65
April 20, 19 2 2
CONCERT ANNOUNCEMENTS
Kronold Memorial Concert
Carnegie Hall, Sunday Evening May 7, 1922
Testimonial Concert. Julia Claussen, contralto, Metropolitan Opera House; Maud Morgan and Harp Ensemble; Andre Polah, violinist; Earl Tuckerman, baritone; Robert Murray, boy soprano; Leo Schulz and Cello Ensemble; Josef Rosenblatt, cantor-tenor; The Rubinstein Club Chorus, William R. Chapman, conductor.
Katharine Evans von Klenner, President National Opera Club, Chairman Committee of Arrangements; Henry Hadley, Chairman Program Committee; Harry Barnhart, Chairman Committee of Arrangements; John M. Fulton, Treasurer.
Tickets from $ .50 to $2.00. Boxes $50.00 to $100.00
volumes of this splendid production, which is a “Gradus ad Parnassum” in the truest sense of the word. It is a work of colossal proportions, embracing the combined wisdom of the master pianists of all ages, simplified and tabulated so as to be within the reach of every student. A master work by a master pianist, its lucid presentation of the problems of the piano student and teacher are a guarantee of success in the attainment of technical proficiency.
F. P.
NEW YORK CONCERTS
(Continued from page 60)
impression she created upon the previous occasion. Applause crowned all her efforts and several times compelled her to sing encores and added numbers.
In Mozart, Pergolesi and Paisiello pieces Mme. Ivogun displayed her complete mastery of the ancient classical style and her sustained phrasing and smooth tone production excited general admiration. Songs by Franz and Loewe were gems of German sentiment and soulfulness in the best musical sense, as delivered by Mme. Ivogun. Leo Blech’s compositions, in varied moods and styles, had a versatile and intensive interpreter in the recitalist of the afternoon, who made all the good points of the works count to their uttermost. A Grieg group closed the program effectively, lovely tone quality and exquisite musical feeling being exhibited by Mme. Ivogun. She is a valuable acquisition to the ranks of concert singers here and her future recitals should attract an ever-increasing host of followers.
Haywood Artist Pupil Fills Engagements
J. Uly Woodside, baritone, gave a recital of songs for the Haywood Vocal Classes of the Haywood Institute of Universal Song on April 10. Mr. Woodside was the soloist at Lutheran Holy Trinity Church, New York City, on Palm and Easter Sundays, and sang Dubois’ “Seven Last Words,” in Glen Ridge, N. J., on April 12. He will appear in recital in Erie, Pa., late in the month.
MUSICAL COURIER
a repetition that is one of the notable attributes of the entire work.
Passing on to the next division one finds the general heading of Finger Exercises, one hundred and fifty pages of varied exercises covering every difficulty and terminating with numerous passages from the compositions of the great masters, and exercises preparatory to the study of certain works, such as Beethoven’s sonata in C major, op. S3 ; Beethoven’s sonata in F minor, op. 57 ; Beethoven’s C minor concerto, end of the last movement; Schumann’s “Kreisleriana,” the first fantasy; Schumann’s “Traumes-wirren;” and several works by Chopin, Liszt, Sgambati, Paderewski, Leschetizky, Jonas, MacDowell, Godowsky and Pierné.
This terminates the first volume, and after reading it through one wonders what more there is to be learned, for the technic here evolved seems almost transcendental in its scope. ״The answer is found at the beginning of the second book, “Virtuosity in Scales,” surely the most amazingly comprehensive chapter on scales that has ever been compiled. The author has not satisfied himself with a mere exposition of the ordinary scale passages, but has shown how they have been used by the composers, and how scale passages in regular compositions are to be dealt with. The passages here given are partly original, partly taken from the works of others, and the student is made to feel that scales are artistically useful, not merely dry exercises that have nothing to do with real music. It is a new point of view, and evidently highly important.
First of all there is every variety of scale that it is possible to think of, with every variety of fingering, then there are several passages from Beethoven, Chopin, Grieg, Saint-Saëns, Liszt, Brahms, Paderewski, Bach, Moskowski, Doh-nanyi, Debussy, etc., and these all interspersed with models so that their type may be separately studied as a technical exercise. Nothing could be finer for the entire mentality of the student. Taken in combination with the chord work of the first book it gives him a complete oversight of the elements of musical construction from the pianistic point of view, and gives the technical work a brightness and an interest that are often disastrously absent. There are also directions for the proper execution of glissando passages and chromatic glissando scales, which, as Mr. Jonas points out, have not yet found their w,ay into classical music, but are just as easy of execution and just as brilliant and perhaps as justifiable as the usual glissandos. They will surely be adopted by composers as a result of this hint.
The next chapter deals with legato, staccato and portamento, and these three varieties of touch are taught by means of excerpts from Beethoven, Bach, Chopin, Mozart, Mendelssohn, etc., with lengthy explanations as to how the passages should be felt and played. The passages are chosen so as to cover every phase of the subject, and the wisdom of teaching it in this manner is at once apparent, for the pupil will feel instinctively that the sound of the passages must be as indicated, and will be impelled to carry out the author’s directions intelligently. That is to say, the musical sense or instinct of the student will help to guide the fingers, at least it will be evident what one ought to strive to accomplish, which is not the case with all exercises by any means.
In approaching the subjects of Touch, Tone and Quality, Mr. Jonas says that the difficulty of presenting them in print almost deterred him from attempting it, but he finally decided to do so in the hope that the hints would prove useful. He need have had no fear. The introduction to this chapter alone gives so much valuable information that the seripus student cannot afford to be without it. Especially his advice :	“The moment you touch the key listen
with your keenest, finest perceptions, not content until you draw from the inert hammers and strings a sound of living beauty and charm.” And everyone who has taught piano knows how difficult, almost impossible, it is to persuade the student to “listen” at all, to tone-color or to anything else. It is just the opposition to this false attitude that renders this entire work so valuable. Mr. Jonas always insists upon the student being really a student of music, not merely of the mechanics of finger technic. Every technical exercise is associated with its musical significance, its use by the classic composers in actual composition.
The final chapter in this volume deals with accuracy— how to play without striking wrong notes. And it is far more than that, it is a complete exposition of “player psychology,” and includes some remarks of the greatest possible value on the subject of fear in all its forms and effects. The text of this chapter, and, indeed of the entire work, is so valuable, and so entirely applicable to all music study as well as to the piano, that it would not be without value to print it alone, without the musical examples and exercises, as a series of essays on music study.
A feature of these books that will be found attractive is the series of excellent photographs of famous pianists of today that are printed on heavy glazed sheets between the chapters. They are, too, an inspiration to the student, who must feel that he is in the company of these eminent musicians who have passed successfully through the student period and lend their aid to those who have it still to do.
One awaits with interest the revelation of the succeeding
MASTER SCHOOL OF MODERN PIANO PLAYING AND VIRTUOSITY
PART I
By Alberto Jonas
(Published by Carl Fischer, New York)
A REVIEW
There are methods and methods, and most of them are injurious to those who make use of them. They are fads and fancies, schemes and tricks, haphazard first-thoughts, impulsively grasped as being the secret and the foundation of all truth. Some of them enjoy a certain vogue for a while, until people get an insight into their one-sidedness, —and by that time the seekers after the short road to knowledge have taken up with something new, and just as bad.
It is therefore with the greatest relief and the sincerest satisfaction that the reviewer receives this new work by the great teacher of piano, Alberto Jonas, which will prove to be a most valuable element in the combating of such harmful expedients. For this work is just the opposite of those above alluded to. Instead of being one-sided it is many-sided, instead of being the snap judgment of ignorance it is the result of long years of study, compilation and comparison. It is the combined work of many minds, the ultimate result of generations of study and investigation, of the evolution of piano playing.
On the title page it is announced that the work includes excerpts from the pedagogical writings of Clement¡, Johannes Brahms, Czerny, Falcke, Germer, Herz, Hummel, Jo-seffy, Kullak, Liszt, Moskowski, Philipp, Pischna, Plaidy, Rosenthal, Schytte, Tausig, Safonoff and Wiehmayer, and original exercises expressly written for it by Fannie Bloomfield-Zeisler, Ferruccio Busoni, Alfred Cortot, Ernst von Dohnanyi, Arthur Friedheim, Ignaz Friedman, Ossip Gabrilowitsch, Rudolph Ganz, Katharine Goodson, Leopold Godowsky, Josef Lhevinne, Moriz Rosenthal, Emil von Sauer and Sigismond Stojowski.
No better evidence than the above list could be adduced to indicate the standing that the author has with the leading pianists of the day. They have not only proved themselves heartily in favor of his effort to produce an all-embracing work on piano playing, but also have thus given the work the stamp of their support and approval. They also offer, in this way, their own special ideas, their own original discoveries and aids to the student, so that the student may feel that the work is complete in every particular, giving not only the best thought of the past but the greatest developments of the present—and no doubt many exercises that these master pianists use in their daily practice and to which they owe in part their supreme mastery.
The part at present under review—Part I—of the Master School consists of two thick volumes, more than 500 pages in all. They are printed in clear, heavy type on high grade paper and handsomely bound. The text is printed in four languages (English, German, French and Spanish), all of which were written by the author himself, a linguistic feat of the first order, and there is a splendidly comprehensive table of contents covering eighteen pages and giving the student an insight into the scope of the work and also an indication as to where excercises may be found to respond to any particular need. There is also a list of examples, showing that nearly sixty composers are represented. Some of these are the complete compositions, but in most cases they are short passages selected to illustrate some particular point and listed under that head.
There is a most interesting preface regarding “Mental Attitude” which shows that Mr. Jonas is a deep thinker and that he understands perfectly the sort of approach one should make to art, as well as the sort of approach too many people are inclined to make. It is a guide as well as a warning. Among other things he says:	“Consider the
time, means and circumstances necessary to your studies carefully.” . . . Where could be found better advice, especially for American students ? And how many there are who need it!
Technically the work opens with Exercises in Extension, a whole series of exercises of some difficulty, with directions as to how each should be played. Here, as elsewhere throughout the work, the fingering is carefully indicated and every technical question which can arise is fully answered. This section includes some original exercises especially written for the work by Busoni, Cortot and Godowsky. Excerpts are also taken from Philipp and Tausig.
The next section devotes its attention to Exercises with Fixed Position of the Hand, valuable for developing the individual strength of the fingers. They are exceedingly detailed and comprehensive, suggested by the author himself and by numerous other authorities, and with extended remarks and directions as to their use. There follows a chapter intended to promote flexibility and dexterity of the thumbs, with indications as to how they are to be played, and the swift sideways motion of the thumb. Varieties of fingerings are also here given, and always the frequently repeated admonition to keep the wrists and arms relaxed—
Song Recital for Children
113 West 43rd St. New York, N. Y.
TOWN HALL
Friday Afternoon, April 21st
at 3:30 o’clock
“Miss Bobby״ Besler
Soprano
Under the auspices of
The New York Wellesley Club
for
The Wellesley College Semi-Centennial Fund
Songs for Young and Grown-up Children
Seats on sale at Box Office
Management
1 West 34th St., New York City
Robert W. Tebbs,
OPPORTUNITIES
at hourly rate. Teachers, students, and visitors coming to New York for the summer will find a number of furnished studios available, with or without pianos. Office, 41 West Ninth Street, near Fifth Avenue. Telephone Stuyvesant 1321.
A Phonograph Recording Laboratory has added a new department to their activities and can offer to musical artists a personal phonograph record of their own work for a nominal charge. $35.00 will cover recording and one dozen records. For particulars address Personal Phonograph Record Dept., care of Electric Recording Laboratories, Inc., 210 Fifth Avenue, New York.
to close estate. Terms easy. Slawson & Hobbs, 162 West 72d street, New York. Telephone—Columbus 7240.
MANAGERS OR ARTISTS looking for a first class representative in Middle West should communicate at once with S. D. Selwitz, 1512 South Trumbull Avenue, Chicago, 111.
VANDERBILT STUDIOS, NEW YORK Mrs. Mabel Duble-Scheele, proprietor. Branches at 37-39-41 West Ninth and 125 East 37th Streets. Large and small, strictly modern studios in efficiently conducted buildings. Reliable hall and telephone service, with available maid service. Furnished studios with Steinway grand pianos reserved on part time basis
editor, leading position as instructor in girls’ school in or near New York several days weekly. Would also accept position in summer school or concert engagement as soloist and accompanist. Address 725 West 172d St., Apt. 52, New York City.
STUDIO PART TIME—Beautiful, very large studio, with concert grand piano, can be secured for part time by day or hours. Central location. Address “L. M. G.,” care Musical Courier, 437 Fifth Avenue, New York.
MUSIC LOVERS, ATTENTION•—Fine private house with built-in. electrically equipped organ, in exclusive section of West Side, cost $85,000. Will sacrifice
FOR SALE.—One of the finest foreign Violas in the country at sacrifice, price^ of $300. Also one at more moderate price. Both excellent for quartet use. Can be seen at Schirmer’s, Violin Dept., Fifth Floor.
WANTED—Address of Fay Cord, soprano, formerly of Boston, is desired. Address “F. O. R.,” care of Musical Courier, 437 Fifth Avenue, New York.
TRIO WANTED—Piano, Violin and Cello (Christians), for the months of June-Sep-tember, L. I. summer resort hotel. “H. R. B.,” care Musical Courier, 437 Fifth Avenue, New York.
WANTED—By distinguished American pianist - composer, pedagog and musical