Music Magazine

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Part of Music Magazine

Title: Music Magazine
Issue Date: Volume I (Issue Nos. 2-3) December 1933 and January 1934
Year: 1934
Language: English
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extracted text: • VOL I-No!'. 2-3 VILLAMOR HALL The New Cor.servatory of Music and Fine-Arts Building Univers ity o f the Philippines /}J.33 DECEMBER and JANUARY IN THIS ISSUE: Is A Filipino Scale Existing? By Prof. Jerw vori Takrics How To Improve Octaves By Stella Whitson Holm es Do You Use Vibrato? By P1·of. R~imon Tapales Music As A Science And Art By Dr. H enry A. Start On Music Interpretation By Prof. Nicanor A.belardo En Ruta A Gnomolanda Por Prof. Antonio J. Molina Musique et Letres By Hila1·ic1i F . Rubio ANTOKTO J. l\TOLL.\'A C0T LECTION CONSTITUTION OF THE NATIONAL FEDERATION OF MUSIC (Continued 1 Special Music Feature: PALMA WALTZ ( VALSE PALMA) CONCERT WALTZ FOR PIANO v NINE PER CENT ANNUAL DIVIDEND ON PAI 0-UP SHARES OF P200.00 EACH PAYABLE AT THE TIME OF THE SUBSCRIPTION OF THE SAME Write Us For Prospectus SOCIEDAD MUTUA DE CONSTRUCCION Y PRESTAMOS 21-23 Plaza Sta. Cruz, Manila-Tel. 2-11-17 You Will Receive ~ We Offer I P2,000.00 LOANS MAl\I" ~Af°I" from us in exchange l~V~§TM~~T upon th.e security of i n c o m e ~producing for a monthly deposit of Pl0.00 for 120 f°()l2 "'(JU 12 r=u TU 121" real estate or months. ~ residences. PAN.FILO LACON_ICO President and. General Manager PAZ A. TAMBU:\l"TIKG LEONOR L. VDA. DE TAMBUNTING Vice-President Trea.surer LEONOR B. MONZON ROSARIO ARCIN AS Secretary Directress Rodolfo R. Cornejo Fou1Ule-r Alfl'ledo Lozano Hilarion F. Rubio Associate Editor.~ Room 9, La Defensa Bldg. Manila, P. I. SUBSCRIPTION RATES In the Phili ppi<1es : One year. . . . P2.20 Six Months . . 1.20 In U. S. A. and Foreign Countries: One Year (gold) $2. 00 P. 0 . Box 1545 Published Monthly as Official Organ of the National Federation of Music SingJ.e Copy . . . 2Q l '-'-'~~~~~~~~~~) VOL. I II MANILA, P. I., DECEMBER, 1933 II No. 2 EDITORIALS CHRISTMAS SPIRIT To have a true Christmas spirit, we must understand and appreci9te the 11piritual aigniftcance of thia glorious day when Christ came to re~eem us, to ahow ua how to be humble and clean, and how to be good and kind to others that the world may be in perfect harmony. But one thing we cannot overlook is the fact that muaic playa an important part in making Chriabnaa day more joyous and happy, for then we often hear the ringing of the bella that awake us from our deep slumber very early in the morning from the 16th to the 24th of this month, the customary playing of the band throughout the streets before the masa ia begun, and the happy chorus that is sung during the ceremonies to remind ua of the coming of the Lord, Jesua Christ, from a humble parentage at Beth.hem. Christmas spirit ia Christ's spirit, and Chriat'a spirit makea the real Christmas. Real Christmas, in other worda, does not mean the celebration of th,e birth of Christ with exceaaive eating, drinking, and dancing, but it aervea to inspire in us the aweet and bleaaed memories of Chriat'a wholesome and useful life which every good Christian should emulate to make present life worth living. SUPPORT THE FEDERATION The National Federation of music has been organized, not for any selfish motive on the part of its organizers, but for the sole purpose of inviting all musicians of this country to join in and lend their support to this organization that it may accomplish its noble aims and purposes to serve ·the beat interests of -the musical world here and abroad. While it ia true that there are at present existing several musical clubs, guilds and associations· in Manila and other parta of the Philippines, yet it can not be denied that no attempt has so far been made to bring all auch organizations into a better mutual understanding and co-operation aa thia National Federation triea to accomplish as a part of its minion. Its aim. muat not be miaunderatood as to mean the absorption and control-of such associations by thia Federation; no, on the contrary, its aim is to help each and every on·e of them and not to obstruct their progress, to cooperate with them rather than to discourage them in their work of promoting music as an art and as a profession. If each and every musical association, guild or club ahall only aend its representatives to the convention of the National Federation of Muaic of the Philippines, it will be· much easier to ac"compliah the work of nationalizing and improving Philippn-e music that it may atand on the l• evel of European and American compoaitiona. By this we do not mean to belittle the quality of our local muaic, but th~ plain truth ia that our muaic has no universal acceptance, that it is not knowin to other people of the world and no effort has as yet been made to elevate its standard. To encourage our ordinary musicians in their career and to im.:prove their knowledge in musical arts, the NatiO'nal Federation of Muaic ia organized with a view to extending them auch help or service that they may ne,ed for their guidance. Support the Federation by joining it without further delay. 4 THE MUSIC MAGAZINE Decem\Jer, 1933 ltiA\ILIL PROGRAM OF THE DEDICATION CEREMONIES On Wednesday, Nov.ember 29, 1933, at about !! :30 a. m., the Villamor Hall was formally inaugurated with fitting c•eremonies. His Excellency, the Governor-General and staff, the Board of Visitors, the Board of Regents, the Acting Archbishop of Manila, the President, the Spomors, the Deans and Directors of the U. P. CoUeges and Schools, and the Faculties of the Conservatory of Music and School of Fine Arts entered the hall, followed by a select crowd of people who witne$ed thoe occasion. The sponsors were Mrs. Marguerite Murphy Teahan, Mrs. Manuel L. Quezon, Mrs. Quintin Paredes, Mrs. Sergio Osmefia, Mrs. Rafa.el Palma, and Mrs. Ignacio Villamor. The prayer and invocation was performed by the Most Rev. Mons. William Finnemann, acting Archbishop of Manila, while the dedicatory addres9 was delivered by the Hon. Rafael Palma, President oi the University of the Philippin1 es. His Excellency, Governor-General Frank Mur·· phy, ·made a stirring address which won thoe admiration . of the entire audience. Among other things he ·s~id: "In present day life, we place too much emphasis on bread - on the material things. These are important enough and even indispensi.. ~ble, but man has spiritual yearnings and cravings that must be satisfied. Musfo is the language of man's soul: through it he id•entifies himself and it r:rnst not be denied him.'' Governor Murphy enumerated three qualities of an educated mind: First, the mind that is always curious, always moving on endlessly, neV'er standing i:::till or idle; second, freedom from bigotry or intolerance, respecti:iiig the opinion of others, no matter how humble or lowly, nor how great or powerful; and third, interest and appreciation in the choice of things of life-things of the spirit, the sweet harmony of sounds. "Let us," he said, ' 'in that sens•e aspire to be educated." In this connection he spoke of the flowering of musical genius which followed the French Revolution when society was in despair and national life in decadence and ruin. It was out of natures and out of their belief in spiritual values this era that there came forth those remarkable geniuses who, from the depth of their spiritual natures and out of their belief in spiritual values gaV'e the world undying music. President RAFAEL PALMA of the U~ver~-ity of thei Philippines Whose patronage of art and m?A.sic S·tanids as invulnerable fJJ8 the benutif ul ~md imposing building which he has erected in the preservation and cons.ecratifm of the intangible elements of culture. and civilization in this cow1t·ry. Dr. RAFAEL PALMA He spoke of the life of Mozart who, from infancy, showed such remarkable musical genius and, who in hi~ early thirties, died a poor man after havi~g lived a lif.e of hardship and suffering. Nevertheless, he had left mankind a priceless and imperishable lPgacy in his inspired compo~~tions. "Lt us diffuse the sunshine of music," he said, and pointed out that in the grinding poverty of all kinds' of depression there is a clear call for music. The beauties of idealism and culture in our hands should be diffused so as to give light and hope throughout the nation. Governor Murphy concluded his speech with a plea for a better appreciation of mmic, which, he said, W!ould bring joy and happiness to the humblest of the land. The music during the morning affair was furnished by the Philippine Constabulary band. At 9 :15 P. M., the gala concert was successfully held. On Sunday, December 3, 1933, at 12 :00 noon, the inaugural luncheon wa9 held under the auspices of the Senior Class Organization of the Conservatory of Music; and at 9 :00 p. m., the formal r.eception and ball was held at the Concert Hall. About five hundred people attended the ball which lasted until 12 :00 midnight. l>ecember, 19:3:3 THE MUSIC MAGAZINE 5 Ignacio Villamor, First Filipino President of the University of the Philippines SPEECH DELIVERED BY PRES. RAFAEL PALMA, UNIVERSITY OF THE PHILIPPINES, AT THE DEDICATION OF THE VILLAMOR HALL HELD ON NOVEMBER 29, 19::rn. "Man is not content to loV'e and revere the memory of his kind in his bosom alone, but is urged to give outward expression to those feelings. Thus, he builds monuments of bronze and marble, imposing mausoleums, stately shafts of granite as material tokens to evidence his respect and love for his departed contemporaries. So it is that today, in obedience to a ;resolution of the Board of Regents, w~ find ourselves gathered together to dedicate this building to_ the memory of Ignacio Villamor, - the second pr>Zsitlent of the University of the Philppi·nes. . He was truly . a great mind and a great heart. Born in Bangue<l, Abra, in 1863, of humble parentagie, -he climbed to the highest positions in the government and to an enviable social standing, not through scheming and political pull but through sheer merit and ability. As teacher and educator, as judge and Attorney-General, as Executive Secretary, as President of the University, as Census Director, as Justice of the Supreme Court, as scientific researcher, he exemplified in himself that versatility and catholicity of knowledge which is the privilege belonging only to a select few. In the domain of the huJnll,nities and of law he gained recognition for the valuable works that he published and that now remain as lasting monuments of the productive activity of his mind. P0 erhaps the most outstanding characteristic of his life was his unceasing love for self education. Education, it has often been said, is fundamentally a readaption of the individual t"O his environment and to subsequent changes. He did not rest content with what he learned from the old school system. He cultivated himself, and like a perennial tree that renews its foliage with every season of the year, he grew in intellect and wisdom with the passing· of the years and wit·h the ever cha·nging condition of his ag·e. This was the reason for his success in the various governmental positions that had fallen to his lot. He was not shackeled by inertia but was ever alert and responsive to the influences of the times. He not only accumulated information that built up a thinking power which he turned at will to any. subjects on . which he was called upon to pass judgment. His eye was critical, his mind open, and his heart overflowing with human •emotion. To him eduHON. IGNACIO VILLAMOR Firllf Filipino PrPsidnit of the Ur..•ive.rsity of the Philippines to whom the Co11eervatory of Music aad the School of Fine Arts Building la dedicated by •lrtue of a resolution of the Board of Regent• upon recommendation of the U. P. Alumni AHocfation. cation was not such muclt · external accretion, but the inner growth and expansion of his own faculties. So, as by this testimonial of reverence we l'ecall his memory in our midst, we cannot hdp gathering from a glaHce at his life as a public servant and as a private citizen, the highly significant lesson that t;ho&2 who aspire to be truly educated cannot afford to stop where they are, but should forge ahead, making every step an impulse t"O something higher; and that through s-elf development and judicious employment of the faculties, one can rise above the flattery, the din and rear of our every~day life. The man after whom we nav·e .named this edifice aRd to whom we now dedicate it, love art and music, appreciated its ennobling influence, and believed in its great poi:sibilities as a cultural and civilizing inf~uence in this corner of the globe. So, a'S day by day within ,these halls, the artist and the musician come in and go out for their education they can draw inspiration from the life of such an eminent mru1 and citizen who always found, solace and contentment· in work and study as a means to enhance his knowledge and usefulness in the service of his people and the State. The memory of this solemn manif~ estation will fade away but Villamor Hall will stand the yicisitudes of Time, a mute but eloquent testimony of our esteem a:nd veneration for a man who in life wa~ Joyed,_ and in death, reYered. fi THE MUSIC MAGAZINE December, 1933 Concert in Honor of Dr. Rafael Palma, Outgoing President of the University of the Philippines The above picture of the members of the fMUlty UJnd stwdent body of the Con<b ervatory of Music, u: P., wa.q taken at the Vill:amor.Hall shortly after the. oonoert was held on the evening of Decet1• ber 18, 1933, with the gu<>• Ht of honor, Pres. Ra/Ml Palma, seared in the. ce.nt er of the front row. All of them took part in the program. A concert in honor of the outgoing President of the University of the Philippines, Dr. Rafael Palma, was given by the Faculty and Students of the ConservatoTy of Music, U. P., at the Villamor Hall, Taft A venue, on Monday, D>ecember 18, 1933, at 9:00 p. m. The program was as follows: PART ONE I. Over.ture. to "Lod~iqloa" • Cherubini ConservatOTy of Mu.qic Orchestra. Antonino Buenaventura, oonducting II. "Blue Danube" . . . . . Schulz ·Evler Piano solo--Paci/ico Ba~<>n Dr. Santiago's Speech III .. Concerto for Two Violins. J. S. Bach Veneranda Acayan, Rizalina Exconde Lrorg01 ma non. f!alnto Lwrgo String Quartette accompaniment 1st Violin . . . . Gelso Estirella 2nd Violin .... . Marcela AquintJ . Viola . . . Federico Da'IX£l &iintos 'Cello . . . . . Modesto Ma~z Pianoforte Ripieno Purijicaciun Papa IV. (a) "Good-bye • . . . Tosti (b) Ritorna Vincitor" aria from Aidn . . . . . . . . . Verdi Matilde Rivera-Soprano Bernardino Custodio--Accompainist V. "Angelus" . . . . . . . F. San,tiago \\'omen's chorus in three voices with orchestral . accompaniment The Director, Conducting PART TWO I. Trio in B fht m1jor .. . ... Schubert First M<>Veme-nt-Allegro Manila Pro Arte Trio Piano . Violin . 'Cello . II. "Pahimakas" . Jeno vono Takacs . . Ramon Tapales .. Regina Ftildman . . . N. Abelardo Suprano Solo with orchtstra accompaniment Paci ta Nolasco The Composer, CorJducting III. Cun.cerrto in D minm- for PiaMf orte a·r..C. Orchestira . . R. Cornejo First Mo-.:e1 menl-Mat>stoso-.4llegretto Rodolfo Cornejo The Director, Cond• ucting IV. (a) Hymn to Presider•t PalmaF. Santiago (b) "Sumilang na . ang Ma~nubos" (The Birth of the R edeemer) Philippine Christmas Carol . . . F. Santiago Words by Deo. del Rosario Mixed Chorus with orchestral accompun°'ment The Director, Conducting Subscribe now to THE MUSIC MAGAZINE t> 1.20 for 6 months or P2.20 a year. Dr. Santiago's. Address Dr. Frnncisco Santiago, director of the Conservatory of Music, University of the Philippines, made the following speech at the banquet given as a part of th1e dedication and inauguration ceremonies of the Villamor Hall on December 3, 1933: " My Friends :This banquet is part of the dedication and inauguration c2remonies of the imposing building of the Conservatory of Music, named after the la·te President Ignacio Villamor of the University of the Philippines. When the fruitful administration of the affairs of the University of the Philippines of our beloved and est-eemed President, Hon. Rafael Palma, patriot, statesman, jurist and scholar, is recorded in the pag•es of the history of our educational progress, his interest for the development of the Conservatory of Music and the uplifting of Filipino musician will be recounted as one of his paramount attainments. As I stand befo1'2 you today, I cannot help but feel elated for being associated with the Conservato.ry of Music, one of the Departments of the University of the Philippi·no2s. I · am sure each and every one of you harbor the same feeling, a mixture of pride and gratitude for the man who has done his duty well as the head of the high~st institution of learning a:nd who has cherished most the ennobling purpose of elevating the standard of Filipino Musician. (Ccmtinurd on p<rg.e 7) THE MUSIC MAGAZINE 7 IS A FILIPINO SCALE EXISTING? Prof. Jeno 11on TnlrocR If we want to know something about original filipino music, we have to begin with the primitive people. The cultivated centers of this Island arc: too much under the influence of nev. civilization and culture, and through the adoption of foreign musical elements, they use the commonly known minor and major scale system. But if we go to the more remote places like Bontoc, Zambales, Abra, etc., we find an unusually rich usage of the pentatonic or five-tone scale, not necessarily of chinese origin, but may be still just as originai and as old as the chionese ritsu9an-scale (g, a, b, d, e) which is known in Science as the anhemitonic-pentatonic scale (f!ve-tone scale without lalf tone steps) one of the oldest among all we know. As very little purely musical library material is available about PhiHppi:oe primitive music, I undertook severai trips in order to collect original melodies. If we have recorded melodies enough of the same people, we can deduct the scale, which is the most used. So I found that especially the N egritos of Zambales were using the pentatonic scale in a form which has a·n entirely different character from the chinese scale. This difference is made through the augmentation of the second note with a half tone so that the negrito scale is composed of: G, A shaip, <..:, D, E, or in mo:ie developed form with 6 tones, likEl B, D, E, F, Sharp, G, A. Between A sharp and · E we have three By Prof. Jeno von Takacs Jn;;.trnctor in Piano and Compositioi1 Conservatory of Music, U. P. whole-tone steps ( tritones), which is very characteristic in modern music and is forbidden in our harmony a'lld counterpoint books. I have not seen any other people 6f this island · using this scale. The Tinguians o( Abra are usi·ng besides the chinese minor and major scale, the Japanese' "Hyojo" which is probably independently developed from Japan, which country is almost entirely based upon the chinese system, which is from the standpoint of history, the oldest, as they had in China .already many thousand years ago the standard bamboo pipes tuned like our present tempered chromatic scale which is a "proud" physical musical invention of our 18th century. One thing is almost sure: Among the primitives of this Island, we can find characteristic and original scales. but about their age and origin, history never will be able to give even an ap1noximatc conclusion. Dr. Santiago's Address (Continued from page 6) This Villamor Hall will stand perennially as the living monument' to the successful efforts of our distinguished President Palma in his tirefass endeavours for the dignifyrng of music in our country. The commemorat;ion of the 18th Ann;versary of our dear Conservatory of Music brings back 'L'v our :::.1ind its modest begi1mings, amidst an unsympa · thetic influence, when to be a musician was regarded below the standing of a p.ofessional. But with the cooperation of all, faculty memb3rs anl students, the efforts of t'!l'e Presidents a.1d Boards of Regents are now bearing fruit, as the Conservatory has slowly but st3adily developed into its impoitance of today. As I vi•3w the progress of the Conservatory since its inception 18 years ago, the personality of President Palma projects itself in the background, because he was really the surging force who push>3d the institution to the forefront. He is a patron of music, because hf' is a·n artist, and music is art in its finest expression. In his endeavours to uplift music as a profession, he sought to develop the spiritual side of life, becaus3 music, good music, is essentially for the inner feelings of ma·n. Dr. Fmncisco Santiago We .regret that President Palma was unable to join us in this banquet, but he wants me to convey ·to you his greetings and g6od wishes for our continued progress. Because of what· our beloved P .resident Palma has done for the Conservatory of Music, we the members of its faculty, its alumni 1tnd the student body want to express to him our eternal gratitude for his solicitous interest and devotion to the musical education in the Philippi·nes, which have resulted in the uplifting of music as a p.rofession. We want to also voice our deep regret for his impe.1ding departure as the Head of the highest institution of learning in the country, as it will deprive the youth of the land of his wise counsel and guidance, of his same preachings and ideals and of his inspiring tutorship. May Providence grant him all the success he fully deserves in the new line of activities to which he has chosen to devot,3 his tested ability! In closing, permit me to ask you to sta·nd in silence for one minute in communioa with the late President Villamor. Permit me also to enjoin you to continue lending your unreserved cooperation so that our Conservatory of Music may attain higher heights in its advanceme:rit and progress. I thank you. 8 THE MUSIC MAGAZINE December, 1933 HOW TO IMPROVE OCTAVES Many otherwise proficient pianists still lack the achievement of clear, clean octaves. Others may accomplish their performance, but become completely exhausted by the time a few measures are finished. In eradicating a fault the first step is to discover its cause. Now, faulty octaves usually have one of two sources. First of all, t'he trouble may be in the hand, which may be too small, may have too short fingers, or may be too tightly bound. The second cause-and this is the more general one-is that the player has not taught himself to endure whatever stiffness or CO'lltraction is neCesSary in octave playing. It is a fact that the hand cannot be so relaxed in playing octaves as in scale passages or even arpeggios; and so the pianist must train his hand and his mind to minimize tenseness and yet to endure what must exist. However this probl0 3m may bc attacked, it must be done with both great slowness and patience. Many good hours may be lost if the player becomes encouraged to speed up his work before he is really ready to do so. In fact, should he achieve good playing of octaves, it will be necessary to take them at various times at slow tempo, lest they doeteriorate from constant rapi'.l practice. One must keep the attitude that he is "practicing octaves," even in his better performa'lloe, lest he become mentally sla::k over the belief that he has complet:!ly achieved them. TAKING RISKS Octave Playing involves so many risks that the tE1acher of young pupils may well be discreet in the selection of pieces and studies where octaves are found. A small, undeveloped hand may be spoiled for many years, for chord and octave playing, if these are introduced too early or in too large doses. A small hand-of adult: or child-will c!o well at the beginning to practice occasional octaves rather than entire passages or pages of them; for the small hand will need to stretch to play them more than the large, well-deV1eloped hand and will weary more easily. In either case the problem is mainly one of endurance. Much of slow, patioant practice will be needed, for rapid playing when undertaken too soon means an Bg STELlA WHITSON HOLMES undue stiffening of the hand and arm muscles. Let us discard the printed page and do our octave-practice as we do much other technical work, by using the scales. If we can visualize a hand grasping a dipper, which dips up water with sudden speed, only to flrng it out, bottom-side up, with equal foroe, we will have a picture of the hand in gool octave-playing. By this is meant that the hand swoops upward in striking accented notes, dow.1ward for unaccented notes. In swooping upward on the accented ·note, the hand flies upward and the wrist downward. In playing the unaccented beats, the wrist is upward and the hand hangs downward from it with this action slightly increased at each note. This action tends to reli0 eve the monotony of many consecutive octaves, . produces a clean accent a•.;d rests the hand and arm by keeping the mind clear. Let us take first the problem of poor or weak tones. The problem of making both tones of the octave clear is simplified if ·each tone is studied separately. For example, let us take the descending scale of E Major. Instead of crashi•ng haphazardly through it, in octaves, to commence with, we shall first take the thumb and exercise it alone. Using the action described above, we s'hall practi~ ~ry, very slowly, bei·ng · careful each · time that the thumb has moved to its new tone before time to strike. This is the main benefit to be derived from slow practice. Be sure, also, that the hand is kept perfectly rela:xoed. When this can be well done, then try the same scale descendi•ng, with the fifth finger only, being always careful that the finger slips without effort or spasm to th:! next key in anticipation of the time to strike. These two exercises emphas.ize the need of both tones of the octa.ve being dear; anl they will help the ear to judge better as to whether or not they are of equal stTength and clearness wh::?n taken together. After both have been practiced a reasonable number of times, it is well to alternate the two, listening krenly to see that the fingers have accomplished an equal performance. Having attended to dear, clean tone production, we are now ready for the problem of endurance. Since the hand must achieve its widest possible extension, it is incumbent that all unnecessary stiffness be eliminated. Slow practice here comes partially to the rescue; but slow practice is not always enough to i•nsure octaV1e-playing that is not too tiring. Some other practice may be needed as a gradual up builder, so that the hand does not take the "home stretch" on insufficient preparation. A good endurance study is to ''measure" the octave from finger to finger, sinking down upon it i'Il a relaxed but poised state. Now lift the hand slowly to the top of the keys, being careful not to stiffen it in the least. Tip inward on the thumb a'lld, with 'this stretched and poised position, play the note for the thumb only. Greater judgment than ever will be needed, to keep out all undue stiffening while the hand remai•ns stretched, and, at the slightest stiffness or trembling, to let the hand sink back on the keys or lap to ,rest. When -rested, try measuring again with the same care as to relaxation, and, lifting the hand to the key-tops, tip outward and play the scale slowly with the fifth finger. When this latter exercise can be successfully performed, then work up gradually toward the main difficulty. To do this, "measure" the octave as before, with a relaxed, poised ha!lld, sinking to rest on the keys. Lift carefully to the keytops, strike the octave clearly with the upward stroke, t:ip inward, and play the unaccented notes with the thumb alone. When th.a octaves ring out· more clearly, play 8!11 octave for the D-sharp and G sharp also. Reverse this practice by playing with the fifth finger. Now add octaves to the performance until the whoJ..e scale is played in octaves. This filling in of the oc~ taves, as improvement justifies, induces good concentration and cooperation between the mind and muscles. By keeping the hapd stretched and poised without over-stiffening in the foregoing exercises, the hand and arm muscles are prepared more gradually for their final task of playing the octaves complete with increasing clearness and endurance. December, 1933 THE MUSIC MAGAZINE 9 By Prof. RAMON TAPALES Instructor in Violin and Chamber Music, Conservatory of Music, U. P. To this question, any mediocl"e violinist would readily give the answer yes or no according to his practical experience. But an i·nt'elligent violinist is prone to answer the same question with another question, especially if he suspects the inquiror to be not well versed in the subject,-"What kind of vibrato?" Of course, this counter-question is seeking to differentiate the correct from the wrong kind of vibrato, which the average layman or the second .rate violinist cannot usually disti·nguish. And yet, as Carl Flesch says in his Art nf violin playing, "Not one of the famous violinists likes the vibrato of the others" This observation may be true, although it cannot be denied that all of them use one or another correct kind oi vibrato. Clearly, then, the real differentiation lies in the difference of personalities and tastes, and in this is to be found the reason why all the famous violrnists are considered great. Should all of them play in the same way and give the same emotions to their hearers, not one of them would be as great as they are now. The very sameness of their playing would give them the semblance of oneness of pattern as if they were to bear the same factory name or trademark. Of course, there are many factors that influence an art:st's p~rsonality, but we shall limit ourE>elves to vibrato as the most important of all these factors. Again, quoting Carl Flesch, "if different violinists would play natural harmonics on a certain open stTing one after ancther, only by chance can we dh:tinguish them separately." Only when they use the vibrato can we recognize each of them di~tinct'ly. And we can go on citiong many experiments to prcve that vibrato is ialmost the only m::aEs. by which a violi:aist differs from the re£t. Two violinists differ from each other not because one uses a faster vibrato than the other, for two violinists who use the same speed of vibrato can be as cO'ntTasting as heaven and earth. The truth of this assertion can be J:'leadily recognized by any one _ who has had the chance to hear such world famous artists, for instance, as Adolf Busch and Yehudi Menuhin, or Lehner of the famous Lehner quartette. The real difference lies in something psychic, very much outside of technique. A Einger does not give that wavy effect in her voice just for the sake of doing it; it is her emotio:is, her passions that give that vibrant and intense ardor to ev·ery tone that she produces, and unless her feeling is studied and artificial, the viProf. RAMON TAPALES brato is subject in the same way to different shades. After all, the violin is the instTument that most .closely approximate' the human voice; consequently after mastering the technical difficulb es of vibrato, it must be used only as . a remit of inspiration a'l}d emotions. Here is where real artist~ differ if they are sincere in th~ playing and interpretation. Those who abuse this phase of a violinist's prerequisite can be termed either as amateurs who have not yet developed their taste and sense of proportion, nobility of line, or as absolutely insincere and are only after showmanship and eff.ect for the gallery's applause. Leopold Auer O'nce said, '"'An excess of vibrato corresponds to too much dessert at a dinner being cloying to the appetite. Nor is too little vibrato desirabl·e since it Eounds cold and stiff." But suppose we want to give the effect of a calm, rather indifferent phrase, what then,-for after all music does not wholly consist of warm and exciting phrases? Certainly, we must use the least vibrato, directly proportional in intensity to the volume of tone that we must produce in order to get the real color. I do •not mean to belittle Auer's assertion, but I want to make it clear that it is not the speed of the vibralx> but the inspiration that counts. With his prescription of "not too excessive and not too little," how can we determine the exact dose? And even if we could, must it always be that amount throughout a piece? Surely this is not what Auer means when he wrote that phrase; but he certainly wrote it only for ·good violinists, and he knew that they know what is proportion. As to the technical phase of the question, untill now there is still a gr.eat diversity of opinion even among the great pedagogues in violin on whether vibrato should· be taught or not. I do not propose to end the con~ troversy by a categorical pronouncement as to which side .is right and which is wrong. All I can do is to express my personal opmwn, however - humble it may be,--an opinion based in the limited teaching experience I have had since I started as assistant teacher to Hermann Kaplan and as a regular teacher from then on, and it is this: whether· vibrato should be taught or not depends upon the predisposition of the pupil's left hand. This is not mere theory but is based on practical observation and experience. I hav.e observed that m cases where there is no vibrato predisposition at all in the left hand, no vibrato over develops without the aid of such methods· as those .employed by Rivardi, Carl Flesch and Auer. In cases where vibrato predisposition exists, these methods have served only t'O confuse the natural movement of the wrist a:nd arm, so that ninety out of a hundred acquire a stiff .wrm vibrato, or a very slow wrist vib-m to, which gives the effect -0f the meawing of a cat, or eV'en very quick vibrato of the fing.er. My personal and humble opinion of an ideal vibrato is that which is produced by the coordinated movements of the finger, the wrist and the arm combined. The arm regulates the movements of the wrist and fingen> which must almost be completaly in a state of relaxation. The arm itself, however, should not move outwardly, i.e. its mov.ements must be almost internal, i·nvisible :-it .represents the motive power. Some teachers preach the thwry of holding the neck of the violin on the thumb only while vibrating. This is all very good, if we are to limit ourselves to that already well nigh old fashioned way of using vibrato only in sustained notes as in the time of Sarasate, Joachin,' and Ysaye". But in this modern time of ours, when the ideal playing consists of continuous, though not by any means 1A•nif orm, vibrato, we cannot possibly adopt this way of holding the (Continued or1 page 10) 10 THE MUSIC MAGAZINE December, 1933 MUSIC AS A SCIENCE AND ART By Dr. HEN.RT A. S'T AR'T There is a wide-spread idea that music is a luxury, not in any sense a necessity; that musicians are a pleasureloving and giving group of practically useless individuals who are to be tolerated, but hardly encouraged; and that the study of music oug'ht ·not to be taken seriously, as .it should be thought of as a pastime only, and never as a vocation by anyone with any considerable amount of grey matter in his head. All which, . as is usually the case with popular_ opinipnf 8/lld prejudice11, is nothing but pure, unadu,lterated BUNK. If music is of so little use in the wwld that we can afford to think -so lightly of it; just why did the All Wise Creator pay so much attention to it when He was forming our Universe?· There is so much music in all nature that one is apt to wonder if Creation is not largely for the sake of disseminating music in one form or another. Most a:nimals have vocal organs or musical instruments which they . use for producing their special · .species of music Ducks quack, hens cackle; roosters crow, horses neigh, asses bray, birds twitt'elr and sing, crickets and other insects make musical sounds by rubbing their wings together, flowing waters munnur, winds sough among · the. trees, · the ·heavens roar with thunder, and we are even told that the stars of the moming sing together the music of the spheres. Surely God must hold music in high esteem or He would not have made for it so large a place in Creation. How shortsighted are those men· who think music has no place in this busy world of ac .. tion and accomplishment! It is but rarely that one meets with a lone individual who says he does not like music. In the vast majority of men, music is the source of the keenest pleasure and insviration. Indee,d it is generally acknowledged that the man who does not enjoy music has something radically wrong withi•n him, and, . a"1 one bard puts it, is only "fit far treasons, strategems and spoils." Therefore be careful, thou wis~ man of big business who can see naught of good or value in music, or you may haply finti yourself classifi.ed in a most uncomplimentary manner. Mlisie is· the answer to a great primordial demand in all our souls. What healthy child does not seek and thoroughly enjoy a big noise? It is music to his ears and without it occasionally he will be dissatisfied and unhappy. Properly cultivated, this primitive urge will develop into a keen appreciation of the highest_ forms of the musical art. Music is true tonic to a tired body. Thousands of overwrought businessmen find rest and relaxation in listening to their favorite forms of music. It has been scientifically established that under the stirring strains of martial music, soldiers can endure more and often ac-_ complish the seemingly impossible in their desperate onslaughts. Tired muscles respond gallantly, the fading eye lights up again, courage is renewed and hope's flickering torch .relighted by the passin~ of a military band. Music has actual therapeutic value in the cure of the sick, especially those mentally deranged. This has long been known but it is only recently that it has been given anything like the attention it deserves. Who of us would da:re deny that the lulling sound of moth.er's voice has actually eased our childhood pains? Simple as this may sound, these early experiences have developed into a scientific exposition of the effect of music upon the sick. Today there are hospitals where certain diseases are regularly treated by listening to properly selected music. Any mus1c1a:n knows that a Tarantelle is a musical composition that is considered to have a good effect in soothing the convulsions resulting from the sting of a tarantula. 'l'his may be more fa:ncy -than fact, but to· day, in advanced medical circles it is frankly acknowledged that some hopeless forms of insanity are gre::.tly benefited by listening to soothing music. Much of Ute· disrepute into which music has f..iiel1 is due to the unwi'ldom of musicians themselves. As ::i. class they are markedly unbuEinesslike. Perhaps their professional tasks so fill their minds that they have neither energies nor .inclinations left for other matters. Hence, the disorder in their ranks, the lack of organization and the absence of discipline. Of late years there has been noticeable improvement in this respect. Gen. uine, businesslike, wo.rkable musical clubs and federations are being established everywhere, a step in the direction of wisdom and success. For this reason, the writer wel::omes wholeheartedly the appearance of a Philippine Federation of Music. Their aims are praiseworthy and success ought to crown their efforts. Let us all give them our hearty support and do our best to aid them in bringing order where heretofore 0111.:v chaos reigned, in creating 'harmony where before was only cacophony, and in placing the divine art of music in its proper sphere, as fully equal . to any other of the arts and sciences. DCl YOU USE VIBRATO? Continued from page 9 violin if we are not to endanger our intonation. We know, as we ought to know by now that perfect intonation comes not only from a good ear but also from the correct and steady holding of the violin's neck and the correct shifting from one position to another. With only the thumb holding the neck, we are deprived of that sure grasp that gives us the full control, mental and physical, of the intervals. Coming back to vibrato, my first advice to students who are studying it is. to be patient!! Vibrato is one of the hardest and longest to acqUire. It can not be mastered (if it must be studied) by starting to move the finger, the wrist and the arm all at once. Study the w,rist first, then the finger, and then both with the arm. This requires not only time a:nd patience but concentration and energy. My next advice is that vibrato should not be studied with a printed instruction as the sole guide. Only the teacher's observation and even his psychological study of the pupil can decide what kind of treatment he shoul~ giv.a a beginner .and what must be done to corre::t a wrong vibrato already acquired. If the teacher requires a student to aba:ndone the vibration wholly, ·it does not mean going ba..::k t'O the A, B, C's in his studies but simply taking the short cut, in the abandonmant of what is wrong, the application of a careful analysis, the giving of rest to a tired, almost uncontrolable hand. But beyond all these theories and a:nalysis, there is still a most important rule to follow to gat the quickest result in studying the vibrato or any other phase of technique in violin; and that is,-the pupil must have absolute faith in the teacher but without following his advices blindly. H.e must understand the explanations clearly, and in studying at home he must use the utmost of concentration, avoidi•ng, however, forcing himself to work if he is too tired. Intervals of 5 minutes for ;relaxation ev.ery hour may be practised if necessary. The teacher's part, I need not write here, fo;r I have confid-3nce that all my colleagues (at least in Manila) are able to handle each and every case individually, according to the intelligence, physical. psychological condition, and whatever other peculiarities a student may present to us for solution. ~ a -lemco. ' - • ... .. . - - • ,.., " .. I I - ... _, • ... .... - - It. - Ni112-tee11 lhir-ty four w i II lou~~ (\Fie\ Wi-'h JOY bet - hr ~ it~ wou ld'nt b.z so bit - Ur - - ... - - _, _, ..: I _, .., - t.. - .... -· - ..... - - ,,. - -I \. IL - • -ft• V' Grlfrishnas itella (Christmas Song) Words and Music bv RODOLFO R. COR~EJO wait- ing, hcq> - VY ' (he er- Jtll, # I mas f)Q.11$ art mu~ t rJ-'t b" 11'1U5t n"t ba ring - !"§, rin§ - in§ c.ry- 1~g. c.ry- 1n9 worr-_v1ny, worry-1ng = ho1d for pros - pt - T• - ty - iokt '1 ~la5~ of win~ - doin~ a 11 our pad· - ~---=====t========:::t:=fa l " ~ - - ..... ~ - - - ., , u Hap - brin~ u~ PY heul h - Stnnd (\t1 d ;f we on - lg ..... - - - - ... - - - - I - - I .......- .. I ... I . - I ' - • sft! days0 y_ou'll too.st 1\ nitjh I tuk~ it lieiht' ' - I • -(}I - I - I - - ~ .. c-op~a..lo l'"r du.An 81n•sa. - .. ... •II '' . . . . ~ 12 THE MUSIC MAGAZINE Th~ Stud•ent Council of the Conservatory of Music, U. P. December, 1933 Mr. Diosdado Risos, tire first man standing in the last row of the picture her_ ein, died after a short illness on December 27, 1933. Mr. Risos was a trombone soloist in the Conservatory Philharmonic Orchestra and first trombone player in the U. P. Cadet Band, with the rank of Cadet Sergeant. He was a student in piano in the Conservatory of Music, U. P., and an active member of the National Federatian of Music. He took part in the fav.'!well concert given December 20, 1933, by the members of the faculty and student' body of the said institutiar. in honor of Pres. Rafael Palma. Though at that time he was not feeling well, still his willingness t'O perform his duty induced him to play for the last time as trombone soloist i•n said concert. The U. P. Cadet Band, the Conservatory Philharmonic Orchestra, the entire Conservatory of Music,. U. P., and the National Federation of Music, greatly feel the irreparable loss of such a gifted young man, whose devotion to duty is worthy to emulate. Tlti I~ 1()() ~ii~ 112 VA\ lr1() 112 "1 1() If M IU~I 1C By ALFREDO LOZANO President,, Student Cauncil Consen•atory of Music, University of the Philippines The Conservatory Student Council is· compowd of representatives elected anually- hy the different class organizations of the Conservatory of Music. Each class organization is represented by two rep.resentatives and it3 cm:>s p.·~s - ictent as ex-officio memb;:)r. A member of the faculty is also selected by the council as faculty representative. The exerntive officers of the Student Council ar<! elec1.:~d annually by the entire student body . To finance the activities of the council a fee of two pesos a semester is collected by the Treasurer a:nd th·e total colk:ction is deposited with the SecretaryTreasurer of the University. No money is •expended without the express consent of 2/3 of the members of the council and approved by the Director of the Conservatory, who is the adviser. Among the yearly activities of the Student Council which involv>:! expenditure of the student council fund are the following: 1. It shoulders the expenses of t'he Annual Concert of the Canservatory by way of paying all bills of rental of ·either the Opera House or San Beda College Hall; services from 10 to 15 of Con!'tabulary men fo rehearsals with t'he Conservatory orchestra ; printing of sou v>enir programs and tickets; materials for string Instruments and other incidental expenses. 2. It offers an annual scholarship consisting of tuit:on a,nd instrument fees to a deserving music. students. :~. It donates to the Conservatory of Music books for the library, book cases, class- room tables and other furniture. !"--------------------------------------------· l !iJNSUtAR- ACADEMY lil !i (lncorporakd) ! l!I lntermediat,e, High School, · .ii and Vocational Courae3 !: i:li 1: 1 :: 11 •I La Defensa Building, I\fanila. DAY AND EVENING CLASSES Offrring: Sp~cial Courses in Spanish, Bookkeeping, Stenography, Typewriting, Journl',lism, Mu- • 1:,1 sic, and Military Science and Tactics. ll M_!lQE_B~TE TUITON_l~ES i1 MIGUEL R. CORNEJO, :1 A . B . , LL . B. I : P1~esidr:mt and Director 11 J' I ' - I ~----------------·-----------.. ------------4. It holds a-n annual free excursion and dance for the enjoyment of all Co1·:servatory students. 5. It holds a Xmas party where refreshments are served without additianal contribution. 6. In connection with U. P. NatiO'llal Heroes' Day, it awards a prize of P50.00 to the winners of the best musical compositions. 7. It presents bouquets of flowers to visi~:ng and outgoing Filipi·no and foreign artists. 1 8. It oceasionally gives i·nformal parties to l'<!nowned Filipino and foreign muEidans. 9. It lends without interest' small amounts of money to poor students to help · them pay their fees during registration. OFFICERS CONSERVATORY STUDENT COUNCIL Alfredo Lozano . . . . . . . President Jose Carreon . . . . Vi.ce-P,resident Lucino Sacramento Secretary Victoria Jose . . . . .. Treasurer Ricardo Reyes . . . . Custodian Ernesto Vallejo. F.aculty Representative Rodolfo R. Cornejo Fou:nde-r Alf.,edo Lozano Hilarion F. Rubio ARsociate Editors Room 9, La Defensa Bldg. Manila, P. I. SUBSCRIPTION RATES In the PhilippL1es: One year. . . . P2.20 Six Months . . 1.20 In U. S. A. and Foreign Countries: P. 0. Box 1545 Published Monthly as Official Organ of the National Federation of Music One ,Ye~r (gold) $2 . QO SingJ.e Copy . . . 20 VOL. I II MANILA, P. I., JANUARY, 1934 II No. -3 EDITORIALS FILIPINO OPERAS The - recent S'fCceaaes achieved by our local musical association• and guilds in staging ''Lucia di Lammermoor", ''Madam,e Butterfly", "Rigoletto" a_ nd other Euro~an operas perfor:med by- all Filipino artists, are a clear sign of a bietter pe>s>sibility for creating and performing Filipino operas and melod.-amas which in the near future may ~e a g()Ocl substitute for cinematograph films or talking pictures that are imported from abroad. If we really want to practi'"e protectionism, W1e must Siee to it that we love everything and anytliing Filipino when•ever obtainable. But, of cours~ wie have to learn many a lesson ~t from other nations, which for centuries have d.eveloped thiair arts, scienoea and industries. We have artistit in our own country who can ably composie and l>erform mode·rn operas, but they need not only encouragemeint but also financial assistance to ~nabl·e them to devote their time to the i::~fection of their own lines. It is, therefore, suggested bf THE MUSIC MAGAZINE that th~ PhiH?pine Le'islature, in its coming session, appropriat' re•sonable amounts for the pensioning of exceptionally talented music composers and singers to specialize in operas, or for creating a sp,ecial board of music, which shall be compoted of well-know.11 music composers and directors to paaa upon the works of local authors who may care to submit their compositions for the a?proval of said boarcl, and that huge prizes he awarded to the winnine competitors. As for the maintenance of a Filipino Opera Company, the Legislatu:e should aho giv,e an annual subsidy of, ray, twenty thousand pesos, instead of giving this amount to the. Philippine Carnival, from which the p~ople derive no benefit whatsoiev:er •except the "blessed few''. JUST A SUGGESTION To determine thie real ability of ieach - individual instructor of the Conservatory of Music, Univ..;rsity of the Philippine5 and to keep 'the high standard of said institution, The MUSIC MAGAZINE sugge6ts to the administration of thie University that all membel's of the faculty of the - ' Conservatory be required to give recitals, and that thie benefit to be derived thecefrom be used for the improvemE.<nt of the Conservatory. We know of so~ instructors, who, since th.eir graduations, have hardly mad:e use. of their_ ,musical knowledge except in tieaching their students how to play or sing th:eir assign•ed lessons, but, to teach is one thing and how to exiecute it is anothier. One may be a good critic but never a good performer. Another good thing the Conservatory of Music will get from these recitals is the enthusiasm the students and thie public may have in music, and it is hoped that the Board of Regents of the University will give this suggestion the c:>nsideration it d~erv:es. Director Santiago has 12ow the say. He should endorse this idea if he thinks it fit and proper. The Concert Hall of the Conservatory of Music can easily accommodat1e 800 peopl~ and the Conservatory Philharmonic Orchestra, under the direction of Dr. Santiago and Mr. Buenaventura, can assist such instructors in giving their recitals - without any additional e~ense to the Conservatory. There is no r,eason why this idea should not be follow,ed if the instructors are really desirous of maintaining the high standard and efficiency of the institution, which certain politicians have time and again tried to abolish. 14 THE MUSIC MAGAZINE January, 1934 A\~ II ~\A\ ~\ IU ~I() II Ode Written for the Century of Progress Exposition, 1933 By .WESLEY LaVIOLETTE Behold, there shall come a morning When the sea shall break forth into floods; Behold, there shall come a noontime When the chariot of the Sun shall sweep across the skies; There shall come an evening When the mountains shall break forth into flames; There shall come a midnight When the sickle of the Moon shall flash across the earth. The Sun with all his fiery hosts, The Moon with all her silvery train, Shall cover the sea, Shall ,cover the mountains With light, With Heavenly Flame! 0 light celestial, 0 flame terrestrial, 0 radiance from the heavens 0 flame out from the earth : Blaze forth, 0 burning artery of fire. 0 billowy cloud of flame, 0 great sea-wall of fire ; Cover us--burn us ! Sweep across our plains; Carry us upon your pinions; Wing' us along red skies; Hurl us as bolts of lightning; Blaze us into white-hot earth; Wash as great waves wash us; Dash as high billows dash us ; Deep as deep ccea~ sink us ; Whiter than any flame, Bring us forth, 0 God, Bring us To thy presence, 0 Light Eternal, 0 Flame Supernal, Creator of the All. 0 light of life, the crucible of flame, 0 heart of thine, a cup for love's desire, Effulgent flame, unbounded save by the fire Of magic wrought within your mystic name: 0 Light Divine, shine from the heavenly choir In music regnant with the votive flame To liberty from death's dark tomb, in name Of truth and freedom whence our songs aspire. 0 heart whose throbbing pulse is passionate song, 0 light whose lambent flame burns land and sea, Infuse us with thy strength which cleft a tomb, Thy love which understands and waits so long For man who blindly climbs to that high noon Wher~ singer and the singer's song are free. Beneath the soundless shadow of the Evening Star, In breathless adoration of her jeweled spell We wait a music from afar, Wait for beauteous things of fra.igile loveliness Which though they fade And seem to pass away, Are like white pebbles dropped into the quiet sea Whose waves whirl outward through eternity. Then shall we whose hearts are still before a rose, Whose breath is caught by golden shaft of irridescent moon, Shall we be fearful that from nothing all things come And back to nothings go? That cannot be with Beauty but ironic jest, And love a sunset smoldering in the west! Illumined by a spark within, (Moon-madness though it be to some) Out from our cave of night we come Who gladly travel onward to the Sun. 0 Great Spirit transcendent, On universe attendant, Creator of 'the All : 'l'hy creation hails thee, Triumphant and free! In radiance from that new morning, In glittering splendor from the sea : 0 clothe us with a radiant beauty Prepared for thy adorning. Wash as great waves wash us; Dash as high billows dash us; Deep as deep ocean sink us; Cover us-burn us Whiter than any flame. Weld us in thy kinship, Make us worthy of thy name : 0 Flame Terrestrial, 0 Lig"ht Eternal 0 Fire Supernal Creator of the All ! f>iano THE MUSIC MAGAZINE If alma: Dta:lt~ <VAUI: VALMAI Concert Waltz., Op. 66 Introduction: Moqeralo e marcalo . . . . • m/ ltl By RODOLFO R. CORNEJO 16 THE MUSIC MAGAZINE January, 19:34 January, 1924 THE MUSIC MAGAZINE 17 lk THE WUSIC MAGAZINE: Next Issue: ''ROMANZA'' By JUAN S. DE HERNANDEZ January, l!l'.{4 FOR VIOLIN. AND PIANO January, 1!"1::4 On Music Interpretation B11 Prof. Nioanor Ab•lardo. Mua. JI. J:n11tr11ctor in Th.ecrry and Compo,qition Conservat.ory of Music, U. P. A thing well done is well underst"Ood. But the understanding of the thi·ng depends upon certain elements which are inherent in the thing. People have a very erroneous idea of how to intarpret things. They are more prone to give emphasis to the superficial or rather the melodic line than to the other inhel'lant' qualities of the music. For the right h1terpretation of music, there are several things we have to take into account. First, the me lo· die line. It needs a certain amount oi time and space to explain the details of the melodic line, but it is enough tCJ say that when a melody ascends, ther'? is a tendency of incl'easing the force, which in other words means cres001Ufo. SecO'nd, the harmonic line. There are certain harmonies towards which other disturbing elements in harmony have 11 tendency to go. These disturbing elements of harrnO'ny should be well emphasized, otherwise their disturbancP. would not cveate any sensation. In other words, the more dissonant the harmony. the stronger it should be. Third, the sequencial line. A sequence is a certain pattern which is persistently repeated at diff-erent degrees of the scale. It might have a tendency to ascend or descend, but t'he force of the sequence is to !ncrease the strength of each succeeding imitation of the pattern, so that whether ascending or desrending, it has the tendency of being cnescendo throughout, the last pattern being the strongest. Regarding rhythm, we hav•e the accents to deal with. There are two kinds of accents. The grammatical and the rhetorical accents. The grammatical accent is the natural subdivision of parts in a measure. The accent being the first of the subdivision. The rhe.torical accent is the beginning of each motive or figure. Then we have· the· law of the slur. The beginning of the slur should be accented while the end of the slur should be cut short to about half its value. Many other things would contribute to the success of a performer besides these technical matters. There is the technical preparation of the performer; there is the normal or the abnormal temperament of the performer in the time of the performance; there is the THE MUSIC MAGAZINE 19 MANILA PHILHARMONIC ACADEMY MANILA PHILHARMONIC ACADEMY The second musical causerie of the Manili> Philharmonic Academy, founded and headed by Mrs. Resurreccion Bunyi Santana, Filipina pianist'~ and come poser, was held last month, with Prof. Antonio J. Molina as guest of honor. Among those who were present were: MissesJosephine Beebe Celesti·na Marcos Nena Periquet' Elena Andrade CorazO'n Fernandez Constancia Ferrer Anita David Gloria Trinidad Corazon Bunyi Juanita Gabriel Asuncion Ibanez Estela Antonio Nena Vargas Hosa Victorio Delia Hernandez Mercedes Molina Apolonia Cruz Mer<iedes Tison Maria Cabral '(;1>ncordia Manalo .Joaquin Guti·errez Paula Zamora Remedios Aguilar N·enita Buera Celia Makapuj!:ay Gloria Hipolito All piano studE>nts of the Manila Philhnrmonic Acaclemy under Prof. Resurrl'ccior: Bunyi Santana. perfect or imperfect quality of his ins~ tTUment; there is the acoustical condition of the place; there is the attitude of he aucJi.ence upon the reaction creat· ed by the piece performed. Because they might lack the necessary qualifications t.> understand the piece. Then there are certain devices i'n counterpoint, harmony, or forms which should be understood to be discriminated. The interpretatiCJn of a piece, no matter how trifle, should therefore require such knowledge as I hav·e stated above for the correct and ~right justice to a composition. Una Explicaci0n de la Preaidenta D.el ''Cebu Glee Club" Sohre el Concierto que lite Dio .en Ciebu Por La Srta. Fuentes La Sra. Dfia. Amparo M. Francisco, president& del Cebi.. Gf>ee Club, en su carta de fecha 6 de Enero, 1934, dirigida al Presidente General de la Federacion NaciO'nal de Musicos, dice lo siguiente: "Seria una ingratitud si no hicieramos publico el verdadero sentir del Cebu Glee Club y del publico cebuano, por la reciente venida de n~stra eximia compatriota, la Soprano Jovita Fuentes. Es indescriptible la alegria que se apoder6 de todos los corazones, por la exce}ente oportunidad que se daba al publico de esta region, de escuchar- a tan afamada canta'triz filipina. "Algunos creyeron que los bajos precios que habiamos puesto para la entrada al concierto, eran para rebajar la categoria de la Srta, · Fuen·tes, pero esos tales se olvidan de que el Cebu Gl~e Club no li.a invita'cto a dicha cantante para fines de negocio, sino solamente para dar ocasion a que nu•estro publico oyera en persona a la Srta. Fuentes. Y ella ha sido tan generosa que ha ayudado a la desinteresada labor de! Cebu Glee Club. " En vista del corto tiempo disponi~ hie para la· Srta. Fuentes y por sus compromisos anteriormente contraidos, hemos preferido cancelar el segundo concierto a fin de dar oportunidad al publico de otras regiones d~l pais a oir la privilegiada voz de dicha artista. "E·n nombre, pues, del Cebu (;l,,,, Club, doy las gracias a tod'ls los que h~.n ayudado al exito del acont-ecimiento artistico que aqui hemos tenido, y .aspecialmente a la Srat. Fuentes, por el sac.rificio que se 'ha impuesto, en aras del Arte y para ayudar al Cebu Glee Cli..b. Next laaue: "ON PSYCO-ANALYSIS OF MUSIC" AMPARO M. FRANCISCO Pre.~identa, C.e.lm Glee Cluli 20 _THE :\fU8.IC .MAGAZINE C()M_() U~ CUl:,_..T() ~~ l?UTA A (3~UMULA~UA (Sobl'le el "Humoreakie", Opus 10, Num. 2 de Tschaikousky) Por Prof. ANTONIO J. MOLINA Instructor, Conservatorio d·e Musica, U. F. PREAMBULO Lectora amable: Ahi va, otro cuento forjado sobre otra producci6n genial de! mismo autor: el "Humoreske" de Peter Iljitsch Tschaikowsky, Opus 10, Num. 2. Una tarde que ha sido para mi, de efluvios sugirientes y de inductoras influi;ncias, oi de un piano, en el que se ensayaba un maestro, un gran maestro del t-eclado (cu yo nombre me es vedado confiartelo) esta pieza, una pieza jovial y plancentera, que habla de primaveras esplendidas, pletoricas de alegria y llenas de luz. - Recorde que me pedias un cuento mas, y, pni' eso, si -k~ place, ac6gelo, acepta y lee--->niiia hermosa--eso que \•uelvo a drendarte a tus pies. I. EN LA PRADERA _ Por aquella vez, el crepusculo no era tan- trist"e coino las otras agonias doe! idolo-Sol; Se podria suponer que es la fiesta de Eros. Hay un himno sinf6nico de fi:agancias que caT.tan a coro los rosales en flor, y hay una magic.a danza r\e colores que bailan las voluptuosas mariposas. -T-ralfl, tnapa-, tra-picarn. Trata., brapa tras pii ! De Iejos, canturreaba vurlescamente un gnomo-auriga que conducia una carreta-jaula, casi colosal para un gnomo con un payaso y un hermafrodita ad~ntro--tambien de Gnomolanda- tirada por un asno pensador, incredulo y pesimista. -Trala, tmapa wa-picar-0, Trata trapa, traspie./Repetlan en g~'Otesca imitaci6n los dos g·nomos-guardianes ·de la jaula. De pronto bajaron, suavizando, la voz, ~o mr-11zal'o1i a parlot•ear murmurando e mtentaron esforzandose por ponerse serios en lo posible. - Ya llega !-anuncia el auriga. -i. Quien-pregunta el hermafrodita. -Un poeta y musico a la vez-descrihe el payaso: -Mal um, mal-um, mal-um!~bajea .-) asno, y como un dogma, afiade: -No puede ser ni poeta, ni musico. -Callaos-les advirti6 el aurigaque nos puede oir; pero, yo os dire: es un musico, y·qui•ere ser un poeta.-Mient:ras los gnomas platicaban, el asno continuaba incesantemente bajeando: -Mal-11m. nw/-1 •. m, mal-11m!-y mas firme en su dogma, murmuraba: -No puede ser ni musico, ·ni poeta. II. EL EXTRA VIADO Suavemente y sin pereza, caminaba un adolescente no muy guapo ni feo. Cabizbajo, errante y meditabundo llegaba extraviado por aquella pradera en·· cantada. . . y desencantada: aquella carret'a colosal con tres gnomos encima y un asno que tira pensador, ya habia causado la huida de las mariposas y el silencio de las rosas. Aquel erra'Ilte, era un cazador, un simple cazador huerfano de pret3nsiones, un cazador de ensueiios y de melancoIias. Hubo algunos que le llamaban poeta, cuando escribia y musico, cuando te'Ilia SU arpa griega, pero el, no Jo consentia, y sk!mpre protestaba con mas tristeza que modestia: - Yo soy un cazador ! Seguia caminando por la pradera encantada y desencantala, suavemente y sin pereza, cua:ndo de repente, rapida como una avalancha, vi6 al rededor de sus rodillas los filos de tres hachas diminutas pero morti:f\eras que sujetaban los tres gnomos en gesto amenazant·~, amendrantador, firmes y decisivos. -Que quereis de mi, seres extrafios de la creaci6n-inquiria el cazador, mas por querer saber, que por guardar miedo. De lejos, el asno pensador, amarrado' a la car:reta-jaula, inundaba desaforado la pradera ya tranquila con un d"rroche de carcajadas: carcajadas de i·ncredulo, de pensador, de pesimista, por un rato, continuas y torturantes. El cazador repiti6 la pregunta y el gnomoauriga le explic6: -En la cueva necesitamos para entretener a nuestra soberana princesa la Rana del Tango, un poeta que la declame estrofas incongruentes, ya un tiempo, un musico que la entone ca·nciones deformes. -Creen ustedes, que podria yo siquiera franquear la entrada de esa cueva ?-preguntaba el cazador. -Precisamente,-dijo vanidoso, el gnomo-auriga-por eso quise preferir dos en vez de uno, poeta y musico a la vez, porque dos de· tu tamaii.o, llemirian la cueva. Ill. EN CAMINP El cazador, mas curioso que t1>mcroso, asinti6 a todo lo que le dijeron, y se ;resign6 a todo lo que de el quisieron hacer. Le ordenaron que se metiera dentro de Ia carreta-jaula, en marcha, camino a Gnomolanda ! Trala, trapa, tra-picaro. T.rala, trapa, traspie?--canturrenba burlescamente el gnomo-auriga. Trala, trapa, tra picaro. Trala, trapa, traspie !-repetian en grotesca imitacion los dos gnomos-guardia·nes de la jaula. El cazador estaba intrigado a pesar suyo, por lo que pudiem :.ignificar aquel canturreo, pero no quiso preguntar. El asno pensador, adivino la p.reocupaci6n oel joven, y c-0·1.•trabaja.endo le di6 la soluci6n. -Al fin, te hemos atrapado, picaro que no das en el mundo mas que traspies ! Ya a lo largo de la caminata, el gnomo--payaso gritaba exaltado: -Salud al poeta fracasado ! -Salud al musico mediocre! gritaba tambien el hermafrodita. Mientras el aS>no pensador, seguia su cuntrabajeo mon6tono y uniforme: -Mal-'11m, m.al-um, '11WJ~m. Ya Io· dije: Ni es poeta, ni es musieo! IV. LOIGNORADO No se supo ya, que fue, del cazador: la musica de Tschaikowsky termina sin descifrar el desenlace, sin descorrer el velo que cubre la misteriosa historia de! pobre cautivo. Solo me describe-y en secr•eto--que, la carreta desapareci6 en una J.ejana semioscuridad; la burla de los gnomos y el contrabajear de] asno pensador ya no se podian percibir; al crepusculo, que no era ttiste, sucedia una noche de presagios . . . quizas ven~ turosos tambien; las mariposas, aquellas mariposas festeras y danzarinas, volvian silenciosas a la pradera, reposando dulcemente, una a una, por sobre las flores, aquellas flares acariciadas por el idoloSol, exhuberantes, aromosas, aquellas que, con su voz que nullca se Qye supieron cantar a coro el himno sinf6nico de las fragancias. Ya en la pradera, todo es quietud: las mariposas- van dormitando, y las rosas va'Il soii.ando. January, 1934 THE MUSIC MAGAZINE MUS/QUE et LETRES Bg HILARJON F. RUBIO Music and letters ... Two i·nseparable elements of wisdom ... Yet, there is a lustrous contrast betwixt. For there is a boundary line between music and poetry. May literature not exert itself as a true art in the ab~ence of either melodious or homophonous sound? A humble acumen .. . A solitary thought .. . As a beauteous maiden demands a multi-colored panorama for the back~ ~round to augment the charm and grace in her, so an art summons for a kindred. art to exalt itself within the halo of aesthetics. So, with the planets ... ' The cold and dead moon, in the serenity of the evening's report, casts the mellowness of its suffusing radiance the origin of which is the unsophisticated reflection of the King of Light-the Sun. Of music ... Much has been heaped unto this Art in pros and cons. Philosophers, pedagogues and art-critics essay on the subject. They scrutinize the newer Art (considering its historic development) at diff.erent standpoints. The works of Nietzche, Scope1;hauer, Ruskin, and Tolstoi deal with the demerits of music. Why? Men of letters as they a1c, they could find neither beau ideal nor realism in this much-debated Art. Too egotistical! The treatises of Elson, Tapper, Finck, Hull, and Henderson are in contra distinction to the speculation of those literary demi-gods. Ignoring the "insufficiencv" and the "sheer ugliness" of music as expounded by the fault finders, "1e, as musicians, su-pJ,>0l't the Art at its own pedestal. We can peer through th,~ microscopic vantage point in scanning the amplitude and fertility of its artistic field. We note that within the coherent layout of musical detaiils there lies the layer of another art-literature-vivid and unportentous. This creditable truth, those men of letters overlook. When the outline of a music melody is snatched by our perception, we could hear within our mind the proper verse to such melody. Hearken t'O the inimitable works of masters-the symphonic poems of Liszt, and Strauss, the tone sketches of MacDowell and Elgar, the Kuntslied of Schubert, Schumann and Mendelssohn! What would they ht.·? Would they fall und.er the jurisdiction of absolute music alone? A humble acumen .. . A solitary thought .. . Of Schumann, it is said, '''Schumann's songs are poems in music". "Music had been too long in the laboratories of the WISE men. To free it from its Egyptian bondage, to make it the Tongue of ALL life ... ," said Huneker. Of letters ... The world has been w:rought by the sublime power of word alone-the Word of God. And letters are naught but the written word. The Bible, poetry, and prose soar up to the immaterial, ethereal, and spiritual kingdom. They are ultimately cO'ncerned with the things that the average mind can not conceive of. For them, these are the best pieces of literature. These literary men are deceived by their shortsightedness. Far the longest poems, seemingly haughty and truthfully mythical, that the world has produced, music is created i<1 perfect juxtaposition. The verses of Milton, Spencer, Shakespeare, Shelley, ei'C., have their music parallels. The librt.ttos of operas and melodramas are written by versatile poets. How could they (literary men) comment negatively? As music depicts lines of poetry, so poems inspire the harmony of music. Of Mendelssohn, it is said, "Mendelssohn's songs are verses set to tunes." Schubert, the composer of hundreds of songs, took inspiration from poems. The fi:rst reading of -the poem usually gives the complete idea, both tune and accompaniment. Lathrop could not refrain from describing music in his stanza: "Music is in all growing things, And underneath the silky wi-ngs; Of smallest insects there is stirred A pulse of air that must be heard; Earth's silence, lives and throbs, and sings.' And S~hlegcl: " 'mid all the chords that vibrare through Earthly strangely chequered dream, There runs a note whose gentle tone Is heard aright by him alone \Vho lists with care extreme." There exist composers who· think poetically and there are litterateu.rs who write musically. Of the former, we have already instanced. Of the latter, we can quote Browning in the "Abt Vogler" ; Coleridge in the "Ancient Mariner"; and Tennyson in the "Maud". Music and letters ... 21 Community Concert Series of the Central Student Church The third concert of the Community Concert Series was held at the Central Student Church, earner of General Luna and San Luis, Manila, on Saturday, November 18, 1933, at 8:30 P. m. The program was presented by the Conservatory of Music, University of the Philippines, under the able direction of Dr. Francisco Santiago, Conduct'Or, and Reverend J. C. W. Linsley, Organist. The members of the faculty who took part in said program were Prof. Rodolfo R. Cornejo, pianist composer; Miss Veneranda Acaya1n, violinist; Prof. Antonino Buenaventura, composer-conductor, and Prof. Bernardino Cust'Odio, pianist. All string numbers were prepared by Mr. Ramon Tapales, instructor in violin and chamber music. Prof. Cornejo played two of 'his own compositions, entitled: "A Pleasure Trip to Hongkong, Op. 31" and "The Gossipers, Op. 59". The other participants from the Conservatory of Music Wln"e: Miss Marcela Aquino, violinist; Mr. Celso Estrella; violinist; Miss Apolonia Exconde, pianist; Miss Rizalma ExcO'nde, violinist; Mr. Modesto Maiquez, 'cellist; Mr. Eliseo Pajaro, bass; Miss Purificaci6n Papa, accompanist; Miss Carmen Rey.es, cellist; Miss Matilde Rivera, sop1 ano; Mr. Pedro Roxas, tenor; Mr. Federico Daval Santos, violist; Mr. Lucino Sacramento, celesta, 1md Miss Antonina de los Santos, soprano. Two inseparable aspects of cosmopolitan life ... One has its faithful apostles whil1! the other possesses a lO'ng line of believers. Yet, there are world figures who claim the two as their divine. saints. Robert Schumann had two well-established inclinations, literature and music. This was evidently shown .by his ···Die neue Zeitschrift fur music," a music .magazine. Richard Wagner wrote the librettos far his own operas and his twosided nature is shown by his musicoliterary work, "Opera und Drama." Paderewski the pi_anist after Liszt, became the first Prime Minister of Po·· land O'Il account of _his literary quality. What emotional pang will these two create within the sensitive heart of a <luofold natured man! How gloriou~ it is to be an ardent disciple, sincere and faithful from the start to the finis, of these two universal arts: Music and letters ... 22 THE MUSIC MAGAZINE January, 1984 Constitution of the National Federation of. Music (Continued lrom first issue of November, 1933) ART. 11. The Treasurer shall have the following duties and powers: (a) To receive 1md keep, in_-accor.dance with _the regulations, all funds and property of the Federation; (b) To issue or cause to be issued official receipts for all such funds _and property received by him or by his subordinate offio.."Ts; - (c) To deposit within two (2) days after receipt, all _the funds of the Federation, in the bank or banks designated by -the Board of Directors, except the nece$sary -amount reserved for petty or ordinary expenses of the Federation; - (a) To ma~a all payments by maans of- checks duly countersigned by the -President and approved by the Auditor, and -to ·make proper accounting of a:u reeeipts and expenditui·e in accordance with the ·rules of accounting adopted -by the Auditor with the approval - of the -Board of Direcfors; (ej To keep the books and vouchers of the Federation oven for inspection by any membar at all times during office hours; (f) To file a hond, in an amount fixed by ·the Board of Directors, for t'he faithful performance of his duties as Treasurer of -the- Federation: and -(g) To render financial reports at the end of e\·ery month and at tile end of each calendar year, for the information of all members and officers concerned. ART. 12. The Assistant Treasurer shall assist the Treasurer in his work and shall do other duties which the latter may assign t'O him as Assista:nt Treasurer. In the absence of the Treasurer, the Assist.ant Treasurer shall discharge his duties and powers. ART. 13. The Auditor shall have the following duties and powers: (a) To prescribe the system of accou1-.ting and the .manner in which the books and accouJtts of the Federation .shall be kept by tbe Treasurer; (l,) To approve the books and ac· counts of .the Treasur-<rr and to sign as Auditor all the checks issued by the former· '(c) To examine all the vouchers and accounts of the Treasurer as often as ~ec-a~sary and to make a report thereof to the Hoard of Pireetors when required to do so, or at least once every three months; and (d) To report immediately to the J;oard of Dir.actors any irregularity, error or omission, in the accounts or books of the T.reasurer, as well as any anomaly in the management or disbursement of the Federation's funds and disposition of its property that he may have discovered. ART. 14. The Assistant Audit-or s·hall assist the Auditor in his work and shall perform other duties that the Auditor ma_y assign_ to him. He will,_ in the -absence· of the Auditor, act in the latter's place unless· disqualified by th~ Board 6f Directors for justified causes. ART. 15. Each and every member of the Board of llirectors shall have the following -dut-ies and powers. (a) To attend all meetings of the Board of Directors and -to -take part in - t'hc ileliber11.tions of all matters brought before it; (b) To make motions or.file resolutions for the approval of .the Board; and (c) To vote for or against any motion or resolution which comes up before the Board of Directors. VII BOARD OF DIRECTORS ART. 16. The Board of Directors shall be composed of the President, the VicePresidents, the Secretary and the six Members or Directors. ART. 17. The -Boar.d of - Directors, as governing power, shall approv-e of all appointments made by the President and shall from time to time adopt and promulgate the necessary rules, by-laws and resolutions concerning the administration of the affairs of the- Federation, as well as other measures concerning its finances, discipline, etc. ART. 18. The Board of Directors shall have powers t'O discharge any of- · ficer or member and to decide all administrative cases brought before it on appeal. VIII ~LECTIONS Art. 19. The President, the two Vice-Presidents, and the Six Members of the Board of Directors shall be elected by the Delegates to the General Convention or Assembly held in the City of Manila on the first Sunday of October of each year or on any date that may hereafter be designated by the Convention in case of adjournments. IX APPOINTMENTS ART. All other officers of the Federatio-!1 shall be appointed by the Presiuent with th1o: aJ,1proval of the Board of Directors. x FINANCES ART. 22. The Genaral Convention or Assembly shall fix the amount of membership fees or dues, or may so delegate this power· by resolution duly adopted to the Board of DiI,acors, which may also create other sources of revenue for the Federation to carry out its -aims and purposes as outlined in Article 2 hereof. ART. 23. The Board of Direct'Ors may also receive voluntary contributions, _gifts and donations from any ·of its members or from· any- other- person, corporation, or the pu~lic by all · legal or lawful ineans. XI G~NERAL CONVENTION OR- ASSEMBLY ART. 24. The General Convention -or Assembly shall be composed of a -number of delegates from each and every musical _ ass0ciation, club or guila, duly admitted and recognized as members in good standing. The cenvention will be held in the City of- Manila once a year or as often -as business exigencies ·of the Fed-eration may so reqnire. Each delegate to the convention must present his credential, showing his name in full, the name of the musical association, club or guild he represents at the convention, and his Manila or home -address, and tha Secretary shall make a list of such delegates and Post a copy thereof on the Bulletin Board of the Federation· for the info~ation of all concerned. ART. 25. Eeach musical association, club or guild duly admitt.ed as member of the Federation shall be entitled to have one delegate for every ten members. All musicians or artists who do not belong to any of such associations, clubs or guilds and _who may care to join the Federation, may be admitted as members of any branch of this Fiederation and as such they may be entitled to have their own delegates to the Convention in the same manner as that outlined above. ART. 26. The General Convention or Assembly shall be the legislative chamber or law-making body of the Federation ·and as such it has the powers to amend any provision of the Constitution and By-Laws of the Federation as well as the rules and regulations promulgated by the Board of Directors, and to pass any resolution concerning the affairs or life of the Federation. XII QUORUM ART. 27. Four or more members of the Board of Direct"Ors present at any maeting called in accordance with the Ry-Laws shall constitute a quorum to transact business. Whereas in the Convention or Assembly, at least.,one-third of the total number o:(. Delegates or repr.erentatives from the different branches, associations, clubs or guilds, must be present at the meetin&r in order to constitute a quorum for the convention to t;r:ansact business. In all (To b.e Continued) At the Conserl'atory of Music, U. P. and at 329 Carriedo, Manila, P. I. The above is an inside view of Prof. Cornejo's music studio in the Conservatory of Music taken on the occasion of the inau~uration of the Villamor Hall November 29. l 933. ------+----SPECIAL COURSES OFFERRED: Theo1·y, Counterpoint and Composition Private Lessons in Pianoforte for Bt·ginners and Advanced Students Orchestra or Piano Anangements Moderate Tuition Fees For _ f11 r fh<'r i11fn111111fi1111 '''"''-'<' ltpp/!f to: RODOLFO R. CORNEJO, Mus. B., Mus. M. Pianist, Composer and Conductor l~~Tl!UCTUl! PUYAT'S the Music House of the Masters! Among what we in th<· Philippines may rightfully call the "immortals" of our music world is the famous Constabulary Band. Now th<·n when the Constabulary Band picks on Puyat l\1usical Instruments '"e can all be sure that such Goods must 1:>e of the highest in quality. That's exactly how it is! Puyat's line of H. N. 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