42 Hungarian Folk Melodies ("For Children") by Béla BartókReview by: Margaret TolsonNotes, Second Series, Vol. 9, No. 1 (Dec., 1951), p. 171Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/890547 .

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those who do not believe in the old- fashioned idea, still prevalent in some circles, that one can learn to play the piano adequately by merely studying pieces.

It is true that the works of J. S. Bach and his predecessors, contemporaries, and immediate followers (also those of Haydn and Mozart) require compara- tively little muscular power for their adequate technical performance, physical and mental agility being the principal requisites. But from Beethoven and Schubert on, piano composers began to demand a vastly increased tonal range of the performer. No pianist can hope to give an acceptable interpretation of the greater works of these composers, and those of Chopin, Liszt, Brahms, Rach- maninoff, Prokofieff and others, without exceptionally strong fingers, hands, and arms; and not many come by this strength naturally.

Paul Creston shows himself very much aware of this in the publication of his Virtuoso Technique for the Piano, a genuinely valuable contribution in this field. In concise form he presents a series of exercises that are definitely for advanced players, and are designed to aid in the development of the high degree of physical strength necessary to master compositions of the "virtuoso" type. The figurations and the chord, octave, and double-note combinations which he has devised exploit cleverly and quite thoroughly the technical diffi- culties presented by works of this sort.

Harold Bauer's short book, The Pian- ist's Warming-Up Exercises, is less pre- tentious in scope and character, but should be of assistance in its expressed purpose: "For the maintenance and im- provement of technical fluency, and espe- cially for the restoration of power and control to cold and stiff fingers."

Leona H. Dounis presents an introduc- tion and three pages of five-finger pat- terns, somewhat in the Hanon manner, her aim being "to reduce to the min- imum the exercises that are necessary for the highest development of this phase of piano technique."

EDWIN HUGHES

those who do not believe in the old- fashioned idea, still prevalent in some circles, that one can learn to play the piano adequately by merely studying pieces.

It is true that the works of J. S. Bach and his predecessors, contemporaries, and immediate followers (also those of Haydn and Mozart) require compara- tively little muscular power for their adequate technical performance, physical and mental agility being the principal requisites. But from Beethoven and Schubert on, piano composers began to demand a vastly increased tonal range of the performer. No pianist can hope to give an acceptable interpretation of the greater works of these composers, and those of Chopin, Liszt, Brahms, Rach- maninoff, Prokofieff and others, without exceptionally strong fingers, hands, and arms; and not many come by this strength naturally.

Paul Creston shows himself very much aware of this in the publication of his Virtuoso Technique for the Piano, a genuinely valuable contribution in this field. In concise form he presents a series of exercises that are definitely for advanced players, and are designed to aid in the development of the high degree of physical strength necessary to master compositions of the "virtuoso" type. The figurations and the chord, octave, and double-note combinations which he has devised exploit cleverly and quite thoroughly the technical diffi- culties presented by works of this sort.

Harold Bauer's short book, The Pian- ist's Warming-Up Exercises, is less pre- tentious in scope and character, but should be of assistance in its expressed purpose: "For the maintenance and im- provement of technical fluency, and espe- cially for the restoration of power and control to cold and stiff fingers."

Leona H. Dounis presents an introduc- tion and three pages of five-finger pat- terns, somewhat in the Hanon manner, her aim being "to reduce to the min- imum the exercises that are necessary for the highest development of this phase of piano technique."

EDWIN HUGHES

those who do not believe in the old- fashioned idea, still prevalent in some circles, that one can learn to play the piano adequately by merely studying pieces.

It is true that the works of J. S. Bach and his predecessors, contemporaries, and immediate followers (also those of Haydn and Mozart) require compara- tively little muscular power for their adequate technical performance, physical and mental agility being the principal requisites. But from Beethoven and Schubert on, piano composers began to demand a vastly increased tonal range of the performer. No pianist can hope to give an acceptable interpretation of the greater works of these composers, and those of Chopin, Liszt, Brahms, Rach- maninoff, Prokofieff and others, without exceptionally strong fingers, hands, and arms; and not many come by this strength naturally.

Paul Creston shows himself very much aware of this in the publication of his Virtuoso Technique for the Piano, a genuinely valuable contribution in this field. In concise form he presents a series of exercises that are definitely for advanced players, and are designed to aid in the development of the high degree of physical strength necessary to master compositions of the "virtuoso" type. The figurations and the chord, octave, and double-note combinations which he has devised exploit cleverly and quite thoroughly the technical diffi- culties presented by works of this sort.

Harold Bauer's short book, The Pian- ist's Warming-Up Exercises, is less pre- tentious in scope and character, but should be of assistance in its expressed purpose: "For the maintenance and im- provement of technical fluency, and espe- cially for the restoration of power and control to cold and stiff fingers."

Leona H. Dounis presents an introduc- tion and three pages of five-finger pat- terns, somewhat in the Hanon manner, her aim being "to reduce to the min- imum the exercises that are necessary for the highest development of this phase of piano technique."

EDWIN HUGHES

those who do not believe in the old- fashioned idea, still prevalent in some circles, that one can learn to play the piano adequately by merely studying pieces.

It is true that the works of J. S. Bach and his predecessors, contemporaries, and immediate followers (also those of Haydn and Mozart) require compara- tively little muscular power for their adequate technical performance, physical and mental agility being the principal requisites. But from Beethoven and Schubert on, piano composers began to demand a vastly increased tonal range of the performer. No pianist can hope to give an acceptable interpretation of the greater works of these composers, and those of Chopin, Liszt, Brahms, Rach- maninoff, Prokofieff and others, without exceptionally strong fingers, hands, and arms; and not many come by this strength naturally.

Paul Creston shows himself very much aware of this in the publication of his Virtuoso Technique for the Piano, a genuinely valuable contribution in this field. In concise form he presents a series of exercises that are definitely for advanced players, and are designed to aid in the development of the high degree of physical strength necessary to master compositions of the "virtuoso" type. The figurations and the chord, octave, and double-note combinations which he has devised exploit cleverly and quite thoroughly the technical diffi- culties presented by works of this sort.

Harold Bauer's short book, The Pian- ist's Warming-Up Exercises, is less pre- tentious in scope and character, but should be of assistance in its expressed purpose: "For the maintenance and im- provement of technical fluency, and espe- cially for the restoration of power and control to cold and stiff fingers."

Leona H. Dounis presents an introduc- tion and three pages of five-finger pat- terns, somewhat in the Hanon manner, her aim being "to reduce to the min- imum the exercises that are necessary for the highest development of this phase of piano technique."

EDWIN HUGHES

Bela Bart6k: 42 Hungarian Folk Mel- odies ("for Children"). New York: Leeds Music Corporation, 1951. [42 p., $2.00]

During the years 1908-1909 Bart6k composed a collection of delightful pieces for children, reviewed earlier in these pages. From that same period we are fortunate in having this set of forty-two short pieces based on Hungarian folk melodies and designated especially "for children." Bart6k's simple and greatly varied treatment preserves the strange and appealing quality of the true Hun- garian folk melody while keeping always to a pianistic style. Technically the range is from easy to moderately diffi- cult and there is great diversity of mood, color, and dynamics. Canonic writing is expert and imaginative and, in instances where the quality of narrative song is maintained, the harmonic treatment is vivid. The variety in dance rhythms is a delight, moving as it does from the delicate grace of the village belle to the impetuosity of the country bumpkin. The imaginative student should have a won- derful time with this volume.

Walter Golde: Gargoyles, for the Piano. New York: G. Schirmer, 1951. [7 p., $.50] Walter Golde: Contemplating, for the Piano. New York: G. Schirmer, 1951. [5 p., $.50]

These two recent compositions of Walter Golde are written in traditional romantic style. Contemplating is a pleas- ant piece in three-part form with broad melodic lines. Gargoyles requires fleet fingers. It is pianistically adroit but slightly monotonous in color. Both pieces are of medium difficulty and should be enjoyed by the student whose taste is conservative.

Dmitri Kabalevsky: Ten Children's Pieces for Piano. New York: Leeds Music Corporation, 1951. [28 p., $1.50]

This collection is a welcome successor to Kabalevsky's popular 15 Children's Pieces. There is a certain brightness about Kabalevsky's writing which, in combination with his good taste and im- agination, makes his children's pieces

Bela Bart6k: 42 Hungarian Folk Mel- odies ("for Children"). New York: Leeds Music Corporation, 1951. [42 p., $2.00]

During the years 1908-1909 Bart6k composed a collection of delightful pieces for children, reviewed earlier in these pages. From that same period we are fortunate in having this set of forty-two short pieces based on Hungarian folk melodies and designated especially "for children." Bart6k's simple and greatly varied treatment preserves the strange and appealing quality of the true Hun- garian folk melody while keeping always to a pianistic style. Technically the range is from easy to moderately diffi- cult and there is great diversity of mood, color, and dynamics. Canonic writing is expert and imaginative and, in instances where the quality of narrative song is maintained, the harmonic treatment is vivid. The variety in dance rhythms is a delight, moving as it does from the delicate grace of the village belle to the impetuosity of the country bumpkin. The imaginative student should have a won- derful time with this volume.

Walter Golde: Gargoyles, for the Piano. New York: G. Schirmer, 1951. [7 p., $.50] Walter Golde: Contemplating, for the Piano. New York: G. Schirmer, 1951. [5 p., $.50]

These two recent compositions of Walter Golde are written in traditional romantic style. Contemplating is a pleas- ant piece in three-part form with broad melodic lines. Gargoyles requires fleet fingers. It is pianistically adroit but slightly monotonous in color. Both pieces are of medium difficulty and should be enjoyed by the student whose taste is conservative.

Dmitri Kabalevsky: Ten Children's Pieces for Piano. New York: Leeds Music Corporation, 1951. [28 p., $1.50]

This collection is a welcome successor to Kabalevsky's popular 15 Children's Pieces. There is a certain brightness about Kabalevsky's writing which, in combination with his good taste and im- agination, makes his children's pieces

Bela Bart6k: 42 Hungarian Folk Mel- odies ("for Children"). New York: Leeds Music Corporation, 1951. [42 p., $2.00]

During the years 1908-1909 Bart6k composed a collection of delightful pieces for children, reviewed earlier in these pages. From that same period we are fortunate in having this set of forty-two short pieces based on Hungarian folk melodies and designated especially "for children." Bart6k's simple and greatly varied treatment preserves the strange and appealing quality of the true Hun- garian folk melody while keeping always to a pianistic style. Technically the range is from easy to moderately diffi- cult and there is great diversity of mood, color, and dynamics. Canonic writing is expert and imaginative and, in instances where the quality of narrative song is maintained, the harmonic treatment is vivid. The variety in dance rhythms is a delight, moving as it does from the delicate grace of the village belle to the impetuosity of the country bumpkin. The imaginative student should have a won- derful time with this volume.

Walter Golde: Gargoyles, for the Piano. New York: G. Schirmer, 1951. [7 p., $.50] Walter Golde: Contemplating, for the Piano. New York: G. Schirmer, 1951. [5 p., $.50]

These two recent compositions of Walter Golde are written in traditional romantic style. Contemplating is a pleas- ant piece in three-part form with broad melodic lines. Gargoyles requires fleet fingers. It is pianistically adroit but slightly monotonous in color. Both pieces are of medium difficulty and should be enjoyed by the student whose taste is conservative.

Dmitri Kabalevsky: Ten Children's Pieces for Piano. New York: Leeds Music Corporation, 1951. [28 p., $1.50]

This collection is a welcome successor to Kabalevsky's popular 15 Children's Pieces. There is a certain brightness about Kabalevsky's writing which, in combination with his good taste and im- agination, makes his children's pieces

Bela Bart6k: 42 Hungarian Folk Mel- odies ("for Children"). New York: Leeds Music Corporation, 1951. [42 p., $2.00]

During the years 1908-1909 Bart6k composed a collection of delightful pieces for children, reviewed earlier in these pages. From that same period we are fortunate in having this set of forty-two short pieces based on Hungarian folk melodies and designated especially "for children." Bart6k's simple and greatly varied treatment preserves the strange and appealing quality of the true Hun- garian folk melody while keeping always to a pianistic style. Technically the range is from easy to moderately diffi- cult and there is great diversity of mood, color, and dynamics. Canonic writing is expert and imaginative and, in instances where the quality of narrative song is maintained, the harmonic treatment is vivid. The variety in dance rhythms is a delight, moving as it does from the delicate grace of the village belle to the impetuosity of the country bumpkin. The imaginative student should have a won- derful time with this volume.

Walter Golde: Gargoyles, for the Piano. New York: G. Schirmer, 1951. [7 p., $.50] Walter Golde: Contemplating, for the Piano. New York: G. Schirmer, 1951. [5 p., $.50]

These two recent compositions of Walter Golde are written in traditional romantic style. Contemplating is a pleas- ant piece in three-part form with broad melodic lines. Gargoyles requires fleet fingers. It is pianistically adroit but slightly monotonous in color. Both pieces are of medium difficulty and should be enjoyed by the student whose taste is conservative.

Dmitri Kabalevsky: Ten Children's Pieces for Piano. New York: Leeds Music Corporation, 1951. [28 p., $1.50]

This collection is a welcome successor to Kabalevsky's popular 15 Children's Pieces. There is a certain brightness about Kabalevsky's writing which, in combination with his good taste and im- agination, makes his children's pieces

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