Thursday, April 25, 2013
Wednesday, April 24, 2013
Music Pages From May 1908
Enjoy Krystian Zimerman performing Schubert's "Impromptu":
THE ETUDE MUSIC MAGAZINE – May 1908
Music By The Ton
Somebody once said that it requires more force to sound a
note gently on the piano than to lift the lid of a kettle. A German musician has just proved it. He has calculated that minimum pressure of
the finger playing pianissimo is
equal to a quarter of a pound. Few
kettle lids weigh so much. The German’s
calculation is easily verified if one takes a small handful of coins and piles
them on a key of the piano. When a
sufficient quantity is piled on to make a note sound, they can be
weighed. If the pianist is playing fortissimo a much greater force is of
course needed. At times a force of six
pounds is thrown upon a single key to produce a solitary effect. This is what gives pianists the wonderful strength
of finger so often commented on. A story
used to be told of Paderewski that he could crack a pane of French plate-glass
half-an-inch thick merely by placing one hand upon it, as if upon a piano
keyboard, and striking it sharply with his middle finger. Chopin’s last study in C minor has a passage which
take two minutes and five seconds to play.
The total pressure brought to bear on this has been estimated as
amounting to three tons.
Enjoy Natalia Bezuglova's performance of Chopin's Piano Etude in C Minor, Op. 25, No. 12:
THE ETUDE MUSIC MAGAZINE – May 1908
In Mighty Waters
Our
friends may remember that in the February issue of The Etude we published an
editorial upon the miraculous power of music as a comforter. We declared that the highest office of music
is to take away the griefs of life. We
tried to show that music is the great anodyne of the world. We had not dreamed that in a few months we
were to confront a grim exemplification or this thought.
With
the sinking of the Titanic, sixteen
hundred lives were sacrificed to the greed for useless luxury and needless
speed. Fate sneered at the highest
achievement of man who sought dominion on the seas. The heroism of those who lost their lives is
a monument to the valor of all who believe in the high ideals of the
Anglo-Saxon race.
We feel
that we cannot pass this time without joining with our readers in a tribute to
that little band of musicians which kept on playing, true to their duty, until
the dark waters closed over them. Not
one of the band was saved. If you ever
thought that musicians were not to be classed with men of bravery, reflect upon
that unthinkable night of April 14th, 1912.
The
valor of those men who gave their souls to cheer the dying had in it the true
sacrifice of the Christ spirit. No scene
more tragic, more heroic, more inspiring can be found in the history of all
time. The night was starlit. The sea was calm. The small boats were moving away from the
great ship. Above the cries and moans of
the weak came the sound of the band playing a hymn. That was something more than mere
heroism. Such courage in the face of
utter helplessness was the noblest manifestation of the divine in man. Can we ever conceive what that music must have
meant to those on that boat during the last few hideous moments?
Here
then, are the names of the eight men who took part in the saddest requiem of
all time. At that moment the world found
a new regard for those who follow the profession of music. This little group rose from the rank and file
of ordinary musicians to become the world’s highest types of heroes. May their names be kept shining forever in
the annals of human bravery.
HARTLEY CLARK
HUME BRAILEY
TAYLOR KRINS
WOODWARD BREICOUX.
In
memoriam let us repeat the last lines of the hymn Autumn, said to have been chosen by the much-loved journalist and
educator, W.T. Stead, just before the Titanic
sank to its grave two miles below.
Hold me up in mighty
waters,
Keep mine eyes on things above—
Righteousness, divine
atonement,
Peace and everlasting love.
THE ETUDE MUSIC MAGAZINE – June 1912
Sunday, April 21, 2013
Scheherazade
SCHEHERAZADE speaks. . . .
It is a tale of marvels, to beguile her lord. She tells of Sinbad and the magic isles . . .
horses with brazen feet, and men of steel . . . sultans and princesses, houris and turbaned slaves. Color, warmth, rhythm, the very perfumes of
the Orient breathe in her artful words.
From
that ancient collection of tales known as the Arabian Nights, Rimsky-Korsakoff drew inspiration for some of the
most vivid and exotic music ever written.
His Scheherazade Suite is a
marvelous arabesque of orchestral color, brilliantly imaginative, technically
fine. Three generations of music-lovers
have delighted in it. It should be in
every musical library.
The Scheherazade Suite has been recorded by
Leopold Stokowski and the Philadelphia Symphony Orchestra. It is available in a special album, with an
explanatory booklet. In it, Victor’s
Orthophonic process has preserved both the full splendor of the music itself
and the subtlety and vigor of its interpretation.
The nearest
Victor dealer will gladly play you the Scheherazade
Suite, or any of the beautiful new Victor recordings, by the foremost artists
and orchestras. . . . Write today for the free illustrated
booklet, “A Musical Galaxy,” with foreword by Leopold Stokowski—a commentary
upon six of the greatest moments in music. Victor Talking Machine Company, Camden, N.J., U.S.A.
THE ETUDE MUSIC MAGAZINE – May 1928
Saturday, April 20, 2013
The Singer's Etude
Prepared by the American Academy of Teachers in Singing,
with Notations by H.M. Doubleday
I.
“Singing is healthful; it develops the lungs and purifies the blood by
emptying the lungs more completely of used air and filling them deeply with
fresh air.”
We well know that consistent
manual labor will accomplish healthy results to all, but, when one leads a
sedentary life, to take exercise for exercise itself is not always attractive.
The natural physical benefit
resulting from singing, properly done, alone or associated with others, bring
the two-fold benefit of valuable exercise and pleasure.
It is on record that in an
aggregate of some 3,000 singers of choirs and singing societies in London, England,
that only three became ill with influenza during the great epidemic.
So much for breathing exercises.
II. “Singing promotes a good bodily posture and a
graceful carriage.”
III. “Singing lends expressiveness to the
countenance and animation to the mind.”
It is the duty of one who
assumes a public position as a singer or speaker to acquire grace of bodily
position, and a pleasing facial expression.
This is as necessary as that one should be properly dressed. A sad or serious expression, maintained
during the description of a moonlight scene or the beauties of the mocking bird’s
song, during the speaking or singing, would have an unfortunate influence on
the performance. To acquire the habit of
visualizing the story or the scene which is being portrayed will influence the
expression of face and bodily action in a most acceptable way.
IV. “Singing increases poise and self-confidence,
and develops character through difficulties overcome.”
When the body joins the mind in
living the part, timidity and thought of self give way to the wish to carry the
message or description (in which the singer is interested) to the hearers for
their education or pleasure. The singer
or speaker is there for that purpose.
A RICHER LIFE
V. “Singing gives a pleasanter, richer speaking
voice and improved speech, thereby adding to the charm of personality.”
When you hear a voice speaking
or singing with a quality as herein described the owner has studied vocal culture
or it is a natural endowment. The
beautiful voice helps out very much even when a story is not of the highest
interest. The attention will be held by
the “lure” of the voice.
Some speakers are born with a
pleasant voice, many with a harsh and perhaps unpleasant emission of tone; it
is particularly advantageous for this latter class to study voice culture.
VI. “Singing strengthens the memory and the power
of concentration.”
All singing as far as is
possible, should be done with the words properly memorized in order that the
meaning of the story or description as given by the words may be visualized and
the proper expression of both words and music be an important part of the
performance.
If this method is always
maintained valuable results are bound to ensue and an excellent habit is invariably
formed.
VII. “Singing acquaints one with the inner meaning
of words, and thus stimulates deeper insight into poetry and prose.”
VIII. “Singing enables one to understand and enjoy
more fully the art of great singers.”
Nothing is more valuable than
reading the personal talks of eminent singers, which throughout point to the
necessity of good and even tone, as well as correct enunciation and expression
of the words, which are the basis of the
music. Each great singer may show
minor defects in his performance, but study will educate all to detect and
avoid defects in tone expression and enunciation. It s most valuable to read what great singers
say about their own expression as students.
IX. “Singing awakens living interest in the
beauties of music and admits one to the rich and varied treasury of the
literature of song.”
HIGHER IDEALS
X. “Singing brings new aspirations and new
buoyancy into life, through the absorbing pursuit of an ideal.”
Of course an ambitious student
of music finds that his interest becomes more generally acute as he delves into
its mastery; but only in vocal music as he becomes a singer himself do pleasure
and profit become real and intense.
The beauties in nature and human
life generally become evident step by step, as the study of the voice proceeds.
With the voice cultivated that
art of the poet becomes a living thing.
When asked how the pupils of the
singing class were affected in their general class work, the Head Mistress
replied, “They have learned to look for
the beautiful.” Here we have a very
good reason for studying singing and a mental specific which should guide the
life and thoughts away from crime and other evils.
Should the state governments
spend adequate funds to better progress in musical study in general and singing
in particular, I do not think it rash to prophesy a general decrease in crime
and in fact in all evil-doing.
Thus any laxity in the teaching
of the most advanced type of singing and expression for the young school
children would indicate bad judgment, for a desire to find the beautiful may
become part of the education as spelling is a part.
If a child can be led to look
for his pleasure in exercise that is clean and good, during his school-boy
days, he is not so likely to drift into criminal ways when he leaves
school. Notice that Shakespeare says in
the “Merchant of Venice,” Act V, Scene I,
“The man that hath no music in himself
Nor
is not moved with concord of sweet sounds,
Is
fit for treason, stratagems and spoils;
The
motions of this spirit are dull as nights,
And
his affections dark as Erebus.
Let
no such man be trusted.”
It might be possible to create a
craving for music as strong as the desire for cheap amusements provided the
child is placed under the proper influence at an early age, say, as soon as he
can read.
SELF EXPRESSION
XI. “Singing as a means of self-expression is a
medium of release for pent-up emotions.”
In sadness as in joy the sweet
musical sounds have a marked effect upon the listener akin to charm, pleasure
and interest. At a wedding the joy of
the assembled friends is increased by the atmosphere of music. As the bride moves up the aisle the sound of
the organ and the singing by the choir bring a sense of the triumph of love to
all the minds of the listeners.
Why is music, especially
singing, a usual part of the service for the dead? Does not the voice of the sweet singer
relieve the sense of oppression, especially for those who are present as
relatives and dear friends? When there
is sadness and trouble in the circle of the family or friends gathered
together, how surely the sense of relief and support come: to the sufferers when fitting strains of
singing by a sweet voice pervades the room.
The proper words and voice should be available at all occasions of meting,
whether sad or joyous; therefore study singing and learn to sing with the mind,
the face and voice.
XII. “Singing, though followed with no thought of
professionalism, gives pleasure to oneself and ultimately to one’s
friends. Its appeal is universal.”
Of course the young pupil of
singing, taught at school, will not and should not be urged to think of the
professional side of the study. That
condition is the outcome of natural desire, ability and, later, honest study. A child should begin to study singing and
expression when it has learned to read, and to some extent express as it reads
and knows what it is reading about.
Children can be led to find pleasure themselves and give pleasure to
their friends and listeners, by singing and reading properly. How these things can be accomplished depends
mainly upon the teacher. Mrs. RosilaSmiley, one expert, St. Petersburg, Florida, states “that the unusual child,
that is, the child who isn’t musical, does not exist.” And The Etude, in an editorial, notes, “In
fact there are so very many instances of the power o music in developing the
mind that we are convinced that wherever there is musical receptivity (and that
means about 99% of mankind) the study of music is one of the most remunerative
of all.”
Enjoy Kiri Te Kanawa and The Royal Opera House Orchestra in their performance of "Exultate, jubilate" by Wolfgang Amadeus Mozart:
THE ETUDE MUSIC MAGAZINE – July 1931
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