Gardner-Webb University
Digital Commons @ Gardner-Webb University The Etude Magazine: 1883-1957
John R. Dover Memorial Library
12-1955
Volume 73, Number 12 (December 1955) Guy McCoy
Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation McCoy, Guy. "Volume 73, Number 12 (December 1955)." , (1955). https://digitalcommons.gardner-webb.edu/etude/74
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ETUDE
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etude—December
1955
STEINWAY
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mm
SLOSIMSK*
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oi.iw'which^re’iU^iWc.Vnd was hcd. There nereabo many cmnplionto (or the composer. who had no
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The
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A new
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home
VJNGER ?LhY .
.
.
songs for
am I
!
j
| '
by
MARY MILLER
and PAULA ZAJAN
his
The Roger 'saner Chorale will the country beginning in Match 1956, including an apircarance at Camrais Hall on March 18. Major highlight, d the tour will Ire Boston. Philadelphia.
New York City, Chicago, St lauiia, Kansas City. San Francisco and Seattle. The Penns, isaaia Aendens, of An. i, sponsoring four chamber cert, and
I
I
one lieder
Tine con-
rerilal ia PhiUdri-
phia this season, ineluding a roacert
hat s
A
it.
•
lie
site reflected solemnly
some wav
to ease the
bv
her bench.
she visited the Denver. Colorado, She hardly slopped t„ catch her
^
Yoa *hnl1;" fhc station master promised without hesi1 hat Christmas Mrs. Read gave the first railroad station organ concert. The opening program of classical and sacred music was presented a» a tribute lo her late mother Each Christmas thereafter tinprogram, were repealed. Thousands of local folk flocked to the terminal .'
. i tation.
to listen or to sing
along with Mrs. Read’s heart-healing he railroad inaugurated special holiday excursion from all parts „f Colorado and neighboring slates
music.
Ld
few years.
I
mUak ln,m who washed
to
hear
Mra
play In 1928. a second tragedy entered Mrs. Read’s life. Tins was the sudden death of hrr beloved husband. Shortly tier husbands passing Continued on Page 39) 1951
origins of opera, when to songs and cantatas there was added the setting of whole plays. These old plays, writ-
from logical motivation; their numbers have a reason for being; their plots are lirlievable; and
kind ol energy that leaps across footlights. Y'ou ask him questions he could nut possibly anticipate, and he
became boring. To
I
flow
vocal
behave
their characters real life,
brought definite advancea in crediand integration, and Mr. Harbach tells you the going wasn’t alway s bility
ten in the style of their limes, con-
Otto Harbacb neither looks nor behaves like an octogenarian. Talk
themselves uaturally to arias, Between such moments ol major emotional impact there was just talk, or
straight, and wiry, he gives off the
recitativo,
like people in
without interruption by lowartificial inter-
ol melodies at moments when rational human beings would lilt their voices in song. These mark a welcome de-
polation
characteristics
parture
from
tile
But they arc not new. Actually,
cals.
the
stereotyped musi-
modern American musical began
forty-odd years ago. when Otto Harbach came out of the West to give
Broadway some amazing ideas on dramatic values.
Now
in his eighty -second year, the
grand old
man
has contributed
ol American o|ieretta tile hooks and lyrics
over a score ol outstanding shows. To name but a lew. his
from eyes
When
notes,
comedy
— which
flash,
he talks of musical
is often
— his
brown
and his resonant baritone
conies out in a boom. His
New York
hit
musical plays include Three Twins;
Mme.
Sherry;
The
Firefly;
High
Kalinka; Mary; Kill Bools; No, No, Nanette: Rosemarie: Sunny; links:
tained
many
which
soliloquica
lent
In time, these transitions gel
around the
writers ol the day tried plays in dialogue interspersed with music. This, too,
had
its
drawbacks, since
difficult lo find
it
is
performers capable of
giving equal pleasure by singing
by speaking; and,
and
ns there are fewer
home,
great singers than actors, music got
filled
the
high over Central Park, is with mementoes of the days when each new season launched a new Harbach hit, and when producers vied with each other to get Harbach ills of less-than-hits. Mr. lo cure the
Harbach's favorite souvenirs deal with his leadership of The American Society of Composers. Authors and Publishers (ASCAPl. of which he
was President during a
critical
pe*
upper hand. Musical plays gradually stressed singing needs and the book of the play look on secondary importance. Mr. Harbach remembers the days when a hit was credited to n good score, and a flop to a bad book when plot was thuught of as something (or the low comedian to luck
Growing
tired of seeing their
books
mutilated lor the needs ol singing,
to well
I— december 1955
etode-december
The Desert Song; The Cal anil The and Roberta. Each of these Filltile;
hardly Inter office.
breath as she excitedly outlined her idea lo hint ”1 could the organ for them, or the piano or even the harp."
trips
PAST
American musical comedy is called a new shows itself in o more and better integrated blendand music. The new productions lake Rodgers' and Hammerstein’s “South Pacific." lor example) the
form. This
credible
ing of story
comedy gags and the
whistling gayly, pa-wed
the answer flashes) into her mind. "Stations
few days
Matt on master a
P1
D URING THE
has developed what
t
h
HEYLBUT
Station.
was
ing comfort
his
York's Grand
a cold, rainy night toward the end of 1 Icar This December Rlh. reaching his 90th birthday,
The composer the future.
he can still remember all too vividly what he and Ills beloved land have undergone in his lifetime. Had he been a man afraid, in large measure, much of what Finland enjoys today might never have come to paw For example, shortly before the turn of the century. Finland still lay under the yoke of the Russian Curs. Nicholas sat on the throne in Moscow and the land o! the Finns was still a vassal slate. One day, more on whim than as a necessity of stole policy, Nicholas took an ini-
magnitude, lie decreed that since Finland was a part Russia, it would have to act more in accordance with the laws of Moscow. Finnish as a language was frowned upon: national literature and music were stifled; liberties were abridged: a wave of arrests swept the land from end first •>f
»in'ki la.l
.umnirr—a
hijchliglil of Ihc
orchestra’s
to end.
AM: DAY LAST SUMMER. Helsinki, Finland. donned ''
its
most festive attire and
childlike anticipation
countryman.
It
isn’t
for
its citizens
the
waited in almost
an
of
arrival
illustrious
often these days that Jean Sibelius
ventures far from his white house, surrounded
by
the
garden in which the Rowers run riot in a maze of color and aroma, and when he does the communities he visits consider themselves singularly honored.
For
to the
average Finn, usually tight-lipped, slow to independent, in honoring the com-
praise and strongly
poser he knows be
is
honoring his nation. Every one of come to recognize
Finland's 4,000,000 inhabitants has
Sibelius as a symbol. His struggle and the nation's struggle
were interlinked: his travail was Finland's travail; a nation standing
his independence is the independence of
against hopeless odds and prevailing.
AS ONE FINNISH SHOPKEEPER
"We
revere Sibelius because
lie
has
put
it
not long ago,
become the voice of
our country, not only to ourselves, but to the world at Then he added hastily. “But lire years are weighing heavily on his shoulders. Some day. incvitahlv, we large."
—
must lose him and when w-e do the voice of Finland he stilled, perhaps forever."
will
Sibelius.
23 years
ol.l
at the time, heard the edict
and
rebelled along with others of the young men who preferred prison and even death to the Russian tyranny.
An underground was organized. The authorities were plagued by outbreaks, "accidents,'' almost insurmounl. able
difficulties.
BI T SIBELIUS
WAS QITCK
to realize that resistance
not enough if it docs not have a reason for being. In his heart he knew that independence was doomed to fsilure unless it had a spark to ignite it. is
I -ale in 1895 the composer set out to find that spark. It was not easy. In the dim past there had lwen heroes who most Finns had long ago forgotten. There had Iteen moments of oppression and light, darkness and sudden revelation of the future to come. In his room, aware of the fact that should he be discovered the Imperial Government would probably execute him. Sibelius wrote from his heart as few men have ever done about llieir native lands. His patriotism flooded his music; the forests and myriads of lakes permeated his
notes; the indomitable spirit of the Finn raced through every piece. IA hen he had finished, he had given to his people and to men of the world everywhere— powerful a weapon to turn on tyranny. Continued on Page 501
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1955
Copyright l#5S by Theodore Presser Co.
DECEMBER
19S5
International Copyright secured
Auglaiso Grade 31
from French Suite No. 3
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MARGARET WJGIUM
Gr.de 81
Allegro moderato
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Carols" arranged for piano duel by Copyright 1935 by Theodore Prefer Co.
.
.
.
V-
*trom“ Christmas Carols" arranged for piano duet by Ada
Ada Richter ah Copyright aeeored
DECEMBER /®JJ
Copyright 1939
by Theodore Pressor
DECEMBER
ISSS
Co.
1
No.
114-40029
Allegro JOHANN
P.
KRIEGER
(1649-17331
transcribed by R. Bernard F,te e ,ratd
Mexican Dance A.
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ETUDE DECEMBER IMS -
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Pag' 9
ADA RICHTER PIANO COURSE
for the Tea
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POSTLUDE: lam
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OFFERTORY: Andante
CHORAL RESPONSE: Amen
POSTLUDE:
Sevenfold
John Stainer Finale in B-flat
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2E**ESr.s
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