Questions and Answers.
W. B. S.—1. We do not see any reason for or any advantage gained by holding two adjacent pedals in playing hymns. The custom, if such it may be called in certain localities, is contrary to the rules of acoustics or of the science of music, and produces a disturbance in the vibrations which neither adds power to the accompaniment nor assists the congregation in any way.
2. We hardly think that it would be gracious to pass judgment on other musical magazines, but think that you will find valuable Information on the subjects required in such magazines as The Church Music Review, published by Novello in New York; The Organist and Choirmaster, published in London; and The Musical Opinion, also published in London.
3. The enlargement of any department of The Etude depends entirely on future needs, and cannot be foretold.
K. R.—1 and 2. Opinions are about equally divided on the pronunciation of the words referred to in singing.
3. We cannot see how it is advantageous to “wait just one measure” between the stanzas of hymns with “both organ and congregation perfectly silent.” The rhythm of hymns varies so materially, some hymns having six slow beats to the measure while others have but two beats. It seems to us a better plan to always wait about the same length of time, say, three seconds, after the end of the last chord of the tune, regardless of whether it is a measure or a half measure.
4. We can only say that opinions differ.
The Editor acknowledges the following from a reader in regard to a query in The Etude for April: “Rubinstein’s ‘Kammenoi Ostrow,’ or ‘Reve Angelique,’ as it is more generally known, is arranged for organ by E. H. Lemare, published by Schott. Mr. Lemare has also made an effective arrangement of Schubert’s ‘Serenade,’ following somewhat Liszt’s piano arrangement. This is the version that Mr. Clarence Eddy frequently plays in his recitals.”
