then, of course, there are those" with

pronounced tremolos. or wobl>les TI' ., .. . 11S ]5

~. 14._--------

sometime due to mu cular weakness in thevocal mechani m and n am unt f corredba ic training n Iiminote it entirely. Butin 1110 tail i due to a mistak n COn-ception f r laxation, to a lack of CM·troflc 1 vigor n the on hand. and to faultybreath conrr I and nuack and emil:l:ion onthe other, whi h, if n t given proper andtimely atterui n degenerates into a chronice nditi u.

In th gr t mej rill of pe pie whoherehad no vocal training, and CHn in thosewho hav ,th xist nee 1 th 0 e defectsusual! I ro e ds from thr atiness, guttural.ness, na ality, lar ngeal stri rure, orbreathine ss, Th eradi arion 01 the defectsmakes it p ssible f r th m to sing true topitch and I I a ntly in other r 0 peers, Butthe real pr bl In i with singer who harehad many y ar of training and who. de-spite the presen of ne or more of thesefaults, do not ing ofl-pit b, do aot slideup to note , ha Ye no tr mol a nor gaps ofsilence and do manage to 8 hieve an un-broken vocal Line, for the mere absence 01these faults does n t betoken correct attackand emission. There are other essentialCOD-

ditions. In the first place, the voice of aprofessional singer who is habituallythroaty. guttural. laryngeal. or has. a mir-tu re of these defects. cannot Jag long. .onelly. a high level 01 aesthetic aod arti,ticperformance is the desideratum. and i£ e.'(.

pccted. and where L.h _e fauJts exi:l it i~chok~d at the very SOUTce just as il wouldbe With a string player who fingering pro-duces accurate pilch but whose bowing re-sults in scratchy. scrap tones.. The essence of corr t attack and emij·stOn is lonal purity. a complete absenceojthroatiness_ gUlturalncss, laryngeal slne-lure, nasality and breathiness. Tonal puritye~lsures freedom Jar Ihe vocal tibral;ons torue: reach and impinge upon ,he rtsonalOlJ,wlueh supply the voice wilh ils beollii/J'inhanna· b 'U'mes, n. lance and carrrinll polfer.Indeed, it may be said thai rdihout tiltresonanlal harmonics there' is no -r;oict.To~ml purity also ensures cloril)' oj arlicu,LeUlOn and makes the voice an inslrumentobedient to the artistic ,cisheJ o/Ihe s;n!!er./t' I '. •

tS t to begmnmg and objecti,.. 0/ goodvocal Iraining. (Continued on Page 591

ETUDE-APRIL 19;3

"The core of anyimportant enterprise

or activity mustbe characterand kindness."

Such philosophy bespeaks .•

THEGREATNESS

OF PABLOCASALS

PEOPLE who bought the recordings ofthe Casals music festival of 1951 were

surprised to receive as a bonus a recordwith a cello solo by Casals on one side, andon the other~pressed into the vinylite inCasal's handwriting~this motto: "The coreof any important enterprise or activity musthe character and kindness."

Behind this unique phonograph recordstands one of the most extraordinary per-sonalities in history. Great musicians have·been famous for many startling traits andabilities, but no man ever before so com·bined musical genius with moral and spirit-ualleadership.

Pablo Casals has never had a rival as acellist: and many will add that he is thegreatest string instrumentalist of aU time-Fritz Kreisler, the famed violinist, spoke ofhim as "the greatest man who ever drew abow.:'

The Casals festival is an annual gather-ing in the little village of Prades on the

ETUDE-APRIL 1953

by Max Eastman

French slopes of the Pyrenees, where Casalsnow lives. Drawn there both to his interpre-tation of music and his spiritual example,musicians and music-lovers from all overthe world, many of them as famous as he,gather each June to hear him play, to makemusic with him, to do him honor, and todwell for two weeks in the radiance of hisspirit.

Musicians who do not attend the festivalare apt to be a little scornful of the exalta-tion in which others return from it. Theseseem to have drunk from a mystical springwhich turns the very life in their bodiesinto music. From this you might expect inCasals the face and figure of Apollo. Onthe contrary, he is a dumpy little man withchubby hands, big round eyeglasses, a per-fectly bald head. and, if the sun is shining,a bright red umbrella held close over it toshield it from the heat. There is both sensi-tivity and tremendous strength in his faceif you study it: but at first glance he looks

more like a shopkeeper than Apollo.Casals was born in the little town of

Vendrell in Catalonia, 30 miles from Bar-celona. His father was organist in the vi]-lage church, and Pablo sang in the choir.He also made music, almost from baby-hood, on any instrument that happened tobe around the house-piano: flute, guitar,even the violin. His muscular coordinationswere as phenomenal as his instinct for mu-sic; impressed by them. his musician fatherarranged an apprenticeship for him withthe village carpenter.

But his mother, though she knew littleabout music, knew that he was a genius,and decided to make the world know it.Using her saved-up pesetas, she took Pabloto Barcelona where he could stud y at themunicipal school. Although only 12 yearsold, the boy got a job playing the piano ata popular cafe. He soon persuaded the pro-prietor to let him playa program of classi-cal music one evening a week, performanceswhich made a sensation in local musicalcircles. His fame increased when he took upthe cello, which he knew to be his own in-strument the moment he drew a bow acrossits strings. At 17, thanks still to his mother'sforce, tact, and adoring faith in his genius,he was in Madrid playing before MariaCristina, Queen Mother of Spain.

It was not only the music he made, butthe sheer goodness-no one uses any otherword for it-shining out of his eyes, thatcaptivated the Queen Mother. She grantedhim a pension to continue his studies, andpractically adopted him into her household,where he became the playmate of the futureking, Alfonso XIII.

In acknowledging a debt of gratitude forthis royal patronage, Casale is careful toexplain that it is "strictly personal. Thatcontact with the 'great ones of the earth,' "he says, "had no influence either on mythoughts or my conduct." He is a (lemocratand a libertarian to his fingertips.

And so was his mother, for, after twoyears in this position of luxury and highprivilege, she announced abruptly onemorning: "It's time for a change."

"What character!" Casals explains."What a debt lowe her!"

At the suggestion of the queen's coun·cil, Count Morphy, and still with a pensionfrom the court, they moved to Brussels.where Pablo could study in the famous con-servatory. The director sent him to the celloclass of Professor Adouard Jacobs. Pabloslipped in and sat down modestly in a backrow. He didn't look like much; his hair wascut short, while all authentic musicians inthose days wore it almost to the shoulders.When Jacobs asked him what he wouldplay, he said simply:

"Anything you li,ke.l'

15

Conliullcd {"om pagc 15

The professorial eyebrows rose. "Well,well, you truest be remarkable!"The class roared with laughter. "Can you

play the so-and-so, for instance?" the pro-fessor asked ironically, naming a littleknown and difficult composition.Casals said, "Yes.""And the so-and-so, perhaps?" naming

one still more difficult.Again Casale said "Yes.""Very well, then, I suggest that you play

the Souoenir de Spa. And now, younggentlemen, prepare yourselves for a treat'from this remarkable young man who canplay anything we like!"Although he hadto use a borrowed cello,

Casals played that obscure and especiallydifficult composition without a flaw andwith a brilliance that left the class and theteacher transfixed.Recovering his breath, Professor Jacobs

invited him into an adjoining room andurged him to enter his class, promising himthen and there the annual prize for the cur-rent year. But Casals had not liked thissnooty reception: it offended his ideal ofcivilized conduct-of character and kind-ness. He said he didn't care to stay.The decision cost Jacobs a lifetime of

regret. And it cost Casals his pension, forthe court insisted on his remaining in Brus-sels, and he very politely explained that hedidn't want to.He went instead to Paris-he and his

mother and his two younger brothers-penniless, ignorant of the language, andwithout friends or letters of introduction.His mother had her wish for a change-aplunge, indeed, from regal ease to penury.The father sent them his small savings, themother took in sewing, working far intothe night, even selling her beautiful hair fora few francs in one crisis. Pablo got an ill-paid job as second cellist in the MarignyFollies. But he had to walk back and forthtwice a day from their tiny flat in the out-.skirts to the center of the city-for lessonsill the morning, for work in the evening-carrying a .cello on his back. "We learnedby direct experience what misery is," hesays. But the lesson was too costly. He fellsick, and they had to abandon the glamor-ous idea of an education abroad and goback to Barcelona.Good luck returned there. Pablo's old

music teacher was moving to Argentina,and Pablo, at 18 fell heir to his pupils andchurch position. His wonderful mothercould rest now, and watch happily hissteady rise to fame.He was SOOl1 reconciled with the queen,

and at 21 was famous throughout Spainand Portugal. At 23 he returned with hismother and two brothers to Paris. He hadsaved enough for all of them to live OD, andhe had a letter from Count Morphy to the

(Continued on Page 57)

Here is the heart-warming story

of 90-year old Sophie Charlotte

Gaebler believed to be

The-Last Living Pupilof Franz Liszt

From an interview with Miss GaeblerSecured by Julia Hauser 'Velc"

T HERE WAS great excitement in one ofthe studio apartments at 712 Milwau-

kee St. in the city of Milwaukee on lastNovember 18. Early in the morning andcontinuing through the day telegrams andspecial delivery letters arrived from manyparts of the world-Washington D.C., Flor-ida, California, Arizona, Germany andeven Japan.The concert grand piano was covered

with boxes of gifts, and in a corner of theroom stood a table on which there were sixlarge and ornate "Happy Birthday" cakes.People had been coming all day to extend

congratulations to Miss Sophie CharlotteGaebler, the well known pianist, who claimsthe distinction of being the last livinu pupilof Franz Liszt. 0

Following an informal concert in theevening presented by friends of Miss Caeh-ler, the distinguished lady who, in spite ofan arthritic condit.ion is still able to playagreat dea.l o~ classical music from memory,recalled incidents of her contacts with the.great master,"Were you born in Germany, Miss Gaeh.

ler? ""Oh "h I- d "I,no, s e rep IC, was born in

Watertown. ""Oh, 1 thought that having been a pupil

of Liszt, you must have been born in Ger.many.""No, Iwasn't born there, but when I was

21, my father sent me there to study voice""Tell us how you happened to become °a

pupi! of Liszt!" her friends urged.MISS Gaebler sat lost in thought for a

minute, then began:"My father, Professor Emil C_ Gaehler

and my mother, the former Baroness VOn

Beu~t came to America in 1848. He taughtmUSICand languages in Danbury, Connecti-

~ 16._-------

cut for l)C\ eral y arWatertown, Wisconsinwas born."My father directe I the principal rches-

tra and choral groups while in Watcrll>wlland also built pipe or-gans. lie took partin many a aengcrIe L besid s."My father wa a geniu .., and it i to

him lowe my fine foundation for pianoplaying and voice culture."I began teaching piano when I was 14.

and when I was 19, we moved to Lacrossewhere my father built a pipe organ in theCathedral. and when I was 21, he sent meto Germany."I visited my mother' brother in Dres-

den. and since it had always been my weatd~sue to meet Franz Liszt, my uncle de'cided that I should go to Weimar where Imight get an opportunity to meet the greatmaster. Hence, I began studying voice withFrau VOn Milde, the famed Wagnerian eo-pra~o, and also was accepted a a pianopupil of Professor Mueller-Hartung, the di-rector of the famous Weimar OrchestralSchool."I. t was not an easy matter to contact

Liszt and only through the influence of inti-mate friends of his was it possible. So oneday I asked the professor whether hethought that Liszt might want to bear meplay, and he replied: 'Why not? There arcmany Lisztianers who don't playas well asyou.' Through Mueller-Hartung who badbeen a pupil of Liszt and who ;150 was avery close friend of his, my greatest wishwas at last fulfilled, and 1was admitted tolh L- . I.e Iszt eIre e of artists who assembled ath.IS home three afternoons a week; andSInce the master's faith in his friend's judg-rnent was so great, I was spared an audition.

(Continued on Page 63)

and then t:8me towhere, in 1862. I

ETUDE-APRIL 1953

,---------------------_ .......~~-~NEW RECORDS

The PhonographDiscovers the Organ

MOST OF US remember how it used tobe. Albums of organ classics could

be numbered on the fingers of two hands.There were the three famous AlbertSchweitzer Columbia albums. There werethe Carl Weinrich Musicraft recordingsmade at the Westminster Choir School, ourfirst baroque recordings. E. Power Biggshad been introduced to record buyers bythe little Technichord Company, though la-ter RCA Victor took him under its wing fora while. Charles Courboin, Joseph Bonnet,and Virgil Fox were each represented byone album of serious music. Most of the re-maining organ recordings consisted ofsingles made by Edouard Commette anda few other organists, mostly in Europe.The contrast today is so good as to be

exciting. One organist alone, Helmut Wal-cha, is represented in the record catalogs byno fewer than fourteen long-playing rec-ords. E. Power Biggs is represented by tenLP's. Two record companies, Decca andColumbia, are well along with projects torecord the entire organ compositions ofJ. S. Bach, and others plan to record themajor works. With the puzzling exceptionof RCA Victor, nearly every maker of rec-ords has adopted at least one outstanding

Dr. Albel'tSchweitzer

ETUDE-APRIL 1953

by Paul N. Elbin

president, West Liberty (W_ Va.} State College

organist and is giving him an opportunityto play Lor a tremendous audience of musiclovers.Credit for the change is attributed mostly

to the popularity of long-playing records,introdnced by Columbia in 1948. Long-playing records certainly smoothed the way.Nobody ever really enjoyed chopping up afantasia and fugue into three four-minutesections, disregarding entirely the com-poser's design. Continuity of recording andplay-back has surely improved organ re-cording. Clearly, moreover, a turntablespeed slower than 78 revolutions per nlin.ute was necessary to achieve long-playingdiscs.Yet I cannot resist a kindly word in me-

moriam for 78 rpm records. Many of theserecords were much better than we knew.Heard through a high-fidelity record player,many of these faithful old discs soundamazingly good. The Schweitzer records,for example, though twenty years old, com-pare favorably with some of the brand-newLP organ records. At 78 rpm there is littlelikelihood of pitch deviation. Moreover, thewider grooves make room for heavy bass.But we had serious playing-equipment

limitations in the old days. Shellac surfaceswere apt to be noisy, limiting drasticallythe dynamic range of recordings. Pick-upswere limited in range to the middle fre-quencies. Turntable motors were not steadyexcept at the relatively high speed of 78rpm. Amplifiers were given little consider-ation, and speakers were usually inefficient.With the long-playing record has come a

gradual revolution in phonographic equip.ment. To be sure, the average commercialphonograph sold for home use today is notmuch better than it ever was. But the as·sembling of high-quality phonographs hasbecome a passionate hobby for thousandsof people who have learned that music of

concert-ball quality is on records and m3}'be heard realistically at home.We now have plastic discs with smooth

surfaces, facsimile-quality magnetic pick-ups, multi-speed turntables, and amplifiersand speakers that can reproduce anythingthe human ear can hear. And to top theblessings, we have records good enough towarrant the purchase of the best in playingequipment.Such equipment is expensive. From five

hundred to a thousand dollars is the re-quisite investment for those who want tohear reproduced organ music that soundsmuch like the original. But those who buywisely will have in their homes genuine mu-sical instruments-not just phonographs.We have, then, good records and good

playing equipment. We also have a grow-ing segment of the population interested inall kinds of serious music, including organmusic from Buxtehude to Messiaen.Since readers of this magazine are an

important part of the "growing segment,"a resume of recent long-playing organ re-cordings with a record reviewer's commentsmay be helpful.In the organ recordings of Helmut Wal-

cha, Decca is gradually unfolding the great-est series of its kind ever undertaken. Whenthe project is finished, 23 long-playingrecords containing practically the entire or-gan works of J. S. (Continned on Page 61)

ETUDE is pleased to present on this pageits newly enlarged record review department.devoted this month and next to a discussion ofsome of the outstanding recordings of pipeorgan music recently issued by various com-panies. Dr. Paul N. Elbin, former dean of theWheeling (W. Va.) chapter of the AmericanGuild ot Organists is an authority on organand organ music and his comments on neworgan records should prove very helpful toour readers.

17

(L. to R.) Rayburn Wright, David Per-r-ie, and RobertSwan in confCI'cnce in the Music Hall's Music Librury,

The Music Hall Corps de Ballet slrikes a highlynnructive pose in one of the stage spectacles.

Raymond Paige, Musical Directoe, workingwith orchestr-a and choral group in r-eheaesnl r-oom at the Music Hall -,

The gt'cal stage and proscenium ureb in the Music lIall.

A spectacular night view of lite exteriorof Radio City Music HaH.

~, 18Ib _ ETUDE-APRIL 1953

The audience in the great Music Hall never sees many

of the important musical chores that are ,performed by

Here's an interesting story of the behind-the-scenes

work necessary to produce a smooth-running stage spectacle.

by Rose Heylbltt

THE HUGE stage spectacles at NewYork's Radio City Music Hall provide

entertainment for millions, and stage jobsfor more than two hundred orchestralplayers, organists, soloists, choristers, danc-ers, and act-specialists. They also furnishemployment to a sizable corps of trained,experienced musicians who are never seenon the great stage, whom the public knowslittle about, yet whose skills are a vitalfactor in keeping the production mecha-nism in motion.

Similar employment may one day bewaiting for those of today's students who,by temperament and training, can provesimilar skills. Let's have a look at the reoquirements of these unseen yet necessaryMusic Hall jobs,

Music Hall musical material is seldomacquired over the counters of the musicstore. Its highly special orchestrations andarrangements are in charge of RayburnWright and Kenyon Hopkins for the or-chestra, and of Ralph Hunter for the GleeClub.Mr. Wright, previously a trombonist,whose orchestrations and arrangementshave been played by the New York Phil-harmonic-Symphony, and such popularbands as Glen Miller's Orchestra, beginsby explaining the difference between or-chestrating and arranging. The orches-trator, he states, is the skilled craftsmanwith a thorough knowledge of all possiblemeans of making the orchestra sound, andof utilizing instrumental colors; the ar-ranger is more creative, developing themusic he works on, adding effects, compos-ing transitions, etc. In practice, however,the two jobs overlap.

"The orchestrator might be called the'speech writer' of music," says Mr. Wright,"and, like the speech writer in words, hemust have versatility and a facile imagine-ticn. The orchestrator's task is to take the

ETUDE-APRIL 1953

general, over-all ideas of his music direc-tor and producer and translate the desiredeffects into music. At the Music Hall wehave four main ensembles, each 'with itsown directorial head: The Corps de Balletmay be doing a Chopin number; the Rock-ettes, a lively swing routine; the stage spec·tacle may center around Latin-Americanstrains; while the overture may come fromopera or the symphonic literature, Afterdiscussion with the other group directors,Raymond Paige, our Music Director, indi-cates the music he wants and the effects hehas in mind: something warm, brilliant,romantic, 'cute.' The orchestrator thenworks these effects into the score throughhis use of rhythm and instrumental color,often bringing different feeling out of the'same theme by varied orchestrations.

"Standard classics are generally used intheir original form; yet we sometimes haveto adapt them to the requirements of theorchestra or to the acoustical propertiesof the vast Music Hall. Whenever we dothis (through extending, warming up, ac-centing, coloring), we try not to intrude

, upon the composer's own style. After work-ing hard on an orchestration of this sort,we find our best reward when the adapta-tion passes unnoticed. In mounting popu-lar numbers, however, we cut loose, devel-oping moods and styles of our own to fitthe requirements of the show.

"A successful orchestrator-arranger needsimagination, solid technical musicianship,and the ability to assume responsibilityunder the pressure of show production.We sometimes find ourselves working ontwo shows at the same time. Mr. Paige maysend in his arranging assignments for afuture production while I am still polish-ing details 011 the one coming up, and alldemands must be quickly and accuratelymet. Further, the orchestrator-arranger

should' have compositional talents andtraining, together with a thorough knowl-edge of musical periods and style. Andwhatever his own instrument, he should beable to work at the piano. Beyond these,there are no fixed requirements except,perhaps, the ability to remain flexibly un-fixed, capable of turning out any kind ofgood musical job at any moment!"

With all this musical activity, the vari-ous scores, parts, songs, etc. must be read-ied and filed under the supervision ofanother unseen expert, the music librarian.At the theatre, the library occupies aseries of huge, loft-like rooms three floorsbelow street level, and two below the greatstage, where chief librarian David Perrie,former violinist, and his assistant, Mar-garitis Michos, one-time assistant librarianof the Boston Symphony, are responsiblefor furnishing the performers with clear,accurate copies of their parts, and for 'in-dexing and filing every part of every workever. heard from stage or pit.

The scope of the Music Hall covers awider field than that of the regular sym-phony orchestra, and so do its librarians'tasks. "First," Mr. Perr-ie informs one,"there is the matter of copyright clearancefor performance. Whereas the symphonyorchestra works chiefly with the classicrepertoire (much of which lies in the pub-lic domain), the Music Hall uses popularmusic, show tunes, dance numbers, etc. inaddition to classical works, Whether copy-righted numbers are used whole or in part,the librarian must clear them. both musicand lyrics, through publishers, composers,and authors. There is also the problemof 'grand rights,' that is clear-ing a numberfor visible performance before an audi-ence and different from unseen production(music alone, or 011 radio). Usuallv. thewords and music of (Continued on Pag; 58)

19

Decentralization

In Music

Is Necessary!

---IQl-----------------------~~~~--A challenging suggestion

[or the solution of an euer-

growing problem with present-

day young musicians.

by HAZEL GHAZARIAN SKAGGS

IN OUR present-day super-abundance oftalent, the young concert artist, because

of an overcrowded field or the lack of theright stage personality, often suffers fromfrustration. He practices assiduously in hiscity apartment and waits for that big op-portunity which, even when it comes, mayleave hlm financially no better off thanbefore. Perhaps his parents or some kindbenefactor supports him, or he subsists onoccasional recital engagements and a fewlessons. He is too young to. attract pupilsaway from the conservatories or the manyolder big-name teachers. Besides beinganxious about his living, he has to payfor weekly lessons for his own musicaladvancement. In view of such conditions,it would seem that some such idea as de-centralizing music so that there might beexperienced artists in all the rural areaswould be advantageous not only to theartists themselves, but also the people inthe isolated areas.

If the young artist approaching his latetwenties, would take a moment to analyzethe situation. he would see his own folly.First of all, why must he have weekly les-sons? It is his feeling of insecurity thatprevents him from standing on his ownfeet. When Paderewski was studying, hestates in his autobiography, he was ap-palled at the great number of older menwho took lessons week after week. He goeson to say that some men will be studentsall their lives. They have not the greatnessto probe within themselves for the answers.I recall rehearsing with a violinist, thirty-five years old, who stopped at a certainpassage and said, "I must ask my teacherwhether I should make a retard here ornot."Assuming that the perpetual student has

been convinced that he need not study for-mally any longer, except perhaps for occa-sional coaching, there is no reason for him

to remain in the city. To prove this, .lethim make a list of all the young 50101st-teachers he knows living near him. It willbe a very long list and not one personon it, very likely, has ever paid an incometax. One girl has five pupils. She is t~venty-six. Her income pays for her mUSlC les-sons. Her family supports her. The feesshe gets from playing do not pay for hergowns. She lacks the feeling of success andindependence that every adult craves, Howlong will she continue in her present role?Her friend is thirty-four, and still a stu-dent. Her recital fees are larger, but shehas only two pupils in spite of her greatsuccess as a pianist. However, she is notself-supporting. Her widowed mother, sev-enty miles away, works in order to keepthe artist going.The list is a long one. What will become

of them? What useful purpose do theyserve? Will humanity be enriched by theirlives? Two years ago I was asking myselfthose very same questions. I knew I hadabsorbed all I could from the city: and thetime had come for me to be a useful adultin the field for which I was trained, that ofpianist and teacher. Having no home otherthan the city, I adopted a little village of4200, the largest in a county of wilderness.Now, for the first time in my life, I am

truly happy in my 'work. If I have an audi-ence, it is not one bored with the standardrepertoire. The popular Chopin Scherzo orthe Polonaise has a fresh appeal. The peo-ple listen to me as a musician, not as anoth-er personality that must be sized up in re-lation to a friend-pianist. As for the practiceschedule, it is uninterrupted by morningteas, personal lessons, and sessions of frus-tration. There is nothing so relaxing aspracticing in the country where windowslook out on scenic beauty rather than dirtybrick walls.Since this is practically virgin territory,

[ 20._----

there are problem to cope with con tandy.A recital hall doe not exi r, There is avery fine old grand pian housed in anugly building that 01 0 serves as a gym.As the time for 'our first recital was ap-proaching, I dreaded the appearance ourmusic was going to make. After carefullytraining the pupils in stage deportment(although there was no loge) 1 darkenedthe hall and set lamp along th walls andbeside the piano. omehow it did create arecital atmo phcre.The talented untry pupil owes a duty

to his school band and r he Ira. He isencouraged to play s ver al th r instru-ments be ides the piano. He sings in thechorus, and he ide all the music-makinghe is expected to lake part in other outsideactivities. The country teacher has to hetwice as inspiring as the city teacher inorder to insure faithful, erious practiceand interest.The only sacrifice I have had to make in

return for this marvelou feeling of satis-faction and usefulness, is the lack of com-munication with fellow performers. Thereare no more sonatas for violin and pianoworked out to near perfection. 110 moreafter-concert hashing over of the program,no more exchange of ideas, no more mo-ments of complete understanding of goals.I should add that there are no more tete-a-teres on the gripe and frustrations of amusician, but since I have been here Ihavefelt no despair except in professional lone-liness. However, music magazines, letters,and periodic trips to the city arc veryhelpful.It is only natural that students of serious

music should be drawn to the cities fortheir training, but they should not detachthemselves permanently from their ownsmall towns. They should return as soon aspractical to their native communities anddo all in their power to spread the gospelof enjoyable music making. Those who can-not find success in the overcrowded metro-politan centers should Dot bemoan theirfate. Greater happiness awaits them in thecountry. THE :El\"D

ETUDE-APRIL 1953

Springtime Sparks

Barbs, Brickbats

and Pleasant Items

frOID Here and There

PUBLISHERS are bringing out too manythin beginners' pieces. I am weary of

receiving quantities of original composi-tions and arrangements with just a singlethread of melody and an occasional bottomtone. Such items may suffice for the child'svery first piece, but after that we wantmore substantial stuff. The essence of goodpiano texture is the cluster or handful ofnotes. Contrary to general practice, thickerchord pieces can be introduced in the firstmonths if chord playing is taught and per-sisted in from the beginning. This appliesto very young beginners as well as olderstudents.

THE STARTING AGE

A distressed reader writes: "As a pianoteacher in a new community and school Ihave run into difficulty with persons inauthority who believe it is a waste of timeto begin piano pupils before they reachthe fourth public school grade (8-10 yearsold). When I explain that the piano 1S nowbeing taught to very young children, 4, 5,and 6 years old, I am told with sarcasm,'WeIll maybe you could educate us, but weknow it is useless to start before the fourthgrade.' "That statement is, of course, sheer non-

sense. Anybody knows that physical co-ordination is better at 8 than at 5 and thatconsequently some children should not tryto play piano earlier. But, listen furtherto the correspondent:"Like many other teachers I have been

very successful with young pupils. Themodern methods contain so many attractivebooks and pieces to appeal to the veryyoung. My 5 and 6 year olds not only playtuneful little pieces in recitals but havea knowledge of key signatures, note values,phrasing, scales, triads and can read well."Yes, you bet they do! ... and many

youngsters learn to read music before theycan decipher their school books ... Poof!

ETUDE-APRIL 1953

There goes another one of those high andrnighty "educational" dicta balloons!

"EASIER THAN EASY"

I have always been agin' any piece orbook with 'easy' or 'simple' in its title,because no student, however elementary,wants to play easy or simple pieces. ButI have found a shining exception: AdaRichter's little book of beginners' pieces,"Easier Than Easy." I know, because Igave it recently to a bright five year oldgirl who loves the snappy title (often re-peats it very fast for fun!), and adores theeasier than easy eighteen items in it. Thebook is excellent reading material for veryyoung beginners.

THREE WONOERFUL BOOKS

Of the many excellent "fun" books re-cently published, the tip-toppers are allfrom Marie Westervelt:1. "The American Traveller." Here arethirteen "folk': pieces telling the story ofAmerican travel -in the days before theauto and airplane. Zestful, zippy tunesabound like De Midnight Special, Pop's OldTr/agon, I'm Wtt/cin' My Way Back Horne.... Perfect for a spring recital program.2. "Mardi Cres." This is a delightful col-lection of Louisiana songs telling the storyof the exciting New Orleans carnival. Itmakes an ideal party program with thechildren playing: singing and dancing.Rhythm sticks, triangle, cymbals and bellscan accompany some of the tunes. What a. hilarious time the kids could have dancingto Canal Street Boogie and The GrandBall!3. "Christmas in Mexico." Remember thisbook when you plan your next holiday pro-gram. The traditional Mexican celebration,the posada, telling the story of Mary andJoseph seeking lodging, is presented inpageant form. Attractive Mexican tunes

PIANIST'S PAGE

By GUY MAIER

excellently arranged, and the simple prop-erties needed for a party make it a wonder-ful holiday project.All the books are easy second year mate-

rial, and are delightfully illustrated.

SEVENTEEN PIANISTS

A revealing incident occurred recentlyat a Parisian benefit concert where Chopin's17 waltzes were played by 17 well knownFrench virtuoso pianists, each pianist play-ing a single waltz. In the Christian Scien..ceMonitor, the eminent French critic, EmileVuillermoz commenting acidly on the event,told how these "stars" of reputation madea terrible showing; how they had lost allmusical discipline and control; how thesuccession of so many distortions andheresies in the music was overwhelming.Said he, "Chopin was certainly maltreated.One could measure the danger as the fileof the 17 pianists went by. Many had lostall light and shade from using the piano-as is now the fashion-as an ordinary per-cussion instrument. One whose reputationis based on very 'advanced' music showedherself incapable of even playing her waltzcorrectly. Except for two or three realmusicians none of these 'masters' couldhave won that first prize he had brilliantlycarried off a dozen years before at theConservatoire. What a dreadful lesson!"Alas, it is almost impossible for players

to hold perspectives and ideals clear in theface of public acclaim. Only the true ar-tistsurvives the blandishments of "popularity."How few are the true artists!

A SCANDAL

One night last winter ill New York'sCarnegie Hall a mediocre French womanpianist was the honored soloist with theBoston Symphony Orchestra. She playeda mediocre concerto by Ernest Bloch. Thenext night in the (Continued on Page 60)

21

TEACHER'S

ROUNDTABLE

MAURICE DUMESNIL, Mus. Doc., ex-plains a puzzling notation; gives adviceon descending scales and other matters,

DESCENDING SCALESPablo Casals generally uses a different

fingering in descending scales on the 'cello.Can this apply to the piano as well? AI·though no methods published since timeimmemorial ever dared to indicate such al-terations, it has long been my exp~riencethat more smoothness can thus be secured.Try, for example, the following fingeringin the descending scale of D major:

This applies not to all scales, but to anumber of them depending upon the rela-tive position of white and black keys. Thestructure of the hand also has something todo with the advisability of using such fin-gerings, which suit many descending pas-sages in masterworks, for instance, thispassage from Beethoven's Concerto No.4,:

It is my conVIctIOn that many studentsand pianists will benefit from that principleand in any case, it costs nothing to try.

PUZZLING NOTATIONRegarding the first bar oj Debu-,ssy's Des

Pas sur la neige Prelude: Are the first twoD's played and why the six slurs; and justwhy are the groups 17wrleedas triplets?

(Mrs.) C. R. H., California

o~=-=-t-.:.::::t=:=~ ::::::=:r=. .-. a-·, --*==-1·....-..:,----------- . ...-:,---- ~I must he frank and admit that I never

examined the orthography of that figurewhich indeed seems strange. When I playedthis Prelude for Debussy he raised no ob·jection to the way in which I interpretedthis particular rhythm, so here it is:

Only one D is played on the first beat.Give it a little accent (be careful, not toomuch! ), and also on D and E on the thirdbeat. Count in triplets-12 counts to themeasure-but play the sixteenth notes justa shade faster than counts one and two ofa regular triplet, while "leaning" on themto give the impression of distant bells. Andyou will have it, especially if you use thedamper pedal cleverly: it should make thosebells hazy in tone color, as if heard fromafar on a dreary winter day.Only the first slur can he thus called:

the second and third are ties.While this notation seems to be the re-

sult of a little mannerism in writing, it ac-tually carries a visual message which helpsmuch toward an accurate interpretation.

FLAT, DR NATURAL?Schubert's Impromptu Op. 90 No.3, in

the Peters Edition, is written in G·flat witha loot-note saying that the notation in Gmajor as published till now does not agreewith Schubert's original. A noted musicianonce wrote that the key of G-flat is a mod-ern translation and that the Impromptu wasoriginally written in G major. Which is cor-rect?

E. F., Wisconsin

In my 0pll1lOn the Peters Edition is ab-solutely right and the Impromptu was oriO'.in ally written in G-Rat major. Harold Bau;r-who was an authority on Schubert andone of his finest interpreters-played it inthat key and edited it that way. One easilyull.derstands why the key of G major wasprmted, however. ~ne sharp in the signa-ture makes the readmg ever so much easierthan all those Aats. And in Schubert's timethe publishers were probably as careful toavoid difficult keys as they are now forpurely commercial considerations.. 'In the particular case of this Impromptu

I find the G·flat version easier to play ifnot to read. And then, just try a few li;lesin each key. While G major sounds clear

Il 22..._----

cut but somewhat obvious and transparentsee how much more poetic, mellow andsongful the flats are! At once the tonequality is improved and it becomes richand full. I believe this is the best test bywhich we can abide with confidence.

CLUMSY FINGERSI have studied piano lor six years, and

there are two things I am having troublewith: 1. Gaining speed and smoothness.2.Feeling rela:xed when perjorming a cora.position requiring speed. My wrist seemsto become tired and my fingers clumsy anduncontrollable. Still, I practice scales andwatch my hand position and correct finger,ing carelully, Whal method of practice doyOll,advise to overcome these difJicullies?

C. J., Keatucky

There might be t \\ 0 r asons for the trou-ble you de eril e :1. You say that you practice scales. and

this is all right. But do you pre rice octavesin order to exercise your wrist action? Veryoften stiflncs in speedy finger play comes{rom a un-exercised, un-flexible wrist. Tryand practice anything that call for light,elastic taccato motion. But remember, itlakes time and results do not show at once.

2. The fingering. Ea hone should findhis own. Those marked in your edition marbe good ... for someone else. Trying toobserve fi nger ings wr itt n by the editormay cause awkwardness and thereby stiff-ness and lack of speed.Experimentation is in order. Try differ-

ent possible fingerings, then select the onethat suits your own hand, and stick to it.You might look up the July 1949 issue ofETUDE and "'l' paragraph "or fingerings,and shoes." which deals with this problem.

THE BEST MOTTOI am enclosing a list oj mouoes and 1

plan to use one oj them: [or my studio. Iwould greatly appreciate it if you "ill tellme which you prefer. Thank you very much.

A. L. L., .lIaine

1. Application is everything2. Truth crushed to Earth will rise again3. Work i life4. A tree is known by its fruit5. The Fine Arts lift the soul6. He profits most who serves best7. Forward march ,,'ith Music8. He conquers who endures9. Music study exalts Life10. As we li,'e we grow

Everyone of the abm'e mottoes is good,and it would be difficult to decide which isthe best if one of them didn't stand out likethe brightest star in the firmament.I unhesitatingly recommend ~o. 9:

MUSIC STCDY EXALTS LIFEIt tells it all and is indeed a beautiful

thought. Its author was Mr. TheodorePresser. THE E\D

ETUDE-APRIL 1953

s

THIS PIANIST HAS ONLY ONE HAND!• Because of an accident three years ago 1lost complete use of my lett hand. SinceI love improvising and composing, I havekept on practicing the piano with my righthand, playing all the notes, and joining thetreble to the bass with runs, arpeggios, andoctaves down the keyboard to the bass.But now I have come to a place which

puzzles me. In the Hungarian RhapsodyNo.8 by Liszt, in the turensy-sixtli measurefrom the end, I have trouble with a jarringbreak. I play the C#-A#-C# [our times,striking first the bass A# octave. A run jromthe high C# to the octave F# does not bel-once, and a complete break from tlie treblewith an octave below or midway trill makesthe bass weak. To use the bass as it appearsin the fourteenth measure from the endwould give strength and balance, but thatmakes the uoeniv-sisah to the [ourteentlvmeasnres from the end merely repetition.Can you suggest a wa)' to obtain balanceand smoothness, using the notes as writtenand maintaining a, joyous dep/.h, eventholtgh con.necting with other notes?Though I am by no means expert with

one-hand playing of the masters, still I takereal enjoyment in this sort oj thing. Per-haps yo/£ know a one-handed pianist withwhom I might trade ideas and exchangearrangements each 01 us has made.

-Mrs. G. A. K., Montana

You are surely to be commended forthe zeal you display in continuing yourmusic in spite of your handicap. I think,however, that in arranging music for theright hand alone, you should not attemptto play all the notes that are written forboth hands. Any transcription must varysomewhat from the original, and I think itwill be better for you to attempt to retainthe spirit and correct tempo of the com-position, and to bring out the melody linesclearly, rather than to adhere literally to allthe notes the composer originally wrote.Since the melody lies in the left-hand

part, I might suggest that you play thepassage of the Liszt Rhapsody as follows,playing the first three measures at the oc-tave I have indicated, the next three meas-ures an octave higher, and the next sixmeasures two octaves higher for increasingbrilliance. This will bring out the melodyand still suggest the accompaniment figuregiven in the right hanel.

"'~~ ,,..1

etc.

The following arrangement adheres morec1.oselyto the original, but is much moredifficult to play. If you can manage this,fine. You might, of course~ simplify it inone of several ways: 1) play the melodyWIthonly the top notes of the octaves Ihave written: 2) reduce the sixteenth-noteacc?l~paniment figure to only octaves byOOlltlmg the middle notes that I have writ-

ETUDE-APRIL 1953

L

ten; 3) lower the entire accompanimentfigure one octave.

!'- etc.

I 'wonder if you have thought of usingany of the music written originally for theleft hand alone. There is a fairly goodamount of this music, as you probablyknow, and by seating yourself at the bassof the piano instead of at the middle asone ordinarily does, I believe you couldmanage this music quite well.Another suggestion I might make is that

you study "music arranging" for a whilewith a fine teacher of composition, theory,or arranging. In a rather short time youcould probably get a good many ideas thatwould make your work in transcribingmuch more practical.Unfortunately I know of no one who

plays the piano with his right hand only.But there surely must be some who havesuffered afflictions similar to yours. Per-haps some of the readers of the ETUDE canoffer suggestions. There is a famous con-cert pianist, Paul Wittgenstein, who lost hisright ann in the first world war, and whoplays with his left 'hand. Possibly in histravels he has met, or has heard of somepianists who play with their right hand,If you were to write to him in care of hismanager, Bernard LaBerge, 119 West 57thSt., New York 19, N. Y., he might be ableto give you the names of some people withwhom you could correspond. R. A. M.

HDW CAN I TRAIN MY EAR?

• I play piano and violin, and I study har-mony in school. I intend to continue study·ing music in college as I hope to become amusic teacher. But I have trouble with eartraining, and because I know that this isvery important I wish you would mggestsomething to help Inc.

-F. T. M., tV. Y.

More or less aU music study is-or atleast ought to be-ear training, but prob-ably you are referring nwre especially towhat is often called dictation~ this consist-ing of writing down music that is played orsung by someone else. This is a bit difficultto manage by one's self~ but here are someideas that may be of help to you: (1) Getsome staff paper and try to write down themelody of some song that you know well,compare what you have written with whatis printed in the book, and see how youcome out. If you are not good at this, thenrepeat the same process in the case of anumber of other songs-hymn tunes, folksongs, the melody part of your piano pieces,etc. ~2)After a bit try your hand at writ-ing some of the harmony of the melody

QUESTIONS

AND

ANSWERS

Conducted by KARL W. GE/-IIiKEtVS,Music Editor, Webster's New In/emotionalDictionary, assisted by Prof. Robert A.lVlelcher, Oberlin College

that you have written down-but start withvery simple harmony such as that found ina hymn tune. (3) If you have a friend whois studying music, or if some member ofyour own family is musical, get them toplay or sing the melody of some song orhymn tune for you, listen intently, try tosing it back to the other person, have thisperson play it again if necessary; thenwrite it on staff paper. (4) Have this otherperson play some very simple harmony foryou, slowly-you to write the entire chordon staff paper and then compare what youhave written with what was printed. Maybethis other person needs ear training too, inwhich case you might "exchange services."(5) Buy a copy of the little book hy Heacoxcalled "Harmony for Ear, Eye, and Key-board" and require yourself to work eachlesson carefully-noting the ear-trainingpart especially.By the time you have done all these

things several hours a week for a year yourear training should have improved greatly.If it has not, then I think you ought to giveup the idea of becoming a professional mu.sician and choose some other r,eld. K. G.

THE END

23

ORGANIST'S PAGE

In Case of

EmergencyPart 2

by ALEXANDER McCURDY

IT IS 10:55 on Sunday morning. Yourservice begins in five minutes. You sit

down at the organ and discover that theGreat Trumpet has a loud cipher on MiddleC which will drown out the minister'svoice and make the organ sound like a setof ill- tempered bagpipes.The situation "is serious because of the

time element, hut not desperate. Keep calmand work 'fast.

If there is an organ-builder anywherewithin reasonable traveling distance, yourfirst move should be to telephone him andget him to come as quickly as possible torepair the instrument.Unfortunately, the organs most likely to

cipher are those which are remote fromavailable experts and therefore maintainedsomewhat haphazardly. If the nearestbuilder is a hundred miles away, you areon your own.Tn that case, go into the organ-loft and

locate the offending pipe. Leave the organturned on so that the cipher will continueto sound. The note which is playing can belocated through the trial end error methodby listening or by touching all the pipesin turn until you find the one which isvibrating. In some installations the pipesare clearly marked in such a way as toi:acilitate this part of the search.When the pipe is located I simply pull it

out of its socket. Stuff the hole with paperto suppress the whistle of compressed airescaping through the opening. If the pipeturns out to be immovable, a twist of paperjammed into its upper end may cure thetrouble.Either method will eliminate the cipher

by putting out of action the pipe which isciphering. The organist, therefore, shouldmake a mental note not to use the stop can-

taining the faulty pipe until an export canhe called in.

If the pipe cannot be found or is tooinaccessible to reach, go back to the con-sole and trill rapidly on and around thetroublesome note. Sometimes this will shakethe armature free so that the note will nolonger cipher.H this fails, try switching the power on

and off several times. It may be that anarmature which has defied your most rapidtrill can be freed in this way.In some types of wind-chest, merely put-

ting off the Great Trumpet and remember-ing not to use it during the service will takecare of a cipher on that stop. Llnfortu-natel y this is not true of other kinds whichcipher as soon as the power is turned on.A sound rule to follow whenever possible

:isnot to wait until 10.55 on Sunday morn-jng to discover that you have a cipher. Ifmechanical trouble develops in the middleof the week and you are unable to getservice, you have several days in which toget the organ in playable condition for theSunday service.For example, when the cipher is a key

cipher such as a broken spring, it is notimpossibly difficult to rig up an arrange_ment of rubber bands which will last untilan organ-builder can repair the key prop-erly. Even persons who thlnk of themselvesas non-mechanical minded may be sur.prised by what they can do when they haveto. After all, if one did not have averageor better than average muscular coordina-tion, one would not be playing the organ.Diagrams clarifying the internal work-

ings of the instrument are to be found inthe many excellent manuals on organ.building available from music publishers.Or a book of instructions may have been

~! 24~o......-- _

supplied when the instrumeo~ was inslal!ed.Such thinzs are worth studymg; one neserknows wh~n the information they containwill come in handy.Many organists write that their reed

stops are painfully out of tune in the mid.dle of the week when the church is not aswarm as it is on Sunday. Don't forget thatthis is normal. The organ is finished to beplayed at a given temperature, and whenthe temperaturc goes up or down the organgoes sharp or nat. Rced are more sus-ceptible in this re peel than nu~s '.When a reed does n t peak, It )5 usually

because of dirt. Experts say that "Icr clean-ing a reed stop, th r i nothing like atwenty-dollar bill." A wally a one-dollarbill is j list 3S good. Paper money, as youknow, contains silk, and this i" what makesit excellent as n cleaning agent.The techniqu is thi : R move the bell

Irom the reed, slip the dollar bill undertile reed and work it g ntly ba k and forthuntil all foreign matter has been removed.Put the pipe back in th hole, always beingcareful not to disturb the wire. Then tunethe pipe to the next octave nl 0\ e or belowin the same set of I ip s.Emergen y repairs of this rt are, ~f

course, no sub t itut for regular. ystemaucmaintenance by a train d expert. All organsshould be crviced t least twice a year.oftener if possibl _ It is only common senseto give to a finely made preci ion instru-ment, the cost of whi h may run well intofive figures. not I than the amount ofcare one would give to keeping an auto-mobile in good running condition.Even the electric and electronic organs,

though sturdy and capable of hard service,need looking over from time to time. orneof them never have to be tuned: but theyare afflicted with a variety of other illsranging from worn-out tubes to interfer-ence from police short-w ave radios.A problem not easily solved is that of

finding good maintenance men. Today few-er and {ewer men appear to be taking upthe trade of organ-building. Craftsmenwho know the business are becomingsmaller in number. There are not manymen today, for example, who know how tovoice a mixture properly. In engaging anexpert to tunc and maintain your organ. besure that he is recommended by the origi·nal builder or by someOne in whom youhave confidence.Finally. if your organ gets out of ord~r

and you ha ve neither the time nor technl·cal knowledge to repair it, make a virtue ofnecessity. Have a piano pushed in or, a5many have done. do your service a cappella.You will be astonished at how your choirwill rise to the occasion, and how Ule con-gregation will cooperate. Best of all. thechurch fathers, if they have been a trifle laxabout maintenance of the orgall~ will lose110 time in seeino- to it that the im~trumentis restored to fir~t-c1ass playing condition.

THE END

ETUDE-IPRI/. /9il

What is the best shape for the fin-gers to take on the strings? Should theyalways be in the same shape? J ani spe·cially anxious to know if the first joint ofthe finger (I mean. that part of the fingerbetween the tip a.nd the fi·rst knuckle)should always be standing straight up fromthe string _. It seems dl:fji.cult to keepthem in this position all the time. particu-larly when using the oibrmo ... ~'

-R. F.,Missouri

There are few aspects of left-handtechnique for which set rules can be laiddown, and this question of finger shapingis certainly not one of them. All the writerson violin technique give authoritative pro-nouncements on the subject-the troubleis that most of these writers contradict oneanother! My own conviction is that therecan be no one correct shaping of the fin-gers, because so much depends on the buildof the hand and on the type of passagebeing played.As a matter of fact, it would be a physi-

cal impossibility for all types of hands toplay all types of passages and still keep thethird phalanx (what you call the first joint)of the finger vertical to the fingerboard.Take, for example, the following chord:

Only a very large hand could stop thischord and keep the end of the third fingervertical. It would be impossible for shortfingers, unless the elbow were brought sofar under the violin that the first fingercould only rest on its nail.Quite apart from technical demands such

as the chord just mentioned, there aremusical requirements which must be met,and it seems to me that these often call forvariously different shapings of the fingers.Take, for example, a passage of runningsixteenths, such as the third page of theBruch G minor Concerto or the third pageof the Goldmark Concerto. The player'sfirst thought, after accuracy of pitch, mustbe for clarity of articulation. This cannotbe obtained unless the tips of the fingershit the strings with instantaneous firmness.Such a quality of firmness can be producedonly if the fingers are well curved over thestrings, which will automatically bring thethird phalanx of the finger into a positionvertical to the fingerboard. This applies tothe first, second, and third fingers: thefourth finger, being so much shorter thanthe others, has to be straightened a little.A quite different shaping of the hand

is necessary when an expressive cantilenais being played. Here the main objectivemust be a warm, singing tone, in which an~asyand relaxed vibrato plays an importantpart. This quality of tone is most easilyproduced if the fingers slope backwards,so that the fleshy part of the fingertip is incontact with the string. If the third phalanxof the finger is vertical~ not only will the

ETUDE-APRIL 1953

VIOLINIST'S FORUM

Shaping the Fingerson the String

by HAROLD BERKLEY

tone be harder and colder, but the vibratoalso will be more difficult to produce andmuch less flexible. In passages that aremade up of melodic phrases and phrasesof rapid notes, the hand must adjust itselfto the needs of the music, taking sometimesone shape and sometimes another.The young student should be trained at

first in the vertical, or technical position,for in this position strength of finger gripis most easily developed. Also, it is mucheasier to become accustomed to the sloping,or melodic position after learning the ver-tical than it is to learn them vice versa.Some students have a strong tendency

to play expressive passages with their fin-gers in the technical position. The teachercan usually help them to overcome this,if he goes about the work gently, showingby demonstration the differing tonal reosults of the two techniques. Once a stu-dent has found out by his own experiment-ing how much easier it is to produce agood tone by using the melodic shaping ofthe hand, he will not need persuasion tocontinue along these lines.

Finger Pressure on the String" .•. But just how strong should the

pressure of the fingers on the string be?Should it be always as strong as possible(as I was taught), or can it be sometimeslighter? ... Another point I think about ishow high should the fingers be lifted abovethe strings. Should they always be liftedas high as possible? I don't find thateasy. . "

Miss R. M. /IV., British Columbia.

Some authorities maintain that thefinger grip should always be as strong aspossible; others insist with equal confi-dence that it should be only strong enoughto produce a clear tone. Personally, Iwould hesitate to lay down any rule, ex·

cept that the finger pressure should alwaysbe heavier than the bow pressure. In otherwords, in the playing of a marcato fortepassage, the finger grip must of necessitybe stronger than in the playing of a deli-cate piano passage.Yet there are many delicate passages,

especially in the works of Haydn andMozart, which need as strong a finger gripas any forte passage. It is a question ofthe kind of tone color that is wanted.When a bright, crystal-clear quality iscalled for, as is frequently the case inMozart and Haydn-s-in fact, in the clas-sics generally-then the grip must bestrong. If a more sensuous, "soft-focus"quality is desired, the player can welluse a less intense pressure, for it willenable him to obtain a more flexible andrelaxed vibrato. There is no getting awayfrom the fact that a very strong gripfrequently hinders the free use of thevibrato. But this again is often a questionof the individual hand. Some hands areso built that they can keep a powerfulfinger pressure while maintaining a relaxedand continuous vibrato. Other hands can-not do this-which must not be taken tomean that they are inferior in techn ical orartistic potentialities. Fo~, as I said above,a continuous~y powerful grip is not alwaysnecessary.That last statement must not be taken

to mean that a weak grip can sometimesbe allowed. A weak grip, never j a lessintense grip, occasionally. Every studentof the violin should have it continuallyin mind that his finger pressure must bestrengthened, and by thoughtfully directedexercises he should seek to develop ituntil he can exert, when needed, the fullstrength of his hand without stiffening. Insome passages, even the strongest hand jsnot too strong.With regard to (Continned on Page 60)

25

2

9Mfle~" $rywlV gDdo~M~

The sound philosophy 0/ his teaching principles

affected all who came in contact with them.

by James Francis Cooke

TEOPOLD GODOWSKY first came to theL United States as a youth of fourteen in1884. He was immediately thrilled hy theopportunities and spirit of the new world.At the age of twenty-one he became anAmerican citizen and remained a loyalAmerican until his death in New York City,November 21, 1938. He was born at Vilna,in Russian Poland (Lithuania) in 1370where he made his debut as a child pianistat the age of nine. Although he toured as aprodigy in Russia and East Prussia beforehe came to America, and returned fre-quently to Europe for tours· and masterclass engagements, the better part of hislife was spent in the United States. He hada very distinctive outlook upon the philoso-phy of musical art that influenced greatnumbers of musical students in all parts ofthe world. As a child he studied for twoyears at the Vilna Conservatory and for afew months with Ernst Friedrich Karl Ru-dorfI and Waldemar Bargen at the BerlinRoyal High School for Music. But he in-sisted to me several times that practicallyall that was worth while about music hehad taught himself. (Ein autodidackt). He

felt strongly that no matter how fine the in-struction the student might receive, therecame a time when he must start to thinkfor himself and drive ahead on his ownpower. He realized, full well, that many stu-dents did not have the capacity for self-study and needed continual instruction ofthe best kind obtaiIiable. However, he feltthat far too many students depended toomuch upon their teachers and did not tryto help the teacher by depending on theirown efforts. He learned llluch however,from the advice of lllany artists who werestartled by the prodigious ability and men-tal capacity of the young man.

It was never my privilege to study withGodowsky but I knew him very well indeedfor many years and had numerous confer-ences with him upon the philosophy of mu-sical art. He was a genial, high-minded,widely read, witty friend with a keen, well-balanced outlook upon human affairs. Onthe wall in my office is an autographed pho-tograph reading: "To Dr. James FrancisCooke, in old friendship, Faithfully, Leo-pold Godowsky, New York, Oct. 15,1935."This was three years before the passing

l 26

~----

of Godowsky illj 1938. He was not in goodhealth and realized that his touring dayswere over, and suggested that we cooper-ate in wr-iting a book upon some of hisideas relating to pianoforte interpretation.His rapidly failing health prevented this,Godowsky was a tireless worker as a ,'ir-tuoso and as a teacher. Although he ,fas adisciple of relaxation, time and ha.rd worklook their inevitable toll, resulting in afatal breakdown at the end.

There were however, several ideas whichcame up in our conferences which seemworthy of preservation. No teacher was e,-erll1o~e insistent upon precision, ret none hada lllgher regard for the artistic the emo,tional and the spiritual. provid'illg it didnot lead to "sloppy" playing. first, how·eve.r,.I:l us sketch Godowsky's widespreadactlvltlCS after he came to America.

1884·1886: Toured the United State, asa .virtuoso and also toured in joint recital~WIth the Belgian violinist Ovide ~'Iusin_1886·1890: Taught in England and in

france, mostly ill Paris where he becamea protege of Camille Saint-Sacns. froUlwhom he never (Continued 011 Page 621

ETUDE-APRIL 1953

_, ._.J~;-

rrhird MovementNo,130·41119 (from "Sonatina")In the March, 1953, Etude we presented the ANDANTE from Berger's SONATINA. T-his movement, the last, . ~rings ill.to play

flashing, arpeggiated figures (not unlike some keyboard music of the 18th century) and full, sonorous c?lOrds, gIVIng the pl.ana va-. ty and richness of tone color. The spirit is joyous and playful; the tempo must not lag; and everything should be a r t icu l a.te d

r ie < ) • 1 "d' G d 6clearly. Here again Berger uses poly tonal combinations (as in the ANDANTE but the key center IS clear y . ra e .'

JEAN BERGER

PIANO

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I , , I q~. ~ • ]I ;-J11= -• l~ • ~ · ~ ':jIn Deepest Grief q-----Here, in an effective piano transcription, is the closing chorus from "The St. Matthew Passion." There are few pages in the lit-erature of music which can evoke such pathos and deep poignance as Bach does in this music. This is music to play over andoveragain; to take into oneself until its ennobling serenity pervades both heart and soul. Grade 4.

Andante (J = 60)

3;;;;;;:;' 3. ~JOHANN SEBASTIAN BACH

Edited by Henry Levine3

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Grade 3.

The Billboard(March) JOHN N: KLOHR

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3 . I 1 1 5 ..- , ~ - ..i 125 1 13 D.S. at FineCo .PYflght 1939 by The John Church CompanyETUDE.APRIL 1953

International Copyright31

No. 110-16609Melodie

Rachmaninoff carried the romantic traditions of the late 19th century well into the 20th. Musically, he stems from TschaikoVSky,but fortunately, had a strong enough personality to evolve his own speech. This early opus exhibits the melancholy Iyricism"hichhas endeared Rachmaninoff's music to those who seek musical satisfaction in a romantic expression. The piano writing is fulland sonorous. The important thing is to make the melodic phrases sing over the repeated chords which serve as harmonic and

rhythmic support. (Turn to page 3 for a biographical sketch). Grade 6. SERGEI RACHMANINOFF, Op. 3, No.3

Adagio sostenuto

'I Jl II 3 3 3_ 3 3_ 3_ 3_ 3. •..,.. ... - ,.. ,u-i

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32 ETUDE.APRIL 1953

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ETUDE-APRIL 1953

L

D.S.al Coda

35

..c.. ='.

No. 120· 30'l22Grade 4.

MeditationSECONDO

C. S. MORRISON, Op, 90

Lar-ao (J 56)

PIANO

< to =a tempo .I1:iJ" a iBIt

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Also -availablei~-lIYour Favorite Duets;' compiled and, edi ted by George Walter Anthony. [410.4102·1-]Copyright 1005 by The John Church CompanyJC

International Copyright securedETUDE· APRIL 135J

MeditationPRIMO

Largo (J=56)~

C. S. MORRISON, Op. 90a te1llpo

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PIANO

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38 8ETeDE'APRIL 1953

PRIMOJ ~ _All 0 ) ~ ._egr ( 100

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p stower andsofter; dy/ng awaydim.

ETlJDE'APRI£ 1953 3{)

Nocturne(From'l\.Midsummer Night's Dream") FELIX MENDELSSOHN

Abridged and arranged byN Otifford Pog«

HORNin F

1\ IIAndante tranquillo ~ ---------.

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LFrom "The Ditson Album of French HOfn Sol05." [430-4-0041]Copyright 1940 by Oliyer Ditson Company40

FETUDE - APRIL 1953

Hammond Registl"lltiolt@ 00726251001J iJO 8765 .11

No,133 ·41009 Overture in E minor(From "The Messiah")

1Solo: Founda t iOIlS & TubasSw. Full without 16'

II Gt. Foundations 8;-1~2' } S\\: &Ch.Ch. Full without 16' 8'& 4' to Gt.Ped. Itj' & 8; all 8' couplers

GEORGE FRIDERIC HANDELFreely Transcribed/or Org on by

Giuseppe lfosch /I'IFUllOrgan-s.& 4' couplersof all manuals to Great

I Repeat on Choir-Manualscouplcd- off Gt. to Pe d.Start with Boxes closed

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International Copyright secured

11

r"I_ .. r"l~I&JJ .. I :.oL 11 r"'I I K'. ~ ,--- ~II IA .

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[GrandiosoJ~

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I.:.JROBERT FRANZ,Op. 9,No. 3

Edited by Walter Golde

Nicolaus LenauEilghsll Text by Constonce Wardle

Slow and sustained with dI -,;; eepes eVOl~( -60)

VOICE E10. I ,

~~

Do not leave me,_ eyes of vel - vet, Dark, ly shad, owed like the_ night;Weil auf mir, du dunk - les All ge, Ii • - be de/ lie gall z~ Muehl,

~ r - ~ I -'IANol .. p~ j - -i .. • :2 ~ fJ iI ~

-~

#- "- , ..~ ~~ z; ----#

fl L -I. Gen, tIe, qJiet ' Iy dream ing ----- light.ear· nest, - Wells of_ deep and tend er_

ern· sle, mil . rie, tr(iu - me - ri - sche, un ' er grit'nd - lick siis se Nachl,L ...- 1"-1 - I

I- ~ -j i Iq~,~

~:;; i~ IIT.. i I" , L....1 i

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• Eyes~

to charm 'neath shad " owed lash· es, Eyes to tempt the world a way,Nimm mit dei , Ilem _ Zau - bel' dUll - kel d{e se Well von hin , lien mil',

, I - , J .01' ---I. p- 'j ~ ~ • ~ Iql ;; L r'

L..::p

• .. :;; ki ~~ :;; :: :;;

''1) feudedy :;; i1_.,....l>+ -~t: I I

~~

Eyes to drown my_ soul in beau, ty, to bless me, day by_ day.'LL rlass dll u ber mei , nem Le - bell lin , sam schwe . best fi,'r ufld fiir.

~ ,

10p~ " r oj q~ ~;1 ~~ ~

,~ ~p

i i .. 1 :;; i = : ' r r ~ ~76 ?; ----#:., i ---From"E G Ide, 431,41002as erm "c ,Y an ClaSSICSongs, ed, ted by Walter Go [°PYTlght19-2b 0 . ,E il Y lIver Dltson CompanyrlfDE, APRiL 1953

]International Copyright secured

13

A Little Bear Oub Sees the World on His OwnNo.HO·40208Grade 1. MILDRED HOFSTAD

PIANO

" Moderato 4'---- 2 12 1

2 3 3

I~ ./ ... .. .. ... .. ... \

Once a lit-tie cub just wa.n-de r'd off a - lone, Lcft his warm and co - zy ho m e;

< "l'he mot/cer bear speaks)Moth- e rs here to take you horne"

"~;ugh-ty lit- tIe cub to wan - del' off a -Tonc,",' _ ... - " • "··

22r:1F::-jC-r-s-'-t-t-:-i-m"e-o-n7Iy-------'11 La st time only

322 3 43

" 3 ·1 - 2 4 1 - 3.

~ -: ..... . ... .. -, • ... rit 1

Out in - to the world he t rav-e l l'd on his own, N ev-er drcarn'd how far he'd roam. :Fi"e

< Hun -gry Iit- tle cub long - er on his own, Pr orn-is'd n e v-cr- more to roam.no.. ... .. Jl .. - ~

·3 2 1 3 2 4 3 2 2 3 1 ~~

"53a tempo 45 424

road to rest, Try - ing to de - cide which way was best;Lost, he sat be- side themf

22 14 3(:rIte little cub sneaks)

" 4 5 4 3 IJ. C. al Fi"e2 4

~ .. -, rd.< Tired, he fell a - sleep, but soon a - woke, "\Vho was that! L'rn sure bod k "some - . y spo 'e.... ... .. ... .. -6-

··- ~

'0 ."CopyrIght 190 ... by Theodore Presser Co. InternatlOna..l CopyrIght secured

Mr, Sho\v-off*ADA RICHTER

Alleo-I'o 5>-

PIANO

" " 1 2 Oi. 1 3 •• 1 2 .. 1 3 ~-,

< ~ ,,:/' ';"I/pre sta~-, r 7'

#: e 1: J - #:· . .· ..~

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Grade 2. The Tortoise Has Won!*Allegretto

(11fr. Fox)ADA RICHTER

12

cv - or see such a won-der-ful thing? Our friend the Tor-toise has won thePIANO,

12

13 5

(Other animals)5-------... • •

(llfr. Fox)2 3

frace. Hur- ray, hur - ray, hur - ray! __ I-- The fool- ish Hare thought he'd have some,,

13

12

1 COther animals)

hap- py to-nap and the Tor - toise won, That's why we're all sofun; He took a

11 1[2II 5 , ., 1 ~------------• 'n

·. ·l I ---day. Hur - ray, hur - ray, hur - ray! ray, hur - ray, hur - ray!

.. 1~'t---9,

"~ . 1--

9, ~. . . .. ·. . ·

I I:* From"The Hare and the Tortoise;' by Ada Richter. [410-41022JCop;yright 1952 by Theodore Presser Co. :~From"Th H [ J44- International Copyrightsecured.L0. e are and the Tortoise:'by Ada Richter. 410-41022

~

PYrtght 19"2 h TETlIlJE-APRIL 1953 Er" Y heodore Presser Co,lJDE,APRiL 1953

____ ..... I'

I:;.ternational Copyright secured

45

Dance of the Green GrasshoppersNo. 110·40196Grade 2~. WILLIAM SCHER

2321 253Allegretto ( =84) 5 . 2 3 1 4 2 1 ......,1\ 3~ • ~#~- ~1 3 '-.

:

'---' <, fl. , '". poco rit.O!. P 'J/:f

~ -:J- . It"!' '!'2

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R.N. 52r-

2 2 3si1nile 51

1I.N. :>5

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...... 10"",1 ~~ .....

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14

25

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Lyrics by JaneFloryModerately, witll

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Tradi t ionaIArr. by Marie Westerveltmotion (J=lOO)

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Yl"lgh119'2 b O' .A'TU U Y lIver Dltson Company

.................................... .J__ DE-APRIL 1953

Copyright 1952 by Theodore Presser Co.46

International Copyright securedETU])E-APRIL 1953

[130 -41014JInternational Copyright secured

47

Grade 31, Gavotte Gracieuse(Fromthe Ballet "Les petits Riens") WOLFGANG AMADEUS MOZART

Edited by George Walter AIILJZOlry~ 5 5 1Gavotte gracieuse 5 5

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From "1l1iniature Classics" Vol. II, Haydn and Mozart. [430- 40050JCopyright Hl24 by Oliver Ditson Company48

1 2 ,55

HOW TO BEGIN PRACTICING A PIECE

(Continued from Page 10)

onwardcourse, that, by i~s sur~ing,dulating character brings Itself

D . I dnaturally into the emouona ~npsychologicalrecesses of the mind,andadapts itself to them.Musicalnotation, though theoreti-callytrue, does not always remain sowhentransferred to the instrument.It is then that the practical applica-tionofmathematical accuracy fails alittleor a great deal, according tothe failure of the student to giveuncompromising, honest value toeachnote and to each rest, carefulnotto play notes of eighth note valuefor quarter notes; or thirty-secondnotesfor sixteenth notes, and viceversa.Leaving out Tests altogether,or habitually slighting their valuewillmar the rhythmical fluency of aperformance.Use Bach's C Major Prelude(Well-tempered Clavichord) as atest of your ability to carry out thisrhythmicalfluency. Do not play itin too quick tempo. Tempo indica-tions as given by editors are, inmostcases, helpful toward sensingtheright tempo, but it is gratifyingto rememberthat Bach himself gaveno tempo notation for his works.Playing a rapid piece slowly inthe beginning naturally changes itscharacter, but this is only a tem-poraryacquiescence. Avoid all loud,

labored effort, or sing-song accent inslow practice. Let the ear remainsharply discriminating as you pro-ceed. Play the piece softly withoutthe use of any accentuation.In slow tempo, much that is melo-

dious and pleasant to the ear suchas simple musical figures, ordinarilyobscure when executed in quicktempo, are discovered and broughtout of hiding into musical expres-sion, thereby giving the player abetter understanding of the melo-dious inherencies contained in theharmonies themselves.It is stated by Schindler that

Beethoven, in playing his own corn-positions, whether solo or chambermusic, used tempo rubato. However,as he knew the rules well enough tofeel free to break them, so everystudent of the piano would do wellto acquaint himself with a true senseof rhythm and its practical app lica-tion in order to use the liberty ofrubato with good judgment.The use of rubato is legitimate,

and when carried out in moderationand with discrimination, is a markof individuality. Without freedomof expression in music there wouldbe no performance of any greatmerit. Note the able orator, his tim-ing, his emphasis, his retardationsand accelerations putting meaning

into an address which, if read by anordinary speaker would have littlesignificance!Grove's Dictionary of Music and

Musicians gives the following reomarks on rubato : "Rhythm seems tohold together with the time, a num-ber of minute, unverifiable acceler-andos and ritardandos, or else reofuses absolutely to admit them.Whichever it does, it is that fiddler'sreading, or expression of the music,the outcome of musicality that is inhim, his special creation, inimitable,and not recoverable perhaps even byhim again. But where did he get thisrubato from? He got it from the upsand downs of the melody. What theseput into the strict time is, as Lussypointed out, pathos-e-Ta nature dou-loureuse de nos sentiments.'''Henry Purcell said: "There being

nothing more difficult in music thanthe playing of true time, 'tis neces-sary to be observed by all practi-tioners."Perhaps the most difficult in mu-

sical performance is "the playing oftrue time" with feeling, a combina-tion characterizing the playing ofArtur Schnabel, and urged by himupon his pupils. "Why not play withfeeling-in time?" was his answer toa young performer who seemed tothink that perhaps there might betwo 'times'; one 'time' when oneplayed with feeling, and another'time' when not playing with feeling!Schnabel, to the writer's knowledge,

was not in agreement with "unveri-fiable accelerandos and ritardandos"interfering with the rhythmic hon-esty of the measure. He refused toadmit them. Yet Schnabel himselfplayed with freedom and great feel-ing, whether he expressed it in thelyrical beauty of simple melodies orin richly variegated harmonies; andall of it was "the playing of truetime."One can engrave a certain sensibil-

ity into the measure itself by carry-ing out what the writer terms "na-tural nuance" in the ups and downsof melodies. Where notes succeedeach other in upward tonal succes-sion, "Crescendo" is the naturaltrend; (unless the composer statesotherwise). Where the notes recedein tonal retrocession, "decrescendo"becomes the "natural nuance," thegeneral utilization of which combina-tion of ebb and flow makes the musicbreathe.Subordinating oneself to the care-

ful observance and practice of thevalue and importance of correct mu-sical notation is, first of all, theright beginning for the successfulaccomplishment of haeically soundrhythmical expression, the backboneand support of all excellent perform-ance, and from which proceeds legiti-mately free, creative musical ex-pression. "Better a handful withquietness than two handfuls withlabor and striving after wind."(Eee!. 4:6). THE END

1903 THE WORLD'S LARGEST HOME STUDY CONSERVATORYOF MUSIC 1953WHAT PROGRESS ARE EQUIP YOURSELF FOR A BErTER POSITION This is Your Opportunity-Mail the Coupon Today!

YO A proof of quality is important for one m·U MAKING? terested in further musical training. Our

, Yourm.usicalknowledge-your positionand courses offer you the same high qua1it~ ofinCOmetodaY-are Ihe result of the training preparation which has developed and tram~d~ouhave given your natural ability Addi. many successful musicians and teachers mbonoltr ' , . .OppOrtun~l~lllg will open up new fields, new the past:standing'~:Siliegreat~r income and higher NATIONALHOME STUDY COUNCIL

Tb' mUSicalworld. The Council is an Association of which wesion~ valuabletraining, through our Exten· are a member. It includes the outstanding·inter!Ourses,~ay be taken at home with no correspondence schools in the United Statesdevot~ren~eWIlhYOurregular work just by with headquarters at Washington, D. C. Mem·day U:~o~d~e1f-~tudythe many minutes each bers are admitted only after rigid examinationsivelllusic' manly go to waste. The progres- of the training courses offere~... .the val lan, as busy as he may be, realizes We are the only school glvmg tnstruct~onilWelre~fSUCh.~tudyand finds the time for in music by the Home-Study Method, whIchWho a paidPOSitionsare av:";lable to those includes in its curriculum all the courses

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tion regarding course I have marked with an X below.o Piano. Teacher's Normal Course 0 Voiceo Piano, Student's Course 0 Choral Conductinqo Public School Mus.-Beqinner's 0 Clarineto PublicSchooIMus.-Supervisor's D DanceBandArranqingo Advanced Composition 0 ViolinDEar Traininq & Siqht Sinqing 0 Guitaro History and Analysis of Music 0Mandolino Harmony 0 Saxophoneo Cornet-Trumpet D Double Counterpointo Professional Cornel-Trumpet 0 BanjoName Age .

Street No.............•................••....•.•.••.••City ....•.....•.•....•......•..... State...•..••..•.•..

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

ETUDE APRIL 1953 I ETI__ ---'LUDE-APRIL 1953 49

r;===================;r!"" MUSIC SHOULD SERVE THE COMMUNITY

GUY MAIER WORKSHOPAND MASTER CLASSES

CHICAGO-SHERWOOD MUSIC SCHOOL

PRIVATE LESSONS-JUNE 29-JULY 3TEACHER'S WORKSHOP AND YOUNG PIANIST'S

REPERTOIRECLASSES-JULY 6-10Address: Sec'y Guy Maier Classes: Sherwood Music; School

1014 So. Mlehigtln Ave., Chicago S, III.

NEW YORK CITY-STEINWAY HALL

TEACHER'S WORKSHOP AND YOUNG PIANIST'SREPERTOIRE-JULY 13-17

ADVANCED PIANIST'S REPERTOIRE ANDPRIVATE LESSONS-JULY 20-24

Address: Elsie Stein, Sec'y; 703 West Ferry St., Buffalo 22, New York

Many Special Features ... Lectures on Pedagogy, & Group Piano, by Notionally KnownAuthorities ... Teacher's Accrediting for new "Maier Way To Ploy," etc.

SUMMER NORMAL COURSELOUISE ROBYN SYSTEM OF MUSICAL TRAININGFROM THE PRE-SCHOOL TO THE ADULT AGE.

JULY 6. 1953 to JULY 16, 1953

MORNING AND AfTERNOON SESSIONS

Direction-ETHEL LYON and associates

Modern Methods of piano instruction as applied to children of all ages including pre-school will be presented.

The course is open to teachers cs well as to advanced students who wish to preparethemselves to teach the Robyn System.

For information regarding closs schedules, rates, etc., write to

AMERICAN CONSERVATORY OF MUSIC25 EAST JACKSON BOULEVARD. CHICAGO, ILLINOIS

ORGAN INSTITUTE CHORAL SCHOOLAndover, July 27 • August 16

Faeulty: OLAF CHRISTIANSEN. ARTHUR HOWES,

IFOR JONES, ERNEST WHITE

For choral conductors: Technique, Interpretation, Vocal Tone, Selectionof Voices, Repertoire. Less intensive curriculum for choral enthusiasts.

Also moster classes in Organ with E. POWER BIGGS, CATHERINECROZIER, ARTHUR HOWES, ROBERT NOEHREN, ERNEST WHITE.

Combine vocation in picturesque, historic

New England with adranced, accredited study.

Organ Session at Tacoma, June 29. July 18.

ORGAN INSTITUTE, ANDOVER, MASS.

Wm. ~. J!)apn£~ ((0.

Solid Silver Flutes - PiccoloslOS massaciJuselts QIbe. jL!loslon15, mass.

PIANO TEACHERSThis is your invitalion 10 attend the INTERNATIONAL PIANO TEACH_ERS ASSOCIATION 1953 Notional Convention, at the Hotel Siotler,New York Cily, July 13, 14, 15, 16. Convenlion will offer America'soulslonding Teacher Training Course tor 1953. For complete informa-tion and catalog of over 65 I.P.T.A. Teacher Aids write

ROBERT WHITFORD, Founder-President204 N.E. 31st St., Miami 37, Flo.

schools place first emphasis onmusic rather than on performersorpotential genius in students. Letthe children develop normally! Ifgenius is present. it will showit.self without hothouse forcing. Final.Iy, I should like to see the HonoraryDirectorate of the letterheads be.come an active counselling bodymeeting with students and parentsa;regular intervals. explaining goalsand progress, answering questions,widening the student-teacher reh.tIonshi p into a cause that has mean.ing for all.On the still higher level of the

budding profcs ional I believe thathis teachers should be able to offerhim practical advice about the kindof prof salona! music that is wanted,to which he can turn on the basis01supply for demand. In my workwiththe a tionn l Orche tra. I makeitmybusine s to study trends; thrcugh reports, news, the grapevine. oneman.ages to know what's going on alloverthe world. When 1 find an upswing01interest in opera, let's say, or ballet,or the larger chamber works, Itrainour young p ople in those techniquesalong with those of the standardsymphonic repertoire. At. all times,we give attention to those manifests-tions of good music in which thereis current interest.The goal of music education is to

build musicians capable of perform.ing any worthy musical task. I amoften asked. what makes a competentplayer? In' reply. I point to themen of the BC Symphony DrchesIra who perform under Toscaninitoday. carry through a script showtomorrow, and fill in jazz spots inbetween. There is no question of"preferring" jazz or script shows.There is simply the realization thatthese forms are there as part of ourcontemporary life. Giving them at-tention involves no "disgrace"; onthe contrary. it develops the versetil-ity of genuine musicianship!On each level. then, music educa·

tion can be improved by taking it outof the vague category of '·culture"and making it part of the currentpattern of living. Each few yearsproduces its o"....n pattern. and somepatterns are more pleasing thanothers-to those who haven't shapedthem! The important thing is thatthe idiom of each age is normal toits contemporaries. For which r~a·son, we should insist that the Halll·ing of our young people include .anawareness of the conditions in whichthey themselves wilJ have to lh'e.Once we realize this and do some'thing practical about it. we shallbuild eager audiences as well astechnically proficient performers;and both groups wilJ step naturali]into a world of art for which theyare ready and which is ready forthem_ THE END

ETUDE-APRIL 1953

what's atedge of them is at a disadvantagein the world of his own time.Advancing to the music school

level I think that music educationshould be an integral part of com-munity life. Music schools shouldlook further than the class roomneeds of music students; they shouldornanize in each community the typeof Cmusical entertainment that com-munity needs. This can be done bysetting up an advisory service andletting the people know they canturn to it. It can also be aided byorganizing public concerts at whichthe school's own students perform.In either case, the emphasis should

be on community music which allcan understand and enjoy. Here, thetrick is to study community tastesand plan programs which keepslightly ahead of the taste. A townwhich already accepts Bach andBrahms can be initiated into moremodern works; the town that prefer-sballads and operetta must be led toBach and Brahms by way of Men-delssohn and the simpler Schubert.The wise educator doesn't plan byrule, or even by his own taste. Hefinds out what is wanted at the time.and goes on from there. He remem-bers that culture cannot be drilledinto people; it comes only throughbeing wanted and absorbed.The best absorption results when

art is freed from stuffy academismand made a part of natural living.1£ you want to teach a young classabout the oboe, don't prepare a lec-ture! Bring an oboe into the room.put .it down, and talk about some-thing else. In no time at all, somechild will tug at your sleeve and ask."What is that? What's it for? Whatdo you do with it?" That's the timeto answer him. Once his own interesthas been aroused, he'll absorb farmore than he would from "lessons."Spontaneous interest always creates

its own demands. I remember heinecalled to visit the Boys' Club of :settlement house to see if the ladswere ready for anything musical. Icame upon the boys during a roughgame. of basketball. After watchinga whIle, I. suggested they might im-prove theu technique by movin'" inrhythm, and played a few record"'s toset the rhythm. A few days later.the boys demanded the records. Amonth later they were listenin.,. tothem apart from their sports rhY~hmvalue. Before long, they had startedtheir own chorus-spontaneously.Another way of arousing interest

is by teaching children to play to.gether at doubled instruments orcombinations of instruments; twocan e~e~ work on the open stringsof a vlO1m. Group playing stimulates~he companionship of music, obviat-lI1g th~ lonely (often boring) aspectsof solItary study.Again, I should like to see our

~. 50..------~

(Continued from Page 11) newThese booksPlease sendbook comes

GrandPartita in D Minor-by Bernardo Pasquini

Transcribed [ov ogmn by Giuseppe MoschelttiA brilliant theme with variations by this master composer, performerand teacher of the 17th century. Freely transcribed for the modernpipe organ, the selections provide excellent con~ert ~nd recitalmaterial [or the advanced student. Hammond regrstranon,433.41009 List Price $1.25 Advance of Publication $.95

Ballet Music for the Dance Studio-compiled by Alberta Ladd

Piano book [or Dance Studios

Eachpiece of music has been selected for its fitness to accompanyballetsteps, such as pointe tendue) ronde de [ambe a terre) rende dejambe en l' air) pique. They are also suited for toe work combina-tions and waltz combinations as well as the polka, galop, andschottische.Miss Ladd says: "This collection of music for dancingschoolsmay be ada pled ro any method of teaching. The selectionsused [or each exercise at the Bane have been suggested for theiradaptability to the exercises."410-41025 List Price $1.50 Advance of Publication $1.00

At the Hammond Chord OrganA collection of melodies which include choice selections from thePressercatalog as well as other old favorites. Some of the 25 numbersincludedare: At Dawning by Cadman; Stan and Stripes Forever bylousa; Venetwn Love Song by NeVIn; Minnetonka by LIeurance;Vest,La Cuibba by Leoncavallo; Song Of India by Rimsky-Korsa-kov;How Can I Leave Thee; and Invitation to the Dance by Weber.433-41011 list Price $1.50 Advance of Publication $1.10

PRESSER · · ·•

A DV A NeE OF PUB LI CAT ION 0 F FERare now in preparation. Orders are limited to two copies per book.remittance with order. (Check or money order requested.) As eachoff the press, delivery (postpaid) will be made.

Baldwin Book of Organ Playing-by Dr. Rowland W. DunhamAn Introductory Manual To the Organ

Rowland "V. Dunham, Dean of the Music Department of the Uni-versity of Colorado, and a Fellow of the American Guild of Organ-ists, has prepared this instruction book to aid the pianist throughthe transition from piano playing to playing the organ, whetherunder a teacher's guidance or not.

This is not a book of "short cuts", nor is it a book of arrangementsor organ registrations. It is a sound and fundamental book of organinstruction. The techniques recommended have been proven byactual experience and are applicable to any traditional organ. Thewriting is simple, interesting, and easily understood.

413-41011 List Price $1.75 Advance of Publication $1.30

Pianorama of Easy Pieces by Modern MastersCompiled, arranged and edited by Denes Agay

Following up his successful "Pianorama of the World's FavoriteDances", Denes Agay now presents thirty pieces for piano solo by25 of the leading composers of the 20th century. Some of the com-posers included are: Stravinsky, Debussy, Ravel, Prokofieff, Bartok,Kodaly, and Puccini. Most of the compositions are original, someare arranged, while others have been revised to reduce their difficulty.

All the selections are refreshingly melodic, clothed in imaginative,harmonic settings. The collection offers ideal material fo~' study,recital, and sight reading sessions, for the pianist of moderate skill.410-41026 list Price $1.50 Advance of Publication $1.10

FINAL ADVANCE OF PUBLICATION OFFERSing All Men -ananged by Tom ScottAmerican folk sonzs are always favorites to sing and to hear and these arrangements formale chorus by TO~l Scott are "tops". The 20 co.mpositions are gToup.ed into five categories-Sing Of Work, Sing Of Love, Sing Of Fun, Sing of Heaven and Sing In the Saddle-allof medium difficulty. New, appealing, excellently arranged-a perfect combination!412-41005 List Price $.75 Advance of Publication $.60

***************************************************

(\;\1~I(

NEW RELEASESPIANO SOLOS

Grade I FLYING SQUIRRELS PLAYTIME. Mildred Hofstad(Legato study, Words)

Grade Ph ECHO ••••••••••••••••...•.•••••• Beryl Joyner(Good lor dynamic contrasts and legato study, Words)

LITTLE SHADOW •............. Mae-Aileen Erb(Good study in fundamental triadsr Excellent lor lelthand control of intervals, Words)

BLACK EBONY , A. Louis Scarmolin(Recital piece, Tune/ul. Based only on black keys, ithas a plaintive melodic quality derived from use ofpentatonic scale)

110-40221

110-40223

110·40222

Grade 2 110-40224

MARCH OF THE GNOMES .•..•••• Ella Kette",(Recital piece, Colorful, Rhythmic study)

110-40215

THEODORE PRESSERETUDE-APRIL 1953

SATBCHORAL

EIGHT SENTENCES FOR THE SEVENSEASONS OF THE CHRISTIANCHURCH Giuseppe Moschetti

(Easy, EHectire sections)GOOD OF CO~TENTMENT Jeon Berger(a cappella, Dinlcult, Dramatic setting of a text basedon Ecclesiastes)NO MAN IS AN ISLAND Jean Berger(0 cappella, Moderate difficulfy, Composed to thefamous poem by John Donne. Powerful eHect.o COME AND MOURN ..... , .. Frances McCoWn(Dramatic, Medium Difficulty, ContemporarySNEEZING, A Spring Song .; Ruby Shaw(Medium DiHiculty, Piano acc., Novelty choral work. forHigh Schools, In popular idiom, Syncopated rhythm)RED, WHITE AND BLUE Jeno Donath(Texts of "God, Our Fathers" and "Columbia")

312-40132 .20

312-40131 .25

312-40130 .20

332-40097 .20

322-40024 .18

312-40153 .22

$.35

.35

.35

.35

.35

SSA

CO., Bryn Mawr, Pennsylvania51

t:A Beat yoa coo see...t:111 . A Beat Y;:.:; hear!

METRONOMA

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Electric Tempo Indicatorwith the flash Baton

Now at a new lower price ... theworld's most dependable time beat!Selmer Metronome gives you correcttempos two ways ... (1) by a soundbeat that can be set loud or soft, and(2) by a sight beat through a visible,flashing light. Easily set for OIly tempofrom 40 10 20S-Largo to PrcslO-with a twist of the dial.

J n pLaying with a band or orchestra,you arc expected to follow the beat ofthe conductor's baton-not the soundof the bass drum or other members ofthe group. The Metronorna, with itsflashing visual beat, helps you learn todo this. Simply turn the sound beatvolume as low as possible and followthe visible flasher. Get it now- Metro-noma is your biggest tempo bargain!

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VOLUME CONTROL-moke Ihe beatos lovd or sofl os yov like, Or vary from

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H. & A. ~tlmtrNO CLUMSY ADJUSTING-no s e tscrews. Diol it like yovr rodio to anytempo-40 to 208 beal. per minvle,

HOLIDAY-STU DY JulyAugust

give. by Hans BarthFive Day Refresher Course-Group and private lessons

In the following places: Texas, Tennessee, North Carolina, Pennsyl-vania and New York.

•"The Barth Refresher Course is most inspiring. This is my second one, and.

I enjoyed it even more than the first. The Course is a musical triumph."Lelya C. Sli1lll'ellMeridian, Miss.

"1 was especially gmt.ejlfl to find that Mr. Barth presented technic, that i,s,the technic oj t,he professional pial/ist, in "slow mOI,ion" so to speak, enablingu,s to Itse it in teaching the earliest. beginner." J\1ar....aret B Hall

A'lan~field, OhioFor c:irc:ulor and information send postal to:

Mrs. Lilian Brandt, Rt. 3. Chapel Hill. N. C.

HAVE YOU HEARD ABOUT

ETUDE TEACHERS' CLUB?Organized for the exclusive benefit of music teachers.

Join now for extra financial and professional dividends!

For information, write toMiss Marjorie E. Mosher, Executive Secretory

ETUDE TEACHERS' CLUBclo ETUDE the music magcHine Bryn Mawr. Pennsylvania

~iolin lftluestionsBy HAROLD BERKLEY

AN INTERESTING POINI HERE

Mrs. I. S., Michigan. Before voumake plans for selling your violin,vou should have it examined and ap-}naised by an expert of wide experi-ence. It is interesting that a manwho knows something about violinssays it is a Joseph Cuanertus copyof Stainer. I did not know that anyo l the Guarneri Iarnil y copiedStainer. so I am wondering aboutyour vi'olin. It may well be that itwas made by some unknown copyistwho put a fake Guarneri label in theinstrument to give it an aura of au-thenticity. But why not a Stainerlabel? Anyway, you should have itappraised.

ONLY AN APPRAISAL WILL TELL

Mrs. H. D. B., Manitoba. Whetheryour % sized, Strad-Iabeled violinwas actually made in 1716 or is "l usta model of one made in that cen-tury," is something nobody couldtell you without examining the in-strument. It is impossible to describein words "what a Strad looks like."So described they would appear tobe like any other well-made violin.It is rarity plus name plus qualitythat gives old violins their value.There are violins older than Stradsthat are not worth a tenth as much.I am sorry that I do not have spaceenough to answer your other ques-tions now. I will try to answer themin a future issue of the magazine.

MODERN SCALE FINGERINGS

E. E. 117., lHontana. The most com-plete scale book for violin is thatof Carl Flesch, but it does not givethe most modern fingering for theharmonic minor scales. FurLhermore,it is bulky and expensive. Neverthe-less, it should be in the possessionof every violin teacher. So far asI know, there is no small and inex·pensive scale book on the marketwhich gives the modern fingerings.However, you can derive the basicprinciples from my articles inETUDE for December 1945, August194B, June 1949, and January 1953.

TO PLAY THE "OEVIL'S TRILL"

l y not too old to do so now, if yourhand has average flexibility. First.get hold of the idea that the fourthfinger is not solely responsible forany wide stretch; the first, or some-times the second, finger must takehalf the re ponsibility. In otherwords, the hand should be in an in-termediate position between the twonotes of the interval. the first fingerstretching backwards and the fourthfinger forwards. Put your fourthfinger on G. A Siring third position.and your first finger on F, D stringsecond position. If you are consciousof any tension. hold the interval forabout ten seconds. then put the handdown from the violin and relax itcompletely. Repeat the process anumber of times over the period of acouple of days. or until you canlake the interval easily. Then putthe fourth finger on the C and stretchback to E on the 0 string. goingthrough the same procedure. Whenthis interval is easy. put the firstfinger back 1.0 Ecflat and go throughthe same routine. The importantpoint is to hold each interval firmlyurn il the hand begins to tire. andthen to relax at once. When youcall hold any of the three intervalsfor twenty seconds without tiring.begin to tril.l slowly in the secondposition with the second and thirdfingers. This will tire you quicklyat first. but relax as soon as youfeel fatigue and return to the ex-ercise. Within a month you shouldbe able to play the "Devil's Trill"passages quite easily.

A REPAIR JOB WAS DONE

K. H., Illinois. The label in yourviolin stating "Tonal Reconstructionby So-and-So" means nothing morethan that a repair job was done onthe instrument with the presumedobjective of improving the tone.

THE DIFFICULTY IN APPRAISING

ETUDE-APRIL 1953

~r9an f!uestfonsAnswered by FREDERICK PHILLIPS

• Please advise how to play the quar-ter notes in the composition, In dulcijuhilc (No. 35 in Vol. V of Orgel.werke, J. S. Bach-Peters Ed.).Should they be played two againstthree, as would be supposed [conithe 3/2 time signature, or with thefirst and third notes oj each group ojtriplets?

-N. C., IllinoisYes, play two against three. To do

otherwisewould spoil the effective-nessof the composition.

fr-. L. R .. PCllllsyJuania. The onlyway anyone can tell whether a violinis an "original" or not is to handleand examine thousands of instru·ments over a period of years. Andeven then he is liable to make mis-takes. (2) If a violin is labeled"Antonius Stradivarius Cremonensis

1. R. F., New York. There is one Faciebat Anno 1716"' it could begood reason why you have trouble worth as much as 50.0QO--or aswith. the stretches in the Allegro little as 10.00. depending onassai passages of Tartini's "Devil's whether it is a genuine instrumentTrill" Sonata-you have neverh or a Japanese factory product intot oughtIully developed the ability to which a fake Strad label ha<: been

~

stretch your fingers. You are certain_ inserted_

. 52~----

• Seural oj my advanced pianopupils have to take over positionsas church organists in their partic-ular churches. The organs are Ham-mond Church Models, with chimes,and one two·manual pipe organ. Mydifficulty is that my background ispiano and voice, but I ktuno littleabout the organ. I have read somethings, and have examined somemethods. What do )'OU suggest, sincethe pupils cannot get into Minne-apolis lor personal study? Can yousuggest material which will help meget on the right track, and to helpthese students~in piano work theyhavestudied from one to jour years.We also need something for pedalstudy. Slap list and details of pipeorgan are not listed here [or lack01 space.

-B. E. B., Minn.Weare enclosing a marked list of

organmethods, studies and collec-tions,and suggest that you have thePresserCompany send you any or allof these for examination. The basicthingfor the Hammond organists.to.he, would be "The Hammond Or-gan," ?y Stainer & Hallett (anadaptatIOnof the well-known Stainerp 0· Ipe rgan method to the Hammondmst~ument).Then for the pipe or-ganistwe suggest the Stainer Pipe~rgan Method, edited by Rogers.oth of these books contain pedal

studies,hut these could be supple-me~tedby the pedal studies we have

blUdlcated,especially the Dunhamook Tb "p'· . e nmer of Organ Reg-

~stration"by Nevin, will help a lotInund.erslandingthe proper use andoPderatlOnof the pipe organ stopsan meh .b K' C ~~lsms. The book compiled

CYh' JUdeI'Organ Compositions WithIme~" '11 .· -, WI gIve you a good selec-

~Ionofnumbers the Hammond organ-Ists Can . 1th use WIll the chimes, and

e~e.are also many individual com.POsltlOnsw'tL L' •pill CUlmes whIch thes::~se~orCompa~y~ill be glad tob k exammatIOn. With yourac ground d . hto 0 .' an WIt out the desire

g seriously into the organ field,LETUDE-APRIL 1953

you should be able to accomplishquite a bit by self-study, and youwill be able to help your students,though if any of them plan to be-come really proficient organists, itwould be well for them to arrangefor instructions from a regular organteacher if at all possible.

In addition to the books mentioned,we suggest "Master Studies for Or-gan," by Carl, and the "Cradus adPernassurn,' by Koch, as well as"First Elements of Organ Technic"by Jennings (good for pedals, reg-istration and stops).

• Please explain more fltlly than thedictionar-y definition the meaning oj"introit:' What is its actual mean-ing, its place in the service, etc. Canyou suggest a few well known in-troits?

-W. A., IndianaThe following definition is given

in Stubbings' "Dictionary of ChurchMusic"-INTROIT: a verse of apsalm with the Gloria Patri, pre-ceded by the antiphon proper tothe day, which is sung at the open-ing of the Mass. The Gregorian chantfor the Psalm of Introit is more com-plex than that used for Psalms orCanticles, and Gloria is chanted ina peculiar way, the first verse beingsung to the first part of the chantonly, the second verse sung to thewhole chant as normally. The termalso applies to a hymn or anthemwith which a service opens. Thus,the first hymn in the Anglican churchis often termed the Introit hymn.Short anthems sung before the serv-ices jn Free churches are also called"introits." "The Organist and Choir-master" by Etherington gives thefollowing explanation: INTROIT(not prescribed in the Prayer Book)is a short quiet anthem which maybe sung (preferably kneeling) whilethe priest is making final prepara-tions at the altar. Words should besuch as will assist the people in theirpreparation for Communion, ratherthan seasonal. Anthems beginningwith the words "]esu, Word of GodIncarnate," "0, Savjour of theWorld," "Lord, for Thy TenderMercies," or "Come Unto Me" aresuitable. As soon as the first hymnjs finished, organist should improvisebriefly, making any necessary.modu-lation to the key of the IntrOIt. TheIntroit may be used even when thereis no hymn, the organist modulating£rom the voluntary and arriving at

.desired key as choir and peoplekneel. In thjs case a quiet hymn maybe substjtuted for the Introit.

Hacn tne HammondOJ;5an-./Or a oetter income

IN THE LAST FEW YEARS the number of people 'who want lessons on theHammond Organ has grown by many thousands. That is why you 'canearn more by teaching the Hammond Organ than any other .keyboardinstrument.

But there's more in it than extra income. You'll find the HammondOrgan easy to play and interesting to teach. In a very few weeks youwill play surprisingly 'well. Well enough, in fact, to begin teaching.

Special Plan for Music Teachers

A cooperative purchase plan devised especially for qualified musicteachers is now open to you. Your dealer will explain how easy it isto own a Hammond Organ on this plan.

A promising future for you

Of the many thousands of families who own a Hammond Organ, alarge number want teaching help to extend their study. Far moreadults choose this instrument with the result that student turnoveris lower, your income hig-her, Playing engagements and rental feescan bring you additional profit.

The Hammond Organ is the world's leading organ. It is the onemost people are interested in playing. It requires very little space inyour studio. It is true to pitch, never needs tunjng.

You will thoroughly enjoy playing the Hammond Organ. Its respon·siveness and vast range of beautiful tones give your music added depthand vivid color.

There are Hammond Organ models suitable for every teachingllGed. The Spinet model is only $1285 (E.o.b. Chicago) including toneequipment and bench. Other prices on request. Any Hammond Organcan be the beginning of a lifetime of profit and pleasure for you.Mail the coupon for details.

.ElAMMOND OElGANMUSIC'S MOST GLORIOUS VOICE

----·MAIL COUPONFORFULLINFORMATlON---- ...

Hammond Instrument Company4244 W. Diversey Ave .. Chicago 39, IllinoisPlease send details about how I can become a HammondOrgan teacher.

SPINET MODELHammond Organ forhomes. schools andchurches. Ideal for begin·ning organ instruction.

Name .

Address

City Zone Statc .@1913, H~NMOND INSTRUNENr CONPANY S-------------------------------

53

Edited by Elizabeth A. Gest

FAIRY ENIGMAby Jl1arion Beneou 11lnuhclVs

In truthfulness, but it is not in lie;My seventh's in dollar, but not incent;

My eighth is in straight" but neverin bent;

My ninth is in arrow, but 110t inbow;

My tenth is in speedy, but not inslow.

My first is in saber, but not inlance;

My second's in ballet, but not 10

dance;. My third is in sunshine, but not in

rain;My fourth is in pleasure, but not

in pain;My fifth is in praise, but never inblame.

And now you've discovered. half In Fairy-tale opera, me you willof my name. find.

My sixth you'll discover, if you I make children sleep; I'm friendlybut try, and kind.Anslver: Tlie sleep-Fair)' in Hum.perdinck'e opera, "Hal/sel (UHI Gretel."

Who Knows the Answers?Arithmetic and niunher s, Keep score. One lJlwrlrcrl is periect,

1. How many symphonies didTchaikovsky write? (10 points)2. How many whole-steps be-

tween C-double-sharp and G-sharp? (5 points)3. How many sharps are 111 the

signature in key or C-sharp minor?(5 points)4. How many strings are there

on a guitar? (15 points)5. How many measures are there

in the tune America? (15 points)6. How many sonatas did Bee-

thoven write? (10 points)7. If a major scale has six flats

in its signature, how many sharpsare in the signature of its parallelminor? (5 points)8. In what year did Mozart die?(10 points) ,9. How many thirty-second

notes equal one dotted-quarterrest? (5 points)io. How many valves on a trum-pet? (20 points)

A"SlVcrs on lIexl page

\ ,-,

. '-

by Frances Gorllwn R~sser

EASTER CAROLS

DID YOU ever sing Easter Car-ols? Of course Christmas Carolshave become so well-known toeverybody and so well loved thatpeople think of them as the onlycarols there arc. But different sea-sons have their own special carols,too. Did you ever hear of May-dayCarols? Some of these are reallybeautiful but rather less well-known.-The dictionary defines carol as

"a hymn of religious joy." The

Christ is Risen Today: the melodyof which comes from a book called"Lyra Davldica»," 1708: and thewords are from the fourteenthcentury.

Two less serious ones are theEaster Eggs Carol, representingthe verv old custom of childrengiving Easter eggs to their friends,

Easter eggs, Ea.ster eggs,

New Encyclopedia of Music givesthis definition: " ... a festal song:usually of a popular character,associated with Christmas or Eas-ter, occasionally with some otherday or with a season." So, you see,any season can have its own car-ols. The American Indians moreor less carry the carol ideathroughout the year in their ownlives: as they sing very importantplanting songs, harvest songs,hunting songs, and. others, as wellas Christmas songs.

and the Spring Carol. Some au-thorities say this tune orlgi-nated in Sweden ill the thirteenthcentury. \Vhether or not this istrue, it has been in print since thesixteenth century, and it is alsoused as a Christmas carol with the

words Good King Wenceslas, Ia-miliar to everybody.

Another gay one is called WeDeck OlU Holy Alters: which men-

~ J J J J I J r r J ~J 44) JJesus Christ is rLeen to-d.1y, Jl,1- le-lu- 1a.

In England and France in theold days Easter carols were sungand many have been preservedand are still in use. How nice itwould be-and something of a

rions many musical instruments.We deck our holy alters

With sweet flowering spray,In memory of Christ

Who rose this Easter day.

We deek our holy al-ters with s~eet flo_r-iroi spray,

novelty, too-if you could procurea few Easter Carols. and have yourelass or club and your other friendsjoin you in singing them. Theyare easy to learn. Some interest-ing ones include:Ye Sons and Daughters of the

Lord, musie by Palestrina (1526-1594), with words dating fromthe fifteenth century, and Jesus

The Angels sing in jubilant ringWith dulcimers and lutes

And harps and cymbals, trumpets,pipes,

And gentle, soothing flutes.

And so, as we say Merry Christ-mas through the singing of carols,let us sa y Happy Easter in thesame wav.

IT'S GREEKby 'Vilburta !\lOOl·C

[No Junior Etude Contest This Month----~--Did you know?

by Marianne Kuronda

-that the word conservatorycomesfrom the Italian "Conserve-torio," which actually means anorphanage? The oldest of theseinstitutions was founded in Na-plesabout 1537 lor the purpose 01giving an extensive musical edu-cation to talented orphans.-That during Schubert's Iile.

time there existed in Europe a so-called "picnic piano," not largerthan a suitcase? People used totake this little instrument with

them wherever there was a gaycrowd ready to sing and dance.-that clavichords made during

the seventeenth and eighteenthcenturies had keyboards with thecolors reversed-black for thelower and white for the upperkeys? Some of these instrumentsme y be seen in museums.-that tunes can be played on a

steel saw when played with a bowor struck with a felt-covered mal-let? The tone is rather pleasant.

Letter Box

Send replies to letters in cur-e ofJunior Etude, Bryn Mawl·, I'D.,and they will he forwarded to thewriters. Do not ask for addresses.

Dear Junior Etude:

Twicea monthan American bookmobilecomesto our town and people call gethooksand magazines and I was verypleased t~at I could get ETUDE. MygreatestJOY was to find Junior EtudeLeiterBox.I would like to hear fromreaderswho are interested in music. Iamenclosinga photo of myself.I playaccordionand mouth organ.

PeterRode (Age 17), Germany

•I amstudyingviolin and have also be-g~ncello.I play in our High School Or.c estraand in our Civic Symphony IWould lik .die very much to hear fromreaers in other countries as well as inOur Own.NiccoletteGanshaw (Age 18). Indiana

•I havetak .words relating to music carne from pi en plano for six years, alsothis same ancient civilization. scbY ~rganand flute. I play flute in our

ch?O hand and sing in our churchThese words, having Greek roots, OIr,.r have an engagement to play. I d . h rd organloou, h b hiIOC U e: acoustIcs. callon, co, ' C UTe w Ie our organisth

goes on v .c orus, episode,_ harmony, hymn, . acahon. I enjoy ETUDEespeciallythe 'lyric, melody, meter, orchestra, or· isisp organ music and Organ-

h lunioa'E" ldwould enjoy hearing fromgan, polyphony, program, rap' r tn e readers.sody, rhythm, scene. symphony: Johnny Wadhams (Age 16),theme, tone, and many others. Massachussetts

ETUDE-APRIL 1953~TUDE_APRIL 1953

Foreign mail is 5 cents; some for-eign airmail is 15 cents and some is25 cents. Consult your Post Officcbefore stamping foreign air mail.

Dear Junior Etude:I have taken piano lessons five years andI like the Junior Etude very much. Iwould like to know when you are goingto have another poetry contest. I wouldalso enjoy hearing from other readers.Marilyn Weide (Age 16), Minnesota

(N.B. The dates of the J unior Etudecontests arc never given in advance)

•Dear Junior Etude:I play drums in our High School bandand have had lessons on percussion in-struments for several years. I am en-tering my third regional and State con-test ill snare drums. I would like tohear from some one interested in per-cussion.

Joe Tarry (Age 15). Kentucky

•The following writers would also liketo hear from Junior Etude readers.Space does not permit printing theirletters in full. Follow regular LetterBox regulations when replying to them.Nancy Read (Age 17, Massachusetts)

plays piano and hopes to be a concertsinger; Richard Griffen (Age 10, Con-necticut) takes piano lessons and wouldlike to hear from others interested inmusic; Pal Throm (girl, age 14, Ohio)takes piano lessons but likes all music;would like to hear from other musicstudents; Ruth Harris (Age 13, In.di-ana) reads Junior Etude and would liketo hear Irom some of its other readers;loan Crumet (Age 15, Minnesota) hasstudied piano six years and would liketo hear from others. Doris Seeley (age15, New Jersey) studies piano and herhobbies are sailing, music and dogs;lunet Mohan (age 13) Pennsylvania,plays piano and expects to start organsoon.

AU3weTIJ to Quiz1. Six; 2. three; 3. four; 4. six; 5.fourteen; 6. thirty-two; 7. three; 8.1791; 9. twelve; 10. three.

INNESOTASESSION

SPECIAL COURSES IN MUSiC AND MUSiC EDUCATION

It's fun to study on Min-nesota's cool, friendly campus,flanked by the historic Missis-sippi, just 15 minutes from sixenticing lakes, and close to thecultural, shopping and enter-tainment areas of two big cities.More than 1,000 courses, em-

bracing every field of educationand scientific interest, are of-fered by a nationally-recognized

staff of professors, augmentedby outstanding guests.Preeminent library and labo-

ratory facilities present unusualopportunity for graduate workand research ... an exciting pro-gram of concerts, plays, lecturesand social events assures stimulat-ing recreation. You may chooseeither or both of two independ-ent terms of five weeks each.

We have received many thingsand many ideas from the old Gre-cian civilization hundreds and hun-

The stars are golden notes 'upon Repeat the melody the waves dreds of years ago: and also manyThe staff of moonbeams bright: Beat out upon the shore. words which are a part of the

As nature leads a symphony The burnished harps of water-falls English language of the presentUpon the stage of night. _ Toss grace notes: tinkling, gay, time. The Grecian civilization a180

The breezes trill their silver flutes: Against the mutter of the drums left its very important mark on the

..... 54.w_i.n.d.'s.V.iO.l.in.s.g.a.lo.'.e••••••• O.I•.•Lh.u.n.c.lc.r.,.f.a.r.a.'.va.y.!•••••• a.r.t.O.I.m.U.S.ie_.a.n.d_m_a.n.Y_O_I_o_u_r_

FIRST TERM June 1S-July 18 SECOND TERM July 20-Aug. 22

Write for helpful complete bulletin.Dean of the Summer Session, 801 Johnston Hall.

UNIVERSITY OF MINNESOTAMINNEAPOLIS 14, MINNESOTA

EASTMAN SCHOOL OF MUSICof

The University of Ilechester

HOWARD HANSON, DirectorRAYMOND WILSON, Assistant Director

Undergraduate and Graduate Departments

SUMMER SESSIONJune 22-July 31,- 1953

.FALL SESSIONSeptember 21, 1953-June 4, 1954

For further information address

ARTHUR H. LARSON, Secretary-Registrar

EASTMAN SCHOOL OF MUSICRochester, New York

8ALDWtN·WALLACECONSERVATORY OF MUSIC

BEREA. OHIO (suburb of Cleveland)

Aftlllated with a tlrst clau Liberal ArtsCollelle. Four end ft~e yeer courses leadlnllto degren. Faculty or "rUst Teachen. SCUdtor catalogue or lntormatlon to:

CECIL W. MUNK. Director, Berea. Ohio

Applied and Theoretical Music, Composition.Musicology, I&ndMusic Education. Bachelorof Music and Master of Music degreea.

Bulletin on Rcque"t430 So.l\liehil;:m Ave.,Chicaco 5, Illinois

ROOSEVELT COLLEGESCHOOL OF MUSIC

55

fF---

, ,,

SHERWOOD MUSIC SCHOOLThe thorough, specialized, professional training essen-tial to success in a musical career, Sherwood com-bines with a general cultural background designed tostimulate self-expression. Individual guidance by afae,ulty of internationally known artists. Degree, di-

ploma and certificate majors in piano, voice,violin, 'cello, wind instrument, organ, composi-tion, music education. Many opportunities forpublic recitals, solo and group performance.

Splendidly equipped building with easy accessto rich cultural facilities of Chicago. Non-profit:established in 1895. Summer term beqins June17th, Write for catalog.

Arthur Wildman, Musical Directar.1014 So. Michigan Ave.

Chicago 5, Illinois

ST. LOUIS INSTITUTE of MUSICJohn Philip Bloke, Jr., President

Bachelor of Music Degree in 24 Fields

Master of Music Degree in 23 Fields

Graduates Music Education Major program well qualified to teoch 011 phc ses of

Music in public schools. A cotalog will be sent on request.Institutional Member Notional Association of Schools of Music

7807 Bonhomme AvenueSt. louis 5. Missouri

CONSERVATORY OF MUSIC OF KANSAS CITY, MO.

FOUR-YEAR COLLEGE OF MUSICOffers

Bachelor and Master of Music Degrees

Bachelor of Music Education Degree

Located in Kansas City's Cultural and Educational Center at 4420 Warwick

Summer Term, June 5 Fall Term, September 10

ASPEN INSTITUTE OF MUSICJune 29-August 29, 1953

Address: Genevieve LynCjby,Rm. 505, 38 S. Dearborn, Chicago 3. Illinois

BUTLER UNIVERSITY

JORDAN COLLEGE OF MUSICA rich tradition, a progressive philosophy, an outstanding faculty. complete accred-itation. Baccalaureate degrees in Donee, Dramo, Music, Music Education, Radio.

Write for catologue and desired informotion

JORDAN COLLEGE OF MUSIC (Box El. 1204 North Delaware StreetIndianapolis 2. Indiana

lAMERICAN CONSERVATORYOF MUSIC-CHICAGO

Ofi:ers courses in all branches of music and dramatic artenh year. Paculty of 135 artist teachers

Member of National Association of Schools of Musici Send for a,.free catalog-Address: John R, Hattstaedt, Pres .. 573Kimball Bid!::., Chicago

56

WHY NOT A COMMUNITY flOY CHOIR?

(Cont.i.nued from Page 13)

First, we must prepare the choirboys physically. 'We teach them cor-rect posture, proper breathing, andintroduce the exercises to be usedfrom time to time in the course oftheir development.Secondly, there is the intellectual

preparation which must be accom-plished ; theory of music, hist~n'of music,.as well as the preparatroufor the singing of music in a foreignlanguage. Om' boys commonly singin at least three languages; Latin,German, and Engf ish. At present.,t.hey are also prepared to sing inOld English. This is something notquickly accomplished with 8 and 9year old boys, but patience and clearthinking will always prove the childcapable.Lastly, after the first two phases

of work have been accomplished, theremaining aspect which brings thechoir into its fullness may be com-pleted. This is the spiritual ele-ment which is actually in existencebefore the rest, and is at work whenthe choir .first begins. This sph-itua lside of boy choir work is accom-plished through the boys' onenessof purpose, their association withone another, through their un-derstanding of their director andchoir mates, and through their en-thusiasm for the choir's wo-k. Alltotaled, these qualities bring abouta unity which gives a wonclerfu 1 hu p-piness to an already enjoyable work.We also have found it most im-

portant to surround ourselves withpersons who think clearly and posi-tively. We feel the choir has beenparticularly hlessed in ha\'ing a choirmother who has worked continuouslywith us since the beginning of ourdays, Mrs. O. L. Haughton, affec·tionately known to all members ofthe boy choir as '":Mama" Haughton.When on tOllI' she is not only ward-robe mistress whose job it is back·stage to manage the vesting of theboys, but she is also, as her nameimplies, a mother to them all. In themost glowing terms she is a personendowed with palience, understand.iug, love of the work. and the know}.edge of boy choir which comes onlyfrom actual experience.From the beginning days of the

Denton Civic Boy Choir when theworks of Dyke and Barnb y weremasterworks for the untra'ln d.. e par-tJclpa.nts, the Choir's repertoire hassteadily enlarged by constant searchfor mal~rial in this undeveloped fieldof .~uslCal accomplishment. Com-pOSitIOns considered standard arefrom the pens of di Lasso L 'iI'l " B I . otll1 artllll, ac 1 Handel H d ii' .

5 I' , ay n. 110Z·

art, c lubert Mendelss I Wd K ' am. agneran , odaly, Among the major wo kare: Pergolesi's St.abat Mater' B r ,s~antasy on Polish Carols' an'd ;x sJamin Britten's Cerema .' IC en·Ilk' n) a aralsn 00 -Ing throu ...h I' '"" a vo ummOU8

amount of compositions in search cladequate and worth-while material.it became obvious that nothing wasbeing contributed to the boy choirfield from the modern composers ofAmerica. We felt a compulsion to dosomething immediately so that inyears to come the zenith or our civil.ization would be represented in musi-cal form through the medium 01 hoychoir, as were the heights of theBaroque and Hennis ance.At this point, we realized what

needed to be done and took steps inthat direction; namely, a series ofmajor works represeutarive of variousschools of cOmpOqilioll. Eommission-ing seemed the best way in "whichLO get the job accomplished.'Ve next considered the relation.

ship of the boy choir in the field ofmusic, and the likel) composer iO

undertake the initial step in thisproposed cries of commi-slons.The medium of boy choir he, in it

muuy of the qualities of a chambergJ"ou p. at only does it producesounds mer suitable to such a groupthan to the concert hall. but itsvoicings are v r)' similar to those 01"a chamber group. We then began tolook for the O1o..t Iikef composer forthis initial work. '\ e knew. of course.that we were looking for a master ofchamber music.

Ernest von Dohnanyi. the notedpianist and compo ..er. and composer.in-residence at Florida State Univerah y. was elected since his COil'

eerled chamber workslul\+e long beenhighly valued by the world's greale;;1arLists. and since his cotllpo~ilionshave alway had a fres.hness andyouthful enthusiasm ahout tbem. Heis a composer o[ melody with a touchof modern in\"el1ti\"ene.s~.TIle~ oul·sLanding qualities in hi~ work led U5

to choose him for th.i5; fir::' 5tep inenlarging the modern repertoire 01boy ehoi r music.

l\[r. Dohnanyi. when conlacLed,most graciously accepted the com·mission andi at present at work011the composition which is to be pre·miered this rear.Like all per~on~ who keep their

heads in the skie~. ",'e Rlmetime,have difficulty in planting our feetfirml)' on the ground. Tho~ timeswhen we have accompli5hed thistwo-way stretch. we can see whatthe destiny of our mi~~ion i~to be;a boy choir ~hool to be foundedhere in the Southw~t which willbethe first suh::.tantial breach of thevastness bet",een tIle 1>0,- choirschools of lhe £a~t Coa~t. and theboy choir school- of the W~t Coa~l,We have begun to take the initialsteps in thi larger project. and al·though it will take cons.iderable timeand energy to complete the thought,we kno~~ that it will be rea.lizedasall such po ...ith"c and (ar_reachingwork mll<t h;,. THE E~D

AMERICA, INVOLVED IN MUSIC,

IS BECOMING GREAT IN MUSIC

(Continued from Page 9)

in~this, Mr. Copland felt that hew:s". ' . not an expert in publicschoolmusic; nevertheless, we haveso muchmore music in all Americathat in the very nature of thingsthe results must be much moregoodthan bad." Pausing a momenttheeminentcomposer gave expres-sien to one of the most profoundphilosophicaltruths of the hourwe spent together: "You know,Mr. Brant, when people really tryfor good things they create moreof beauty than of ugliness. Don'tyouthinkso?"AaronCopland laid down certain

very definite patterns he felt theyoung musician must follow,whetherhe contemplates a con-cert career or that of a musicianin his own community. These aresopracticalthat I categorize them:1. Hemust NOT follow the field

of music unless he experiencesso great a compulsion to it thathe. would be unhappy doing any-dung else.2. ~e must be friendly. Publicrelations playa large part in hissuccess or failure.3. He 'must be accessible. Tohold oneseJf aloof is never togain friends, OJ" even to be cas-uaJly liked. If one is not likedor respected one will not gainclients, therefore one will nothave a living.A young oriental had quietly en-

tered and seated himself as wetalked; he was waiting for hislesson in com position. The mes-sage of musical America was heinzheard in the Far East. Why shouldnot the people of America herselfrealize the importance of that mes-sage, and its aUlhority? THE END

THE GREATNESS OF PABLO CASALS

(Continued from Page 16)

famousFrench conductor, CharlesLamoureux,who was then prepar-ing a series of winter concerts.Thefamous man grumbled when

Casals presented the card-hedidn't like to be disturbed whenat work, Cesals offered to with-draw,but Lamoureux took a look athis visitor, and crumbled azain :"No, go ahead ~l(1 play, y~un~man-I like you."Casalstuned his instrument with

sp~c.ialdeliberation, serenity ofo~JrItbeing, after character andk~ndlless,a- law of life to him.~mallY he began to play, and with,Ie first note Lamoureux turned~nhi~ chair. He had a physicaln,lfirmaywhich made it an effort tonoe,but when Casals finished thegreat,conductor was standing' be-forehIm,"Y,~ushall l>lay in my first con-

cert! he said,LCasals'debut in Paris with the. amoureuxorchestra was an eventIn thehislory of music.

It was' V'h' 1·£ H1 lenna, however, thatIS I e·rule of .serenity was put to~ ~\'ere test. Vienna was then the

hapllalof the musical world ande Wassw 0 nervuus that his handr:sj,tenbse~vhenhe lifted the bow.

Imerlthet'd dtwirlh [' ne to 0 a littledrum.e .lad learned when playing

new major as a child. The bowOut £ I'in the ,~ us fingers and landed

it ml st of the audience. WhileWassolemnlrowI Y passed hack fromorowhehd'from h" a lIme to summon

IS mem Ilearned£ ory w lat he hadrom hi hJet an s mot er-never to

, Y external .hiS pur CIrcumstance alteraess Phoseor disturb the calm

Wit wh' h .When the IC he pursued it.hand Wa how reached him bis

S steady d h, an e played

ETUDE_APRIL 1953

with a mastery never beforeequalled by him.There is a selflessness, a lack of

vanity, in Casale' devotion to musicthat has hardly a precedent. Hewould far rather conduct an or-chestra than win glory as a vir-tuoso. Moreover, as a conductorhe enjoys the rehearsals more thanthe final show. It is "makingmusic" that he loves, and he lovesto teach people how to do it. While·he was growing to world fame asa cellist, he used his earnings tothe amount of $600,000 to createand train a "people's orchestra,"the first one in the world, at Bar-celona. To make its music avail·able to all the people, he formeda Workers' Concert Society withdues of one dollar a year, and gaveconcerts for it.s members at greatlyreduced prices.Casals also satisfied his love for

simple people, his wish not to letfame and fortune divide hjm fromthem, by going back to Vendrellfor two or three weeks every yearto live again with his old friends,the carpenter, the blacksmith, theshoe-store keeper. And his specialjoy was to get together with thetown's musicians and play a con·cert in the public square.One day, when climbing Mount

Tamalpais after a concert in SanFrancisco, he barely saved his lifeby jumping aside from a roWngboulder. It struck the first fingerof his left hand, apparently smash·ing it for good. To the astonish-ment of his companions, his firstwords were, "Thank God I shallnever have to play the celloagain!" Fortunately for the worldhe was a poor prophet.But what (Continued on Page 62)

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(Continned from Page 19)

an operetta number can be rea~i1ycleared, but actual stage productionat the scene where the numbel' oc-curs involves different handling an.da much larger fee. Copyright la\~ i sclear enough and a music llbrananneedn't be a lawyer; but since hisjob depends, in part,. on personaldealin as with copyright holders, heshoull have fairly wide personalcontacts, plus an ability 10 gel alongwith people.

"Next the music librarian needsa thorough knowledge of cataloguingand cross indexing, so that a work(or even a few bars) may be easilylocated, both by t.itle and composer,and by mood and use. Before he canindex the music, he must know it!This presupposes a thorough musi-cal education, and that Intimat e fa ".miliarity with musical types andstyles that can, at short notice, digup tour bars suitable to an airplanescene or a peasant wedding. Also, itis an advantage to a librarian to haveroutine orchestral experience.

"The librarian is responsible forkeeping the files in good order. Atthe Music Hall, they include orches-tral scores, orchestral parts. vocaland choral parts of everything we'veever presented. Arrangements canbecome obsolete, but we keep themanyway, partly for reference. partlyfor possible revivals in which theobsolete atmosphere may contributeto a production. We also maintain acomplete file of new popular re-leases. And the librarian must puthis finger on what's wanted the mo-ment it is wanted.

"Work of this kind needs a mindequipped for detail. accuracy. con-centration, and patience. A strongconstitution is also a help! When anew show is in preparation. I'msometimes at my desk till 5 A.M. Re-cently, one of the numbers requiredtwo bars of harmonic change whichmeant rearranging two bars for thefifty-three instruments of the MusicHall orchestra, pasting the insertsinto fifty·three parts, and recopyingsix or seven bars whenever tl'''": pagehappened to turn at the spot inquestion."

The li~rarian is also in charge oft.he copyists. Years ago, the copyistwas generally a venerable, retiredorchestral player who did Co!}yingbecause he could find no other em-ployment. Today. with Improvingconditions of work and pay. fixedpage rates prevail. and a number ofyou~g. men and women. all ablemUSlcmns, are turning from pit andplatform to copying as a lIseful.~ften 1~lcrative profession-especiallym radIO, television. and films

"~he copyist takes each fuil man-uscnpt SCore which the arrad d " nger

sen s own, says Mr. PeTrie U dfrom it copies out the indi'vidaunalparts. Formerly, there was a cert ', 1 ammonotony 1I1VO ved since twenty vio-

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58

lin parts meant twenty separalecopyings; but mechanical advance.ment has obviated that. Today at theMusic Hall, we make one copyofeach part on transparent musicmanuscript paper called Deshon.from which we run off as many partsas we need on one of our duplicar,ing machines.

"A good copyist must have abackground of solid musicianship:quick, accurate reading, and a thcr-ough knowledge of transposition,orohestrution. lind instrumental use.He also needs a bent of mind thattakes naturally to accuracy and de.tail. and a skilled hand at turningout neat, clear. legible notes. Forthis, the best training is to copy!Tn time, one works lip speed alongwith accuracy. The experiencedcopyist should he able to turn outa full page in fifteen minutes."

Of all these unseen musical e.per-ts. one is visible. though not inthe field of his special task. Asthegiant 'lusic Hall orchestra elevatormoves the men up to stage level.yOlIsee in the percussion section an alertyoung man who duties includeagreat deal more than playing thetympani. He i Robert Swan. orchestra manager. Graduate and Icr-mer faculty member of the EastmanSchool of 'lusic. and alumnus ofthe Ro hester Philharmonic (andthe .S. Iavy during the warl·llejoined the Radio City Music HallSymphony as substitute. becamearegular member in 1951. and was appointed orchestra manager lessthana year later.

"Every orchestra has its mae-ager." says Ir. Swan. "and sincel~eis usually one of the players. hiSfirst need is to be a thoroughlytrained orchestra musician. He need,something more. though. as the qual·ity of the orcheslra depends Jargel,on his judgm nt. Working withthemusical director. the manager con·cerns himself with the hiring andfir·ing of the men. .

"There is great demand for MUSIC

Hall jobs. and we ha\-e a constanlflow of applications. :'I{y job is tosort these over according to back,ground. recommendations. and \.~.riety of experience. for future audl'tioning. We give two different :l'peiof audition. In the case of a sklll~~.experienced player. we may inl'Jtethe candidate to come in and pla~wilh the orchestra durin~ II p;rjformance. at which :'otr. PaigeanIjudge of his ensemble abilities.~other cases. 1 audition the playerplljv~tely so that I rna}' for'.".an i~eailh IS technique and rou5JClanshIP"1 P'hr'hl't lat goes well. )Ir. 31ge ea ~"Gb' I b orche~trlVIOUS y. t en. an I

" hOp anmanager needs rouSlClans I 1.. e ~rcritical judgment. And. ~mC

a Iso keeps the books and ~pares the payroll.. he n M"a busines.!-like mmd cap!

ETUD£-,4PRIL J9i

ofhandling sheer business problemsin an efficient way. He also needsthe kind of human diplomacy thatcanstraighten out any of the assortedrubs which arise when a large num-ber of men work together.

"Harmonious relationships arevital at the Music Hall where wework together longer than in theaverage orchestra. We're in thetheatre ten hours a day, every day,working, rehearsing, and spendingin between hours in our backstageclub room. And the manager mustseethat harmony prevails! The bestassurance is to take in only men ofharmonious potentialities. We keep

clear of over-egotistic, tempera-mental, inconsiderate types as C31·e.fully as we avoid inferior musician-ship. The orchestra manager mustknow his way about-and I certainlytry toJ-both in music and in humannature."

Jobs like these are essential tothe functioning of every large mu-sica! organization. They are inter-esting, wen-paid, and carry theprestige of expert musical craftsman.ship. Similar chances will be wait-ing for those who can prove fitnessfor them. It might be a wise ideato begin taking stock!

THE END

ATTACK AND EMISSION IN SINGING

(Conl.inned from Page 14)

A large degree of tonal purity isalsonecessary before a voice can beaccurately classified j the real, na-tural quality of a voice is most oftenconcealeduntil it has been achieved.There are infinite varieties of vocalquality, or timbre. Many that areheard are artificial and foreign tothe individual and are usually theresult of faulty production, imitn-tion of a favorite singer. or thefabrication of a teacher, for therearemanyteachers who believe that astandard of "tone" meaning qualityor timbre is dependent on the "goodtaste" of the teacher. This is afatal mistake. Neither the tastes ofthe teacher nor of the pupil shouldbeallowedto interfere with the qual-ity or timbre of a voice. Men whoarereally tenors have been distortedintobaritones because of this, bari-tonesinto tenors or bassos contraltosintosopranos and sopran~s into con-traltos, usually with destructive re-sults. The inherent, natural, per.:onal, distinctive quality of a voiceIS evident only after its tonal im-perfectionshave been removed andsincequality determines the categor;of a voice, it is the job of thet~achernot to make a quality but tor~dthe voice of its tonal imperfec-lIOnsso that its natural and individ-~l quality is freed. The quality ist ere and does not have Lo be made'the tid •ona ross has to be removed sothat it C Aan emerge. teacher shouldneverclassify a voice at the com.mencementof training. Ease withina certain range is no guide. Badvocal h h' 'f .a ItS 1 perSisted in will im-part a sense of ease, albeit a falsesenseof ea Wh 't' se. en tonal Imperfec-IOnsare eradicated and there is

ct?rrectattack and emission the ques-IOn of I ·fi· •h

c assl catIOn ceases to be apro lem Th li'd . e qua ty of voice iseVlentad .e or . n steps mto its true cat·g Y WIthout guesswork.~ev.eral methods of attack and

emiSSIOnh b{avo dave een advocated. Mostan/~e of all .is the coup-de-glotteb f prefacmg of a soft aspiratee ore the consonant or vowel at the

ETUDE_APRIL 1953

opening of a musical phrase. But nomethod takes cognizance of the factthat only purity of tone is the es-sence of correct attack and emissionand good vocal production.

How are tonal imperfections re-moved and tonal purity achieved?Like most things pertaining to sing-ing, it is simple although not easy.First, the teacher and pupil must beable to detect the tonal imperfec-lions, must know what throatiness,gutturalness, laryngeal stricture,nasality and breathiness are. Manydo not. Next. correct breathing andbreath control are necessary.

(In a previous ETUDE article,February 1952, I have described theprocesses which, in my opinion, con-tribute towards correct breathingand breath control. I would like toadd a short comment on posture.The body must be held loosely erect;a floating sensation should be feltin the whole of the chest-front,back, sides; the back of the neckand head must be held in a straightline with the spine, but loosely, witha complete sense of freedom; anoverall buoyant feeling must pervadethe whole body.

And finally, the teacher and pupilmust see to it that phonation is ef-fected with the much prized and in-dispensable condition enjoined in thephrase con la gola libera, "with afree throat," or, as some prefer totranslate it, "with an open throat."Related to the free throat, necessaryto it, and following from it, if p.r?p-edy done, is the smiling posuwnof the mouth and the completely. re-laxed, flaccid drop of the lower Jaw.

Correct breatbing and breath con-trol, phonation with la gola Liberaleads to purity of tone and the so-called connection with the resonators.Without this there is no correct at·tack and emission of the voice.A great deal has been written in

h "1 ,"recent years about t e ost ar,the "secret" of bel canto. There isno secret about it. Tonal purity, cor-rect attack and emissjon constitutethe basis o( bel canto, THE END

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59

SHAPING THE FINGERS ON THE STRING

(Continned from Page 25)

for the the height the fingers should belifted it is once more a questionof the type of passage being played.The artist playing a rapid passagewill lift his fingers very little: thestudent who is striving to developstrength and independence in hisfingers will lift them as high as hecan when practicing exercises orscales-always keeping them wel lcurved, however. In a certain typeof romantic novel there is quiteoften a reference to a long-haired,exotic-looking violinist whose fingers"fly" over the violin as he plays.The authors either have never ob-served a really fine violinist orthey have allowed a more or lessdivine affiatus to run away with them.For the fingers of a wen-trained vic-lini st do not «fly" when he is play-ing rapidly. The hand moves rap-idly up and down the fingerboard,but the fingers actually crawl. Theyproduce the necessary strong gripfrom a distance of about half aninch to an inch above the strings.The ability to produce this grip withthe finger falling so short a distanceis not to be acquired in a hurry.There must be strength in each fin-ger and independence in all thefingers, and these qualities can heobtained only through many hoursof thoughtful practice.

To acquire this strength and inde-pendence much time must be spenton finger exercises, the fingers beinglifted as high as possible-and notsluggishly. They must, on the con-trary, spring up as though suddenlyelectrified. Then they must fall onthe string with the full strength ofthe hand behind them and maintainthe grip until the next note is played.Which brings to mind a commonstudent fault: that of playing fingerexercises too fast. Speed is, ofcourse, a necessary accomplishment,but a sustained grip is just as neces-sary. To attain it, exercises andscales should be Inacticed in eighth

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Grade I V2COME, LITTLE BLUEBIRD .. Richard Kountz 130-41108 .35(4/4 in F, Words, legato phrasing)COWBOY CHARLEY .. J. Ulion Vandevere 110-40206 .35(Tuneful, Study in touch control)DRUM MAJOR .. Mo.e-Aileen Erb 110-40173 .35(4/4 in C, Lively merch in staccato 3rds)JIM DOLAN, PRIVATE EYE .A. Louis Scarmolin 130-41118 .35(Legato, Srcccctc. Descriptive)LITTLE TRUMPETER ... G. Alex Kevan 110-40209 .35(Bright, tuneful study in 8th and 16th notes)WISE OLD OWL.. . .. Louise E. Stoirs 110-40193 .35{6/8 in G, Words, Short spen in both hands}

Grede 2COWBOY ON THE TRAIL.. .Ada Richter 110-40130 .30{4./4 in G, Words, Boys, Rhythmic}O! SO HAPPY . Margaret Wigham 130-41104 .30(3/4 in F, Melodic study in crosshands)PICKANINNY DANCE .. Ella Ketterer 110-40134 .30(4/4 in Gb, Black key study. R.H. 5 finger legato)PIXIE AND THE FAIRy Florence Fender Binkley 110-40174 .30(Triplet erpeggios, Dynemics)RAIN DANCE ······ Stanford King 130·41106 .35(4/4 in F, Wrist staccato, l.H. against R.H. melody)WINDING RiVER Berenice Bemon Bentley 130·40132 .30(6/8 in Bb, Legato, Arpeggio 3rdsJ

Grade 2lhBARN DANCE ."> Albert De Vito 110·40153 .35(2/4 in G. Stacceto, Legato, Parallel scale passages)LITTLE TIN DANCING MAN ... Charles Huerter 130-40022 .35(4/4 in G, Gey dance, Triplet figures)MEXICAN HOLIDAY . Stanford King 130-41110 ,35(Tengo in G, Accent, Phrasing)NAVAJO LULLABY George Frederick McKay 130·411 16 .35(Excellent legeto study, Pleintive melody, Contemporery flavor)SWEETLY SINGS THE BROOKLET Ella Ketterer 110-40149 .35(4/4 in F, L.H. crossing, Singing melody against R.H. arpeggios, Pedal)TOCCATA Johan Franco 130-41112 .35(4/4 in 0, Excellent "touch" piece emphesizing control of deteched notes in

alternote hands)Grode 3

CANDLE LIGHT .Charles Huerter 130-41038 .30(3 stoves, Small chords)o HEAR THOSE EVENING BELLS! .Morgoret Wighom 130-41064 .30{Chords, Independent voices}PARADE OF THE POOKAS .. Vladimir Padwa 130-41107 .35(6/8 in F, Bright staccato and legato march)SPANISH LULLABY .Anne Robinson 110·40185 .35(2/4 in F, Typicol rhythm, Without oeteves)

Grode 3112DREAM TIME .. Rolph Federer 110-40164 .35(4/4 in Eb, Melody playing in octaves. Chords, Rhythm)DREAMS TO REMEMBER Francis Hendriks 130-41097 .60{Suite of 4 contrasting numbers of a highly melodic nature)IN LAZY SPRING . ... .. Donald Lee Moore 110-40058 .35(Dreamily, Legato, Chordal study in C)SUNRISE AT SEA ..... Johan Fronco 110-40210 .'35(Impressionistic, Contemporery flavor)

"il

notes "at a tempo not faster than1=88, each finger holding its grip forthe full duration of each note.

As soon as the fingers have beentrained to spring up from the stringsand to fall like steel hammers (onlythe experienced teacher can decidewhen this moment arrives), then thestudent should be-encouraged to liftthe fingers less and Jess high and toplay the exercises, etc .. more rapidly-while still maintaining the samefinger pressure-until the grip reomains vitally strong even though thefingers are lifted hardly at all. Never.thelesa, no matter how advanced aplayer may be, a few minutes of eachday's practice should be devoted toexercises in which the fingers springup as high as possible in order thatthey may keep the flexibility thalhas been acquired.

So far, we have considered the liftof the finger only in relation to tech-nical playing. Melodic playing is an-other matter. Here the fingers mustbe lifted higher to avoid having anidle finger inadvertently touch thestring when an intense vibrato is he-ing used. Although they are liftedfairly high, the fingers must not snapdown at the str-ings a they weretrained to do .in the exercises. Thissort of finger action produces a hard.brittle efIectin melodic playing. Thefingers should s<!ueeze the stringsrather than hit them.A lthough the bow arm is chiefly

I"esponsjble for expressive, artisticplaying. the left hand has importantfunctions wtl.i~h require thought.Far lOO often one hears a violinistwhose excellenl left hand is ruinedby an inadequate bow technique. butfairly often the reverse is to be found~a player whose expressive bowingis neady nullified hv a thoughl1esslyused left hand. The- two hands mustbe developed as a team and mustwork as a team. each aiding and com·plementing the other.

THEE D

New York appearance with either oflhese orchestras, and who would cer·tainly give a more commanding ac·count of their abilities and the music.For young pianists the most co\·etedhonor is to appear with one of thesemagnificent symphony orchestras;yet here we are importing non·entities. honoring them. paying goodlees to pIa)" dull work, dull)'. Whydon-t our young artisb their friends,their teachers rai~e TOICS about it,send in petitions. letters. protests tothe directors?

THE E:"ID

I6--John E. P1ol:l8--Cosmo-Sileo

£TUDE-APRIL 19;3

THE PHONOGRAPH DISCOVERS THE PIPf ORGAN

(Continned from Page 17)

Bach will have been recorded by oneof the world's foremost interpretersof Bach on instruments that faith-fully reflect the composer's inten-tions. Since the ambitious Deccaproject is now beyond the half-waypoint, a fair evaluation is possible.

The first reaction inevitably dealswith the organist, Helmut Walchawho has been completely blind al-most since the day of his birth inLeipzig 45 years ago. The concertworld has known blind organistsbefore, and the achievement of aplaying repertoire by these physicallyhandicapped performers has beenapplauded but not thought phe-nomenal.

But Walch a is recording frommemory with a technical masteryrealized by few sighted organiststhe entire organ works of one of themost intellectual composers who everlived t It's almost unbelievable. Hismethod is to memorize one "voice"at a time as his wife plays it forhim.

The labor and the incredible mem-ory involved are forgotten, however,when a Bach devotee gives himselfto the spell of one of the more spa-cious works played by HelmutWalcha. No four-minute 78 rpm rec-ord could ever have held the art ofWalcha, since his flowing GothicHnes soar ever and ever higher unlilthe suspense is finally resolved byclimactic devices of which Bach wasthe unequalled master.

The element of Walch a's style thatimpresses most is his unfaHing vital·ity. Carefully avoidjng any artificialmeans of inflating Bach's counter~point, Walch a achieves tremendousemotional force on fairly smallbaroque-type organs by complete ab-sorption in the art of his favoritecomposer.If I were to suggest one recording

to represent the art of Walcha, Ishould recommend Decca album DX117, Volume I of the Preludes andFugues. As customary, Walch a di-vided the recording sessions for thisalbum between the Small Organ inSt. Jakobi church, Lubeck, and thefamous Schnitger organ at Cappel-both organs dating back in part tothe time of Bach. I'm inclined torate this Walcha-Decca album asone of the two or lhree most success-ful Bach recordings ever made.

Walch a, a confirmed classicist whoalways plays on baroque organs, isleast successful with quiet works ofintense feeling. The lovely Pastoralein F major he handles very beauli-fuJly, but his chorale-preludes tendto be cool in the manner preferredby many present-day crusaders fora return to the baroque. Such or-ganists, in my opinion, should besentenced to sit for an hour a dayfor one year listening to the chorale-preludes of Bach played either by

SPRINGTIME SPARKS

(Continned Iro/11 Page 21)

same auditorium another mediocreFrench woman pianisl had the priv-ilege of appearing with the NewYork Philharmonic-Symphony Or-chestra in another hammered out-and mediocre~concerto by AlbertRoussel.

I should think those distinguishedaudiences would have protested lonO"and loudly at having to sit throuO"lsuch exhibitions. ",Vhy permit ma~)~agements to flaunt mediocrities inour laces (and ears) when we ha\c50 excellent native pianists whowould give their eye teeth for one

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ETUDE -APRIL 1953

Fritz Heitmann 01· Albert Schweitzer.These men are also authentic Bachi~terpr~ters. but they know that theVIgor of the big works should be~atched by the simple dignity andsmcere spirituality of the medita-tive pieces.

Working with Deutsche Grammo-p~on, Decca is accomplishing some-~hmg of a technical triumph withIts Gold Label Archive series ofBach organ recordings. To be sure,baroque organs do not offer record-ing crews the difficulties presentedby modern organs in cathedrals orgreat concert halls. Nevertheless,clarity from lop to bottom, artisticdynamics, and smooth record sur-faces prove the excellence of Decca'sengineering.

Recently Columbia Records sur-prised the music world with a newseries of recordings by AlbertSchweitzer. now 77 years of age, aman who has become legendary inhis own time. The three lcng- playingdiscs (and several others to be re-leased later) were recorded at theparish church in Gunshach, Alsace,on an organ of solid, silvery toneredesigned by Dr. Schweitzer. Onerecord, the best, is devoted to fa-vorite chorale-preludes of Bach.With the exception of the Men-delssohn Sonata No.6, the remainderof the Schweitzel· series is given overto J. S. Bach.

Biographers are certain to studythese latter-day Schweitzer record-ings. to learn something of the ex-traordinary qualities of soul thatproduced in the great writer, theo-logian, organist, and physician-missionary one of the major saintsof our century. In playing that isutterly devoid of virtuoso elements,Dr. Schweitzer reveals that the rev~erence for life which is at the heartof his philosophy is his key to greatmusic. He seems to play only for thel\1aster Creator-who has no needto he in a hurry.

To be frank, most of Dr. Schweit-zer's tempi are very slow indeed.He has contended all his life thatBach is usually played too fast. Buta comparison between the newSchweitzer recordings and the fa-mous Schweitzer recordings oftwenty years ago shows that theaging process has had its inevitableinfluence on the great man's organstyle.

The sufferers from the slowing-down (and the organist's varied in-terests) are such show pieces as theFantasia and Fugue in G minor andthe "Fanfare" Prelude in C major.The dramatic Fantasia is one of thefinest lhings in the old Schweitzer-Columbia colleclion. It has suchvitality, such stamina and yet suchdignity as to be unforgettable. Thenew Fantasia, I fear, is tired and

(Continued on Page 63)

Robert A. Choate, Dean

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THE GENIUS OF LEOpdLD GODOWSKY

(Continued from Page 26)

look any lessons, but to whose adviceand artistic counsel Godowsky at-tributed much of his later- extraor-dinary success'.

1891.1900: In America teachingand touring with notable success.He became the teacher in Piano De-partment of the New York Col.legeof Music and in 1894 became Direc-tor of the Piano Department of theCombs Broad Street Conservatory inPhiladelphia. In 1895 he went toChicago to head the Piano Depart-ment of the Chicago Conservatoryof Music, succeeding Liszt's famouspupil, William H. Sherwood. .

1900: Godowsky went to Berlinwhere he mel with phenomenal tri-umphs as a virtuoso and as a teacher.In 1909 he was appointed directorof the Klaviermeisterschule (suc-ceeding Ferruccio Busoni ) at Vienna.This carried with it the title of RoyalProfessor.

1912: Godo"wsky returned to Amer-ica where, after repeated tours, hemade his last public appearance asa virtuoso in this country in 1922.He conducted Master Classes inmany cilies for several years. He alsotoured Mexico. South America, theFar East, the Near East and south-eastern Europe.

Many of the most distinguishedvirtuosi I have known, includingPaderewski, Rachmaninoff, Bauer,d'Albert, Gabrilowitsch, Hambourg.Sauer and others, felt that Godowskyin his interpretations, in his tremen-dous technic, in his adhere ORe tothe composer's ideal and in hisbreadth of vision, ranked a5 one ofthe greatest masters of the pianosince the days of Chopin and Liszt.

Despite all of the honors that wereshowered upon him, Godowsky wasan extremely modest, democraticman. He said to me upon one occa-sian: "The public builds up an il-lusion about any conspicuous personbut sometimes it is most difficult tolive within that illusion."

Godowsky was also a thoroughlypractical man. His teaching instruc-tions were always lucid and direct.Godowsky's ideas upon the funda·mental principles of piano playingwere largely based upon the mind'scoordination with the arms, wrists.hands and fingers, and upon weightand relaxation playing, which he in·troduced while a teacher in NewYork in the early nineties. After cor-rect position at the keyboard hadbeen established. he insisted thatall tension should be relieved so thatthe myriad messages from the brainto the fingers should never at anytime be impeded. Once when ?vir.Godowsky paid a visit to my office,he said: "Notwithstanding its ap·parent simplicity, it is sometimesdifficult to bring the student's imag~ination to the all-important bond be.tween the mind and the fingers.

Sometimes I have even asked ad-vanced pupils, 'With what d? yo~play the piano?' The answer mvarr-ably was: 'With the hands and thefingers. of course.' Then I t~ok thepupil to a table and had lum resthis hands down upon the surface;then I asked, 'Suppose your handswere separated from the body. Couldthey play?' The student at oncegrasped what I was getting at. ThenI said, 'When I count, 1, 2, 3, 4,raise the forefinger instantaneouslyand Iet it fall.' I explained thatthat is the way in which the thoughtis telegraphed from the mysteriouscentral station in the brain to thefin O'er's lip. and that the great litera-tur~ of th~ piano calls for millionsof such instantaneous movements ofthe human playing apparatus toexpress the motifs, phrases andmusical ideas of the masters.

"The student should always under-stand that each hand should preserveits individuality. That is, if yourmind directs that yOUT right hand beheld above yOUT head, the left handand arm need not move and viceversa. Of course, both hands mustplay together in perfect coi::irdina~tion. They may be twins, but theyare not. Siamese twins. One handdoes not restrain the other. An ex-cellent preliminary drill to establishthis principle may be found inBach's Two-Voice Invenlions, whichmay be played like conversations be-tween the hands, the mind controlreverting from one hand to theother."

Godowsky was a composer of dis-tinguished ability. His "Triakontam-eron"-thirty Temarkable pieces, oneof which (Alt Wien) became worldfamous, have been widely played.The "Java Suite," really wonderfultone pictures of a Malayan pandisehe dearly loved, are only a few ofthe large number of compositionswhich should he widelv heard inthis dRY. In my book, "C;eat PianislS

on the Art of Piano Playing," whichreproduces a series of interview,previously published in ETUDE.Mr. Godowsky states some of theoriginal principles of his art, relatingto "weight playing and technicalprinciples now widely used, in thefollowing words:

"In this method of playing, thefineers are virtually 'glued to thekeys' in that they leave them theleast possible distance in order toaccomplish their essential aims. Thisresults in no waste motion of anykind no loss of power and conse-que~tly the greatest possible con-servaLion of energy. In this mannerof playing the arm is so relaxed thatit would fall to the side if the kev-board were removed from beneath it.Since Ihe hand and the arm are reolaxed, the back [top} of tbc hand isalmost on a level with the forearm.

"In my experience as a pianistand as a teacher, I have observedthat the weight touch allows thegreatest possible opportunity for theproper application of those all-im-port.ant divisions of technic withoutwhich piano playing is not only h.artistic. but devoid of all interest.Weight playing permits nothing tointerfere with discriminalive phm·inn'. complicated rhythmical prob·le~s. the infinitely subtle variationof time for expr ~si\'e purposes nowclassed under the head of agogics.all shades of synamic gradation; infact. everything tbat falls in thedomain of the artist piani~t.

"In the weight playing the finger~seem to mould lhe piano keys underthem. the hand and arlll are relaxed.but never heavy. The maximum ofrelaxation results in the minimumojfatigue. In legato playing. for in·stance. the fingers rest upon thefleshy part behind the tip ratherthan immediately upon the tip a5they would in passage work whenthe player de~ired to ha,·e the effectof a string o[ I)earls. The sensationin legato pIa) illg is that of pullingback rather than striking the keysIn passages where force is requi!edthe sensation is that of pushing:'

TIlE £'\0

THE GREATNESS OF PABLO CASALS

(Continued front Page 57)

he lucant was: "Now I can devote hall into a tellll)!e'"lily whole life to making the great- Today aU Catalan::_ and to sollieest of all music!" For to him the degree all ireedom-Io,·ing Spaniards.greatest music is the music of a (eel the same way toward Pablowell-trained Ol"chestra, disciplined CassIs. In the ~ucce~i\-e disastersin mutual good will and the will hl that h8"e befallen European democ'perfeclion-a social as well as a mu· rac) ill hi!:l lifetime. be has takensical achievement. "Honesty to the his Hand ~tubbornly. and reckless0:limit" is the ideal he holds before an the coH to himself. on the side~orchestra, honesty both in social con. freedom and the rights of man.H~iduct and in music. His musicians popularity in the old Rus!:'iaand Illi

feel toward him the veneration that income from concerts Ulere werechurchmen feel toward a loved priest enormous. but when. after the Dct

b·-

or pastor. Years ago when he wa~ ber revolution. the Bolc:heyiksesla'growing into manhood they said of li..hed the Cheka and began e~e'~lim jn Barcelona: "'He turns a ca{(' cuting dic:senter,;,. he declined aJllll'Jnto a concert hall, and a ('oo('("n (Continued on Page 6--!-)

THE PHONOGRAPH DISCOVERS

THE PIPE ORGAN

(Continued from Page 61)

- . ired: Fantasias are not idealunw~PI . .,piecesfor players neanng eighty.

Butjf the showy works of Bachwerebetter played by Dr. Sch-weitzertwentyyears ago, the deep-II' spiritual chorale-pr.eludes h~v.enowattained a maturity of spmtseldomequalle? W,e have onlyo Menschbewem dem Sunde grosslordirectcomparison, but this one

duplication of chorale-preludes in-dicates that Schweitzer is playingeverything more slowly than he didearlier in life. Yet the net resultin the chorale-preludes (VolumeII) is all gain. Schweitzer, withkeen meditative insight, interpretsthese profound works with awe-inspiring nobility and strength.

(To be continued next month)

THE LAST LIVING PUPIL OF FRANZ L1SZT

(Continued from Page 16)

Robert Whitford

HowwellIremember the load thatwastaken off my heart, for I wasso nervous that I wouldn't havebeenable to do myself justice.

"Liszt never charged for his les-sons,'but the student had to beadvancedand especially gifted.

'The master's home was a beau-tiful edifice, overlooking a park;it had been presented to him bytheGrand Duke of Weimar.

"Hismethod of teaching was un·u;,ual.It was quite informal andmorelike a drawing.room gather·ing.

"Froma table covered with mu·sic he would select a compositionandaskif anyone played that num-her, and the one who answeredwasaskedto play it from memory,whilethe master took the music inhishandsand watched closely.

HHislessons were never tediousthough.they sometimes lasted overfOllrhours. He would walk aboutthe room, smoking and makinglmef criticisms and sometimes hewouldsit down at the piano anddemonstratethe desired effect. Hepossessedthe faculty of inspiringlhe.young artist and encouragedenllrefreedomof interpretation.

"At times he would break forthwithan amusing jest. In fact, hewasusuallyfull of little witticisms

"He was a severe critic. Onc~wl~enI was playing, my memoryfaIledme at a difficult passage.He closedthe book with a bitingrem.ark.But he wasn't chary withpraIse.

Ii,"I'll never forget as long as I:ehwhenI especially pleased him

WIl th .Ie lllterpretation of the Bee-tloven A .- I ppasslOnata. He cameqUietY h-lover to t e plano, bent hislead and k- dI 18se me on the fore-leadl h'II IV - Was so t fIlled that I told:heris~Jm~rabout it. I will alwaysAnd t e memory of that kiss!the now I am the last pupil of

gr.eatrna tthe last f s er-yes, I have been

"It' or several years."ha s wond:r£u! to have suchfri~~rsmreemol'lkesd!"one of her older

" mar e .Yes, indeed'" i\f

agreed."God h . ISS Sophieandl' as been good to meeventhmgr1atefuland happy! And

Ougllam bnot a Ie to leave

Illy apartment, time doesn't hangheavy on my hands. My dear MTS.Heinzel-the faithful soul-andshe pointed to her housekeeper-takes good care of me. We read toeach other, I pract.ice my favoritepieces, and keep lip an extensivecorrespondence with my manyfriends, ex-pupils and relatives allover the country and in Europe.

"I hear {rom my brother, Dr.Arthur Gaebler and his wife almostevery week. Since he retired theyhave been living in St. Petersburg,Florida. He writes very interestingand humorous letters. He alwaysleases me about my many admirers.In a recent letter he wrote: 'I gatheryou have a new admirer-Joseph.Who is Joseph? You didn't write indetail about him-just said thatJoseph had visited you again.' I an-swered this letter immediately.

"Yes, you are right, Arthur, Jo~seph is a new admirer, and I'm veryfond of him. He is a young lad, 14years old, who read a short articlein the Journal about me last year,and had always wanted to visit me.

"He is a pianist and quite tal·ellted, and his playing shows that hehas a good teacher. He is also veryintelligent. When I played a verydifficult exercise, which is not inprint, one I learned from a friendwho was a pupil of Ernest Jedlicka,the little fellow surprised me bylearning to play it almost immedi~ately. Yes, I am very fond of Joseph.He asked me whether he could comelo see me on my birthday, and, ofcourse, I extended an invitation. Hecame with his mother this morning."

Miss Gaebler is a professor emer-itus of piano and voice at the Wis·consin College of Music, ·and sometime ago also taught in Madison oneday a week and for several years atthe Ada Bird School of Music, whichlater changed hands and was calledthe Buehler School of Music. Shewas a fine accompanist and had toplay for many of the great artistswho came ·to Madison. She alsoplayed her own accompanimentswhen she sang. She had a rich mezzo-soprano voice. Miss Gaebler stillplays all the great classical music:Bach, Beethoven, Schumann, Chopin,Brahms and others. THE END

ROBERT WHITFORD PIANO METHODS REPRESENTA NEW MOVEMENT IN PIANO EDUCATION

You will be pleased with the innovations Mr. Whitfordhas brought to present day piano teaching. Yes, therehave been some worthwhile changes made.Write now for a free copy of PIANO TEACHING TO-DAY which reveals Robert Whitford's personal methodfor teaching children and his method for teaching adults.With your copy of Piano Teaching Today you will alsobe sent complimentary, Mr. Whitford's master lessonon MUSICS MOST UNUSUAL CHORD. Just send yourname ond address and state w~ther you are a piano

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Plan now to attend the ROBERT WHITFORD PIANO TEACHER CONVENTION at the HotelSherman, Chicago, Ill., Aug. 6th and 7th, 1'153. Sponsored by the Certified Robert WhitfordPiano Teachers of America, but open to all piano teachers and interested students. Writefor details.

so YOU WANT TO BE A SINGER?By Irving Wilson Voorhees, M.S •• M.D.

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F.H O£-JPRIL 19i1 ETUDE_APRIL 1953

ADSTHE GREATNESS OF PABLO CASALS

CLASSIFIEDJ-lARIUONI'. Composition, Orchestra-tion, Musical Theory. Private orCorrespondence Instruction. Manu-scripts revised and corrected. Musicarranged. Frank S. Butler, 32-46 107St., Corona, N. Y.LEARN PIANO 'l'UNING-Slmplifled.authentic instruction $4.00-Llter-a.t ure tree. Prof. Ross, 456 BeecherSt.. Elmira, N. Y.

NE\V PIANO ~lu'rJJ1 LETS YOU.. RAe'I'ICE nAY OR NIGHT ,\VITH-OU'.' DIS'l'UnUING"O'l'HERS. Mutespiano about 85%. Easily attached ordetached without harming mecban-Ism. State upright, grand, or spinet!Sold only on money back guarantee.Send $5.00 for mute and fun t nstruc-rlon s, Ricllftrd Mayo, Dept. 004, 1120Latona Street, Phlla. 47. Pa,

'VIU'I'E SONGS: Read "Songwriter'sReview" Magazine. 16;:;0-ET Broad-w a.y , New York 19. 25t copy; $2.00year.

UACJi: POPUl.AR SHEET MUSIC. TOlMO. Ballads, j-ag t l rne, evervuuua-Catalogue 15t. ClaSSICS exchangedfor popular. Fore's, E31S! High, Den-ver 5, Colorado.8'''ING PIANO-BY MAIL 30 se.If-teaching lessons. $3.00. Six rottos(classical and popular), each $1.00.Chance to win $200.00 on new theory.Order 46-page original classical tm-pr-ovteatl on composed on a new the-ory price $20.00 (money back guar-Hntee), samples. Phil Breton Publi-en tlo ns. P.O. Box 1402, Omaha 8,Nebl'asl{a.

ACCO;UPANIlUENTS RECORDED ONRECORDS on 'rAPE BY FINE ART-IS'I' for a nv and all vocal music. Forcircular, ...vr-t t e Esquire Recordings,G90'wa shtng ton St .• Br-oo k'llne, Mass-achusetts.)IEi'UORY-PLAYING and Sight-Reading by proved methods over 30veal'S. Free syllabuS with Americanilnd Canadian appreciation. State in-strument and if elementary, moder-ate or advanced player. Director ofStudies, "MASTER - METHOD"Courses, (Studio 16) 14, EdgeworthCrescent, London, N.W.4 England.

THE SCIENTIFIC l\lUSJC TEACHER-Monthly-$2.00 year. Request sam-ple. Morong, Box 21, Brooklyn 25.New York.DANFORD HALL, COiUPOSER~AR-RAl""GER. All types of compositionscorrected. Lyrics set to music. 1914'V. Lunt Ave .• Chicago, Ill.PLAY BY SIGHT. Pianists SightRea,ding made easy. Improve yourplaying by studying THE ART OFSIGHT READING. 5 lessons complete$3. Danford Hall, 1914 W. Lunt, Chi-cago, Ill.PI ANO 'rEACHERS. "THE PIANO-GnAPH"-Note indicator and sightreading aid. Invaluable 'for beginnerstudents. Complete with 5 Discs, $2.Danford Hall, 1914 'V. Lunt, Chi-cago. Ill.OLD AND NE'V VIOLINS, Cellos,Bows. Supplies. Repairing, Eaken,310 E. Washington St., Chambers-burg, Pa.HAND BUILDING EXEnCISES FORPIANISTS by \\Teldon Carter. Sevenexercises with twenty minutes dailypractice bring almost immediate re-sults. Exercises concentrate entirelyon weak points of the hand. For busyteachers. concert pianists and ad-vanced students who wish to build amore perfect technic. Send $1.00 forcopy to 'Vashington Musical Insti-tute, 1730 Sixteenth Street, N.W .•,"Vashington. D.C. sent prepaid.

LEARN PIANO 'rUNING A'l' HOl\IE.Course by Dr. w m. Br-aid :'Vhite•world's leading piano tecnntcta n andteacher. Write Karl Bartenbach,1001A WeIls St .• Lafayette, Ind.

vitations to tour that country."My only weapon is my cello," he

says. "Not a very deadly one perhaps,but such as it is, it fights on the sideof freedom."When Hitler attained power and

began persecuting Jews and laborunions. he declared the same boycottagainst Germany. When Mussollnitook over Hitler's policy of anti-Semitism, he extended the boycottto Italv. When Franco seized powerin Spain, he left the country, declar-ing he would never go back until thetyrant was overthrown.Exiled from his country, his prop-

erty confiscated, Casals took up hisresidence in the three second-storyrooms of a gatekeeper's lodge in thevillage of Prudes on the north slopeof the Pyrenees, some 20 miles fromthe Spanish border. Here for 14years he has lived a life more likethat of a Franciscan monk than ofa world-famous musician. Everybodyin the village and the surroundingcountrv feels free to drop in for ad-vice 0; help, or just to bring him thenews of a birth in the family, or thehigh marks a small boy has madein school. He has made almost a lifemission of help ing the Spanish refu-gees, giving both good counsel andmaterial aiel.People make him happy because

he loves them. He finds time to an·swer hundreds of letters in longhandand file them away in folders hemakes out of sheets of newspaper.He has kept every letter that wasever written to him: If a visitor men-tions "that letter my father wroteyou a couple of years ago." Casalswill go to his filing system and heback in a very brief time w.ith theletter in his hand. His sympathy withpeople is so eager and inexhaustiblethat after the festival last summerhe answered the 600 letters he re-ceived in his own hand.Casals has found it possible to live

in the modern world with all it~speed-up and frenzied multiplicationof the forms of social communion.somewhat the life of an early Chri~-tian saint-a life dedicated t.o thelove of the neighbor. But althoughready to give himself so lavishly tot.hose who truly need him, Casals isnot gullible, nor is he blinded bygood will. He has, on the contrary,an almost uncanny way of knowinO"exactly ·what everybody in a roon'::fnl of people is up to. "Nobody evefools him," his pupils say. And h:takes only a few friends deep intohis heart. They are the ones he II" d" ca sgoo .And goodness includes self-disci-

pline. Like an Catalans and. . C . mostmUSICIans, asals is loaded likbomb with explosive emotions ~ ~h.e never ~lows up. He never behav~slike a pnma donna. Only when hedraws a bow across. the strings dothose pent-up emotions have their

(Continned from Page 62)day. They seem to lift him out ofthis world. The ease and spontaneousfreedom of his movements seem m]-

raculous, as though some supernalpower had taken possession of him.He has pondered over every note ofevery composition he plays. He stud-ied the Bach suites for cello, whichno cellist before him had tackled.for 12 years before he ventured toplay them in public. He is still study-ing them. In the presence of all greatmusic he thinks of himself as a stu-dent. He will announce with delightthat he has found a new way of fin-gering some passage that he hasbeen playing for 50 years.\Vhen a pupil complained to him

that she had forgotten a piece shehad known well and played manytimes. he said: "That's fine! Every-thing should be new every time youplay n."It was in the Swiss village of Zero

matt, where he conducted a courselast August, that I heard a brilliantpupil compare him to a Greek phi-losopher. And watching him teach,I understood what she meant.

'IBe impulsive-be fanciful," hesaid to his pupils. "Let the musicflow out of you as freely as thoughyou were speaking. But rememberthat freedom is not disorder. "A long thoughtful pause. "That issomething that has wide applicationin our times." Another pause. "Holdyourself at the same time within thebonds of the rhythm to the last frac·tion of a second. Be spontaneousand yet be controlled. That is whatyou have to learn."

Spontaneity in Casals includes anuninhibited expression of the tenderemotions. The same pupil who calledhim a Creek philosopher called him"sentimental." lIThe main thing inlife is not to he afraid to be human,"he said. "If something is so beauti·ful .it makes you want to cry-cry!"

At 75 Casals often speaks of him·self as an old man. But when hetakes a cello in his hands, a trans·formation occurs that is like D

miracle of resurrection. A famousmusician who attended the 1952 fes·tival-rather to honor Casals thanto hear him-turned to his neighborwhen Casals began to playa Bachsonata."~lhy he's playing it better than

he used to!" he wh.ispered in aston·ishment.Few outside the musical world

realize how much tltis means, II, at75, a gymnast ,,,"'ere to run down 8

spring.ramp and turn a double son1-ersauh over the backs of four ele-phants, that would be world ne,l'"But the coOrdination and control 01nene and muscle, the sheer flexjb~·ity and power, would hardly be moreremarkable than that of Pablo Cas·also His life-rule, serenity based oncharacter and kindness has sef\'edhim well. ' THE END

"·IOLINl\lAKEnS -i-Amateurs Pro-fessionals. Fine tone murcrieau wood,materials, supplies, patterns, Instruc-tions. .muetre.ted catalog 10¢, refund-ed. Premier Violin Supplies, Dept,V.E., 430 S. Broadway, Los Angeles13. California .

I?OR SALE. Rare records. Lists. Col-lections bought. E. Hirschmann, lOODuncan Ave .•.Jersey City, New .Tel'sey.

FAUL'1'Y TONED 'VIOLINS RE-YOICED-gi yen the fine tone of agenuine "St ra.d" by an expert nco u s -ttctan. Free information. ChelseaFraser. M.V.M., 2025 g tn rIc e, Sag-inaw, Michigan.

ATTEN'I'ION, SONG'VRITERS •YOUIt SON"GPOEl\I SET '1'0 IUUSIC,piano-arranged. ten professionalcopies. $25.00. Stein Studio, 429 SouthSt. Andrews Place, Los Angeles 5,California.

'VIOLINS for sale: Stradivarius,Guarnerius del oesc, Amati, Guada-gninis and others. Hill, Hamma,Herrm'ann w uru teer certificates.Fine Arts. 402 East Third, Flint,Michigan.

THREE OU'.rSTAl\"DIl\"G nECEl\"'l'L"l'PUBLISHED NUlUllERS: Mother ofMine song. The Cross, sacred song.Love'Orchids, waltz. 50¢ copy. Be a.conMusic publications, c/o AUred Sevig-ny, 405 Broadway, Lawrence. Mass.

VIOI~IN-COLLECTOn'S ITEM 18thcent urv German with lion's head,double' p ur-fl in g', elaborate inlay onback. Perfect condition. $350.00. Mrs.G. S. Reimann, 20 Hazelton Drive.,"';rhite Plains, New Yorl~.HARIUONIZING l\IELODIES ATSH';H'l'''':''24 pages of solid instr:uctionand easy-to-follow charts on Impro-vising transposition and harmoniza-tion. $1.00 postpaid. Free list of thou-sands of popular songs, bo.okS andfolios sent on request. Le\vls ArfineMusic, 117 "'T. 48th Street, New York36, New York.

B.'\.LD'VIl\" CON"CER'r GRAN"D Pl-ANO, ebony, length, 9 feet, 5 yearsold, perfect condition .. ~:hvner willsell for $3.500, f.o.b. \'\, rite: 1247 N.Cheyenne, Tul~a G. Oklahoma.FOR I~IANO 'rEACHERS ONLY Wehave a special money-saying dealworked out for ;rou. '''rite for fullinformation about our new "FTOPlan" Use vour letterhead or enclosea bt;siness' card if possible. LewisAdine Music, 117 '\T. 48th Street, NewYorl{ 36, New Yorlcl\IUSJCAL BINGO is the delightfulanswer to many problems. (Free lit-erature for 3¢ stamp.) Developed byProf. Lloyd C. Rudy, after 50 yearsexperience as teacher, composer,concert, dance, critic, lecture andmerehandising. $1.00 per set. Anynumber can play. 12113 'YoodwardAve., Detroit 3, Michigan.STR.INGED l\IUSICAL INSTRU-lUEN'l'S expertly repaired and refin-ished. "'ork guarantee(l. Collectionof old fiddles for sale or trade. Ja.mesE . .Justus. Route 2. Box 24, Bristol,Tennessee.ATTENTIONt '.rAPE R.ECORDERO'VNERS: Tape recordings expertlytransferred to phonograph records.Tape returned unel'ased. Sent any-where in United States. Write, ES-QUIRE RECORDINGS. 690 Washing-ton St., Brooldine. Massachusetts.

64

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CLASSIFIED ADVERTISING RATE IS 20¢ a word. In order topartially cover our typography and clerical costs, we only accept aminimum order of $3.00-or 15 words. Copy submitted is subjectLo approval by the editor. Copy will be set by ns and ETUDE boxnumbers are available for those who wish them without additionalcharge. Cities and states of more than one word each (i.e. LosAnueles, Rhode Island, etc.) are counted as one word, No charge forcit)~ zone numbers. Copy must be received the 5th of the secondmonth preceding publication. Example: copy for July issue is dueby May 5th. Forward your order and copy to: Advertising Manager,ETUDE the music magazine, Bryn Mawr, Pa.

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