azin
t/ifA i&bue . . •
The Side of the Angels
William Schuman
How Do I Get a Manager?
Arthur Judson
How to Start
a Piano Studio
Florence Ni. Porter
*
Teachers I Have Known
Henri Temianka
*
Too Many Languages
Virgil Thomson
*
The Great Kreisler Hoax
Fritz Kreisler
-
\
'■ >*• " ' \
mmmy -mm
GRADUATION ISSUE
\x,.& ■! •» ,v A<
Adventures of the Trill
Ida Franca
> i - f ",
m
Childhood Days of
Famous Composers
A DELIGHTFUL SERIES BY
Lottie Ellsworth Coit
and
Ruth Bampton
MUSIC-ART— LITERATURE— DRAMA .in- all
combined in each book based on the childhood of a
famous composer. For individual or class instruc-
tion — or just fur fun!— your students will not only
love these little pieces but they will also pain under-
standing and appreciation of the works of famous
composers.
There are biographies simply written, pictures of the
composers and scenes from their lives. Easy-lo-play
piano pieces ( including a duet ) have been arranged
so that they' retain the essential elements of the
original composition. Something to sing, directions
for constructing a miniature { cardboard ) stage and
settings, suggestions for a musical playlet, plus a
list of recordings, all lurve a special interest for chil-
dren. Teachers may adapt the many uses of this
book for children from 5 to IS. Whether in school,
enjoy these books.
PR-25-51
i
THEODORE PRESSER CO
BRYN MAWR, PA.
THE WORLD OF
The Aero York Philhar •
momc-Symphony, following
the conclusion of its regular
week engagement at the Roxy
Theatre in New York. It was a
return engagement for die or-
chestra and conductor Dimitri
Mitropouiot after their suc-
cessful appearance at the Roxy
last September . . . Mr. Mitro-
poulos will be one of the four
conductors lor the Lewisohn
Stadium summer concerts, be-
conduclors are Pierre Mon-
terror , I I nil im ir Goltrhmann
and Alexander Smallen*.
I .S. Army Band in Wash-
ington, where his Sy mphony in
B-llat for Hand had
perforn
Hour with Ormundy." is the
ductor of a major orchestra as
its disc jockey. The program
consists ol Philadelphia Orches-
tra recordings, with commen-
tary' by Ormnndy . . . The
March of Time is planning a
series of ballet programs espe-
cially created for television.
Alan f>. Lnngennt. for-
merly associated with well-
known music publishing firms,
in charge of sales, promotion
Tire National Assorialion
The non-profit organization has
lion to members except to play-
in small ensembles whenever
write to .Miss Helen Hue . sec-
retary. NAACMP, 15 W. 67lh
St„ N. Y, C.
K. I.. M. Royal Dutch Air-
liner this summer offers an all-
expense tour of European music
festivals . . . Rudolf Srrkin
and Adolf Burch bead the
music faculty at Marlboro
College , Vermont, this sum-
mer . . . The Lot Angela
Orchetlral Society oilers its
filth annuul music festival at
the Vniverrity of Californio
this summer, with Front It or-
Roman. Eugene Conley ,
Ford, Andre Prerin and
The 13th annual Mutir
Feslirol at Slrnthourg will
take place tills mouth, featur-
French and Italian eomposers-
and the list of soloists will be
headed by Robert Cntadetnt .
COMPETITIONS I For derails. mile la sponsors listed)
First prize. *382.50; nine oilier prizes. Folds June .30. 1051. Sponsor;
Choir Guide. 166 W. 18th Sr.. N, Y. C
• Four-part a cappella anthem. Prize and closing date not announced.
Sponsor; Chapel Cli«ir Conductors' Guild, c/o Ellis E. Snyder, Mees
• ;. i .
• Fnlbright Scholarships lor music study abroad, providing trans-
portation, tuition and maintenance for one year. Closing date for
1952*53 scholarships, Oct. 15, 1951. Institute of International Educa*
tom. 2 West 45th Si.. N. Y. C.
Foundation. 165 W. 46th St.. N. Y. C.
i
and many of
their happiest
moments were
spent at their
Wurlitzer Piano
June w'cdding coming up in your
family? May we join the family council
to make a suggestion ?
Start the young couple off with a
brand-new Wurlitzer Piano. It’s a gift
that will make them proud and
happy now — and one they can
enjoy throughout the years.
It's taiy to give a Wurlitzer. For
Wurlitzer Pianos arc made and priced
to give you the liiggcst piano value
anyone can buy. Wurlitzer puts
more into its pianos — yet sells them
for less— because Wurlitzer is the
leader in its field. More people buy
W utilizer Pianoj than those of
WuRT.iT/.KH Fir
Wortfi tarjait SuISs* at PUsas M Q>satf
lit »•«» nniiitt coaraar, n rut. niiaoiSt titonri orrim, tsttaco, union
VDE—fVXE 1951
You'll thrill
to llio voice
of this superb
spinet!
SgJSSSiXSL.
EXSSBSfc*- ” d M
an-
ETUDE,.
CONTENTS
LeTTGRS
HtSS g*
2s£ir|ss> tSrjJff-.
—”"S»
—mm
__ K “*
=MgSg r£“IL
1 M®S
fgils pga;
*•““ S-SSffSrS
WwaM fa*
MINISTRY Ojjt MUSIC
MOODY BiMe LtUiite
in ‘
| HELEN L. CRAMM |
Established, Renowned
Composers of Educational
Piano Material
MATHILDE BILBRO |
410-40142 Easy Studies In Early Grades s-«
1 10-234*8 12 Piano Btudtt (or Young Students. oi«
410-40241 25 Melodies lor Eye, Ear and Hand
418-40008 Spelling Lessons in Time and Notation
410-40057 First Grade Book
410-40063 Kindergarten Book (Treble Clef)
430-40021 My First Lesson Book.
DOROTHY 6AYNOR BLA~KEl
430-40099 First How-Do-You-Do
slJt . 4
410-40118 Bcgmning with the Pedals
n.Ao.L
430-40107 What to do First at the Piano 75
430-40108 What to do Second a the Piano 75
I JESSIE t. SAYNOR I
await a
420-40017 First Pedal Studies 60
mrlloji
420-40010 Piano Method for Little Children - 1.00
| CEDRIC LEMONT j
stuJiea
110-40122 21 Miniature Studies without
Octaves onto ?A-5y, -75
[BLANCHE DINGLEY-MATHEWSl
" „.r (L.h
[ JOSEPHINE HOVEY PERRY 1
T —
I 430-40 1 00 More Busy Work (p..po.a** T o.d Oral.
I 430-41004 Mother Goose in Note-Land |a.odt»a, o,o4.
I 430-40101 Musical Alphabet and Figures. ... tPrp-SeSo«
I 430-40104 Pleasure Path to the Piano. tP.p-s.hooi, c.od«
SEND FOR YOUR PIANO REFERENCE GUIDE O.p't Et-i
THEODORE PRESSER CO., Bryn Mawr, Penna.
Ml SIC LOVER’S BOOKSHELF
(Continued Irom Page 7)
house of Belwin. I tie- “
America in 1007 wil.. —
money, three shirts uud a single
the 1 1' ' ' pet'
tho streets of New V "rk m
searrli of work. Finally he luuk
out the fiddle hr had brought
from Rumania ami joined^ a
group of street musician*. ~
down. Later Winkler
penny hod lodged in ms n**
band.
With the penny from I leaven,
Winkler bought o postcard in
Xeilung. lie got the job. It " u*
with Carl Fischer. Ine. Winkler
spent llis first days on the job
carrying I jtl.pnuml bundles of
Winkler spent 11 year, at
Fischer's, learning music pub*
Halting from the ground tip. It
by Beethoven or “Weinl Mol
crate'* by Tchaikovsky.
Cinema Music (now mW
ade movies talk. and Bd,;,
is out of business.
Winkler sold 70 tom u
showered printed tr
8210 fur tile fruit* ol Ira ya,/
labor. A lad ironic law
mill went bankrupt bri*
Winkler could radi his A-i
Undaunted. WutLIsr
I catalogue ul good .tad
ard music nvenuitht. Is.s-J
W inkler looked lot an Me,
lisheil European puUish., ,1.
wanted I U.5. repteseoUliu
lie fnund it in the EnfM i-
o( Bouaey & Hawks.
~ •' York lirsndt .o '
irchestra. organist incorporated as Boosey-iiislw
Belwin. Winkler .» mb I
president ami general amuse |
Hoosry &lla.kes'iolkiM.W j
than a harv notion of whal the
liegan circulating about inns ie
pit. Why not. Winkler reasoned,
supply a cue sheet with the
to play?
Universal Pictures lik>
idea and hired Winkler
Booses -Hawkra-Bdsrin lad
until 1045, when Winkle b
tame too but, waMm "
era. Meanwhile be lad umd
America, talking to
Soon Winkler v
ness for himself
Music. Inc. The
mand for
era who could
fast published reams of their they asked for.
works ami Still could not keep its feel again,
up with the demand. In dr-|*v “A Penny from
Mr. Winkler record, he *
!> and puls and downs
THIS MONTH’S COVER
In colleges and consers-utories all
cians this month will receive diplo
work. Next question: "Where do
that question. ETUDE', editor.
articles by well-known authorities w
most perplexing aspen, of launching
OF THE ANGELS
The President of the Juilliard School, one
of Americas outstanding composers, tells
June graduates how to succeed in music.
By WILLIAM SCHUMAN
will assure for each and every one of you si
Perhaps 1 should odd immediately that my recipe or
sician’s life which is concerned with mnsic as a business.
As young musicians, you arc already well aware that n
life in music involves extra-musical as well as musical
matters. Music is studied as an art and practiced as a
business. When I tell you Ihnl my recipe for success in
music concerns the art part ami not necessarily the busi-
ness part, it jloes not mean lhat 1 underestimate the im-
portance of the business or professional side of music.
I cannot help feeling, however, that there is no such
thing as success for a musician unless his highest musical
potentialities arc realized. Surely, you must achieve a
sound social and economic base for your existence ami
music is certainly no different from any oilier normal pur-
suit — it cannot take place in n vacuum as though it were
above the practical. But, too many young musicians con-
cern themselves with developing avenues for commercial
exploitation at the expense of the time and energy needed
for their musical development. They often spend n dis-
proporl o t imount of time in seeking opportunities.
Each of you will have opportunities to reach your goal.
You will be auditioned for the orchestras, you will be
interviewed for teaching posts, you will sing and play fur
the managers. The main thing is to lie prepared when the
opportunities arrive.
Music has become so deeply associated with ils com-
mercial practice that it is difficult, even as an exercise in
fancy, to ignore the relationship. If. however, for the mo-
ment, al least, you could imagine that such a separation
actually existed, it would follow tlint success in the mar-
ketplace would have no benriug on success in the practice
of music. If we removed the competitive aspect of the
profession of music, wc would arrive at a point where n
musician would be evaluated by his musical achievements
and not hy the size of his pay check and we would be
returning to musical fundamentals. After all. a man be-
comes the best musician he is capable of becoming when
he performs or composes with his deepest emotional, in-
tellectual and physical powers.
In purely musical terms, being a successful musician
is a continuing process — it is reaching for a goal that
moves higher as each step is achieved. There is no sum-
mit. In the art of music, no man is omnipotent. Every
musician has something more to learn about music and
evidence for this is to lie found in the lives of the great
musicians. The great ones are never satisfied. They sup-
ply ample evidence that for the musician musicnl growth
is his very life process. They knew that if there is not to
be decay there must lie the nourishment of study.
Basic in tile ability of the musician to
grow is bis understanding of the true nature of his art.
He understands that music is the embodiment in toual
terms of the human intellect and spirit. He understands
that this intellect and spirit is expressed by composers
through compositional techniques which make up the
language of music, lie understands that it is the perform-
er's task'lo master this language in order to discover what
the composers are striving to express, ne understands
that the musician must give performances which reveal
musical values and which are not used as mere vehicles
ETUDE— 11 WE mi
'HE SIDE OF THE ANGELS
c display. He understands, too. that the
literature of music, i.e., the compositions themselves, is
the core of his art. The literature of music is the core
because it is the focal point for the entire art of music.
The very art of musical performance exists in order to
translate composition from musical symbols into the
reality of actual sound. For this reason a fine perfori
using his abilities to make clear to his listeners tile com-
poser’s thoughts. A key to the kind of performance which
a given piece of music requires can be discovered only
through an understanding of the musical qualities of that
piece of music. It follows from this that the rendition of a
composition must be evaluated in terms of tile perform-
er's understanding of the language of Hint composition.
In other words, it is not possible to evaluate a perform-
ance in the abstract by marveling at the manual dexter-
ity of the performer, or remarkable breath control, or any
other isolated technical feature. These techniques arc
only valid in terms of the musical demands the composi-
tion makes upon them. This is the reason why every per-
forming musician must haven thorough grounding in the
literature and materials of the art of musical composition.
The musicinu who understands the fundamental im-
portance of composition will have an attitude towards
the choice of repertory which goes far beyond the super-
ficial. Such a musician will comprehend full well the
necessity of fighting the battle for creativity. He will
he will have the courage to perform those works which
satisfy his innermost musical sympathies. He will per-
form works which are not necessarily calculated to daz-
zle. lie will explore the repertory os a natural part of the
's insatiable curiosity a
result of this way of musical life, he will serve the music
of the past and the present and consider his choice of
repertory as a more serious process than the mere selec-
tion of pieces to glorify his athleticism.
T seem to hear you saying, "This is all very-
good, but it is too idealistic. What has it got to do with
my career?" Frankly. It may have n great deal to do with
will never lose sight of the values in which he believes and
he will bring to any task, however modest, an intensity
of expressive purpose.
In considering the practical aspects of the market-
ability of your music talents, nothing is to be gained
through a denial of the highly competitive world you will
face. Naturally, you are concerned with econpmics and
you wish to achieve a satisfactory economic status and
to do this through music. May 1 suggest to you that it is
possible to reach this goal without compromising your
basic artistic convictions. Compromise, itself, need not
necessarily destroy values. It is only a lack of awareness
that a compromise lias been made that makes inroncU
on one's musical integrity. It « possible to have mini, si
integrity and to be commercially successful in music it
the same time. This can be achieved if the demands of U» e
music business are always understood objectively for
what they are and if the musician never confuses Uicso
with the demands of the art of music.
A THtrE musician is one who remains faith-
ful lo bis own highest artistic standards despite the prac-
tical compromises he may be obliged lo make. Such a
musician docs not become the tired professional whore
personality has been so warped and embittered through
commercial music-making that he no longer has any liv-
ing relationship with his art. You eau remain true nra-
sirinns if you will remember that regardless of extra-
musical pressures or unmusical pressures you have the
power to maintain your own values in the private world
of voor mind, and if you do not do so, you are forfeiting
the realization of your highest potentialities. This Ind-
ira lion is one of the special joy* reserved for genuinely
imaginative people- If this. too. sounds idealistic, may I
say that to me it is most practical ami supplies the most
reasonable approach for maintaining the highest goals in
the face of the necessity for practical compromise. It is
practical because a musician who i* deeply contented
with standards will always attempt to raise the level of
music wherever he is. Inside himself he w-ill never he able
to accept a shoddy performance nr shoddy material- lie
will always try to raise the level because always there
will he preseut a healthy conflict bet wren what he may-
be obliged to do and what he feels should lie done. This.
I believe. Is I he road to progress in music. Ultimately,
maintaining one's private world of purely musical stand-
ards is neither idealistic nor private, but practical and
public. Practical because it provides the only truly inde-
pendent avenue for continued individual progress in niu-
sie, and public because musicians who refuse iu their
innermost convictions to compromise will always remain
a force for raising the standards of the profession.
The considerations that have been set forth to yon a!
practical have concerned your individual relationship
with the art of music. I have tried to tell you why I con-
sider this relation-hip to be of primary importance. even
in the practical side of the musician's life. This does not
mean that I am unaware that these individual musical
considerations often have little bearing oil one’s success
in the music world. The music world is concerned with
competition. Each of you will compete with each other.
mTH SJtT mU " V ' n " S who “ re already in the field and
low you. This competition is often based on value*
which are only partially valid musically and sometime*
on valuis which have nothing to do with music. It is
too obvious to require I Continued on Pay' SO)
miir.~itxSP
How Do I Get a Manager ?
By ARTHUR JUDSON
As Told To Hose Heytbui
Look at yourself from the manager’s point of vieic . . .
Hate you something the public mil buy?
O NCE IN » WHILE, some person ol
kind heart and good faith tell* the
heart-breaking story ol a phenomenally
gifted young friend who plays
m deluded. Don’t let him de-
lude yon.
The fact is that any youngster con gel
a manager — if he convinces that manager
that he has something to say which the pub-
lic will pay to hear.
The concert manager does not run an
experimental laboratory nor yet a Depart-
ment of Culture. He is a business man. He
has a commodity to sell. That commodity
reveals itself through accomplishment on
keyboard and strings, hut it consists only
partly ol an ability lo play. Its much more
important ingredient is the agreeable pro-
jection of mature musical thought
The experienced manager does not allow
his preferences to interfere with his busi-
ness. Personally, he may lake a great lit-
lievea that the youngster cannot make the
grade in stiff public competition, he gives
Ituddislg artists do well to realize that
the concert bureaus arc not trying to keep
them down. Quite the contrary. We man-
agers have never yet hod enough fine art-
i*ts. With the splendid development of our
national concert field, the demand lar ex-
ceeds the supply — so much so that occa-
sionally we find ourselves obliged to book
very good artists of somewhat less than
doing this, knowing quite well that only
top quality can consistently hold public
interesl (and fees I . The artist with some-
thing to say has no trouble finding a man-
llow does he go about it? At Columbia
Artists, we audition everyone who applies,
believing he merits an audition. When his
reeumtnmdalions come from unknown
sources in which I have confidence— well-
known teachers, local managers, etc. — I
hear him at once. I give some .100 audition*
a vear, a stimulating task to one who loves
music and devoutly hopes to discover top-
rank new material.
Ilow do I judge? Musicianship must
he evident, certainly; but there must also
bo a good stage presence; adequate tech-
nique: something to say; and the ability lo
project this something through the inde-
finable yet unmistakable lift of a magnetic
personality, liudge for yourself ol the per-
formers you most enjoy hearing. I The fel-
low who rises to his best only when he is
placing alone, by candle-light, is not for us
no matter how gibed lie may he.
When artist and manager have found
each other, their problems ore by no mean*
at an cad. This business-man-maaager
shuns nothing so much as getting stuck
with the quick-lash meteor who gives one
hurst of flame and then peters out. He
wants a star of steady brilliance, upon
whose light he can depend.
rilal program and a couple of concerti. and
think they’re ready for a career. They are
mistaken— but worse tilings than that can
happen to them. If. by chance, they make
a success with their slim equipment, ihev
can easily he ruined.
You can't lake more out of the jar than
yon put in. and you can’t make a career on
inadequate equipment. A manager advises
such young artists to study and mature.
If they cash in too'fasl. they are apt to do
neither. Then, in o season or two, they
are heard of no more, at which point they
generally come hack to the manager, lo say
they wish they'd listened. It is no pleas-
ure lo teeall lire many eases— some with
one-linn; "names" — to whom this applies.
The quick-success youngster* often say
they mean to go back and study later on—
aber they've lasted a bit of success. Then
I ask them this: if they earned a million
dollars by over-playing at the wrong time,
what would they do with it lo salvage their
careers? Advertising and publicity are
helpful in Idling people know you're there
hearing you.
Never have there been greater opportuni-
ties than those now open to the performer
with something lo say and tile gift for say-
ing iL Twenty years ago. American concert
business ran to about $500.(HX>. Today, our
seven millions. That means a lot of money
— more, it means that people are willing to
spend such a sum for the stimulus of hear-
ing the kind of performers they want to
hear. And that’s the thing to remember.
How does tile manager determine the
type of tour a new artist ia to have? En-
tirely on the reactions that artist is capable
of arousing. Heifetz made hi* Auiericau
debut in Carnegie Hall and from there,
went all over the cmrnlry. A less precocious
performer would be developed on tile road
before entering New York. Corot, a fine
pianist, never warmed New York at all. and
usually worked out of Chicago westwards.
Stew York appearnnres are not csseu*
lial to a career. More and mure. New York
ia regarded as a most lo-lpta! and apprecin-
henven. Its influence on a nationwide tour
is no longer whnt it once was. An experi-
enced performer of European reputation
can tackle New York: the youngster who
has never played a larger town than Halo*
mazoo had lielter waiL No one should play
New York without three to four years'
concert experience. I Continued on Page 5 1 1
ETVDE-WNE PIS I
How to get started on
Your Career as a
Piano Teacher
By FLORENCE M. PORTER
H.
der. Your recital is a brilliant memory.
glamour ie passed. Now. [or new adven-
ture. a career teaching piano.
just a matter of publicity and getting stu-
dents. All your friends want a hand in your
success. People in your church, vour clubs
and those whu attended your recital will
her your friends the mail man. the milk
grocer will help by putting your card in
Dale Carnegie will help you “Win
Friends and Influence People" and Veron-
ica Dengcl will help with “Personality Un-
limited," for hi this career personality is
of utmost importance.
Have you forgotten your neighbors?
They provide the students most help of all.
so on with your prettiest dress, the perky
purse you got for graduation as y ou go to
llare you remembered to stock that
printed with your name and “Teacher of
number in opposite lower comers? Now if
way. just read your own cards! ft will help
your self-confidence.
Have you a notebook for names, addres-
ses. phone numbers and appointments?
Meet adventure with a smile. When your
neighbors come to the door, offer them
your card along with your smile! Say you
are a graduate piano leather olid would
enjoy teaching them or their children.
Since you arc just starting, your longer
lessons *40 minutes I and lower rates will
heavy traffic just at the time when they
The children will benefit hv the latest
methods as you have been in school more
recently than older teachers.
Ij /mu / de any they hate no children to
teach, that is not the end! Do you know
adults have a “suppressed desire" to learn
so and want to be invited? They often
make better progress than youngsters.
They will lie glad to know so many adults
are taking up piano that the stores are full
of beginners' hooks written ju»l es|ieeially
friends as well ns students. This ap|ieals to
housewives who are often lonely during
tho day. They want friends too and can
come for lessons before school children,
when you are not so busy and can enjoy a
visit. This saves them the embarrassment
they dread of having a child hear them
ploy simple things.
No sale? Anyway they will start think-
ing. “Who needs a good piano teacher?"
Did you leave your card, just in case?
Many of the best teachers have started
their careers litis way.
You arc just too, too timid to go calling
on your neighbors? Well, try an easier
way. Stick your cards into doors. Or hire
some small boy to do it for you. Or bn
a postal card printed and mailed to it,
“Occupant." Folders are nice but opts
How about putting an ad in the lent
newspaper, under “Musical Ioatuaiis,.-
“Business Cards" and “Musical Imps
ments?” People who buy piano,
teachers.
You don’t know how to write an ad?
Just begin with your name fotlounl l,
"Teacher of Piano. Conservatory pads
ate. beginners and adults," your plan
nuiulier and address last.
Have yon a sign to pul up on soar
house? Try' one about 12 by lti jncbx,
“Teacher of Piano" printed with the la
tors of “Piano" five inches high, w r(v
black picture frame with a glass will pro
I eel It from the weather and make it lag
each month will he fun and hdp with men
problems, difficult for one. but can iw
another teacher. Thru too, time other
teachers may give you “headache" da* !
dents. Wo all have them. Teachers vi!l
sometimes give you their whole vlaaa ready
made, when they lake “maternity leave,"
or when they move away, or even wbai |
they dir! It has been done! Many tearhen
got their start by such a legacy.
Don't think you can keep all these gib
Students. It does not work that wav. Yw
will do well to keep half of them, so doit
Often voice, violin and dance tear ben
are asked about a piano teacher, so male
friends with them ton. Any other tearhen
iu your neighborhood? You don't know?
do the trick.
“Nothing succeed* like * or ecu" no
know, so always appear to be busy. Tewi
students consecutively when they come to
vour home, h takes only three student# to
fill the time from 4 to 6 at 40 minutes esdc
They naturally assume that ill your dap
are so occupied.
These same three students earh pUyiaf
little “pieces" from their study i*“k»
I they need not lie sheet music I can have a
musical tea some Sunday afternoon at l«
home or theirs, and play for parrots sad
friends. You may be asked to play tw
Lend the affair a festive air by at'®!
candy or light refreshments. Tho vod*
like a charm and helps make friend# aai
increase popu- l Continued on Page STI
TEACHERS
I have known
By HENRI TFMIANKA
M\:
- Dutchman mimed Card Blitz.
Ih- lived in the heart of Uotterdam. Hol-
land. ou a big, flourishing thuruughfare
facing the zoo. You walked in through the
store, li here violins and strings were sold
■laughter, and yon went upntuirs for your
lessons. In the hack of tile house the son
ft Was a united family and the most
hospitable hotnc in Rotterdam. Very soon
1 was slaying to lunch and dinner and get-
nvemighl. Blitz started me when I was
M-ven anil 1 stayed with him until I was 15.
Right from the first lesson he won inv
youthful confidence by Inking my violin
und balancing it on his forehead while
precariously walking across the room, lie
would iierlorin sleight of hand tricks tlut
left me goggle-eyed, or sit down at llic
piano with his violin tucked under his chin
and improvise on both instruments at the
same lime, Tlii* improbable feat was ac-
complished by the occasional use ol open
strings und left-hand pizzicall. one free
hand dexterously roaming across the piano.
Once in a while both hands were itsed for
thunderous lutli or u brilliant violin ca-
lllitz also look me sailing in his boat
on the lakes that ringed Rotterdam and
taught me to play billiards. He let me help
him when puttering around in hi* work-
shop. where he made everything fromfumi-
words for the popular song he composed.
It was accepted by an American publisher.
Recently I came across the lyrics anil shud-
Lasl. mid not least, inv teacher gave me
an excellent technical and musical loundn-
Reprinted Irom Ts*ai Slrlsj Newl. piibllihcd
by the College of fine Arts. Tbe University
1. He It
it deal to give, a
accepted and absorbed
for I adored bins. Hr hail found the hey
In my hrart and Ihnl is the basic lead ol
nil goad leaching. This, I discovered in
later years, when I in turu was faced wilir
the great responsibility of passing on to
others what 1 had acquired, was the great-
est lesson I had learned from him. and one
I have always tried to remember.
When I was 15 1 went to Berlin to con-
tinue my studies with Professor Willy Hess,
one of Joachim's most prominent pupils.
The contra*! could not have been greater,
lie— was as impersonal as my first teacher
had liecn warm-hearted. An extremely able
knew by heart all the Kreulzcr, DonU Itodc,
Gavinie* and Paganini Eludes ami hod
them ail neatly indexed in his mind. “Kfeul-
zer No. 33 for next week." he would say
without looking at tire hook and forthwith
lie bad the hahil of always piaving
along with ihe student, using a very loud
Giiadagnini. We soon learned the trick of
play ing softly when we Were not well pre-
pared. That was the way to have a “good"
single bowing or fingering. “Do volt think
you know better than Joachim?" was a
squelcher to which none of os could find
Hess taught the old-fashioned German
(rowing: stick under the first joint nf the
elbow. All progress ami initiative had come
Hess, in short, seemed la ignore Ihe vital
Im/mriance o/ developing his students' in-
illative and imagination, surely two essen-
tial and desirable qualities. The indelible
memory of this fatal mistake on the part
of an otherwise able teacher still rises up
to warn me. particularly when I am guid-
ing a sensitive und gifted student.
I shall never forget the day we serenaded
day. We had taken great pains lo make this
a memorable day for him. At seven o'clock
chamber music students, secretly asseni*
bird in the music room of his penthouse
apartment in the Chariottenhiirg district of
Berlin. We had spent grueling hours re-
hearsing and learning tile Concerto of
Bach for two violins and siring orchestra.
Stealthily we climbed up the six flights
double basses, folding chairs, music and
stands. When we laid finally assembled our
selves, and everything was perfectly ill
place, the maid was sent to call for Herr
joying an early eup of coffee. Unsuspect-
ingly. Hess walked toward tile music
the threshold, tire jubilant strains ol Bach's
great Double Concerto hurst forth.
Hess did not lose his composure. He
stood there with folded arms while wo
fiddled away for lull an hour. When the
serenading had come to on end. Kulen-
knmplf, the oldest of tire students, who
later became very prominent in Germany
and died a few years ago. nuiile a meticu-
lously-prepared speech.
tiling and we all waited with haled breath.
Hess spoke, and after briefly lliaiikiug us
again to use that particular edition of the
Bach Double Gmcerto. as he lord uhserved
a number of errors in it during our per-
From Berlin I went to Puris, where 1
studied with Jules Buucherlt of the Con-
servatoire National. Bourherit upheld
bowing technique. Among these must lie
mentioned the fanatical pursuit of the
“Scree," a bowing that digs deeply into
the string and has much to do with the
intensity, charm and vitality, even in the
minutest passages', which you will at once
recognize in the playing of famous French-
trained violinists like Krcisler. Tllibaud
ami FrancescattL
Boucherit drove me so relentlessly in
the persistent study of these loathsome
treadmill. Bui wltrn 1 look track today. I
realize that limited though Roucherit’s ob-
jeclivtw were, I must thank him for the pro*
clous lesson of a (Continued on Poge 40 1
How to
dress
for a concert
Make the most
of your
recital debut!
A icell-clioien program can help
your professional career lo a good start
By FRANCIS D. PERKINS
T he most imt'obtast event in a
young artist's career it his first
professional recital. A debut is not
to be undertaken lightly. If it is success-
ful, well and good. If it is not successful,
tile artist would have been better advised
not to appear at all. It is relatively easier lo
make a good first impression than to re-
verts an original bail impression. One
should not plan his debut until he is con-
fident that he is ready for it.
course, there is the
he has acquired one), family, friends and
possibly enemies — and it may seem un-
necessary, to say the least, for me to add
pressions gathered from many years of
professional concert-going may he inter-
esting for the inexperienced musician who
is considering his first professional pro-
gram and wondering what will best please
his audience, including the critics.
There are , of course, certain fairly
is that the works chosen should be worth
presenting — which does not mean that all
must he intensely serious. A program of
average recital length needs variety of
merely miscellaneous; each item should bo
considered in its relation to the others and
to the program as a whole. An ill-assorted
list is rather like a collection of canapes,
But a good program may he the wrong
one in individual cases. Any experienced
critic has heard quite a few talented young
artists who devote much of the concert to
showing what they cannot play or sing
particularly well. It often seems that they
section of their talents in a comprehensive
program, revealing both assets and limi-
tations, as if their audiences were judges
at an audition.
A recital is not an audition, hi which
you must play or sing what the judges ask
ready for public appearance and your
repertory is not too narrow, you need
offer only music which you want to per-
form, which lies within your technical
powers and which you believe that you
understand. It should not be hard for an
artist to make up his mind aliout his tech-
nical ability, but I have heard perform-
ances which suggest that cither the artist
or his teacher has been too optimistic.
There are, most often, song recitals, which
sometimes are mainly a hunt for well-
produced tones, sometimes captured only
to be lost again, throughout the program.
But this represents a generally dubious
technique, rather than one not yet able
to cope with certain exacting works.
The question of interpretative under-
standing is much subtler. By understand,
ing. I do not mean knowing everythin;
that there is to know about a psrtkuW
work, revealing the last word iu whit it
has lo say. 1 doubt if any great artist fob
that ho has accomplished this. I mean both
lo understand and lo feel the musk, to
atmosphere, style and expressive content,
and to be able lo communicate this bdinr
to your listeners. For certain worb this
calls for years of study and derpetmt-
acquaintance, anil in most cases the deW
tant would be wise lo leave them la ho
convincing until his interpretation cf a
work has become distinctly his own, bawd
upon an earnest desire to real ire the cum-
pretatiou. a young artist naturally seeks
his teacher's advice and that of other et>
porienced musicians. He can learn by lis-
tening to performances by great artists in
But ideas gained in this way are valtn
able only If the artist finds iheio worth
accepting and assimilates them as euatn-
buting to his own understanding of the
music. An imitative interpretation, no mat-
ter huw faithful to its original usaalh
genuine, amf the critic is likely to rernsik
that the performance did not bring out the
politan traffic. Roth i
seiously personal interpretations, the re-
sult is likely to be elocution rather thu
eloquence.
Ambition is natural, and so is a wish
to follow prevailing fashions in your parti-
cular field. This is where the question of
the standard program comes in— the lour-
language vocal program, the piano pro-
gram which rum from Bach or Scarlatti
via Beethoven. Brahms, Schumann or Cho-
pin to. say. Liszt. and the violin program
certo, its unaccompanied Bach and ib
group of transcriptions. It is open both to
defense and attack. From a general musi-
cal point of view, its chief draw-back is
that it tends to limit the repertory to famil-
iar music. But the newcomer hears so often
that this kind f Continued an Page 62)
ETUDE— JVXE f«
Too Many
Languages
Tradition forces young vocalists to
sing four languages and all of them badly.
Such acrobatics should be discouraged.
By VIRGIL THOMSON
T younger ones, feel obliged lo offer in their recitals
is a formula that has long seemed lo this reviewer
ill suited lo advancing either musical or technical excellence.
Its fault can he staled in three words — too many languages.
Not long ago, speaking before a meeting o( voice teachers,
he reproached them with responsibility for its continued
pedagogical and artistic, had ever become established in
custom. They answered in unanimity, “We do not know, and
we do not approve it." Nevertheless, every aspiring singer
in our midst feels obliged to offer in recital an Italian, a
German, a French, ond an English group of songs.
Naturally, they sing all these languages badly, rveii, in
many eases, English. Often, having merely learned their
foreign songs phonetically, thrv have only an approximate
idea of the texts' meaning. The communication of poetry
under such circumstances is quite impossible. It is not easy,
either, to sing agreeably when the full conlenl of the com*
poser's feelings, as embodied in verbal values, is not rlear
lo the interpreter. Moreover, nobody demands this monkey*
like behavior. The public does not like it: the press does
not like it amf managements care only for what the audience
and the press like. Singing teachers, who are responsible
for the tradition and its preservation, all know it is opposed
to good artistic standards. And vet they hesitate In do away
with it. Several of them have suggested that since music
schools in America require of singers three language* be-
sides English, if a degree is to be awarded, they themselves
e the v
But it
teachers who determine, finally, degree requirements for
singers. Surely they could demand revision of a faulty cur-
riculum.
Such a curriculum is faulty because it is not a prepara-
tion for professional life. Few professional vocalists of the
first class ever sing four languages in public. The best usually
slug two, their own and one other. Knowing one foreign
ling of his own. Helen Traubel, by specialising in German
repertory, has had a great career. Mary Garden did the same
with French, Jan Pecrce and Richard Tucker with Italian. A
language means something in the mouth* ol these artists.
They know its feel, its style, its nature, its relation to life
and to music. A few singers have the gift of tongues; Imt
for every Jennie Tourel iu the world, there are u dozen
Lotte Lehmanns, Pinzas, and Carusos, lor whom a new
language has to be approached slowly, circumspectly, once
in a lifetime.
A young singer needs to know, for studio purposes, the
Italian songs to acquire an acquaintance with these musical
should adopt a country, -peak its language, read its hooks,
five among its people, ealdts food. In this way he may learn
to interpret its music with understanding. As lie udvunces
Spanish and Russian. But he does not have to si ng them, and
with their sound ami with their sense. An uceasioital compli-
ment to local audiences will lie enough exception lo prove
learning it, loving it. making its sounds liehave, and making
the farthest ticket-holder hear what he says. This is the way
singers work abroad, and it Is the right way. Any other is
Injurious and silly. Requiring young vocalists lo sing four
languages is like asking string players lo be equalli profi-
cient on the violin, the viola, ami tile cello. Such acrobatics
If any person knows any reason why the four-language
formula should lie further tolerated by teachers or by con-
cert-goers, I hope he will correct my impatience. In my view,
and the voice teachers met in convention did seem to agree
with me. it is unmusical, unintelligent, inarlistir. and peda-
gogic-ally unsound. the e.vd
ETUDE— JVXE lost
By FRITZ KREISLER
•I WAS AT THE BEGINNING of my
career when it all started,” Mr. Kreislcr said- "For o while
I wasn't sure what I wanted to be. I had studied medi-
cine and art. I also wanted to be an army officer and had
entered training.”
"You mean up to that time you had considered the
violin nothing more than a hobby?” I asked.
"Not quite. The violin was really my first love. I had
begun to study it when I was four. I entered the Vienna
Conservatory when I was seven and fiuished at ten with
first prize. Then came the Paris Conservatory and the
French gold medal at twelve. At fourteen I was already
touring America.”
“What made you undecided about continuing your
career as a violinist?"
"My father was a medical doctor, and at the time I
thought of becoming one. too. He himself had wanted to
be a violinist, but his parents wouldn't let him. Being a
violinist then was like going around in the streets with
a hurdy-gurdy, unless, of course, you were a Wilhelmj,
a Sarasale, or a Joachim. Well, in spite of the risks, I
dropped the idea of becoming a doctor and decided to
remain a violinist.”
"I suppose by 'risks' you mean more than the dangers
of bucking competition with the spectacular personalities
of that time.”
"Well, there was the problem of programs. To be a suc-
cess in those days you had to know how to make programs.
The violinist's recital repertory was then very small."
'1 don't follow you,” I interrupted. "How about all
the standard violin concertos?"
“Anybody playing a violin concerto with piano accom-
paniment at that time would have been laughed off the
"How about Bach's unaccompanied sonatas?”
"They were not very popular."
"Beethoven and Schubert?"
“There were some sonatas by Schubert, but Bee-
thoven's sonatas were out of the question. You had to
be big to do them and you needed a big pianist to col-
laborate with you. a combination. let us say. equal to
Horowitz and Elman or Rubinstein and Heifetz today.”
"Couldn't you hire an orchestra to play the concerto
accompaniments?” I asked.
"Scarcely, if you were poor and unknown. The result
was that if you were a concert beginner you never played
a concerto. And if you were poor and unknown, no great
pianist would appear with you. Therefore, no Beethoven
sonatas."
“I begin to sec why medicine and a military career
seemed more attractive to you than music."
"So what did you do if you began to give concerts?”
Mr. Kreislcr went on. “You fiddled around with Bach's
Chaconne or the 'Devil's Trill' of Tartini or sonatas by
Corelli. Veraeirii and Geminiani. The rest of the program
was made up of smaller pieces, like Erast'- Elcgic'. HafTs
•Cavatina', Wieniawski's 'Mazurka' and Polouni-c'. and
Vieuxteraps' 'Ballade'."
"Odd how so many of those titles have completely dis-
appear.-] from the repertory." I remarked. “People must
have moaned when they continued to reappear on pro-
grams."
"They were all good pieces as far as they went, but I
wanted to play other things. And (Continued on page 5«)
ETUDE— JUNE IKI
ACCOMMODATIONS ARE PLENTIFUL THIS YEAR AT THE
Ij^UROPEAN MUSIC festivals will again be in full swing this
summer. All the wartime casualties, like Salzburg and Bayreuth,
are again operating, and there are new attractions, such as the Casals
Festival at Perpignan, to lure the music-loving traveler. Most Euro-
pean countries arc making it as simple as possible for the American
tourist to come and bring his dollars. In all but half a dozen countries,
visas arc no longer required. One still needs a passport and a smallpox
vaccination certificate. (Without the latter document, you can get out
of the United States, but not back in.) Latest reports are that there is
plenty of ship and plane space, no shortage of hotel accommodations
and adequate food, even in rationed countries. Prices arc about the
Same as last year’s.
Leading summer music Frenis in Europe Include:
A I ST II I V
from April I 10 May 10. Con-
ductor* will include Kielberg,
Cui and Klradti.
Salzburg Festival. Salzburg.
July 27 to August 31. Mozarl'a
“Magic Flute" and “Idome-
nco": Alban Berg’s “Wo*,
leek 'a"; Verdi'* "Otello."
PBA.WCK
Bordeaux International Fes-
Bordcaux. May 16 to 27.
Music Fc-tival. Toulouse.
Casals Festival. Perpignan.
June 10 In July 5. World-
larnOTi- cellist Pablo Casals
and other arlisU will perlorm
works of Boch and Mozart,
Music Festival, Aix-en-Pro-
rente, July IS to 30.
sniTzcau.vn
Festival Weeka. Zurich. June
S, 12, 19 and 26. Opera, con*
Ing regatta.
Festival. August 8 to 26,
Three Gty Music and Art
to July 15.
Music Festival (Fci* Cocil),
Dublin. May 7 to 12.
Fifteenth annual May Fee-
May 3 to 24.
Nineteenth annual Barce-
lona Festival. June 10 to 25.
Open-air opera perform-
ances. Ostersund. July.
“Music of Oar Times."
Due— eldorf. May 18 to 22.
tivaL with orchestras and
choirs from Aachen, Cologne,
Wuppertol and Duesseldorf.
Songfest, Frankrurt-am-
Main, June 15 to 19. Concerts
International Music Festi-
Darmstadt, June 23 to 30.
July 29 to August 19, Festi*
val programs will include
"CoeUerdaemmerung."
ETUDE— JU/VE I9SI
ASPEN
After only tiro newton*, this festival of music anti art, high in
the Colorado Rockies, is a major summer event far musicians
Y i:\ns ,*oo. America's
■ lovers who wauled to hear
Kurope to find il.
are growing both in number and
musical excellence.
One of the newest ami best
which is to open July 4 and con-
tinue until August 29.
Although it is only in its third
season, the Aspen Festival now
ranks as one of America'- top
Il was launched auapicinu-ly
in the summer of 1040 with a
having as its guest of honor the
famous musician, music scholar.
medical researcher and mission-
ary. Dr. Albert Schweitzer.
The first season also offered
concerts by the Minneapolis
Symphony Orchestra, under the
direct ion of Dimitri Mitro|miilo-.
with outstanding guest artists
like Nathan Mllstcin and Gregor
Piatigor-k, v. who made a joint
aptauranre playing the Rrahius
Double Concerto (see cut).
of the first season, the Aspen
Festival continued in 1950 with
a concert series by Soul Caston
and the Denver Symphony. An
outstanding feature was the all-
Wagner program which had
Helen Trnubel and lamritz Mel-
chior ns soloists.
In addition, thr Festival of-
fered chamber music by the
Pagauiui Quartet, the Alheneri
Trio and many solo performers.
elaborate festival is scheduled to
take place.
The French composer Darius
and in addition null appear ns
other music. The general music
director is Joseph Rosenstock. of
the New York City Opera Com-
pany's conducting staff, who also
has led orchestras in Germany
and Japan. Mr. Rosenstock will
direct tin' Aspen orchestra, tench
conducting and head the new
Studio of Opera anil Dramatic
Rudolf Firknsny heads the
piano department, and the dun-
pinnists Vronsky ami Babin will
be on hand for part-time tcaeh-
Itoman Totenberg, ^ violinist,
will be active Isitli as |k-rformcrs
A-pen's chamber music activ-
ities will again be headed by the
Paganini Quartet (Henri Tcmi-
nnkn. Gustave Roseels, Charles
Foidart and Adolphe Frezin)
and the Albcncri Trio (Erich
I lor Kahn. Giorgio Ciompi anil
Beuar Heifetz). Both ensembles
will play and teach chamber
The vocal faculty includes
Karin Branzell. Herta Glaz.
Paula Lencbner, Leslie Cliabav,
Mack Harrell and Martial Sin-
gher.
Woodwinds will be taught by
Albert Tipton, flute. Lois Wann.
oboe. Reginald Kell, clarinet,
Norman llcrzbcrg, bassoon, and
Walter Griffith. French hum.
win attend the Festival as guest
artists, lured by Aspen'- tine
music-making and its superb b-
Rockies. 400 miles from Denver.
Despite its superb scenery, As-
pen was just another Western
ghost town from silver-mining
days until 1035. wheu Swiss ex-
pert* declared it an ideal spot
for skiing- A ski tosr was in-
stalled. and ski trains began
bringing in winter sportsmen in
ever-growing numbers.
The experts' high opinion of
Aspen ns «ki country was con-
firmed in 1949. when the Inter-
national Skiing Cliampiim-hip-
were held ill the fnrmrr ghost
town. It was the first time this
international event had been
stages! in America.
Meanwhile, Walter P. Paepeke
of Chicago, boars! chairman of
the Container Corporation of
America, had beesunc interested
iu Aspen. Pncpcke. who already
ownpsl a ranch urar Lark-pur.
Colorado, loved the Western
country and believesl Aspen had
psrasibilities for slevelopment
both ns n winter and summer
I x 1949. with a group of
associates, Pnepekc founded and
incorfa-rnted the Aspen Com-
pany. Their first objective was
Williamsburg, moslernizing it
but retaining it* flavor of bonan-
Thc Aspen Company first ac-
(| Hires] on a long-term lease the
Hotel Jerome, a Victorian struct
at the height of the silver-mur-
ing boom in 1889. The Hotel
Jerome was modernized inside,
but it* gingerbread facade !*-
Other properties also were
leased by the Company and put
in shape to provide adequate ac-
commodations for the expected
influx of visitors. All moderniza-
tion was carefully planned un-
der the supervision of artist-de-
signer Herbert Bayer aud Chi-
cago Architect Walter Frazier
to retain Aspen’s mid-Victorian
charm. The metamorphosis of
the community even included
an offer of free paint to any
home owners who would paint
their houses in conformity with
the ideas of tile planning staff.
Aspen thus was ready for the
winter skiing season. Pacpckc'-
ideas, however, did not stop with
a single season. The master plan
for Aspen envisioned a year-
round center for recreation
against the background of the
Colorado Rockies.
Already, knowing fishermen
had passed the word that trout
were plentiful in the nearby
Roaring Fork River. Deer and
small game hunters were well
acquainted with the area.
Then in 1949 eainc the ambi-
tcnuinl, presided over by Chan-
cellor Robert M. Hutchins of
the University of Chicago. Di-
rectors of the event were seeking
a festival location which would
be easily accessible from both
seaboards, and would avoid the
distractions of an urban me-
tropolis.
Aspen proved to be the an-
swer. and the Goethe Bicenten-
nial attracted visitors from all
parts of the US.
With two successful seasons
behind it. the Aspen Institute
this year will offer an even more
ambitious program than pre-
viously. In addition to the music
festival, the program will feature
lectures and seminars on relig-
ious, business, literary and gov-
ernmental subjects, conducted
by outstanding specialists.
KTVDF.—JVSE Nil
ft I YD A ORCHESTRA DKP WTUIi.YT
Adventures
of the Trill
77ie vocal trill, ichich liat ornamented
mutic since the flays of Pythagoras, it subject note as
alicayt to the public's taste and the style of the day.
X,
.1 Greek
. 1 . is the old-
est embellishment used in singit
trace il as far back as the auc
singers of the sixth century fi,
defective execution can be traced into antiq-
uity, when 2,300 years ago Aristotle vainly
Here are the fundamental rules concern-
ing the basic trill as they were taught in
Athens by Aristotle tea. 350 B.e.1; in med-
ieval England, France, and Italy by Guido
Arctinus tea. 995-10501; two hundred
years later, in thirteenth-century Paris, by
Hieronymus of Moravia; at the end of the
Renaissance, in papal Rome, by Gonforti
11592); throughout cightcenlh-ccntury
Europe by Tosi 1 17231 ; in France by the
Abbe Joseph La Casaagne 1 1766) ; at the
art-loving Austrian court in Vienna by
Mancini (17771 ; at the Conservatory of
Paris by Careia (1311); and so forth
Until the present day.
two true, real notes as often was and is
believed, but it is the equal vibration be-
tween one note, the real or principal note,
which is always higher in pitch than the
real, or principal, note. This equal vibra-
tion between the real and the helping note
is achieved by moving the larynx regularly
up and down. The more regular these throb-
bing movements are, the more hirdlike will
sound the trill. The throbbing starts on the
auxiliary note after the principal note has
always on the principal note. The stronger
and more flexible a throat and neck, the
more perfect will be this movement, which
By IDA FRANCA
is the extreme limit of celerity in vocalixa-
can reach £=200. He who is complete
master of his lower jaw, which has to be
very mobile in its sockets, can easily
possess a faultless trill.
There are many extremely different
theories concerning the production of the
auxiliary note, but there has never been
both auxiliary note and real note the true
vocal chords do not change shape — either
in length, thickness, or tension — but al-
ways assume the shape necessary for the
production of the real note. Yet no singer
ever bothered about all this. Besides, no
one before Garcia's invention of the laryn-
•goscope knew what shape the vocal cords
assumed during any vocal production.
The trill always was — and always will
be— an artistry passed easily from singer
to singing student, not thruugh explana-
tion but by imitation. Two factors only
are essential: the teacher must have a per-
fect trill; the student must have a free
throat. That is all there is to it!
The slrabitos (our trill) was an ap-
preciated ornament in live singing of an-
cient Greece. The soma vibrant lour trill)
was just as cherished in ancient Rome as
soon as Rome started to imbibe tile Creek
culture. When after the collapse of the
Roman Empire the Catholic Church be-
came the center of all occidental art. the
prestos (our trill) adorned medieval music,
until in the thirteenth century polyphonic
singing took undisputed possession of the
musical compositions, and the Roman
chant slowly- lost its biggest value in pro-
portion to the irresistible advancement of
the new style. The grace of the Gregorian
chant vanished, and instead there appeared
the new and very hard harmonics of the
discard. Into this graceless music, which
presents the first tentative! of the later
glorious counterpoint, the crude voices
of the Franco-Flemish papal singers trilled
enthusiastically ... with the result that
the musically sensitive Pope John XXII
(1316-1334J strictly forbade in a Bnd
scholu cantorum gradually lost all splendid
with tire unavoidable decline of its Gregur-
ian music, fur the reason that Sl Peter’s
Chapel exclusively asked for singers who
were experts in the new descant. Vocal
ability had become unimportant
Ever so slowly and only after many s
setback this situation of vocal decadence
-was changed: after the return of Pope Greg-
ory XI from Avignon, in 1377; alter the
fusion of the Avignon Chapel, consisting
of twelve singers (French, Flemish, and
lani cantori ponlificii; and after the con-
struction and foundation of the Sistine
Chapel by Pope Sistine IV, in 1473. when
the Apostolic Chapel of the sixteenth cen-
tury became the center of the Roman poli-
phonic school, which, finally having ma-
tured into simplicity and beauty, claimed
"And so" we see in 1592 the rebirth of the
medieval pres sat as trill ttr.t through its
introduction into St. Peter’s music by
Giovanni Luca Conforti 11560-1671, who
was the first known “Italian" contralto
in papal services.
IF ith the stress on vocal virtuosity dur-
ing the following centuries, it appears
only natural that the trill also should be-
come elaborated and brought to its extreme
perfection. Pier V'roncesco Tosi. in his
treatise of 1723, which is considered the
Bible of Bel Canto, distinguishes eight
1. Tile Major Trill: This is a triB be-
tween two notes having an interval of a
whole tone — a major second. The lower is,
as previously explained, the real or prin-
cipal note, the upper the helping or auxil-
iary note. The throbbing starts on the auxil-
iary note and ends an the principal note.
2. The Minor Trill: This trill is be-
tween two notes having an interval of a
not. of course, (Continued on Pape 57 1
T X THE simplest folk song or the
is a vital necessity to our success as per-
formers, teachers and conductors in achiev-
ing a musically satisfying performance.
Pure intonation is the ne plus ultra of the
mechanics of music.
The aural capacities of the average stu-
dent are limited, and it is necessary, there-
fore, that his auditory sense lie aroused by
relationship of tonal timbre, rather than by
association or discrimination of pitch. For
example, here are specific teaching tech-
niques demonstrated with an eicraentarv
student of a brass in
We shall assume that this student lends
to play on the “flat side of the lone." In-
reUlionship to the tone he should have
produced. Through this development of
player will consciously begin to develop
listening habits which will eventually re-
sult in an improvement of intonation.
Assuming that our student continues
to plsy “under the tone," he-, flat, instead
of telling him he is playing Hal, we proceed
lo awaken his concept of the quality of the
flat lone. We call his lone “flabby,”
“tubby,” “veiled.” By means of such asso-
ciation, ihc student will soon begin lo
develop lonal concepts which will eventu-
ally be as vivid to his aural capacities as
are the primary colors to his sight.
Now, let us demonstrate with a student
who tends to play on the “sharp side of
the tone.” We endeavor to awaken his
we call his tone “strident.” "harsh."
“forced,” “rigid,” “taut," "strained,” and
for the undesirable tones. By ibis means
we will not only improve the tonal concepts
of the player, but his intonation ns well.
Such procedures, if begun early in the
player’s career, tend lo encourage active,
the aural and mental powers in a specific
direction. And they chart the student's
practicing and progress more construc-
tively than the usual method of “thinking
and listening for him!"
JVt’s tune up!
THE FIRST OF TWO ARTICLES
Teaching lechnir/ues ichich develop lonal
concepts tcill encourage the student's intelligent
listening and improve his pilch.
VILLI AM D. REVELLI
ear in Improving intonation,
may draw a circle. This will serve ns a
hull's eye. Next, place a dot in the lower
part of the circle. (See Example A.) Then
demonstrate for Ihc student that by focus-
ing the breath into the lower pari of the
mouthpiece, and by placing Ihc tongue in
Ex. A the lone will be flaL If the stu-
O dent wifi listen he will hear
that the quality of tone is sim-
ilar to that described in the
first experiment as soggy.
Next place ihe dot in the upper part of
the circle. I Sec Example B.) The student
discovers thal by playing into the upper
portion of the mouthpiece and placing tile
tongue high in the mouth, the tone be-
comes sharp and the quality, as previously
described, tout, pinched, squeezed, etc.
Next, place the dot in the center of the
circle. (Sec Example C.) The comparable
lone may be achieved by
reeling the breath into t
proper spot in the moutbpiei
plus the longue attacking
its proper position. The si
is resonant; it lings, and is more brilliant
than the flat or sharp pitches.
Ex-C This is due somewhat to the
O overtones which ore most valu-
able in adding to the “creamy
quality" of a tone that is on
scored a bull's eye. Such vivid pictures are
of great value in helping to solve difficult
l- Ex.B
; 0
Naturally, other factors enter into the
production of any tone. Such problems
as breathing, embouchure, and support
have an influence upon tile quality and
pilch of all tones. Nevertheless, any means
which will serve lo encourage and improve
the player's “quality concept" will also
Here’s another technique for developing
attentive listening:
and the other class members to identify
its timbre. Ask the students lo raise their
with this experiment. Performers of sev-
eral years' experience are frequently un-
able to distinguish between Ihe flat or shill'll
tones. Some will indicate thal the tone is
sharp, while others insist it is flat.
At a recent concert performance of a
“May the Lord forgive them, for ihey know
uot what they playeth!" Which one might
amplify by adding that their sin is not in
playing out of tunc, but in not being aware
that they arc out of tune.
JUST INTONATION
temperament — the process by which all
use — the scale of C Major was usunfiv
tuned on keyboard instruments in what is
called “Just Inlona* iContinueil on PagcM I
23
wRC.ivi.srs Ptr.s
What every
young organist
should know
In hit first church job, the new clioir-
matler facer both mimical anil non-musical problem *
By ALEXANDER McCURDY
T hose of us who (each in colleges
and conservatories know (he signs
when graduation time is approach-
ing. The seniors nearing the end of their
They ask us all sorts of practical down-to-
earth questions. For four years or more
they have led the sheltered life of a student.
Now they are about to he on their own. It
chosen career. The prospect is both excit-
ing and alarming.
I tell mv students that if the) * 1 2 3 have
the college or conservatory had to offer
them, they have nothing to worry about.
Opportunities come to everybody. The
main thing is to be prepared for the oppor-
This is especially true of organists,
paring themselves for church work are
organist who also has a flair for choral
conducting will find himself being sought
after. A good organist who is only average
as a choirmaster can always find a place:
and an unusually gifted choral conductor
is even more in demand, though his skill
as an organist may be moderate.
All this assumes that the organist is
thoroughly prepared and can take over at
short notice. Church music committees
and then spend three months learning to
be a church organist; they want someone
who can play the service next Sunday.
graduate will he as well prepared for
experience. There are, however, certain
ganist who undertakes a church job. At
the start of his professional career, the
(a show the following accomplishments :
1. He should be able to play any hymn
in any hymnal expertly for choir and con-
gregational singing.
2. He should have in his repertoire
enough organ music for a complete church
3. He should have an adequate supplv
of organ music for all the festivals of the
church year.
4. He should have at Ins fingertips as
many of the standard anthems as possible.
He should know both voice parts and
accompaniments. His list should include at
Alway," Purcell: "The Heavens Are Tel-
ling," Haydn: "Hallelujah Chorus,” from
“The Mount of Olives," Beethoven : "Jcsu,
Joy of Man's Desiring,” Bach; Gloria, from
12lh Mass, Mozart: "And the Glory of the
Lord," Handel : “Hallelujah Chorus," Han-
del: 150th Psalm. Franck; “How Lovely is
Thy Dwelling Place,” Brahms; "Tc Drum"
in B-flat, Stanford; "Immortal, Invisible,"
Thiman; “Praise,” Rowley,
5. He should have a repertoire of fre-
quently-performed vocal solos, including
at least the following— “0 Rest in the
Lord." “But the Lord Is Mindful of His
Own," “Then Shall the Righteous Shine."
"If With AB Your Hearts" and “LordCsd
of Abraham,” all by Mendelssohn; “Gene
llnto Him" and "I Know That My Re.
deenter Liveth," Handel; “Clouds and
Darkness" and "God Is My Shepht-rd."
Dvorak; "The Lord Is My Light," Allit.
sen: "How Beautiful Upon the Mouniain."
Darker: and "The Lord's Pratrr." Muiottr.
6. He should be thoroughly familiar
with at least the following cantatas— "h.
caninte Word." Elmore; "The Crucifixion.'
Stainer ; "The Seven Last Words," DuR<,k
I must repeat that the above are mini-
mum requirements. Naturally, the largo
the young organist's repertoire, the better
prepared he is to begin his career.
Meeting its musical requirements, hov,
ever, is only half the battle. The young
organist will face mm-musical problems at
well. His success in his new job will de-
relationships. He must secure the coopera-
tion of every member ol his choir, lb
must bo able to gel along with every mem-
ber of the rhureh staff, from die minatrr
to the sexton. And be must work in har-
mony with the congregation, who after iB
In my years as a church musician I
have seen marry young organists, splendidly
equipped musically, fail In the human side
ol their jobs. The commonest mistakr it
one must moke a clean sweep. Many yotme
people go into church positions with the
idea that they are going to turn the world
upside down. They are disillusioned when
It is far bettor to appreciate whst his
boon done before and hnild on that. Work
hard, and results are bound to romr. There
is nothing more true than the saying that
one gels out of something exactly what h»
Re sure yon arc interested in what the
church is doing as a whole. One cane*
on a musical program in a church
expect it to make a success independ
The program will fail il it is present
an end in itself, rather than as a t
ol furthering the aims and ideals ol the
church. The whole music program
tic in with the religions and educathsul
program of the church.
For this reason, the young organat
should be npen-mimled and willing to I*
ten to sugges- (Continued on Page Ol
ETVOE-m'l 1 4 5
PIANIST’S PACE
Adventures
of a piano teacher
Only the most worthy should touch the keys to
Beethoven’s “Waldstein” Sonata
By GUY MAI ER
WL
f henever a husky pianist
— male or female — sits down to play Bee-
thoven's “Waldatein" Sonata (Opus 53)
yon know what is going to happen. It
doesn't make any difference whether the
pianist is on experienced proicssional or
just an advanced student with gobs of facil-
ity. You know it's going to ho a field day
(or vi
is a great pity, for the sonata, dedi-
cated to Beethoven’s friend. Count von
Waldstoin. is one of the master's towering
tremendous scope. Even with its first and
last movements of almost unprecedented
length, Beethoven put in another very long
and prolix movement — the weU-known
“Andante Favori." When he played the
sonata to a friend, the friend advised him
to ent out this long andante, Beethoven
went into his usunl uncontrolled rage, but
immediately excised it and substituted the
a movement, but a glowing, mystical intro-
duction to the last movement.
The first movement glorifies the mechan-
ical age. Science and industry sweep all
before them. Everywhere there is the re-
lentless beat ol the machine and the march-
ing feet of the robots. The second theme of
this first movement is a wonderful shock.
It is in the unusual Key of E Major (in-
stead of the Dominant Key, G Major), os
though one of the regimented robots sud-
denly saw a vision of infinite happiness.
The development which follows is full ol
rolling thunder. Hashes of lightning, and
again the drive ol mechnnixed science. This
extended development suddenly rushes
headlong into the returning first theme.
I The entire movement is filled with glit-
tering key-excursions.) A long coda fol-
lows, hall development, half cadenza.
The slow movement, a Recitative and
Aria, is like the meditation of a prophet.
The music is far removed from the drum
beats of human conflict. Whenever I hear
it I like to think of the greatest Master's
words: "Come unlo Me all ye that labour
... and 1 will give yon rest."
The last movement, pare spirit, takes off
at once into the rarefied air of the highest
summits. It is like an eternal ascension— a
Where, in a composition of inch con-
fer o virtuosie Roman holiday? Let’s put
the “Waldstein” Sonata up on die moun-
tain top where it belongs. Only those who
school themselves to scale the heights are
worthy to touch it.
A NOTE ON THE CIUEC CONCERTO
I am sick to death ol hearing the Grieg
Concerto beaten to a pulp by today's pian-
istic show-offs. Why don't they stick to
their Tchnikovskys, Rachmaninoffs and
Prokoficffs to show their percussive powers?
You can't tackle Grieg: he is too frail,
too sensitive. Remember, he lived many
years with only one lung; he was shy, mod-
the shock treatment given to it by most of
our contemporary pianists. To la
when the youthful Percy Grainger first pro
claimed the Grieg Concerto to an cnchantm
world he played il vigorously, and dyi
ically, hut also richly and romantically
Today, the piece has degenerated into
technical war-horse, its hardns-nnils mea
urcs pounded out by every budding pint
player.
No virtuoso would dare to abuse ScJi
mann's Concerto in A Minor as they do
Grieg's yet I feel that in sincerity, ai '
and romantic warmth Grieg’s A Minor
Concerto stands a close second tr
mann's in the repertoire, (Grieg and Sehu-
So, please approach the Grieg piece as
fresh, lovely music, not as clacking clap-
trap. Study il respectfully; play it freely,
deeply and buoyantly.
Do you remember Grieg's adventure with
had not yet received much recognition or
when he took the manuscript of his con-
“Play it!" said Liszt.
“I cannot," answered Grieg.
"Well, I'll show you that 1 cannot, also!”
Whereupon Liszt sat down, read it su-
perbly, all the time conversing.
As he played the opening ol the slow
movement he remarked, “Ah. this is one of
the simplest and most direct moods of sad-
ness 1 have ever played." But his enthusi-
asm broke all bounds when he reached the
G-natural in the last movement's Gnal mea-
sures. Striding across the stage, arms lilted
high, lie roared out lire theme. Then ho
shouted to Grieg. “Keep on and on — don't
let them intimidate you — you have the
goods!"
Grieg used to say, "Whenever disappoint-
ment nr hillemesa threatens me, I remem-
ber Liszt's words, which uphold me."
When you study the Grieg— or any —
C—JUNE Wil
850 by
ETDDE- JUNE 1951
Modcrato (J:7a)
Tango Tempo
Bonita
able study in octave p| ay .
Keen the sixleenth, eighth
JENO DONATH
ETUDE - JUKE ISSt
No. 23087
The Arkansas Traveler
Old American Fiddle Tune
Paraphrase
L
DDE- JUNE tfil
PRIMO
No. 430-40121
Frere Jacques
(Brother John)
PRIMO FRENCH FOLK TUNE
Morning-Hymn
ROBERT REINJCK
Molto Adagio
Jt U.\ |^°° n night will pass; Through field and grass Wliat o - dours sweet the innrn-ing send - eth 1
in vale and height “Let there be light!” Tbussalth the Lord, and dark- ness end - eth.
Pastorale
WILLIAM A. WOLF
Gavotte
From Partita No. 3 for Unaccompanied Violin
ETVDE-JVNE
Dancing Fawns
ELLIOT
Corporal Lollipop, G. C.M.*
CTUDE-IVHE
ETUDE— JUXE
ETVDE-JL’XE 1951
Snwt'o'p^ 1T.U boss and pirU under' e'f.h^'yrar" oft^!
Claw A— (5 10 18; C1«M B— /2 lo /.S ('.lam C— under 12.
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7,0, A.-- »• ^ »' Mi — i
fi . , ROOSEVELT COLLEGE of CHICAGO
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CINCINNATI^CONSEBVATOBY^OF MUSIC
ss^s:S2st?|^s^S
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Jtsrjaa— ..rr-
■ ; ' ,; " _ t _ ;; —
AMERICAN CONSERVATORY
q n F.MUSiC-CHICAG^O
KHiH55
mss;
©hpObfteiiXnaltetf offi^Bfc
THE GREAT KREISLER HOAX
( Continued jrom Page 18)
^ '‘Thai wasn't done then," replied
which was called 'The Virgin's
Prayer' in the violin version. There
"Whot about the 'Hungarian
Dances' of Brahms?"
ler leaned* forward, his brow fur-
rowed. ns if he had reached the
I "111- Couperin, ihc grand'falher of
n. Maybe i *
them. So wilh Padre M
have done a better job of copying
wasn't my plan at nlL I just wanted
le them. I gave them these
is eighteen then and I wanted
“What about Francois Gtuperin's
grandfather?" 1 Baked. “How did
you manage to get away with him?"
“I played a 'Chanson I.ouia X1H’
which 1 ascribed to Louis Couperin.
a borrowed
ideas from him. So had others. And
wanted to give recital* and I couldn't
put several pieces on the program
and sign them all ‘Kreisler.* It
"So 1 took those old forgotten
it. First I brought out a piece by
Pugnani. There is extant only one
period. I played it and it was a huge
'Tor s couple of years I was.
Then a colleague of mine asked.
'Can I have that Pugnani piece to
play?' I replied, 'With pleas
... Frit* Kreisle. .
“flow about the critics?"
“They were calling them Tittle
mnsterpieeos.' worthy of Bach, and
so forth. A few violinists called me
all kinds of names for not surrender,
inp them as public property. ‘You
lend them and then ask them back.
attacked me. saying 'every artist has
a right to play them.’ "
“You must have been really
preached you." ***
“I was ready to give the whole
ne to me and said, 'Kreisler. Wi
*1 have these things.' I was in .
whole truth. The pieces were a
mine. I said, but I didn't want n
name apiiearing on them. Scho
“Were you paid very much fi
“He bought the whole eel i
twenty-five pieces at ten dollu
each, bringing me exactly $25
That wt
"When I was ten a Jesuit
parchment,
d gave Louis Cou-
nty repertory with what
among violinists. To m;
"What did .
pie began to ask you wbere you had
j them to Carl Fischer's
“Did Schott profit front the deal?*
“Did he? He made n huge for
me from them. Hundreds ol thou
reading what the critics had tc
about tltese 'old and forgotten'
“ you recall
i sorry, but if the tan.
re 'worthy of Schubert.'
a- Schubert, because I h*j
»o. then the same tiling mao
II. and Pugnani pieces.' AH
they bad to do was look at the pievo
Parts. They were in dusty old mann-
s. f Copied them on my cuffs
He played beautifully, hul naturally
"You didn't write him a little love
nole telling him the truth, did yon?"
“No. hut I did tell Eugene Y-aye.
the great violinist, oue day that the
pieces were all mine."
"What was his reaction?"
you wrote all these things? Then
the mysterious 'classic ounnscripts'
"Fischer hemmed and hawed. Rr
to Fischer : "There's more hftr ibis
meets the eye.' He raided me »
Vienna for the information.
"That wo* really rite very feu
time 1 was ever asked directly. I
did not want to He. Sa 1 eahW
hack: *1 composed them all BlysrlC
and gave my teason: I had amirf
program material and thought it
store appeared in the New York
Timet. That started tile avalanche"
Mr. Kreisler picked np a o>pr
ol hi* Concerto In G and signalW
them in the st
'Caprice Vicnn..«, ,„ c „„
day Leopold Schmidt, the r,
the 'Berliner Tagebl.lt.' ace
onactlessncss, || c raved a
of Schubert, he said* How
bracket my own lirtie s«l„
"Or Frit* Kreisler himself.* •
replied smiling, "that is. if
one else had dlwnvrmf the rearer
ADVENTURES OF THE TRILL
( Continued from Page 22)
one. It follows, like 1841. anil many
rapidly, and must ho detached soon
after it it heard. It b especially
suited le lively urias. and gaina in
charm and hrilliance 11 ended with
a piahettaio or in echo preeAeernro
le, trilled scale was
(flight). Senosino
re Handel singer and
Both eft's rondo trills (4
are rejected by Tosi aa pr
avc sounueu sue- " — -- ,
insider the nine slowly, for Tost
tremolo— an unsteady
sagne (1766) calls it
ly n “lake" IriH. be-
trill; it never throbs:
ETUDE— JUNE 1951
JSZX-ttSL-J.
'he right hand. an, I the C-Aarp
Major Scale ,ciA the 1 ejt hand a,
the same time. It sounds very bad
to my ears and I am pulled. Do
gfrSl
line, las, measure, firs, beat: is I,
iOTggf
=£r^2=x ESSaS*
i'irjErxss . tsur. tuatsJK
fUgg
scale, «h ir ?,y all o^r^e.
'ttfd'isfihes prac
i i 7 %.K
Sf£E“
rz:i^zi±^
recreating his interest and rekind-
Presser i
REFRESHING LITTLE PIANO SOLOS
3„r 3n ill in c r
rtf i fr* ¥nm'p uuuiii
0
Flash Cards
mswm
CLASSIFIED ADS
««¥
—
i
mmm
swssi&gm ssa as
\ mm gxwew**
■USUIS
pms
YOU PLAY IT SAFE WHEN
YOU CHOOSE BOB JONES
UNIVERSITY
In the "World's Most Unusual
University," your associates are
fine Christian young people from
all sections of America and more
than a score of foreign countries.
Your instructors are not only well-
trained scholarly men and women
but genuine Christians.
The highest type of academic and
scientific training is combined with
spiritual training and an evangelistic
emphasis to prepare you for a life
of successful service.
PLAY IT SAFE!
SELECTING V SCHOOL IS
Academy in connection
