Volume 71, Number 12 (December 1953) - CORE

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Gardner-Webb UniversityDigital Commons @ Gardner-Webb University

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

1953

Volume 71, Number 12 (December 1953)Guy McCoy

Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude

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Recommended CitationMcCoy, Guy. "Volume 71, Number 12 (December 1953)." , (1953). https://digitalcommons.gardner-webb.edu/etude/72

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Early Choral Masters SeriesChoral composition flourished in Europe from the 13th century to about themiddle of the 18th century. During this period the techniques of contrapuntaland harmonic practice were established, laying the basis for the future devel-opment of practically all Western music. It was not untn after 1600 thatinterest in instrumental composition gradually relegated choral music to asecondary position in the art music of Europe. With the emergence of newsocial forces, the emphasis gradually shifted from music for the church tomusic for the court, from music as a part of the liturgical service to music assecular entertainment. This eventually gave instrumental and dramatic forms

complete prr-emlnenee ever choral muale; 10 mUCh10cepttons rhere we re hardly any choral com_ .. 01 Illllu.l >ftb bull~,the late 18th cen'ury or 'h. ho'" of 'Ile 1Dth"""Ul}' 1 """-Iut!ll> ~of the 20th century. ho ver, a rene ...eel In~reat lw bot0u1ing 1llt1illl~works of Ole ~arJy chonl mu~,.. to the point ht n m.anuested~~studied, pubIJahe<!. and perfonne<!. I' 10 the plJtpt}J/<".'/'" '" Igain ill;10m. of meee eompoolllona available In PraetJaol edit Ib!I """ Io~se' In moder-n notation \lith auneatlona for IOIpl. d";:: Thf, hale 10_d~ ~~~

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LeTTeRS, T 0 T D E

ArticlesDear Sir; Reading the ETUDE

is one of my greatest pleasures, asI am fond of good music. Eventhe pieces that are too difficultfor me are still enjoyed, as I dothe best I can and my easier piecesare made better and still easierto perform.

T do enjoy comments from GuyMaier. He gives courage to uspianists who will never be any-thing but plodding amateurs, andI like his suggestion that we have alot of easy piano pieces withplenty of chords. In this way weget as much satisfaction as if wewere great performers.

Mrs . .Iohn O'Brien111ontreal, Que.

Dear Sir: May I congratulateyou on the August and Septemberissues of ETUDE? I have enjoyedyour magazine lor many yearsand this summer I have had theopportunity of reading these latestnumbers carefully.Several notes were made to as-

sist me in teaching and I mailedune article to a student-teacherrecommending that she subscribelor ETUDE.The real thrill came when I read

Dr. McCurdy's .informative article

'1~~.t ~~.~!~'!~t.: TrUl~:E~ i~lthe Cathedral of St. ]-;;J;; the DI'vine in New York City. I livednear this wonderful edifice andI am looking forward to hearingthe glorious organ at some futuredate. .Thank you for all your timely

and inspiring articles!Julia BroughtonSaint Louis, Mo.

"The Child Is father to the Man"Dear Sir: In a recent article,

"The Child Is Father to the Man"(July, 1953), Mr. Bollew recom·mends vocal instruction for chil-dren. Having been a kindergartenand public school music teacher,1 should like to raise two ob·jections-first, the child is grow-ing and the voice is a delicateorgan. The light singing and notereading he is supposed to get inschool should be enough for histender years. If parents want to laya good foundation for futureprogress, let the child take pianoor violin lessons;' these will help

ETUDE~DECEMBER 1953

EDITOR

him in later years.The second ob jection is the

teacher. Good teachers for adultsare scarce and teaching childrenrequires even more of a specialist.I have sung in choirs many

years. My actual experience provesthat there are few jf any voicesthat survive the boy choir de-mands, even if the choir masterknows-and he seldom does!Little Billy who loves to sing andhas "the makings" is soon "sungout" and it is a great disappoint-ment to him because this was hisgift.lance had a boy in my sixth

grade who won first place in acity wide search for the best boysinger. He joined a boy choir andwhen I met him in high school afew years later he had no voice atall. He had been talented. An-other in the discard.This sort of thing has been

going on long enough. Since voiceis the universal inslrUl'nent, ourtraining schools should give youngteachers better grounding in useof voice. There is much too muchemphasis all bands and orchestrasin schools. People take' the voicefor granted. Everyone has a voice,therefore everyone can si-ng. Buthow?'W cannot afIord to have our- ...... -'" ---c, ,-, -IT"l., h Ichilohm ~XplOltea. Uh'1lJ.v~ Ol.':'e

people who know what they aredoing let's let the children waituntil after adolescence to beginthe vocal project. By this meanswe may save some of our talentand a few broken hearts!

B. B. MerphyGrand Rapids, Mich.

"A Symphony of Bells"Sir: The article in the Septem-

ber ETUDE, "A Symphony ofBells," deals w"ith the carillon, thenewest addition to musical culturein America, in such a mannerthat it is very misleading to thereader.The writer is obviously not sure

whereof he writes, for he beginswith "chimes," then jumps to"carillons" as though the two in-struments were of the same to-nality and produced the samemusical effect.He lists the overtones of a

tubular chime and claims themto be (Colllinned on Page 3)

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James FTaJlcU Cooke. EJU., E... rilu.(EJiwr,I9U7.19491

Guy iifeCoy, Managing EditorMarjorie E. lIfosher, Business Manager

George Rochberg, Music EditorHarold Berkley Maurice Dumeanil Paul N. Elbio

Elizabeth A. Celt Cuy Mai", Aleand", McCurdyNicola. loo.imJtr,

F.uad,d 1883by THEODORE PHESS£B

Karl W. Cdui""William D. fteYeru

Vol. 7/ No. 12 Oecember 1953

FEAT n

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~I S J CC?m/Jo.ition, /0' Piano ( Qlu lind OU,.,)Tile Spinning Wlu:el •.. , .. _.•.•••.•.••.•.•••••••... _•. Rlclt.,J. ".... ku !iHallelujah! (Cltoru8 (rom "Tile Ie I~h") «(rOM '"'Tb(:.mD "loDI the Greal On .. orio.n) ...........•....... " ..... 1I."J.d.L«iN 28

agate Ie, OPWI 119, to. I (front "f'illn(l Com~ition.!! Volunu: JI")T CI' BUlltor:u-D'Alktr 32wo U'18b.na8l\felodi~ (DUCI) •. _ .•••••• , ...•.•••..••• an. b1 A. c.rl••J 3-&

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horn Ie Prelude: Von llin1ulI:J Llod., na Komm' Ich U~r (Orpn) (frnmS "The Church Orgltui.llt'. Golden Trea.u.ry olu_m~ 3") ...••• J. C. "'.lfllu 39anta ~roughll\:le Choo·Chou Traina (OUI Dadd '11U., in, Fun)

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ETUDE-DECEJIBER 1953

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Letters to the Editor

(Continued from Page 1)

those of a carillon bell! He wouldseem to be his own authority sincethere is no support-historical ormusical-to his argument of whatconstitutes a carillon belL Heevidently did not consult-c-or -per-haps ignored-works on the caril-lon by W. G. Rice, F. P. Price,and myself, which cover the caril-lon through its entire development.These authorities list a series ofovertones vastly different fromthose in the ETUDE article.It would appear, furthermore,

that the writer endeavors tojustify the use of certain ringingtones as carillon bells, advocatinga second series of bells in the sameinstrument to make amends, mu-sically, for the deficiencies of the

first series. A perfect carillonneeds no second series, one seriesof true bells having sufficedthroughout the ages.

Just anything that rings is notnecessarily a bell, nor does a col-lection of ringing objects con-stitute a carillon. Man did notchoose the shape of the ben foranything but its tone j and it isonly because of tone that the bellhas this form, a form that givesthe most pleasing, inspiring, satis-fying tone known to percussi~n.Anything of lesser tonal quah~yand purity is foreign to the canl-Ion and hinders it from achiev-ing its fullest expression.

Arthur L. BigelowPrinceton, N. J.

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ETUDE-DECEMBER 1953

THE COMPOSER OF THE MONTH

The great master of the classic form ofcomposition, Ludwig van Beethoven, isETUDE'S composer of the month. His birthdate as verified by Beethoven himself wasDecember 16, 1772, and the place of hisbirth was Bonn-on-Rhine; he died in ViennaMarch 26, 1827. Beethoven's father tookover the musical instruction of his son atthe age of four, and by the time he waseight he played the violin very well. Hisnext teachers were Pfeiffer, Vanden Eedenand Neele. In 1781 his first published com-positions appeared and within the next ten years he wrote variousworks, meanwhile serving as organist in a church and as violistin an orchestra. About this time he became acquainted with CountWaldstein who remained his life-long friend and benefactor. In1792 he was sent to Vienna by the Elector, and became a memberof the highest circles of art-lovers.

In 1794 he had lessons in counterpoint with Albrechtsbergerand in 1795 he made his first public appearance as a piano virtuosoin Vienna, playing one of his concertos. This was followed by ap-pearances in other cities at which he played his own works. In 1796he visited Nuremberg, Prague, and Berlin, and played beforeKing Friedrich Wilhelm 11. He continued to compose and begin-ning with 1800 he produced some of his greatest works. He is con·sidered to have had three periods in his creative inspirations; thefirst period up to 1800; the second £rom 1800 to 1815 and thethird to his passing in 1827. His only opera "Fidelio" was a prod-uct of the second period.

About 1800 the first signs of deafness made their appearanceand he suffered great mental anguish. The malady continued togrow worse and from 1815 he suffered greatly. By the year 1816he had to wear an ear· trumpet, and from about 1820 there wastotal deafness. In December 1826, following a severe cold, he de-veloped pneumonia from which he died the following year.

His works comprise 138 opus numbers, and many unnumberedcompositions .

The Ba~atelle, Op, 119 is included in this month's music sectionon Page 3~.

LUllwigVan Beethoven

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By NI COL ASS LON I ltl SKY

A STRANGE CONCERT tookplace at the Theatre d'Art in

Paris on December 11, 1891. Therewas performed a work billed as "asymphony of spiritual love in eightmystical devices and three para-phrases." The text was taken fromthe Song of Songs; the music wascomposed by Flamen de Labrelyfor an ensemble of "auditive,spectral and odoriferous" projec-tions, that is, consisting of sounds,colors and smells. One of these de-vices emphasized the vowels I and0; the tonality of the music forthis section was D major, and thecolor of the backdrop, bright or.ange. The hall was drenched inviolet perfume spread by atom.izers in the audience, on the stage,and in the prompter's box.

Mayor La Guardia of New YorkCity was a very musical person.On occasion, he even yentured toconduct a number or two with anorchestra. The trouble was that hecould beat time only in 2/4. Whenhe was asked to conduct the Star.Spangled Banner, p.e gave a vigor~ous downbeat. Nothing happened.The concertmaster explained tohim that the National Anthem be-gins with an upbeat and goes in3/4 time. La Guardia was em~harrassed. "I can't do that," hesaid. "Just don't look at me, andeverything will he fine." The or~chestra complied. La Guardiahad at least the right feeling fortempo, and acquitted himself verywell. Even with the music in 3/4,conducted in 2/4, the downbeatcoincided every other bar.

•pIONEERS of American music

who flourished at the time ofthe American Revolution were notprofessional musicians. They wereministers, soldiers, carpenters,farmhands, magistrates, small busi-nessmen. Their compositions wereusually confined to church anthemsand secular part songs withoutaccompaniment.

4

To a music historian, the careersof these men presented a peculiarfascination. In 1842, George Hoodof Boston resolved to gather bio-graphical information of thesecomposers, some of whom had stillremembered the American Revclu-tion. The letters he received in re-ply are sketchy in their content,and dubious in literary expression,hut they are nevertheless uniquedocuments of an era. The lettersare preserved in the manuscriptcollection in the Music Departmentof The Boston Public Library.

~fodern psychiatrists have aword for it: Triskaidekaphobia,irrational fear of number 13. Mu-sicians have not been immune tothis strange allergy. Massenetomitted Op. 13 in the list of hisworks, and substituted Op. 12b forit. Rossini was superstitiously fear-ful of Friday the thirteenth. Hedied on November 13, 1868, whichwas a Friday. Coincidence? Amysterious psychosomatic influ.ence? A subconscious death wishto justify his inner fear? No onecan tell.

•THE NAME of George Onslow

is hardly a speck in a mu-sicologist's eye, but he was thecynosure of the musical world ahundred years ago. His grand.father was a British Lord whomarried a Frenchwoman, andGeorge Onslow retained the Eng.lish form of his Christian name indeference to this lineage. Other.wise, he was a typical rich French.man from Auvergne. He spent hislife partly in hunting and partly inwriting an immense collection ofchamber music. Quintets and quar-tets flowed from his pen by thedozen. They were all pnblished andperformed. His music was facile,conventional and competent.

Once in his life, hunting andmusic interfered with each other.He was busy finishing the openingAllegro of one of his quintets,

when word came from a fellowhunter that wild boars were roam-ing the couutryside. O~slow hadiust enough time to wr-ite out the~nal cadence, grabbed his gun andrushed to the forest. He took ashot at a boar, but missed. Thenanother hunter fired and hit On-slow in the left cheek, while theboar fled. Onslow was carried tohis estate; the wound was band-

'aged, and he could get back to thesecond movement of his quintet.He named this movement Le De-lire and the whole work becameknown among his friends as theBullet Quintet.

Soon after this incident, Onslowdiscovered that he could not hearwith his left ear. He had to topplaying cello-which wa hi in-strument-at his chamber musicgatherings. Friend tried to c n-sole him by comparing hi cawith Beethoven's. Thi wa anill-advised attempt, f r n I wthought very poorly I Beeth v n'slast style. "Des folic, de ab-surdites, des reverie d'un geniemalade!" he exclaimed "Un bruitassourdissant qui decbir I'oreille! n

And he added with pa ionate an.ger: "If I were to write anythingresembling uch cac phony aBeethoven's last quartet, I wouldburn every piece I ever put onpaper!"

OUver llolden, the aUlhor ofthe once popular anthem ClCaro.nation," wrote to Hood: HIn i-dents in the life of Oliver Holden,who was born in Shirley, Ma sa.chusetts, September 18, 1765. Hada common school education inGroton, Bmited to a few monthsin the year 1777. Enlisted as asoldier in the Revolutionary Warand sailed on a cruise 1782 in theHague Frigate, and took fiveprizes. Had two months inslruc.tion in a singing school 1783; notuntil 1785 did I presume to teachmy school in PepperriU a tune ofmy own-this was New Canaan.The first effort was too successfulfor I took encouragement to com:pose freely to the neglect of aUen-tion to musical science. I do notfeel exactly at home in this egotis-tical exhibit, but I may consistent~Jy mention the request of the Ves-try of the Stone Chapel Church tocompose for them an ode calledAuspicious Morn, and a hymmtune called Beneficence, whichwere annually performed on Christ.mas days and charitable occasions.From the age 01 21 to 77 1 havebeen in public life as SelectmanAssessor, Collector, Overseer ofthe Poor and for many years rep-

resentative to the LegislatureFrom five of Our governorsI ha\"had commissions as Justice,~Holden concludes his eccouotwitha characteristic phrase: "And hereends the nauseous egotism."

The learnerlltabit of USing theLatin word "vide" in bibliographi.cal references is impressive,but itreaches the point of absurditywhen the material referred to can.not be "seen" at aU. In the articleon the violinist Viotti in Crove'sDictionary there is a footnote:"Vide seven letter from H.R.H.Adolphu Frederick Duke of Cam.bridge, to Viotti, in the po ionof the pr nt writer." Presum.ably, nc hod 10 make a pilgrimageto t.h writ r" hom 10 look upthis mot rinl.

•I l\ E It V Am riean Com.

po rs, Timolhy wen wa anint r ting figure. He had no mu-si 01 training xcept for a fewweeksin a inging haol. Vet he acquireduffi i nt knol.ledge to compose

hymn tun and even hool man.uals, v 'rol I hi tun bear thetill of variou counlri ,Poland,

hino, Ru i, ven though thew rd hav n recognizable rela.ti n to th titl. He sen'ed iathe antin ntal rrny where helear d to pia I,h flut. lie wa aman of con id rable education, alover I Il 'lr , ond himself some·thing of 0 poet. lie wa an ad·mirer of Burn"". and \'lrote poemsin a olch dialect. In 1836, on hisseventy. i.th birthday, he pre·sented a copy 01 hi eollecrionoftunes, " ew England Harmony,"to the American Antiquarian S0-ciety and inscribed the loUowingverse:

An) record agreeThai J ul)' twenty.threeWa Illy birthday a laog time

ago;An' 1 will engageYe'U ken my auld age,Gif ye'li read the lour lines

below.

Twice lwenty years, an' half ascore.

An' ye ma)'un add just ten yearsmore;

Noo join eight years twa times,aD' then

Cast a' logither, my age re;[) ken.

The arithmetic involved canbe expressed by the equation:2X 20+ 20/2+ 1O+2X8=76.Timothy Swan died on his eighty·fourth birthday, on July 23, 1842.

THE E D

ETUDE-DECEMBER 1953

THE WORLD OF

"best man singer of 1953," at the24th Annual Chicagoland MusicFestival last August.

The Philadelphia Orchestrawith its director Eugene Ormandy,in October participated for the tenthconsecutive year in the Worcester(Mass.) Music Festival. The Wor·cester Festival Chorus under thedirection of Dr. T. Charles Lee, mu-sic director of the festival, appearedat each of the five evening concerts.

The Curl is String Quartet ispresenting on six Wednesday ~ve.ninzs in the Free Library of Phila-del~hia a Beethoven cy~le to includeall of the master's string quartets.The series began on ~ovember. 4and will continue at tnt~rvals 'tt~A'] 7 1954 In connecucn WI 1- pn.. ..1these concerts. Guy Marriner, ec-ture-recitalist, is giving two lectureson the Beethoven String Quartets.The first of these was on October 21and the second one will be on Jan-uary 20, 1954.

McHenry Boatright, baritone ofBoston. a student at the New Eng.land conservatory of Music has beenawarded a Marian Anderson Scholar-I· '1,· Boatriaht was named theSlip. m r , .,

The Babylon Symphony Or-chestra of Babylon, Long .IsI~nd,conducted by Christos Vt-ionides,presented a concert on October ~Oas part of the program of the MUSIC

(Continued on Page 8)

Executives of Steinway & Sonsand the J. C. Deagan Ch!me~ompanyat the installation of the electronic Carillon, the fi~st of Its kill? to beheard in the Manhattan business district, atop Steillway,Hall, ill N~wYork City. Left to right: William R. Steinway, vice·president ~f Stem-way & Sons; Rudolph Freimuth, retail sales manager of Stemway &Sons; Jack C. Deagan, vice·president of J. C. Deagan, Inc.; Lloyd·wIc"Cahe,retail mana:ger of Steinway & Sons' organ department.

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WOI'Ids of Musicby Cecil Smith

Mr. Smith's new book upon theworlds of music instantly pointsout that only a relatively few dec-ades ago American music waslooked upon as "the World of Mu-sic" Now however, the globe-widedevelopment of the art. makes itnecessary to divide I11U ic into"Worlds of Mosie." The authorcalls his book "A n ill i I revela-tion of the music world of Amer-ica where art and c mmerce j in."Even in our C unt r y mu i i It

firmament in which I1ltlny must alworlds revolve in their orbits. Thauthor who was edit r of "MusicalAmerica" designates twelve uchworlds.

I The Managerial World.11 The W'orld of olumbia.

(The Columbia n crtCorporation.)

III The World of the Organ.ized A udience.(The development of iviMusic A 0 iations 8 dc~vel oped by Harrison an IHarshberger. )

IV The Perform r's World.IThe contacts of con Crtartists with managers.publicity agents and thepublic. I

V The :'<ew York i\JusicalWorld.

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VII The World of Opera.VIi[ The Orcheslral World.IX The Composer's World.X The Dancer's "'orld.XI The Eleclrical World.XII The Educalional World.

Mr: Smith has accumulated av~ry la:ge number of facts andbIts of Information about a greatl1:any phases of OUf National ITIU-

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VJa ra 10, te evl ion and cinemThey heard and witnessed a sen':ICe dependent upon traditions gin~ back ,over one thousand ).ea:Thi sen Ice bo?k wa compiledbror ler of th PrIVy ouecil andbauth ril)" of the Archbishop :rant rbury by Dr. \Hlliam M.K. .. CI , organ!. t of '\ e ..lminsler Ab.

beyond (the late) ir ArnoldBax.Ma I r of th Qu n' Musick.\Vhil th r nation rvice is

I uilt or unci the ommunion serv-i of th church of England themusic is ubj I I changes '\\ithco h coronnrlen. The onl)' com.p siti n whi h ha remained afixtur for O"Cr IwO and a halfcentu r! i Handel' Zadok thePri sf whi h used during theanointing.

J n addition 10 Ih mu ic and theI xt r the ~ (vic • a very de-tail d lat menl of the exact man.nCr in ",hi h Ih who partici·pal d hould lake part. The breadth(th r mony from a nationalBrili h landpoinl i all led brth fa I that the execuli\'e direc-tion of th great e\en! \\'8 nol inIhe hand of. member of thechur h of ngland bUI in IboseofIh Duke of odolk who is a memober of the Roman Calholic church.While Ihe church of England is Ibeslate church of England. it re-ceives no support of any kind fromthe government.The eighteen mu icaJ compos.i.

tions in thi admirable collectionare from the pens of C. HuberlH. Parry. Herbert Howells, Wil·liam H. Harris, R. Vaughan Wil·Iiams. George Frederick Handel.George Dyson, John Redford, Or·lando Gibbons, William Brrd,Healey WilJ-an, . S. Wesler, C. V.SIan ford, and William Walton.The volume is issued in board

covers decorated in O'old upon acardinal background ~s red as theuniform of the guards. It makesa very handsome volume whichmany organjsts and choir directorswill certajnly want to preserye asa souvenir of a world event of out·standing significance.ovello and Co., LId.

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ETUDE-DECEMBER 1953

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For accurate tempo

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THE WORLD OF MUSIC

(Continued from Page 5)

Critics Workshop sponsored by theMusic Critics Circle of New YorkCity, the New York PhilharmonicSymphony Society and the AmericanSymphony Orchestra League. Theconcert bY- the Babylon orchestrawas selected as the community or-chestra concert to be attended andreviewed by critics participating inthe workshop.

Sir Arnold Bax noted B .. ,, rlh~q~~m~okselr anQdMaster of the Queen\

USJC. or ueen Elizabeth II d"suddenly on October 3 at Cork tilland. He had been :\Iaster of ~e.King's Musick under King Georg~VI. For 45 years he was consid .,

lB'" ert\lone 0 ruam 5 leading compo~ri,He wrote ~even symphonies and

(Collltniled on Page 10)

COlUPE'I'ITIONS (For details, write 10 sponsor IUledl

• A $1.000 composition come l 51' nsored by i\'Iichigan tate College,CJosing date January I, 1954. Detail" (rom th 011ge at &HLansing, :\lichigan.

• The Edgar :\1. Levenu-iu Foundation 151h annual competition forpianists and violinist~ between rh (l~. of 17 and 25, Applicationmust be filed by D c mber 31. 0 tuih from The Edgar ~1.LevenmnFouudationc Inc .. 30 Broad treet. ew York 4.

hardwood case ... lightweight andportable.See this fine Seth Thomas';' Metro-

nome at your music dealer, depart-ment or jewelry store. Only $13.95t.

• The Florence B. Price tgunprizes. Conducted by the ChiC81{Odate April 30. 1954. Details fromEast Circle. Chicago 31. IIJin i.,.

contest. Three ee-hn Organi"l . Elc-ing~ e-rbrock. 5934 X,

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• Arizona. St at e Song Contest. sp 0 ..01' d by Phoenix A(herli~ingClub. Closing dnt December 31. 195 . Detoil" from Arizona ngConn-st. Phoenix Advertising lui. P. Box 1586, Phoenix. Ariwna.

·-The Bernard Ravitch !\fu<;;;icFouudutinn. ecen I annual compositioncontest for a one-act opera in Englteh. Award 1000. loeing dateMarch ~l. 195~. Details Irnm . M. Blink n. I res., Ravitch ~lu.icFoundation. SUlIe 604. 370 Pt. \ ashinglon A\ nu Cl\' York 33. ~.Y.

- The Mannes CIIIJege of j\'lu::i Corn,) sir ion om t (or operalicworks_ Award of 1000 for a full·1 nglh opera or S600 (or a one.acloper~ pJus two public performan s by Mannes C II ge Opera Dept.CloslI1g date ~!ay 15. 1954. Details from Fred Werle. The )(annesColJege of :.\Iuslc. 157 East 74th Ireet. w York 21. N. Y.

• Midland l\'Iusic Foundation Composition Conlest. Awards of ZOOO.$1500 and '1000 C '. I I. ompt):'=llIon or orc lcstra or choral group or orches·tr~ and chom.s combined. Clo~ing date July 1. 1954-. Details from TheMidland _\1uslc Foundation. late at ButlIes IreeL lidland. '\fichigan.

-. Northern California HarpiSIS' Association Composition Conlest forworks for ..oJo harl) or ha - . .. .I .' - rp 111 conJuncllon With other msUumenl.s ort le v.olce. Two _awards of 125 each. Closing date December 31. 1953.DeL~lIs ~rom ) vonne La:.\lothe, 687 Grizzly Peak Bh'd. Berkeley 8Ca!tforn18. ' '

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; Nalional Symphony Orchestra Composilion Contest for nitedt tates comp?sers. Total of 3.300 for original om positions. Entries° be submitted bel ween October I 1954 d J 1 1955Details f N" IS· . an anuary. .S N rom 1 allOna ymphony Orchestral Association 2002 Ptreet, T. W., Wash., 6. D. C. .

• American Guild of Or . I 0 C . . .$200 offered b ' The H JanIs s rgall ompOSllJon Contes.t. Prize ofor an ). . " Gr·'lY Co., Inc. to the composer of the beslA g . compo.sulOn. Closi.ng date January 1, 1954. Details frommencan Guild of Orgamsts, 630 Fifth Avenue. New York 20. ~. Y.

• 1953 St.udent Compoo:::ers R d' A dcasters, BMI and BAIl Cana/ JO wa~ 5, sP?Dsored by radio br~ad.totaling $7500' Il CJ .a. Ltd. First pnze. 2,000. Other prizesfrom Ru ..<:: i ~n a._ osmg date December 31, 1953. DerailsAvenue, N~y~~~Jek, Director SCRA Project. Fifth Floor. 580 Fifth

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THE WORLD OF MUSIC

(Continued from Page 8)

many other works, including theMarch played in Westminster.Abbeyat the coronation of Queen ElizabethII on last June 2.Frank Munn, Irish tenor, known

for twenty-three years as "The Gold-en Voice of Radio" died October I,in New York City, at the age of 58-MI. Munn, who retired seven yearsago. had made his entire career inradio and recordings.

The Philadelphia Coffee Con-certs committee is presenting theStringurt Quartet in a series of fourinformal concerts in the BenjaminFranklin Hotel, Phila. The first onewas ...iven on November 22, withother: to follow on January 10, Feb-ruary 28 and April 4. The Quartetincludes Jacob Krachmalnick andIrwin Eisenberg, violins; GabrielBraverman. viola; and Hersh I Coro-detsky, cello. Arthur Cohn. Directorof the Seulement Music School, willgive ana Iytical comments.

'Valler Sp.·y, concert pianist.teacher. composer, and since1933 onthe faculty of Converse College.Spartanburg, South Carolina. diedon September 26_ at Spartanburg .He was 85 years old. Mr. pry hadstudied ill Vienna. Berlin and Paris,He was nationally known.

J. W. F. Leman, conductor ofthe \Vomen's Symphony Orchestraof Philadelphia. former viola playerof the Philadelphia Orchestra. di don October 16 at the age of 72. Inaddition to serving as conductor ofvarious orchestras in Philadelphia.he conducted the Steel Pier Sym-phony in Atlantic City for a numberof years. He was formerly on themusic faculty at Ursinus College.

Frank Edwin Ward, organist-composer, who had held importantposts in New York Citro died in\'VoHero, N. H., on September 15.He was on the faculty of ColumbiaUniversity for a number of yearsand also taught at the Guilmant Or-gan School.

Andre Marchal, noted Frenchorganist, has become a member ofthe Nort.hwestern University Musicschool faculty as a visiting lecturer.M. Marchal, considered one of thew.ol,·Jd's leading organists, has beenglvmg a series of pubHc recitals andlectures.

. H~nry Holden Buss, composer,pJ.alllst. teacher, who had appearedwlth many of the major symphonyorchest.ras. died in New York Cityon September 17, at the aae of 91:His. violin works were played bylead!ng artists of the day-FranzKneisel, Eugene Ysa'Ye and MaudPowell. Mr_ Huss was a lecturer atHunter CoBege. He had receivedmany awards for his works.

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The Holiday BookArranged by Rufh PO$!

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HERITAGE MUSICPUBLICATIONS, INC.

47 West 'lrd St .• New York 23, N. Y.

ETUDE-DEeD/HER 1953ETUDE-DECEMBER 1953

. Chri ?What would we do without mUSICat rrstmas r.The glorious bells from myriad spires,The carols of Christmas to tell the great story,The story of which mankind never tires.Music gives life to the spirit of ChristmasAs nothing else in the world can do.Millions of voices each year are chantingThe glory of Christmas to me and to you.

Never forget the symbols of Christmas,The star in the east o'er Bethlehem's hill,The Mother and Babe that rest in the stable,So peaceful, so pure, so quiet, so still.Never forget our gladness at Christmas,The holly, the candles, the trinkets galore,The Christmas tree toys, the wreaths in the window,The mistletoe hanging up over the door.Never forget our hlessings at Christmas,Our loved ones have sent us such heautiful things!The spirit of giving is now all around us,Just think of the happiness Christmas brings!

Who made our Christmas the gladdest of Seasons?Christ, Who taught us to give and forgive.Thus we proclaim Him once IllQre in our carols,These, most of all make Christmas live.Let beautiful music, on this Holy Christmas,Lead all of the troubled world to singThe song of songs, to welcome the advent,The birthday of Jesns, our Infant King.

-James Francis Cooke

© 1953 J.F.C.

11

Page 9

Bidu Sayao

"The most successful personalities are those who charm peopleinto opening their hearts."

From an interview with Bidu Sayao As told to Rose Heylbut

T~E !DEAL artistic career presents theIllogical condition of being laraer than

the sum of its parts! The great sing:r bringsto ~e stage a voice, stage ability, much ex-per.ience-and something else, withoutwhich the rest of her equipment seemsv~l~ele~s. The something is the power ofgivmg mtense pleasure. It can never be anentirel! acquired or studied thing.Vano~sly called personality, magnetism,

compulSiOn, we recognize it as the innermagic which enables a sin O'er to take heraudience into her hands the moment shesteps from the wings. The people are withher, feel with her, breathe with her. Thiskind of audience participation comes onlyto the artist who gives pleasure' and thisin turn, requires years of inten'sive stud;and wide experience. And even then, thefinal glow of compulsion results from in-born gifts.Still, there are ways in which we can

school ourselves in the subtle art of givingpleasure, for even the greatest natural giftsneed proper development. If you have a ca.reer at heart, accustom yourself to the ideathat everything you do on a stage must~eem easy, relaxed, spontaneous, fr~e. Thismcludes your manner of lk''1 wa mg, yoursmi e, the way you breathe th. ' , e way yourroJect not only tones but interpretive ef-ect.s. Never must the job seem a strain Ifa singer shows that a passage is diffic~ltthat the moment h 'causes er nervousnessthat the emotion is tense her aud' .'d' I' ' lence uu-me late y begms to suffer with her I It .t~e blending of vocal techniques, stag~ tec~~mques, and the over-all techniques f I

". 0 peas-ure-giVIng whIch marks the d,'fI bt f erence e-ween a per ormer and an artist Thth d f . ere areousan s 0 performers-but't'fl' I IS an ex·cep IOna generatIOll which prodth h If d uces morean a a ozen artists.Always rememberinrr that VOl' do ce an per.

sonality are inborn gifts, what can we dto deve!op the ar~istic whole of giving pleas~ure? FIrst, the singer must please with hervoice. And the building of a voice takesmore than a few months of lessons! A stu.dent best appreciates the value of vocalstudy at the moment when she begins tosing songs. Prior to this time, she has beenkept on scales and vocalises (which presentdifficulties enough at the beginning!). Eventhe first vocali e pre-supposes kill in draw.ing breath, in sUPI orting it with the dia-phragm, in sending it through a relaxedthroat into the forward chambers of rese-nance (of the masque). The ma tery ofthese kills h lp h r to gel oul pure loneto bind her tone into 0 m th scale, toreach hieh not ,to illg legato-all ofwhich he a hi ves on pur vow I tone.Andthen ames thi p ial moment when thefamiliar techniqu r th vocalise are car.ried over to word$-ond difficulties arise.Certain con nents are troubl cme 10 thetone; un uspected -I ficiencie show up'there is bad fo us, bad legata. The ver;tones s~und dl~erenl. Many young ingershave this expert nee, and th re i only onesoluti n-a r turn to d I r tu Iy of belcanto principles through more, and moreintensive, vocali ing!Actually, the purp e of voealising is to

fix corr t singing habi imc th voice sothat they remain th r 8 nd nature,freeing the tone of str i tur and allowingthem to flow into any peech pau rn (inany language) . ntil thi flow i free, basicvocal technique i un ure.Voeali ing sh uJd b gin on one', best,

freest vowel-lor me, thi i AH. [ext,scales, arpeggios, and exerci es must be reopealed on all the vowel. until EE-O-OU- -OE, etc. feel a free and as na-tu ra! as AH. And all the vowel. whethereasy or difficult, mu t be produced withthe same technique. Further. vccelieingmust be done legato, staccato, with all kindsof attacks--and always with the same re-gard for beauty of tone and musical tasteas .if ~ey were songs in t ad of -exercises.ThIS kmd of preparation takes time but it~s the only road that lead to artistilc sing'mg. Only when these techniques are secondnature can the inger feel ready to face theproblems of actual singing, fittintr conso-nants to vowels, bringing out musical toneon all syllables in all rC<Tisters in any lan-a I 0ouage. n Que sense, n solid technique mayev~n be regarded as the basis for interpre·tallon' for h'I . I . f' , W I e gen UJne eellllg must, acourse, be present, the projection of emotionoften depends on the nature of the tone andattack one uses.b I speak feelingly of the importance ofel canto technique because lowe my

career to it As a u-irl, " 11' B il. o~ n my na re raz.(Continued on Page 59)

ETUDE-DECEMBER 1953

A BLIND MAN organizes and managesthe largest festival of church mu:ic in

America. if not in the world ... the eimul-taneous presentations of "The Messiah" byHandel in communities in Southern Cali-fornia ... in 1952, 41 performances, allon the same day and at the same hour; in-volving 500 choirs composed of over 5,000singers. It is estimated that 50,000 peopleattended these 41 performances:The festival, originated in 1947 by the

blind man, Dr. Gordon Bachlund, attemptsthrough music to accomplish the larger aimof promoting the growth of cooperativeChristianity, providing fellowship amongchurches and presenting a dramatic b-irth-day gift by church musicians to the InfantKing. Since 1947, the first Sunday in De-cember has become known as "Messiah"Sunday.Dr. Bachlund, a tall, slender, kindly man

is director of the Music Commission ... ajoint commission of The Southern Cali-fornia Council of Protestant Churches andThe Church Federation of Los Angeles.The Commission, with Arthur Leslie

Jacobs as director and Dr. Gordon Bach-lund as chairman of Public Performances,was launched in September 1946 as an ex-citing adventure in faith and purpose .. -faith that it would soon find its place as aservice to the churches of the community... purpose that it would, through music,prove one of the united forces in ProtestantChristianity. The aim of the department wasnot only to raise standards in church music,but also through that raise, to assistchurches to realize the full powers of musicin leading people Godward. The workof the department is four-fold: Advisory,Educational, Inspirational, Promotional.Dr. Bachlund became director of the

commission in 1950."Well," Dr. Bachlund said, "The 'Messiah'

idea started with myself and the Music Com-mission as a plan to dramatize the work ofthe music office. We thought first in termsof a major performance, perhaps in theShrine Auditorium and then, suddenly: theidea" struck me ... bring 'The Messiah' tothe people rather than the people to 'TheMessiah'. And so for the first year weplanned modestly trying out our idea, check-ing reactions of directors, ministers and thepublic. We were amazed with the result.Enough people evinced an interest in ourproject that we could divide the central partof Los Angeles into ten areas and couldpresent 'The Messiah' simultaneously in tendifIerent locations. So for the beginning, in1947, we had some 80 churches cooperating.Eight hundred singers participated and anestimated 8,000 people attended the 10 per·formances."In 1948 other churches asked to come

in and ~ve had t~ expand to 16 areas. In

1949 we had to expand into the county ter-ritory because other churches wanted toparticipate and that year there were 19 per-formances. In 1950 we had 27 areas; in1951 we went into other counties and had32 'Messiah' productions. And last year,1952: there were 41 presentations held si-multaneously in Southern California on De-cember 7th at 4 o'clock in the afternoon."We have already started work on the

1953 season's presentations and we are hop-ing for 50 areas with at least 6,000 singersand a mass audience of some 60,000 peo-ple. All the over-all coordinating and or-ganizational work takes place right here inmy office. The older areas are all organizedbut we must line up the newer areas by let-ters, phone calls and personal visits and wekeep contacting ministers, choir directorson the basis that they will all come inl andthe majority of them do. Now other com-munities are asking us to organize theircommunity projects ... for instance lastyear we had a performance in Santa Mariawhich is roughly 200 miles North of LosAngeles. And we had performances in River-side and San Bernardino ... about 70 milesSouth. We are hoping to have performancesin San Diego to the South and San Luis

One of the 41 pcrfol"lnancesof "The Messiah" last year

In 1952, [orty-one perjormances with5,000 singers made Southern California's Dr. Gordon Bachlund.Jlfd4«d fAl/e,k,

the largest church music festival in America

From an interview with Dr. Gordon Bachlund

Secured by Ralph Freese

ETUDE-DECEMBER 1953

Obispo to the North and possibly other per-formances in distant states such as Arizonaand Nevada. In fact this year our sloganis, 'Las Vegas to the Ocean, San Luis Obispoto the Mexican Border.' Till now it has beenentirely a Southern California event."All musicians give their services. No

one is paid and as much as possible thedirector, soloists, instrumentalists and choirsare from the area in which the productionis presented. And the surprising thing to meis the utter lack of frayed tempers, jeal·ousies and bickering often found in anycommunity project. The surprising thing toall of us and to others who have come fromafar to learn of this Festival is the tremen-dous cooperation that we have had fromthe church musicians and ministers. Theministers have been both cooperative andhelpful. They have all pUl their efIorts be-hind 'Messiah' Sunday and of course thecombination of church musician and Min·iste; is '\lhat has really made it grow."In the initial planning for a new area

production, we first must select an areamanager. This selection is done by the Mu-sic Commission. Then we send question-naire·invitations to all churches in the area.Then we have (Continued on Page 56)

13

Page 10

Backstagewith the TV scene designer

William Molyneux, NBC Televisionscene designer, at his drawing board.

The realisti.c sctli.ng for Puccini's one-act opera, " 00.' Ang Iree," imost effective. PtiJars al"e car-dbonrr! tnbes wrnpped wiLh linoleum.

An amazing number of problems must be solved in making music

visible as well as audible on the air.

by William Molyneux

Mr. Molyneux has designed sets for manyNBC·TV programs, ranging from "HenryAldrich" and the "Four Star Revue" to hiscurrent weekly stint [or "Voice of Fire-stone" and frequent assignments to NBe' sdistinguished TV Opera series.~Ed. Note.

BEFORE television, broadcast musicalprograms had only to be heard to ful-

fill their function and enlist their audience'sattention. But with the emergence of TV asa factor not to be ignored in the entertain-ment world it became apparent that if theywere to continue being listened to by audi-ences who'd been wooed from their radiosets to the newer form of armchair enter-tainment, they must arrange to be seen aswell.

. TV of course had meant the opening ofnew frontiers for the young crop of scenedesigners who had found Broadway andHollywood practically closed fields, limitedto the big, established names. But thesewidening opportunities and new horizonsalso brought the set designer special tech-nical problems not encountered in othertypes of thea.trical design. When music pro-

grams began to appear on TV schedules allthese problems plus special others arose ..The reasons are easily understood. TV

is a reproduced image on a screen, capturedby a camera and transmitted to the nation's~iving .rooms through a series of processesJnvo!vmg all the laws of optics. In a pro-scemum theatre the audience is seated be-fore the set with its eyes free to move andtake in its various aspects. On TV the cam-era itself is the audience's eye and thewatcher at home acts only as a receivinestation for what the camera has seen 0

It is not enou?h for the TV scene d'esign-~r to plan a settmg convincing and aesthet.lCaU! satisfying for those who see it in the~tudlO: It must also be accurately visibleIn all It.S details to the eyes that see it acrossthe nation, c?nveying whatever impressionsof depth, distance and direction are de-manded by the script. Limitless vistas froma stage whose physical dimensions arethem.selves rigidly limited, are frequentlyrequired, and it can therefore he seen thatma~y of the basic problems that beset a TVdeSigner are rooted in perspectiveCenturies ago, as far back as' 1680, a

legendary show bu iness family -, the 8i·bienas (fathers, son and grand ons oyertJ1r~e generation ) did pioneer work in the-atrica! perspective which still guides today'sstage designers.The nature of per pective problems for

those who have never stopped to thinkabout them can be deduced {rom lookina~t certain pictures. Hcbbemas paintin;The Avenue of Middelharni .. is a goodexample. The eye follows the road betweenthe trees till it vanishes at the horizon and~verything in the picture, trees, human be-ings, even the ruts in the road are drawn inrelation to that point. In exactly this waythe Bibienas drew their stage sets. placingcolumns and arches back of each other tothe back wall of the stage where a cam-as"drop" . t d ._ . . J?alll e with the continuing anddllTIUllShlllg design bung directly back ofthe stage scenery and let the audience lookdown an avenue not of 200 It. (for stagesof the time were often that deep) but oneth~t appeared to extend for as much as two11l1Ie!.

Television scene designers today use thesame method. On (Continued on Page 49)

ETUDE-DECEMBER 1953

(Andor Foldes, widely ksunow concert pi-anist, recently completed a successful .tour ofSouth Africa and neighboring cousu nes, Hehas written a highly interesting account ofthe tour which ETUDE feels privileged topresent to its readers.-Ed. Note.]

ON A SUNNY morning early in May ofthis year after making the usual con-

tractual arrangements, we left London ona shiny, new Constellation for our firststop: Nairobi, Kenya. (Mrs. Foldes, asalways, accompanied me on the tOUL) ~After what can hardly be described as

an uneventful trip (the right wing of ourplane was hit by lightning betweenKhartoum and Nairobi and for a few min-utes it was touch and go), we arrived inNairobi and within an hour of our landingI sat on the stage of the newly built KenyaNational Theatre to tryout the piano formy recital which was .scheduled for thefollowing evening. Here the first of manysurprises awaited me; it turned out that Ihad played the D minor Concerto ofBrahms on this very instrument only twoyears before in London's Albert Hall. Theinstrument was very familiar to me andupon inquiry I learned that it was pur-chased from the Steinway house in Londonabout 18 months previously and I finallyidentified it beyond a shadow of a doubtas the piano. I had played upon. Very soonI was further surprised by learning thatNairobi had other claims to fame, outsideof the rapidly deteriorating Mau-Mausituation. I met Mr. Nat Kofsky, a veryfine violinist and former student of CarlFlesch, who since ·1951 is head of the EastAfrica Conservatoire of Music and whotold me amazing things about the musicallife of this interesting city. The Conserve-to ire, started in 1944 with a small teachingstaff mainly composed of members of theBritish Forces stationed here for the dura-tion of the war, has grown by leaps andbounds and now boasts over 250 students.Although the greater percentage of thepupils are Europeans, there is a growinginterest for music among the young peopleof other races too. Indians, Africans andGoans study here peacefully side by sideand a short while ago a 14 year-old Africanboy, Ambrose Nyange, received no lessthan 95% of the available points in atheory examination held by the AssociatedBoard of the Royal Schools of Music inLondon. Several native students, who re-ceived their initial training into Westernmusic at the Conservatoire have subse-quently gone to Europe to finish theireducation there and have returned as musicteachers to help their own people.

I was very pleased to learn all this andwas most happy to find that both of myrecitals in the lovely new theatre (seating

Impressions of a Musical-Journey to AfricaOne of the foremost pianists of the present

day has a rewarding experienceconcertizing in this far away land.

1\1... and 1\11'8. Foldes enjoy afternoon tea ser-ved by a native in Nairobi

by Atulor Foldes

about 450) were sold-out and that theAmerican music I programmed by Cop-land: Thomson and \\;:'illiam Schuman, inaddition to the steady fare of Bach,Beethoven, Schumann, etc., was verycordially received by a representative audi-ence, which included Lady Mary Baring,the wife of the Governor of Kenya, who isan accomplished clavichord player herself.After this pleasant and unexpectedly de-

lightfu! overture we left for Salisbury,Southern Rhodesia, where I also gave tworecitals. Here I wasn't so forlunate withthe piano, as the first time I had to playon a rather unsatisfactory instrument, butwas rewarded for the next concert with afine Stein way, which it seems was not avail-able for the night of my first appearance.My concerts were sponsored by the Salls-bury Classical Record Club, an amateursociety of music lovers, which through theenterprising spirit of its secretary, MissBettie Templar, is rapidly becoming South-ern Rhodesia's leading concert managingsociety. Artists who have appeared heresince the war include Claudio Arrau, EileenJoyce, Mischa Elman, and the English

singer Isabel Baillie. The Classical RecordClub also sponsored a Rhodesian tour ofthe Cape Town University Opera Company,which gave successful performances of sixoperas (including Menctti's "The Medi-um") which I.believe is now about themost-performed American opera.In Southern Rhodesia everybody was ex-

cited about the forthcoming visit of theworld-famous Halle Orchestra of Man-chaster which was to give a series of con-certs in Bulawayo, Southern Rhodesia'sseconcllargest city, which in the Summer of1953 celebrated the Rhodes Centennary.Also in Salisbury I was able to hear a con-cert of the Salisbury Municipal Orchestra,founded a year ago and now giving its sixthor seventh public concert. It struggledvaliantly with Mendelssohn's Italian Sym-phony and did very well, considering all thehandicaps which the players had to over-come.1 had an opportunity to meet tbe Rho-

desia Herald's (Salisbury's only newspaper)\'ery excellent music critic, ML M. B. Col-lingwood, a fine amateur pianist himself,with whom we (Continued on Page 57)

15

,.

ETUDE-DECEMBER 1953

Page 11

Lithogl'uph of Ole Bull presented in 1842to the gl'cul-gl'ent gnlndmOlhcl' of Inez BuH.

One hundred years after theignominious failure of hiscolonization project on thesame site, the spirit of

Ole Bullreturns to

Pennsylvania

by Gunnar Asklund

WITH the decree of Gov. John S. Fineof Pennsylvania that the Ole Bull Mu-

sic Festival shall henceforth be a regularpart of Pennsylvania Week, the spirit of thegreat Norwegian violinist returns in trioumph to Pennsylvania, 100 years after theignominious failure of his colonizationproject on the same site. The Governor'sdecree and all that followed it, was madepossible through the devoted idealism ofInez Bull, internationally known coloraturasoprano, and great-grand.niece of the vio-linist.

The story began in 1852. Fired with thehope of launching a colony where men ofgood will would be free to live in libertyand work for the furtherance of theirideals, Ole Bull purchased 11,144 acresof land in Potter County, Pa., in the sectionnow known as the Susquehanna State For-est. He bought the land from one John F.Cowan, for the sum of $100,000 (of which$80,000 represented Bull's own funds andhis personal contribution to the project) ;and began negotiations for the purchase offrom 30,000 to 40,000 more acres. Withhim, he brought 800 of his fellow Nor-wegians, eager to settle a New Norway.Bull believed that this mountainous reo

gion, "consecrated to a new freedom," re-sembled his beloved homeland, and he heldhigh hopes that the settlement would be-come the Land of Plenty of pioneer dreams.He even thought there might be natural gason the land, a notion which won him ridi-cule. Work began on the colony; churchesand schools were built, snug farmhousesappeared, and on top of the highest prOfll-on tory rose Ole Hull's Castle, which henamed Walhalla.About this time, Hull's concerts took him

on a tour of South America where he feUill, and it was many months before he wasable to return to his colony. When at lasthe got back, he found havoc, with the landin dispute and the colonists about to losetheir homes. It turned out that Cowan'sland sale had been a fraud. Cowan himselfhad neither deed nor title to the propertyBull had bought from him; Bull's tenurewas valueless, and the "artistic foreigner"found himself the victim of callous dis-h?nesty. The colony broke up; the settlers,discouraged and angry, left for other parts(the many Norwegian settlements in the~orthwest springing, in part: from thisill-starred migration), and all that was leftof the once-promising colony were rem in is-cen~ names, such as Ole Bull Run, LysoeSP~lI1g, Oleana Township, which still re-main. As for Bull. himself: his money waslost, he became Involved in bitter courtbattles over the land, and saw his illustriousname tinged with disgrace. Hurt and brok-el,l, h.edev~ted the rest of his life to clearinghIS mtegr ity, playing endless Concerts topay. back those who had lost through hisproject. And that is the story of Ole Bull'colony-until 1948. s

In that year, Inez Bull was asked to serve

as Adjudicator in the National Piano Audi-tions, of the National Guild of Piano Teach-ers. The contest took place in LycomingCollege, Williamsport, Pa., and while MissBull was there a citizen of the town, Mr.Jerome Bosworth brought her an old violinfor her inspection and opinion. At firs~glance, Miss Bull knew nothing of this in-strument but agreed to do research on it.

After fifteen months of intensive workMiss Bull established that the violin wa~a Maggini, worth about 25,000, which hadonce belonged to Ole Bull and had beenlost to her family for 96 years. After thefailure of his colony, Bull. stranded at theVan Buren Hotel in Well ville, N. Y, hadbeen unable to pay his holel bill. IIi violinwas taken in payment by the local Ju lice,and he never a w it again. Later, a relativeof Mr. Be worth, one 1 8BC unn Hoyt, ob-tained the violin by paying I ull' hotel bill,and hi family took it to Williamsport.

Miss Bull' idcntificati n of the violinwas made in January r 1950 in an addrbefore the William p rt Mu i lub inwhich she als poke of Bnll'. riginalcolony and the injustice done him. Theoccasion was wi Iely publicized and, as aresult, the tate f Penn ylvsnia allotted9,000 to rebuild the colon) cetion of OleBull Stale Park. ew roads \I r begun,swimming po Is, parking areas, and camp-ing sites were made, and 8111perS were pro,vided with excellent facilities at the mini-mum co t of forty ents a night. Out of thisinitial step in the belated honoring of theefforts of Ole Bull, grew ~Jis Bull' ideaLor a Centennial elebration ( r 1952, Ac-cepting her idea, Governor Fine invitedInez Bull to lay a wreath at the old Castlesite, and asked her advice in arranging thefull Centennial ceremonies. Thu the BullCentennial Celebration, the tatc Bill forthe restoration of Ole Hull's Castle, and theOle Bull Music Festival came into being.

August of 1952 drew further attention tothe BuH colony, with the celebration of itsCentennia.l by the Potato Growers Associa-tion of Potter County [formerly called theOlean a Project). Inez Bull was deputed tomeet the Scandinavian airliner bringing abox of soil from Ole Bull's home. Vale-strand, in orway. Later, she used this soilto plant a tree at Ole Bull State Park. beforean assemblage of dignitaries including Dr.Milton Eisenhower, brother of the Presi-dent. and Dr. E. L, ixon, uncle of the VicePresident.. The accidental finding of the Maggini

;101111 had inspired Miss Bull's efforts thusar; another odd cbance was to carry themfurther. On their drive home after theceremonies at Ole Bull State 'Park InezBull and her mother, Mrs. Aurora S~ewartBull, stopped at a drugstore in the villageof Galeton, Pa., the first town they entered,The man at the Counter greeted ;\'1iss Bull~nd asked if she was a stranger. She had"ardly uttered her name when the man cried.Bull? Do you (Continued 011 Page 63)

~------~ ETUDE-DECEMBER 1953

A Rare Bit of Singingand Dancing.The International Eisteddfod is the Olympic Games

of Music-a race of rhythms and voices.

Austr-ian dancers rehearse a folkdance in the streets of Llangollen.

Spanish musrcums play for a dancerehearsal in a Llangollen courtyard.

by George Kent

FOR ELEVEN months of the year thesedate little Welsh town of Llangollen is

as gray as a cocoon and as sleepy and asdnll. But in July out comes the butterfly-and for five days there is no spot on earthmore lively, more full of sound and color.These are the days of an annual event

called the International Eisteddfod (pro-nounced is-teth'vvod}, when singers anddancers from Europe and America takeover the town. There is wild dancing in thestreets, top-of-the-lungs singing by men andwomen dressed to the last silver button intheir native costumes-and not a profes-sional among them. Austrians yodel, Span-iards beat out rhythms with their heels,Irishmen fife, Dutch, Norwegians andAmericans put their heads together in closeharmony. And Welshmen roIl out theirhymnlike tunes from a hundred doorways,up and down lanes bright with flags andbunting.

What happens in the street, however be-guiling, is not the real business of the meet-ing, which is competition-lighthearted,but competition for all that. The Interna-tional Eisteddfod is the Olympic Games ofmusic and from 8 a.m. until dusk it is na-tion against nation-a race of rhythms andvoices in an arena under the largest tent inEurope.This year more than 2,000 men, women

and children, representing 22 countries,competed against one another. There were130 choirs, 30 dance groups, close to 100soloists. Nations back of the Iron Curtainwere represented by refugees living in Eng-land. As accurately costumed as before theyRed, and performing with perhaps greaterfervor, were Ukrainians from Manchester,Czechs from London, Latvians from Leeds,Poles from Wrexham.The cash prizes were trivial; the trophies

were not made of gold; there were no

ETUDE-DECEiVIBER 1953

Ukrainians, in national costumes, practice theirsword dances on the hills above the Dee valley.

medals. But the contestants took away withthem something far more precious-awarm feeling of fellowship with the peoplesof other nations.

You could not fail to see it if you stoodin the railroad station on the last day andwatched them say good-bye. Everybody, itseemed, was crying. Spaniards were givingaway their castanets. I saw a woman dancerputting her high, tortoise-shell comb-andthey're expensive even in Spain-into thehair of the gaunt old woman who had beenher hostess, Ukrainians, all mill workersfrom Lancashire, were tearing the ribbonsfrom their costumes and winding themabout the arms and necks of Dutch andBreton friends.Then the train came in and everybody

was kissing everybody else, wiping theireyes and saying things in their own lan-guage. The words few understood, but thesentiment was the (Continued on Page 20)

17

iii

Page 12

High-Fidelity Notes

THE CHRISTMAS season presents adeadline for decision for manyfamilies

that are considering new record playingequipment. According to indications, morepeople are comparing models, makes, typesand prices preliminary to Christmas pur-chases this year than ever before.One authority with nation-wide contacts

said recently, "This year for the first timesince television invaded the country's livingrooms dealers find customers more inter-ested in new phonographs than in tele-vision sets."After seven or eight years of talk about

high-fidelity, the principal goal of mostbuyers seems to be that vague thing knownfamiliarly as "hi-fi." But while the averagebuyer gradually becomes aware of the term,the enthusiasts who created the movementand spurred a vast buying boom are throw-ing up their hands in dismay.This is because the high-fidelity repro-

duction of music by radio, television andrecords means something definite to themen and women who are confirmed "hi-fi"practitioners. While their object is not soambitious as the exact sound of the Phil-harmonic-Symphony re-created in a 15' X20' living room, the object is nothing lessthan the re-creation of the feel of livemusic.To be sure, given the finest records and

the best playing equipment, certain per-formances may be reproduced so faithfullythat a distinction between the live and thereproduced is difficult. This can scarcely. be true of a large pipe organ or a sym-phony orchestra, but it is true of a humanvoice or a string quartet.Music lovers by the hundreds of thou-

sands know that it is possible to hear inthe home reproduced music that eithersounds very much like the original or givesan authentic concert-hall illusion. In either

18

cords

Reviewed byPAUL N. ELBIN

case, what is heard does not continuouslysuggest that a listener is hearing a recordor a radio.When anyone asks me how to recognize

high-fidelity, my answer is, "When you canlisten and forget that you are hearing re-produced music."The difference is the difference between

a human voice heard across the desk andheard over a telephone line. In either caseyou recognize the voice, but over the tele-phone you are always aware of distance."Presence" is the first characteristic of"hi-fi."High fidelity has nothing to do with any-

thing except quality of musical reproduc-tion. Unfortunately, this kind of quality isand always has been expensive.It is true, happily, that new deaians and

quantity production are tending t~ lowerprices of "hi-fi" components. A hundred

Dr. Paul N. Elbin

dollars will buy a better amplifier todaythan some that old for two or three timesthis amount only a few year ago. Goodspeakers, the bottl nc k of many recordplayers, are numerous but really good onesare still expensive. With their end sures,first-quality speakers co t several hundreddollars. There i really no point in dis-cussing genuine high-fidehty in t nus ofone or two hundred dollars { rite mpleteoutfit.On the other hand, it is possible to pay

a lot of money for a phonograph and getlittle more than a handsome I icc of Iurui-ture. A buyer has to make up hi mindwhether he wants record-playing equipmentthat is essentially a mu i al instrument orwhether he is merely iutere tcd in a abinetthat makes sound . Both kind 01 playingequipment are on the market.It is the ear test that should determine

what you buy this Christmas, if your in-terest is music. I have heard table modelswith surprisingly good tone and expensiveconsole phonographs that sound like juke.boxes. Whether you choose an assembledjob or whether you select one of the new"high fidelity" commercial models for1954, by all means let your cars help yourpocketbook to decide. The criterion forjudgment, of course, is the real article-music as it comes from a piano. an orches-tra, or a human being,

•MoussoL·gsk)·_Ravel:Pictures at a" ExlubisionStravinsky: Firebird Suite

Columbia is advertising this new LP asthe company's "greatest hi-fi achievement."~h.ou~h ,Columbia has produced manyhi-fi tn~lUphs, this may well be the great-est. Ce~tamly the tone is characterized byeverythmg music lovers have asked of rec-o~d manufacturers: "presence," unstrainedh.lgh frequencies especially for the strings,rich and clean base response, overall bal-ance of (Continued on Page 471

~------------ETUDE~DECEMBER 1953

Much To Do

BAND AND ORCHESTRA DEPARTMENT

\

(About Conducting

by WILLIAM D. REVELLI

INTHE OCTOBER issne of ETUDE, adiscussion devoted to the responsibili-

ties of the instrumental music educator waspresented to our readers. Among the re-sponsibilities mentioned were those re-quired in the field of conducting and theirinfluence in the final success of our schoolinstrumental program. In the following dis-course we shall be concerned with the prob-lems relating to the training and prepara·tion of school band conductors as well asmeans for improving our present conduct-ing standards.There is perhaps no assignment in the

entire field of music education that is moredemanding or challenging than is to befound in the program as administered byour present day school band and orchestraconductors.Unlike the conductors of our major sym-

phony orchestras, whose responsibilitiesare concerned chiefly with program build-ing, score study, repertoire, tours, record-ings, personnel, and other such detailsrelated to actual .concert performance, theconductor of the school band and orchestrafinds himself confronted with countlessdetails which are only remotely related tothe public performance of his organization.In the case of the professional symphonyconductor, most of the administrative andorganizational problems are in the handsof the management. Such items as concertschedule, publicity, budget, ticket sales,tours and innumerable other time consum-ing details are for the most part assumedby personnel other than the conductor.Not so with the school conductor. whomust be organizer, personnel manager,publicity agent, teacher, and finally-con-

ETUDE~DECEMBER 1953

ductor.Since these differences of responsibility

exist and as they are highly important tothe training and background of the con-ductor, it is only logical that we giveproper emphasis to the development ofconductors in each of these respective fieldsand particularly to the conductors of ourschool bands and orchestras.Musicianship is a primary requisite and

of paramount importance in the trainingand background of any musician, be hesinger, pianist, instrumentalist or con-ductor.In this particular phase of his training,

it is essential that the school conductorpursue his studies just as assiduously asthe student who is preparing for a pro-fessional symphony career.Too frequently such is not the case;

often we find the music education studentand school band and orchestra conductoras well, who have established standards intheir minds which might well be termed"music education standards" and whichfall far below the musicianship standardsobtainable by others in their field. I amreminded of an incident which occurredonly last summer, when following a re-hearsal of our summer session band I wasapproached by a member of the band, aconductor of a high school band in asouthern state. It seems the gentleman wasof the impression that my standards werenot in keeping with those he had conceivedas being appropriate for the band. Hencehe remarked, "Dr. Hevelli, you expect usto sound like the Philadelphia Orchestra."To which I replied, "The Philadelphia Or-chestra sounds very fine to me!" His reply:

"Surely you don't expect us to sound asgood." My answer: "Perhaps we shallnever sound as good, but suppose all of uskeep trying to do just that." He seeminglyremained unconvinced. Incidentally, wepresented a concert two weeks later, andfollowing the concert the same gentlemanapproached me and said, "This was thegreatest musical thrill I have ever experi-enced!" Let's never compromise our rnu-sical standards. Whether it be on the grid-iron, the parade, or in the concert hall, weshould strive for the highest possible stand-ard always.Musicianship is in itself an endless study,

one which through its various facets isunceasing in its demands. Among the ele-ments necessary to the proper growth ofour musicianship is the development ofperformance upon a major instrument to ahigh degree of proficiency. From suchskills much is gained; it is here that themusician through hours of serious studyand practice disciplines himself to the ardu-ous task of acquiring patience, persever·ance, perfection, and other study habitswhich are indispensable to the ultimateachievement of musicianship.Unfortunately this phase of the music

education student's training is too fre-quently neglected. Here perhaps is the firstand most important turning point in themusical background of the student of musiceducation as contrasted with the seriousstudent of music, whose primary aim isthe realization of musicianship and hiswillingness to sacrifice in order to achieveit.Today we find many students in the

music education (Continued on Page 61)

19

....

Page 13

Continued from Page 17

easy language of simple affection.Llangollen is a lovely place in the Ber-

wyn Hills, about 200 miles northwest ofLondon. It has an old ruined castle, awooded canal and the frisky River Dee fromwhich fishermen take salmon within view ofthe main street. It is the town of the world'smost famous lamb-who followed Mary toschool. There actually was a Mary-MaryHughes, nee Thomas, who died in 1931 atthe age of 90. What the lamb did amusedJane Burls, a British writer visiting Llan-gollen, and she wrote the poem. It is alsothe home of the Yale family, and Elihu Yalewho founded Yale University is buried 14miles away.The International Eisteddfod is Llan-

gollen's party and nobody from the outsidehelps with money or services. More than300 men and women-a full ten percent ofthe population-give all or part of theirtime every day of the year; and except forpermanent office help not one of them ispaid a penny.The housing of visitors was handled by

a committee of housewives, schoolteachers,store clerks. They knocked at c\'cry doorin Llangollen and in towns in a 20-milecircle, and listed every bed and spare mat-tress. With an attendance often exceeding130,000, these were not enough so they con-verted schools, churches, union halls andcounty offices into dormitories, to whichtruck owners, asking no pay, hauled cotsand bedding. The women were on hand todo the unloading, make the beds and givethe large bare places a homey look by hang-ing curtains in the windows, arrangingflowers in vases.Throughout the year there were thou-

sands of letters to type and multigraph,thousands of pamphlets and pieces of musicto tuck into envelopes-and more thousandsof telephone calls to answer. Anybody whohad an afternoon or evening to spare re-ported at the offices for work. And whenthe desk work was over, the men took offtheir coats and climbed the hill to rolland level the town's one flat fiveacres wherethe big tent was to stand.In every garden men and women potted

their loveliest flowers and brought themto the Eisteddfod ground to stand on shelvesin front of the big stage, where they be-came a solid bank of living color. Whenthe foreign teams arrived, townspeople wereat the station in London or at the docksin Liverpool to escort them to Llangollen.When the Eisteddfod opened, townseoplewere selling tickets, acting as ushers andguides; and when it closed, and the streetsbecame a whirl of Mardi Gras gaiety, theywere still there cleaning up the inevitabledebris of crumpled programs and ice-creamwrappers.Shopkeepers and hotel owners naturally

made money out of (Continued on Page 48)

What Is Your Carol 1. Q.?by MAYMIE R. KRYTHE

1. Which carol says that the shepherdssaw the star?

2. Who wrote the words for Joy to theWorld?

3. Which carol is a Negro spiritual?4. What carol is called the Crusaders'

Hymn?5. Give the title in Latin for 0 Come, All

Ye Faithful?6. What· carol has the Latin refrain, HInExcelsis Deo?"

7. What carol tells of the Angels' message?3. What girls are to "bring a torch"?9. Is this a French or an Italian carol?10. From what people does the carol, Deck

the Halls come?11. What carol has words written by

Phillips Brooks?12. Who is referred to as the "Rose" 111

Lo, How a Rose E'er BloOining?13. Who wrote He Shall Feed His Flock?14. Cantique de Noel is the French title

for what carol?

Complete the titles of these carols:

15. The and the Ivy16. March of the Kings17. Good Men, Rejoice18. What Is This?19. Once in Royal City20. While Shepherds Watched Their'---

Select correct answers from foUowing:

A. Angels We Have Heard 011 HighB. 0 Little Town of BethlehemC. FrenchD. David'sE. Go Tell it on the M ouruain1;. ThreeG. 0 Holy NightH. Isaac WattsI. HollyJ. Jeannette, IsabellaK. Fairest Lord JesusL. FlocksM. ChildN. The First NoelO. WelshP. It came Upon the Midnight ClearQ. Adeste FidelesR. HandelS. ChristianT. Virgin Mary

ANSWER

'T 'OZW'81S 'LlJ: '91I 'SI~ '1711I '£1

a '61.L 'ZI9 'rro '01J '6[ 'Sd 'L

V'9b 's)I '17::I .£H '0N'1

Who Was This Christmas Outcast?by VINCENT EDWARDS

N0 STRANGER tale has probably everbeen told than that which recounts

what happened to a famous American overone hundred years ago on Christmas Eve.In London, where he had lately been highlypopular as an actor and song-writer, he sud-denly found himself in a desperate plight.Once the toast of the matinee crowds he

was so reduced in funds that he had beenturned out of his lodgings. He was bothhungry and penniless, and in his sad dis-tress he had t~ken to walking about thestreets of the big town.Q.uite by .chance, on the night before

Christmas, hIS wanderings led him into oneof t~e finest residential districts. It was anevenlllg when there was much festivity go-

20~---------

ing on, and those magnificent homes werethe scene of Illany happy family reunions.In front of one fine mansion, the exile

from America came to a sudden halt.Looking through the lighted window, he

beheld a spectacle that seemed to climaxall the rest. There stood a tree with shiningtapers whose reflection fell invitingly on thedark pavement. In that cosy, warm interior,a ~roup of youngsters were playing withthen new toys, while a group of admiringelders looked on.The children danced and clapped tbeir

hands, and their cries of glee even pene-tr~ted through the casement to the stranger.FlIlally, there came a lull amid aU themerry goings-on. (Continued on Page 47)

ETUDE-DECEMBER 1953

FOR A CHANGE, why not give yourselfa Christmas present? ... For a book

more fascinating than the Kinsey reports,tell your book-store to gift-wrap for you acopy of Andre Maurois' "Lelia," the new,extraordinary and enlightening biographyof George Sand. Don't open it until theday a/tel' Christmas, for I'll guaranteethat you won't put it up on the shelf untilyou have read it from cover to cover ...What an astounding character she was!Or, try Max Winkler's engrossing story

of his life, HA Penny From Heaven;" orBeatrice Landeck's indispensable "Chil-dren and Music" which you could useafterward as a lending library book for allyour children's parents to read; or J oh nBurk's irresistible biography of ClaraSchumann; or Ernest Hutcheson's "TheLiterature of the Piano" which every pianistshould own; or if you want a keen yet en-tertaining insight into present day com-posers, get "Modern Music" by Max Grafwho knew nearly all of them.

Some Moder-nsH you are looking for. interesting con-

temporary music for your students, try thenew little volume, "Prokofieff is Easy,"twelve pieces arranged and edited by DenesAgay, an excellent intermediate grade in-troduction to this composer.Do you search for dashing, effective

"modern" pieces? Try Bartok's Suite OpusLa-c-especially the Scherzo and the Quasi-Toccata which follows it ... Krenek'seight short pieces named "1946" are tastyand not too tough nuts for mature playersto crack ... Carlos Chavez's new sonatais, I think, his best piano composition todate. Dissonant of course, but short andfull of sharp, crackling flames. Like thefamiliar Bartok sonata thisChavez work isone of the few contemporary piano pieceswith solid musical substance.For more conservative items, give your

favorite students "Your Liszt Book" whichoffers a fresh lyric approach to this master'smusic ... For reading pleasure and holidayatmosphere I recommend Henry Levine's"Themes From the Great Oratorios" ...Carissimi, Bach, Handel, Haydn, Men-delssohn, Verdi, Rossini, Steiner, Gaul-they are all there in sensitive, beautifularrangements.

For the YoungstersEasy, attractive duet books make perfect

gifts for children, especially if a memberof the family will play at home with theyoungster. Some good duets have just ap-peared like Marion Bauer's little "Classicsas Duets," short, tasteful arrangements(second and third year) of Scarlatti, Bach,Haydn, etc.; also Mark's "Piano DuetAlbum" (second year) a delightful set oftwelve recital pieces. Michael Aaron, too:has produced a set of original four-hand

ETUDE~DECEMBER 1953

PIANIST'S PAGE

Holiday Gift Suggestions

[or Teacher

and Pupil

by GUY MAIER

pieces, (first and second year) "DuetBook" ... sure-fire for youngsters of allages. June Weybright's "Duet Book" (firstyear) also offers fine recreational material.She calls it "entertaining," an apt title!Class piano teachers know the value of

duets and ensemble music, but manyprivate teachers do not. When they are notinsistent enough in assigning ensemblemusic throughout the year, they deprivethe student of much of the social pleasurewhich piano study should offer. A goodway to start regular ensemble routine isto present the student a duet book atChristmas time.

The Best GiftThe best gift you can give yourself is

one of the modern electric or electronic"spinet" organs. If its price seems prohibi-tive you will find that all the organ manu-facturers offer easy, enticing terms. If youuse such an instrument as an adjunct toyour piano teaching, I believe it will repayyou many times in terms of increased andsustained pupil-interest, ensemble pleasure,general musical stimulation and newpupils ... Any teacher can quickly learnto play these instruments with the minimumof time and maximum of enjoyment ...Treat yourself this year to an organ!Above all, take a week's vacation from

your pupils at Christmas. Most of them~lon't want to "take" at this festive time,and you certainly need a "breather" ...Go to some large center and enjoy your·self ... take in the shows or an opera ...window shop . . . make this a loafingholiday!

"Hot Cross Buns"The recent article, "A Unique Piano

Pedagogy Course" stirred up some aca-demic staffs. Several took exception to my

slighting reference to those schools stillteaching class piano in the "dreary HotCross Buns manner" .•. Sorry I did notmake myself clear!About thirty years ago when class piano

first felt its oats it was the custom topromise everyone that he would be able toplaya piece after the first lesson. Hat Cross

»Buns was usually the "piece." Why? Itwas familiar, used only three tones andcould be played on the black keys. To thisday Hot Cross Buns has persisted in spiteof the unwisdom of teaching a beginner atune which required him to playa succes-sian of repeated notes:

Ex. 'I

WL J;. IJOne :\_ pell _ ny, t .....o a_ p~n_ lIy. H"t ClQ55 bUM

Everyone knows that extended repeatednotes---even slow ones-require a moreskilled mechanism than a beginner pos·sesses. In other words, serious muscularcontraction is almost invariably set up atthe first lesson by the effort required toplay those repeated F's and G's. If the tuneis used it should be used in this way.

Ex_ 2

.,BuL why use this threadbare tune? It's

silly; no one cares to sing or play it; 'teenagers despise it ... and why, pray, is itnecessary to painfully playa whole "piece"at the first lesson? It would seem to methat the first playing experiences should bejoyous, fearless, relaxed. To this end Irecommend that the beginner be taught tolocate the three blacks and two blacks with-out looking at the keyboard. Then he playsshort snatches-one or two measures-ofwell known tunes on these black keys. Titlesand examples are given at the lesson. Hegoes home and returns playing (softly!)

(Continued on Page 61)

21

Page 14

�-------~

TEACHER'S

ROUNDTABLE

MAURICE DUMESNlL, Mus. Doc., gives advice about the study of form,wrist trouble, sonte faults of teachers, and other interesting questions.

THE STUDY DF FDRM

/ would greatly appreciate it if yon wouldgive me some details on how to teach Sona-tinas to a young student-such as the JOTln,sub-divisions, etc. Is there an edition whichexplains thoroughly the expression, accents,etc.? Thank you in advance for the in/or.mation.

P. L. L., (Maine)

Years ago in 'Germany the Litolff editionbrought out a number of volumes annotatedby Heinrich Germer. Another edition waspublished in Paris and- if I remember cor-rectly the commentator was Georges Sporck.But in recent years I found no trace of themanywhere and it is probable that they havedisappeared from the catalogues. But I havea suggestion:Since your chief concern seems to be

jorm, with explanations as to the differentsections, developments, recapitulation, coda,etc., why not use the excellent arrangementof Haydn and Mozart symphonies by PercyGoestschius? I believe you could useHaydn's "Surprise" and "Military" sym-phonies, for instance, to great advantage.These reductions sound much like easysonatas or sonatinas, any way, and the an-notations stem from the pen of a real ex-pert whose authority will be questioned byno one.

WRIST TRDUBLE

My sixteen year old son practiced octaveexercises and pieces jor about two hours aday last fall. As a consequence, his wristsare very loose and if he plays even for ashort time they become worse and start tohurt. A doctor told him to use hot and cold

applications. I hope you can give me a per-sonal answer to this problem" which per-haps is ,nore widespread than we think.

(Mrs.) R. A., OhioApparently your boy's trouble was caused

by over-practice of octave pieces and wristexercises. Two hours a day is entirely toomuch. One must be exceedingly careful indealing with the wrist. Exercising it at anearly age is necessary, of course, and youngstudents should begin as soon as possible,using sixths, fifths, or even thirds if theirsmall hands cannot reach an octave. Butlook out and ponder on the French proverb"L'exces en tout est un defaut": for indeed,excess in everything is harmful, particular-ly in that one delicate, complicated joint.Think of tennis or golf players, and theheart condition they may develop if theyremain too many hours, too often, On thecourse; of such drugs as arsenic or iodine,of which a few drops will cure but too manywill cause great damage. Still, one canpractice a lot of octaves if one does so afew minutes at a time, alternating withother branches of technic which immediate-ly relieve the fatigue.Your doctor's advice is good: hot bath

(15 seconds) and cold (5 seconds) re-peated ten times, twice a day. This treat-ment is indicated by the eminent Detroitorthopedic surgeon, Dr. William E. Blodg-ett. I know of various cases when it workedremarkably well. It strengthens the liga-ments and stimulates the blood circulation.Have your boy follow this treatment faith-fully and patiently, and I am confident thefinal result will be gratifying.

TEACHERS DF TEACHERS

The woods are full of them and every

22~------

spring the mails bring a new crop of at.tractive circulars in which the features offorthcoming courses are advertised in dith.yrambic terms. Equally superlative ad-jectives are used concerning the merits ofthose holding them, whose number in-creases with each new season. When ques-tioned about the advisability of attendingsuch or such event I invariably give thisanswer: use as much di rimination as youwould in selecting a doctor for a seriouscase, or an attorney for an important lawsuit. While me of the course are offeredby musicians f unqucstionable compe-tence, other are C nducted by self-styled"teacher of teacher " who rely on bluff andaggre siveness t C nceal th ir pedagogicvacuum and who ought t go to schoolrather than pr tending to leach those moretalented while", r humble. It i wise tothoroughly investigate the ba kground ofeach "me ter teacher" in order to deter-mine if the claims t upremacy are justi-fied. Time and money will thus be saved.Personally I am allcrgi to these appella-

tions of "teacher of teacher II and the like.They make me think of Hollywood hyper-producti ns or week- nd peciels at thesupermarket. A delightful French sayingapplies well to the wording of certain fold-ers: "Lc papier ne refu pas I'encre". Thepaper never refu ee to take the ink. Howtrue!Publicity hungry "would-be-ers but

never-can-era" should remember that De·bussy simply called himself "~lu ieienIranea is"; and Isidor Philipp, greatest ofall living piano pedagogs, modestly refersto himself as a teacher of ... piano.

ALLA CDDA, PLEASE

"Will you please write a short article inyour elucidative column," writes iovellincFiaccone of Atlantic City, N. J. "explainingthat it is "Alla Coda,' not 'AI Coda.' Everytime I read 'D. C. al Coda' it gives me theshivers. Coda ill Italian is feminine and thearticle 'el' is masculine. Tbauk you verymuch and best regards."Absolutely right! I am happ to mention

this grammatical error which I have noticedmany times myself even in supposedly cor-rect and authentic editions.The same happen often with the French

language. Some people, for instance, spellthe famous Debussy number "Claire delune," arguing that "Ia Lune" is feminine,~vhich it is. But here the adjective "Clair"IS used as a substantive meaning "light"(from the moon, or of the moon).Amusingly enough, I sometimes have dis-

cussions on that point with people who wantto teach me my Own native tongue!Thank you, Mr. F'iaccone, and as a coda

•.. let's be correct! THE E~D

ETUDE-DECEMBER 1953

QUESTIONS

AND ANSWERS

Conducted by KARL W. CEHRKENS,Music Editor, Webster's New InternationalDictionary, assisted by Prof. Robert A.Melcher, Oberlin College.

WHY DID THE SDUNDING BDARD CRACK?

• The sounding board on my piano iscracked, and I hope you will be able to tellme what could have caused this. The instru-ment has had good care, with regular tun-ing, so 1 am puzzled.

-Mrs. E. E. M., S. Dakota

Jrlhen a piano sounding board (moreproperly called "soundboard"} cracks, thisis usually due to abrupt changes in tem-perature or humidity. I doubt whether thetuning had anything to do with your trou-ble, for a tuner does not ordinarily touchthe soundboard. A good tuner will, how-ever, be able to make some minor repairson the soundboard of your piano, eventhough when it is once cracked the tone isnever as good again. The moral is that apiano ought to be kept in a place where thetemperature is as even as possible, andwhere the humidity remains approximatelynormal. -K. G.

EARLY AMERICAN MUSIC

. • I wish to organize a study unit for highschool of the music in the American Colo-nies and I fi.nd myself needing all sorts ofinformation which 1 do not have. So willyou tell me where to secure the following:A film about early music; a songbook ofthe early American songs, a chart to showthe growth of music in America; some pic-lUres of early instruments; a play or operet-ta demonstrating early American music.

-Mrs. L. T., Conn.

Your "order" is essentially too large forthis department, but I can give you somebits of advice: (1) Look up a copy of John

ETUDE-DECEMBER /953

Tasker Howard's book "Our AmericanMusic" and also the 1946 edition of EI-son's "National Music of America and itsSources." (2) Write to the Music Divisionof Library of Congress, Washington, D. c.,and ask them where you might find a film,and what songbooks contain specimens ofearly American songs. (3) If you can af-ford to spend six dollars, buy a copy of"Books on Music and Musicians" publishedby G. Schirmer. In this book you will findlisted a number of books about music inAmerica as well as a wealth of other booktitle; thai would probably be of great helpto you in your work. - -K. G.

WHAT IS ALLA BREVE TIME?

• Please explain alia breve time to me-its effect on tempo, how one sets the metro-nome, etc. -C. N., Florida

The measure sign 2/2 is often referredto as "alia breve time" and it means merelythat a half note is the unit of the beat. Inother words, there are only two beats tothe measure, and if you use a metronometo determine the tempo you set it at what-ever point indicates the number of clicksper minute directed by the metronomemarking that you will probably find at thebeginning of the composition. The sign 2/2may seem to bring about a quicker tempothan 2/4, but the actual tempo of a com-position is determined by the mood of themusic and other considerations, so the safeway is to follow the metronome mark; andif there is none, then use your judgmentas to the tempo that seems to be "'right"-or else get a recording of the piece andfollow the general tempo of the artist whomade the recording. -K. G.

EIGHT AGAINST THREE!

• How does one master the problem ofplaying eight notes in the right handagainst three in the left? The pieces / aminterested in which contain this problemare Chopin's Waltz in Ceharp minor, Op.64, No.2, Chopin's Nocturne in E-Aat, Op.9, No.2. and Beethoven's Bagatelle in Eflat,Up. 33, No. 1.

-Mrs. R. W., Canada

The only real way to master eight-against>three (or any other similar rhyth-mic problem), and to obtain an absolutelysteady flow in both hands, is to practiceeach hand alone until it is absolutely steady,and then put the two hands together, tryingto maintain the independence of each hand.It is, of course, possible to work out amathematical relationship: as

thus allotting two and two-thirds notes inthe right hand to each single note in theleft hand. But such a mechanical calcula-tion never makes for a truly musical Aow.In two-against-three, perhaps, and possiblyin three-against-four, one can do the thingfairly well mathematically, but the resultalmost invariably sounds calculated, and Imyself have never thought much of any sortof mathematical playing. It is far betterto feel the rhythm of each hand in largergroups, and to keep each part moving in-dependently of the other.Since the Beethoven Bagatelle moves

along at a fairly rapid pace, the eight notesin the right hand must be absolutely even.This should not be difficult to manage inthis piece, especially since the troublesomemeasure is preceded by three measures withtriplets and groups of four sixteenth-notesin the right hand, which set up a feeling ofmomentum. In the two Chopin numbers,however, Illany performers divide the eightnotes into three groups, the first groupconsisting of two notes in the right handagainst one in the left hand, and the nexttwo groups consisting of three notes in theright hand against one in the left. This,of course, makes the problem very simple.In the Waltz this is justified on the groundsthat it maintains a simpler waltz figure,also that since the next measure of theright hand begins with a triplet figure,closing the preceding measure with twogroups of triplets makes for consistency.In the Nocturne the uneven distributioncan be justified on the grounds that thegroup of eight notes sounds much like atrill, and that it is conventional to begina trill more slowly and speed up as thetrill progresses. In both cases; however,it is perfectly correct to maintain the groupof eight even notes in the right hand againstthree in the left. -R. A. M.

23

Page 15

ORGANIST'S PAGE

Enlarging the Repertoire

Organists should make use of the fine new

works being produced by

contemporary composers both native and foreign.

by ALEXANDER McCURDY

EVERY NOW and then readers writein to say that they have found help-

ful the repertoire suggestions made here,and to ask for more of the same.I once drew up a list of suggested rep-

ertoire which was sent to readers uponrequest. The list is no longer availablebecause (a) every copy has long sincebeen mailed out and (b) many fine newworks, worthy of inclusion, have appearedsince the list was first prepared.Among these items should be listed the

Flor Peeters Miniatures. Mr. Peeters, whocurrently is making a transcontinental con-cert tour of our country and Canada, ishimself a working organist and choir-master, acquainted at first hand with thechoirmaster's problems. His Miniatures filla constantly recurring need, that of a shortprelude, offertory or interlude when oneis called upon to "play just a little longer."At such times organists who have a

flair for improvisation simply elaborateupon the material already heard. But thereare players who cannot improvise. It is aknack which eludes them. However, noone should despair if he is not fluent atimprovisation. Not being adept at improvi-sation is like not having perfect pitch-inconvenient sometimes, but nothing tobe ashamed of.Careful advance preparation can always

serve instead of improvisation. A goodknowledge of works like the Peeters Min-iatures will enable the organist to fill upalmost any gap in the service.Peeters' music may be considered "ad-

vanced" by some, but if the organist andhis congregation will give the music afair trial, in all probability they will findit richly rewarding. Peeters has also setmany well-known hymns and chorale tunesin a musical framework which is new,

original and striking.The Peeters works are a sample of the

sort of material available to the venture-some organist. It is material which can beeffective on any sort of instrument, whetherit is a small two-manual electric or pipeorgan or an impressive four-manual in-stallation.It has been my experience that, despite

laments over the dearth of "good newmaterial," there is always plenty of finematerial available if one is patient enoughto look it up and conscientious enough toget it well under his fingers. Obviously,a good work will suffer if it is not givena first-rate performance.Organists in search of new material who

have not yet acquired "The Parish Or-ganist" should by all means do so. Thefour volumes, edited by Heinrich Fleischer,

Alexander l\'[cCurdy

.... 24._-----

have just been published by Concordia.Its 120 selections include chorale preludes,postludes, offertories and voluntaries. Thelist of composers represented is an im-mensely varied one, ranging from theearly works of Frescobaldi, Pachelbel andBuxtehude to Bach and his relatives,Johann Christoph Bach and Johann Mi-chael Bach; Brahms, Reger and theircontemporaries; and later composers likeHealey Willan, Camille van Hulse andRichard Weinhorst.All these works are usable church

music, of suitable length for the service.In addition, the material is classified andcross-indexed according to its fitness forthe various festivals of the church year,and for special occasion su h a weddings,funerals and confirmations. "The ParishOrganist" is above everything else a prac-tical book for the working organist. Ibelieve it will be found to be one of themost useful compilations in the organist'slibrary.The music of Everett Titcomb, especially

his fine Gregorian improvisations, havebeen mentioned here before. His music isstriking and always practical for the servoice. An intere ting new work by Mr.Titcomb is his Organ Toccata, publishedby H. W. Gray.Ruth Barrett Arno Phelps' se ond volume

of "Sacred Hour at the Organ" is a newcollection of twenty organ work. Like thefirst volume, it contains music which hasbeen selected with taste and carefullyedited.Richard Purvis, already well-known for

numerous composition, has created musicof unusual effectiveness in his "FourPrayers in Tone," subtitled "Repentance.Adoration, Supplication and Thanksgiv-ing." These are among Mr. Purvis' finestefforts and will amply repay the time spentin mastering them.A new "Little Organ Book" from C. C.

Birchard Co. contains thirteen short piecesby thirteen British composers. Included areworks by Harold Darke, Walter G. Alcockand H. Walford Davies. All the composi-tions are usable pieces which will addvariety to the service.Organists in search of further material

ought also to investigate the hymn-preludesof Mr. Purvis, Carl McKinley and SethBingham. Mr. Bingham's set of canons'also is well worth trying over.

If the reader thinks that in this article,and in others on the same topic, I havebeen trying to encourage use of music bytoday's composers, he is absolutely right.Fine music is being written by men likeVan Hulse, Bingham, Titcomb, Sowerby,Carl Parish and others. Why shouldn't weplay it? All of us ought to be working con-stantly with new American music, not onlyas a means of adding variety to the servicebut also as a service to music generally. Iforgan literature is to be enriched with newworks, we must encourage composers towrite new works for organ. THE END

ETUDE-DECEMBER 1953

" ... .1wonder if you could give us someinformation about the "Bariolage-etroke"The term was used by a critic reviewingYehudi Menuhin's recent concert here, par-ticularly in reference to the performanceof Bach's E major Preludio. We hooesought for the term in a number of bookson violin playing, but have found no refer-ence to it .... Is there published in A mer-icc any magazine especially for violinists?"

Mrs. J. K. B., Holland

To anSwer your second question first,there is an excellent little magazine called"Violins and Violinists," published at 30East Adams Street, Chicago, Illinois. Thesubscription is $2.50 per annum. It is aninformative magazine, having articles onviolins and on various aspects of violinplaying.As regards the hariolage, the term is

rarely used any more, except in France.Essentially, the bariolage is the rapidalternation of two or three strings, legato,one of the strings being open. It. was fre-quently used by eighteenth and early nine-teenth century composers for violin, andhad occasionally been used earlier. Yourcritic to the contrary, the three-partarpeggio passages in the Bach E major Pre-ludio are not true bariolage, in that thebowing is detache and not legato. The realbariolage, well played, gives the effect ofgreat difficulty, whereas it is actually notdifficult at all. For this reason it was popu-lar with composers of exhibition solos forviolin.

Warming·up Exercises" ... Two years ago 1 moved to Minne-

sota, and / find the winters very cold forviolin playing. It takes me a long time toget my fingers warm enough to playeasily .... I was told I should play scalesas fast as possible, but this does nothelp .... Can you suggest some exercisesI could use that would help me warm upmore quickly?"

F. R. R., Minnesota

Cold hands may, of course, be causedby ·poor circulation j so it might be a goodplan to exercise briskly, though not strenu-ously, for about five minutes before youbegin to practice. Then your first fewminntes of playing should he thoughtfnllyplanned to develop both warmth and flexi-bility in your fingers.The most important point to remember

is that slow practice will condition thefingers much more quickly than fast prac·tice. A little experimenting will prove this.If the hands are cold, fast playing willinevitably cause the fingers to stiffen.Begin your practice with some easy

finger-exercise, such as is given in Ex-ample A:

ETUDE-DECEMBER 1953

VIOLINIST'S FORUM

.A Rarely Used-.Bow Stroke

Various questions of interest

.to violinists are here discussed

and suggestions given

for their solution.

by HAROLD BERKLEY

Ex. A

"5q~ld U CO,Play it as though the notes were slowquarter-notes; put each finger down asstrongly as possible; maintain the gripconsciously throughout the duration ofeach note; and keep your mind keenlyconcentrated on what you are doing. He-peat the exercise six times, then go to thesecond position and do the same exercisebeginning on F -sharp. After this, go tothe third, fourth and fifth positions, alwaysremaining in the key of A.At first your hand may tire quickly and

tend to stiffen. When you feel the firstsign of this, at once shake your handloosely downwards for about ten seconds.Never try to "play over" fatigue or tension.After the hand has been shaken out, reosume practicing just as slowly and thought-fully. The element of mental concentrationis every whit as important as the motionsyou make. If after five minutes of thissort of practice, your fingers are still cold,turn to slow scales and arpeggios and playthem with the same care. If the fingershave not warmed up after another fiveminutes, practice some slow thirds andfingered octaves, as in example B:

Ex. B

" j; j ~ IJhili 3 ~ J f d f S f3 I~ I I l'

There are violinists who swear by thepractice of thirds as a warming-up exer-cise; others are equally enthusiastic aboutfingered octaves. Experience, however,seems to teach that for the majority ofplayers both are too strenuous for a be-ginning exercise. They tend to numb thehand rather than warm it. But when the

fingers are warming satisfactorily yet stillfeel a little inflexible, then thirds andoctaves should certainly be practiced.When a gentle glow is felt in the fingers

and a sense of flexibility is apparent, thenis the time to play something fairly rapidly.The 8th stndy of Krentzer (in E major) orthe Paganini Moto Perpetuo are both ex-cellent finishing material in the warming-up process.So far we have considered only the left

hand, and usually that is the hand thatneeds to be considered, for the two handsgenerally watm up together. However, ifthe right hand should remain cold, prac·tice the Whole Bow Martele (see ETUDEfor October 1951) for a few minutes onsome such study as the 11th of Mazas orthe 7th of Kreutzer-a study that skipsstrings, in other words. Follow this withabout two minutes of the Wrist-and·FingerMotion at the frog, and the right arm andhand shonld then be feeling completelylimber and under control.The above suggestions are intended to

be general only: as soon as you acquirethe habit of deliberate practice backedby mental concentration, you will soon dis-cover the types of exercises that workmost quickly for you personally. But dodiscard at once the thought of rapid play.ing for warming-up purposes.

The Grand Detache·", . . Can you tell me what the Grand

Detache is? . . . I always thought theDetache was a short bowing near the point,but the word Grand should mean broad,so I am not quite sure what I shoulddo .... Is the Grand DhacM anything like

(Continued on Page 52)

25,

Page 16

A Plenary Session of the Conferencein the Palais des Reaux Arts, Brussels.

A committee or Amel"ic.nn8 whomet daily fOI' luncheon discussions,

Music to Unite NationsHighlights of a conference of immense importance in the field of international relations

(Mrs. Esther Rennick, musician and teacherof Birmingham, Alabama, who attended thelnterruuionai Conference on the Role of Musicin the Education of Youth and Adults, haswritten: a most interesting account oj the vari-ous meetings and the problems discussed,-Ed. Note.)

THE INTERNATIONAL Conference onthe Role of Music in the Education of

Youth and Adults which met in Brusselslast summer was convened by Unesco andthe International Music Council, in collabo-ration with Belgium authorities.All professions and specialized acttvrttes

concerned with music education were rep-resented by the more than six hundredregistered participants, representing fortycountries and twelve national and inter-national musical organizations.The aim of the organization is "to stim-

ulate music education throughout the worldas a profession and as an integral part ofgeneral education and community life, inaccordance with the right of all men, asset forth in the Universal Declaration ofHuman Rights, to take part freely in thecultural life of the community and to en-joy the arts.". The conference was convened for the pur·

pose of transforming these aims into ex-periences and actualities by providing op-portunities for the exchange of informationbetween nations, increasing cooperationbetween music educators, musicologists,composers, teachers, professional and non-

by Esther Rennick

professional musrctans, and publishers.With the search for peace foremost in

the minds of our leaders, and with fa i thand vision that music is of infinite im-portance in the understanding of nations,the predominant idea in every discussionemphasized the effectiveness of music edu-cation on international relations as a meansof developing esteem and brotherhood be-tween the peoples of the world.In this day of turmoil and unrest when

men are afflicted with hate, and manythings affecting man's welfare are warpedby war and selfishness, we were faced atthe conference with the realization thatfaith and vision are not enough to stifle thedreams each country has of dominating theothers. We banded together beneath thestandard of music to consider what con-structive part music, art, and education canplay in abating antagonism and oppressionbetween nations, and how best to work to-gether to achieve our goals.

A great deal of study was given to theproblems connected with non-specializedmusic education, which aims at developingsensitivity, taste, critical sense in music,and to help listeners understand and ap-preciate the wealth, beauty, and diversityof the world's store of music.International music education, which was

discussed in the broadest sense, should beconducive to genuine understanding be-tween nations because the Council kept inmind the characteristics of each nation's

~ __ 26 _

musical idiom, and the need of havingworks from each country performed in in-ternational festivals, thu bringing togethermusicians from all parts of the world.The Council constantly stressed the

necessity for encouraging the interchangeof musicians in all branches, and the crea-tion of facilities regarding materials, suchas printed music, recordings, instruments,and books.The fact that one civilization no longer

ignores the people of other civilizationswas most evident as musicians from allparts of the world listened to recordingsof Balinese gamelans, Chinese Drama,American Folk Songs, Gregorian ChanLByzantine melodies, and Arab singing. Thatmodern man is intellectually interested inthe whole world, and seeks to break awayfrom parochialism, was evident by theeagerness of the teachers from every coun-try to know those from all the other lands.

Many of life's differences yield to theenormous strength and infinite power ofmusic j list as differences of creed yieldto the great musical masterpieces which arebeloved by churches throughout the world.The Council made use of a truly universalrepertoire to foster the ideals of under-standing and brotherhood among all men,and to help unify aU nations.The meeting gave us a kaleidoscopic view

of music education the world over. It gaveus a better awareness of where we arem music, and a (Continued on Page 58)

ETUDE-DECEMBER 1953

No. 110-40264 The Spinning WheelGrade 3 RICHARD WALKER

Allegretto con graz ia (J = 120). ~2~ -r-, ~ -.... -... -----::' -....

3

simile

pp con facilita pPIANO

3 2 1 Z1

m'p~~-------=---2 •

3 5 4.3 14 3 3 3 2 13

simile

:p

"315 43 2 "oi

1 1 dim. pFine

mf 3 2-1 1--

2 1 4 3 2 3 I 2 23 2 3

" U5

" 4 5 "" .. " ~ ~2 ~~> ~>0 1 2

% i 3 2

Un poco meno mossoIt .\ 5 4 4~ :I 2 ~~

I2

~ 1 :3:•I 3 • " " "2

~3

111p

5~"2,.........- 3 ~ --......3I I -

Tempo I::! 3 .-.... -.... :--... ..-...

mf dim.l1p poco a poco !accel.

D.S. al Fine

Copyright 1953 by Theodore Pr e s s e r Co.ETUDE - DECEMBER 1953

J nt er n a t iona l Copyright Secured

27

Page 17

Grade 5 Hallelujah!(Chorus from "The Messiah")

Allegro moderato (J " 80)GEORGE FRIDERIC HANDEL

Arr. by H ellry Le-oine4 2"i: 3 . "i: ~ 4 5

3 4I 3 I 34 .. 3Il .I .... ·. ··V ...~~.r > U.., .. ff ,...-

'<I .'-.J 11 lIf 11 • 11' <I ' 11 • "'11 =-~ 11'11 .. 1111 :;;; '----' '--'

1\> ~ 1\'1 ~4 3~ .. 5 4 3 . 3I 5 >' " 2 .· . .· --=~...J::::lL...r r 12 r , .....I • -!' U'/ =>

- r- ,:::: r- =r- t\ -·11 •• 11 • .. 11 = ..... 11 - :t .. =.. .. <I 11 ••

:t''--' '---J :t '---J <I

>

1\ " JJJ 1I.h .. 3 2 ______>> I"'- >- >---->

··~.....c ....= 1.... .....c: ..... ~ .....c: ..... > >-I • I

>-

~ ... ,.. ... .. .. • a ~ :;;. ~>- ~ ;·~. :t 11

1i = .... '- - lr'------' ....'---J

A A'--'

.......' ~..~l •• ~ J ... ::JJJ •• =. J" u > 2

:>~ > :> :>j > :>

:>~ ... .. ..... •• IL ... /l ,-- ,....··

= .... == .... = ..... = ..... ~ ~-. :>::: > >->~ ..

:>

54Il a t.- ... ,.. 3::"... ::..:::~ ..- ..~-,---- ~ J-----iT > ~ i 1- !=.~

"""'"1= ,.... = r- 1= ....

==,.... _ .. ;..;.. .. ~ 2··

~ 1 • 11 '. 11 • 11 .'. 11 11 11f .. 11> :>~

From "Themes from the Great Oratorios;' arranged and edited by Henry Levine. [410.,U021]Copyright 1052 by Theodore Presser Co. ~ International Copyright secured

l n ~~~~ab _

5? 4

---------::;:-----~

. . ~ . . - 5

1-.. ~nl!~4fij- -.l ,,~ 2 • .... 3,l3 ..:. • 3 ..

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

'/i.> P- ';; :> ----..;> ,.... ..... •61 • '11 ;;;;;

~ '---' '--' I I '---' I I L-..J.....

~:> 'I 4------.>1\ .... 4r. ,l "1--- 'I :» 2 4

Ii 2 I:.!' ~2 ~ U .... ~ .... .... c:.J D ...../l •• ,.. .. = ,.... . 1'-1'-

iiii ...... I:: .. • ;;;;;111· ... ..... .....'----' '---' '---' ~ '----' l--' l--' L-..J I I '---l

55 45 4III .... l- • 4 5 45 4 3,l 2

.-~ r~--= ... • ~ ~ • ~f '. I~~•-. ...- - p pOCO meno moSSo

a a .... .. - -- .. .lhl11l 11 ~~~i. :: 11 .. ~ ~ : < •

11 :t 1 ~. :~ ~1 . A'---J '---_.../\...--f'-J'-.-/, __ ~~_~,_~._J~_, _

a tempo

" II~ ~ ... 1-.- e ~ 1. · ·

-. "'. I 7fmarcato ~6' f f

Iii. - ,.---;- :--. >/1: > .... a ·· ..

·11 >~~ ~ ~1: • • .. C'1I • .. 'I' I) > :>

ETUDE-DECEMBER 1953 29

l

Page 18

f- 2> 2 I 4 I I I I> >fJ >I 5 2 4 I 4

~ 'fi,p ~ :> > :>:> ~ :!'.~ I;.JI 4 :>~ :~

:> ~~~ ~.~ g 1""0 .. ~~iR ,... /'" ~1\ • --··

J,- • 11'1111 /1-= ~~II : I) '1

IJ 0...; ... '------' ~ L....J '--' L---... ...2 2J tr 3 ~~Ji~ :JAl. ~ J A ~.

f\ "' 'tr > :r =t~'t '3~ > A A A.' ..

• UdU l;Ji' U. U 1~16 r .~A ~,. A • ,. A •,. .,. , ... A A

""' Il, 1'11'~ L..J" : 3 .... 2 .... 2 ... 2 I:

~ 4 '---' '--' '--'~ 1i 11 ,, , ,

:J~ ~ ~ ~.~=-J~~ :J ~l.~J ~~. ~J~A ~ .... ra-3"' A A 1-.

·,I' I A A A ...~ A A A A - - =--- • • .'· -·

·1.... 4: .. '~ 4 .. f~ L..J.I ..tll' ~ ~... ~ 1 - , , '--', o .. L..J '---'

A A A A A AAA A A ~ ~ ~. ~ J....~l J~l~~~JI ~iiR.ra- e

fJ "' I ~~~.... ~~. I .. ~I=:I=: J~Ir= 1= l::-.

1""0 ~ ~~ It· 1'\/"'00 ~A A ~1""0 ~ 1""0 ~ f'\ r0-

o F9 1'" i"'" ~ ~··.. L.....," .. L..J

' . .. '---" 11 L....J • c....!, • L....J • L......-A..--,

A A A A A AA A,..3~'rll ~~ 'rll ~~~~J ~ ~~ l

~ ~ ~ 9-))J l"' 1=, 1-:: I=: ;; .J. .If=- _ ...

• •

•~'

cresco f!~1&............ '- .. > - .. •• .. ,. ---.

· .I) .... I) .... '"

==.... ,-,= i 1

---"'----=>==-_A'__ A'____ ~A'__ ~"____"___

4 1

:>:>: >-....4>:> 3

3 >

f f:> >:>

I

~ .10 _ETOIJE-IJECEAIBER 1953

:>> 3

3.... •• 3~.II~ ..... .. 'ffflJ.fJ " A A A • A A A A

r· 1< I' .... ..' ...... ... I ;:;;;;-ff

1""0...

~ 1""0 /"'''l::! ~A A A 1\1""0 1\ A A A A.4 l' 3

, .. .. i3 , I .. .".."..' ~ :>, , , , , , L........-' '----'

52I 3> >

~ 1 ~~ :> :'~'/k t. - 3 3 2 3 2 4,. 3

" - :: .. 1...... 2 I 2 I _ ... l ... i~1::- 2 I ..

t--a'"4 ~2 ~ '2' 2 - -- -~ . I- - ~.

:t :> >:> ~::t:~~ ~~~~' ~ :t :t :t ~ ~'----' L........-' , ,L......l

== ...'-----J L..J '----J L.....J L..J

3 4.....i~~23 -..~ e: 2

3 _. i~~ 3 •" " .. I • .. I .. t- -Ii

=-:> • •,.

.. .. 1 1 1 .. ,:>:>

'---':>:> :>

'--' L......l:>

> 5 4 32 2

~ J » > >1'1 :>L Ji1J ~:bn~jliJ ~.b5r":j 4

" ';;> ~ 51

• 2 3 4 3 -2 I 23 ~100oo.oO 14 I l:J[~ > :> :> :>:> :>

I>

f'\ 1""0 1""0 I\i"'"~ r- i I '\.

:t :> ~~ ~~ " t=t=l= l= ~ .....J • ....] • .. •~ ...fi ~ '------''-----' '-----' I , L.-J

Af.f

A A

ETUDE-DECEMBER 1953 31

-

Page 19

rI

BagatelleBeethoven brought a new voice to music. The sheer force of his personality and the power of his imagination created

the bridge between the classical attitudes he inherited from Mozart and Haydn and the pure romanticism of Schubert,Schumann, and Weber. In his struggle w ith "f'or-m ;' Beethoven found a dee ply personal expression in his large orchestralscILe'f'zi and also in two sets of Bagatelles hecom po se d for piano. The second set/'Eleven New Bagatel1es~' came out of hislate maturity and clearly point the way to the fanciful, short pieces of Schumann.(Turn to Page 3 for a biographical sketch)Grade 31 ; LUDWIG van BEETHOVEN, Op, 119, No,l

Edited by E"gen d'Albert

AllegrettoI

2_____ 13 , 2 2 I ~~ 4 ~ ~ 2 8 3 3 2 2 2_

. ' .

~ I ~ 1" , ~'

p &~ • II! ilL ~ti;.. ilLI

, ,

2 3 4 I 'lf~ I 2 3 t

PIANO

....3

,., I -. ~ ""4 I 2 2 2~ 4 2 ..:. ~ 3 ~ 3 3 a 3 .~,3

, I ..... "!'<

"-- -'citit ;,. Ii. itll;" Ii!. I , .... ,

- 3 4 I . li" a -t ... i ::1I '3 I

4 ~

4 rl 5~

J I --- 51~ 3 21 II a 3 2 I4----... 11. I•

I ·· :~ r;qr f' I ,

TQ =:>-== III J-.-21 J J ~J· s:-:

· . . .··2 15 1 ~ 5 c -,- 3 •

2_, 1/2. 3 I 3 2

2 I~

2.....i I"------

\~3----------

, ~1, II 2,2 I --- 2 a I 3

(2 ---.... I.

~·

ft~' j'I

1'i== ,I

I",3

1. : : . ·~ : / ~

·~I 2

4

From "Piano Compositions of Ludwig vanBcethoven" V 1 II· .C

. ' o. edt ted by Eu d'opynght 1909by Oliver"Ditson Company gen Albert.[430-40003]

32ETUDE-DECEMBER 1953

I 4 • ~~t s~ .:. ~ 1/ 3 3. .

I.

j",ooOil . v' "!"

i ~ ~ it ;,. ;.. II.. Ii·

:~ 4 1 . II'1

/ ~ I 3 2 3 3 34 3 2 4 3 3

3 1/ 8 4

to "lU ~ ~ '-ll,...- • '!'

, I ,;. ;,. . --.;.. iii it. ;,. -===(

;,. ;,. ~.. iii ~,. ;,. ;,.. . .I '2 3 I ---:rr 2 3 4

3 4 3 4 4 I

4 5I

1 I ' II • ~ 2 3 3 33_ 3 3 I ..:.3 3 5 , "~. ·. . .

,.n -;..

;,. b'" ..:. J I I"1'

{ . . . . .· . . . ·

.I!~ .

~ "1! ~ r 32 2

,., I3 4

.:. L !2 4, .:. '..:.. . .:.

Ipiuf .. '

.'1...:. .. ~ .• '''~ ,.:. .. ~,

3 2 I3 5 33

8

t

f=====~PClY!SC.

4 3 2 3 42 5 I 5

I 2-5

, . 2 3=------~ ~ 4 5 ~. r,...1

I .~ qz; • ~. ~:, '1 ~I " "

'1 " !1 ~I I ~;m,_, ,~

-I

- pp· r,..

·'Is I, 'I. 2 '3 '4-...2..--2 =1 :J4 I ~d. l; . .r)

3) Play tht: YariatioD of the theme car.~fully but unpretentiously.

ETUDE-DECEMBER 1953 ,J,J

Page 20

No. 110-16076 Two Ohristmas MelodiesArr. by A. GARLAND

Grade 3SECONDO

Andante maestoso-(J=84) "0 HOLY NIGHT"~

~~ ~ ~ +:--~.. .. ..-·

I ·II iI /J

8 /1 8 8< sf P I

·· -- -<l

-~ ~~~ l!! ::.• r::.~. l!<- _ j;;: l' .~... I!: ..

··p

··~ ?: ?: -- <5 1l

~ E:~ ... _~.. ~~ s: .~!fi/.' ~ .. :..··

f··

-.! 1l ... ~ 1': 'l: ::1':

- ~- ~ _I:~. .• • .f"'-. ..~.. ~-~.Cl ...·I ·< pp

1-,- I - <, , --.. 1_____.......1·-Q- -

L

•I

I fF~~" It-· -"'--r," •• -.." Ir~" ... ..J Ir·· 'f~,- --··So&.-

Copyright 1919 by Theodore Presser Co.34 BriUsh Coppiglll ~

ETUDE-DECEMBER /9iJ

Two Ohristmas MelodiesAn by A. GARLAND

PRIMO

Andante maestoso (J=84)>; "0 HOLY NIGHT"

t..

sf::>

animapeon

t

p

•

pp: f

3

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

f

3

ETUDE--DECEMBER:I!f53' 35

Page 21

SECONDO

- -,

I r_wyp I,., J~~,f '.. '~r"~·TIt" ..y~'.,..-/~ !f <---'I dim,

,·:! = 1 ...

l 7.:- - ~:: = =jj 1 v~ "7!7 "l: VV

a tempo, - -I

~ r~~ ~'~ If w~ 11i~' ___..,-:»< ff{

·:: ~ = - "1

...~ ~ 77;; :;;j

,

I~ ... ~~~ ~""·iJ 1:J .~J" ~w "iJ~~"""~I rJ.-~

~ ~ - ----· .

c,77 ..

~ 7.: 1:<! •

)[aestoso (J=96)"ADESTE FIDELES" __- __

/*"~*"---..... /.~.~ .:-_ ,. I- ~

l··

11ff ---·'----=- "li -9' 0 ...-- - --9" eo

q0 4 ~; :> :> 4' !--~~ ~ ~ ~ -2~ 1~p;r.~ • .- ~ ~ 2~Or·P -- ,.- --""1·

... ;j :z .. :> ::> :>- ::>-<11;> -ll.--.-

4 '

l4 :»":"a= :>~:> :>

:>~ ~ ~~• ", ... ;;-. ~ I • .&-.:;;- ~ ~·· ,ff: p cre~·c.

.-it;> (.'I··

<II iu , ,-<II::> :>:>:> ~ :>V1":;,jti *-9 -... -

;> &

l8 :>

36ETUDE-DECEMBER 1953

PRIMO

JD ••••••••••••••••••••••••••• -----.---- ...................... - ........................ - •• .........I-~ -. - ~ ....---.. •• t•• I

• •.. .-. I P - I I

f rdim.~:> --. - . ...--.. ••" . ~ .. . . .

F' I I I t• •8···················-·-··-·······-········-···········.-- •.•.. --......• -.~.- ... ~ ••••.•.••••••••••••• ,••••••••... -.-.!: ...~ ~/empo, !: ~! e !: ~ ;;-->I e=·rri. ~ -, - ff~ ~ ~:>s /II. ................ -- to-- :>-

" I ·• 4 ~ ----•

.................................... - -. Maestoso (J= 96 )"ADESTE FIDELES"....__ ............ _- .._-- .~~ I.---------. ~~

•~ ,.. ~I I I.

t IJ ---:p mf = ~ -I I

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ETUDE·DECEMBER 1953 37

Page 22

Vom Himmel Hoeh, Da Komm' leh HerJOHANN PACHELBEL

PEDAL

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JOHANN GOTTFRIED WALTHER

From;lThe....Church Organist's Golden Tr easur y." vei. III, edited by C.F. Pfatteicher and A.T. Davison. [4-33.41005JCopyrighl 1951 by Oliver Dilson Company Inlernalional Copyrighl 'SecuredETUDE -DECEMBER 1953 39

Page 23

Santa Brought Me Choo-ChooTrains(But Daddy's Having Fun)

No. 111-40048Lyrics by

PAUL S. LASKYModerately

Music byBOB SADOFF

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VOICE"!Ii G7 G7C: . . . . - .

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SAN-TA BROUGHT ME CHaO-CHaO TRAINS for Christ-mas Eve this year; Just the kind I asked him for, so

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. .. . ... -t r ~ • I' ... ~pret - ty I could cheer; I hur - ried down the stairs be - fore the sun was in the sky, But

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Dad- dy got there first,so I can kiss my trains good-bye:J

SAN-TA BROUGHT ME CHaO-CHaO TRAINS, It

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. .- -t • ~. f" ...made me, oh , so glad; But I can't get to play with them, I can't get rid of Dad; He has. n't let the trai ns a-lone since-.. . . . . . . .U'

..."IT

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1Copyright 1953 by Theodore Presser Co.40 International Copyright ~ecured

ETUDE-DECEMBER 1953

F F1 dim. q F'dim. C ..--3---' G7 C F

San- ta brought them here; I wish he'd let me play, but there is lit· tie chance I fear. I asked for trains, IWhat a mess he

S

I r r-

Em Dm G7 C C7 F Em Cm

begg'd for trains, But Dad-dy just shook his headj ,==== Now San-ta brought them just for me, Butmads 0/' tAingb', The tracke toere all urrong eome - Aowj- The en - gine ran off on the rug .And

D7 c G7

SAN-TA BROUGHTME CHaO-CHaO TRAINS, but Dad-dy's hay - ing fun;Ma _ma came right in and grabb'd m1/ IJad- d1l bV the ear)'

IShe

Dad-dy runs them in- stead.lor6 a-round like a plow.

G7 c c C7 F F# dim.

wish that he would leave them for a min-ute, on - Iy one; 'Causewhenhe goes and leavesthem and thc coast is fin ·'llyclear, I'llsaid,"The train is Jun _iorsl andgoult bet-fer dis -ap_ptJar,o So here 11,8 goes, US leav - ing new, the coast isfin - 'tly clear, To

11G7 Gaug-.C 112C Cc 1'" dim., C F#dim C F G7

11 • • "'

run my trains that San-ta brought on Christ-mas Evethisrun.mll trains that San-ta brought on Chrisf~mali Bve thu

year. _

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ETUDE-DECEMBER19~;::..11

1

Page 24

On~ings of SongSolo for "Bb_Clarinet

FELIX MENDELSSOHNA rranged by N, Cl ifford Page

PIANO

~ n an e ranqull0 ~. •• -<;, ~

•

~ p ben can/ando e dolceI

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sempre P e legato -~_I ~j. =6-

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Adtt '1

Bb CLARINET

con pedale

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... I , P

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{ ....~ {.~_I ~sf~_ =::=I-I ~-I '~~J ===rJ

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From liThe Ditson Clarinet Player's Repertory" edited and. ,arranged b N Cl'CopyrIght 1936by Oliver Ditson Company y . 'fford Page. [434.40079J

42ETUDE. DECEMBER 1953

-. , a pwcere a tempo.

~ poco rit _ I P' ,• I

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ETUDE:DECEMBER 1953 13

Page 25

No.I30-410gBCome All Ye Shepherds

Arr. by LOUISE CHRISTINE REBEModerato

.~~ 2 ,43

t.he L.

of_Un· der.,.. thc.,And the_ wise

night,old':1' She p - herd s were.,

Let us L, be.L.theirthose~

watch-ing-,-glad like-PIANO

, !

/\ II ---- ~----- s ...-----;l , 3 , , , ::----/, - f't H' 2_} l!. - the Christ Childt.h at.c, shin - ing_ so __ br ight . An - gels pro-claim the birth of

stars were tion and lovc_w it h., their gifts,frank-in-cense and gold. Let our_ ad- 0 - ra -men

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I L"st tirno ant!/./\ II ~---~ 5""': ::c-- 5~1

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l!. p't ...- f rr- z.Born in a man-gel' oh s o L, low-Jy ' Un-der a hcav'n-ly light. P

-mai t o rit. ppwith hu - mil- i'- ty bc_ OUT~ gift un - to __ Him.

! '" 1", rit.l~ ,~ , ,c .. · :, · .

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,.,.

International Copyright securedCopyright 1\1r:i1by Oliver Ditson CompanyNo.llO-40275Grade ~1

Corn Ruskin'MARGERY McHALE

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International CopJTigh! securedETUDE-DECE.IfBER 1953

Copyright 1\:153 by Theodore Presser Co.44

N'o.110-40~72

Grade 14Follow the Leader

(A Little Canon*)CLEO ALLEN HIBBSModerato (J=1l6)

5 % 5I') 1 1

I

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PIANO

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.D. S.at FinoI , , I* A canon is a piece in strict imitation. In this little canon, the melody in the right hand is imitated exactly hy the left hand melody

two counts later.Copyright 1953 by Theodore Presser Co.No.llO- 40273 "Let's Play Leapfrog"

International Copyright secured

HUBERT TILLERYGrade 2

Fast and lively (d 66) 1~3

PIANO

1J.l -; - 1 2 3 2 , ::0-.l!. .~/' .-v· -. • .- -~V - ~ v· --..-

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5 ,,,,4'----11.

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.D. O. at Fin"I3 53 2

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ETUDE-DECEMBER 1953International Copyright secured

45

Page 26

(---

The Dinner PartyNo. 110-40251Grade I

FRANCES M. LIGHTAllegretto(J =120)

.fAp_plesfcan.dy,bub-ble gum100;~

Let'S have a par-ty and we will dine.'We will start eat-ing at half-past eIght.

. ~"!f You have a nick - el, I have a dime;

'fnpCome to myhouse, and don't you belate;PIANO

'f~fblow-ing' our gum; Oh, such a par- ty

:toEat-ing can-dy, and such fun.

ritpar- ty for

tnternuttonal Copyright securedCopyright 1\) 53 by Theodore Presser Co.

No. 110-40271Grade H

To a DaisyWILLIAM SCHER

Andante COil mota (J=76)1 3 4, 1 2~32~5 2

pPIANO

, ,3

2• 52•2

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mp

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Copyright 1953 by Theodore Presser Co.

46 Intermilio~alCopyrighl ... ~ETUDE -DECBMBER 19'

WHO WAS THIS CHRISTMAS OUTCAST?

(Continued from Page 20)

It was then that a young lady inthe home, gracious in manner andreally beautiful in feature, steppedto the piano. Her fingers had hardlytouched the keys before the wholefamily, recognizing the f~~i~iarstrain, gathered around her, JOInIngtheir voices in words to the music.Never did a family look happier

on Christmas Eve or a song seemmore suited to the occasion!Clear to the wanderer outside

came the refrain:"Home! home! sweet, sweet home!Be it ever so humble, there's noplace like home."

Together, the singers and theiraccom panist made a perfect picture,symbolizing what the song reallymeant.As the outcast turned once more

to face the lonely streets, his eyeswere blinded by tears.How surprised that happy family

would have been if they could haveknown who heard them sing thatsong on Christmas Eve. As theirvoices died in the last note, the manwho wrote the words moved off againinto the night. The homeless authorwas John Howard Payne!

THE END

NEW RECORDS

(Continued from, Page. 18)

registers and instruments, and quietsurfaces. As to the performance,Ormandy and the Philadelphia or-chestra can play this music as wellas any orchestra in the world. Or-mandy has cooperated with Colum-bia's "hi-fi" intent by giving thecolor and drama of the music fullsway. Despite the number of dupli-cate recordings available, the newPhiladelphia recording of thesepopular works easily glides intofirst place. (Columbia ML 4700)

Mozart: Flute Concerto No.1 in GMajor, K. 313

Flute Coneeno No.2 in D Major,K.314

Though Mozart called the flute"an instrument which I can notbear," he was willing for a price towrite two flute concertos. These con-certos are scarcely major Mozart,but they are pleasing works whichflutistsdelight to play. Vox has goneto Vienna to record Camillo Wa-nausek, flute, and the Pro MusicaChamber Orchestra under HansSwarowsky in performances of bothconcertos, each complete to an LPside.The Mozart style is impeccable,the soloist more than adequate, thebalance of flute and orchestra good,and the recording entirely satisfac-tory. (Vox PL 8130)'

Schubel't: Pinno QuiJltet in A,Opus 114 ("The Trout")

(Music Minus One Series)

With this favorite chamber workwell played by the Classic StringEnsemble, Classic Editions launchesan ambitious project to provide ama-teur and professional musicians withan invaluable practicing aid. Utiliz-~ngthe advantages of the long-play-mg record, Classic has made fivedifferent recordings of the "Trout"quintet, each with a different missingpart. An idea that had limited valuein the 78 rpm days is now practicaland successful. Complete even to aPeters edition score for the missing

ETUDE-DECEMBER 1953

instrument, the recording gives thepianist or string player everythinghe needs for a home rehearsal.Planned for future release are theBrahms and Schumann quintets andthe Ravel quartet. (Classic EditionsCE MMO 11 to 15)

Music of the Middle Ages

Here is an indispensable recordfor the class in music history or foranyone who seeks illustrations ofsecular music of the Middle Ages.The Minnesanqer and troubadoursleft little written record of their art,but Vox Productions has assembledon one disc 14 examples that are asauthentic in source and performanceas you are likely to find. Otto Pingel,tenor, does most of the vocal work,and a splendid troubadour he showshimself to be. Erika Metzger- Ulrich,soprano, despite top billing, has apart in only one number-enough toreveal her unsuitability for the typeof music. Instrumental numbers andaccompaniments are provided bythe Collegium Musicum, Krefeld,under Robert Haas. Unusual "pres-ence," glassy surfaces, and com-plete lack of distortion make thisdisc a technical as well as artisticsuccess. (Vox PL 8110)

Villa-Lobos: Noneuo and Qualuor

From the fifteen hundred worksof Heitor Villa-Lobos the recordcompanies in their search for un-recorded music are culling noveltiesof unusual interest. These two, newlyrecorded by the Concert Arts Playersand the Roger Wagner Chorale con-ducted by Mr. Wagner, are playedwith understanding and recordedwith remarkable fidelity. Both callfor unusual instrumentation, mostlywoodwinds supplemented by word-less choral effects. The Nonetto isjungle-like. The Quatuor suggestsBrazil in more placid mood. (Capi-tol, one 12-inch LP disc.)

(Continued on Page 62)

Give your child abrighter futurewith a Wurlitzerthis Christmas

You can think of many fine reasonsfor wanting a Wurlitzer Piano forChristmas. To add new beauty andcharm to your home. To draw yourfamily closer together. To make en-tertaining more fun for everyone.

But the finest reason of all is togive your child a head start in life.At a WurJitzer Piano a youngstercan acquire poise. Self-confidence.Other traits, too, that can assure yourchild smoother sailing through life.

Remember, a few Christmases fromnow your youngster won't be a childany more. Don't wait another Christ-mas to see your W urlitzer Dealer(write us for the name of the onenearest you). More parents, youknow, buy Wurlitzer Pianos thanthose of any other name. Give yourchild a brighter future with a Wur-Inzer this Christmas.

,If we could supply sound effects withthis picture. you would know how richWurlitzer tone is. To make this tone pos-sible. Wurlilzer uses the Pentagonal SoundBoord which provides greater sound boardarea. Ask your dealer to show yo~ thisWurlitzer exclusive. Model 2155 illus-trated $591.00 (bench included1.

WURLmERPIANOS

Mode by the World's Largest ManufaCfurerof Pianos and Organs Under One Greot Nome

THE RUDOLPH WURLITZER COMPANY· DE KA~B, ILLINOIS

47j

Page 27

A RARE BIT OF SINGING AND DANCING

(Condnncd from Page 20)

the event: deposits of some $75,000above average were recorded in thetown's two banks. But for the greatmajority money was not the incen-tive. Scores of home-owners, for ex-ample, refused to accept paymentfrom their foreign guests and whenchecks came by letter they sent themback. The show appealed to thestrong streak of idealism in theWelsh character and was done forthe sake of that intangible somethingcalled "international good will."

The multilingual affair at Llangol-len, now seven years old, is an off-shoot of the National Eisteddfod, apurely Welsh institution going backperhaps 800 years. Eistedd in Welshmeans to sit; fod is a place. Togetherthey make a word for a meeting ofpeople to listen to poetry, to singingand the playing of musical instru-ments. Hundreds of Eisteddfodautake place in Wales every year.Abroad, wherever Welshmen livethere are others. We have them inAmerica. There was a huge Eistedd-fod at the Chicago World's Fairbefore the turn of the century andthis year Utica, N. Y., celebrated its98th.

The Llangollen gathering, becauseit has more color and variety andincludes singers and dancers fromforeign countries, has attracted moreattention and has grown more rapid-ly. Today it is second only to theRoyal National Eisteddfod, a festivalof all the arts and a focal point ofWelsh culture and Welsh nationalaspirations. Here there is only onelanguage-Welsh. Even operas like"Carmen" and readings from Dickens-are done in Welsh and, of course,every word spoken from the stageis in the national tongue.

The two main prizes, a crown anda chair, are awarded to poets; onefor an original set of verses in theold Welsh meter, the other for onein more modern tempo. The crown-ing of the bard and the chairing ofthe bard are climactic moments. Theother prizes are for soloists of theharp, piano and violin, for individualsingers and singers in choruses, forwriters of essays, short stories, novelsand plays, for painters, sculptors,potters, knitters and embroiderers.

To me the most unusual feature ofthe Royal National Eisteddfod isthe attitude of the Welsh audience.These people who in private life areminers, farmers and shopkeeperslisten with intense and intelligentinterest to the poems and essays.They follow the judges' literary andtechnical criticism as people inAmerica might follow a sports com·mentary. and when they leave theygo on arguing with one anotherabout the merits of this poem againstthat one.

The most moving moment is the"Welcome to the Exiles," and by an

48

exile is meant any Welshman whoreturns to the old country after asojourn abroad. The names are readand, as anywhere from 300 to 500expatriates come to the platform, thehuge audience sings, as only Welsh·men can, the lovely hymn of we]-come. Last year there were business-men and their wives from the UnitedStates, wool growers from Australia,men and women from New Zealand,Canada, Patagonia, Borneo, Hong-kong and other places.

"This is your hearth," said thechairman. "Here we speak "the samelanguage, think about the samethings and at times quarrel with thesame kind of anger. So poke up thefire. move the cat out of the wayand sit down in the old chairs."

The International, upstart amongthe Eisteddfodau, was the brain childof a Welsh miner's son-a stocky,40-year.old newspaper man namedHarold Tudor. The idea came to him,he told me, during the war. Oneday when bombs were falling andack-ack guns chattering he heard afarm boy singing undisturbed by thenoise and the danger.

The song outlasted the bombard-ment and it seemed to Tudor thathere, symbolically, was the answerto the problems of the world. Music.the one language all people under-stood, might make a chorus thatwould silence the guns for a11 time.

After the war Tudor, living 15miles from much-visited Llangollen,enlisted the interest of Gwynn Wil-liams, who had quit the practice oflaw to become a composer andpublisher of music. Together theytalked to George Northing, mayorof Llangollen. He too liked the ideaof an Eisteddfod on broad, inter-national lines and he called a meet-ing. Llangollen then and there de-cided to launch the International.

A little figuring showed that sucha gathering would cost the town notless than $40,000. For Llangollen,with a population of 3000, it was anenormous sum. The committee passedthe hat. A garage owner tossed in$150. A housewife gave a dollar. Aschoolboy dropped in a penny. Every-body gave something and that firstyear there were contributions fromcitizens of Llangollen living abroad.Finally there was a fund of $5000.Hardly enough-but the credit ofLlangollen was good. Tudor and hisassociates sent out invitations.

For a discouragingly long time noforeign group responded. Then thefirst entry-from Kalmar, Sweden.Others came in a rush: from Belfastin Northern Ireland, Oporto inPortugal, from Florence and Milanin Italy, from Winschoten in Hal.land. There were 14 altogetherenough to begin. Ohio State andYale wanted to compete but thedate of the first Eisteddfod can.

flicted with the school term.Llangollen discovered it had ~o

money to rent chairs for the bigtent. The committee put out anurgent call for something to sit on-enou ...h to accommodate 8000 people.In re~ponse came upholstered chairsout of parlors, sturdy oak ones outof kitchens cane- bottomed settees,milking sto~ls,_ even a few creakingMorris chairs. Pews were unscrewedfrom churches, benches came fromthe schools.

But disaster threatened again whenFrench railroad workers went onstrike. The Spaniards came in aramshackle bus. The pre-CommunistHungarians, singing as they wentand passing the hat, raised enoughmoney to get to the Channel inrented automobiles. The Italianswalked and hitchhiked. Everybodyarrived on time, a little battered butsomehow a little happier becauseof the difficulties overcome.

The first year was an enormoussuccess, spiritually and financially.Not only did the Eisteddfod cover allexpenses, it had made a profit of

. 86000. And it has continued to reoturn a profit. Last year's show, forexample, cost $165,000 but cleared$18,000. The profit goes into a fundfor improving the festival and into asinking fund against the day whenthe International will have a perma-nent structure as a gathering placeinstead of a tent.

Competition in the singing followsrigid rules. All groups sing threesongs: one in Latin. one a set pieceassigned by the Eisteddfod, and athird of their own choosing. Listen-ing to 100-odd choirs sing the samepiece of music may sound monoto-nous, but it is astonishing how dif-ferent it sounds when rendered bya group of London policemen andby Austrian store clerks.

Evenings are pure entertainment:the soloists and choirs sing, thevarious groups dance, and alwaysthere is either a fine symphony or-chestra or a ballet company fromLondon.

The great attraction at Llangollenhowever, is indefinable-the spiri~of both audience and performers. Onboth .sides of the footlights, theyare SImple people. This year, forexample, the Dutch singers were allf~ctory workers, the French dancervmeyard hands, the women's choirfrom Bergen, Norway, were aU officeemployes or housewives.

Of ?ll this the audience is awarea.nd Intensely sympathetic. OncelIsteners were informed quite casual.ly by. the chairman that Luigi Cas-toiOZZl, con?uc~or of the ~lilan group,had sold hIS plano in order to defrayex~enses. The audience began towhIsper and after a while there wa450-" h I. to e p pay the cost of a

new plano."In villages near Llangollen, where

many of the contestants are quar-~~red, the choirs sing again after the

19 tent has gone dark The .. y smg

in churches and on river banks. InCefu-Mawr, the Spanish singers ofAlmaden and a choir of the localworkers of the Monsanto plant sanato each other' until 4 o'clock in th~morning. In Glyn, the SchleSWig.Holstein group strolled up and downthe lanes singing while the Welshat windows and in doorways reosponded. I remember particularlyone Dutch group singing on a nightthat was so black you could notsee the faces of the choir. Their con.ductor donned white gloves, and itwas thrilling to watch those ap.parently unattached hands markinathe beat. ~

These village songfests have a dualpurpose. The villagers want to hearmore singing but, more important,they want the visitors-e-invariahl-poor young t rs-to have enoughmoney to purcha e a few souvenirsto take home. The Au trian singerstwo years ago were presented with$200 or about 10 for each man inthe t rou pe. Out of such thoughtful.ness ha come many enduring friend.ships, kept alive by letters and byexchange of gih . A Welsh familvmay end to a panish visitor a fe~·yard of cloth. Back will comeaham, a doll or a wicker bottle 01wine.

Last July's meeting was renderedmemorable by the visit or QueenElizabeth and the Duke of Edia-burgh. Long before the royal couplearrived the tent resounded with thesinging of hymn. The big canvasenclosure hold 8000 people. Onlawns and 51 pe outside there isspace for 25.000 more who can listento the music through the many laud-speaker. Bel w, in the town itself,there are other amplifiers so thatthe music from the Eisteddfod stagebecomes easily audible to not lesthan 50.000 persons.

On the stage to welcome the Queenwere ten choirs-c-about 800 voieee-and when she made her \'fSY tothetage the massed singers rolledout

Bach's "All Honor, Praise and Bles5'ing." The song was taken up bythe audience and by thousands 0111·

side the tent. Down in LlangoUenbu es stopped and activity in thestores ceased 8.5 people in the gwlS

and bouse added their "oices tothewelcome. Beyond doubt it lf1S theloveliest musical ovation the rulerof 8 people ha e\'er reeeh-ed.

Tudor's idea grows larger eachyear, even spreading to other CO~D'

tries. pain now has its own danCJll!Ei teddfod. isits back and (nlliamong group in orway, wede~and Denmark is B de\-elopmtot t\i.rectl ascrihable to the Internationalwhich may in time C'-oh-e into anall· andinavia musical assembh·

The idea born in war bas yet ~silence the guns. Yel the 1I"tllth 0

high spirits tbat pours throUgh~little market lOWD on th.c Dte {nilover its bridge i creaun~' .but 10,""ly bond bett<eeo ~peopl fatE.'

ETUDE-DECfIlBrR 19iI

BACKSTAGE WITH THE TV SCENE DESIGNER(Continued from Page 14)

setting is different or where anum·ber of scenes are involved in eachprogram (such as Firestone) this isimpossible.

Floors become even more impor-tant on programs that involve vocal-ists, a fact I have come to realizesharply, having done the sets for"The Voice of Firestone" since May1951, with frequent additional as-signments to NBC's TV Opera Ser-ies, as well. No matter how attrac-tive a singer may be under othercircumstances, caught full-on by thecamera in the act of singing, mostof them look singularly unattractive.Consequently a large percentage of

shots are made from above, with thecamera pointing down and bringingthe studio floor into prominent view.My own solution to this problem hasbeen to use "photo" paper whichcomes in wide rolls, spread it on thefloor, paint my design on it, andafter the show, have it removed.

Lighting plays as important arole in achieving successful perspec-tive effects as correct painting. A setcan be painted in perfect perspective,but under the wrong light the hoped.for effect will be nullified. To achievedepth illusion on a set paintedin perspective, the upstage area

(Continued on Page 51)

March 9th this year, Miss HildeGueden appeared on "The Voice ofFirestone" show. For her final songshe sang Czardas from "Die Fleder-maus" for which I had designed aballroom setting in perspective. Byhaving the floor design becomesmaller and smaller toward the backwall of the stage, as well as sceneryon each side of the set graduallydiminish in height, an impression ofnearly 250 ft. was achieved on theNBC Center Theatre Stage. which isactually only 40 ft. deep and perhaps

not more than 150 ft. long.Floors obsess the TV designer in

general, and the designer for per-sonality-musical shows in particular.Not only are they a key means ofcreating a desired space impression,as already indicated, but they mustreceive some decorative treatment tocreate a realistic scene. Rugs areruled out, for they would catch inthe camera's rollers and impede itsfreewheeling action. On a permanentset .It's possible to paint the floor,but for a show where each week's

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49

Page 28

[(now These Violinists?by OLIVE WEAVER RIDENOUR

I, Beethoven dedicated a sonata to, and named it for, thisviolinist and composer.

2. At seven, he appeared as soloist with the San FranciscoOrchestra, at eight in a recital at Manhattan OperaHouse, New York.

3. American violinist, horn in Chicago, who made his concertdebut in Paris in 1905 and in 1908 with New YorkSymphony.

4. Famed violin vintuoso who lost a fortune attempting tofound a Norwegian colony in Pennsylvania in 1832.

5. First great violinist to play a Stradivarius and recom-mend it to his friends.

6. Played so-called transcriptions of old masters which laterproved to be his own compositions.

I. Ole Bull2. Yehudi Menuhin3. Arcangclo Corelli

Choose From:4. Rodolphe Kreutzer5. Fritz Kreisler6. Albert Spalding

Answers to Kuow These Violinists?·.I;JIS!~l.I)[zlf.Il '9 'm;JJoJ O(;Jiille~)lV 's 'Ung ;JIO

'17 '~u~preds l.I;JQIV 'f: 'u!l{nu;JIN: !pnq;J A 'Z ·.I;JZln;J.I)[ ;Jl(dlop01:I '1

\ \I'

"George. guess who Junior brought home for dinner;"

50

Musical Manby E. H. COSNETT

This queer looking mister you see

pictured here,Has a shell-like Bass Clef for

each ear.Bass Clef dots are his freckles

fair,A Mordent forms his wavy hair.

His up-turned nose is an accent

mark,And not for a slur, but just for

a larkHe wears his tie round neck and

chin,While his mouth shows a whole rest,

silent and grim.

Each steadily staring eye is apause,

His heringed fingers are sharpslike claws.

An arpeggio cane he twirls in hishand,

He sports a high collar, theC Clef Brand.

Staves and clefs adorn hisvest,

Each button crest is aquarter rest.

A graceful brace su pportshis side,

His timepiece and notes denotehis pride.

st/I"'- _•••••••••- _ _ _-_._.

His arms or cr. endo anddee res en 10,

(Loud r, still I uder-nolloud. no. no!)

Simply decres ndo ere hileg.

Which should milk him tip-tee8S if on ggs.

But he wa lks not·fooled downthe street,

Be euse h hu~ 1\'10 ROI:::>for Ieer.

The level ..,11"et lOU

near by.1s known far and wide as the

Octave High.

ETUDE

BACKSTAGE WITH THE TV SCENE DESIGNER

(Continued from Page 49)

mustbe more brightly lit than down-stage. The Bibienas, limited to us-ing massed candles, achieved adiffused lighting that enhancedtheir perspectives, but the TVcamera requires brilliant stagelightingall over and its needs lessento someextent the illusion the sameset would create on, say, a pros-cenium stage.

It is axiomatic in stagecraft that"Mood cannot be created withoutshadows." When a stage is floodedwith light an uninteresting pictureis presented, and the actors look liketheir own passport photos. Fromthis unfortunate effect comes thederogatory backstage expression,"passport lighting." Correct or in-correct use of shadows on-stage canmake or mar the mood of a pro-duction. And here again, the needfor bright light, inherent in TV,posesspecial problems, which haveto he resolved as best they can bymake-up or the placement of props,or hangings to cast shadows."Spectacle" plays practically no

part in TV designing. The sole pur-pose of the setting is to aid andsupport the play and players so thatit enhances and never overpowersmood or action. In the BenjaminBritten Opera "Billy Budd" (whichhad its American premiere via NBT,incidentally), a bleak, almost bar-ren stylised set was used becausethe work is fundamentally basedon the interaction of characters, noton the fact that the action takesplace at sea. A realistic setting corn-plete with nautical minutiae wouldhave pulled attention away fromthe actors. For this reason we re-frained from putting the set intomotion like a ship rolling on thehigh seas, though mechanically thiswould not have been difficult. Thefact that it would have distractedthe viewing audience was enoughreason to discard the idea. Every-thing in the performance was sub-ordinated to the characters. On theother hand, the opposite is true inpresenting Strauss' "Del' Rosen-kavalier" which NBT performed in2 installments, last April and Mayas the final opera of its season.Lightweight in plot and characters,"Hosenkavalier" depends for itsflavor to a great extent on thesetting and costumes of the MariaTheresa period of 18th CenturyAustria. The grand stairways,~anened walls, glistening chanda-hers, costumes of satins and bro-cades all suggest the spirit andtemperament of the time.Light ~ravels in a straight line,

a t~eorellcal bit of information thatI~asan immediate practical connota-tl.onfor a designer who is "dressing"Ius set for a show. Pictures, if photo-graphed from the side, for instance,must be hung off-center to appearcentered in the image on the TVscreen. Foreground furniture must

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ETUDE-DECEMBER 1953

-

be placed on a platform if it is tobe seen in shots focused for close.ups of the actors. To have to pullthe camera far enough back to in.elude furniture not thus elevatedwould emphasize the furniture andminimize the actors-never good de-sign philosophy. The actor is alwaysthe important element. By jackingup the foreground furniture so thatit can be seen even when the camerais : close in on the actors, reality,depth and fullness are achieved.In one respect Television because

of the camera's scope, as well as thenumber of sets generally called foron a musical variety program andpressed by the twin tyrannies oftime and space (or lack thereof onstage), borrows from the regulartheatre, when it occasionally paintsone selling on the back of another.Thus a travel office background needmerely be reversed on castoredwagons to serve as a banquet hall.

Finding props can entail hours oftime and miles of foot-work. Whenwe were planing the sets for Puc-cini's "Suor Angelica" on NBT'sopera series we wanted cypress treesin the cloisters. Our budget forprops had been pretty well exhaustedand the imitation ones in local propshops cost a pretty penny. Wonder-ing what to do I found myself grimlythinking "Only God can make atree" and a great light dawned. Whynot try real ones? Eventually weimported 4 live cypresses from up-state New York at a fraction of thecost of imitations. All was well tillwe came up against the Fire De-partment which insisted we fireproofthem. Spraying them with the propersolution had the unfortunate effectof turning them white, an unhappycircumstance remedied only by paint-ing them green. So by the time weused them our real trees were fairlyersatz anyhow.

Some of the other prop-problemsthat have to be kept in mind includethe fact that they must have differ-entiating light values. A woodencigarette box on a table of similarwood would not be sharply definedin the gray and black tones in whichTV comes over. A ceramic or silverbox would be better, though if silveris used it has to be waxed to dull itand eliminate shine. Mirrors mustbe treated the same way, and cos-tumes with light-catching sequins,or pailettes are strictly ver botem:All in all, while a sound technical

background in the principles ofarchitecture and design are mustsfor a TV scene designer, and it helpsif he starts with, instead of acquiringon the way, an understanding of thelaws of optics and color values, basicto all this is the need for a strongback, an active imagination and theimprovisation gifts of the mother in"Swiss Family Robinson." And if hedoesn't have them when he starts,he'll soon develop them. THE END

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51

Page 29

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~iolin f(lluestionsBy HAROLD BERKLEY

Value of a Lupot BowE. G. T., British Columbia. In my

opinion, you paid too much for theviolin branded "Violin d'Artist-Wieniawsky." Such instruments arefactory products, and are usuallyworth less than $200. (2) The bowstamped "Lupct" is almost certainlynot a genuine Lupot. If it were it isnot likely that it would have beensold for $5S-a genuine Lupot bow,in good condition, is worth between$250 and $400. But if the bow andthe violin please you, why worry?

A Certified ClaiJnQ. V., Montreal." The violins of

Tomaso Carcassi sell today for any-thing between $900 and $lS00-ifthey are genuine! The trouble is thatsome unscrupulous copyists have in-serted genuine-looking Carcassi la-bels in thousands of inferior violins.But if you have a certificate fromHill's of London you can be prettysure your violin is authentic.

Price of Genuine Str-adaT. C. MeL., Ontario. The hand ful

of great, historic Strads would beworth between $7S,000 and $100,000apiece if they ever came on the gen-eral market. There are some two orthree hundred Strads that sell forbetween $25,000and $40,000, and

the rest are worth between $10,000and $20,000.

An Average MakerG. M. -.n., Oklahoma. Dominique

Salzard was born about 1810 anddied about 1875. He lived for a whilein Paris but most of his work wasdone in Mirecourt. His instrumentsare typical of the average Frenchwork of the period, and are worthtoday about $200 if in good condi-tion.

A Guitar QuestionE. L., Massachusetts. I am sorry

to have to disappoint you, but guitarsare quite outside my territory. Per-haps you could get some informationif you wrote to the Manager, TheRudolph Wurlitzel' Co., 120 West42nd Street, New York City. Thefirm sells guitars, and it has a goodreputation for all its instruments.

In AppreciationMrs. J. W. B., Call lornla. C.

Collin-Mezin was a member of alarge violin-making family in Mire-court, France. His instruments areusually wellmade and are worth be-tween $150.00 and $200.00. I amglad that my writings are helpingyou so much with your renewedviolin practice.

VIOLINIST'S FORUM

(Continued from Page 25)

what you call the Whole Bow Mar-tete ?"

Mrs. C. B., NebraskaThe Grand Detache and the Whole

Bow lVIartele are closely related-you might call them cousins-butthere is one important difference be-tween them: there is no stopping ofthe bow stroke after the individualnoles of the Grand D6tach6, while inthe W. B. Martele each note is sharp-ly staccato. The essential effect ofthe Grand Detache is a pronouncedaccent followed by a sustained tonethat connects with the following note,which is also accented. See Ex. C:

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~r9an ~uestionsAnswered by FREDERICK PHILLIPS

Canyou. refer me to a Hymnal ora book that gives metronome tempomarks of the standard protestanthymns?Or can you advise me on thepropertempo for such hymns. 1 playtheorganat onr church; some say 1play the hymns too slow, others saytoo fast. How can I determine justwhatwould be the right tempo?

R. G.-Iowa

deed for some six or eight inchesand then sustaining it more slowlyfor the duration of the note. Thechange of bow is made quickly andwithout breaking the tone. and theprocess repeated.

The Grand Detache is not neces-sarily a full-bow stroke: the effeclcan be well obtained by using onlyhalf the length of the bow. particu-larly on the two lower strings. Prob-ab.Iy the. mo.st familiar example ofthIS bo'wmg IS the opening of Kreis-~er's .Praeludiwn an.d Allegro. andIII tlus passage the tern po wi II notpermit a full.length stroke on theG and D ~trings. A good rule for thepassage IS to take about half thelen.gth of the bow on the lower twostrmgs and almost the full bow on

Most accents are produced by the the upper strings.bow resting motionless but firmly on The WhOle Bow Martele is notthe string and then being rapidly freq tldrawn. As this is possible only on b uen y encountered in solo workthe first nole of a passage of Grand ut as an exercise for developin~

• control of the bow it cannot be bet-Detache, the accents on the succeed- tered TI b'. le ow is placed firmly oning notes are produced by drawing th t Ie s l"ing at t le frog--one might al-

l,;;~~'ETu:shing' .the bow very rapidly in: most say by ~wa-y----or~emph . h

I ... 5.2__________________________________ aSI~. t at

The very fact that some say tooslow,and others say too fast, is al-mostproof that you are not far frombeingright-neither one extreme northe other. We do not know of anymetronomemarked hymnal or of anybookgiving such markings. The rea-son undoubtedly is that tempo islargelya matter of individual taste,and the leanings and "bringing up"of varied congregations. A personalallusion might help to clarify this.Quite a few years ago the writerplayed in a church whose servicecalled for the Long Metre Doxologyeach Sunday morning. For severalmonths he played it at the sametempo he had been using in otherchurches,without any question, butafter a long interval the minister ofthisparticular church suggested thatthe Doxology was heihg played alittle too slow. The following Sun·day the tempo was increased just alittle, and after a couple of weeksof this, he heard from others that itwas being played too fast. Wherethere is uncertainty, we believe thebestplan would be to confer with theminister and accept his advice onjustwhat would be most satisfactory.Evenif the minister is not too musi.cally inclined himself, he wouldprobablybe well qualified to pass ona ~uestion of this sort. As a partialgUide,the writer referred to a set ofstandard hymns sung and recordedby St. Peter's Episcopal Choir inPhiladelphia, and recognized by' thebest musicians as among the leadersin this field. There are of course

some deviations from rigid tempos-for purposes of interpretation andexpression, but the following are thebasic metronome tempos of these sixhymns: The Church's One Founda-tion, ; = 100; Corne Thou AlmightyKing, ; =88; Eternal Father Strongto Save, ; = 76; Lead Kindly Light,;=60; Now the Day is Over ;=69;Onward, Christian Soldiers; = 120.

I play a one manual and pedalConnsoniaa Electronic Organ (Model1 EJ, and am interested in organstudies and pedal studies for prac-tice purposes. Please suggest studiessuitable for One manual. / have"Pedal Mastery" by Dunham, an.d ithas been a great help to me. 1 amstill taking piano lessons, and amworking on fift.k and sixth grademusic.

L. S.-Mich.

The limited pedal keyboard (18notes) on this model Connsonatamakes it a little difficult to get thebest advantage from pipe organpedal studies like Dunham's, whichare, of course, designed for the fullpedal range of 32 notes, but the prin-ciples given by Dunham can be ap-plied with its limitations'to your in-strument, and this is evidently what)'ou are doing with fair success. G. B.Nevin has two books which may help-"First Lessons on the Organ" and"Twenty-five Advanced Pedal Stud-ies," and the pedal studies in Stain-er's "The Organ" are also good. Formanual work, we suggest reed organpublications, since most pipe organmusic calls for two or more manuals.There is not much in the way ofstudies, but the following reed organcollections will be found quite use·ful~Classic and Modern Gems;Murray's One Hundred Voluntaries;and Reed Organ Selections. All thebooks mentioned here may be had onapproval' from the publishers ofETUDE. THE END

it is "hooked" on~and then drawn;~ rapidly as possible to the point.

e moment that the bow begins tomove,the pressure is relaxed and thebow drawn lightly. At the point itrests motionless on the string fora second,then pressure is re.applied'Ind the bow leaps towards the frog't 1e PI'reSSure re axing again as soonas the bow is in motion. To maintain~ steady bow stroke requires a highegree of control, which is acquired

only .through constant and criticalpr~ctlCe. The bowing, however, isemmently worth studying, for every

ETUDE-DECEMBER 1953

minute spetlt on it cannot hut im-prove the player's general bow tech-nique. Furthermore, it is a bowingwhich, if practiced over a period oftime, often awakens and gives life toa temperament that has hitherto re-mained dormant. The concentratednervous energy required for eachstroke of the Whole Bow Martele hasan animating effect on nearly everystudent, and is especially beneficialfor those players who tend to belethargic in the important matter oftheir expression.

THE END

A bit of ribbon ..~and a thousand magic evenings

YOU'I.LSPEND a thousand magic evenings, and more, .. playing andlistening to the Hammond Organ with your family. For this is musicso richly varied, so beautifully expressive that there is hardly roomin a lifetime to know all that it has to offer.

And within a momh, even a beginner can play the HammondOrgan with feeling and grace. Just as ~any, who playa little or a lot,have found inspiration and satisfaction in playing this instrument.

You'll measure the value of your Hammond Organ in relaxation,too. You can erase a week's worries in five minutes at the keyboard.

And you'll share some priceless hours with your children. Laughingtogether, learning together and listening proudly as they play theirfinc, feverishly-rehearsed home recital.

It can all begin this Christmas. For you and for them. And thoughthey've hardly hinted, you know how much they want a Hammond. ..

The cost? You can own a Spinet Model Hammond Organ completewith built-in tone equipment and bench for $1285, f.o.b. Chicago.Many dealers offer terms of up to 3 years.

For complete details about Home, Concert and Spinet Models-visit the Hammond dealer near you. Or, if you prefer, simply mailthe coupon.

££AMMOND OIl,GANMUSIC'S MOST GLORIOUS VOICE

r--------------------------------------------~--,Hammond Organ Company4210 W. Divcrsey Avenue, Chicago 39, Illinois

Please send me full dctails about thc models of the Hammond Organ I have checkedbelow.

o Spinet El Home El Concert 0 ChurchName . . ..~.~. _

Address . ~ . _

City__ . ._. ._~_.~_._~ P.O. ZOne.-- __Statc__ ..__.__ . _@In3, IIAMIiOND OIlGAN COMPAIIV lZ I-----------------------------------------------~

53

Page 30

Christmas CharadeB,· Leouoru Sill Ashton.

''IT'S ALL RIGHT to have Han,del and his music for the sub-

ject of the Club's December pro·gram," said Charles. "We can tellsomething about his work and playa record of his great Christmasoratorio, 'The Messiah.' but Iwish we could think up somethingdifferent for our Christmas meet-ing."

Hugh silently bowed his thanksand made motions requesting penand paper. When the smithybrought them ,to him he sat downand began to write.When the charade was over Jack

said to the audience, "You guessedthe title, The Harmonious Black-smith. But what about the rest ofthe charade?"

"I have an idea!" exclaimedHugh. "Listen-e-" and he explainedhis idea to the group.The evening of the meeting the

club members waited expectantlyfor the program committee to ap·pear. Charles came in first. Hecarried a wooden box and a ham-mer. Jack followed, and an-nounced: "As you know, the sub-ject tonight is George FrederickHandel, but first we are going toact a charade which wil.! representthe title of one of his well-knowncompositions. You are to guesswhat the title is."Clinton placed the box before

him and struck it with tLe hammerusing strong, slow taps, at Lht,sametime he whistled a tune to therhythm of the taps. The Har-monious Blacksmith, everyone saidat once. .Jack held up his hand for quiet

and Hugh came hurrying in. Hewore a white wig and a whiteruffled shirt, both of which werewet, and drops of w,8,Ll"rtrickleddown his face. As he looked abouthim) the blacksmith, wearing heavyshoes and a leather apron, followe.dhim whistling, then singing. As helooked at Hugh he noticed how wethe was, picked up a cloak andwrapped it around the boy, then ledhim to the anvil to dry himself.

No answer. "Who was the oldman?" asked George.- "That was the composer himself.One of the legends about this com-position is that Handel was cauaht

(Continued on next page) 0

Deaf Children Like Music, Too!By Elizabeth Searle Lamb

HERE at the Escuela de Sor-domudos (School for Deaf

Mutes) in Panama City, the capi-tal of the Republic of Panama,deaf children crowd around thepiano twice a week. Many of themcan hear nothing; others can hearonly very high or very low sounds,but no ordinary speech or music,yet they are eager for the pianistto play. Can you guess why?It is because they feel the vibra-

tions, the same vibrations whichproduce sound when they reachyour ears. These vibrations, in dif-ferent rhythms, and in varying. strength from different registers ofthe piano, are a new experience forthem, and make a new contact withtheir silent world. At first, placingtheir hands on the piano, theyclose their eyes and just feel; thenthey open their eyes when the mu-sic stops. Even this small responsemakes them smile, and soon theybegin to sway in rhythm with themusic as they watch the teacherwho shows, through face and mo-tion, the mood of the music-sad- and slow, or fast and gay. Later,feeling vibrations through theirfeet, they begin to march, and evento dance. They learn to distinguishbetween two-four, three-four andfour-four meter. Sometimes theyhave a rhythm band of percussioninstruments.Put cotton in your own ears to

THE ANGEL'S GIFTBy Fannie R. Buchanan

When Wise Men travelled on theirway

With gifts, to where the ChristChild Lay,

The Angels, who buy not, nor sell,Asked "What can we give?" Nonecould tell.

One Angel, newest of them all.J ust come from Earth, with wingsso small,

Spoke softly, "Babies love a sono- "O'Then joyfully, the Angel throng

Cried, "SING, Give Carols to theChild !"

Sweet Mary raised her face andsmiled

To hear the Heavenly refrainCome floating down to Bethl'hem'splain.

AI~d ev~n yet, on Christ Child's Eve,WIth gIfts to give and to receiveWe .hear through earth, the ech~esnng-

"Oh, sing to Him a Cam!. SI G,"

I

l---~------54•

shut out all sound, and lay yourhands, palm down, on the back ofa piano while someone plays. Feelthe vibrations; try to distingUishthe rhythm; notice the differencein strength of the vibrations thatcome from. the bass, the middleregister and the top octaves. Thisis what music means to a deafchild!Those who are learning rhythm

from musical vibrations learn towalk with a smoother step; theflow of rhythm aids their speakingwhich i so difficult to learn r;;those who have never heard a spok.en word! And through the rhythm.bands, and the exerci es which aredone to ruu ic, the drills and sim.ple dances, these children experi-ence real happine and they callthus relca e inner feelings thathave no oth r mean of expression.Ye , deaf children love music.

even th ugh they have never hearda sound!See p/lQIQgrnpfl 0" 1Iexl pare

MClHlcl sohn'sBig Laugh

In January, 1845, the dramaAt-tigone (music by 1endelssohn,word by ophocles] wa producedin London and two weeks later theEnglish "funny" paper calledPunch printed a pen-and- ink sketchof the performance. Concerningthis illustration Mendelssohn wrote,in a leller to hi si ter : "See if youcannot find Punch for January 18.It contains ... a view of the choruswhich has made me laugh for threedays. The chorus-master- with hispia id trousers showing underneathis a masterpiece ... "

WORD -Il -M IC GA)IE

Each word begins with the finallelter of the preceding "ord. I,The fifth tone of a major or minorscale; 2. Rapid alLernation of l'IlOadjacent tones; 3. Very 5low:4.A drama set to music; 5. A 53crttlchoral composition: 6. The pa.~ing from one established ke}'\0another by means. of accidental:7. Neither sl18rp nor Aat in noU·tion: 8. hort line ahore or be-low Lbe staff: 9. rmbol of rhytl·l11ic silence: 10. chord ofw"tones.

(An.lN'er. on nexl P"ttl

ETUDE-DEC£.IfBfR 19iJ

No Junior ETUDE Contest this month

CHRISTMAS CHARADE (Continued)

ina rain storm and took refuge ina blacksmith's shop. He was soinlpressedwith the smithy singingand whistling at his work that hesat down and wrote this piece at

"once.Charles took up the story. "The

Harmonious Blacksmith is part ofa Suite Handel wrote for the harp-sichord.We arc going to pass overhis Suites) operas and other com-positions and play for you therecording of the great HallehlrjahChorus from his most famousChristmas Oratorio, 'The Ales-siah.'" (All listened atLentively.)"That sounds just the way I feel

at Christmas," exclaimed Meg, asthe music ended. "And do youknow,Ibelieve if everybody wereas kind to others as the blacksmithwas to Handel, and if everybodylikedtheir work so much they sangwhiledoing it, people would feelevery day the way they do atChristmas.""You've got something there,

Meg," said Hugh. "There's a lotmore to music than just learningto play.""I would like to make a mo-

tion," continued lVIeg, "that we alltry to develop a great love for ourwork, no matter 'what our workmay be, and that we develop aspirit of joy and happiness so thatwe feel like singing all the time.""That sounds like a swell mo-

tion," said tHugh, "but it's rathercomplicated. Will you please re-peat it?"Meg repeated it slowly and dis-

uncrly. "I second the motion," saidlack. "All in favor say Aye," saidCharles. And amid much noise ofaye-aye, the motion carried unan i-mously. "And," said Hugh, "al-though we cannot make motionsfor other music students andfriends who are not here, we canwish them all a very merry Christ-mas, and hope they too, will feelas happy, cheerful and kind at allLimes, as they do on Christmas."

Letter Box

Send replies to letters in care ofJunior Etude, Bryn Ma~·r, Pu.and they will be forwarded to thewriters. Do not ask for addresses.Foreignmail is 5 cents' some for-eignairmail is 15 cents ~nd some is25 cents. Consult your Post Officebefore stamping foreign air mail.

•Iplaypiano,trumpet and French horn.Amongmy hobbies are electronics andgettinga~quainted with other people.I wouldlike to hear from boys aboutmyagewhoare interested in music.

John Irving McLeod (Age 12),South Carolina

dTK 'he (ie-rdld AYlgels sing'I1....~.1 GloY!:I 10 1:he ~ewbo"'n ~n9

ETUDE-DECEMBER 1953

I have been a church organist for fouryears. Accompanying oratorios, such as"The Messiah," "The Seven Last Wordsof Christ," etc., with choir and orchestrahas been a most pleasant part of myduties. I regularly play for other churchservices, weddings, etc. I would like tobear from other readers who are inter-ested in this type of work.

Lloyd Davis (Age 16), Illinois

•Anewere to Words-in-music Game1. Dominant; 2. Trill; 3. Largo; 4.Opera; 5. Anthem; 6. 1-Iodulation; 7.Natural; 8. Leger; 9. Rest; 10. Triad.

Totally deaf childl'cn

fceling music

tbrough

vibration

Pholo by lean Bailey

..........................................................I••••••••••••••••••

• For the serious student who wishes in- :tensive professional study of music, bal- :anced with participation in college liberal:arts program and general campuS activity. :Dormitories, co_educational dining, exten- :sive concert series by guest and local:artists, excellent practice facilities. :

••••••••Conservatory catalog describing de .. :

grees awarded -•Bulletin on admission and audition:

procedures -•Calendar of music events for the cur- :rent year :

Programs of concerts and recitals:given during past season :•••••••J.................................................... '

OF MUSIC

Member National Association 01 Schools of Music

Write for:

Director of Admissions. Oberlin CollegeBox 5123. Oberlin. Ohio

r Sherwood~lnsicSchool-Thorough professional training for successful careers. One and two-year Certificate courses prepare for private studio teaching. Bachelorand Master Degrees, four and five years. Piano, voice, organ, violin,'cello, wind instruments, composition, public school music. Facultyof renowned European and American artists. Many opportunitiesfor public recital, solo and group performance. Member of theNational Association of Schools of Music.

Founded 1895. Splendidly equipped lake front building. Springsemester begins February 1.

For cab,Jog, "WriteArthur Wildrnan, Musical Director

Sherwood Building· 1014 So, Michigan Avenue· Chicago 5 • Illinois

In the heart oj cultnral Chicago

AMERICAN CONSERVATORYOF MUSIC-CHICAGO

Offers courses In all bra.nches of music67th year. Faculty of 135 artist teachers

Member of National Association of Schools of MusicSend for a free cata.log-Address: John R. lIa.ttstaedt, Pres., liSt Kimball Bldg., Chicago

55

!

Page 31

(Matthay Exponent; hos given nine Town Hall

Recitals) says:

"The outstanding benefit of the Guild is the

knowledge that the students will have preparedat least four compositions of different styles withsome degree of technical proficiency~ interpr~ta.tive understanding and finesse. It compels bothstudent and teacher to concentrate on achieving

mastery of 'the thirty points'"HOSE RAYMOND320 W. 86th St.New Yor" 2'~,N.Y.

NATIONAL GUILD OF PIA'NO TEACHERS

BOX 1113

(Founded in 1929 by Irl Allison, M.A.. Mus.D.)AUSTIN, TEXAS

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

(Non-profit Educational Institution of Higher Learning)

A Professional school accredited by the Notional Associotion of Schools of

and approved for G. I. training. Approved for non-immigrant students

Section 101 (AJI15)(FI of the Immigration and Nationality Act.

Music

under

For catalog or further information write

7807 Bonhomme Avenue St. Louis 5, Missouri

I BUTLER UNIVERSITY

. f ;.,-J!!!J)~~"~!L~~~~-fM~~.!~<A rich tradition, a progressive j;\,ilosophy, iIn outstanding fatuity, complete accred.itotion. Baccalaureate degrees in Dance, Drama, Music, Music Education, Radio.

Write for cotologue and desired in/ormationJORDAN COLLEGE OF MUSIC (Box E), 1204 North Delaware Street

Indianapolis 2, Indiana

Bachelor of Music, Moster of Music, Bachelor of Science in Education (B.S.transfer to Kent Stote University or Western Reserve University)

WARD LEWIS, Actinq Director3411 Euclid Avenue • Cleveland 15, Ohio!lumber of th~ NtltlO1lGt ASStlcltlii01l of Scl'oa!s of Ml<Sic

in Ed. by

CINCINNATI CONSERVATORY OF MUSICWilliam S. Noylor, Ph. D.• Diree::tor and Dean of Faculty

Established 1867, Operated under auspices Cincinnati Institute of Fine Arts.Affiliated with University of Cincinnati. Complete school of music-Degrees,Diplomas, Certificates-dormitories, 10 acre campus. Write for free Catalog.

Registrar, Dept. E. T. Highland Ave. and Oak St., CINCINNATI 19, OHIO

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

Certificates in Music and Theatre Arts.Clarence Eidam

PresidentFor informotian,

William PhillipsMember NASM DeCin

address RegIstrar, 1625 Kimball Bldg .• Chicago 4, III.

Shenandoah College and Conservatory4.year B. Music and B. Music Edu~o- Thorough professianal preparafiofl.tion degrees in piano, violin. voice, Also accredited Junior College.orgorl, 'cello; public school music. Shenandoah is urlder church sponsor_Theory: conducting. woodwind, ship but nOrl-sectarian, emphasilingbrouu, academic courses. Chur~h spiritual awareness omong her It-music. Clan and private instruction. dents. Est. 1875. SUmmer l8Isio~.

Catalog: Dlr. of Admission', Dept. E. Doyton, VCI,

56

MESSIAH SUNDAY

an area-wide meeting with someonefrom this office, the area mana~erand the choir directors and rmn-ister s. By the way, the area mana~eris chosen because of his orgaruza-tional ability, personality and stan?ina in the community, also hisin~erest in such community projects.We don't choose a manager if he isnot really enthusiastic about theproject itself. Each area is as autono-mous as possible, so that each areamanaaer has as much leeway as pos-sible. At this first meeting a publicitydirector is chosen and whatever otherofficers are necessary. At this meet-ing or at a later one, the conductor ichosen. I do not make the selectiOll.

"At still another meeting, calledby the area manager, the conductorwill discuss tempos, the choruses tobe used, editions, pronunciations andany special interpretations which hemight wish to employ. Also plansare made for from three to fivemassed rehearsals and the direclorsgo back to their individual choirs andset to work to learn the score.

"There are no color lines; black,yellow, red and white join in thiseffort, and there is no distinction osto creeds. We have had choirs fromNegro, Spanish-American, Japane eand Chinese churches.

"Soloists who have sung accept·ably in the preceding year ore

I 1 ~!lt~~ati~ally jnvit~ to return,. wsO\t)l~ts are selected In -; gen~'l\laudition so that we always have B

back-log of available singers. Thegeneral auditions are held in Septem-ber before a committee selected bythe Music Commission. We provideaccompanists and the auditioneescome in and sing a work from 'TheMessi~h' an~ are judged accordingto then ments. I work with the areamanager and the conductor in select-jn~ the soloists for each area-thesebe~~g chosen from our master files.. They are, as much as possible.

slOger.s from within the area. Theorgalllsts and accompanists arechosen between the area managerthe conductor and myself. We try ou~leve~ best to avoid any ill feelings;for m~tanc~, the soloist auditioningcommIttee IS as frank as pos~ible. Ifthey feel that a singer is not .read ( d qUlle. y an we have had people comeIn and audition year a £tel' year (or~hree or four years and finally makeIt) they tell them where they arew:ak and why they are weak. and soWIth that advice th ey can and dogr?,~ an.d ~e~oll1e beautiful singers.

he l~dlvldual choir furni8hes itso.wn mUSiC Scores. We use allhshed editions as we fou d' pub-past that the d" n 10 years~like that we caen I~~:: ~~ enough~~a question, we decide' in t:: ~:~:

Mce the procedure to be (0110wed

any of th 41 'year employ:d Pherformances last

ore estras or string

IMPRESSIONS OF A MUSICAL JOURNEY TO AFRICA(Continued front Page 15)

exchanged views about various mu- part of the listening audience, whilesical topics. (From many sources I the G major of Mozart (K.453) whichheard the complaint that so little con- I played under the baton of thetemporaryAmerican music was avail- young A Irikaans conductor Antonable here because of the existing Hartmann went over very well, al-doUar-restrictions. In order to help though we had only a short rehearsalin this matter I wrote to several of on the morning of the concert. I alsomy publisher friends in the U.S. tape-recorded a variety of shortand asked them to send out sample pieces for the permanent trunscrip-copiesof some of their recently pub- tion library of the S. A. B. C. andlished piano music and teaching ma- was very glad that they asked forretial, which will form the nucleus some American pieces too-c-Includ-of a Salisbury Musical Library, ing Copland's charming Story ofwhichwill be available t.o all serious Our Town.music students and music-lovers In Cape Town I met. beside Dr.throughout the Colony.) Chisholm. Mr. Alfred V~n Wyck, all-

Our next and final stop on this other of South Africa's fine, youngmusical journey was the Union of COmposers who promised to writeSouth Africa, where I gave alto- something for me. So far he hasgether 14 concerts and had a truly mostly written for orchestra and heexciting time traveling around and also has a fine string quartet. whichseeinga great deal of this very beau- unfortunately Iwasn't able to hear.tiful country in the comparatively One of my most pleasant musicalshort time of three weeks. On the experience!" was the concert in Capeday after my arrival from Salisbury Town in which I played the G majorI gave my first recital jn .1ohannes- Concerto of Beethoven with the Capeburg for the Johannesburg Musical Town Municipal Orchestra underSociety,whose spiritus rector is Mr. the inspired leading of EnriqueHans Adler, a gentleman of Ger- .lorda. Mr. Jorda who recently hadman origin, who has Jived in South ...;ucll a wonderful success 'with theAfrica for over 20 years and con- San Francisco Orchestra is an ex-tributed a great deal to the flourish- ceptionally fine conductor. who willingmusical Ijfe of the largest. city of go very far I am sure. We got alongS.A. Although a businessman by marvellously well and I have toprofession. he is a mu.<:ician at heart think very hard if I want to recalland only recently completed a series when I had a finer accompanimentof three broadcasts playing the harp- in the Beethoven Fourth Concertosichord for the South A frican Broad· than the one I received here.casting. Corporation. J -greatly en- _ ,It was mMt interesting forn'ie alsojoyed meeting some of the Jeading to tou!" jnside South Africa a littlemusicians of South Africa. First I further away from the big centers ofthink I should speak of Adolph Hal· Johannesburg and Cape Town. Ilis, a really excellent pianist. who played in several smaller cities, in-was born in Port Elizabeth and eluding Port Eljzabeth. Queenstown,after studies in Europe settled in Umtata and Kimberley. In mostJohannesburg, where he is now con- place~ I had fairly good pianos andsidered to be the leading pianist and most enthusiastic audie.nces, whopedagog of South Africa's largest were grat.eful for every encore andcity. He played for me excerpts ot asked invariably for the more de-Eric Chisholm's Piano Concerto manding and musically heavier pro-which interested me tremendously. gram of the two I gave them asDr. Chisholm, Glasgow-born and choices. I enjoyed giving the firstEnglish.trained, is head of t.he Cape local performance of Beethoven'sTownUniversity's music department Sonata in E major, Opus 109 in sev-and one of the leading South African era I citie&, of South Africa and wascomposers today. I met him later on "ratified to read the next morningin Cape Town and was glad to learn ~hat the local critics appreciated mythat he is planning to come for a efforts and thanked me for once notlecture tour to America in the Fall having "played down" to the audi-of 1953, when I hope he will have ences who were sick and tired ofan opportunity to meet some of our hearin<r the Chopin A-flat Polonaisel~ading musicians in the various mu- and th~e ":Moonlight" Sonata on aI-sical cent.ers he will visit and also to most every concert of visitinghave sp.me of his fine music per- pianists.fo~medm OUT country. Thinking back on the African toUT,

Iy two orchestral appearances in which provided me and my wife with~ohannesburg were both with the so many pleasant experiences, I amo~th African Broadcasting Cor po- very happy that I did accept this en·

ratIOnOrchestra and I was very lucky gagement. When signing the con·to have the fine cooperation of their tract I never realized that it wouldtw I d· .s? ea mg conductors, Mr. Jeremy mean such a pleasurable experienceW~ulman and Mr. Anton Hartmann. and I hope that sometime in tbe

11th Mr. Schulman it was my "reat future I shall have another oppor-

peas t' d 0. UTe 0 mtra uce on the African tunity to go and play for the eagerco~tInent the ~nd Bartok Concerto, audiences of this great and !"o farwhIch proved to be tremendously musically not quite explored Con-Sllccessful, if somewhat puzzling to tinent. THE END

(Continued from Page 13)

ensembles for the accompaniTh blicitv ! h ment.e pu rcity IS andled fromOUI

office through the area publicitvill.recto_r .. We send material to'l~!publicity managers who in turn~that their local papers get thefa':~!

'..Many times I am asked: 'Wha~;;gained from these presentationsl'And I always answer that there'Ii'

d.. ~

34 enonunanon represented inloe1952 productions. Thirty-four churchbodies joined together in onema55~viewpoint: inging praise 10 IheKinof Kings. I know of no other ~iIUi~

t i n in which 34 denominationsgOl

I get h r; thi cooperation alone~worth th efT n. The imJJression~~the unchur bed i tremendous.lh w th fa I Ihal hriJ:tianSC8Diit

down rogerh r, unite and singaniget along without fighling. AI!Gnh Ips unify end 8\' r in man)' otberlin 8; throughout the )earthe..-tsamtgroup g t log ther for etherper.forman c or Dlh r work. It bdp;th individu I h ir and choirmem-bra 101. Th y g I to meet diretl~r;lh y hs\·en't rn I; the)' gel to :m!und r dir lion Ihal ther haTenlhad; th 'I g Ilbcin piralionol~.

ing wilb a Inrg group and ofsin~to u Inrg I' (troup of peopletbanth~would oormall r a h.

11Th I: a r not coneens. They ItlP r 5 n t d 8 w rahi p <e""ic~,al~wh r \cr I) Ii ibte, in ebuTcbe;;.W181\'0'0) begin \\i1b an in~OCItion;1!hav- an • ff ria and cni ill,ben diclion. .-

t •• Ie .. iab' undar haSp1llfDwbyear.. and it ""'i11 nOI be long~(ore all of uthern Californiawillbe _inging "The M ..iab·---ilDthe

same dale and at Lhe :same boor,That is our goal! nd thiqeadcourse, til dale ~'illbe Dcc:em!K'r6th, at 4 o'clock. 011•• onwe;<days we ba ...·e te.lephoned from (Ill!

area to another duriDg the perfontance to 6nd lhal ..11a.re justaOOa!8t the sam place in the music.

"1 Wi5h ')1 siah' UDday (lIullspread lhrougl1oul Lhe ~JleaDdthathroughout the nation ud I beJjelrthat our church mu-ic leadeT'5 hilt...ti~ion to it brought aboutin~Each ear th performance ha.:n.~Ulu~icall)': the choirs bot!" thellln;!b It I' and the conduclors caD ~more out oC tbe cboir5. and tlchTfllour !SOloi~lS are gettiD~ more~!Igr~p or whal i in the m~ic.ItbrWwbe.n I think whal il can be likel~)'ear~ from no~'. One !iddil~t on~1952 ')I~iah' .. _ • ree:ordingID!~n one area wa~ ~I 10~o~ ~It wa_ wei omed e.nlhu:,Ja....uuJIr~Chaplain Peter Holm ... ,.be« iiisang in the chorus. The ~P ~played it o\-er and Ol"cr spDIatIront lin .. , roGiiGLORY TO GOD I: TH. '\~

T 'in O~ EARTH Po,GOOD \TILL TOW.\RD ~\

THE E'O

ETUDE-DECEMBER 1953

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Page 32

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58

MUSIC TO UNITE NATIONS

(Continued from Page 26)

preview of where we hope to go.Realizing at long last that music

is no longer only for the talented andwell-to-do, but is a spiritual necessityfor the common man, the conferencespeakers stressed the problems con-nected with non-professional musiceducation; extra courses outsideschool hours for students who have /left school; adult music education;the training of specialized teachers;international exchange of ideas, in-formation, personnel, and teachingmaterials.Such outstanding speakers as Dr.

Walter Arnold, from Toronto; MissVanette Lawler, Washington; Dr.Dragotin Cvetko, Yugoslavia; Geor-ges Duhamel, Paris; Professor Tom-ojiro Ikenouchi, Tokyo; Sir SteuartWilson, London; and other notedmusical leaders brought into focusthe value of every form of musicfrom which we derive benefit and bywhich our minds and souls are con-stantly enlarged.The part music actually plays as

an aid to international understand-ing, what is expected of music edu-cation, and whether or not we oughtto set other aims for music, andwhether the aims are obtainable, andother thought-provoking questionswere threshed out in two languages,with exceptional interpreters, andwere later presented in mimeo-graphed form to all delegates andvisitors.The over-all picture of music edu-

cation, which the speakers gave us,concerned itself with music of groupsof people and at the same time de-velopment of individuals in thegroup. The greatest emphasis wasplaced upon the harmonious coop-eration of the group, instead of uponthe excellence of individuals.Since to music, the whole world is

only one city, no matter in whichstreet it is born, we stand to profitfrom our colleagues in other lands.Because music of any nationalitymakes its home in any country thatopens its heart to it, we stand toprofit by studying each other's work-ing conditions, traditions, methods,failures and successes. By so doing,we make a common body of knowl-edge available to all, and a helpto all.Many theories expressed by the

speakers turned into experience andactuality as we listened to the per-formance by the orchestra of young

people's music clubs consisting of ahundred instrumentalists from twelvedifferent countries.Another living example of under-

standing through music was the. p~r-formance of fifteen choral SOCIetIesfrom many countries of the UnitedNations. The members of the choralgroups were not, for the most part,professional musicians. They rangedin acre from sixteen to seventy-fiveand "'represented occupations f.romfarm women to business executives.The value of their art dependsneither on quality nor variety oftheir musical activities, but on theintensity of their artistic experiences.Those two evening concerts were

musical feasts that will never be for-gotten by those who heard groups ofmusic-loving wor-ld-citizens perform-ing some of the world's greatest mu-sical compositions with an excellenceunsurpassed by groups of profes-sionals.In the words of Mr. Pierre Harmel,

Belgium Minister of Education, "Mu-sic knows no frontiers either of timeor space. Through it men's mindsshed their differences and find com-munion in the oneness of human na-ture. I think I can say that if Unescowants to create harmony between thenations, it will not find a better lan-guage than the language of music."The question of placing musical

education on a democratic footing asan integral factor in all-round edu-cation was paramount throughout theconference sessions. Many questionswere brought out for discussion:Should Music Education transformlisteners into active music lovers byacquainting them with various formsof harmony, structure, style, and his-torical background? Are our greatmusical resources such as radio, tele-vision, recordings. festivals. filmsand artist concerts' wasted un'less th~mass of listeners get some basicknowledge of music, some trainingof taste and judgment which wellplanned music education provides?Does man serve art, or does art serveman? Is making music an art or acraft? How is music to become aninfluential contributing factor in the~ife of its n.eighborhood and a spir-Itual force m the personality of theindividual?Many such questions were raised

and discussed in plenary sessions.~ecture. h~ns, demonstrations. concertmtermissIOns, Over the coffee cups;

ERRATUMIn the October issue of ETUDE a rather stupid e I"

II d rror 0 omlS"lonwas a owe to escape the attention of our usual]"" I' hI -

d 0 P 12 1 f 1 J re la e proof.rea ers. n age at t le top 0 t le third column of M . D'1' . I "R . 1 h 0 ., " aunce ume~-m s artlc e, eVlva at t e pera, begmnmu witl tl fl'

following the word "way," it should read" l:l f 1 le O~rt lIme.D b d I d· f I - . . .. or a vertLcaJ style ussy eve ope tt u ly with the 'cascade' of un I die." Tl d" I' . re ate c lords etc. . . le war s III Ita lCS were omitted from the co v . . .

ETUDE sincerely regrets. P- . an error which

at the Embassy tea, and on siglu.seeing excursions.It l"emained for Dr. Leo Kesten.

berg, Principal, Music TeachersTraining College, Tel-Aviv, Israel, tohave the final say on the possibilityof placing music education on ademocratic footing as an integralfactor in all-around education, andI quote him: "A prosaic, pragmaticobserver may be skeptical and in-credulous as to the practical effectof an international conference on therole of music in education. In thisgodless world, in which the scars leftby two world wars are not healed,in which mechanism divorced fromthe arts rules all, and dogmas seemto hold undi puted sway, it wouldseem to be unrealistic, utopian ideal·ism to conceive of the very idea ofinternational music education. Butit is the rea tion again t mechani-cally empty desolation, against theneglect of th oul. against the an-guish. distress, and danger of man.that become ever)' day more evident,that gives us our faith, our cenfi-dence. our belief in artistic creation.Moreover, this Conference. as thesolemn prelude to the future, con-tinuing work of the InternationalAssociation for Mu leal Education.in which our hope are placed. bind-us to con urn and put into practicethe guiding principle .. of music edu-cation:'A solemn and in piring climax al

the close of th C nlerence was thefir t perform n e, by the crchestreand the choruse , o( the "Hymn ofHope." wr itten e peciall)' for theConference by Paul Hindemith. whoconducted it. end the French poelPaul Claudel. who was in the audioence listening.It seemed a if the Conference ""a-

prorniaing hope to the world throughmusic and poetry. that those whowent to Belgium hod mobilized theirideals and put their art 81 the ~rriceof the world's cause. wilh \-i5ion andhigh purpo~e to u~(" mu,ic a5 !powerful link bet\',eeo nation;:.OUI from UDder the ~pell of the

Conference we realize lhal it .-illlake more Utan hope! We loo,.- il

will take more tban \·i~ion aDd highPUTJ)(tse. It will take tbe united d·fort8 of musical leader educator~.and t a hers tite world O\'er workingtogether to forge the mu~ical linkstrong enough 10 bind men'~ mind-and heans together in brotherhood,Standing shouJder to ~houlder

with the musicia~ who are iO\"(lh·edin this work. i the great t of aUorganizations dedicated to tbe bdter·men' 01 mankind: 0 R l':mED1\ TlOX ! THE DO

ILLUSTRATION CIlEDITSCover-H_ Arm, '0 9 Roham5--Cho,le, Roul12-James AbruthI",--John Steele15--Polle H. M. ArtI.r16--lne:z Bull17-Bt-itlsh Informo'on Serftt,el2b--Les Furu Hg· •

ETUDE-DfXEUBfR /9;)

PERFORMER-OR ARTIST?

(Continued from Page 12)

r adored singing, longed to sing, ~eltthat singing was the wor.k for whichIwas born. But my vorce was toosmall for professional aspirations,and my friends discouraged me.However,Ipersisted in studying, andhad the great good luck to find ateacherwho gave me the principlesofbel canto, and kept me for severalyearson nothing but scales, vocalises,and the Marchesi exercises. At theend of that time, my voice had de-veloped, without the least forcing,into professional proportions.With this sound technical preparu-

tion behindme, Iwent to Paris whereI studiedwith Jean De Reszke, thenpast seventy but still capable of re-markr.cle teaching. From him I gotmy finest training in interpretationand style. Which brings us to thesecondelement in a vocal career!The singer must give pleasure

through her interpretations - buthow,exactly, does one learn to in-terpret? Again, one's studies mustbebuilt on a foundation of inherentgood taste. In this field, the mostthat teaching can do is to give youfacts and examples. Their masteryand application must be your own.For instance, you observe examplesof fine style, and try to du plicatethem-not in the sense of imitatinganother singer's interpretations, butbycopying characteristics of line. ofphrase, of style, of approach .. allbasedon the style and times of thecomposer.The classic style of Mozart, Per-

golesi, Cimarosa, Gluck, has its rootsin the principles of bel canto sing-ing-r-in its complete purity of tone,Its smooth legato, its simplicity, itsabsolute exactness of rhythm. In thecase of these older classics inter·pretation means letting the' musicflowforth on pure, free tone, exactlyas the composer wrote it. Never maytherebe the least attempt at "effect"throughemotionalism, dramatics, im-pulsive rubati, the holding of notes,etc, Only the pure music! The Ro-manticcomposers require a differentstyle-so do Wagner and Strauss--sodo Debussy and Ravel-so do themoderns. The artist must know andmaster them all.There is no single set of rules for

facing an audience. One's entire ap-proach varies with the kind of workone does, Operatic singing requiresth hT .e a I Ity to prOject a large varietyofmoods, together with the talent forportraying not only individual char-acters but also the basic types theyrepresent. For instance, you learn tosubmerge your self in the characterof At" . (B

~m~ Or Violetta, or Suzanna orutterfi ) b' . '. ,r, nngmg out not only theb°rtralt of a very definite young girl.ut also a recognizable type of thetl~mesand conditions in which shelved To d thO

. 0 IS, one must again

ETUDE-DECEMBER 1953

possess an aptitude for dramatic por-trayal which is developed by studyand practice. And once you get asfar as actual performance, you findyourself greatly helped by the cos-tumes, the stage-sets, the coopera-tion of the other members of the cast.Concert work is more difficult!

You must project the same sense ofreality, you must please your audi-ence vocally and interpretively, andyou have nothing whatever to aid youby way of effects. There you stand,before a piano on a bare stage; youwear your"own dress; and you maypermit yourself no histrionics-evenyour facial expression must remaincontrol led. Each shade of emotion,in each song, must be projectedthrough your voice and your innerintention. That is all you have towork with.This means, of course, that both

voice and inner intention must beunder full control. A further secretlies in projecting from. inside out.It is a great mistake to imitate aneffect, whether you learn it fromyour teacher or from observing a fineartist. For better or worse, you mustrely on your own interpretation ofthe songs you sing. This, in turn,means intensive study of the words,for meaning and moods; the blend-ing of these meanings and moodswith the music; the planning ofphrases, and the calculating of theframework of emotional scope (forInstance, you would place Erlkoniginto a very different frame fromEstrellit c'[, And, finally, you mustconvey the complete interpretationyou have planned, through pure tone.These points, though briefly stated,

cover pretty well everything the sing-er can learn from the outside in.The effectiveness of their applicationdepends on the inner, inborn powerswith which she can project her mean·ings. And thjs brings us back to thethird (possibly the chief) elementin giving pleasure-personality.The most successful personalities

are those who charm people intoopening their hearts. A merely ':big"personality doesn't always do this-we have all had the experience ofcoming under the influence of per-sonalities which are not only big.but aggressive; they leave us witha sense of being choked, swamped.They may command our attentionbut they seldom touch ollr hearts.The most pleasing personality flowsforth from a kind, human, under-standing heart. When it is combinedwith sound techniques and steadyhard work. ilS possessor stands agood chance of becoming not onlya performer but an artist, that rareindividual who gives more pleasurethan can be measured by a mere list-ing of techniques!

THE END

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Page 33

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SHARE THE FUNby Ella Ketterer

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TEEN·AGE TECHNICby Stanjord King

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YOUR FAVORITE SOLOScompo by George Walter Anthony

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SACREO SONGS (for Junior Choir)arr. by Margaret Jones Hoffman

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THEMES FROM GREAT CHAMBER MUSICcompiled and arranged by Henry Levine

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PROKOFIEFF IS EASYcompiled, edited and arranged by Denes Agar

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LORO IS MY SHEPHERO (Psalm 23)-Giuseppe Moschetti

Cantata for Mixed Voices and Organ

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PIANO PATTERNS-Thirty Easy Characteristic PieceJ

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BRYN MAWR, PE YL IAETLDE-DfXEIlBER 19;'

MUCH TO DO ABOUT CONDUCTING(Continued from Page 19)

their college training is in evidencewhen we observe their conducting atvarious state festivals and contests.

grams of our colleges whose mu-pro I' . d Isicalbackground was irrute to c asslessonsin a heterogeneous ensembleI ichmet for a semester or two, and

~:lowed by participation in theschoolband or orchestra.

Many of these young men andwomenare possessed of considerabletalentand if givefi'the opportunity ofreceivingproper instruction wouldeventuallydevelop into excellent mu·sicians.Unfortunately, however, fre-quently their entire m~sical ~ack.groundis devoid of a sl!1~le prrvatelessonunder a competent instructor.Nevertheless,even with such defi-cienciesthey attend colleges whosestaffand curriculum are inadequateto provide for a thorough musicaltraining. Yet, these same studentswillgraduate and many aloe certainto be our music educators of tomor-row.

It is ironical that though theseyoung folks are intelligent, indus-triousand talented, they have littleor no opportunity to develop theirmusicianshipbecause of the require-mentsimposed by the music educa-tion curriculum. Methods, courses,philosophy,psychology, and otherimportantand vital academic coursesare steadily being increased in num-berand content; as a result the mu-sicalcontent of the curriculum is be-ing constantly curtailed and to thedetriment of the student's musicalprogress.

Unfortunately, we frequently findin the field of music education acurriculumso demanding in its re-lated and non-music requirementsthat the student finds little or notimefor the pursuance of study thatis pertinent to his field of speciali-zation.

Certainlythe vast majority of thesubjectmatter which formulates ourpresentmusic education program isimportantand vital to the student'sover·alldevelopment; on the otherhand, the fact remains that its in.clusionis depriving music educationstudents of a sufficiently adequatemusicalbackground to properly per-form their lifetime duties as mu-siciansand teachers.. ~nother basic requisite of mu-

SICianshipand 50 essential to the de-velopmentof the school band andorchestra conductor is a knowledgeof the representative literature ofthe major instrument. Only by suchme~nscan the prospective conductorachle;ethe training necessary to theeffectIVeand musically satisfying per.formance,and only through the seri-ousstudy of ~uch repertory can theperformer or conductor achieve aproper knowledge and concept ofstyle ph ., rasmg, expression and tempiandthus rende ff·· •. t an e ectlve mterpre.tatlOnof the 'composer s score.

~ere again, frequently we find asenous deficiency on the part of;choo1band and orchestra conduc-ors whose shallow background in

ETUDE-DECEMBER 1953

Correlated InstrumentsIn addition to a thorough back-

ground upon the major instrument,the high school band conductor mustacquire a solid foundation upon thevarious wood wind, brass, percussionand string instruments. This doesnot imply a semester of class instruc-tion of heterogenous instrumentsmeeting twice weekly for twentyclass sessions as is so often the case,bUL rather a serious and prolongedstudy of the instruments under thedirection of a competent teacher.

Naturally, such a program ofstudy could not be accomplished inthe normal four or five years of col-lege; but if carried on through aperiod of years following graduation,the conductor will eventually acquireproficient technique and adequateteaching skills upon these instru-ments. At any rate, he should not beteaching those instruments of whichhc has no training or knowledge.

Another indispensable requisite ofthe well trained school conductor ishis knowledge of baton technique.Here the student should seek indi-vidual assistance, since the Instruc-tion presented in many music edu-cation classes, while ample for theelementary stages, fails to providethe necessary skills and backgroundrequired in the field. Also, frequent-ly the classes are large and thusafford little opportunity for indi-vidual attention. The laboratory in-strument frequently consists of eithera piano, recording, or voice; seldomis sufficient or proper instrumenta-tion provided the student for con-ducting rehearsals.

Because of these conditions theconducting experience and rehearsaltechniques so necessary to the stu·dent's development are often by-passed. Hence the elements of form,baton technique, facility, clarity,control, co-ordination, grace andfluency are seldom adequately pre-sented in such classes. Th~ problemis a difficult one, but where it re-mains unsolved we again find ourprospective conducting student be-ing "short-changed" as are certainto be the thousands of students whoperform under his direction in theyears ahead. .

Perhaps a partial solution to thISproblem lies in a remodeling of ourmusic education requirements and athorough job of evaluating the sub-ject matter of present day methodand technique couJS(;S. Undoubtedly,much condeRsing, streamlining andelimination of much repetition nowfound in many courses could beaccomplished by such a survey.

Another aid in solving this prob-lem would seem to be found in are·vision or overhauling of the appliedmusic requirements. Perhaps we

should place more emphasis uponperformance, teaching techniques,conducting, and actual applied ex-perience such as is to be found inthe modern trends of our progressiveschools of medicine, dentistry, sci.ence and engineering, where lecturesare gradually giving way to actualdemonstrations, and student partici-pation under competent supervision.Certainly it is difficult to conceive ofprograms and curricula which at-tempt to produce teachers and con-ductors by means of the "lecturemethod" although many such coursesexist. An example of such was citedby a student in my own conductingclass who had recently been grantedan "A" in a previous conductingclass which consisted of sixteen lec-tures on baton technique, althoughnot a member of the class was calledupon to conduct a single composi-tion.

If we are to produce conductorswho are trained and prepared toefficiently rehearse our school bandsand orchestras, we must provide aninstrument upon which they mayhave an opportunity to practice theirconducting and rehearsal techniques.Certainly, we would never think ofattempting to develop pianists, vio-linists, clarinetists, or singers by the"lecture method," yet that seems tobe the pattern of many "conducting"courses as "conducted" in some pro-grams. Let us profit from the pro-gram of "interneship" as conductedby our schools of medicine anddentistry and apply these ideas toour students of conducting.

Such participation under propersupervision is certain to assure us ofbetter school conductors in thefuture.

Another field of preparation thatmust be included in every conduc-tor's background is that of theoI)',harmony, ear training, counterpoint.analysis, instrumentation and arrang-ing; only through such study andexperience can the conductor cometo understand the content of thescore, and while such knowledgedoes not necessarily improve hisbaton technique, it is of valuableassistance in his interpreting andprojecting the composer's musicalscore. In this phase of the conduc-tor's preparation, he must concen-trate and apply his knowledge withevery composition he would perform.

Score-reading is another requisitethat is basically essential to theequipment of every conductor. It ishere that his musicianship, perform-ance ability and theoretical back-

ground are put to the supreme test.The most effective and practical

means for acquiring score-readingability is to begin with the study ofthe scores of the string quartets ofBeethoven, .Moaart and Haydn. Nextwe could follow these with the studyof woodwind and brass quartets,quintets, sextets and thence to thelarger ensembles.

By means of these procedures thestudent of conducting will acquirefacility in transposition, voicing andcueing. The fact that the score in-cludes a minimum number of parts isan advantage to the inexperiencedconductor, as it will provide ampleopportunity to read each individualpart.

As facility is gained, the studentshould seek scores of more extendedinstrumentation and form. The re-hearsing of the small ensemble isalso a valuable experience for theyoung conductor since it enableshim to test and improve his rehearsaltechniques, baton control and facilityas well as offering opportunities fordevelopment of style, interpretationand phrasing.

In the school music field the con-ductor is concerned with so manyfactors that the opportunity for theconducting and interpretation of amusical score becomes a treasuredexperience. In the usual school bandor orchestra rehearsal the conductorremains a teacher much of the time;on the other hand, he must be s~ch asterling musician and superb con--ductal' that he can inspire his youngmusicians when the opportune mo-ment arises.

In conclusion, may I again em-phasize that the art of conducting isone of music's most demanding as-signments, filled with hours of dis-couragement and moments of re-ward. However, if the student has thenecessary musicianship and leader-ship ability and is willing to acceptthe disappointments with the pleas-ures, then conducting can be one oflife's most musically satisfying andthrilling experiences.

Finally, may I add, if our schoolbands and orchestras of the futureare to improve, we must first findmeans for providing a more ade.quate and complete background forthe student in our music educationprograms. This objective must beaccomplished, of course, withoutsacrifice to the broad scope of thecultural and academic program sovital to his total equipment as amusician, scholar and individual.

THE END

PIANIST'S PAGE

(Continued from Page 21)

the excerpts with either hand, on theblack keys, all over the keyboard,and without looking .

The opening measures of the fol-lowing are some typical "snatch"examples: Cuckoo; Three BlindMice; Il Etait Vne Bcrgere; Blow

the Man Down; Old Oaken Bucket;Morning Mood (Grieg) ; My BonnieLies over the Ocean; H aly Night;Old Folks at Home; How Can ILeave Thee? ; Over the Fence is Out;Star-Spangled Banner.... and ofcourse, Hot Cro.~sBuns! THE END

61

Page 34

f

NEW RECORDS

MUSIC SCHOOL STUDENTSearn extra money

as an ETUDE REPRESENTATIVEF

for information. write C

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ETUDE the music magazine fi

Bryn Mawr. Pa. toaQw

~ A0

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WHERE SHALL I GO TO STUDY? IIt

PRIVATE TEACHERS (New Yo,k CHy} PAULINE ALFANO uCONCERT PIANIST-COMPOSER· TEACHER d

RICHARD McCLANAHAN Pupil of Paolo Gollico & Michele Fivesky PTeacher of Piano PROGRAM BUILDING-HARMONY-

Matthey exponent, formerly his representative. COU NTERPOI NTPrivote lessons. technic courses: available os Studio: Carnegie Hall, 57th St. & 7th Ave., N,Y.C.visiting lecture-recitalist, or e-utc-teocber. By appointment: Mon. to Fri.. 12to4P.M. 502-3138

Six-Day Piono Seminars

'" Steinway Bldg., 113 W. 57th St., N.Y.C. WILLIAM FICHANDLERPiano Instruction C

EDWIN HUGHES 314 West 75th St., New York, 5u-7-3775 0PIANISTS PREPARED FOR PUBLIC Compositions publi,hed by G. Schirmer d

PERFORMANCE AND FOR COLLEGE, and Theodore Presser, in preparation (UNIVERSITY AND CONSERVATORYTEACHING POSITIONS

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clo Mrs. Lillian Brandt Voice Building, Repertoire, Opera, Church, uRl. 3, Box 144, Chapel Hill, N. C. Recitals (No charge for auditions) S

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167 Elmhurst Ave., Detroit 3, Michigan dConcert PianistInteresting course-piano, harmony EDNA GUNNAR PETERSON t

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Dramatic Soprano ISABEL HUTCHESONTeacher of Singing-"Bel Canto" Refresher Course for Piano Teacher.: rExperienced European trained Arti.t ModernPianoTechnie:CoachingConcert Pianish: hCoaching Opera, Concert and Radio

Correct voice production, defective singing Group Work: for further information addreH;corrected. Studio 202, 10051/2ElmSt., Dallas, Texo. fBeginners accepted

Phone: Trafalgar 7·8230 SAN FRANCISCO CONSERVA-608We5t End Ave. NewYorkCityTORY OF MUSIC, INC.

CRYSTAL WATERS 3435 Soeromento Street Walnut 1·3496

Teacher of Singing Bachelor of Mu.ic Degree Opera DeportmentPopular Song. and Classics Artists Diploma Pedagogy CertificateTV.-Rod io-Stage-Concert Approved for veteran.

405 East 54th St. New York22, N. Y. Children'. Saturday morning Classe •. 1

LEOPOLD WOLFSOHN MAE GILBERT REESEComposer, Pianist and Teacher Pianist 1Teacher of Aaron Copland, Elie Siegmeister Specialized training for. ond many artists ond teochers. teachers and concert artistsBEGINNINGTO ARTISTICFINISH 1330N. Crescent Hts. Blvd., Hollywood, Calif.

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by December 5th. Forward yo,ur copy and order to: Advertising Manager,

ETUDE the music ma9azine, Bryn Mawr. Pa.

(Continued from Page 47)

Franck: Quintet in F MinorThe present status of Cesarranok is suggested by the fact thatapitol's new recording of the pianouintet is the first domestic record-g on 16ng-play. Fortunately, therst is good. We have grown accus-med to excellent chamber perform-nces by the Hollywood Stringuartet, and there is no let-downith this Franck recording. VictorHer's piano role is properly co-rdinated with the quartet, and thenstrumental arrangement aroundie microphone is so well-contrivedhat the balance is better than wesually hear in concert. Tonally theisc is equally successful. (Capitol8220)

Chopin: Sonata No. 3 in BMinor, Op. 58, et alWith each American release of re-ordings by Dinu Lipatti, the staturef the young Rumanian pianist whoied in 1950 increases. The LP discColumbia ML 4525) with his per·ormances of the Grieg and Schu-mann concerti has become a classic,orming the base for the feeling thatipatti was incapable of making angly sound at the piano. From thelim store of his English recordings,Columbia has compiled a Chopinisc with the B Minor Sonata, andhree shorter works: Barcarolle inF-sharp major, Op. 60; Nocturne No.

in D·Hat major, Op. 27, No.2;nd Mazurka No. 32 in C·sharpminor, Op. 50, No.3. While theseecordings of 1947 and 1948 do notave the tone quality of more recentdiscs, the art of Dinu Lipani isaithfully represented. (ColumbiaML 4721)

Brahms: Rinaldo, Op. 50The amazing searchlight of the LP

disc continues to discover music farrom the beaten path. Brahms' Ri-naldo, f?f instance, with words byGoethe, IS known to music historiansargely as an indication of the kindof opera Bl'ahms might have written_Opus 50 is a cantata for tenOr solo.male chorus, and orchestra, andho~gh g:lluine Brahms in style andcaIIbl:e, IS far below the "GermanReqUIem" and "Song of Fate." Voxlas released Rinaldo in an excellentperformance by Joachim K 1

Nero.

t~n~r; ew Paris Symphony As~o-ClatIon Chorus and the P d IO I ' as e Ouprc lestra conducted hy ReI 'L' b. (V Ie Ie 0-

WltZ, ox PL 8180)

~chuma~n: Concerto ill AmInor for Cello and 0 hOpe 129 rc estra,

J. C. Bach, Concer'-' C. f "'lI1mInor or 'Cello and 0 hB h rc eslra"rue : Kol Nidrei, Op. 47What this world needs"

marked a music lover ... ' re-, JS more

62

string tone like Joseph Schusterls."But Schuster is more than master 01the heart-warming romantic tone,Schuster, first 'cellist of the NewYork Ph ilharmonic-Symphony foreight years and now a concert 'cellist,manages his rich tones with versanl,ity and art. Capitol Records has re.centl y added Schuster to its rosterand has launched his recordingcareer with an interesting recital ofthree contrasting works. Performingwith the Los Angeles OrchestralSociety conducted by Franz WaxmanlSchuster reads Bruch's Kol Nidreisensitively and give the familiarSchuman concerto a splendid rendi,tion. For record collectors the un,familiar Johann Christian Bach'cello concerto is the chief value 01the Schuster disc. This work by 1. S,Bach's youngest son deserves 10 bebetter known, (Capitol P 8232)

Kh.uehuturinn: Gtlyne andlUasqlLerrule Btillet uite.

Since the II abre Dance" craze01a fe", yenr ago, the world hasmoved from the atom to Ihe hydro-gen bomb which may po ibly ac·count for the decision of Fabienevitsky ond hi apitol advisersto

pIny lown the dance in the newIndia nap Ii ymphony recording 01the Goyne suite. But evil_ley'scom·petition i n t only with the H·bomb;it is ",ith Efrem Kurtz and his Phil·harmonic· ymphony recording lorColumbia. For the Masquerade suite,there is competition on records wilhStokow ki and the Philharmonic. Inboth cases the Indianapolis record·ing comes off econd best. ritsky'sKhachaturian lacks iOCl5IreneS!,sometimes to the pOint of in9pidity,Moreover. Capitol hs recorded theperformance with a m)-opic micro-phone that results in clouded toneat low level and tODe ",..ithout bodrat higb level, (Capitol P 8223)

Iahler: )'mplJ,on)' '0.1 inDMajorWhen William temberg bad the

opportunity to pr sent lbe Pitts-burgh orchestra in Nelli' York'sCar·negie HaJl last winler. he cbosethi~sym phony to dCUlomtrale the talenl~of the steel-c.ity orcheslra. Capitol'Jrecording shows. not onl)' Wit Sle~'berg und niland and fe-peets thescore but tl,at hi orcbe~ra is ableto interpret th conduclor's concf]l'Lion. :Mahler"s first :'!mphonf. kDO~llas "The Tilan:' _a.s .,mtlen whe~the compo~r "'-as onll 28. Likeo1herMahler s)'mphonles.. the fir5t h!!strong enemies and loral frieo~~'The Pittsburghe", h"e proud,] I

recorded performance chancleriztdby affectionate regard for eftJ'f de-tail. Re<:orded clarity i, good, ;•.faces lair. (Capitol P S:!:Hl

THE E'D

OLE BULL RETURNS TO PENNSYLVANIA(Continued from Page 16)

en to know anything about theh;PP f the Ole Bull Castle? WePhanst~e moneyto rebuild it, if weave " Thdo it accurately. . . e man,~aondneyHeymann, President of the

G I t Chamber of Commerce, wasa e on ,.,asamazedby Inez Bull S identity assbewas by his offer, and togetherlheydiscussedwhat loo~e? like ~n

t emely vague propOSItIOn. MISSextr b ildi hBullbad no idea of re.Ul mg t eCastle-all plans and pictures hadbeenlost for nearly a century-andthemostshe could promise was tocommunicatewith her grandfather,Theodore Bull, in Norway. Then, inconsiderableexcitement, Miss Bullandhermother continued their tripborne,Whenthey arrived, they found

awaitingthem a letter from Gover-norFine,invitingMiss Bull as guestof honorto the Bull Centennial inOctober,and, further, asking her tonameanytoken she wished the Com.monwealthof Pennsylvania to pre-sentto her, as representative of theBullfamily,Miss Bull chose the re-activatingof the Ole Bull colony asa publicmusic center; and the OleBull Scroll, specially prepared ofPennsylvaniabuckskin, and consist-ingof fifteen paintings, fourteen ofwhichrepresent events in the life ofOleBull,and the fifteenth, showingInezBull receiving the scroll.Next, Miss Bull wrote to her

grandfather,who is President of theNorwegianHistorical Society, inOslo,He sent her documents includ.inga drawing of the Castle, and ageneralidea of the plan5, which,withfurther research, yielded suffi.cientdata to begin rebuilding theCaslle,Thenlon October 18, 1952, Gov-

enorFine called Inez Bull from herconcertengagements in Europe to beguest of honor at Penns\'lvaniaWeekState Forest Rangers e~cortedMissBull and her mother to the oldCastlesite. It was at that time onlyan empty pit on the crest of themountain,and surrounded by thetreesOleBull had so loved-as wellas by six natural gas wells (fromonlyoneof which the State of Penn.sylvaniadrew oyer 8600,000 in reve-nuesin a single year!) There, inth~ presence of state dignitaries,MISS Bull received the Scroll. laidLte State of Pennsylvania wre~th ont e Castle site, and listened to~p~ec?eswhich credited her withll~gmg to honorable fruition theprojectwhich had ended d·tr I f so lsas·Lousy , or her famous ancestorater, Miss Bull 5ang the Ole Bulisongl.Chalet Girl's Sunday, aceom.ha~Y~ngherself on a zither whichh:

me~ongedto the family. of Abra.,Lmcoln at the time Ole Bull

Wasm America~n May 4, i953, Inez Bull was

as ~dto appear before the Pennsy]\'ama St I L ' .a e eglslature at H .hurg b· h arns·

, at w lC time Senator James

ETUDE-D£Cf.HER J~ ETUDE-DECEMBER 1953

L

Berger presented the Bill calling for(I) the rebuilding 01 Ole Bun'sCastle as part of the Bull CentennialCelebration, and (2) the reactivationof the colony in the form of an an-nual Music Festival, to be held dur-ing Pennsylvania Week and to beknown as the Ole Bull Music Festi-val, under the personal direction ofInez Bull. This Bill passed the Sen-ate unanimously, 49-0, the first Billin Pennsylvania State history to bethus passed. It was passed by theHouse 205-1.Thus, the Ole Bull Colony has re-

turned to life in Pennsylvania. Allof Inez Bull's suggestions for theCentennial were carried out; and theMusic Festival, sponsored by the De-partment of Commerce, was held forthe first time in October of 1953, fol-lowing Miss Bun's return from Nor-way where she was sent as GovernorFine's Coodwill Ambassador to pre-sent commemorative documents toKing Haakon VII. The aim of thisFestival is to encourage fine music,and no money is ·to be involved inany form."Enough money and tears have

been involved in that project," saysMiss Bull. "The Park is henceforthto be used for the happiness of thepeople, reminding them of the wordJUSTICE in America, and what itstands for-reminding them thatPennsylvania, one of the originalthirteen colonies, stands as a leaderin this Jespect and has, after 100years, shown justice to a man andhis ideals. Ole Bull paid for the land,lost it through fraud, and now it isagain to serve his purposes, bringingenjoyment to many people. The Mu-sic Festival will carry out the sameidea-planned· for the people, u~edby the people, and made up of thepeople,"Any chorus, band, orchestra, choir,

soloist, etc., may perform at the OleBull Music Festival, and awards willbe made for the best vocal and in-strumental performances in the Stateof Pennsylvania each year. Anyonewishing to gain a hearing may com-municate with Miss Inez Bull, 172Watchung Avenue, Upper Montclajr,New Jersey.In addition to improving the Park

and launching the Festival, MissBull is carrying forward her plansfor the Castle. Through the uncleartitle of a century agol the State ofPennsylvania took over the land andmade it into a State Park. Now thatInez Bull has fully established OleBulrs claim to the property, theState will rebuild the Castle, turn-ing it over to Miss Bull who, in turn,will give it back to the State ofPennsylvania as a Museum. Thus,the site of New Norway has at lastcome into its own. Ole Bull's lostland has been returned to idealisticservice through the vision of InezBull, his distinguished descendant.

THE END

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63

Page 35

Index of ETUDE for 195300.JulyMay00'

ARTICLESae"u"

Com)lo~erof the MonthCO~l:~~~~~llbe:~~r'I,~n~'?\~~f~lin i\1~~~?iA~r,Corelll, Arcangolo, Master ofMasters-Tribute to DeI,er/gell

Coronation Scnice, i\lusle of JlOICC8

l.:reativa Genius-Who KllQ\\'.? VoylcDO\lblln~. Healthy Habit of SmelcrlillDrulIls, Drama of Rieder

jltCVil'a\ at the Opera

Dllmc8ni~ :f~1~1~~~.S}~~~l~~~~eIn Memoriam Noy.

Elman-Road \0 MUSicianship West JulYFilm i\!llsle. Composer, Back Stage

With 1'iomkill tecb.Flowers That Bloom in the Sllrlng

Glwrtocl.;';'\ul1.1'8 Technical Problems ll"ulIllHerGehrk611I-QucsLlons and Ans\\'cn"Genius Begins With Maturity" Jlra"tGerShwin 18 Here to Stay HrUr/f/ioltiGodowsky. Leopold, Genius of OOlJk6Goldonkj"-"Your Musical Dawn Isat Haml" Broll/,

Grleg, Edvard, As I Knew Him B,,11Hawaii, Music of 0\(1 lIQ<lr;,/lle.I Like Teacher CookeInstructilm Achie ...e? What Call

Technical-Part 1 Xelllllark-Part 2

lt Isn't Luck AloneJunior ETUDEJust SUllPosln'K(lrea Concerto E/f,;ilISLantern, 'rhe BrightLesson, That CancelledLeHers to the Editor

• Ltsren tll Yourself Jolla1U1esel<Llszt, I,'ranz, Last Lil'lng- Pupil of

lrelcll Apr,i.~';'-=-::?1'~1,:,?k rl?! §hqr\ ~u~_

"hI MilyLord, To the Glory of the

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Maier Minor"Pianist's PageI'ieces or the Year

Manuscript, Marketing the MusicTaylor

An Outstanding OrganInstallation AUI:.

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"41"45""45~~2~4548154545

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Virgil Malcher,430 N. Michigan Ave.

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Wherever people are gathered together in festive Yuletide groups-at banquets, companyand club parties, in places of entertainment, everywhere - they love to sing Christmassongs.The thoughtful host, or the alert accompanist, will provide his guests with wordsand music. Here are some of the best:

fk~?~:

CHRISTMAS CAROLSWE LOVE TO SING

CAROLS FORCHRISTMAS

(with stories of the carols) S.A.T.B.Arranged by Anthony CandeloriEdited by George Walter Anthony

#312·21130 (words and music)

#412·40045 (words anly)

.20 each This book provides a practical two-stave accompani-ment for "Christmas Carols We Love To Sing." Maybe used for the piano, pipe organ or Hammond organ,If the singers in your group read music, give them#312-21130 above. 1£ not, provide them with wordsonly (#412-40045), and your accompanistwith thiscompanion book. Or, this book alone provides bothwords and music for group singing around the pianoor organ.

2.50 per hundred

*Write for your copies T0 DAY!

FORTYCHRISTMAS CAROLS #411-411004 .75

~ever, easy arrangements of traditional carols, fort ,e pianist of average ability (about Grade 3) , VersesgIVen for singing,

#430-40047 .50

Please order by catalogue number

THEODORE PRESSER Bryn Mawr, PennsylvaniaCO.,

Page 36

FOLK-WAYS U.S.A. (VOLU

By Elie Siegrneis eMr. Siegmeister, noted authority on American folk music. hasalready completed the first of five volumes of "American songs,scenes, and sketches" for the piano. This first volume is designedfor the beginning student. Each subsequent volume will beprogressive in difficulty so that the series will eventually coverall phases of piano study. Mr. Siegmeister believes that the pianostudent should be brought up not only on traditional music butalso on the music of our own culture--music that stems from the

people and has established itself part of Americaa folleculture. In preparing this material, Mr. Siegmeister has morethan adequately solved the problem of writing simply yetmusically so that each piece may be a meaningful experiencefotthe student. We believe that this series will be a valuable con-tribution to the teacher and student, and presents a new depar-ture in the treatment of American folk music.

AMERICAN FOLK SONG CHORAL SERIESEdited by Elie Sieg eis

This series of choral arrangements will be welcomed by schoolchoruses and amateur groups everywhere who are in search ofchoral music which is not only within their capacity to perform.but will also enrich and invigorate their programs. In addition tothe settings which Mr. Siegmeister will provide, there will bealso contributions by such leading American composers as Virgil

Thomson, Douglas Moore, Paul Creston, Philip James andNormand Lockwood. The whole range of American folle songwill be presented.-&om western songs to mountain ballads, fro~white spirituals to blues. We believe this choral series WIUmake a significant contribution to the growing field of choralpublication_

THEODORE PRESSER CO., Bryn Mawr, Pennsylvania