MUSICAL COURIER
6
WHAT TOWN LIBRARIES CAN DO FOR THE MUSICAL YOUTH
by Carl W. Grimm
February 15, 1923
himself enlarged upon the material of his predecessors and contemporaries. The etudes were the subject selected by Cortot for his Chopin evening, one in a series being given at the school.
“In these etudes,” he said, “were produced works which not only embrace every essential and intricate detail of piano technic, in contradistinction to those written prior to and contemporary with his own time and which contained only fundamental details, but works which are also of great artistic value. Only genius could accomplish such a remarkable union. Remember, in these etudes, there is always melody, even in what seems purely passage work; remember that the rubato must be reasonably balanced, and especially remember that they are the work of a man barely twenty years of age and whose spirit was impassioned, youthful and exalted.”
The French pianist discussed Chopin’s own technic and said that the composer had played chromatic passages with the fourth and fifth fingers, as is necessary in the etude opus 10, No. 2, and advised his hearers always to use this fingering in playing chromatic passages in Chopin, instead of employing the first, second and third fingers as is customary today.
AMERICAN ORCHESTRAL SOCIETY TO EXTEND ITS WORK
Will Found Student Orchestras in Other Cities—Unusual Opportunities Offered Composers
The American Orchestral Society, Inc., whose educational efforts have attracted the attention of many musicians in New York, is preparing to extend the field of its work throughout the country, in the hope of creating new symphony orchestras and at the same time creating musical audiences of the highest type.
This organization, which was founded two years ago by Mrs. E. H. Harriman, will operate in five spheres. Its five-fold purpose is to give orchestral players opportunities to acquire symphonic routine, to give future conductors opportunities to direct orchestras, to give soloists practice with orchestral background, to offer to young composers facilities for orchestral hearings of their compositions and to create by lectures, illustrated with music, bodies of listeners for orchestral organizations.
The American Orchestral Society is, in a sense, a graduate school of orchestral music. Admission is open to all competent instrumentalists who desire instruction in ensemble work, and, in New York, a certificate of merit is authorized by the State Board of Regents for work accomplished. The instruction takes the form of practice in the American Orchestral Society’s orchestra, of which Chalmers Clifton is the present conductor. This organization is not connected with any other symphonic body, and its free recitals serve the end of providing public appearances not only for players but also for assisting soloists and^ for student conductors. The American Orchestral Society looks forward to establishing similar student orchestras, under the direction of trained conductors, in many cities, and these orchestras, it is hoped, eventually will be-come . self-supporting municipal oganizations. Players trained in New York by the society will be sent to cities in which municipal orchestras are established to serve as a nucleus about which a local organization is to be built. Conductors, also trained by the society, will be furnished.
At present there are twelve students in the conductors’ training class. Their course of studies includes score-reading, baton technic, orchestral discipline, interpretation and the many other problems which confront the director of a symphonic body. All of these students are thoroughly grounded in the essentials of music, and many have had experience in conducting small orchestras. It is interesting to note that at least three of them are men who have been successful as leaders in musical comedy theaters and ,who, by affiliation with the American Orchestral Society, are seeking to apply their gifts in the higher forms of music. Frequent rehearsals with the society’s orchestra supplement theoretical instruction. It is the hope of the society that these young American conductors eventually will find permanent posts with municipal orchestras.
Solo performers will find in the society an organization capable of offering that rare thing—practice with orchestra. Artists whose abilities have been approved by an audition committee may have the privilege of appearing with the orchestra, thus benefiting not only the soloist but also the orchestra as well, for the society recognizes the necessity for training in the delicate task of supplying proper orchestral accompaniments for solo artists.
For composers the society offers something in the nature of a musical laboratory where orchestral manuscripts may be heard and tested. A committee passes on all such works submitted, and those that show sufficient promise are performed by the orchestra. The orchestral performances give the composer something that is infrequently granted to the unrecognized creative artist—an opportunity to hear the orchestral effects which he has set on paper. Many compositions which at present must lie on the shelves for many years awaiting a hearing will be performed for the benefit of the composer; it is hoped that the manuscripts submitted to the society will indicate that there are many worthwhile works for orchestra ready for a preliminary performance, at least.
The society has founded a course of lectures on the instruments of the orchestra, given by Gerald Reynolds, with demonstrations of the instruments themselves by symphony musicians. These lectures have been approved by the Board of Education in New York, and the society plans to, establish similar courses in many other cities. These lectures culminate in a full orchestral recital, at which all of the musical details explained in previous sessions are put in practice. Further details of the society’s plans for expansion will be announced shortly.
Next Paderewski Recital April 22
George Engles has arranged an additional New York recital for Paderewski, to be given in Carnegie Hall, Sunday afternoon, April 22, following the return of the Polish pianist from his transcontinental tour. This recital will mark Mr. Paderewski’s fifth appearance in New York since his return to the stage. His metropolitan concerts to date include two recitals and two appearances as soloist with the New York Symphony Orchestra.
added, and the library own its own machines. This would be especially recommendable for smaller towns where the opportunities for hearing the world’s famous music are limited.
In addition to the librarian’s personal work with the young people at the shelves, and the notices posted on the bulletin board, newspaper publicity should also be used as a means of attracting the attention of parents to books that their children should read. Too much time is often wasted on mere fiction books.
The value of a library does not depend upon a mere medley of books, but what it provides for the improvement of its patrons. Libraries are wonderful institutions when they present carefully selected books for their readers, especially young readers. As the young reader grows in musical knowledge so his interest in the library will grow. Then he will call for books of a more serious nature, for technical subjects, biographies, histories, volumes on harmony, counterpoint, interpretation and composition. A progressive library will consider the growing needs of its readers. The larger the collection, the greater will be the patronage of the music section.
Musical periodicals should not be overlooked, because they give the very heart beat of the present day music world.
If the library fund itself could make no provision for a music section, one or more public-minded citizens might be willing to donate, this section to the town library, if the idea were properly presented to them.
The list of books I herewith present is intended for the musical youth, and I hope it will prove helpful. I have considered every department that should be represented, even American music, upon which I always lay stress. It is surprising to see how many excellent books on music our country has produced in this particular field.
A choice collection of musical books for the young will help lay the foundation for a higher and broader musical education which will develop later into an enduring appreciation and love for the very best in music.
It is during the formative period of life that the seeds of many ideas and aspirations can be so implanted as to influence greatly the development of the future life of the young.
Harry Harkness Flagler, Mrs. Simon Frankel, Mrs. Barton French, Col. Michael Friedsam, Virginia D. H. Furman, Hamlin Garland, Mrs. Charles Dana Gibson, Mrs. Isaac Gimbel, Harry F. Guggenheim, Wm. D. Guthrie, Mrs. Millie R. Hambur, Mrs. John Henry Hammond, Mrs. Montgomery Hare, John F. Harris, Mary Garrett Hay, Charles Hayden, August Heckscher, John M. High, James N. Tarvie, Mrs. Helen Hartley Jenkins, Otto H. Kahn, Daniel Kops, Mrs. James Lees Laidlaw, Arthur Lehman, Louis S. Levy, William Jr•», Elisabeth Marbury, Albert G. Milbank, Mrs. Clarence Millhiser, Mrs. Wm. Fellowes Morgan, Frank A. Munsey, Judge Morgan J. O’Brien, Grace Parker, Mrs. Herbert Parsons, Mrs. brancis K. Pendleton, Dagmar Perkins, James H. Post. Virginia Potter, Mrs.	John T. Pratt, Albert	Rifkin, Louis	F.	Rothschild,
rr o	*P10"133 F. Ryan, Mrs.	Charles H. Sabin,	Mrs. Jacob
H. Schm, Charles M. Schwab, Mrs. Mary K. Simkovitch, Gertrude Robinson Smith, James Speyer, Mrs. J. Bentley Squier, Mrs. Ben-jamm Stern, Frank V. Storrs, Mrs. S. W. Straus, Mrs. Charles L. Tiffany, Mrs. Samuel Untermeyer. Mrs. Coffin Van Rensselaer, Mrs. W. K. Vanderbilt. Lillian D. Wald, Felix M. Warburg, Maude Wetmore, Louis Wiley, Mrs. Lewis S. Wolff.
Chopin as Revealed by Cortot
“Play six	Chopin etudes every	morning,” is	Alfred Cortot’s advice	to pianists, “for in	these works	is	contained
every means of controlling modern technical difficulties.” Mr. Cortot is artistically descended from the famous Pole, having studied with one of his pupils. In the combination recital-lecture-criticism class which he held recently at New York’s David Mannes Music School, he revealed the great Chopin as the forerunner of modern piano technic, as one who gathered in his works all that had been discovered and evolved in execution on the instrument and who
In the anteroom of my studio is a bookcase containing quite a number of books for pupils to read while waiting for their lesson turn. I notice that the younger students are always glad to read short but interesting musical stories about the great masters and their famous works; musical anecdotes, short histories, sketches of the great performers and descriptions of the various instruments are also appreciated.
In a chat with the superintendent of music in the public schools I expressed the opinion that the public library should provide suitable books for the musical youth.. He heartily indorsed this opinion, and with the help of the Board of Education subsequently induced the Public Library to acquire the books suggested in a list prepared by me. It occurs to me that this plan could be adopted by other libraries of our country, and thus help the good cause of music. There are many boys and girls who would like to improve their knowledge of music by reading good books. Try to help them. Perhaps the music club in your town can be instrumental in inducing the library authorities to install in your town library a musical section which will be both instructive and entertaining. Every library should spend a certain sum annually on its music purchases.
Musicians and music lovers should not be indifferent to their responsibilities to their communities, when by concerted action they may have music as a cultural factor adequately represented in libraries. There may be some librarians who might still hesitate to recognize in music intellectual elements not less worthy of attention than science or fiction. On the other hand, librarians themselves interested in the subject, would appreciate requests and helpful suggestions from patrons.
The demand for a music section is due largely to the influence of enthusiastic music teachers. Therefore start in time and persevere. Help create a demand for what the young music students need. It will make your own teaching more enjoyable.
To stimulate and promote an interest in music, special non-technical talks (under library auspices), with pictures and musical selections could be given by the local music clubs or by some influential music teacher. Some libraries pay for musical lectures. Besides music books suitable for the young, piano rolls and phonograph records might he
New Interest in Goldman Concerts
The Goldman Band Concerts which are to take place in Central Park this summer, instead of on the Green at Columbia University, will be given under the auspices of a citizen’s Committee which has ;been considerably enlarged. The committee which is headed by Mrs. Daniel Guggenheim as chairman, contains the names of prominent people in all walks of life, and shows in what esteem the concerts are held. Mrs. Guggenheim has ■been personally and actively interested in these free concerts since their inception five years ago. Mr. Goldman is indeed fortunate to have the endorsement as well as the moral support of such a representative committee, and the present plans indicate that the sixty free concerts of the coming season will reach even a greater number df people than in previous years. Mr. Goldman, who js the organizer of this series of concerts, will again be in charge as conductor and manager. Noted soloists have been engaged and a series of remarkable festival programs arranged which will appeal to all classes of people.
The new committee includes the following names:
Citizens’ Committee—Mrs. Daniel Guggenheim (Chairman), Mr. Murry Guggenheim (Vice-Chairman), Mrs. Alexander Kohut (Secretary), Mrs. William Laimbeer (Treasurer), Prof. Felix Adler, Mme. Frances Alda, Mrs. Francis MacNeil Bacon, Mrs. Rogers H. Bacon, Mrs. Courtlandt Barnes, Hon. Philip Berolzheimer, Stephen Birch, Mrs. John Blair, George Blumenthal, William C. Breed, George T. Brokaw, Francis H. Brownell, Mabel Choate, Mrs. Arthur B. Claflin, Joseph Clendenin, Thomas Cochran, Prof. John J. Coss, Mrs. Paul D. Cravath, Walter Damrosch. Leo L. Doblin, Pierre S. Du Pont, Dr. James C. Egbert, Dr. John L. Elliott, Louis L. Firuski,
SMITH (Fanny Morris)—A Noble Art.
Three lectures on the evolution and construction of the piano. With numerous illustrations.
STIELER (J.)—The Great Composers.
Instructive chapters on Handel, Bach, etc., brightened by anecdotes, dialogues and numerous illustrations.
TAPPER (Thomas)—The Child’s Music World.
Being some chapters in the story of music.
TAPPER (Thomas)—First Studies in Music Biography.
With numerous portraits, etc.
TAPPER (Thomas) — Music Talks with Children.
TAPPER (Thomas) — Pictures from the Lives of the Great Composers, for Children.
TAPPER (Thomas)—The Music Life and How to Succeed in It.
UPTON (George P.)—Mozart’s Youth.
Anecdotes
CROWEST (Frederick J.) — Musicians’ Wit, Humor and Anecdote.
GATES (W. Francis)—Anecdotes of Great Musicians.
Histories
COOKE (James F.)—History of Music.
MACEY (J. C.)—Young People’s History of Music.
ROWE (Geo. H.)—The Young Folks’ Musical History Club.
In the form of a story describing the organization and proceedings of a reading club, the author touches upon the main points of the history of music from the earliest times.
American Music
ELSON (Louis C.)—The National Music of America and Its Sources.
HUGHES (Rupert)—Contemporary American Composers.
GILMAN (Lawrence) — Edward Mac-Dowell.
With many illustrations and facsimiles.
LAHEE (Henry C.) — Grand Opera in America.
PRATT (W. S.)—American Supplement to Grove’s Dictionary of Music.
[And we may be permitted to add that a
subscription to the Musical Courier would
not be out of place.—The Editor.]
FROST (W. H.)—The Wagner Story Book.
Firelight tales of the great music dramas. Illustrated.	. ^
GATES (W. Francis)—Pipe and Strings.
Historic and descriptive sketches of the origin and development of the organ; the evolution of the pianoforte; the violin and its ancestry.
GILMAN (Bradley)—The Musical Journey of Dorothy and Delia.
Tells a fanciful, interesting story; illustrates and lights up the rudiments of music.
GUERBER (H. A.)—Stories of Famous Operas.
With illustrations.
GUERBER (H. A.)—Stories of the Wagner Operas.
Numerous illustrations.
LAHEE (Henry C.)—Famous Pianists of Today and Yesterday.
LAHEE (Henry C.)—Famous Singers of Today and Yesterday.
LAHEE (Henry C.)—Famous Violinists of Today and Yesterday.
LILLIE (Lucy C.)—The Story of Music and Musicians for Young Readers.
Illustrated.
MAUD (Constance)—Wagner’s Heroes: Parsifal, Hans Sachs, Tannhäuser, Lohengrin.
With illustrations.
MOORE (A. W.) — For My Musical Friend.
Practical essays on music and music study.
RAU (Heribert)—Beethoven.
A biographical romance.
RAU (Heribert)—Mozart.
A biographical romance.
SMITH (Hannah)—Founders of Music.
Life sketches for young readers.
ROWLANDS (Walter)—Among the great Masters of Music.
Finely illustrated. (Dana Estes Co., Boston.)
SCOBEY (Kathrin Lois) and HORNE (Olive Brown)—Stories of Great Musicians.
(American Book Co., Cincinnati.)
RUSSELL (Henry)—Cheer! Boys, Cheer!
Memories of men and music.
SCHUMANN (Robert)—Advice to Young Musicians.
ALEXANDER (J.)—Con Amore.
Poetical introduction to musical instruc־ tion.	,	.
BACON (Dolores) — Songs every child should know.
BACON (Dolores)—Operas every	child
should know.
BARNARD (Charles)—The Tone Masters.
A musical series for young people.
BOURNE (C. E.)—The Great Composers.
Stories of the lives of eminent musicians.
BUTTERWORTH (Hezekiah)—Great Composers.
Fully illustrated.
CHAPIN (Anna Alice)—Masters of Music: Their Lives and Works.
Entertaining sketches of twenty great composers.
CHAPIN (Anna Alice)—The Story of the Rhinegold.
Told for young people.
CHAPIN (Anna Alice) — Wonder Tales from Wagner.
Told for young people. With musical examples.
CRAWFORD (Alethes B.) and CHAPIN (Alice)—Letters from Great Musicians to Young People. .	.
Sprightly written imaginative epistles in which the supposed writers give characteristic accounts of themselves and their works. A book for children.
CRAWFORD (Rebekah) and SILL (Louise Morgan) — Musicians in Rhyme for Childhood’s Time.	. .
The biographies of famous musicians told in simple verse addressed to children.
CROWEST (Frederick J.) — The Great Tone-Poets.	.
Written in a style interesting to the general reader, as well as the musician.
DOLE (Nathan Haskell)—A Score of Famous Composers.
Especially adapted to young folks.
DUFF (Grace Shaw)—The Story of Major C and His Relatives.
Being some lessons in harmony to a little child.
EHRLICH (A.)—Celebrated Pianists of the Past and Present.
Includes American pianists.
EHRLICH (A.)—Celebrated Violinists, Past and Present.
A collection of eighty-nine biographies w׳ith portraits.