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DUO~ARTMUSIC

. R I C H A R D WAGNERF rom the P or t ra it Pa int ed by Sir Hubert Herkomer in 1877

JANUARY, 1928

Pauline Alp ert

F red Rich· . Ru be Bloo mCons tance Merinl:

. . Fred Ric hConstance Mering

Pauli ne AlpertAla n Moran

· Henri Bergma nRo bert Armbruster

· Henri Bergma nRobert Armbruster

. M arta MiJ in owskiMrs. \V. J. Morri son

Henri Her gmanJoseph B rinkma n

Played by. . Ge ne vieve P itot

H elen \V. \VilmingtonRobert Armbru st er

, Phillip Gordo nPrincess de Broglie

Ignaz FriedmanShura Ch erkassky

Maurice J ac qu etRalph Leop old

Mrs. H ar ri et SeymourMrs, H ar r iet SeymourMrs. Harriet S eymo urMrs. H arri et Seymo ur

SeymourS eym our5e)111IourSeymou r

Sm eta na . , .Bach·MacDo w ellKuhn ,Brinkman

ComposerS egerArcusk)1Chaminade .Bee thouen-SeissGloeunouFriedmanSchumann -Lisst

Conrad

Ruby . .Williams. , .Barter & Bowles

Rodgers,Eml erBe rlin ,Pink hard

RubyCohn

, Iohnson ,, Keel ,

• Seiger • ., Donaldson .

• • Puccini. • Wa gn er

o

Song Accompaniments

Special Educational R olls

Popular Ballads and Songs (With Words)

o

Classical and Salon Pieces

Operatic Music

I~isten~rs' ~[usic Gu ide­nun No.1, Uh.)'thmUoll No. 2, l\[eJod y .noll No. :J, C h o r dsUoll No. 4, ~IlI 8i cal l.'crms

Spe cial Duo -A rt Record-Rolls

"La Boheme" Sel ecUon8 Act III ."'l'annhsutier," Excerl)ts Act I (Purt 2 )

Popular Dance and Song Hits

New Music for the Duo-ArtReproducing Piano

January 1928

TitleAlnar.)'lIis . . .B)' the Seashore , , , . . . 4'uCnllirhoc"-Air d e Hanet, No.Contradance, No.1 . . . . .Grande Valse d e Concert, Op , 41 . .Serenade du Pierrot, Op. 22, No.2}1IIa"lu;8 et 1Ila"luise, Op. 22, No.4Spriug Night

Since You " 'cnt Awny'.rruclc 'Vinds .

Cali fornia LullabyIlly Blue H eaven

By tho Senshore, Op , 17 .Gil-;"lIc (No.3 of " S ix I ..ittlc Pieces")1.",,,1 of Dawnl\Iinuetto

J)(~ar, on a Ni ,;'ht l~iI,e This-Il'ox 'I'rot . •"Fh'e O'.,)ocl< Girl" IIledley (Ins t rnme ntal)-

! i' OX 'l' ro t. . . . . . .I Ain 't Got Noboll)'-I~ox Tro tI Ca ll You SUl:'ar- F ox 'I'ro t . ,Illy Heart SloolI Still- F ox T rot ( Iir o m ...i.

Co n necticut Yanl, ee" ) , . .Bomebodv I,i ell Ahout :l1e-'Yaltz1.'he Song I s Endcd-\\'altz . . . . . .'I'here IIlu st B e So mcb od s- Else- F ox Trot .U p in the C1oulls- F ox 'I' rot (F' ro m " Five

O' clock Gi r l" ) . , , , ,What ' II You I>o ?-Fox Trot.

Published by THE AEOLIAN COMPANYAEOLIAN HALL • NEW YORK

~~

DUO~ART MUSIC

VOLUME 14 JANUARY, 1928

AudioGraphic Music

NUMBER 4

An Epoch-Marking Invention for the Cultivation of theUnderstanding and Appreciation of th e World's Best

Music is this New Departure in Record..Rolls for the Duo-Art Piano

W IT H OUT ted ious preparat ion or con­scious effort, the understanding of fine

music, the appreciation of fine music and theinevitably ensuing love of fine music, is nowwithin the reach of everyone.

The new AUDIOGRAPHIC Music for theDuo-Art Reproducing Piano, now availableafter years of careful preparation, makes itpossible for everyone to know good music andenjoy it to the utmost.

AUDIOGRAPHIC Music represents an en­tirely new and revolutionary development inmusic.

These rolls present music, even the mostdifficult and involved classical compositions , ina manner so intensely interestin g and so sim­ple that anyone, even the most unmusical, canunderstand and enjoy it .

The underlying idea of AUDIOGRAPHICMusic is to bring to the listener's mind simul­taneously with the actual hearing of the music,such comment as will illuminate its hiddenbeauty and meaning, enabling the hearer tograsp the full significance of the composition.To this end, the AUDIOGRAPHIC MusicRoll as it unwinds in a Duo-Art Piano bothreproduces the playing of some distinguishedpianist and discloses to the listener's eyes arunning comment of printed information

about the composrtion, interprecation of itsmeaning, together with historical and bio­graphical comment about the composer and hillspecific work.

This may be conveniently read by the indi­vidual listen er without stopping the music .Furthermore, the idea is made additionallyservi ceable for public use, and particularly foreducat ional institutions, by combin ing it witha projector and a screen upon which the com­ments ar e thrown so that they can be followedby an audi ence or a student body .

The production of AUDIOGRAPHICMusic Rolls has been a great undertaking. Formany months the world's for emost pianistsand the greatest critics and musical authorit iesin America and Europe have been collaborat­ing to create th em. N ever before in the his­tory of music has any movement received suchuniversal support and approval from leadingmusicians and musical edu cators.

AUDIOGRAPHIC Music Rolls, primarilydesigned for and adapted to the use of thelayman, have been found so full of interestand so valu able in imparting an accurateknowled ge of the great musical classics thateven - before the first announcement of theirpublication was made they were in use inmany of the great universities and schoolsthroughout Am erica and Europe.

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Aeolian Hall School forMusic Research to OpenINTEREST is the key-note of all modern

education. With interest firmly established,attention is easily held and concentration in'duced. Undoubtedly the reason for the greatnumber of piano students "falling by the way'side," . before even an elementary degree ofplaying ability has been developed, has beenlack of interest and boredom at the long hoursof mechanical drudgery required under theold procedure, with no visible progress to jus'tify it.

The Aeolian Hall School for Music Re­search now offers to elementary piano studentscourses of study based on the modern peda­gogical principles underlying general educa­tion in our finest schools today. Through themedium of the Visuola-the remarkable newscientific visual aid-the elementary piano stu'dent is immediately led into the spirit of music.In his very first lesson he gets musical experi­ences which, with the Visuola, are for the firsttime pianistic.

In his very first lesson with the Visuola thestudent learns an interesting composition. Hisenthusiasm is aroused and he soon becomeseager for new and more difficult fields to ex'plore . The playing ability thus developedcreates, in turn, keyboard familiarity, facilityand fluency, after which musical notation ismore easily understood.

The interest and enthusiasm aroused by theaccomplishments of the first lesson are main'tained, for each succeeding lesson is a definitestep forward in the student's pianistic andmusical development. He is thrilled by thevisible progress he is making as 'he is led fur'ther and further into the heart of music, andhe loves and enjoys it. Under this new pro 'cedure, results become' visibl~ from the firstlesson and the pleasure obtained from theplaying of "real music" is commensurate withthe study involved.

ENDOWMENT

The Aeolian Hall School for Music Re­search has been endowed by the Aeolian Com'

pany for the advancement of music; for thedevelopment of individual talent throughshorter, more interesting and more effectiveprocedure in elementary piano teaching, andto give to the public the results of seven yearsof research-teaching on the part of the Fac­ulty of the School.

OPENING OF THE SCHOOL

To parents who are interested in havingtheir children's study of the piano made inter'esting , fruitful and productive of definite re­suits in the development of well, roundedmusicianship as well as playing and readingability; to adults who wish to start or renewthe study of the piano without going throughthe drudgery of the ABC's of the usual ele­mentary piano procedure; to teachers of pianowho wish Normal Courses in Modern Ele­mentary Piano Pedagogy as expressed with theVisuola, the Aeolian Hall School for MusicResearch will open its doors on January 3rd.

REGISTRATION

Only a limited number of pupils can be ac­cepted. Early application, therefore, is advised .

COURSES OFFERED

Courses are offered for children of prc'school and kindergarten age, who now may beled immediately into Music, by means of theVisuola.

Courses for children of school age aim togive a well-rounded musical development.

Courses for children of Junior and SeniorHigh School age are especially designed foryoung people who desire music as a social ac­complishment but whose activities are so nu­merous that only a short time each day isavailable for study. Unlike the other coursesoffered, this course frankly stresses playingability.

Courses offered to adults are planned tomeet individual needs and wishes. To teachersof piano are offered courses in Modern Ele­mentary Piano Pedagogy, as expressed by theVisuola.

•_-( Page F OUT )-••.

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The Aeolian Hall Schoolfor Music Research

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I h I'. r-i c s t G.d.\i tl.t\cc d eq ui p m ent ..h:U "1.o~. j ;: '..L$

~~::';dJ~:J:~:n~~~~f~:t mo ~l'h ( r~ ~on~~; butc

'rhe above views of the A eolian Hall School for Music R esearch , on the ten th fl oorof th e beautiful ne w A eolian H all, at Fift h A v enu e and 54th St reet , N ew

TorI;. City, give some idea of the harm oni ous atmosph ere of theSch ool; the cheerful sun- lit stu dios; arti stic sur roun ding s, and

th e mo dern equipm ent . 'rhe Studios of the Scho ol areall eqUipped with the V isuola, conceded to be

the greatest advance in piano instruction .

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MacDoweil's Spirit Lives on at Peterboro

"A HOUSE OF DREAMS UNTOLD"

MacDowell', Log Cabin in the Wood, at Peterboro

IN the wonderland of the New Hampshirewoods, where Edward MacDowell found

the quiet and inspiration to do his best work ,the Peterboro Colony stands as a monument tohis memory. MacDowell's most cherisheddream was to provide for creati ve artists isola­tion, quiet and freedom from the materialworries that so harassed his own early career.The fulfilling of the promise made to the dy-

ing composer by has valiant wife whose zealhas att racted noble men and women to assisther in the work of building up the Colony, isa noteworthy contribution to the furthering ofart in- America. Here workers in the sevenarts find those ideal working conditions ofwhich M acDowell dreamed, at a minimum ofexpense for board and lodging.

The life of the Colony is simple . The menhave th eir own lodge, the women theirs, witha dining-hall and library in common. Thestud ios are scattered through the woods, someburied amon g the trees, some built out overshelving hillsides, and others commanding vis­tas of blue Monadnock. Once in his studio aworker is free from all interruptions. Theclass of worker eligible for residence at theColony is the productive or creative artist.Painters, sculptors, poets, playwrights, novel­ists and composers have been welcomed andhave received the stimulus and inspiration ofcontact with workers along other lines.

Seventeen years of sacrifice and labor havebrought the Colony to its present stage of use­fuln ess and completed the work ing plant andorganization. The Edward MacDowell Asso­ciation, Inc., is carrying on this splendid work,but must face what every unendowed institu­tion faces sooner or later, large equipmentwith inadequate income. The contributions offriends and the small charge for board havemade it possible to carry on the work so far ,but new fri ends must be ready to pick up thetorch and carry it forward.

Musical Knowledge 'fest, No. 6Giv e yourself a ratin g on th is Musical 2<,uestion naire.Then chec~ up with the answers on Page Fift een.

1. What is the " Czarda s" ? : .2. Who composed th e "Unfinished Symphony"? .

3. What compos er or iginated th e instru mental form kn own as a ..Ballade" ? ..

4. What is Fran z Liszr's best kn own work? .5. W ho compose d the piano suite "A Day in Venice" ? ..

6 . Who wro te th e most fa mous ..Largo" ? .7. ( a) W hat famous compose r was called "The Chopin of the North, _

(b) by what famous pianist? _8. Who composed the piano sui te "Iberia••? __

9. Who compose d a set of 'pian o pieces called " Th e Season s"? ..10. Which two famous composers were born in 1809? _.._

---( Page Six ,...-

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Princess de Broglie Records only for Duo-ArtGrande Valse de Concert, Op, 41 71990 $2.50

Composed by Alexander GlazunovPlayed by Princess Jacques de Broglie

ON E of the most brilliant and most inter­esting young pianists who have come

from France in many a year, .the PrincessJacques de Broglie records her playing exclu­sively for the Duo-Art Piano, and her firstDuo -Art Record-Roll is now available . Thisis a musicianly and delightful performance ofGlazunov's celebrated Concert Valse, Op, 41("The Valse in Thirds"), a scintillant piecetypifying this Russian master's easy melodicinvention, command of colorful harmony andgraceful rhythm, and exuberance of fancy indecorative embellishment. Here it is brilliantlyplayed, with great verve and sparkle, and withfine rhythmic contro!'

Princess Jacques de Broglie has achieved aremarkable career by dint of determined per ­severance against family opposition. BornMarie Antoinette Aussenac in Oporto, Portu­gal, of French parents, she gave her first con­cert there when only five years old, with suchsensational success as to alarm her mother,who belonged to an old aristocratic Frenchfamily and in the fear that Marie might chooseto become a professional musician forbade anymore piano lessons. Thereupon the child re­fused to eat if she could not continue her les­sons. She persisted until the mother, fearingthat she would starve herself to death, gave in,and the famous Jose Vianna Da Motta becameher teacher.

Later she was sent to a convent in Paris,and, without her mother's knowledge, took anentrance examination for the Conservatory.

SHURA CHERKASSKY

PRINCESS JACQUES DE BROGLIE

She ranked first among 400 competitors, buther family still refused to sanction her musi­cal career. So she took things into her ownhands and managed somehow to continue herstudies . When she was 21 she went over toEngland, with only enough money to live onfor one week, and with a letter to Sir LandonRonald, conductor of the London SymphonyOrchestra. He heard her play and immediatelyengaged her for three concerts. Recognitionspeedily followed.

In Monte Carlo a few years ago the pianistmet Prince Jacques de Broglie, member of ahistoric family. He fell in love with her, butto win her hand had to follow her to Aus­tralia, where she was on tour with Dame ClaraButt. She had also toured South America be­fore coming to the United States to make herNew York debut on November 27.

Spring Night. . . . . . . . 72009 $2.25Composed by Robert Schumann

'Transcription by Franz LisztPlayed by Sll1lTll Cher~assb

W IT H its fresh melody, impetuous andfilled with passionate happiness, its on­

rushing accompaniment in triplets, and its con­stant modulations, "Spring Night" (Op. 39,No . 12) is one of the greatest and most inimi­table of all of Schumann's songs. It is autobio­graphical, of course, and bears the stampthroughout of a happy inspiration. With hisunrivalled mastery in transmuting other musicinto the piano idiom, Liszt made this superbsong into a wonderfully beautiful piano piece:and this youn g Shura Cherkassky has recordedwith poetic insight as well as amazing skill.

...•~ . Page Seven ).-.•..

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Friedman as Both Composer and Pianist

IGNAZ FRIEDMAN

Estampes, Op. 22-No.2, Serenade du PierrotNo.4, Marquis et Marquise . 7188-4 $3.00

ALT H OUGH chiefly known the worldaround as a great pianist, Ignaz Friedman

. is also a prolific composer and has publishedmore than 100 piano pieces besides numerousother works. The two charming little pieceshere recorded, from a group entitled "Es­tampes" ("Prints"), . have the picturesquequality of old engravings of the subjects sug'gested by their individual titles, and are amongthe most popular of all his piano pieces. Inthe first, "Pierret's Serenade," a simple andmemorably pretty melody characterizes theClown of French pantomime and is sung to a

.guitar-like accompaniment in novel harmoniesand striking chord progressions that set it offvery effectively. The second piece, "Marquiset M arquise," is a delightful little Minuet,app ealingly melodious , with all the sedate stat e'Iiness, quaint flavor and grace, and rhythmicswing characteristic of the antique dance.

"Tannhauser"-Excerpts fromAct I (Part 2) . . . . . . 72010 $2.50

Tannhauser's Hymn to Venus; Venus'sCurse; Minstrels' Greeting; Wolfram'sSong; Finale

Composed by Richard Wa gnerPlayed by Ralph Leop old

I N the first act of the opera, after the Bac­chanale (see Duo,ART MUSIC for Novem­

ber) Tannhauser, longing for freedom, payshomage to V enus in a final passionate song oflove , which he ends with an earnes~ plea to

be allowed to depart. When the goddess againtries to charm him he calls on the sainted nameof Mary, and at once Venus and her nymphs,grotto, palace and all, sink into the earth witha thunderclap. Tannhauser finds himself in thespring-clad valley below the Wartburg. Therethe Land grave of Thuringia, his liege lord,and his companions in the chase, Wolfram,

. Walter, and the rest, greet him joyfully andurge him to return to the castle with them. Atfirst he refuses; but When Wolfram tells himthat his song had won the heart of the saintlyElizabeth , the Landgrave's niece, and that shehas drooped and pined since he disappearedfrom the singing contests, he gladly hastens tothe castle. In this superb Duo-Art Record, Mr.Leopold has achieved a fine epitome of themost important music of Act r."La Boheme"-Excerpts from

Act III . . . . . . . . . 72020 $2.50Winter Scene; Entrance of Mimi; Duet,Mimi and Marcel; Duet, Rodolphe and

Marcel; Mimi's Farewell Song; QuartetComposed by Giacomo Puccini

Played by Maurice Jacquet

T HIS is the third of Maurice Jacquet's Duo,Art Records of choice selections from Puc'

cini's very popular opera, "La Boheme." Thethird act; from which the numbers here re'corded are taken, is full of quarrels and recon­ciliations between the two pairs of lovers,mingled with a vein of comedy. The musicthroughout is richly melodic as well as effec­tively dramatic.

HELEN WRIGHT WILMINGTON

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c/JudioQraphic cJ1JusicAUDIOGRAPHIC Music is the out,

ward embodiment of an internationalmovement to promote deeper appreciationand understanding of music.

This movement, which has enlisted theservices of what is unquestionably the great'est body of authorities ever banded togetherfor the advancement of any art, is centeredabout a new and immensely effective meansof presenting music to the listener throughtwo senses instead of one.

This, then, is the character of Audio'Graphic Music; you see it while you hearit. Sight-the vividest of our faculties, isbrought to the aid of the ear in understand,ing the significance of the great masterpiecesof music.

By means of this AudioGraphic principleyou are given, in the compositions listedherein, not only the music of great com'posers, played by great pianists, but alsoa wealth of vivid suggestion and explana­tory matter by a great music authority,which makes the meaning of the music clearto you. And-most important of all-thishappens simultaneously with the playing ofthe music. Your eyes absorb the significanceof the harmonies at the very instant thatyour ear is hearing the living tone.

To find the world's greatest music thusyielding up to you the treasure of its inner­most secrets and significance is an experi­ence you will never forget.

cAudio9raphic ZlV{usic fReleased9anuary 15, 1928

Schumann's "Soaring"

Suffering transmuted into song! How to do this was one of Schumann's secrets. It is safeto say that no matter how familiar you may be with this exultant "Fantasy Piece" you will gainadded understanding of its significance when you learn from Mr. Dunhill's annotations the cir­cumstances in which it was written, and see its amazing kinship in spirit to D. T. Dane's poem,"Wings of Ecstasy," The poet's words bring the composer's music home to you with redoubledforce.

Annotated by T. F. DunhillPlayed by Josef Hofmann A·59

A·55

A·52A-53

Chopin's "Raindrop Prelude"

Out of the vast reservoirs of his familiarity with Chopin's life and work G. C. AshtonJonson has brought to the opening paragraphs of this roll just the bits of detail needed to investthis music with the intensity of meaning that it undoubtedly had for its composer. Then, as themusic unfolds, its progress from tranquility downward into gloom, its sojourn there amidst ghostlyphantoms, and finally its emergence into light again, is pointed out in running comments socompelling that the listener seems, himself, to have lived through some terrible crisis of the soul.

Annotated by G. C. Ashton JonsonPlayed by Vladimir de Pachmann

*Bizet's "L'Arlesienne" (2 rolls)

"To separate this music from the drama, (says Philip Hale, in substance), is like detachingthe color from a painting." In these two rolls the music, written by Bizet to accompany Daudet's~rama, ."The Maid of Aries," is restored to its proper setting. The story of the drama is toldIn the Introductory paragraphs. Then as the music begins, the listener finds the accompanyingaction unrolled before him, pictured vividly in Mr. McNaught's running comments, and addingto the music a well nigh heart- breaking poignancy.

First roll. Annotated by W. McNaughtPlayed by Percy Grainger

Second roll. (Same)

Liszt's "Concert Study in D Flat"

An old friend. but how much better we know it when we have finished Basil Maine's pic­turization of it as an experiment in a vogue that was as popular in 1850 as the weird dissonancesof jan are today! And how much better we realize the resourcefulness of Lint when we h~vefollowed the running comment and themophrasing, and learned some of the secrets by whichhe obtained such diverse effects with so simple means.

Annotated by Basil MainePlayed by Frederic Lamond A·54 _3.50

Chopin's "Berceuse" (Op. 57)

A loveliness too limpid and tranquil to need translation. Yet to produce this eff~ct o! art­lessness. what consummate art! The subtle craftsmanship that welded these successive ripplesof melody so fluidly that they seem to melt into each other is revealed here with amazing clarity.A new insight into the loving care that Chopin brought to the perfecting of each of his "master­pieces in pearl."

Annotated by G. C. Ashton J01180nPlayed by Guiomar Novaes A-60 _3.50

·Grieg's "Peer Gynt Suite" (2 rolls)

$4.004.00

A-57A-58

Annotated by George GartlanPlayed by Percy Grainger

Second roll. (Same)

Immortalized in Grieg's music, glowing under the artistry of Grainger. with all the playfulquirks and sombre pathos of his career recalled to your mind by the graphic and descriptivesuggestions of Mr. Gartlan, the mischievous and lovable Peer comes alive as never before. Thewhole fascinating tale passes in panorama before you. and in your own home! An experiencenever to be forgotten.

First roll.

A·56

Bach's "Prelude and Fugue in B Flat"

Under Mr. Scholes' persuasive treatment the listener (and watcher) discovers the fugue.supposedly the most difficult and abstruse of musical forms. to be simply a company of sprightlytunes frolicking together under certain simple rules. The AudioGraphic treatment makes theinterweaving and interplay of these tunes as fascinating as any drama.

Annotated by Percy A. ScholesPlayed by Harold Samuel

Beethoven's "Appassionata Sonata," First Movement

Here, following Beethoven's own hint, the annotator takes us to Shakespeare's "The Tem­pest" for a clearer knowledge of the composer's meaning. The psychological parallel betweenthese two great masterpieces is then used with telling effect in following the three great tunesin the music as they work out their respective destinies. forcefully and inevitably. Aided bythis fruitful comparison. the listener. as never before. finds Beethoven speaking directly tohis heart.

Annotated by Percy A. ScholesPlayed by Harold Bauer A-6IA $4.50

Beethoven Biographical (2 rolls)

In two rolls of extraordinary interest and value Sir Alexander Mackenzie. the great Bee­thoven authority. reveals step by step the development of the great master's genius. Eachsuccessive advance in his art is described clearly and then illustrated by a passage from his musicplayed by some world renown pianist. Pictures of people and scenes associated with the corn­poser join with the masterly resume of his musical growth to make this at once the most vivid,comprehensive. and absorbing of biographies.

First roll. Biographical and critical discussion bySir Alexander C. Mackenzie

Music illustrations by Bauer, Stoessel, Leginskaand Hofmann A·5IA $7.50

Second roll. Biographical and critical discussion bySir Alexander C. Mackenzie

Music illustrations by Bauer, Stoessel, Leginskaand Hofmann A·5IB _7.50

*Also particularly suitable for young music lovers.

cAudio9raphic ZAlusic c:Jlllready 9ssuedComposer Composition Annotator Artist :No. Price

A1kan The Wind Percy A. Scholes Bauer A·18 $4.00Beethoven Minuet in G Philip Conrad Leginsl{.s A·7 3.50Beethoven Moonlight Sonata (1st Movement) Stewart Macpherson Hofmann A·42 4.00Boccherini Minuet CyrilWinn Bauer A·13 3.50Borodin Au Couvent Edith Rhetts Wittgenstein A·19 3.50Chopin Nocturne in E flat William Mc:Naught Godowsb A·43 4.00Chopin Nocturne in G A. Forbes Milne Paderewsl{i A·4f 4.50Chopin Polonaise in A flat 'Thos. Armstrong Hofmann A·44 4.50Chopin Revolutionary Etude G. C. Ashton Jonson Bauer A·6 4.00Chopin Scherzo in B flat minor G. C. Ashton Jonson Hofmann A-50 3.50Debussy Plaxen-Haired Girl Louis Aubert Schmitz A·2f 3.50Debussy Submerged Cathedral Percy A. Scholes Hess A·34 450Dvorak Indian Lament Stewart Mims Moore A·I0 UOFaure Berceuse Marie Wiethan Cortot A·28 3.50Glinka The Lark Percy A. Scholes Lamond A·17 4.00Gounod Funeral March of a Marionette Edith M. G. Reed Adler A·27 3.50Grieg Norwegian Bridal Procession Ernest Fowles Ganz A·20 3.50Grieg To the Spring Percy A. Scholes Grainger A·30 4.00Henselt Cradle Song Percy A. Scholes Godowsb A·29 3.50Henselt Were I a Bird Percy A. Scholes Bailon A·40 3.50Humperdinck Hansel and Gretel Agnes M. Fryberger Armbruster A·38 4.50Kreisler Caprice Viennois PhiliP Conrad Rapee A·16 4.00Kreisler Schoen Rosmarin W.slter Starl{ie Thompson A·12 3.50Kuhnau David and Goliath Douglas Moore Kugel A·46 4.50Liadov Musical Box Glenn Woods Leginslta A·26 3.50Lis~t Benediction of God M. D. Calvocoressi Siloti A·36 4.50Lis~t Dance of the Gnomes Percy A. Scholes :Novaes A·15 4.50Lis~t Liebestraum George Gartlan Gam; A·9 4.00MacDowell From a Log Cabin-Joy of Autumn George Gartlan Du1{e A·2 5.00Mendelssohn Fingal's Cave Percy A. Scholes Hutcheson·Ganz A·32 5.00Mendelssohn Hunting Song Percy A. Scholes Reuter A·48 4.50Mendelssohn Spinning Song Thos. Armstrong Paderews1{i A·23 3.50Mendelssohn Spring Song George Gartlan Hofmann A·3 3.50Mozart Turkish March Percy A. Scholes Richards A·22 4.00Mussorgsky Hopak David Jatovsb Gradova A·49 5.00Paderewski Melody J.A. Forsyth Paderewsl{i A-24 3.50Rachmaninoff Prelude in C sharp minor Eric Grant Hofmann A-33 4.00Ravel Jeux d'Eau George Gartlan Schmitz A·I 4.00Rubinstein Melody in F Fran/tlin Dunham Hofmann A·14 3.50Scott Lotus Land Percy A. Scholes Reuter A·3I 3.50Schumann Traumerei Ernest Fowles Godows1(y A·39 3.50Schumann Warum Ernest Fowles Friedman A·41 3.50Schubert The ErI·Kin~ Percy A. Scholes Friedman A·37 5.00Schubert Unfinished Symphony Ernest Fowles Stoessel A·47 5.00

(1st Movement)Sibelius Romance in D flat Fran1{lin Dunham Ganz A·ll 3.50Sibelius Valse Triste Philip Conrad Bauer A·4 3.50Sinding Rustle of Spring George Gartlan Ganz A·5 3.50Strauss Artist's Life Walt~ Marie Wiethan Rapee A·35 4.00T chaikovsky Humoresque Fran/tlin Dunham Reuter A·8 3.50Weber Invitation to the Dance Daniel Gregory Mason Lerner A·21 4.50

FIRST SELECTIONS FOR CHILDREN

Faure Berceuse Marie Wiethan Cortot A·28 3.50Gounod Funeral March of a Marionette EdithM. Rud Adler A·27 3.50Humperdinck Hansel and Gretel Agnes M. Fryberger Armbruster A·38 4.50Liszt Dance of the Gnomes Percy A. Scholes :Novaes A·15 4.50Mendelssohn Hunting Song Percy A. Scholes Reuter A·48 4.50

INTERNATIONAL COMMITTEE FOR THE ADVANCEMENTOF MUSIC APPRECIATION

'The World's Library of AudioGraphic Music is an International Series. under the directionof national committees in the various countries. 'The Catalogues and the Rolls differ somewhatin these countries according to their varying national needs. 'The European Series is under theresponsible Editorship of Mr. Percy A. Scholes. 'The American Series is under the directresponsible Editorship of Professor Charles H. Farnsworth. of Columbia University.

American CommitteeDAVID STANLEY SMITH, Dean of Music, Yale

University.CHARLES H. MILLS. Dean, School of Music. Uni­

versity of Wisconsin.WALLACE GOODRICH, Dean, New England Con­

servatory of Music.LEOPOLD STOKOWSKI, Conductor, Philadelphia

Symphony Orchestra.EARL V. MOORE. Director. University School of

Music, Ann Arbor, Mich.SERGE KOUSSEVITSKY. Conductor Boston Sym·

phony Orchestra.ALFRED HERTZ, Conductor San Francisco Sym­

phony Orchestra.ALBERT STOESSEL, Professor of Music, New Yorlc

University.HOWARD HANSON. Director Eastman School of

Music.FREDERICK STOCK, Conductor Chicago Symphony

Orchestra.JAMES T. QUARLES. Dean, School of Music, Uni­

versity 01' Missouri.WALTER DAMROSCH, Conductor New York Sym­

phony Orchestra.

WALTER R. SPALDING, Dean, Division of Music,Harvard University.

DANIEL GREGORY MASON, Professor of Music,Columbia University.

LEON MAXWELL, Dean. Newcomb Conservatory,New Orleans.

EDWARD DICKINSON, Emeritus Professor of Mu­sic, Oberlin College.

J. LAWRENCE ERB, Director of Music, ConnecticutCcllege for Women.

ERIC DELAMARTER, Assistant Conductor ChicagoSymphony Orchestra.

WILLEM MENGELBERG, Conductor PhilharmonicOrchestra, New York.

EUGENE GOOSSENS, Conductor Rochester Syrn­phony Orchestra.

NICOLAI SOKOLOFF, Conductor Cleveland Sym­phony Orchestra.

HENRI VERBRUGGHEN, Conductor MinneapolisSymphony Orchestra.

WILLEM VAN HOOGSTRAATEN, Conductor Port·land Symphony Orchestra.

FRANKLIN DUNHAM (Secretary), Fordham Uni­versity Graduate Schoo!.

British CommitteeHonorary Advisory Committee on the Educational Use of Reproducing Piano Rolls.

SIR ALEXANDER MACKENZIE, formerly Principal,Royal Academy of Music, London.

SIR HUGH P. ALLEN. Princiral Royal College ofMusic, London. Professor 0 Music, Oxford Uni­versity.

PROF. J. C. BRIDGE. Professor of Music, Universityof Durham.

PROF. C. H. KITSON. Professor of Music. Univer­sity of Dublin.

ROBIN LEGGE, Music Critic of the London DailyTelegraph.

French CommitteeCH. M. WIDOR (President). Permanent Secretary of

the Academie des Beaux-Arts de France.HENRI RABAUD. Member of the Institut de France

and Director of the Paris Conservatoire.GEORGES HUE Member of the Institut de France.GABRIEL PIERNE, Member of the Institut de France.ALFRED BRUNEAU. Member of the Institut de

France.GERARD HEKKING, Violoncellist.JEAN CHANTAVOINE. General Secretary of the

Paris Conservatoire.MAURICE EMMANUEL. Professor of the Paris Con­

servatoire.PHILLIPPE GAUBERT, Conductor for Concerts of

the Paris Conservatoire.JACQUES DALCROZE, Composer.CAMILLE DECREUS, Director of the Conservatoire

Americaine de Fontainebleau.MAURICE RAVEL, Composer.NOEL-GALLON, Composer-Professor of the Paris

Conservatoire.HENRI BUSSER, Professor, Paris Conservatoire.RAOUL LAPARRA, Composer.PAUL PARAY, Conductor of the Concerts Lamou­

reaux.PAUL VIDAL, Professor, Paris Conservatoire.I. PHILIPP, Professor of the Paris Conservatoire.

Spanish CommitteeANTONIO FERNANDEZ BORDAS, Royal Academy.ENRIQUE FERNANDEZ AREOS, Royal Academy.BARTHOLOME PEREZ CASAS, Royal Academy.JOSE TRAGO ARANA, Royal Academy.ARTURO SA CO DEL VALLE, Royal Academy.CONRADO DEL CAMPO, Composer and Professor.D. MANUEL DE FALLA, Composer.RICARDO VINES, Concertista.JOAQUIN TURINA. Composer.VICTOR ESPINOS, Music Critic of "La Epoca."JOSE SUBIRA (Secretary.)

J. B. McEWEN, Principal Royal Academy of Music,London.

SIR LANDON RONALD~ Principal Guildhall Schoolof Music, London, ana Conductor of the NationalOrchestra.

SIR HENRY WOOD, Conductor Queen's Hall, Or­chestra, London. Professor of tbe Royal Academyof Music.

J. AIKMAN FORSYTH, Music Critic of the LondonNews and Star. (Honorary Secretary.)

Belgian CommitteeJOSEPH JONGEN (President), Director of the Royal

Conservatoire, Brussels.ARTHUR DE GREEF, Professor of the Royal Con­

servatoire, Brussels.LODEWIJK MORTELMANS, Director of the Royal

Conservatoire, Antwerp.MARTIN LUNSSENS, Director of the Royal Con­

servatoire, Ghent.FRANCOIS RASSE, Director of tbe Royal Conser.

vatoire, Liege.MATHIEU CRICKBOOM, Professor of the Royal

Conservatoire, Brussels.EMILE BOSQUET, Professor of the Royal Conser­

vatoire, Brussels.ERNEST CLOSSON, Professor of the Royal Con­

servatoire, Brussels.MISS A. M. JONGEN, (Secretary).

German Committee

PROFESSOR FRANZ SCHREKER, Principal Na­tional Academy of Music, Berlin, Chairman.

GEH. RAT PROFESSOR DR. MAX FRIED.LANDER, Professor of Music, University ofBerlin. Chairman German Brahms Society.

PROFESSOR MAX PAUER, Principal Academy ofMusic, Leipzig.

PROFESSOR ROBERT KAHN, Professor of Music,Berlin Academy of Music.

PROFESSOR KURT SACHS, Professor of Music,University of Berlin.

PROFESSOR DR. h. c. KARL STRAUBE, Con­duetor St. Thomas Choir (position which J. S.Bach held). Professor, Academy of Music, Leipzig,

SIEGFRIED WAGNER, Composer and Conductor,Bayreuth.

PROFESSOR DR. JOHANNES WOLFF, Directorof Music, Berlin State Library, Professor of Mu­sic, University of Berlin.

BRUNO WALTER, Director of the Municipal Opera,Berlin.

~lIlIIl!I!!IIl:I = = !iii j I iii i = . i i j,jj m !! l!! i li ii! ! i ' Ii "

~By the Seashore . . . . . . 72038 $2.00

Composed by Anton ArensbPlayed by Helen Wright Wilmington

I T is a calm and quiet sea, sparkling in thesunshine, that Arensky pictures in this po­

etic little idyll of refined beauty-a sort ofreverie cast in the musical form known as animpromptu-beginning with a pretty, liltingmelody and in a graceful rhythm that suggestswavelets in gentle motion. A middle sectionbrings a bolder, more sonorous utterance, asof a quickly passing summer storm, after whichthe airy delicate melody and the contemplativemood of the opening part return, tinged witha touch of wistful longing or regret. The wholecharming mood picture is conveyed with mas'terly skill as well as with poetic feeling. Thisbeautifully written piece is here played beauti­fully by Helen Wright Wilmington, capableyoung American pianist, who was born inOhio 25 years ago, attended the Toledo Con'servatory, studied piano with Ralph Leopoldfor three years, and took a piano course withAlfred Cortot in Paris. She has made success'ful appearances in many American cities.

Amaryllis . . . . . . . . . 72048 $2.00

Composed by Eduard C. SegerPlayed by Genevieve Pitot

A s pretty and dainty as its euphonious flow'er-like name is this popular little salon

piece, with its catching melody, appropriateharmonies and slow-waltz rhythm. It is, indeed,a well-written Valse lente, with a felicitous liltand captivating sway and swing; and MissPitot has played it charmingly.

MRS. W. J. MORRISON

JOSEPH BRINKMAN

Minuetto S-31788 $2.00Composed by Joseph Brin~man

Played by the Composer

I N this Minuet the talented young Americanpianist, composer, Joseph Brinkman, has

achieved an effective and attractive moderntreatment of the old dance form and produceda piano piece of distinctive beauty. It is ap­pealingly melodious as well as daintily andquaintly graceful. The composer has recordedit from manuscript, as the score has not yetbeen published. Mr. Brinkman was born inDubuque, Iowa, and received his musical train'ing in Chicago, where he now lives and wherehe made his debut as soloist with the ChicagoSymphony Orchestra in December, 1924. Hehas had the coveted honor of several subse­quent appearances with that orchestra.

Gigue (No. 3 of "Six Little Pieceson Sketches by J. S. Bach") S-31768 $2.00

Composed by Edward MacDowellPlayed by Mrs. W . J. Morrison

CHARM IN GLY and cleverly written arethe illuminating little adaptations in Mac'

Dowell's individualistic style of some sketchesby "one of the world's mightiest tone poets,"as MacDowell described ]. S. Bach. This"Gigue," in particular, despite its antiquequaintness of flavor, is lively and jolly and iscarried through with a quite exciting gusto . Itis recorded deftly and captivatingly by Mrs.W. J . Morrison, a very accomplished youngpianist who is something of a specialist inMacDowell's music. Mrs. Morrison, who comesfrom Atlanta, has been associated for sometime with Mrs. MacDowell in furthering thecause of the MacDowell Colony at Peterboro,and devotes the proceeds of her recitals to thatcause.

_ ....( Page '.Nine . ;~....

~i"! i i t

MARTA MILINOWSKI

"Callirhoe"- Air de Ballet No.4 71978 $2.00Composed by Cecile Chaminade

Played by Robert ArmbrusterTHE remarkable success of the classical Bal-let-Symphonic "Callirhoe" (produced at

Marseilles in 1888) first made known to theworld the name of the brilliant Fren ch womancomposer Cecile Chaminade. The work is basedon a Greek legend concerning the necklaceand robe of Harmonia, art icles that broughtdisaster to all who successively possessed them.After they had caused the death of her hus­band Alcmaeon, Callirhoe, with the help ofher two sons, avenged his death, obtained thearticles of strife and broke their fat al spell bypresent ing them as a votive offering at Delphi.Chaminade 's sparkling and delightful musicfor this ballet has encircled the world andmade her one of the most popular of com­posers. The Fourth Air de Ballet, here charm­ingly played by Mr. Armbruster , is a bright,melodious, graceful dance imbued with origi­nality and filled with imagination and delicatefancy.

Contradance, No. 1. . . . . 72059 $2.25C omposed by Ludvig van Beethoven

'Transcription by Isidor S eissPlayed by Phill iP Gordon

BEETHOVEN must have been in a parti cu-larly gay and happy mood when he pen­

ned this light and lively and sparkling dance .It is altogether a jolly frolic in tones, and yetit is typically Beethovenish in melody andstyle, with cert ain archly graceful turns ofphrase, novel harmonic touches, and greatrhythmic gusto. Mr. Gordon has recorded anne, spir ited performance of it that is thor­oughly delightful.

i i

By the Seashore (Concert Etude),O p. 17 . . . . . . . . . S-31778 $2.00

C omposed by Bedrich SmetanaPlayed by M arta Milin ows~i

CALLED by its composer "A Memory," thisnne, vigorous and stirring tonal poem was

plainly an inspiration of Smetana's sojournin a foreign land, since his native Bohemiahad no seashore. The piece is a brilliant anddifficult concert study, but it is also rich inmusical appeal and var iety, with its impressivelyrical melody, colorful harmony and surgingrhythm that aptly suggests the recurrent beatof waves breaking against a rocky shore . Animpressively beautiful performance of it ishere record ed by Marta Milinowski, the dis­tinguished found er and director of Lake For­est School of Music, near Chicago. She is agraduate of Vassar College and of the BerlinHigh School of Music ; studied piano for ayear with Moritz Moszkowski in Paris , laterwith Carlo Buonamici in Boston and with Ru­dolph Breithaupt in Berlin, and for three yearswas a pupil of T eresa Carreno.

Land of Dawn (Song Roll,Wit h Words) . . . . . S-31795-S $1.25

C omp osed by Aurel Burtis KuhnPlay ed by Henri Bergm an

I N this fanciful and very pretty ballad,Aurel Burtis Kuhn, a richly talented musi­

cal amateur of Chicago, has achieved a dis­tinctly attractive and singable song in easyregister for medium voice. And Henri Berg­man has made a nne Duo-Art Song Roll of it.This is the chorus:

Come and go with me to the Lan d of Dawn;There th e da ylight comes and n ight is gon e,F low' rs spr ead their pe rf ume ev'rywhere,B irds s ing their song-you'll have no care,FOf , in th e Land of Dawn all yo ur dreams come true.Life will be a so ng eac h da y for yo u.The re Love is ki ng of ev'rything ;So don't fear, just come, .dear, to Dawn.

California Lullaby (Song Roll,With Word s) . . . . . . 103595 $1.25

C omposed by Rudy S eigerPlayed by Henri Bergman

P R E TTY, lulling melody of the easy,"catchy" -kind , a simple harmonic accom­

paniment, and good rhythm characterize themusic of this att ractive ballad which is steadilyincreasing its already great popularity. Thefirst of its two stanzas runs as follows:

S leepy bre eze in the Redwood t re es,H ush my baby's crie s ;

Sweetl y press your soft caressOf sum mer on baby's eyes.

L ull my baby to dr ows ihead,W hisper low t il l tb e night is sped ,Fan the nest where he takes his rest,

An d hush my baby, hush my baby ,H ush my baby to sleep.

Page 'Ten )...-

U"""""""'"''''''''''''iiIi''''''' '' '' ''''''''''''''''''''''''''''''''' ''''' '' mt:mlll!llllI:: lllll i i rl!!iii lit!! itii!i!!

~My Blue Heaven (Song Roll,

With Words) . . . . . . 103605' $1.25Composed by Walter Donaldson

Played by Robert Armbruster

H ER E is Walter Donaldson's newest popu'lar song success, irresistibly played for

singing by Mr. Armbruster. In this song,which is one of the cleverest he has ever writ,ten, Mr. Donaldson has contrived a pleasingand effective departure from the usual rhyth­mic insistence (not to say rigidity) of the mod,ern popular ballad. Another noteworthy fea­ture is the musicianly effect achieved in thechorus where the haunting melody is skilfullyand prettily echoed in the accompaniment.

Day is ending, Birds are wendingBack to the shelter of each little nest they love.Night shades falling. Love birds are calling-What makes the world go round? Nothing but love.

CHORUS

\Vhen Whippoorwills call, and evening is nigh,I hurry to my Blue Heaven.A turn to the right, a little white light,\ViII lead you to my Blue Heaven.You'll see a smiling face , a fireplace, a cozy room,A little nest that's nestled where the roses bloom.Just Molly and me, and Baby makes three;W e're happy in my Blue Heaven.

Listener's Music Guide-

Roll No. 1. Rhythm . . 9118 $2.00Roll No.2. Melody .. 9128 2.00Roll No.3. Chords . . . 9138 2.00Roll No.4. Musical Terms 9148 2.00

Arr. and Played by Mrs . Harriet Ayer Seymour

TH ESE four music rolls constitute the be'ginning of a new Special Educational Se­

ries designed to lay the foundation of anunderstanding of the principles of music, Mrs.Seymour, founder of the Seymour School ofMusical Re-education, has proved in her 20

MRS. HARRIET AYER SEYMOUR

years of experience that at least a little musicmay be had by all-music is not alone for theespecially talented, it is for everybody. Butthe old way of studying music by practicinginterminable scales and exercises has been afailure. The philosophic way and right way isfirst to awaken music from within. "The studyof music, to be of any value," says Mrs. Sey­mour, "must consist, first of all, of an inwardprocess. The ability to think music or to hearit inwardly is the root of the problem. Inother words, the study of music must takeplace primarily in the mind. If one begins withhearing, the principles of melody, rhythm andharmony can then be learned, and from theseone can always advance alone into a largerand larger understanding."

New Duo..Art Song AccompanimentsTitle

Since You Went Away (in F Major)Played by Henri Bergman

Trade Winds (No.2 of "Salt Water Ballads")Played by Robert Armbruster

ComposerJ. Rosamond Johnson

Fredet icb; Keel

Rol/No.

13216-8

13206-8

Price

$1.50

1.50

Ask your dealer for a copy of the new classified list of "500 MOST POPU­LAR DUO-ART MUSIC ROLLS," just issued by The Aeolian Gompany.It will help you to find other music of the same kind as your own choicest

favorite pieces.

-t, Page Eleven~....

Broadway's Newest Dance and Song HitsDear, On a Night Like This-

Fox Trot . . . . . . . . 0457 $1.25Composed by Con Conrad

Arr. 13' Played by Pauline AlpertTHE clever, whimsical, inimitabl e Can Call 'rad has fairly surpassed himself in th is, his

latest Fox Trot Ballad, which is rapidly be'coming a prime favorite everywhere. PaulineAlpert has made a fine arrangement of it anda fine, singable roll, playing the last chorus inFox Trot tempo.

"F ive O'clock Girl" Medley(lnstrumental )-Fox Trot 0463-D $2.00 ·

Up in the Clouds; Thinking of You;Happy Go Lucky; Up in the Clouds

Composed by Harry RubyA rr. 13' Played by Fred Ri ch

A great medley of the outstanding popul arhits from the sensational new musical comedysuccess "The Five O'Clock Girl." Fred Richhas recorded it in his characteristic and inimit­able style and made of it a great dance rollabounding in delightful harmony and tonecolor. .

I Ain't Got Nobody, and NobodyCares For Me-Fox Trot. . 0454 $1.25

Composed by Spencer WilliamsArr. 13' Played by Rube Bloom

A revival of a popular dance number thatis on~ of the best sellers right now and a greatfavonte wherever dancers gather together.Rube Bloom's recorded arrangement of it is adandy,

I Call You Sugar-Fox Trot. . 0455 $1.25Comp osed by Baxter and Bowles

Arr. 13' Played by Con stance M ering

A popular new Fox Trot from the MiddleWest that is rapidly extending its popularitythroughout the country. Constance Mering hasmade the most of its singable melody anddancy rhythm in her expert performance of it.

My Heart Stood Still-Fox Trot(From "A ConnecticutYankee") . . . . . . . . 0458 $1.25

Compo sed by Ri chard RodgersArr. 13' Played by Fred Ri ch

An international Fox Trot Song hit fromthe highly successful musical comedy fashionedon Mark Twain's great story of "A Connecti­cut Yankee." Irresistible alike in melody andrhythm, this number is the biggest sensation ofthe new season. Fred Rich has recorded thesuperlative arrangement of it which he broad ,

cast in the Aeolian Company's radio programof November 30.

Somebody Lied About Me-W altz . . . . . . . . . 0459 $1.25

Composed by Carl 13' Fran~ EmlerArr. 13' Played by Constance Mering

A very pretty, melodious, graceful newWaltz that has all the elements of popularappeal, delightfully recorded in her best styleby Constance Mering.

The Song Is Ended, But theMelody Lingers On-Waltz. 0456 $1.25

Composed by Irving BerlinArr. .b Played by Pauline Alpert

Irv ing Berlin's sensational new Waltz,Bal­lad, and the biggest popular hit that even hehas achieved in a long time. Indeed, it's one ofthe best things he ever did. Miss Alpert hasplayed it in a new and novel style, first insemi-waltz-ballad manner with delicate dy­namic effects, and afterwards in sprightlywaltz tempo. This record is an exceptionallyfine one.

There Must Be Somebody Else-Fox Trot . . . . . . . . 0460 $1.25

Composed by CottIer, Clare 13' Pin~hardArr. 13' Played by Alan Moran

An excellent new Fox Trot in a rather quietstyle , but maintaining a snappy dance rhythmthroughout. It has already made a big jumptoward popularity and promises to become aprime favorite. Alan Moran has arranged andplayed it in fine style.

Up in the Clouds-Fox Trot (From"Five O'clock Girl "). . . . 0461 $1.25

Composed by Harry RubyArr. 13' Played by Fred R ich

A wonderful singing Fox Trot that ranksat the top of the season's best in show music.And Fred Rich has made a masterly arrange'ment of it, in beautiful harmonic style, can 'centrating on rhythm rather than on ernbel­lishment. This is a marvelous roll to dance to,or to sing to, and a delight just to listen to.

What'll You Do?-Fox Trot. . 0462 $1.25Composed by Cheste r Cohn

Arr. 13' Played by Alan M oran

Another new Fox Trot in the popular hitclass, melodious and snappy and in great de'mand with dancers, splendidly arranged andplayed by Alan Moran.

--( Page Twelve )-...

iI'iI'iI'''iI'iliii/iI'iii/ililiI'''iI'iI~Ii iil iii i "ii ' ii! Ii i ii ! i ii iii iii IiU 'iii/"iliiiiil 'iI" ' iI' iii/ "'iI'iI'il iI ' "' ii' iI"iI'iI ii' iI'iI'iI'''iI'iliii/iI'iii/ililiI'''iI'iI<

Duo-Art Music Rollsfor January, 1928

Use this form to order your Music RollsCheckHere Number Title Composer Pianist Price

0461 Up in the Clouds (From "5 O'ClockGirl")-Fox T rot, Key of F . . Ruby

0462 What'll You Do?-Fox Trot, Keyof G Cohn

0463-D Five O'Clock Girl Medley (Instru­mental) . . . . . . . • • • Ruby

1.25

1.25

1.25

2.00

1.25

1.50

2.00

2.00

2.00

2.00

2.002.001.252.00

1.25

1.25

1.25

1.25

1.25

$3.00

2.502.252.502.502.00

2.00

2.002.251.251.25

1.50

Rich

Moran

Alpert

Rich

Moran

Mer ing

Bloom

M ering

Friedman

Armbruster

Rich

Seymour

Seymour

Seymour

Seymour

Milinows/{iMo rrison

Bergman

Brinli.man

Alpert

de BroglieChe r/{assb

Jacquet

Leopold

Pitot

Wilmington

Armbruster

Gordon

Bergman

Armbruster

Bergman

Keel

Conrad

Will iams

Baxte r C!9' Bowles

Friedman

Berlin

Seymour

Seymour

Seymour

Seymour

SmetanaBach· MacDowell

Kuhn

Brin~man

Gottler , Clare C!9'Pin~hard

Rodgers

Carl C!9' Fran/{Emler

GlazunovSchumann·Liszt

Puccini

Wagner

Seger

Arensb

Chaminade

Beetnoven-Seiss

Seiger

Donaldson

Johnson

The Song Is Ended But the MelodyLingers On-Waltz Ballad, Keyof E flat . . . . . . . . •

There Must Be Somebody Else­Fox Trot, Key of C

0460

0456

7200972020

72010

7204872038

7197872059

10359510360513216-S13206-S

7188-4 Serenade-du Pierrott, Op. 22, No.2Marquis et Marquise. Op, 22, No.4

71990 Grande Valse de Concert. Op, 41(The Valse in Thirds)

Spring Night .La Boheme. Act III ,Tannhauser. Act I (Part II) •

Amaryllis . .••••••

By the SeashoreCallirhoe-Air de Ballet No.4

Contradance, No. 1California Lullaby. Key of C MajorMy Blue Heaven. Key of E FlatSince You Went Away. Key of F.

Trade Winds. No .2 of Salt WaterBallads . . . . . . . . . .

9118 Listener's Music Guide Roll No.1Rhythm .

9128 Listener's Music. Guide Roll No .2Melody .

9138 Listener's Music Guide Roll No.3Chords . . . . . ~ . . . .

9148 Listener's Music Guide Roll No.4Musical Terms . . . . . . .

.................. S-31778 By the Seashore. Concert Etude,Op. 17 .

.................. S-31768 Gigue No.3. "Six Little P ieces"

.................. S-31795-S Land of Dawn

.................. S-31788 Minuetto0457 Dear, On A Night Like This-Fox

T rot Ballad, Key of G . . . .0454 I Ain't Got Nobody and Nobody

Cares For Me-Fox Trot, Keyof G .

0455 I Call You Sugar-Fox Trot, Ke yof E flat . . . . . . . . .

0458 My Heart Stood Still (From "AConnecticut Yankee" ) - FoxTrot, Key of F . . . . . . .

0459 Somebody Lied About Me-Waltz,Key of E flat .

wf&:r:

~c

- -.( Page Thirteen ,.•...

Popular SelectionsCheckHere

iiflil l I

.Twenty.. fiveNumber Title

I ,

Composer

Ii I Ii I !Iili i!!iili li i

Pianist Price

71300 "Rigoletto" Paraphrase/

71530 Scherzo Valse

71370 Songs Without Words. No . 44 and10

71658 Le Crepuscule

71407 Dans les Fleurs (V al se Lente)

71837 In a Monastery Garden.

71468 Melody of Love .

71178 Old Vienna (Alt Wien) .

71210 Pierrot Reveur. oe. 48, No. 5

71428 Serenade Badine71160 Turkey in the Straw .71338 Zephyr et Les Fleurs .

103235 A Brown Bird Singing103385 C'est Vous .103455 Forsaken103267 Songs of Bygone Days (Roll No.2 )713431 All My Life-Fox T rot .

713432 Are You Lonesome Tonight?-W altz .... 0 • •••

713430 Dancing Tambourine-Fox T rot713435 Good News - F ox Trot (From

"G ood News")

71289

71449

71630

71139

536-4

Barcarolle (June). Op . 37A, No .6 .

By the Sea (Am Meer) .

Forest Elves. Op. 70, No . 5"La Sonnambula" Fantaisie Bril­

lante 0 . . . . . ."Magic Flute" Overture 0

'fchai~ovsbSchuber t-Liszt

Schytte

Bellini-LeybachMozart

Verdi-Liszt

Moszl~ows~i

M endelssohnBartlett

Berger

Ketel bey

En gelmann

Godowsb

Schuett

MarieGuionBohmW oodGreenKoschat

Charig G' M yers

'fur~ G' HandmanPollaDeSylva, Brown

G' H enderson

Reisenberg

Vecsei

H ofmann

ArmbrusterGanz 13'

HutchesonCher~assb

R eisenberg

Legins~aVecsei

M ering

A rmbruster

Milne

Goodman

Good man

A rmbrusterPowellVecseiArmbrnsteTMilneBergmanBeTgmanMOTan G'

Feld~amp

AlpertAlpen

O hman

2.25

2.25

2.50

2.25

3.002.50

2.50

2.502.00

1.75

1.75

2.00

2.00

2.50

2.002.502.001.251.251.251.75

1.25

1.251.25

1.25

Ten Duo..Art Rolls that should be in Every Home7001-4 Sheherazade, Fantasia Rimsb-Korsa~off Pro~ofieff 3.005270 New World Symphony, No. S,2nd Dvora~ Ganz 2.506375-6 Tarantella Liszt H ofmann 3.50

70679 Jugglery. oe. 107, No. 3 Godard Reisenberg 2.2570418 Minuet a L'Antico . Seeboec~ Russell 2.0070547 Midnight Bells Heube rger Pesetz~i 1.7567258 Valse Caprice. Op, 7 0 :Newland Pitot 2.0066888 Eldorado Bartlett Pitot 2.0071139 La Sonnarnbula. oe. 27. Bellini-Leybach Armbruster 2.25

66489 Mikado, Se lec tion s 0 Gilbert 13' Sullivan A rmbruster 2.25

Date 192__

Kindly send me the Duo-Art Rolls I have checked 0 n this forrm-

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News Notes from the Musical FieldpADEREWSKI is returning for an other American

concert tour, which will begin on January 3, andend in San Francisco on Ap ril 29 , H is New Yorkappearance is scheduled for March 24 in CarnegieHall, It was in 1922 that Paderewski returned tothe concert sta ge after a long ret irement duringwhich he was absorbed in political activities, Sincethen he has made three Am erican tours, all of whichhave met with tr emendous enthusiasm and homageon the part of the public wherever he appeared .

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A portrait bust of Victor Herbert, executed inbro nze by Edmond Quinn and pre sent ed to N ewYork City by th e American Society of Composers,Authors and Publishers, was unveiled in CentralPark on November 29, and accepted on behalf ofthe City by Ma yor Walker.

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The A ssociated Glee Clubs of America have an­nounced a son g-poem contest, open to all comers.Its aim is announced as a quest for more songs forglee clubs; prize and term s not stated. The addressof the organization is 113 W est Fifty-seventh Str eet,New York .

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Myra Hess, whose beautiful pian o playing is againdelighting American audiences a fter he r absence oftwo years in Europe, is to have the honor of ap­pearing before Pr eside nt and Mrs. Coolidge at oneof the White House musicales in Washington thiswinter.

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Rich ard Strauss, whom many conside r the fore­most of living composers, became a grandfather onNov ember 1, when a boy was born to his sonFranz and daughter-in-law Alice, in Berlin .

composer-the man who wrote the famous Minu etwhich has become a popul ar radi o feature after allthe se years-have been taken back to Italy fromMadrid and interred in the Church of San Fran ­cesco at Lucca, the composer's birthplace.

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Shura Cherkassky is now 16 years old, and con­siders himself no long er a prodigy, but an artist ofsome matu rity. Consequ ently, at his recital s he nolonger appears in the familiar knickers of the boy,but in formal evening dress . In celebrati on of his16th birthday he had a delightful tr ip to Eur opeand Africa last summer. With th e enthusiasm andvenerat ion pr oper to youthful arti stic natures he wasliterally carri ed away by his trip , looking over Parisfrom the top of Eiffel Tower and was so int erestedin all the opportunities offered him th at he de­scend ed to the city mains investigat ing the powerhouses that are responsible for the manipulati ons offactories and railroads . Hi s visit to the grave ofChopin was an event for the young pianist as he isvery fond of the composer ; he attended the re­ligious services in the church of Notre Dame deParis and heard the doleful songs in the Mosquesin Africa. A trip through the desert of Sahara ona camel's back, swimming in Switz erland and atNice inv igor ated the youth so that he returned tothi s country revived and full of dr eams.

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"jazz is a heterogeneous tintinnabulation oftone s." Who said it? Th e Rev. Dr. Straton, BillySunday, the Archbishop of Canterbu ry, W alterDam rosch, Rich ard Strauss, Ernest Newman, theMay or of Boston , A rnold Schonberg, Aimee SempleMcPherson , or Sir Ed ward Elgar? No, indeed ."J azz, is a hete rogene ous tintinnabulation of tones."The person who said it was-hold on tight, reader-it was, Mary Garden.-Musical Courier.

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Kath arine Goods on , eminent English pianist, whohas not been heard in America for several seasons,is coming in March for a short visit of about sixweeks, p rimarily to make a number of new recordsfor the Du o-Art Piano but she will also give a fewrecitals while here. H er man y friends and ad mirers,howev er, will be happy to know that she will returnin Oct ober, 1928 , for a three months.' tour, afterwhich she will go to Germ any for January andFebruary, 1929 .

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From Italy comes word that the remains of LuigiBoccherini, noted Eighteenth Century 'cellist and

Answersto Mus ical ~uestionnaire on Page Six

1. A Hungari an nat ional dance.2. Franz Schubert.3. Frederic Francois Chopin.4. The Second Hungarian Rhapsody .'; . Ethelbert Nev in.6. George Frideric Handel.7. (a) Edvard Hagerup Grieg;

(b) Hans von Buelow .8. Isaac Albeniz.9 . Peter Ilich Tchaikovsky,

' 10. Chopin and Mendelssohn .

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