The Chemawa American, March 23, 1921, Page 4, Image 4

PAGE 4
T H E CHEM AW A AMERICAN
TH E POW ER OF C H E E R F U L N E SS
(C o n tin u ed from page 1)
sunny and cheerful. A happy state of mind has a
wonderful effect upon your physical make-up.
So, students and others—all readers—if you think
the school, your classmates, the world, are not treat­
ing you kindly, d o n’t delay a day but declare to your­
selves that even though things do not come your way
you will live for others and radiate sunshine across
the pathway of all whom you meet. You will then
find happiness springing up around you like flowers;
you will never want for friends or companionship;
you will see the best in everybody and will say
pleasant and helpful things about them.
*1 here is no habit which will give you more satis­
faction, that will enrich you more, than that of doing
a good turn to others at every opportunity. You can
always help by a cheerful spirit, by cordial words, by
kindness, and radiating a sunny disposition. T ry it.
H IS M USICAL W ORKS
The Oregon Statesman has the following to say with
regard to our Mr. Ruthyn T urney, a most estimable
and valuable employe at Chemawa, who is a composer
and high-class musician. The management at Che­
mawa cannot speak too highly of Mr. Turney. He
and his good wife are responsible for the high standard
maintained by our orchestra and other musical organ­
izations:
A C O M PO SER I N O U R M ID S T
T h e F irs t In d ia n S uite by R u th y n T u rn ey , as in te rp re te d by
th e S alem S y m p h o n y O ic h estra at its concert T u esd ay ev en in g ,
was b o th a d e lig h t an d a rev elatio n to Salem folk p riv ileg e d
to be in a tte n d a n c e . T h is is not, how ever, M r. T u rn e y ’s first
w ork, b u t o n e of a la rg e an d re p re se n ta tiv e n u m b e r of o rig in al
com positions. H e has h ad m uch of his w ork p u b lish ed , th e
first a n d second In d ia n suites, p e rh a p s b ein g th e b e tte r
k n o w n . M usicians h av e co m m en ted on th e o rig in a lity and
absence of th e com m on-place in M r. T u rn e y ’s In d ia n suite,
a n d found in it m u ch to ex cite th e ir a d m ira tio n . H e has m ade
m any a rra n g e m e n ts an d ad ap tatio n s in ad d itio n to th e follow ­
in g o rig in al w orks:
O p. 1— “ R e v e rie ” for violin and piano.
Op. 2— “ T h e B a g -P ip e ,” in tro d u c in g “ b a g -p ip e ” effects. F o r
violin an d piano a n d used a g re a t deal by th e com poser
in concert p lay in g .
Op. 3— O riginal vario on “ H om e, S w eet H o m e ” for violin and
piano.
O p. 4— “ M azurka di C o n ce rt” for violin and p ian o
O p. 5—Q u a d rille , “ C o n q u e st,” for sm all o rc h e stra .
Op. 6— “ A rk an sas T ra v e le r,” o rig in al vario for violin and
piano, also for s trin g q u in te t.
O p. 7— “ G ran d F a n ta s ie ” for violin a n d piano.
Op. 8— “ N o c tu rn e ” for violin and piano.
O p. 9— “ Z ig e u n e rta n z ” (G y p sy D ance) for violin an d piano.
Op. 10—A “ S o n a tin e ” in th re e m o v em en ts for d o u b le bass
a n d piano.
O p. 11— “ T rio ” N o 1—v io lin , cello an d piano.
O p. 12— “ Second N o c tu rn e ” for violin and piano.
O p. 13— “ A dagio et P olonaise B rillia n te ” for violin and piano.
Op. 14 — “ V iolin C o n certo ” for violin and piano.
Op. 15— “ F id e lity ” (a ro m a n c e) for violin an d piano, also viola
an d piano.
Op. 16
A m o rcillo ” ( F lir ta tio n - a M excian D an ce) for violin
a n d piano.
Op. 17— “ V iolin T e c h n iq u e ” for violin— p u b lish ed an d ed itio n
ab o u t e x h a u ste d .
Op. 18— “ Jo y s an d S o rro w s,” an o v e rtu re in p o p u la r sty le for
sm all o rc h e stra .
O p. 19
W altz di C o n c e rt” for violin a n d piano.
Op. 20— “ S e re n a d e ” for s trin g o rch estra.
O p. 21— “ Air V a rié ” for violin an d piano.
Op. 22— “ M azurka R o m a n tiq u e ,” concert n u m b e r for violin
a n d piano.
Op. 23
‘L o n g in g ,” a slow m o v em en t for violin a n d piano.
O p. 24— M azurka C h a ra c te ristic ” for violin an d p ian o
Op. 25—N o. 1— “ G a ie ty ”
No. 2— “ P le a d in g ”
No. 3— “ C ap rice”
for violin, ’cello and piano.
Op. 26— “ B a g a te lle n ”
N o. 1— “ H u n g a ria n D an ce”
No. 2— “ S p an ish D a n ce ”
for violin an d piano.
O p. 27— “ T h e M u tin e e rs ,” an o v e rtu re in p o p u lar sty le for
sm all o rc h e stra.
O p. 28—A M elodie Boquet:
N o. 1— “ T h e R o se ”
No. 2— “ Jo h n n y J u m p -u p ”
No. 3— “ V io le t”
No. 4— “ F o rg e t-m e -n o t’ '
for violin an d piano.
Op. 29— “ T rio ” in four m o v em en ts for violin, ’cello an d piano.
Op. 30— “ S trin g Q u a rte t” in D -m ajor— four m ovem ents.
Op. 31— “ C onscience” for violin and piano.
O p. 32— “ F irs t In d ia n S u ite ”
a— “ D aw n ”
b— “ D an ce”
c— * ‘ L am en tatio n ’ ’
d— “ T h e H u n t”
lor s trin g o rc h e stra .
O p. 33—No. 1 — “ R o se b u d ” (w altz)
No. 2— “ S e ñ o rita ” (S p a n ish dance}
for s trin g q u in te t
Op. 34— “ G oddess of N ig h t” w altzes for sm all o rc h e stra.
O p. 35— “ T ete e -te te ” w altzes for sm all o rc h e stra.
O p. 36— “ S o n ata in E -m in o r,” in th re e c o n tra ste d m ovem ent»
for violin an d piano.
O p. 37— “ B o u rree” for violin an d piano.
O p. 38— “ Second In d ia n S u ite ,”
a —M o rn in g Song
b— B utterfly D ance
c— P ray e r to th e R ain God
d —S p irit D ance
for s trin g q u a rte t.
Op. 39— “ C o n ce rtin o ” in th re e m ovem ents for d ouble bass an d
piano
O p. 40— “ W altz R o n d o ” for d o u b le bass a n d piano.
Op. 41—N o. 1 “ T h e P ip e r”
N o. 2 “ W altz M in ia tu re ,” for violin an d piano.
O p. 42—N o. 1 “ P re lu d e ” in D -m ajor
N o. 2 “ P re lu d e ” in B -m inor
N o. 3 “ P re lu d e ” in A -m ajor, for violin a n d piano.
Everybody is wishing the rain would stop so outside
work can be done.